Shure has been a sponsor of the East Bay’s Soundwall Music Camp, a non-profit organization that runs two one-week sessions for campers aged 12-17 on the campus of UC-Santa Cruz.  When Music Director (and drummer) John Xepoleas contacted our editorial staff for a gear assist, we were able to come through for the teen campers.

The campers were there to learn.  But did John discover anything?  Here’s his story:

Shure SM27 Multipurpose Microphone

“About a year ago, Shure sent me a box of microphones to use for the recording classes we offer at the Soundwall Rock n’ Roll Summer music camps. I received the mics in April and since the camps don’t take place until July, I was compelled to check out the goods.

The job at hand was to see how well the mics worked for recording a rock drum set.   I was already using a Beta 52 to mic the bass drum, an SM57 to mic the snare and a set of SM81s as overheads. The box contained three SM27 large diaphragm condenser microphones.  I’d never used or even heard of an SM27.

Round One: The first order of business was to use the SM27s as overheads on a basic 5-piece drum set.  I kept the switchable frequency filter flat and placed the mics about 3 feet apart and 18” or so above the cymbals.  (Figure 1)  I put the Beta52®A inside the port-hole of the bass drum facing the bass drum beater and placed an SM57 about 2 fingers distance off the snare head. I put a couple of Beta 98s on the rack toms, the third SM27 on the floor tom and added an SM 81 to the hi-hat.  All pretty basic drum miking techniques.

Figure 1 – Round One

My next order of business was to fire up my Pro Tools® rig and see what these babies sounded like.  I hit the record button, laid down a couple of simple rock grooves, gave the hi-hat and cymbals a workout and played a few fills around the set.  After about 10 minutes of doing what I love most to do – playing the drums – I put down the sticks, turned on the studio monitors and sat back to hear how it sounded.

To start with, I just listened to the SM27 overheads. To my great surprise, everything sounded really good.  I was missing the punch from the bass drum, so I brought up the channel with the Beta 52A into the mix.  At this point I was only listening to three mics and the drums sounded fat, full and crisp.  I wanted a bit more crack from the snare, so I brought up the snare channel.  And that was it!

With only four mics, I had just about everything anyone could want in a drum sound. The cymbals sizzled and I was hearing plenty of hi-hat.  The toms sounded so full that I thought I left the tom tracks on by mistake.  The snare drum had a nice crack and presence and the bass drum had the perfect amount of attack and bottom end.  I couldn’t have been happier.

For the final step, I added a taste of the tom mics into the mix for a bit more clarity and separation plus a little more bottom end on the floor tom. I also added a tiny bit of the hi-hat channel to the mix with a bit of EQ for some extra sizzle.  This worked nicely to polish and refine the really nice sound I was getting with just four mics.  Success.

Round Two: For this round, I swapped the SM27 on the floor tom for a PG56.

I took the SM27 and placed it at the opposite end of the room – about 12 feet away – facing the kit.  I added some compression to the channel.  In fact, I compressed the heck out of it at about 100:1, then I bashed away for another ten minutes.

When I first listened back, the beautiful drum sound I was hearing before now sounded really crappy.  I realized that the room channel was blasting through the mix with its raw, over compressed sound.  I brought it way back in the mix and was able to find a perfect point where it gave the drums a really nice full open sound and a welcome option to the close miking sound I was getting before.  Another success.

Round Three: Now it was time to put the mics to work on a live jazz recording session.   For this session, the group included acoustic bass, guitar, trumpet and drums.

The drums were a classic Gretsch be-bop set with an 18” bass drum, 12” and 14” toms, snare, and a beautiful set of Zildjian Constantinople cymbals and hi-hats.  (Figure 2) Once again, I used the SM27s as overheads, an SM57 on the snare and the Beta 52A on the bass drum.  For this session, I placed the Beta 52A about 4” away from the bass drum facing the right side of the drum. (Figure 3)

Figure 2 – Round Three: Jazz Set Miking

We sound-checked the drums and they sounded great.  In fact, we only ended up using the snare channel for one song where I played brushes.  The cymbals sizzled, the toms cut through and the snare fit perfectly into the mix.  With the mic placement described above, the small jazz bass drum sounded round and full.

Figure 3 – Round Three: Bass Drum Miking

Miking the rest of the group.  We were all recording in the same room at the same time, so we needed some isolation.  We faced the guitar amp away from the drums and miked it using an SM57 facing the speaker.  The trumpet player was on the other side of the room also using a 57.  The bass player played through a small amp using his pick-up. But in addition to that, we used an SM27 placed directly in front of and about six inches from the strings, with the capsule halfway between the bridge and the bottom end of the fingerboard.  The bass sounded great.  Plenty of bottom end yet plenty of articulation.  When mixing, we were able to find a really a nice blend of the pick-up and mic sound.  Later, a seasoned jazz musician friend of mine heard the recordings and was amazed at how good everything sounded. He said, “I’ve recorded in some of the best studios in the world and haven’t heard the drums and bass sound this good”.  I guess the proof is in the pudding.

Round four: A much different type of session.  This time it was a young talented saxophonist playing along with pre-recorded tracks for his college auditions.

