Build a Mainstage Backing Track Rig

1. Course Introduction: I'm Harry and welcome to a drama electric costs. So in this course we'll be looking at main stage going from absolutely nothing to have never opened main stage before, all the way through to building tracks and then actually controlling it with Midea. So then when you hit a drum pad, e.g. you hit the bat, it fires off the track, is really exciting. So throughout the course, we start with nothing and I show you how to build the tracks. So I take it into logic and I export them with you for a mono or stereo backing track. Then we build a main stage rig. So I show you how to start from a blank canvas and buildup again both a mono and stereo backing track. Rick, I'll show you all the hardware and all the outputs. And then finally I go through with you how to midi controller width, in this case the rodent SPSS, but you can use any midi controller you like throughout the whole course. Everything I use this downloadable. So all of the patches that I use, all of the stems, I use, everything that you can see you can download too. So you can do all along with me. That's the course. And I'm really excited to see you there. 2. Chapter 1 - Making the Click Track: Let's build the tracks that we're gonna be using throughout. These are gonna be the audio tracks that you use on the gig, on the real life scenario or just for a bit of fun. So the software that I'm using to do this, if logic, you don't have to use it, but I'd recommend it if you can. Because where main stages and Apple only product, It's also made by Apple as there's logic so that they're very similar. Like if you look at the mixer in logic, it's pretty much the same as it is a main stage, so it's a really nice flow into one another hardware wise, like I said, Apple only sadly. But for this, I'm using a MacBook Pro. This Mac specifically is the M1 Macs. You by no means need to have this Mac Exactly. You can do this on, I'm pretty sure the cheapest max, although obviously up to this one, as long as you have one available, it's actually not very computer-intensive to do any of this, which is what we like in terms of then running the audio. I'm literally just running it out of the speakers. You don't need anything fancy. You don't need to plug it into audio interfaces or anything like that just yet. You can literally do this just on a laptop, which is really nice. Now I'm going to split this into two parts because of how we're building different mainstays rigs throughout this course. The first one is a mono backing track to make it really, really simple for those of you that don't really need anything fancy at all and you want a really simple setup. And then the second part of this stereo output, for those of you looking to do a little bit more complicated setups that have a little bit more flexibility. So that's where you're looking at multiple outputs, stereo clicks and all that sort of fancy stuff that some of you may not be looking for. So first things first is the mono backing tracks. Now the end goal of this section, like I said before, is to have the click and the instruments, and that's it. So you're gonna have two tracks and you can actually run this out of the headphone, out of the laptop. So really, really nice and simple. If you don't have any audio that you want to use just yet, but you want to try this out. You can download the audio that I'm using in this video. Just down below, the first thing we want to do is open up our DAW. And in this case, like I said, it's logic and this is the first thing you see. We just want to create an audio track like that. As you can see, my voice is coming in because the MacBook speakers are being used as I'll make sure not to turn that on. So I didn't get a ridiculous amount of feedback. Then all we wanna do is dragging the audio that we're using. So like I said, you can download these three tracks that I'm using in this video for this demo. I'm just going to use one of them. Let's go for this one and just drag those in just like that. Use existing tracks, that's fine. Okay. I apparently on this change projects, but that's okay because it was unfortunate for 0.1. So let's just hit play and see what it sounds like. I'm not gonna write the whole track, but by all means it's quite a good track. So on the file, as you can see, I've put 115 BPM because that's how quick it is. Now what we wanna do is build a click track. So to do that, we need to find the BPM. In this case is 115 BPM. And I know that because I've downloaded this from Epidemic Sound, they've showed you. So if you're using your own tracks, then hopefully you would have recorded it to a click. And then you can just literally take it from that projects. Or if you're using something like karaoke version, which is really good if you don't know about it. I highly recommend checking that out. Then all of those when you download the stems, they come with BPM as well. So make sure you make a note of that because when you import it into your DAW, then you can just hopefully quickly and easily just, Here's the tempo. So like I said, 115 BPM, 15, Enter. Now it's going to turn to click on and see what happens. You can turn all of that down so we can actually hear the click. That'd be nice. Lovely. Okay, I'm just going to skip towards the end to make sure that's still wind up. We're all good. So what I'm doing there is I'm just turning all of the tracks down so I can hear the click at the same time, make sure it is