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.  

Using Loops in Worship Pt. 1

A couple years ago my friend Casey Corum, director of Vineyard Music USA, introduced me to using Ableton Live software and how he utilized loops (pre-recorded tracks) while leading worship. Since then, I've had the opportunity to integrate loops into live worship sets at Houston's First Baptist and I love using them every time I lead or play.   This is just a brief overview of why I use loops, some of the down sides of using them, my personal setup, and also some great online resources.  

Why I Use Loops

Additional Instruments 
The most obvious use of loops is to cover parts of instruments not present in your band.  This is especially helpful if you have a smaller band and want a "fuller" or more "polished" sound.  Often recordings feature instruments that most bands don't have access to (folk instruments, strings, percussion, synths, or electronic drums) that using loops can cover.  

Studio Parts
Sometimes, important parts of songs were created in a studio setting and can be difficult to perform live. Loops are especially helpful when it comes to sequenced drum or keyboard parts.  With the growing popularity of electronic influence in popular music, Ableton can be great to help establish musical style in a song.  

Consistency of Sound 
Once loops are programmed or downloaded, they'll always provide a consistent sound or texture in the song.  Pre-recorded tracks don't make mistakes (as long as there is no user error) and they'll have the same performance every time. 


Freedom for Band Members
Loops can cover foundational parts that are simple or monotonous which can free band members up to be more creative.  Often times, I'll use simple synth or percussion loops that allow the keyboardist and the drummer to cover the more important and/or complex parts in a song.  

Cues and Transitions 
If you use In-Ear Monitors, loops can also allow you to utilize in-ear vocal cues that can facilitate count-offs, song roadmaps, and quick transitions.  I downloaded all my vocal cues from www.loopcommunity.com and they're nice for "silent" count-ins and cues. 

Drawbacks of Using Loops

In-Ear Monitors / Click Track
In order to effectively play with loops it's helpful to play each song with a click track (unless all your loops contain some sort of constant rhythmic part).  Playing with a click can be challenging for some and takes practice.  In-Ear monitors are necessary as well if everyone is playing with a click track.  As I wrote some last week, IEMs can take getting used to as well and obviously take additional resources for a church to purchase and install.     

Reliance on a Computer 
Obviously, computers or software can have issues and if you're leading, troubleshooting on the fly is impossible. Obviously, a software crash is very inconvenient when you're relying on loops for specific parts and click track.  

 Additionally, the very concept of a computer playing a pre-recorded track can be the biggest drawback for some.  The tracks cannot adapt to the feel or natural growth of a song and they cannot improve upon what has already been programmed.  For some, playing alongside a computer is fundamentally opposite of what good musicians have worked so hard to accomplish.  

Designated Musician to Run Loops 
Lastly, in order to run loops live, a musician with an understanding of each song and transition must trigger them in real time.  This usually requires a musician already part of a band to split their focus between playing an instrument and loops.   In order to effectively multitask, it takes some practice and preparation.  Often, drummers are designated to run loops as they are also in charge of the tempo for each song.  However, it's probably easiest for keyboardists to trigger loops as they have free use of both hands.  

My Sunday Setup

For running loops live, I use a Macbook Air as it's easy of transport and loads programs very quickly. I always use Ableton Live, the primary and most powerful software program for running loops.  For audio fidelity, I always send the loops out via audio interface - this also allows me to send separate loop and click tracks (pictured is a Focusrite Scarlett 8i6).  Finally, I prefer to use a KMI Softstep midi controller, which allows me to trigger loops with my feet.  If I'm playing keyboard I'll often use the KMI QuNeo for triggering.  

As pictured, I've integrated my guitar setup alongside my loop setup.  For guitar processing, I use the Avid Eleven Rack which features both amp modeling and guitar effects.  I also use a midi controller for preset and effects switching with the Eleven Rack and an expression pedal for volume and continuous control of effects parameters. (Pictured is a Rocktron MIDI Mate and Roland EV-5). 


Online Resources 

When I first started running loops, online resources and information was fairly limited and unorganized and most of what I learned was through friends or trial and error.  Now, the popularity of using loops in worship has grown and along with it, the amount of helpful resources and websites.  

One of the best sites for learning how to setup rigs and sessions in Ableton is LOOP COMMUNITY.   They've made so many great videos and have free resources, I can't recommend them enough.  

