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Using DP Live Part 3 – Creating Your Live Rig
Welcome to Part 3 of a four part series covering the use of DP in live performance. If you haven’t checked out the prior to installments, just click through at your convenience.
• Part 1 – DP Features for Live Performance
• Part 2 – Controlling DP
There is a lot to consider when deciding which equipment is best for use on stage. A lot of attention is typically placed on the computer, but having run a live system for years now I find that some thought into even the smallest details helps to ensure a simple, efficient, and yet powerful set-up. So hopefully you’ll find this helpful whether you are looking to create a new rig, revise your current rig, or even minimize your home studio.
A Rig for All Gigs
Depending on the size of the venues and complexity of your show a simplistic set-up can be your best friend. With today’s technology advances even the low-end of the spectrum for each type of gear could very well suit your needs so don’t discount them as possible options.
I’ll get into details for each, but here is my take on the rig essentials to accompany your DP set-up.
- A computer that is only as powerful as you need for the software you choose and the functions you plan to use live.
- Enough RAM and hard drive space to give you plenty of headroom.
- Hard drive speed of no less than 7200rpm.
- Audio Interface
- USB/MIDI Controller
- MIDI Interface (if necessary)
- Power Conditioner
- Headphone Mixer (for click track)
- Rack
- Personal accessories
While your computer is obviously the brain of the entire live rig, I will be addressing system selection in the next installment along with system optimization as they perfectly complement one another. In the meanwhile, let’s look at the rest of your live rig.
Audio Interface
My first and most important point, if you’re using it just for playback, DO NOT get caught up in having the best rig around. While you might be a stickler for sound quality, the cheapest USB or firewire interface out there nowadays is likely to meet your needs when it comes to live use. That being said, you might have the need for specific features that only higher end units offer. So here are some of the things you’ll want to consider in selecting an audio interface for the stage:
- Are you going to have a separate interface for live use from what you use in the studio?
- What kind of ports (USB or Firewire) does your computer have and what are their availability considering the connections needed by all the other gear? Firewire and USB2 allow for greatest bandwidth while the “old” USB1 is more compatible with older computers.
- Please note that, if you’re using a USB or Firewire hub it is best (and often required) to plug your audio interface, and a MIDI interface if you’re using one, directly into the computer ports, not into the hub. Some won’t even be found by your computer if they are in a hub and there are also performance issues.
- Portability.
- Would it be convenient to have it built into a MIDI controller?
- Latency (mostly if you are performing, automating, or triggering VIs in real-time).
- Will you be processing any external audio? If so, consider the number and type (XLR vs. ¼”) of inputs you’ll need.
- Do you have any MIDI controllers or external MIDI gear that use MIDI cables and that you’ll want to use live? If so, consider whether your audio interface has enough MIDI functionality to handle them so you’ll know whether you’ll need to buy a separate MIDI interface.
- Features that may be specific to your performance needs. For these, consider how you want to use the interface and then review the spec sheets or even download the manual if available.
- Expense vs. budget.
- Sound quality. Consider the following when reviewing the quality of mic/line pre-amps and A/D/A converters.
- If this will be your home interface too then it’s understandable to go for the highest quality you can afford. But if it’s just for live use or periodic use off the stage, don’t get too caught up with this and pay more attention to the features you need.
- Are you only going to play music through the interface or are you going to record your shows as well?
- You might run into a house sound system that uses a mono board so you should be prepared to provide a mono feed with your signal already summed.
- Do you need it rack mounted with the rest of the gear or could you use one that is built into a MIDI controller?
MIDI Controllers / Interfaces
I’m not going to get into the huge and ever-growing variety of MIDI controllers. When I say “controller” I am referring to those that must interface with your computer via a MIDI cable and MIDI interface as well as those that interface via a USB cable. Similar to an audio interface, here are some of the considerations when selecting a MIDI controller:
- How do you perform? Do you need a keyboard or would a control surface of knobs, sliders, and buttons suit your needs? There are also guitar-based controllers, foot pedal systems, drum-mounted triggers, entire drum kits, individual drum pads, compact drum pad systems, and a whole range of “alternative” controllers that meet very specific needs. To determine this you may need to also ask yourself…
- What are you controlling? If all you’re doing is cueing Chunks in DP this could be done via the laptop keyboard. Triggering synth or real-instrument VIs could require something completely differently than triggering drums/percussions. If you don’t have time to do the research, just write to me with what you’re doing and I can point you to some of the best options.
