Loop Community Blog

I have a strange affection for iOS audio apps. I think it is largely related to the newness of the platform. Each new app seems to take the platform a step further down the digital audio frontier. Propellerhad’s Figure is no exception.

I really like the app. The interface is simple and interesting. It provides just enough functionality to tweak and tweeze the available sounds to make me happy. The app’s audio engine is built from  two of Reason’s Thor instruments and  and one Kong drum designer, which is to say it sounds great. Like most audio iOS apps it is fun, but that’s about it – generally no serious audio sound design.

With this particular app you’re locked into two bars of audio and you can’t export your sound. It is designed to have fun killing time while riding the train home from work. But what about the moment when you make a killer little groove with this app and you want to use it as the basis of your next song or as a loop in your next live set? They key and tempo function of the app allow you to do this type of sketch, but how do you get the sound out of the app? And what if you wanted to hear each track individually?

Propellerhead made a very cool mixer function (see image above and to the left). The mixer function allows the user to mute any of the three sound engines mentioned above, and it is this little gem that allows you to use this cool little time killer for actual concept design.

To get the audio from the phone I used the following signal path.

Once you have your signal path setup, open a live set and set the global tempo control at the same bpm as your Figure song. Next create three audio  tracks and name them drum, bass, lead. Once this is done you simply mute the two tracks you don’t want to record and record the remaining track to your Ableton session. In the picture above I have muted the bass and lead track and I am preparing to record to my drum track in Ableton.

Individual Figure tracks recorded into a clip with loop in and out points set in the sample editor.

Next you want to begin recording a new clip in Ableton and then start the playback in Figure. I let Figure play through the 2 bar loop about 3-4 times to ensure I could easily identify the beginning and end of the loop both visually and audibly. Once recorded to a clip you adjust your loop points in the Sample Editor window of live. Do this for all three loops respectively.

Once this is done, you can trigger each loop individually, add effects, and continue sculpting your sound. Thats it.

The app will run you a whopping buck in the app store and in my opinion, the sound quality and functionality are well worth the spend. If you want a fun little app to make a legit loop then check out Figure. Coupled with Ableton, this little time killer can become a viable loop creation tool.

Below is the quick little loop I made in just a few minutes. I simply launched the scenes you see in the image above.

Tanacea is a music technologist and one of the founding members of LoopCommunity. Leave him a comment or question below.

Using loops in worship has become increasingly popular over the past decade. More and more people are creating their own loops or implementing tracks into their live performances. Over time, the term “loop” has become a blanket title for the category of using tracks in worship – both electronic loops and multi-tracks. However, there is a difference between Loops and Multi-Tracks and I hope that this post helps clarify the distinction and use for each.

Loops

Loops are a supplement to your band, not a replacement. Loops can be individual loop elements, like a shaker or simple electronic beat that repeats over and over, or elements that can be toggled on and off spontaneously. Loops can also be full loop tracks, which follow the complete arrangement of a song and require no other action than hitting play at the beginning and following along. Loops typically have electronic, percussive or other creative elements that are meant to support your band, NOT replace an instrument. Loops can contain some of the following sounds, only to name a few: Electronic beats, shakers, tambourines, synth lead, arpeggiators, pads, electric piano sounds (delayed rhodes), filtered drum effects, electronic beeps, etc. You get the idea. The main function of loops is to help fill out your sound as your band plays along.

Multi-Tracks

Multi-tracks are individual stems (audio files) of real instruments from original recordings. If you recorded each instrument in your band this Sunday, that would be a multi-track. Usually though, they are done in the studio using real instruments or real-sounding samples. Some of the tracks included might be Drums, Bass, Electric Guitars, Piano, Acoustic Guitar, Background Vocals. These are real instrument sounds. There is some confusion as to when to use multi-tracks. Let’s say that you are missing an electric guitar player this weekend, you could simply use the multi-track electric guitar parts. Or if you’re missing a background vocalist, you could simply play along with the background vocals in the multi-track session. Multi-tracks usually follow a pre-determined song arrangement that your band plays along with. You shouldn’t use a multi-track session that includes drums and acoustic tracks if you have a real drummer and acoustic guitar player already in your band. They will clash. Multi-tracks are used as a replacement for instruments you are missing.

In Short

Loops: A supplement and addition to your band, not a replacement. Helps to fill out your sound and add creative elements.

