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one of my favorite things about our
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church is congregational singing to me
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there's nothing more powerful more
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moving than when we are in corporate
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worship singing praises to our Heavenly
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Father there's times where we can
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Thunder out over 90 decibels of volume
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during our congregational singing
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in today's sound advice I'm going to
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show you the centerpiece of our music
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ministry the grand piano now you've
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heard me say before live PA is the
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hardest type of sound of master and if
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we're thundering out at 90 plus decibels
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that means our pitch and tempo reference
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the grand piano has to be above that
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ambient noise floor I'm going to show
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you why and how I mic the grand piano
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[Music]
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I'm not a classically trained singer or
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any type of trained singer and if you
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heard me sing he would realize that I
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know what I'm talking about I'm not a
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singer okay
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that didn't quite go as smooth as I
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thought well try it again if you've
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heard me sing you would realize I'm not
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a professional singer and actually I
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should stick with running the sound one
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of the things that's really important
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during congregational singing is hearing
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your pitch and tempo reference now if I
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can hear the note I can reproduce it
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somewhat but if I can't hear the note
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I'm lost as a goose so I'm going to show
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you how I mic the grand piano and why I
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mic the grand piano the way I do okay
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here is our grand piano this is
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eighty-eight keys of bliss you're not
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going to find any other instrument in
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the church that has the same frequency
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response as a grand piano
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except our organ the low end is 27 to 29
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Hertz and the upper end is a little over
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four thousand forty one seventy five
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forty one ninety five just depends on
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the tuning that has a wide frequency
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response that's a tall task to be able
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to reproduce that faithfully and then
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amplify it into the congregation so the
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question is how do we get all of those
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frequencies contained zipped up to the
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mixing console and then amplify it
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through the speakers back to ear drums I
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use the crown pzm 30d it's a pressure
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zone microphone condenser so it requires
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phantom power now your typical
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microphones going to pick up sound waves
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the pzm is a pressure zone microphone it
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picks up the difference in air pressure
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also the PCM works really well on a big
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flat surface let me show you
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pzm is attached here this plane also
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helps pick up sound while it's vibrating
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and then it comes back into this plate
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and then the pressure zone element right
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there helps us amplify the sounds the
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bigger the plane or the bigger the zone
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that this is sitting on the more low
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frequencies we're going to amplify also
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I use two microphones for stereo
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application this is my left microphone
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and then this is my right microphone
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anytime we use to mark
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phones we need to be careful that we
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don't get phasing another term would use
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is called comb filtering I have our main
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microphone right over the dampers which
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is right above the hammers the hammer is
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what strikes the string and then the
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damper is what helps control the tones
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and then the overtones the piano is a
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percussion instrument and so I'm using
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the this microphone right here to help
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pick up that percussive attack that is
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what gives me the tempo the driving
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downbeat if we can hear that downbeat
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the driving downbeat we're gonna stay in
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time with the singing this microphone is
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going to be more over the bridge of the
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piano the bridge is where we're gonna
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hear the sounds most efficiently because
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that's where the strings come in direct
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contact with the wood one of the hardest
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things to tell people is where and how
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to mic the grand piano every instrument
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is going to be different every room is
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going to be different so it takes a
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little bit to figure out this is the pzm
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30d what I do is I'll put a piece of
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velcro on the back and then I'll put a
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velcro strip on the bottom side of the
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lid and then that allows me to mount the
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microphone and move it up and down the
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hammer area and upper up and down over
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the bridge that gives me the ability to
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put a mic on play with it if it works
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great if not move it I need to make sure
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that I'm going to get the fidelity out
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of the instrument and into the
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congregation now when we're pushing 90
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plus decibels during our congregational
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singing I can't rely on the low end of
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the piano to get out into the room it
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just muddies up the sound I need it to
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be clear so sometimes I'll brighten the
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EQ on the mixing console between two
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three and four thousand Hertz that's
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where we hear most efficiently and if I
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can brighten the piano up or mic the
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piano over the strings kind of the upper
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mid register the piano that's going to
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help with intelligibility and getting
