Latest / The Magic Guys / How Music Transforms Stage Magic #220

Transcript

How Music Transforms Stage Magic #220 · The Magic Guys

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They're guys. They do magic. They are the Magic Guys.
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Ladies and gentlemen, what's up? Welcome to episode 220 of the Magic Guys.
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Look at this, I'm holding a deck for those who are watching that is two decks combined,
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and I just tried to riffle shuffle it and uh it
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turns out you really need some hand
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strength for that but to my left a guy who has many
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hand strengths is nick k i'm nick
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k and beneath me and also
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in this dad we have daddy doug i didn't
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really kind of feel good it's like a hand strength like what does that mean
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i was i automatically went there myself
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finger banging like a champion like that's not how
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it works okay imagine if that yeah go
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on daddy i'm that oh
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you've even got it a grip strength nice it's a
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whole it's a whole bunch oh this is
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the maximum strength i have actually i.
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Can bench press a cornflake that's well
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you know what that's what strength means that's
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what it means the most you know imagine if our secret hand signal
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became that like what group
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are you a part of in the magic guys oh this one yeah
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yeah i'm in the club oh boy
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that's bad hey hang on a second isn't it
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said that like in medical journals that like grip strength
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is one of the most important things you can have in your older age is that's
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right it's one of the abilities you start to
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lose yeah like the ability to like to hang from a
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bar would be is like one of the most important things to be able
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to have like yeah apparently your achilles
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heel like your tendon is one of one of the first things to go so they always
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recommend you know practicing uh squatting down and you know where you're like
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the chinese you know squatting thing they can just do forever we don't have
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a purpose for it normally but if you actively yeah i forget the name of it but
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yeah you do those squats,
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it works those tendons. And then, yeah, I think grip strength.
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Probably your back or your hips are probably next. Basically,
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the idea is from my personal training qualifications growing up before I turned
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into a wizard, your bone mineral density is the thing that will keep your body
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able to move when you're older.
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And that comes from resistance training, like doing weights,
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even if it's small weights, it's what keeps your bones strong and allows you
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to actually, you know, keep going forever.
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Well, here's a wild idea. We start the magic guys
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health club and josh you can kick off that as
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a side business and we can do before
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and after shots of like doug and i look in
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the way we do right now which is very good but
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then we have before and after shots where it's like check out the magic
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guys health club and obviously you
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get some packs and look like i don't know chris angel
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i could see a jacked doug like in
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a leather open jacket with some abs busting
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down some leather pants with cheeks cut
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out yeah that's what
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a real camera he just snaps a magic
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wand no that's a
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bad thing that's what we do when someone dies at a funeral but guys
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we are getting off track and as you know that does happen
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we do this live and always in the live chat
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we have our friends hello friends tim asking we
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have adonis good to see you friend gutbuster mike
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what up charlie good to see you friend and of
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course thomas conger wow there's a whole bunch of you guys here thank you
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all for being here in the chat the motivation for today's
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topic is an interesting one josh tell us how this
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sort of came about yeah so you know it's in our discord ghan j g e h a n i'm
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the same is this the same ghan that we know or is this a different g in the
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discord are you thinking chi han who's the magician well in in our discord we have ji han.
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It's funny because obviously everyone's cryptic in there so we
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don't really know who's who right but our friend put is it spelled like this
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j e h e a n and you're probably here live and you're probably laughing that
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i'm not saying your name right or oh there we go he says it's me which is still
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Jihan, which still doesn't help, but thank you.
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He put in like, have you ever done an episode on putting music in your shows?
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Like, have you talked about like what kind of music to use, where to find it?
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You know, is it better to do Magic Silent?
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What tech do you use? Great questions.
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And we've always dabbled in it, but we've never dedicated an episode to it where
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like, if someone asks you about music.
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Putting music in your show we've never had an episode
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we can just direct people to and so i think this is
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kind of the epitome for us
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of the magic guys like scoping out here's all the stuff
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we think you should know about adding music to
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your show or at least the things you should consider and that's
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how we've landed here agreed now before we kick it off
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just just do we actually do we use music
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in our shows doug do you use it for your street shows or anything you know
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i was going to ask you guys the same question i i
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have made headway to put music in
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my street show and i'm very interested in learning
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from someone who knows more than me today so i'm
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hoping maybe one of you are more pro than me i know some
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stuff and i've made you know some headway
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so i can chat about you know the ballpark but
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i'm here to learn to at least converse on
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the subject hell yeah and i mean you've seen
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many acts with music in it so you'll be able to
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give feedback and i mean in vegas that's
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they got all the bells and whistles there
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so this is perfect we're going to try and get through as many questions as we
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can charlie hewish is in the chat i've known charlie for a long time just through
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the interwebs but charlie also is working on dynamo's live shows which is amazing
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and he's just left a comment while working on Dynamo's live show,
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we made sure to always have some sort of music, even if it was a low instrumental
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track during a monologue.
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It definitely helped to set the mood for each scene.
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I love that. And thank you for sharing that. And it's like a movie,
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like you want to have those scores, you know, that cinematic feel,
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even if not an actual song.
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So yes, I do use music in my show as well, and we'll get into that right now.
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Here we go. So some quick questions. We're all going to chat about this.
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Put your thoughts in the chat as well.
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Today, we're trying out a feature where we can see the live chat on the screen.
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Everyone watching can see it in real time.
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And question number one, thing to consider, what emotion do I want the audience
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to feel during this routine?
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And what music matches that?
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That's a good question. So when you're doing the performance,
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guys, it depends what sort of energy levels you want to achieve.
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I don't really know if there's a reference for it, but one thing you want to
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keep in mind is that if you want something to be calming, a normal heart rate is at 60 to 70 beats.
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I'm going to say 60 for a healthy person, okay?
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Because I consulted the Magic Guys Health Club and I got that information.
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And so 60 beats a minute is a healthy place to be.
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If you want to get a rise out of your audience, something a little bit more
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energy, you want to find songs that have a beat per minute that is going to
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sort of coincide with the elevation of excitement you want them to have.
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If you ever listen to Rocco Solano, you know, Sleaving Rocco and his thoughts
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on applying music to his act, he always likes to work around the 80 beats a minute.
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That's just a means of getting someone from being nice and comfortable in their
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chair, waiting for a performance to going from that to 80.
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So just getting them a bit more vibe watching that show.