I have a few mics that I would normally use on a saxophone, but I thought I would try the SM27. He played for a few minutes, and then we gave it a quick listen.  He absolutely loved the sound of his saxophone.  No EQ, no fuss, no muss, just his tenor and the SM27.   We both agreed that there wasn’t even a need to listen to any other mics.  I’m not saying it was because of the microphone we used, but he did get into the college of his choice.

Final Round: Recording a twenty-piece big band in a concert hall.  Needless to say, I had to use just every microphone I own.  This time I used a couple of SM81s for drum overheads along with the Beta 52A on the bass drum and a Beta 56®A on the snare.  We used a couple of small condensers on the piano, the bass went direct, and we used a ‘57 on the guitar amp.  We used SM57s for the trumpet, trombone and sax soloists.  (They seem to isolate the sound in this type of setting much better than the large diaphragm condensers)  We also placed two large diaphragm condensers about 10 feet in front of the horn section.  For our room mics we place two SM27s on the concert hall’s back wall – about 70 feet from the front of the stage.  Once again, the SM27s did a great job.  When mixed in with the close-miked instruments, they gave the band a full round live sound with plenty of definition.

And there you have it.  In a short period of time the SM27 has gone from a microphone I’d never heard of to my microphone of choice for many different applications.

LEARN MORE ABOUT SOUNDWALL MUSIC CAMPS, right here.

ABOUT JOHN XEPOLEAS: John started performing and teaching in 1970 and has been an active part of the San Francisco Bay Area music scene ever since. He received his Bachelor of Arts in Music Performances in 1978 and published his first book, Studies for the Contemporary Drummer” in 1991.  He also authored “Lessons with the Greats” in 1993 and was appointed Music Director at Soundwall Music Camps in 1995.  Her performs with The Fundamentals and Fundz Jazz and is available for private and Skype lessons.  More about John here.

Thank the humble tape recorder. And give some credit, too, to the 1960s when rock and roll ruled the AM airwaves and teenagers were learning to play guitar by listening to Beatles records over and over again. Professional recording studios were the domain of major acts, but even then, two-track reel-to-reel machines were recording bands in basements, bedrooms and garages.  According to some, that set the ground for the home studio revolution.

By the 1970s, the first home studios were making their appearance, thanks to Teac’s 4-track reel-to-reel machines and mixers.  The addition of amps and speakers completed the system, but the $10,000 price tag was too steep for the average musician or would-be engineer. Tascam (formerly Teac) further revolutionized recording with its 8-track machines and mixers. The 1980s saw the introduction of MIDI, digital synths, drum machines and some of the first affordable cassette 4-track recorders and mixers designed for quality recording in home studios. When the millennium arrived, all the pieces were in place – powerful desktop computers, soundcards and audio interfaces, recording software, synths and digital samplers – each more powerful and less expensive than before.  The computer became the locus of audio production.

Today, according to one expert, “The home studio has progressed from having perhaps a 16-channel mixer and a few rack effects to having a virtual console of unlimited channels with unlimited inserts, sends, busses going to a full library of effects processors not even Abbey Road could afford.”

In this two-part series, we’ll look at seven project studio fundamentals – from considering all-important acoustics to choosing gear that will see you through your sophomore effort and beyond:

1. The right space…
   And the essential gear:
2.  Computer
3. Audio Interface
4. DAW (Digital Audio Workstation
5. MIDI Keyboard
6. Microphones
7. Headphones/Studio Monitors

Let’s start with the section we know best – Microphones.  (Part II will include all the other essential gear.)

Microphones

If you’re going to be recording a vocalist, instruments or sampling your own sounds, you’re going to need a good quality microphone. Your options are determined by what you’re recording and how much you have to spend.

High-end condenser mics, typically used in recording applications, can cost thousands of dollars, but good quality dynamic microphones, like Shure’s SM58 (vocal) and SM57 (instrument), can perform a multitude of tasks in your studio. Condenser mics are popular in studio applications – and they don’t have to be budget-busting.

Since this article is about building a small budget project studio, we decided to sidestep the big studio honchos we know, and direct our questions to a pair of Shure Associates, Chris Lyons and Michael Johns for their suggestions on mic choices for project studios.   We wanted to know what mic or mics to consider first … and what to add later.

Here’s what we learned from Michael and Chris.

First of all, you cannot go wrong starting with an SM57.  It has the reputation as the “do everything workhorse” and it really does work well with almost any voice or instrument, plus it’s super-affordable.  If you can only afford one microphone, make it an SM57. The great thing is that no matter how many microphones you eventually own, you’ll need at least one and possibly several SM57s in your locker. You might as well buy the first one right now and get started.

Next, let’s say you have a little more money to throw into the kitty.  There are two possible directions you can take:

If you want to go with a condenser mic, which gives you that added crispness on vocals and especially string instruments, go with an SM27.  It’s a great sounding mic, real versatile.  Colbie Caillat recorded the vocals on her latest album with an SM27.  That’s a really good choice.  The retail price is $299 and it includes a shock mount, which is great.

If you prefer a dynamic microphone sound, which some people do, go with the SM7B.  It’s about the same price as the SM27 – but is has a different sound signature than a condenser and depending on the type of music and what you’re recording, it might be a great choice.  Some of the most popular recordings have been made with anSM7B– including Michael Jackson’s “Thriller”.

It’s a great mic for people who are doing rap and heavy metal screaming- type vocals that would tend to overload a condenser.

