Three Rock Songs Your Sound Guy Needs To Know

Here's this weeks blog- these three Rock Songs Your Sound Guy Needs To Know will help your sound guy be a better engineer and guaranteee an awesome crowd experience.

1. Go With The Flow

This is the basic concept behind all audio engineering processes- that the sound engineer has a solid understanding of the flow of the signal path.

In simple terms, the flow of the signal is best described in the flow chart below.

PreAmp -> Insert Effects -> Equalisation -> Auxillary Sends (pre-fader) -> Fader Level -> Auxillary Sends (post-fader) -> (subgroups if required) -> Master -> Power Amp -> Front of House

Over the years I have seen sound guys running all the faders at the same level and mixing from the gain knobs at the top of the mixing strips. This is not only clumsy, it is not maximising the processing potential of your desk.

Those of you who are guitarists would be familiar of a guitar amp having a pre-amp (or gain) with a master level (or volume) at the end of the tone stack. This developed because guitars, microphones and other audio devices run at varying volume (or voltage) outputs, normally not strong enough to do any sort of processing with. 

While high gain in the preamp stage is preferable with guitars, in sound reinforcement you generally want to get the signal as close to "line level" as possible. This is indicated as 0 dB on most desks. 

In a live setting (and to a lesser extent the studio) you have the issue of dynamics. The dynamic range of an instrument or vocal is the degree to which the output varies (and in turn changing the gain required on the desk). For this reason (without using other affects like compressors or limiters) you need to be aware of how much fluctuation in the instrument volume there will be and what impact it will have on the gain setting. 

Instruments like guitar amps and keyboards tend to only have a small variation in dynamic range (if the musician has set them up correctly) whereas vocals can vary greatly.  Depending on the desk I generally like to have all gains set to about -6dB, allowing plenty of range if the volume onstage starts cranking before clipping occurs, yet still allows plenty of signal for manipulation. The other issue here with not having enough gain is when you have a low pre-gain setting, turning it up at post gain adds in a lot of hiss at reasonable volume (this hiss is the background signal of the equipment and is referred to the noise floor- more on this in future blogs).  

Once the signal has gone through the pre-gain, you have the option to add in effects at this stage (low and high pass filters, compressors, limiters and gates). On an analogue desk there is usually a TRS jack below for the XLR input for this, for a digital desk it is usually just a software patch. 

After this base signal is set (the purpose of the pre-gain and compressors, gates, etc) the sound is manipulated through the eq (more on that later), then there's the option to send through to pre-fader auxilliary sends for stage monitors and other effects, through the fader, back through post-fader auxillary sends (generally for effects you do not want in the monitors) and then sent through either a sub group or direct to the main out. 

Having a clear understanding of your signal path and what each section does to the signal clarity ensures a solid basis for building a great live sound as well as making your skills as a sound guy translatable to any desk- whether it be analogue, digital, entry level or high grade professional/ studio.

2. What's The Frequency Kenneth?

This classic song is not referring to human hearing, but I certainly am! The audible range of an adult with healthy hearing should be 20Hz to 20kHz. Modern speaker designs allow accurate, clear and strong responses right across this range- but when dealing with a live band this can add a new dimension.

Now you can see from this chart that most instruments (from piano, guitar, vocals to drums and the brass section) all sit in the 200- 600Hz range. The piano has the enviable position of being able to cover the broad range of frequencies, and you'll also note that not many instruments get beyond 1,000 Hz (or one kHz) without the harmonic overtones (these are for another blog...)

The issue this creates is you have many instruments competing for the same part of your listening ear- and when you have many instruments playing the same melody they can be lost in the mix quite quickly. A common issue with piano and keyboards when pianists play around the middle of the board in a larger band setting they are quite often unheard completely although the fader is sitting fairly high. Then, once they venture out past those middle octaves, they are incredibly loud and cut through fantastically. 

Now this isn't there isn't enough room in this blog for a breakdown on eq setting, but that does have a very small part to play. The main thing for your sound guy to recognise is he (or she) more than likely has a stage full of instruments competing for the same frequencies (even the drums)- so what can they do about it?

