Hi, this may be interesting for drummers using GP.
Yesterday I played a small open-air gig at a local community festival. The keyboard player and I (drums) accompanied a gospel choir.
As there was no bass player available and changeover times were rather short, I opted to use the Yamaha EAD 10 to mic my acoustic drumset with one bassdrum-mounted mic/sensor and at the same time use the EAD as audio interface for GP and the keyboard parts. Midi controller was a Korg D1 stage piano.
Bass parts were played by the keyboard player and I assembled a small gig file with just a couple of Kontakt and UVI Workstation instances per song. All the sounds were premixed in GP and the drum module, so all we had to hand out to FOH was a stereo signal of drums and keys.
That combination worked really well, the sound guy was very impressed with the micing capabilities of the EAD 10 and soundcheck + changeover were really fast.
Also, the latency of the EAD 10 was really low (64ms) and the Steinberg/Yamaha ASIO driver was rock-solid. (On a 3-year-old Win11 HP Zbook with 64 GB RAM, an older i7 cpu and 4TB of internal SSDs.)
For monitoring we both had InEars and mixed our own monitor signal. The choir was provided by FOH and we mixed that with our signal on a small mixer.
So the combination of GP and the Yamaha module are a solid solution for smaller gigs.
Highly recommended!
(Disclaimer: I have no affiliation with Yamaha whatsoever and bought the module with my own money.)
Sometime I am using Trigger Mikes on Kick and Snare connected to the Roland TM-2 Trigger Module.
This Module send Note messages via MIDI to my Gig Performer.
And in a 2nd instance I have a Drum VST (Slate or Toontrack EZ Drummer 3) which is triggered by the incoming MIDI signal.
This way I can process through different rackspaces and use different Effects on Kick and Snare.
Yes, similar concept.
With the EAD I can use up to four triggers, that I mainly use with mesh heads. With the acoustic drums I usually only trigger the bass drum, because that is the only sound the mics in the sensor unit do not pick up that great.
The EAD has inbuilt samples, but for more sophisticated stuff I also use drum vsts. The EAD is a midi interface as well and provides a click.
It’s also great for rehearsals or gigs when the monitoring situation isn’t clear beforehand.
I simply mount the sensor on the bass drum, dial in my drum sound, get the band feed from the main mixing desk via the EAD’s audio-in jack und monitor everything via the headphones output. That’s completely independent from additional drum mics.
A very versatile and affordable little system.
I was using this (before the show) to get a shadow
I placed it in front of my setup.
The only downside was - during soundcheck the band could not see me
Yes, but from experience I noticed that the body of the computer was protected from the sun and heated up much less.
In the south of France, I played in full sun at 37°C, the temperature in the shade.
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It’s a lot cooler here in Arcachon. Only 2 canicules this summer, each for only 2 days. Most of the time, overnight temps were below 20° and daytime temps were below 30°. Tres agréable! You have my sympathy!
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Great idea!