actually in time. And in this case it is. I'm pretty sure there's tract slows down right at the end as well? It does, yeah. So what I'm gonna do is I'm just going to remove the click before that. Anyway, the click is sink. And that was super easy, which is what we like. So what we can now do is a new software instrument track. I'm going to lock that at the top. I'm just going to rename that click and then just going to add a bot beginning of my logic session that I'm just going to drag back here until I get minus one. There we go. Then what I'm gonna do is I'm just going to create 1 bar of midi. You'll see why in a second. I'm also then going to change the sound that I've got. So I really like a, whereas an orchestral percussion orchestra kit, make sure you just remove all of that stuff because you don't need any of the effects because in here is a woodblock. But I really like, I like my beat of the bar accented. So when you're playing, you can hear it because we've all been there. Sometimes you lose where the one is and that's okay. It's just making sure all, you know. Inevitability that covered, Let's just hear that. Nice and easy. I like to also make my clicks slightly more musical. It just makes it playing with it a little nicer. So I'm also going to put a shaker on every offbeat down at about 80 velocity. Just to add this nice offbeat sound. If you've seen any of the drum electric videos, you've seen me do this before, but here's what it sounds like. It just gives it that nice little. It just makes it more musical anatomy. And then the fun bit is grabbed the loop and just loop it for the entire track. Where to slow down that. So it's kind of slowing down a little bit before, so I'll just double-click there. Great, There we go. So that is the whole clip. Now if you do want that a little bit louder, what you can do is just put a compressor on it. Again, if you're using logic, this is just the built in one. So I'm just going to play from beginning solo the click by hitting the F Butler. Nothing fancy. Now you've got to see Black Plague, which is nice. Okay, there we go. That's the click created and we can now do that for all three tracks. I'm only going to do it for this one in the video, but make sure you do for the next two as well, and see if you can do it on your own. It'll be a good little bit of practice. So once we've done that, we now need to export. And like I said, this is the mono backing track part. So all we wanna do is have all the instruments on the left and then click on the right, two out, but it's nice and easy. So did I say click on the right? So I'm going to pan the click all the way to the right, pan the base to the left. I'm going to mute the drums because in this case, I am the drama. But for you, you want to customize this to whichever instruments are on stage playing live. They're the ones that you're gonna mute. I'm also just going to mute the melody, which is in this case the vocals, because I'm gonna presume I'm going to have a vocalist as well. It sounds like if you're wearing headphones and it's going to sound a little bit weird. Or if you're listening out of a laptop, then it's also going to sound a little bit weird. As you can tell, the click is on the right hand side and all the instruments and everything else is on the left. And that's how we want to export it. So all we're gonna do is we're going to find this little bounce button here. If you can't find it, that it'll be worth clicking on some other tracks or just in a blank space. And then it should appear by the Stereo Out. Hit bounce. I'm going to export it as a wave, a wave 24-bit, I'm gonna go 44.1 and then you just hit okay, export it wherever you need it to go. Now that that's exported, we'll look at how to make this into a multi-track stereo backing track. So what we're gonna do is going to reset that by putting all of the pan back to center because we're going to export each individual track to create this multi-track backing track. So for this, what we then want to do, in my case, I'm just going to drag the loop markers around the whole part that I want to export. You can also drag like the project markers here. And like at the beginning, the one over here, I just like to use the loop markers because sometimes the projects There's a little bit squishy and it just means I can visually see here and here is where it's gonna be exported. It's really important that you export all of them at exactly the same place. Because when we bring it into main stage, it will be like we hit play on all of them. So the click, you'll need 1 bar and the rest will need that one-bar gap before it. So we can hear the click and it will all play in time. That's why I like using the loop markers, because I can literally, literally see that. Now what I'm gonna do is solo each individual instrument that I want to export. So in this case, I'm going to export the click. Once that's done, I'm going to solo the bass export that, once that's done solo, the instruments export map. In this case we're only going to have three tracks, but you might be working with loads more or even maybe less. And then same thing, hit Export, put them where you want them to be and there we go. Like I said in the last part of this video, I don't know why this is my this part of the other that makes sense in my head. But if you watch the previous part of the video, then do exactly the same thing and export all of them, all three tracks, if you're using these ones that I'm using in the video, a little practice and make sure you hit play to make sure the silences at the beginning. And then we go, That's how we export all of our tracks, whether that'd be a mono or stereo, like I said at the beginning, if you want to find all of these tracks, you can find them in the download section, and that's it for this chapter. So in the next chapter will be now building the main stage. Risks will be opening mainstays for the first time, creating our template and all that good stuff. And as per normal, if you want to download the template that I am using and create within that chapter, you'll find that in the download section two. Alright, I'll see you there. 