Import1 May 2016

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32 discussions

Re: [Callers] Microphones and/or technique for a deep voice.

by JD Erskine via Callers

On 2016-05-18 1909, Darwin Gregory via Callers wrote: > I am a new caller, and I have called two dances. The first, I > completely blew the microphone part. Since then, I practiced holding the > mic close to my mouth like was suggested to me. > > The second dnce, I was told that my voice was too deep for the > microphone, and I was overpowering it. It was suggested that I hold the > microphone further away and project, which I tried, but again, not > something I practiced. > > Someone afterwards suggested that it could have been dealt with by the > sound board. Although, the sound guy was sitting there and I'm sure > would have done something if it would have helped. > > So, any advice? Is there a particular mic or mic type that is good for > deep voices? Any techniques to practice? Sound guy/gal need to be on > the ball? > > Any advice welcome. > > ... Darwin Hullo Darwin, Congratulations. Getting out there is the difficult bit. Then it's kind of, "let the learning begin." Deep voice is generally a description of frequency. It does not equate with volume. Pitching, as mentioned, is working in another frequency range, typically up or higher. This is quite different from projecting as it appears someone at the dance has suggested. Projecting is generally about volume. Unless they're a caller or singer with lots of experience, or a sound person or equivalent, be cautious of taking all feedback as something one must deal with. Not all feedback is a useful "truth". Both volume (gain) and frequency may be controlled by those in charge of the sound board. Often the Too Loud or Too Quiet (clarity) issues are dealt with through equalisation, the adjustment of frequencies. On arrival at a gig I tell those doing sound that I'm a baritone and without a monitor I'll leave it with them to let me sound both human/normal/like me and to clearly get some useful upper frequencies through the mix/balance. This is where much of the information content is in western languages. Feedback about sound, like everything else, may be tough to deal with socially. Callers are so often at the focus of feedback, requests, information holders, etc. Add a desire to help and we can try to do too much. If one can't (re)direct suggestions from the audience to the sound folks, take them a bit of it. However let it go too. I generally agree with Jeff, Don and Aahz. Steady distance, steady volume range, good orientation of the mic (speaking at it along the longitudinal axis, not the "ice cream cone" hold) will set one up for a state the sound folks can work with. Folks with low voices sometimes get used to rumbling along. We can do a bit to help out the situation. Like any dance caller good word choice and pace help. One may be able to find another frequency range, however one needn't over-compensate. That can hurt! However a bit of practise using an upper register can make it more interesting, add some colour. (Stories: 1. A crappy "shortwave" radio on a ship I worked in required one pitch one's voice up an octave to get any attention at the receiving station. 2. A regional calling colleague found himself in the range of a musical instrument and seemed to be getting lost in the mix. He's tried adjusting where he speaks to get away or separate himself from it.) -- If you wish to talk gear and technique (either mic or sound board) ask the friendly folks on the Contra Sound Forum. https://groups.yahoo.com/neo/groups/contrasf/info -- A fine sound resource is a book by Bob Mills, called All Mixed Up. It's available in paper form via CDSS and is also on-line. It's on-line now at http://bobmills.org/amu/ see http://bobmills.org/amu/microphones.shtml "A Guide to Sound Production for Folk and Dance Music Basics for Beginners - Exotica for the Experienced" -- Colin has a good bit on his site: http://colinhume.com/callers.htm#Microphone -- In general there are quite a few bits of useful advice one may find from a search on the topic(s) using one's favourite search engine. Cheers, John -- J.D. Erskine Victoria, BC

7 years, 11 months

Re: [Callers] Microphones and/or technique for a deep voice.

by Aahz via Callers

On Wed, May 18, 2016, Don Veino via Callers wrote: > > Mic technique is IMHO more important than mic type, I'd concentrate on > being a consistent reasonable distance away from the mic with it pointing > *at* your mouth. Vary pitch rather than volume with your voice to > communicate excitement. I have a naturally deeper voice myself and find > keeping my thumb extended and just touching my chin enables a consistent > sound without having to remember to maintain that constant distance: One thing I notice many callers doing is holding the mic vertically; holding the mic horizontally in front of your mouth almost always works better. (Holding the mic vertically used to be reasonable advice to avoid pops, but modern mics deal fine with that, and getting the better signal propagation from a horizontal mic makes more sense.) -- Hugs and backrubs -- I break Rule 6 http://rule6.info/ <*> <*> <*> Help a hearing-impaired person: http://rule6.info/hearing.html

