Remote Controlling the Yamaha 01v96 Mixer

by Gerry Miller

As Apple’s ipad/iphone/ipod become more prevalent in classrooms across America, uses for this technology in the music setting are increasing every year. Interfacing your Yamaha 01v96 mixer with an ipad/iphone/ipod through a wifi network can be a useful tool while rehearsing your marching band, school musical, or show choir. Here’s a step-by-step instruction guide to setting it up, as well as some practical advice on the possibilities and limitations of the technology.

Materials Required
Here’s what you’ll need to get started…

• Yamaha 01v96 mixer
• Apple ipad or iphone or ipod
• Mac or PC Laptop
• Wireless Router (an internal router like an Airport is effective, but range will be  reduced)
• Cabling:
  • Ethernet cable from router to laptop; USB Cable from mixer to laptop.

Getting Started
I would advocate taking the time to setup each piece of equipment in a standalone fashion. Once everything is setup, we can begin connecting the parts together and testing them.

Apple ipad/iphone/ipod

•           Power on your device and open the App Store.
•           Search Splashtop.
•           Download the Splashtop Remote Desktop ($4.99 for ipad; $1.99 for iphone/ipod)

Mac or PC Laptop

1.           Power on your Mac or PC laptop and open your internet browser.
2.           Go here.
3.           Choose Mac/PC and complete the download.

There are 4 steps to setting up the Splashtop Streamer on your Mac/PC. The screenshots below are taken from the PC setup, though the Mac setup is very similar

.

Status:
In this window, you can see if you are connected, and which IP/Google Accounts your Splashtop is associated with. You’ll need this when setting up the ipad/ipod.

Setting:
You can redirect sound to your device (this is cool if you want to listen to a file on your desktop from the ipad) and choose if Splashtop launches on startup (recommended)

Security:
It is highly recommended that you setup a security code. This password will be required on your ipad/iphone/ipod as well.

If you or your employer are associated with Google or gmail, you can login to your Google account and receive access on other networks – it’s a very cool add-on.

At this point, your laptop is setup to work with the Splashtop Streamer.

Wireless Router
In setting up the router, I recommend using a hardwired, Ethernet connection from the router to your laptop. To ensure the least amount of interference, disable your laptop’s wifi (unless you are using the Mac Airport or another internal wifi connection in lieu of a router). If you need to setup a wifi connection, follow the instructions below:

• Power on your router.
• Connect your router to the laptop via an Ethernet cable.
• Follow the setup instructions that came with your router to pair it with your laptop
• (usually, a CD is included. I recommend setting up a password here as well, to prevent additional outside interference).
• Open the Status page in Splashtop Streamer on your laptop and make sure you’re seeing a viable IP Address (with a typical home/business router, it should be 192.168.2.x or something similar). If you see an address that starts with 169.xxx.x.x, this is NOT a viable IP address. Restart your router and try again.

Test #1
Let’s test what we have so far, so as to eliminate issues later.

1. Power on your laptop with wifi disabled (unless using a Mac Airport).
2. Click to open the Splashtop Streamer icon.
3. (the PC icon appears in lower left corner; the Mac icon appears in the program menu)
4. Power on the standalone wireless router (or internal router like a Mac Airport).
5. Power on your ipad/iphone/ipod.
6. Go to the Settings-Wifi menu on your ipad/iphone/ipod and be sure that your ipad/iphone/ipod is connected to the SAME WIRELESS ROUTER as your laptop. If not, switch it over to the same router as your laptop.
7. Click on the blue arrow to the right, and be sure you have a VALID IP ADDRESS (with a typical home/business router, it should be 192.168.2.x or something similar). If you see an address that starts with 169.xxx.x.x, this is NOT a viable IP address click the Renew Lease button at the bottom of the page to see if you can get a valid address. If this still doesn’t work, you may need to consult your router’s instructions or verify that you are standing close enough to get a strong signal.
8. Start Splashtop on your ipad/iphone/ipod.
9. On your ipad/iphone/ipod, Splashtop will search for devices. If it finds your computer on the network, choose the laptop, enter the Splashtop password you noted earlier, and you should see the laptop screen flicker as it connects. Moments later, your ipad/iphone/ipod will show a “Hints” screen with your computer’s desktop in the background.

Take a moment to review these tips – they will come in handy. At the bottom, switch “Show hints every time” to off.  Then, press continue to see the desktop on your ipad/iphone/ipod. Try some simple commands: double-click on an icon, type something in
MS Word or Notepad, and get the feel of it.

If everything is working well so far, move on.  If you’re not seeing this screen and linking, start over.

