Establishing Your Originality

Nanae Mimura is hailed as one of the most exciting marimba virtuosos of her generation, receiving tremendous praise for both her technical mastery and depth of expression. Winner of the 1999 Concert Artists Guild Competition, she is also the recipient of the prestigious Percussive Arts Society Competition Solo Marimba Prize, the Settimane Musicale di Lugano Solo Competition Prize, and the Japan Percussion Society Award.
She has performed numerous concerts in the USA, Japan, Central America, South America, Europe, and Asia since her debut in 1999. Sony Classical Japan released her debut CD recording, “Marimba Spiritual” in 2000, followed by an extensive Sony “Image” Tour of Japan. Recently, her second CD recording, “Universe” has been released in 2002. She has been featured on radio, television, and in the media throughout Japan. She finished her Master degree in Marimba at The Boston Conservatory in the spring of 2000. Currently, she is a part time faculty at Berklee College of Music in Boston, while she performs concerts in all over the world.

A Way to a Meaningful Performance

People who I admire move me in many ways through their great abilities to communicate. They could be movie stars, authors, musicians, or just close friends around me. After wondering how they affected me, I realized they all have something in common. They all know who they really are, and they all have a deep understanding of what they are trying to convey, each through a unique talent. This probably means that they have already established their identities in their own ways. As a musician, I strive to make my audience feel good about my performance. I do not think it is wrong for me to say that all musicians wish to move audiences with their music. In order to do this, it is most important to really know yourself.

It is essential for you to find out and know what you are good at and what kind of music brings out your best. I teach undergraduate students at the Berklee College of Music. Most of them do not know their abilities as musicians yet. Of course, part of my job is to help them with their technical weakness. It is very important to pay attention to your weakness and overcome that, because you want to give a “high quality performance.” However, that is not the only thing I spend time on. I put a lot of emphasis on helping them find their strong qualities and how to amplify them. I do this so they know and accept their unique qualities, which will lead them to achieve a “meaningful performance.” I believe that meaningful performances (or concerts in which you actually communicate your feelings and thoughts to your audience through music) happen only when you make full use of your best qualities as a musician.

In any setting, when a person wants to communicate with others, one needs to have “confidence” and “persuasive power.” For example, if I want to persuade someone about something about which I have little understanding, I would try to use someone else’s words or surface knowledge that I obtained from a book. Even if I were able to make sense with words, those words might not have enough power to affect anyone. In order to have successful communication, I need to have a deeprooted knowledge. The same thing applies to musical performances. They come from having a deeprooted knowledge of your instrument, as well as carefully chosen repertoire that best reflects your qualities. In addition, much care should be put into phrasing, as well as mallet choice and stroke. You must have a clear vision of what it is that you would like to convey to your audience.

Remember, you need to have a good understanding about yourself. It is when you are confident of your intention that your originality and identity will be established. With that, your music will become more meaningful and you will be able to give a performance that has power to affect your audience. This is why I strongly believe that having an original identity is one of the most important elements of being an artist.

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

Developing a Great Sound: The Swing Ride Cymbal Pattern

Michael Gould is an Associate Professor of Music at the University of Michigan. He maintains an active teaching, clinic and performing schedule. Michael is a Yamaha Performing Artist.

by Michael Gould

Sound production on a percussion instrument is often one of the last frontiers a student is faced with before moving on to other, more challenging techniques or another instrument within the percussion family. If one looks at the time a student spends on sound production with other instruments, for example, the trumpet (embouchure, breath support, posture), one quickly realizes that perhaps some more attention should be spent focusing on these issues with percussion. Because a student can achieve an immediate and somewhat recognizable “sound” on any given percussion instrument, especially in comparison with other beginning students on other instruments, sound quality issues usually fall much later in the maturation process of the percussionist. However, the earlier these issues can be addressed in the developing percussionist, the more musical, sensitive and mature he/she will become while performing.