Multi-Tracks: Used as a replacement for missing instruments in your band, or for individual recording sessions, rehearsals.

I hope this helps as you are implementing tracks into your set lists, or creating loops / multi-tracks for worship. Keep in mind the different roles for each, and that will help you in determining what instruments to include in in your loop creation or live playback session.

About the Author: Matt McCoy is a worship leader and songwriter from Chicago, IL. He is also the founder of Loop Community. Visit Matt’s Website.

The generally accepted definition of a “Worship Band” has seen a drastic change over the last 50 years.  What began as piano and organ has transitioned to a full band complete with moving lights and pre-programmed loops, tracks, and even videos to create the ‘worship experience’. We have indeed made huge leaps forward in the area of musical worship. The addition of pre-programmed tracks in both large and small churches was, for the most part, only an afterthought for most church music directors several years ago.

A Foundation

First, it is important for every band-leader to understand the musicality of their players whether they be volunteers or paid, amateurs or professionals. Many churches that exclusively rely on volunteers will sometimes find that the talent pool can be all too shallow. Introducing a moderate or beginner musician to a click track can be a daunting task and then the addition of a loop or track along with it can exacerbate the problem. Encouragement and patience will become your best friends in this process. Be sure that the musician doesn’t feel inadequate, but rather that this is an expansion of their skills, not a deficiency. Through my years of working with many different church musicians, I have always found that playing to a click (even if you are not using a track) is a great way to build musicianship.  Using a standard click is an easy first step if you are looking to move into loops and tracks. Having a solid foundation will be pivotal to growing you and your teams musicality, while also providing a platform to help musicians grow and develop their skills.

Tracks Types: Full Loop Tracks vs Loops Elements

I’m finding that the incorporation of some type of track or loop element is an every week occurrence. What isn’t consistent though is the degree to which they are integrated. There are several different types of tracks and loops. The loop discussion seems to be focused on two distinct types of tracks: the shorter loops that can be cut on and off throughout a song to provide small pieces of musical flair or the full blown tracks that provide anything from drum kits to symphonic orchestras.

Loop Elements (Shorter Loops)

Individual loops or short, programmed, segments are great ways to add a little ear candy to any song. This could be just a simple drum beat or a shaker sample that loops over and over continuously until stopped.  Utilizing some of the new technologies that have sprung up in the most recent years has been a great way for smaller churches or worship leaders to add sounds without having to pack 20 people on stage. With the development of synth, and electronic sounds the possibilities have become almost infinite in what can be reproduced from a simple laptop computer.  Even taking a simple song like “Hosanna” by Paul Baloche and inserting a simple drum loop can take the song to a different level or sound.  Being able to build on that dynamic can really help a musician “feel” the song better and your band will start playing together rather that just next to each other.

Full Loop Tracks

Tracks, on the other hand, are a great way to provide band members with a consistent way to play a song. They are created to fit full arrangements of the song.  You can also use multi-effects in tracks that may not be possible with shortened loops. This is because you can have more than one loop element playing at the same time. Using tracks can also help a programmer build a verse or chorus differently.  One example of a track I am building is the song “Manifesto” by The City Harmonic.  After the bridge interlude the last chorus just explodes with sound creating a huge final chorus of singing at the top of your lungs.  Having a full track for this song has allowed us to do more musically than we could have without it.  Almost every part of the song had some sort of special effect or dynamic change that would have required a lot of special attention while playing the song.  One missed cue could produce a train wreck since we are committed to a specific arrangement.

You might also want to add another backing melody just for the second chorus or just the last chorus after a bridge for an extra dynamic for the end of the song. This can be done with short loops but it can be quite difficult to manage, unless using a program such as Ableton Live. Most full loop tracks from Loop Community come with vocal cues, which act as a band director and guide the band through the song (verse, 1, 2, 3, 4).

The downside of full loops comes in when there are times as worship leaders you want to add an additional chorus because the congregation seems to be engaging in a different way on one specific Sunday morning.  This can be frustrating if you’re only using a full track arrangement because you are locked into a specific pattern for a song. Software like Ableton Live can alleviate this problem and give you the flexibility of short loops in a full length format.

So Who Wins?