7 years, 11 months

Re: [Callers] Microphones and/or technique for a deep voice.

by Don Veino via Callers

Sorry, forgot a restriction I have on my server re: images loading. Try this link, the photo is at the top of the content. http://veino.com/caller/ On Wed, May 18, 2016 at 10:44 PM, Don Veino <sharedweight_net(a)veino.com> wrote: > Mic technique is IMHO more important than mic type, I'd concentrate on > being a consistent reasonable distance away from the mic with it pointing > *at* your mouth. Vary pitch rather than volume with your voice to > communicate excitement. I have a naturally deeper voice myself and find > keeping my thumb extended and just touching my chin enables a consistent > sound without having to remember to maintain that constant distance: > > http://veino.com/site/media/caller/DonV-Caller-HalfSize.jpg > > (yes, there are nicer looking models but I knew where this picture was... > :) > > The sound person should be able to then adjust the tone controls to match > your voice (probably reducing bass and possibly boosting highs). > > On Wed, May 18, 2016 at 10:09 PM, Darwin Gregory via Callers < > callers(a)lists.sharedweight.net> wrote: > >> I am a new caller, and I have called two dances. The first, I completely >> blew the microphone part. Since then, I practiced holding the mic close to >> my mouth like was suggested to me. >> >> The second dnce, I was told that my voice was too deep for the >> microphone, and I was overpowering it. It was suggested that I hold the >> microphone further away and project, which I tried, but again, not >> something I practiced. >> >> Someone afterwards suggested that it could have been dealt with by the >> sound board. Although, the sound guy was sitting there and I'm sure would >> have done something if it would have helped. >> >> So, any advice? Is there a particular mic or mic type that is good for >> deep voices? Any techniques to practice? Sound guy/gal need to be on the >> ball? >> >> Any advice welcome. >> >> ... Darwin >> >> >> _______________________________________________ >> Callers mailing list >> Callers(a)lists.sharedweight.net >> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >> >> >

7 years, 11 months

Re: [Callers] Microphones and/or technique for a deep voice.

by Don Veino via Callers

Mic technique is IMHO more important than mic type, I'd concentrate on being a consistent reasonable distance away from the mic with it pointing *at* your mouth. Vary pitch rather than volume with your voice to communicate excitement. I have a naturally deeper voice myself and find keeping my thumb extended and just touching my chin enables a consistent sound without having to remember to maintain that constant distance: http://veino.com/site/media/caller/DonV-Caller-HalfSize.jpg (yes, there are nicer looking models but I knew where this picture was... :) The sound person should be able to then adjust the tone controls to match your voice (probably reducing bass and possibly boosting highs). On Wed, May 18, 2016 at 10:09 PM, Darwin Gregory via Callers < callers(a)lists.sharedweight.net> wrote: > I am a new caller, and I have called two dances. The first, I completely > blew the microphone part. Since then, I practiced holding the mic close to > my mouth like was suggested to me. > > The second dnce, I was told that my voice was too deep for the microphone, > and I was overpowering it. It was suggested that I hold the microphone > further away and project, which I tried, but again, not something I > practiced. > > Someone afterwards suggested that it could have been dealt with by the > sound board. Although, the sound guy was sitting there and I'm sure would > have done something if it would have helped. > > So, any advice? Is there a particular mic or mic type that is good for > deep voices? Any techniques to practice? Sound guy/gal need to be on the > ball? > > Any advice welcome. > > ... Darwin > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

7 years, 11 months

Re: [Callers] Microphones and/or technique for a deep voice.