The third mic we’d add later on to give yourself more versatility is a small diaphragm condenser like the SM137. A pencil style, probe-style condenser, this a mic you’d use primarily for instruments but it makes a great drum overhead mic and works especially well in a stereo pair. If you’re stereo-miking a piano, for example, a couple of SM137s with a stereo mount make a really nice stereo set-up. The mic retails for about $180 so it’s really affordable.

The thing to avoid is you don’t want to pick a microphone that has a really pronounced sonic character.  Some people are really big fans of mics that have that, but generally those mics tend to be less versatile.  It may sound magical on acoustic guitar or voice, but it doesn’t work well on other instruments.  You don’t want to over-emphasize any one thing – you’re looking for balance and consistency because that’s what makes a mic flexible in lots of different roles.

If you stay with that strategy going in, you’ll be able to handle almost any miking tasks, vocal or instrument and later on, you can certainly add those more unique application-specific mics.  You’ll have built that foundation of ‘do everything workhorses’ that can handles lots of different roles.

Tips:

Record each voice and instrument (or sound source) separately.

Maintain a consistent sound level. Make sure your sound sources do not move in and out of the pickup areas of the microphone. Movement (i.e. varying distance from the microphone) will change recording levels, which are hard to fix later.

Keep the microphone away from reflective surfaces. Reflections caused by hard surfaces, including even tabletops and music stands, can affect the sound quality captured by the microphone. This is also called reverberation and if you want this effect, add it later.

Place the microphones far from unwanted sound sources. Be sure to also point the microphones away from any unwanted noise. Make a few sample recordings of the chosen recording area, with the microphone facing different directions, to find the quietest possible placement.

Place the microphone only as close as necessary. Too close a placement can color the sound source’s tone quality (timbre), by picking up only one part of the instrument. But too far away means you will pick up more ambient sound.

Less is more. Fewer microphones mean fewer technical issues and, for the purposes of capturing clean sound, less pickup of background noise.

Keep the 3-to-1 rule in mind. When multiple microphones are used, the distance between microphones should be at least three times the distance from each microphone to its intended sound source. For example, if two microphones are each placed one-foot from their sound sources, the distance between the microphones should be at least three feet. If each microphone is just two inches from an instrument, they only need to be six inches apart.

Resources

There’s a mountain of ever-changing information on the Internet that can give you details on the latest hardware and software, along with pricing and good/better/best recommendations.  We’ve included one of the sources used for this post, but there are dozens, if not hundreds, more.

Guide to the Home and Project Studio, TweakHeadz Lab

FREE downloads from Shure:

• Home Recording and Podcasting
• Introduction to Recording and Sound Reinforcement
• Microphone Techniques for Recording

Read More

Building a Project Studio for $1000 or Less, Part II 
In the second of our two-part series, we’ll look at the remaining six project studio fundamentals – from considering all-important acoustics to choosing gear that will see you through your sophomore effort and beyond.

Pete has the band dialed in nicely. The drums sounded thunderous with a Beta 98AMP on the high tom and 2 SM27′s on the low toms.  On the guitar amp, Pete’s using the SM27/SM57 combination that cuts through and is in your face.  Sitting on top of it all is Luke’s Chrome plated SM58 wireless.

The crowd was ready for Luke and he gave them all that energy right back.  He didn’t stand still the entire show, working every inch of that stage for his hour long set.  He’s got several hits out and the crowd knew every word.

I can see Luke headlining later this year or early next year.  He connects well with his audience and he writes songs that speak to them. Keep up the great work Luke!

Ryan

Indianapolis, IN

The Percussive Artist Society International Convention (PASIC) is one of those events I look forward to every year. Being a drummer myself, this event is close to my heart.  So are a lot of people that attend from many other great companies like Pearl, DW, Zildjian, Remo, Vic Firth, Vater, Istanbul and so many other individuals.  I have been fortunate enough to have not missed one of these events for the past 15+ years.  Everyone pitches in to help make each event happen and it’s such a great feeling to see all of the same people each year.

The convention has been in Indianapolis for the past 3 years so the drive up from Nashville is not too bad, when you’re rockin’ the iPod.  Like the trip 2 years ago, I was in Nashville handling duties at the Country Music Awards and directly after the show finished, I loaded up the gear and headed North for Indy.  I arrived at about 5 AM eastern time, grabbed about an hour of sleep and then brought all of the gear I had in the PT Cruiser into the convention center so it could be passed out for the various events starting around 9 am.  After passing that out, I passed out in the hotel room for another 4 hours.  After that, I went back to the Convention Center and caught a few clinics and chatted with some of the aforementioned manufacturers.

Later that evening, I was invited to 2 special events.  The first was a short party for Pearl artists and employees.  Shure Artist Horcio “El Negro” Hernandez was there as well as a drummer from Australia named Grant Collins.  It was great to catch up with Horacio as he is always gigging somewhere in the world.  He was happy to have a DVD from the Modern Drummer festival from earlier this year.  His performance there was pretty amazing.  Go pick up a copy and see for yourself!  A 12 piece band complete with a Flamenco tap dancer.  I’ve never seen a performance like this before where a drummer was trading 8′s with a dancer.  It was very cool!

