Using Loops in Worship Pt. 2

Back here again and sorry it's been so long!  

Last time, I spoke briefly about using loops and Ableton Live in worship.  Obviously, loops are not very everyone, but I tried to list some pros and cons for those who are considering utilizing them in church.  

Today, I want to share how I typically set up my Ableton sessions and also discuss additional reasons why I like using it for worship.  

My Ableton Live Set-Up

Below is a picture of how I typically run a set for Sunday. As you can see, for live purposes I stick the "session" view and have all each song named on the left in an empty midi track.  

For "Hosanna" I have both keys and drum loops programmed to the exact roadmap of the song.  I also have a count-in track that's in channel 6  that will allow the band to start together and start with the loop. Each scene that I trigger is horizontal, so when I trigger the beginning of "Hosanna" the shaker starts (we use this for in-ear click) and when I trigger the next scene "Loop_Keys" and "Loop_Drum" also start. (I have the same for "Lord I Need You")

Depending on the song and the amount of flexibility I want, I can also have loops for different sections of a song (verse, chorus, bridge) rather than one file that follows a specific roadmap. Obviously while leading it can be tricky to trigger the next loop, but for an open ended roadmap (say we want to sing an additional chorus or go back to the bridge again) this can be very helpful. 

An even more open ended way of using loops is what I have for "From the Inside Out" this Sunday.  Instead of specific tracks programmed for a particular arrangement, I just have ambient pads that run throughout the song that provide a harmonic foundation and also help us transition smoothly out of "Lord I Need You".   I typically keep a collection of generic pads and percussion loops that can be utilized and modified for any song.  Ableton allows for easy tempo sync and also is able to transpose tracks to a certain degree.  

Once I have everything in it's right place as far as tracks, tempos and cues go, I can program my midi controller for live triggering.  

Typically, I use the KMI Soft Step controller (as pictured above) for trigging loops hands-free.  I'll have it set up so that button 1 starts the click for the song we're about to play and button 2 starts the count-in and loop for the entire song (or first section of the song depending on the loop).  At HFBC, we usually play an opening set, a middle set and a response song, so I'll generally switch banks for each set (using the right arrow on the right side of the controller).   Having a bank for each set we play allows me to quickly transition between songs and loops.  

Other Pros of Using Ableton

If I'm playing keys and running loops, Ableton can serve as a host for VSTs (Virtual Studio Technology).  It's nice to be able to have everything controllable in a single window (I enjoy Omnisphere, Reason, and Kontact) and also to be able to sync rhythmic patches to tempo. 

Speaking of tempo, I've also used Ableton for midi clock sync with guitar pedals (especially delays), as this saves time from having to tap in tempos every song.  I do this by running a midi cable from the midi out of my audio interface (connected to my laptop and used as the audio driver for Ableton) to the midi input of the pedal. 

Lastly, Ableton 8 has the ability to trigger videos and lyric slides in Pro Presenter (using midi over wifi) and also DMX lighting control.  Both of these are becoming easier to do and can be beneficial for multi-media sync.  

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Obviously, this is a very simplified, brief overview of how Ableton can be used in a worship band setting.  
As always, it's helpful to think through each song/transition and be prepared to use the loops in a way that would be most conducive to leading others into worship.  
Like any new instrument or technology, it took some practice and preparation to use it with fluency in a live setting.  

I hope that this has been helpful for you all and please refer to http://loopcommunity.com/training for more in depth information and resources.  

In-Ear Monitors: How to Get a Good Mix

Took a week off - back in the practical saddle again! 

I want to give a few tips about In-Ear Monitoring (IEM) mixing this week.  

 A lot of churches have switched from floor wedge speakers to In-Ear systems in order to cut down on stage noise (giving the sound engineer more control and flexibility for front of house mix).  Additionally, with the popularity of the Aviom system, musicians are able to create their own custom monitor mix.  

In-Ears can take some getting used to and getting a good mix can be challenging at times.  Obviously, the number one goal is to be able to hear yourself, but in order to achieve the "live" feeling that you may be used to and work together as an ensemble, it's nice to be able to hear others as well.  

To try and help church musicians I've created a short, step-by-step process that I've found works best.  

1.  Plug into the monitor system.  (Don't start turning things up before you listen to your mix!)

2. Make sure the master volume is around noon or one o'clock and all EQ at noon.  

3. Bring up your instrument or voice to around 50-75% or until you can hear it comfortably

4. Turn everything else all the way down

5.  Play through a song and bring up other instruments only if needed and just enough for you to hear them

6. Save your mix! 

The truth is, it may not be necessary to add some of the other instruments either because you may not need them in your mix, or you may be able to hear them live due to proximity and/or stage volume.  

Panning 

For additionally clarity, it's helpful to pan instruments left and right especially if there are multiple players on a similar instrument.  Generally, it's good to have your own instrument "center" or not panned along with the bass and drums as they're the rhythmic foundation.  However, it can be beneficial to differentiate between two acoustic guitars or two keyboardists by panning them left and right.  What's also helpful is experimenting with varying degrees of panning in order to achieve even more differentiation.   

Bonus Tips

Get good, isolating In-Ear monitors.  Isolation will cut down on the amount of stage or ambient noise you hear and allow you to have more control over your mix.  Custom molds are best as they are designed for your unique ear shape.  

Use BOTH ears all the time.  It can be tempting to go "one ear in and one ear out", especially if you sing.  However, using only one monitor can lead to permanent hearing damage as it encourages higher sound levels.   To achieve the sense that you are hearing your voice "live", some systems allow you to add reverb to your voice or you may want to add an ambient mic(s) in the house.  