If you are mixing for a particular band, have a good listen to their music beforehand or if they have a tour manager have a long chat with them about their set list. They should be able to tell you (if you can't hear for yourself) which instruments are the leading instruments in each song. By this I mean the most prominent one in the mix which will become your reference point. Note it done on your setlist and adjust the mix accordingly. It is a given though that the majority of bands have the vocals as the lead instrument, but this isn't always the case. Many rock bands (aka guitar bands) prefer to have the vocals sitting just under the music, particularly if their genre involves a lot of screaming. Which leads me to the next application, church!

No I am not recommend we take up scream therapy next time we visit the local church, I am referring to the vocals sitting just under the music. The big two factors that affect sound in church is firstly they tend not to be as loud as Wembley Arena (or even hopefully the pub down the road), and secondly (and again hopefully), every member of the congregation is a contributing vocalist. Those of you who studied Physics in High School would have heard of the inverse square law when it comes to sound interpretation- it basically means that the closer a sound source is, the more impact (or louder) it is as well. So, you may have mixed an empty church with a fantastic mix with perfect harmonies and balance of instruments, then the congregation file in and the entire band's family and friends complain that they we only heard on the intros to the songs. This balance and allowance is a skill that is mastered a lot faster if your desk has subgroups, but you need to be mindful that the vocalists are not too below the music or else no one will be able to follow the leader or appreciate the harmonies.

So what do I mean by how they are sitting in the mix? I'm sure you've all heard a mix and thought, "Gee, that guys a bit loud!"- this is the way it is done! Rather than bring everyone up if someone is too loud, bring the loud one down so you can't quite make him out, then bring them up a fraction more. By referencing the music off a particular instrument as well makes the mix a lot easier- you actually go (for example, drums as your reference), is the bass louder than the drums? Is the guitar louder than the drums? Is the keyboards.... (you get the idea)

The other thing with competing frequencies is making use of the fact that most of the audience have two ears, and most venues have a left and right speaker stack. What am I getting at? 95% of venues I have come in to help have up until I arrived run mono front of house. There used to be a philosophy (based around the inverse square law) that if someone was sitting on the far left of a building, they would only get half the stereo image as they were too close to the left speaker. If your venue is massively wide this may be the case, but most facilities have modern speakers with wide dispersion which tends to alleviate this issue (although they are probably running mono as well!)

If you utilise your pan controls on the desk, you should be able to create a well defined stereo image that supplies sufficient room to each ear of the listener to allow them to distinguish the various instruments. Me personally, I like to run a guitar hard left and hard right, kick and snare mid centre with toms spread from left 30% to right 30%. Bass is always mid centre, and keys I will generally pan them left/right 50% if there are two of them (or a piano and keys), or if there are other instruments such as violins or flutes then I will match them against the keys at 50% left/right. Vocals I always have the leader dead centre with the back-ups blended based on where they are standing on stage. This is my personal preference as I find it gives the best clarity to each ear, but it is only my personal preference and you get to put in your own creativity into it. A word of warning though- ignore the soloist at your peril! Always be sure to bump them over mid centre for their solo (especially if they are a guitarist!) and reset them back to their original position.

Now just a final note on frequencies that I have to bring up (but will go into greater detail when discussing eq) and that is based around some fundamentals. Firstly, every structure has its own resonant frequency and associated harmonics. For most buildings I have found them to want to boom anywhere from 60Hz to 180Hz, but do not be surprised to find them outside this range. On that note though- harmonics actually occur to some degree whenever the frequency is doubled. So in a room that booms at 60, you will have another rattle at 120, then another at 240, 480 and so on. They do vary in intensity though so you are unlikely to need to play with the graphic eq- but it is valuable to be aware of it. So what to do about it? Generally, if the room has not been 'tuned', I usually pop a depression in the eq at the 80Hz range until I have a chance to hunt it down, and if time permits I will then get a tone generator and either a spectrum analyser or fresh ears (I prefer the latter) and snipe the offending frequency out of the curve. It is a good practice to get into as a happy bass player is a good thing- especially if they know they are moving a lot of air and people aren't grimacing or complaining its giving them a headache.

The last thing is the high pass filter that even primitive desks have. What is it, and what does it do is a common question I'm asked, even by seasoned desk jockeys. Its the little button (normally) up near the gain control that looks like its asking for the square root of 80. What it is actually indicating is that it will start rolling off frequencies from below 80Hz. This is important and this should be activated for nearly every channel on the desk (in fact, every channel where the instrument doesn't spend alot of time under 80Hz, so leave the bass and kick drum alone but push it on for everything else). Mike leads and microphone use pick-up through 'microphonics' stage rumble and hand noise- and this occurs in the 30-50Hz range. By utilising the high pass filter you are actually rolling these sounds out of the signal chain, and stopping them from muddying up the sound.

