Well well, the Binar gig went off well, well. Andy played a blinder as usual and I don't think I made any horrendous cockups, which is good considering how we had barely spoken let alone practised beforehand. Very hot on stage, I was dripping. And dripping is no way to handle an iPad - even if you are only triggering samples! Used the input level on the Electribe to control sample level, worked well.
I probably gave myself too many plates to juggle but all in all, didn't have many crashes. A few too-loud drum parts here and there, which leads me to the conclusion that having drums totally separate and with controllable volumes makes way more sense than a separate kit in each pattern, all its levels pre-mixed. If they're right, great, if you have to tweak each one, a nightmare. Especially as part selection on the Electribe isn't as fast as the old ESX. Seriously, if anything causes me to flog it it'll be this annoyance. However there's lots of good stuff to celebrate with it.
I upgraded the Electribe OS just before playing - how mad is that! After reassurances that no data is lost or changed, I went for it. I think having the P3 control the Electribe might be a good idea in future as I can use its mixer. And its note sequencing come to that. A single, changing pattern might cover a whole gig, well probably not but it's a thought. Think either the ESX is coming out for drums though or even the Tanzbar. The Volca Sample I may relegate to home use though, it's just too small and fiddly in the middle of a hot gig. Best stuff of all was the P3/Vermona Perfourmer. Large controls, easy to see what's going on, no menus. Shame it's such a big synth.
The Analog Four is still not fitting in perfectly. Perhaps it would if I concentrated on just that but its obtuse operation still sometimes got in the way. As an example, suppose you wanted to use the audio inputs for a couple of synths - adding a bit of A4 reverb and/or delay. This isn't just a matter of plugging in and setting the panning, levels, effects you want. No, you have to repeat the action for EVERY kit. If you're using a bank that's been around a while and has evolved lots of kits and patterns, you'll inevitably change sequences and totally screw your audio input settings - often with unpleasant results. It's the same if you wanted, as I did, to find a quick source of clock. Was having an issue with MIDI leads, thru and my little blue gate-box. Briefly thought of using the A4 to generate clock but then realised, again, that you'd have to set the clock in EVERY kit. Elektron always give you this level of detail on stuff you don't need but miss out detail when you do need it. So while I agree kit-level overrides could be handy, why not deal with the more basic requirements first? The ones you need in a hurry. Ah, moaning to nobody, makes you feel better. I start to see why the catholic church is still in business! For its own stuff, the A4 was OK-ish but the sequencer is slow and limited compared to the P3. I may use it again in future but probably only for chord sequencing (no need of that if playing with Andy). The repetitive nature of its sequences does get annoying and although you can use the synth engine to introduce changes and variation, what I really miss is programmed variation and that means P3. Will be interesting to see what the Beatstep Pro is like for randomness and interaction.
Oh, had a scary moment when the Blofeld powered up with a blank screen! I didn't use it as much as poss because I had run out of thrus and had to play it by selecting a track on the P3 to record. Another reason was the guy playing before us used Mellotron sounds all through his set and that's what I had prepared in the Blo. So I mostly left it alone. Someone selling a thru box on facebook, must give guy a shout...
I think that's my smallest ever live rig. And it can get smaller....
Some pix, doubtless there will be more. Thanks to Phil and Jez (the photo's Phil's).
Now to put it all back in the studio....