Yamaha 01v96 Flash Update, USB/Midi Driver, and Studio Manager 2
Now it’s time to setup the laptop to communicate with the Yamaha 01v96 mixer. Don’t connect the mixer to the laptop yet. If you have the disc that came with your 01v96 mixer, insert it into the CD drive now and setup the Midi/USB driver and Studio Manager 2; it’s VERY easy with the CD. If you don’t have the CD, start a new folder on your desktop called “Yamaha 01v96” and download three files from the Yamaha website into this folder:

• Yamaha MIDI Driver (choose the correct USB-MIDI driver for your OS)
• Yamaha 01v96 Editor (it’s a bit further down the page)
• Yamaha Studio Manager V2 Host

All files can be found here.

Start each file in the order listed above.

• Yamaha MIDI Driver: run the startup.exe file. It will install a driver for the Yamaha 01v96 to communicate with your laptop.
• Yamaha 01v96 Editor: this program will allow your 01v96 to be edited and trade information with the laptop (also a handy back-up tool if you have to swap mixers).
• Yamaha Studio Manager V2 Host: this program will give you the graphical user interface to control the mixer.

Yamaha 01v96 Mixer
It’s now time to setup your mixer to receive information from the laptop and vice-versa. To do this, we will need to let the mixer know which port it will be receiving information from, and that we’re going to use the Yamaha Studio Manager to do this, and not a generic, after-market program.

On the left of the 01v96, push the DIO/Setup button. Use the function keys to select MIDI/Host.

DIO/SETUP – MIDI/HOST Menu:
Set paramaters as follows:
        Rx Port: roll wheel to MIDI, push Enter
        Tx Port: roll wheel to MIDI, push Enter
        MIDI Thru: blank
        Machine Control: blank
        Studio Manager: USB, then 1, then Enter
        DAW: blank
        Remote: blank
        Cascade Link: blank

Test #2
For the “coolest” test so far, run the following steps:

• Turn off your mixer.
• Connect your 01v96 mixer to your laptop via USB.
• Power on your mixer.

• Startup Yamaha Studio Manager.
• NOTE: You may get this warning. Click ok.
• You’re going to have to Remap MIDI Ports – align Midi 1 to 1, Midi 2 to 2, etc.

Now, click File, then Setup. It will launch this window. Like in Finale, you have to add the 01v96 as an “instrument”. Click add so that it looks like

You should now see a screen that looks like this. Click File, then Save. Choose a name to save your mixer settings.

Now, sync your data between the 01v96 and the laptop. I personally choose “From Hardware” most of the time. That way, if I’m making changes on the mixer during rehearsal, I can have a back-up of those changes on the laptop in case something happens to the mixer.

If you get a message that says “Prologue”, then “Operation Failed”, the MIDI ports are still not mapped correctly. Re-Map your midi ports again (MIDI 1 = mix 1; etc.)

After performing this operation, please Save again.

Double-click on the 01v96 picture to launch into the Studio Manager, now with the laptop controlling your mixer. I format my screen for rehearsal/shows/remote like this…

Upper left: Channels 1-16 (original layer – to activate, push 1-16 on Master window)

Upper right: Channels 17-32 (locked layer)

Lower left: Scene Library (to find, click Window, then Library, then Scene)

Lower right: Selected Channel EQ (find in the same place as above)

Right edge: Master Window (note the offline/online indicator at the top – very helpful)

Test #3

• To make sure we’re up-and-running, move a slider on the mixer. Did it move on the screen? You’re really close.
• Now, move a slider on the mixer. Did it move on the screen? You’re nearly done.
• Start Splashtop on your ipad/iphone/ipod.
• You should see the mixer screen from your laptop.
• Move a slider on the mixer. Does it move on the ipad/iphone/ipod screen? Great.
• Move a slider on the ipad/iphone/ipod. Does it move on the mixer? You’re DONE.
• Helpful hints for future thought/development

There are a few notes worth sharing, about automation and general use of the 01v96 for marching band/school purposes.

Mounting the laptop/router

Most 01v96 users have the SKB Might Gig Rig for the mixer (it fits better than any other I’ve found). There is an aftermarket retractable shelf from SKB that’s great for a laptop (even the largest Mac I have fit fine). For the router, I use velcro on the base of the router (prickly side) to velcro on the back horizontal connector on the Gig Rig (soft side). If you need better line-of-sight with the router, the aftermarket shelf has a similar surface to the soft-side velcro, so you can move it up easily.

ipad Graphics are too small

On the ipad, I sometimes find the controls of the Studio Manager are too small. Consider enabling the ipad’s functions for visually impaired individuals. It’s in the Setting menu. By enabling the three-finger-double-click, you can zoom in really close to make the smallest of adjustments.

Getting notes down to your Board Operator

Even with remote controlling, you will still need a student-board operator. At times, you may need them to adjust something you can’t remote control from upstairs (gain staging, amp levels, speaker angles). For this, open MS Word, Notepad, or another word processing program on the laptop. You can use Splashtop to type onto the screen (note the little keyboard icon in the lower right of the ipad/iphone/ipod) and send notes downstairs. This is much easier than texting with one device and remote controlling with another.

