It's 106 Miles To Chicago...

Road Trip!!!

I don't know about you, but as a musician those two words get me excited.  Playing a new venue in front of new people, major bonding time with my band mates, and just livin' the "rock star" life if only for one night.  There's just three minor things to take care of: 
 - Get there in one piece
 - Pull the show off
 - Get home in somewhat reasonable shape

Oh yeah..making a little money would be nice too.  But don't hold your breath for that.

Whether you're planning on being out for 3 weeks or just taking a one nighter somewhere, the planning and considerations are pretty much the same...it just tends to scale up the longer you're out.  The longer you're out, the more prep time you need before you even think about loading the truck.

The first question you want to ask yourself is "why are you taking the gig(s)".  If your answer is "to make money", then stop right now and seek medical help.  You're obviously in the middle of a stroke and have lost all blood flow to the brain.  The wonderful thing about road trips and touring is that the expenses magically grow to consume all profit (and then some).  And the longer you're out, the worse it gets.  Even if hotel is taken care of for you or you've lined up crash pads, the likelihood of doing any better than breaking even is pretty grim unless you've got a good guarantee from the venues.

Now, if you're really trying to "make it", and have something to promote then think of your touring losses as an investment in your future.  Heck, even if it doesn't pan out you'll have some great stories to tell your grand kids!

I could write every week for the rest of the year on everything that could go wrong when you're out.  But it's easier for me just to tell you that if you haven't seen it, watch "Anvil: The Story Of Anvil" and soak it all in.  Everything that can go wrong on a tour does for these poor saps.  And keep in mind, unlike "Spinal Tap", this is a true story.
  
OK, if I haven't talked you out of it by now, then apparently you're hell bent to do this.  Let's get ready.

Line 'Em Up
Seems pretty obvious, but you need to know where you're going, right?  If it's just a one nighter, that's pretty easy.  But if you're out for several days, this is where routing really comes into play.  You don't want to drive 300 miles out of your way for a gig that might net you $20 do you?  No, you need to start planning this 4 to 6 months out.  And if it's your first time in these clubs, you're probably looking at a cut of the bar sales or a dismal guarantee.

And speaking of money, this is one time where you absolutely want to get agreements in writing.  I like a formal contract (and we'll address that in a future installment), but just having an email with date/time/compensation will help.  Make sure you print all of these out before you hit the road.

If the clubs are providing PA, make sure you understand what you're getting.  For some clubs, that's everything.  For others, they provide a "skinny" PA.  In short, that means you need to bring your own mics, cables and stands.  They provide everything from the snake on out.  Personally, I like taking my own mics even if the club has 'em.  I know what they sound like, and I know where they were last night.

Add 'Em Up
You need to have some idea what this trip is going to cost you.  Are the venues providing PA and you're just bringing backline, or are you taking full production?  How are you going to haul this stuff around?  How many vehicles are involved?  If I'm pulling a trailer in my SUV, then my cost just to go down the road is about 75 cents a mile (at today's gas price of $3.40).  Figure at least $7.00 per meal per man (unless you're going to be in one location for an extended period, then go to the grocery store and stock up).  

If you're selling merch, then that very well may be your main income stream.  Make sure you mention that in your agreement with the venues.  I've had some try to take a cut.  Unless they provide someone to man the table, then they shouldn't get any part of that money.

Load 'Em Up
Here's where there's no difference between an over nighter and an extended tour.  Take spares on everything!!!  Have a contingency plan for any failure.  What are you going to do if an amp goes down?  A bassist could go direct, but that doesn't work for guitar.  Take a spare amp..even if it's your "crappy practice amp".  Trust me, it's better than having to cancel a show or doing the gig a man down.  

I carry a Crate PB-150 that's normally for my talk box, but if my main amp went down I could have it patched in and running in under 2 minutes.  Granted, I loose most of my effects, but I'm up and playing.  Crate unfortunately discontinued these, but I still see 'em on eBay.  Grab one if you can...it's really small,  sounds pretty good for a solid state head, and it can get plenty loud.  Heck, Felicia Collins (guitarist for David Letterman) uses one as her main amp!  I typically see them for going for $75 to $100.

It goes without saying...wait, I am going to say it.  Load up on consumables...strings, batteries, picks, cables (yeah, I consider them consumable), drum heads, sticks...everything you can.  You don't want to have a gig in Notrees, Texas and need something only to find out that the nearest music store is 40 miles away and closes in 10 minutes.  Even if the club is providing production, make sure you take extension cords. And for goodness sake, use that outlet tester to make sure what you're plugging into is wired correctly.

Plan For The Worst...It Will Happen
By far, the riskiest part of all of this is the travel itself.  This is all common sense, but make sure the vehicle(s) are all in good working order.  Check the air in the spare...a lot a people have been bit by that one.  At least one person should have a credit card with a few thousand dollars available on it...you just never know.  Emergency repairs, emergency room, bail bondsman...you gotta be ready.

Cell phones are a given these days.  If none of you have one with GPS capabilities, then get a stand alone unit.  In my touring days, we would drive 200 miles to the next gig, and then spend the next 3 hours driving around to find the damn club.  

Share The Burden
Don't stick one person with all the driving (unless they really want it that way).  Make sure at least two of you are unimpaired at any time there's an extended distance to cover.  When you stop for gas, give the driver a break...the rest of you get off your lazy backsides and take care of the refueling, cleaning the windshield, and anything else. 

Don't Be That Guy
When you're in close quarters, even your best friends can get on your nerves after a while.   If some guys want to grab a nap (as long as it's not the guy driving), then let 'em.  When the vehicle is in motion, that's not the time for horseplay or practical jokes...save those for the hotel.