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And then in a mixture of getting your heart rate a little bit above,
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as well as applauding, all those things generate blood flow and will naturally
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raise your heartbeat to be something like you're dancing or moving around a lot more.
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So it's one of the things you want to sort of look at, the correspondence between having.
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Beats per minute and your heart rate and trying to match those.
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So keep that in mind when you're trying to get that emotive.
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So if you're trying to be calm, maybe you do something real slow, real somber.
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Okay. So that's one thing I'll answer to that as far as being emotive.
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There's a second point to that, but by all means, before we move on to the second
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point, tell us what's up.
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No, no, disagreeing. I'm just agreeing with you. You know,
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there's nothing worse than doing like a really elegant like
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flower act and you've got like some rock music banging
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behind like there is definitely a mismatch i love
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the comment about getting the audience to get physically
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involved to uh ramp up their heart
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rate or energy level i'm reflecting on
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the show i was at last night we went to see miss behave who
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is from new zealand do you know this person or is
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this artist in your in your
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ballpark at all i only know in vegas
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for 10 years now doing variety shows so
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from new zealand and a great show but they opened
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with a juggler who used jailhouse rock this
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he had a a nice uh stripe you
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know theme shirt with the song all the things were to the beat and
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he had everyone in the audience doing the clapping you
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know and i think this was a good example of how
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you starting the show you want the energy high
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you get a high energy song you match the theme of
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the act through that music and that performance had that show rocking right
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out of the gate yeah amazing and i think so the energy is kind of important
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as well and there's this is going to be way too like i'll be very short when
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i say this because of my a musical background because as you guys know,
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I used to play in a band. So.
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Rocking the Christmas mug tonight, challenge. This is full of whiskey. Oh, yeah.
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It's Christmas edition. Once a week, we get the dishes done here.
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Yeah. I'm on the Christmas mug.
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We all do believe that you are secretly Santa, by the way, Doug.
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There's a lot of smoke coming out of Santa's sleigh. What's happening?
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I think that Doug's having a jazzer.
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Okay. The last thing is for reasons. Yeah.
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The only other thing that I wanted to make mention is that some songs have performed
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in certain keys. And what that means is songs that are in a,
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like we have major keys, minor keys, or mixolydian.
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There's a whole bunch of keys, but I'll keep it super simple to two things, okay?
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So a major key, it could be like any sort of key, A, B, C, D,
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all the notes in music, okay?
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Certain notes emote certain emotions, okay?
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Everyone knows that like one of the saddest keys is A minor, okay?
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Not everyone knows that because I don't know that. okay well
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everyone who's listened to me know now knows that like most
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of that songs are in a minor okay almost every emo
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punk rock song is in c sharp
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minor just so you're aware almost every one
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of them okay so like each song
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has an emotion to it so if you're going to be constructing your
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own music in by either like doing it yourself through
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some sort of emd type setup
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like electronic music sort of thing just
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keep that stuff in mind some songs will be in certain keys that
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will remote that as well as the beats
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per minute so it's those two things that i wanted to make mention to answer
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that question i hope some value i love
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that we're getting science here with theory like
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this is high level stuff yeah i
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like it and we have a lot of questions here so you
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know we'll try to answer most of this sort of aspects here for you guys or we'll
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have a part two okay number two is the music enhancing the magic or is it fighting
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for attention doug have you seen this in any shows where it's like the music
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kind of taking the limelight away from maybe the magic.
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In Vegas you know I've seen shows that
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rely too heavily like when you talk about using
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music on the street and such I've seen several performers
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that maybe wouldn't be good street performers if they couldn't
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crank their volume up so high and that maybe some I wouldn't say it's detrimental
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to the act but it's not very artistic or you know forward thinking to put on
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you know the final countdown per se
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you know before your show or during a performance something like that so,
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i don't know about hindering it but maybe
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you know if used poorly yeah i guess maybe the question is like are people clapping
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away and singing the lyrics to the song that's playing and like getting distracted
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from the actual act you're doing like i don't feel like this is really a big
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question but it is in here and so it is yeah something to consider is the music you're using too good.
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Well i'm reflecting now is norm nielsen i
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don't know that a lot of modern magicians even know who he
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is do you guys know norm nielsen are you talking
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about nielsen bottle norm nielsen yeah nielsen bottle norm
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nielsen you know what act he did no don't
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say like his act was completely music themed
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his zombie was a violin where the
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violin played itself he floated a piano
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that did a 360 while he was floating and
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playing it he had a miser's dream that had
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a xylophone that he would drop the coins in it would
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do things like that so okay this
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is a classic act i would encourage anyone not familiar with norm nielsen to
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try and find some footage of this wonderful old school music style act using
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music with the magic complete well and i think you don't know who norm nielsen
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is damn we know who he is he makes bottles that vanish in bags we get it but.
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What i'm getting it is that i have a feeling that's not what he wants to be
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remembered for i feel like he's putting out the wrong products like this all
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sounds freaking incredible and it's the first time i'm hearing it was one of
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the featured performers if you went to a magic convention you'd love to see
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norm nielsen on the bill for sure that'd have been amazing Oh,
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yeah, we're going back in eighties, nineties.
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He was a little older then. So, you know.
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I guess before you were even born, he was on his way out.
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So, okay, no demerits this time, but you better freaking remember that Norm Nielsen did a music act.
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You got to know where you came from, know where you're going,
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kids. That's what's up. Listen to Daddy Doug. True story.
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Well, I totally agree with that. And I think that if I may just speak on what
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you mentioned a moment ago about how music can compete for something,
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I think that when you're doing things to portray a
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message and emotion anything that gets in front of that
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or distorts that is a bad thing so if we're going to apply that to music in
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my opinion i think that and this is something that was apparent to me yesterday
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i saw a great act by the name of mr marmalade and he was performing away and
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he had always low level ambient music there was probably just a little bit higher than it should have been,
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or he failed to microphone himself when
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he got on stage and thus when he was speaking it was competing so we had this
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very cool vibe that was setting the tone i could really set the tone of being
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this like cool cool jazzy kind of like you know just like this is a very nice
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chill place it felt like i was sitting in a cigar bar enjoying a scotch the
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music set the tone real nice,
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but then he's trying to portray information to me using his words that are now competing,
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against the volume of the ambient music.
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So if you're going to be trying to portray a message or do something,
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you want to communicate that, whether it be through your body language or your words.