Running on a stadium’s/school’s internal wifi

While you may encounter some firewall issues, I have used a school’s wifi to control the mixer. In fact, with the enabling of the google/gmail link, you could ostensibly run a show from your home computer (not something I would recommend, but it’s achievable if you needed to). If you’re in a really large venue (Lucas Oil Stadium, Alamodome, etc.), the stadium wifi is often quite reliable, while wifi signal strength in these “concrete palaces” may not be so great.

Editing the show on your laptop, then transferring changes

The day after a show, or between Prelims and Finals at a contest, you may want to make some tweaks to balances as you/adjudicators heard them in a specific stadium. You can simply take your laptop, launch the Studio Manager, open your show file, and edit the balances scene-by-scene. Then, when syncing the next time, instead of choosing “from hardware”, choose “to hardware”, and you’ll have your edited show ready for the next performance/rehearsal.

Scene Memory Auto-Update

If you make a change to a scene while the ensemble is rehearsing/performing, and want the scene to come up to the edited (not the original) version, you can activate the Scene Mem Auto Update. In the DIO/Setup menu, under the Prefer 1 tab, put an “x” on the Scene Mem Auto Update. Then, when you call up a scene, the mixer will default to the last edited version of the scene, rather than the original scene. If you want the original, press the Recall button again (or double-click it the first time), and you will get the original version. This is very helpful when using the ipad/iphone/ipod, as saving scenes may not be possible if your board operator moves quickly to the next scene in the show.

Setup User Defined keys for easy scene changes by a student-operator

On the lower right side of the mixer, there are 8 User Defined keys. Using the Utility Menu, in the User Def tab, I advocate setting up button 1 at “Scene -1” and 2 as “Scene +1” so the student can scroll up and down through scenes easily with one touch. Then, setup buttons #3-6 as the start of your productions (see below). Setup 7 can be a Sound Check scene. Scene 8 can be a Blackout scene. Another option is to set the #7 and #8 keys to “Scene -1” and “Scene +1” respectively to allow the operator to step up and down one scene at a time.

 

Advanced Splashtop Functions

Once you’ve made your computer “discoverable”, you can click on the right-arrow to launch the Computer Settings menu. Here, you can enter your laptop’s security code. This will allow you to auto-connect your specific ipad/iphone/ipod to your specific laptop without going through the password process. In a rush, that will be very helpful.

Also, with the Advanced button, you can select the screen resolution. I prefer 1024×768 for all Mac products, but if you have a laptop that is of a non-traditional size, you may want to also look at the 800×600 resolution, or consider the “use computer’s native…” resolution.

Contact

Please feel free to contact me if you have questions.

Gerry Miller (millerg@friscoisd.org or www.wakelandband.com)

Director of Bands/Fine Arts Department Chair, Dr. Justin Wakeland HS (Frisco, TX)

Sound Engineer, The Cadets – DCI’s 10-time World Champions

Assistant Band Chair, Texas Music Educators Association Region XXIV

Time Sync Issue with the 01v96

Here’s a question from a user that we though we’d post.

I use a generator regularly for warming up in the lot. However, we have a 4 minute window to enter the field, turn our O1V96 on and get it synced-up with our tablet pc to run the mix wireless. The idea of using a battery to power the O1V96  and router was discussion amongst my staff.  I realize that a battery wouldn’t be able to sustain the entire system with amps/crossovers, etc.  I am looking for a way to keep the sync open from field entrance through performance.

Also, sometimes I get a  ”time clock” error message when using my O1V96 .  Is there an easy way to correct it?

Answer: 

With regards to the time clock error that you see on the O1V96 , since digital audio systems need to work on one word clock, you need to sync all the digital devices to one word clock. The way the O1V96  is shipped, it is the master, so connecting an outboard digital input (one would assume you have connected to the ADAT in on your console), you will need to tell the O1V96  to clock from that device.

This is done from the Digital I/O setup page on the O1V96  (one of the grey keys up on the left of the console) Once you highlight one of the ADAT inputs as word clock master, you’ll be good to go…

In this one can understand your situation with trying to keep the console and computer alive for quicker setup.

If you only connect the console and computer to the AC backup, it is possible to allow operation without AC power being connected for a short while. The problems that might come up are when the batteries in the backup sit around in a discharged state. Perhaps if one was to use the unit somewhere else during the down time it will last longer and operate properly during the shows.

Have a look at APC’ website. There is a unit there that might do the trick for you.

APC Smart-UPS 1000VA LCD 120V

Basics of Using a Mixer in your Front Ensemble

The mixer performs several functions, amplifying minute signals from the microphones and other inputs up to a level that the electronics in the mixer can work with, allowing tonal shaping of these signals, providing several possible routes to blend these signals, and giving an overall master control of output levels.

