fd615b20e349ba5702db5d40c6969fdfdb8f664f4cfed86269All over the world, musicians travel to perform at different countries. Some perform for a quick one night show, others for days or weeks and some even staying at one venue for months or years. Of course, a document necessary for travel is the passport, and one needs to be very careful of this document as it can actually be youˊre hope for safety if all hell breaks loose.

Most times, when musicians are on contract, particularly for long periods of time, employers or the host management asks for the musiciansˊ passport for their safekeeping. A very important advise - Refuse! You as a traveller should have and be responsible for your passport at all times. A passport is officially a government owned document issued to the bearer. It is “illegal” for anyone to hold someone elseˊs passport unless they are a government office or the passport holder signs and agrees to its safekeeping by someone else. Your passport and you as a traveling musician are more safer with your passport at hand.

There has been numerous times where I personally witnessed people having problems because their passport is with their employers. At times when there is an emergency, like what we experienced during the Gulf War. When emergency strikes and you are without your passport, you are most probably doomed. Also, some employers or promoters use the passports to blackmail the talents even asking money in exchange for its return; this happens a lot, and we should be aware that this is illegal. Exercise your rights and inform them of the law in a respectful manner. Once you are in your host country, this little demand of yours to keep your passport is not enough to cancel your contract because of the expense and the documentations they went through. At the end of the day, even if you have disagreements on these matters with your employer, a good performance will always make up for it. If you are good for business, you are good.

Summary tip of the day: By law, you have the right to keep your passport. Exercise that right.

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At times, drum overtones can become a nightmare not only for the drummer but the whole band, sound engineer to the extent of the listening crowd as well. Although, overtones and sustain seem to go hand in hand, it can be annoying when there is too much but also makes your drum sound dull when totally killed. So, where to we draw the line?

Drums and drumming most times is subject to preference so it is hard to pinpoint what is really right or wrong because thereˊs almost none.  Instead, drums can be judged by whatever sounds good or bad, but then again, subject to preference.

Usually, it is wise to dampen or lessen overtones as much as possible because the notes from these overtones actually messes with the whole mix to the point that a song being played could sound out of tune. There are three basic ways to dampen drum overtones: first is by using the drum key, second is by placing a ring damper and third is by using masking tape and tissue paper. Although one can also tackle experimenting with room acoustics which does work, for now we discuss what would be the basic and immediate ways a drummer can use.

With the drum key, you need to adjust the bottom sides first or opposite the skins that you hit, called resonant skins or snare side skin for the snare. It should be adjusted just tight enough so that it can still have flexibility to move or resonate. After that, you go on to the batter side and adjust it according to your preferred note. Now, when you hear and think that itˊs got an intrusive overtone, try tightening or loosening the resonant side until you hear the overtone become weaker without losing your desired note. After that, adjust only one lug on the batter side while hitting the drum. Slowly loosen that lug until you the overtone is gone or at least minimal. It is important that you adjust only one lug.

For the second option, you can buy a ring damper which is actually the same material as the drum skins cut like a donut. Dampers are available in different sizes and usually it can solve drum overtone problems easily just by placing them on top of a drum. Although for some instances using dampers can become too much that it ruins the drumˊs natural sound, most times it works fine which is why as a drummer, I always bring dampers for the snare, tom 1, tom 2 and floor tom and use them depending on how the room acoustics affect the drum sound. This is a rule of thumb for drums or any music source for that matter: Same equipment and same players, set up at different rooms or venues equates to different sound each time.

Now letˊs go to what seems to be a more barbaric solution by using adhesive tapes and tissue paper. As crude as this may sound, this works on the same principle as the ring dampers that you can buy but actually more efficient. Yes, efficient because you actually have control of just how much damping you need to apply to achieve minimal overtone nuisance but enough sustain. Just make sure that your are using soft tissue and adhesive or masking tape that really sticks.

Although most times, our concern is to kill overtones, there are actually instances that we need them and some artists that want them.