by Jeff Kaufman via Callers

* Lots of low frequency sound gets muddy and makes it hard to hear what's happening. * Typical dynamic microphones output extra bass when you're close to them ("proximity effect") The standard way to deal with this is to use the mixer's EQ to turn down the lows. This is something most sound people will do with most callers, and works pretty well. I don't think you should hold the mic farther away or switch to a mic that doesn't have a this proximity effect, since any mixer can easily compensate. Just check with the sound person to make sure they know to turn down the lows on your channel. Tell them it's ok if you don't sound quite like yourself if that's what's needed to make it intelligible. Jeff On Wed, May 18, 2016 at 10:09 PM, Darwin Gregory via Callers <callers(a)lists.sharedweight.net> wrote: > I am a new caller, and I have called two dances. The first, I completely > blew the microphone part. Since then, I practiced holding the mic close to > my mouth like was suggested to me. > > The second dnce, I was told that my voice was too deep for the microphone, > and I was overpowering it. It was suggested that I hold the microphone > further away and project, which I tried, but again, not something I > practiced. > > Someone afterwards suggested that it could have been dealt with by the sound > board. Although, the sound guy was sitting there and I'm sure would have > done something if it would have helped. > > So, any advice? Is there a particular mic or mic type that is good for deep > voices? Any techniques to practice? Sound guy/gal need to be on the ball? > > Any advice welcome. > > ... Darwin > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >

7 years, 11 months

[Callers] Microphones and/or technique for a deep voice.

by Darwin Gregory via Callers

I am a new caller, and I have called two dances. The first, I completely blew the microphone part. Since then, I practiced holding the mic close to my mouth like was suggested to me. The second dnce, I was told that my voice was too deep for the microphone, and I was overpowering it. It was suggested that I hold the microphone further away and project, which I tried, but again, not something I practiced. Someone afterwards suggested that it could have been dealt with by the sound board. Although, the sound guy was sitting there and I'm sure would have done something if it would have helped. So, any advice? Is there a particular mic or mic type that is good for deep voices? Any techniques to practice? Sound guy/gal need to be on the ball? Any advice welcome. ... Darwin

7 years, 11 months

Re: [Callers] Confirming Bookings - Best Practices?

by JD Erskine iDance via Callers

The local series is good that way, with their confirmations. Those are pretty close to the date, so I tend to follow the Check Their Sites/Pages thing. Others in the region are pretty good with a run of communication to set up and one to later confirm. Again with something closer to the date. Again I'll do a check on the lead up, mostly by having a look on my own for promo material. One dance series had the caller I was replacing still listed on the site, so I wrote about a month and a half out so I knew if I was free to rebook, do other things, or simply enjoy the evening as a dancer. With a series, where there's a bit of pattern to the behaviour I have little concerns. Also the communication tends to be pretty good and established. For one off dances I may do a bit more asking, esp. if there have only been early enquiries. On occasion a "definitely want you" has fizzled, on other occasions what appears to be a casual inquiry really was their idea of a firm booking, for myself and the band. A band I do regular ONS work with (anniversary, wedding, fund-raiser gigs) and I are seriously considering asking for a financial deposit for some bigger one-off affairs. Esp. if there's travel, rental of equipment, accommodation (that we must book) and such. So, mostly nothing earthshakingly different than what a number have commented on. Cheers, John -- J.D. Erskine Victoria, BC Island Dance

7 years, 11 months

Re: [Callers] New (?) dance, B1 balance, B2 balance and partner swing

by Luke Donforth via Callers

Two corrections: The Bob Isaacs composition that I accidentally duplicated is "Return 2 Sender". "Return to Sender" is a different Bob Isaacs dance with a double progression. I'm now proposing Vallimont's Silver Hammer be the following dance instead: Becket A1 Circle Left Neighbor Swing A2 Promenade across with neighbor Ladies chain to partner B1 Right to neighbor, balance and pull by; pull by partner left shadow DSD 1x B2 Partner Balance and Swing slide left (That is, unless that one exists as well; in which case I'll write her a different one.) Happy dancing