The next day, Friday, I arrived early in the morning as Jim Riley’s Clinic was coming up at 1 pm.  I was able to catch drummer Rich Redmond’s clinic at 11 am, which was very informative.  Rich is not only a great studio drummer but also tours with country star Jason Aldean.  He had plenty of great advice to offer attendees about how to succeed in the music business and  a lot of it has to do with having a positive attitude.

The first time I saw Jim Riley’s clinic, I was taken a bit by surprise by his ability to play other genres besides the gig that pays his bills – Rascal Flatts.  He mentioned during his clinic that the last time he played at PASIC a few years ago served as his launchpad for doing drum clinics. He is very well spoken and a solid groove player.  He has been with Rascal Flatts from the beginning and it’s great to see his success, not only as their drummer but as their Musical Director. I put up some Beta 98AMP’s on his toms and used the Beta 181/C for overheads.

AT 5 pm, Grant Collins, a Pearl drum endorser had an enormous kit but chose to not have us close mic it.  Instead, we put up 6 condensers around the front of his kit about 3-4 feet off the ground to capture his toms and his cymbals, put a Beta 91A on each of his  front 2 kick drums and Beta 52′s on the rest and his gong drum.  It sounded pretty amazing!

Friday night after dinner with the Pearl guys, I stopped by the Army Jazz Blues Band concert up in the Sagamore Ballroom.  Special guest drummers Peter Erskine, Simon Phillips, Keith Carlock, John Riley, and Ed Soph all joined the band for a few numbers each.  It was great to see each drummers style shine through with this group.  At the end of the evening, Jim Riley was side stage and I introduced him to Peter Erskine for the first time. Peter had noticed an article in the most recent Modern Drummer magazine about Jim’s studio.

Closing out the clinic events on Saturday for PASIC was Simon Phillips.  His Tama kit was placed on stage and he had already brought his mic set which consisted of KSM137′s in shock mounts on all of this toms, 2 SM27′s for overheads, SM57′s in his Octobons and 2 Beta 52′s permanently mounted in his kick drums.  Simon was interested in hearing how the new Beta 181/C might sound on a few of his toms.  We listened to his stock mics then switch out 4 of the 137′s for 4 of the Beta 181′s.  He liked them just enough to want to go with them for the clinic.  Simon did a long drum solo and then took questions at the end of the clinic while also mentioning all his supporting companies and their gear.

Once Simon was done, I packed up a few more things and headed to go see  a great new band Shure just started working with called Mona.  I will talk about them in a separate blog.

Thus ends another successful PASIC and planning will begin soon for next years’ event in Austin, Texas.  Looking forward to that trip – come join us, wont you?

Ryan

Chicago Theatre

I had not received a copy of the new record yet, nor had I heard a song off of it.  Sometimes, that is the best way to see a show – when you don’t know what is coming next.

I am familiar with  Susan’s and Derek’s work separately so I had a good feeling it would be a stellar project. From the first note till the end of their encore, I was carried back to a time before LED walls, before laser lights and pyro, when all that was on stage were musicians and their gear.

People were dancing in the aisles, applauding after each amazing solo, and completely enjoying being a part of the music coming off the stage.  After almost every song, a standing ovation.   I loved every minute of this show.  I used to play drums in a Big Band and absolutely fed off the other 13 musicians on stage.  (I hope to do that again someday.)

For now, I have been recharged by the musical energy put out by Tedeschi Trucks Band.  3 horns, 2 drummers, 2 background singers, keys, bass, and two of the nicest Blues artists to front this powerhouse group.  Susan always takes command of her Beta 58A vocal mic and both her’s and Derek’s guitar cabinets were double miked with an SM27 and SM57 combo.

After the show, I had a chance to chat with Derek and Susan.  I made sure to let them know that they need to video record this show for release.  I would be the first one in line to grab a copy!

Here is a link to the rest of their tour dates.  Do yourself a favor and order tickets NOW if they are coming to your town.  If not, it’s time for a road trip.  I have a feeling this group will last for quite a while because it’s SO good and timeless!

Ryan

He’s the man behind the console at venues ranging from intimate clubs to sports arenas, with an impressive resume that includes pro sound responsibilities for popular venues, major sound companies and globally touring artists.

It only made sense that we’d want to tap Paris Lahr for his advice on how to mic a wide spectrum of artists at a wide spectrum of performance spaces, how to stay cool in the wake of equipment malfunctions and what it takes to succeed in the music business.

We caught up with Paris as he was packing up for a six-week European tour with the All American Rejects.

In the House

In addition to your touring duties, which we’ll get to in a minute, you’ve done house sound for a number of venues. Assuming all things are equal, what are the critical differences between miking a small club and a thousand-plus seat theater like The Vic here in Chicago?

All things are never equal. But there are definitely several things I do differently, based solely on the size of the room.

First of all, smaller rooms usually have less equipment. So, there may not be enough channels available to put mics on everything you normally would. For example, it may be necessary to split the rack toms or the congas with one mic. Instead of putting two mics in the kick drum, put one. If the stage is exceptionally small and the band is using wedges instead of in-ears, drop the overhead mic.

Second, changing the mics is sometimes the best solution. A vocal condenser might sound amazing on the lead singer in the 1000+ seat venues, but it is almost useless inside a tent at that corporate gig. So putting an SM58® on the singer for the day could save you from spending hours EQing the room and the monitors. It may give you more gain before feedback.

