Stage or Remote Users: How do you set up your performances?

  • I'm just curious how everyone uses performances....


    Do you set up rigs (presets) for each song or do you have performances set up for different sounds you use during a whole set?

    Do you bank for every song or only when you have to totally change your presets?

    How do you keep track of what presets are in which slot from performance to performance?

    Do you start at slot 1 (or from slot 5 working down) and just add the presets you need?

    Do you put them in an order for a particular reason?

    Do you try to use a particular slot(s) on each performance to represent a specific preset (ie- rhythm always in slot 1, lead always in slot 5, etc)?

  • I work on getting the rigs prepared for the basic distorted rhythm, semi distorted rhythm, lead and clean sounds first.

    I add the basic chorus, micro pitch and delays plus compressor for cleans to those rigs.

    Then, I use a performance per song using whichever versions of these I need per song in the set and customise them on a song per song basis.

  • Since I am never going to try to do a direct match of a songs tone, I tend to arrange my performances by amp. My first performance is my Archon and then the second is made up from MBritt's Dumble pack. For me that works well since I can just grab a performance of an amp that matches what I want to play. This way I always sound like me and not like I am trying to be someone else.

  • I use performances like a multi channel amp. Slots for Clean, rhythm, solo, with morph for boosting riffs. I order them clean left, moving up in gain to the right. So furtehr left/ 1st slot clean/acoustic and slot 5 raging solo.


    I do have 3 performances set up, 1 for 1 band and 2 for the other as I have a Les Paul and Gretsch, which use totally different sounds - and that's it.


    I've never understood the need for a performance per song - I just never need that many sounds on one song.....5 different amps, plus 8 different effects on each slot plus morph....at worst I use 3 sounds. Also, tap dancing between each song would be too much for me ( we frequently change the set, even on the night) and the management overhead would drive me nuts.


    I have set up my performances and rarely touch them now - the only changes I make is if I find a really good rig that is better than I currently use or if a new song is add that needs a different effect or sound - which is unusual.

  • I've never understood the need for a performance per song - I just never need that many sounds on one song.....5 different amps, plus 8 different effects on each slot plus morph....at worst I use 3 sounds. Also, tap dancing between each song would be too much for me ( we frequently change the set, even on the night) and the management overhead would drive me nuts.

    .

    Why would you assume that every slot has a different amp and effects configuration?

    Maybe some slots are different gain levels from the same amp which saves fumbling round with a guitar volume when you have a backing vocal coming up at the same time. Maybe the effects might be slight variations on a similar sound.

    My gigs are with our own band. Many albums released since 1988. A lot in the middle of the bands history I didn’t play on after leaving then rejoining again 12 years ago. Live, I am reproducing sounds form 3 different decades of the bands history.
    I also come from a Bradshaw rack background where it was normal to allocate a bank of 5 presets per song as there were no scenes or performances with those rigs.

    I have a performance for every song. We sometimes shuffle a couple of songs in the set on tour but that is our choice and is a couple of minute job on the Kemper Stage units I use live.
    Most of the time, the headline set stays them same. The festival sets vary from 40 minutes to an hour and 20.

    Some of my performances have two rigs enabled, Some have 5.

    I have had no problem at all just switching to the Kemper as it has allowed me to just work the way I have always done.

    Because you don’t really make use of lots of performances doesn’t negate why people do use them.

  • Why would you assume that every slot has a different amp and effects configuration?

    Maybe some slots are different gain levels from the same amp which saves fumbling round with a guitar volume when you have a backing vocal coming up at the same time. Maybe the effects might be slight variations on a similar sound.

    I have had no problem at all just switching to the Kemper as it has allowed me to just work the way I have always done.

    Because you don’t really make use of lots of performances doesn’t negate why people do use them.

    Other than setting up performances for every song, this is more or less how I have always set mine up as well.


    My tone doesn't change very much at all.... it's more about the effects (delay time and level) and little volume tweaks to fit the mix more than anything. I currently have about a 1 and 1/2 hour Boston set of backing tracks that I play to where I've already recorded the doubled rhythm tracks, acoustic parts and harmony leads and my presets are set up to "fill in" the main missing parts, which of course I'm playing live.