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If you're going to have music be an issue with that, keep that in mind.
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So that's something important to think about that will go on further as well with tech.
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It's that every room and speaker and system you plug into is going to be different.
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Speakers will be positioned differently.
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Always test your music volumes because that can happen, right?
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Or if you don't communicate properly with the tech, what can happen is they'll
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recognize the music slow and they'll artificially crank it up for you thinking
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they're helping. And all of a sudden...
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Your volume speaking is the same as the music and it's, and it's terrible.
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And likewise, the other way can happen where a song is really loud because it's
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like the big pump up moment.
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And then they bring it down because they think, oh, it's too loud for everyone
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to like for him to speak or whatever.
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So volume is like such a crucial part in it.
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And one of the texts we'll go through, like the remote that I have on me when
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I'm doing my show does allow me to adjust my volume for when things like that happen too.
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You know, even when you've controlled the volume and tested it and things like
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that, stuff can still happen.
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When people are in a room sucking up their sound, it also is so different to
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when you're rehearsing to an empty room before it.
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So these are just little things to be prepared about.
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Question number five. If no one has any other notes for that.
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I mean, we could talk about this all day, but here we go. We're gonna.
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Wait i have a question what do you use to adjust your volume during
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the show or is that we getting there no i thought
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we'd get there eventually 100 we'll get there i
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mean we can get there now if we want to i mean i mean yeah let's
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get there we're there we're there already hell yeah all right let me just see
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yeah all right so the question that i was going to bring up was how will i cue
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the music will it be manual remotely or with a tech because it's one thing to
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say i'm going to put music in my show, but you've got to actually do it.
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So there, you know, we'll touch on the different methods that you could approach doing it.
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The easiest one being, well, I'll just talk about what I use.
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I think we all, do you use an audio ape as well, Nick, before I go into that?
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I don't. So we all have a different, yeah, great, great.
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I've used different stuff in the past, but I got to the point where I was just
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so fed up with either tech not being reliable enough or- 100%.
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Text kind of screwing up things i when
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i when i am doing a larger scale stuff and actually doing that sort
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of thing i do tech runs with the tech and i'll go over the
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way i do it which i've mentioned in on previous episodes but as
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far as using like audio apps and stuff there's all these different ones there's
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like the go button which is a very popular one yeah so maybe i'll just run through
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like just the stuff i use for my show and then nick run us through how you use
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it because it's going to be good like different approaches for different people
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right yeah so yeah so i i've talked about many times,
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but since it's in the music episode, so I'm using the AudioApe.
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So the version I have, it comes in, what's cool is you buy it and it comes in its own little case.
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And when you get that case and you open it up, you've got all the stuff in there. So this is what you.
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Needed to be plugged into an iPhone.
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But I believe the version that's just come out now is a full sustained unit
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that's all within itself.
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So I think it has a memory card that goes into your computer.
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You put all the music on it that you want, put it into this system,
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back into the little AudioApe system, and that lets you cue and switch things
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and you build it within that, I think I should look into that more,
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but currently the one I have, you get this unit.
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So basically like, and it's not even the unit that's queuing the music.
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I'm using what Nick just brought up an app called go button.
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So it's in the top left-hand corner of my little old iPhone six or whatever this is.
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And there's a little app here, go button. Oh no, it's over here.
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Anyway and in here lets you
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have different shows so i have in
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here my corporate show i have a copy which is just
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a different length show i did a corporate show
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in makai so i just i made a custom show and i
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just called it that but this app is separate to audio wave so you can actually
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just buy this app on your iphone and you can cue music on here like if your
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phone is sitting on the lectern or on your table on stage and they've plugged a jack into your phone.
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Or i guess bluetooth it to a speaker if
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you're doing a smaller show somewhere and you're happy to just walk up and press
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these button this this giant q button that runs the next track you can do all
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of this with no extra tech and just do it from your phone i know some people
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will set a delay on each action.
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So rather than just hitting go and the next thing playing, you can have it hit
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go and then it'll wait 10 seconds.
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So you can hit go and then you've got enough time to get to your prop,
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get ready to start the thing, and then it starts.
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All of this stuff is very possible. So for me, Go Button has been super helpful.
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But in saying that my music is pretty basic throughout my shows,
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there are certain moments that I particularly hit it for effect.
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But you know, the most important thing is my show could be done without any music if I had to.
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And sometimes every now and then you just can't predict what will happen or
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not be supplied and you do end up doing that. But Go Button has been amazing.
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So Go Button is what I plug into this
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actual remote unit and with audio
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ape it's essentially a remote control so
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you plug in your little transmitter that gets
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that gets plugged into with a with
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a cable that gets plugged into a power bank
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so it's self-powering and then into your phone a little light shows up saying
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that everything is connected and then you've got your little remote here and
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essentially all of this is just so that when you press this button boom it activates
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the next cue on your go button,
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and go button is is its own fun thing you should get it and just play with it
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but essentially like you you put in your music tracks and you tell it what you
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want it to do like when you hit the next.
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Button do you want it to play the next song or do you want it to fade out the
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previous song and then wait five seconds and then ease in the next song.
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Or like when I finish my show and the big, you know, thank you music comes on,
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the big boom, loud music, my activation button, when I press it,
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it drops the volume down to 10%.
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So the music's still going, but I can now talk over it and thank everyone for coming.
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My name's Josh Nubito. And then I hit it again and it brings the volume back
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up to 100% and then I run off.
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These little touches are super helpful and it's all,
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in the palm of your hands with this. So the last thing- To be clear,
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you devote a separate older phone for this purpose, right?
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Yes, you don't have to. And I do have go button on my actual everyday phone
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for when I don't have this with me.
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And I think it's a, like, so I do have it in both, but yes, I have an old phone
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because we all have old phones and we don't know what to do with them.
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So I dedicated this one to being my show music phone.
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And it's a smaller one so it's
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super easy to to travel with and it's
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not connected to internet or bluetooth or anything
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like that so it's never getting updates and slowing down or like there's just
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nothing to mess it up other than just using it for this and the last thing i'll
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say is the remote that this comes with it has a big button which is just what
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allows you to hit the next queue.