Knowing a little about how all this is done will allow you to get the best sound from your mixer.  Whether Digital or Analog, the job the mixer performs is the same.

Amplifying Signals

One of the most critical parts of a mixer are the “head amps”, or “preamplifiers” that are controlled by a “gain” or “trim” control.  These circuits have the job of getting miniscule electrical signals, thousands of times lower than the rest of the mixer can use, up to the workable “line level” the mixer is designed to work with.   They have to do this job without adding any extra noise or coloring the sound. Yamaha spends many hours in design to assure these goals are not only met but exceeded.

EQ, Equalization, or Tone Control

The next place the signal heads in the mixer is EQ. Here is a place where the operator can really help to shape the sound.  There are very few hard and fast rules here, but there are several guidelines:

• Use HPF or High Pass Filters wherever possible to eliminate rumble and avoid amplifying sounds outside the range of the instrument being amplified.
• Avoid adding, or boosting EQ too much in any one area.  This will help reduce the chance of feedback and keep additional noise to a minimum.
• Use EQ carefully. Oftentimes, less is better.  Audio Professionals all agree that it is best to fix a problem before trying to fix it with EQ.  Microphone placement can often do a much better job in getting a better sound.

Routing the signals

Once all the inputs are adjusted tonally, you can route these inputs out to different output “busses”.  For most of what is done in marching sound reinforcement, a simple stereo send out to the amplifier(s) and main speakers is all that’s required.  One other place you might want to have a send is for a performance monitor.  You can use an aux, or auxiliary bus for that if you like.

Master control

Finally now that all the signals are “on the bus” or routed where they need to go, the master section of the mixer allows control of the overall output levels.

Selecting a mixer

Mixers are sold first by the number of inputs. Be aware that a 16 input mixer may not accommodate 16 microphones, as the input structure of the mixer.  Some inputs might be stereo (for a keyboard or electronic drum kit) while others are for microphones.

Effects?

A lot of the mixers Yamaha offers have effect built into them. This avoids the need for an outboard device.  If singing is part of your program, you’ll almost certainly want some sort of reverb or delay effect to help the vocal “cut” through the mix.

Compression

All Yamaha MG mixers offer compression on some of their input channels. Simply put, a compressor makes soft inputs louder and loud inputs a bit softer.  If you listen to pop music, you undoubtedly have heard compression (especially on a bass drum!)  A compressor on a vocalist’s input might be the single most helpful effect available.  Making a whisper audible, while taming a crescendo is a very desirable effect.  Compressors are available separately and can be attached to other mixers, but they are expensive, usually between $200 and $400 each.

Physical size

Some mixers will fit in a standard 19” equipment rack.  In terms of truck or trailer packing, this size might be very helpful.  A lot of wiring can be pre-installed and left connected making setup and teardown easier. Larger console type mixers will offer more inputs but the form factor and setup complexity should be considered.  Sixteen microphone inputs is about the maximum number of inputs available in a rackable mixer.  The exception to this rule is the Yamaha 01V96. It can accommodate up to 40 inputs and still fits in a 19” equipment rack.

Digital or Analog?

Digital mixers are gaining acceptance all through the audio community.  DCI was instrumental in proving this to high schools and universities.  The ability to instantly recall not only simple level settings, but all parameters of the mixer with the touch of a button is very compelling.  Analog mixers have a place in simpler setups or in situations where an operator isn’t familiar with the digital mixer’s operation.

At first glance, the pricing difference between analog and digital seem quite wide, until you consider what the digital mixer offers.  More inputs and better control over them is only the beginning.  The best thing about the 01V96 is that no matter what happens, a single button push recalls all the settings… every time.

 

Terminology

• EQ, or Equalization - Tonal controls that are calibrated in frequency rather than musical notes.  The chart above shows where various instruments and playback devices’ response lies.
• Compression - This effect makes loud sounds softer and soft sounds louder.  It is as if there is someone “riding the fader”, turning it up when the source is soft and turning it down when loud signals come through.  AM talk radio is a good example of this effect.
• Gating – Automatically turns the channel on when signal is present and shuts it off when no input is present.  A good example of gated sound would be Phil Collins’ drums during Genesis days.
• Effects – Digital signal processors available both inside some mixers and as an outboard device to provide reverb, delay and other sound effects. These are very helpful for vocalists and can be used as a special effect…
• Track sheet – Very useful for “remembering” all the settings on an analog mixer. An example is included in this book for reference, and you can download them from usa.yamaha.com for the entire MG mixer line.  Digital mixers don’t need track sheets as they have snapshot memory for instant recall.

The bottom line is if you choose a Yamaha mixer or mixing console, analog or digital you can be assured a great performance.

