The MacAddict Guide

G
Making Music with
GARAGEBAND
Jay Shaffer
Gary Rosenzweig
800 East 96th Street

Indianapolis, Indiana 46240
MacAddict Guide to Making Music

with GarageBand
Que Publishing
Copyright 2004 by Que Publishing
Associate Publisher
Greg Wiegand
All rights reserved. No part of this book shall be reproduced,

stored in a retrieval system, or transmitted by any means,
electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. No
patent liability is assumed with respect to the use of the
information contained herein. Although every precaution has
been taken in the preparation of this book, the publisher and
author assume no responsibility for errors or omissions. Nor
is any liability assumed for damages resulting from the use
of the information contained herein.
International Standard Book Number: 0-7897-3226-2
Library of Congress Catalog Card Number: 2004104258
Printed in the United States of America
First Printing: June 2004
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Trademarks
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Que Publishing cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as
affecting the validity of any trademark or service mark.
GarageBand is a trademark of Apple Computer, Inc.
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AT A GLANCE
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1
2
3
4
5
6
7
8
9
10
Getting Started with GarageBand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Making Music with Apple Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Recording Your Own Music with Software Instruments . . . . . . . . . . . . . . . . 31
Recording Your Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Recording Vocals and Other Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Editing and Mixing Your Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Finishing Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Making Your Own Software and Real Instruments . . . . . . . . . . . . . . . . . . . . 117
Making Your Own Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Advanced Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
A
B
C
D
E
F
G
H
I
Expanding GarageBand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Configuring Your Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
GarageBand Software Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Effects List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
General MIDI Instruments List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
General MIDI Drum Key Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Online Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
CONTENTS
Introduction
Getting Started with GarageBand
What Is GarageBand? 3
Installing GarageBand 5
What to Expect from GarageBand on Your Mac 7
Setting Priorities 8
Making Music with Apple Loops

Starting a New Song 11
Setting the Tempo and Key 12
Clearing the Track Window 12
Using the Loop Browser 13
Browsing Loops
14
Searching Loops
14
Customizing the Button View 15

Using Column View 15
Loop Browser Favorites 16
Auditioning Loops
16
Types of Loops 17
Adding and Modifying Apple Loops 18
Adding Your First Loop 18
Extending the Loop 19
Adding a Second Track 19
Adjusting Track Volume 20
Muting and Soloing Tracks 20
Adjusting Track Volume 21
Fading a Track 21
The Master Track 22
11
Working with Tracks and Regions 22

Renaming Regions 22
Moving Regions 23
Shortening a Region 23
Splitting a Region 24
Advanced Region Manipulation 25
Creating a Dance Song 25
Laying Down the Drums 26
Laying Down the Bass 27
Laying Down the Melody 27
Extending the Song 29
Recording Your Own Music with Software Instruments

Playing GarageBands Software Instruments 31
What Are Software Instruments? 31
What Is MIDI? 32
Playing Software Instruments Using the Onscreen Musical Keyboard 32
Recording a Software Instrument Track 35
The GarageBand Control Bar 35
Recording Your First Software Instrument Track 36
Cycle Recording a Software Instrument Track 38
Editing a Software Instrument Track 41
Editing Software Instrument Regions 41
Changing Software Instruments 41
Editing Software Instrument Tracks Using the Track Editor 42
Editing Software Instruments 45
Software Instrument Settings 45
Creating a Jazz Tune 46
We Got Rhythm 46
Solo Time 47
31
vi
MACADDICT GUIDE TO MAKING MUSIC WITH GARAGEBAND
Recording Your Guitar
49
Getting Your Guitar to Play Well with GarageBand 49

Setting Audio Levels 49
Setting GarageBands Audio Preferences 51
Choosing an Amplifier 52
Playing a Guitar Real Instrument Preset 52
Modifying Real Instrument Settings 53
Recording Your Performance 55
Recording a Basic Guitar Track 55
Editing Your Performance 56
Using the Real Instrument Track Editor 56
Overdubbing Your Guitar 57
The Double-Dog Super-Safe Overdub Method 57
The Fill-In-the-Blank Cycle Region Overdub Method 60
Recording a Rock Song 62
Feel the Rhythm 62
Laying Down the Lead 67
Recording Vocals and Other Instruments

Using Microphones and Headphones 71
Connecting Microphones 71
Basic Microphone Techniques 71
Using Headphones 72
Setting GarageBands Input Levels 73
Setting Up Your Vocal Style 74
Effects 101 74
Changing Effects After Recording 75
Modifying Effects 76
Recording Your Performance 76
The Room 76
Laying Down the Track 77
71
CONTENTS
Editing Your Performance 78
Overdubbing Your Performance 78
Recording a Blues Tune 78
Loading Shufflin Guitar Blues 78
Got Them Lyric Writin Blues 79
Laying Down the Reference Track 79
Overdubbing for Perfection 81
Editing and Mixing Your Music
85
Editing and Arranging Regions 85

Track Editing Real Instruments 86
Optimizing Track Effects 90
Where Are the Effects? 91
Keeping the Echo and Reverb 92
Eliminating Unnecessary Effects 92
Choosing Master Track Effects 93
Mixing a Rock Song 95
Volume and Panning 95
Adding Effects to Your Mix 98
Using the Master Track 100
Finishing Touches for Your GarageBand Mix 101
Finishing Up
103
Exporting to iTunes 103

Performing the Export 103
Where Is the Song, Really? 105
Burning to CD 105
Making an MP3 File 106
Moving Songs to Your iPod 109
Sharing Your Music on the Internet 109
Making Your Song Available on Your .mac Account 109
Adding Music Files to Your Web Site 111
Embedding Your Song in a Web Page 111
vii
viii

Using Your Song with Other Software Applications 112
Using GarageBand Music in iPhoto 113
Using GarageBand Music in iMovie 114
Using GarageBand Music in iDVD 115
Using GarageBand Music in Other Applications 116
Making Your Own Software and Real Instruments

Using Generators 117
The Built-in Generators 118
The Secret of the DLSMusicDevice 130
Audio Unit Instruments 131
Using Built-in Effects 132
The Common Effects 132
The Master Track Effects 135
Built-in Assignable Effects 137
Audio Unit Effects 143
Creating and Saving Software Instruments 144
Creating and Saving Real Instruments 146
Making Your Own Loops
149
Recording Your Own Audio Loops 149

Creating and Saving an Audio Loop 149
Adjust the Note Timing 151
Creating a Pseudo Real Instrument Apple Loop 152
Creating Apple Loops 154
Downloading the Apple Loops SDK 154
Using the SoundTrack Loop Utility 154
Importing Your Apple Loops into GarageBand 158
Using Third-Party Apple Loops 160
Installing Third-Party Apple Loops 160
Indexing Third-Party Apple Loops 160
117
CONTENTS
10
Advanced Techniques
161
Using Audio Unit Instruments and Effects 161

Audio Unit Instruments for GarageBand 162
Audio Unit Effects for GarageBand 165
GarageBand Tips and Tricks 166
The Importing MIDI Files Trick 166
The ReWire Trick 168
The Soundflower Trick 169
The GarageBand As a Digital Recorder Trick 172
The Great Recovery Trick 173
Recording Tricks and Techniques 173
Bouncing Tracks 173
The Cross-Fade Pan Trick 174
The Splitting Drums Trick 176
More Divide-and-Conquer Tricks 178
The Doubled Vocals Trick 179
Final Tips for Spicing Up the Mix 180
Final Thoughts 180
Glossary
183
Expanding GarageBand
189
The GarageBand Jam Pack 189

Third-Party GarageBand Expansion Options 190
Configuring Your Studio
191
Monitoring 191
Hooking Up a MIDI Keyboard 193
Testing Your MIDI Keyboard 196
Hooking Up a Guitar Directly to Your Mac 197
Hooking Up to the Mac Using an Adapter 197
Hooking Up to Your Mac Using a Preamp 198
Testing the Connection 199
ix

Hooking Up a Microphone Directly to Your Mac 200
Using an Audio Interface 203
Using a Mixer 204
The Ultimate GarageBand Studio 205
Keyboard Shortcuts
207
Menu Shortcuts 207

General GarageBand Window Shortcuts 208
Track Information Window Shortcuts 209
GarageBand Software Instruments

Bass 211
Drum Kits 211
Guitars 211
Horns 211
Mallets 211
Organs 212
Pianos and Keyboards 212
Strings 212
Synth Basics 212
Synth Leads 212
Woodwinds
212
Synth Pads 212
Effects List
213
Built-in Effects 213

Included Audio Unit Effects 215
General MIDI Instruments List

Piano 217
Chromatic Percussion 217
Organ 218
Guitar 218
217
211
CONTENTS
Bass 218
Strings/Orchestra 218
Ensemble 218
Brass 218
Reed 218
Pipe 218
Synth Lead 219
Synth Pad 219
Synth Effects 219
Ethnic 219
Percussive 219
Sound Effects 219
G
H
I
MIDI Implementation Chart
221
MIDI Implementation Chart for the DLSMusicDevice and GarageBand 221
General MIDI Drum Key Map
Online Resources
225
GarageBand and Mac Audio Sites 225

Sources for Loops 226
Mac and Music Magazines 227
Music Sharing Sites 227
Gear Retailers 227
References 228
Index
229
223
xi
About the Authors

ay Shaffer is a freelance sound designer, audio engineering consultant, and music composer.
He has over 20 years experience in the recording industry and has produced and recorded
several award-winning albums as well as having composed music for computer games, videos,
and films.
Although he cut his teeth on Commodore 64s and Amigas, Jay is a certified Mac addict and is now on his
eighth Macintosh since 1986. He also administers the Mac Audio Guy Web site, a resource for Mac audio
professionals and enthusiasts.
Jay, a Colorado native, lives in Golden, Colorado, with his wife Annie and his dogs, Iggy Pup and Greta
Garbone. In his spare time Jay enjoys spoiling his grandchildren and racing sports cars.
This is Jays first book.
Professional home page: http://macaudioguy.com
Personal home page: http://jayshaffer.com/
Email: mag@jayshaffer.com
ary Rosenzweig is the chief engineer, founder, and owner of CleverMedia, a game and multimedia development company in Denver, Colorado. He has written 10 books on Macromedia
Director and Flash.
Gary has degrees from both Drexel University in Philadelphia and the University of North Carolina in
Chapel Hill. He has been building multimedia projects since 1989. CleverMedia was founded in 1995 and
has produced more than 250 Shockwave and Flash games for CleverMedias sites and other companies.
Gary lives in Denver, Colorado, with his wife Debby, daughter Luna, cat Lucy, and dog Natasha. Debby owns
The Attic Bookstore (http://atticbookstore.com/), a used bookstore in Denver. Besides computers and
the Internet, Gary also enjoys film, camping, classic science fiction books, writing, and video games.
Some of Garys other Que Publishing books are Special Edition Using Director MX, Advanced Lingo for
Games, and Flash MX ActionScript for Fun and Games.
Personal home page: http://garyrosenzweig.com/
Email: http://garyrosenzweig.com/email.html
Dedication
Jay Shaffer
For my patient wife, Annie, my lovely stepdaughter, Ursula,
and my precious grandchildren, Kyra and Jared.
Gary Rosenzweig
For my daughter, Luna, who is still young enough to
think that her dad is a good piano player.
Acknowledgments
Jay Shaffer
Thanks to my coauthor, teacher, friend, and former employer, Gary Rosenzweig.
Bil Taylor for singing and playing on the demo tunes.
My parentsIm totally sorry about the 1970s.
My brothers and sister: Jeff, Scott, and Karla.
The Little Sisters of No Mercy and Clan Kennedy.
The Ingenius alumni.
Steve Jobs for Macs and GarageBand.
The Fat Man, my unwitting mentor.
Brian Eno, for inspiration.
Gary Rosenzweig
Thanks to Jay Shaffer for letting me come along on this book project.
Very special thanks go to William Follett and to all the people I have had the pleasure of working with in
the past.
Thanks to my family for their continuing lifetime of support: Jacqueline, Jerry, and Larry Rosenzweig;
Rebecca Jacob; and Barbara and Richard Shifrin.
The most thanks go to my wife, Debby, for her never-ending love and support.
Thanks to the artists that have inspired me to love music over the years: The Beatles, Juliana Hatfield,
Frank Sinatra, Ludwig Van Beethoven, Madonna, Liz Phair, Muddy Waters, Pink Floyd, The Donnas, Duran
Duran, B.B. King, Led Zeppelin, Cyndi Lauper, Johann Sebastian Bach, Maganpop, Rush, Bobby Darin, The
Who, Taj Mahal, Cowboy Junkies, Creedence Clearwater Revival, John Williams, Eric Clapton, Courtney Love,
James Brown, John Lee Hooker, Jethro Tull, Wolfgang Amadeus Mozart, Louis Armstrong, Joe Walsh, Tori
Amos, and Neil Young.
From Both
To all the people at Que and MacAddict who helped put this book together: Acquisitions and Development
Editor Laura Norman, Technical Editor Kris Fong (Senior Editor at MacAddict), Project Editor Tonya
Simpson, Production Editor Megan Wade, Indexer Ken Johnson, Proofreader Wendy Ott, and Page Layout
Technician Stacey Richwine-DeRome.
We Want to Hear from You!

As the reader of this book, you are our most important critic and commentator. We value your
opinion and want to know what were doing right, what we could do better, what areas youd
like to see us publish in, and any other words of wisdom youre willing to pass our way.
As an associate publisher for Que Publishing, I welcome your comments. You can email or
write me directly to let me know what you did or didnt like about this bookas well as what
we can do to make our books better.
Please note that I cannot help you with technical problems related to the topic of this book.
We do have a User Services group, however, where I will forward specific technical questions
related to the book.
When you write, please be sure to include this books title and author as well as your name,
email address, and phone number. I will carefully review your comments and share them with
the author and editors who worked on the book.
Email:
feedback@quepublishing.com
Mail:
Greg Wiegand
Associate Publisher
Que Publishing
800 East 96th Street
Indianapolis, IN 46240 USA
For more information about this book or another Que Publishing title, visit our Web site at
www.quepublishing.com. Type the ISBN (excluding hyphens) or the title of a book in the
Search field to find the page youre looking for.
INTRODUCTION
hen GarageBand was announced in January 2004, we immediately knew that

it was something special. Musicians and Mac lovers rushed to the Apple
stores when iLife 04 was released later that month to get their hands on it.
The exclamation, This is the tool I have been waiting for! was heard around the
world that day. GarageBand was an instant software hit.
GarageBand is a revolutionary tool that lets you create songs using your own compositions and premade loops. You can plug your keyboard, guitar, or microphone into
your Mac and use it as a recording studio. Then, you can export your songs for use in
audio CDs, downloadable files, and video soundtracks.
We quickly saw the need for a book on GarageBand and began writing. This book is
the result.
Weve created something for beginners and experts alike. It covers the basics but is
deep enough to teach new tricks to old dogs as well.
Whether you make a living from music or just enjoy music, GarageBand is a wonderful
and fun tool. We think we have created a book that will help you find even more profit
and enjoyment from it. We hope you enjoy this book as much as we enjoyed writing it.
WHO SHOULD READ THIS BOOK

This book is geared to just about anyone who wants to use GarageBand. Whether
you are new to music, new to Macs, or an expert at both, you will find that this book
is a useful guide.
MUSICIANS
With the introduction of GarageBand, Apple is telling musicians: We want you!
Rather than relying on third-party software to make the Mac useful to you, Apple has
taken it upon itself to practically build in music-making software by making
GarageBand available as part of the $49 iLife 04 package.
This book guides you through the GarageBand interface and helps you take full
advantage of what the software can do for you.
INTRODUCTION
MAC USERS
Many Mac users start by buying their computers for one thing or the other: doing term
papers, surfing the Internet, desktop publishing, and so on. But, they soon find that their
Macs are more useful than they could have possibly imagined.
Now Mac users have yet another thing they can do with their Macs: make music. Even
people who cant play any instrument at all can use GarageBand to put together loops
and create songs.
This book shows you how to use GarageBand, and it does not assume that you are a virtuoso or that you can even play Chop Sticks.
PEOPLE NEW TO BOTH

With GarageBand, Apple is hoping to make converts. Many people find themselves
switching to Macs as new software gets introduced. iPhoto brought over some people
interested in digital photography, the iPod brought over some music lovers, and iMovie
and iDVD brought over home video amateurs and beginning filmmakers.
With GarageBand, many musicians and music lovers will find themselves buying their
first Mac. This book guides you through learning GarageBand even if you are not familiar
with the Mac interface.
HOW THIS BOOK IS ORGANIZED

This book starts off with the simplest aspects of GarageBand. Chapter 1, Getting Started
with GarageBand, helps you get it installed; then Chapter 2, Making Music with Apple
Loops, shows you how to create a song without any musical background at all.
Chapters 35 show musicians how to record their own compositions using MIDI keyboards, instruments like guitars, and vocals through a microphone.
Even non-musicians may find that working with GarageBand is so easy it brings out talent they never thought they had.
Then Chapter 6, Editing and Mixing Your Music, goes on to show you more advanced
production techniques.
Musicians and non-musicians alike can then use Chapter 7, Finishing Up, to learn how
to export songs to iTunes, burn them to CDs, and send them to friends.
Chapters 810 deal with advanced techniques like making your own instruments and loops.
The appendixes include valuable reference material, such as information on how to
expand GarageBand and set up your studio, lists of MIDI instruments, and a MIDI drum
map. You can also find a list of online resources so you know where to get the latest
GarageBand news and techniques.
BEYOND THE BOOK

This book includes many examples. You can re-create each example by following along
with the tutorials. If you wish to compare your work with the files we generated while
writing this book, you can visit the books Web site:
http://macaudioguy.com/gbb/downloads/
We will also be posting updates here:

http://macaudioguy.com/gbb/support/
1
GETTING STARTED WITH GARAGEBAND
or many amateur musicians, GarageBand is the tool we have been

waiting for our whole lives. It is a recording studio inside your Mac,
complete with session musicians.
Sure, there has been plenty of software before that allows us to express
ourselves musically through our computers. But these expensive applications are for professionalsexperts. What about the rest of us? You
dont have to know much about music or software or even own an instrument to use GarageBand.
So put down your copy of Rolling Stone, tune your guitar, and fire up
your Mac. Lets get ready to rock and roll!
WHAT IS GARAGEBAND?
According to Apple CEO Steve Jobs, GarageBand does for music creation
what iMovie did for video and iPhoto did for photosmakes the creative
process easy and affordable for everyone.
GarageBand combines functionality formerly only found in different
pieces of software. It combines this functionality in such a way to make
us wonder why it was ever done any other way.
But trying to understand GarageBandto really see what it is capable
ofis not easy. That is because you can do so many different things
with it:
Select from prerecorded loopsYou can select from a library of hundreds of prerecorded loops to add to your song. You can build a
song completely out of these loops, or just use them to compliment
your own recordings.
Record audioWith GarageBand you can plug a microphone or
instrument, such as a guitar, directly into your Macintosh and record
while you sing or play.
IN THIS CHAPTER:
Learn what GarageBand is
and what it will do for you
Get a quick overview of
the installation process
Learn how to optimize
your Mac for better
GarageBand performance
CHAPTER 1 GETTING STARTED WITH GARAGEBAND

Edit audioOnce you have a recorded audio track, you can trim it, cut it apart, and
even duplicate or loop parts of the recording.
Apply effects to audioYou can take your recorded audio track and apply effects to
make it sound unique.
Record MIDI instrumentsIf you have a keyboard or other digital instrument, you
can record the notes you play and use them in GarageBand.
Edit MIDI recordingsOnce you have recorded your tunes, you can edit the notes.
You can also cut the recording apart and duplicate or loop parts of it.
Modify MIDI recordingsWhen you have digitally recorded tracks, you can change
the instrument used to play the track and even change the tempo or key.
Create instrumentsYou can use one of the many built-in digital instruments to
play your recorded digital track, or you can create a custom sound by adjusting the
properties of an existing GarageBand instruments sound.
Mix recordingsYou can record multiple tracks with analog or digital equipment
and then mix them together, layering them on top of each other.
Play and record at the same timeYou can listen to your song creation and record
a new track at the same time, allowing you to play along with your song and add
to it.
Export to iTunes and beyondYou can take your GarageBand recordings and
export them to iTunes. Then, with the help of iTunes and other software, you can
convert them to MP3 and show off your creations to the rest of the world.
So, imagine you want to compose a song. Maybe you have been playing around
with a simple melody on your keyboard. Now it is time to put something together
that other people can listen to.
note
GarageBand comes
with more than 1,000
prerecorded loops. You
can add another 2,000
loops with the $99
GarageBand Jam Pack.
In Chapters 26 well look at how to use GarageBand in detail. But for now, lets
just turn away from the computer screen and imagine.
You open GarageBand and start a new song. Using the Loop Browser, you audition several drum loops until you find a drum loop that fits your style. You make
that your first track and set it to play for 3 minutes.
Now you play that drum loop, and while it is playing, you play your keyboard,
which is hooked up to your Mac. You fill in the melody over the drums. When you
are done playing, you can play back the song and hear your melody repeated,
along with the drum loop behind it.
Then you pick a nice bass line to compliment your melody. Perhaps a little ambient
acoustic guitar as well, but only later in the song.
You go back in to your melody and start editing it on the computer screen. Some of your
notes were off, but that is easily fixed. You take one part and have it repeat a few times
before the next part. A tweak here and a tweak there.
Then you decide the piano is not the best instrument to represent your melody. So, you
change it to a pop organ. You also adjust the bass line to a louder slap bass.
INSTALLING GARAGEBAND
Next, you plug your guitar in to the computer and play the song again.
When it gets to the right part, you play a funky guitar solo and it is recorded
into yet another track. Play it back again and adjust the volume on the solo
so it fits in just right.
To finish it off, you invite your attractive neighbor over. You know, the one
that sings in the church choir, but you know that they are really dying to be
a pop star. You plug in a microphone and you do a duet with the deep,
meaningful lyrics you just wrote.
Then you export the song out to iTunes. You put a copy on your iPod and
burn a CD for your neighbor.
note
GarageBand
comes with more
than 50 virtual instruments. You can tweak
settings to make your
own or get more than
100 additional instrument sounds with
GarageBand Jam Pack.
Later that night you upload it to the Internet. The next day, you get a call
from a major label and three months later you are a huge star.
Okay. Technically, we will not be covering the last little bit there in this book. But, you
can figure that out for yourself.
As you can see, GarageBand can be a lot of fun. It gives the amateur musician most of
the recording and production power of a big studio, but without the price and steep
learning curve.
Lets install GarageBand and then give it a try.
INSTALLING GARAGEBAND
If you purchased the iLife 04 package, which includes GarageBand, you received both
an installer CD and an installer DVD. Both iDVD and GarageBand are only available on
the install DVD, so obviously you will need a Mac with a DVD-ROM drive to install
GarageBand.
In addition to a DVD drive, you will need a pretty recent Mac as well. According to Apple,
the system requirements are a G3 600MHz or faster, 256MB of memory, a 1024 768
display, Mac OS 10.2.8, QuickTime 6.4, and 4.3GB of disk space.
To begin the installation, insert the iLife 04 Install DVD and follow these steps:
When the Install DVD window appears, double-click the install icon. Be forewarned
that the entire iLife 04 installation will take up a whopping 4.6GB of hard disk
space.
The next step is to provide your administrator password. If you are running
Mac OS X 10.3 Panther, the installer will scan your computer to determine which
programs it can install; then you will be asked for your administrator password. If
you are running Mac OS X 10.2 Jaguar, which is the minimum system requirement
for iLife 04, you will just be asked for your administrator password.
3
4
After you read the software license agreementyou do read the software license
agreement, dont youyou can click Agree to accept your fate.
The next dialog will ask you where you would like to install iLife 04 if you have
multiple hard drives; if you only have one hard drive, you will be taken immediately
to the all-important Installation Type dialog in the installer. This dialog should look
like Figure 1.1.
FIGURE 1.1
The installation dialog isnt
that exciting, but you cant
avoid it.
It is at this juncture that you must decide whether you want to install the entire
iLife 04 package, which includes iPhoto 4, iTunes 4.2, iMovie 4, iDVD 4, and finally
GarageBand 1.0. You could also perform a custom installation. Clicking the
Customize button allows you to choose which parts of the iLife package you would
like to install.
If you have limited hard disk space available, you might want to choose to install
only GarageBand. Be aware that GarageBand alone will require 2.5GB of free
hard disk space. To install GarageBand only, you need to uncheck the packages
that you do not wish to install. Figure 1.2 shows GarageBand only checked to
install.
FIGURE 1.2
Checking only GarageBand
helps you save gigabytes
from those nasty freeloaders that hog up your hard
drive!
WHAT TO EXPECT FROM GARAGEBAND ON YOUR MAC
After deciding upon an installation option and clicking Install you will be presented with
a registration dialog where you can decide if you wish to register your software at this
time. After making a selection in this dialog, the installation process will begin and
eventually you will be rewarded with a dialog which informs you that your software was
indeed successfully installed, as shown in Figure 1.3. Click the close button to terminate
the installation process.
FIGURE 1.3
Installation success!
Failure is not an option.
Now that GarageBand is installed, lets build our first song. Then well continue to build our knowledge of how GarageBand incorporates different elements to make even more complex songs. Later, in Chapter 8, Making Your
Own Software and Real Instruments, well look at your computer set-up
and see how you can adjust your hardware and software to get better performance out of GarageBand.
WHAT TO EXPECT FROM GARAGEBAND ON

YOUR MAC
Turning a computer into a musical instrument and recording studio is very
processor intensive. While most people tend not to read the system
requirements too closely, with GarageBand, you need to take the system
requirements very seriously.
If you have a G3-powered Mac you can only expect four or five Real
Instrument tracks before running into the dreaded Unable to Continue
error message. While this may serve as a viable alternative to the horribly
noisy cassette 4-track port-a-studios that many garage bands still use, it is
hardly a 32-track super studio that many users expect.
In fact, I first launched GarageBand on a 450MHz G4 with 800MB of RAM
and was shocked to run into an Unable to continue error after only 5
tracks of using loops and Software Instruments. After upgrading to a
1.25GHz processor, I was able to run 1015 tracks.
note
If you have a
G3 Mac and are
running OS 10.3 Panther,
you may be presented
with an installation dialog asking if you wish to
install software instruments with GarageBand.
Be aware that software
instruments are
extremely processor
intensive and may not
work properly on a G3
Mac. Even without software instruments, you
will still be able to record
audio and utilize Real
Instrument loops and
other functions with
GarageBand.