The teacher plays a crucial role in the development of a student’s sound through example. This paradigm has been in existence since the beginning of time–“Hear a great sound, play a great sound!” This is the role of the teacher-student relationship. This can also be achieved through a student’s critical listening of recordings, and watching live and recorded performances. Although the following will detail achieving a great sound on the ride cymbal while playing a swing pattern, the principles of achieving excellent sound production cross-over to every instrument in the percussion family—from beautiful seamless closed rolls, great crashes on cymbals to warm, full-bodied strokes on a timpano.

The following will detail how I develop the ride concept with my students. This process is heavily dependent upon both the student and myself performing each example during the lesson, as well as listening to and playing along with recordings.

Before one even approaches a cymbal or drumset there are three areas that should be addressed in creating a great ride cymbal sound: the stroke, playing area and position of the instrument.

Free-rebound stroke

The stroke is one of the most important components of creating a good tone or sound. The freerebound stroke is well suited for creating a relaxed approach to striking the cymbal, and helps achieve a full, resonant cymbal sound. The following describes the creation of the free-rebound stroke while striking a drum. A similar technique is followed for playing the ride cymbal:

The free-rebound stroke coordinates muscle movements in the fingers and wrist. The two phases of the stroke consist of a down stroke and the contrary upstroke. The down stroke starts with the stick (striking implement), wrist and forearm in a neutral position parallel to the drum. The tip of the stick should reach slightly off center from the middle of the drum. In bending the wrist, the stick should rise about 12 to13 inches above the drum. With a quick whip-like motion of the wrist, similar to casting a fishing rod or bouncing a ball, the stick is propelled to the surface of the drum. The fingers
remain loose, and do not inhibit the motion of the wrist. These are the actions needed to complete the down stroke.

Upon completion of the down stroke, the upstroke begins as the stick rebounds from the tensed surface of the head. The whip-like rebounding action will help bring the stick back to the position it assumed at the beginning
of the down stroke. This type of free-rebound stroke employs the complete range of motion of the wrist and provides the greatest volume. For lower dynamics, the performer begins the downstroke much closer to the striking surface. By decreasing the height of the downstroke, the drum resonates less, which results in decreased dynamics and loss of some sound quality (for a more detailed description of the free-rebound stroke, see Gary Cook’s, Teaching Percussion, Schirmer Books; ISBN: 0028701917).

Playing Area – Position of the Cymbal

Placement of the stick on the ride cymbal dictates the overall tone quality of the instrument. For general ride playing the striking area should be 3~5″ from the edge of the cymbal. As with every cymbal or idiophone, one must experiment to find the best sounding area or “sweet-spot” of each particular instrument. The height, angle and mounting of the cymbal also play a large part in the overall sound of the cymbal. The height of the ride cymbal should be positioned so that the wrist of the percussionist is in a neutral position. This is similar to shaking someone’s hand—the wrist is not bent at a sharp angle. The angle of the cymbal is also critical to sound production. If the angle of the cymbal is too sharp, the cymbal will become choked. It is important to split the difference between getting a great angle for one’s hand position/stroke and not choking the cymbal. The cymbal should remain free-floating on the cymbal stand without being choked by the washer, rubber sleeve or wingnut.

The Breakdown of the Swing Ride Pattern

The Quarter Note Ride Cymbal Pattern

The basis for the swing ride pattern is built off of a four-quarter note pulse in common time (example one). The percussionist should employ the freerebound stroke for each of the four-quarter notes. The grip may be altered from a matched grip to one where the thumb is on top of the stick. This is similar to a French grip used when playing timpani. The hand remains very relaxed.

Example one: Quarter Note Ride Pattern

Two Playing Areas on the Ride Cymbal

Two playing areas are utilized on the cymbal while performing a swing ride pattern. There are several reasons for keeping two distinct areas of attack. First, one wants to differentiate between strong and weak beats. This helps establish an excellent groove and will usually match up very well with the bass player. One does this by alternating beating areas between each quarter note pulse. Second, establishing two striking areas helps keep the cymbal “excited”. If one were to perform in the exact same beating or striking area of the cymbal, one would notice a much drier or dead sound.

