#9

After having played a few live sets, some thoughts:

  • Keep it simple, bring as little as possible (good for your focus, and your back!)
  • Design your set around a few tricks that you can repeat. You want to create a system allowing you to play all your tracks instead of having one for each track
  • Have your setup separated between a “robust” side that you can count on no matter what and a “play” part that will allow you freedom and risk taking
  • Bring what you have most fun with in the studio
  • Try to include movements that can translate in obvious sound changes to help engage the audience
  • Think about how you want your live to flow, do you want silence between songs or smooth transitions? Do you want to be able to improvise your tracklist according to the audience, or will it be decided before the set?
  • Take inspiration from already established live systems; DJ style transitions where you have two machines, one per track and you transition between those with a dj style mixer? Ableton loop styles where you progress and mix through a list of clips and stems? Electribe style of pattern chaining? Using looping devices to build layers upon layers?
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Oso
#10

For me, I like having a safety net for when things go awry, I love my Radio Music. The other useful tip is having a watch or clock visible to offset the “time dilation effect” that seems to happen when playing live. Also, a checklist when packing for the gig, and another for the setup is a must have.

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#11

this is very important. Aligning your music’s timescale and the timescale of the audience’s listening is delicate and difficult.

Also related to what @doomglue said above, i suffer the same shifting of “base-reference detail level”, it happens even in written / fixed media works: you end up knowing your material so much that it is boring to you, but you have to let it live, give it space (well, time) to make its way into the listener’s memory.
In my own practice it is probably the most important point i have to work on (a frequent case of “erase and redo”).

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#12

  1. Insist on a thorough soundcheck

  2. If monitoring wedges aren’t provided, position yourself between the PA and the crowd, facing the crowd

  3. Learn how to cue parts on headphones before bringing them into the main mix and get used to doing that at stage volume

  4. Set a timer

  5. Have as many aspects of the sound creation done prior to the gig. With modular, unless you’re purposefully doing a live patch-from-scratch thing, you want to be focused on blending the pre-patched parts and getting the transitions and levels right.

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#13

I have never played a modular show but I have played shows with a “traditional” 4 piece band. A lot has been said already so I will day this:

Power, don’t assume the power situation will be anything but terrible. You may need extension cords, power strips, and duct tape to keep said cords on the ground so nobody trips and takes out the whole setup.

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#14

Thank you for this, terrific advice here!

I’ll be playing a show in front of strangers for the first time in almost 10 years, have played at a friend’s tiny festival over the last couple of summers, so I’m a bit terrified :slight_smile: (in fact it’s just been announced here)

What I’m thinking is:

  • Choose what I’ll be playing, rehearse rehearse rehearse.
  • Try to figure out what needs changing to play those tracks live (i.é., no recording parts and swapping out tapes, no post, etc).
  • Make a list of the minimum equipment required for this.
  • On top of the sound machines, carry power cables for everything, power strips, and audio cables. Label every cable clearly with the machine it goes in, in bright colours :slight_smile:
  • Have some pre-recorded stuff that I’ll be happy with others listening if things go south for a couple of minutes / as filler.
  • Rewrite all my performance notes more clearly.
  • Buy a backlit kitchen timer.
  • Pack my desk lamp.
  • Have a checklist for packing, setting up, and unpacking.

What’s worrying me the most (other than everything falling apart) is repatching the 0-COAST between tracks, but I guess that’s where the aforementioned filler comes in - it better be good.

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#15

Another tip: Bring merch :slight_smile:

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#16

I would triple- (or quadruple-) emphasize practice and rehearse.

In addition to practicing and preparing in the studio, I’d also recommend doing at least a few dress rehearsals. Book a few hours in a separate rehearsal space and run through a full mock gig night. Repeat the process once or twice per week leading up to the show, with studio practice in between, and maybe two days in a row before the gig, if time and budget permit.

The goal of using a rehearsal space for the dress rehearsal is to also practice the “getting to the gig” part of the experience, and to build your experiential memory of how to handle curve balls, which should help reduce stress on the night of the actual gig. If your area has the means, try doing each dress rehearsal in a different space so you don’t get too comfortable.

Treat it like a role-play of the actual gig: tear down your gear in the studio, pack it up, head to the rehearsal space, set up the gear, do a short sound check in the rehearsal room, take a 5-10 minute break, run through your set exactly once, then pack it all up and head back to the studio. If you have the time and energy, set it back up right away so you can reflect on the set, and resume normal practicing.

From this, you should hope to learn:

  • how long does it take to pack up your gear in the studio?
  • how long does it take to set up your gear in a new place? (load in)
  • how long does it take you to tear down your gear in the new place? (load out)
  • what cables / adapters / moral support tchotchkes did you leave at home?
  • how difficult is it to transport your gear from studio to rehearsal space?

A few other notes, that come to mind from electronic music courses, and various experiences:

If you can contact the venue beforehand to get a list of their gear, do it. It will help alleviate the power/DI/cables/monitoring stress a little bit.

As others have said, bring only what you need. Use the dress rehearsals as an opportunity to refine that.

This includes costume / wardrobe. Dress up for the dress rehearsal (or pack your clothes and change at the rehearsal space, if that’s what you’d do the night of the show)

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#17

Everything @rknLA said about practicing setup/teardown. If only to ensure you’re comfortable doing it, and can resist the pressure to hurry when you’re in awful tight turnarounds.

Also, this thread made me think of this excellent paragraph from the Surgeon Art of Production interview at RA:

A really important point me and Colleen (Lady Starlight) came up with was this concept we called 50 percent stupider. The concept goes like this: when you perform live, you’re 50 percent stupider than usual. Always remember that. When you’re at home and you’re practicing, make it half as complicated. When you’re performing you have all these other pressures and the sound is weird and people are looking at you. It’s so easy to get overwhelmed and enter a state of panic and then you can’t think properly and you rush through your set. Then it’s horrible and no fun and you’re probably transmitting that bad energy to your audience too. So 50 percent stupider is a really vital thing we learnt.

