Toad the Wet Sprocket, Beyoncé, Miley Cyrus keyboardist Matt Pynn
This episode of Backstage with Gig Performer features professional session musician and multi-instrumentalist Matt Pynn. The discussion focuses on how he utilizes Gig Performer as a central, reliable component of his live and studio rigs across various high-profile touring engagements.
Key Highlights:
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Versatility in Performance (0:22 - 2:07): Matt Pynn explains his role as a session musician for artists like Beyoncé, Miley Cyrus, Toad the Wet Sprocket, and Shaboozey. He discusses the challenges of being a multi-instrumentalist (pedal steel, lap steel, banjo, keys, etc.) and the importance of adapting to different musical vocabularies.
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The Power of Rig Flexibility (12:46 - 15:20): Matt details his use of the Fractal Axe-FX III as his main audio hub, which integrates seamlessly with Gig Performer via USB audio. This setup allows him to manage multiple instruments, direct outputs, and complex effect chains without needing traditional amps on stage.
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Switching to Gig Performer (15:40 - 16:34): Matt shares his transition from MainStage to Gig Performer, citing reliability issues with Mainstage and praise for Gig Performer’s stability, intuitive wiring architecture, and overall ease of mapping.
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Workflow and Tools (17:35 - 20:15): The discussion covers his specific plugin choices, including the IK Multimedia Hammond B3X (highlighted for its superior Leslie simulation) and Modartt Pianoteq. He explains how he organizes his setlists, manages patches, and uses Stream Deck integrated with OSC and GPScript for hands-on control.
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Studio vs. Live Application (20:21 - 22:15): Matt explains that Gig Performer is essential even in studio settings, particularly for crossover genres where producers might not be equipped to mic up organic instruments. By staying “in the box,” he provides consistent, professional results quickly.
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Pro-Tips for Users (48:15 - 49:15): Matt emphasizes that learning GPScript and OSC is a “game changer” for those looking to move beyond standard MIDI limitations.
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Matt discusses how the requirement for a “no amps on stage” philosophy (23:13) heavily influences his workflow both live and in the studio.
He explains that in modern studio environments, particularly those involving hip-hop to country crossover sessions (20:36), the typical workflow is very much “in the box.” Producers in these settings may not be accustomed to miking up traditional organic gear like a Leslie cabinet for an organ (20:46). Consequently, keeping everything digital—using his Fractal Axe-FX III and Gig Performer—allows him to provide consistent, professional results without the time-consuming process of setting up microphones (21:22).
Essentially, he adopts this “silent stage” or “direct-only” approach not just as a performance preference, but as a practical necessity to align with the modern production workflows of the artists he works with (21:52).