Yo chipbands: how do you find the midpoint between noise channel and live drummer interaction?

Use it very little if any at all

Yo chipbands: how do you find the midpoint between noise channel and live drummer interaction?

We don't, haha. We don't use the noise channel at all, as you may have noticed.

It's a learning process. I've discovered lately that a lot of our older stuff has lots of unnecessary shit going on in the noise channel that I've been stripping out to play live lately.

I also play keyboards sometimes, so the noise channel can give me a free hand or two to do that.

since the NES triangle and noise come out of the same 1/4" jack, on a scale of 0-F i usually set the noise to a 5.

whoa what? Modded NES outs I presume?

Yo chipbands: how do you find the midpoint between noise channel and live drummer interaction?

in mix i usually set the noise channel to a pretty low volume, just enough to where my drummer can hear it through his earbuds, but not enough to where its overpowering the overall mix.

since the NES triangle and noise come out of the same 1/4" jack, on a scale of 0-F i usually set the noise to a 5.

But yes, more talk on programmed percussion + live drummer. That's what's holding me back from seeing my stuff with live drums right now because my stuff is so dependent on the programmed percussion parts (not just noise channel)

kineticturtle wrote:

Lots of good advice in this thread already.

Complementary writing between chip and band is the way to go if you want a clear mix in your music. This goes much deeper than audio and PA setup of course. I've actually been going back through earlier Glowing Stars songs and ripping out a bunch of noise channel parts. Awkward Terrible doesn't even use the noise channel half the time. This is also why I don't use a hi-hat in that band, because I prefer to program clicky and hi-hat esque stuff into that channel and I can't have both going at once.

In my experience and opinion, in-ear monitoring is the way to go. We initially tried it because we were doing an internet TV gig with audio direct to the sound board, but it's stuck because it's so much clearer than loud PA through earplugs. I've now got things set up so we each get our own mix of things. Everything but the drums goes direct into the monitoring system.

You know, I always wondered if bands like anamanaguchi, TGS, and the like kept their respective percussion channels. I guess, in order to do so, the drummer has to pretty much play exactly what's going on in that channel, correct?

Either way, I'm very much liking omitting a majority of the noise channel. Maybe Keeping in some fills and lead-ins, but just letting the drummer shine through in the mix.

i keep the noise channel in there for lead ins and such, some people say the noise channel muddies up the mix, but ive never had a problem with it, i think it adds more character to the live shows, just my opinion.

my drummer always wears earbuds and is plugged in to the live mix, so its easy for him to follow, theres been a few instances where hes forgotten to bring them, in that case (and i believe luke from anamanaguchi does this for all live shows) just grab an extra stage monitor if its available and point it straight at the drummers ear and set it to full blast.

Lots of good advice in this thread already.

Complementary writing between chip and band is the way to go if you want a clear mix in your music. This goes much deeper than audio and PA setup of course. I've actually been going back through earlier Glowing Stars songs and ripping out a bunch of noise channel parts. Awkward Terrible doesn't even use the noise channel half the time. This is also why I don't use a hi-hat in that band, because I prefer to program clicky and hi-hat esque stuff into that channel and I can't have both going at once.

In my experience and opinion, in-ear monitoring is the way to go. We initially tried it because we were doing an internet TV gig with audio direct to the sound board, but it's stuck because it's so much clearer than loud PA through earplugs. I've now got things set up so we each get our own mix of things. Everything but the drums goes direct into the monitoring system.

You know, I always wondered if bands like anamanaguchi, TGS, and the like kept their respective percussion channels. I guess, in order to do so, the drummer has to pretty much play exactly what's going on in that channel, correct?

Either way, I'm very much liking omitting a majority of the noise channel. Maybe Keeping in some fills and lead-ins, but just letting the drummer shine through in the mix.

Solarbear wrote:

EDIT: And one more thing! Playing live in a venue is always going to sound different than at your rehearsal space! Smaller areas soak up that treble, so you may have to boost your lead guitar/lead chip.

Ive been to way too many chip shows where the trebles were KILLING people. IF you notice no one is directly in front the stage, maybe cut some highs a little.

Im not a fan of in ears cause it feels like you are so cut off from the crowd, and it really impedes my heckler avoidance techniques.

My personal advice would be to take Herr's word over mine, since he's been around for awhile, haha.

Im not a fan of in ears cause it feels like you are so cut off from the crowd, and it really impedes my heckler avoidance techniques.

There's a bit of a tradeoff there, but I don't have too much trouble. With two vocal mics onstage, we can usually hear the crowd just fine. I've considered adding an ambient mic with a ducker that turns it off while we're playing a song, but allows room noise in while we're quiet. Haven't gotten around to it.