3. Chapter 2 - Building the Mainstage Rig: Chapter two, Let's build main stage and open it for the first time. So here's what mainstays looks like when you open it for the first time, you get this little Quick Start thing. The really annoying thing that I find out about main stage is that there just doesn't seem to be a blank template, is all just stuff. Before we start anything. Let's create a blank template that we can use. Now before I head into this, you can also download my own blank template that I created for this down in the downloads below. But if you want to create your own oil, you do. Let's go eight drum pads. You can open up any projects you like. There we go. Then what you can go into layout, I'm listening and go command a, delete everything. That's fine doing that. Sometimes it same up here. Just going to delete that. Don't ask again, delete, delete, start here, delete and delete, and there we go. So now we've got an empty patch. I'm going to leave the untitled concept there because that's just kind of like a folder and we're going to build within that folder. It's just quite nice. But if you want to delete that as well, then by all means and reverbs and stuff. I already won because the backing tracks, so I'm just gonna delete all of these as well. Delete, delete. So we're just left with the bare bones, which is nice. So what I'm gonna do is I'm just going to save as then empty patch in the main stage folder. If you don't have this, then you just go into your music folder and then main stage and it's right there, but you can save it anywhere because it'll be within your recently opened hit Save. And in my case, I've already created one, so I'll hit Replace. And this is the one that you can download too in the download section. And there we go. So now I just open up this empty patch whenever I'm using main stage because it's the easiest thing. Let's build the mono backing track. Now you can create this however you want. I'm just going to build it with you. Then if you want to build it the same, feel free, but if not, that's fine too. So the first thing we're gonna do is actually create a patch within our empty patch folder. So it's going to hit this plus button and then rename that by clicking on it. I'm just gonna go track one. Then you're just going to hit layout on the left here. And we get all of these fun, wonderful things that we can click and using control. Now I highly recommend you going in and just messing around with all of these and saying what can happen. But in this case, I'm going to build this and feel free to copy if you want to, but you don't have to if you don't want to. So this is just a mono track. So it's gonna be really, really easy. So I'm just gonna have a waveform so I can see the track being played. Then I'm going to have, I'm gonna have a vertical fader so that I can control the volume of it. Then let's go drum pad, one here and one here. And that is for play and stop drum pad to say play. Here we go. Stop with the Stop button. That color there. It's just the color. When you click on it, it would light up a color. Stop is going to be red because that's what I associate with stopping apparently. And then the Veda, that's all fine. I'm just gonna go to Track Volume. Lovely job like okay. Like I said, really, really simple. If you want to add more white, you can add volume meter here to see how loud it is. You can add text. So that'll be quite good for a title. Or if you want a background, you can have a background here and you can import an image. I don't do any of that because I'm lazy. So we're just going to keep it like that. One thing I will, I will actually say one thing is this vertical selector can be quite good. So when you're on the performance mode, you can see which track you're on right here, and it's super, super clear. Again, I'm not going to on this, but feel free. Once we've done that, once we're happy with that layout, we're then going to go into Edit. This is where we assign everything. So let's start with the buttons up here. You can see the numbers under here. You can get rid of binding its layout and then display. So I'm gonna go nothing and then add a hardware label. So that just says Play. Play, but the correct spelling, and that this one is the same thing. So display nothing at hardware label. Stop. There we go. So it's nice and clear over here on channel strips. Like I said in the previous chapter, looks like a logic which is really nice. We're gonna go plus button, software instrument and create. Now the reason why we're going software instrument, because if we hit the input button here, then we can select playback and stereo. And it's important that you get stereo. It's important. So all we're gonna do is click on the file where it says none. Bring in our monitor track that we created