- Connectivity (MIDI or USB)
- If MIDI, how many connections do you need? This will help you determine whether you need a separate MIDI interface or whether your chosen audio interface has sufficient connectivity?
- If USB, how many available USB ports (also considering your interface connection) do you have and will you need a USB hub (see below for important advice on using hubs)?
- If USB, is it USB2? If so, do you have USB2 on your computer? You should be able to use a USB2 device on a USB1 input but you’ll lose all of the additional capability allowed by USB2.
- Expense vs. budget.
- Size: how much room will it require both on stage and in transport?
- Syncing. Do you have specific syncing needs? If so, make sure that the interface supports them.
Let me emphasize that when assembling your rig you consider your interfaces, controllers, computer, and other needed peripherals at the same time so you can determine the type of ports needed and the availability of those ports.
If you realize you need a hub there are a few other considerations.
- Just like with your audio interface, it is best (and often required) to plug a MIDI interface directly into the computer USB ports, not into the hub.
- If you’re using a laptop, and you want the controller to get its power through USB rather than hassling with a bunch of adapters on stage, it’s likely you’ll need a hub that has its own power adapter (which could be tucked away in your rack). First, this is advised if you are only running a laptop off its battery so the hub doesn’t suck it dry too quickly. Second, some USB devices will only get enough power if the hub is powered. I’ve run into instances where the transfer of power from the laptop through an un-powered hub is not enough to power the controller.
- While most controllers should work through a hub, some can be finicky and give you bizarre performance issues when plugged into a hub. If you already have the controller, try it out with a hub before committing to that set-up for live use.
Just as an example, as I am a bassist, I don’t exactly have an extra hand to do live triggering in the middle of song. In my band we resolved this dilemma in two ways: 1) we gave our drummer control of the computer through use of the laptop keyboard as well as MIDI drum pads; and 2) I do my triggering with a Roland PK5 foot pedal keyboard. I’ve actually been using the pedals since we were triggering audio via a Yamaha A3000 sampler. Between the two of us we are practically another band member with how much we can control on stage.
No matter what controller you choose, READ THE MANUAL, maybe twice. I agree with you that you can’t find drier material, but unless you’re already a MIDI aficionado, 1) you will not get as much out of your controller until you understand all it offers; and 2) you NEVER want to be on stage wondering how to do something or how to get out of a particular function that you accidentally got into.
More Than Just a Click Track
I spent some time in the first installment of this topic covering the variety of options for producing click tracks for your drummer. If you need to do this, you also have some cool options for monitoring an audio click (as opposed to a visual click which I covered). When determining how to generate the click you must work with your drummer regarding whether he/she only wants to hear the click or a mix of the click and the backing tracks. If he wants a mix, then you will probably need to give him control over that mix so he can accommodate the varying listening conditions in each club.
 An option that has worked perfectly for my band is with the addition of a small headphone mixer. We picked up a Rolls Stereo Mini-Mix VI mixer which has three stereo inputs, each with its own pan pot and volume knob, and one stereo output. While the backing tracks are set-up to go out the main outs of our audio interface, we have also sent part of that mix to the mini-mixer, and then we send the click track through another output of the audio interface into the mini-mixer as well. So my drummer receives the backing tracks through one channel and the click through another in his headphones. He can therefore separately control the volume and panning of both tracks to best suit the conditions at each show. This has ensured we have few if any issues with him being able to hear the click and know where he is in regard to the backing tracks.
The Underrated Power
It’s my humble opinion that the most forgotten element of a live rig is the power. In short, it’s important, no, vital, to have a good power conditioner. Starting at the most paranoid end of the spectrum, you can use an uninterruptible power supply (UPS). At home this is useful so that you’re system stays powered for a short time even if the main power goes out. That’s not too important live because if the power goes out in the club, it’s likely that the sound system in the club is no longer working (unless of course it’s just a localized fuse for the stage). Where a UPS can be a life saver is that it will immediately kick-in when it senses a power fluctuation and allows you to properly turn off all your gear. This is extremely important for gear that uses RAM, circuit boards or other volatile electronics which is extremely common in most of the gear we’re discussing here. However, you’ll also want to consider the fact that most UPS units are rather heavy.
