Garageband how to play more than one loop at the same time
- GARAGEBAND HOW TO PLAY MORE THAN ONE LOOP AT THE SAME TIME HOW TO
- GARAGEBAND HOW TO PLAY MORE THAN ONE LOOP AT THE SAME TIME FULL
GARAGEBAND HOW TO PLAY MORE THAN ONE LOOP AT THE SAME TIME HOW TO
After you design your instrument, then you have to learn how to play it. Creating an Ableton session for APC playing is like inventing a new musical instrument, every time. The Starship Enterprise quality appeals to my tech nerd side. When I discovered that NYU has a little-used APC, I signed it out and started teaching myself controllerism. But those are easy to fix in Arrange view.
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Of course, unhappy accidents are more likely too. (You can set the quantization interval to be as wide or narrow as you want, or disable it completely.) Playing your loops live makes happy accidents more likely. By default, loop playback is quantized to the bar, so whenever you hit a pad, the loop begins playing cleanly on the next downbeat. But the intended use case is for Ableton session view, starting and stopping the playback of loops. The form factor resembles an MPC, and you can use it that way, to trigger one-shot samples like drum hits or chord stabs. I’ve been wanting a tool that gives me the same sense of play, but at the scale of individual samples rather than entire songs.Įnter the APC40. It’s not easy to use Serato to write a new track. However, DJ tools operate at the level of entire songs. It’s a lame DJ indeed who meticulously stitches together a set ahead-of-time in an audio editor. It can take an hour of work to shape a few minutes of improv into musical shape.Īll of this time, I’ve had severe DJ envy, since their gear is designed for immediacy and improvisation. It’s easier now than it was five or ten years ago, but it’s still labor-intensive. However, then you have to do the editing. You get all the free-flowing body-centered immediacy of live jamming, with no pressure whatsoever to be flawless.
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This is the most satisfying strategy for infusing electronic music with improvisation that I’ve found so far. There’s also the option of recording a lot of vocal or instrumental improvisation, and then sorting out all the audio afterwards. Multitouch also restores some of the immediacy of playing instruments. But you can use the phone or the tablet while lying in bed or on the ground, or while pacing around, or basically anywhere. Making music on the computer comes to feel like office work after a while. What they lack in screen real estate, they make up for with form factor. Jamming on iPhone and iPad apps like Animoog or GarageBand is better. Improvising with MIDI and then cleaning up the results more meticulously is pretty satisfying, though my lack of piano skills make it almost as slow and tedious an input system as the mouse. It’s certainly possible to improvise on the computer with MIDI controllers, either the usual keyboard variety or the wackier and more exotic ones. The computer shortens the loop from thought to music, but there’s still a lot of obligatory clicking around. Improvisation has an immediacy that composing on paper doesn’t. Improvisation and composition are really the same thing, but the timescales are different. Making music with the computer has been more like carefully writing scores. My life as a producer, meanwhile, has involved very little improvisation. I spent years improvising electronic music with Babsy Singer, though she did the beats and loops, not me. Such performance can take place on stage or in the studio.Ĭontrollerism is attractive to me because I came to music through improvisation: blues, jazz, jam bands.
GARAGEBAND HOW TO PLAY MORE THAN ONE LOOP AT THE SAME TIME FULL
Controllerism is a performance method using specialized control surfaces to trigger sample playback and manipulate effects parameters with the full fluidity and expressiveness of a conventional instrument. But technology has been steadily eroding the distinction between the two. We usually think of “recorded” and “live” as two distinct and opposed forms of music.