Respect the vehicle you're in.  If the owner asks you not to eat in the vehicle, then don't.  Smoking...unless you're all smokers then no.  Farting, on the other hand, is a male bonding thing and encouraged.  If you have a female member in the band, play fair. Make sure she had a chance to eat a Slim Jim before the contest starts.

Travel Time
My bands hate me for this because it makes us leave earlier than they like, but for every 1 hour of travel time, I add 30 minutes of padding.  So, for a 4 hour drive that would be 6 hours.  And that's not even taking traffic into account.  That takes care of fuel stops, breaks, meals, and the dreaded flat tire.  People may be grumbling when you leave, but they'll get over it when you get where you're going early.

Do The Show
Once you get to the venue,  treat it like you would a high paying private gig.  Have your act together, and leave the drama in the truck.  If you're working with a sound man, give him a stage plot, channel list, and monitor requirements.  Some will blow it off, but most will appreciate it.

Since you're in new territory, make sure people know who you are and where to find you.  Being an out-of-town band adds a certain mystique.  Make sure you shake some hands on break, and don't miss an opportunity to sell a CD or get a name for the email list. 

If you're on a multi-band bill, be ready to get on stage as soon as they say go.  Wrap it up when you're supposed to, and then make way for the next band.  Just because the band before you were dicks and slow to get off the stage doesn't mean you should be.

After? Party?
Once you're done and loaded up, you're doing one of two things...either heading home or to the hotel / crash pad.  If you're heading home, make sure someone is wide awake and ready for the drive.  My rule is if it's over 100 miles or we play until 2:00AM, then it's an over night trip.  I've probably lost a dozen musician friends over the years because someone fell asleep driving back late from a gig.

If you're staying overnight, make sure everyone is clear on what time you're leaving the next morning.  That way, if they party until 6:00AM, they can't say anything about leaving at 8:00AM.  And have some common sense...don't wander off alone without telling anyone where you're going.  You don't want to make the rest of the band come looking for you, because if you're not hurt when they find you, you will be shortly thereafter.

By the way, trashing the hotel room is so over now.  Besides, if you're reading this you ain't making enough money to get away with it.  BUT, if you do decide to throw a TV out the window...here's some advice that Tommy Lee gave me several years ago.  "Dude...if you're gonna chunk the TV out the window, get a long extension cord first.  It's a lot better if it's actually on when it hits!".  And that's why Mr. Lee is such a great role model.

Extended Trips
Touring is hard on you physically.  Don't make it harder than it has to be.  When I was 20, I could eat McDonalds three times a day and brush my teeth with Jack Daniels the next morning.  Not so much now.  Remember to eat some real food every day (and that doesn't come in a wrapper), and know that water is your best friend.  Oh yeah, orange juice without the vodka is pretty good too...you should try it.

Don't forget to plan for laundry days.  You can spray your stage clothes with Febreeze only so many times before they try to walk off on their own.

Finally...take some time to enjoy what you're doing.  If you're getting to see parts of the country (or world if you're lucky) that you've never seen, then stop long enough to take it in.  You're getting to lead the life of a gypsy, take pleasure in that.

What Not To Bring
There are some things that don't belong in the trailer or the van.  First and foremost, girlfriends / boyfriends.  Unless they have a legitimate job in the band (my wife happens to be a kick-ass guitar and bass tech), then they're better off at home.  If you're going some place nice and they have their own transportation to go do something during set up / sound check, then maybe.  Most partners / significant others view it as a "vacation".  It ain't...it's work.  If they can't deal with that, then maybe you shouldn't be going on the trip to start with.

And here's where I'm going to sound like I'm getting preachy but this is the reality.  There are certain counties in Texas (and throughout the south) where it's still 1972 and you will be pulled over if your hair is a certain length, you have a certain number of tattoos, or have the infamous "Gas, Grass, or Ass" bumper sticker. 

Several years ago, I was detained in Three Rivers, Tx for 90 minutes because the Sheriff didn't like the "way I looked" (and told me as much).  Don't tell me how I should have protested or anything else...I had a gig to get to.  He finally let me leave after I heard him say to the dispatcher "well, if you can't find anything on him I guess I'll have to let 'em go".  

Be careful about what you have with you.  Remember what I said about respecting the owner of the vehicle?  I've always asked that my band mates not bring any illegal substances with them (but a couple of 'em never listened...and I won't travel with them again).  One person can cause the entire band a lot of trouble.  This isn't a debate over the legalization or morality of recreational drug use...it's the way things work, like it or not.

Take Care Of Business...Every Day
Save every receipt.  Log your mileage.  If you can't turn a profit, and least make it a good write-off!

I don't have any desire to take off for a three month tour (unless I got a call from an arena level act).  But, the occasional weekend trip is still a blast to do.  Whatever you do, just do me this favor...get there and get back safely.  Like I said earlier, I've lost enough friends to the road.

We touched on it this week, so it seems like a good segue.  Next week, we'll talk about contracts, riders, and stage plots.  What's realistic, and what is just self gratification.

Until then, keep the meters out of the red! it between the white lines!

Ken

Ken Carver has been a musician and performer since the early 70's, and involved with live music production since the mid 70's. He worked for 15 years as a broadcast engineer, building numerous studios and transmitter sites around Texas. He's also worked in Critical Care Communications for the medical industry, R&D for an automated lighting manufacturer, and owned Project Lighting & Sound in the 80's. He currently heads up an R&D Hardware Technician Team at National Instruments in Austin, and still performs on the weekends in the Central Texas area. You can reach Ken at itsjustlogistics@gmail.com

OK...Let's Take It From The Top!

