FolkMADS Calendar and Notes

May - June 2007 Volume 10, Issue 3

P.O. Box 40421, Albuquerque, New Mexico 87196-0421

The FolkMADS Calendar and Notes are published bimonthly by the New Mexico Folk Music and Dance Society, a nonprofit organization.

One of the great mysteries in life is how electronics companies can produce a ghetto blaster that runs on 4 C-cell batteries, will blow out windows at 100 yards, and sells for $49.95, while a PA (public address) system for the local contra dance group weighs 400 lbs and costs $2000 or more. I wonder about this every time I lug sound equipment into a dance hall, and have given it even more thought recently because I needed some new PA equipment, There are many ways to provide sound reinforcement, and chances are that most musicians and many dancers will come face-to-fingers with all of those little bitty knobs sooner or later. So let’s discuss it a bit.

But first, a qualifier. If you’re playing for a big venue, with lots of people and expensive tickets, get the services of a real sound company with expensive equipment, hauled around by burly roadies, and run by nerdy guys with “big ears” who do sound for a living. This column is intended for us common folk who play clubs, parties, and weddings, and who own and haul our own stuff around. If big money is involved, let the pros to do it; you don’t need the emotional stress or busted knuckles of doing it yourself.

A typical PA system has four components: microphones (or instrument pickups) to convert sound (pressure waves) to an electric signal; electronic equipment to process, mix and amplify those signals; speakers to convert the amplified signal back to sound; and mechanical contraptions to connect and hold it in place – mic & speaker stands, cables, chords, etc. This column focuses on the electronic stuff consisting of mixers, signal processors, and amplifiers.

Here are some common terms. A preamplifier is a high impedance amplifier that boosts the microphone signal from the millivolt range to around one volt. This makes it easier to condition the signal. A mixer combines the signal from two or more microphones into a single channel that can then be amplified. A signal processor modifies the signal from the microphones. Most commonly it consists of frequency equalization (EQ) in which parts of the sound spectrum are either boosted or cut to achieve the desired sound. Another common signal processing technique is reverberation to produce sound similar to that in a large room. There are hundreds of signal processing methods (listen to a heavy metal rock band for example) but most acoustic groups use them sparingly. Lastly, the power amplifier boosts the power of the preamp signal from less than a watt to hundreds of watts to drive the speakers.

There are three approaches to sound amplification. The most familiar is a powered box mixer which combines the preamplifier, mixer, signal processing and power amplifier into a single unit. Typically they’ll have from 2 to 8 input channels and 1 or 2 output channels for main and monitor speakers. They range in power from just a few watts powered by a battery for the street busker, to upwards of 1000 watts (1.3 horsepower if that’s relevant). Because everything’s all in one box they’re convenient, but as the power & complexity go up, so does the cost and weight. A 600 w system weighs costs from $500 to $700 and weighs 40 lbs. If we ran off batteries we’d need about 40 lbs of C-cells.

A second approach to sound reinforcement uses a separate preamp/mixer/signal processor, called a mixing board or mixer, and a power amplifier. The mixer may use either analog or digital signal processing. Because they’re individual components, these systems generally offer more channels and more features than a box mixer. If you need more than 8 input channels this is your only option, hence these are the systems the pros use.

The last strategy is a variation of the second and involves use of a mixer to condition the signal, and sends it to powered or active speakers. Powered speakers have amplifiers built into the speaker cabinet and offer the advantage of an integrated system in which the amplifier and speaker are designed and built as one for maximum performance. The disadvantages are cost and speaker weight, and you have to run separate power chords to the mixer and each speaker.

When purchasing a small PA system for an acoustic group there are five variables to consider: cost, power, features, weight, and quality. It’s tough to decide what’s best. Having just spent hours considering alternatives, I can report that box mixer prices range from less than $200 for 4 channels and 100 watts to $1,000 for 8 channels and 800 watts. The pros say you want one watt of power for each person in the audience, which is a pretty good rule of thumb in my experience. My teenage son had an amp that would dim lights for blocks around (the low notes would register on local seismographs when it was cranked), but it was the size of a refrigerator and he almost never took it to gigs, using a small 200 watt unit instead. For an acoustic group the features you need are good EQ for each track and for the speaker output, and reverberation. Most mixing boards and box mixers have an “Effects In” jack that allow you to plug in fancy signal processors if that’s what floats your boat.

Probably the most important feature and the hardest to judge is quality. One way is to search the web for consumer reports. I’m also impressed by equipment that comes with a long warranty; if the manufacturer thinks it’ll last a long time it probably will. My first PA amp had a five year warranty, and it was great, though it did need some repairs under warranty. Finally, I prefer to buy PA equipment from a local vendor rather than on-line. The prices are not much different than web prices, especially when you consider shipping, and you can try the stuff before you buy it. I’ve also always bought from a shop with a factory certified repairman; supporting somebody in town who I can talk to, instead of sending stuff to a P.O. box in an industrial suburb somewhere is worth a lot to me.

Even if you’re not looking to buy sound equipment, at your next dance check out the system, get the sound guy/gal to explain it, give him/her a hug (if appropriate), and offer to help coil cables and lug the darn thing out of the hall at the end of the evening.

The tune this month is Midnight on the Water played by Benny Thomasson and composed by his dad Luke. Benny was one of many great Texas fiddlers of the middle part of the 20th century and is often credited as one of the principal creators of the Texas contest style of fiddling. He plays this in DADD tuning and keeps a drone going on the low D string throughout the A part of the tune; in fact the whole part is just played on the two lowest strings.

