Contest: Win Ableton Live Intro

Win a Copy of Ableton Live Intro!

We recently finished up our Top 20 Loop Contest where we gave away an MBOX 3 Mini to LC user EJGauna! Now it’s time for something new… Loop Community is about more than just providing great worship loops & tracks; it’s about the community! Loop creators and users from all over the world make Loop Community what it is. Our forums are becoming a wealth of information about using loops in your worship service – and all of this doesn’t happen without you. So here’s the deal:

  1. Like us on Facebook.
  2. Find a piece of paper and make an “I AM LC” sign. You’re a creative bunch – get creative!
  3. Take a picture of you or your worship team holding the sign.
  4. Post the picture on Loop Community’s Facebook Wall and tag yourself in the picture.
  5. That’s it!

Everyone that posts a picture and tags us in it will be entered to win. We’ll draw a name from a hat and send someone from the community a free copy of Ableton Live Intro! Check out the picture below for a little inspiration!

Let’s see who you are LoopCommunity! We are LC.

Mixing Loops for the Stage. IEM’s and Wedges!

In the past, we have discussed the technical aspects of mixing loops for the general congregation (Front-of-House), as well as running loops from the stage for the worship leader. To complete the idea, in this post, we’re going to take a look at mixing loops for the monitor engineer.

It doesn’t matter if you church has a dedicated audio console for monitors or if you run the wedges and in-ear mixes from the primary mixer, this is for you! Mixing monitors for an experienced worship band can be a very demanding task. Each player may have very specific desires concerning what they want to hear. In addition, they may not be very good at articulating what they would like to hear. Having an Aviom system (or something similar) greatly eases this burden, but many churches still run wedges, or a combination of Avioms with in-ears and wedges. To develop the best mix for your musicians, you have to take a look at the elements of each loop and consider their value to the musician.

Most loop tracks consist of two primary elements: a click / vocal cue track and a ‘loop track’. The loop track is what contains the actual sonic elements that add to your band; while the click/cues track is what helps your band stay in time with the track. These two elements must be treated differently since they serve two totally different purposes.

The Click Track

The click is essentially a metronome for the band to follow. This ensures that the percussive elements of the track are in sync with what the band is doing. With any luck, you’re already running a click track for your non-loop songs and there should be no learning curve for your band with this. Often the drummer will be responsible for running the click throughout a service. If you already have a click, you should send the click channel from the loops to the same people. The drummer, without exception, needs to hear the click from the loop. Other players may vary by the track and the vocal cues. Some tracks only have a click, and therefore some players may not want to hear it, they’d rather follow the drummer. However, some tracks also have vocal cues that signal the start of each verse, chorus, bridge, and tags. These elements help your band be ahead of the next transition rather than behind it.

In general, the only people who may not want the click is the vocalists. They may follow the band well enough that it is only distracting. There are of course, exceptions to this. Many slow songs have sparse instrumentation, especially on introductions and bridges and vocalists will rely on that click to keep in time so thing don’t go awry during those sections.

The Loop Track

The loop itself is an entirely different animal than the click. Depending on the musical content of the loop, this may change week to week or even song to song. For the loop, you’ll need to work out with each band member if they’d like to hear the loop in their ears/wedge.  Almost certainly, the team member running the loops will want to hear them, as will the drummer. Guitarists and vocalists will come down to personal preference.

Since most loops are electronic sounds and rarely contain actual recordings, they have the potential to be painfully bright or overpowering in a monitor mix. As the monitor engineer, you’ll want to be sure to tame portions of the loop that may compete with other critical elements in your mix. For example, if a loop has a large string part, but it’s covering up the piano in the vocalist wedge, you may need to pull some of the low end out of the strings so the vocalists can still hear the piano for their notes. On the other hand, a loop may have a big kick drum beat that the drummer needs to help stay on time. Boosting the low end in the drummer mix is fine as long as you have individual control over their mix – you wouldn’t want to boost the low end of the loop in all monitors. If you’re using an analog console and have 1 EQ to share, consider hooking a 31-band EQ to the outputs for each wedge. This will allow you to adjust mix-level things like overall low-end for the drummer/bass player or mid-range presence for vocalists.

The important thing to remember is that most of the time, the loop is there to add to the band, not replace it. Make sure it doesn’t replace anything in the monitor mixes either!