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sound into the congregation that means
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we can still hear the piano without
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having just a blast everybody's eardrums
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out there's a fine balance when you get
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that loud during your singing there's a
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fine balance between loud and too loud
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there's a men's meeting in Stillwater
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the men's of
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we've clocked the congregational singing
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at over a hundred and four decibels
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that's one piano and 17 to 1,800 men
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crammed into a barn that's loud and
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still at that volume they need to hear
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pitch and tempo a couple things to note
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about the grand piano I like him
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oriented where the lids facing out to
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the congregation this lid is going to
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help amplify the sound and push it out
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into the room if that's pushing out into
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the room that's less that I have to
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amplify another reason why I like the
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PCMs you hardly see them and in
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broadcast it's nice to have a
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transparent look the lid can be a little
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controversial especially with piano
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players one of the beauties of the grand
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piano is this lid and how high it arches
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open but from a sound man's perspective
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it's better to have that lid lower or
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changing the angle of how that sound
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comes out of the piano so if you can
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imagine or squashing the angle down and
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we have more volume to push further also
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we can get the piano mics closer to the
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strings which gives us a proximity
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effect a proximity effect is going to
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give us better attack and better
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frequency response a couple years ago I
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had a really neat conversation with Joe
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miser I always believed that the sound
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originated from the strings and then
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that's what we heard was the strings
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vibrating but Joe shared with me the
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sound does originate with the strings
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but then the vibration is transferred
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through the bridge to the wood and this
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whole instrument is vibrating and that's
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what gives the grand piano its unique
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sound that's one of the main reasons why
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you can never find a keyboard that
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sounds exactly like a grand piano and
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then this this is so amazing to me this
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piano the EQ very rarely ever changes
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but the style of the piano changes
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drastically based upon who's playing it
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it's an instrument it's an extension of
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their personality their style their
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interpretation of the piece that they're
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playing so let's talk with Joe find a
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little bit more about the piano and how
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it works so the piano is really a really
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complex instrument when it comes to the
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sound that's produced because you know
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it may seem that the strings are the
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most important part and while they
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initiate the sound they're not what
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amplifies the sound so if it were only
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the strings you'd have a very thin tinny
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sound but a piano has a soundboard
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so the entire instrument really can be
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likened to a giant speaker cabinet and
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even other parts of the instrument also
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vibrate in sympathy with everything else
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that's going on the soundboard is a
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giant piece of wood thin piece of wood
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stiff piece of wood but the strings pass
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over what's called the bridge and those
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strings as they couple with the bridge
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are then coupled to the soundboard so
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you might liken the bridge to the voice
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coil of a speaker that's moving a
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speaker cone so as those strings vibrate
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they cause the soundboard to vibrate and
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then that sound is transferred both
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under and out the top of the instrument
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the original intent with a piano was
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that it would be a large powerful enough
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instrument to fill a well-designed
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performance hall with its own natural
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sound there would be those people out
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there that would say that the piano can
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only be properly miked
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by distant miking because you have sound
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coming from so many places on the
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instrument so those people would say you
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have to distant mic to capture all of
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that properly but we know that in live
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audio that's really not going to work
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well because primary reason feedback if
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we're trying to distant mic this
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instrument we're just not going to be
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able to get a loud enough or have enough
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of the percussive attack to really fill
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a room well and cut through during
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congregational singing I've seen some
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things along the way
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that would be maybe mistakes in mic in a
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piano one of the things that really made
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me laugh at one point was seeing a piano
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where somebody had taken a microphone
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wrapped foam around it and shoved it in
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one of the sound holes that's a big
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mistake
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you're not gonna get anything resembling
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a normal sound out of the instrument
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from do
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that another thing I've seen in the past
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was where a boundary microphone was laid
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under the piano on the floor so we're
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now about two and a half to three feet
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from the underside of the piano it was a
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very muddy unclear sound couldn't get
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enough volume from it again feedback was
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a problem so that's gonna be some issues