Turning down is more effective than turning up.   If you're having trouble hearing yourself, turn something else down!  Turning a channel up can often begin chain reaction in which everything keeps getting turned up.   Once you begin to turn others up, it may inhibit you from hearing yourself and can lead to an extremely loud, unhealthy In-Ear mix.  
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Finally, it's important to realize that your instrument or your voice won't always sound exactly the way you want it to through IEMs.  Realize that your comfort and personal preference are secondary to the overall mix and be confident in your sound and your playing.  Lastly, speak with the sound engineer only if you think something is really wrong with your system.  

I hope this was helpful for you today!  Feel free to add comments, ask questions, or share from your own experience.  Thanks for reading.  

Guitar Tone Series: Modelers Demystified

       I’ve been almost exclusively using amp modeling and multi-effects units for the past year for both acoustic and electric guitar processing. I know that a lot of people have bad experiences with amp modeling and may have quickly discounted them after the first impression.   There's also been a big push for analog gear over the past few years, perhaps as a reaction to the growth of digital technology.  I’m not here to say that modeling is superior or inferior to a traditional amp setup, but instead I want to share what I perceive to be the pros and cons of using amp modeling for live performance. 

CONS

1. Not plug-in and play 

The great thing about an awesome tube amp is, you can plug any guitar in, crank it up, and it's going to sound pretty good with only minimal adjustments.  However, an amp modeler is NOT an amp, it will NOT respond the same way as an amp, and it may take a lot of work before you get a good sound.  The issue is, most modelers have similar looking controls but rarely do they react in the same way as analog amps or effects.  Additionally, the learning curve just to figure how to accomplish basic "tweaking" and creating presets can be a turn off for guitarists.  

2. You can't swap out components 

One of the great things about having a pedalboard or an amp is that you can easily swap and switch stuff out.  (The endless possibilities only feed the GAS).  With a multi-effects unit, you're stuck with what you got unless you want to run additional pedals along with it.  With an amp modeler you can't really add your own NOS tubes or favorite broken-in speaker.  You're pretty much stuck with whatever has been programmed into the unit. 

3.  You're at the mercy of the system and the sound engineer

Your tone is only going to be as strong as the system you're playing through and how well the engineer mixes.  If you can't rely on one or the other, it's better to have a nice amp on stage with you as your monitor and a reference on how your tone really should sound.  

4.  Choices are limited

At this point in time,  the choices for analog amps and effects far out weigh the digital.  There are so many great amp makers and boutique pedal builders that are making nicer and nicer products that it's hard to keep up with everything.  Conversely, high quality digital gear is released and improved upon at a much slower rate.  

5.  It's still not the "real thing"

When it comes down to it, amp modeling is still just trying to emulate amps and the effects that were digitally captured.  Obviously technology is progressing quickly and has allowed the replication to become more and more convincing, but if you know what works well for you, why try to substitute it for a simulation?

PROS 

1.  Consistency
The great thing about amp modeling is that once you've found or created a usable sound, it's always saved and will sound exactly the same.  Wherever you plug in, it will react the same way and you don't have to worry about making sure your effects are set the same and that your amp is properly mic'd.  Your tubes will never die and your speaker will never get blown out.  You won't have to trouble shoot if there's a bad cable, bad connection  or glitchy pedal in your signal chain either.  Additionally, you can create specific presets for specific songs and instantly recall them on the fly.  

2. Portability 
One of the great things about amp modeling is that you can have LOT more sounds in a much smaller unit.  Whether you're using a floor or rack unit, you're gear is going to be a lot lighter and you'll have to carry around a lot less.  Also, this is conducive to quick setup and tear down times as well as taking up less space on stage if things are getting crowded.  

3.  Live flexibility 
For electric guitar, I enjoy switching between 3 separate amps set to different levels of gain rather than relying on overdrive pedals.  I also enjoy have an acoustic patch setup with EQ, compression, reverb, and a volume pedal.  With modelers, I can easily switch between amp heads for electric and if I want to play acoustic, I can use the same unit for that as well with the press of a button.  As I mentioned earlier, it's really nice to be able to instantly recall presets for certain songs with saved BPM and effects or presets for different instruments. 

4.  Cost 
Obviously, there are various modelers at various price points.  However, even the most expensive of units will most likely be cheaper than buying a high end amp and pedals.  If you look into used or discontinued digital units, most of the time the price is even lower.  

5.  For most, it's close enough
This is the hardest one to swallow because I would like to think that I have a pretty discerning ear when it comes to how a guitar sounds.  However, it really is getting harder and harder to figure out what's digital and what's analog in both live concerts and in recordings   For the common person, I believe that the difference is pretty much indiscernible, especially if you're running through a nice sound system and you're playing with a full band.   Again, creating or finding a great sounding preset is the key to all of it.  


        Finally, the most important question is when deciding what equipment to use is, "What's the best tool for the job?".
 For me, modelers are the best choice for what I do at Houston's First. Thankfully, I've been able to get some great patches dialed with the help of my friend Michael Brady (who first recommended I try amp modeling) and the sound engineers.
On Sunday, I alternate between electric and acoustic guitar and I travel between two different campuses.  Additionally, we never have amps on stage, always run In Ear Monitors, have a great production team that always mixes well, and have good sound systems at all campuses.   With all these factors in mind, using amp modeling allows me to set up quickly, be flexible, not worry about my sound, and be able to focus on what's important.  

I hope this stuff is helping!  Please add comments, ask questions, and provide feedback. 
You can also email me at thesamjones (at) gmail (dot) com