AC Power Considerations With Your Front Ensemble

Don’t Bet Your Life: Get AC Grounding Right.

(Excerpted from an article by Bill Whitlock of Jensen Transformers)

Power line safety is extremely important.  Never, ever use devices such as three-prong to two-prong AC plug adapters, sometimes called “ground lifters” to solve a noise problem.

NO

Remember that signal cables which connect equipment together can also carry lethal voltages throughout the system if just one ground-lifted device fails.  The legal liability that results from using a ground lifter can bankrupt a business.

Equipment supplied with a two-prong AC plug has been specially designed to meet strict UL requirements for it to remain safe even if internal components fail.  Only equipment originally supplied with a two-prong plug should be operated without safety grounding.

“One way to break a ground loop is to lift the AC ground on one piece of equipment, typically the power amplifier.  This removes the safety AC ground.  The system now relies upon the audio cable to provide the ground … a practice that is hazardous!!!  You also put at risk your multi-pair snake, console, post rack equipment, and most important the client.  I do not endorse the use of AC ground lifts for any system … anywhere. Don’t do it. ” -  Devin DeVore, Trinity Sound Company

Avoid the temptation to break the AC ground

With just one path to ground, there can’t be a ground loop.  Can there be a ground loop with one audio cable joining a console to a power amplifier?  Yes.  A ground connection through the AC cables and the chassis of the two units completes the second ground connection.  One way to break this ground loop is to lift the AC ground on one piece of equipment, typically the power amplifier, with a two-wire to three-wire AC adaptor.  Leaving the loose green wire or prong on the adaptor unconnected breaks the ground loop, but also removes the AC safety ground.  The system now relies upon the audio cable to provide the ground, a practice that can be hazardous.  Remember, this type of ground loop won’t necessarily cause noise unless the equipment is unbalanced or improperly grounded internally.

Lifting grounds at one end of a cable is not a practical solution to the ground loop problem for portable sound systems because it requires special cables.  Some professional audio equipment is equipped with ground lift switches on the balanced inputs.  Yamaha mixing consoles are no longer designed with ground lift switches because  good internal grounding obviates the need.  Lifted grounds can be lethal!  Ground lifting may seem to be essential when multiple unbalanced audio cables join two pieces of equipment, but at least one shield must remain connected at both ends to maintains the low side of the audio connection.  The chance of a total loss of ground continuity makes this practice chancy if not outright dangerous.  If you want to avoid ground lifting, try tightly bundling the cables, or using an audio snake to help reduce the “antenna effect” of a ground loop.

Maximize safety while avoiding noise caused by ground loops.

Don’t lift the safety ground on any piece of equipment unless it significantly reduces the noise level.  Then figure a work-around that doesn’t require the ground lift.  Never defeat the AC safety ground on your console or any other piece of equipment connected directly to your microphones.  Microphones take priority in grounding safety because the performers holding them may touch other grounded items, including a wet stage… and then…

Where practical, plug all affected equipment into the same AC service “leg.”  This includes the console, signal processors, and electric instruments such as guitar amps, keyboards, etc.  This not only reduces the noise potential if a ground loop occurs, it also reduces the danger of electric shock.

Best working practices for safety and great audio

• Avoid long runs of AC power cable.  Use AC power that is as close as possible to the sound system.
• Use 14 gauge extension cords at the very least, preferably 12 gauge to provide all the current your system will require.  If the cable run is more than 100 feet, 12 gauge cable is required.
• If a generator is used, it should be properly maintained, and any auto idle or other gas saving function should not be used with electronic equipment.  This feature was developed for the construction industry and doesn’t work well at all with digital gear on the field.

Safety is the most important concern when using electricity outside.  This is exaggerated in the rigorous schedules the corps keep.  Rain and moisture both need to be kept away from all the electronics in the system for safety and reliability.

 YES

GFCI, or Ground Fault Circuit Interrupters

Following the procedures outlined above, GFCI devices are not necessary for safety in the sound systems, and actually can cause false triggers when only a slight, harmless current triggers a show stopping power stoppage.  Use the simple circuit tester like the one shown above and you can be assured safe operation.

Sources for AC Power Products

• Home Depot
• Lowe’s Radio Shack
• Yamaha Motor Corporation

Keeping Murphy at Bay: Lessons in Electronic Pit Equipment

We all know Murphy’s law….. Whatever can go wrong will go wrong.  Here are some important tips for avoiding visits from your old friend Murphy.

Microphones and Cabling

• The use of nylon cable ties and colored tape will go a long way toward making setup and tear down clean and easy.  Invest in some short feeder cables to make connections at the keyboards and drum sets quick and keep performers and helpful setup personnel away from the microphones you so carefully placed.
• Carry extra cables. These wires WILL FAIL.  Anything that moves this much is bound to.  It’s just a question of when.
• Keep a spare wired microphone or two in case one of the wireless units fails to perform, or if one of your wired microphones goes south.  Even an old beat up piece of junk microphone is better than one that does not work at all.
• Tighten any loose connectors as soon as you notice them.  Snake boxes too.