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#18

Lots of great advice in here. To reiterate what others have said, assume the venue has nothing. Assume you’re going to play in a field somewhere and bring everything you need: your own extension cord, power strip, etc. (except for bulky PA speakers…but I always bring an amp, just in case!)

The only thing I would add is that it might be really helpful to practice your set ahead of time. It sounds like the show is in the spring, so you have time to:

  1. Jot down your ideas for songs/pieces/moments/ideas
  2. Figure out how to make them happen
  3. Run through them from beginning to end
  4. Run through the whole set, in order, from beginning to end

If you’re nervous, practice your whole set in front of a friend or two - or even do an impromptu unannounced livestream on Facebook or something, just to practice doing your thing in real-time in front of an audience.

(on a side note, learning keyboard and theory is certainly a worthwhile pursuit, but of course you can still play a killer set without them!)

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#19

When you make a mistake just act like nothing happened. Unless it was really bad you are probably the only one who noticed.

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#20

To jump off this point. You can do 10 dress rehearsals that all go flawlessly and somehow when you start setting up for your gig you might find that you’re missing the power chord for your volca FM or something. Whatever. No one’s gonna think “gee, that part was really missing a smoking ELO synth lead. Wonder where that extra voice is.”
Try to remember that this should be fun. Embrace whatever happens and just go with it. If you’re throwing out stressed, anxious vibes a sympathetic audience will pick that up and feel it too. Unless, of course, stressed and anxious vibes fit the tunes, in which case, use them :wink:

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#21

Highly recommend headphones that are over ear, pretty isolating, I just play the whole set with the master signal through them. Things can knock out of tune, and I like being able to tune, not having to rely on pa speakers I don’t know well and might have trouble being able to determine pitch with.

Clock on phone is very good advice, ask the length of set the person putting on the event is looking for. Remember to take a second and listen to what’s happening throughout, keep the audience in the front of your mind.

You don’t need several “songs” preplanned with very little manual intervention. I’ve probably done 20 shows that were all or mainly based around the modular, and the best and most fun ones are the ones that I didn’t go crazy planning out every detail, but rather came in with a rough idea of A->B->C and how long each thing should be. Every once a while a D pops up that you can explore on the spot which can be really fun and stressful and exciting! Of course bad shows or parts of shows happen, but literally no one cares but you.

Good luck! I think playing live is very fun and hope you enjoy it!

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#22

set yourself to have a good time. make it as easy as possible for you to enjoy playing music for 20 minutes in front of people. you have nothing to prove.

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#23

Everything that @papernoise and others have said. My 2cents:
Don’t bring 5 synths. Bring one. Or two. Or maybe three. One is usually enough for a start. Something that would fill the room. Not with music. With your personality.

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#24

Rehearse straight through, no stopping, and record it.

I also record what I play live and use the zoom I have to see how long I’ve been playing.

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#25

Everyone on this thread has great advice - especially about the value of rehearsal.
My tip: a short set is totally OK! 15-20 minutes of modular/live electronics is totally fine, even at more formal/commercial venues.

You’ve got the right idea about bringing only enough gear to fill a duffle bag, but you might be able to cut down more: a short, well-rehearsed set, with only two or three of your devices, might work better than a longer one that includes more moving parts. Rather than plan for a complex mixing, DI, etc., setup, see if you can prepare a stripped down, rugged set that will be more resilient to logistical chaos.

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#26

Good luck! Be sure to come back on here and let us know how it went!

I think most of what I would say has already been said. I’ve done a few live shows with just a small modular case and each time I make it simpler than the last, both because I think it’s easier but also because I’m realising that it can be simpler and still be enjoyable for the audience. But maybe you need to find your own way to that point.

But yes:

  • bring lighting (the shock of realising that I could not see a single thing on stage and I needed to repatch was quite something!);
  • have a go-to “thing” that can fill a silence (I use long samples of spoken word to use while I’m repatching between parts of the set - works a treat!);
  • if you feel like the audience is bored because you’ve been doing one thing too long, then you’re probably wrong. When I listen back to my live sets recorded I’m shocked at how rushed they feel. Like as soon as I’ve started one idea I’m moving on to the next…
  • if you can keep your whole equipment down to one thing on your shoulder/back and one thing in one hand, you’ll be sooooo much happier. Being able to open doors without putting stuff down is a boon at a venue!
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#27

quoting for emphasis. i have a battery powered reading lamp that folds up and always comes with me for this reason. I’ve actually gotten into arguments with venue staff because i literally could not see anything on stage and the venue had “aesthetic guidelines.”

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#28

I’d wager I play out as much as anyone on lines, typically on guitar in my gloom-rock band, but I’ve been playing electronic music for a few years now. Here’s my two biggest lessons:

  1. Make friends in the local noise scene. Every town has one. Even if you don’t play aggressive music, it’s a very welcoming environment (if not a bit grimey) that’s open to different ideas and approaches. Nothing has been more beneficial to my solo performances than being able to play multiple low-stakes ~10 minute sets in an ‘experimental’ setting. People are receptive to your ideas and if there’s a set you don’t care for, it’s usually over with it five minutes!

  2. Take your time. The first show I played with my Shared System, I was talking with a friend and said “that went pretty well, but I really need to work on making the patch evolve more.” His response? “I heard a lot of things you could have spent more time with.” Absolutely don’t spend more than 25 minutes on your solo electro set, unless you’re headlining or doing an installation type pieces. Make sure not to rush things, and if you hit a sweet spot relish in it a bit.

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