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It also has a volume button so i
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will on my phone and the volume
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is connected to the volume on your phone so if
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i was to go up or down it would change the volume on my phone so a little tip
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is i keep the volume two bars down from full so that when i set the volume with
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the tech i still have two bars of control on here if i need to pump it up i can i can go up in volume,
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or most importantly if my little ambient
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background tracks are too loud I can bring it
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down myself and if you hold down
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this big button it'll just pause the music so it won't hit the next cue or change
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it or anything like that it will just pause where you're at which can be very
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helpful as well and then there are you can set up these forward and backward
25:14
buttons to do different things I don't rely on these.
25:18
Like if I miss a cue, I just...
25:20
Tough titties and I just, and I make up for it. I don't try to go backwards
25:24
because then for me, it can get a bit messy, but the, yeah, the remote,
25:28
I personally sit it on my inner jacket pocket
25:32
in my suit so that as I'm just reaching it, I can press the button as I go in
25:36
and grab out the next prop I'm using.
25:38
Some people put it on their belt, in their pocket.
25:42
You can like put it in your pocket and put like a, an extra bead on top of the
25:46
button. So it's easy to feel where it is in your pocket.
25:50
All up, I think this AudioApe cost $1,000 Australian, which is probably like $600 or $700 US.
25:59
I think their new unit is around $1,000 American maybe, but this is so good,
26:06
the range you can use from so far away.
26:09
However, sometimes there will just be interference like on cruise ships that
26:14
make it need to be a little bit closer to you when you're firing it.
26:21
So like the big thing with this in the day, when it came out was like,
26:24
you can have this plugged in all the way back at the, at the tech desk,
26:28
a cruise ship or whatever.
26:30
And it can't, but every now and then interference will get in the way.
26:34
And then it doesn't work. I went to India thinking that at the back of this
26:38
room of 500 people, I could have my little audio apes set up at the tech desk.
26:43
And it just wouldn't, it wouldn't fire. So they actually went and got this giant.
26:48
It was so funny. They looked at the unit. They were like, oh yeah,
26:51
I know what that is. And instead of this little antenna, they brought back one that was like this big.
26:56
And then it worked. But the tip is, even though it has a big range,
27:00
you always want to have it in your show rider.
27:03
You always want to make sure that they set up an auxiliary input on the stage
27:08
so that you're always within direct physical range of the unit.
27:14
And so with this, you can go anywhere.
27:18
Personally, I like to be able to cue it myself just to not rely on anyone.
27:23
Um, and yeah, for me, this is, this is amazing.
27:27
I get people coming up to me after the show going, who was doing your music
27:31
like and queuing it so quickly. I'm like, I did it myself.
27:34
And so not that that should be your goal for people to compliment your music
27:39
queuing, but for a one man band, it served me well.
27:44
Yeah. For that level of production value. That's a great idea,
27:46
man. There's a question here from Tim Askin, who's asking, does the button have a timer?
27:53
So in what aspect do you mean does it have a timer?
27:57
Like you can set a timer for when the next cue goes off, for sure.
28:02
Like you can have, it's called pre-wait. So it has a pre-wait option.
28:06
So you can program it to when you hit the button, it'll wait whatever amount
28:10
of time, and then it will hit the next track. Or you can have a track.
28:16
Yeah, 100%. Or fade. You can have a track that's constantly looping,
28:21
but you can cue it to play another track on top of it after a certain amount
28:27
of time. So then you have two things going.
28:30
You can make it not affect one looping track while it plays other things.
28:35
So for example, you might have a background track but you also have like a whip
28:40
cracking sound go off or some kind of gag sound.
28:43
You can have both of them run at once.
28:47
With this little... Yeah.
28:49
Another question from Dragotier. do you
28:52
do this in your normal show or do you use music in
28:55
your special events yeah so i all
28:59
corporate shows i use the music it personally i
29:03
guess it helps gets people attention it feels like
29:06
there's a bit more production but in my theater of magic shows we use zero music
29:13
for that we just keep it old school drawing room style magic just we just command
29:19
the room with our voice no music we don't rely on tech there but yeah every corporate show,
29:25
like i've got my own music planned in here for when i run on like run on music
29:30
so run on music run off music.
29:34
My background sounds, the sounds for when I'm going into the audience to find people.
29:39
So there's always something happening, whether I'm doing magic or there's music
29:42
playing because I'm going in the audience to find someone or whatever.
29:45
And often if I'm emceeing an event, it's so helpful because I'll cue this up
29:50
so that I can have my own run on music for introducing the CEO or for background
29:57
music to just fade in once I've finished my formal welcome.
30:02
And they're going to serve entrees.
30:04
Like if the AV hasn't planned to play music or whatever, I can just hit this
30:08
thing and there's like an hour-long electric jazz, like background music thing
30:13
that I can play at any time. So even for emceeing, it can be helpful too.
30:19
Gehan is asking, where do you find the music with regards to the royalty-free?
30:24
Does it need to be royalty-free if you're doing it in a show? No, corporate shows.
30:28
You can be mainstream as you want. uh
30:31
but i think it brings sorry to cut that up i'll just
30:34
give you more context melbourne magic festival is coming up a
30:37
lot of the magicians in town are preparing for that and we have
30:40
to do a lot of paperwork in preparation for that
30:43
you know just it's just the way the way things are
30:46
done in oz but ultimately using royalty
30:49
royalty free stuff is a way of combat in
30:51
that the only one that i'm sort of aware of would be something like
30:54
epidemic sound i believe that gives you privilege in
30:57
public space but uh i think so yeah
31:01
epidemic sounds envato and there's another one called art list as well these
31:07
are all royalty-free sites i use a service called story blocks that's another
31:13
one it's kind of an all-inclusive yeah it's got video elements along with audio that's royalty-free.
31:20
Storyblocks is great. I've been using it forever for B-roll footage,
31:23
and I've only just recently switched to Envato because it's cheaper and it seems
31:27
to have everything I need and sound effects for sound design editing as well.
31:32
But look, yeah, if anyone has any other questions about AudioApe,
31:35
please message me or put it in the Discord or email me, send in a speakpipe, whatever you like.
31:43
I feel like I've covered most things about it. I know I've gone on a lot,
31:46
but I feel like this might be a bit people come back to in regards to this style of thing.
31:52
Now, you don't have to spend $1,000, right? You can, which Nick will go into,
31:58
have the music with you, have the tech there who's going to be there anyway
32:02
and instruct them how to use it.
