![]() In part 2 we will deal with the configuration of the MIDI controller, i.e. Your first goal has been achieved - you can record several different sound sources on one loop. If you want to use more instruments or vocals, do the same - New Channel Strip, Send to Bus 15. set Send to Bus 15 and set the appropriate level. In order for this source to be looped, perform the same steps as for the guitar, i.e. Drums, and configure any sound by selecting the Instrument in Input, or in the “Instrument Channel Strip Inspector” window select a configuration preset from the Library (which in addition to the Instrument itself also contains EQ, Compression, etc.). ![]() Click on + to add a new Channel Strip.ĭepending on your needs, you can do it at the Patch, Set or Concert level by clicking on the appropriate item on the Patch List. Now let’s configure the second source, this time Virtual Instrument controlled by MIDI keyboard or Drum Pad, so that you can tap and then loop the rhythm line. When you set 0 dB or more and you will add subsequent layers of music on one loop, the sound level will start to grow unnaturally, and usually you want to create just a few bars of a backing track for your singing or solo. You should also increase the level of the sent signal from -∞ to some value, preferably -2 dB / -3 dB. Click on the one responsible for the sound of your guitar and in it set Send to Bus 15. In the Patch there are several pre-configured Channel Strips. Now you can choose the Patch that you want. “Loopback”, and set the Input to any free Bus, e.g. To do this, add a new Channel Strip on Concert level - first click on “Untitled Concert” on Patch ListĪnd then click the ⚙ icon and add a new Aux Channel Strip Thanks to this you will be able to easily change Programs (Patches) during the performance, and the looping tool will work with each of them. Go to the “Edit” view if you are not in it.īefore you choose the Patch you are interested in, first configure Loopback so that it is available for every Patch. Start Mainstage 3 and create a new “Concert” - e.g. Part 1: Several different sound sources on one loop In this series of three blog posts, based on the example of MainStage 3, I will describe how to configure the built-in Loopback plugin and show how to control it without using your hands during live performances and achieve the same effect as when using dedicated looping equipment (e.g. DAWs such as Apple Mainstage or Ableton Live are dedicated to live music. OK, great - we know what benefits a virtual studio provides in music production, but what about live performances or rehearsals? With this workshop, I know I can help you speed up your process so you can spend more time writing better music, teaching your students, and serving your clients.Nowadays, when virtual instruments sound at least as good as, and often better, than real instruments, anyone can create any track using MIDI at home, without spending money on an expensive studio, equipment and session musicians. There are so many audio related courses and tutorials available, but courses geared towards designers in the marching arts are far and few between. My hope with this workshop is that I can share some of the processes I've developed over the last 2 decades to help other music designers bypass many of the workflow hurdles I faced when trying to create something I was really proud of. Like many others, I'm using this time to upgrade myself, and in turn want to create resources for other aspiring designers in the marching arts community to do the same. I've always been passionate about finding ways to create a greater impact within the marching arts community. Recently, like many others, I've had a lot more time on my hands due to the pandemic. I wanted to make sure all of my students and clients got my best work, but without process or efficiency I would have struggled to create at a high level. 2 drum corps and running my own publishing company. There was a point in my career where I was teaching and writing for 6 high schools. I've written and designed for some of the top ensembles in the Marching Arts: I've been involved with the marching arts for over 20 years as a performer, educator, designer, composer, arranger, judge, and clinician.
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