It also helps if the student develops a mental-aural concept of a great cymbal sound. The mental-aural concept places an image with the sound of the instrument. It also helps the student hear a great sound before playing one. I like to explain the four-quarter note ride pattern as the sound of someone walking (like a walking bass line) down a very resonant hallway with tap shoes on. This seems to tie together the two areas on the ride cymbal with the gate of someone walking with their left and right feet. During this phase of the pattern, the stick heights should remain at the same height for both playing areas.

Example two: Two Playing Areas

“The Drop”– Stroke and a Bounce

The drop is an integral part of the swing pattern to help relax not only the performer’s approach to playing swing, but to help with the overall “groove.” The “a” of beats two and four lead to beats one and three and can be considered one stroke followed by a bounce (sometimes referred to as a stroke and a bounce). The performer only supplies the upstroke for the last eighth note of the triplet followed by the natural rebound of beat one or three. The stroke height should be the same distance away from the cymbal as beats 2 and 4.

Example three: The Drop—Stroke and a Bounce

Triplet Subdivision or Inner Pulse.

Since swing is generally triplet-based music, one must subdivide the ride pattern in triplets. This will help place each triplet in-time and help with the overall “feel” or “groove” of the style. If the student cannot play the triplets on the snare drum while simultaneously playing the ride cymbal pattern it is important that a metronome or the teacher play triplets with the student.

Example four: Triplet Subdivision or Inner Pulse

Putting It All Together!

The beginning drumset student will have a much better chance of creating a great sounding and grooving cymbal sound and swing pattern by adhering to a relaxed free-rebound stroke with the proper cymbal position and playing area. By critically listening to not only the teacher during lessons, but recordings the student will further develop ideas on sound and ride cymbal patterns. Following these simple steps not only creates a great cymbal sound but a grooving swing pattern. Good Luck.

Overview:

1) Free-rebound stroke
2) Playing Area–Position of the Cymbal
3) The Quarter Note Ride Cymbal Pattern
4) Two Playing Areas on the Ride Cymbal
5) “The Drop”–Stroke and a Bounce
6) Triplet Subdivision or Inner Pulse
7) Now Play!!

Example four: Putting it all Together!

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

The History of Yamaha and DCI

Why is Yamaha involved in Drum Corps?

The drum & bugle corps activity “complete” the education circle. Students that join drum corp activities frequently become the next generation of band directors. Which in turn influence another generation of drum corp students.

No other music activity has such an opportunity to connect with individuals in such a unique way. Music education is at the heart of what we do at Yamaha. It drives all of our efforts and binds us together as a company. The opportunity to improve the lives of today’s young people through music is just one way that Yamaha gives back to the individuals that need it the most. For Yamaha, it is not just about making musical instruments but being able to become directly involved in the way that music is portrayed to today’s young people.

Study after study has proven that music education dramatically increases early brain development and improves overall academic performance.

• Ninety-seven percent of respondents to a 2000 Gallup survey agreed that playing in a school band is a good way to develop teamwork skills.[1]
• Band directors agreed that children who are active in school music program(s) get the unique opportunity to experience the intrinsic value of excellence.[2]
• Musical activities provide children with important experiences that can help them develop physical coordination, timing, memory, visual, aural and language skills. When they work to increase their command of music and exercise musical skills in the company of others, they gain important experience with self-paced learning, mental concentration and heighten personal and social awareness.[3]

The Yamaha History in the Drum Corps Activity

Yamaha has been involved with the drum corps activity for close to 30 years now. At first it was just Yamaha Marching Percussion. Then it became Yamaha Brass. Now it is Yamaha Pro-Audio Systems. Below is a list of the drum corps who have played on Yamaha instruments over the years and their place in history. While the placing of the corps during the year is not important several key topics are important to realize:

Longevity

• In 2010, the Madison Scouts and Yamaha celebrated 25 historic years of working together. The relationship with the Cavaliers became 25 years strong in 2010.
• Among the current line up of World Class Drum Corps, corps using Yamaha percussion equipment are averaging 8.26 more years with Yamaha that other corps’ length of history with other brands.  This means that corps using Yamaha products know the value of the relationship and love the products.