There have been a few times along the way that I’ve been in a position where I had to learn a lot of songs in a fairly short amount of time.  Probably the biggest crunch I ever had was when I was asked to join Buzzfuel in the fall of 2009.  When it was all said and done, I had about 45 days to learn 30 songs I had never played before.  And not just muddle my way through ‘em.  Nope, the band leader expected all the key parts to be there.  Needless to say, I had to figure out the most efficient way to get these songs under my fingers.

Before I go any further, I have to give credit to John Cortell for turning me on to a lot of the tools and techniques for learning songs.  John was the ring leader for Buzzfuel, and was the guy that had the final stamp of approval on when a song was ready to perform.  John, those lessons you taught me still serve me well to this day.

In this article, I’m mainly concentrating on learning covers. Keep in mind that there are various "levels" of learning a song...anything from "it sort of goes this way" to what I refer as "tribute level" where your goal is an extremely accurate reproduction of a recording.  Unless it's agreed upon that the song is going to rearranged or otherwise changed, I'm usually shooting for "tribute".

When learning a cover, the most basic thing is to make sure you’re learning the correct version of the song.  I’ve been burned more than once because I learned the album version of a song only to find out at rehearsal that the band was playing an extended dance remix version.  Thus was born the idea of “the well spring”.  A central repository of all of the songs to learn.  It can be a CD that’s handed out to everyone, or uploaded to a web or FTP site.  However you do it, make sure you’re all working off the same song.

And on that note (pun intended), make sure you agree on the key of the song as well.  Normally, that’s not an issue.  But, what if the original artist tunes down a ½ step?  Do you play the song in Eb, take a second set of instruments tuned down, or do it in E?  And what about those songs that sort of fall in between standard pitches (thanks Pearl Jam...would it kill you to use a freakin’ tuner).  Work all that out ahead of time so you don’t have to learn the same song twice.

OK, you’ve got all that figured out.  Now, how do you learn the song?  Well, back in the day I’d put the album on and just wear it out.  If it was a 45 RPM single, then I had the option to slow it down to 33 RPM to try to pick out the fast parts.  But things are a little easier now.

 

You’ve Gotta Be Able To Hear

I work under headphones whether I’m learning something on guitar or bass.  The setup I've put together has worked out really well.  At the heart of my system is a small Behringer mixing board.  I’ve got the output of the computer going to it in stereo.  My bass goes through a preamp to buffer the signal,a compressor, and then to the board.  For guitar…I’ve got a Digitech GNX-4 Workstation that’s direct in.  I’m not overly concerned with the tone or quality of the instruments right now, I just want to hear and play along.

 

The headphones I use are Shure SRH-440’s  They’re well built with a balanced sound and solid performance in the low octaves. An added bonus…the main cable is easily replaced by the user. They’re less than $100, and are one of the best deals out there.  I tried the Beats headphones, but have two problems with them…the bass over powers everything else and they’re way too expensive for what you get.  The build quality didn’t really impress me either.

Get Yourself A Good Media Player

The media player that comes standard with Windows is OK, but it’s designed for listening to music…not really learning it. What if you need to slow down a part, or change the pitch? What if you want to loop a section over and over? All of these are useful features to have when learning a song.

By far, my favorite software to use for this is Audacity. It will do all of those functions and a whole lot more. You can also record yourself with it as well. And the best part…it’s free! Audacity will play just about any type of audio file (MP3, MP4, Wave, AIFF). Check it out.

 

Listen Before You Pick Your Instrument Up

If you start playing along immediately to a song you don’t know, you’re going to “learn” wrong parts to start with.  Nope, you want to listen without an instrument in your hands a few time before picking it up.  Listen first for the rhythms, then the notes.  And if you’re the type to actually chart your stuff out, this is what you want to do anyway.

Start Picking Things Apart

If you haven’t charted anything, at least make yourself some notes on the song structure (unless you’ve heard it a million times and know it by heart).  Generally, I’ll try to learn a verse, then the chorus, the bridge, and then string it all together.  Be aware of subtle changes in parts from verse to verse.  It’s picking up on these little things that will put you ahead of other players.

What Did He Play?

I remember working on “Bullet With Butterfly Wings”, and the bridge of that song is extremely dense and distorted.  We were having a hell of a time figuring out what was going on there.  I’d tried all the usual tricks…slowing down the track, EQ’ing it, listening to each side separately…nothing.  It was just white noise.  

Finally, we stumbled across a clip on YouTube of The Smashing Pumpkins playing on Saturday Night Live.  They just happened to have the camera on the guitarist’s left hand in that part, and we were able to figure it out from there.  Which leads me to…

Don’t Forget “Second Sources”

A picture is definitely worth a thousand words, and a video is a whole book.  Just getting a glimpse of hand positions can be a big help when learning a difficult to hear part.  Also, a lot of people are fascinated by making videos of themselves playing along to cover songs.  Some of these are really good, and some not so.  Use this as a resource, but take it with a grain of salt.  Unless it’s the original artist, then they’ve likely missed or changed up something.

There are also a number of videos popping up now that are “isolated tracks”.  Some of these are lifted from the consoles at concerts.  Others…it’s possible that someone that had access to original multi-track tapes has released these.  Others…they’re fakes.  They’re really good (and still useful), but still it’s someone else playing.  I’ve also found out that some of these are from Guitar Hero and other games.  Those have been painfully reconstructed in the studio with top notch players.  Still not the original but dang close.

Call In Software Support

In addition to Audacity, another piece of software I use quite a bit is called Guitar Pro.  It’s a tab and note reader/editor and MIDI player that lets you make your own arrangements as well as play what others have created.  It also works a bit like a studio, in that you can remix the sound or just listen to individual parts while watching the arrangement in real time.  There’s a free demo, and the full program will run you $60.  It’s been a huge help.
 

