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Ok, just another bunch of pennys to add: In the nineties I did some tours with a band that used backing tracks plus live playing. The small setting was a trio and we simply handed over a CD to the DJ and performed on the dance floor or stage with wireless mics and wireless guitar (me). The big setup of this project was more like a rock band with two guitars, two vocalists, a keyboard player and a drummer. One 8 channel ADAT tape machine was used for backing tracks and we delivered to the live engineer several separate stems like backing choir stereo feed, bass channel, percussion stuff, epic stereo synth pad beds, hard percussion stuff etc etc. The point of interest here is that one of the eight tracks had a click that only the drummer had in his headphones. This drummer is very good, top class professional session guy, and he first used -20 dB silicon in-ear protections and upon those the cans with very loud volume. He played perfectly well with that and the deal was that everyone else was to follow the drums. Worked out fine for that music. But of course there wasn't much space for improvisation or working up a collective groove feel ;-)) Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen On Wed, Apr 4, 2012 at 2:06 PM, mark francombe <mark@markfrancombe.com> wrote: > Ill just add my 2 pennys here. > > I had 10 years with a band where we almost always had a backing tape with > various elements, and we needed a way to play to them. I also discussed > this > with many, many bands (often because they couldn't "get it" how we could > play to a backing track and all be in synch.) > > We tried click tracks in the monitors and personal mixing methods, but it > ONLY came together when we used a stereo tape, the left side was a > Musically > nice percussion element, often a drum-machine version of the drummers > high-hat pattern and the right hand side contained the musical (or loop) > element. (obviously NOT mixed left and right in the FOH) > > On stage the perc side was louder, specificaly to the drummer, (the > musical > side was often really deep cellos or industrial loops that would fully > distort most crappy club monitors, and needed them for vocals. But out > front > the perc side was totally muted... If however the punters at the front > should hear it, it blended in quite nicely. > > Im sure that a drummer with REALLY GREAT in ear monitors could do well, > but > its dangerous, the tinny plink of a typical metronome sound would KILL a > drummers hearing after a few shows, and the volume and MUSH of most > venues > stage sound, would cause it to become annoying and irrelevant. > > If you design the "click" so it fits with the music and play it, then you > find tat you naturally play WITH it, rather than TO IT. Trying to PLAY > TO an > annoying Plink plonk plonk plonk plink plonk plonk plonk is un-natural > and > just causes drift IMHO... playing to a musical and rhythmic percussion > part > is the way to go... > > (now listen to Cranes and see how many songs start with drums.. ha ha!! > Yep.. most of them !!!) > > Mark > > -- > Mark Francombe > www.markfrancombe.com > www.ordoabkhao.com > http://vimeo.com/user825094 > http://www.looop.no > twitter @markfrancombe > http://www.flickr.com/photos/24478662@N00/ >