![]() If you’re using a laptop, you might want to also bring a power connector that removes the ground (aka a ground lift) - this can help get rid of grounding problems (50/60Hz hum).Ĭonsider putting a compressor/limiter on your final mix (see section below on Compression/Limiting for more info)- it comes in handy for sounds that get a little out of control. Don’t forget the duct tape!īring a flashlight - lighting conditions can vary and chances are you will need one.īring many different types of *extra* connectors because you never know what kind of audio inputs/cables the venue will have. Mark your cables with coloured tape or label-tiewraps (so you know what goes where). even midi cables go bad, and when they do it can be very frustrating because you might not think to check the cable when midi data isn't being transmitted properly. Check your cables beforehand and make sure they're all working. Know ALL your cable connections inside and out. Also consider making notes for patch numbers and changes, volume levels, or anything else that’s essential to your live workflow. (and NO, I don't necessarily mean a pre-planned set list). Having your own power bar is essential if you need more than one outlet and always bring duct tape).ĭon't be afraid of writing down a listing of all the tracks you have - that way, if you're doing any kind of spontaneous transitions, you can quickly choose what you might want to play next. ![]() It's so easy to forget one little thing that will prevent you from playing. Make an equipment checklist and use it before every show. (Note: to prevent power issues and line noise, avoid going on the same electrical circuit as the discolights/fogmachine/etc.) I highly recommend printing out a simple rider that spells out exactly what you require - some promoters might forget that you need power connectors, table space, an audio input into the sound system, etc. Live PA Checklist - (this list has been compiled thanks to helpful suggestions from those on the, , and the now-defunct Moving-Parts & Topica livePA mailing lists)Īsk beforehand about the setup if possible and don't forget to make your needs very clear. It also helps to really know your equipment inside and out. lots of bass to rattle wires, connections and hard drivesĪs such, I prefer taking less gear rather than more. ![]() intoxicated/obnoxious/distracting party goers strange sound system setups with weird cabling The minute you drag your equipment somewhere else, you introduce all sorts of weird variables including Studios are like laboratories - they're usually safe and controlled environment that you're familiar with. So think twice about bringing your whole studio for your next life gig. Having more gear means having more things to go wrong. live performance is about Having the confidence to overcome such difficulties and play your music as best as you can.Īlthough it may look impressive to haul a lot of gear, what really matters is what you do with it. gear fuckups, bad cables, bad sound, audio glitches, police, people trying to talk you or hit on you, etc. The truth is, there will always be things going wrong - e.g. Your confidence and self-assurance plays an important role in how your music will be received. ![]() If someone thinks that you played fine, and then you start telling them about all of the fuckups, it can change their perception of your performance in a negative way. If you must, save the self-deprecation for another day and only for your closest friends.įirst of all, most of the "mistakes" made while performing will only be noticed by you. The most hard-won piece of advice that I have right after you perform DO NOT CRITICIZE YOUR SET IN FRONT OF OTHER PEOPLE. Try to take everything in stride, and for god's sake, never panic. Please remember, the art of playing live is about being cool-headed when things don't go the way you expect it. The Art of Performing Live Electronic Music by Sneakthief
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