Recognition

• The drum corps that use Yamaha have been doing extremely well. Along the way Yamaha drum corps have won fifteen DCI Championships, thirteen High Percussion Awards, and six High Brass Awards in Division I/World Class competition.
• Check out our recent [INFOGRAPHIC] for Yamaha and DCI.

Commitment

• In the beginning there was a limited number of drum corps using Yamaha Percussion and the competition was tough among music instrument manufacturers. Since Yamaha began in drum corps, the number of groups using Yamaha instruments has grown from zero to over thirty-four. More drum corps play Yamaha Percussion than any other brand of instrument.

Product Development

• Over the years, the number of Yamaha products available to drum corps has grown. Yamaha has taken its time, completed the required testing and ensured that the products that are released to the marketplace are the best possible products available.

[1] 2000 Gallup survey on American attitudes towards music education.

[2] Dynamic Presentations Unlimited Research; Band Director Focus Groups, December 2001

[3] Frank R. Wilson, M.D.; Associate Clinical Professor of Neurology – University of California School of Medicine in San Francisco; AMC 1998 Publication: “Music and Your Child.”

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Year	Drum Corps Playing Yamaha Percussion and/or Brass Instruments	Finals Location
1985	The Madison Scouts becomes the first drum corps to use Yamaha percussion and place 4th The Velvet Knights begin using Yamaha and place 11th	Madison, Wisconsin
1986	The Blue Devils begin using Yamaha Percussion and win the DCI Championship and High Percussion The Cavaliers begin using Yamaha in the fall of 1986. The Madison Scouts place 7th	Madison, Wisconsin
1987	The Cavaliers place 3rd The Blue Devils place 4th The Madison Scouts place 6th	Madison, Wisconsin
1988	The Madison Scouts win the DCI Championship The Blue Devils place 3rd The Cavaliers place 5th	Kansas City, Missouri
1989	The Cavaliers place 3rd The Blue Devils place 4th The Madison Scouts place 7th	Kansas City, Missouri
1990	The Blue Devils place 4th The Cavaliers place 2nd The Madison Scouts place 9th	Buffalo, New York
1991	The Cavaliers place 2nd The Blue Devils place 5th The Madison Scouts place 7th	Dallas, Texas
1992	The Cavaliers win the DCI Championship and High Percussion The Blue Devils place 4th The Madison Scouts place 5th	Madison, Wisconsin
1993	The Blue Devils place 4th The Cavaliers place 5th The Madison Scouts place 6th	Jackson, Mississippi
1994	The Blue Devils win the DCI Championship The Cavaliers place 4th The Madison Scouts place 6th	Foxboro, Massachusetts
1995	The Cavaliers win the DCI Championship and win High Percussion The Blue Devils place 3rd The Madison Scouts place 4th	Buffalo, New York
1996	The Blue Devils win the DCI Co-Championship The Cavaliers place 4th The Madison Scouts place 6th	Orlando, Florida
1997	The Blue Devils win the DCI Championship The Cavaliers place 5th The Madison Scouts place 6th	Orlando, Florida
1998	The Blue Devils place 3rd The Cavaliers place 4th The Madison Scouts place 6th	Orlando, Florida
1999	The Blue Devils win the DCI Co-Championship The Cavaliers place 3rd The Madison Scouts place 6th	Madison, Wisconsin
2000	The Cadets begin using Yamaha brass The Cadets are named the DCI Co-Champion and win the DCI High Brass Award The Cavaliers are named the DCI Co-Champion and win High Percussion The Madison Scouts place 10th	College Park, Maryland
2001	The Cavaliers win the DCI Championship The Cadets begin using Yamaha Percussion, place 2nd, and win High Percussion The Crossmen begin using Yamaha Brass and Percussion and place 7th The Madison Scouts place 11th	College Park, Maryland