If you are not doing these last two tricks now, give them a go as soon as you can and see for yourself how much more clarity in the mix overall you will get, but especially down in the bottom end (and we all love lots of bass).


3. Epic ('You Want It All But You Can't Have It")

This last song is actually a little bit tongue in cheek and is actually more relevant to the tour manager than the sound guy. Every venue, each piece of equipment, set list, musician and audience member comes with its own set of limitations- and conversely advantages. As you become more experienced as a sound engineer you will become more accustomed to being asked the impossible, and infrequently acheiving it. It is not about being a proud underachiever, it is more about being realistic in your expectations and making sure you communicate it to those around you. Often in many settings performing artists are happy to accomodate limitations in equipment or expertise in order to give the best performance possible- and you'll be thanked for your honesty too! Who knows, they may even be able to solve the problem for you. There will be other times when you will not be able to get skin thick enough to deal with the ego, so enjoy the easy going artists when you can and hopefully you won't be getting many beer bottles thrown at you in between times (anyway in my experience its usually the band who cops the beer bottles, not the sound guy!)

Be committed to doing your best and do not let yourself get hung up on success or failure- some gigs will go exceptionally well and others won't and on both occassions it will probably be due to factors outside your control. Above all, be prepared to meet some truly interesting people, have fun and enjoy the experience! 

5 Questions to Ask Before Buying Your First Guitar

Whether it be for relaxation, sitting round the campfire, worshipping in church or rocking out with your mates in the garage, playing guitar is both good for your soul and your creative flow. These questions are designed to help you answer the age old question of whether you should start on acoustic or electric and what style of instrument best suits your needs.

Choosing your first guitar can be rather daunting, and there are a few considerations you should take into account before parting with your hard earned cash as the wrong instrument can lead to frustration and in turn a unplayed investment.

Follow these simple steps and you too can turn a passing interest into a lifelong love affair!

Question 1: What Style of Music Do You Listen To?

While most musicians inadvertently develop their own style that is often far removed removed from their greatest influence, if you tend to listen to one style of music there is not much point in buying a guitar suited to a completely different genre. It may sound amazing, but there is no point buying an 8 String Ibanez Guitar with locking Tremolo if you really love listening to Classical Guitar and hope to some day play in the Melbourne Symphony Orchestra!

The first decision to make is what style to do listen to, and therefore what style are you most likely to play. Pay attention to your favourite bands and find out what they play. This will give you a good starting point for a tone reference, and although you may not be able to afford Jimi Hendrix's or Jack White's guitar rig right now you will at least have a good starting point. If you have many musical influences it may be best to start with a fairly mainstream instrument (such as a Stratocaster or Les Paul Style guitar) as they tend to be easier to sell if you decide it is not for you.

Question 2: Is Portability More Important Than Versatility?

If you think you are likely to drag your guitar around everywhere and you like the thought of just strumming and singing a few tunes then an acoustic guitar could be a good starting point. If you are hoping to play for small audiences such as kids, campfires or solely for your own enjoyment then these are also valid reasons for choosing an acoustic.

It is important to remember though that without investing a great deal on your acoustic it can be difficult to get an accurate representation of the acoustic sound when running through an amplifier or PA- so when road testing your instrument don't forget to plug in and let your ears be the judge.

If you hope to play a wide variety of tunes (or solely rock or metal) then an electric would be the best place to start. The variety of sound at your fingertips (and feet) is immense, and the ability to play any style with the right guitar choice will assure you of a busy gig life and a lifetime of musical exploration. The downside for some is the amount of gear required to lug around to each show, but for others this is part of the enjoyment. 

Having said all that, question one may have already dictated the answer here- there may be no point spending big money on a high end classical guitar if you intend to only play Dillinger Escape Plan covers!

Question 3: Is Playability More Important than Portability?

Electric guitars are undeniably more playable than steel-string acoustic guitars. If you are planning on playing in a wedding band (or any other group which play extended sets), an electric guitar will give you greater comfort to both your fingers and your posture. If you aim to become a metal shredder, an acoustic guitar is not the choice for this.