So, how many tracks can you expect to get from your Mac? The answer depends on
several factors. First is processor speed. Apples published system requirements
state a minimum 600MHz G3 to run GarageBand. You can get GarageBand to barely
run on a 256MHz G3, but to get 32 tracks out of GarageBand, you will probably need
a G5 dual 2GHz.
Secondly, the more RAM the better. 512MB seems to be about the minimum that will
work, whereas 1GB might be sufficient. With RAM prices being low, RAM expansion is
your best bang for the buck in improving GarageBands performance.
Another thing that will help GarageBands performance is making sure that it is the
only application that is running. Background applications like your email program
and AppleTalk will have a negative effect on performance. You can also set
GarageBand to have priority on processor usage (see the next section, Setting
Priorities).
Finally, it is important to manage your use of both effects and Software Instruments
in GarageBand. With plain old audio tracks with no effects or audio loop tracks, the
Macs processor is only dealing with playing back multiple audio streams. However,
when using audio effects and Software Instruments, the processor is taxed with
intensive digital signal processing (DSP) calculations and, along with its usual critical timing, audio streaming, and graphical tasks, it doesnt take long before it simply
cant keep up.
SETTING PRIORITIES
If you are comfortable in dealing with OS Xs Unix guts, you can adjust the priority
that your Macs processor gives to GarageBand. If you are a Mac power user, here are
some things you can do to improve performance. If you are not an expert, however,
feel free to skip this part and come back to it later if you find you are having problems with the system getting bogged down.
After launching GarageBand, go to your Applications > Utilities folder and you will
find a program called either Process Viewer (OS X 10.2.x), see Figure 1.4, or Activity
Monitor (OS X 10.3.x.), see Figure 1.5. This nifty little program allows you to see just
how much of your system is being hogged by GarageBand. There are two important
pieces of information that the Process Viewer/Activity Monitor provides. First, it
shows approximately how much of your CPU is being used by GarageBand, and second, it shows GarageBands process ID number.
Jot down the process ID number (PID) for GarageBand, as you will need that number
for the next step in the process. Next, go to the Applications > Utilities folder and
launch the Terminal Application. At the command prompt type in the following command (where PID is the process number of GarageBand that you jotted down) and
then press Return:
sudo renice 19 PID
WHAT TO EXPECT FROM GARAGEBAND ON YOUR MAC
FIGURE 1.4
The Process viewer (OS X
10.2.x) is a window into
the shenanigans inside
your Mac.
FIGURE 1.5
The Activity Monitor (OS X
10.3.x) is sort of like Big
Brother for your Mac.
10

The result should look something like Figure 1.6. You can close the Terminal application
at this point and start using GarageBand, taking comfort in the thought that youve set
GarageBand to a high priorityeven though you may not have the faintest idea of what
that means.
FIGURE 1.6
This is the Terminal showing the renice command.
Unfortunately, there is no
be nice command.
Dont want to mess with all that Unix weenie stuff? How about a piece of freeware that
makes it easier? Aim your browser to http://www.lachoseinteractive.net/en/
products/processwizard/. Launch the ProcessWizard and you can set the priority of
any process from your Desktop menu bar, as shown in Figure 1.7.
FIGURE 1.7
The ProcessWizard menu
is much nicer than
Terminal, unless youre
into that sort of thing.
After launching GarageBand, pull down ProcessWizard from the menu bar and move
the priority slider for GarageBand all the way to the right. Viol!
2
MAKING MUSIC WITH APPLE LOOPS
eady to make some music? That usually means years of musical

training, teaming up with a band, and tons of practice. Not to mention the van youll need to carry the drums and amplifiers around.
Nah, forget that. Thats sotwentieth century. Instead, just click the
GarageBand icon in your Mac OS X dock. Wasnt that easier?
Now you are a just a few clicks and drags away from making your first
song.
STARTING A NEW SONG

If this is the first time you have used GarageBand, the New Project dialog
will appear. Otherwise, you can bring up the New Project dialog by
selecting File > New. Figure 2.1 shows the New Project dialog.
To begin, you can use the default filename My Song or type your own
song title in the Save As field. You can save your project in the default
GarageBand folder or choose a different one by clicking the inverted triangle button to the right of the Save As field and navigating and selecting your desired folder.
IN THIS CHAPTER:
Learn about loops and
how to use the Loop
Browser
Meet the tools and menus
by creating a simple song
using loops
Alter the tracks to suit
your needs by copying
and pasting portions of
loops
Learn how to adjust the
volume of a track or your
whole song
Create a dance song from
start to finish
12
CHAPTER 2 MAKING MUSIC WITH APPLE LOOPS
FIGURE 2.1
The New Project dialog is
your first step to superstardom.
SETTING THE TEMPO AND KEY

The other settings in the New Project dialog let you set some basic information
about your song: the tempo, time signature, and musical key.
tip
All GarageBand
song files are
saved with
the extension
.band. The default location for these files is in
your Music folder in a
new folder named
GarageBand.
The tempo of a song determines the speed at which the notes are played. This is
measured in beats per minute, or bpm as shown in Figure 2.1. However, for some
reason the number is shown to the right of the Time pop-up menu, even though it
relates more to the tempo above it.
The time signature, or time, of your song determines how notes in your song
relate to the tempo. It consists of two numbers. The first is the number of beats
in each measure. The second determines the duration of a note that equals one
beat.
The key of your song is a setting for more experienced composers. It helps
GarageBand to find loops that match the rest of your composition. Beats?
Measures? Key? Dont panic and call your old guitar teacher yet. Youll find that
the default settings for time and key are good enough for general-purpose music
creation, so leave them as-is for now.
note
Later you will learn
that you can select the
Master track and
select Track > Show
Track Info to change
the tempo, time signature, and key of the
song after youve
started composing.
CLEARING THE TRACK WINDOW

After you click the Create button, the My Song project is created and the main
GarageBand window opens. Figure 2.2 shows the main GarageBand window. It
will be your starting point for every new composition.
GarageBand conveniently puts an empty Grand Piano track in the window for you.
Convenient, that is, if you plan to start playing the piano right away. But not so
convenient if you plan to start adding some Apple Loops like we will do in this
chapter.
A track is single slice of music that makes up one layer of sound in your song. For
instance, you can have a drum track, a bass track, a guitar track, a vocal track, and so
on. You can have multiple tracks of the same typethere is no limit. For instance, a simple song may only have 4 tracks, while a symphonic piece may have 40.
USING THE LOOP BROWSER
13
FIGURE 2.2
The GarageBand window is
lighter and less expensive
than a recording studio.
Loop Browser Button
Since well be using only premade Apple Loops in this chapter, well want
to delete this empty Grand Piano track. To do this, follow these steps:
1
2
First make sure the track is selected. Click the icon of the piano keyboard or the label Grand Piano.
Select Track > Delete Track (or just press -Delete).
Now you will have a completely empty song. We can change that once you
learn how to use the Loop Browser.
tip
You can always know
which track is
selected because the
information in the Tracks
and Mixer columns is
highlighted in green.

To open the Loop Browser, click the third button from the left at the bottom
of the GarageBand window. This button looks like an eye and was pointed
out previously in Figure 2.2.
The Loop Browser takes many forms. The default look for the Loop Browser
is how you see it in Figure 2.3. It shows a set of 30 buttons, an empty list to
the right, and some extra controls at the bottom.
So what you see is a series of buttons with names like Urban, Relaxed, and
Ensemble. These buttons allow you to define what type of loop you are
looking for.
FIGURE 2.3
The Loop Browser is like
1,000 musicians auditioning for you any time you
want.
note
You might also
see a small window
with a keyboard in it.
Well use this window in
Chapter 3, Recording
Your Own Music with
Software Instruments.
For now, you can close it.
14
BROWSING LOOPS
tip
You can
expand the
Loop Browser
to show 63
instead of 30 buttons.
To do this, click and
drag in the empty
space in the large
brushed metal control
bar between the upper
tracks portion of the
window and the lower
Loop Browser
portion of the window.
Okay, so now imagine that you are a famous rock star. Your ego has grown so big
that you just left your group to start a solo career. But you cant play all the
instruments yourself. So now you are auditioning musicians for your new band.
The next room is full of musicians of every typedrummers, bass guitarists, triangle players, and so on. Now you get to call them in, one by one, and see what
they sound like.
First, narrow down the musicians a bit. For instance, to try out drummers, click
the Drums button in the Loop Browser. Youll notice two changes. First, several of
the other buttons are now inactive. This is because they conflict with your selection so far. For instance, the Piano button is now inactive because you only want
to hear Drums.
The second thing that changed is that the list on the right side of the Loop
Browser is now populated with all the drum loops. There are a lot of them. So
lets narrow it down a bit by clicking another button. Click the Country button.
This narrows the selections down to only three. There are three loops that correspond to Drums and Country. Figure 2.4 shows the Loop Browser now.
FIGURE 2.4
After clicking Drums and
Country, youve narrowed
your loop choices down to
three. All the others have
gone packing.
By using the buttons, you are effectively performing a keyword search using predetermined keywords. For instance, the previous example was a search for Drums,
Country. Each loop has a set of keywords attached to it. The three loops that you
get as a result of the previous example all have both Drums and Country as
keywords.
SEARCHING LOOPS
You can also search loops by their names. This ignores the keywords attached to the
loops and, instead, just looks at the loop names.
In the bottom portion of the Loop Browser there is a search field containing a little
magnifying glass icon where you can enter search terms. Click in this field, type funk,
and then press Return.
GarageBand then searches for loops that have names that contain the word you
entered. For funk, there will be quite a few results. Typing funk bass will produce narrower results.
If you know a bit about music theory, you can also use the Scale pop-up
menu to the left of the search field to narrow your results further. The
options are Any, Minor, Major, Both, Neither, and Good for Both. But heck,
the Beatles couldnt even read music and they did just fine.
CUSTOMIZING THE BUTTON VIEW

You can customize the buttons in the Loop Browser in many different ways.
You can move the buttons around and even change the keywords they represent.
To move a button, simply drag it from its original location to the location of
another button. When you drop it there, the two buttons swap.
To completely change the keyword that the button represents, hold the
Control key down and click the button to bring up a complex pop-up menu
of keyword choices. Then select the new keyword for the button to represent. Figure 2.5 shows the series of pull-down menus that you can use to
select a new keyword for a button.
15
tip
In the
Preferences
dialog, which
you can access
by selecting GarageBand
> Preferences, you will
find a check box labeled
Filter for More Relevant
Results. When this is
checked, the search
results only include
loops that are in a key
close to your songs key.
Uncheck the box to see
more loop choices.
FIGURE 2.5
You can customize each
button in the Loop
Browser. Bongos, anyone?
Changing the buttons is particularly useful if you are only interested in

composing in a specific genre of music. For instance, if you like making hiphop music, you probably dont need the Country button.
Moving and changing buttons is a great way to customize the Loop Browser
to fit your style. You can replace keywords that you dont need with ones
that make more sense for you. You can move the buttons around so you
can group similar keywords together.
USING COLUMN VIEW

You can also browse for loops in column view. To get the column view, click
the column view button at the bottom-left corner of the GarageBand window, as shown in Figure 2.6.
tip
You can reset
the buttons to
their default
keywords and
positions by selecting
GarageBand >
Preferences > General
and clicking the
Keyword Layout Reset
button.
16
FIGURE 2.6
The Loop Browser is now
in column view, which is
simply an alternative way
to find loops if you have an
aversion to buttons.
Column View
Button View
caution
When you switch
between column view
and button view, the
Loop Browser resets,
so you lose any search
criteria settings you
have made so far.
Fav Check Boxes
Now, the Loop Browser transforms into a column view similar to the column view
in the OS X finder.
Figure 2.6 shows one way to navigate to the same three country drum loops we
found before. We could have also looked in the Genres category and then
selected Drums under that.
LOOP BROWSER FAVORITES

If you find yourself using the same loops over and over, you can tag them as
Favorites. You do this by checking the Fav column check box in the loop list. The
check boxes are shown in Figure 2.6 and are currently unchecked.
Anytime you want to view your favorite loops, just click Favorites whether youre
in button or column view.
tip
At lower monitor resolutions, the Loop
Browser may not
display all the loop
information, such as
Beats and Favorites, in
the listing. Scroll the
bottom window slider to
the right to view the
hidden information.
Using Favorites is a great way to narrow down your loop choices as you audition
them. For instance, you can audition hundreds of loops and simply add ones that
you like to your favorites. Then, when you have heard all the loops that fit your
criteria, you can go back and listen to the ones in your favorites list again to find
the best one.
AUDITIONING LOOPS
Whether you are using the button view or column view, the list of loops to the
right side of the Loop Browser keeps the same format.
In addition to the name of the loop, you will see its native tempo, key, and number of beats. Here is what each column tells you about the loop:
TempoThis column indicates the native tempo of the loop. The tempo at
which the loop is played corresponds to the tempo of your song. So, for
instance, a loop with a tempo of 110 will be played slightly faster if your song
is set to 120 beats per minute. This change is transparent to you, so if the
loop sounds good in your song, you dont need to worry about what its original tempo was.
KeyThis column tells you about the scale, or group of notes, that the
loop uses. Loops that use the same key, or keys that are nearby, will
sound better together.
BeatsThis column shows the length of a loop in beats. For example,
a 16-beat loop is four measures in length if the time signature is 4/4.
This column allows you to determine the length of a loop in measures
as long as you keep your time signature in mind.
Now it is time for the audition. To hear the loop play, simply click it in the
list to the right. To stop it, click the loop again or click another loop.
17
tip
There is no
way to clear
the favorites
list quickly. But,
you can uncheck the
loops in your favorites
list while viewing only
your favorites.
The icon to the left of the loop name changes to a speaker icon when the
loop begins to play. The loop repeats until you stop it or choose another
loop.
TYPES OF LOOPS
There are two different types of icons that appear to the left of a loop
name. One is a blue icon with a drawing of a sound wave. The other is a
green icon with a musical note in it.
These icons represent the two different types of Apple Loops that
GarageBand uses. The blue icon represents a Real Instrument loop. This is
a prerecorded sound from a real instrument or group of instruments. It is
basically a recorded sound.
The main difference between a Real Instrument loop and a sound that has
been recorded with a microphone or other device is that Apple Loops have
additional information in them to allow GarageBand to change the tempo
and key of the sound. Well look into making your own Real Instrument
loops in Chapter 9, Making Your Own Loops.
note
In Figures 2.4
and 2.6, the key
is not shown for the
loops. This is because
they are drum loops,
which dont have a key.
If these were piano or
guitar loops, their keys
would be displayed.
The other type of Apple Loop is called a Software Instrument loop. If you are familiar
with MIDI files, youll recognize a Software Instrument loop as a small piece of MIDI
music.
A Software Instrument loop can act like a Real Instrument loop as well. If used as a Real
Instrument loop by adding it to a track meant for Real Instrument loops, GarageBand
converts the Software Instrument loop to an audio recording. If used as a Software
Instrument loop, in a Software Instrument track, each note is generated on-the-fly as the
song plays.
The main advantage of Software Instrument loops is that you can change the instrument
that the loop uses without changing the actual notes in the loop. For instance, you can
switch a loop from using a piano as its instrument to using a guitar.
The disadvantage to using Software Instrument loops is that they are processor intensive. So, if you are using a G3 Mac, or a low-end G4, you will find that adding more than
one Software Instrument loop to your song may make it impossible for your Mac to play
the song. A high-end G4 or G5 machine will be able to handle several Software
Instrument loops.
The disadvantage of a Real Instrument loop is that you cant edit the notes. A Software
Instrument loop can be changed, as we will see in Chapter 3.
In Chapter 9, well investigate how to make your own Software Instrument loops.
18
ADDING AND MODIFYING APPLE LOOPS
note
MIDI stands for
Musical Instrument
Digital Interface and is
the standard language
that devices like musical keyboards use to
talk to each other and
computers. A MIDI file
is a series of notes and
other information that
represents a piece of
digital music.
Once you have auditioned loops and have selected the one you want to use,
adding the loop to your song is as easy as Mac users should expect. It is little
more than a drag-and-drop process.
ADDING YOUR FIRST LOOP

To add a loop to your song, simply drag and drop the loop from the list in the
Loop Browser to the empty timeline in the upper portion of the GarageBand window. Do this now with the Southern Beat 01 selected.
While dragging, notice some things that happen. First, the cursor changes to an
interesting set of three elements: an arrow, a green circle with a plus symbol in it
(indicates that you are adding a loop), and a text portion that shows the name of
the loop.
When you move this cursor over the timeline, you see a vertical black line appear
under the cursor as well. This snaps to a measure in the timeline to indicate
where the loop will start. Make sure you drag the loop all the way over to the left,
so the black line is at measure 1. This places your loop at the start of the song.
Once you release the mouse to complete the drag, there is a slight pause, and then
the loop appears in the timeline. A track has been added to the timeline as shown in
Figure 2.7.
Go to Beginning
Play/Stop
FIGURE 2.7
The loop Southern Beat
01 has been added to the
song and you wont even
need to pay it royalties.
The Track column now contains the icon for the track and the name of the track for the
loop you just added to it. In this case, it is called Drum Kit with a set of drums as the
icon.
To listen to the music you just added to the timeline first click Go to Beginning, which is
the leftmost button in the set of VCR-like controls. Then click Play in the same set of
controls. These buttons are indicated in Figure 2.7.
What you should hear is the drum loop play through once and then stop. The red timeline indicator (called the playhead) continues, however, playing the silence at the end
of the song. Click Stop to stop it.
ADDING AND MODIFYING APPLE LOOPS
19
EXTENDING THE LOOP

Apple Loops are called loops because they, well, loop! But so far, it only plays once in
the song. To make the loop repeat, you need to extend the loop in the timeline to cover
more space. For instance, if the drum loop is two measures long, you could stretch it to
eight measures to have it repeat a total of four times.
To extend a loop, do the following:
Move your cursor over the right end of the loop. Notice that the cursor changes
when it is there. If you are near the top part of the loop, it changes to a line with a
curved arrow after it. If you are near the bottom of the loop, the cursor changes to a
line with a straight arrow. Move your cursor around near the end of the loop to see
both types of cursors.
To extend a loop, make sure the cursor shows the curved arrow and then click and
drag the cursor to the right to extend the loop. Extend it to the start of measure 11,
so that it looks like Figure 2.8.
FIGURE 2.8
The timeline now shows
the loop extended over 10
measures. Nice to see it
working so hard.
Click Go to Beginning and then Play; you hear the loop repeat five times.
You have laid the foundation of a short song.
ADDING A SECOND TRACK

Unless youre a drummer or really like drum solos, listening to one drum
track isnt all that exciting. GarageBands strength is being able to mix
loops together. To do this, lets add a second track with another loop.
1
2
3
Use the Loop Browser in button mode.

Click the Bass button and then the Country button. You should see five
loops appear in the Loop Browser list, all named Southern Bass.
Drag the first loop in the list to the timeline, just under the first track.
Position the vertical black line so this second track starts at measure
3, instead of measure 1. This adds a second track to the timeline.
note
Notice that the
vertical black
line that moves with
your cursor snaps to the
nearest measure or
fraction thereof. You can
turn this off by selecting
Control > Snap to
Grid. While learning
GarageBand, it is best
to leave this option on,
which is the default.
20
Then drag the loops end to extend all the way to the start of measure 11. See
Figure 2.9 to see how the timeline should look now.
FIGURE 2.9
There are now two loops in
two tracks. Youve got a
band!
To hear your song-in-the-making, click Go to Beginning and then Play. The song isnt
much to listen to yet, but its a start.
ADJUSTING TRACK VOLUME

Once you have several tracks in your song, you can easily turn them on and off. You
can also adjust the volume of a track or your whole song at any point in the song.
MUTING AND SOLOING TRACKS

Now that we are playing with more than one track at a time, the song will start to get
complex. As you continue to add tracks, youll find the need to single out a track and
temporarily silence it so you can concentrate on modifying other tracks.
The Tracks column has two buttons that allow you to temporarily silence tracks.
MuteThis button, which looks like a speaker icon, allows you to silence the
selected track when you engage it.
SoloThis button, which looks like a headphones icon, silences all other
tracks except the selected one when you engage it. This can also be toggled
on or off.
Despite its name designation, you can solo more than one track at a time. If you solo
one track, all other tracks are silenced. But if you engage another tracks solo button,
both soloed tracks are heard. The solo button takes precedence over any mute button when toggled on.
You can solo or mute any track at anytimeeven during playback.

While the Apple Loops are all made to work together, every Apple Loop doesnt work
with every other one right off the bat. Sometimes you need to make simple changes,
such as making a loop louder or quieter.
You can adjust the volume of an entire track using the volume slider in the Mixer column of the GarageBand window. You can do this while the song is stopped or while it
is playing.
Lower the volume of the drum track and then play the song again.
You can also change where an instrument track appears within the stereo (left and right
channels) field by adjusting the pan control (the dial marked with an L and R in the
Mixer column). You can make the track play in only the left or right speaker or anywhere
in between.
FADING A TRACK
Sometimes you may want to adjust the volume on just a portion of a track instead of the
entire track. The most common example would be to have the track fade in at the beginning and then fade out at the end.
To do this, click the inverted triangle button, which is the rightmost button in the Tracks
column for each track. It looks like a triangle pointing down.
What you get is another row under the track (see Figure 2.10).
FIGURE 2.10
After clicking the inverted
triangle in the Mixer, the
Track Volume expands
under each track and
allows you to control the
volume of the track at any
moment in the song.
The line in the track represents the volume curve. When you start, the volume curve is a
straight line with a large dot at the left end. Checking the box next to Track Volume
allows you to adjust this curve.
Playing with the volume curve is very simple. Click anywhere in it to create a new point
that you can manipulate. Drag these points around to alter the curve. In Figure 2.11,
three points have been added and moved around. The first dot starts the song off low,
and then it raises to the volume level indicated by the second point. Then the third dot
starts the fade-out to the fourth point.
21
22
FIGURE 2.11
By adjusting the volume
curve, you can add a fadein and fade-out. Now your
tracks dont die; they just
fade away.
THE MASTER TRACK

You can also adjust the volume of the entire song using the Master Track. The Master
Track is a track that is always present in the song but is, by default, hidden. To make the
master track visible, select Track > Show Master Track (-B).
You can adjust the volume curve in the Master Track the same way you would do it for a
single track. The only difference is that the volume changes are applied across all the
tracks at the same time.
Figure 2.12 shows the Master Track and a simple fade-in and fade-out for the song.
FIGURE 2.12
The Master Track allows
you to adjust the volume
for the entire song.
WORKING WITH TRACKS AND REGIONS

Tracks are the main building blocks of GarageBand. To work effectively with
GarageBand, you should know how to manipulate them and the elements inside them.
RENAMING REGIONS
The main element of a track is called a region. A region is a portion of track. It stretches
from one measure to another in the track. You can have many regions in a track or only
one.
WORKING WITH TRACKS AND REGIONS
In the previous figures, we have created two regions, one in the Drum Kit track and one
in the Electric Bass track.
To bring up more information about a region, select it and choose Control > Show
Editor (-E). You can also double-click the region to bring up the Editor.
The Editor replaces the Loop Browser at the bottom of the window as shown in
Figure 2.13.
FIGURE 2.13
The Editor shows information about a region, including its name. Since this is
a Software Instrument
loop, you can see a complete set of notes arranged
in a timeline.
Well learn more about the complete functionality of the Editor in Chapter 3. For now, it
is enough to know that you can use it to change the name of the region. Just edit the
name field to change it.
MOVING REGIONS
You can manipulate regions in all sorts of different ways. For instance, you have already
learned how to stretch a region so that it loops several times.
In addition, you can move a region in its track of the timeline so that it starts at a specific time in the song. In Figure 2.13, the Southern Bass 01 region starts in measure 3.
You can grab the region and move it earlier or later in the song.
SHORTENING A REGION
You can also shorten a region. Actually, you can do this in two ways. The first is to take
a region that has been stretched to loop and shorten the loop. This is just more of the
same manipulation that you used to lengthen the loop in the first place.
But you can also shorten each instance of the loop. To do this:
1
2
3
Start with a region that contains only one instance of the loop.
Grab the end of the loop at the bottom, when the cursor is a line with a straight
arrow rather than a line with a curved arrow.
Drag the end of the loop forward or backward. Dragging it back shortens the loop,
cutting off the end of it. Dragging it forward lengthens the loop, adding silence to
the end.
23
24

For instance, if you shorten the loop halfway, you only get the first half of the loop. Then
you can use the curved-arrow cursor to lengthen the loop again, which repeats only the
first half of the loop rather than the whole thing.
Figure 2.14 shows what this can look like. It has two tracks. The first track contains
Ambient Beat 01 at full length, looped twice. The second track contains the same loop,
but it was first shortened to only one measure long, cutting off the last three measures
of the loop. Then it was stretched to cover the same eight measures as the region in the
first track. The result is that the first measure of the loop is repeated eight times.
FIGURE 2.14
The timeline shows two
regions using the same
loop in different ways.
One of the great things about manipulating loop length is that you can also do it after
you have stretched the region.
Say you have a loop that is 2 measures long and is stretched to through the 10th measure. So, it loops 5 times. You can shorten the loop length to 1 measure, cutting off the
second half of the loop. The region remains 10 measures long, so the loop now repeats
10 times across the 10 measures.
All you need to do is place the cursor near the end of the first instance of the loop, near
the bottom of the track, and you will get the straight-arrow cursor again. Then you can
change the loop segments length. This will then be reflected throughout the loop.
It is hard to understand this without trying it for yourself, so go ahead and drop a loop
into a track. Then use the curved-arrow cursor to drag the end of it to expand the region
to loop several times. Now go back to the end of the first instance of the loop in the
region and shrink it. You will see the loop tighten up throughout the length of the
region.
SPLITTING A REGION
Changing the loop length is just one way you can take an Apple Loop and change it to
fit your composition. You can also take a region of a song and split it into two.
For instance, if you have an Apple Loop stretched to repeat over 10 measures, you can
split the loop so it repeats over the first 5 measures, then skips 2 measures, and then
repeats for a second group of 5 measures.
To do this, you must move the playhead at the top of the timeline. Simply drag it so
that the playhead, and the red line connected to it, are at the spot in the region where
you want to split it.
CREATING A DANCE SONG
25
Then, select Edit > Split (-T). You wont see much of a change to start, except that
the name of the region is now duplicated starting at your split point and a line intersects
the region. But you can now drag the first and second regions independently.
Figure 2.15 shows what happens when you split a region and then move the second
region away from the first to create a few measures of silence.
FIGURE 2.15
A single region was split in
two and moved to create a
break between them.
ADVANCED REGION MANIPULATION

You can pretty much manipulate regions as you like using the Split command and simple drag-and-drop motions. You can also copy, cut, and paste regions with the standard
menu commands that all Mac applications use in the Edit menu.
While you could drag and drop the same Apple Loop from the Loop Browser
several times, being able to copy and paste regions can be easier. For
instance, if you have several regions over several tracks, it would be easier
to copy and paste the regions than to find the loops again. You can then
change the second copies to vary your song.
Once you have split regions, you can rejoin them with the Edit > Join
Selected command (-J). However, this also resets the regions loop
length, which also expands the regions length according to the number of
times the region loops. It is very easy to create a mess when joining
selected regions.
In many cases, it will be better to rebuild a region from scratch or extend it
from the first segment of a previously split region.
tip
You dont have
to rely strictly
on Apple
Loops to make
your song, however. You
can also import original
content stored as audio
files, as youll learn in
subsequent chapters.

