My comments have come from professional band members, Orchestra players and solo players, (I am a home player) and I always take note of what professional say, so I think you may have misunderstood my post.
If you are a OMB or are just singers guitar players etc, then backing tracks (Of any file type) are fine, as it can give body to the performance.
If however you are in a group where you already have the live backing, then forget sequencing, as it will stand out like a sore thumb. (If you don’t have a drummer then Drum backing is fine)
Here in the UK people Do notice.
Hope this makes it clearer

Bill

Markus

...I have had poor success with trying to use my band members in tandem with mt Tyros. The trouble lies with my rythym section. (Bass/drums) Neither player has come close to cooperating with the output of the Tyros. Its too cluttered, too muddy...urgh...it sounds awful. Both guys are talented players, but they are set in their ways for sure...They've each played in live bands for over 30 years...Ex-Military band guys...but this is too far out of the box for them to work with. I've had good results with adding just my sax player...his parts only change somewhat when the style I use has horns involed.

IF your band is willing to spend the time to rehearse and LISTEN to what's happening in the music...and of course be open to it...I'd suggest you make a good effort to try that route. My guys won't rehearse...not 100% open to the idea in the first place, so...that explains my results.

That said, Since I purchased my first arranger a couple years ago I've owned the Tyros, a PSR-3000 and now a Tyros 2. Of the four of us in the band, only I do this for my living. Solo gigs have replaced upwards of 60% of my band gigs through the last few years...and it'll continue to increase over time. There's lots to be said for the ambience and creativity that comes with performing with a live band-but, there's a lot to be said also for the precision that an arranger offers. The clients love the lower price, while I enjoy the increased take-home pay.


Bill



[This message has been edited by Bill in Dayton (edited 11-28-2006).]

IMHO;
Using midi files for backing is just fine, and most of what is being said I agree with. Here’s that little word again, BUT, Why not give the other side of thw story a thought. Why is playing live good, what does it offer that is good?

This is my story; It is not about the value of using midi files but the value of playing live. After playing live for many years I agreed to play a single singing and using my guitar for background. I knew or felt it might be empty, not enough going, on so I added a drum unit. It did fill the void but it had no character. It did not support my feelings/emotions as I played the song, it went it’s own uninteresting way.

I am guessing that there are certain types of music that hold the tempo without change. And there are other types of music the needs some slight variation, I referred to that as feeling the excitement. As the volume gets louder and the tempo increases ever so slightly so does the excitement of the dancers/audience. I have played songs where the people that were dancing, they lost it, they felt the excitement – The song did not end at the same tempo.

To be free enough to go in any direction the dancers/audience calls for is one good option. To bee free to cut the song short because of an on coming event is another good option –Or to extend the song because for a guest performer –Or to repeat the release because your favorite dancers just showed up, wow, what an option.

Having said all that – Yes, I am using midi files for some backing.
I don’t know how this will go over – I was called to play/help supply music for an up-coming Christmas party. The person who called is one of the Pastors at my church. I was not able to say yes, but I offered him my set of Christmas midi files so that the night would be more of a success.
Music without John being there. Hmmmm.

John C.

Whatever works you you, folks...I DON'T use MIDI files of any kind. I try to avoid using an arranger like the plague, and most enjoy group work...the interaction between musicians which only works live with certain kinds of music (read-jazz) and with players of equal ability.

There is a market for this approach for me and probably for any accomplished player who wants to specialize in this kind of work. About 40% of my jobs are keyboard and drums...20% as a single and 20% group work.

I say, choose your weapon (arrangers or whatever), learn how to play/operate in real time and JUST DO IT!


Good luck!


Russ

Once again, I find myself agreeing with Russ' statements ...
I LOVE and after 26 years of doing so, REALLY MISSplaying with a BAND but there are certain conditions that prevent me from doing so:
1) There is not much demand for a 65yr old (young?) kb player in today's bands;
2) I don't care to try to keep up with some of the music today's bands are playing;
3) There is not much of a market for bands playing the type of music I want to play;
4) etc.
Sooooo, I play as a OMB, except for an occasional duo, and I use on board styles - sometimes full, sometimes reduced to bass, guitar and drums - and SMFs - as produced or with instrument voice changes or deletions - whatever fits the song and the setting ...
Whatever works .....
t.