32:04
When I stage-handed for Raymond Crow,
32:07
he did a corporate gig in Australia and his show,
32:11
as you know, is very music heavy because he's a very visual act and he just
32:16
had an iPad and he plugged it in and he taught the AV guys when to hit the next
32:22
cue and what to press if something goes wrong.
32:25
And, you know, he spent like half an hour sort of choreographing the show with the tech.
32:31
And I've seen, so I've seen that live in person. I've seen that work really well.
32:34
So yeah, I'm keen to hear what Nick does, how he operates it,
32:37
if he uses it, how much you might use music. Do you always use music?
32:41
This is the stuff that people want to know.
32:45
Well, here's the thing. It's very scalable. So if I'm doing something,
32:48
like if I'm doing a run of shows at a festival, I like to go all out and I get
32:52
something which is from the same family as the go button, but it's called QLab.
32:58
And QLab is like the really high end stuff. It's quite expensive to have in
33:02
a sense to purchase and own, or you can just license it for like the month that you want to use it.
33:08
You know, so you can just have pay for that privilege, do your run of shows,
33:12
put it aside for a few months. So because of that scalability,
33:15
I enjoy that, having that really wonderful entity.
33:19
QLab is something you want to use if you're going to be using a mixture of visual
33:25
stuff on screen and music.
33:27
So that's the upper, upper end. The middle ground, I think Josh has covered
33:31
perfectly. And then there's the laurel end, which I'll share with you guys now.
33:36
So between Go Button and AudioApe, it's a great place to be.
33:41
When I was doing street shows, I used to use this thing called Control Freak.
33:44
Freak spelt like frequency.
33:46
And it was just a remote that I plugged into the bottom of my phone.
33:49
Which then I was able to use it as a remote.
33:52
And I would just queue up some tracks to help build my audience.
33:55
And I would do a couple of funny cues where I would have audience members dance
33:58
real sexy as they helped out on stage.
34:01
I'm like, I need a beautiful assistant. And then you get some Ebisec guy to
34:03
do something sexy as they place the ball down on top of the cup from my cup
34:07
and ball, Zach, or something like that.
34:08
You know so remotes of that nature they're
34:12
great they're a physical entity plug them in and
34:15
they work great if you do want something that
34:18
you can sort of jazz with there was a product that i use called
34:22
soundboard it's just a literal soundboard in
34:25
which you use all the keys of your keyboard like it's
34:28
represented on your mac okay
34:31
and you just drop soundtracks into it and you
34:34
can edit the tracks in there to start at a
34:37
certain point and so if you're doing a type of variety show
34:40
that's really handy because you can just like push like
34:43
number one like act number one number two number three number four as they walk
34:47
on walk off music and stuff and then you hit like enter to fade and enter to
34:50
so there's all these ways you can use that and that's that's really simple really
34:54
handy what i also loved about it is that like in on on z i would always and i would have
35:01
do this as well i i program a a record scratch like you know like and that's
35:08
really handy because sometimes you just want the track to end and so when i
35:10
would have people tech for me i would go just press one two three four as i
35:14
bring people on and off and then i would say when i point up.
35:18
Turn the volume up if i do this turn the volume down but keep your eyes on me
35:22
all the time and if i do this and i put my hand across my neck like cut the
35:25
head off this means kill the tracks so When I do this, a wizardry.
35:30
So when I do this, that means hit the record scratch button,
35:34
which just kills the track.
35:35
And so this is a really fun thing. So when you get on stage,
35:37
just do this and the track ends, like with the record scratch,
35:40
gets a laugh and it's just a nice way to sort of make it again.
35:44
If you can't hide it, highlight it.
35:45
So soundboard is great. And the last thing I'll mention is if you are going
35:49
to try and achieve QLab level stuff with audio cues and so forth, I use Keynote.
35:57
Or if you're a non-Mac user, you can just use PowerPoint.
36:00
Because you can do all your audio cues from there
36:03
what's also really great about that is
36:06
that when you go into show mode there is a spot underneath what people see on
36:12
screen and what you can actually see on your screen and so you can have your
36:16
script for for whatever your presentation is going to be in that right that's
36:20
the way it's engineered i don't use it in that way what i do instead of putting a script in there,
36:25
I put notes for the tech.
36:28
And so the tech is totally aware of when he needs to press the button.
36:33
So they can have a look at that and say, when the, when I say this, go to the next slide.
36:39
When I say this, so you can actually use that. So using Keynote is a really good thing to do.
36:44
And what's great about it is that if you do have screens on stage,
36:47
you can actually have them plug the hdmi cable out of your computer which can
36:53
then put up your company logo meaning like nick k professional mind blower you
36:57
can have it be taken down so when they go the next slide that slide then fades
37:01
out and just goes to a black screen so it's not distracting anybody.
37:04
And so there's all these ways you can use that just using that and it's the
37:08
cheapest most effective way and i think that you can also do the do the music
37:12
with keynote you can include the audio files in there and just play those and
37:17
say a black screen if you wanted per se correct correct.
37:22
Yeah like i feel like i get to work on that and the video element integration
37:26
is strong yeah so i do that because and the reason i do that is this when there is a conference,
37:35
But keynotes and PowerPoints guarantee you it's the one thing that if a professional
37:42
tech or at least an experienced tech has dealt with more than they've dealt with anything.
37:47
Because I guarantee you, oh, I do 50 of these a year. And I'm like,
37:52
I bet you do. But here's QLab. What's that?
37:55
Oh, right. But if I just wanted to use something that they were going to be
37:58
familiar with, not be freaked out about.
38:00
And if they freak out you just go back a couple of steps
38:03
on the arrows of your keyboard and then go
38:06
back into it everything's going to be fine and they go oh
38:09
thank goodness and i kind of put holding slides in between
38:12
things they can't really muff it up and i just have everything
38:15
they need there and i think that that should work just
38:17
fine yeah and remotes super easy
38:20
as well remotes for powerpoint presentations crazy easy
38:23
so you know they always have a clicker
38:26
there as well like for a conference that you
38:29
can use at a pinch and and q lab
38:32
to give an exam a real world example of
38:35
everyone who's never heard of q lab that first the height
38:38
the highest high-tech version that's what all theater
38:42
shows generally run all their lighting and
38:45
sound and music design from so the
38:48
showman production that i'm in like the illusionist for example the
38:51
illusionist touring live show will program the whole
38:54
show all the cues and hits and everything within
38:58
q lab and they'll have a tech that that's their single
39:01
job because it'll have notes on when to
39:04
hit the next cue and everything like that and so that's like super.