I, in particular, love overtones as long as they are in tune. Of course this would depend on the Key scale of a particular song you are performing so using overtones is best used inside the controlled environment of a recording studio but not recorded when playing multiple songs of different keys in a live performance. I actually started using overtones for recorded work by accident. I was on a studio session run and my drum track had this terrible overtone on the toms which was colliding with the other instruments. I was struggling to lessen the overtones without sacrificing natural sustain since the song seems to ask for it. Our sound engineer recommended that I tune the whole kit to a scale within the key of the song and I did so with reference to a keyboard. It was a tedious task since unlike a guitar where you only turn one knob to tune, a snare or tom would has 12 to 16 lugs. After more than an hour of tinkering and tuning the kit, we were ready so we did another take, but this time, we did not dampen the drums to kill the overtones and instead highlighted it. It was amazing! The drumkit produced loud powerful notes with overtones which blended well with the mix. I was blown away and my perception of drum overtones totally changed after that.

Summary tip of the day: Drum overtones can be a nightmare which you may want to kill but it can also be your friend; the key is knowing the difference.

Should you play heel up or heel down on the kick drum?

This is another well debated topic which should not be debated at all. Iˊm confident to say that the answer is: Play with whatever you prefer that is comfortable to you. You can play heel up or heel down or even alternate both styles and youˊd still be right.

Drumming is a highly physical musical task and the uniqueness of each individualˊs physical attributes make most choices in drumming styles a matter of preference. Each player should be able to feel and know which is suitable for him or her that works best.

It has been said that playing heel up delivers more power. This is true and obvious since playing with the heel up means stepping on the pedal with the added weight of the thighs or even a portion of the body. Although heel down produces less intense kicks, Iˊve seen some players who have mastered the heel down position delivering fast and powerful kicks.


​As a drummer, I prefer using both styles alternating them depending on my physical condition or the riffs I need to deliver. I used to be in a traveling band for the past 20 years and doing 3 to 5 sets a night was just another ordinary day, 6 times a week. At first, It was physically draining and muscle fatigue from all parts of my body became the norm. Either I quit or I had to find ways to make each gigginˊday more easy.

When I feel that parts of my foot or lower leg is worn out, I shift positions but I wait for the right song to do it. Heel down for ballads and heel up for rock songs which need power.

Aside from shifting styles as you go from one song to another, you can also change inside a song as long as the difference in volume or texture of the notes you deliver are almost the same. By doing this, you can go on for hours and hours of playing non-stop without complaining.

Now, here is the good part - you can actually use the shifting of the heel up and heel down positions to achieve bass drum chops which are very hard to do with just one position. There are numerous chops but try to do fast kick triplets in a row or even continuously. Even if you can do it, the strain on your foot and lower leg would be felt hard.

An easier way would be to use both the heel up and heel down position within a riff. In sequence, it goes like this:

1. start with heel up starting slightly from the left side of the pedal for the first note

2. center pedal and slightly lower heel for the second note

3. almost flat foot for the third for the completion of one triplet

4. move on quickly to a heel down for the fourth note or first note of the second triplet

5. mid and center position for the fifth note and lastly,

6. back to heel up and the original position for the third note of the second triplet or the sixth note of the whole sequence.

Youˊve done two fast and powerful bass drum triplets in a row!

Try to do this very slow at first making sure that the positions and how you attack the pedal is right. With the proper disciple and hardwork, youˊll be surprised at how accurate you can deliver such chops.

Summary tip of the day: Heel up or heel down? - Play with what youˊre comfortable with.

Summary tip of the day: Play drums with a tightly positioned kit and arms clipped for an almost fatigue free session.

Drumming for a band is a tedious mental and physical task. Aside from trying hard to stay on time, hitting the right notes and chops at the right time, having dynamics and emotions, a drummer has to struggle with the limits of his or her physical abilities mostly in terms of endurance and muscular fatigue.

Although most would presume that one need to be strong to deliver loud and powerful blows, that could actually be achieved by technique and not just brute force. The real enemy is muscle fatigue.

A simple way to avoid muscle strain when performing is to position the drum kit as tightly as possible with you being able to play with your arms clipped or at least very near a clipped position. This is so that the weight of your upper arms does not add to the sticks and forearms. The drumkit placement should be tight but still in a position where you can hit the skins where you want to comfortably. By getting used to this position, it is guaranteed that youˊll be able to play longer hours, and I mean hours and hours, keeping reserved energy and releasing it when needed. Of course since all people are physically unique, this might not apply to all, but it does to most.