Third, mic placement becomes very important in larger rooms. The bigger the rooms get, the less the audience is hearing the instruments from the stage and the more they are hearing them from the PA.

If the tom mics aren’t tight, there will be a rattle. If the guitar mics are not in the right place, they won’t sound right in the PA and it will be difficult to get the mix together.

Finally, be practical. That large diaphragm condenser with the gargantuan shock mount might sound great on the 4 x 12 cabinet, but if the local guitar players keep knocking it over because the counterweighted stand you need is in his way, that mic is not of much use to anyone. Sometimes an SM57® on a Z-bar (amp-mounted angled mic stand) is the most elegant solution. It will not only stay where you put it, but it will keep the gear from being knocked over and broken.

What other considerations are there? How much do you know about the band’s music before they arrive and how do you prepare for the subtle or not so subtle differences?

When mixing in the small clubs, there really is no time to prepare for mixing all of the bands that will come through. When the agent is booking between three and seven bands a night, six nights a week, how could anyone possibly listen to all of that music ahead of time? Who’d want to?

Good locals come back and you remember them. In the little clubs, it’s mostly just “damage control” every night. As the clubs get bigger, and the equipment gets better, the best way to deal with the differences between the different types of music is to have different EQ settings prepared. The advantage of today’s digital processing, is that it can be changed instantly.

What kind of gear does the house usually provide?

It depends, but the basics are usually here. Don’t expect many venues of any size to have 6 KSM44s lying around, but almost everybody has at least 4-6 SM57s, 4-6 SM58®s, some kind of tom mics and a kick mic. Anything else is a bonus.

At what point is a band likely to provide its own sound system, mics and other gear? Is that just for huge stadium shows?

Smart bands will start collecting this gear almost immediately.

Singers should have their own vocal mics; a guitar player should have a mic for his cabinet that compliments his sound. Start there – find mics that sound good, that you like and invest in them as a band.

As things get bigger and better, carrying sound gear becomes an option, but it is always dependent on budget.

Some bands really have to carry sound gear because of the type of music they play, or the number of people in the band. If there are fourteen band members and they do two-hour sound checks, carrying a monitor rig becomes a necessity.

Most clubs won’t have enough equipment to handle that size band and it takes a long time to get all of that equipment set up and tested from scratch everyday. There’s also the amount of time it takes to arrange rental of the extra equipment needed in each city.

Touring with a monitor rig can cut the load-in and setup time down by two hours each day. This can actually be more cost-effective depending on how much labor is required.

OK, here’s a related question since we talked earlier about ‘guest engineers’. How does the house engineer work with the band’s sound crew? Can you talk about that?

I learned to read people very quickly being a house engineer. By watching how guest engineers do things, paying attention to what questions they ask, I can tell who is going to have a “good night” and who is going to have a “bad night” even before sound check begins.

What’s the division of labor? Who does what?

That depends on the band. Generally the crew is responsible for what they brought. If the band’s crew is using all of the house sound equipment, they don’t touch much at all except the desks.

As house engineer, I set everything up and then tear it down. If the band brings their own equipment, it’s the house engineer’s job to assist them, run cables and set up the consoles.

How familiar is the band’s sound crew with the gear?

Experience is everything. Some touring engineers would come in and I’d learn cool tricks from them. Other guys came in and I’d have to teach them how to use the console.

How far in advance are you likely to get a contract rider detailing the band’s audio requirements?

You might not even get one. Sometimes the band will give you one when they load in and sometimes you wing it. When I was the house engineer, I’d start looking for advance sheets from the touring band about a week out.

My general rule as a touring engineer is to try and advance one month out, one week out and one day out.

What (house sound) mistakes have you seen?

All of them. The most obvious is not enough PA, the wrong PA, or the right PA hung/stacked in the wrong place.

What are the most common problems?

Equipment that doesn’t work. Clubs that operate 5-7 days a week don’t always have or make time for necessary repairs.

You’ve got to have spare parts. The house engineer in a club that does shows six days a week needs to have a selection of spare parts, a spare sub driver, a spare horn diaphragm, a spare amplifier or at least one spare amp channel.
With the Band

Now let’s look at the flip side. You’re on a 20-city tour that includes 5,000-seat venues along with a few small clubs. How do you make adjustments for venues that vary in size and acoustics?

Experience. You get to know “types”. Similar rooms have similar problems, so if you know what frequencies are bad in which rooms – and in which PAs – you’ll have a jump on EQing the room and you’ll speed up your day.

How much time do you allow for sound check?

As much as the band needs. Every band is different. I only dictate the scheduled day of show and cut the band off once we have reached a point where we might have to hold doors.

If the crew is good, and the band is comfortable, I can knock out a sound check in one song or less. If the band needs a little more “mental reassurance”, I might schedule two-hour sound checks.

What about the mechanics of touring – packing up and loading in?

Less is more.

Everything you carry costs money. Shipping costs money, backline rental costs money, time is money. The less gear on the truck, and the lighter it is, the less time it takes to load in and load out. The less it costs to ship cross-country. There can be fewer hands on the labor call and they can be there for less time.

No one learns this in school. What guidelines can you offer in terms of staff, timing and logistics?

Find a good crew, hire them away from the bands they work for and don’t let them go. Take them with you when your current tour ends, and the new bands tour starts.

