Patches and discussion for Ensoniq VFX family

The band I am in uses sequencing for every song that we play.  I am 
currently using a Roland XP-60 as the main sequencer onstage, and it 
works great.  Part of the reason I use the Roland, is for the feature 
of playing the sequence right off of the disk rather than loading it 
into memory for each song.
The sequencer sends program changes to all the boards, efx 
processors, guitar processors and lighting for each song.  It really 
works well and I like the bigger sound that we have as a result. 
The only downside is having to stick to what is programmed for every 
song.  There is no extending of the songs or anything like that, 
unless it is planned and accomodated (by going back to a certain 
mesaure manually and going from there, or physically programming a 
longer version if the song).
I have been in both kinds of bands, and for different reasons, like 
both scenarios.

            The pluses of sequencing are as follows:


1. Absolute tempo and resolution for every song.
This means that there is no more dragging or rushing during the song.
This also means that each member must be able to follow a click track 
and be precise.  This will expose any weaknesses the band members 
have as far as timing goes.  This can also help them to be better 
musicians and singers because they are forced to lock to a tempo for 
the entire song.  I have noticed that in my own band, the guitar 
player and I are much tighter as a music section with following the 
sequencer.  We also have the freedom to move around in the song a 
little bit with our own instruments, because we know that the 
sequencer is taking care of all of the other parts.

This also means that each member must really learn the song.  More 
practice individually makes for a very tight band.  If any of the 
members have not practiced, it will show.  Sometimes it will very 
very much and be very noticable.  This forces the band as a whole to 
be much tighter and together on the music, making for a cleaner 
sound.  Less mud in the mix makes the sound guys happy.

2. Programming of intricate little parts that generally can get 
missed during a live play.
Do we curerntly miss the little horn parts because we are too busy 
comping the rhodes or piano parts?  Does it sound kind of empty 
during a guitar solo because the lead guitarist cannot comp the lead 
and backup parts at the same time?  Not a problem now.  You can 
program that backup guitar part and layer a couple of guitar sounds 
to make it sound real in the song.

3.Excellent sound (at least in my band's case....I sequence the drums 
too).  We do not have a drummer at present, and have decided to forge 
ahead as a 3-piece group.  I run double-duty as keyboardist and 
bassist.  On some songs, I play keyboards (which is my training for 
almost 30 years anyway), other songs I play bass guitar.  I simply 
program around the instrument that I am playing on any given song.  
Because of the fact that we do everything from sequencing, it allows 
me to mix the band and make us sound just like our demo.  This is 
very important to me.  Maybe it is my Recording Engineering training 
(or relentless pursuit of audio perfection), but I feel that clarity 
and presence is paramount.  It more accuately displays our 
musicianship and ability to meld as a group.  I can also add the 
right kind of reverb on a slow song to every instrument and make it 
sound totally in place.  We do not have the problem of everything 
else washed in reverb during a slow song and our drummer sounds like 
there is no verb at all on his kit.  All of this can be done with 
MIDI programming and it is great ....this leads into the next 
point....
4.Excellent control of external devices (providing you have them 
hooked up right)
Extreme control over configuration.  This can be done in the studio 
environment and 'perfected'.  You can spend all the time you need in 
the studio laying down the exact bass line or backup string part to 
that song, and know that it will be there every time you play the 
sequence.  The perfect climax to the world's best love song will 
always be there in the programming.  You can have a perfect light 
show every gig because your light guy (your sequencer) will always be 
doing the right fader movements.  You guitar player will also always 
switch to his lush hall reverb with lots of chorus for his guitar 
solo, because the sequencer is doing it.

5.Because of sequencing, you can also get the almost duplicate sound 
that the original artist was using on the original recording.  My 
band does 'Hella Good' from No Doubt and it sounds frighteningly 
close to the original, because the sounds I use are almost identical 
to the original.  To me, that is very important.


                The Minuses of Sequencing are as follows:

1.The song will always be the same length every show, every time you 
play it.  There are no variations of the song unless it is 
programmed.  There is no spontenaety in the song, because it is rigid 
and pre-programmed.  Your 16 measure solo will always be 16 measures, 
unless you program a longer solo.  No spontaneous moments of keyboard 
glory during the sequence.
2.You have to have everything programmed and tested before going out 
onstage.  If you do not have the right lighting cues in the sequence, 
you hosed your light show.   The same applies to every other aspect.  
It will require lots of listening and testing before you take it 
out.  Once you get it out, it is pretty much guaranteed to work the 
same, every time.
3.You have to bring backups of your show.  Be prepared to have two 
backups of your show on floppy and one on CD-Rom for retrieval if the 
backups go bad.  The place you are gigging almost always has a 
computer there that you can grab the files and put them onto floppy.  
I always carry two copies of everything and a CD backup, for that 
very purpose.  I have never needed the backup copy for retrieval 
reasons, but do switch between the main and backup floppies for every 
show.  You will also have to make sure that all main copies, backup 
copies and archived copies are identical in every way. Any changes to 
any song at any time will require a backup copy to your computer, and 
the backup floppies.
4.If the sequencer goes down, you are hosed.  If your keyboard dies, 
and you do not have an indentically configured replacement, you are 
hosed.  This is my biggest fear.  I only have 1 Roland XP60 right now 
and if it dies, our show is toast.  Fortunately, I take impeccable 
care of my keyboards and know that they are in working order before I 
start the night.  
5.If there is a power glitch and you are not protected with surge 
protection and line-conditioning, you could hose the sequencer, not 
to mention the rest of the gear.
6.If the sequencer stops for what ever reason, it is going to be very 
noticable.  So be creative in fixing the dead-air until you get the 
sequence started again.

So there you go.  I am sure that there are many other things to add 
to both lists, but these are what I consider major issues.

Thank you, 
Harry Ebbeson III
Ebbeson Management Group
www.geocities.com/ebbrecords




--- In Ensoniq-VFX-SD@yahoogroups.com, "Michael C Lesko" 
<MichaelL33@p...> wrote:
> Hello all,
> 
> Does anyone know the most common, more importantly reliable, way of
> playing sequences out during gigs?  What I mean to say is I have an 
SD-1
> with several tracks sequenced that I wish to also play out live.  My
> question
> is, is it best to play sequences directly from the keyboard or 
transfer them
> to recordings?  I have lot's of experience playing, just not 
playing out.  I
> have no idea on how sequences are handled on stage - and I know we
> have some real pros here in this group.
> 
> Any information would be greatly appreciated!  Thanks!
> 
> Michael