    My set list doesn't change so at least for now, I tend to set up a performance with the preset settings I need for the songs I'm going to play, and I try to get that performance to cover as many songs as I have slots requiring different presets for. So with my first performance, I can cover my first 6 songs. Then the sounds I need changes, so my next performance can cover the next 2 songs. Then they change again, so my next performance can cover the next 4 songs, the one after that covers 3 songs, and the last one covers another 4 songs.


    If I wanted to, I could split these up on a "per song" performance basis (taking into account the key of the song) and then add in a pitch shifter effect for parts that have simple harmony leads, which is common in Boston songs. But often times, the harmony isn't a direct harmony, but a different solo all together, so for now, I just have those pre-recorded, which also saves a lot of tap dancing.


    There's a Boston Tribute band out of Ft Lauderdale that only has one guitar player and he's tap dancing like a mad man!!!


    Now, if I could ever find a lead singer, I could actually put a full band together........ sigh.

  • I have song performances with one amp and two slots. Sometimes I'll have two slots and never use the second. That - and I *hate* switching guitars mid-set. Hate it. Just a personal pet peeve.

    For certain genres (in my case, I moonlight as a worship player) performance tempo makes life SO much easier.

    “Without music, life would be a mistake.” - Friedrich Nietzsche

  • so on your Boston set do you use the Kemper effects to create the hyperspace effect? Or have to use a separate effects pedal for this?

    Naaa, the Kemper can't do it as far as I can tell.... you need control over too many different variables at the same time and there's no way to do that with the Kemper. Morphing could get you close, but then there's still other parameters that you would need to morph as well, so we're out of luck unless Kemper adds the ability to have multiple morph pedals controlling different paramters. If they did that, then yes, I could probably configure it to make that effect.


    I had to build a "real" one like Tom's to get that sound.

    It took me about 10 years to figure it out, and then another 30 years trying to figure out all the little nuances that he can do with his that aren't always obvious until you really listen and then you hear him do something and you're like, "Wait, what? How in the hell did he do THAT??"


    Here's me playing mine a bit.... (be kind, I'm not a professional musician like many of you guys).....

  • That - and I *hate* switching guitars mid-set. Hate it. Just a personal pet peeve.

    Yeah I don't like doing it but one band I use D tuning for a number of songs which sounds better with a detuned guitar than transpose and the other band ( a tribute to The Cult) needs both the White Falcon for some songs and Les Paul for others so I feel I have no choice :)

  • I've never understood the need for a performance per song - I just never need that many sounds on one song.....5 different amps, plus 8 different effects on each slot plus morph....at worst I use 3 sounds. Also, tap dancing between each song would be too much for me ( we frequently change the set, even on the night) and the management overhead would drive me nuts.

    I play in an instrumental prog/post metal band, and I do a lot of time based ambient effects and complex delays that need to be synced to the tempo of the song. The drummer plays to a click, and a tap tempo isn't accurate enough. On most songs, I need 5-6 different tones, and I hate tap dancing. So all of that means the only reasonable option for me is to do one performance per song.


    Now, that doesn't mean I don't reuse rigs. My heavy riff tone is always the same rig, but slightly tweaked for 6 or 7 string. My primary lead tone is the same rig, and sometimes it's more or less washed out with reverb, delay and octave.


    And now you know, and knowing is half the battle.

  • I play in an instrumental prog/post metal band, and I do a lot of time based ambient effects and complex delays that need to be synced to the tempo of the song. The drummer plays to a click, and a tap tempo isn't accurate enough. On most songs, I need 5-6 different tones, and I hate tap dancing. So all of that means the only reasonable option for me is to do one performance per song.


    Now, that doesn't mean I don't reuse rigs. My heavy riff tone is always the same rig, but slightly tweaked for 6 or 7 string. My primary lead tone is the same rig, and sometimes it's more or less washed out with reverb, delay and octave.


    And now you know, and knowing is half the battle.

    That makes sense...