I post the click track waveforms I use for live performance to synchronize with playback tracks. These click sounds are normalized and, I hope, nice to listen to. The format is Wav 44,1KHz, 16bits, Tempo : BPM = 100.

Click Sound : Simple and Smooth :

Count of 2 bars at the beginning :
e.g. : |1-2-|1234|…

Cue (or marker) with Heavy BEEP when we will change section :
e.g. : Verse To Chorus or Changing Key

END Count at last bar to warn of the end of the song :

When Tempo is less than 120 BPM , I use a Click 1/8 with Shaker on 1/8 note between. it’s more accurate to follow :

I use Logic Pro and UltraBeat with my own “CLICK” drumkit preset. All the patterns above are in the sequencer. A very simple way to very quickly create a complete click track: just drag and drop …

You can add the name of the song (generated by adobe audition by e.g.) at the beginning of the Click Track to avoid sending the wrong song.
I recommend several other articles like : Sound on Sound By Gavin Harrison and drummingreview.com by Nick Cesarz.

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1 – The Classic Stereo Mix

All your keyboards are mixed through a mixer, a audio interface or a virtual application.

Pros :

• Easy to set up
• Respect of your mix

Cons :

• No possibility to act on your sounds for the sound engineer.

2- The Simple 2 X 2 Keyboards

Pros :

• Easy to set up
• Possibility of acting on each keyboards for the audio engineer.

Cons :

• Double cables and inputs
• Need Mixer or Monitoring system

3 – The Efficient 2 x 2 Mix Bus : Piano vs Synth

Pros :

• Dissociates the piano sound from synth sounds
• Easy to use by the band

Cons :

• Double cables and inputs
• Complex rooting (need audio interface or digital mixer)

4 – The Fine 2 x 2 Mix Bus : Comping vs Lead Sounds

Pros :

• Dissociates the important sound (Lead) from the other (Comping).
  
• Easy to use for the audio engineer.

Cons :

• Double cables and inputs
• Very Complex rooting.

5 – The Multi-Outputs (8 or More…)

One Sound = One Track

Each Keyboard Sound is send on individual stereo bus. The best way is to carry signal thru a Multi output format (ADAT, MADI, DANTE, AVB…).

Pros :

•  Possibility of acting on each sound for the audio engineer

Cons :

• Very Hard Complex rooting.
• Need Multiple output and multicore audio
• Need Many Inputs on the patch

Equalizer and Compressor on Synth Bus

On Mix Outputs : I always insert Eq with Low Cut Filter to 50hz and a High Cut Filter to 16Khz with gentle slope of 12dB/oct to clean the extreme frequencies of the signal.

You can insert a Compressor to prevent peaks and enhance the low levels. Keyboards levels will be easier to mix. My favorite Preset : The low compression. Low Threshold -20dB or below , Low Ratio 1.4:1 Max, Knee to the Max for a soft & progressive response.

The post 5 Ways To Send Your Keyboards Mix appeared first on Keyboard Waves.

• I use a simple analog potentiometer in Mini Jack (3,5mm) like this  :
• I fix it on the keyboard using an adhesive Velcro (Hook and loop fastener).
  

• I connect to input my monitor mix from my soundcard with a simple 3.5 mm plug (mini Jack).
• I connect to output my favorite headphones Inner Ear Type : the Sony Mdr-EX800ST.
• The final result looks pretty much like that :

A different way, if you use active monitors, you can control their levels with a stereo volume pedal

The post Control Your Monitoring Level appeared first on Keyboard Waves.

By testing my “Schuko” plugs, I realized that many of them were reversed. But the on/off switches usually cut only one connector:  the hot. If the hot is reversed in the socket, the electric current always comes into your machine because the phase is  “active”. There are leakage currents that will create parasites. Respecting the direction of connection of the components (transformers, etc.) makes it possible to minimize electrical pollution. I also noticed that an UPS with an inverted cable, even shut down, always delivers an output current between 30V and 70V.

Check the wiring direction of your electrical cable :
CEI 60320 C13/C14  : Neutral & Hot must be reversed when viewed from the front. Discard all plugs that do not meet this standard, or use them for anything other than audio.

Check the wall outlet :

Hot should be to the right. To find the phase, use a multimeter. the current must be 230V (or 110V) between hot and neutral and between hot and ground.

Connect all your devices to one socket

Power your set from the same outlet to be sure to have the same electrical hot between your devices and avoid possible surges between them.

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Check that the mass of all your devices is connected to the ground.

In perfect world, the audio mass and the ground should be different, but most machines have an audio mass and a ground connected in their manufacture. Indeed, test the continuity (beep function) between the mass of a jack connected to the output of your machine, and the ground (or a screw) of the same machine, you will see that the 2  are connected.

Check with a multimeter that all your machines are grounded. Test the continuity between the Earth of your power strip and a screw of the machine, the mass of a connector or a metal part.

Connect your racks to the ground and your sound cards with an 1.5mm2 cable. the links will be perfectly equipotential, decreasing the noises.

Don’t use Wall Multi- Outlets or Electrical Cord Reels

Avoid electric reels or wall plugs, the connections between the different sockets are often reversed inside (cross-wired) to save production costs. Use only “bar” power strips where the senses are respected.

The ideal installation with UPS.

use an UPS, you will be more serene. in case of break during your absence from the stage or during the show, you don’t need to restart the machines. So you can achieve a clean shutdown before a hurried technician disconnect everything during the final backup!

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