Learning lots of new songs for several bands, - problems.

[steinar]

When being asked to do one time gigs with bands at festivals, it means learning dozens of tunes where there are several intros, signature licks, and solos.
If you`re asked to play one time gigs with say 3 bands for single festival shows, this might mean upwards of 40 songs.
Of course the number system helps with some tab added, but to remember just how each song starts - the groove, the intonation, rhythm - for that many songs is a formidable task. Is there software available for Ipad/pc where you can record snippets of each song together with some notes, so that you can use the seconds between each song to get a quick listen to the next song? Just to refresh one`s memory and get the a- ha feeling of yeah, that`s how that song starts. Or is a simpler way to record just a few seconds of the intro of each song on to some other device like an old Ipod or simply a portable pc/mac?

[Dave Grafe]

Your cell phone has a recording app.

I took a tip from Doug Jones, when I have t9 play so many unfamiliar tunes I put the necessary notes on a stack of cards that set in the tuning keys for fast reference.

[Jon Light]

I have ForScore on an iPad. You can create set lists and it has the features to import and associate audio files with the songs. I have never used the audio functions but there may come a time when I need it.
Although there may also be freeware that can do this, I wouldn't trust it to not interrupt things with a pop-up ad at a critical moment.

[John Hyland]

Try set list maker on iPad
http://www.setlistmaker.com/main/home.html
You can organise all the songs into different bands and different sets. You can add recordings directly into the app too. Make notes, set tempo, keys, lyrics, chords.

The iPad has an apple music app for live recording called music memo.

[steinar]

Thanks for useful advice. John, the Setlist Maker looks real promising, wonder if it would work on a pc/Macbook as well? Anyway, I`ll check it out.

[Dave Mudgett]

I changed from paper number charts to an Android pad a few years ago. I've thought about using software for this, but the reviews for Set List Maker (looks like it works on Android, but not Win/Linux) talk about glitching in real time, and it looks like ForScore is iOS and macOS only - I use Windoze/Linux PCs to prepare stuff and that Android pad. I'd consider something if it worked on my hardware and it really worked well. I haven't found anything yet.

So I just make a directory on the pad for each band, and load one PDF with a set list with keys (I also print a copy) and one PDF with a real terse number chart for every song, sorted by song name. I put any notes for kickoffs or other special stuff as numbered notes on the chart. I can do everything on a word processor (these days LibreOffice). I generally get 3-4 songs on a page, so I don't have to scroll during a song. I prefer to scroll the alpha-sorted charts between songs rather than worry about some potentially glitchy software. I have had bandmates use some software, I forget what it was. I tried it, and I thought it was less intuitive and harder to use than scrolling my PDF. Never made it to a gig. The charts are there for reference - if it's a band I play with more than a few times, I usually wind up only needing a chart on a few songs. But it's there just in case I have a brain fart. For any song I sing, I just have a pdf with lyrics and chord numbers and open it up if I need it.

I've gotten to the point where I just prefer to listen to tunes pre-gig and make the number chart myself. Other peoples' charts are often not so intuitive for me. I guess everybody has their own little system that accentuates what's important for them. Unless it's a real complex tune, I can usually get a basic number chart in a couple of listens - one to get the basics and one to check everything out and make corrections. I don't try to get every single little detail, chord extension, and so on. I want a straightforward chart that gets me in the ballpark, with short notes about any little tricky things I need to remember. I factor in the prep time to decide if it's worth doing a gig like this.

For tunes I just don't know at all and want audio, I just copy into the folder an mp3 from whatever source - a recording I made (I keep a little recorder at rehearsals), downloaded, or whatever. Usually I wind up with just a handful of tunes. I don't find it very useful to try to listen in the middle of a set, though - I usually just listen to the relevant parts before we start a set if I'm having trouble remembering something.

I'm sure my system could use improving. But it's so much better than screwing around with paper charts that I'm fine with it for now.

[Fred Treece]

ForScore looks pretty cool.

[John Hyland]

Thanks for useful advice. John, the Setlist Maker looks real promising, wonder if it would work on a pc/Macbook as well? Anyway, I`ll check it out.

Set list maker is for mobile devices only. I’ve used it for years and it works well. Early on it was hosted by the designer so it could be shared live with other band members it other devices. Sadly he stopped that function.
The developer also has a more enhanced product called band helper which includes a web interface for pc/ Mac and sharing use.

[Ken Metcalf]

I use an old laptop into a little amp that has headphones out.
Take the video and load it into Chordify which is free or cheap.
It gives me a chord chart to play along with the song.
You can adjust tempo and keys etc. save to a set list.
The chord charts are not 100% Acurate but good enough to learn a bunch of songs quickly and at least get in the ballpark.
This is very handy if someone wants you to learn 20 to 30 songs for Friday night lol.
It is also possible to print out the charts or load them onto an iPad. Personally I don’t like reading chord charts when I’m playing and use my laptop mostly for lyrics.

