philtre71

Interesting discussion on the use of third-party AUs/VSTs. I admit that I started off using a number of third-party instruments but increasingly limited my palette (e.g. using the 'Logic" organ rather than Blue3, which I love). I did use Kontakt for brass sounds, but in other cases made use of the auto sample function in EXS24 to avoid the need to load resource-hungry instruments. From the audience perspective, I seriously doubt most people would notice the difference between a basic warm pad from retro synth and something more complicated from Diva, but that"s perhaps another topic...

I didn't even think of checking for a MainStage Facebook Group... but OF COURSE THERE IS, just put in my request. +1 to this.

On the backup issue I totally agree that (1) the mainstage/mac combination is incredibly stable WITH good memory management and (2) it's best to keep things as simple as possible. My backup solution worked for me because it literally involves adding one piece of equipment (the microplug, which is about half the size of a cigarette packet) to my rig...everything else I use would be there anyway. I also agree that using the headphone output from the macbook is a great approach (though see Eric's caveats about the new models). During early rehearsals, before I started sending percussion loops to the drummer, I used the headphone output and it worked great. For my rig, I need to use the headphone out to send loops to the drummer and also need a mixer for my in-ears, so it made sense to use the Soundcraft Notepad mixer which has a built-in audio interface. I created an 'aggregate' audio device that has my mixer/interface as output 1-2, and my headphone out as outputs 3-4. That way I could route signals independently to the drummer and to FOH.

Allan (I'm also an Allan!)...and also relevant to Docbop.... That's what I've done previously...used my CP33 as the main board, with additional sounds coming from Mainstage via a M-Audio keyboard. This was my first gig with Mainstage being the 'core' of the rig....I have to admit I was pretty nervous about it! So as a backup plan (and this was a result of my tendency to catastrophise): I was already using my ipad running forscore, for charts. It's on the right side of the SL73 (and stays locked in place because the SL73 is magnetic there!) So I took the midi out from the SL73 (which I'd also hooked up to its own power source, not just relying on USB power) and ran that into a Korg microPlug. That was connected to my iPad. The microPlug was also connected to its own power source, therefore keeping the ipad charged throughout soundcheck and gig. Along with forscore, I was also running sampletank on my ipad...just basic patches, but enough to get me through the gig if the laptop crashed completely. My main sustain pedal was routed directly to the SL73, so if everything went pear-shaped, I would still have sustain/keyboard/ipad runnning. This fed into a stereo channel on my little soundcraft desk, which was on mute the whole time but could be brought into action if need be. So for the additional 'overhead' of the microplug (which fits into a tiny bag) I had a satisfactory backup plan if the laptop/mainstage setup crashed. But as noted earlier, with good memory management in Mainstage (using Aliases was critical for me) the whole thing has been rock solid during numerous rehearsals, and now one gig! And that's on a 2013 Macbook pro with 8GB ram.

That's awesome. :thu:I was going to ask you how you are using the Akai ... For me, every project (be it a tribute, a musical or a jam band) has a similar life cycle of complexity. It's either < > or >. We increase complexity at first and then simplify. Or we start out complex and then simplify. I use a Novation Nocturne (like your Akai) or a Roland A-500 at the early stages of rehearsal for "channel strip level control" (channel strip mute and channel strip volume). Because you never know what you might need to tweak. After a while I can move to a higher level of "zone level control" so that toggling zones and adjusting their volumes is baked into just a few footswitches and continuous pedals. Now there is more programming inside the rig, but my personal complexity is reduced. Movements have become simple. Now I can enjoy the music, the musicians and the audience. BTW, are you using samples to emulate the analog processing in Melt and Fairlight samples from Security and how did you source them? Inquiring minds want to know about your sonic treasure hunt! That is a great summary of my own process in this. Even last week, I was reducing the number of patch changes per song because I realised that, while a lot of subtlety works well when rehearsing on your own in your own studio, when you translate that into a typical bar/club setting (even with a great-sounding PA and engineer) there"s a lot of things you can 'let go". So for example, when we"ve been rehearsing Solsbury Hill I had a fairly complex set of changes to include the flute sounds etc that you hear on the original recording, but ultimately reduced this down to a decent CP70 sound and a bit of organ, because it made me far more relaxed and focused on what I and the band were doing, rather than worrying about the next patch change. At the end of the gig, nobody was complaining about the missing sounds. A major Gabriel fan, who is also a professional musician, complimented us on our 'pin-point accuracy"! Now I do realise that there are always certain 'signature passages" that you need to get right in a tribute band, but I think it"s about picking your moments carefully and not being too concerned with nailing every single sound. So I worked from live recordings rather than studio for this project, and focussed more on the musicality of my performance rather than its sonic accuracy (if that makes sense?). Just an example...I played 'Don"t give up" using only acoustic piano. I"d worked up a version trying to capture the pad sound (prophet?) on the Kate bush sections, the flutes etc, but ultimately took the *musical* decision to play it on AP, because it just felt right. Everyone loved it...a wee bit of that might be that I am at heart a pianist and accompanist and was very much at home doing that, but folks were focussing on the vocalists and I was giving them a 'bed" to do their thing, so I was happy with that. And myself and the bassist TOTALLY NAILED the transition into the 4/4 vamp that Gabriel often does live as an outro. Sorry for the long post. I"ve learnt a lot on this journey (thanks to several on this forum). As a Scot, the main thing I DID want to get right was Gabriel"s worryingly frequent use of the bagpipes. I spent time on that sound!