Equipment

• Cable ties and color coding are mandatory to ensure speedy setup and tear down.
• Keep the AC power lines as short as possible. Don’t use a 100 foot cord when there’s only 25 feet to the outlet on the field. Your amplifiers and other gear need all the current they can get to produce their rated output.
• Keep a jumbo trash bag handy by the rack.  Thunderstorms have a way of cropping up rather quickly, and water damage isn’t covered under warranty.  Be sure to turn the gear off before you cover it up!

Loudspeakers

• Since there are Speakon four conductor cables on all the Yamaha cabinets, get four conductor speaker cables and a wiring panel from any music dealer.  This way there is only one cable to connect to the subwoofer and a small jumper cable up to the top cabinet.  Less connections + Simpler setup = no Murphy!

Learn a thing or two from NASCAR

• Practice setup and tear down and get it down to an art.  The pit crew can really become the pit crew!  Assign tasks and avoid sharing duties.  This dilutes the precision you need to make sure all is working and breakage will be kept to a minimum.

Good Bass Drum Tuning Is Within Your Reach

Proper marching bass drum tuning helps to maintain a drum’s resonance and sound.  Bass drums take a lot of abuse from unseen obstacles and the constant rigors of setting the drum down and lifting the drum up. Proper care, combined with proper tuning techniques, can ensure that your marching bass drum retains its excellent sound quality.

If you plan to replace bass drum heads, consider a double-ply REMO Smooth White™ model. This head is also available in single-ply but two layers provide more durability and a more focused tone.

Before attaching the drum heads, make sure all the screws inside the drum are tight. The eyebolts that connect the drum to the carrier have a tendency to loosen if not periodically checked. While you examine the inside screws, be sure to clean out any dirt that might have entered through the vent holes. Also, ensure that the bearing edge of the shell (where the drum head meets the shell) is still smooth and free of dirt and debris.

The most popular method of tuning bass drum heads involves the use of foam. Yamaha offers foam, known as the Sound Impact Strips™ (Model MA-200), in 15 ft. rolls. Using a pre-applied adhesive, you attach strips to either the inside or the outside of each head. The smaller the drum, the less foam you need.

Sound Impact Strips come with an instruction sheet that helps you to determine how much foam to use for each particular drum size. This is a guideline; feel free to experiment as you see fit. For a drier sound, use more foam. For a more resonant sound, use less. Be sure to apply an equal amount of foam — in the same location — on both heads of each drum.

Here are recommend sizes for the Sound Impact Strips.

Drum Strip      Total per Size                Length Drum

14″                                         2 x 14″                                  2′ 4″

16″                                         2 x 15″                                  2′ 6″

18″                                         2 x 17″                                  2′ 10″

20″                                         2 x 18″                                  3′ 0″

22″                                         2 x 30″                                  5′ 0″

24″                                         2 x 38″                                  6′ 4″

26″                                        2 x 55″                                    9′ 2″

28″                                         2 x 58″                                  9′ 8″

30″                                         2 x 75″                                  12′ 6″

32″                                         2 x 100″                               16′ 8″

As an alternative to Sound Impact Strips, you can use generic weather-stripping-type foam. If you go this route, start with medium density foam. If you are inexperienced or do not know how much foam to use, apply it to the outside of the head after you put the head on the drum. Then, once you tune the drum to your liking, make a record of how much foam — and what type — you used for future head changes. At that time, you can put the foam on the inside of the heads. This approach gives a cleaner look to the drum and protects the foam from the player’s hand and the external environment.

If you chose to put foam on the outside of the drum head, make sure to leave one to two inches of space between the hoop of the drum head and the foam. This allows the head to rest properly on the bearing edge of the drum. You may want to use a spacer to apply the foam evenly around the head. Always make sure there is good contact between the foam and the head, otherwise the foam may fall off after the drum has been tuned.

Once you place the head placed on the bearing edge, you’re ready to set the bass drum hoop. Some hoops have an inside and an outside. Be sure to place the correct side of the hoop down on the head. On Yamaha 8200 Series Field-Corps Bass Drum hoops, the outside edge is curved and the inside edge is flat. If there are any colored strips on the rim, try to line the seams up under a claw or in an inconspicuous area.

Inspect each claw and tension rod before you put the hoop onto the drum. Replace any bent rods or splintering claws. There is a great deal of pressure placed on these parts when you tune the drum; if they are damaged or not working properly, tuning could become very difficult.