Building a song is a creative process. Thanks to GarageBand, you get to decide how
many tracks you want, what the tracks are, and every other detail.
So far in this chapter, we have been building a country/southern rock song as an example. You can take what youve learned so far and add more tracks to the song to finish it
off. How complex the song gets will depend on your needs. For instance, a simple twotrack song will be fine for background music for a home video or a piece of multimedia
26

software, even a Web site. But if you want to play the song as a standalone tune to
enjoy, you will probably want to add a whole lot more.
Now that youve gotten your feet wet, lets use what you have learned to create a simple
electronic dance song.
LAYING DOWN THE DRUMS

First, lets start with a new song:
1
2
3
Select File > New (or you can press -N) and then accept the default settings and
give your song a unique name.
4
5
Drag this loop to the timeline in the first measure. You end up with a region that is
two measures long.
Delete the Grand Piano track by selecting it and pressing -Delete. Now you have
an empty song that we can add some Apple Loops to.
First, lets find a good drum track. Open the Loop Browser and click the Beats button and Electronic button to narrow down the number of loops displayed. Then
scan down the list and look for Deep House Dance Beat 01.
Drag the right side of the region using the curved-arrow cursor to extend the loop
to the right. Drag it all the way to the other side of the screen and let the timeline
scroll automatically to the right. Extend it to 40 measures, stopping at the start of
measure 41. Figure 2.16 shows the GarageBand window just after the loop has
been extended.
FIGURE 2.16
The Deep House Dance
Beat 01 region has been
extended for 40 measures.
That should keep the kids
jumpin.
You can test out the song by clicking Go to Beginning and then clicking Play. Theres not
much point to doing that now, except that you get a chance to listen to the loop again
in preparation for selecting another loop that will go well with it.
27
LAYING DOWN THE BASS

Next, lets select a bass loop:
1
2
3
4
Click Reset in the Loop Browser and then select the Bass and Electronic buttons.
The first loop in the list should be the 80s Dance Bass Synth 01 loop.
Scroll the timeline back to the first measure and drag that to the empty
area below track 1. Make sure that the region starts at the very left.
Then, stretch it to the same 40-measure length as the first track.
Now click Go to Beginning and Play to hear the mix of the two tracks.
They go together well and create a pretty basic background for our
dance song.
LAYING DOWN THE MELODY
note
To get to the
first measure of
your song, you can use
the scrollbar. But a
faster way is to click Go
to Beginning in the
transport controls.
Now lets add some more tracks to the song:
1
2
3
Reset the Loop Browser and click Synth and Cheerful. The first loop
should be 80s Dance Bass Synth 06.
Then copy and paste the region and put it again in measures 912. You
do this by performing the copy and then clicking the measure ruler at
the top of the timeline to set the playhead at measure 9. Then you
paste.
Add that as another track by dragging it to the empty space in the

timeline.
Instead of repeating this loop over the entire length of the song, drag
the loop to start in the third measure and stretch it for four measures
until measure 6.
tip
You can also
hold down the
Option key and
drag a region to
copy it to another location in the timeline.
The result looks like Figure 2.17. The third track, marked Synthesizer, has two regions
in it. Play the song from the beginning now to hear what you have so far.
FIGURE 2.17
The first two tracks are
background, and the third
is a sort of melody. At
least it will pass for one in
a dance song.
28

Now lets add some horn:
1
2
3
Reset the Loop Browser and click the Horn button. Then scroll down and find RnB
Horn Section 07.
Add it in a new track, starting at measure 7. Then shorten the length of the region
to only one measure. This cuts off most of the loop, leaving just the start of it.
Copy and paste this region into measure 13. But this time expand the region back
to its original loop length of three measures so that the entire loop plays through
once. Figure 2.18 shows these two regions in the timeline.
FIGURE 2.18
The RnB Horn Section
07 is used twice, with the
first region only allowing
the very beginning of the
loop to play.
This fourth track, named Horn/Wind, is a Real Instrument track. That means that the
regions in it are loops using real audio files, not MIDI-like Apple Loops.
We can add another horn region to this same track later in the song. Find the loop RnB
and place it starting at measure 21. Then also copy and paste the
bass regions in the third track, Synthesizer, so they appear again at measures 17 and
25. Figure 2.19 shows all these changes.
Horn Section 13
FIGURE 2.19
Create a region of RnB
Horn Section 13 at
measure 21, and repeat
the bass regions a few
more times to keep it
funky.
Now lets go back to the RnB Horn Section 07 region and make two more copies of it to
end this short song. Make a new region that will stretch from measures 30 to 36 and will
repeat only the very start of the loop. Make one more region that will be the entire loop
and start immediately after at measure 37. You can see this final piece of the song in
Figure 2.20.
FIGURE 2.20
The song ends by repeating the main horn melody
one last time and then letting the synth track echo
away. The kids love that
sort of stuff.
In addition to the horn track, well place a short reprise of the 80s Dance Bass Synth
06 at the very end. It will be the only track playing for that last measure. The track has
an echo quality to it, which sounds nice when it is isolated like this.
This completes the song. You can find a copy of the song file at the Web site
http://macaudioguy.com/gbb/downloads/.
EXTENDING THE SONG

And there you have it, a simple electronic dance song done with only Apple Loops and a
little region manipulation. Be sure to save this song for future reference, and so that all
your hard work isnt lost.
But you dont have to stop here. You can continue to add tracks or modify them. In
upcoming chapters, you will find out how to change the track instruments, record your
own tracks, export your finished song to iTunes, and burn your own CD to play for your
adoring fans.
29
3
RECORDING YOUR OWN MUSIC WITH
SOFTWARE INSTRUMENTS
o doubt that playing around with the prerecorded Apple Loops is

fun. But the real power of GarageBand is creating your own musical compositions with Software Instruments. Lets unleash the
power to create your own compositions using GarageBands Software
Instruments.
PLAYING GARAGEBANDS SOFTWARE

INSTRUMENTS
Perhaps the coolest thing about GarageBand is that for your $49, you
get over 50 great-sounding instruments with it. You get practically an
entire orchestra inside your Mac. Previously, when you bought a MIDI
sequencer you either had to buy add-on Virtual Instrument packages
costing hundreds of dollars or have MIDI hardware sound modules
hooked into your Mac. No more, thanks to GarageBand.
Lets find out just what Software Instruments are. Also, how you can use
either GarageBands onscreen Musical Keyboard or a MIDI keyboard to
play music with Software Instruments.
WHAT ARE SOFTWARE INSTRUMENTS?

In GarageBand there are two kinds of instruments.
Prerecorded sound files (such as Apple Loops and imported sound
files) or a live audio input (such as a guitar or vocals) plus any
effects added to them to form a RealInstrument.
Sounds generated within GarageBand plus any effects added to
them form a Software Instrument.
IN THIS CHAPTER:
Explore GarageBands
built-in Software
Instruments
Learn to use GarageBands
Onscreen Musical
Keyboard to play Software
Instruments
Learn to use a MIDI keyboard to play Software
Instruments
Record Software
Instrument tracks
Edit Software Instrument
tracks
Record a song using
Software Instruments
32
CHAPTER 3 RECORDING YOUR OWN MUSIC WITH SOFTWARE INSTRUMENTS

GarageBand calls these built-in sound generators Software Instruments. The important
thing to know is that you can play Software Instruments in GarageBand with
GarageBands Onscreen Musical Keyboard or an external MIDI keyboard.
notes
Refer to Chapter 1,
Getting Started with
GarageBand, when
using Software
Instruments to make
sure you have your
system set for optimal
performance.
You can learn more
about exporting your
song to iTunes in
Chapter 7, Finishing
Up.
Another thing about Software Instruments is that they use your Macs processor to do some very complex calculations to generate sound, so the more powerful your Mac is, the more software instruments you can use at any one time.
Before we actually start to play these things, lets find out a little more about
MIDI.
WHAT IS MIDI?
Back in the early 80s someone thought it would be a great idea if they could use
one keyboard to control a whole stack of synthesizers. Musical Instrument Digital
Interface (MIDI) was born. MIDI is a language that allows a controller musical
instrument to talk to a bunch of other instrumentsmuch the same way your
keyboard talks to your Mac.
Someone else figured out that you could record those musical instructions and
save them to a file. Then, you could play that file back and control not only the
original stack of synthesizers, but also any stack of MIDI-compatible instruments
that you wanted.
The MIDI sequencer was born. This is exactly the same as if you typed a document
into your Mac and later decided you wanted to change the font. So think of a MIDI
sequencer as a musical word processor.
GarageBand is a MIDI sequencer in addition to being a loop sequencer and audio
recorder. The only difference between GarageBand and a high-end MIDI sequencer is
that GarageBand cant export a MIDI file of your performances for use in other programs. It can, however, use its built-in Software Instruments to play back your performance and save it in the GarageBand song file. You can also export your song as an
audio file to iTunes.
PLAYING SOFTWARE INSTRUMENTS USING THE ONSCREEN MUSICAL

KEYBOARD
As a special bonus, Apple has included a handy onscreen music keyboard with
GarageBand. Lets play with it!
Launch GarageBand. If this is the first time you have used GarageBand, the New Project
dialog appears immediately. Otherwise, you can bring up the New Project dialog by
selecting File > New.
Go ahead and accept the settings and click Create. If a dialog comes up that asks you if
you would like to replace the project My Song, click Replace (unless you have already
created a masterpiece using that filename, in which case you need to give the new file a
unique name).
You should now be looking at a screen that is similar to the one shown in Figure 3.1. You
might also already have the Onscreen Musical Keyboard window labeled Grand Piano
open; if not, select Window, Keyboard (or just press +K).
PLAYING GARAGEBANDS SOFTWARE INSTRUMENTS
33
FIGURE 3.1
This is GarageBands
default New Song screen.
But wait, theres more!
GarageBand also includes
the free Grand Piano
bonus track.
Now you should definitely have the Onscreen Musical Keyboard floating in front of the
main GarageBand window. The keyboard will look very much like what you see in
Figure 3.2.
FIGURE 3.2
Its the Onscreen Musical
Keyboard, with real musical keyboard action!
Click the Onscreen Musical Keyboard key labeled C4. You should see the key
turn blue and hear the glorious tone of the GarageBand Grand Piano
sounding the note middle C.
Now click several times on the C4 key, starting at the bottom of the key and
working upward toward the top of the key. Notice how the sound is softer
toward the top and louder toward the bottom. This is Apples clever solution to being able to play dynamically using the Onscreen Musical
Keyboard.
Go ahead and try clicking to play the keys. Fun, huh? Notice that you can
click the little arrows on the left and right of the Onscreen Musical
Keyboard. These arrows move the keyboard range up or down an octave.
Wow! Even more fun, click and drag across the keys and you can be a virtual Jerry Lee Lewis!
Playing a 1'' tall piano has its appeal, but lets turn it up a notch. Select
Track, Show Track Info (or press -I) . In the Track Info window select
Guitars and then Big Electric Lead. Close the Track Info window. Notice that,
in the Tracks column of the main GarageBand window, the Grand Piano has
tip
Click the green
window button in the
upper-left corner
of the Onscreen Musical
Keyboard. Holy ebony
and ivory, Batman! Its
the worlds longest keyboard! Click the green
button again and your
keyboard returns to normal size. You can also
drag the lower-right corner of the window to
expand the keyboard
horizontally.
34
note
You can also bring up
the Track Info window
for a selected track
by double-clicking
the Instrument name
or icon in the Tracks
column or by clicking
the second button
from the left with the
lowercase i in it, on
the GarageBand control bar.
turned into Big Electric Lead. Also notice that your Onscreen Musical Keyboard is
now labeled Big Electric Lead. Go ahead and jam a littleor a lot.
Okay, enough! Select Track, Show Track Info again. In the Track Info window,
select Drum Kits and then Dance Kit. Close the Track Info window. Notice that, in
the Tracks column of the main GarageBand window, the Big Electric Lead has
turned into Dance Kit (see Figure 3.3). Also notice that your Onscreen Musical
Keyboard is now labeled Dance Kit.
Click the Onscreen Musical Keyboard key labeled C1. If you cant see the key
labeled C1, shift the keyboard an octave down using the arrow button on the
left side of the Onscreen Musical Keyboard. When you click C1, you should hear
a kick drum; if you move up one white key to D1, it should sound like a snare
drum.
Explore where various drums are on the keyboard. This is known as the drum key
map. Refer to Appendix H, General MIDI Drum Key Map, for a drum key map
diagram.
FIGURE 3.3
The Onscreen Musical
Keyboard has magically
changed its name and
sound from a grand piano
to a lead guitar to a dance
drum kit.
note
General MIDI is a standard protocol established by the MIDI
Manufacturers
Association for MIDI
drum key placement
and MIDI instrument
program numbers.
Select GarageBand, Quit GarageBand (or press -Q), and then click Dont
Save.
Next well talk about using an external MIDI music keyboard. If you dont
have a MIDI keyboard yet, you can still use the Onscreen Musical Keyboard in
the rest of this chapters exercises, but using a full-size keyboard sure will be
easier.
Using a full-size musical keyboard is vastly superior to using GarageBands
Onscreen Musical Keyboard to play and record music in GarageBand. But its
nice to know that the onscreen keyboard is there if you need it.
RECORDING A SOFTWARE INSTRUMENT TRACK
RECORDING A SOFTWARE INSTRUMENT

TRACK
tip
If you have a
USB music
keyboard, just
plug it into your
Mac. If you have a MIDI
model (one that only
supports a 5-pin connector), you need a USB
MIDI interface to bridge
your gear to your Mac.
Refer to Hooking Up
Your MIDI keyboard in
Appendix B, Configuring Your Studio.
While being able to play GarageBands Software Instruments is fun in a

Lets all gather around the piano sort of way, the real meat and potatoes of GarageBand is its recording capabilities. You learned how to
lay down a rhythm track using Apple Loops in Chapter 2, Making Music
with Apple Loops. Now youll learn how to lay down some tracks of your
own.
THE GARAGEBAND CONTROL BAR

You can control most of GarageBands recording functions from the Control
Bar.
Lets take a quick tour of the Control Bars buttons and functions. Your
homework for tonight is to memorize Figure 3.4.
Loop Browser
New Track
Rewind
Record
Fast Forward
Time Display bar
Master Level Meters
FIGURE 3.4
You pretty much rock
GarageBands universe
from the Control Bar.
Master Volume Slider
Go to Beginning
Cycle
Track Info
Track Editor
Play
Time Format
35
Time Display
Measure Format
Tempo Indicator
Starting from the left side of the bar, the buttons and controls are as follows:
New TrackThis button brings up the New Track window. You can also go to the
Track menu and select New Track (or press Option--N). The New track window
allows you to create a new track and select an instrument in GarageBands main
window.
Track InfoThis button brings up the Track Info window. You can also go to the
Track menu and select Show Track Info (or press -I). The Track Info window allows
you to select a new instrument for the currently selected track.
Loop BrowserUse this button to open the Loop Browser panel. You can also go to
the Control menu and select Show Loop Browser (or press -L). The Loop Browser
is covered in depth in Chapter 2.
Track EditorThe Track Edit panel opens when you click this button. You can also
go to the Control menu and select Show Editor (-E). The Track Editor is covered in
depth later in this chapter.
36

Record buttonClicking this button (or pressing R on your keyboard) toggles the
record function on and off. Click to start recording and then click again to stop.
Go to BeginningClicking this button (or pressing the Home or Z key) returns the
playhead to the beginning of the song.
RewindAs its clever name indicates, clicking this button (or pressing the leftarrow key) moves the playhead backward one measure. It rewinds the playhead if
clicked and held.
PlayClicking this button (or pressing the spacebar) toggles between the
play/pause function.
Fast ForwardIf you guessed that this button (or pressing the right-arrow key)
moves the playhead forward one measure when clicked or fast-forwards the playhead if clicked and held, then you were exactly right.
CycleClick this button (or press the C key) to toggle the cycle region function. The
cycle function allows you to cycle (loop) a section of a song for either recording or
playback.
Time Display barContains the Time and Tempo Display as well as the MIDI Input
Indicator.
Time/Measure FormatClicking this button toggles the format of the time display.
To change the time display to absolute time (hours, minutes, seconds, and fractions of a second), click the small clock button to the upper left of the display. To
change the time display to musical time (measures, beats, and beat divisions), click
the small note button to the lower left of the display.
Time DisplayThis area shows the current location of the playhead.
Tempo IndicatorHere you can change the tempo of your song. To change the
tempo of your song, click the tempo in the display and drag the slider that appears
to set a new tempo.
Master Level MetersDisplays the overall output volume level of a song.
Master Volume SliderDrag to adjust the overall output volume level of a song.
Familiarizing yourself with the buttons and controls of the Control Bar will make working with GarageBand much easier. Next well explore actually recording a Software
Instrument track.
RECORDING YOUR FIRST SOFTWARE INSTRUMENT TRACK

Now that youve played Software Instruments using a keyboard and had a quick runthrough on GarageBands buttons and controls, you are ready to record a Software
Instrument track. Well also familiarize you with some more of GarageBands interface
elements and controls.
Lets go ahead launch GarageBand and open a new song:
If this is the first time you have used GarageBand, the New Project dialog appears
immediately. Otherwise, you can bring up the New Project dialog by selecting File
> New.
Go ahead and accept the Tempo and Key settings, name the song Key
click Create.
test,
and
We should pretty much be looking at the same screen as we had in Figure 3.1
with Grand Piano as the selected Software Instrument. If you are using a MIDI
keyboard, play a few notes to make sure that your MIDI keyboard is connected
correctly.
Select Control > Metronome if you want to hear a metronome to help you play on
tempo. Selecting Control > Count In gives you a one-measure count-in before
recording. This is just like Joey Ramone counting in before every song, except you
dont hear Joey shouting, One, two, tree, fo!
Click Record. You should hear a clicking soundthat is the metronome. Notice that
the first click for every measure is slightly louder and at a different pitch. This helps
you to begin to play at the beginning of a measure.
Play a few notes; then click Play to pause the playhead, and stop recording. Notice
that a green region named Grand Piano has been created in the timeline.
If you would like to play back what you just recorded, click Go to Beginning and then
click Play. You should see the playhead move along the timeline. When the playhead
reaches the segment, you should hear the notes that you recorded.
Click Play or press the spacebar on your computer keyboard to pause playback. Then
click Go to Beginning to return to the beginning of your song. This should look something like Figure 3.5.
Segment
Mix Column
Timeline
Tracks Column
Playhead
Timeline Grid Button

Beat Ruler
FIGURE 3.5
Look, Mom, my first
GarageBand recording!
Zoom Slider
Congratulations, youve completed your first GarageBand Software Instrument recording. Unless you are particularly attached to your recording, you can now delete the
region you just recorded by either going to the Edit menu and selecting Delete or pressing the Delete key on your computer keyboard.
37
38

Lets take a quick tour of some the features of the Track window as shown in Figure 3.5.
There will be a pop quiz:
Tracks columnContains the name and icon for an instrument as well as the Mute
button, which silences the track; the Solo button, which allows you to hear a track
by itself; and the Track Volume disclosure triangle, which shows the tracks volume
curve in the timeline.
Mix columnContains the Pan wheel, which allows you to adjust the left-right
positioning of a track in the stereo field; the Volume slider, which adjust the tracks
volume during recording and playback; and the level meters, which allow you to
see the tracks volume level.
Zoom sliderDrag the Zoom slider to see a closer view or to view more of the timeline.
RegionRegions are created when you add loops or record Software or Real
Instruments. You can cut, copy, paste, and otherwise manipulate regions to build
the arrangement of your song.
TimelineThe area that contains your recorded tracks and regions as well as the
beat ruler, which acts as a time-based ruler for your song. The timeline is where
you arrange your song.
PlayheadShows the current position in the song that is being played or recorded.
You can also move the playhead to navigate through the song.
Beat rulerA time-based ruler that is subdivided by measures and beats, which
are the units of musical time. You can click the beat ruler to move the playhead to a
precise position on the timeline.
Timeline grid buttonAdjusts the resolution of the beat ruler. Set it to automatic
to have the value change as you zoom in or out in the timeline.
CYCLE RECORDING A SOFTWARE INSTRUMENT TRACK

Cycle recording is a powerful method for recording Software Instruments in
GarageBand. Well show you how to build up a drum loop using cycle recording.
We are going to presume that you still have your song, aptly titled Key
If not, the rest of the class will wait around while you open the song.
test,
still open.
Just to make things more interesting, lets build a four-measure drum loop. First lets
switch the Software Instrument from Grand Piano to the Pop Drum kit:
1
2
3
4
5
Select Control > Metronome to keep us on beat.

Select Track > Track Info. In the Track Info window select Drum Kits and then Pop
Kit.
Close the Track Info window, and you should have Pop Kit as the current instrument.
Click Cycle. You will notice that a yellow bar appears below the beat ruler of the
timeline. This is called the cycle region (see Figure 3.6).
Drag the cycle region so that it is between measures 1 and 5 on the timeline. Click
Record and play a few notes in time with the metronome with your keyboard.
39
The Cycle Region
FIGURE 3.6
The cycle region is sort of
like GarageBands spin
cycle.
6
7
8
9
Notice that you have created a four-measure region that is cycling and that the
Record button is still active.
While still recording, play a few more notes. The new notes are added
to your previously played notes. While the notes displayed in the
region seem to be erased with each pass of the cycle, you can still
hear all the notes that you have played.
Click Record to toggle the recording off. Notice that GarageBand is
continuing to play back the cycle region and that now all the notes
that you played are displayed in the region.
Click Play to pause playback.
You can see how cycle recording is really useful if you want to create a
complex melody but can only hen-peck keys or are using the onscreen
keyboard.
Play and record a few notes on the first pass of the cycle region, and you
can add notes one or more at a time each time the region cycles.
GarageBand keeps adding your performances to the existing notes. Click
the record button or press the R key when youre finished and want to stop
recording.
caution
Exiting the cycle
recording using the
record button
appends each recording cycle. Exiting the
Cycle Record mode
using the play button
keeps only the last
recording cycle, discarding the previously
recorded cycles.
Click Record again. Play some more notes. Notice that your notes are being appended
to the previous recording. Click Record to toggle the recording off. Your region with
all the appended notes will continue to play. Go ahead and click Play to pause playback.
You can add notes to a previously recorded Software Instrument region. Cool, huh?
40

Im going to repeat the caution I already offered on the sideit is really, really important. If you exit cycle recording by clicking the play button or you press the spacebar
to stop recording when you have cycling enabled, you will lose all of your previous
recordingsonly your last recording pass will have been saved. This feature is both
powerful and dangerous.
For example, if you want to play a part over and over until you get it just right, exit cycle
recording by clicking the play button or pressing the spacebar to stop recording and
only your last and presumably best pass will be saved.
Also note that cycle recording is not just for drums. Cycle recording any Software
Instrument works exactly the same way whether the Software Instrument is drums or
acoustic guitaras long as it is a Software Instrument. As you will see in the next
chapter, cycle recording works differently for Real Instruments.
note
OVERDUBBING A SECTION OF A RECORDING
You can also overdub a

section of a recording
by creating another
track with the same
instrument of the track
you wish to overdub.
Use cycle recording to
record your new notes
and edit the regions to
append or replace the
offending notes. This
is a safer but more
processor-intensive
method.
Overdubbing a region using cycle recording is a two-edged axe that will allow you
to either append or replace notes within a Software Instrument region. But be
careful with that axe, Eugene, because it is very easy to replace when you intend
to append.
Say that we really liked three out of four measures of our previously recorded
four-measure drum region and that we want to append or replace some notes to
measure 2. You can use cycle recording to overdub a portion of a Software
Instrument region either to append or replace notes, depending on how you exit
cycle recording. Take another glance at the caution in the previous section, so we
dont want to have to say, Told you so.
Go up to the yellow Cycle Segment bar with your cursor. Notice that as you roll
over the ends of the Cycle Segment bar that your cursor changes to a vertical bar
with left or a right arrow. You can click and drag either end of the cycle region to
make it larger or smaller. Use this method to place the cycle segment over measure 2 of your song, as shown in Figure 3.7.
FIGURE 3.7
Honey, Ive shrunk the
cycle region.
Click Record. Play a couple more notes. To append the notes to your recording, click
Record again to exit the Recording mode. You should hear your appended notes playing
back. To replace the notes of the cycle region, click Play to exit Recording mode. Click
Play again and you should only hear your newly recorded notes. Click Play to pause
playback. And then click Cycle to turn off cycling.
EDITING A SOFTWARE INSTRUMENT TRACK
You now have a new highlighted region on measure 2 with either the appended or
replaced notes. Shift-click the measure 1 region and the measure 3 and 4 regions. You
should have all the regions highlighted at this point. Go to the Edit menu and select Join
Selected. This command merges the data of all the selected regions and creates a single region with the appended or replaced notes in measure 2.
If you are not happy with the replaced segment, you have one last opportunity to
undo your recording. Go to the Edit menu and select Undo Recording to give it
another shot.

The biggest plus to recording Software Instruments is that they can be edited extensively after recording. After recording a track, not only can you change the sound of an
instrument, but you can change the entire instrument. You can see if that screaming
guitar solo sounds better as a screaming sax solo or even a screaming tuba solo if you
happen to be touring Wisconsin.
You also have extensive note editing options to make sure that your recording of The
Depeche Mode Polka comes out just right.
EDITING SOFTWARE INSTRUMENT REGIONS

Editing and manipulating Software Instrument regions is exactly the same as manipulating Software Instrument loops, which we did in Chapter 2.
CHANGING SOFTWARE INSTRUMENTS

After youve recorded a track with one Software Instrument, you can easily switch the
track to another Software Instrument to see how it might sound. Lets record a new fourmeasure cycle:
1
2
3
4
5
6
Create a new song by selecting File > New.