 

The best repository I've found for Guitar Pro files (as well as tab, text, ChordPro, and others) is Ultimate-Guitar.com.  You can search by band or song.  But again, as with all content contributed by individuals the quality varies quite a bit.  Some are spot on, some...eh, not so much.

There’s a fairly new piece of software on the market from Roland called R-Mix .  Now, the holy grail would be to have a program that would take a fully mixed song and break it back down into individual tracks.  But, that would be like trying to un-bake a cake and get the whole eggs back out!  

 

What R-Mix attempts to do is let you isolate portions of an audio file based on (OK…it gets technical here) spectral content and position within the stereo field (whew!).  You can move and resize a window on the display to zero in on an instrument and then turn down everything else.  Conversely, if you wanted to get rid of an instrument and leave everything else, you can do that as well. 

Now, how well it works depends on how dense the mix is and how the instruments are spread in the stereo field.  I’ll tell you right now, the examples they include were custom mixed to work really well with the program.  Real world audio…it’s hit and miss.  I was able to almost perfectly isolate the bass in “Roundabout” by Yes.  But trying to do that on “Subdivisions” by Rush…I really couldn’t get anything out that I couldn’t get with Audacity. 

The full program is pricey…about $200.  The demo is fully functional, but limited to 30 seconds of playback.  So far, that’s been good enough for me.  If I find myself using it repeatedly, I’ll pop for the full version.  There's also a $10 version for iPad with a reduced feature set.  I haven't tried that...mainly because I don't feel like betting $10 on this yet.

Sometimes Less Is More

Turning up the volume isn’t always the answer.  Keep in mind that our ears have different frequency responses at different sound pressure levels (see my January 5^th article Getting Loud Without Getting Yelled At).  Sometimes, turning the headphones way down has revealed the mysterious chord or progression that I couldn’t pick out at normal or high listening levels.

Visualize The Song

Once I’ve got the basics of a song down, I make sure it’s available in the truck to listen to (I’m behind the wheel about an hour a day).  Now…don’t do this if you’ve never played the song.  But once you know the basic patterns and moves, then this is a good exercise.  This is also where you’ll start hearing the subtle changes and embellishments in a song.

How Do You Like Your Hearing...Regular Or Extra Crispy?
Be aware that your ears will fatigue (as will you arms and fingers).  Every hour or so, take the headphones off, put the instrument down, and get up from your workstation.  Remember that it's really easy to induce hearing damage with headphones...I'm living proof of that.  I'm carrying more damage from my years as a DJ (wearing headphones 6 hours a night / 6 nights a week) that from playing live.  And after 3 or 4 hours, you've likely reached the point of diminishing returns.  It's time to call it a day at that point.

Don’t Beat Yourself Up Too Much

It’s fine to have lofty goals, but here’s the reality of learning someone else’s part in a song

•          You’re never going to get to 100%.  If I can get to 85-90%, I’m ready to take it out.  Learning the rest just improves things.
•          The artist that played it originally probably can’t play exactly the same thing again either unless their last name is Myung or Petrucci.

Get a solid foundation, the recognizable hooks, and the major flourishes and cues.  Then enjoy the fact that you get to play music!

Next weekend I'm going to be on the road, so I thought I take the opportunity to talk about prepping for a "tour".  Now, "tour" can mean anything from a month on the East Coast to Saturday night in San Angelo.  But at club level, the prep is all pretty much the same.  So until next week...keep the meters out of the red!

Ken

Ken Carver has been a musician and performer since the early 70's, and involved with live music production since the mid 70's. He worked for 15 years as a broadcast engineer, building numerous studios and transmitter sites around Texas. He's also worked in Critical Care Communications for the medical industry, R&D for an automated lighting manufacturer, and owned Project Lighting & Sound in the 80's. He currently heads up an R&D Hardware Technician Team at National Instruments in Austin, and still performs on the weekends in the Central Texas area. You can reach Ken at itsjustlogistics@gmail.com

Ready, Setlist, Go!

"What do you want to play next?"  

Seven words that will bring a band's show to a grinding halt.  This is one of the differences between just playing a bunch of songs, and putting on a show.  Learning the songs and rehearsing them is a large part of the equation...but putting them together is the final polish a lot of bands miss.

Enter the set list,  our musical road map for the evening.  Sure, some bands get by just fine without one.  Heck, I've been a hired gun a couple of times where the band leader just held a certain number of fingers up or down to indicate the key of the song and off we went.  But for the most part, the "show" bands I've been involved in always have a set list done ahead of time.

The more people that are involved in a production, the more important the set list becomes.  If you're a trio, the fingers up/down thing works.  But what happens when you've got 5 or 6 people on stage?  Then add a sound man.  Add a lighting person with a programmed show, and they really need to know what's coming up next.  And that's not even considering if you're a band that uses backing tracks...you don't need to be hunting for the right track between each song...they should all be lined up and ready to go.

OK...I've made my argument for making a set list.  So, how do you go about doing it?  For some bands (like The Rhythm Dawgs), it's a group effort.  We'll all get together a week or two before a show and discuss what we would like to play that night.  We'll look over our master song list (you've got one of those too, don't cha?) and see if there's anything we haven't played in a while we would like to bring back as well as any new material we would like to try.  Plus...it's a good excuse to get together, have a beer or 4, and a few laughs.  I'm proud to say that we've managed to write a different list for every show we've ever done. 

Other bands I've been a part of, it's been one person that takes care of it.  For me, this is cool as long as I get a copy of it a couple of days before the show so I can add my performance notes and get the songs ordered in my iPad.