2002	The Cavaliers win the DCI Championship and the High Brass Award The Cadets place 3rd and win High Percussion for the 2nd year in a row The Crossmen place 9th Spirit from JSU places 10th	Madison, Wisconsin
2003	The Cavaliers place 2nd The Cadets place 3rd and win the High Percussion for the 3rd year in a row The Madison Scouts place 8th The Crossmen place 9th Spirit from JSU place 12th	Orlando, Florida
2004	The Cavaliers win the DCI Championship The Cadets, placing 4th The Madison Scouts place 8th The Crossmen place 10th	Denver, Colorado
2005	The Cadets win the DCI Championship as well as High Brass and High percussion The Cavaliers place 2nd Yamaha and The Madison Scouts celebrate the 20th Anniversary of the corps using Yamaha and place 6th. Spirit from JSU places 12th The Bluecoats begin using Yamaha and become the next Top 12 DCI Drum Corps to play Yamaha exclusively.  They place 5th, the corps’ highest placement ever The Colts begin using Yamaha and become the next Top 12 DCI Drum Corps to play Yamaha exclusively	Foxboro, Massachusetts
2006	The Cavaliers win the DCI Championship as well as High Brass The Cadets place 5th The Vanguard place 6th The Bluecoats place 4th, the corps highest placing ever The Madison Scouts purchase Yamaha Brass instruments becoming the next “All-Yamaha” drum corps and place 9th Spirit places 12th	Madison, Wisconsin
2007	The Cavaliers and Yamaha will celebrated the 20th Anniversary of the corps using Yamaha, placing 3rd overall Carolina Crown begin using Yamaha brass and percussion and become the next Top 12 DCI Drum Corps to play Yamaha exclusively, placing 6th over all The Troopers begin using Yamaha brass exclusively The Cadets place 2nd Vanguard paces 5th Bluecoats place 7th Colts place 10th	Pasadena, California
2008	The Cavaliers place 3rd. Carolina Crown places 4th Cadets place 5th Bluecoats place 6th Vanguard places 7th Madison Scouts place 12th	Bloomington, Indiana
2009	Carolina Crown places 2nd Cadets place 3rd The Cavaliers place 4th Vanguard places 5th Bluecoats places 6th Troopers place 12th	Indianapolis, Indiana
2010	Cavaliers place 2nd Bluecoats place 3rd Carolina Crown places 4th Cadets place 5th Vanguard places 7th Madison Scouts places 10th	Indianapolis, Indiana
2011	The Cadets win the DCI Championship The Cavaliers place 3rd and win High percussion Carolina Crown places 4th and wins High Brass Santa Clara Vanguard places 6th Bluecoats place 7th Madison Scouts places 10th	Indianapolis, Indiana

Remote Mixing – Controlling the Yamaha 01V96 with an iPad/iPhone and a Laptop

by Kevin Shah

What you need:

1. Yamaha 01v96 Digital Mixer
2. Laptop (This document refers to Apple computers and MacOS)

This process will work with PC’s with the appropriate substitutions in software and setup.

1. iPhone, iPad, or any other “smart” phone or tablet device.
2. USB Cable
3. Wireless Router (Optional)
4. Free Drivers and Software from the Yamaha Pro Audio website

General Overview:

This guide will walk you through how to wirelessly control the screen of a laptop which is controlling the 01v96 via USB. The end result is wireless control of the 01v96.  This guide is the way I do it. There are other options. All products mentioned in this document are trademarks of their respective companies.

1. Setting up the 01v96

Configure the Midi Ports

• Press the DIO/SETUP button until you reach the MIDI/HOST screen on the 01v96.
• In the GENERAL section (1) set the Rx and Tx Port to USB and press Enter.
• -      In Special Functions (4), set the StudioManager port to USB and press Enter. Leave ID as is.