The Mighty Shure SM58 Microphone

Without doubt, the classic Shure SM58 is the most popular vocal microphone in the planet. From beginners and small acts to rockstars, Shureˊs SM58 is a famous choice and even if artists have upgraded their gear to more expensive and hi end mics, chances are they have cone across the SM58.

Although it is the most used and abused microphone, many argue that it is not the best and the answer is, yes it is not. It may not have the frequency and dynamic range of other expensive mics, but at a price tag of USD100 on the average, the SM58 is a steal and a must have for anyone engaged in music performances. Yes there might be tons of mics out there with features that would simply outshine the SM58, but the reality is, musicians, the music industry and the whole listening world has been so accustomed to its sound and use. A lot of performers are most comfortable using it in terms of dynamics and handling.

Another thing that the SM58 is known for is its durability - literally built like a tank! Over the years of performing live and being part of a sound rental company, countless times Iˊve witnessed the SM58 torture test in live performance scenarios. Iˊve seen it fall from 10 feet down to solid concrete and still function continuosly with just a dent on the screen cover; an upcoming rockstar with attitude using the SM58 to hit cymbals and toms; a singer swinging the mic cable like a lasso sending it to towards crowd before falling to the ground 15 feet away.... it just doesnˊt stop working. Itˊs almost impossible to destroy its body and the cover is replaceable and cheap so the dents are not a big issue. Built to last, the SM58 can literally be handed over to your grandchildren in working condition without you even taking good care of it.

Aside from being an industry standard sounding microphone for vocals, the SM58 can also be a great instrument microphone. Its low impedance functions well with loud and sudden sound sources such as drums, even the bass drum. Aside from it having the capacity to mic almost anything, the SM58 is also easy to mix on your board.

One might wonder about its use inside the studio and youˊll be surprised at just how many professional and famous recordings used the SM58 for its tracks.

From personal experience, there was a time when I quickly needed to record and mix a song. We were taking the main vocal track and under time pressure. On session, I used a large diaphragm Audio Technica Studio Mic and a Shure SM58 at the same time on separate tracks. My reason for doing so was because that time my line for the Audio Technica were having problems and I did not want to ruin a take so I had the SM58 track as back-up. The signal lines worked well so both tracks were clean. Upon mixing, after some efforts trying to tweak the Audio Technica line, it seemed it will take more time. I took a break and when I got back I tried the track recorded by the SM58. To my surprise, without mich processing, it was almost close to the sound we wanted and in no time, we had a quality sounding vocal track using a hundred dollar microphone. After that incident, there were numerous times Iˊve used the SM58 for professional recordings and still do to date.This is not to say that it can fully replace the big league Rolls Royce mics in recording, but given due circumstances and knowing what you want and how to tweak it right, the SM58 can definitely function as a competent recording studio microphone.

Having used a wide variety of types and brands of microphones, I must say the Shure SM58 is my favorite. Itˊs cheap, durable, friendly to use for vocalists, easy to.mix on the board and can be used for about almost anything you need a mic on. I strongly recommend it as part of oneˊs arsenal for live performances and studio applications.

Summary tip of the day: When in doubt as to what microphone to use, consider the Shure SM58. Although not the best for some situations, it can handle most very well.

This question has long been debated by sound reinforcement rental companies and sound engineers.

I will tell you in great certainty that the answer is both. There is no right or wrong or better, but rather which set-up is best or appropriate for a certain gig. The choice between Mono and Stereo should be subject to the case to case differences of various events. It also relies on preference of the artist, producer and sound engineer; not precisely in that order.

Aside from personal preferences, factors that need to be considered are venue size and nature or type of playback or amplified material and speaker placement set-up. For small venues where speaker distances are not that far, stereo and mono applications might even have very slight difference at all. But if you have a set-up where the speakers are so far apart and the playback material has all of its hi-hats panned hard left, the ones on the right would have missed those notes or sound which are essential for the whole listening experience. This applies to all sound source where there is panning involved in the mix. At some instances, stereo would be best if you are going for sound placement effect as in surround speaker system in the movies where you know exactly from where a sound is coming from.