39:07
High it's like the equivalent of like what video editing software should you
39:11
use if you're making a movie it's like if you're running a big theater show
39:16
people use q labs and you can also use it for the single use stuff as well but
39:21
like that's like the technology we're talking about so if you're ever like planning
39:25
a theater show and you're like how do you.
39:27
Coalesce everything together so people know when to hit the
39:30
lights and hit the music and hit the it's something i
39:33
was at bizarro's escape room and
39:36
he's got like the q lab megaverse in there he's queuing sound video elements
39:42
special effects he's got these circuit boards in the wall and multiple ones
39:47
of them for multiple escape rooms getting the behind the scenes look at what
39:51
he's doing with this technology in the space was mind-blowing.
39:55
Yeah, that Q-Lab is intense. There's another question here from Dragotier.
40:01
It says, do you have a dedicated tech, or do you just use whoever's provided at the venue?
40:08
I think both are good ideas if you have a tech guy, like that's pretty fun.
40:12
If there's a lot of stuff going on, I will, I mean, I can only add that I'll
40:16
bring my own dedicated video guy.
40:19
If it's within Brisbane, like I'll get them to hire my videographer for like camera to magic stuff.
40:27
I've done that many times. So that way he gets, first of all,
40:31
so you're getting him work.
40:33
Number two, he's going to record your shit. So he'll give you a copy of your
40:37
act that he's filming anyway, and then you've already sorted it for the conference.
40:42
So when possible, I'll put him forward for doing the live to screen.
40:50
Yeah. Yeah. I'll second that.
40:53
I think that having a dedicated tech is really important if you're going to
40:57
be doing a run of shows, something like a fringe festival.
41:00
That's probably really handy to have someone who knows your show back to front
41:03
and they have some sort of investment that they really want the show to run
41:07
well and hit every cue and,
41:09
play every audio cue and so forth i've done a
41:12
lot of you know i've been in audio visual game for a
41:14
thousand years so i've teched a lot of my friends shows during magic fest which
41:19
is a pain but you know when you bring those expertise it actually adds a lot
41:23
of production value but yeah like doing it on your own yeah i'm sure we can
41:28
talk about stories when it went wrong like I remember at the assembly just passed,
41:33
we had that amazing gala show at the end and there was one of the performers
41:36
had some issues with their remote,
41:37
you know, just like overstepping on the, on the queues.
41:41
Another example of being in a small
41:43
room with lots of tech around it can interfere with the remote, 100%.
41:49
Again, because it wasn't plugged in on the stage, it was plugged in at the sound
41:53
desk and you're relying on that distance not getting in the way.
41:57
I will make mention, there's legalities now, I can only speak on behalf of what
42:02
I know in Australia, but there was an agreement eventually. So I want you to
42:08
imagine that there is like a spectrum, a straight line, like going across the screen right now.
42:12
And there is like, this is like the frequencies that everything can operate at just out of control.
42:16
Everything can go nuts. That's what it was like for the longest time.
42:19
And then there was a legality that was put in place some years ago.
42:22
And what happened then is they said, okay, this is the spectrum between like,
42:26
I'm just going to use very basic numbers. So we understand between one and a
42:28
hundred, there's a straight line.
42:30
We're going to dedicate numbers from now on. And they went, okay, cool.
42:33
Okay. All right. Well, one to 20 can be radios for people who are chatting in the thing for security.
42:39
And then we're going to go from like 20 to 50.
42:42
That's going to be all of the audio stuff. And then the frequency after that
42:46
is going to be all the video stuff. So let's not step in each other's toes anymore.
42:51
That was really important. But I tell you what, man, anyone who's ever used
42:55
Pro Mystique stuff before this time, oh my God, your stuff would go nuts.
43:01
Like your your stuff would just be vibrating like
43:05
out of control from like microphones and this and that
43:07
when you're doing a festival and with other people using
43:10
pro mystique stuff forget about it man out of
43:13
control the newer stuff now since all these
43:16
legalities are coming place you don't really have those issues anymore in fact
43:20
they've actually made it a legality where you can't use certain devices because
43:25
they don't operate within the bracketed frequencies allowed to them anymore
43:30
So those sort of things now are less of a problem if you stick to very new technology.
43:34
And I only want to bring that up in case anyone's inspired to go out there and
43:38
buy a headset microphone that is.
43:40
23 years old i would avoid that and adonis
43:44
says that he thinks the usa has some requirements i imagine
43:47
it's been done sort of globally at this scale but i can
43:50
only speak of my own knowledge so you'll be
43:53
okay yeah i think if i think if you're buying new
43:56
gear from an actual av place you'll be
43:59
fine like don't go to ebay and buy like a you
44:02
know 1995 headset it's really cheap
44:05
and brand new because the guy who uses an
44:08
iphone 6 yeah well said
44:13
yeah i've got a spare one if you want to buy an iphone from me
44:16
actually i've been in the market for that exact reason i've been looking for
44:19
a cheap burner to use for music so but the
44:22
shipping would kill me it's probably cheaper just
44:25
to buy one on ebay yeah i think so i think
44:28
so look one of the questions in here and it's
44:31
something else to consider is what happens if your
44:34
music fails do you have a backup so the
44:37
show can still go on because i have definitely had
44:40
moments where everything on my end is working and just for whatever reason they
44:46
can't get the music to to pump out on their end or i go on stage and they've
44:50
rearranged stuff and now it's not working okay so that's a technical issue not
44:57
an operational you in a sense that like our gear has failed.
45:01
That's right. Yeah. And so sometimes you can't plan for it. Like you can do
45:05
everything in your power.
45:07
And like the large, the biggest example I can give is I'm watching the illusionists 2.0, right?
45:13
Like these guys are Marvel characters. This is in stone.
45:17
Adam Trent is on stage. It's a matinee show. So no one else other than me in
45:21
the world remembers this, but he's doing his,
45:25
he's doing his like video to life act where he is interacting with the giant screens behind him.
45:33
Like there's multiple versions of him popping up on the screen.
45:36
There's like a New York city on the screen and he's like skateboarding through it.
45:41
And the, the video is moving. So it makes it look like he's skating and stuff.
45:45
And his premise of all of this is like, when you think of the future of magic,
45:50
this is what I envision. And then it goes all tech.