In the end, I don’t believe that one option is better than the other.  I think a lot of factors can influence the ultimate decision.  We must consider the flow of the song, the community response, and several other factors. Your team may play better with short and simple loop elements, while the worship team down the street thrives alongside the full tracks. The number of available players and instrumentation will always be a factor. Always remember that as leaders, we need to encourage our band members to continue to practice and improve individually.  That personal time will flow into the band and the overall improvement of the team.  This will help create an enjoyable environment for musicians to enjoy creating music and using the talent God has given them to glorify His name, which is the ultimate goal for every worship team.

About the author: Anthony Kidd is a band leader at People of Mars Hill in Mobile, AL. Describing himself and his work he says: “I love creating music. Hearing something in my head and being able to create makes me happy. I am simple but I love complex. I try to create a simple complexity in all of my tracks……does that make me weird? I am weird. I also am greatly humbled that people would be willing to invest something into music that bounces in my head all day.” Be sure to check out some of his tracks on his contributor page here.

What is a Vocal Cue?

A vocal cue is a recorded vocal track that gives clear direction to your band when using loops or playing to a click track.  For example “Verse, in 1,2,3,4,” then you are into the verse.  Vocal cues allow each band member to know what part of the song is coming next and when it starts. Some of you reading this post haven’t thought much about vocal cues, but I challenge each person who is using loops live to enter into this conversation.  Though this post is geared towards worship leaders using loops, vocal cues are beneficial for all bands and musicians.

 What are some benefits of using vocal cues? 

1. Vocal Cues cause you to be prepared to lead.
When taking the time to create a vocal cue you have to study the song you are going to lead. You will have to layout the arrangement and compile all your parts into a cue. This has helped me to be prepared for my rehearsal times and ultimately a successful worship time.  We need to take the time when we are building loops and arranging songs to ask the Holy Spirit to speak through us in our preparation. I believe God is honored and can use our preparation greatly in a worship experience.  So many orchestras and other music groups have scored out music that is telling each musician exactly what they are supposed to play and when to play it.  This is a similar concept of what a vocal cue is accomplishing.  A set arrangement of where the band is going each time we play each particular song.  On the other hand I see that sometimes the worship set can go in a different direction than we expected.  So I create my loops and cues with the ability to go into a tag or repeat a chorus at the end of the song.  I run a swelling pad through ableton live in the key of the song and control it with a volume pedal.  This allows me the freedom to bring a pad in at the end of a song if I don’t have a keyboard player or even if I do. Think about it… Leave a comment or question.

2. Vocal Cues help direct the band.
I have experienced this first hand when introducing the song “Go” by Hillsong United.  This was the first time playing through a brand new song (with a loop) and feeling good about it because we had the direction of the vocal cues.  I stress to the musicians not be dependent upon the vocal cue, but to use the vocal cue as a tool to help them focus on the part they are playing and not be worried about what part comes next.  I hate the feeling of playing through a song and guessing where the worship leader is taking us next.  Using a vocal cue in the introduction of a new song will help the band in their preparation for rehearsal and help the rehearsal run smoothly.

3. Vocal Cues are another step we take towards EXCELLENCE.
Striving for excellence should be on the forefront of each worship team or Band.  Using vocal cues forces your band to play to a click, if you are not playing to a click you should.  This will push your band to the next level and also make you sound a lot tighter.  Countless times I have gone back and reviewed worship sets where we didn’t use a click and you can here the drastic difference from when we did play with a click.  Using a click and vocal cues leave less opportunity for error or distraction in your worship experience. If you are just venturing into using loops, start out by implementing vocal cues and you will save yourself tons of trouble introducing a new loop to your band.  People are more willing to play new music if it is clearly laid out and they know exactly where to go. If you do not clearly communicate to the band they may get lost in a loop, which can cause an easy train wreck.

Where do you find great vocal cues?

 I have spent ample amount of time setting up my gear going through my songs and recording my vocal cues with a nice condenser mic and…they were alright.  Honestly the best vocal cues that are out there are right here on loop community. If you are a contributor to the site, you can get them for free in the resource center. They are very easy to work with.  I just got done putting vocal cues on my “How He Loves” loop and the time I saved using the vocal cues from loop community was very beneficial.  You can get these cues in a reason file or Ableton files.  They are easy to drop into your Ableton session and use automation (this link helped me understand Automation and AIC drivers http://vimeo.com/8303676 ) to set the song to trigger its self when recording to a split file.  So now open up Ableton live and spend all night putting vocal cues on your loops and share them with the world through Loop Community!  If you have questions or comments about anything in this post, please continue the conversation.