However, if you are planning on strumming a few chords and wish to just be able to plug straight into the PA or stand in front of a mike than an acoustic will be a better choice. A nylon string (or classical) acoustic is both playable and portable, but are not as bright or generally as loud as a steel string. They can however be quite inexpensive and is often a good starting point for a young player who is prone to trying out a variety of hobbies!

Question 4: Is the Brand Name More Important Than Quality?

This is the biggest trap for starting musicians. All brand names have 'entry level' brands that are low cost and low quality. Unfortunately these brands are often funding a large corporate organisation and while there are gems to be found, there are also some absolute dogs which some unscrupulous retailers will happily off-load onto the unitiated. Fender have the Squier Brand, Gibson have Epiphone, PRS have the SE range and ESP have LTD. The easiest way to decipher the quality with these brands is the price point. I have a list below of guitars in the 'beginner' price brackets based on my years of research and window shopping- this list is completely subjective and ultimately there is no substitute for the guitar that sounds perfect to your ears!

Electric Guitar Guide, Below $600

Hands down for the money I believe the best guitars in this range are the "Vintage" branded intruments. Developed by Trev Wilkinson, his philosophy is simple: to make quality instruments completely affordable. The quality of the hardware actually makes these very worthwhile (for the cheaper VS range it is cheaper to buy a new guitar than buy a set of Wilkinson pick-ups and tremelo). The Vintage Guitars have a range of instruments to suit your style, with Stratocaster, Telecaster, Les Paul, SG and Hollowbody instruments in their range.

The Vintage instruments are the only brand I would consider safe to spend $300-$400 on and be confident you will receive a quality instrument.

At the $600 end of the spectrum it is worth considering the Epiphone range. These are good instruments in their own right, the finish is polyurethane (far less expensive than the Nitrocellulose finish used by Gibson) and the components are Gibson endorsed and if set-up well can be a good quality long term instrument. If you are not a confident player take an experienced friend with you to road test it first. Recent history has proven different, but in the past both Gibson and Epiphone have been known to distribute instruments with lower standard quality and finish.

For the metal fans LTD and Dean are brands worth a looking at, but again you will need to spend around the $600 mark to get quality, avoid the $300-$400 instruments as they will become a frustration for you later on. I personally would seriously consider anything out of the PRS SE range- which are available here in Australia at your local JB Hi-Fi.

Many people ask me about Squier. My opinion is although they make some interesting guitars, unless you know exactly what you are looking at I would walk past them as in my experience the lower quality instruments outnumber the quality ones.

Electric Guitar Guide, over $700

At the bottom of this range I would without a doubt include the Made in Mexico (MiM) Fender guitars. Great value for money, you have the benefit of the Fender brand and they have a few tonal differences that I believe are better than the Made in USA Fenders. You also have the luxury of a wide variety of models in the MiM range.

Trevor Wilkinson's Vintage Instruments are ridiculously good value in this price range. The Lemon Drop (Les Paul Style), Thomas Blug (relic'd Stratocaster) and Slash Models are incredibly good value, the Slash Model looking and playing very similar to a Les Paul six times the price. The Vintage Hollowbodys also come into this price point and are worth looking into as well.

Speaking of Hollowbodies, the Epiphone Casino is great value at around $1,200 and is an incredibly versatile instrument. Worth looking into if Classic Rock is your thing, or you want a bright clean sound, jazz chords or even some mid-gain pop-punk.

Metal Players are easily satisfied in this price range with worthwhile offerings by Schecter, Ibanez, LTD/ESP and Dean.

Acoustic Guitar Guide, below $400

There are a great number of Asian acoustics in this price range, in my view the ones worth looking at are Epiphone, Washburn and Cort. The main variation in this range seems to be the quality of piezo pick-ups (where fitted), so be sure to play both unplugged and plug before taking the instrument home. Most of the instruments in this range seem to vary in price due to the finish quality and whether there is a cutaway.

Acoustic Guitar Guide, $400- $700

Again, the best way to select these in this range are to use your ears as there is a great variance between manufacturers and styles (even serial numbers with a particular Australian manufacturer!). If you cannot play, someone at the store should be able to run through a few different models to choose from. Remember to listen to them plugged in as well as unplugged. The instruments I would be leaning towards in this price range are Lag, Cort, Tanglewood and Yamaha.