Make sure that each the tension rod is lubricated when you put it back on the drum. A little petroleum jelly or white lithium grease works well. Do not apply too much or it will pick up dirt that could get down into the tension casings and freeze up a tension rod. Also, make sure you use any needed washers between the tension rod and the claw. The rod will turn much easier with these in place. Now, just get the rods started all the way around the head. Once you have this, you will be able to put the drum onto the player and align the Yamaha logo drumhead.

Next, finger-tighten each of the rods around the drum. At this point, you are ready to use a drum key. Start with a crisscross method of tightening the tension rods. Use the same number of turns on each rod. Continue until you reach the desired pitch. Note that if the other drum head is currently off the drum, only tune the about half way. This helps to prevent the drum shell from going out-of-round — or warping — due to too much tension on one side.

Remember that the greater the tension on the drum head, the smaller the turns you should make. The goal is to have all the rods tuned to the same pitch. When fine-tuning the tension rods, it is often helpful to place a few fingers in the center of the head to help cut out overtones. When doing this, tap lightly next to each tension rod. Using one rod as a reference point, tune all other rods to the reference. Continue to use the criss-cross method. Repeat this process for the other drum head. Be sure both heads are tuned exactly the same. If you are replacing both heads together, you should wait until both are on the drum before you raise their pitch to the desired playing level.

When selecting intervals, use the following guideline: a major third for every two inches and a perfect fourth for four inches. A major third allows the sound of the bass drum section to open up. It provides a smooth flow from the tenor drums down into the lower range of the bass drums. If you choose to use the bottom drum as a “kick” drum, tune it as low as possible while still sounding good with some impact. If you have a young line or a smaller number of drums, it is best not to use the “kick” drum concept.

At the minimum, you should check the tuning on a weekly basis. Since the player strikes predominately on the right hand head, this side will go out of tune sooner than the left and will require additional attention. This is especially true with new drumheads.

Be aware of any stress on the tension rods or claws that indicate there is too much tension on the drum. For instance, look at the angle of the tension rod as it enters the claw. If that line is different from the line extending from the end of the claw into the casing, there is too much tension on that rod. If the end of the claw is bending back or opening up, this is also a sign of too much tension.

Check the rim to see if there is any bending outward and examine where the tension casing meets the drum shell. There should be no space between the casing and the shell. All of these point to too much tension being placed on the drum.

Spending the needed time with marching bass drum tuning and maintenance will save you anguish later. A well-tuned bass drum section will help support the low end of your marching band or indoor percussion ensemble and provide the needed foundation to your percussion section. The weekly upkeep by you and your students will extend the life of both the drum and the drum heads.

How To Protect Your Drumline When The Gear Gets Wet

Many times throughout the year it is very likely that your high school or college drumline will get caught outside in the rain during a football game, parade, or rehearsal.  If you checked the weather prior to your event you should be well prepared for any such catastrophe.  However, if this was the last thing on your mind, your drumline is most likely somewhere between a “wet dog” and a “soaked to the bone” sponge.

Your drums are made of wood and metal: two things that water really loves to get inside, around and generally wreak some havoc.  If this happens you will surely want to take some much-needed time to service your drumline in order to get those musical instruments ready to go before the next rehearsal or performance.

First, let’s review how to prepare for wet conditions assuming you know it’s coming.

Be Prepared!

The old Boy Scout motto is the best way to go.  You must know the details of your playing environment wherever you will perform or rehearse.  Ask yourself the following questions:

• Is there a chance of rain, snow or any moisture??
• If it does rain, can I take cover relatively fast?
• If we must we play in the rain, what steps can I take to protect the instruments while playing?
• How soon can I get out of the rain and how do I get them dry fast?
• What resources will I have to help dry the gear and keep it dry?

Important Reminders

• Bring drum covers.  Covers will help keep a good amount of the water off your gear while it is raining, but measures must still be taken after the rain to ensure the gear is protected.
• If playing in the rain is unavoidable, at least bring the covers and have them in a place where you can get to them quickly when needed.  Do not leave them on the truck if you cannot get to them.  If you need to grab them fast, make sure you have the prop crew or band booster group member standing by to get to them quickly.
• Bring towels.  Towels will help you intermittently wipe down the drums while you are in the stands.  Instructional staff should keep towels handy to wipe drums any chance you get.
• Have people ready to help.  This means staff, parents, friends, etc. whoever is nearby.  They need to be at the ready to get covers, find a place to take cover, hold towels, or whatever else is needed.
• Bring a pop up tent just in case.  This is great to use for indoor percussion competitions where you need to warm-up and rehearse in the lot before the performance.  Be sure to bring sand bags as well to hold the tent.  When it rains it get windy so those sand bags are essential.

Playing in the Rain

Now, say you get caught and did not prepare, do not fear.  If you take some very simple steps, your drums will be ok.

