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This article was written by Nick Schenkel at Sweetwater. Over the next few months, we’re publishing an entire series of articles in the Lounge from Sweetwater. Keep your eyes peeled and check back often!
Over the years, I have played in many bands. I have labored to get band members to show up to practice. I have gone home exhausted after load out with a paltry couple bucks in my pocket. I have dealt with the drama that can erupt between two band members that are at odds with each other. I have been through it all, and I quit.
When I first realized that I no longer wanted to be part of a band, I had tough decisions to make. Was I going to just do the singer/songwriter, guitar and vocal approach? Was I going to do the “band in a box” thing? How was I going to do justice to the songs I had written while keeping the act solo?
There are several ways that an individual can perform with the sound of a full band, but without having the extra personnel. The solution might be as simple as having traditional backing tracks played through the PA system. Another solution might involve using pre-programmed MIDI sequences. Other solutions might be more complex, but might also be more rewarding. Let’s take a look at some of the options.
Traditional Backing Tracks
With the advent of the personal computer and recording software, it’s easy to create backing tracks to play at a live performance. You can load your songs onto a CD or your iPod, and have studio-quality back up for your performance. The problem is that you are locked into a specific arrangement and set list. Also, you either need to have the capability of producing the tracks yourself, or you will need to pay for studio time. This is the “band in a box” approach, and although it can sound great, it often leaves the audience feeling like they just went to a glorified karaoke performance.
Pre-programmed Sequences
With a MIDI sequencing sound module and some kind of controller, you can have high-quality sound and a certain amount of flexibility. By preprogramming different sequences for each part of a song, you can opt to stay with a particular passage longer (for example, to play a little longer on the solo), or edit out a passage altogether (skip the third verse). This allows the performer the ability to react to the audience, and adjust the performance to suit the mood.
Loop-based Performance
Thanks to advances in technology, we now have access to loop pedals that can record sound-on-sound for anywhere from 10 seconds to 10 hours. With these powerhouse loopers, a performer can build an entire arrangement in front of an audience. This can lead to a very engaging and dramatic show that will have people talking for days afterward.
To get a general idea of the process, check out a live video of KT Tunstall performing “Black Horse and the Cherry Tree” solo sometime. (There are several available on YouTube.) KT uses an Akai E2 Head Rush pedal to do the looping for her. By using the percussive elements of her guitar, a tambourine, and handclaps, along with her voice, she builds a lush arrangement in a matter of seconds.
If you take this general model a little further, you can see how easy it can become to take a solo performance in a new and exciting direction. Perhaps one might choose to incorporate some simple drum loops from an external source, and (while bringing in the drum loops) use an octave pedal to lay in a bass line. You could take a microphone around the room, and have the audience provide rhythmic elements by clapping or hitting glasses with their spoons. The possibilities are endless.
The end result is a memorable performance that avoids the “canned” feel of pre-recorded/programmed backing track. The audience can also be engaged in a creative and constructive way, adding to the uniqueness of each show. This elevates the solo performance above its usual clichés, making it a fresh and involving experience.
The three options above are by no means a comprehensive list. Certainly, one can consider a number of options using a computer with recording software, or a keyboard workstation with recording options, as ways to expand the possibilities available to you as a solo performer and perhaps lead you in a new direction.
The main point is that there are many ways to avoid being the singer/songwriter in the corner of the coffeehouse strumming your guitar to an uninterested audience. Similarly, one does not necessarily need to work with a band in order to present a full-bodied arrangement in a live environment. With the right technology and a little imagination, you can take your solo act into uncharted territories and pick up new fans along the way.
Nick Schenkel is a guitarist and sound designer. He has degrees in music production and engineering, and has spent the last fifteen years working in both live sound and recording studios. Nick currently works at Sweetwater as a Sales Engineer, and can be reached at (800) 222-4700 ext. 1399 or nick_schenkel@sweetwater.com.
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