Kemper Stereo Setup in a full band live setting

  • Awesome read, thank you. I've gotten as far as racking up a Qu-SB, DBX driverack, wireless router and Shure PSM system into an 8u case with power distribution and a drawer for the iPad etc. Seeing your videos I'm back to wondering if I can squeeze in an ARPnet controller for lights as well... Cool stuff, well done.

    Ed / Audio Systems Engineer / Kemper Stage + Fender fan

  • Hi guys,

    we (Aeons End) are happy to share the second article of our in depth rig rundown with you today. This time we go full detail on our X32 setup.


    Sunday after next will see the release of the third article, dealing with our dual KPA setup with profile and performance examples, sound examples and stereo image analysis.


    We hope you enjoy reading and may find some helpful information.



    2. Mixer and IEM Setup

    We exclusively use our X32 rack for all routing and mixing purposes, including five independent stereo IEM mixes. We also use it as an audio interface with up to 16 digital input channels and 8 digital output channels within our DAW via Behringer X-USB expansion module in the X32 extension slot.


    The colour marked areas in the table below represent all analog inputs (orange) as well as the yet unmentioned digital (blue) and internal (yellow) inputs. The table also shows their sources as well as their corresponding channels in the X32. All shown signals are used for our IEM mixes (pink) and either a rehearsal mix (green) or a live mix (purple).


    We will explain the difference between the last two and also show how we can switch between them in no time using the internal X32 routing functions. We use the X32-Edit software on our MacBook Pro for routing, editing and mixing our live and our rehearsal mix. For our IEM mixes, we use our mobile devices with the app mixing station. At times, five devices are simultaneously operating their individual mixes via the WIFI function without problems, which is very smart and handy.


    With linking channels in the X32, we’re creating dedicated stereo channels for stereo signals. The X32 is panning those channels automatically hard left and hard right and is linking both faders.

    2.1 X32 input setup

    2.1.1 X32 analog inputs (orange)

    As you can see, the first 16 channels are corresponding to the physical order of our input-/split panels and their paths to the physical inputs on the backside of our X32 (see paragraph 1.3 for details).

    2.1.2 X32 digital inputs (blue)

    Our song arrangements often contain multiple layers of guitars, synths, keys and effects. In order to perform our songs as close to the original arrangement as possible, we’re relying on backing tracks, providing all necessary additional layers.


    We assigned each instrument/signal, coming from our Logic Pro X session, running on our MacBook Pro, to its own input channel using the Behringer X-USB card outs (channel 17-24), marked blue in the table. Therefore a separate output is defined for each Logic signal (details will follow in part 4).


    To get everything tight and synced, we’re playing to a click track, coming from our Logic session too, via card out 6 to channel 22.


    All backing tracks (guitars, keys, synth etc.) in our Logic session are leveled and matched to our live guitar sounds coming from our Kemper Profiling Amplifiers. All those tracks are sent via card out 1 & 2 to channel 17 & 18.


    We’re also using a midi master keyboard (M-Audio Code 49), to perform live piano and live synths through stereo VST plugins, hosted in our Logic session. Those signals are sent via card out 7 & 8 to ch 23 & 24.


    We’re routing our crowd mic through Logic and programmed an automation for this mic to mute it during songs. This way, we just hear the crowd in our IEM during song breaks. Therefore we created a track in Logic which utilises channel 10 of the X32 as an interface input. The automated signal is sent back to the X32 via Card Out 5 which is assigned to channel 21 for IEM tweakability.


    In case our drummer is not available for rehearsals, we’ve assigned another linked stereo input (channel 19 & 20) via card out 3 & 4 to drum backings, hostet in Logic Pro X, too. A detailed explanation of the creation and implementation of all mentioned signals above will follow in part 4.

    2.1.3 USB recording (yellow)

    We’re regularly using the USB recording function of the X32, to evaluate and store rehearsals and sessions. We’ve assigned channel 25 & 26, to level the recorded playbacks in all potential mixes. To record a session, we just need to put a USB stick to the X32 and press record. Usually we record our rehearsal mix, as shown in the X32-Edit screenshot in paragraph 2.2.2.