2. Setting up the Laptop

Click Here to Download Yamaha USB Midi Drivers Studio Manager Software and 01V96 Editor for Studio Manager.

1. Install the Yamaha USB Midi Drivers, Studio Manager software and the 01v96 Editor in that order on to a Laptop that is connected to the 01v96 via USB.
2. Open SM2 (Studio Manager Software)
3. Under SM2>Preferences add the 01v96 to the Workspace.
4. Under MIDI Settings, make sure there are Input and Output ports selected for the 01v96.

5.  Double Click on the 01v96 Icon to open up the Main Mixer Window.

6.  In the main window under the File tab – locate the System Setup Tab.

7.  Set up Input port to Yamaha USB In 1 and Output port to Yamaha USB Out 1 (Which should match the Port from the setup of the console). Click OK.

8.  In the Mixer Window – under the Synchronization tab – select Re-Synchronize. If the Re-Synchronize selection is unavailable it is because all of the Midi setup steps were not completed. Go back and check to see if the correct input and output ports were selected.

9.  Under the Re-synchronize menu – select “console → PC’ in the Direction window and click OK.

10.  You should now be able to control the Mixer with the Laptop.

3. Setting up the Wireless Network

If you have a wireless router, follow the necessary steps to create a network that includes the Laptop which is connected to the 01v96.

Alternatively, you may create a network under the wireless network settings on your Laptop which is connected to the 01v96.

In the System Preferences, under the Sharing Tab, select Screen Sharing. Click computer Settings and select both options and enter a desired password and click OK.

4. Setting up the iPad/iPhone

This step involves using an app that can display the screen of your computer onto your device using VNC technology. There are many free and paid versions available in the iTunes App store. I use iTeleport.

Make sure the iPad/iPhone is connected to the same wireless network as the Laptop that is controlling the 01v96.

-  OR -

Make sure the iPad/iPhone is connected to the wireless network that was created by the Laptop that is controlling the 01v96.

Using your screen share app – enter in any necessary info and passwords until you are able to see the screen of the Laptop connected to the 01v96 running the StudioManager Software.

You should now be able to run your mix wirelessly!

Enjoy.

See the remote mix in action!

** Kevin Shah holds a Masters of Music degree from the Juilliard School of Music and is a Yamaha Performing Artist. He is the Electronics designer for the Bluecoats Drum and Bugle Corps and the front Ensemble Designer for the 2011 WGI Percussion Scholastic World Champions Arcadia High School. Kevin also is a proud endorser of Vic Firth Drumstics and Evans Drumheads.

www.kevinsshah.com

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

Microphone Basics for your Front Ensemble

One of the most important items you will purchase for your sound system is microphones.  There are literally hundreds of choices from dozens of manufacturers.  Let’s discuss the basics.

There are two basic types of microphones that are used in most live sound applications and certainly in the applications DCI requires.

Dynamic

This type of microphone has a very long history.  Basically a diaphragm attached to a coil of wire in a magnetic field, sort of a backwards loudspeaker.  Good examples are the Shure SM57 and SM58.  These are industry standards.

Condenser

This type of microphone uses a completely different way of transferring sound waves into electrical signals.  The electrical signal generated by a condenser style microphone requires an amplifier to raise the level up to that of a dynamic microphone.  This requires a power supply typically supplied by the mixing console (phantom power).

The chart below explains some of the basic differences between Dynamic and Condenser microphones.

	Dynamic Microphones	Condenser Microphones
Construction	Simpler	More complex
Cost	Less expensive	More expensive
Handling	Tolerates very rough handling	Requires more careful handling
Sound Quality	Excellent over a wide frequency range	Very sensitive, smooth, natural sound even at the highest frequencies
Power Source	Does not require a separate power source	Requires phantom power or batteries
Environment	Good for live performance and some recording applications	Good for controlled environments, recording and some live applications

Frequency Response

Every microphone has a signature.  Part of that signature is its Frequency Response.  Frequency response determines the basic “sound” of the microphone.  It is determined by the range of the sound (from lowest to highest frequency) that a microphone can reproduce and how that reproduction varies at different frequencies within that range.