Another great resource is MultiTracks, where you can download the original master tracks of a lot of popular worship songs in several different keys and even customize your mix.  
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This is obviously just a brief overview of my thoughts on using loops in worship.  I enjoy electronica music in general and I enjoy programming and experimenting with new sounds.  For some, learning a new software, creating a new rig, and trying to make it work on Sunday may seem like extra work (it is!). 
 However, if you're interested and want to learn more, feel free to message me or comment as I'm always willing to give advice! Next week, I'll talk more about how I setup a session in Ableton Live for running loops during a service. 

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 

How to Get Great Guitar Tone

If you play guitar, there’s nothing quite as satisfying as hearing some really great guitar tone. I know there’s a tremendous amount of interest when it comes to gear and playing guitar, especially among church players.

So with that in mind, I’ve compiled just a few things I think guitarists should consider in the never-ending pursuit of good tone. 

1. EQ your rig to sound best with a band

Cranking the bass so that the walls shake when you play rhythm might be fun, but it’s going to sound muddy and overbearing when you’re playing with a full band.  Conversely, your super twangy blackface amp might sound great at home, but at high volumes it might not sound great or sit in the mix well. Finding the right midrange EQ setting is really the key, and though it might sound weird when you’re playing alone or at lower volumes, you have to think in context of the entire group and at stage volume. 

2. Collaborate with your sound engineer

They’re the ones that have the final say on your tone, so if they ask you to make a change you should do it.   If you hear them tweaking your EQ right after you plug in, find out what they did and try to accomplish that on your own.  Ask them after rehearsal or a service if they have any suggestions on how you could fit in the mix better, especially when it comes to EQ.   

3. Listen to your rig through the house

You might love the way your setup sounds at home or even through your monitors, but you’d be surprised how different it may be through a cranked PA system.  Have a friend play through it while you walk around the room.  Also, all that delay and reverb might sound good in monitors but not be so helpful if the room is really live and you’re playing with a large band. 

4. Tone is in the hands, the strings, and the tubes

Before you go out and buy the latest pedal to “improve” your tone, just remember; practicing will always make you sound better, changing your strings will make you sound better, and installing good, fresh tubes will make you sound better. 

5.  Get clean power

What doth it profiteth for a man to have an amazing rig if there’s a nasty hum when it’s mic’d up?  If you run a lot of pedals, always get quality, quiet power supplies, make sure everything in your rig is grounded, and if necessary, use a noise gate. 

6.  Tune, tune, tune, tune, TUNE

What doth it profiteth for a man to have an amazing rig if he’s playing out of tune?  Get a good tuner (I prefer the Turbo Tuner - www.turbo-tuner.com), have your guitar set up well so that the intonation is correct up and down the fretboard, always tune again if you add a capo, always tune UP to pitch, and make sure to stretch your strings whenever you change them.

8.  Strive for consistency

I love to tweak my settings on all my gear and I also love to integrate new stuff into my rig, but the truth is, good tone is hard to find, so once you get it RESIST THE URGE TO CHANGE IT.  (Consistency is one of the benefits of modelers and why a lot of touring bands use speaker emulation for front of house.)  Save your presets, mark the sweet spot where it sounds best to mic your amp, take a picture of your pedal board/guitar/amp settings with your phone, tape stuff down, mark your settings with sharpie, etc. etc.

9.  Don’t get stuck on brands and fads

This is the hardest one on this entire list.  Guitarists have built in “gear acquisition syndrome” (GAS) because so much cool new gear is being released all the time.  I’m not here to preach about consumerism or coveting thy neighbor's latest Delay pedal, I’m just here to help you have good tone. 

The truth is this, there’s tons of professional guitarists that have been making great sounding albums and play professionally that have never kept up with the latest and greatest gear.  I will refer you back to #4, as some things really don’t make much of a difference (like a new pedal) and also to #8, if your rig sounds great, DON’T CHANGE IT.

When it comes to brands, there’s just so much boutique stuff out there but I would say that just because it’s more expensive or hand-made does NOT mean it’s going to be better sounding or better quality.  Some companies can charge less because they mass-produce and some companies are made up of one dude in his garage and he’s going to charge a lot more.  The dude in his garage isn’t always going to make a better product than the well-established company. Also, just because a brand gets popular does not mean it’s better than other well-established brands, everyone just likes to try out or least talk about the latest things.

Finally, It’s important to use your ears and NOT your eyes when it comes to evaluating tone.  Just because something looks cool or you’ve read that it’s cool, does not make it better than something that is not being raved about online. 

In closing, getting good guitar tone is a skill.  You cannot acquire a skill by reading a blog or message board post, a review, or watching a video.  You must practice, you must consistently seek to get a fresh perspective, you must talk with other people who have good tone and you must not be afraid to use what you know works well.