AI and Music for Working Musicians: Tool, Threat, or Bandmate?

Your fellow working musicians just handed you a year’s worth of gig hacks, and this week Gig Gab pulls the best listener tips from Instagram and Facebook into one episode. You’ll get a hand-raise monitor check that knocks out soundcheck in minutes, a dedicated soundcheck song for when the room’s already full, and the mixing moves pros swear by: high-pass the bass at 80 Hz, sidechain it to the kick, and carve 2.5 kHz out of everything else so the vocals cut through. Then you’ll build a smarter set list. Space out the songs that wreck your singer, keep a back-pocket list of crowd-grabbers, mark who sings lead for the sound person, and track song lengths so you never blow past curfew.

Megan Ihnen and Alan Theisen of Neonautica went from contemporary classical recitals to headlining dubstep parties in New Orleans, and they brought a theater kid’s discipline with them. You’ll hear how they split band duties so nobody has to wonder who’s handling what, why the only correct response to a note is thank you, and why there’s no such thing as a good or bad sound, only the sound you meant to make and the one you didn’t. They also explain why they wrote an hour-long set the way a composer writes a symphony, and what it means to control the room instead of just reading it.

Chris Cron posted what he thought was a one-off video about how to sound like the Beach Boys, set his phone down, and came back to 10,000 views. A few days later it was near a million. A few years later, he’s a touring member of the actual Beach Boys. Chris joins Dave to show you what was underneath that “overnight” success: a full-time session vocalist gig since 2018, years of throwing content at the wall, and the social media lessons that made one video stick: Frame your post as a question, reply to every comment, and treat the haters as fodder for a lesson or a laugh. From there, the path runs through a John Stamos follow, a coffee with the band’s musical director, a one-off Post Malone fill-in, and a phone call you don’t say no to. When the once-in-a-lifetime opportunity shows up, you throw the door open wide.

Every club at SXSW sounds good, every night, all week, and we’ve often wondered how they maintain that consistency. This week Dave finally gets the answer from Nate Cross, SXSW’s Director of Production, who went from intern to Assistant Production Manager to running the whole show. You’ll hear how his team builds out 55 to 60 venues (down from 100+ before the pandemic), why they mic everything even when it looks like overkill, and how 20-minute changeovers actually run on time with bands who’ve never met. Then there’s the backline story: trading the free band beer for a drum kit and amps at every venue, which enhanced everything.

Skylar Hamilton is back by popular demand for round two of your questions, recorded across an Airbnb kitchen table in New York City where a roll of paper towels doubles as a mic stand, because it’s the right height and it kills table rumble.