First time hearing a cover band with backing tracks

[Rip Van Dan]

IME, if it looks and sounds like karaoke it's done poorly (it shouldn't be done: ask for your money back!).

but good musicians can find tracks/clicks useful and are able to entertain at a different level (you get your money's worth, and then some).

IMO, you'd have to see and hear the performance to make an informed judgment.

I actually got started back up in playing gigs again to a drum track on a regular basis in 2006 after only sporadically gigging between 1997 and 2006. I was working at the Orvis Company's Distribution Center and Contact Center at the time in Roanoke, VA. Orvis HQ is in Vermont, but distribution center in VA because items shipped from there are shipped throughout the US more easily than shipping from Vermont and with fewer weather delays. Anyhow the home office guys were coming down and holding an assembly for the approximately 600 folks who worked there. They wanted some Orvis-ites to put together a small group to play at the assembly at one of the 3 inter-connected warhouses downstairs.

We were to play 3 songs and then play snippets like the old Johnny Carson Tonight Show did when they introduced new people. So we had a table set up with the CEO up there and he would call various VP's up to report on what's happening in their areas. For instance when the Chief Financial Officer was called up we played about a minutes worth of Pink Floyd's "Money". When the Marketing VP came up we played Voo-Doo Child, etc. But we played all of "Taking Care of Business" and Thin Lizzy's "Boys Are Back in Town". At the end of it we played another song, but I've forgotten which one it was. Since Orvis is at its heart is a fly-rod manufacturer and all around fly-fishing company, we called the Group "Tight lines". It was Fred and Mike on guitar, me on bass, and DT on drums.

In any case although we came up with two great guitarists with me playing bass and handling lead vocals, we couldn't find a drummer that worked for Orvis. So, DT (Drum Tracks) took over for the songs and we did without drums for the 30 to 60-second introductory snippets. Only problem I really had with the drum tracks is that they were of course, unforgiving. If you didn't start it right or someone got lost, there were no "play a short lead while everyone gets back on track" moves to make or "vamp until ready". I guess I'd say it was very constricting to play with a drum track instead of a real drummer, and it's really not something I enjoy.

 

[groovepump]

I always think of cover bands as primarily commercial ventures so if backing tracks help get it done, what's the harm?

I agree. Even with the band I'm currently in, the first question everyone asks when a new opportunity comes-up is "How much will they pay?"
We use backtracks now almost exclusively. every new added song to the list is a pop tune, usually a hip-hop thing. However, I will admit that, while it bores me to death, and I even lose focus playing this modern crap, the monetary rewards have increased big-time. So, as @burpgun says, "what's the harm"?

 

[LuckyScott]

Very very common. I did it back in the 80’s using a commodore computer and floppy discs. We had keyboards and some drum machine stuff like shakers and hand claps. Click track to the drummer.

I just watched three bands at the House of blues last Saturday night and they use them a whole bunch. First act was a singer and drummer only with tracks

 

[pb9717]

My 1st time with “embellishment” tracks was in the early 90’s with my club date band. Drummer programmed a loop for “Gonna make ya sweat” by C&C Music Factory onto an old akai drum machine. It was a simple percussion loop that could be muted and restarted. Other than that, full band. Sounded absolutely killer, and the band grooved the loop with great aplomb. I still remember how much better the simple percussion loop made us sound. Later samplers found their way onstage, where the drummer could trigger the loop every 4 or 8 beats, which helped control the groove if something “went off the rails”.

Other Than that, it was straight musicians on the bandstand only audio. And it pretty much remained that way until recently.

I joined a 6 figure 80’s tribute band in Jan of 2023. They used TRACKS. Now, they have a full lineup, (Gtr/Bass/Keys/Drums/lead voc) but the keyboard player had major shortcomings and could not really do what the repertoire required. So the tracks were pretty pronounced out front, but the audience was oblivious. They're also “silent stage”, so…no amps, electronic drums, in ear monitor only, with a cue track announcing the arrangement AND a click track. This was very new to me. Grooving a click is a skill. Sometimes a click makes some players play worse. It’s too rigid, too restricting. But when you use tracks, you gotta make that click disappear.

So don’t think using tracks makes life easier for the players. It’s a skill.

Fast forward to today, and we now have a pro on keys. The backing tracks are so minuscule, that theyre almost non existent, but we still have the click and the cues for the majority of the set because we also sync to music videos of many of the songs we perform. So the video on the multiple screens is lip sync’ing TO US. It’s a unique performance model, and a format I’d never seen a band. Playing in unison with an artists video, but you only hear the band.