Accept the Tempo and Key settings. Name the song Change
test.
Click Create.
Click Cycle and expand the cycle region to cover measures 14.
Click Record and play some notes; then click Record again to turn recording off.
You should hear the notes that you recorded playing back and cycling over and over
and over. Starting to get tired of the Grand Piano?
Select Track > Track Info. In the Track Info window select Strings and Hollywood
Strings. After a couple of seconds, you will hear that the instrument has indeed
changed to Hollywood Strings. Close the Track Info window to accept the
change.
Click Play to pause playback. Your piano part has now become a string part.
41
42
tip
By duplicating
a track and
then changing the instrument of the duplicated
track, you can add richness to your musical
composition. Let your
ears be your guide.
You will notice, however, that the track region is still labeled Grand Piano; this is
handy if you want to remember which instrument you used to originally record a
part. You can just as easily rename the region to the new instrument or anything
else for that matter. Renaming regions is a perfect segue to our next section on
using the Track Editor.
EDITING SOFTWARE INSTRUMENT TRACKS USING THE TRACK

EDITOR
GarageBands Track Editor allows you to edit almost everything in a Software
Instrument track region. Using the Track Editor, you can often turn that so-so performance into something special.
Like cracking a nut, there are several ways to open the Track Editor. If you are into
clicking buttons, click the track editor button on the GarageBand Control Bar (refer
to Figure 3.4). You can also go to the Track menu and select Show Editor (or press -E).
Or you can even double-click a region in the timeline to open that region in the Track
Editor (see Figure 3.8).
Column Collapse
Name field
Advanced Edit
Note
Beat Ruler
Edit Grid
Grid Menu
FIGURE 3.8
The Track Editor is one
place that you can fix it
in the mix.
Zoom Slider
Pitch Ruler
Popup menu
Play Head
RENAMING A REGION
To rename a region, simply click in the Name field and type in a new name.
FIXING NOTE TIMING

Even if you were not playing exactly on the beat, you can use the magic of the Fix
Timing button to put you in the pocket. The Fix Timing button snaps your notes to the
nearest ruler grid as defined by the Grid menu setting. The Grid menu is that small ruler
icon hiding out in upper-right corner of the Track Editor (refer to Figure 3.8). Clicking
the Grid menu brings up a menu of various musical timing divisions as well as an automatic setting (see Figure 3.9). The automatic setting is tied to the Zoom slider setting in
the lower-left corner of the Track Editor (refer to Figure 3.8).
To fix a regions timing, you must first highlight the region by clicking the region in the
Edit Timeline grid. Then set the beat amount you want your notes to snap to by either
moving the Zoom slider or selecting a value from the Grid menu. And then finally snap
your notes to a grid value by clicking the Fix Timing button. Experiment with different
timing values to get your regions rhythm to sound just right.
43
FIGURE 3.9
The Grid menu, like
Frodos ring, is small and
very powerful.
You can also alter a notes timing by clicking the note in the Edit grid and moving the
note by click-dragging the note left or right on the grid. And, again, you can adjust the
grid timing values by either moving the Zoom slider or selecting a value from the Grid
menu.
For many, the Fix Timing button is a godsend as it can correct small mistakes in timing; for others it is hell spawned because it can easily ruin subtle intentional nuances in timing. Use it at your own risk. Theres always
Undo.
CHANGING A REGIONS PITCH

If you played a region in a different musical key from the rest of the song
or would just like to hear a part in a different key, you can adjust the
pitch of the entire region by moving the Transpose slider. Note that the
pitch values of the notes on the Edit grid do not change with the
Transpose value. The notes on the Edit grid remain at their original positions on the grid. Only the Transpose display tells you that the notes
have been transposed.
EDITING A NOTES LOUDNESS

A particular notes loudness is determined by its velocity value. The harder
you play a note the louder it is. You can adjust the overall loudness of a
region by selecting all the notes in a region (press -A) and adjusting the
Velocity slider. You can also select an individual note and adjust its velocity
value with the Velocity slider.
tip
You can introduce chordal
movement
into your song
by duplicating a region
a couple of times and
then transposing the
duplicated regions. A
classic Louie, Louie
rock-and-roll chord
movement is CCC, FF,
GGG, FF.
44

EDITING NOTE PITCH
If you hit a wrong note when recording a region, dont worry. You can fix it in the
editor. You can alter a particular notes pitch by clicking the note in the Edit grid
and moving the note by click-dragging the note up or down on the grid. Notice
that you hear the notes pitch change as you move it up or down on the grid.
Also note the piano keyboardlike ruler on left side of the grid to help you find
the pitch you are looking for.
note
Velocity doesnt just
affect loudness; it can
also affect the character of a note. Some
sound quite different
depending on how
loudly or softly they
are played.
EDITING NOTE DURATION

Sometimes a note is held down too long or not long enough. This is called the
notes duration. You can alter a particular notes duration by clicking and dragging the tail end of the note forward or backward in the Edit grid. If Snap To Grid
is enabled in the Control menu, the notes duration snaps to the grid value as
set in the Grid menu or by the Zoom slider.
DUPLICATING AND ADDING NOTES
tip
You can select
a group of
notes to edit
by Shift-clicking
them or by dragging
around the group of
notes. You can then
perform any of the previously mentioned editing functions to the
group of notes, as well
as the standard Mac
edit functions of cut,
copy, paste, and delete.
Not only can you fix mistakes in the editor, but you can also get creative. If
you want to duplicate a note and then drag it to another pitch or place in the
timeline, just select the note you wish to duplicate and drag it to another
location while holding down the Option key. If you want to add a note to the
region, press and youll see the cursor change to a pencil shape. Place the
cursor over the point in the grid where you want the note to appear and then
click to place the note.
EDITING MODULATION, PITCH BEND, AND SUSTAIN

Modulation, pitch bend, and sustain are ways to add musical expression to
notes beyond pitch, loudness, and duration. These are known in the MIDI
world as continuous controllers. Your MIDI keyboard probably has a pitch
bend and a modulation wheel as well as a jack for a sustain pedal. You might
use the pitch bend wheel to bend a note in a sax solo, the modulation
wheel to add vibrato to a cello, or the sustain pedal to extend the sound of
a piano note.
If you recorded your performance and used these controllers, you have the ability to
edit them in the Edit window. Click the Display pop-up menu to select either Pitch
Bend, Modulation, or Sustain:
Pitch bendCan alter the pitch of a note or series of notes up or down two semitones for most Software Instruments. These are expressed in GarageBands editor
as grid values between 64 and +64.
ModulationUsually controls the vibrato or rapid cyclic volume modulation of
a note or notes of a Software Instrument. These are expressed in GarageBands
editor as grid values between 0 and 127, depending on the depth of modulation.
SustainAn on or off value, it is expressed in GarageBands editor as grid values
between 0 and 1, with 1 meaning that sustain is on.
EDITING SOFTWARE INSTRUMENTS
45
You can experiment with altering these values in a previously recorded performance or
edit the values in the Track Editor if you used these controllers while recording a
Software Instrument.
If the controller was used, the controllers movements appear as lines connected by
dots, called control points. These are similar to a volume curve in the timeline, which
we explored in the Adjusting Track Volume section of Chapter 2 (see Figure 3.10).
FIGURE 3.10
A modulation curve that
looks strangely like my
stock portfolios value.
You can move the control points on the grid to change their values or click
the line to add a control point. You can also use -click to draw control
points from scratch. Select a control and press Delete to delete a control
point.
EDITING SOFTWARE INSTRUMENTS

GarageBand has a great collection of Software Instruments, but there is
going to come a time when you want to tweak an instrument to make it
sound just right, or you might even want to perform massive surgery on an
instrument to give it a sound all your own. We will go into depth about creating your instruments in Chapter 8, Making Your Own Software and Real
Instruments. But for now well show you how to alter a Software
Instrument and save it as part of your song.
caution
Using continuous controllers adds a huge
amount of data to the
MIDI stream, which
may negatively affect
GarageBands performance. Use continuous controllers
judiciously and use the
editor to thin the control points.
SOFTWARE INSTRUMENT SETTINGS

If you open the Track Info window, you will notice a triangle marked Details in the
lower-left corner of the window. If you click that triangle, suddenly the Track Info window expands and you can find all the settings which make each Software Instrument
unique. Take a look at Figure 3.11.
THE TWO PARTS OF A SOFTWARE INSTRUMENT: GENERATORS AND EFFECTS

There are basically two parts that make up a Software Instrument: a generator, which
creates the instruments sound, and effects, which alter the instruments sound.
The main difference between a Software Instrument and a Real Instrument in
GarageBand is whether or not the instrument uses a generator to make sound.
If you are feeling brave, you can adjust the settings inside the Track Info window for the
current instrument and then close the Track Info window, and your changes will be
applied to the instrument and be saved along with your current song when you save
your song.
However, if you change the tracks instrument before saving your song, your changes
will be lost.
46
FIGURE 3.11
Secrets of the Track Info
window: the expanded version or Behind the Scenes
of Hollywood Strings.
SAVING AN INSTRUMENT
If you tweak the settings in your current instrument and then attempt to change the
instrument for the current track, you will get a dialog asking you if you want to save the
file before switching to a new one. You can select Dont Save, which simply forgets the
tweaks that you made and loads the new instrument. If you select Save, you are
presented with a Save As dialog, which allows you to save your tweaked instrument under a name of your own invention.
tip
You can also click the Save Instrument button in the lower-right corner of the
Track Info window and you will be presented with the same Save As dialog.
You can download this project file and a

MP3 of the
completed song from
Again, we will go much more into depth with creating your own Software
Instruments in Chapter 8.
CREATING A JAZZ TUNE
http://macaudioguy.
com/gbb/downloads/.
Tired of just playing a few notes? Want to jam a little? Good. Lets put together a
jazz tune using some Software Instruments.
WE GOT RHYTHM
First, lets launch GarageBand and create a new song:
1
2
Select File > New. Keep the tempo at 120bpm and set the key to A using the Key
menu. Finally, lets name the song Jazz Thang and click Create.
Get rid of the Grand Piano track for now. Select Track > Delete Track (or press
-Delete).
CREATING A JAZZ TUNE
3
4
5
To create a Real Instrument track for your drums (in order to save processor power),
select Track > New Track (or press Shift--N).
Drag the Lounge Jazz Drums 01 loop to the timeline. Drag the right
side of the region (using the curved-arrow cursor) to extend the loop to
the right. Drag it all the way to the other side of the screen and let the
timeline scroll automatically to the right. Extend it to 32 measures,
stopping at the start of measure 33.
7
8
9
Go back to the Loop Browser and click Drums to deselect the Drums
button while still keeping Jazz selected.
47
In the New Track window, click Real Instrument and then click Drums
and Detailed Drums. Then click OK to create the track for our drums.
Next, open the Loop Browser by clicking the Loop Browser button (or
press -L). Expand the Loop Browser by dragging the Control Bar up.
Select Drums and Jazz from the Loop Browser.
Next, click Bass and drag the Cool Upright

of the timeline just below our drum track.
Bass 01
loop to measure 1
Drag the right side of the region (again, using the curved-arrow cursor)
to extend the loop to the right. Drag it all the way to the other side of
the screen and let the timeline scroll automatically to the right. Extend
it to 32 measures, stopping at the start of measure 33. One more track
and well have a groove.
tip
All Software
Instrument
loops become
Real Instrument
loops when dragged to
a Real Instrument track.
This is a very important
concept for getting
more tracks out of
GarageBand. Real
Instrument tracks barely
impact your Macs
processor compared to
the heavy toll that
Software Instrument
tracks demand.
10
Go back to the Loop Browser and click Bass to deselect the Bass button while keeping Jazz selected. Click Elec. Piano and drag the Fusion Electric Piano 12 loop to
measure 1 of the timeline just below our bass track.
11
Drag the right side of the region (using the curved-arrow cursor) to extend the loop
to the right. Drag it all the way to the other side of the screen and let the timeline
scroll automatically to the right. Extend it to 32 measures, stopping at the start of
measure 33.
12
Finally, click Cycle to turn on the Cycle Section and drag the Cycle Section bar so
that it covers from the beginning of measure 1 to the beginning of measure 33. Click
Play to hear your rather sleepy jazz rhythm section.
SOLO TIME
Now that weve got our rhythm section groovin, lets lay a solo on top.
Go to the Track menu and select New Track (or press Shift--N). In the New Track
window, click Software Instrument. Next, select Woodwinds and then Alto Sax.
Click OK.
While this is an okay-sounding sax, lets bump it to the next level. Open the Track
Info window for the sax track. Click the Details triangle. Next, lets tweak the
reverb effect up to about 75% and the echo effect up to about 50%, as shown in
Figure 3.12.
48
FIGURE 3.12
A little reverb and a little
echo and we have an alto
sax suitable for a rainy
night solo.
Close the Track Info window by clicking the red button in the upper-left corner of
the window.
You should now have a very wet and lonely sounding alto sax with which to play your
solo. What about your solo? Thats up to you. Hit the Record button and lets see what
you got, baby!
Be sure to save this song for future reference, and so that all your hard work isnt lost.
4
RECORDING YOUR GUITAR
t is probably safe to say that most musicians in the United States play
guitar. Apple realized that for GarageBand to succeed, it needed to be
guitar friendly. After all, a garage band with a bunch of keyboardists
just doesnt say rock n roll.
In the previous two chapters we showed you how to record backing
tracks using Apple Loops and a keyboard. Now well show you how to
use GarageBands Real Instrument recording capabilities to lay down
some guitar tracks.
GETTING YOUR GUITAR TO PLAY WELL

WITH GARAGEBAND
Plugging your guitar into your Mac might seem unnatural, but its actually no more difficult than plugging it into your amp. In this section well
show you some dos and donts on getting your guitar, your Mac, and
Garageband set up to record your guitar.
Its a good idea to take a look at Appendix B, Configuring Your Studio,
to get the lowdown on all the ways you can physically hook up your guitar to your Mac before we get started.
SETTING AUDIO LEVELS

The most critical and most often overlooked aspect of getting a great
recorded guitar sound is properly setting up the audio input levels. There
is nothing nice about digital clipping distortion from recording too hot,
and once its recorded you cant fix it in the mix.
IN THIS CHAPTER:
Set up GarageBand to
record real guitar tracks
Get the scoop on choosing
the right GarageBand guitar amp for your recording
Record and edit your own
guitar tracks
Learn various methods of
overdubbing to fix mistakes in your tracks
Use what youve learned
to record a rock song
50
CHAPTER 4 RECORDING YOUR GUITAR

GUITAR VOLUME
The first link in this chain is the volume control on your guitar. A lot of guitarists start
with their volume knob set at 5. Then, after the recording engineer has carefully set the
input levels for the recorder, the guitarist will decide that they need more volume and
turn their guitar volume up.
Dont do this. Set you guitar volume at 10 and leave it aloneunless your guitar does
the snap, crackle, and pop when its set to 10; then you can turn it down a little. Later in
this chapter well show you how to set up monitoring so you can hear yourself clearly.
KEEP IT SIMPLE
Use your best guitar cord and, depending on your configuration, plug it directly into the
preamp, mixer, or Mac (following). Using high-quality cables with as few connectors as
possible is the best way to keep an infuriating pop or buzz from ruining your otherwise
stellar performance. If you are using a preamp or a mixer, make sure that your volume
levels are set properly and are not distorted. If youre not sure how to set your audio
levels, take a look at the section on setting levels in Chapter 5, Recording Vocals and
Other Instruments.
AVOID USING STOMP BOXES
ost guitar players use outboard guitar effects, often called stomp boxes, to shape their
guitar sound.
Do yourself a favor. Avoid using stomp boxes.

GarageBands high-quality effects and guitar amp simulations usually allow you to get the
guitar sound you are looking for without using stomp boxes.
These effects are problematic for recording. Usually these boxes use relatively low-quality
electronics and can be noisy. Making sure that the connections between effects are noise
free and that the volumes are set properly can be a nightmare. Remember that a signal chain
can only sound as good as its weakest link.
CONFIGURING YOUR MACS SOUND INPUT SETTINGS

If your guitar is hooked up to your Mac audio-in port, rather than through an external
audio interface, youll need to set input levels in the Sound pane of your Macs System
Preferences.
To set your Macs sound input levels:
1
2
3
4
Select the Apple menu, and select System Preferences.

Select Sound.
Click Input.
Select your sound input device from the sound input menu.
In most cases your sound input device is Line In, as shown in Figure 4.1. However,
depending on your Mac model it might be External Microphone/Line In or Sound Input.
GETTING YOUR GUITAR TO PLAY WELL WITH GARAGEBAND
FIGURE 4.1
The Sound pane of the
System Preferences menu
is where you control input
volume levels.
Next, you need to play your guitar at a typical volume level. Set the input
volume to your Mac using the Input volume slider. You want to set the volume level so that when youre playing your loudest, the second segment
from the right of the Input level meter is illuminated as shown in Figure 4.1.
SETTING THE INPUT VOLUME OF AN EXTERNAL AUDIO INTERFACE

If you are using an audio interface to get sound into your Mac, you need to
consult the devices documentation on how to set input levels. For example,
Griffin Technologys iMic uses your Macs Speech Recognition pane to set
input levels. Go figure.
tip
To be safe, you
should set the
Input level
every time you
hook up your guitar.
SETTING GARAGEBANDS AUDIO PREFERENCES

Now that you have sound coming into your Mac, you need to set GarageBands Audio
Preferences (see Figure 4.2):
1
2
3
4
Launch GarageBand.
Select GarageBand > Preferences.
Next select the Audio/MIDI tab in the Preferences panel.
Set the Audio Input and Output menus to the name of your audio device.
If youre hooked into your Macs Audio-in port, select Built-in Audio. If you are using an
audio interface, select its name from the drop-down menu. If your audio interfaces
name does not appear, check to ensure that you installed any drivers that may have
come with your device.
Next, set the Optimize for radio button to Minimum delay when playing instruments live.
This is to minimize latency when recording. Refer to Chapter 5.
51
52
FIGURE 4.2
The Audio/MIDI pane of
GarageBands Preferences
panel is yet another bus
stop on the path to
GarageBand audio nirvana.
CHOOSING AN AMPLIFIER
Now is when the fun starts. One of the super-cool features of GarageBand is its selection of tasty guitar Real Instruments, which include amp simulations coupled with some
really cool effects. One of our friends calls it Beck in a box. (Jeff Beck, not just Beck,
silly.)
Finally, you can record your guitar directly and have it sound like you are playing
through an amp. Your Mac masquerading as a Marshall stack, who wouldve thunk?
PLAYING A GUITAR REAL INSTRUMENT PRESET

Go ahead and launch GarageBand if you havent already done so, and follow these
steps to set up a new project:
1
2
3
4
5
6
Create a new song by selecting File > New (or pressing -N).
Name your song Amp
test
and click Create.
Get rid of the pesky Grand Piano track by selecting Track > Delete Track (or pressing -Delete).
Create a new track by selecting Track > New Track (or pressing Option--N).
In the New Track window, click Real Instrument and then select Guitars in the left
pane. In the right pane select Classic Rock.
Set Format to Stereo and Monitor to On, as shown in Figure 4.3, and then click OK.
CHOOSING AN AMPLIFIER
53
FIGURE 4.3
Whether you want your
guitar to sound like U2 or
Eric Clapton, theres a
Guitar preset for you in the
New Track window.
You should be able to play your guitar now and have it sound like you are
playing through an amp with a basic classic rock sound. Can you say
Deep Purple?
To try out some different amp sounds, select Track > Show Track Info
(or press Option--I). In the Track Info window, choose one of the other
guitar Real Instrument effects, like Arena Rock, and then close the Track
Info window. Go ahead and repeat this process to try out other Guitar
presets.
MODIFYING REAL INSTRUMENT SETTINGS

GarageBands preset Real Instrument effects are cool and useful, but
how about creating your own sound? Lets dig a little deeper into the
magic of GarageBands Real Instrument effects. Open the Track Info
window by selecting Track > Show Track Info. In the Track Info window, click the triangle labeled Details in the lower-left corner of the
window (see Figure 4.4).
If you are feeling brave, you can click the button with the pencil icon on
the far right of the Amp Simulation row and bring up the Amp Simulation
settings window shown in Figure 4.5.
note
If you make
any tweaks to
the settings during your
experimentation, you
might be presented with
a Save dialog. Dont
panic. Simply select
Dont Save if you want
to discard your changes
and switch to another
guitar. For more information on saving the new
settings, see Saving
Real Instrument
Settings just a little further on in this chapter.
54
FIGURE 4.4
The Details tab in the Track
Info window reveals all the
gory details behind a
Guitar preset.
FIGURE 4.5
The Amp Simulation settings window is chock full
of ways to adjust the way
your amp sounds.
RECORDING YOUR PERFORMANCE
55
There are buttons to push and sliders to slide. Tweak away, my friend.
When youve got something you like, close the Amp Simulation settings window and the
Track Info window and your changes will be applied to the instrument and will be saved
along with your current song.
SAVING REAL INSTRUMENT SETTINGS

If you tweak the settings in your current instrument and then attempt to
change the instrument for the current track, you will get a dialog asking
you if you want to save the file before switching to a new one. You can
select Dont Save, which simply forgets the tweaks that you made and
loads the new instrument. If you select Save, you are presented with a Save
As dialog which will allow you to save your tweaked instrument under a
name of your own invention.
You can also click Save Instrument in the lower-right corner of the Track
Info window and you will be presented with the same Save As dialog that
allows you to save your tweaked instrument under a name of your own
invention.
note
We will go
much more into
depth with creating
your own Software and
Real Instruments in
Chapter 8, Making
Your Own Software and
Real Instruments.

Time to get down to recording some tracks. Now that youve got your guitar hooked
up and youve tried a couple of GarageBands guitar Real Instrument settings, lets
record.
RECORDING A BASIC GUITAR TRACK

If you are happy with the Track settings from the previous section, go ahead and use
those settings.
Otherwise, click Track Info and then select Guitars and Classic Rock. Next, set Format to
Stereo and Monitor to On, as shown previously in Figure 4.3. Then close the window to
accept these basic settings.
To record a track
1
2
3
4
5
Play your guitar just to make sure youve still got audio happening.
To use a metronome while recording, select Control > Metronome.
To hear a one-measure count-in before recording, select Control > Count In.
Move the playhead to where you want to begin recording.
Click the Record button (R) to begin recording.
56
tip
Record only a
portion of a
songin
other words, a
verse, a chorus, or a
solowith each recording pass. This will give
you much more flexibility in editing regions
and tracks.
6
7
8
9
Play something with your guitar.

Click Play or press the spacebar to turn recording off and to pause
playback.
Click Go to Beginning to return to the start of the song.
Click Play to play back what you just recorded.
Notice that you created a region when you recorded. You can manipulate the
region you just created like any other region. See Moving Regions in
Chapter 2, Making Music with Apple Loops.
If you are unhappy with your recording, you can erase the track by selecting the
region(s) in the tracks timeline and pressing the Delete key. To only replace a
portion of your recording, check out the next two main sections of this chapter,
Editing Your Performance and Overdubbing Your Guitar.
note
Well cover region editing in depth in the
Region Editing Using
the Track Editor section of Chapter 6,
Editing and Mixing
Your Music. In
Chapter 9, Making
Your Own Loops, well
show you techniques
to turn your Real
Instrument tracks into
Real Instrument loops
for even more editing
flexibility.
EDITING YOUR PERFORMANCE

One of the cool things about GarageBand is that you dont have to be a
perfect guitar player to get a near-perfect recording. All it takes is a little
editing.
USING THE REAL INSTRUMENT TRACK EDITOR

When you recorded your guitar, you created what GarageBand calls a Real
Instrument track. Youll notice that the track regions are a purple color as
opposed to the blue and green regions we worked with in the previous chapters.
The Real Instrument track is slightly different from the previously discussed
tracks in that your track editing options are rather limited. In fact, in the
Track Editing window the only thing you can edit is the selected regions
name.
You can, however, perform all of the same region manipulations to the
track in the Track Editor that you can perform in the timeline. These include
splitting and joining regions as well as the usual edit functions of cutting,
copying, and pasting. Editing by manipulating regions is discussed in depth in
Chapter 2.
OVERDUBBING YOUR GUITAR
57
A TRACK OF A DIFFERENT COLOR
ou may have noticed that, in GarageBand, the regions in the timeline seem to come in
a variety of pleasing pastel shades.
These pastels are actually a color code for the various types of tracks (see Figure 4.6).
FIGURE 4.6
While the different track
types appear as shades of
gray in this figure, they are
actually soothing shades
of blue, green, and purple.
Light blueThese regions are Real Instrument Apple Loops, which are discussed in
Chapter 2.
Light greenThese regions are either Software Instrument Apple Loops, which are
discussed in Chapter 2, or Software Instrument tracks, which are discussed in
Chapter 3, Recording Your Own Music with Software Instruments.
Light purpleThese regions are Real Instrument tracks, which are discussed in this
chapter and Chapter 5.
If you happen to be color-blind, take heart in the fact that you can always refer to the
Track Info window to identify a tracks type.

Overdubbing is a recording technique to combine the best parts of several
performances or takes into one mistake-free track. Overdubbing is the
safest method to fix any mistakes in your performance.
THE DOUBLE-DOG SUPER-SAFE OVERDUB METHOD

To make absolutely sure that none of your original performance is lost
while still being able fix a bad note or phrase, use this technique.
Lets pretend that you just laid down a killer track using the Classic Rock
Real Instrument, except for that little boo-boo on measure 9.
note
The only downside to the
double-dog supersafe method is that
youre going to create
two or more tracks with
the associated load on
your system. Use as few
Software Instrument
tracks as possible to
get more Real
Instrument tracks.
58

CLONING THE TRACK
First well duplicate, or clone, the track:
1
2
3
4
5
tip
Or you could
have just
Optiondragged your
killer track to the new
track instead of doing
steps 4 and 5.
Select Track > New Track.

Select Guitars in the left page and Classic Rock in the right pane of the
New Track window.
Click OK to create the new track.
Select your killer track and select Edit > Copy.
Select the new track and select Edit > Paste.
See Figure 4.7 for the results of this operation.
FIGURE 4.7
Cloning your killer track
provides a safety net for
further evil experiments.
REMOVING MISTAKES
Note that GarageBand conveniently named the new cloned track killer
1 for us.
track.
Next, we want to get rid of measure 9 in the cloned track:
1
2
3
4
Move the playhead so that it is aligned with the beginning of measure 9.

Select Edit > Split (or press -T).
Move the playhead to the beginning of measure 10.
Again select Edit > Split.
5
6
Select the region that you have just created on measure 9.

Select Edit > Delete; see Figure 4.8.
FIGURE 4.8
After cloning our killer
track, we surgically
removed the offending
measure 9.
RECORDING YOUR OVERDUB

To be triple safe, we are going to record on yet another track to replace measure 9:
1
2
3
4
5
6
7
8
9
Mute the original killer track.

Select Track > New Track and then select Guitars and then Classic Rock in the
New Track window.
Click OK to create the track.
Click Go to Beginning to move the playhead to the start of the song.
Click Record.
Start playing along with the cloned track a couple measures before measure 9 and
play a measure or two beyond measure 9.
Click Play to turn off recording and to pause playback.
Click Go to Beginning.
Click Play to hear what you just recorded.
If youre happy with the new measure 9, you can resize the region to only show measure 9 (see Figure 4.9).
59
60
FIGURE 4.9
The new and improved and
trimmed-to-fit measure 9
is ready for its audition
with the rest of the killer
track.
CLEANING UP
You could leave your tracks sprawled out like this. But for neatness sake, you really
should clean up a little.
To clean up this mess, do the following:
1
2
3
Move the new measure 9 region into the hole you created in the previous track by
dragging the region into the blank measure 9.
Then, if you are feeling really bold, go ahead and delete your original killer track.
Finally, select the two now-empty tracks and select Track > Delete Track for each.
THE FILL-IN-THE-BLANK CYCLE REGION OVERDUB METHOD

The advantage to this type of overdub, sometimes called a punch-in, is that it is quick
and you dont have to create a bunch of extra tracks. You dont have to do any of the
copy/paste stuff that you did in the previous method; you just record and youre
done.
The disadvantage is that there is the potential for lost data. You can minimize this risk
by working on a cloned track as described in the previous section.
SETTING UP A CYCLE REGION

Lets pretend that you discover a slight bobble at measure 17 of your previously
recorded killer track.
Turn on the cycle region by clicking Cycle. Drag the cycle region so that its over measure
17 on the beat ruler, as shown in Figure 4.10.
61
The Cycle Region Bar
FIGURE 4.10
We are targeting measure
17 for annihilation by
using the yellow cycle
region bar.
RECORDING YOUR OVERDUB

Select Control > Count In to give yourself a one-measure count-in before
recording; otherwise, recording will start immediately upon clicking Record.
Yikes!
1
2
3
4
5
Get ready to play your guitar.

Click Record.
Start playing your guitar.
Notice that GarageBand automatically starts recording at the start of
the cycle region, stops recording at the end of the cycle region, and
starts cycling in Play mode.
tip
If you clone the
track that you
wish to overdub, you can set
up a larger cycle region
than just the region you
wish to replace. Then
you can resize the
region to only use the
portion that you wish to
replace.
Click Play to pause playback. Notice that you have a new region with
your newly recorded overdub on measure 17.
If the overdub sucked, select Edit > Undo (or press -Z) to try again. Otherwise, call it
a done dub.
62
RECORDING A ROCK SONG
tip
Lets use what youve learned in the last few chapters to create a rock-n-roll tune.
GarageBand is going to supply the drums, bass, and rhythm guitar for this song.
All you have to do is work on your lead guitar part and your British accent.
You can download this project file and

a MP3 of the
completed song from
http://macaudioguy.
com/gbb/downloads/.
Lets rock!
FEEL THE RHYTHM

Well use some Apple Loops to put together a rhythm section. Tell your drummer
to chill until the next chapter. If your bass player is really itching to play, have
them double the part that well lay down. And then, when theyre not looking, lose
their track.
Okay, you know the drill:
1
2
3
4
5
6
Launch GarageBand.
Select File > New to create a new song.
Name this one Guitaro and set it to the key of A.
Click Create.
Select the Grand Piano track.
Select Track > Delete Track to dump the piano.
DRUMS, DUDE
Well lay in a quick-and-dirty drum loop. You can experiment with some different beats
later:
1
2
3
4
5
6
Click Loop Browser to open the Loop Browser.