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you're gonna face in miking this
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instrument the woods are chosen very
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carefully in building a piano and each
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manufacturer would have a little bit
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different choices on some of the
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materials but they're gonna choose woods
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that are going to accomplish their
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purpose with regard to tone of the
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instrument that's not the only thing
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that plays into the tone I was recently
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reading an article about a group of men
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that went to pick a new piano for their
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venue so they went to a showroom to look
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at three different pianos now the catch
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was they were looking at all three being
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the same model of piano from the same
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manufacturer so why would they need to
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pick amongst three of those to decide
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which one because one instrument can pre
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be prepared multiple ways to sound
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different ways so they tried all three
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of these pianos each piano had been
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prepared by a different piano technician
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and so that made each instrument have
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its own unique sound so that made for a
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difficult choice for them because all
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three sounded good but they each had a
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unique character to them so the action
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unit in a piano is a very precise point
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on the instrument and it responds very
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differently to the input that it's given
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so whereas I may play one way and get a
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specific sound out of the instrument
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from that another person may have a
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different type of attack to the notes
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they may play softer they may be timid
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and there can be many many variations on
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how the notes are played piano teachers
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spend much time teaching students
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different ways to work with the keys of
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the piano because it is so risk
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on civ - what's done with it now grab
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your favorite pair headphones we're
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gonna do a listening demonstration
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you're gonna hear exactly what goes to
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our broadcast mix we're gonna start out
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with our main or left PCM microphone
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this mic has been on this piano for over
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20 years you'll hear that in mono then
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we'll add the right pzm mic in mono
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unprocessed then we'll pan left and
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right and then we'll add the processing
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you'll hear exactly what goes to our
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broadcast mix using the same mics that
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we use for our house mix
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[Music]
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thanks for taking your time to watch
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this video but please don't walk away
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saying all of that is great information
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if or if only if I had that or that's
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only in a big church yes it is specific
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to a grand piano but there's a lot of
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principles that I talked about that will
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transcend instruments and techniques the
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piano will be the hardest instrument
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that most of us will ever mike so it's
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really important that we understand how
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it radiates sound and what we're wanting
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to get out of it miking techniques is
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equally important we would never ask a
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vocalist to hold their microphone at
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their waistline same thing with the
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piano it's an instrument we need to
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learn how a radiates sound what we're
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trying to get out of it and what we're
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trying to accomplish with that sound the
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angle of the lid is extremely important
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just like if you take your thumb and put
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it over the end of a garden hose you're
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going to restrict the water flow so it's
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gonna push the water further it's the
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same thing with the piano if we restrict
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the amount of room that sound has to
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vibrated it's gonna project the sound
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further pitch and tempo our King in
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congregational singing if we can't hear
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either it's going to be a train wreck in
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our church service you'll hear the
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cadence from the song leader and I make
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sure the song leader is heard in the
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instruments monitors but in the house
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you're primarily going to hear the
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percussive drive of the piano most
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people will default to singing to the
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level of the piano or your main
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instrument so if we raise that overall
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volume of the piano we're gonna help
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raise the volume of the congregational
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singing the melody is extremely
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important in singing most people will
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recognize the melody of the tune make
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sure that your congregation can hear the
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melody of the tune remember we hear
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efficiently around two three to four
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thousand Hertz so if you're having a
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hard time punching that melody through
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the coat of the room try playing that
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melody in octaves or raise the melody
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one octave
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and finally it will take time to
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understand your piano I've been making
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this piano for 19 years I'm still
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challenged by it
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don't be afraid to move things around to
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experiment but don't do that right
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before church service in the notes
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you'll find a link to excellence in
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church music by Kevin Higginbotham
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that's the guy that sits at this piano
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every service and thunders out amazing
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music I hope you'll take some time to
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follow his blog videos I'm Jude and this
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is my sound advice
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[Music]26750
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