But I can completely understand why tracks are so common.

 

[pcake]

there was a thread about this a few months ago. it was mostly news to me, as i don't get out there days. i could see where, done well, it could add dimension and fullness, and done poorly, i could see it almost being parody.

that being said, in the late 90s or early 2000s, my favorite local band (a 3 piece) wanted to add some lead guitar parts and keep the chunk-chunk-chunk of the guitar behind it, so the guitar player recorded the chunk-chunk-chunk and triggered it when it was time, so he could play the flashy leads. not only did it sound great, but playing the way they sounded on their album was impossible as the guitar player played on 2 tracks. at the time, i was impressed that the guitar switched from live to the sample so seamlessly.

no one at the clubs ever complained.

 

[BaltBass5]

I think you're very much underestimating the requirements of some bands. I've played songs by all the bands you list no problem in a 3 piece format without tracks (including covering the multiple guitar parts of Iron Maiden between myself and a single guitarist). They're basic rock bands that any cover band should be able to pull off.

Now consider a band which has a FULL orchestra and large choir as an integral part of almost every song they've ever recorded. Virtually every single one of the band I was referring to's songs would be impossible to perform authentically live without 50 extra musicians. Their whole genre is based on the orchestral sound. When your song starts with a 5 minute orchestral/choral introduction you either don't play it live, or you use tracks. (They could hire a dozen keys players and have then off stage, but really what's the point?). It's not that they wouldn't be perfect - they'd have huge holes.

Fans have reasonably argued that they should hire the full instrumentation for a one off gig (and I think that's fair), but how do you turn up at a rock festival you're headlining, and ask for the standard size stage to be expanded to hold your orchestra (and does the sound guy have any spare mics?) If they want to tour even with massive resources, and sound anything like the original song, then tracks are required.

I see your point.

For the record I just want to say that I don't see a problem with tracks for interludes between songs as part of a performance. I also don't see the problem with using tracks because one of a bands biggest songs has something orchestral or otherwise happening and it's just not practical to carry extra musicians for one part of a song (or even for one whole song).

I guess I was simply thinking very one dimensional and only really considering rock, pop, modern country and not some of the other genres that I'm not familiar with.

I would still argue as a fan though that I'd have a hard time paying to see a live performance that was anything more than about 1% tracks.

 

[c-ba55]

Back in the 90s I went to see Steve Morse (on the campus at Stanford U, of all places). I was greatly disappointed to find out he was actually the opening act for Stu Hamm. It was just Steve and Dave LaRue, and they used a drum synth to play along to because, I assume, they couldn't afford to bring his full band. I forgot what name they used, but when they did band introductions they introduced "Bob" the drummer. Anyway, in the middle of the set of playing songs and trading solos then they both stop and point to the drum machine, and the drum machine took a solo.

Stu Hamm came on with his band and I was excited as I had his album and liked it. He was way too loud for the space, but far worse was he was insufferable. He'd do some technical chopsfest thing and if he didn't get sufficient applause, he would implore the crowd to give it up for him. We left between songs in the middle of his set.

I was at that show! I went to see Stu Hamm, but left a Steve Morse fan. I don’t remember what he played, but I remember his guitar playing.

 

[mikeswals]

Tracks have been going on for decades...its not new or all of a sudden.

Here's the thing... musicians don't financially support other musicians, it's the general audience that keeps paying money to see it even if they have no idea it's even there.

 

[Gopherbassist]

I remember the first time I heard a cover band with backing tracks. Something sounded wrong about the music, so I went out in front of the stage to see what was going on. I remember thinking the bass sounded weird, and when I got to the stage I saw there was no bass player, just a duo on guitar and I think keys, with drums and bass from a can. They could play (and sing) but the backing tracks were too sterile for there to be any kind of groove.

 

[turf3]

Yup. A lot of repertoire that has a live audience demand cannot be replicated by a rhythm section plus a few vocalists. The original legacy artist, if they are on tour, MIGHT be able to afford a small string section on tour (NOT the full orchestra that was on the record), while selling 15,000 tickets a show. The act that's selling 800-1200 tickets in a regional theater sure as hell can't pay a string section and keep the pay competitive for the rest of the musicians.

Well, then, make an arrangement you can play with the resources you have.