45:53
Well, one day those screens stayed dead black off and the music came on and
46:01
he's like, and if you were to think of the future of magic, this is what I think.
46:05
Nothing happened. And it's like, what do you do in that moment?
46:10
You can't, you can't be like to a room of 2000 people. Oh, sorry,
46:14
guys. My screen didn't turn on.
46:16
Everyone just hang for a sec like you got to do something right
46:19
so he and he told me afterwards that was the first time that ever happened and
46:25
i think louis de martos who's in the show too was like this is a great lesson
46:28
because like what will you do next time to make a great act out of your screen
46:34
not coming on but he basically did a manipulation act for two minutes,
46:38
with the black background behind him so he did a couple of layers of manipulation
46:42
act an appearing cane and then he did the ending of jump like teleporting from
46:49
one side of the screen to the other with a big gap in the middle but like you
46:53
couldn't see the digital version of him jumping through the screen and all that so.
46:57
It was a bit of a weird act for people watching. But the question to ask is
47:01
like, yes, set up music in your show, but you need to have a version of your
47:06
show or an out, like if the music doesn't play or isn't able to play,
47:10
or the song you have is too loud and their speakers actually cut the track.
47:17
And like, what's the word you say? It's like spiking it and not allowing the
47:21
track to play fully because it's...
47:25
Gain. Yeah, the gain is too loud. So it's like artificially cutting those high
47:30
pitches and it can, it can mess you up.
47:33
So is that a factor in your show, Nick? Like, are you like, look, I used to, I'll do this.
47:39
Yeah. Well, I used to be very tech heavy, but I keep it so minimal now just
47:43
because I'm just so tired of people screwing it up.
47:46
And I've told them like, even with the lights, I'm like, keep the lights open and white.
47:49
I'm like, I'm going to throw a little bit. I'm like, don't my Rubik's cube.
47:51
You throw some red, my yellow turns to orange. Don't do that.
47:55
Okay. like just no i've dealt with
47:59
guys i just want to bring out a bit of color in your cheeks i'm like what did i
48:01
say what did i say like i've been
48:04
doing like i was just i was like so i was like no like you need to listen to
48:08
me when i tell you things okay like i know you're great at your job but this
48:11
is not about making you look good this is about me doing my act good so yeah
48:15
what i will say is that things that are beyond the tech is on them okay you
48:20
can only be responsible what you're responsible for.
48:23
Now, when we're talking about like queuing things remotely, for example,
48:27
this is the only thing you could be responsible for.
48:30
If you have, let's say you got an iPad that's queuing your tracks,
48:32
you can do it physically on the iPad or on your laptop or on that device like
48:38
this, but you're using a remote.
48:41
My advice, if you want to back up, is that if the remote's not working,
48:45
right, tell the tech, if this isn't working, I'll just say, tech,
48:49
would you mind just hitting the next track, please?
48:51
And that would be your backup. Okay?
48:53
Even if you have someone, a tech that's going to be able to help you,
48:56
like if it fails, tech, sorry, this is giving me some issues.
49:01
Just click the next one. Thank you kindly.
49:02
And just move on. Don't put a neon sign around it.
49:05
Right? Don't make it a highlight of the show. Oh, everything went wrong.
49:09
No, no, no. Just click the thing for me, bud.
49:10
Thank you. and just move on next slide please like that's the
49:13
that's what i say you know because that's normal normal
49:16
language next slide please and then it just moves on you know
49:19
i think it's really helpful the episode
49:22
we talked about the having a lanyard for your handheld microphone this actually
49:27
happened to me two weeks ago where i always ask for a wireless headset mic you
49:33
know a thin flesh colored headset mic to do the show but i said to the tech
49:38
i need a handheld mic as well.
49:41
One, because I beatbox in the show, but also if something happens to my headset
49:45
and it's not working through the show for whatever reason, and I showed him, I'm like,
49:51
I had this little lanyard that I can hook it onto and I can do the show with.
49:56
And he's like, oh, that's genius.
49:57
Anyway, it freaking happened. The little connection point of the headset to
50:02
the battery pack was loose.
50:05
And I'm doing the show and it keeps making these pop sounds.
50:09
Well, this tech guy was just like so ahead of it. He like saw it was happening.
50:14
He came to the side of the stage, grabbed the handheld, grabbed the lanyard,
50:18
put it on for me and just like subtly came up to the side and it was great.
50:24
So while I hit the queue for like people to come on stage, I just took off the
50:28
headset, put this lanyard around me and we kept going.
50:32
Like that little communication with the tech and like him taking some initiative was beautiful.
50:38
Like Nick said we didn't make any attention to it
50:40
we just kept going it was great man there's
50:44
sick footage out there of like guitarists just like shredding on
50:47
stage and all of a sudden a string just busts off and then he'll just
50:49
take it off and keep singing hand it off to the tech tech
50:52
gives him another one he puts the other thing back on just keeps playing I'm
50:55
like that's what I'm talking about the show must go on
50:58
how good's that Tim also said uh you
51:01
could just beatbox in the show is not a bad idea i
51:05
have thought about like my ideal show would
51:08
be me doing all of the sound for when like
51:11
people are coming on stage coming off stage like little bits like that it's
51:17
like and and making a loop station where i can actually build up the track that's
51:22
going to then play for the show it is definitely in my sort of dream box of
51:26
like things to play with but yeah i like it yeah
51:31
yeah so like yeah you can definitely when I'm emceeing I beatbox all the freaking
51:35
time because like it's just funny to improv the music for people to come on
51:39
stage or to like open an award or whatever I recommend it learn beatboxing.
51:45
Sweet.
51:48
Yeah. Another question was, so we, we did, someone did bring up the copyright licensing situation.
51:54
So always check on that. Theaters also like, there's like a license that I'm
51:59
not remembering, but there's like a general license where you have to like,
52:03
actually log the music you're going to use. And there'll be like a fee that you pay.
52:07
It'll pop up to say like, this will let you use it.
52:10
APRA or something like that. Okay. Yeah. And And look, last question is,
52:16
is the music helping me connect with the audience or is it pushing them away emotionally?
52:22
And I guess that means like, is the music actually enhancing the act or are
52:27
you just having music for the sake of having music?
52:30
I know a lot of acts that have done that music for the sake of music.
52:33
And I'm like, why? Why? Just because you can doesn't mean you should.