Some productions who are well aware of their sound outputs shift from mono to stereo whenever necessary meaning they have the best of both worlds. As a conclusion, if you are doing a fast set-up and not well briefed on the sound source outputs, go for mono. Best is to have a system rigged for stereo but set in mono with the option to switch to stereo when needed. Also bear in mind that by shifting from mono to stereo, certain elements will be affected as well such as your EQs, compressors, gates and effects so if you think it will be difficult for you to do real time fast calibrations, just donˊt do it. A solution to this is by using digital mixers where you can shift from one scene to another such as mono to stereo or live band to choir with a push of a button and all the audio processing elements adjusted at the same time. Of course, it would have to be set up ahead of time before the event starts.

A very important note: Even if you are going for a mono set-up, make sure that you are getting a stereo signal from your playback source such as a cd player or laptop and combining the left and right for a mono output. This can be done by using a stereo to mono cable or on-board your main mixer or a sub-mixer such as a DJ mixer. If you donˊt do this, you will greatly miss out on a lot of sound necessary for the whole mix output.

Summary tip of the day: Know your eventˊs audio requirements and source before you decide for a mono or stereo set-up.

When preparing to set-up speakers for a live gig, studio or whatever purpose that you need to amplify a sound source, it is of great importance that you get to know your speakers first. This means knowing technical details usually written on the back of the speakers such as the power voltage required, ohm rating, wattage and frequency responce. There are other more details indicated but these four are the most important.

You may ask why? Well, just imagine if you accidentally plugged in a 110volt powered speaker to a 220volt outlet. Not only did you damage your unit but such problems can be a cause of delay or even failure of an event. Or perhaps youˊll get confused and annoyed by the sound quality of your mix just because you are unaware that you have a speaker to amp ohm rating mismatch when using passive speakers.

Knowledge of how much wattage is needed for a venue relevant to the number of attendees is of great importance for live gig set-ups. You can either overpower or underpower your speakers if unaware of such details.

Now that you have the right voltage, wattage, matched amps or active speakers where the ohm rating is a perfectly sealed match, we go to frequency response which is a necessary detail before you calibrate your cross-overs and equalizers. Think of it this way - you canˊt put a pitcher of water into a small glass. You will just spill the water, make a mess and waste it. In audio language, you must not feed any frequncies which are beyond the speakersˊ frequency response. For example, monitor speakers with an effective frequency response of 100hz to 19khz should not be fed with 60hz signals. It will just cause noise and ruin your whole mix. Knowing the speakersˊ frequency response and feeding what to which speaker is the key.

Surprisingly, there are a lot of sound engineers who will just jump into calibration and mixing of a system without even knowing the details of the speakers which is a big mistake.

By knowing your speakers well, not only do you protect your equipment but you are also guaranteed of a better mixing experience and quality sound.

Summary tip of the day: Know the technical specs of your speakers before doing anything; and that means everything.

GIG TIPS AND TRICKS
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This is the blog's first official entry and I just thought it would better if I did not jump unto the topics immediately. Here, I will try to share as much knowledge as I can covering the many topics and problems people like you and me encounter during gigs. From equipment usage, live and studio sound engineering, stage set-ups, performances and more, each day, I will try to convey to you what is best at certain situations from experience. This is not a blog saying how good I am, but rather, a guide so that you may not commit the same stupid mistakes I did when faced with such problems and hopefully get your gigs over and done effectively and more fun. Most times, the articles or tips I'll be sharing will be random and I will just organize and properly segregate them in categories (hopefully) as we go along.

I've been involved in the music and entertainment industry almost all of my life and as they say, time and experience is the best teacher. I started out as a performing artist for both live and the studio and later on progressed to sound engineering, events equipment rentals and events productions. Although I know that the learning process will and must not ever stop, hopefully, the many years of accumulated knowledge I've had may serve a better purpose for those who want to learn more, and in return, I'm quite sure I'll learn more from all of you as well.

Cheers and happy reading!