Having good help is the best thing you can do for yourself. If I can trust the techs to pack everything we need to do a last minute fly date, I can be worrying about getting that gear shipped around the world and not whether the tambourine for the keyboard player made it into the work box.

Is there much “advance work” involved? Are you often working, at least by phone, a couple of cities ahead?

As far in advance as possible. I like to leave for tour having all the advance work done. My phone bills are ridiculous.

In the past, you toured with The Donnas. What kind of gear did you travel with?

They’re a great example. The Donnas traveled extremely light. This made some shows possible that otherwise would have been a nightmare. We flew with two guitars, two bass guitars, a snare drum, a kick pedal, a stick bag, and a two-space in-ear personal monitor rack.

With four in the band and four in the crew (including a drum tech, guitar tech, FOH engineer, and myself doing monitors and tour management), we could fly anywhere in the world with two pieces of luggage each. That included personal bags; we were still able to remain underweight and undersize on everything.

In each city, all we needed was a Marshall quarter-stack, an SVT bass rig and a four-piece piece drum kit. DONE! We were able to fly across the country and around the world without having to ship gear via cargo. This really helped the budget.

What have you learned (on tour) that might help one of our readers who is just starting out?

I will give the same piece of advice my first Tour Manager Drew Menard gave me: “Mellow gets you gigs.”

About Paris Lahr

I’ve done everything from house sound to touring monitor engineer and drum tech. I started out as grunt tech for a small sound company in Peoria when I was still in college. I did lights for a year and then I started doing audio.

I moved back to Chicago to work a “real job” for a few years, but I quit in January 1998. I got a job as an engineer at The House of Blues early that summer and for the next eight years, I rotated around nearly every venue in Chicago. I worked as the main house engineer in some and as a sub in others, including The Bottom Lounge, Double Door, Elbo Room, Subterranean, The Vic Theater, and Park West.

Gigs: Production Manager, Stage Manager, Crew Chief, FOH Engineer, Monitor Engineer, System Engineer, Recording Engineer, Lighting Engineer, Rigger, Runner … you name it.

But whenever I could, I’d take tours.

On Tour with Paris

My first tour was as Monitor Engineer for Papa Vegas, opening for The Verve Pipe around 1999. A friend of mine from the HOB brought me out on that tour.

Since then, I’ve toured with: Bender, Kill Hannah, Rickie Lee Jones, Fountains of Wayne, The Donnas, Plain White T’s, Panic! at the Disco, the All American Rejects, and lots of others.

On the touring side, I’ve been a: tour manager, production manager, stage manager, FOH engineer, monitor engineer, and I’ve even teched drums in a pinch (even guitars once–and only once).

I’ve also worked for several sound companies: Big Audio, Diversified Audio Group, Sound of Authority, Clearwing Audio, and Sound Investments.

The most important skills required for this job: Patience, organization, people skills and a critical ear. Be able to do more than just one thing well. It’s great that you can mix, but can you tour-manage? Handle monitors? Arrange hospitality? Book hotels? Drive? Fix flat tires? Comfort a band member with a broken heart?

Sound Advice

Be calm, cool and collected until the end. If the band perceives that everything is great because you’re confident, they’ll believe everything is great and have a great show. (This despite the fact that there are four blown drivers in the PA and the monitor engineer has to whack the desk once in a while because mixes will cut out for no reason.)

Sometimes you just have to deal with a bad situation, and getting the band upset is only going to make your life harder.

My advice to newbies: Only about 10% of what I do is technical. 90% is political. You’ve got to have great people skills.

Of course, you have to know the technical side backward and forward, but if you can’t relate to other people, it’s going to be difficult.

Gear Check

Talkin’ Shure. Favorite Mics and Why

VP88

The perfect overhead mic, the perfect ambient audience mic, the perfect Leslie cabinet mic. Works great for choirs as well. Gives a perfect stereo image of the drum kit in the in-ears. Fewer phasing problems.

KSM9

My favorite new vocal mic. Great, crisp condenser sound, without the bleed problems of other vocal condensers.

KSM27

Less expensive than the KSM44. The last 4×12 guitar cabinet mic you will ever use. Also great on floor toms, congas and as a general percussion mic. (The KSM27 has been discontinued. Compare with new SM27.)

The following article is an excerpt from Shure Notes, Issue #16(March 2006).

Podcasts. They’re getting a lot of attention these days. Is this the audio equivalent of blogs, where commentary can be shared over the Internet – or a powerful tool that puts broadcasting within the reach of anyone with music, a message and basic gear?

In this article, we’ll take you through the basics – what it is, who’s using it and how you can get started.

But First, What is It?

Here’s how one expert describes it:

“Podcasting is a method of publishing files via the Internet, allowing users to subscribe to a feed and receive new files automatically. It became popular in late 2004, intended largely for downloading audio files onto a portable MP3 player. Listening to podcasts does not require a portable player and it is not traditional ‘broadcasting’ to a mass audience at a fixed time.

The word “podcasting” is a linguistics blend coined in February 2004, combining “broadcasting” with the name of Apple Computer’s iPod audio player (although podcasting was not invented by Apple, nor do podcasts require a portable player or Apple software).

It is distinct from other types of online audio delivery because of its subscription model, which uses the RSS 2.0 file format. Podcasting enables independent producers to create self-published, syndicated “radio shows” and gives broadcast radio programs a new distribution channel. Listeners may subscribe to feeds using “podcatching” software (a type of “aggregator”.) which periodically checks for and downloads new content.”