• Prep your players for next steps while it is raining.  After the game or gig do not let your drumline members take off without helping to clean the drums.  Let them know of your plans to get the drums dry and cleaned up.  The first and most important step is to get those drums dry right away.
• Do not put any wet or damp drums in a case.  This could be your biggest mistake especially if you do not know  the status of your drums.  By putting wet drums away you run the risk of ruining your gear.  Your hardware could rust and your shells could be soaked leading to warping.  The latter is a big deal because the wet shells could begin to pull part leading to warping of the shells or allowing mildew to set in.
• If you have to quickly put the drums in cases or on a truck to get out of the rain, this could be bad, especially if you have a two-hour plus ride back to the school.  Do not let your band director scramble everyone to “hurry up, get on the bus, get the drums in the cases, and get on the bus.” This could be your worst mistake for the future of your drums.
• If you don’t have time to full dry the drums before putting them in the case for traveling, make sure to wipe the drums down to get off a good amount of water.  This will tide you over until you get back to the band room, the hotel or your next rest stop.
• Dry the drums. Take all the heads off and let the drums dry thoroughly.  Wipe down the heads with a dry towel.  Wipe down all the drums inside and outside with a dry towel.  You may use a hair dryer to dry the drums.  Better yet, if the school has large, over side floor fan use it to put next to the drums.  Let the air circulate inside and around the drums as much as possible.

Putting it all back together

Once you know that shells, hardware, drum heads and covers  are dry be sure to do the following:

• Replace grease on the tension rods
• Put the gravity guards back on for the bottom side of your snare drums
• Wipe down the heads really well
• Inspect all the drums before putting heads and hardware back on the drums
• Put them back in the case completely dry

Always remind yourself and your students that marching percussion instruments are just that: musical instruments.  Young drummers tend to not take as good care of their drum as say a trombone player might with his or her trombone.  As an instructor you have a duty to make sure your kids take good care of the gear.  It all starts with you to help them understand how and what to do.  Don’t forget the parents: your band boosters are equally responsible to help protect the gear.

Like anything else in life, the better you take care of what you have, the longer it will last.

We hope this helps.  Have fun playing percussion.

Yamaha Mallet Keyboard Cord Model Numbers

Are you looking for a part number(s) to purchase more mallet cord for your vibraphone, xylophone, bells or marimba?  Here are the part numbers you need.  Just take that number to any local auhtorized Yamaha music dealer to order what you need.

Yamaha Percussion Owner Manuals

Looking for that Yamaha Percussion Owner’s Manual?  While most Yamaha percussion products come with an owner’s manual, sometimes in the process of getting everything set up, those manuals get lost.  So if you need one, here they are.

An Off Season Guide to Indoor Percussion: Part III – Pro Audio Equipment

The optimal situation for Pro-Audio equipment is to have it all stored indoors in a cool dry place.  This will help avoid the extreme heat or cold experienced when stored on the equipment truck.  This is a must due to the nature of the product.

General Cleaning

• First, ensure that all pro-audio equipment is turned off and unplugged prior to any cleaning.
• Second, all of the equipment needs a good cleaning.  If the ensemble has carpeted loudspeakers, they can be vacuumed off gently.  All the other equipment should be wiped down with a soft cloth.  If a spray cleaner is needed, spray the cloth then wipe down the equipment to avoid getting the equipment wet.  This is especially important for the mixer.
• If there are any parts of the PA system that were damaged or broken, this needs to be addressed now so that the ensemble will be ready for next season.  Get it in for service while there is down time.

Loudspeakers

• The loudspeakers have the hardest jobs of the PA equipment.  Inspect them carefully and look for tears and cracking of the speaker cones and listen carefully for buzzes and other noises that indicate something inside the speaker might be loose.  (Use a CD player and your favorite music!)  Use a couple of different kinds of music to hear the high and low ends of the timbre spectrum to ensure the speaker is working properly.

Microphones and Stands

• Microphones and electronic equipment are highly susceptible to damage from moisture and wide temperature variations, both of which are common in the equipment truck.
• Store the gear in a cool dry space.  If the ensemble has any wireless microphones, pull the batteries out of the transmitters and throw them out.  You will be getting fresh batteries next season.

Cables

• All of the cabling needs to be cleaned and coiled neatly.  This will help avoid kinks and knots that are the wire’s worst enemy.  Professional sound companies do this all the time.
• Any connectors or plugs that show signs of damage or breakage need to be replaced.  Your ensemble cannot afford to have one of these little things ruining your performance.  Cables are expendable as they are constantly being drug along the ground and will damage easily.

Wheels

• Go to the local motorcycle shop and get some PJ1 black chain lube (www.pj1.com) to lubricate all the casters on your cases and carts.  This stuff is helpful because it goes on really thin like penetrating oil to get in and lubricate, but turns to heavier grease that stays put and will not wind up all over the truck or on your uniform.
• This is also recommended for the Multi-Frame and Tough-Terrain frame casters.