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electronic music live - how do you do it?
Old 7th August 2007 | Show parent
  #31
Lives for gear
 
7161's Avatar
 
🎧 15 years
we used to do that, we'd use a 1040 and rather than have linear stuff we'd create a stack of 16 bar midi parts..

the 1040 feeds the outboard, -> mixer WITH CHANNEL MUTES... then add in a live keyboard and a percussionist or whatever soloist

you start the set with mebbe the first 8 midi tracks open and drop stuff in out on the mixer, then bring the set forward by opening up new midi tracks and combining that with muting

also you can get say an old yamaha qx (the 5 upwards featured 8 solo-able tracks) and have one song on each track

anyways it worked ok, we did outdoor raves, and even large venues like the forum or academy

btw, if you feed some acid to the soloist, you can sit back and actualy do nothing while they go off on a 2 - 3 hour solo, lol
Old 8th August 2007 | Show parent
  #32
Lives for gear
 
Popbott's Avatar
 
🎧 10 years
Okay Matucha, I hope this can inspire you as requested, and I hope I can make some experience noted suggestions. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
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HISTORY: I have always considered myself more of a studio person but have always made time to have fun at shows. For over 6 years I have co-owned an all synth cover band playing in the <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:place w:st="on"><st1:City w:st="on">San Antonio</st1:City>, <st1:State w:st="on">TX</st1:State></st1:place> area. We are primarily an 80's & 90's dance band moving on to newer synth dance music in the near future. Our niche is that we have chosen our set list to consist of songs primarily done on synthesizers and have stuck to our guns since the beginning, and are still at it. We have moved away from the club scene (which pays very little) and only do private events twice a month as we all have day jobs. <o:p></o:p>
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BAND: There are four of us. I sing lead and have two synths on stage. Two other guys also have two synths each and double on bk vocals, bass guitar and regular guitar at times. Our drummer plays on a Roland TD-10 V-Set and does bk vocals. For shows that have limited space, we go three piece.<o:p></o:p>
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LIGHTS: 4 pars, 2 scantrons, smoke machine, black backdrop. We have stands for everything. <o:p></o:p>
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SOUND: We a huge 4 piece PA with two monitors and three power amps. We have a 16 Channel mixer with built in effects (comes very handy) a crossover, an effect unit, 2 Ch EQ and compressor for the overall mix. The 16 channel mixing cabinet with everything in it is small enough to fit next to my keyboard stand and I do all the mixing from stage after a well rounded sound check. We have had our mixer for six years without any problems and have used it on countless shows. It’s a Behringer. (hey I want a Mackie made of gold too but that just ain’t in the cards baby!) <o:p></o:p>
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CLICK TRACK: We play as much as possible on stage, but I do run a Sony walkman mini-disk from stage that supports impossible to play bass lines and other synth parts not possible on stage otherwise known as "track music". This small unit is hardly visible velcrowed to my ultimate stand above my top synth. I have a split "Y" cable plugged on the headphone out of the mini. One side of the stereo field has the track music and the other has a click synced to the music. One side (music) goes directly to the mixer and the other side (click) gets pre-amped and goes to the drummer using a small in ear headphone. <o:p></o:p>
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tutt I see NO POINT in running track music in stereo as the only people that will hear the stereo effect are those standing in the middle. This way EVERYONE hears the same thing. When you have a multi-level, multi-roomed venue or club you are playing in, this makes a HUGE difference. The track music is also mixed for mono so nothing is compromised. Light vocal delays and some live synth parts DO run in stereo on stage, but nothing major.<o:p></o:p>
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IN CLOSING: Never in 6 years have we ever had a "skip" or "crash" or "delay getting started" on stage. Using a laptop IMO is an accident waiting to happen unless you have an identical back-up that is in perfect sync on a different power source. Crashing in front of 300- 900 people in a club...that makes you look like an idiot -and don't expect to get rehired. Not having a computer on stage also gives the audience a chance to wonder how we are getting the sequenced music across and retains their attention. Never have we ever had a complaint about the sound quality, if anything, we keep getting complimented and rehired.
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Look…YES we play a mini disk on stage, but it’s very minimal what is on there and it's not on every song. On stage, there is a lot of interaction going on between all keyboard players, improvising parts always happens and the drummer has a blast. We all sing and have a GREAT time at every single show. Our philosophy is to keep it simple, keep it moving and entertaining…and it works.

http://www.myspace.com/electricbluemusic

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Old 8th August 2007 | Show parent
  #33
Lives for gear
 
ONDRAY's Avatar
 
🎧 15 years
Do it like this: Erol Alkan Forum / daf punk inside piramide
Old 10th August 2007 | Show parent
  #34
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jude's Avatar
 
🎧 10 years
Quote:
Originally Posted by Popbott ➡️
<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
tutt I see NO POINT in running track music in stereo as the only people that will hear the stereo effect are those standing in the middle. This way EVERYONE hears the same thing. When you have a multi-level, multi-roomed venue or club you are playing in, this makes a HUGE difference. <o:p></o:p>


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i strongly beg to differ!