Pickup patterns

In addition to frequency response, microphones also have a pickup pattern.  This is very important as this pattern can help to pickup the desired sound and reject extraneous sounds.  The first pattern is Omni or Omnidirectional.  These should be avoided in for use on the field as they will pick up all sounds equally from all directions.  Great for recording, but not a desirable quality for use in Live Sound.  Avoid microphones with this pickup pattern.

This is the symbol most often associated with unidirectional microphones.  These are sensitive to sound coming from only one direction.  The most common type of unidirectional microphone is called a “cardioid” because its pickup pattern is heart-shaped.  It picks up most sound from the front of the microphone, less from the sides, and very little from the rear.

Supercardioid or hypercardioid microphones offer even greater sound isolation through narrower pickup patterns.

Myths about microphones on the field

Myth #1 - More microphones is better

• It is better to place fewer microphones properly.
• Each time you add a microphone into the sound system, the maximum acoustic gain, or loudness before feedback occurs is reduced.  Use less microphones and turn off all of the inputs you do not need.

Myth #2 - Fancy condenser style microphones will always give you the best sound

• Using a less sensitive microphone for percussive instruments is actually better for live sound.  The benefits are better rejection of surrounding sound and longer microphone life.

Myth #3 - Using a less expensive, off brand saves money

• One of the worst problems is the lack of quality control.  Two microphones of the same type from the same manufacturer can sound considerably different.  Consider also the support you can expect from the maker

Wireless microphones

Wireless microphones follow all the same information above, Plus RF, or radio frequency, issues must be considered.  A transmitter and a receiver both require power, the transmitter uses batteries and the receiver will need AC power.

Guidelines for Wireless Microphones on the Marching Field

Avoid low-cost models.  The least expensive models lack diversity, where the receiver has two separate antennas.  This feature allows the receiver to choose the highest signal received, avoiding dropout and interference.  Frequency Selection should also be considered.  This feature avoids interference from other instruments in the same frequency range.

Assign the wireless transmitter to the performer to assure that it is well taken care of.  These units are rugged, but the small cables and little switches and battery doors can be easily damaged if care is not observed.

Wireless receivers up on a platform for better reception.

• Don’t bury the receivers.  Make sure that the wireless receiver(s) and their antennas are up and in the line of sight to the transmitter(s).  This will provide the strongest, most interference free signal.
• GO TO COSTCO!  Make sure a supply of fresh batteries is always available.  Costco offers a low-cost line of alkaline batteries in bulk packs.  Don’t let $1.29 stop the show!  Do not keep the old batteries anywhere near the fresh supply.

Microphone Mounting

No matter wired or wireless, mounting the microphones becomes one of the most important issues in marching percussion.  There are two issues:

1. Isolation of “frame noise” – All microphones are susceptible to handling noise or sounds transmitted through the body of the microphone.  A less sensitive microphone is usually better able to reject this sound, but this is a major concern especially for mallet keyboard instruments.
2. Repeatability –  No matter how the microphones are mounted, whether mounted on the frame of a marimba or clipped to the bell of a horn, positioning of the microphone repeatedly in the same place is critical to getting the same audio.

Microphone Rules

• Treat microphones with care.  Even the most rugged designs are susceptible to damage from abuse and moisture.  This helps ensure that the performance from show to show is consistent.
• Avoid microphones with on/off switches.  They invariably wind up turned off.  If you have to use switched microphones, tape over the switch to avoid this problem.
• Make sure to use the same microphones for the same purpose every performance.  There are slight variations in each microphone.  It is also a hygiene issue with vocal microphones.
• Carry a spare or two.  Even if they aren’t the right type, some sound is better than no sound.
• Use windscreens.  Even slight winds can sound like a thunderstorm coming from a distance.  They also help reduce moisture damage.
• Never blow into a microphone to check it.  The diaphragms are very light and easily damaged.  Gently tapping on the microphone, speaking or playing an instrument is the proper way to avoid damage.