earlier. And then here we go. So I'm going to hit play. Great. So as you've noticed, there's a bar gap at the beginning. That's just how I exported it. So you can either have that gap so you can hit play, get settled, then go. Or if you prefer to hit something, have the click immediately play like I do, then what you can do is you can just drag that play here too, right at the beginning, about there. That'll do. Then just right-click, Add Marker. Start, Play from current marker. There we go. Nice and easy. So now that's done. You can exit out of that and that'll sit there. Now, we want to show our track in this part here so we can just click on the little wave form. Down here. You get the controls inspector and then playback, insert one. And now we can see it there. At the top. You can see the markers and you can see time and you can see the bars. What I like to do is sync the track with the tempo in main stage. It just makes everything a lot easier for future. So to do that, we click on the patch on the left-hand side here, go to attributes. These will probably be on ticks. So we can take them. If it's in 44, there it is. Change the tempo to, in this case 115. And now we head into playback and we sync on to that, to the bar. And then I'm going to actually start it from the beginning, so it syncs up exactly with the click. That does mean we're going to have a bar of silence at the beginning, but that's okay. Once that done, now we can clearly see the waveform in here. Let's assign the play button to the play button. Click on Play. Click on Play again down here. And then actions. You can either go to here and go down to where is it play. Now if I hit play, nothing happens. And this is why. So as you can see, the play button up here is working. So what we need to do on the playback plugin, it's very, you know, who, who bear with me. We're gonna go to the little settings cog right up here starts with play action. So now when we hit Play, There you go. You can see it's playing. That's a quick we'll get to stop it. You hit the play button. Now we want to assign a stop button to stop it so we can go to Actions, scroll all the way down, down to stop, change that note to D1 because otherwise it sends the same note as the play button and we do not want that because then it just doesn't work. So make sure you change each button that you have to a different midi note. And then in a couple of chapters time, when we map it to midi, it makes it a lot easier. The final thing we want to do is the fader. So all we have to do is click on the fader, go to insert one, which is in this case the channel. If you want to rename that, there we go, it makes it a little bit easier to track one. There we go, track one and then volume, and that's it. So now if we go to perform, looks great. Hit play. The track plays down. Good time. And then we can stop. So there we go. That's a mono track. If you want this exact thing, I'll export it without the track in it. So then you can just do it. All of them will be assigned. So then, like I said, you can just import your audio, which is quite nice. If you want to then duplicate that for many, many, many tracks, all you then do is go to the patch list and then duplicate or Command D, and then you just import each individual track. Nice and easy. So now let's build a stereo track for all of the stems. So I'm going to create a new patch. I'm going to call this patch Dario patch, but I'm going to spell it correctly there yet, as you can see, it's copied my mono track over, which is actually what I want. So I'm gonna go back into layout and I'm essentially going to duplicate all of these things that I've just done. So I'm going to move the waveform over here. I'm actually gonna make a little bit smaller and maybe a little bit chunkier. How many trucks move up? Click. And then two things. I'm going to create three. So I'm going to move these here. I'm just going to highlight them, duplicate and drag. But I'm in the middle, line them up there we go and duplicate again. And then we have three. It's a wonderful time. So again, you'll want to duplicate this for the maximum amount of tracks that you have. So even if this birth track is the same as me where you've only got click into instruments are three tracks total. If you've then got three or four songs into the set, something that has click and five instruments, then you want to make sure that you have six tracks available and then just label them all accordingly. So I'm not going to go to Edit. Make sure the play button is assigned by going to actions all the way down to play. The Stop button is assigned. So actions all the way down to stop. Then this wave form is gonna be my click track and that we want to create a channel for a software instrument. Let's do that three times. So let's go click and I know that I've got base. And then for instruments, so on the instrument track playback, same thing here, and then playback. Now the smart thing would be to do this on one track and duplicate it for all the other ones. But apparently I'm just not that smart. So this waveform playback and click, this one can be played back and base. And this one playback in instrument. And then this final the volume buttons. So I'm going to do click volume, instruments, volume and bass volume. Lovely. Now the last thing I want to do is actually important the tracks. So going onto playback for click, I'm just going to click the file none. And where is it? Click don't want have