*Source: God’s iPod

How to Get in the Game

Now that you know what a podcast is, you need to understand what it’s going to take to create one – or a series – of your own.

We’re going to look at three basic steps:

1. Plan
2. Produce
3. Post

Our guide for a stretch of this trip is Jason Van Orden, musician, educator, audio tech and practicing podcaster. Among his highly regarded podcasts: The Podcasting Underground, Internet Business Mastery and Gothamcast, rated as “New and Notable” in the Yahoo! Podcast Directory. His excellent how-to-podcast-tutorial.com is the foundation of our step-by-step guide (and will provide you with more detail than we’re able to here in Shure Notes).

Step 1: Plan

If you’re a musician, you know how to put a set list together. But if you want to produce a podcast that will attract and retain listeners, a little planning will help keep you and the podcast focused.

Ask yourself and your team these questions:

Who will be doing the podcast?

Some podcasts have one host, others have a team and still others feature a “cast”. The advantage of having multiple performers is:

• It is generally more engaging for your listeners.
• It spreads the content and performance responsibilities across several individuals.

What segments will your create?

Think about the programs you usually listen to or watch. Most all of them, particularly radio, have a format. Having a structure for your podcast will make it easier to plan and produce, plus your listeners will know what to expect and they’ll look forward to it. Here’s an example:

• Introduction (Theme Song)
• Welcome Message
• Announcements
• Song Intro
• Song
• Song Intro
• Song
• Music News
• Song Outro

How long will the podcast be?

You don’t have to fit your podcast into a specific time frame, but remember this: Your podcast should last as long as you can hold a listener’s attention — and that’s why many podcasts are about 20-30 minutes in length.

One of your goals should be to leave the listener wanting more, not looking at his or her watch. Remember, too, to build excitement for your next podcast.

How often will new podcasts be released?

Successful podcasters understand what bloggers and publisher have know for a long time – they are creating communities. Having a consistent publishing schedule will help you build listener loyalty.

These are format questions that will help keep you and your team on track. As an evolving medium, podcasts are dynamic and yours will change over time. There aren’t very many hard and fast rules, except for this one: If you use music or material that is not your own, make sure you are observing any relevant copyright laws. Get permission and better yet, get it in writing.

Step 2: Produce

Now that you have a format and a plan, you’re ready to think about the production process. This involves:

• Having the Right Gear
• Choosing a Recording Location

Let’s look at these one at a time.

Having the Right Gear: HARDWARE

To get started, you need a computer with broadband access, a microphone and headphones.

Computer

You will probably record and edit your podcast on your MAC or PC. Most computers that have been released in the last few years can be used for podcasting. The real demands on your computer will be its ability to record and process the audio.

Broadband Internet Connection

Not gear, but a necessity. To upload your podcast to the Internet and update your site, you’ll need a DSL, cable or T1 Internet connection.

Microphone

Whether you are recording a vocalist, instruments or spoken word, you’re going to need a microphone. Once again, your options are pretty much determined by what you’re recording and how much you have to spend. The good news is that you probably have mics on hand that will work well for podcasting.

Since every microphone has a distinct sonic signature, along with its own characteristics in terms of transducer type (condenser or dynamic) and polar pattern (unidirectional, cardioid and supercardioid), it’s important to understand the differences. Click here for information on microphone types.

In order to make the right choice, decide which is the most important element in your podcast. It’s probably the voice. If so, a large-diaphragm condenser microphone like the KSM 27 might be best. However, a fairly neutral sounding cardioid pattern condenser mic like Shure’s SM58 can work well on a wide variety of sound sources. Experiment with mic placement to get the best results.

Earphones

In the most basic podcasting set-up, just about any headphones that plug into your computer will get the job done. Keep in mind, though – an important part of the process involves listening to your podcasts. Not so long ago, this required wearing a heavy headset to block out room noise.

Technology has made that cumbersome gear a thing of the past with the introduction of high performance, sound-isolating earphones that you can use when recording – and for listening to podcasts on your iPod or MP3 player, the way most of your listeners will.

Here are two from Shure:

Starting Out

The Shure SE110 Earphones feature a studio quality, sound-isolating design. They come with a fit kit for personalized, in-ear placement. You can find them at your local Shure dealer or purchase them directly from the Shure online store (US Only) for around $120 (MSRP) a pair.

Stepping Up

The Shure SE210 Earphones offer sound isolating design with high-definition micro-speakers and extended frequency response for studio-quality sound. These cost about $180 a pair.

MP3 Player

When you post your podcast, download it through the feed into your MP3 player just like your listeners do. You’ll be able to perform a little quality control and also see how the information from the MP3 files is displayed – does it look the way you want it to?

Listen to other podcasts. You’ll gather ideas for your own shows and stay current with podcasting and what other podcasters are doing.

Having the Right Gear: SOFTWARE

You will need software for recording and editing your audio. There are many choices from ProTools, Acid, Sonar, Live and GarageBand (which offer the added benefit of royalty-free audio loops) to Audacity, which according to Jason Van Orden, has become popular with podcasting newbies and is available for free.