Select the Drums and the Rock/Blues buttons.
Scroll down in the Loop Browser to find Live
Drag Live
Edgy Drums 11
Edgy Drums 11.
to the first track of the timeline.
Drag the region so that it starts on measure 5.

to the right.
7
8
Extend the loop to the beginning of measure 41.

Drag the Zoom slider to fit the entire track in the timeline window.
The result should look like Figure 4.11.
FIGURE 4.11
Like oaks from acorns,
rock songs start with a
drum track.
BASS FISHIN
Lets go fish for a bass line in the Loop Browser:
1
2
3
4
5
6
7
Click Drums in the Loop Browser to deactivate it.

Click Bass.
Scroll down in the Loop Browser to find Alternative
Drag Alternative
Rock Bass 01
Rock Bass 01.
to below the drum track on the timeline.

to the right.
Extend the loop to the beginning of measure 13.
63
64

Now, lets add a second bass loop to add interest to the song:
1
2
3
4
5
6
7
8
9
10
11
Scroll down in the Loop Browser to find Alternative

Drag Alternative Rock Bass
01 region on the timeline.
Select the Alternative
02
Rock Bass 02.
to measure 13 behind the Alternative
Rock Bass 01
Rock Bass
region.
Copy (or Option-drag) the Alternative Rock Bass 01 region to measure 17 behind
the Alternative Rock Bass 02 region on the timeline.
Drag the right side of the region using the curved-arrow cursor to scale down the
loop so that it ends at the beginning of measure 25.
Select the Alternative
Rock Bass 02
region.
Copy the Alternative Rock Bass 02 region to measure 25 behind the Alternative
region on the timeline.
Rock Bass 01
Shift-select the last Alternative

region.
Rock Bass 01
region and the last Alternative
Rock Bass 02
Copy the selected Alternative Rock Bass 01 region and the Alternative Rock
region to measure 29 behind the Alternative Rock Bass 02 region on the
timeline.
Bass 02
Select the last Alternative
Rock Bass 02
region.
Drag the right side of the region using the curved-arrow cursor to resize the region
so that it ends at the beginning of measure 45.
Who said playing bass was easy? Actually, the reason we made such a seemingly complex bass line is that we are starting to build a verse and chorus structure to the song.
You should now have something that looks like Figure 4.12.
FIGURE 4.12
The bass line is the skeleton of a rock song, but
dont tell the bass player
that.

RHYTHM GUITAR A LA U2
Were going to lay down a killer rhythm guitar track with some cool chord changes to
give you something to work with when you lay down your lead track.
The bass track we just recorded has a chord progression that goes A, G, F#, G, A for the
verse parts and does an A, C, A, G, D thing in the chorus section. Well use GarageBands
transpose feature to keep the rhythm guitar in key with the bass. If this is all Greek to
you, dont worry about it. Youll get it by ear.
Go back to the Loop Browser and do the following:
1
2
3
4
5
6
7
Click Bass in the Loop Browser to deactivate it.

Click Guitars.
Scroll down in the Loop Browser to find the Echoing
Drag the Echoing
String 02
String 02
loop.
loop to below the bass track on the timeline.

Copy (or Option-drag) the Echoing String 02 loop region to measure 6 behind the
first Echoing String 02 region on the timeline.
Repeat copying the Echoing
String 02
loop region to measures 7 and 8.
You should now have four copies of the Echoing String 02 loop between measures 5
and 9. Now were going to do some transposing to make these loops follow the bass
line:
1
2
3
4
5
6
7
Select the Echoing
String 02
loop region on measure 6.
Click Track Edit, which brings up the Track Edit window in place of the Loop Browser
window.
Drag the Transpose slider to the left until the Transpose window indicates 2.
Select the Echoing
String 02
Drag the Transpose slider in the Track Edit window to the left until the Transpose
window indicates 3.
Select the Echoing
String 02
Drag the Transpose slider in the Track Edit window to the left until the Transpose
window indicates 2.
65
66
8
9
10
11
12
Select all four loop regions of Echoing
String 02.
Copy (or Option-drag) all four loop regions of Echoing String 02 to measure 9
behind the first four Echoing String 02 regions on the timeline.
Click Play to hear what you have so far.
Click Play again to pause playback.
Click Go to Beginning to go to the start of the song.
Now we have a very cool little verse section to the song. Lets drop in a chorus, shall we:
1
2
3
4
5
6
7
8
9
10
11
Click Browser to bring up the Loop Browser.

Select the Guitars and Rock/Blues buttons.
Scroll down in the Loop Browser to find Echoing
Drag the Echoing String
regions on the timeline.
01
String 01.
loop to measure 13 behind our other rhythm guitar
Select all the loop regions of the rhythm guitar track.
Copy (or Option-drag) all the regions of the rhythm guitar track to measure 17
behind the first rhythm guitar region on the timeline.
Select all the loop regions of the rhythm guitar track that you just copied.
Copy all the regions that you just copied to measure 29 on the timeline.
Select the last Echoing
String 01
loop region.
Check out Figure 4.13 to see how our rhythm guitar track should look.
Now weve got this really awesome rhythm groove going; all it needs is a few hot licks
from your guitar to make it a chart topper.
67
FIGURE 4.13
It took a lot of region
manipulation, but the
results rock. All we need
now is a lead guitar part.
LAYING DOWN THE LEAD

Your approach to the recording of your lead part depends on how powerful
your Mac is. There is no real way to know how many tracks you have left.
Its like getting a speeding ticket when you dont have a speedometer.
If, when you add more tracks, your Mac starts to choke and give you errors,
you can still put together a lead part as long as you have one Real
Instrument track left to work with. However, the more tracks that you have
left, the more flexible your recording technique can be.
Well presume that you still have at least two tracks left to record your guitar part. Well lay down the songs verse parts on one track and the choruses and solo on a second track.
Still have your guitar hooked up? If not, get it hooked up and get ready to
play.
To record the verse track using cycle recording
1
2
3
4
5

Select Real Instrument.
Select Guitars in the left pane and Dreamy Shimmer in the right pane.
In the Format row, select the Stereo radio button.
In the Monitor row, select the On radio button.
tip
One way to
gain more
tracks is to set
all of your previous tracks to No Effects
using the Track Info
window. But if you have
at least a 733MHz G4,
you should be able to
get at least six Real
Instrument tracks, even
with effects.
68
tips
An easy way to
tune your guitar before
starting a new
track is to use a Software Instrument and
record an E, A, D, G, B, E
sequence. Then use this
song as a reference to
tune your guitar.
You can play back your
backing tracks at a
slower tempo to practice before you record,
and your Software
Instrument and Real
Instrument parts will
remain in tune. But be
sure to set the tempo
back to where you want
it for the song before
recording your guitar
part.
6
7
8
9
10
11
12
13
14
Click OK to close the New Track window.

Click Cycle.
Drag the cycle region to cover from the start of measure 5 to the start of
measure 13.
Select Control > Metronome if you want to hear a metronome.
Select Control > Count In if you want to hear a one-measure count-in

before recording.
Click Record to begin recording.
Play your guitar.
Recording will automatically stop at the end of measure 12 and playback of the cycle region will begin.
Decide if you would like to keep the take. If you would like to re-record the part,
click Go to Beginning to go to the start of the song and then repeat the cycle
recording process until you get something that you like.
To record the second verse, drag the cycle region to cover from the start of measure 17 to the start of measure 25. Then repeat the cycle record process. Or you
can copy the region you recorded for the first verse to the second verse. The second verse of this song is between measures 17 and 25.
Well create a new track to record the chorus and solo guitar parts for our song:
1
2
3
4
5
6
7
8

Select Real Instrument.
Select Guitars in the left pane and Arena Rock in the right pane.
In the Format row, select the Stereo radio button.
In the Monitor row, select the On radio button.
Click OK to close the New Track window.
Click Cycle.
Drag the cycle region to cover from the start of measure 13 to the start of
measure 17.
9
10
11
12
13
14
Select Control > Metronome if you want to hear a metronome.

Select Control > Count In if you want to hear a one-measure count-in before
recording.
Click Record to begin recording.
Play your guitar.
Recording automatically stops at the end of measure 17 and playback of the cycle
region begins.
Decide if you would like to keep the take. If you would like to re-record the part, repeat
the cycle recording process until you get something that you like.
Copy the region you recorded for the first chorus to the second chorus of the song. The
second chorus of this song is between measures 25 and 29. Also copy the chorus region
to measure 37 and then extend the region to the start of measure 45 using the loop cursor. This will be the chorus repeat to close to our song.
Finally, well record the solo part on the same track that we recorded the choruses and drag
the cycle region to cover from the start of measure 25 to the start of measure 37. Repeat
the cycle recording process until you have a solo thats going to bring down the house.
Add a quick fade-out to the end of the song by selecting Track > Show Master Track.
On the master track, click the Master Volume check box. Next, create a control point by
clicking the master track volume curve at measure 41. Create another control point at
measure 45 and drag the point to the bottom of the track timeline (see the Master Track
in Figure 4.14).
Our completed rock song should look like Figure 4.14, except that your guitar parts will
be a lot cooler than ours. Be sure to save this song for future reference, and so that all
your hard work isnt lost.
FIGURE 4.14
Its only a rock-n-roll song,
but we like it!
69
70

Now we have one frigging awesome rock tune; all it needs is some lyrics. Or not. In the
next chapter, well pull out the microphones and show you how to record vocals and
other live instruments.
5
RECORDING VOCALS AND OTHER
INSTRUMENTS
arageBands ability to record audio is probably its most powerful

feature. You can record your vocals with a mic and a couple of
adaptors directly into GarageBand. Add an audio interface or a
mixer and the recording possibilities are endless. With a microphone or
two and GarageBand, you can record your vocals, your didgeridoo
stylings, or even your unique hubcap drum kit.
Lets take a look at how to use GarageBands Real Instrument recording
capabilities to record your singing or just about anything else that makes
noise.
USING MICROPHONES AND HEADPHONES

If you are a singer or play a musical instrument other than keyboards or
guitar, youll need to use a mic to get your sound into GarageBand.
CONNECTING MICROPHONES
You can use a single vocal mic hooked directly into your Mac to record
your voice. But using a mic preamp and an audio interface will give you
higher-quality results and more flexibility.
If you are using a stereo pair of mics to record an instrument, a stereo
audio interface built preamp is the way to go.
If you want to use three or more mics to record your entire band, you will
need a mixer or, better yet, a mixer with an audio interface.
BASIC MICROPHONE TECHNIQUES

Recording engineers spend lifetimes perfecting microphone techniques.
Well show you a couple tried-and-true techniques to improve the quality
of your recordings.
IN THIS CHAPTER:
Learn about using a microphone with GarageBand
Get the scoop on
GarageBands Real Instruments and vocal presets
Record and edit your own
vocal and Real Instrument
tracks
Review the various methods of overdubbing to fix
mistakes in your tracks
Use what youve learned
to record vocals on a
blues tune
72
CHAPTER 5 RECORDING VOCALS AND OTHER INSTRUMENTS

Whether you choose a dynamic or condenser mic (see the sidebar Choosing a
Microphone in Appendix B), there are a couple things you can do to improve
recording quality when you record vocals:
note
Use a mic standHandholding a mic on stage is a great way to show off your
moves to your adoring fans, but save it for the stage. Using a mic stand while
recording avoids handling noise and allows you to sing at the proper distance
from the mic.
If you dont already

own a microphone, or
to learn more about
all the ways you can
connect microphones
to your Mac, take a
look at Appendix B,
Configuring Your
Studio.
Dont eat the micThe proper distance is with your mouth 8''12'' from the
mic.
Sing slightly off-axisPosition yourself about 15 off from singing directly
into the mic. This will cut down on annoying pops.
Microphone techniques can vary wildly depending on what you are recording;
vocals, guitar amps, sousaphones, kazoos, and so on all demand their own
approach. We suggest that you pick up a book on the subject and experiment to
find which techniques work best for your instrument.
caution
Audio feedback can
cause hearing damage.
Turn off speakers
when recording with
mics.
USING HEADPHONES
Any time you are recording with a microphone and you have speakers connected,
you have the potential for audio feedback, that ear-piercing screech that we all
know and hate.
The way around this problem is to make sure that speakers are turned off when
recording with mics. Use headphones to listen with while youre recording. This is
called monitoring.
INPUT MONITORING IN GARAGEBAND

When you create a new Real Instrument track in GarageBand, there is a monitor radio
button, which is set by default to Off, as shown in Figure 5.1. Monitoring is set this way
to avoid feedback problems.
FIGURE 5.1
The Monitor option is set
to Off for your protection.
SETTING GARAGEBANDS INPUT LEVELS

After you have created a Real Instrument track, you can turn on monitoring to hear yourself by clicking Track Info and setting the Monitor
radio button to On. Just make sure that your speakers are off and
your headphones are on.
MINIMIZING LATENCY
No, latency is not when you show up to rehearsal a half an hour late
without any beerthats just called rude, dude.
Latency is the delay between when you sing into the mic and when
you hear yourself in the headphones. This is the time that it takes
your Mac or audio interface to process audio into GarageBand. This
delay can range from barely perceptible to bloody annoying. To
minimize this delay in GarageBand, select GarageBand >
Preferences. Then select the Audio/MIDI tab. Set the Optimize
radio button to Minimum delay when playing instruments live (see
Figure 5.2).
If you are using an external audio interface, it may have software
or hardware settings to minimize latency. Consult your documentation.
tips
A good practice is to turn
Monitoring to
Off except when
you are rehearsing or
recording a part.
Reducing latency by
selecting Minimum
delay negatively affects
your computers performance. After recording,
set the Optimize radio
button back to
Maximum number of
simultaneous tracks.
FIGURE 5.2
Sometimes a smaller
buffer size is better.
SETTING GARAGEBANDS INPUT LEVELS

Nothing is more critical to the quality of your recording as setting proper audio recording levels. Repeat this phrase in your head until it becomes your mantra.
Setting up your Macs audio input levels as well as setting the input levels and Audio
preferences in GarageBand are pretty much the same for microphones as for guitars.
You can refer to the sections Configuring Your Macs Sound Input Settings, Setting
the Input Volume of an External Audio Interface, and Setting GarageBands Audio
Preferences in Chapter 4, Recording Your Guitar to review how we set up levels for
guitar. Also take a look at Appendix Bs section Hooking a Microphone Directly to Your
Mac.
73
74

The most important thing to remember in setting your input levels for GarageBand is
to not allow GarageBands level meters to go into the red zone. If the red dots next to
the level meters light while you are recording, turn down the input level slider by
dragging it slightly to the left; then try your recording again.
SETTING UP YOUR VOCAL STYLE

As any Saturday night karaoke singer will tell you, a little reverb can help just about
any voice. GarageBand takes this even further with a bunch of vocal effect presets
designed by professional engineers that combine not only reverb, but also effects like
equalizers, compressors, and delays. These allow you to benefit from the same subtle vocal enhancement that Justin and Britney enjoy.
EFFECTS 101
Just like the guitar effects we discussed in the previous chapter, GarageBands vocal
effect presets are called Real Instrument presets.
Lets browse some of the Real Instrument presets that Apple has provided to see how
they affect your vocal sound:
1
2
3
4
5
Launch GarageBand and create a new song by selecting File > New.
Name the song Vocal
Test. Then
click Create.
Click New Track to bring up the New Track window.

Click Real Instrument and select Vocals and No Effects for now.
Click OK to create a new track.
Before we audition GarageBands effect presets, make sure your mic is hooked up,
you have your headphones on, and your speakers and amplifiers are off. And that
your Mac or audio interfaces output volume is set to a reasonable level.
Click Track Info to bring up the Track Info window. Set the Monitor radio button to
On. Click the various vocal presets and sing or make noise to hear what they sound
like.
You may find a favorite preset and use it for all of your recordings, or you might like
to try different effects for different songs or parts of songs.
Dont limit yourself to just the vocal presets. Take a few minutes and go through all
of the Real Instrument presets. You may find that the Drums, Crunchy Drums preset is just what you need to get that Trent Reznor sound that youve been looking
for.
Once youve found a preset that you like, go ahead and close the Track Info
window.
SETTING UP YOUR VOCAL STYLE
CHANGING EFFECTS AFTER RECORDING

As an experiment, lets record a short vocal track. Well presume that you have everything from the previous section set up:
1
2
3
4
Click Cycle. You should see a yellow cycle region bar above measures 14.
Click Record and then sing or make some noise.
Recording stops at the end of measure 4, and the track begins to cycle playback of
the recording. Let the playback continue to cycle.
Click Track Info to bring up the Track Info window, and set the Monitor radio button
to Off, as shown in Figure 5.3.
FIGURE 5.3
The good old Track Info
window, showing its fine
selection of vocal Real
Instrument presets.
5
6
7
While your recording is playing back, try different Real Instrument presets.
After trying the effects, select Vocals > No effects. And then close the Track Info
window.
We want you to notice one big thing from this little experiment: Effects are not
recorded.
Your voice was recorded into GarageBand with no effects applied to it. The effects are
applied to the track as it plays back. This means that you can go back to any track at
any time and change its effect settings.
This is a very important concept. It gives you the ultimate flexibility in trying different
effects to see which effect suits the particular track. It also means that the more effects
you add, the harder your Mac has to work at playback time.
75
76
MODIFYING EFFECTS
You can modify GarageBands Real Instrument settings and save them with your song.
Refer to the sections Modifying Real Instrument Settings and Saving Real
Instrument Settings in Chapter 4. Also we will cover creating your own Real
Instruments in Chapter 8, Making Your Own Software and Real Instruments.

Weve covered putting together some killer backing tracks using loops, keyboards, and
even electric guitars. Now its time to look at recording real sound from Real
Instruments. Whether it is your voice, an acoustic guitar, or a trumpet, GarageBand
was made to record it.
THE ROOM
Where you record can be as important as what you record.
A very quiet room with very little reverberation is an ideal place to record your singing
or playing.
Of course, this is not always possible. Usually, you have to record in the same room
as your computer and the associated fan noise. G4s, for example, are notoriously
noisy.
Also, you may live in an apartment with noisy neighbors. And convincing them to turn
down Eminem, after youve been blasting Fat Boy Slim for the last week, might prove to
be dicey.
The bottom line is to use common sense and do the best you can with what youve got.
Here are a few tips:
Tack some blankets over windows and doors while you are recording.
Record in a carpeted room.
Find a way to record during a weekday while your neighbors are at work.
Move your mic as far away from your Mac as possible.
Make sure your mic is facing away from noise sources.
If possible, put your Macs CPU inside a closet and run longer cables to your monitor and keyboard.
Put a foam-lined cardboard box over your Mac while recording. Cut open the side
of the box toward the wall so your Mac can still get cool air. And remove the box
immediately after recording.
Inevitably, a dogs bark or a fire engines siren is going to ruin that perfect take. But
preparing your recording space will lead to fewer blown takes and more quiet, good
ones.
77
LAYING DOWN THE TRACK

Weve already recorded using a mic in the section Changing Effects After Recording,
earlier in this chapter. But lets go over it again step by step from beginning to end.
Well assume that you have your mic and headphones hooked up with your speakers off
and that you have set your recording levels:
1
2
3
4
5
6
7
8
9
10
11
12
13
Launch GarageBand and create a new song by selecting File > New.
Select a key that you would like to sing in and name the song Vocal
test 2.
Click Create.
Click New Track to bring up the New Track window, and click Real Instrument.
Select Vocals and the effect preset of your choice. Set the Monitor radio button
to On.
Click OK to create a new track.
To use a metronome while recording, choose Control, Metronome.
To hear a one-measure count-in before recording, select Control >
Count In.
Move the playhead to where you want to begin recording. Click the
Record button (R) to begin recording.
Sing or play something.
tip
Record only a
portion of a
songthat is,
a verse, a
chorus, or a solowith
each recording pass.
This will give you much
more flexibility in editing regions and tracks.
Click Play to turn recording off and pause playback.

Notice that you created a region when you recorded. You can manipulate the region you
just created like any other region. See the section Manipulating Regions in Chapter 2,
Making Music with Apple Loops.
If you are unhappy with your recording, you can erase the track by selecting the
region(s) in the tracks timeline and pressing the Delete key. To only replace a portion of
your recording, move on to the next two main sections in this chapter, Editing Your
Performance and Overdubbing Your Performance.
78
EDITING YOUR PERFORMANCE

One of the cool things about GarageBand is that you dont have to be a perfect singer to
get a near-perfect recording. All it takes is a little editing and overdubbing.
note
Just like when you recorded your guitar in Chapter 4, when you recorded with a microphone, you created what GarageBand calls a Real Instrument track. Youll notice
that the track regions are a purple color. As far as GarageBand is concerned, all
Real Instrument tracks are the same. A guitar Real Instrument track is the same
as a vocal instrument track which is the same as a didgeridoo Real Instrument
track.
In Chapter 9, Making
Your Own Loops,
well show you techniques to turn your
Real Instrument tracks
into Real Instrument
loops for more editing
flexibility.
The Real Instrument track that you just recorded is exactly the same as the guitar
Real Instrument tracks from the last chapter, in that your track editing options are
rather limited. In fact, in the Track Editing window the only thing you can edit is
the selected regions name.
You can, however, perform all of the region manipulations to the track in the track
editor that you can in the timeline. These include splitting and joining regions.
The usual edit functions of cutting, copying, and pasting can be performed both
in the timeline and the Edit window. Editing by manipulating regions in the track
editing window is covered in depth in the next chapters section titled Track
Editing Real Instruments.
OVERDUBBING YOUR PERFORMANCE

Overdubbing techniques for vocals and other Real Instruments are exactly the same as
for the guitar Real Instrument tracks that we discussed in Chapter 4. Refer to the section Overdubbing Your Guitar in Chapter 4 for a full explanation of overdubbing techniques that you can use for vocals or other instruments.
RECORDING A BLUES TUNE

For our blues tune, were going to cheat a little bit. Rather than build the backing tracks
up from scratch, like we did in the previous chapters, we are going to use one of the
Apple tutorial songs that came with the iLife DVD to provide our backing band. That way
we can concentrate on just recording some vocals over the track.
LOADING SHUFFLIN GUITAR BLUES

Go ahead and dig out the iLife 04 Install DVD so that you can copy the GarageBand
demo songs to your hard drive.
If you already copied the songs, you can obviously skip this step.
1
2
Insert the iLife 04 DVD.

Drag the GarageBand Demo Songs folder to your hard drive. If you are short on
hard drive space and dont want to install all of the demos songs, open the
GarageBand Demo Songs folder on the DVD. Then open the G3 Projects folder on
the DVD. Drag the Shufflin Guitar Blues song to your hard drive.
3
4
5
Go ahead and eject the DVD and return it to its safe storage place.
Double-click the Shufflin Guitar Blues song on your hard drive to open it.
Click play to hear the song.
Next well write some lyrics for this song.
GOT THEM LYRIC WRITIN BLUES

Willie Dixon were not. We arent even in the Belushi league. But here goes:
(verse)
Got off work bout half past four
Couldnt wait to get home and play some more
Dont need no drummer in a deep blue funk
a bass thats been arrested, or a tuba thats drunk
I gotta brand-new axe and its on my Mac
Im so dang happy Ill never go back
(chorus)
Now Im a one-man garage band
Im a one-man garage band
(verse)
dont need nobody to gimme a hand
gonna send this song out across the land
Gonna send it out across the Internet
Its a wonder I aint a big star yet
Of course, we know you can write something better, but at least we have something to
work with for the purposes of this tutorial. If you are a female, you can substitute
one-woman for one-man, to avoid gender confusion in your audience or feel free to
write your own lyrics to go with the song.
LAYING DOWN THE REFERENCE TRACK

Youve got backing tracks, youve got lyrics, and all you need now is your voice to make
it a song. Take a look at the following sidebar for some performance tips.
Were providing some sample lyrics that you can use to record a vocal track if you cant
come up with any lyrics on your own. It beats singing, Doobie doobie doo, blah, blah,
blah blah. However, its up to you to give it your own vocal style.
Play the demo song a few times and experiment with the lyric lines, belting out different
melodies. When youre starting to feel comfortable with the tune, go ahead and give
recording a shot.
79
80
PERFORMANCE TIPS
ere are a few tips to help you get your best singing performance when recording with
GarageBand:
Get a helping handFind somebody who can manage clicking Record and other
GarageBand functions, so that you can concentrate on singing.
Stand upYour whole vocal tract works better when youre standing.
Print out the lyric sheetIf you cant read hand-scrawled lyrics, you might be singing
Theres a bathroom on the right instead of Theres a bad moon on the rise. Also wear
your glasses. Save the beauty contest for the stage.
Use a music standUsing a music stand to hold your lyric sheet when recording avoids
ruining a take due to a paper rustle. Also make sure you have a pencil handy so you can
write down changes and notes.
Have liquid handyTea, water, or whatever works for you. But remember that the song
never sounds as good on a hangover.
Monitor at reasonable levelsIf you blow out your hearing, you wont be able to sing
very well.
Its a good idea to start by singing the whole song through once to have a reference
track and to get a feel for the flow of a song. Dont worry about getting things perfect,
you just want to get through the entire song.
Lets record:
1
2
3
4
5
6
7
8
9
10

Click Real Instrument, and select Vocals and the effect preset of your choice.
Set the Monitor radio button to On and click OK to create a new track.
Move the playhead to the beginning of the song, and then click the Record button
(R) to begin recording.
Sing the song the whole way through.
Click Play to turn recording off and pause playback.
Go ahead and save the song as One Man Band or a similar name. Now we have a reference track to work with. If you knocked out the tune exactly like you wanted, youre
done. Go have a cocktail, or beer, or cuppa tea. However, if its not quite perfect yet, lets
work on overdubbing the song to get your best performance.
OVERDUBBING FOR PERFECTION

We still need a little work to get the song to where it can be heard by other humans,
without them commenting on how much we sound like William Shatner when singing.
Luckily, we can perfect any part of our performance without affecting the rest of it by
recording a replacement part in a new track.
For our song, we are going to overdub the verses of the song on one track and the
chorus on another. Lets start with the first verse:
1
2
3
4
5
6
7
8
9
10

Click Real Instrument, and select Vocals and the effect preset of your choice.
Click Mute on your reference track.
Click Cycle.
Drag the cycle region so that it covers from the beginning of the measure before you
started singing to the beginning of the measure just past where you end the first
verse. This is to give us room on both ends of our recording. We call these handles.
Click Record and then sing the first section of the song.
GarageBand automatically stops recording at the end of the cycle region and starts
cycling in Play mode (see Figure 5.4).
FIGURE 5.4
This figure shows the
results of our first
overdub.
81
82
Next, well use another track to overdub the chorus part of the song:
1
2
3
4
5
6

Click Real Instrument and then select Vocals and the effect preset of your choice.
Drag the cycle region so that it covers from the measure before you started singing
the chorus to the beginning of the measure just past where you ended the chorus.
This is to give us one-measure handles on both ends of our recording.
Click Record and then sing the chorus section of the song.
FIGURE 5.5
results of our second
overdub.
Now lets go back to our first overdub track to record the second verse/outro part of our
song:
1
2
3
4
Click the track with our first overdub to select it. Double-check that you have the
proper track selected.
Drag the cycle region so that it covers from the measure before you started singing
the second verse to the end of the song.
Click Record and then sing the second verse section of the song.
83
FIGURE 5.6
results of our third
overdub.
Click Cycle to turn off the cycle region. Then click Go to Beginning to return to the
start of the song.
Play back the song. If you are unhappy with the results you can go back
and re-record any of the regions that you want. If you are happy with the
results, its a good idea to go back through the Track Info windows for
your tracks and turn off monitoring, so that you dont get any surprise
feedback.
At this point, you can add more tracks, delete your reference track, or edit
your performance using region editing.
Be sure to save this song for future reference and so that all of your hard
work is not lost.
In the next chapter, well go deeper into editing and mixing your songs to
give them that final polish.
caution
Audio feedback can
cause hearing damage.
Make sure that track
monitoring is turned
off on all tracks after
recording with mics.
6
EDITING AND MIXING YOUR MUSIC
nce youve finished recording your song, you can take it from ordinary to extraordinary by carefully editing, arranging, and mixing.
Editing can take care of small mistakes or add variety to your tracks.
Arranging the tracks and regions of your song can add interest or even
extend your song. Mixing is where you add effects and set the volumes
and pans for your tracks so that they blend together to become a cohesive song.
While we cant promise you miracles, we can at least show you some
very clever sleight of hand to make your song sound miraculous.
EDITING AND ARRANGING REGIONS

You are probably pretty familiar with basic region manipulation by now.
In this section, youre going to learn to use the track editor to slice, dice,
and arrange Real Instrument regions like a Ginsu master.
Up till now, weve been manipulating regions in the timeline. For
Software Instruments, using the timeline to manipulate regions is the
way to go. This is because, for Software Instruments, the Track Editor is
oriented toward the powerful note editing features we covered in the
section Editing Software Instruments Using the Track Editor in
Chapter 3, Recording Your Own Music with Software Instruments.
But for Real Instruments, we can use the Track Editor to perform the
same region manipulations that weve been doing in the timeline with
greater accuracy and control.
IN THIS CHAPTER:
Learn advanced techniques for editing and
arranging regions
Find out how to optimize
your track effects to get
the most out of
GarageBand
Master the use of a master track to add effects
and control the volume of
your song
Learn how to use some of
these techniques to mix a
rock song
86
CHAPTER 6 EDITING AND MIXING YOUR MUSIC
TRACK EDITING REAL INSTRUMENTS

Lets go and visit an old friend. Launch GarageBand, and then open the Guitaro song
that we created in Chapter 4, Recording Your Guitar, and lets see what we can do with
a little editing.
If you dont have the song saved, you can create a new song, select A as the Key, and
name it Guitaro.
THE PLAYHEAD LOCK
efore we start editing, we want to introduce you to the playhead lock. If you look in the
lower-right corner of the timeline, you will notice two small triangles that sort of look like
two miniature playheads stacked on top of one another. If you click this icon, the triangles
will no longer be stacked on top of one another.
This unlocks the timeline and Track Editor playhead from each other so that the timeline and
Track Editor can now show different parts of the song. However, the playhead can now scroll
offscreen.
If it is in the locked position, GarageBand tries to keep the playheads for both the editor and
the timeline centered in their respective windows and it is the song that scrolls under the
playheads.
Play the song through a couple times while locking and unlocking the playheads to see how
this works.
In the Guitaro song we had the drum loop Live Edgy Drums 11 start at measure 5 of the
song. And then the loop continues through the entire song. It serves the purpose,
but we can add a little more life to it. First lets add an intro bit to it:
note
1
2
3
You can download the

Guitaro song from
http://macaudioguy.
com/gbb/downloads/.
Open the Loop Browser.

