Got a question for those of you that gig...

How do you organize your music on your keyboards for the gig?

For me, I use registrations. I have one main file/folder that holds all the songs.

Depending on the gig, I've been creating a separate folder for a gig and copying/pasting registrations to the new folder from the main song folder.

Then I decide on an order for the songs for the upcoming gig and rename the registrations adding 001, 002 and so on.

This can create a bit of work for each new gig, copying/pasting and renaming registrations.
And for the next gig, I may have rename songs if I change the set list order.

I have given some thought to just bringing a separate set list to the gig(on paper or my iPad or whatever) and just calling up songs out of the main song file folder. Then any changes I make to registrations(styles, voices etc) will be done in the main song folder.

I'm guessing most folks have a set list going into a gig. It would be a little hard to just wing it and not have some sort of gig song list to go by.

There are some pretty seasoned performers on this forum and I'm hoping to hear from you or suggestions?

Thanks

Rog L

Most times for any 1 or 2 hr gig I use registrations set up in folders for each genre of music, eg: Latin, Big Band, R&R, Ballads, Traditional, Irish, Jewish, Christmas, Italian, etc,.... I never make a set list instead let the gig drive your performance and by drawing from all your folders you can pick & choose what songs you want to play as you go along in rapid fire with just a few seconds in between for banter to keep the pace flowing,.........the only thing I have in the MFD is a list of Mp3 backing tracks that I also use at times depending on the venue that I sing and play on top too... larger jobs is a whole different story which involves my laptop too into the mix.
have fun do it the way its comfortable for your needs..

I have the music/ lead sheets on my iPad (in forScore). Using a USB connection to my keyboard, as I turn to each sheet, either in a playlist or by request, each sheet calls up the specific SongBook settings in my Korg Pa900. This has been such a great benefit so that I don't have to worry about any of the keyboard settings/ songs/ registrations; it is selected automatically!

I just look at the audience and say "I think they would like this", pick a style or Songbook entry and start playing.
I have a wide assortment of Songbook entries, many of which can be used for multiple songs.
There is a number of songs that almost always go over well, despite the makeup of the audience. I usually start with a few of those.
I'll switch genres until I stumble on something they like, then adjust from there.
No music, except some lyric/chords, either associated with Songbook or pulled up on the fly from kb or lt.
Probably 75 percent of the time I do everything from memory. I get a lot of requests, and sometimes it takes a few seconds to set up a style and/or chord/lyric file. As far as I know, I've never done the same set twice.

I just copied and pasted what DonM said and made one slight change - substituting the Songbook to the MFD.

I just look at the audience and say "I think they would like this", pick a style or MFD entry and start playing.
I have a wide assortment of MFD, many of which can be used for multiple songs.
There is a number of songs that almost always go over well, despite the makeup of the audience. I usually start with a few of those.
I'll switch genres until I stumble on something they like, then adjust from there.
No music, except some lyric/chords, either associated with MFD or pulled up on the fly from kb or lt.
Probably 75 percent of the time I do everything from memory. I get a lot of requests, and sometimes it takes a few seconds to set up a style and/or chord/lyric file. As far as I know, I've never done the same set twice.

It's that easy,

Gary

Many of the NH/AL gigs I play are 'concerts' rather than 'dances' ... for these, I always set up a playlist, which all or in part will have some 'theme' attached to it - songs of certain artists; songs of certain songwriters; songs relative to the season or holiday etc. ...
Of course when you've played a facility a few times, you realize there are some favorite songs they ALWAYS want to hear ... one place I play I can't leave without playing "Sweet Caroline" and "NY NY" ... another place I always have to play "Goody Goody" ...
Playing in a restaurant, I just go by my gut, plus requests ... there is one place I play a couple of times a year, where I will usually see the same people and I know what they are going to request, so I try to beat them to it ...