Acoustic Guitars, over $700

Like all instruments, you can spend as much as you can conceive on an acoustic guitar. As a beginner, if you are looking to spend over $700 it is best to lean towards a major brand as the instrument is less likely to depreciate as severely. The brands closer to $700 than $4,000 that I would tend towards are Taylor, Takamine, Fender and Martin. Some guitars such as Maton have pick-ups that combine both a microphone and a piezo, so its best to (again) plug into an amp and compare each choice before making a final decision.

Notes on Finish at the Finish....

When buying an entry level instrument it is important to note that how the instrument is finished will determine not only how it sounds, but how nicely it is played. A guitar with excellent components but garbage strings and a high action will feel terrible when compared to a cheaply built name brand guitar with an excellent set-up, so sometimes its important to look past the initial appearance. Also most guitars improve with age- in fact many tone junkies (including Gibson representatives) say that a guitar less than 5 years old has not settled into its tone yet so it may be worth either considering the second hand market. The main factor behind this is that the guitar's finish does not completely set (polyurethane finish just settles), and as the timbers acclimatise they  continue to breathe and tonally change. Nitrocellulose never hardens, and some will argue (especially Gibson) that because of this they only ever improve with age.

Bearing all this in mind, sometimes all an average feeling guitar needs are some great quality strings (I love and use Elixir), a good oiling with guitar nourishing oil and a proper set-up to make it play exceptionally.



So now that you're armed with this information, where to shop? These three retailers are the most down-to-earth guys I've met and are extraordinarily helpful. They all ship Australia wide which can be a good option for your first guitar (the only time I would buy a guitar sight unseen).

Cranbourne Music, Cranbourne, Blackburn and Melbourne VIC. www.cranbournemusic.com.au
Pony Music, Hallam VIC www.ponymusic.com.au
Five Star Music, Ringwood VIC www.fivestarmusic.com.au

Rock on and Stay Awesome!

Live Sound 101: 5 Tips to a Great Sounding Performance

Welcome to the first blog by The Tone Tech!

I have decades of experience in live performance, mainly within the loud rock settings and I have started this blog to help musicians and non- professional teams (such as Worship Teams and Community Groups) get a hot sound at performance. Feel free to comment and debate, I am not professing to be the final authority however these tips are the ones that have helped me over the years  to get that amazing live sound we all strive for.

Tip 1: Maintain Your Instruments

Ok, I know this sounds obvious, but even today I was in a performance where the guitarist complains about how his guitar sounds- but his strings are green!

Now, I'll have future posts on guitar, bass, keyboard and drum maintenance but in the meantime, by maintaining instruments I mean change those strings well before they are green and gummy, replace the delaminated drum head or fix that strap button on your bass that always falls out. If you don't have the cash to change parts right now you are better off borrowing someone else's gear than using half working gear as a good performance ultimately comes down to your confidence. Which leads me to my next point.....

Tip 2: Play Like Its Your Last Gig Ever

It was said about Midnight Oil that even from their first show they played like it was their last- but what does that even mean? It means CONFIDENCE. Expression and art is only heard when your voice is actually used- and a performance with passion carries a lot more value than one with barely any. We've all seen the kids in High School that are in a band because they've been pressured into it, or they just don't feel ready to be playing live- its memorable but only in a post traumatic stress disorder way!

For the guitarists, this means digging into every note and making it count, drummers actually hit the drums and singers sing like there's no one in the room. Whether your instrument is stringed, skinned or natural (ie, voice) the tone of the instrument differs considerable when used with some gusto- so make your instrument work for you and bring out those confident sounds! 

Some of the most popular singers and musicians in the world aren't technically the best at their at their craft, but because they've mastered the art of self-expression their ability to tell a story overwhelms their lack of musical ability.

Tip 3: Reduce Your Stage Noise

The biggest issue with "sound reinforcement" (the technical name for live sound engineering, or "what the sound guy does") is too much stage noise. I am the first to admit that there's nothing that sounds as good as a tube amp cranked up to its sweet spot (hey, I'm guilty of it!), but the problem with noisy amps and drums is they interfere with mikes that the sound guy does not necessarily want them in. Also depending on the staging material, you can end up with a real 'boom' occurring if those speaker cabs are too pumping (especially at the lower frequencies) and they end up resonating on the stage structure, turning the stage into part of the speaker.

