STRONG BACKING
Apr 1, 2005 12:00 PM, By Erik Hawkins
Playing live with a multitrack system is entirely different than singing along to a 2-track mix. A multi-track system for live shows is nothing like the karaoke setup at your local pub, and, of course, there are no lyrics to follow on a TV monitor. Employing a multitrack recording to provide backing tracks for your band is not cheating. Big-name artists — from Madonna to Mary J. Blige to Destiny's Child — spend thousands of dollars to assemble and implement multitrack playback systems for their live shows. However, with proper planning, it's possible to build such a system for less than a grand. It requires practice to perform effortlessly with a multitrack recording, but the ability to sound like a band much larger than yours actually is can be an invaluable part of developing a commanding live sound.
THE SETUP
The type of multitrack you choose depends on a combination of your budget and your needs. In theory, almost any multitrack has the potential to work, but there are several questions to consider to help you narrow the field of candidates: What's the minimum number of tracks you'll need (keep in mind that some parts, such as background vocals, will be submixed down to a stereo stem)? Does the band require discrete multiple outputs for personal monitoring, or will a single stereo feed from the multi-track to the P.A. suffice? How roadworthy does the system need to be — are you setting off on a nationwide tour or just gigging locally? Who will be the primary operator, and which system is he or she most comfortable using? Is jumping between songs on a whim important, or do you generally stick tightly to a prearranged song order for each set? Finally, how much money can you budget for the system?
Systems can be separated into three categories: tape-based models (such as the Alesis ADAT and the Tascam DA-38), stand-alone hard-drive recorders (such as the E-mu Darwin and the Roland VS-1680) and software (such as MOTU Digital Performer or Digidesign Pro Tools). Because tape-based multitrack units require time to rewind or fast forward to find cue points, once you roll tape, you're locked into the prerecorded song order for the duration of the set. However, tape-based units are dirt-cheap on the used market, and you can easily swap out tapes to accommodate a revised song order. Used stand-alone, hard-drive recorders are a bit more expensive, but several models (such as those mentioned) are available for less than $600. These units are usually quite robust, making them a good choice for the road. Although a digital audio sequencer software application is certainly the most flexible in terms of tracks and outputs, it is also the most delicate — computers weren't designed for the rigors of touring — and can be temperamental live.
Tape-based devices require a mixer for mixing down their individual outputs to stereo feeds that can be sent to the P.A. or to personal monitoring setups. If you normally take a sound-reinforcement mixer to gigs and have the inputs available, this is no big deal. But if the addition of another mixing board looks like a pain, then you will want to consider an alternative. Many stand-alone hard-drive recorders have individual outputs as well as an internal mixing section feeding a stereo mix output that can be sent directly to the P.A. Personal monitor feeds can then be assigned, independently, to the individual outputs. Digital audio sequencer software, having even more powerful internal mixing and routing capabilities, paired with an appropriate multioutput audio interface (such as MOTU's 828mkII) can do all of this and more.
STEM RESEARCH
The goal of backing tracks is not to enable pantomime performances, but to enhance the band's live performance. Band members should play along with the recorded tracks, at times even doubling their own studio performances. For example, live vocal harmonies can be sung over the top of the background vocal stems, and the drummer can augment the prerecorded kick-drum track with his or her live performance using a slightly different kick pattern. Doubling the prerecorded tracks in this fashion can create a thick and distinct sound that works well for live shows. The key to blending the live and prerecorded performances into a single unified sound is tight timing. Band members must be able to lock into the groove of the prerecorded performances for a song's duration, or at any moment, any part has the potential to sound like a train wreck. If you're not used to playing within such a rigid framework, playing comfortably along with the prerecorded performances will require rehearsal.
To create the stems for your live multitrack system, you will need to sit down with your original multi-track sessions to determine which parts can be submixed. This may take some experimentation, as some parts may work well when doubled live while others may not. In general, the more stems you have, the more control you'll gain of the sound of your live mix. However, too many stems can be as bad as too few, quickly becoming an unwieldy number of tracks to manage during the pressures of a live show. Examples of performance-tested stereo stems include synth pads, sound effects, background vocals, rhythm guitars and drum loops. Also, consider bumping up the tempo of every song by a few bpm for added excitement. Employ a quality time-compression software program to change the tempo of each stem without changing its pitch. With the stems in hand, you'll have a clear idea of the number of tracks you'll need and then be able to choose the right multitrack device for the job.
CLICK ON, CLICK OFF
A crucial component to getting tight performances is a proper count-in for every song. A click track for each song should be recorded to track 1 of the multitrack recording. The click track should be sent to its own output (you don't want the click in the house mix) and routed to the drummer's personal monitoring system. At least two bars of click should precede a song: a pickup bar for the drummer and a second bar for him (or her) to count in the band. Make sure that the click is accented so that the first downbeat of each bar can be clearly distinguished from the other beats (for example, use a cowbell for the first downbeat and a woodblock for the following beats). This will ensure that the drummer will always be able to find the one quickly, even when a tape cue slips and cuts off a beat of the count-in.
No matter how robust your system is, there's always a chance that your multitrack could fail. Be prepared with a backup plan. You may not be able to afford a complete clone system like the superstars, but at the very least, pack a stereo mix of your backing tracks on CD and a dependable CD player. This might not be the perfect solution, but it will give you another option besides sounding like you're on MTV Unplugged.
| Want to use this article? Click here for options! |  |
