An input list should include every instrument, DI, and vocal that’s part of your stage set-up. Here are some tips to help you put together an effective input list with minimal headache. Read More.
Think you’ve told your live sound engineer everything he needs to know for your big gig? Don’t forget these important details. Read More.
A well-crafted stage plot – customized to the lineup and tech needs of your band – can go a long way towards setting yourself up for success once you hit the stage, especially for a multi-band event. Read More.
The fifteen minutes between one artist’s final note and the next group’s first “hello” are precious. How you handle the transition can set you up for your best performance at your next music gig. Read More.
There are baseline truths you can fall back on to improve your mixes, whatever your sound source – whether mixing with headphones or studio monitors. Read More.
In our August Disc Makers Twitter chat (#DMchat), Graham Cochrane, mixing engineer and founder of The Recording Revolution, gave us an overview of audio mixing fundamentals for musicians of all genres. Read More.
Other than cost, which is one obvious reason headphones are a worthwhile option, here are three advantages to mixing on headphones in your home studio. Read More.
Playing an unplugged gig outdoors presents challenges if you need amplification – but there are ways to meet the challenges and put on a great show. Read More.
Each of the basic effects pedals we covered in Part 1 is still made today, by a variety of manufacturers. That’s one of the things that makes the pedal world so fascinating. New takes on classic effects come out continuously, each offering some sort of variation or wrinkle that can help you further refine your own special sound. Read more.
In part one, we rewind some of the history of these interesting devices, including links to product pages and demos of effects pedals in action. In part two, we identify some of the current stomp boxes and multi effects units that can help you create signature sounds. Read more.
Last week, Echoes published an article about my unexpectedly unplugged and unamplified live music performance at an outdoor festival. The entire band had to make adjustments to accommodate the requirements of the gig – and drummer Rob Mitzner, in particular, relied on a setup he’s customized just for such circumstances. Read more.
I had thought that, even though the gig was outdoors, we would have no problem plugging in amps and instruments. Many parks have outlets tucked away inside lamp posts and maintenance buildings, accessible for public events. As we moved closer to the date, we discovered the city would not in fact turn on the juice. Read more.
Unconventional venues require additional promo on your end and you should see it more as an active partnership with the venue. Rather than expecting the venue to promote you to their followers or patrons and pack the house for you, you generally will need to anticipate some involvement when it comes to spreading the word. Read more.
When jazz pianist Vijay Iyer scheduled the New York City release show for his 2015 album Break Stuff, he didn’t choose a standard venue. Iyer’s concert was staged in the Metropolitan Museum of Art, and Iyer isn’t the first artist to eschew traditional clubs and concert halls in favor of more unique performing grounds. Read more.
In “Tales of the worst music gigs ever,” we shared a handful of on-the-gig horror stories and lessons learned from them. While those stories were all wrenching in their own rights, here is one from New York bassist Dmitry Ishenko that stands in a category of its own. Read more.