ABC Notation
X:71
T:Midnight on the Water
N:From Benny Thomasson, "Country Fiddling from the Big State
N: County 724, 1970
N:Transcribed by Bruce Thomson
C:Luke Thomasson
L:1/8
M:3/4
K:D
z4DE|:"D"[F2D,6]F2F2|[F2D,6]F2F2|[(FD,6] A4)B|[A3D,6]FDE
[(FD,6] A4)B|[A2D,6]FEDE|"A"[F2D,6] AFEF|[1" D"[D4D,6]DE:|[2" D"[D3D,6]ABc|]
[|"D"d3cde|d3ABc|d3BAF|D4d2|"Em"e4ef|
e2d2e2|"D"f3gfe|d2BABc|"G"d4de|d2BABc|
"D"d3BAF|D3FED|[(FD,6] A4)B|[A2D,6]FEDE|"A"[F2D,6]AFEF|"D"[D6D,6]|]

Archive of featured ABC tunes can be found here.

FolkMADS thanks The Blue Dragon Coffeehouse, 1517 Girard NE, Albuquerque, for generously hosting the Albuquerque Megaband practices (on the Tuesday before the 3rd Saturday dances).

For more information about Megaband, contact Bruce Thomson: 277-4729, or Jane Phillips: 898-2565.
Email Jane to be added to the Megaband listserv (automatic e-mail reminders).

The Albuquerque Megaband plays for free each month at the 3rd Saturday dances in ABQ, helping to keep FolkMADS going.

A big thank you to all the Megaband musicians!!

P.S.
by Bob Ford

Tips for musicians using sound systems.

Just as your instrument or voice has certain characteristics that give it its distinctive sound, so too does the space that you play in.  Using a sound system in a room or a hall or a tent is like playing with two instruments.  The musician must listen to both the sound coming from the instrument directly and also the sound coming from the speaker that is reinforcing the sound.  Monitor speakers are used on stages to assist the musician or caller in hearing what the instrument or voice sounds like in the space after it has been amplified.  If the system is properly tuned to the hall by the sound engineer, the monitor speaker will accurately duplicate the sound that your instrument is making without distortion or feedback.  The musician then plays both the instrument and the microphone.

“Playing” the microphone involves positioning the instrument in two ways: distance and direction.  The distance from the microphone will determine how loud the sound will come out of the speakers.  It's best to get the instrument as close to the microphone as possible without hitting or touching it (unless you want a really bad, loud sound called noise, which scares people).  The direction of the microphone is also important.  It should be pointed away from the speakers and other instruments so that it does not pick up their sounds.  It should be pointed directly at the spot on your instrument where the best sound comes from.  Sometimes this is near a hole or a bridge or a string depending upon the instrument.  If you are not sure where the best sound comes from, try using a built-in pickup or a clip-on microphone.  This technique is similar to training wheels in that it allows you to focus more on making your instrument sound good and less on where the microphone is located vis-à-vis your instrument.

There are a couple of ways to check your microphone before a song starts.  Ideally, play a note or two on your instrument and listen for the sound in the monitor speakers to confirm that you are on.  Unfortunately, everyone else can hear you, and you may be accused of noodling or giving the dancers a false start.  Another way is to gently tap the microphone with your finger and listen for the low-frequency thump coming from the speaker.  Most everyone will hear it too but by then you will have stopped and no one will know that it was you doing the thumping.

Good sound reinforcement can make an evening of playing a lot easier and more enjoyable.  Sometimes though, it can be a pain in the ear depending upon many variables, including temperature, humidity, psychological moods, and temperament of the gods.  If you happen to be in a room and you hear a terrible screech don't look at the speakers or the sound person.  Look at your microphone.  You may be causing the feedback.  If you put your hand over the microphone to shut it up, like a child, it will squeal louder.  It's best to step back or push it away from your instrument and make sure it is not pointed toward the speakers or any other sound source.  Next reach for your ears and cover them.  And last but not always least, run for the off switch or pull the plug.

No instrument can be played well without practice.  The same goes for the sound system.  Try to arrange for an opportunity to play with a sound system in a space without an involuntary audience.  Experiment with different positions to find the best spot for the best sound.  Also try to find spots that result in feedback.  Who knows, you may even discover that you can make the feedback sound good and you can begin a whole new genre of musical enjoyment.

Other Events

Albuquerque Folk Festival Requests Volunteers

It's that time of the year when the Albuquerque Folk Festival is gearing up for another spectacular day at EXPO New Mexico (AKA: state fairgrounds) Saturday, June 16.  As usual, we can use your volunteer help (if you are not already presenting a workshop) and even if you are helping out as a dance angel for the Contra Dance workshop. 

Volunteers are requested to offer a three hour stint that can be divided to work in your festival favorites.  Shifts are available from 8:30 a.m. to 11:30 p.m. Please see our job list below. To volunteer, please contact Trylla Esherick or volunteers@abqfolkfest.org.

With your ever-so-wonderful commitment, we'll need to know: your available times, assignment preferences, contact info (name, address, phone, e-mail). Please join us as a volunteer. We appreciate your assistance and all volunteers are invited to help celebrate the festival success at the Esherick house a week or so after the festival.

Volunteer Jobs

What we can offer in return for your three hours