There are pros and cons to both methods.  The group effort method takes a bit of every one's time, but you also get to discuss things like "I've got to change guitars after this song", or "that's 3 really high songs I've got to sing in a row...can we break those up?".  The one-man method gets it done with less work from the band (and usually goes quicker), but you loose that "logistics" feedback.  On those, if I see something really hokey...I'll usually shoot an email back saying "OK...you've got me changing guitars 3 times in 3 songs...are you cool with that?".  At least you've made them aware.

What goes on a set list?  Obviously, the name of the song (duh).  We like to put the key of the song as well.  If we're going to run 2 or more songs together (more on that in a minute), then that should be indicated as well.  After that, I've got my own notes I always add. 

This is actually part of the 4th set from The Dawgs show in Georgetown, TX last night:

The first 3 columns have the set/song number, the song, and the key.  This info gets sent to everyone (so we're all working off the same list).  The next 2 columns are information I add that's specific to my performance needs.  Namely, which guitar to use and the patch to call up on my guitar rig.  On the third song, you'll notice I have the note "Open G".  The guitar I'm using (a Fender VG Strat) has electronically altered tunings on it.  You gotta be in open G to do the Keith Richards thing right.   I've seen drummers add tempos in beats per minute.  Anything that helps you execute the song,,,add it in.

So...how do you pick the songs and order 'em?  There's as many theories on that as there are bands.  This is how I've done it for years in my bands that play predominately cover songs, and it seems to work pretty well.

Think About Where You're Playing
If it's a club date and you're starting late, then people are probably going to be tanked up already and want to dance.  Don't hold back on 'em, but don't waste your money shot on the first song either.  I like to start the evening out with a mid-tempo tune that's familiar to 'em.  Think of it as "breaking the ice".

That said, if I'm at a venue that has a earlier start or maybe has people still having dinner, then I will restrain things a bit.  I don't have any 40's or 50's lounge music in my catalog, but I'll lean to the bluesy side of things or some of the lighter Top-40 of the 60's & 70's (if it fits the age group there).

Ebb & Flow
In a typical one hour set, you'll probably play about 12 songs unless you fall into one of these categories:
 - You're a jam band.  In that case, you'll play 2 or 3 songs and you can stop reading this now.
 - You're a  Ramones tribute band.  In that case, you'll play 25 or 30 songs in that hour.

You should be building the energy a little bit with each song.  Don't jump the tempos and intensities all over the place...have some flow to it.

Always keep the entire night in mind.  Most places have a "peak" time...the time everybody's into the party, but before they have to leave to get home before midnight (and get he baby sitter home).  You want to load your strongest material in the slots that corresponds to that time.

Gimme A Break
If you're a dance music band, you probably want to keep things building throughout the entire set.  Personally I like to see, as my partner in crime Dana Vandiver calls it, a "reduced intensity" song in the middle of the set.  It breaks things up and provides contrast.  It also gives people a chance to order more drinks (after all, we here to sell booze first and foremost).  The Rhythm Dawgs originally started doing this to give our drummer a little breather in the middle of the set, but it turned out to work so well we always put 'em in.  And of course, the only dancing that most white people can do correctly is "slow", so there you go.

Intensity vs Tempo
Notice we said "reduced intensity", and not necessarily a "slow" song.  They can be the same thing, but don't always have to be.  A song can be slow and still be intense...Sad But True by Metallica is a good example. The tempo is only about 100 beats per minute, but it's really heavy.  At the other end of the spectrum would be something like Get Together by The Youngbloods.  That moves along at a pretty good clip (about 125 BPM), but it's more a ballad than a rocker.

You can think of intensity in terms of how dense the instrument arrangement is, or how aggressive the tones and the vocals are.  Once you start thinking about more than just the tempo of the songs, you'll really be able to craft a great set list.

Keep It Moving
I've always tried to play the first 3 songs of a set back to back to back.  After that, we'll stop and do our "Good Evening" thing with the crowd.  It's a powerful way to start a set, but you have to make sure to plan for it.  If someone has to stop and change guitars it kills the effect (unless the rest of the band can cover the intro while they change...but you work that out ahead of time).

And as far as that "guitar change" thing goes, try to make sure that everyone isn't changing at the same time.  There should always be someone available to talk to the crowd, whether it's just the "are you doin' alright" stuff or promoting your merch.  Dead air...it sucks.  Don't have it.

Have You Seen My Keys
Earlier I mentioned that I like to see the song key on a set list.  During the performance, it's a nice reminder (especially if I have to use a guitar with an altered tuning).  But it's also useful as a debugging tool while writing the list out.  I you see that you have 3 or 4 songs in the same key, you might want to switch some things around.  Non-musical people might not can tell you why, but the songs will start sounding the same after a while.  

Remember what I said about building the energy during a set?  The key of a song can help do that.  When you have 2 songs with about the same tempo, it's going to sound more energetic if you move up in keys in the order.  In other words, if you have one song in A and the next in C, put the song in A first.

Don't overlook an opportunity to run two songs in the same key together every now and then.  Did you know that Folsom Prison Blues by Johnny Cash, and George Thorogood's I Drink Alone make a dandy segue?

Finish The Set Strong
After the reduced intensity, it's back to building up for a big finish at the end of the set.  I always try to have something strong, on the intense side, and a crowd favorite to close out a set.  And for me and my guys, it's a plus if we can stick a B.S.E. (Big Stupid Ending) on the end.  You know, the drawn out note at the end over which you shout "We are (insert band name here).  We're going to take a quick break and be right back...be sure to tip your bartenders and waitresses" speech.  Yeah, it's been done a million times, but it works (and the staff appreciates the mention for tips), and it gives the set some closure.

It's always kind of been a pet peeve of mind when bands end a set cold and just walk off.  The audience is left sitting there like...."that's it?".  It's kind of like the time your date got up to go to the bathroom and never came back.  OK, maybe not that traumatic, but still somewhat unsatisfying.  