Select the Drums button and then select Rock/Blues in the pane on the
right side.
Scroll down to the Modern Rock Drums 07 loop and drag the loop to
measure 4 of the drum track on the timeline.
Now we have a drum intro/fill to work with, but we need to only use the last half
of the loop, so that we end up with a half-measure-long drum fill:
1
2
3
Click Track Edit to open the Track Editor.

For our purposes, lets move the playhead to the start of measure 4 and unlock the
playheads (see Figure 6.1).
Click the Modern
selected.
Rock Drums 07
region on the timeline to select it if it is not already
87
The Playhead lock
FIGURE 6.1
Our old friend, the
Guitaro song, with the
playhead lock set to the
unlocked position.
Drag the Zoom slider in the Track Edit window to about the middle of
its range so that the selected Modern Rock Drums 07 region spans
most of the edit grid.
Now we are set up so that we can split the region in half to get our halfmeasure drum fill.
There are three ways to split the region:
Move the playhead to the middle of the region, in this case measure 4
beat 3, and select Edit > Split.
Move the playhead to the middle of the region, in this case measure 4
beat 3, and press -T.
Click-drag to select the region in the waveform display of the Track
Editor, in this case between measure 4 beat 1 and measure 4 beat 3.
The drag-select method allows you to perform very precise splitting of
regions without disabling the Snap to Grid feature. Go ahead and split the
region using the drag-select method, and then press the Delete key to
delete the now-selected first half of the region.
Play the first few measures of the song. Now we have a more natural drum
intro to the song.
To give the song yet more interest, lets cut and paste a half-measure-long
drum fill onto the drum track right before the chorus parts of the song.
tips
Grab the area
between the
timeline and
the Track Edit
window and drag upward
to expand the Track Edit
window.
When Snap to Grid is
activated in the Control
menu, the following
snaps to the nearest grid
value set in the timeline
ruler button: dragging
loops to the timeline,
moving regions, resizing
regions, moving the playhead, moving the cycle
region, and moving control points on the volume
and controller curves.
88
ON MEASURES AND BEATS
n music, time is usually measured in measures and beats rather than minutes and seconds. Just as you could have a ruler where an inch is divided into tenths rather than sixteenths, the number of beats in a measure is defined by the time signature.
By far the most common time signature is 4/4, which means that the measure is divided
into four quarter-note beats.
Musicians find their place in the timeline of a song by using the measures and beat measurement. For example, measure 17 beat 3 is halfway through the 17th measure in the
song.
Move the playhead to measure 4 beat 3 in the waveform display of the Track Editor.
Slowly move your cursor over the region. Notice that the cursor changes as it rolls over
various areas of the region:
The upper-left corner of the region changes the cursor to a vertical bar with
both left- and right-pointing arrows next to it. Clicking and dragging with this
cursor allows you to move the entire region.
tip
You can type in
values in the
Time display
to move the
playhead to a precise
location. Just doubleclick the value that you
want to change and
type the new value.
The upper-right corner of the region changes the cursor to a vertical bar with
a circular arrow next to it. Clicking and dragging with this cursor allows you to
extend the region as a loop.
The lower-left corner of the region changes the cursor to a vertical bar with a
left-pointing arrow next to it. Clicking and dragging with this cursor allows
you to extend the region to the left, (if possible).
The lower-right corner of the region changes the cursor to a vertical bar with
a right-pointing arrow next to it. Clicking and dragging with this cursor allows
you to extend the region to the right, (if possible).
Over most of the region, the usual state of the cursor is a cross-hair shape.
Clicking and dragging with this cursor allows you to select any area from a
small portion of a region to several regions. Clicking after selecting splits the
region or regions at the start and end points of the selection.
To copy the entire region, do the following:
1
2
3
4
5
6
Click in the upper-left corner of the region to select the entire region.
Copy the region by pressing -C.
Move the playhead in the Track Editor to measure 12 beat 3.
Paste the region by pressing -V.
While we have the region in the copy buffer, paste the region at measure 24 beat 3
and measure 36 beat 3.
Play the song to hear the drum fills.
We are getting something closer to what a real drummer would play, although maybe a
drum fill to get us out of the choruses would be cool, too. A slightly different drum fill
would even be cooler:
1
2
3
4
Move the playhead to measure 17 beat 1 in the song.

Paste the drum fill region.
In the track edit waveform display, click in the lower-left corner of the newly pasted
region and drag to expand the region to the left.
The expanded region now starts at measure 16 beat 3. Like a Kiss comeback tour,
youll notice that we brought back the first half of the original Modern Rock Drums
07 region, so that now we have a one-measure-long drum fill spanning from measure 16 beat 3 to measure 17 beat 3 (see Figure 6.2).
FIGURE 6.2
Our new and expanded
drum fill.
Play the song and you will notice our new drum fill sounds a little weird because it is
hanging over into measure 17.
In the track edit waveform display, click in the lower-right corner of our newly expanded
region and drag to contract the region to the left from measure 17 beat 3 to measure 17
beat 1.
Notice that we now have a half-measure gap in the drum track from where we had
pasted the drum fill over measure 17, before we resized it. Dont freak! Well fix it.
In the track edit waveform display, click in the lower-left corner of the region that we
pasted over that now starts at measure 17 beat 3 and drag to expand the region to the
left. Look! No more gap.
Look at Figure 6.3 to see the results of this operation.
89
90
FIGURE 6.3
Now our song has dual
drum fill action!
Play the song to hear our changes. Also, we really should save the song by selecting
File > Save at this point.
Lets do one more copy-and-paste operation to this song so that we end up with the
same drum fill at the end of the second chorus as the first chorus:
1
2
3
4
Move the playhead to measure 13 beat 1.

Slide the Zoom slider in the Track Editor all the way to the left, so that you can see
at least measures 1317 in the waveform display.
Shift-select the two regions that make up the first chorus of the song, starting at
measure 13 beat 1 and measure 16 beat 3.
Copy the regions by pressing -C; then move the playhead to measure 25 beat 1.
Paste the regions by pressing -V, so that now the second chorus has the same
drum fill at the end as the first chorus.
Play the song. Cool, huh? By just adding one drum fill loop and editing it, we now
have a drum track that sounds like something a real drummer would play with fills
at the beginning of the song and then just before and at the end of the chorus sections of the song. Be sure to save the song because well be mixing it later in the
chapter.
OPTIMIZING TRACK EFFECTS

The term effects in recording is short for audio special effects. Of course, everybody
just uses the shortened form today. Strictly defined, an effect is anything that changes
the sound from its original form. However, more loosely defined, the term is applied to
audio signal processing hardware or software.
OPTIMIZING TRACK EFFECTS
While GarageBands built-in effects can add a lot to your songs, they also
take a heavy toll on your Macs processing power. If you have a G5 doublepumper, youll probably never notice, but if you have G3 or a less-powerful
G4, you need to know how to streamline your effects in order to get more
tracks and fewer errors from GarageBand.
Its easy in GarageBand to keep adding tracks to a song using a variety of
Real and Software Instruments without realizing that the effects that are
part of each of your instruments are bringing your Mac to its knees.
note
We cover
effects and
effect settings in
Chapter 8, Making
Real Instruments.
Lets take a look under the hood at these effects to see what we can do to
eliminate some effects while still keeping your tracks sounding great.
WHERE ARE THE EFFECTS?

If your Macs performance is suffering, you might want to get an idea of how many
effects a particular track is using and discover which tracks are dragging your song
down. To access these effects, we need to open the Track Info window for an existing
track. Lets take look at some of the effects in our rock song Guitaro:
1
2
3
4
Open the Guitaro song that we worked on in the previous section.

Double-click the Electric Bass track to bring up the Track Info window for the track.
Click the triangle labeled Details in the lower-left corner of the window.
The Track Info window expands to show the effects for a particular instrument.
Figure 6.4 shows the effects for our Electric Bass track.
FIGURE 6.4
The Electric Bass track
hardly has any effects
at all.
91
92

Notice that bass track has only a small amount of echo and reverb. Lets browse through
some of our other tracks.
With the Track Info window still open, click the Dreamy Shimmer guitar track. As you
can see, Dreamy Shimmer uses a lot of effects. This is an example of a track that could
use a diet. Figure 6.5 shows the effects for the Dreamy Shimmer guitar track.
FIGURE 6.5
The Dreamy Shimmer
track went super-size in
the effects department.
KEEPING THE ECHO AND REVERB
tip
The playhead
changes color
to indicate
how much of
your Macs processing
power GarageBand is
using. The triangle
changes from white
through orange to red
as the processor use
increases.
Echo and reverb are master effects. That means that all the tracks send their signals via the Reverb slider in the Track Info window to the master tracks echo or
reverb effect.
So, if one track is sending a signal to the reverb, its pretty much the same as
all tracks sending signals to the reverb. The master effects settings are controlled in the master track. The only way to gain significant performance is to
turn off echo and reverb in the master track. And hopefully you can avoid doing
that.
Well look at the master track in this chapter, but the bottom line is to try turning
off effects other than echo and reverb in the Track Info window.
ELIMINATING UNNECESSARY EFFECTS

Think of eliminating effects as downsizing a company. It would be better to keep
everyone around, but sometimes we just cant afford to.
The best way to determine which effects are contributing a lot to your song and
which are not is to play through the song, try different instruments for each track,
CHOOSING MASTER TRACK EFFECTS
93
and then try clicking on or off the various effects that make up the instrument on a
track. Once you have created a light version of an instrument that works, go ahead
and save it by clicking the Save Instrument button in the lower-right corner of the
Track Info window.
For example, try deselecting the compressor and equalizer effects for the Dreamy
Shimmer instrument and then save the instrument as Dreamy Light.
The light instrument doesnt sound too different from the original, yet every effect
that you eliminate will help the performance of your Mac.
CHOOSING MASTER TRACK EFFECTS

You learned to adjust the volume curve of the master track to create a fade-out back in
Chapter 2, Making Music with Apple Loops, but that only scratched the surface of
what the master track can do for a song.
The master track controls several things for the overall song:
tips
The key, tempo, and time signature of the song

The overall volume of the song at any point
The type of echo and reverb effect applied to a song
The amount of compression and equalization effect applied to the
entire song
An additional selectable effect which can be applied to the overall
song
Lets take a look at the master track effects settings:
1
2
3
4
Open the Guitaro song if its not already open.
Click the Solo

button on a
track while a
song is playing to
try different instrument
and effect settings.
You can change the key,
tempo, and time signature of a song in the
master Track Info window.
Select Track > Show Master Track, if it is not already visible.

Double-click the master tracks speaker icon to bring up the Master Track Info
window.
Click the triangle labeled Details in the lower-left corner of the window.
The Track Info window expands to show the master effects. Figure 6.6 shows the default
master Track Info window.
Notice that, just like Software and Real Instruments Track Info windows that have a
two-column pane that contains instrument categories on the left and an instrument
list on the right, the master Track Info window contains musical genres on the left
and, once you select a genre, a preset list appears on the right.
Clicking Rock in the left column and LA Rock in the right column brings up the preset
shown in Figure 6.7.
94
FIGURE 6.6
The master Track Info window has control of your
entire song.
FIGURE 6.7
The master Track Info window with LA Rock selected
as a master effect (aka the
Red Hot Chili Peppers
effect).
Play the song through several times while selecting different effect presets to get an
idea of how they affect the overall sound of the song.
MIXING A ROCK SONG
Well take a closer look at all of the individual effects that make up
GarageBand instruments and master effect presets and show you how to
make your own instruments in Chapter 8.
In the next section of this chapter, well mix our rock song so that we can
export it to iTunes and share it with the world.
MIXING A ROCK SONG

The purpose of mixing a song is to balance all of the separately recorded
elements and to mix them into a cohesive whole. There probably are as
many ways to mix a song as there are people to mix it.
note
The type of
echo and reverb
are set in the master
Track Info window. The
amount of echo and
reverb are set in the
instruments Track Info
window.
In this section well put some of the things youve learned so far to the test
by using the track volume and panning controls, track volume curves, setting effects,
using the master track effects and volume curve, setting the end of song marker, and
setting the final output levels.
While this section shows you the elements that go into mixing a song, how you mix it is
up to your own creativity and taste.
VOLUME AND PANNING

Volume and panning are what gives dimension to a mix. If you close your eyes and
imagine a band on stage, the various instruments would be closer or further away
from you and the instruments would be spread out from left to right across the
stage.
By using volume to move things backward and forward in a mix and panning to locate
things from left to right in a mix, we create a virtual sound stage.
SETTING MAXIMUM SAFE LEVELS

The most obvious part of mixing is twiddling with the volume sliders to create a mix of
the various instruments, where each can be heard and none are overpowering.
This can be quite subjective and leads to the Mo Me syndrome, where each member
of the band thinks that his part is getting buried in the mix.
Well just stay out of this conflict and show how to adjust the volume of the various
tracks. Lets start our mix by setting the volume of the bass track:
1
2
3
95
Open the Guitaro song if its not already open and click Solo (the button with the
headphone-shaped icon) on the Electric Bass track.
Click the play button.
While the song is playing back, carefully adjust the volume slider for the Electric
Bass so that the track level meter only occasionally goes into the yellow or red
zones. And most definitely not so high as to light the red clipping lights to the right
of the track level meters (see Figure 6.8).
96
FIGURE 6.8
Setting the track volume
level is a tight wire
between hot enough and
too hot.
tips
Set up a cycle
region the
length of the
song to cycle
playback while you are
mixing.
There are many opinions
on how to go about mixing a song. The method
of mixing that we are
showing is a subtractive
method where you set
maximum dry levels
first, add effects, and
then rebalance your
levels.
If the red dots next to the level meters light while the track is playing,
turn down the volume level slider by dragging it slightly to the left, and
try playing the track again.
Once you have a level set for the bass, lets add the drums to the mix.
Click Solo on the drum track so that both the bass and drum track Solo
buttons are lit.
6
7
8
Double-click the drum tracks instrument icon to bring up the Track Info
window for the track.
Select the No Effects instrument for the drum track, and then click Cycle
to begin cycling playback of the song.
While the song is playing back, carefully adjust the volume slider for
the drum track so that the track level meter only occasionally goes into
the yellow or red zones. And most definitely not so high as to light the
red clipping lights to the right of the track level meters.
Now, well go ahead and repeat the level setting process with our rhythm guitar
track:
1
2
3
Click Solo on the rhythm guitar track so that the rhythm guitar, bass,
and drum track Solo buttons are lit.
Click Cycle to begin cycling playback of the song.
While the song is playing back, carefully adjust the volume slider for the rhythm
guitar track so that the track level meter only occasionally goes into the yellow or
red zones. And most definitely not so high as to light the red clipping lights to the
right of the track level meters.
MIXING A ROCK SONG
97
What we are doing at this point is setting the maximum safe levels for each track without effects applied. As we proceed with the mix and add effects, you will only have to
move the volume sliders a little from these settings.
Repeat the process of selecting No Effects in their respective Track Info windows and
setting the maximum safe level for the two remaining tracks.
Also at this time, uncheck the Master Volume check box if it is checked and set the master volume slider the same way that we set the individual track levels. Figure 6.9 shows
all tracks without effects and set to maximum safe levels.
FIGURE 6.9
All the tracks are at equal
volume levels, at least
according to the volume
level meters.
SETTING UP PANNING
Thinking back to our virtual sound stage, we want to place the instruments
of our band from left to right on the stage. Drums are usually in the center
of the stage toward the back with, in our case, the bass guitar, rhythm guitar, and lead guitar spread across the rest of the stage. Lets use
GarageBands pan knobs to give our mix some space:
1
2
First, go ahead and click all of our tracks Solo buttons so that they are
all off. Click Cycle to start cycling the playback of our song.
3
4
Click the pan knob for the rhythm guitar and drag it left until the knob
rotates to about the 10 oclock position.
Locate the pan knob, which is just to the right of the track level slider
for the bass track. Click the pan knob for the bass and drag it right
until the knob rotates to about the 2 oclock position.
tip
Pan an equal
number of
instruments to
the left and right
to keep a balanced mix.
Lets leave the lead guitar tracks in the center of the mix for the moment. Take a
look at Figure 6.10 to see our current pan settings.
98
The pan knob
FIGURE 6.10
We panned the bass to the
right and the rhythm guitar
to the left to give a little
spread to our mix.
Lets move on to the fun stuff, adding effects!
ADDING EFFECTS TO YOUR MIX
tip
Always make
sure that any
effect you
add to a mix is
adding to rather than
detracting from the
songs appeal.
note
Dont limit yourself to
just the one instrument category in the
Track Info window. A
vocal preset may be
just the thing for your
drum track.
Like chocolate syrup on ice cream, everybody loves adding effects to a mix.
GarageBand has a great selection of time-tested, professionally designed effect
combinations called Real Instruments. But like a hot new car, these instruments
are begging to be modified and customized. Lets have some fun.
1
2
3
Click Solo for the drum track and then click Cycle to start cycling the
playback of our song.
Double-click the drum icon to bring up the Track Info window for the
drum track.
Click the Details triangle in the lower-left corner of the Track Info window.
Although we could spend all day going through all of the Real Instrument presets
to find just the right preset, for the purposes of this tutorial, lets keep things
simple by selecting No Effects and just adding a little reverb.
Grab the Reverb slider at the bottom of the Track Info window and slide it to the
right until its at about 40% of the maximum.
Notice that, with this particular effect, we havent affected our track volume level.
Go ahead and click Play to pause playback.
Lets save this effect as a Real Instrument.
Click Save Instrument in the lower-right corner of the Track Info window.
When the Save Instrument window appears, name the instrument Just
click Save (see Figure 6.11).
Damp
and
MIXING A ROCK SONG
99
FIGURE 6.11
Hey yall, watch this! Were
about to save our own
Real Instrument.
Congratulations, you just created your first Real Instrument.

Click the drum tracks Solo button to off and click Play to hear the entire
mix.
Next, lets add effects to the verse track of the lead guitar:
caution
When adding effects,
keep a close eye on the
track volume level and
reduce it if necessary.
Click the tracks icon to select it. Select Dreamy Shimmer in the Track
Info window. While this sounds pretty good with the track, we want to
modify it slightly.
In the Track Info window, to the right of the Amp Simulation effect,
click the pop-up menu labeled Manual and select British Lead (see
Figure 6.12).
On the guitar that we recorded, this effect sounds awesome so lets save the instrument for posterity. Click Save Instrument in the lower-right corner of the Track Info
window.
When the Save Instrument window appears, name the Instrument British
and click Save.
Shimmer
Notice that according to the tracks level meter, this effect actually reduced the volume
level for this track. But for the moment, dont adjust the tracks level.
Lets move on to the track with the chorus and solo lead guitar parts.
Click the tracks icon to select it and then select Arena Rock in the Track Info window.
We love this instrument for this part, so lets go with it.
Weve got a pretty awesome mix going here. We dont want to lose our work so far, so
we had better save our song as Guitaro Mix 01.
100
FIGURE 6.12
Is British Lead heavier than
American Lead?
USING THE MASTER TRACK

So far weve hit a little bit on how to use the master track to perform a fade-out
throughout the book. Also we looked at master track effects earlier in this chapter. Lets
set our master effects, put a fade-out at the end of our song, and see what the master
track can do for our mix.
We already set our master track effects setting to LA Rock earlier in this chapter, but
lets open the master Track Info window to confirm our settings.
1
2
3
4
5
Select Track > Show Master Track, if it is not already visible.

Double-click the master tracks speaker icon to bring up the master Track Info window.
Make sure that Rock is selected in the left effects category pane and that LA Rock is
selected in the right effects list pane. If theyre not, go ahead and select the LA
Rock effects preset.
Next, lets go ahead and click to enable the Master Volume check box to enable the
volume curve for the master track.
Scroll to the end of the song to see if we still have a four-measure fade-out starting
at measure 45. If not, click to create a control point on the master track volume
curve at measure 45. Create another control point at measure 49 and drag it downward to create our fade-out.
A fade-out and some effects are all we needed to do with the master track for this song.
Lets put some finishing touches on our mix.
MIXING A ROCK SONG
101
FINISHING TOUCHES FOR YOUR GARAGEBAND MIX

Lets put on a final coat of wax and buff up our mix so that its ready to export to iTunes.
Remember that we noticed that the verse lead guitar part was a little low in the mix;
well, now is the time to fix it:
1
2
3
Click Play to start cycling playback of the song.

Drag the track volume slightly to the right to bring up the tracks volume. Make sure that the volume meter doesnt go into the red zone or
that the red clipping indicators to the right of the track volume level
meters dont light.
You can also bring up the volume on the other lead guitar part slightly.
Also keep in mind that mixing is a creative process and that you want to tailor your mix to the style of the music. You might want to emphasize guitars
in a speed metal tune, put the drums out front in an electronic dance tune,
or pull the drums back and emphasize vocals in a ballad. Lets set the final
output volume of our song mix:
While the song is playing back, carefully adjust the Master Volume
slider so that the master level meter only occasionally goes into the
yellow or red zones. And most definitely not so high as to light the red
clipping lights to the right of the track level meters.
2
3
If the red dots next to the level meters light while the track is playing,
turn down the input level slider by dragging it slightly to the left.
Click Play to pause playback, reset the output level meter, and try playing the track again.
tips
Clicking Play to
pause playback resets
the output level
clipping indicators.
Reclick Play to continue
playback.
To only export a part of
the song, set the cycle
region to cover the part
of the song that you
want to export. You can
also export silence or
perhaps an echo ring
out at the end of your
song by moving the
cycle region beyond the
end of the song.
Once we have our master output levels set, its time to introduce you to the
mysterious end-of-song marker:
1
2
3
4
Scroll the timeline window all the way to the right. Notice the purple left-pointing
triangle in the beat ruler bar. Meet Mr. end-of-song marker.
Drag this little purple fellow to the end of your song in the beat ruler.
Now, turn off the cycle region for the song by clicking Cycle.
Click Go to Beginning and click Play to start the song.
Let it play to the end and the playhead will stop at the end-of-song marker rather that
just continue scrolling. Cool, huh?
Figure 6.13 shows our mix playing back; notice the level meters and the end-of-song
marker.
102
The end of song marker
FIGURE 6.13
The Guitaro mix in all
of its glory.
Be sure to save this song as Guitaro

hard work is not lost.
mix 01
for future reference and so that all of your
You can also download a copy of the Guitaro 01 song from http://macaudioguy.com/
gbb/downloads/.
In the next chapter, well show you how to export your songs to iTunes and share them
with the world.
7
FINISHING UP
f a Mac user makes a GarageBand song and no one is around to hear

it, does it still make a sound?
Its time to take the song out of GarageBand and spread the joy.
You can do this a variety of ways, all starting with an export to iTunes.
From there, you can burn a CD, transfer it to your iPod, upload it to the
Internet, or use your song in other iLife applications.
EXPORTING TO ITUNES
The first step to using your song outside of GarageBand is to export it to
iTunes.
PERFORMING THE EXPORT

Ready to perform the complex task of exporting your song to iTunes?
Okay. Then open one of your songs, select File > Export to iTunes.
Thats it. Thats all you need to do. There arent even any options to consider.
A progress dialog box appears with the words Creating Mixdown in it.
You will see the timeline behind that scroll to the right as the song is
processed. Figure 7.1 shows what your screen might look like.
IN THIS CHAPTER:
Learn how to export your
finished song to iTunes
Use iTunes to create compressed versions of your
songs suitable for sharing
on the Internet and loading onto your iPod
Use iTunes to create audio
CDs with your songs
Discover how to import
your GarageBand songs
into other applications,
such as iMovie and iPhoto
104
CHAPTER 7 FINISHING UP
FIGURE 7.1
Your song is making the
leap from GarageBand to
iTunes.
The process might take a long while, depending on the length and complexity of your
song.
When it is done, iTunes automatically opens. However, you might not see your song
right away. In practice, iTunes just opens up to the last view you were using. So, you
might see your Abba collection rather than your song.
But if your iTunes music collection is empty, you should see something like Figure 7.2,
depending on your iTunes viewing preferences at the moment.
FIGURE 7.2
The iTunes window with
your soon-to-be-hit song.
Notice that GarageBand created an artist, in this case GarageBand Book Demo. In your
case it would be your username. It also created an album, which would use your username as well.
BURNING TO CD
105
If you exported more songs from GarageBand, they would all be filed under this same
artist and album.
To play the song once it is in iTunes, simply select it in the list and click the large Play
button at the top of the iTunes interface. You can also double-click the song.
WHERE IS THE SONG, REALLY?