I like to keep the hands on the keys as much as possible and my feet busy under the surface. YMMV Absolutely where I'm at now as well. I started this project using the Akai LPD8 as my main controller for patch/volume changes etc., but by adding the Audiofront Expression Quattro I found it much easier to control with my feet via additional pedals....similar to how David Sancious runs his rig with Gabriel.

I've been really impressed with it. It's got a slightly 'heavier' feel than my CP33 and, after doing a few piano-only gigs recently with the Yamaha, I think I prefer the SL73. For the price it seems incredibly good value, and its compact size means it's very easy to transport and has a smaller onstage footprint. I believe the keybed is the Fatar TP/100LR...which might also be used on other boards?

This is a screenshot of my performance layout. It's built to meet the needs I have for this particular gig (i.e. I'm using a breath controller at points, so that's reflected at the top of the screen). I'm using an aggregate audio setting to send a stereo output ('main') to FOH, and outputs 3+4 to the headphone out of my macbook, which feeds the drummer's headphones ('aux'). This way I can give the drummer more or less of the percussion loops during each song in real time. For this gig I used one set per song, and some sets (songs) have only one patch, some have more. My LPD8 controls are reflected in the middle of the layout (i.e. organ percussion on/off) and I also have a clear visual on the output levels for each layer/split sound within the patch.

I'll post a screenshot of my layout later on...for patch changing I use the boss fs-5u you can just about see on the pedalboard. From (players) left to right I have Sustain pedal (used as an on/off switch) to trigger playback of percussion loops, FS-5U for patch changing, EV5 for volume control of specific channels (e.g. bring strings in and out), foot switch (mostly used to control Leslie on/off) and then a conventional sustain pedal.

Cheers Eric! I'm already using the midi monitor as part of my layout...I've just kept the keyboard widget there to remind me of various split points etc. Hopefully I can get rid of it after a couple more gigs. Thanks for the tip.

First gig last night (Peter Gabriel tribute) with my new rig based around Mainstage and a StudioLogic SL73 keyboard. Everything worked perfectly...Mainstage was rock-solid as it has been during rehearsals. I've learned a lot about memory management, especially the use of aliases. Best thing, apart from having access to all my VST/AUs, is that the whole thing including bench, stand etc. fits into a large wheeled suitcase and a keyboard bag I can wear as a rucksack. Very portable. Thanks to everyone on the forum who has offered advice while I was putting this thing together...cable management still needs some attention but I love the flexibility and portability of the rig.

Really enjoyed episodes 2 and 3. I like the balance between the technical/gear chat and more general discussion about working in the business (writing, performing, recording etc.) Look forward to the next one....

Just listened to episode 1 on the drive into work...great job! Really enjoyed it and have subscribed.

Very cool. Like the hat!

Absolutely...the pegboard looks good, and I hadn't thought about something 'rollable' like a rug. More pics of pedal setups welcome!

That would be great...my biggest concern with a standard pedalboard is that I play seated and I suspect most pedalboards are designed to be accessed from a higher angle than a conventional sustain pedal

Thanks...do you use a standard guitar pedal board case or something custom?

Apologies if this has been discussed before. I have four: a Yamaha sustain, a Roland expression pedal, a Boss FX5 that I use for patch changes in Mainstage, and an MAudio sustain that I use to trigger Leslie on/off. All of these, apart from the sustain, run into an audio front interface which is also on the floor beside the pedals. I"m fed up with these all moving about during gigs, and thinking about buying a pedalboard case where the four pedals could be securely Velcro"ed. This would also mean that I bring one case to the gig (in a larger bag) rather than having four different pedals rattling around. So how do the rest of you using multiple pedals organise your rigs, and avoid the dreaded 'sustain pedal keeps drifting further and further from me...."?

No-one has responded to your fourth question, which I"m currently investigating...would be good to hear any thoughts.

On reflection, that was a bit disrespectful to Rhodes, who I think is a great player and perfect for Gabriel's music.

I hear you! I play the arpeggiated patterns on a fairly heavily chorused CP sound...mainly because our guitarist is more of a 'David Rhodes' type of player....great feel, but less comfortable on those kind of intricate patterns. I have a split between the piano on RH and organ pad on LH...pretty similar to how it's done live.

Very interesting DanL. Our set is: Come Talk to Me Steam Games without Frontiers (which I can't stand!) Secret World Shock the Monkey Mercy Street Shaking the Tree In your Eyes Blood of Eden Solsbury Hill Here Comes the Flood Red Rain Don't give Up Sledgehammer Biko I'm running everything via Mainstage, using Pianoteq for the classic CP sound, Blue3 for organ, a variety of Arturia/Logic plugs for synths and Kontakt for brass. I've taken as our starting point various live versions rather than the studio ones, both for arrangements and for kbd sounds.

This is a great documentary. I'm currently in a Peter Gabriel cover band...it's challenging but fantastic music to play.

I"ve now added a teccontrol breath controller to my setup...used in conjunction with mainstage it is simply amazing and keeps the setup nice and minimalist!

I wonder how many of us still use the Boss FS-5U on a regular basis? I got mine in 1988, still going strong and still (I think) in production?