Peeps,As someone who has probably seriously been in the running as "poster child" for most unecessarily over-complicated music rigs, I suppose I should weigh in here somewhere.
On the serious side, part of the mad method behind my convolulted and complicated signal paths has been the concept of parallel redundancy as a positive expedient in an emergency.
You know . . . the notion that . . . well, yeah, sure, one thing may break but surely not everything at once . . . has saved my bacon on more than one ocassion.
Then, on the other hand, there was that time in Santa Cruz a couple of years back where two things went very south all at once (in different parts of my rig) and I was totally dead in the water after playing only 10 minutes.
It happens.I suppose the best strategy is to buy a few books on humor and learn to tell a few approps jokes . . . or to lead the audience in an ambient acappella sing-along of some sort (LOL).
But I've never had the luxury of having a clear enough head (in mid-crisis) to devise such Plan Bs extemporaneously, nor to remember ones previously thought up.
Mostly I schlepp my luggage off stage (tail between legs) and find a dark corner to wimper in and feel sorry for myself.
My new lappy rig is complicated in concept (and control, with 12 EV-5 pedals) but nearly everything is running all in one program (Max/MSP) on the Mac.
The vulnerability of **that** sort of scares me . . . if the Mac goes down . . . I'm cooked unless I can quickly work up a shadow-puppet routine.
Right now, everything is tripple-tested and well nigh bulletproof playing in my own garage (and one little stint out at B-CIMF last month).
I think my best strategy, should the very worst of the worst happen, is to work up some all-acoustic instrumental pieces and be prepared to play them if need be.
It's ether that or tell looper jokes. :-) Best, Ted Killian