According to “The Art of Podcasting” in the December issue of Electronic Musician, “dedicated podcast-creation programs are springing up all the time. For Windows, there’s CastBlaster, Propaganda and ePodcast Creator. In addition to organizing and triggering audio clips, these programs export MP3s and the specialized text file that defines the podcast. They can also assist with file upload.”

You’ll need to convert your podcast to MP3 format before uploading it to the Internet. Converting your audio to MP3 makes the file size smaller and easier for others to download and listen to. Again, there are a number of free programs available for download, including iTunes and LAME. LAME appears to be the podcaster’s encoder of choice and offers an impressive array of features (for Mac and PC).

Choosing a Recording Location

If you have some recording experience, you’ll want to follow the same, successful techniques you’ve used in the past. For the rest of you – some useful tips:

Scout a location.
Have a place set up – preferably near the gear you’ll be using – that’s ready to go when you and your team are.

• Choose a space that’s quiet and free from distractions. Minimize as much background noise as possible.
• Turn off fans, additional computers, air conditioning units and telephones.
• Post a sign outside the door alerting passersby that you are recording.
• Think about room acoustics.

Closet Space. Recording Space.

“One of the best tricks I’ve found for creating a quiet recording space is to open the closet door, throw a large blanket or sleeping bag over the wide-open door and position the mic so that the dead spot of the mic is pointing right back into the open closet. The more clothes in the closet, the better. Remember, as you sing or speak – not only are you picking up the sound of your voice – you’re picking up any reflections in the room coming back from behind you. Singing into a closet is just like singing in a studio GOBO – it absorbs many of the reflections and can give you a darker, tighter sound.”

- Greg Riggs, Shure Associate

Step 3: Post

Ready to upload? You’ll need an FTP program. Once your podcast is ready for primetime, you’ll need to upload it to the Internet. SmartFTP is free for personal, educational and non-profit use.

If Rachel Can Do it, So Can You.

According to Business Week, “8 year-old Rachel Patchett hosts Rachel’s Choice, a weekly podcast in which she plays a Christian song and reads a bible verse. Up to 1,500 listeners tune in every week. Of course, it helps that her father is the man behind The GodCast Network, a portal offering 14 different religious broadcasts. There is a wealth of information available on the subject – much of it on the Internet, a good resource since the podcasting world is growing and changing so quickly. There’s even a podcasting organization – the Association of Music Podcasting. There are literally hundreds of sites that offer everything from weekly podcasting tips, to free software, podcast directories and places to upload your podcast. And of course, there’s an aftermarket of podcast developers who will do the work for you.

You have the gear. Now you have the production basics. Consider this: In 2005, a respected research group predicted that the U.S. podcast audience will climb to 56 million by 2010. By that time, three-quarters of all people who own portable digital music players will listen to podcasts. Talk about expanding your audience.

Visit Jason Van Orden’s site at: www.how-to-podcast-tutorial.com for a more thorough step-by-step guide to creating your first podcast. We also recommend David Battino’s “The Art of Podcasting” in the December 2005 issue of Electronic Musician. Like many of the websites dedicated to podcasting, there’s a helpful directory that includes podcast, hosting, resources, reading and software sites.

Five Reasons Why

• You already own most of the equipment. If you have a computer, a broadband connection and a microphone, you’ve got the basic gear.
• You will reach a wider audience. It’s all about reaching out, right? Not only can you stay in touch with your fans (as an example), you have the potential to reach an audience far beyond geographic boundaries. Think national. Think global.
• You’re in control.
• One of the great advantages of podcasting is its inherent flexibility – you can publish your podcast as often as you want (every day, every week, every month) and it can be as long as it needs to be. You’re not limited to a format. The fact is, you’ll be developing a format of your own. Talk. Music. Talk and music.
• It’s automatic.

Once you’ve developed your content and listeners have subscribed, the foundation is built. When you post new content, it’s automatically downloaded and transferred to your listener’s MP3 player. Because listeners have subscribed to your podcast, they’re motivated to receive your message. It won’t get lost like SPAM e-mail — and because your podcast is delivered over the Internet, it’s inexpensive.
This is “Theater of the Mind”
Very few of us can recall the radio days of our grandparents, when listeners, not distracted by the kinds of visual imagery that assaults us today, unleashed the power of imagination to experience “theater of the mind”. Podcasts can do the same thing. This is intimate and impactful – a medium that delivers a very personal listening experience.

More Length = More Storage
The longer the show, the larger your MP3 file and the more website bandwidth is required. Depending on your situation, you may need to contact your ISP.

Do You Really Need a Pop Filter?

If you’re not familiar with recording, you may not know that the popping (or plosive) sounds that are made when a speaker uses words with “p” or “b” can be annoying to listeners. A pop filter is usually made of nylon cloth stretched around a frame, threaded to screw on a microphone stand. (A cheap pop filter can even be made from a pair of stockings and a coat hanger in an emergency.) This filter is placed in front of the diaphragm, between the microphone and the vocalist’s mouth.

Podcasters and Aggregators

Sounds like a game of ‘cops and robbers’, right? These are terms that refer to what’s required for a listener to download a podcast. Here’s the good news: any digital audio player or computer can play podcasts. On the other hand, if listeners wish to subscribe to your podcasts, they’ll need podcatching software (an aggregator) that checks for and downloads new content directly to their audio player or computer, iTunes and Windows Media Player, both free.