Don't Be Redundant & Repetitive
Be aware of sound-alike songs in your catalog.  You don't want to play LaGrange and Boogie Chillen back to back...same song.  And if your song list is diverse enough to include He's So Fine and My Sweet Lord...you get the idea.  And heaven forbid...don't ever play The Alphabet Song right after Twinkle Twinkle Little Star...people will think you're crazy.

Even if they're not copies of each other, be aware of playing the same rhythm over and over for several songs (unless you play House or Trance music...but then again you really don't need this information then).

Read The Room
Unless you're playing arena shows with a 40-person crew that has to coordinate lights, backing tracks, lasers, pyro, and a flying gag all in one song...then you have to leave yourself the flexibility of changing things around.

There have been nights that we wrote out this great rock-n-roll show, but the crowd that particular evening was in the mood to hear blues.  So that's what we pulled out.  During the first break, we re-wrote the set lists and gave 'em what they wanted.  Likewise, if someone asks for a song that you know how to play (and puts a $10 bill in the tip jar) you're going to play it whether it's on the set list or not.  So you figure out what to drop and move around.  Don't be afraid to swap things between sets...especially if someone is giving you money for it!

Along these lines, make sure you have a master song list handy in case you need to switch things up...that saves the "what do we know" discussion.

We've got a master list that's divided in different categories:

 - Songs we can play at the drop of a hat
 - Songs we could play if we talked about a second
 - Songs that require rehearsing them in the parking lot
 - Songs that we were obviously drunk when we picked 'em

Watch Your Backs
Just because you've indicated that you're going to run 2 or 3 songs together on the set list, make sure everyone is ready before starting each one.  Strings break, kick drum pedals come apart,  shots need to be drank.  Make sure everyone has made eye contact before moving on.

We'll Be Back
You always want to plug when you're going to be back at a venue, but trying to remember that date along with everything else you have to keep up with can be a bit of a challenge.

Once again, I've gotta give credit to Mr. Vandiver.  In the Dawgs, he's the guy that formats the set lists and sends 'em out to everyone to edit for themselves.  He now adds "Return Date:  xx/xx/xx" at the bottom of each page.  Freakin' genius.

Thank You Very Much...Good Night
Again, this is just one set of opinions that happen to work for me and the bands I've been associated with.  The idea is to minimize the dead time between songs and keep the show moving along (and interesting).  

If your band is rehearsed well enough and everyone can set up quickly enough between songs, then maybe you don't need this.  But for me, the less thinking I have to do about the stuff around the songs, the more I'm able to concentrate on (and enjoy) playing the songs themselves.

I've recently received a few emails asking "how do you learn songs?".  For me, it's actually a bigger challenge to learn bass parts on a lot of songs than it is guitar...just because it's usually harder to pick out the nuances with a busy arrangement on top of it.

Next week I'll share with you some of my techniques for learning parts, as well as some of the software tools I use.

Until next week, keep the meters out of the red!

Ken



Ken Carver has been a musician and performer since the early 70's, and involved with live music production since the mid 70's. He worked for 15 years as a broadcast engineer, building numerous studios and transmitter sites around Texas. He's also worked in Critical Care Communications for the medical industry, R&D for an automated lighting manufacturer, and owned Project Lighting & Sound in the 80's. He currently heads up an R&D Hardware Technician Team at National Instruments in Austin, and still performs on the weekends in the Central Texas area. You can reach Ken at itsjustlogistics@gmail.com

Putting The Squeeze On

Compression...that's one of those buzz words that a lot of people throw around but really don't understand.  People assume that it's a good thing (it can be), and that if a little is good then more is better (usually not).  And what's "limiting" anyway?  We don't want limits, right?

Well, this week let's try to figure out in working-mans-terms just what the deal is with compression. 

The thing to remember about an audio signal is that there are three ways to affect it:
 - Change the spectral content (frequency)
 - Change the time relative to other sounds (phase)
 - Change the amplitude (volume)

You change the spectral content with an equalizer, and the phase with delay lines.  A compressor goes after the amplitude.

So, why would you want to affect the volume other than turning things up and down?  You have to consider the dynamic range of a sound, and how well it works with what's going on around it.

OK...so what is dynamic range?  Simple...it's the difference between the softest sound and the loudest sound, whether you're talking about a recording or a live performance.  The greater that difference, then the greater the dynamic range.

So, more dynamic range is better, right?  Well, if you're in a perfect listening environment with an orchestra, then yes.  But as soon as you introduce electronics into the picture, you have a limiting factor...and that's the signal-to-noise (or s/n) ratio of the equipment.  If the dynamic range of the program material is greater than the signal-to-noise ratio of the equipment, then either one or both of these things happen:
 - The really quiet parts get lost in the background noise of the electronics
 - The really loud parts exceed the available power and distort

Neither is good.

So, enter the compressor.  On a very basic level, a compressor turns up the really quiet parts and turns down the really loud parts.  It just happens to be able to do it really fast.  So what you wind up with is less of a difference between the softest and loudest sounds....or a reduced dynamic range.

Compressors started out being used ahead of the cutting lathes when record masters were being cut (remember those round black things with a hole in the middle).  If the levels were too low...the sound got lost in the inherent "hiss" of the vinyl.  Too hot of a signal, and the lathe could overcut and get into and adjacent groove.

Next, they found their way into the recording process to optimize levels to tape.  Then, radio stations started using them to make themselves seem louder (we'll talk about how that works in a second).  Now, they're used all the way through the recording process to make the records sound louder (like the radio stations did), and they're now all over live sound rigs (so they sound like the record...and louder!).

