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Just like the record?


coyote

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In this month's Keyboard magazine, a keyboardist writes in about how an audience member felt 'cheated' when the band uses sequences onstage. The keyboardist replies that "it's the only way to make the performance sound just like the record".

 

Is this a worthwhile goal? Why sound just like the record when someone can go buy the record? Shouldn't a live performance bring something different to the table? Doesn't playing to a sequence neccessarily preclude much of the magic spontaneity?

I used to think I was Libertarian. Until I saw their platform; now I know I'm no more Libertarian than I am RepubliCrat or neoCON or Liberal or Socialist.

 

This ain't no track meet; this is football.

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I don't use sequences live, mostly because it is just too much work being strapped down to a click track for the band..

 

but there are some songs that really NEED to be sequenced either in order to play them at all, (i.e. 6 different keyboard parts/FX running at the same time), or because the song really needs that tight sequenced sound, such as pop dance songs.

 

In these cases, we either totally forget the idea of doing the song, or work it up so differently that people would know that we were not trying to cover it perfectly.

 

-Gregg

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Originally posted by coyote:

In this month's Keyboard magazine, a keyboardist writes in about how an audience member felt 'cheated' when the band uses sequences onstage. The keyboardist replies that "it's the only way to make the performance sound just like the record".

 

Is this a worthwhile goal? Why sound just like the record when someone can go buy the record? Shouldn't a live performance bring something different to the table? Doesn't playing to a sequence neccessarily preclude much of the magic spontaneity?

 

To me, the best part about live music is that a little something is missing. Listen to the Eagles live compared to the studio version. Casey

 "Let It Be!"

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When stereo recordings first became common, pre multitrack, (look at old stereo LP's from the 1960's) the goal was for the record to sound as good being at a live performance.

In the 70's you had decidedly different arrangements for live vs. studio i.e. Led Zeppelin, Yes, etc.

Then in the 80's and since, with the advent of samplers, you had metal bands flying studio backing vocals who couldn't sing to save their ass, and Milli Vanilli using a Synclavier to fly EVERYTHING, and now concert goers want to pay $75.00 to see someone exactly recreate their record live. What's the point???

 

The thing I liked best about bands like Zep, Wings, Yes, ELP, Hendrix, Queen, etc., was that the "live" versions were so different and so cool. Maybe they were just better musicians that could pull it off and not suck.

 

steadyb

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I understand the frustration. It is quite possible to compose on a sequencer what cannot be easily performed live. But I don't think it's purist snobbery to insist that in a live show, the musicians are actually playing instruments.

 

There are two different art forms at work here. The studio production is a work of art (hopefully!) in it's own right, and a live performance is a related but ultimately seperate work of art.

 

Think in terms of other art forms such as oil painting. I may feel inspired by a particular painting, but I don't expect it would have been very entertaining to watch them mix colors and dab brushes. Conversely, I would feel cheated if I went to the ballet, and found that pre-programmed androids would be reproducing each leap and step with perfect precision. It is the human quality that attracts us to a live show. We want to be able to experience the music on a more organic (hm.. analog?) level.

 

For that reason, you probably orchestrate a live performance somewhat differently than a studio project. Remember that the audience is not listening to your performance on headphones, and they will likely miss many of the finer nuances that come through in a recording. I think the idea is to fill the room, whatever size it may be, with the sound and the emotional energy of the song.

 

Either that or you could hire 6 keyboard players.

 

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I always enjoy the live shows of artists to hear their interpretations. I think for cover bands it depends on the style of music and quality of the musicians as to whether I would prefer it like the record or an interpretive version. For jazz, I'd rather hear the improv. For pop, R&B and dance, some variation would be nice, but I'd expect it to be recognizable and fairly close to the record. The signature leads and basic song structure I would expect to be pretty close, but intro, ending, segway or an extended version with some extra improv would all be cool and appreciated. Roland
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It dependes on the audience AND the music style.

 

My band is absolutely a sequenced styled one.

 

I won't ask anyone to play "live" a 16th or 32nd note bass line with a keyboard or do that many samples triggering live. It'd has no sense.

 

 

However, we ALWAYS prepare a different sounding live version than the one on our demo CD... people appreciate it, when they know your music. You know, we leave space for a "solo" or asking people to participate...

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Originally posted by coyote:

Is this a worthwhile goal?

 

Not in my opinion. Especially today when you can get a $400 keyboard at Best Buy that will play SMF's that play the record parts verbatum. Even if you do your own sequences from scratch, who in the audience is going to notice or care? I mean, it's one thing to cop the parts that identify or make the song cool. Or to pay tribute to an arrangement that's so damn cool that you can't really improve on it. But otherwise, no.

 

Why sound just like the record when someone can go buy the record?

 

I agree, especially when you're competing with DJ's who HAVE the records, and work for less money than a band. You're not gonna sound more like the record than the record! It's a losing battle.

 

Shouldn't a live performance bring something different to the table?

 

I believe so, and I think that as long as you play it with authority and attitude, people will appreciate it. Most audiences would prefer to hear something somewhat unique than to hear a half-baked imitation of the record. Again, if they wanted to hear the record, they'd go hear a DJ or just stay home and play the stereo!

 

Doesn't playing to a sequence neccessarily preclude much of the magic spontaneity?

 

Definitely. And the more parts are sequenced, the tighter your musical handcuffs get. Anytime I've ever had to work with a sequencer live I've always insisted on using the bare minimum of tracks needed to fill the arrangement. And even then I'll start with the most mundane parts that I'd rather not have my hands tied up playing. One of my all-time pet peeves is to see a band Milli Vanilli'ing onstage while the sequencer is wailing away on all the cool parts. http://www.musicplayer.com/ubb/mad.gif

 

Last but not least, I believe when you go onstage you're trying to sell yourself as a performer and entertainer. You're not trying to help sell some pop star's records! Unless you're trying to demonstrate that you're capable of playing a difficult piece of music, be original! There's too damn much "me,too!" in this business! http://www.musicplayer.com/ubb/biggrin.gif

 

Peace all,

Steve

 

 

 

This message has been edited by SWBuck1074@aol.com on 09-22-2001 at 06:15 AM

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Steve

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