FIG. 1: The Mackie SRM 450 powered speaker can handle frequencies below 55 Hz and up to 20 kHz. It has delivers 300W RMS for the bass and 100W RMS for the mid and high frequencies.

Taking an electronic keyboard out of the lab and into the auditorium with your performing ensembles or pit band creates a win-win situation. It gives the ensemble an expanded palate of available sounds, and it gives keyboard students a rare opportunity to perform live in an ensemble setting.

However, performing live with electronic instruments is a bit different from performing with acoustic instruments. One difference is the number of secondary items you need in order to do the job right. Sometimes the difference between a successful and enjoyable performance and a frustrating and problematic one is just remembering to bring a few small items. Let's take a look at some of the little things that count.

When I visit keyboard labs, I am disappointed that I often see nothing being used on the floor. The piano sound of any electronic keyboard will be improved by a sustain pedal. Footswitches can also be used for functions such as activating or deactivating effects and changing programs (see “Tips & Techniques: Grouping Sounds” in the Spring 2004 issue of MET).

Pedals are indispensable for playing string, electric organ, and wind instrument sounds. They let you make changes in dynamics while keeping both your hands on the keyboard. Using a pedal is one of the most efficient ways to add dynamic swells and decrescendos to sustained chords, especially when the pedal can be programmed to affect timbre as well as volume.

Before I suggest some options for amplifying electronic keyboards, I want to discourage you from using a guitar amp for this purpose. Most guitar amps do not reproduce pitches above or below the range of the guitar, which is a midrange instrument. In contrast, most electronic keyboards have a frequency range greater than that of a symphony orchestra. String samples that sound clear and silky through a full-range speaker system usually sound harsh, undefined, and muddy when played through a guitar amp. Bass instruments are likely to sound thin and weak.

FIG. 2: The Roland KC-60 is one of the smallest keyboard amplifiers available. It includes a mic input as well as a subwoofer output. Roland also offers several more powerful models.

In addition, it takes a lot more power to handle the full-range sound of a keyboard than it does to amplify a guitar, so you need a more powerful amplifier to do the job. So where a 50- or 100-watt guitar amp might be able to shake the walls, you will need significantly more power to properly amplify a keyboard, especially in a large band that includes other amplified instruments. The idea is not to blast people's ears; instead, it's to have clean power that can reinforce the low frequencies without turning the amp way up.

Here are a few options for full-range speaker systems that are good choices for amplifying keyboards.

A one-piece, integrated amplifier/speaker combination offers portability, features, and (assuming you buy a good one) sound quality. Not all powered speakers, however, will do the job; look for one designed for band P.A. systems.

Powered speakers are available in several sizes; some units have additional inputs for microphones. I recommend a model with either a 12- or 15-inch speaker, such as the JBL EON15-G2, the Fender Ace-15, or the Mackie SRM 450 (see Fig. 1). A 15-inch speaker is usually much better for keyboards than a 12-inch speaker of the same make and model because it offers significantly superior bass response.

Keyboard amps often look like guitar amps, but keyboard amps use heavier-duty speakers and more powerful amplifiers designed specifically for electronic keyboards. They therefore have a wider frequency response. Keyboard amps are available in a variety of sizes, from one-speaker units weighing less than 19 pounds to 141-pound monsters on wheels (see Fig. 2). You should also consider features such as the rated power, the number of inputs and outputs, and the inclusion of effects devices such as limiters.

Note, however, that not all keyboard amps are created equal. Some are underpowered or use second-rate speakers. So try them in the store before you buy them, and see what happens when you turn them up loud — even louder than you will operate them onstage. Remember that in concert they will have to keep up with the rest of the band without being driven to the distortion point, so be sure you can get a clean sound at the volume you want without pushing the amplifier to its limit.

These systems usually consist of three components: a mixer and two speakers (see Fig. 3). Depending on the system, either the mixer or the speakers have the needed power amplifiers built in. The components are designed to work together efficiently to produce “matched system” performance. The stereo capability of most such systems adds depth and perspective to keyboard sounds programmed in stereo.

The mixers in most integrated systems can accommodate a variety of signal inputs, including electric guitars, mics, and CD players. Some of the smaller systems have limited bass response, however, and are monaural.

In a modular sound system, each component is selected individually. This system can produce the highest-quality sound, but it also requires the most knowledge to select compatible components. Essentially, you are building a small P.A. system, piece by piece. Be sure to get knowledgeable advice if you are considering this option.

Always purchase high-quality cables, especially if you need to set up and break down the equipment regularly. Cheap cables often have weak connectors, so if you are going to plug and unplug the cables often, it's wise to go for cables with metal connector housings that can be unscrewed, allowing you to resolder broken wires. If your budget allows only cables with molded-plastic connector housings, be careful to hold them by the housing and gently pull them out. Never pull a cable out by holding on to the wire; always grip the housing.

Note that in general, guitar cables are not acceptable for use with keyboards. Guitar cables are usually not electrically shielded, which means they will pick up radio-signal interference and can cause hum if placed near AC cables. That can be a big problem with keyboards, which put out a hotter signal than guitars and are often further from the amplifier or P.A., requiring longer cable runs. Cheap home-stereo cables also are out for the same reason. Always use shielded instrument cables with keyboards. These are available at most music stores and pro-audio shops, such as Guitar Center.

Try to buy slightly longer cables than you think you will need. There will invariably be a time when you will need another 12 inches of cable length to properly set up the keyboard and amplification, and a corollary to Murphy's Law says it will happen at the most inconvenient time.

Keyboard stands are a must to have, because it is imperative to sit at the right height and angle relative to the keyboard. Otherwise, it will be hard for your student to play with good technique, and he or she could risk developing a repetitive-stress injury. A lunch table is not an acceptable substitute; besides, lunch tables look bad on stage.

There are several types of keyboard stands, each of which has advantages and disadvantages. Ideally, you want a stand that can be adjusted for standing and sitting. In many cases, x-type stands are a good choice because the better ones offer several height adjustments, are easily set up and torn down, are lightweight, and are usually inexpensive. Make sure you get one that can handle the weight of your keyboard. (Most models are quite strong, especially name brands like QuikLok.)

Similarly, make sure you have a piano bench or solid chair that is the right height and type for keyboard performance. Don't rely on folding chairs; they can be the wrong height, and their seats can be uncomfortable, slippery, and improperly angled.

A keyboard case is a necessity if you transport your instrument to different locations. You aren't going on a world tour, so you don't need a heavy-duty rock 'n' roll case; a high-quality foam-lined bag should be adequate protection. If you need to transport a heavy instrument, you can purchase cases with built-in wheels and telescoping handles.

There are plenty of other small things to consider. If you need adapters (for instance, RCA-to-¼-inch adapters so you can use good cables with the outputs of consumer-type keyboards), be sure to have them on hand. If you will have several cables running across the stage, you'll need to tape them down with duct tape to avoid a tripping hazard. It never hurts to have a couple of screwdrivers handy in case something needs tightening. Make sure you have long enough AC extension cords on hand.

Most of the things I've discussed here are inexpensive, commonsense items that are easy to find and easy to set up and use. But you'd be surprised how many teachers and students overlook them until it's too late and the show is about to begin. Just a bit of planning and thoughtful equipment selection will go a long way toward making your ensemble's performance a hit.

Don Muro's new CD Reflections (J.D. Wall Publishing, 2004) can be found at www.donmuro.com. His new book, The Church Musician's Guide to Music Technology (GIA Publications, 2004), can be found at www.giamusic.com. Email him with your comments at domu@ix.netcom.com.