There are a few ways you can reduce the stage noise. Firstly (and most obviously) you can turn the amps down. Not my favourite option, but it works none the less. 

You can direct speaker boxes so they are set up as fold backs but leave the mikes in place to let your sound guy run them through front of house. The easiest way to do this in a small venue is to tilt the speaker cabinets back on the side of stage. In the case of larger venues, pop them up on the drum riser (which also stops sound transmission into the staging structure). This does not have a total effect of reducing stage noise, but it does tend to force guitarists to turn down as the 130dB is no longer directed from their Marshall 1960A cab to the audience but directly to their own face! 

My preferred option (especially for houses of worship) is to have the guitarists setup their amps in another room off to the side of stage, crank them as much as they like and mike them up! Now this may result in a long cable run (more on that in other blogs) but you will notice a significant improvement in both individual guitar tone and overall mix down sound due to the amp running at its sweet spot but there being only as much stage sound as each musician can handle, depending on the number of fold back channels available.

The other option is to run all the guitars through amp simulators (such as Fractal's AxeFx 2), this will result in a massive reduction in stage noise and a lot more portability as the weight of the unit is offset by how much lighter your wallet will be (basic units start at $800, where professional grade units like the AxeFx2 is closer to the $2,700). I will discuss the issue of amp profilers, modellers and simulators in detail at later posts.

Tip 4: Learn a New Skill and Apply It

Our society technology is rapidly changing with new technologies always available for you to get one up on the next guy. Now while I think it's a satisfies the nerd in all of us, the problem with this is you won't have pockets deep enough to keep up, you'll always be outdone by somebody else and you probably won't have your gear long enough to become a master of it. The biggest issue I have found with a lot of brand new technology is quite often you are sacrificing tone for convenience. 

Like many things in life there becomes a whole lot of armchair experts who never actually apply anything that they seem to know an awful lot about: the problem being, often there's a big difference between the theoretical and the real world. What works in the studio or the lounge room doesn't always work on stage. 

So the best thing to do to utilise this tip? Get some advice or get some new gear and try it out for yourself! Be prepared to experiment with different microphones and positioning, and give it all a go during set-up or sound check, refining it a little each show.  See for yourself what difference a shorter cable run will make. Try your amp miked up at lower volume and see if you can actually hear a difference. Even modify how you play your instrument (such as trying a difference pick or playing position) and see if that will make a difference.  

The point of this tip is simple: if you can't hear a major difference quite often the average person won't either; but quite often a great tone is the sum of all the better-than-average parts. 

Basically get educated and put it into practice, but don't be in too much of hurry to part with your money. 

Tip 5: Train Your Sound Guy to be Loud and Good

As they say this is where the rubber hits the road. I'll have more on sound mixing in other blogs but this is where a little bit of theory can go along way. 

There's a concept in sound call the inverse square law. Basically it means the closer the sound source the louder it can appear. This is useful to the sound audio engineer because front of house speakers tend to always be closer to the audience than the stage foldbacks. 

Assuming first of all of the mix is done kind of okay, and the venue has its room rumbles eq'd out, it is possible to drown out any muddiness coming off the stage by having a comfortably loud front of house mix. 

Now this is when free apps come in handy. Grab a sound level meter app from the App Store, and check the sound level coming through from the front row. Someone with good normal hearing should be able to listen to music comfortably in the range of 96 to 98 DB without complaining that it's too loud. Pub or rock venues usually get away with pumping up the volume to about 105 dB.   When mixing at church I normally sit around the 92 dB measured at the desk. 

This bit needs to be understood though: if you have feed back or frequencies reverberating anything even over 85 DB will become very annoying for the audience! And if its too loud your sound guy or your band will either be target practice for beer missiles, or the venue will be empty! 

I'll discuss feedback and EQ in a further blog, at this stage is just important that you just learn how to roll out the frequencies that cause rumbles and feedback, any issues in the mix itself will be generally forgiven if it 'feels' good to listen to. Most novice sound guys do not need to be told to turn it up, but you'll be surprised how often I need to tell guys that have been mixing "for ages" that the muddiness will be fixed if they simply turn up the front of house!

So there you go- welcome to my blog you have just survived the first 5 tips on finding great tone live. Feel free to leave a comment, and let me know if there's anything you'd like discussed in future blogs. 

Thanks for reading and stay awesome!