MainStage User Guide
- Welcome
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- Overview of Edit mode
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- Select patches and sets in the Patch List
- Copy, paste, and delete patches
- Reorder and move patches in the Patch List
- Add and rename patches
- Create a patch from several patches
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- Overview of the Patch Settings Inspector
- Select patch settings in the Patch Library
- Set the time signature for patches
- Change the tempo when you select a patch
- Set program change and bank numbers
- Defer patch changes
- Instantly silence the previous patch
- Change patch icons
- Transpose the pitch of incoming notes for a patch
- Change the tuning for a patch
- Add text notes to a patch
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- Overview of channel strips
- Add a channel strip
- Change a channel strip setting
- Configure channel strip components
- Show signal flow channel strips
- Hide the metronome channel strip
- Create an alias of a channel strip
- Add a patch bus
- Set channel strip pan or balance positions
- Set channel strip volume levels
- Mute and solo channel strips
- Use multiple instrument outputs
- Use external MIDI instruments
- Reorganize channel strips
- Delete channel strips
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- Overview of the Channel Strip Inspector
- Choose channel strip settings
- Rename channel strips
- Change channel strip colors
- Change channel strip icons
- Use feedback protection with channel strips
- Set keyboard input for a software instrument channel strip
- Transpose individual software instruments
- Filter MIDI messages
- Scale channel strip velocity
- Set channel strips to ignore Hermode tuning
- Override concert- and set-level key ranges
- Add text notes to a channel strip in the Channel Strip Inspector
- Route audio via send effects
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- Screen Control Inspector overview
- Replace parameter labels
- Choose custom colors for screen controls
- Change background or grouped screen control appearance
- Set screen controls to show the hardware value
- Set parameter change behavior for screen controls
- Set hardware matching behavior for screen controls
- Reset and compare changes to a patch
- Override concert- and set-level mappings
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- Overview of mapping screen controls
- Map to channel strip and plug-in parameters
- Map screen controls to actions
- Map a screen control to multiple parameters
- Use screen controls to display PDF document pages
- Edit the saved value for a mapped parameter
- Set drum pads or buttons to use note velocity
- Map screen controls to all channel strips in a patch
- Undo screen control parameter mappings
- Remove screen control mappings
- Work with graphs
- Create controller transforms
- Share patches and sets between concerts
- Record the audio output of a concert
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- Overview of concerts
- Create a concert
- Open and close concerts
- Save concerts
- How saving affects parameter values
- Clean up concerts
- Consolidate assets in a concert
- Rename the current concert
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- Overview of the Concert Settings Inspector
- Set MIDI Routing to channel strips
- Transpose incoming note pitch for a concert
- Define the program change message source
- Send unused program changes to channel strips
- Set the time signature for a concert
- Change the tuning for a concert
- Set the pan law for a concert
- Add text notes to a concert
- Control the metronome
- Silence MIDI notes
- Mute audio output
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- Layout mode overview
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- Screen control parameter editing overview
- Lift and stamp screen control parameters
- Reset screen control parameters
- Common screen control parameters
- Keyboard screen control parameters
- MIDI activity screen control parameters
- Drum pad screen control parameters
- Waveform screen control parameters
- Selector screen control parameters
- Text screen control parameters
- Background screen control parameters
- How MainStage passes through MIDI messages
- Export and import layouts
- Change the aspect ratio of a layout
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- Before performing live
- Use Perform mode
- Screen controls in performance
- Tempo changes during performance
- Tips for performing with keyboard controllers
- Tips for performing with guitars and other instruments
- Tune guitars and other instruments with the Tuner
- The Playback plug-in in performance
- Record your performances
- After the performance
- Tips for complex hardware setups
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- Overview of keyboard shortcuts and command sets
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- Concerts and layouts keyboard shortcuts
- Patches and sets (Edit mode) keyboard shortcuts
- Editing keyboard shortcuts
- Actions keyboard shortcuts
- Parameter mapping (Edit mode) keyboard shortcuts
- Channel strips (Edit mode) keyboard shortcuts
- Screen controls (Layout mode) keyboard shortcuts
- Perform in Full Screen keyboard shortcuts
- Window and view keyboard shortcuts
- Help and support keyboard shortcuts
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- Playback plug-in overview
- Add a Playback plug-in
- Playback interface
- Use the Playback waveform display
- Playback transport and function buttons
- Playback information display
- Playback Sync, Snap To, and Play From parameters
- Use the Playback group functions
- Use the Playback Action menu and File field
- Use markers with the Playback plug-in
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- Sample Alchemy overview
- Interface overview
- Add source material
- Edit mode
- Play modes
- Source overview
- Synthesis modes
- Granular controls
- Additive effects
- Additive effect controls
- Spectral effect
- Spectral effect controls
- Filter module
- Low and highpass filter
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Define MIDI controllers
- Extended parameters
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- Copyright
Basic sound programming in Sculpture in MainStage
This section covers the creation of basic types of sounds, such as organs, basses, guitars, and so on. See Create acoustic instruments in Sculpture, Sculpture stringed instrument programming, and Classic synthesizer programming in Sculpture.