    2.1.4 Multitrack recording

    Because we’ve set up the X32 as an interface, we’re able to multi track all channels in real time in our Logic session. This is actually great for analyzing and leveling signals, or saving them for post production.

    2.2. Mixing in the X32

    In the following paragraphs we will distinguish our rehearsal- (green) and our live mix (purple), as well as our IEM mixes (pink). The graphic below shows the first screenshot of our X32-Edit settings with all input channels. All output channels will be shown in a second screenshot in paragraph 2.2.2.



    As you can see we’re making use of the internal channel compressors, noise gates and EQs, especially on kick, snare and toms, to place them properly in our IEM and rehearsal mix. Snare and toms are also sent to a dedicated drum FX channel (bus 15), with an X32 internal reverb on it. Toms and overheads (OH) are panned according to their physical position on the drum kit, for a nice stereo image.

    All analog signals (orange), except bass guitar, are eq’d, to sit in the mix properly. A low-cut at 90hz is added to guitars, to remove unnecessary bottom end. Backing tracks get low-cut at 35hz. We will not discuss the settings of the effects in detail since this is a very broad topic and depends heavily on the kind of music you’re playing, the used equipment etc. If you are interested in our settings, check the link to our X32 scene in paragraph 2.4.

    We’re not using any DCA groups or matrixes.

    2.2.1 Rehearsal mix (green)

    We utilize the main mix of the X32 as our rehearsal und recording mix. This way we’re able to control and mix everything inside the X32 to our liking and send it directly to the PA in our rehearsal room, even if we’re rehearsing just over IEM most of the time. Crowd mic and click are set to -∞dB in the mix and are therefore not present in the USB recordings or the PA, but are still audible and tweakable in our IEM mixes. When we rehearse, we map the main mix to XLR out 1 & 2 of the X32 (see the graphics in paragraph 2.3).

    2.2.2 Live mix (purple)

    Our live mix differs from our rehearsal mix, because we just send selected signals to FOH, instead of a full band mix.


    For micing the drum kit, three scenarios are possible:

    1. We leave micing the whole drum kit to the FOH engineer and ask for a full stereo drum mix via our dedicated stereo live return way for IEM.
    2. We leave micing the whole drum kit to the FOH engineer, but mic snare and/or bass drum additionally with our own mics and ask for stereo drum mix containing OH and toms via our dedicated stereo live return way for IEM.
    3. We mic the snare and bass drum on our own and offer FOH the splitted pre X32 signals via our outputpanel and ask for a stereo drum mix containing OH and toms via our dedicated stereo live return way for IEM.

    The signal of the bass guitar is split pre X32 with the Behringer MS8000 (input-/splitpanel) and sent to FOH via our output panel (see paragraph 1.3 and 1.4 for details).


    To guarantee matching levels between live instruments and backing tracks, we decided to premix and sum all relevant signals into a stereo subgroup (bus 1 & 2, red box in the screenshot below).


    Therefore, we send live guitars (channel 1-4) as well as the backing tracks (channel 17-18) and live keys (channel 23-24) to bus 1 & 2. Bus 1 & 2 is then mapped to XLR Out 1 & 2 and sent to FOH.

    Matching all levels is always a tough and long process, but the result is very satisfying and convincing. This way soundchecks are also shortened because we don’t need to check and level each guitar signal, live keys, backings and so on, but just:

    1. stereo live sum (pre mix of live guitars, live keys, backing guitars, backing keys, backing synths, etc.)
    2. drums
    3. bass guitar

    With remapping either the rehearsal mix (LR, the brown box in the screenshot below) or the live mix (bus 1 & 2, the red box in the screenshot below) to XLR out 1 & 2, we prevent changing the settings for our rehearsal mix and IEM mixes. The actual switching between both mixes will be shown in paragraph 2.3.



