06-26-2024, 08:14 AM
It's difficult to give specific advice and guidance about live rigs, because they are all as individual as the people building them and playing them. That said, I'll offer up a couple comments based on your query.
Minimal latency and maximum responsiveness aren't attributes of concern that I would include in the same sentence as MIDI. In my experience, MIDI works really great, or not at all. No gray area in between.
Ah, this may shed light on my previous statement. I've never used a computer live on stage. It may be conceivable that the act of receiving MIDI data over USB, decoding it, interpreting it, controlling it, and shipping it back out of the computer may indeed create latency so bad that it is perceivable by humans. Or that heavy MIDI traffic could gum up the works. Sorry, can't advise on anything related to MIDI control via computers.
My last three shows had no MIDI or minimal MIDI, but the next show I'm planning will return to the world of mega sequenced stuff, so I find myself in a similar boat to your situation. I will have a number of data generators (controllers), and a couple rack synths in this setup. I typically have one controller control another controller, and the configuration of which controller is master will change on a song-by-song basis. This dictates the use of a router. I would really love to use the MRCC for all its flexibility and processing power, but at 2U high I've opted for a smaller (1U) router. In the past, I used a JLCooper MSB+ for its limited processing and merging ability. This time around, I'm working on incorporating a 360 Systems MIDI Patcher. The MIDI Patcher can do no data filtering or even a single merge, but it can send a Program Change to connected synths when the routing patch is changed, so they are ready to go with each song change. In the past, I've found that setting up each synth's program by hand was time consuming and I wanted smoother and faster downtime between songs. I'm hoping this will do all I need, but the jury is still out.
I can relate to the limited time thing. For years I was a stage manager at a seasonal festival. I could put up with a lot of shenanigans from the bands in general, but the one thing that would piss me off to no end was if they didn't start on time. There are a few things you can do to help insure a swift setup time:
1. Minimize the amount of boxes you must bring and setup. Guys that bring in a modular rack, pre-patched, can just plug in and go. There's something to learn from them. I've seen some pretty cool large pedal cases that guys have all their small modern tabletop synths in. All prewired MIDI and audio. Just open the case, apply power, jack into the house sound, and they are good to go. Since I use rack mount gear, I've learned that keeping the racks as small as possible helps. Putting everything in an 8U or 10U rack is convenient, but way too heavy. You never know how far you have to carry it. I now have a self imposed max size limit of 4U boxes. Prewire everything you can beforehand.
2. Everything needs to be in an easy carry case for transport. In addition to the previously mentioned racks, loose instruments need to be in cases with handles.
3. Bring a notebook. Write down any external wiring you have to do at setup time. My main rack has a patchbay on the back to receive audio from the loose instruments. Following my written notes, I can hook it up quickly and everything is on the correct channel of my mixer the first time. No need to swap things around to find the right channel.
4. Practice. Seems obvious, but deserves inclusion here. Practice and record your sessions multiple times. Listen to the recordings, to see if you like your own show. Practice any banter between songs.
5. Power cycle. Turn off all your gear during practice and start from a cold start to simulate the actual show. This weeds out any leftover states your may have been relying on during practice that won't be there in a live show.
6. Take more cables than you need. This is perhaps the most important tip. You never know what the mixer is that you need to plug into. Might be XLR, might be 1/4", might even be RCA. Have adapter cables, not just adapters, on hand to do any transformation. Plus, it always seems that some cable in your setup will decide to fail on performance night, have a few spare audio and MIDI cables - just in case.
7. Have business cards. People will come up after your set and want your social media contact info. Verbally reciting it to them as they type it into their phone is lame and slow. Have something you can give them that includes all your social media info and your YouTube channel, and anything else.
8. Look at your audience from time to time. This is my biggest downfall. I most often take on a mad scientist countenance and stare at my gear for long periods. Instead, I feel it is probably better to try to look up once in a while, smile, and connect with the people. Yeah, I know, this advice is getting far off topic.
(06-20-2024, 02:25 AM)lego Wrote: I am particularly interested in how to optimize the MIDI mapping and setup for efficiency and reliability on stage. What are some best practices you've found effective for ensuring minimal latency and maximum responsiveness?