When you exported from GarageBand, two things happened. The first was
that the song was mixed and exported into an AIFF file, which is a standard
sound format. Then, iTunes took this file, indexed it, and added it to the
iTunes library.
The location of the file that GarageBand created depends on your iTunes
settings. If you have your iTunes Advanced preferences set to Keep iTunes
Music Folder Organized, then the .aif file for the song will be named
with the name of your song and placed in an artist and album folder that
corresponds to your GarageBand Export preferences.
note
Why Bounced.
aif? A bounce is
an old audio industry
term for a recording
that combines several
tracks together.
However, if you do not have this option in iTunes set, then GarageBand does not know
exactly where you want the song saved. So, you will find it as Bounced.aif in the
Music:iTunes:iTunes Music:Import folder under your user directory.
You can find the iTunes Advanced preferences by selecting iTunes > Preferences >
Advanced in iTunes. You will find the GarageBand Export preferences by selecting
GarageBand > Preferences > Export in GarageBand. The latter will let you customize
the artist, album, and playlist name that iTune uses for each exported song.
If you have worked with raw sound files before, you know that you can take this AIFF file
and edit it in a variety of sound editors.
BURNING TO CD
Once you have accumulated several tracks, you may want to burn your own audio CD.
You dont need any additional software to do this, as iTunes comes complete with a CD
creation solution.
What you will need, however, is a CD burner. Most Macintosh computers sold today
come with either a Combo Drive or a Super Drive. The first reads both CDs and DVDs and
burns CDs. The second also burns DVDs.
If you have an older Mac, you will need to upgrade your CD drive or buy an external CD
burner to make CDs.
To create an audio CD, follow these steps:
Select File > New Playlist. While you can use iTunes to listen to any song or album
by selecting it, you can only burn CDs from a playlist. You can also use the playlist
that GarageBand created when you exported your song.
Select the new playlist in the Source listing at the left side of the iTunes window. It
is named untitled playlist X. Rename it to whatever you want your CD to be
called.
106
3
4
5
notes
Playlists are mostly
used to make custom
lists of songs to listen
to on your computer or
your iPod. But their
secondary function is
to make lists of songs
for burning CDs.
When you name your
playlist, you are also
naming the CD. Your
computer will remember the name of the CD
and the name of the
tracks. So, when you
insert the CD back into
your computer, you
will see this information. But other computers will not know
this and not be able to
identify the artist or
track names.
6
7
8
Return to your iTunes library by selecting Library in the Source list.

Find your songs and drag them to the playlist name in the Source listing. This adds those songs to that playlist.
Select the playlist in the Source listing so you can view the songs
inside it. Confirm that those are the songs you want to put on the CD.
You can also select and drag them to rearrange the order of the CD or
select one and press Delete to remove it.
The large button in the upper-right corner of the iTunes window should
now say Burn Disc. Click it.
The message area at the top of iTunes now flashes Please
So, go ahead and insert a blank disc.
insert a
blank disc....
You will get another message at the top of the window that says Click
So, you need to click the same button a second
time.
Burn Disc to Start.
iTunes creates the CD, which could take a few minutes. When it is done, it mounts
the CD on your desktop and in the iTunes Source list as an audio CD. You can test
it out right away or eject the disc to play it elsewhere.
MAKING AN MP3 FILE

Take a look at the file size of the Bounced.aif fileits huge. Even a short song
can be several megs in size. A typical 5-minute AIFF song will take up about
45MB of drive space.
Select the song in iTunes and select File > Get Info. You will get a window like
Figure 7.3. It shows you a variety of information about the song.
FIGURE 7.3
The Summary tab of the
information window shows
us that this 18-second
song takes up a whopping
3.1MB!
MAKING AN MP3 FILE
If you want to share your song with others via your iPod or by sending it to
them via the Internet, you will want to trim the file size down. The standard
way of doing this is to convert it to an MP3 file.
MP3 files include more than just the audio itself. They also include information about the song, such as the title, album, artist, and so on.
By default, iTunes uses a format called Advanced Audio Coding (AAC) rather
than MP3. Technical experts will note that ACC is actually a type of MP4
file, the successor to MP3. AAC files encode audio at a higher quality and
have some antipiracy features built in for use by the music industry. But
many people still use the term MP3 to refer to all compressed audio files,
whether they are MP3 or AAC.
You dont have to use AAC when converting your files. iTunes lets you select
AAC, MP3, AIFF (.aif), or WAV as your encoding option. In iTunes, select
iTunes > Preferences and then select the Importing tab. You will get the
window shown in Figure 7.4.
note
An MP3 file is
a compressed
format for audio files. It
is the main format in
addition to AAC used by
iTunes when you rip
songs from your CD collection. It is also the
main format used by
people who share their
music over the Internet.
FIGURE 7.4
The iTunes Importing
preferences allow you to
select the format and
quality setting.
The formats each have their own uses:

MP3MP3 makes sense if you want a universal format to use when sharing files
on the Internet.
AACUsing AAC gives you slightly better quality and works well with iTunes and
iPodsbut not with most non-Apple MP3 players.
AIFFYour exported file from GarageBand is already in AIFF format, so there is no
need to convert it. AIFF is the raw format used by most Mac audio editors.
WAVWAV is the raw format used by most Windows audio editors.
107
108
note
Both MP3 and AAC
files are much smaller
than their AIFF and
WAV counterparts.
To convert your song to the compressed AAC format, select it in iTunes and select
Advanced > Convert Selection to AAC. The actual menu choice may read Convert
Selection to MP3 if you have your iTunes > Preferences > Importing > Import
Using preference set to MP3 instead of AAC. After a short delay for processing,
you will see a second copy of your song appear in iTunes.
You can also select the bit rate setting for the conversion. The AAC default is
128Kbps, which is good quality for AAC. If you are using MP3, 160Kbps is fine for
most uses.
When you select the information for this second copy, you get a summary that
looks like Figure 7.5.
FIGURE 7.5
The information window
tells you that this song is
AAC encoded and takes up
much less disk space than
its .aif counterpart.
note
The smaller file size of
an AAC file versus an
.aif file is a huge
advantage of AAC files.
But keep in mind that
you are sacrificing
some quality. However,
it is hard for most people to hear the difference between AAC files
and the original unless
they have fantastically
expensive audio equipment. Try to hear the
difference yourself.
Now that you have an AAC version of your file, you will probably want to remove
the .aif version from iTunes. Just select it and press Delete. However, you may
want to save this .aif file and use it if you want to create higher-quality audio
CDs. Remember that the original .aif file is always better quality than any MP3
or AAC file.
The information window in Figure 7.5 also shows you where the file for the song
is located. You can see that the AAC version is actually placed in a different place
than the Bounced.aif file. It is even given the name of your original GarageBand
song.
The file extension .m4a is used for AAC files. Youd think that they would use
.aac, but not so. If you used MP3, you would get a file with a .mp3 extension.
This new version of your song is slimmer and more versatile than the old .aif.
You are now ready to transfer the song to your iPod and share it over the
Internet.
SHARING YOUR MUSIC ON THE INTERNET
109
MOVING SONGS TO YOUR IPOD

Transferring songs to your iPod can happen in one of two ways. If you use the default
iTunes and iPod settings, then your iPod is set to automatically synchronize files with
iTunes every time you connect your iPod.
Using the default settings, all you need to do is plug your iPod in and let iTunes do
the work. When the synchronization is complete, your songs will be on your iPod.
They will be listed just as they were in the iTunes browser.
However, if you have your iPod set for manual updating, then you must
drag the songs from your library or playlist to the iPod icon in your
Source list.
Transferring your songs to your iPod is that easy. In fact, it is exactly the
same process that you would use to transfer your ripped music or purchased music to your iPod.

Once you have created a .m4a or .mp3 version of your song, you can easily
share it on the Internet in a number of ways.
MAKING YOUR SONG AVAILABLE ON YOUR .MAC ACCOUNT

If you are a .mac subscriber, you can put your music files up on your .mac
home page. Doing so is relatively easy and can actually be done almost
completely in the OS X Finder.
Currently, there are very easy ways to use both iPhoto and iMovie to upload
pictures and movies to your .mac account. It is quite possible that Apple is
working on a way to quickly and easily upload music from GarageBand as
well. But until then, you can use the iDisk/File Sharing capabilities of your
.mac account to share your music.
notes
Switching your
iPod from automatic updating to manual updating is done by
Control-clicking the
iPod in the Source list.
For maximum compatibility, .mp3 is the way to
go. A .m4a file works for
all up-to-date Macs with
QuickTime 6.5 installed.
But Windows XP users
wont be able to use it
easily, unless they have
iTunes for Windows
installed.
If you already have a Web page set up to show the contents of your iDisk Public folder,
then uploading new content there is easy:
1
2
Open your iDisk in the Finder. You can do this by selecting Go > iDisk > My iDisk.
(You might already have set up various shortcuts and other ways of accessing your
iDisk; if so use that method instead.)
Drag and drop your .mp3 or .m4a file to your Public folder in your iDisk.
Thats it. Thefile is now available on your .mac Web site.

If this is your first time using your .mac iDisk Web site, then you will need to set it up
first:
1
2
Log on to your mac.com account. Go to http://mac.com/ and enter your ID and

password.
Locate and click the link for the Homepage feature of .mac. The interface of .mac is
likely to change and evolve, so you will have to search for the list of .mac features
and find the Homepage option.
110
note
You can also give out
your .mac Homepage
URL, which should look
like http://homepage.
mac.com/username/.
On that page there are
links to your File
Sharing page as well as
other content, like any
photo albums you have
uploaded from iPhoto.
3
4
5
6
7
Once you are in your Homepage section, select the File Sharing option.
At this point, if you have never enabled file sharing before, you will be
asked to select a theme.
Now a copy of the .mac File Sharing Web page will come up, with
results varying depending on the theme you chose. At the top, you will
see an Edit button. Click Edit to change the title and description of the
page. You can see the page in edit mode in Figure 7.6.
Click Publish.
After you click Publish, you will be shown the URL, or Web address, of
the page. It should look something like http://homepage.mac.com/
username/FileSharing1.html. This is the URL that you can send to
friends so they can see your music.
FIGURE 7.6
The Graphite theme for the
.mac File Sharing Web
page. You can see one
song, which corresponds
to the contents of your
iDisk Public folder.
Once you have a File Sharing page set up, all you need to do is add and remove content
from your iDisk Public folder to change the contents of the page.
A standard iDisk account currently comes with 100MB of space. Thats room for an
albums worth of music and then some.
ADDING MUSIC FILES TO YOUR WEB SITE

Do you have a Web site? Are you familiar with terms like FTP? Then sharing
your music is as easy as uploading the converted .mp3 or .m4a files to your
site.
If you do know how to upload files to your site, then you can place your
.mp3 or .m4a files (remember, .m4a is the file type used for AAC files) there
and the rest of the world will have access to them.
One method is to create a new directory on your Web site and place all of
your files in there. For instance, you can create a music directory. Then,
when a surfer goes to that directory, they will get a listing of the files in that
directory.
I changed the title of the song from My Song.band.mp3 to mysong.mp3 to
make it easier for the server to handle. In general, it is not a good idea to
have files on your server with spaces in the name. It is also a good idea
to stick to only one file extension.
You could also place your music at the main directory level and link to it
from any page. You may want to tell users on the page that they can click
the links to download the song.
EMBEDDING YOUR SONG IN A WEB PAGE

Placing a link to your song file on your site is one way to share your files;
however, a more polished approach is to embed the music into a Web page
so visitors can play the file right from your site.
Embedding files requires a little more HTML programming. Youll use the
EMBED tag to allow the user to hear the song while remaining on your Web
page. Here is an example:
<EMBED src=mysong.mp3>
When you use this code in a Web page, you get a small control strip that
appears on the page. The user can pause the song and move the playhead.
Figure 7.7 shows an example of what the page would look like.
FIGURE 7.7
In Safari, the EMBED tag
places a simple set of playback controls on the page
from which the user can
control the song playback.
111
notes
When a user
goes to your File
Sharing page and clicks
the song to download,
the song is compressed
automatically by the
mac.com server and sent
to them. This is dependent on the users computer type. Under Mac
OS X, the file should be
sent as a .hqx encoded
file. Under Windows, the
file is not encoded at all
and is sent uncompressed.
If you dont have a site, or
if you dont know how to
upload raw data files to
your site, then this is not
your best option. Stick
with a .mac account, or
get a friend to help you
create your own Web site
elsewhere. Learning how
to create and maintain a
Web site is beyond the
scope of this book. But
there are many others
out there that tell you
how to do this.
112
This also works in other browsers, such as Internet Explorer on Windows. The
user gets a Windows-looking set of controls, but with more or less the same functionality.
tip
In some cases,
security on
the server
would be set so
that a surfer cant see a
directory listing. In that
case, you need to create an HTML file that
links to each song. A
link would look like
The EMBED tag has several other parameters you can set. Here is a list:
autostartIf set to true, the song starts to play immediately. Some

browsers may respond to the autoplay parameter as well.
hiddenIf true,
loopIf true,
volumeSet
width/heightControls the size of the playback controls. Setting the width

is common, but setting the height only adds blank space above and below
the controls. On Windows, it forces a black playback area above the controls
that is not needed because there is no video portion.
borderWorks on some browsers, such as Safari, to put a black border

around the controls.
<A HREF=music/
mysong.mp3>My
Song</A>
the control does not appear at all.
the song repeats.
to a value from 0 to 100 to set the starting volume.
So, if you wanted to have a piece of looping background music on your Web page, you
could do this:
<EMBED src=mysong.mp3 autostart=true hidden=true loop=true>
If you are concerned about backward compatibility with old browsers, you can use the
NOEMBED tag to show them a message:
<NOEMBED>The music cannot play because your browser doesnt support the embed
tag. You may be able to hear the music by clicking <A HREF=mysong.mp3>
here</A>.</NOEMBED>
There is no reason why you cant place a whole list of MP3 playback controllers on one
page. Just be sure to set them all to autostart=false so they dont all try to play at
once when the page loads.
With some spiffy graphics and a good design, you can make a nice page for people to
come and hear your music.
USING YOUR SONG WITH OTHER SOFTWARE

APPLICATIONS
The music you create with GarageBand can either stand alone as pieces of musical
entertainment or can be used for other purposes. For instance, a game development
shop may use GarageBand to compose music for its games.
Three other pieces of software in the iLife collectioniPhoto, iMovie, and iDVDcan
take advantage of GarageBand compositions. In addition, other popular software can
use them as well.
USING YOUR SONG WITH OTHER SOFTWARE APPLICATIONS
USING GARAGEBAND MUSIC IN IPHOTO

iPhoto, part of iLife, is software for people who use digital still cameras. While iPhoto is
all about visual images, it has one feature that uses music: the slideshow.
In iPhoto, you can select some or all of your photos and click the Slide Show button at
the bottom of the interface. At that point you can choose music to accompany your
slideshow. By default, some quiet classical pieces are listed. But you can also choose
any song from your iTunes collection, including songs you have exported from
GarageBand. Heres how to do it:
1
2
3
Launch iPhoto and switch to Organize mode. Select as many photos as you want.
Click Slide Show, which is the second button from the left at the bottom of the
screen. The Slideshow window appears.
Select the Music tab and you will get a window like Figure 7.8.
FIGURE 7.8
The Slideshow settings
allow you to pick a classical masterpiece or one of
your own.
4
5
Using the Source pull-down menu, select either iTunes Library or a playlist that
includes your GarageBand songs.
Select the song you want to use from the list and click Play.
Thats it. The slideshow will now play with your music in the background. Your photos
and your music: very artistic.
113
114
USING GARAGEBAND MUSIC IN IMOVIE

Another iApp that can use a little music from time to time is iMovie. This software is primarily for people who use a digital video camera to take home movies and then transfer
those movies to their Macs for editing.
While a tutorial on how to use iMovie could easily fill its own book, adding GarageBand
music from iTunes is fairly straightforward.
First, lets assume that you have a movie clip already imported and added to the iMovie
timeline. To add the music, you would do the following:
1
2
3
tip
If you really
want to make
it sound professional, you
can plan to make your
movie first, note its
length, and then compose a piece of music
to match that length.
4
5
Switch to the timeline viewer by selecting View > Switch to Timeline

Viewer.
Click the Audio button found in the row of buttons to the right side of
the iMovie interface.
Using the pop-up menu found at the top of the right side of the iMovie
interface, select either iTunes Library or a playlist that contains your
songs. Figure 7.9 shows the iMovie interface this way.
Select the song you want to import from the list.
Position the playhead in the timeline at the bottom of the screen so it is
where you want the music to start and then click Place at Playhead.
The music imports into iMovie and is layered with the existing audio that might
already exist as part of your video clips.
Now, instead of using predictable clip-art music for your movies, you can compose a
new song for every one you make.
FIGURE 7.9
Your iTunes song is ready
for import. So, now you
can take over the music
industry and Hollywood.
USING YOUR SONG WITH OTHER SOFTWARE APPLICATIONS
115
USING GARAGEBAND MUSIC IN IDVD

If you use iDVD to build your own DVDs, then you probably already know that you can
use music in a lot of different parts of the process. For instance, you can use a looping
piece of music on the title screen.
The process for getting your GarageBand music into iDVD is basically the same as it is
for iMovie and iPhoto. You can bring in any music from your iTunes library, in fact.
For instance, if you want to use a GarageBand song for the background music to a
slideshow, all you need to do is this:
After creating your slideshow, click Customize at the bottom of the window. You can
see this and other iDVD buttons in Figure 7.10.
FIGURE 7.10
The iDVD interface allows
you to select iTunes music
in the side panel.
Audio well
2
3
4
Select Media at the top of the side panel.
In the pop-up menu near the top of the side panel, select Audio.
Find your song in the iTunes Library or a playlist. Drag the song to the
Audio well at the lower-right side of the window. In Figure 7.10 it has
an icon of a page with a musical note in it.
Thats it. Your slideshow now plays with your custom tunes. To insert audio
on the title screen or a menu screen of your DVD, it is even easier. Follow
the same steps as you did for adding tunes to a slideshow, but just drag
the song to the main video window area.
If you ever want to remove music from the title screen or a slideshow, just
drag the icon in the Audio well out of the Audio well.
note
You can also
drag the songs
file from the finder to
the Audio well. In fact,
you can drag any audio
file to it, not just ones
in your iTunes library.
116
USING GARAGEBAND MUSIC IN OTHER APPLICATIONS
note
If you have a Windows
program that doesnt
use .aif or .mp3,
chances are it uses
.wav files. You can
change your iTunes
preferences to convert
your song to a .wav
file instead of a .mp3
file. PowerPoint uses
.wav sound files best.
In general .wav is your
best bet for most
Microsoft and
Windows software.
Using your finished GarageBand music in other programs is relatively easy. You
just need to use the Export to iTunes function and then grab the .aif file it generates. Alternatively, you could use iTunes to convert it to MP3 and use that as
well.
Most Mac sound editors can use .aif files and most can now read .mp3 files as
well. In addition, many Windows sound editors can use both formats.
Programs like Macromedia Flash and Macromedia Director can read any of these
formats.
8
MAKING YOUR OWN SOFTWARE AND
REAL INSTRUMENTS
othing is more unique to GarageBand than its concept of Software

and Real Instruments. One thing that is really awesome about
GarageBand is that it gives you the ability to create both Software
and Real Instruments.
Remember that Real Instruments modify sound generated outside of
GarageBand like your voice, a guitar, or a sound file. Software
Instruments use your Macs processing power to act as a sound generator for the instrument and dont rely on an external sound source.
We have actually already created a couple of Real Instruments in
Chapter 6, Editing and Mixing Your Music. In this chapter, well create
Software Instruments, too.
USING GENERATORS
Both Real and Software Instruments in GarageBand use a combination of
several effects as part of the instrument. Software Instruments also have
another component called generators that create sound that Real
Instruments dont possess. A Software Instruments generator is responsible for actually creating the basic sound characteristics of a particular
Software Instrument. That basic sound is then modified by its effects settings, just like a Real Instrument.
GarageBand includes 18 powerful generator modules with which to build
instruments, as well as a bonus generator that has been on your Mac
since QuickTime 5.
But wait, theres more! You can even use third-party Audio Unit instruments as generators in GarageBand. Not bad considering that a single
hardware MIDI sound module can cost hundreds of dollars.
IN THIS CHAPTER:
Learn about GarageBands
Software Instrument
generators
Learn about GarageBands
effects
Create and save Software
Instruments
Create and save Real
Instruments
118
CHAPTER 8 MAKING YOUR OWN SOFTWARE AND REAL INSTRUMENTS
THE BUILT-IN GENERATORS

Lets take a tour of all 18 of GarageBands Software Instrument generators and explore
their capabilities:
1
2
3
4
Open a new song in GarageBand and call it Instrument
test.
Double-click the Grand Piano icon to bring up the Track Info window.
Click the Details triangle in the lower-left corner of the window. Click the Echo and
Reverb check boxes to disable the effects.
Click Save Instrument and name the instrument Genny (short for generator in case
you were wondering); then click Save to save the instrument.
Figure 8.1 shows our newly created Software Instrument.
FIGURE 8.1
Creating a new Software
Instrument is easier
than pie.
Next click the button with a pencil icon to the right of the Piano and Manual pull-down
menus; well call this button the edit button.
The Piano generator edit window will appear. If we try to select Grand Piano from the
pull-down menu at the top of the Piano generator edit window we get a Save dialog like
the one shown in Figure 8.2.
USING GENERATORS
119
FIGURE 8.2
Nag, nag, nag. Unchecking
the Never Ask Again box
speeds up our generator
tour.
Clicking Never ask again will dismiss this box and speed up your exploration of
GarageBands generators. However, if you decide that you do want to keep seeing
this dialog, click Dont Save whenever it appears in the course of our tour.
Lets take a look at the Piano generator edit window (see Figure 8.3).
FIGURE 8.3
The Piano generator edit
window allows you to edit
the piano. Editing a real
piano usually involves
an axe.
At the top of the window is a pull-down menu that allows you to choose
from ready-made presets or different sampled instruments or to save a preset of your own making. All of the generator edit windows have this menu.
So, for simplicitys sake, we wont keep mentioning it as we look through
the generators.
The Piano generator is a sample playback module and therefore has only a
few editable parameters:
The Volume slider controls the overall volume of the piano.
The Cutoff slider controls how dark or bright the piano sounds.
Think of it as a treble control.
note
According to
Victor Hookstra,
who runs the
garagedoor.com Web
site, GarageBands
piano generator was
sampled from a rare
9-foot Yamaha CFIIIS
Concert Grand Piano.
The Release slider controls how long the piano continues to sound
after you release the musical keyboard key.
Next, go to the Generator pull-down menu in the Track Info window and select Strings.
Notice that the generator edit window is now titled Strings (see Figure 8.4).
120
FIGURE 8.4
The Strings generator edit
window is very much like
the Piano edit window.
tip
Experiment by
playing your
keyboard
while adjusting
parameters in the generator edit window.
The Strings generator is also sampled and, like the Piano, only has a few
parameters:
The Volume, Cutoff, and Release sliders work similarly to the pianos parameters of the same name.
The Attack slider controls how quickly the strings achieve full volume once a
key is pressed.
Select Horns from the Generator pull-down menu in the Track Info window.
Notice that Horns has the same parameters in the edit window as the Strings did.
In fact, all of the sampled generator modules have the same three or four parameters the Piano and Strings have. Here is a list of the sample-based generator
modules:
note
Note that within each
generator module
there may be several
sampled instruments.
For example, the Bass
module has five different sampled basses
under its preset pulldown menu.
Piano
Guitar
Strings
Bass
Horns
Drum Kits
Woodwind
Lets move on to the non-sampled generator modules.
Select Electric Piano from the Generator pull-down menu in the Track Info window
(see Figure 8.5).
USING GENERATORS
FIGURE 8.5
The Electric Piano generator edit window allows you
to get that Holiday Inn
entertainer electric piano
sound.
The Electric Piano module is the first of the true synthesizer modules. Its parameters are
VolumeThis slider controls the overall volume of the piano.
Tines/ReedsThese radio buttons allow you to choose between the sharper toned
Tine or the mellower-toned Reed sound. These are terms left over from when electric pianos used these technologies to simulate a piano sound.
DecayThis slider determines how long it takes the sound to fade away after it
reaches maximum volume when a key has been pressed and held.
Select Analog Basic from the Generator pull-down menu in the Track Info window (see
Figure 8.6).
FIGURE 8.6
The Analog Basic generator is the meat and potatoes of synthesizers.
121
122
note
In synthesizer speak,
the Attack, Decay,
Sustain, and Release
parameters are often
called the volume
envelope or the ADSR
envelope.
The Analog Basic is an 80s style polyphonic (many notes at a time) synthesizer.
Note that it has a dozen ready-made presets under its preset pull-down menu.
Its parameters are
Volume
MixThis slider controls the mixture of the modules two sound generators
or oscillators. This allows the sound to go from a hollow sound to a brighter
sound.
TuningThis slider determines the musical interval between the oscillators,
allowing for a fuller sound.
CutoffThis slider controls the darkness or brightness of the sound.
Think of it as a treble control.
ResonanceThis slider controls the harmonic richness of the sound.
AttackThis slider controls how quickly the sound achieves full volume once a key
is pressed.
DecayThis slider determines how long it takes the sound to fade away after it
reaches maximum volume when a key has been pressed.
SustainThis slider controls how long the sound stays at full volume before decaying when a key has been pressed and held.
Select Analog Mono from the Generator pull-down menu in the Track Info window (see
Figure 8.7).
FIGURE 8.7
The Analog Mono generator gives you that dance
club sound typified by a
certain Nordic synthesizer.
USING GENERATORS
123
The Analog Mono is a monophonic (one note at a time) synthesizer. Note that it has 11
ready-made presets under its preset pull-down menu. Its parameters are
Volume
GlideThis control determines how long it takes to slide the pitch between a
pressed key and a subsequently pressed key. This is often called a
Portamento control. Think of a trombone.
MixThis slider controls the mixture of the modules two sound generators or oscillators. This allows the sound to go from a hollow sound to
a brighter sound.
CutoffThis slider controls the darkness or brightness of the
sound. Think of it as a treble control.
AttackThis slider controls how quickly the sound achieves full volume once a key is pressed.
DecayThis slider determines how long it takes the sound to fade
away after it reaches maximum volume when a key has been pressed.
RichnessThis slider slightly detunes the oscillators from each other
for a thicker, richer tone.
Select Analog Pad from the Generator pull-down menu in the Track Info window
(see Figure 8.8).
FIGURE 8.8
The Analog Pad generator
gives you those huge pads
that bring tears to the eyes
of moviegoers everywhere.
tip
One playing
technique for
monophonic
synthesizers is to
hold down a lower note
and then play the
melody on higher notes.
The pitch returns to the
lower note between
each high note, creating
an interesting effect.
124