 

[SteveCS]

We use backing tracks, but they are all made by me - I play* everything on them, then mix and produce the audio files. It opens up a whole world of possibilities that, IMHO, including options on a vastly expanded repertoire, additional sonic interest for the audience, options on smaller venues where big drum kits, percussion, horns and strings are not possible. It satisfies my love of making music way beyond just playing the bass, and I've never had to fire a drummer for showing up late or stoned!

* Either with soft synths and a keyboard for orchestral instruments and drums, or playing/recording real instruments in the case of guitars and some percussion.

 

[MultiScaleMale]

A friend of mine plays keys and sings and has some backing tracks for some songs. It turns a low paying gig into a decent paying gig out of what would be crap pay if it were a 4-5 piece. He's background music at a restaurant, not a featured performance. The patrons are fine with it.

 

[Pacman]

Multitudes of musicians play with or without tracks, live or studio, no problem. From rock to jazz, this has been happening for decades. And, it's given, that pro musicians play with pro track arrangements, delighting their audiences and listeners.

While you're mostly right, I have to know, who do you think is playing jazz with tracks?

 

[pepj]

It's a tough call, imv. I'm not a fan of 3 piece bands myself because there always seems to be so much missing from the tracks. I usually do 5 pieces inc keys to cover the songs we do...and then need a decent arrangement to carry it off.

We don't even run click or use harmonisers.

Bands running track's don't really work around here.
Duo's and solo's are not really competing for the same gig but I think a couple might use tracks. Not sure how well they do because I wouldn't be interested in seeing them unless they were friends. Those gigs are more background music gigs.

 

[Snarf]

Well, then, make an arrangement you can play with the resources you have.

Okay. I have EastWest Hollywood Orchestra, audio interfaces set up to send backing tracks on channels 1-2, click and voice cues on 3, 5 more output channels if I need them, and two computers and a set of controllers to run it. Thank you for your advice, very helpful.

 

[SteveCS]

I guess I'd say it was very constricting to play with a drum track instead of a real drummer,

Perhaps it is the arranger (and control-freak) in me that sees things from the other end of the telescope. The 'drummer' plays exactly what I write without fail every time. With respect to constriction, it you produce the tracks yourself you can put as much "me time" as you like into them. But I get your point, especially if you have no control over the tracks yourself, or if the person making them is unwilling to modify and adapt them.

Drums aside, making tracks has allowed me to include things that would be otherwise impossible, due to not having an orchestra, string quartet or horn section on call, and not having a room full of actual vintage synths, organs and the like.

In my first 'band' back in the mid '80s (me, a keyboard player and two vocalists) we used a ¼" tape machine for tracks. The machine itself was a stage 'feature'. Whilst sequencers were around they were pretty rudimentary unless you sold the house to fund them, MIDI was in its infancy and the existing interfaces were either flaky, incompatible with each other, or overly complicated for transporting from studio to stage. So the tape was recorded by people playing instruments, including an acoustic drum kit. To use modern terminology, it was all "Out of the box". Perhaps I formed my perspective way back then...

Of course between then and now, some 40 years, I've played with plenty of 100% 'carbon-based' bands and I have found merit in all of the approaches provided one doesn't get too evangelical or puritanical about it either way, and you maintain a critical ear.

 

[Parzival]

Saw a band last year and the bass player was plugged in somewhere but there were not pedals around him and no amp. So, I figured IEM and he must have a direct box by the board or something. Well, it was an 80's band and the bass tone kept changing each song. One would have a bunch of octave, could tell one had more dirt, another had chorus on it. But the guy never moved to go switch something. Not sure what was going on there.

 

[SteveCS]

Saw a band last year and the bass player was plugged in somewhere but there were not pedals around him and no amp. So, I figured IEM and he must have a direct box by the board or something. Well, it was an 80's band and the bass tone kept changing each song. One would have a bunch of octave, could tell one had more dirt, another had chorus on it. But the guy never moved to go switch something. Not sure what was going on there.

Some digital mixers (UI-24 for example) allow you to set 'scenes' ('Snapshots' or 'Shows') for each tune that include EQ and effect settings for each channel. Perhaps they had that all going on?

 

[Parzival]

Some digital mixers (UI-24 for example) allow you to set 'scenes' ('Snapshots' or 'Shows') for each tune that include EQ and effect settings for each channel. Perhaps they had that all going on?

Could have been.

 

[SteveC]

We are still live. If you are hearing it, someone is playing it. Our keyboard guy covers a lot of stuff, but all live. No sequences or anything. He does use MainStage and his presets do switch when he swipes. Pretty handy actually.