them. Okay, wait for that to important. There we go. Wonderful thing. I'm going to make sure all of that syncs to main stage by clicking on the stereo patch on the left here has time signature for, for change tempo to 115. There we go. So now when I go into click, sync it on snap to the bar. Play from the start. And flex mode, I'm going to go to polyphonic because that means that if on the day we're like, I want to play this track five bpm faster. You can just change the tempo in main stage on the patch, either up here or you can actually create a little button that does that. And then that will change and flow as he did, which is really, really cool. So same thing for the second one, and exactly the same for the last one, which is all the instruments. There we go. Now I'm gonna go to perform. I'm going to really commit to this. I'm going to hit play. Let's hope it all works. I did it. I'm incredible if you want this patch with both the monarchy and the stereo patch, but minus the tracks with all mapped, then you can find it in the download section. We won't worry about outputs in this chapter, because in the next chapter we are looking at all the hardware that we need to use for both a mono and stereo backing track. I'll see you there. 4. Chapter 3 - Hardware for Audio Outputs: Okay, Chapter three, and this is where we're talking about the hardware for actually running outputs into the front of house and things like that. So for a mono backing track, this one is the simplest and probably cheapest one. All you'll need is your laptop running main stage. And then like we exported the tracks in Chapter two, we've got two tracks. So we've got the click track and then all everything off the actual backing track, the click track you want to here. And then there will be other tracks you want front of house to hear. Such do that. You get a really simple cable like this. It's just stereo jack to stereo XLR. There we go. Nice and easy. So what you then do is you plug the jack into your headphone output of your laptop. You then send whichever one the clickers. So I think in this case it's right there, right far-red. Red for bright one, that one. This, you are then going to put into a little mixer that you'll have next to the kit, something nice and easy, something like this. This is the Aalto, them X86 to which I have had for I think about ten years. It's really dusty. So there you go. I'm pretty sure also this pan, but this pan knob doesn't work anymore, which is really annoying, but it's a really, really great mixer. So that will then plug into the top of here so you can hear it and then your headphones will come up here. You'll hear that. And then the other side. So that's all the tracks that is going to the front of house engineers. Then what they'll do is they'll send you an XLR, which you will then put into the second inputs on here. And that's where you can monitor everything as well. And it's as easy as that. Then you've got personal monitor for urine is you've got to click which you can control the volume of and then everyone else has the tracks. Now in terms of the rest of the band hearing that because you've sent the tracks to the front of house engineers, they're then going to send it back through all the monitors however much they need. So they have control over that, which is really nice if you'd like. The sound engineers have control over both. So say e.g. the whole band or on in his and you want everyone to have click, can you just give both of these to the sound engineer and then it's up to them to control the click and the tracks. That's it. It's really as easy as that, and it's really, really nice. So the hardware for the stereo tracks is a little bit more expensive depending on how many tracks you're using. So I personally use the focus, right? 18, 20, this is the first-generation ones that are really old, but still doing well at this point, I think if you buy one, it will be the third or fourth generation depending on when you're watching this video. And they all work fantastically. So all we're gonna do is actually use all the outputs on the back. And I'll tell you why I'm using the focus right for an example over something else. It's got eight jack outputs on the back and we can send its tracks out of the back of that, which is perfect. Now I'm using the focus, right? Because a, it's just being really stable for me. Because I can actually then take an XLR feed as an input and use that to monitor everything else. And then I can also use the headphone output on the front to send that to me. And then I can control pretty much using main stage as my own little mixer. And it's really, really good. And that's all I need. Most of the time, some engineers will have DI boxes, but if you are using the full eight tracks, I'd recommend getting a rack mounted DI box. So then routing all of those jags into the TI, and then you can just hand the sound engineer eight tracks or however many you are using eight XORs and they can go, brilliant job. So what I'm going to go to the desk and do some sound. So for the rest of this series, I'll be using the focus, right? So if you have that as well, you can pretty much just copy my exact settings. But if you don't, you've got something else. That's completely fine too. Everything is exactly the same. The software just might look a little bit different for the focus, right stuff. Alright, in the next chapter, we're going to set all of that up. So then we have all of the outputs. And then the chapter after that, we're gonna start looking at Midea and controlling with drum pads and all the really good fun nerdy stuff. 