I'm not in the same league as Don, Donny and Gary. I always have set lists embedded in folders. I have over 2 dozen. For one hour NH gigs, I only use midi files and they are in a preset order. I have alternate tunes for each song depending on audience response. For the one hour gigs, I use a keytar, so registrations are out. Eg; When I play inner-city gigs, there are several R&B tunes that are must play, I’ll have 20 or so in order, and I have 50-60 or so in that same folder in alphabetic order. I have themed folders set up the same way, Mardi Gras, St. Patty’s, Oldies Rock, Oktoberfest, Italian, Cinco De Mayo, Jimmy Buffet, etc. as well as a couple that are set up with what always works with particular audiences and situations. For my restaurant gig and other than NH & senior ctr. gigs, I’ll use a keyboard, midi accordion, or a controller and use both registrations and midi files.
I do miss the Korg songbook feature.

My approach to live gigs is a little of what others have said. Mine’s not complicated. Folders for “Standards”---my own interpretation of that term. Others for country, Broadway/movie themes/show tunes, older and newer pop tunes. The key is knowing how to find things quickly. I just watch the patrons and wing it. Works most of the time. Trying to rely more on memory, without the use of chord/lyric sheets. Rarely use preset playlists. I’m basically a guitar player, who discovered arrangers a few years back. Seriously thinking about switching to guitar some, using the new 2016 Band In A Box software. Been woodshedding some with it. Some really neat styles. But, won’t give up my two Yamaha arrangers.

Essentially, you must learn to read the audience, which is a skill that is acquired through many years of being in this business. It's really not something that can be taught, or handed down from one entertainer to another. It's an inner feeling that you get when you look out in the audiences and immediately determine what would get their undivided attention. Not everyone has this ability, and to those of us that do, it becomes very obvious when we see an entertainer that does not have this inner skill. They tend to play and sing the songs they enjoy, and not the songs that captures their audience. Additionally, those that have this skill tend to interact with their audiences, even those audiences with mental impairments. They communicate with their body movements and their vocal expressions, both of which are extremely important in order to be successful as an OMB entertainer.

A classic example of the inability to read an audience was seen at both of my children's weddings. They both insisted on having the hall use their DJs, neither of which had a clue what the Hell they were doing. In my daughter's wedding, which dear old dad and mom were footing the bill, the first five songs were hip-hop and rap - not what you play to an audience of 55 to 80 year olds. I had a serious talk with the DJ and informed him that if he played one more of those songs he would have a much higher pitched voice. He asked me what to play for the next song and I suggested Unchained Melody. Everyone got up and danced - EVERYONE!

At my son's wedding, they scenario was similar, and the DJ walked over to me when the 5th or 6th song was playing and asked what would it take to get the crowd on the dance floor. I wrote down a dozen songs on a napkin, handed it to him, and he responded "Those songs are old!" To which I responded, so is everyone in this room other than the bridal party. He took my advice and it was a great reception. Old, BTW, was 60s through 80s stuff.

One of the things I did early on was to go and watch what the other, successful, OMB entertainers were doing. It was a smart move on my part. I got to see the best of the best, took notes, and thanked each and every one of them. The list is fairly extensive, but it included Donny Pesce, Uncle Dave, Eddie Shoemaker, Don Mason, and a dozen others that frequent other forums. I learned a lot from them all.

I also learned a lot from watching those that were not very successful, and determined what they did wrong and why they did not garner the audiences I, and others did. This too can be very helpful. This was especially true in resort areas of the US. Have guitar will travel OMB entertainers are a dime a dozen in Florida, particularly in the Florida Keys. After watching a couple dozen them in the various marina restaurants and tiki bars, there was no question in my mind why they were rarely called back for repeat performances. They did not know how to read an audience, and every song they played sounded the same as the previous song. They had absolutely no diversity, therefore, they were quite limited in the audiences they would attract.

Hope this helps,

Gary

Tx for all the responses....good info and it's interesting to read about some of the different approaches.

I totally agree about reading the audience. Most of my audiences are from nursing homes or assisted-living places . Still it's interesting how there are different requests for each place.

I feel I need a few song set list at least to start. But I'm trying to avoid renaming registrations each time I do it.

Good ideas Here.

Tx

Rog L