    To alternative scenarios to remap outputs are possible:

    1. work with different scenes for rehearsal and live situation
    2. utilize the spare XLR outs und busses 3 & 4

    We think the benefit of our way is the reduction of working with scenes and the quick switch between the mixes with just few internal clicks (shown in paragraph 2.3) as well as keeping the spare outs clear for future extensions (e.g. live & backup vocals etc.)

    2.2.3 IEM mixes (pink)

    We use the app mixing station to adjust our individual IEM mixes via WIFI . Everyone is logging into his personal IEM bus and can adjust signals and channel layout to taste.



    The following screenshots are an example of personal IEM settings. Because all stereo channels are linked, the display of just one channel side is necessary.

     

    2.3 X32 output setup

    The following table shows our X32 output setup. We utilize all XLR outs and even the AUX outs for our live mix (red) and rehearsal mix (brown) as well as for our IEM systems (pink).



    In the matrix shown below, bus 1 & 2, and therefore our live mix (red), is mapped to XLR Out 1 & 2. By just dragging the markers to “L” and “R” we can map the rehearsal mix (brown) to XLR Out 1 & 2. It’s that simple. If for whatever reason we can’t use X32-Edit we can do the same thing directly on the X32.



    Last but not least, here’s our Aux out routing:


    2.4 X32 scene

    To give all Behringer X32 enthusiasts the chance to evaluate our setup, here is our current mixing scene, which can be opened, checked and edited in X32-Edit (v 4.1): Aeons End_X32_scene

  • Wow. Impressive.


    You guys have really put the X32 Rack to good use!


    I am still running an old Furman HDS system with 5 mixes:


    1) Stereo Main

    2) Mono lead guitar (mix of lead guitar and lead guitar player vocals)

    3) Mono Rhythm Guitar (mix of rhythm guitar and rhythm guitar player vocals)

    4) mono bass guitar (mix of bass guitar and bass guitar players vocals)

    5) mono drums (same as above ;) ).


    The furman control boxes have only 5 knobs. My band members manage to get their mix messed up with just these simple controls :)


    I am considering what I will do when the old analog monitoring system gives up the goat.


    Are you guys using wireless IEM's or wired?

  • Hi guys, we (aeons end) are happy to share the third article of our in depth rig rundown with you today. This time we go full detail on our dual KPA setup.

    Sunday after next will see the release of the fourth article, dealing with our Backing-, Click-, MIDI- and DMX tracks coming from Logic Pro X.

    We hope you enjoy reading and may find some helpful information.

    3. Kemper Setup

    3.1 Guitars

    Both of our guitarists play sevenstrings. To make the profile exchange, pre-production and overall sound as consistent and uniform as possible, they decided on playing the exact same guitar as well. The instrument they chose is a Schecter KM-7 mk1 equipped with Seymour Duncan Nazgul and Sentient Pickups. It has a 3-way switch, a single volume knob and many other nice features we like about it but don’t want to bother you with for now.

    The only thing we changed about the guitar is the volume pot, which has been a push/pull pot for coil splitting. Since we change and split pickups a lot during our songs, we replaced it with a push/push pot. That actually made a big difference.


    3.2 Kemper

    In the songwriting-, production-, rehearsal- as well as in the live-situation, we use Kempers exclusively. They became essential for writing and performing music from the very beginning of the band. Although both Kempers are the rack version, one of them has a power amp in it. The power amp isn’t in use though since we only rehearse and perform with a PA.

    Additionally to the Kempers we have the Kemper remote as well. That device usually will be used for tuning purposes or experimenting at the rehearsal space. In live situations we put the remotes in front of us, but only for tuning and orientation during a set. Also we could technically switch slots and performances manually in case the MIDI-programming would stop working. Gladly this hasn’t happened yet.

    For the connection with the X32 mixer, we use the main XLR outputs on the back of the Kemper. Also we run a MIDI cable from a MIDI interface to the MIDI input of the KPAs. Input-wise one of our guitarists uses the regular front input with a guitar cable, the other uses the alternate input on the back of the Kemper in combination with a wireless guitar system from Line6.