About the author: Jake Sterno is a worship leader and songwriter from Rockford, IL. Check out his music here: http://www.inallthingslove.com

Wow, where to begin?

Let’s Start With Early Sequencers and Trackers.

The first analog sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Sequencers of this kind are still in use, mostly built into drum machines and groove boxes, and are now called step sequencers. They are monophonic by nature, although some are multitimbral, meaning that they can control several different sounds but only play one note on each of those sounds.

In 1977, the Roland Corporation released the MC-8 Micro composer, the first microprocessor-based digital sequencer. Considered revolutionary at the time, it introduced features such as a keypad to enter note information and 16 KB of RAM which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8-16 step sequencers at the time. It also allowed the user to allocate multiple pitch CVs to a single gate channel, creating polyphonic parts within the overall sequence. Described by Roland as a computer music composer, the earliest known band to utilize it was the electronic music group Yellow Magic Orchestra in 1978, helping them create new sounds not possible until then.

In 1979, the Fairlight CMI’s built-in sequencer, known as Page R, combined step sequencing with sample playback. This led to the development of similar software sequencers of this kind, called trackers, which were popular in the 1980s and 1990s as simple sequencers for creating computer game music and the like.

Modern sequencers.

With the advent of MIDI and in particular the Atari ST, programmers were able to write software that could record and play back the notes played by a musician. Unlike the early sequencers, which played mechanical sounding notes of exactly equal length, the new ones recorded and played back expressive performances by real musicians. These were typically used to control external synthesizers, especially rack mounted sound modules as it was no longer necessary for each synthesizer to have its own keyboard.

As the technology matured, sequencers gained more features, including the ability to record multitrack audio. Sequencers used primarily for audio are often called digital audio workstations (or DAWs). Many modern sequencers can also control virtual instruments implemented as software plug-ins, allowing musicians to replace separate synthesizers with software equivalents.

Although the term “sequencer” is today used primarily for software, workstation keyboards include their own proprietary built-in MIDI sequencers. Drum machines and some older synthesizers have their own step sequencer built in. There is still also standalone hardware MIDI sequencers, although the market demand for those has diminished greatly due to the greater feature set of their software counterparts.

One of those counter parts is software like Reason, Ableton, and many more. We are still in the infancy with software based recording and sequencing. They reason I say that is because we do not have a solid foundation built to cross support all software apps for a seamless transfer from one package to another.

Cross support or “Generalizing” (I will call it this from now on) was done in the hardware field and we called it “General MIDI”. Starting sometime in the early 90’s you began to see this logo appearing on most keyboards. In fact if you look hard enough you may still find this logo on your keyboard or recording device somewhere.

What generalizing did was create a standard programming set for an instrument on a device. Let’s see if I can remember… track 170 was set for drums or something like that while track 01 02 03 were piano’s. So what this meant is if you made a song or as we now call them loops and saved it in a general file any device that had a general MIDI sound bank would play correctly or with minimal changes. NEAT NOTE: The computer you are using to view this also has a General MIDI synthesizer built into the sound card. Want to test it? Click HERE to hear a MIDI version of As The Deer and the same song imported into Reason HERE. Notice the difference? Quite a change huh? With reason and many other software applications the sounds are generated using samples. That is another blog all together.

Here we are talking about what loops are and to answer that question I had to explain the history of using them. Really too truly answer the question is basically this. Loops are computer generated, perfectly timed renditions of the full or partial accompaniment of a song. They are triggered by the musician using a computer or trigger device. They play from point A to point B. They can be used to just add a click track usually paned to the left side of a stereo signal or a full bodied sound to fill in parts where there are no musicians to play the parts. It is that simple.

I know this blog was long but I wanted to be through with the history and samples of how the quality has changed for the better over the years. The David Crowder Band uses loops as do many artists today. Loops are not new they have been around as long almost as recording has been.  Another funny note is click tracks have been around since the first metronome was invented.

About the author: Scott Pearson (Username: ToHimAlone) is one of LC’s most active members. When he creates loops, the goal is to recreate a full band sound for churches that are missing members or parts. He is launching a world-wide youth group called To Him Alone Youth. His vision for To Him Alone Youth is to run a year-round camp dedicated to worship and teaching youth how to share the gospel of Jesus Christ. Find out more details and listen to his loops on his seller page.