7 years, 11 months

Re: [Callers] New (?) dance, B1 balance, B2 balance and partner swing

by Robert Golder via Callers

The dance name "Return to Sender" may always now seem a bit ironic to you, but there are worse things in life than to come up with choreography so good that Bob Isaacs got there first. On May 9, 2016, at 3:23 PM, Luke Donforth via Callers <callers(a)lists.sharedweight.net> wrote: > And it turns out it's already been written: > Bob Isaacs called it "Return to Sender" > > Sorry for the false alarm. > > On Mon, May 9, 2016 at 2:55 PM, Luke Donforth <luke.donev(a)gmail.com> wrote: > My tentative name (assuming the composition doesn't already exist) is Vallimont's Silver Hammer. The dance came out of a conversation with the talented musician Julie Vallimont (just got permission to use the name) about closing sets; and how callers like dances that end with swings but bands often have something that builds to a big hit at the A to B transition in the music. > > On Mon, May 9, 2016 at 1:52 PM, Jerome Grisanti <jerome.grisanti(a)gmail.com> wrote: > Luke, > > I don't recognize it, but it looks fun. > > Just curious ... did you have a particular tune in mind that shaped your desire for the balance at the top of the B sections? > > --Jerome > > Jerome Grisanti > 660-528-0858 > http://www.jeromegrisanti.com > > "Whatever you do, or dream you can, begin it. Boldness has genius and power and magic in it." --Johann Wolfgang von Goethe > > On Mon, May 9, 2016 at 12:46 PM, Luke Donforth via Callers <callers(a)lists.sharedweight.net> wrote: > Hello all, > > I was trying to write a nice end-of-evening dance that had a balance at the top of B1, and ended with a partner swing (that wasn't Old Time Elixir #2 or Tica Tica timing...) and came up with this. I think it's new, and it worked well in Montreal recently; but I'd like to know if it already existed: > > Becket > A1 > Circle left 3/4 > Neighbor swing > A2 > Gents start hey for 4 by left > B1 > Right to neighbor (women back to back in middle), balance and box gnat > Pull by right, women allemande left 1 1/2 > B2 > Partner balance and swing > Slide left > > Happy dancing > > -- > Luke Donforth > Luke.Donforth(a)gmail.com > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > > > > > > -- > Luke Donforth > Luke.Donforth(a)gmail.com > > > > -- > Luke Donforth > Luke.Donforth(a)gmail.com > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

7 years, 11 months

Re: [Callers] New (?) dance, B1 balance, B2 balance and partner swing

by Luke Donforth via Callers

And it turns out it's already been written: Bob Isaacs called it "Return to Sender" Sorry for the false alarm. On Mon, May 9, 2016 at 2:55 PM, Luke Donforth <luke.donev(a)gmail.com> wrote: > My tentative name (assuming the composition doesn't already exist) is > Vallimont's Silver Hammer. The dance came out of a conversation with the > talented musician Julie Vallimont (just got permission to use the name) > about closing sets; and how callers like dances that end with swings but > bands often have something that builds to a big hit at the A to B > transition in the music. > > On Mon, May 9, 2016 at 1:52 PM, Jerome Grisanti <jerome.grisanti(a)gmail.com > > wrote: > >> Luke, >> >> I don't recognize it, but it looks fun. >> >> Just curious ... did you have a particular tune in mind that shaped your >> desire for the balance at the top of the B sections? >> >> --Jerome >> >> Jerome Grisanti >> 660-528-0858 >> http://www.jeromegrisanti.com >> >> "Whatever you do, or dream you can, begin it. Boldness has genius and >> power and magic in it." --Johann Wolfgang von Goethe >> >> On Mon, May 9, 2016 at 12:46 PM, Luke Donforth via Callers < >> callers(a)lists.sharedweight.net> wrote: >> >>> Hello all, >>> >>> I was trying to write a nice end-of-evening dance that had a balance at >>> the top of B1, and ended with a partner swing (that wasn't Old Time Elixir >>> #2 or Tica Tica timing...) and came up with this. I think it's new, and it >>> worked well in Montreal recently; but I'd like to know if it already >>> existed: >>> >>> Becket >>> A1 >>> Circle left 3/4 >>> Neighbor swing >>> A2 >>> Gents start hey for 4 by left >>> B1 >>> Right to neighbor (women back to back in middle), balance and box gnat >>> Pull by right, women allemande left 1 1/2 >>> B2 >>> Partner balance and swing >>> Slide left >>> >>> Happy dancing >>> >>> -- >>> Luke Donforth >>> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com> >>> >>> _______________________________________________ >>> Callers mailing list >>> Callers(a)lists.sharedweight.net >>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >>> >>> >> > > > -- > Luke Donforth > Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com> > -- Luke Donforth Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>

7 years, 11 months

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Import1 May 2016