So...why does a compressor make things sound louder?  There are a lot of psychoacoustics at work here (how your brain processes sound), as well as electrical reasons.

The electrical reasons are fairly straight forward.  Since you've reduced the loudest parts of a signal...you can now turn things up more without worrying about overloading something.  So, if you look at the average of the energy over time, you're able to raise that average.  And our brain interprets that higher average as an overall increase in loudness even though the absolute sound pressure level at the speakers did not increase.  

Of course...it's possible to take this too far.  If you suck all of the dynamic range out of the sound, it actually starts to fatigue you.   Case in point, there have been several albums come out that were over compressed to the point of making them unlistenable.  I love Rush, but Vapor Trails sounds like it was mastered with a "loudness at all costs" mentality.  (A remaster of this would be very welcome).  Remember Los Lonely Boys?  Their first album was very open and dynamic.  The second album had the life choked out of it at mastering...and the sales were dismal.

Yeah, compression is definitely one of those things that a little goes a long way.  It helps individual instruments "sit" in a mix better.

When you're dealing with compressors (and limiters...we'll get to them next), you're dealing with four major parameters:

 - Threshold: The level at which the compressor starts working
 - Ratio:  Basically the rate at which the output changes in relationship to the input.
 - Attack Time: How fast the compressor reacts to a signal above the threshold
 - Release (or Decay) Time: How fast the signal is allowed to come out of compression

The threshold is just what it sounds like...at what point does the compressor start turning things down.  The lower the threshold, the more you're affecting the signal.  This illustrates what the threshold and ratio are doing to the levels:

The compression ratio determines how tightly you're controlling the sound.  The higher the ratio, the more compression you're applying.  If you have a 2:1 ratio, then for every 2dB the input changes, the output changes 1dB.  Likewise, and 10:1 ratio would require an 10dB input change to move the output 1dB.  You can also think of this control as how much dynamic range you're removing.

When you get above a 10:1 ratio, you've now crossed into the world of limiting.  You can almost think of a limiter as a wall.  In other words, once you've hit the threshold point, you're not going to get any louder.  

So, where is a limiter useful?  Easy...that's what you use to protect amps and speakers.  Whether you've got a $100 PA cabinet or a $10,000 one...there's a finite amount of energy that you can pump into them before you damage 'em.  Limiters are useful for when unexpected things happen...like someone drops a live mic (boom!!!).

The attack and release times...you're actually affecting how fast things are getting turned up and down.  How to set these is an installment on it's own, but in general slow attack and release times are less audibly intrusive, while faster times give you tighter control and a denser sound.  But, take it too far and you start getting artifacts like pumping and breathing (listen to any Steve Miller album from the 70's for an example of this).  A lot of modern compressors have an "auto" button that takes care of the attack and release times based on the signal coming in.  I figure most of the time that button is smarter than me so I'll just go with that...especially on vocals.


There's usually a meter on a compressor marked "G/R"....that's "gain reduction".  In other words, how much is the signal getting turned down.  For me, that's what I go by.  I don't get hung up on the absolute value of the threshold, because it's going to depend on your signal level coming in.  I'll just turn the threshold until I see the amount of gain reduction I want (and that depends on what I'm compressing).

You'll usually see a control marked either "output", "gain", or "gain make up".  As you apply compression, you're turning things down.  This control lets you put the output back to where it would be without the compressor.  To set this, bypass the compressor and listen (or watch the level meters) to see where the uncompressed signal level is.  Then, engage the compressor and adjust the output until it matches what you had before.  This way, if you need to disengage the compressor you're not going to have a radical change in levels.  It also helps keep your gain structure correct.

That's a lot of tech for today.  We may come back to compressors at a later date and talk about specific applications on specific instruments.

Next week...I thought we would get away from the "tech" and get back more into "show".  We'll talk about set lists.  We'll discuss different philosophies on making and managing them.

Until then, use compression and limiting to keep the meters out of the red!

Ken

Ken Carver has been a musician and performer since the early 70's, and involved with live music production since the mid 70's. He worked for 15 years as a broadcast engineer, building numerous studios and transmitter sites around Texas. He's also worked in Critical Care Communications for the medical industry, R&D for an automated lighting manufacturer, and owned Project Lighting & Sound in the 80's. He currently heads up an R&D Hardware Technician Team at National Instruments in Austin, and still performs on the weekends in the Central Texas area. You can reach Ken at itsjustlogistics@gmail.com

Getting Loud Without Getting Yelled At

I've been quoted over the years as saying "Freedom of speech includes volume".  And in my younger days I tended to view sound pressure level as a tool for impressing audiences...since I wasn't really impressing them with my playing.

Time and technology have tempered that with me.  That, and taking a lot of hearing damage in the process (although I can probably blame years of radio with blaring headphones on for hours on end for most of that).

The lesson that a lot of people miss out on is that there's a difference between "loud" and "repulsive".  It's all about striking a balance in not only the mix, but the spectral content of your system.  Oh yeah, having an understanding of how the ear works and how the brain processes sounds (psychoacoustics) will put you in a good position to be able to tweak your system.

First, here's a really quick lesson in psychoacoustics and the mechanical functions of ear.  There will not be a quiz afterwards, and I'll spare you a lot of the medical jargon:

The Frequency Response Of Our Ears Is Anything But Flat
Evolution has adapted our hearing to be most sensitive between 300 to about 3000 Hz.  Coincidentally, that's about the range of human speech.  Pretty cool, huh?  

We're especially sensitive between 1000 to 3000 Hz, because that's where the cues our in our speech patterns to discern between "P", "B", "T", and so on.  So, if you've got a lot of energy in your mix in this region, you're going to sound louder than you really are.  In other words, you could be reading a sound pressure level (SPL) of only about 90dB (which is kind of quiet for a rock band), but still driving people out of the room.  