if things were ment to be in mono the FOH console wouldnt have a L/R buss wound it? we wouldnt have 2 ears would we?

with new technology in speakers and processing a very real stereo image is possiabe over 120degs from center of the stage. dont belive me? go listen to a good FOH engineer mixing on a Nexo GEO-T rig then tell me stereo isnt important

if your playing in a "multi-level, multi-roomed venue or club" then you have other issues than mono/stereo. delay times, matrix mixes and zone EQ's are just a few things.

may i suggest you listen more closely next time you go to a show, or maybe even pay a sound guy/girl who knows what they are doing

and before you try flame me, ive been mixing FOH for over 10 years and have toured with australias best rock and dance groups
Old 11th August 2007 | Show parent
  #35
Lives for gear
 
Popbott's Avatar
 
🎧 10 years
Quote:
Originally Posted by jude ➡️

"the FOH console wouldnt have a L/R buss wound it?"

"we wouldnt have 2 ears would we?"

"dont belive me?"


"may i suggest you listen more closely next time you go to a show, or maybe even pay a sound guy/girl who knows what they are doing"


and before you try flame me, ive been mixing FOH for over 10 years and have toured with australias best rock and dance groups
Jude,

A little angry aren't we? Grrrrr!!! Take it easy, I'm not going to flame you.

I think your ideas and experience are awesome. Processing a sterio image live is a great idea, especially for tracks mixed in sterio. I will keep that in mind on my next $3000 weekend gig. fuuck






Old 12th August 2007 | Show parent
  #36
Gear Nut
 
🎧 15 years
What is everybody's recommendation for cases?

I am going to get cases made, but I don't know if I should do 1-2 big cases where I can leave the gear inside during the set or if I should just get transport cases and setup on a table at the club.

The convenience of a bigger case is nice but it will probably be really heavy.
Old 12th August 2007 | Show parent
  #37
Lives for gear
 
aeonsound's Avatar
 
🎧 10 years
i play morning / forest style psytrance. i work exclusively in Live 6, running on a 2.16ghz / 2gb core 2 duo laptop. i play synths and control Live using an Edirol PCR-M30 midi controller. i play electric violin, which goes through....

...a ****ty zoom pedal into a ****tier behringer DI box. i know, i know

when creating a set, i tend to render, master and load finished songs in their entirety, then automate the set's master tempo to match.

on the midi side, i then have a different synth/sampler on each of 16 channels, for live improvisation. typically these will include:

- one 'malleable' synth, with main parameters (waveform, pitch, filter type, cutoff, envelopes etc.) mapped to the controller. i use this for on-the-spot inspirational sounds, and for shifting soundscapes. often this will be U-he's superb Zebra2, because of its lush waveform-morphing goodness and gorgeous filters.
- a few distinctive lead synths... a squelchy sawtooth for wibbly sounds, a nice clean smooth filtered lead with lots of portamento, and a clangy FM beast for odd noises. possibly a moog emulation for clean mono leads, z3ta+ or FilterscapeVA for FM, and Vanguard for trancier stuff.
- a drumkit or two for bashing out snares and hats... usually Ableton's Impulse.
- a few 'ethnic' instruments, like the Chinee Kong Erhu or a weird marimba emulator.
- some 'atmospheric' instruments - either big pad sounds or weird ambience patches.
- a classic piano just for kicks and cheesy 12-bar blues runs

each of these will be mapped to similar pots and sliders on the midi controller, so i know where filter cutoff / res will be, osc pitch will be etc... their output is sent to a bus for group EQ and compression, to keep dynamics under control. that bus has sends also mapped to the Edirol for delays, reverbs and autofilters.

on the audio side, i set up between 10-16 channels for the electric violin. typically these will include:

- one 'big tail' with a long, highly diffuse reverb for washy waves of sound.
- a distorted, filtered, gated channel for squelchy stuff
- a rhythm-gate set to 1/16th notes with a ping-pong delay
- a sweeping high-pass autofilter
- a phaser / chorus / flanger for funny sounds
- an instance of dblue's Glitch or magnus's Fire for mangling

as with the midi, each channel goes to a shared bus for group EQ / compression. i tend to experiment with combinations of pedal settings / channel selections beforehand to try and avoid any huge level spikes, and often run quite a tight compressor to keep things under control.

i also map 'macro' controls to the midi controller and laptop keys. these include global FX (typically a sweepable autofilter, flanger with rate control, stereo imaging etc.) and return levels.

psytrance is quite difficult to perform fully live as it is fast, complex and detailed. i'm always looking to do things as live as possible... but because there's only one of me, it can be tricky. between selecting and playing synths and samplers, selecting pedal / channel settings and playing the violin, and doing global FX etc. i find i'm working hard enough. by this time next year i'm hoping to do quadraphonic sets wherever venue details will allow.

a few downsides of my particular approach at the moment:

- i'm quite inflexible with tempo and setlist issues. it would be nice to be more flexible and responsive.
- because i often play on very loud rigs i can get harsh feedback squeals from my violin.
- since i merely improvise over my pre-recorded material, my live sets are better than my released music
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