    3.2.1 Performance Setup

    To MIDI-program the Kempers we tried to find a solution as logical as possible. In perform mode, each song has its own bank with up to 5 slots. Usually those 5 slots are enough to cover all of the different tones and effects. If we need more than 5 different settings, morphing comes in quite handy and can handle variations with ease.

    Here is an example of how we put together a performance:


    Song: Soulmate Slot 1 Slot 2 Slot 3 Slot 4 Slot 5
    Bank 10 PC #45 PC #46 PC #47 PC #48 PC #49
    Kemper 1 Rhythm L (mono) Rhythm (stereo) individual profile individual profile individual profile
    Kemper 2 Rhythm R (mono) Rhythm (stereo) individual profile individual profile individual profile


    As a constant, we put our mono rhythm tones in the first slot and our stereo rhythm tones in the second slot of a performance. The following three slots are used for individual profiles, depending on the song and the layer we agreed on playing. Those profiles are typically clean tones, crunch tones, glassy tones, lead tones or drones. The majority of them are stereo. For planning and programming we once put together an excel sheet with banks, slots and their specific PC values. This makes programming faster. Programming automated changes of performances, slots and morphing will be explained in part 4 of the rig rundown though.

    3.2.2 Profile Setup

    First and foremost it was most important for us to get quality tones in all varieties from super clean to high gain. Over the years owning Kempers, we’ve tested quite a number of different profiles made by various manufacturers of various amps.

    At some point we got our hands on the Blackstar SeriesOne Profiles from The Amp Factory (Kemper User and44). Those particular profiles fit our music, playing style and instruments very well. In fact, we’re almost exclusively playing those profiles now in all gain stages.

    Other than that a few of our cleans are based on a Fender Hot Rod Deluxe profile made by Kemper-User Maurizio70 which we found for free in the rig exchange. Our glassy tones are based on an EVH5153 profile by Keith Merrow.


    High Gain Components

    • before the amp: graphic EQ, noise gate

    • Blackstar SeriesOne Amp Profile
    • after the amp: graphic EQ

    Soundcloud: High Gain // aeons end


    Lead Components

    • before the amp: graphic EQ, noise gate
    • Blackstar SeriesOne Amp Profile
    • after the amp: graphic EQ, delay

    Soundcloud: Lead // aeons end


    Crunch Components

    • before the amp: compressor, delay or chorus (depending on the song)
    • Blackstar SeriesOne Amp Profile
    • after the amp: graphic eq, chorus, delay, reverb (depending on the song)

    Soundcloud: Crunch  // aeons end


    Clean Components

    • before the amp: compressor, delay
    • Blackstar SeriesOne Amp Profile
    • after the amp: graphic eq, chorus, delay, reverb (depending on the song)

    Soundcloud: Clean // aeons end


    Glassy Components

    • before the amp: noise gate, compressor
    • EVH 5153 profile with cab section turned off
    • after the amp: chromatic pitch, graphic eq, delay, reverb

    Soundcloud: Glassy // aeons end


    Drone Components

    • before the amp: delay
    • Blackstar SeriesOne Amp Profile
    • after the amp: graphic EQ

    Soundcloud: Drone // aeons end

    3.2.3 Stereo Imaging

    Since layering different guitars is a quite essential part of our songwriting, we care about stereo imaging in live situations a lot. Typically both of our guitarists play different parts and tones during a song. Only on a few occasions, for example in a groove, they play the same riffs. We decided against panning hard left or right since that usually results in a total lack of the left guitar on the right side of the PA and vise versa. So panning hard left and right would simply affect the live experience for the audience in a negative way. To compensate that our mono rhythm sound is set to -3 and +3 in the panorama of the rig, so there will be some bleed on each of the guitars both left and right. The archived stereo width with those settings is our reference for all other stereo guitars.


    In order to compensate for stereo width we use the Delay Widener, introduced in Kemper OS 7.5. After testing quite a few settings we agreed on a 12ms delay since those parameters gave us the best compromise of feel and sound. The delay widener works best for us when put at the very end of the signal chain (Reverb Slot). The results, even with clean or crunch tones (also with delay and reverb), are rather convincing.