5. Chapter 4 - Outputting the Tracks from Mainstage: Chapter four. Here we go. So we're going to output all of the tracks on a stereo rig. The monarch is really simple. Check out the previous chapter if you've come straight to this one. But for this, we're going to now output each individual channels so we can hand a bunch to the sound engineer. So in this case, I've got click base and instruments. So I've only got three channels I'll be sending out. If you've got more than three, if you're using even all eight on the focus, right? E.g. then it's exactly the same process, just More, which is nice and easy if you're using the focus, right? And you don't have to, but if you are, I'd recommend getting the focus right control software. If you haven't already completely free, it comes with any of the focus right? Interfaces if you buy them. And it means that you can configure all of the outputs, master output 1.2. That's the one where you're controlling the output with the control knob on the front. I'm actually going to leave that as is, because it's one less thing to think about and I don't have to control the volume. And if it nudges and all that sort of stuff, I'm actually going to use all the other outputs so I can keep the volume exactly the same every single time. Outputs 3.4 are gonna hit the start button to make them to monitor output. And then 5.6, same thing. So now I've got six outputs, only need three of output. Three is gonna be click, output four is going to be tracks, and output five is gonna be tracked as well. Now, you'll want to make sure that the playback is the equivalent output of the DAW, in this case, main stage minority set. But in this case, if you all aren't line output three, if you want playback three, because that's the third output, Same with 4.5. That's that done. So now we can go back into main stage with these tracks and we're actually going to go head over to the channel strip part. So what we're gonna do is actually use the outputs here to change it. So output is one or two. I'm actually gonna go output mono. And that's going to be output. Thus, instruments that's up at five. I'm doing this backwards. I'm very sorry. This one is going to be output mono, output for, and then output into mono, and then output three. And that's clear. Now, if you're going to the outputs and you're clicking on it and you're going wait, I don't have that mono button. Then what you might need to do it on the playback plug-in. It's just goes playback and actually make it mono. And then hopefully you should have that option. So now I'm gonna hit Play. We're not going to hear anything because it's outputted. But if we now open wound up focus or I control, there we go. We have all three coming out of each individual output. If you want to test this thing, grab your headphones with a little, I don't know why this is. Grab your headphones with a little adapter to a quarter inch jack, and then you can just plug in into each output on the back. Before you do that, I'd recommend changing the volume here so it's really low and then just bringing it before you destroy your ears. And then you can check each one. And then all you do is you put a Jack in the back and then give the rest to a sound engineer and its job done. It's as easy as that. If you have more tracks than you can just go through and output them all to the corresponding outputs. If you want to output it differently to me than you absolutely can to just make sure we're going through now putting them. So the next chapter is one of my favorites. We're gonna be using drum pads. So my case, I'm gonna be using the Roland S BDS x. So now midi control main stage. So when we hit a pad, it hits play and the whole thing just go than it's so fun. So I will see you in the next chapter. 6. Chapter 5 - MIDI Controlling with the SPD SX: Chapter five and arguably one that I've been so excited about this, the second to last chapter and arguably the cherry on top of the cake for playback redox. So if you're a drama like myself and yolk sac behind the kit and you don't want to reach over and hit play, but instead you'd like to do off of a drum pad. And my case, I'm using the SVD sx, but you don't have to. You can use whichever drum pad you like, as long as it has middy, then you're in for a treat because we can assign every single path, every single trigger, switch, every single button on here. And it's really, really cool. So like I said, I'm using the Roland SPD Sx. So I'm going to base this video off of that. But if you're using a different one, all the methods are exactly the same. You'll just need to adjust it to the drum pad or midi controller that you have. So in this case for roland, the first thing you'll want to do is actually made sure that the SVD Sx is ready to be put into midi mode. So let's do this. You just can go to menu into setup, down to option. Right at the bottom, it will be audio slash Midea, and you want to use the plus and minus buttons to change that. If you're on wave manager, you want to change that to audience lush meeting. Once there you just get button and you're back to square one, which is nice. So on your laptop, you then want to see if you've actually installed for drivers, maybe a past time or you watch one of the YouTube videos and you installed it to see if it's there. You want to just go into main stage, into