In our previous article dedicated to the dark side of backing tracks we looked at how to put together an initial setup to play back all those elements during a concert that cannot be physically performed by the band live.
But what happens when backing vocals, synths, orchestrations, effects, and other parts become essential to the show?
In these cases, the backing track system must become as reliable as any other instrument on stage.
From backup to redundancy
The simplest system involves a computer or player connected to a multi-channel audio interface. The backing tracks are sent to the mixer, while the click track and any cue tracks are routed exclusively to the musicians through the monitor system or In-Ear Monitors.
The problem is clear: if the player crashes, the backing track stops.
Of course, we can have a second computer or player ready to go, but that is simply a backup. A truly redundant system goes a step further: it keeps two playback sources ready simultaneously and allows you to switch from the primary to the secondary one in case of a problem.
An example of a professional playback setup
In the photo we used as an example, we can see a particularly comprehensive system: two B.Beat PRO16 players, flanked by two Radial SW8 units dedicated to audio output switching.
Both players can be set up to play the same show. If the primary source encounters a problem, the system allows you to switch to the backup playback while maintaining the outputs to the mixer.
The presence of multiple channels also makes it possible to avoid handing the sound engineer a single stereo mix. We can separate, for example, drums and percussion, synths and keys, backing vocals, FX, orchestra, and other elements, while naturally keeping the click and cues separate and routed exclusively to the Monitor/IEM system.
This way, the sound engineer retains greater control over the balance between what is actually being played live on stage and the elements coming from the backing tracks.
Why use multiple outputs?
Separating the main elements offers much more freedom during the concert.
If the backing vocals are too loud, the engineer can turn them down. If the synths need to stand out more, they can adjust them without altering the entire backing track. The same goes for orchestrations, effects, and other arrangement elements.
Click tracks and cues, on the other hand, are sent exclusively to the musicians and must not reach the PA system, of course.
How complex should our system be?
Not every band needs a rack like the one shown in the photo.
For small live shows, a computer or player with a good multi-channel audio interface might be enough. Stepping up a level, we can add a second playback source and a switching system.
In more complex productions, we can go all the way to two synchronized systems, automatic switching, multi-channel playback, click tracks, cues, MIDI, and Timecode.
The important thing to understand is that a professional system is not necessarily the one with the most gear, but the one properly designed for the needs of the show.
Before the concert: let’s simulate a failure
Finally, there is a test that I always recommend doing.
During soundcheck, let’s start the show and intentionally simulate a failure of the primary playback source.
Does the backup kick in correctly? Do the sequences continue? Do the click and cues remain active? Does the sound engineer keep receiving the same signals?
If everything continues to work as expected, then we can truly speak of a redundant live playback setup.
A system like this isn’t meant to complicate our lives, but quite the opposite: it’s designed to ensure that when something goes wrong on stage, the show can go on.