Minimal latency and maximum responsiveness aren't attributes of concern that I would include in the same sentence as MIDI. In my experience, MIDI works really great, or not at all. No gray area in between.
(06-20-2024, 02:25 AM)lego Wrote: Additionally, I am curious about any specific software tools or apps that you recommend for managing MIDI configurations and mappings. Are there any hidden gems or popular choices that I should consider?
Ah, this may shed light on my previous statement. I've never used a computer live on stage. It may be conceivable that the act of receiving MIDI data over USB, decoding it, interpreting it, controlling it, and shipping it back out of the computer may indeed create latency so bad that it is perceivable by humans. Or that heavy MIDI traffic could gum up the works. Sorry, can't advise on anything related to MIDI control via computers.
(06-20-2024, 02:25 AM)lego Wrote: Lastly; if anyone has experience with similar setups or has encountered common pitfalls to avoid, I would greatly appreciate your insights.
My last three shows had no MIDI or minimal MIDI, but the next show I'm planning will return to the world of mega sequenced stuff, so I find myself in a similar boat to your situation. I will have a number of data generators (controllers), and a couple rack synths in this setup. I typically have one controller control another controller, and the configuration of which controller is master will change on a song-by-song basis. This dictates the use of a router. I would really love to use the MRCC for all its flexibility and processing power, but at 2U high I've opted for a smaller (1U) router. In the past, I used a JLCooper MSB+ for its limited processing and merging ability. This time around, I'm working on incorporating a 360 Systems MIDI Patcher. The MIDI Patcher can do no data filtering or even a single merge, but it can send a Program Change to connected synths when the routing patch is changed, so they are ready to go with each song change. In the past, I've found that setting up each synth's program by hand was time consuming and I wanted smoother and faster downtime between songs. I'm hoping this will do all I need, but the jury is still out.
(06-20-2024, 02:25 AM)lego Wrote: To give you a bit more context, I primarily play and often perform in venues where space and setup time are limited, so practical solutions are key.
I can relate to the limited time thing. For years I was a stage manager at a seasonal festival. I could put up with a lot of shenanigans from the bands in general, but the one thing that would piss me off to no end was if they didn't start on time. There are a few things you can do to help insure a swift setup time:
1. Minimize the amount of boxes you must bring and setup. Guys that bring in a modular rack, pre-patched, can just plug in and go. There's something to learn from them. I've seen some pretty cool large pedal cases that guys have all their small modern tabletop synths in. All prewired MIDI and audio. Just open the case, apply power, jack into the house sound, and they are good to go. Since I use rack mount gear, I've learned that keeping the racks as small as possible helps. Putting everything in an 8U or 10U rack is convenient, but way too heavy. You never know how far you have to carry it. I now have a self imposed max size limit of 4U boxes. Prewire everything you can beforehand.
2. Everything needs to be in an easy carry case for transport. In addition to the previously mentioned racks, loose instruments need to be in cases with handles.
3. Bring a notebook. Write down any external wiring you have to do at setup time. My main rack has a patchbay on the back to receive audio from the loose instruments. Following my written notes, I can hook it up quickly and everything is on the correct channel of my mixer the first time. No need to swap things around to find the right channel.
4. Practice. Seems obvious, but deserves inclusion here. Practice and record your sessions multiple times. Listen to the recordings, to see if you like your own show. Practice any banter between songs.
5. Power cycle. Turn off all your gear during practice and start from a cold start to simulate the actual show. This weeds out any leftover states your may have been relying on during practice that won't be there in a live show.
6. Take more cables than you need. This is perhaps the most important tip. You never know what the mixer is that you need to plug into. Might be XLR, might be 1/4", might even be RCA. Have adapter cables, not just adapters, on hand to do any transformation. Plus, it always seems that some cable in your setup will decide to fail on performance night, have a few spare audio and MIDI cables - just in case.
7. Have business cards. People will come up after your set and want your social media contact info. Verbally reciting it to them as they type it into their phone is lame and slow. Have something you can give them that includes all your social media info and your YouTube channel, and anything else.
8. Look at your audience from time to time. This is my biggest downfall. I most often take on a mad scientist countenance and stare at my gear for long periods. Instead, I feel it is probably better to try to look up once in a while, smile, and connect with the people. Yeah, I know, this advice is getting far off topic.