For a detailed look at programming particular types of sounds, see Electric bass programming in Sculpture and Sculpture synthetic sound programming.
The idea here is to provide you with a starting point for your own experiments and to introduce you to different approaches for tone creation with Sculpture. As you become more familiar with Sculpture and component modeling, you’ll find that there are many ways to achieve an end result. In other words, each component of the sound can be modeled using different techniques and parameters. This flexible approach allows you to create a brass sound, for example, in several ways—using the Waveshaper as a major tonal element in one sound or the filter and Body EQ to emulate the same sonic component in another sound.
It is helpful to have a good understanding of the physical properties of the instrument you are trying to emulate. Although you can do some research on the Internet to obtain this type of specialized knowledge, for most sound creation tasks you can follow the general approach set forth below.
How is the sound of the instrument created?
Is it a string that is vibrating and resonating in a box (such as a guitar or violin)?
Is it a column of air that is vibrating in a tube (a flute or trumpet)?
Is it a solid object that is struck, causing vibration (a woodblock)?
Is it a hollow object that is struck, causing vibration or resonance (a drum or bell)?
What is the instrument made of?
When you answer this question, don’t just consider the body of the instrument. Take into account the string material—nylon or steel on a guitar, or perhaps the thickness and material of the reed in a clarinet or oboe, or a mute in a trumpet.
Is the instrument polyphonic or monophonic?
This is a significant factor and relates to the next question about how the instrument is played. Some differences between monophonic and polyphonic instruments are obvious, such as the inability to play chords on a flute. A more subtle difference involves the way a modeled string interacts with any currently active string. This, of course, can’t happen in a flute, which is strictly a one-note instrument.
How is the instrument played?
Is it bowed, blown, struck, or plucked?
Are there other elements that form part of the instrument sound?
Changes in lip pressure and mouth position with brass and wind instruments
Breath or mechanical noises
Momentary pitch changes—for example, when fingers are pressed into a fretboard, or when a string is plucked
Momentary tonal or level changes—such as when brass players are running out of breath, or fluttering the valves
After you mentally, or physically, construct a list of properties, try to emulate each component that contributes to the sound character. This is what component modeling is all about.
Before you begin, it should be stressed that the examples discussed in the subtopics provide one or two approaches to the task at hand. There are many ways to model each component of the sound. With this in mind, consider the following:
Experiment with the suggested parameters to create your own versions of sounds. Use your own parameter values if the supplied values don’t match your ideal bass sound, for example.
Subtle changes—particularly to Keyscale parameters—result in more controlled sounds. Take your time, and try everything as you follow the examples.
Make use of other user settings, and the supplied settings—either as a starting point for your own sounds or as an object of study. Looking at existing settings provides an insight into how the sound was created. Enable and disable different parameters to see what each does.
Have fun and take risks—you can’t break anything.