I'll almost always cut 2200 to 2800 Hz by a few dB, even if room analysis says I don't need it.  What you're essentially doing is counteracting the ear's response curve, and that allows you to bring everything else up.  

One of the funniest statements I've heard was from the sound man for Houston-based rockers King's X.  He said something along the lines of "those frequencies should have never been invented".

Convey Power With The Low End
Down below about 150 Hz is where some real magic lives.  This is where you can really convey a sense of power without hurting people's ears.  But, you've got to have the speakers to support it.  Trying to coax 60 Hz out of a 10" speaker is just going to guarantee you that you'll have to recone that sucker sooner than later.  

On my big systems, I'll usually run RTA (Real Time Analysis) on the room and get everything fairly flat (with the highs falling off starting at about 8 kHz).  Then I'll crank the send to the subs up about 6dB.  For most rooms, that seems to be the recipe.

Be Careful In Power Alley
"Power Alley" is what a lot of sound guys affectionately call 200 to 500 Hz.  That's where you can deliver a lot of punch in a mix.  It's also where you can turn a mix to mud very quickly.  Why?  If you stop and think about it, every instrument (including the voice) has fundamental frequencies in that band.  

See how you can quickly get a build up in that space?  On top of that, guess what the average 30' x 15' x 8' room starts resonating at?  About 250 Hz depending on who's calculation you're using.  

The room resonance will usually show up on RTA, but you have to be aware that it's easy to wind up in a null of the wave...and then the analyzer is going to tell you to add in even more energy.  Even if you don't have an RTA, make yourself a CD or MP3 of pink noise and play it back through your system.  Then, just walking around the room you can hear where the nulls and peaks are in the response.  Unless you're using a multi-zone PA system, the best you can do is compromise here.  Just remember if your mix feels like it's starting to get away from you, this is where I usually make a cut to try to clear things up.

Keep this in mind when you're setting up your mix...if you find yourself cutting the same frequency on every channel then you've got a system issue.  Fix it with your main EQ and then go back to your individual channels.

The Case For Compression
It used to be that compressors were really luxury items.  On my big systems back in the 80's I think I might have had just a couple of channels worth across the mains (it was a Symetrix that set me back several hundred dollars).  Flash forward to the late 90's, and you can get 8 channels worth of better compression (along with gating and expansion) for less money (the Presonus ACP-88 is still a favorite).  Now, it's pretty easy to find consoles with compression built into at least the sub-groups if not every channel.  The Presonus StudioLive console I just deployed has the digital equivalent of 30 some-odd compressors and limiters in it...just amazing.

Adding just a bit of compression (say 1.5:1 or 2:1) across your mains will tighten everything up and add density to the mix.  Again, giving the impression of power without actually pummeling your audience.  Plus, it makes you sound more "like the record" for those of you interested in such things.

On a very simple level, compression reduces the dynamic range of music (the difference between the softest and loudest sounds).  It literally lets you cram more sound into a smaller space.  Radio stations have been using it for decades, and then about 10 years ago (when MP3's really started to proliferate) mastering engineers starting using it on recordings.  There were repercussions, and we'll delve into that later.

Make The Volume Fit The Room
Just my opinion, but there's some music that demands to be loud (most rock-n-roll), and then there's music that shouldn't be.  I remember going to see Willie Nelson back in the late 70's.  I wound up leaving after 4 songs....he was louder than Black Sabbath (who I had see a couple of weeks before).  That, and the system wasn't tuned very well.  Didn't matter...I found out later that's the way Willie wanted it.  Sorry, but "Blue Eyes Crying In The Rain" at 112 dB was just silly.

What ever your music and wherever you're playing, watch the audience.  If they're retreating, then you probably need to address something.

Don't get me wrong, I'm not against bumping the master up a bit as the night goes on and people's inhibitions get lowered.  Just don't go past what the room / music dictate.  And definitely don't go beyond what you're system can deliver cleanly.  


It Sounded Better At Sound Check Earlier...
As you up the volume, funny things start happening to your hearing. Your middle ear actually has a limiter function engineered into it. And remember how I said your hearing was anything but a flat frequency response? Well, as things get louder that response curve tends to flatten out. That was discovered by a couple of dudes named Fletcher and Munson all the way back in 1933. 

I won't repeat their research, but check out the idea behind the Fletcher-Munson curves on Wiki-pedia. This is the reason you need to EQ your system at the level you intend to play out. If you EQ it loud and then turn it down, the lows and highs will be weak.  Do the opposite and EQ at a reduced volume (because the bar staff doesn't want you to run their regular afternoon drunks off), when you turn it up it's going to be overly boomy and strident.

Have you ever wondered what that button on your stereo marked "Loudness" or "Loud" was doing?  Well, that's it...it's correcting for the change in our hearing when the the volume is turned down.  You can scratch "Find out what that freakin' button does" off your bucket list now.

I realize it got a little heady in this article, and I appreciate the folks that made it through!

I've mentioned some things about compression this week, and that's probably one of the most misunderstood aspects of audio processing.  Next week, we'll talk about using compression in a live setting.  We'll also talk about compression's cousin, limiting.

Until then, keep the meters out of the red.

Ken

Ken Carver has been a musician and performer since the early 70's, and involved with live music production since the mid 70's. He worked for 15 years as a broadcast engineer, building numerous studios and transmitter sites around Texas. He's also worked in Critical Care Communications for the medical industry, R&D for an automated lighting manufacturer, and owned Project Lighting & Sound in the 80's. He currently heads up an R&D Hardware Technician Team at National Instruments in Austin, and still performs on the weekends in the Central Texas area. You can reach Ken at itsjustlogistics@gmail.com