preferences, into audio. And then if you go onto your output, you will see the SPD sx right there. If it's not there, then all you need to do is just Google the phrase SBD Sx drivers. Look for the website. There's roland.com slash support, which is right at the top there. Click on that, waiting a tendency for it to load and then everything you'll ever need ever is in this page. So you just going to scroll down for me, I'm looking for Mac. If you're on Windows, you're right at the top here. Spss driver for Mac. There we go, right there. So I'm just going to click on this. As you can see, to use this driver, you must have the USP modes to audio slash middy. You just hit Continue and download. Now I've already downloaded it so I don't need to, but once you do, you just follow all the instructions. You may need to restart your laptop or computer and you'll be good to go now once you've done that and it's all installed and ready, now is the fun bit. So I'm going to grab a stick and see if we're actually getting signal from the SVD Sx into main stage. We are. So if you look at the top here, you can see midi in and every time I hit a bad, the midi notes are changing now for you, if you've never done Liddy before in the SPD Sx, then you'll need to change a few things. So you want to go into menu over to kit. And then down here at the bottom, you want to go to midi. Note on here. This is where you're going to set up the Midea for every pairs. Now, I've got it set. So every pad is on the same channel, but it's sending a different note. So e.g. if I use the arrow keys and go down to pad one, which is this guy right in the corner that you can't see on camera, but it's the top, top left one that's on pad channel one, midi note one. And then I've literally just copied the same thing, each pads that each period of one to 91 through nine, Simple as that. Now the reason they're all on the same channel, and I won't get too much into midi on this course, but you want to keep them on the same channel because this will act as one thing, one instrument. Whereas if you have the SVD, Sx and a midi keyboard, you'd want to have the SPD Sx on channel one, on the midi keyboard on channel two, e.g. so it doesn't get all confused and they're triggering the same thing and that sort of stuff. For now, you can pretty much a safely copy my settings so we can use it here. So I'm gonna hit kit back to my Dino one preset. I'm going to use the snare channel, as you can see on the camera, as my Play button. So I'm going to hit that and that's G-sharp minor. So all I'm gonna do in layout, the play button, midi port. I'm going to assign that the SPD Sx, middy, SVD, ESX, channel one because that's the path I'm on and making sure that none of this conflict and then the note, so you can either type it in here or what I prefer to do is hit the assignment that goes red, hit it, and that's assigned. So now when I go into edit or perform up to you, when I hit it, plays. Alright, so I want to do the same thing for the Stop button. So again, stop been midi port, SVD, ESX, channel one, just keep it safe. Hit the Assign. Here we go, a minus two. How exciting. So now I'm just quicker to perform play. Stop, which is really cool. Now one last little thing which I think is amazing, is I'm going to assign this volume knob to this effects of not. So when I move the effects now, as you can see, the median is changing. And this is where it's gonna get a little bit complicated, but we can do it. So I'm gonna go to Layout, midi port SPS x. Then I'm going to assign, maybe go. So now when I go to perform, I'm going to hit play. I now have control over that. You click volume, which is very helpful. And I would always recommend messing around with that as well. To do that, you might not have control over the effects on midi yet, and that's fine. It's really easy. All you're gonna do is head to menu, back down to setup, hit Enter, and then Midea. If you go on to control, now, you have the master effects right there. So you pretty much just copy these settings and then it will obviously work exactly the same, but specifically it's the two bottom ones. So control one cc and control to CC. They are the two knobs controlled. Want to control too. If you have any conflicting channels, like I said before, they're going to be the ones that you want to change to make it work accordingly. 7. Chapter 6 - Conclusion: And from there, hopefully that's given you the tools to build your very own midi backing track rig. And it's really, really cool because you can start to expand this into those different things. So with all of this knowledge, you can now combine that across a lot of software. And even with the beginning knowledge of all of the backing tracks and exporting it, you can actually just export it and just play it straight off of the drum pads. But most importantly, have fun with all of this. If you want any of this, then you can download all of the stems, all of the projects. I say all of the projects, the main stage project, the main stage projects that will be empty, but everything will be assigned exactly how I've done on the last final chapter. So it will include the mono rig and the stereo rig. And all you'll have to do is import your audio. But I recommend just diving in and exploring it and finding your own methods with main stage because it is really, really fun to have fun with it. And thank you for checking out this course and I look forward to seeing you in the next one.