    The main benefits of using the delay widener are (1) wide stereo image even with just one rhythm guitar, (2) space in the stereo center for additional layers, lead and bass and (3) improvisation of the IEM-mixes. Nevertheless, we are aware of the Haas effect but assume that this only could be a problem if listening to the live mix on headphones or standing at the sweetest sweet spot at a venue. Also the Haas effect gets less obvious (if noticed by the listener at all) in a complete live mix with drums, bass and layers.


  • Hi guys,


    time for a new article today. This time we go full detail on our Logic Pro X Session - providing our backing arrangement with click track and VST instruments, dual KPA MIDI control, our MIDI to DMX lightshow - operated by a MIDI controller on stage.


    As always: We hope you enjoy reading and may find some helpful informations. Feel free to ask questions or explain your setup and solutions!


    Sunday after next will see the release of the fifth article, dealing with the setup and the programming of our lightshow.

    4. Logic Pro X Session

    From the beginning of Aeons End in 2014, we knew that we’ll have to use a DAW for backing-tracks, live effects and click. Back in the day we still had a vocalist and played our first shows with Ableton Live 9. This DAW is known for its live performance and we enjoyed its possibilities – especially in pulling off live effects on the vocals such as reverb and delay. Nevertheless, we’ve been used to Logic Pro X from our recording and mixing processes so we dropped Ableton when we started playing as an instrumental band only. The workflow from songwriting into live-production just seemed easier for us.

    4.1 Routing

    Our Logic project holds all the songs we’re playing live, including click-tracks, MIDI-tracks for the Kempers, MIDI-tracks for the light show, additional stems (guitars, synths) and also some live VSTs such as pianos and synths. The actual songs have markers at the beginning which allow us to jump from song to song with a simple push of a button. The usage of markers will be explained in section 4.6. In order to keep things as clear as possible we also put most of the tracks in folders which can be expanded if needed.


          


    We set up our digital outputs as following:


    output signal explanation
    output 1 + 2 additional guitars and synths
    • sum of all pre-leveled guitar and synth layers
    output 3 + 4 drum stems
    • only for rehearsing without a drummer
    • stems can be muted individually in our IEMs
    output 5 crowd mic
    • Beyerdynamic MCE 86 S ii – directional mic pointed at the crowd
    • a mic we put on stage on point to the audience so we can hear some feedback in our IEMs, also we programmed an automation for this mic to mute it during the songs
    output 6 click track
    • simple metronome for our IEM (Logic’s built-in Klopfgeist VST)
    • song title as spoken word at the beginning of a song (only audible in IEM)
    output 7 + 8 live VSTs
    • pianos, synths and some effects such as reverb and delay


    These particular output settings in our Logic sessions enable us to provide a pre-mixed and leveled signal (live guitars + additional guitar stems + live VSTs + synth stems) to the FOH, as described in part 2. Also we can individually set up our IEM systems the way we want. That’s why our live VSTs have a dedicated output as well – not everybody in the band needs them in their personal IEM mix. Speaking of the IEMs: they can make you feel isolated from the crowd, so our solution with the crowd mic is very beneficial for the overall live feel.

    4.2 Click

    For the actual click we use Logic’s own plugin called “Klopfgeist”. Every song starts with a spoken word audio file with the title (for example “Confess”) and a pre-click of two bars. For guidance the pre-click is pitched higher as the regular click which – once it’s started – lasts for the whole song. Of course the click picks up any tempo changes. As already mentioned, we can set the level of the click in our personal IEM-mix individually.

    4.3 Backing Tracks, Stems, Leveling

    In aeons end we often have three or more guitar layers going on, but we’re actually only two guitar players. To cover that, using backing tracks was essential from the very beginning of the band. Additional guitars or synths usually get exported from a song writing project as a stereo .wav-file. Later we import those stems into our live project in Logic.