[Duane Becker]

I'm playing in three different bands, all around the Spokane Washington area. One group is straight country, other group is newer country with rock, and the third one is the 70s rock that had lots of steel. I have to learn and be abreast on probably 200 or more songs, and constantly going between styles. Main thing for me is to constantly listen to the songs, of course I've been playing full time since 1973 so that helps. But for you, just just keep at it. Most of the time the drummer counts the songs off, but I do work on the correct timing of all songs, particularly their speed, if I have to count. Best thing to do is listen to the music all the time to get it engrained into your memory.

[steinar]

Duane.

I can appreciate the challenges you`ve got with the different styles of the 3 bands, and I`m sure it helps to constantly listen to the songs to engrain them in your memory.
I play steel with 5 different bands and more or less try to remember the songs the way you do.
However, what I based my SGF question on was a scenario where one is asked to play with say 2 - 3 bands at a festival, - and about 12 - 14 songs with each band. To learn up to 42 songs and play them in a festival/concert setting for a one time performance. Then there won`t be the time to sufficiently engrain the songs on your personal hard disc. In a situation like that, it would be handy to be able to listen to 5 seconds of the next song before having to kick it off with a steel intro.

[Duane Becker]

Steinar,
I've had those circumstances as well, learning a bunch of songs only for one performance and then we're done. That's the hazard. When this happens with me, I will write out the arrangement for each song. Either the intro with notes if steel plays, followed by verse, chorus with a note saying steel plays fills. Also I will list the breaks if steel plays it. Then I will tab out the steel parts, trying to get note for note. If on the other hand, there is no steel on a cover, then I just follow the written out chords. I'll get a music stand, or sometimes just lay a paper across my tuning keys and refer to it as needed.

[steinar]

That`s also been my approach, but even having written out an intro on tab, it`s sometimes difficult to remember just how the phrasing and tempo should be, - not to speak of syncopations. And without having listened to the song numerous times over some time, I find it hard to remember just how to play the tabbed out intro correctly.

[Fred Treece]

I based my SGF question on was a scenario where one is asked to play with say 2 - 3 bands at a festival, - and about 12 - 14 songs with each band. To learn up to 42 songs and play them in a festival/concert setting for a one time performance. Then there won`t be the time to sufficiently engrain the songs on your personal hard disc. In a situation like that, it would be handy to be able to listen to 5 seconds of the next song before having to kick it off with a steel intro.

How about asking the bands to send you charts, or YouTube links, or some kind of reference material? A festival is a showcase for the bands you are playing in. Usually the gig is booked far in advance. If they want you to sound your best for them, it seems like the least they could do is provide you with some kind of advance prep, which they had plenty of time to do. Otherwise, it’s a game of “Stump The Steeler”. They expect you to play professionally, but you are not being treated like a professional.

[Bob Hoffnar]

Steinar,
I take all the notes I can and include them in my charts. Sometimes I will write the name of a reference tune on the page so I know where its coming from.

Also it depends on the music. Sometimes you need to absolutely nail the recorded part and other times you can contribute what you feel. Find out what is expected of you and do your best. Mostly it's cool to just get in there, listen and have fun. If you are going to screw up do it big ! Join the "Wrong and Strong" pickup steel players guild of Texas ! 40 tunes isn't so bad. That would be a normal week or even normal night around here.

Also really make sure you have fun. Sounds like a glorious pile up of gigs to me.

[Bob Hoffnar]

...... They expect you to play professionally, but you are not being treated like a professional.

Fred, You got it backwards ! Being professional means dealing with whatever new batch of ridiculous nonsense that crosses your plate.

[steinar]

Thanks again for lots of good advice. Bob, - the " wrong and(or but) strong strategy works! When in the middle of a song you`ve never heard before, the vocalists turns and shouts "solo" to you, that strategy is a lifesaver.
A famous steel player I know used to say "just play the melody." Well, what when you don`t even know the melody! That`s when the wrong and strong way comes in handy, - bulldoze one`s way through with some stock licks and do it so convincingly and forcefully that the band has to follow, - regardless how the original melody line goes.

[Fred Treece]

...... They expect you to play professionally, but you are not being treated like a professional.

Fred, You got it backwards ! Being professional means dealing with whatever new batch of ridiculous nonsense that crosses your plate.

Haha, so true, Bob. Life in The Grinder.
One of my most fun days ever was a triple-header in 3 different counties. The last gig started at 2am. Moments we live for, right?

I think the point you bring up is right on. If I had no time to prepare for a gig, I would just rely on guts and whatever talent the people who booked me thought I had.

[Donny Hinson]

Hopefully, of those 40-odd songs, you'll be at least "familiar" with half of them, so concentrate on the ones you've never played. Unless the intro or ride involves twinning, you only have to get close to what's on the recording. As long as you have the "feel" and sound right, that should be enough. The only ones that might notice it's not perfect are the lead and bass player, and the vast majority of the audience is mostly interested in the singer and the lyrics. (They couldn't tell the difference between Tom Brumley and Pete Drake.)

Don't sweat it. Smile, do your best, and say thanks.

[steinar]

Donny, - wise advice! You`re right. One of the major players over here do things his way, and it sounds great because he`s got the feel and touch on the instrument. I`m nowhere near in that respect, but I agree with the message in what you`re saying.