Here is an example of very good color coding on the snake box and cables.

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

Yamaha @ PASIC 2011 – Andy Bliss and Nief-Norf

Andy Bliss and Nief-Norf

Thursday, November 10th @ 5:00pm in the Wabash Ballroom

Presenting “Six Marimbas”

Follow Andy, Nief-Norf or UT Percussion on Facebook.  Learn more about Andy Bliss and Nief-Norf.

Dr. Andy Bliss  is a Lecturer of Music and the Interim Director of Percussion Studies at the University of Tennessee at Knoxville.

Follow @andybliss, @NiefNorf and @UTPercussion on Twitter.

How to Order New Yamaha Custom Marching Series Drums

If you are looking to order a brand new Custom Marching Series Yamaha drumline, we made it much easier to get a price quote from the dealer of your choice.

Multiple custom lacquer finishes made popular by Yamaha Drums are available to high schools, colleges, and independent marching groups from across the country. Beyond the stunning range of finish options, band directors and percussion instructors will appreciate the Custom Series Marching Percussion as a fantastic way to complement any school’s color scheme and show concept.

There are over 23 different custom lacquer finishes hardware options available along with chrome hardware on marching snare drums to complete the custom look of your drumline.

Custom lacquers and hardware are only available on SFZ and MTS Marching Snare Drums, 8200 Series Field-Corps™ Marching Toms and Marching Bass Drums. Custom finishes are not available on Power-Lite™ marching drums or concert drums.

Here’s how it works

1. Download the PDF file attached here  - Yamaha Percussion Custom Marching Series Order Form
2. Print out the form
3. Fill out the form
4. Email the PDF or take it in to your local Yamaha music dealer
5. If you ned to find a music dealer in your area, use our Yamaha Dealer Locator

2011 Yamaha Drum Corps Drums

DCI Peeps,

We’re getting a lot of questions about the custom drums all the Yamaha drum corps were using in 2011.  Thank you for all the interest.  I know many of you are interested in buying snares drums and sets of multi-t0ms.

Here is how it all works if you or your school wants to buy any of these drums.

We will not know what drum lines are for sale until December 2011 as we work with the corps to develop a drum color that works for their show the following season.  We’ll post any information on what full drum lines are available around the first of the year.  After we sell the drumlines we’ll know if we have any left over snare drums or sets of multi-toms.  We generally try not to have left over and rather sell the line a s a full drumline. If we do have any left over we’ll know around this time next year.

Here is what the corps used this year:

• The Madison Scouts – White Marine Pearl.  They used this same wrap finish in 2010.  It’s  one of top drum set wraps that we’ve used for years.  This drumline will for sure be available for sale.
• The Cavaliers – Custom Green to Light Green Lacquer Finish – This color was done specifically for The Cavaliers and cannot be made again.  This drumline will for sure be available for sale.
• The Cadets –  A combination of both White Marine Pearl and Cherry Wood Stain Finish.  This drumline will for sure be available for sale.
• The Crossmen - A custom made Red Sparkle lacquer finish.  This color it available as a standard custom order.
• The Colts - A custom made Red Gloss lacquer finish.  This color it available as a standard custom order.
• The Bluecoats  - Custom Blue to Black Fade Lacquer Finish – This color was done specifically for The Bluecoats and cannot be made again.
• Carolina Crown – This was a custom Black Gloss lacquer finish.  The corps then applied a special flame adhesive made by a 3rd a party supplier.

If you are still interested in some snare drums and multi-toms from previous years see our post from July 12th.

There are no more full used DCI drum lines from 2010 or earlier.