    The final step is dialing in the level of the individual audio files. Since we use Logics built-in normalize feature, the imported audio files usually get set to -23 dB LUFS. After setting the right pre-fader level, we typically adjust the track volume via automation. As explained in part 1 and 2, live guitars and backing tracks share a stereo analog output on our output panel, so after recording a new song directly in the x32 mixer, setting the appropriate levels is quite easy. We’re listening to the recording on studio headphones, IEM-headphones and also our PA system to make sure everything is set the way we want.

    4.4 Kemper MIDI & programming

    For controlling the Kempers we have two individual MIDI tracks, sending on two different MIDI channels. Most of our MIDI changes are PCs (program changes) which switch between different performances and slots. For certain situations we also programmed CC (control changes) within the MIDI tracks to control volume, panorama or morphing.

    In the screenshot you can see the two highlighted MIDI tracks. The numbers on the actual MIDI regions are the programmed PCs. What occurs as darker lines on “MIDI Oli” is a PC we put in. For programming those CCs and PCs no actual MIDI notes are necessary (at least in Logic Pro X, maybe this is different in other DAWs).

    While programming we also discovered that there is a slight delay from the MIDI change to the Kemper actually reacting to those changes. In order to fix that, we usually put in the MIDI changes a 16th note earlier. But this also depends on the song. We move around the MIDI change as long as it starts to “feel right”.




    We ran into another problem with programming MIDI that took us quite a while to solve. After morphing parameters had been triggered, the Kempers started to crash or stopped responding to the MIDI information we put in. In that case restarting the Kempers was the only way to get them back to function. After many hours of frustration and research on the Internet we finally found the reason for this mess. Morphing is triggered by the expression value in the MIDI files and can be set anywhere between 0 and 127. We’ve learned that the Kempers need a “morphing reset” before the next PC or CC. That means after putting in a full morph (value 127 in the screenshot) we had to get back to 0 (no morphing) before changing to another slot. Having that in mind putting in new morphing parameters hasn’t been an issue anymore.



    We also enabled a Logic feature called “MIDI chase” which basically keeps the Kempers in the right performance slots depending on where we place the playhead. That means when we put the playhead in the middle of the song, the Kempers will actually go to the right performance without directly being triggered by the playhead running over a certain CC or PC.

    4.5 DMX MIDI & programming

    We run two dedicated MIDI tracks for our own light show. MIDI track 1 is triggering a song bank. Each song has its own bank. MIDI track 2 is triggering the presets within banks. A dedicated explanation to the process of programming light MIDIs and our own lighting hardware will follow in part 5.


    4.6 MIDI-Keyboard for controlling and triggering

    After setting up a few songs for live performance we were looking for a solution to quickly jump between songs without actually going to the laptop and manually place the playhead on a specific spot at the Logic project. We first ended up using a wireless bluetooth numpad that is hooked up to the laptop via USB and then mapped our song markers to the keys.

    Mapping the markers and triggering them with the numpad works like a charm. We can easily place the wireless numpad anywhere on stage, for instance next to our drummer, to manually jump to a specific song. This gives us the freedom to mix up the setlist or start and stop the Logic session at any time.

    However for some songs we recently started utilizing VSTs to manually play certain piano or synthesizer parts. After testing the practicability of this approach with a simple MIDI controller, we decided on getting a new one that also allows us to expand our marker mapping and VST control. The controller we finally purchased is a M-AUDIO Code 61 that features 61 full-size keys, 16 pads, 9 faders on a whole bunch of assignable buttons. In addition to that a sustain pedal by M-Audio was added as well. Now the markers are assigned to the pads as following:


    pad assignment description
    1 marker 1 light check, MIDI check, click check
    2 marker 2 first song in the project
    3 marker 3 second song in the project
    4 marker 4 fourth song in the project
    5 marker 5 fifth song in the project
    6 marker 6 sixth song in the project
    7 marker 7 seventh song in the project
    8 marker 8 eighth song in the project
    9 marker 9 ninth song in the project
    10 marker 10 ambient light (just an indirect warm light situation)
    11 not assigned yet
    12 select previous track allows us to toggle between different track with different VSTs
    13 not assigned yet
    14 not assigned yet
    15 not assigned yet
    16 select next rack allows us to toggle between different track with different VSTs


    The M-Audio Code 61 controller also comes with a neat software that helps setting up the controller, changing colors of and saving presets. For orientation we changed the color of the pads which trigger song markers according to the main color we programmed for lighting. For example: for our song “reflect” we programmed green as a main color for the light show. Therefore the marker in the Logic project as well as the pad on the MIDI controller are both set to green.