52:38
Yeah. I've, you know, I've had some performers just like, I want it to be like a game show.
52:42
I want it to be like a bar and i'm just like not for
52:45
this like it's if you're gonna do that then stick to the whole thing have the
52:48
whole thing be don't be like it's gonna be like a game show but i want to think
52:52
of your dead parent like no don't do that in your mental show you know like
52:56
it game shows are fun there's a possibility of winning stuff that's what you
53:01
should stick to you know so.
53:04
Enhancing yes like there's an amazing
53:07
ability to be able to listen to a song and like go to a whole different place
53:10
and that is the best you know what i mean there's ability to like listen to
53:14
a song and it changes your entire mood for the day that's the beauty of music
53:17
it's amazing there is a joe rogan podcast that just was posted recently with
53:23
bono and i had to have a listen to it,
53:25
it's three hours right but there is some absolute gold with regards to what
53:29
happens with music and how it's emotive and how it can influence people and
53:33
he spoke about one moment in particular about this track that they released
53:36
which is kind of okay but they performed it on jimmy fallon and it's like 20
53:40
times better being live than it is like recorded.
53:43
Just because of the way it crescendos and it builds up. And it's like,
53:46
that's what music can do.
53:47
And if you can implement the same notion into your act, oh, do it.
53:53
Yeah, when we had Eric Leclerc and Alex Boyer on a few episodes ago,
54:00
they were talking about their buddy Wes, Wes Barker.
54:02
Never uses music, wants to be a pure stand-up style.
54:06
And then they convinced him to at least have an ending high-tempo track when
54:12
he slams the suit, escape jacket.
54:16
Yeah, thank you. Straight jacket onto the floor. At least have a song to like,
54:20
boom, to show that that's the finale.
54:22
And even Wes agreed, for someone who never uses music,
54:26
at least having a big high energy ending track was so helpful and amazing with
54:32
just like signifying it's the end, giving the audience the moment to applaud
54:35
and like end the show properly.
54:38
So like if I was to say the skeleton of music to consider if you are wanting to have music.
54:47
Like if you're a corporate magician and you want to add a bit of production,
54:51
I would say like have a song for when you run onto the stage,
54:55
have one for when you run off the stage.
54:58
Have a track for when the dead time is happening.
55:03
People coming up and when people are leaving. And if you can feel that,
55:07
like at the very least, you're golden, baby.
55:11
Like, yes, you can have background tracks and stuff, but like if you at least
55:15
have that, it'll up your show perception by like 10% straight away.
55:22
Yeah. And even having that little background track where something weird happens,
55:25
like if you do, like let's say you do like one of those false, like oh this
55:29
is your card no called scratch and
55:32
dead silence yeah like from
55:35
the pa those little moments accentuate it
55:38
again it's like it doesn't have to be there everywhere but if
55:41
there is a moment it's going to exist find it and
55:43
do it correctly for god's sake don't just do it for the sake of
55:46
doing it yeah so one bit i'll give away is
55:49
i will use the who wants to be a millionaire music
55:52
that dun dun dun can
55:55
i dun dun dun dun dude i
55:58
did that i did that in one of my shows but
56:01
i was doing a blindfold routine a la lenit
56:05
green style setup right like just i love
56:07
this idea of like shuffling all the deck and finding the suits you
56:10
know but i just did different reveals where then wrapped my
56:13
my head up and then i made everything dark the
56:16
whole room was black like normally the room's lit up so i could see faces but
56:19
this one part of the show pitch black just
56:23
the spotlight on me that is it because i wanted
56:26
everyone to feel like the darkness that i'm experiencing so that's
56:29
one little moment there and the tension of that and then blindfold you know
56:34
and then record scratch and be like let's level it up duct tape around the face
56:37
do a couple more and then like level it up foil around the head back into the
56:42
darkness of the dun dun dun who wants to be the whole thing and.
56:49
Yeah that's heavy,
56:52
it's heavy and you don't have to again you don't have to do it but yeah any
56:56
like tracks that will trigger memories for people like of shows they would watch
57:00
or you know things like that so,
57:02
that's so great when i use that track it's like at a
57:05
moment where the audience has to make like one person has
57:08
to make a big decision on like something happening
57:11
and that music comes on and people like oh that's funny
57:14
because that's like who wants to be a millionaire great look
57:18
i hope this helped you guys adding music to your show don't make
57:21
it you know like yes it's a lot to
57:24
take in but it's really not that daunting just find some music
57:28
that like suits the flow of your character have a run on track run off track
57:32
audience coming up audience leaving it'll just feel so much it's fun to do as
57:37
well and the good thing about those just having those bits in your show is if
57:41
your stuff doesn't work the whole show works anyway it just you don't have those little.
57:46
Accentuating points doug how
57:50
are you doing there man i know it's a lot to listen to us talk about and it's
57:53
good man i've grown as a artist today i
57:56
know more than i did earlier and i'm i'd
58:00
say about 12 percent more prepared to add music to
58:03
my show hell yeah eventually we'll get
58:05
i did reach out to audio wipe to see if they would come on but
58:08
it was like so short notice that they probably haven't even seen
58:12
the message but you should send me a unit a test drive tell
58:15
him that when we talk to him dung con needs a test driver we
58:19
don't start these podcasts for nothing we want we want
58:22
some benefits here you need some uh some deals
58:25
some deals some collabs collab
58:29
with audio would be sweet because i sure want one
58:32
of those things but do you do you think trick supply would
58:35
ever stock stuff of that nature like tech kind of
58:38
stuff as well as magic or is that not really i can see
58:41
that happening for sure absolutely yep yeah
58:45
there is there is one more that's really
58:48
good that actually i think they were trying to actually integrate some
58:51
ai so that you can actually cue the tracks via your voice i
58:55
tried i played with it for a short while it's called one man show
58:58
it's by the same it's by the same guys that
59:01
make the duality app which is an amazing app if.
59:04
You haven't looked it up like by all means scope it out uh cobra magic
59:07
i think they're called cobra magic yeah so that's a little something to think
59:11
about guys yeah that's cool but we again we could talk about production to the
59:16
cows come home and and the cows have come home so let's go milk them that's
59:20
where this comes from without without strong hands that is a cold bag gag.
59:27
See ya thanks for listening it's time for us to disappear now disappear now
59:34
but we'll see you again on the next episode of the magic guys.