Hi Bill

I have used my Tyros1/2 many times with other horn players and singers. The thing that will make a big difference is to most of the time knock out all horn parts at least. Sometimes I use just drums and auto bass, other times I add guitar and/or piano, once in awhile strings or something of that nature if it would be effective. But, when it comes to horn backgrounds, I tend to not use them, or only very, very sparingly once in awhile. This takes care of any muddiness, clashing horn riffs with your live players and generally the horn players will like it much better than having the horn section playing. This depends on the players some like it, some kind of, and some just downright hate canned horn sections in the background.

So, my advice to you is, just knock out the horns at least and you can have it stay that way one song after another by going into Functions and setting it to hold rather than reset for your special setting. This usually means turning off the 3 parts farthest to the right.

I'd be curious to hear how that works out for you.

Scott
http://ScottLMusic.com

Also there is no need to rehearse using this approach.

I'm playing more OMB gigs and duo-trio gigs with pre-recorded sequences from the Tyros 2. I'm on guitar and vocals. I add a horn player and female vocalist at times. It's been a very positive experience. Half the battle is planning and organization ahead of time. Most of these engagements are receptions, private parties, dinners, etc. with little to no dancing---mainly background ambience music. I've learned to anticipate what people request most and have those tunes ready. Rarely, do we get stumpped. It's been amazing to me the transition from a 5-piece group to a OMB playing the same tunes. Yes, the chemistry of group playing is great when everything clicks. However, the OMB money splits better and there a far less hassles, worries, and the like. I've not had one employer complaint about the sound. Most like the price, the less clutter spread around, the reduced volume, and the amount of space saved in tight set-up quarters.

Well I can tell you what's important from my perspective.

I've been playing with my wife (*heh* and even gigging) for 5 years now in a covers situation (I come from an originals band first 3 piece, then anywhere from 5-7 piece) and have settled into a "routine" (I mean that in a good way) of duo cover work.

I do not have to do OMB stuff.
We do not have to work with groups or any other musos at any time.
I do this and make a great living.

I fully realise the situation might be different here (in Australia) then in other parts of the world.

But to cut my overly long post short - I've found 2 things tend to get us more gigs than we can handle.

1. GREAT VOCAL ABILITY - (singing).
2. PERSONALITY.

People listen to vocals first - I'm sorry but they do, in almost ANY genre I can think of (unless, obviously you're doing Classical or Jazz improv with no vocals) PEOPLE WANT TO HEAR A KNOCK OUT - COMITTED - VOICE.

They ALSO want to hear someone who can speak on the mike - connect with the audience - do the odd joke - show something of themselves - interact with their partner onstage - ANYTHING that keeps the show MOVING - not long gaps (or even short gaps) of silence between songs.

It really is as simple as that.

P.S. Flexibility is probably a close third I should add - be able to play at LEAST a couple of songs from most EVERY genre.

We have 16 gigs this month (which is plenty for us - most of the clubs we play pay quite well and we only need a few gigs a week to be VERY comfortable), granted, it's the silly season, but next year is already almost fully booked until June.

Check out This month....
www.chi-chi.com.au

Actually reading my rather rambling last post I may have not helped answer the original question at the top of this thread, but I guess I wanted to stress that rather than any technical feature on a keyboard, a gig stands or falls on the performer's ability to stay "connected" to the crowd by WHATEVER MEANS, and this usually involves a REAL commitment to the audience and what you're doing, rather than skipping a bar in a sequence or... whatever.

There is one other thing I should have mentioned.

I have realised that above all else (and this has been hinted at in previous posts in this thread I know) just about the MOST important thing I can think of in ANY live situation is:

SONG CHOICE.

The right song(s) for the audience.

No matter how obvious THAT sounds, I continually see other acts not reading their audiences, and I'm continually amazed at the dividends paid when we manage to read our audience right.