    Also we connected some of the encoders (360 degree pot-like buttons) to certain synthesizer parameters such as cutoff, resonance, attack, decay, sustain and release. Besides the pad and encoder assignment we also programmed other functions to MIDI controller:

    • play project
    • stop project
    • jump to previous marker
    • jump to next marker
  • Hi guys, we (aeons end) are happy to share the fifth and final article of our in depth rig rundown with you today. This time we describe how we program and set up our own light show and light hardware.


    We hope you enjoy reading and may find some helpful informations.

    5. Light Show

    If you have ever witnessed a nice concert with a great light show, you know the extra dimension lights can add to a performance and experience. Maybe you also experienced the opposite and realised how destructive a bad light show can be.

    For a band of our size, there are five ways to play live with a light show:

    1. play with steady lights
    2. play with random lights
    3. bring a lightning engineer
    4. trust the lightning engineer at the venue
    5. play with a midi-triggered lightshow

    We decided for option e) and even extended this by bringing our own light hardware to the venue, to be as independent and constant as possible.

    Please keep in mind, nobody in the band is a professional lightning engineer and everything we show is self-taught and may be called low budget or negligent, but the results are highly enriching for our live performance and perception.

    With our own limited hardware we’re able to play small clubs and venues. If venues are getting bigger, we’re able to embed selected parts of the house light easily and fast, which will be shown later.

    5.1 Light Concept

    We perform to a silhouette-based light concept. This means we dispense all front light and rely on back lights only. We like the generated atmosphere from the audience perspective and think it fits our music aesthetically well. Because of the missing front light you have to be able to perform without seeing your instrument or fretboard.


    Each song is programmed around one main color. For additional effects we bring in complementary colors or evolve a main color to another color to fit the intention and progression of a song. With blind and strobe effects we create accenting effects.

    5.2 Hardware

    5.2.1 Overview

    Our MIDI-triggered light show is programmed and controlled via Enttec DMXIS hard- and software. As mentioned in part 1, the DMXIS interface, which is converting MIDI to DMX commands, is permanently mounted to a rack tray inside our main rack and connected to our MacBook Pro, running Logic Pro X, via USB hub. Within our Logic session, the DMXIS software is hosted as an VST plugin.


    We use five LED spots (Stairville Quad Par Profile 5x8W RGBW 45°) in 6 channel mode. With a 45 degree beam angle those spots create a wide and nice beam and surprisingly rich colours, even in the pastel range.


    We use two Stairville LF-12 LED Flash 12 DMX as strobes and blinders in 3 channel mode. Those devices are really flexible and bright.

    Except for two LED spots, we’ve mounted all lights on cast base mic stands for a beam angle at body height.


    We are aware of the unauthorized misappropriation of the base mic stands, but managed to perform with this setup without admonition ‘til today.



    5.2.2 Positions

    For creating the mentioned silhouette effect, we’re placing the LED spots behind each band member. Two spots are placed behind our drummer on the floor. The strobes are placed besides the drum kit. The following picture gives you an impression of the overall look:


    5.2.3 Cabling

    We connect all lights serial by using the DMX and mains in- and outputs of each device. To reduce the effort involved in setting everything up on stage in turbulent changeover situations, we’ve connected DMX cables and mains extensions with fluorescent marking tape and call them “chains”. For example 3m chains are orange, 5m chains are purple, 10m chains are yellow and so on. This way orientation and setup gets easy. Grab a chain, start at the interface, connect two lights and go on like that. We also pre mount the lights on the stands.


    This way, our light setup on stage is ready in approximately less then five additional minutes during changeover.