Depending on the age, size, and maintenance of the clubs you play, it’s possible to blow a circuit dedicated to the stage power, and of course a power surge can occur anywhere at any time. Most (if not all) UPS’s also offer surge protection but if a UPS isn’t your preferred option, you really should use a good surge protector. While your gear will still be powered off, a surge protector does exactly that, absorbs the surge and protects your gear from highly likely damage by ensuring it’s powered off safely.
I’ve provided a list here of just a few of the available options out there. Obviously consider the number of outlets you’ll need, consider the amount of surge protection each unit offers, and I would recommend only running your own rig through this rather than your entire band.
Affordable UPS
APC BE500R Back-UPS 500VA
Powerbar surge protection
Belkin Components F9M923-08 9-Outlet Maximum SurgeMaster
APC PER7T-U 120V Surge Protector
Rackmount power conditioning
Furman M-8 Merit Series Power Conditioner
Furman PL-8 Series II
Tripp Lite 15' Cord 12-Outlet 1U Rackmount Switch Powerstrip
Samson PowerBrite PB15 Rackmount Lighting and Power Distributor
Alesis POWERTRIP-8 Conditioner and Light Module
What a Rack
So now you have all this gear. How do you bundle it all for the stage. I have a lot of opinions about picking the right rack. I began with a big, custom-made, wood rolling rack with handles and wheels that was incredibly handy, allowed for great expandability, but, despite it’s reasonable portability, was a bit overkill. I soon realized that, if you think through your DP set-up up front, you don’t have much need for expandability and can go with the smallest, most portable rack feasible. We ended up with a four space rack with a 1U audio interface, a half 1U headphone mixer, with plenty of room for a small APC power conditioner and all the cables. For all of the cables that I need to send to the house PA, I bundled them together and can access them through the front of the rack in the 2Us of space under the interface. This minimal set-up still allows for use of many of the ideas described above and the MIDI and USB connectivity needed for triggering, all without having to take the back panel off.
Companies like SKB and Gator provide a variety of options for a computer-based rig. Some of the coolest nowadays are the racks that specifically accommodate connectivity to a laptop on a special top compartment which protects it in transport and also offers a variety of rack spaces below.
Sending Sound to the Board
When picking your rack you need to give special consideration to making it as easy and quick as possible to get up and running when you hit the stage. Too often clubs have no idea how to deal with computer-based set-ups so you not only need to consider ease of connecting your computer and rig but also providing the sound guy something that he’s familiar with. The best option here is to give the house a stereo feed and just tell them to pan each channel far left and far right. As touched on above, it is also wise to remember that some smaller clubs only use a mono board so, in addition to your “preferred” method for connecting to the house system, you should also be prepared to provide a mono feed with your signal already summed.
Other Gear/Accessories
Here is a brief list of other possible accessories you can consider for your rig depending on how you end up deciding to set it up.
- Flashlight. There are the typical battery units, but there are also mini-lights on a bendable neck that plug into a USB port, or some rack-mount power conditioners include retractable light fixtures. Depends on what you need to see.
- Extra batteries for everything that takes them.
- Extra power adapter for your computer or an extra and charged laptop battery.
- A cable management system.
- Rack Drawer. Depending on the size of your rig, it can be very beneficial to have a rack-mountable drawer to hold your accessories and even to route cables. They are available in sizes up to 4U. When I was using a rather big rig I had a Middle Atlantic 3U drawer and for all of the signals that I wanted to send to the house PA I bundled the audio cables together, routed into an access hole that was pre-cut in the back of the drawer, and then stored them in the drawer until needed. This way I never needed to open the back of the rack, could just open the drawer, pull out the length that I needed and plug the into the house snake on the stage. Very handy.
Stay tuned for the last part in this four part series which will provide a long list of tips to picking the right computer for running DP and then how to optimize that system for using DP in live performance.
And if you haven’t already, be sure to click over to the DP Corner signup page so you’ll receive DP Corner as soon as it’s released.
If you have a Digital Performer related question that you would like me to take a shot at answering or have any feedback, please send it to timr@audioMIDI.com. I will do my best to select the questions that seem to stump the most people.
As always, stay tuned to the audioMIDI.com eNews for the latest reviews and new product info.
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