    We are aware of the risks with running a stage setup like this (connection problems with one light will kill all lights following) and think about inserting an DMX splitter for a parallel setup in the future. Another advantage would be the galvanic isolation of sound and light mains circuits in order to avoid interferences, if analog house lights or dimmers are involved.

    The following schematic represents the positions of the spots and strobes, as well as their chain connections, cable length, and DMX start addresses.



    5.3 Light Programming

    5.3.1 DMXIS

    For each song of our live set one bank is created in DMXIS software. Each bank contains a multitude of scenes. Each scene is designed with its own light program for a specific part of a song.


      


    With a dedicated light check, we’re able to check the proper cabling of our setup, with automatically triggering one light after another. If everything is communicating and visible circling around, we’re ready to go.

    Before and after each song, there is the same colored pause light (everything blue).

    This gives us the freedom to mix up the setlist or to start and stop the Logic session at any time, because no interruptions get visible between songs.

    We put the DMX start addresses of our own light hardware on the very end of the DMX universe, because usually venues start their house lights on channel 1. This way, we’re able to copy the light commands for our hardware easily to the house lights without overlap, if necessary and possible. A dedicated explanation of embedding house lights will follow later.

    5.3.2 MIDI


    We run two dedicated MIDI tracks for our own light show. MIDI track 1 is triggering the song bank (sending on MIDI channel 15). MIDI track 2 is triggering the scenes within the banks (sending on MIDI channel 16). The MIDI channel assignment is predefined by DMXIS.

    The first bank in DMXIS can be triggered with the lowest MIDI note (C-2). The first scene in this bank is triggered with C-2, too (remember both tracks are sending on different channels).


    In the graphic above you can see the scene progression within one bank/song through the ascending MIDI notes. Now you just have to make sure that your scenes fit your aesthetic vision and are triggered in the right moment of the song.


    We also enabled a Logic feature called “MIDI chase” which basically keeps the light show in the right bank and scene depending on where we place the playhead in Logic. That means when we put the playhead in the middle of the song, the Lights will actually go to the right scene without directly being triggered by the playhead running over a certain MIDI note.


    In the beginning of the light programming process we had problems with programming/implementing short strobe shots, e.g. on the first beat of a measure. The solution was to program a very slow “strobe” with a frequency of 25 shots per minute. By putting the corresponding MIDI note to the “shot scene” 3/16 before the first beat of a measure, the shot is in time. For an example please check the video at the end of this article at 0:15. Everything seen there is just our basic setup.

    5.3.3 Integration of house lights


    In certain situations it becomes necessary to integrate the existing house lights of a venue. The bigger a venue gets, the more lights need to be integrated as compensation for our limited hardware. As there is no “copy & paste” feature within DMXIS, you’re forced to work with Python scripts to mirror lights. Those scripts can be load as macros within DMXIS. With mirroring, we mean telling a certain house light to do the exact same thing then what for example our LED Spot “Git L” is doing. There are a lot of scripts available at the DMXIS forum, but not what we needed for mirroring our scenes to the house light. We programmed a solution, to even send multiple DMX channels to multiple destinations. The screenshot is giving you a hint.

    As you can see in the example, channels 449 to 451 get copied and sent to starting channel 1 and 10. This means channel 1, 2, 3 and 10, 11, 12 are now doing the exact same thing as channel 449, 450 and 451.

    To get everything even more safe and flexible, we’ve prepared 30 scripts for different DMX regions of our show that need to be mirrored.

    For each LED spots there are scripts for:

    • RGB
    • WHITE
    • STROBE
    • DIM

    Both strobes got scripts for:

    • BRIGHT
    • FRQ

    This way we are able to prepare the extension of our light show in advance, if the venue provides us with a professional light rider some days before the show.

    We connect the house lights with the last spot of our own setup and are ready to go.

    During the first lockdown in Germany back in 2020, we got the chance to evaluate our light show and set up in a great local venue. On this occasion we’ve started to implement moving heads, too.


    To give you an impression what everything looks and sound like when coming together, please enjoy this video of a live session from last year:


    aeons end - aera [live @Blue Hospital Studio]