The Analog Pad is a polyphonic (many notes at a time) synthesizer that has a rich
soundtrack sound; these types of sounds are often called pads. Note that it has a dozen
Volume
ModulationThis slider determines the speed at which the tone of the oscillator
rises and falls.
CharacterThis slider adjusts the oscillator between a softer or sharper sound.
CutoffThis slider controls the darkness or brightness of the sound. Think of it
as a treble control.
Cutoff EnvelopeThis slider controls the amount of sweepiness in the sound by
applying an envelope to the tone of the sound rather than to its volume.
DurationThis slider controls the duration of the tone sweep of the sound.
AnimationThis slider determines how much the sound pans between the left and
right speakers, as well as affecting the tone sweep of the sound.
Select Analog Swirl from the Generator pull-down menu in the Track Info window (see
Figure 8.9).
FIGURE 8.9
The Analog Swirl generator
sound gave movies like
Tron that way cool futuristic sound.
USING GENERATORS
The Analog Swirl is a polyphonic synthesizer that has sweeping or swirling sound and is
based on a kind of synthesis called pulse width modulation. Note that it also has a
dozen ready-made presets under its preset pull-down menu. Its parameters are
Volume
ModulationThis slider controls the speed of the swirling sound of the oscillator.
Cutoff and ResonanceThese sliders control the brightness and harmonic richness
of the sound respectively.
Attack, Decay, Sustain, and ReleaseThese sliders control the volume envelope of
the sound.
Select Analog Sync from the Generator pull-down menu in the Track Info window (see
Figure 8.10).
FIGURE 8.10
The Analog Sync generator sound gave the guitardeprived bands of the
80s the lead sound that
they needed. Think Duran
Duran.
The Analog Sync is a polyphonic synthesizer that has a sharp, metallic attack sound and
is good for lead parts. Note that it also has a dozen ready-made presets under its preset pull-down menu. Its parameters are
Volume
SyncThis slider adjusts the tonal quality of the oscillator from high to low.
Sync ModulatorThis slider controls the speed at which the tone of the oscillator
wavers.
Sync EnvelopeThis slider controls the amount of sweepiness in the sound by
applying an envelope to the tone of the sound rather than to its volume.
125
126

CutoffThis slider controls the brightness of the sound.
Attack, Decay, and SustainThese sliders control the volume envelope of the
sound.
Select Digital Basic from the Generator pull-down menu in the Track Info window (see
Figure 8.11).
FIGURE 8.11
The Digital Basic generator
is just the thing for belllike sounds.
The Digital Basic is a polyphonic synthesizer that uses a frequency modulated (FM)
synthesis technique and is good for bell-like tones. Note that it has a whopping 16
Volume
MixThis slider controls how much the oscillators are frequency modulated. The
more modulation the sound has, the more bell-like overtones it has.
Tuning, Harmonics, and TimbreThese sliders control the overall tone of the
sound, the harmonic richness, and the brightness of the sound, respectively.
Attack, Decay, and ReleaseThese sliders control the volume envelope of the
sound.
Select Digital Mono from the Generator pull-down menu in the Track Info window (see
Figure 8.12).
USING GENERATORS
FIGURE 8.12
The Digital Mono generator
can generate some cool
electronic bass sounds.
The Digital Mono is a monophonic synthesizer that uses digital oscillators and is good
for dance bass sounds. Note that it has 12 ready-made presets under its preset pulldown menu. Its parameters are
Volume
TuningThis slider adjusts how much the oscillators are detuned. Detuning creates
a fuller but harsher sound.
HarmonicsThis slider controls the amount of harmonic high frequencies.
TimbreThis slider determines the brightness of the sound.
Timbre EnvelopeThis slider controls the amount of detuned oscillator in the
sound.
DecayThis slider determines how quickly the detuned oscillator fades out.
RichnessThis slider adds sub-harmonics or more bass to the sound.
DistortionThis slider determines the harshness of the sound.
Select Digital Stepper from the Generator pull-down menu in the Track Info window
(see Figure 8.13).
127
128
FIGURE 8.13
The Digital Stepper generator is not a dancing robot,
but it can sound like one.
The Digital Stepper is a polyphonic synthesizer that combines a clean digital and a
fat analog sound and also includes a random stepper for getting a robotic sound.
Note that it has 11 ready-made presets under its preset pull-down menu. Its parameters are
Volume
BalanceThis slider mixes between a fatter analog sound and a clean digital
sound.
ModulationThis slider determines if the sound has a purer or a richer sound.
HarmonicsThis slider controls the amount of harmonic high frequencies in the
sound.
Harmonic StepsThis slider controls the amount of random modulation (stepping)
that affects the harmonic content of the sound.
CutoffThis slider controls the brightness of the sound.
Cutoff StepsThis slider controls the amount of random modulation (stepping)
that affects the tonal content of the sound.
DurationThis slider determines how long the sound plays after a key has been
released.
Select Tonewheel Organ from the Generator pull-down menu in the Track Info window
(see Figure 8.14).
USING GENERATORS
FIGURE 8.14
The Tonewheel Organ generator sound has a rich
blues and R & B tradition.
Sort of like the (wink,
wink) Hammond B3 Organ
with Leslie speaker does.
The Tonewheel Organ is a polyphonic synthesizer that has a classic B3-type organ
sound. Note that it has six ready-made presets under its preset pull-down menu. Its
parameters are
Volume
DrawbarsThis slider controls the richness of the sound.
Percussion LevelThis slider determines the tuning of the percussion component
of the organ sound.
Percussion TimeThis slider controls how quickly the percussion element of the
sound fades out.
ClickThis slider controls the volume of the clicking element of the organ sound.
DistortionThis slider determines the harshness of the sound.
Rotary speakerThese radio buttons determine which part of the organ sound
pans between the speakers.
Select Electric Clavinet from the Generator pull-down menu in the Track Info window
(see Figure 8.15).
129
130
FIGURE 8.15
The Electric Clavinet generator sound is like a clavinet
sound, only electric.
The Electric Clavinet is a polyphonic synthesizer that has a clavinet sound which is similar to a harpsichord sound. Note that it only has three ready-made presets under its
preset pull-down menu. Its parameters are
Volume
DamperThis slider controls the muffling or deadening of the sound.
This concludes our tour of GarageBands Software Instrument generator modules. We
hope you enjoyed the tour. B bye!
Just kidding. You can see that you have some pretty heavy synthesis power behind you
in GarageBand. If you just saved the generator presets, you could add over 50 new
Software Instruments to GarageBand. Add all the permutations of generators and
effects, and the possibilities are almost infinite. Next, were going to let you in on the
secrets of the DLSMusicDevice.
THE SECRET OF THE DLSMUSICDEVICE

If you scroll down past the Electric Clavinet in the Generator pull-down menu of the
Track Info window, past a grayed heading that says Audio Unit Modules, you will notice
a cryptically named module called the DLSMusicDevice.
If you select this module and click the edit button, it brings up the window shown in
Figure 8.16.
FIGURE 8.16
Believe it or not, there are
128 more instruments hidden in this device.
USING GENERATORS
131
This device is actually a part of QuickTime and has been hanging around your Mac
since QuickTime 5.x. The DLS in DLSMusicDevice stands for downloadable sound.
DLS is an extension of the MIDI protocol that allows devices to download sets of
sounds that can be played by a MIDI controller. These sound sets are
sometimes called sound fonts. Without getting too much into the history of things, the DLSMusicDevice is Apples Audio Unit sound font
player and, since GarageBand recognizes Audio Unit instruments,
A list of the
here it is.
notes
The problem is thatin GarageBand V1.01, at leastthe device doesnt

play sound fonts. Doh! It does, however, play the 128-instrument Roland
General MIDI sound set that comes with QuickTime. Woo hoo! But it will
only play piano unless you have a MIDI controller that can send MIDI
program change messages. Doh!
Read your keyboards documentation to see if your keyboard has a
Program Change control. If it does, youre in luck. To overcome
GarageBands glaring omission of a trumpet instrument, all we have
to do is set our program change number to number 57 and voil!
Trumpet.
128 general
MIDI instruments and
their program numbers
can be found in
Appendix F, General
MIDI Instruments List.
An example song file
titled DLS Demo is
available at http://
macaudioguy.com/gbb/
downloads/.
This seems to be an answer to many a GarageBand prayer. But wait,

because there is still evil afoot. If you record your newfound trumpet in
GarageBand and then save the song, you might be in for a surprise when
you reopen the song. Your beloved trumpet will have turned back into a
piano. Woe is you.
Here is probably the coolest trick in this book. When you record your
trumpet, hit a quick note at the beginning of your track, and then do
your program change as GarageBand is recording the track. This way, the
program change command is recorded in the Software Instrument track
and will be there when you reopen the song. It is magic, no?
If you take it even further, you can record several program changes on a
track. So, not only could you have the number 57 trumpet, but also the
number 60 muted trumpet on the same track!
tip
Save a Software Instrument called
DLS Device with
the DLSMusic device
selected as the generator so you can use the
DLSMusicDevice in any
song you create.
While we have the Track Info window open, lets save a Software
Instrument called DLS Device. Make sure that you have the
DLSMusicDevice selected in the Generator pull-down menu of the Track
Info window.
Click Save Instrument and save the instrument as DLS
Device.
Simple enough?
AUDIO UNIT INSTRUMENTS

In addition to the 18 built-in generators with their almost limitless ability to create
instruments and the DLSMusicDevice that gives you access to 128 instruments,
GarageBand allows you to access third-party Audio Unit instruments.
132
Audio Unit is Apples audio plug-in format that allows third-party developers
to create effects and instruments for use in high-end music software like
Apples Logic products.
note
These effects and instruments are available from
developers and range in
price from free to several
hundred dollars.
Well go deeper into Audio Unit instruments and how to install them and use
them and even turn you on to some cool free instruments in Chapter 10,
Advanced Techniques. For now, lets move on to GarageBands effects.
USING BUILT-IN EFFECTS

Effects are common between both of GarageBands types of instruments as well
as with the master track.
Each Real Instrument, Software Instrument, and master track in GarageBand has a set
of either four or five professional-quality effects, including:
Gate (Real Instrument tracks only)
Compressor
Equalizer (EQ)
Echo
Reverb
Besides these effects, which all of the instruments include, there are two additional
effect slots, in which you can choose from 12 GarageBand effects and another 12 Audio
Unit effects that Apple has included with GarageBand to add to instruments.
Lets take a close look at all of GarageBands included effects.
THE COMMON EFFECTS

First, lets take a look at the four effects that are common among Real Instruments,
Software Instruments, and the master track, as well as the Gate effect which only
appears in Real Instruments:
1
2
3
4
Open the Instrument
test
song from an earlier section of this chapter.
Create a new Real Instrument track, select Basic Track and No Effects, and click OK.
Double-click the No Effects icon to bring up the Track Info window for the Real
Instrument track.
Click the Details triangle in the lower-left corner of the window.
The Track Info window will have seven rows of effects with five rows of named effects;
the echo and reverb effects will have their active check boxes checked, as shown in
Figure 8.17.
133
FIGURE 8.17
Our old friend the Track
Info window; notice that
even with No Effects, the
Echo and Reverb are
active. Whats up with
that?
GATE EFFECT
Click in the check box to activate the Gate effect. The Gate effect or, more
accurately, the noise gate effect only has a slider to adjust.
A noise gate only allows audio to pass if it is above a certain volume
level. Any sounds that are softer than that level are muted. This can
be a useful effect to get rid of unwanted low-level noise on a track. But
it can also cause an unwanted choppy sound. Use this effect with
discretion.
The Gate slider adjusts the volume level at which sound will be muted.
COMPRESSOR EFFECT
Click in the check box to activate the Compressor effect. The Compressor
effect only has a slider to adjust.
A compressor is an effect in which the difference between the loudest and
softest parts of a track is reduced in range. Compressors are especially
useful on vocal tracks where there is a great deal of dynamic range.
Reducing the range of a track allows its volume to be increased so that it is
more apparent in a mix.
tips
Hooking up a
radio or other
constant audio
source to your
Macs audio input will
allow you to hear the
results of the various
effects on the audio.
Gate can also be used
to give drums a punchy
80s sound.
The Compressor slider determines how much the dynamic range of a track is reduced.
134

EQUALIZER EFFECT
tip
You can often
raise the volume level of a
track after a
compressor is applied.
Click in the check box to activate the equalizer effect. Then click the effect edit
button (the one with the pencil icon) to bring up the effect edit window, as shown
in Figure 8.18.
At the top of the window is a pull-down menu that allows you to choose from
ready-made effect presets or to save a preset of your own making. All of the effect
edit windows have this menu. So for simplicitys sake, we wont keep mentioning
it as we look through the various effects, other than mentioning how many presets each effect has.
FIGURE 8.18
Strangely enough, the
effects edit window is very
similar to the generator
edit window.
Notice that the window also has an On check box to the left of the pull-down menu.
Clicking the check box On or Off is a good way to listen to how an effect affects the
sound of a track.
Getting back to the equalizer, an equalizer (EQ) allows you to adjust the volume of the
various frequencies that make up a sound. You can use an equalizer to add bass to a
drum or treble to a vocal to make them more apparent in a mix. Overused, EQ can make
a track sound unnatural or muddy.
The Equalizer effect has 16 presets. The Equalizer edit window has these parameters:
Bass GainThis slider allows you to adjust the volume of the bass frequencies of
a sound.
Mid GainThis slider allows you to adjust the volume of the middle frequencies of
a sound.
Mid FrequencyThis slider adjusts the frequency that is affected by the Mid Gain
slider.
Treble GainThis slider allows you to adjust the volume of the higher frequencies
of a sound.
Lets move past the two user-selectable effects slots that well cover soon and skip to
the echo and reverb effects.
As we discussed briefly in Chapter 6, Editing and Mixing Your Music, echo and reverb
are send effects.
135
The amount of a tracks signal that is sent to the echo and reverb is adjusted with
the Echo and Reverb sliders in the Track Info window and is saved as part of an
instrument.
The echo and reverb types are set for the entire song in the master Track Info window
and are saved as part of the master effects.
THE MASTER TRACK EFFECTS

The master track effects are applied to all of the tracks of a song. However,
the individual tracks echo or reverb send amount determines how much or
little of the individual tracks sound is affected.
Be careful because changing a setting in the master track will obviously
change the sound of the entire song. That is what makes them dangerous
and fun.
note
The master
track is always
active even if it is hidden.
Lets explore!
1
2
3
If the master track is hidden, select Track > Show Master Track.
Once the master track is visible, double-click the speaker icon to bring up the master Track Info window.
The master Track Info window will have five rows of effects with four rows of named
effects, and the echo and reverb effects will have their active check boxes checked, as
FIGURE 8.19
The master Track Info window is where the echo and
reverb action is.
136

ECHO EFFECT
Click the echo effect edit button to bring up the effect edit window, as shown in
Figure 8.20.
FIGURE 8.20
The Echo edit window, edit
window, edit window.
The echo effect is fairly obvious, where a sound repeats back later in time and is heard
distinctly from the original sound. Echo is one of several delay effects and is sometime
just called delay. Echo can be used to add apparent distance to a track or just because
it sounds cool. Too much echo can muddy a mix.
The echo effect has 14 presets. In the Echo edit window, you can mess with these
parameters:
Echo TimeThis slider determines how much time passes after the initial sound
until the first echo is heard.
Echo RepeatThis slider adjusts how many times or how long the echo repeats.
Repeat ColorThis slider adjusts the tone of the echo repeats.
Echo VolumeThis slider determines how much softer each echo repeat is from
the previous echo.
REVERB EFFECT
Click the Reverb effect edit button to bring up the effect edit window, as shown in
Figure 8.21.
FIGURE 8.21
The Reverb edit window
has very few sliders for
such a big effect.
137
The reverb effect is often confused with echo. This is understandable, but reverb is
much more complex than echo. Reverb seeks to simulate the complex echoes, reverberations, and frequency absorption of a natural space, be it a shower stall or a 50,000seat arena. Reverb is the king of effects and has its place in practically every song and
recording. Of course, too much or the wrong kind of reverb can make your song sound
like it was performed in a toilet bowl.
The reverb effect has 19 presets. Should you want to create your own, you can adjust
these parameters:
Reverb TimeThis slider adjusts the amount of time that the original sound reverberates. This often equates to the size of a space.
Reverb ColorThis slider adjusts the tone of the reverberation. Bright equals bathroom; Dark equals mortuary hall.
Reverb VolumeThis slider adjusts the amount of reverb signal that is sent to the
mix. This is often set to the maximum.
OTHER EFFECTS IN THE MASTER TRACK

The equalizer and compressor effects in the master Track Info window are the same
as the effects of the same name in the instrument Track Info windows. However, be
aware that these effects change the overall sound of a song, not just an individual
track.
You probably noticed that in the instrument Track Info windows that there are two effect
slots that have a pull-down menu of assignable effects and that in the master Track Info
window there is one slot for an assignable effect. Lets check out the assignable effects
next.
BUILT-IN ASSIGNABLE EFFECTS

GarageBand has a selection of 12 built-in assignable effects plus another 12
Audio Unit effects that can be replaced by third-party Audio Unit effects.
In much the same manner that we toured GarageBands generators, lets
tour the assignable effects:
1
2
3
4
5
Open the Instrument

its not already open.
test
song from the last section of this chapter, if
Double-click the No Effects icon to bring up the Track Info window for
the Real Instrument track.
note
Well take a
look at the builtin effects in this section
and the Apple-supplied
Audio Unit effects in the
next section.

Select Treble Reduction from the assignable effect pull-down menu, as shown in
Figure 8.22.
Click the effect edit button to bring up the effect edit window (see Figure 8.23).
138
FIGURE 8.22
The Effect pull-down menu
is well endowed with
effects.
FIGURE 8.23
The treble reduction effect
is not a Star Trek episode.
The treble reduction effect is a straightforward effect that reduces the amount of high
frequencies in a sound. This effect has three presets. Its only parameter is
FrequencyThis slider adjusts the frequency above which the volume is
reduced.
Select Bass Reduction from the assignable effect pull-down menu.
The bass reduction effect is a straightforward effect that reduces the amount of low
frequencies in a sound. This effect has three presets. Its only parameters is
FrequencyThis slider adjusts the frequency below which the volume is
reduced.
Select Distortion from the assignable effect pull-down menu (see Figure 8.24).
FIGURE 8.24
The distortion effect is a
great way to express your
inner angst.
The distortion effect is an effect that adds harshness to a sound. Distortion is good for
getting a hard core sound for vocals or to dirty up a guitar sound. This effect has four
presets. Its parameters are
DriveThis slider determines how much distortion is added to the sound.
ToneThis slider adjusts the tone or high frequency content of the sound.
Output LevelThis slider adjusts the overall volume of the effect.
Select Overdrive from the assignable effect pull-down menu.
The overdrive effect is a kinder, gentler form of distortion. Overdrive is good for getting
an edgy guitar sound. This effect has three presets. Its parameters are the same as the
distortion effect.
Select Bitcrusher from the assignable effect pull-down menu (see Figure 8.25).
FIGURE 8.25
The bitcrusher effect can
give you that cell-phonebreaking-up sound.
The bitcrusher effect creates low-bit and sample rate digital distortion. It is good
for getting a tinny radio or cell phone effect. This effect has six presets. Its parameters are
ResolutionThis slider affects the volume range of the sound.
Sample Rate ReductionThis slider adjusts the frequency content of the sound.
Select Automatic Filter from the assignable effect pull-down menu (see Figure 8.26).
139
140
FIGURE 8.26
The automatic filter effect
is great for that Shaft wahwah effect.
The automatic filter effect is a dynamic filter that oscillates the frequency of a sound. It
is good for getting a wah-wah or a sweep effect. This effect has eight presets. Its
parameters are
FrequencyThis slider adjusts the frequency center of the effect.
ResonanceThis slider adds harmonic overtones to the sound.
IntensityThis slider determines how far the frequency center of the sound oscillates and whether the frequency only sweeps downward or both up and down.
SpeedThis slider sets the speed at which the frequency of the sound oscillates.
Select Chorus from the assignable effect pull-down menu (see Figure 8.27).
FIGURE 8.27
The chorus effect can
make one Alanis sound like
three Alanises, well almost.
The chorus effect uses delay and detuning to make a sound fuller. It is good for getting
a jazz guitar or doubled vocal effect. This effect has six presets. Its parameters are
IntensityThis slider adjusts the delay of the sound.
SpeedThis slider adjusts the tuning of the sound from barely noticeable to
warbley.
Select Flanger from the assignable effect pull-down menu (see Figure 8.28).
FIGURE 8.28
The flanger effect can give
you a jet-airplane-is-flyingthrough-my-song effect.
The flanger effect is a varying delay effect that creates a whooshing or a springy sound.
It is good for a sweeping strings effect. This effect has seven presets. Its parameters are
IntensityThis slider adjusts the delay of the sound.
SpeedThis slider adjusts the speed of delay oscillation of the sound.
FeedbackThis slider determines how much of the effected signal is sent back
through the effect, increasing its intensity.
Select Phaser from the assignable effect pull-down menu.
The phaser effect is a less-intense varying delay effect than the flanger. The phaser is
good for giving stereo movement to a sound. This effect has six presets. Its parameters
are the same as the flanger effect.
Select Tremolo from the assignable effect pull-down menu (see Figure 8.29).
FIGURE 8.29
The tremolo effect can put
the surf in your guitar or
make you sound like
youre really cold.
The tremolo effect is a varying volume effect. Its good for spaghetti western or surf guitar effects. This effect has eight presets. Its parameters are
IntensityThis slider adjusts how much the volume of the sound varies.
SpeedThis slider adjusts how fast the volume of the sound varies.
Auto PanningThis check box determines if the sound moves back and forth
between the left and right speakers.
Select Auto Wah from the assignable effect pull-down menu (see Figure 8.30).
141
142
FIGURE 8.30
The auto wah effect has
absolutely nothing to do
with a Canadian province.
The auto wah effect is a varying frequency effect that has a randomly varying sound. Its
good for a funk bass or to add tonal variation to a track. This effect has nine presets. Its
parameters are
ModeThese radio buttons select the intensity and the frequency of the wahwah effect.
SoundThis slider adjusts the overall tone of the sound.
ReactionThis slider determines the frequency that the effect is applied to.
Select Amp Simulation from the assignable effect pull-down menu (see Figure 8.31).
FIGURE 8.31
The amp simulation effect
can save you hundreds of
dollars in guitar amplifiers.
143
The amp simulation effect is an acoustic modeling effect and is designed to simulate the
characteristics of a guitar amplifier. Its good for, well, simulating a guitar amplifier. This
effect has five presets. Its parameters are
ModelThese radio buttons select between several simulations of amplifiers. Hint:
American equals Marshall; British equals Fender.
Pre GainThis slider adds more distortion to the amp sound.
Low, Mid, and HighThese sliders determine the tone of the sound.
PresenceThis slider determines the amount of overtones in the sound.
Master and Output LevelThese sliders let you control the volume of the total
effect and the overall volume, which gives you more opportunities to add distortion
to the sound.
Spend some time exploring the built-in effects presets and parameters, and soon youll
want to make them part of your bag of tricks when creating music in GarageBand.
Before we get into creating and saving your own instruments, we want to briefly go over
GarageBands included Audio Unit effects.
AUDIO UNIT EFFECTS

In addition to GarageBands 12 built-in effects, Apple has included another 12 Audio Unit
effects.
The Audio Unit effects are professional-level effects that are also available
to other Mac music and audio software. Therefore, some of the names of
the effects and their parameters are more cryptic than the effects that were
specifically created for GarageBand.
In this section, well briefly go over these included effects and tell you what
they are for without bogging us down by getting into the specifics of all of
their parameters.
caution
Using Audio Unit
effects can have a negative impact on your
Macs performance.
The 12 included effects are

AUBandpassThis effect is a filter effect that allows a band of frequencies to pass
while cutting higher and lower frequencies.
AUDynamicsProcessorThis effect is a compressor/limiter effect that controls the
volume dynamic range of a sound.
AUDelayThis effect is a delay effect that allows you to create echo or other delay
effects.
AUGraphicEQThis effect is an equalizer effect that allows you to raise or lower
the volume level of 31 separate frequency bands.
AUHipassThis effect is a filter effect that allows high frequencies to pass while
cutting lower frequencies.
AUHiShelfFilterThis effect is a filter effect that allows you to raise or lower the
volume of high frequencies.
AUPeakLimiterThis effect is a compressor effect that limits volume peaks to a
preset level.
144

AULowpassThis effect is a filter effect that allows low frequencies to pass
while cutting high frequencies.
caution
AULoShelfFilterThis effect is a filter effect that allows you to raise or lower

the volume of low frequencies.
Some third-party
Audio Unit effects are
ports from other plugin formats, dont conform exactly to the
Audio Unit standard,
and may not perform
as expected in
GarageBand.
AUMultibandCompressorThis effect is a compressor/limiter effect that

lets you compress the dynamic range of multiple variable bands of frequencies.
AUMatrixReverbThis effect is a reverb effect with extensive control over
the reverb sound.
AUParametricEQThis effect is an equalizer effect that controls both the frequency and bandwidth to be boosted or cut.
Now that you know more than you ever wanted about GarageBands generator
modules and effects, we can move on to actually creating instruments.
CREATING AND SAVING SOFTWARE

INSTRUMENTS
To create a Software Instrument, you dont really have to do anything more than
select a generator preset and click the Save Instrument button in the Track Info
window.
But to create a sophisticated Software Instrument, youll want to customize generator
parameters, save generator presets, and select a suitable combination of effects with
custom parameters.
Lets create a nice Software Instrument guitar:
1
2
3
4
5
6
7
8
Open the Instrument
test
song if it isnt already open.
Click the Genny Software Instrument track to bring up the Track Info window.
Click the Details triangle to access the generators and effects.
Click Guitars in the instrument category pane, as shown in Figure 8.32.
If its not already selected, Select Guitar from the Generator pull-down menu.
Click the generator edit button to bring up the edit window. Select the Clean
Electric Guitar preset from the preset pull-down menu.
Adjust the Release slider so that it is at a 50% level, as shown in Figure 8.33.
Select Make Preset from the preset pull-down menu. Name this preset Electric
and click Save.
Ring
CREATING AND SAVING SOFTWARE INSTRUMENTS
FIGURE 8.32
Since we going to create
a guitar, its a good idea
to be in the Guitars category.
FIGURE 8.33
The preset menu
switched to Manual when
we adjusted the Release
to 50%.
Congratulations, youve created a generator preset. Now lets add some effects:
1
2
3
4
5
Select Amp Simulation from the first assignable effect pull-down menu.
Select American Overdrive from the Effect preset pull-down menu, which gives us
the amp sound that we want.
Select Tremolo from the second assignable effect pull-down menu.
Click the edit button to bring up the edit window if it isnt already up.
Adjust the sliders so that Intensity is 100% and Speed is at 75%; make sure the
Auto Panning check box is checked, as shown in Figure 8.34.
145
146
FIGURE 8.34
Custom tremolo settings
are the only way to go.
6
7
8
9
Select Make Preset from the preset pull-down menu. Name this preset Medium
and click Save.
Wide
Click the Echo check box to activate echo. Adjust the Echo slider to about 30%.
Click the Reverb check box to activate reverb. Adjust the Reverb slider to about
60%.
Click Save Instrument. Name the instrument American
save our new Software Instrument.
Tremolo
and click Save to
Now that weve added a new guitar to your Software Instrument arsenal, you might want
to open up the Keyboard window and play a little ditty with your new guitar instrument
to take it out for a test drive. How about the Star Spangled Banner, Hendrix-style?
Weve noticed that GarageBand could use a few more vocal Real Instruments, particularly for backup vocals. Lets create a nice chorused vocal Real Instrument for backup
vocals.
CREATING AND SAVING REAL INSTRUMENTS

Creating Real Instruments is even easier than creating Software Instruments since we
dont have to deal with generators.
Lets create a vocal Real Instrument to add to your collection of Real Instruments:
1
2
3
4
5
6
Open the Instrument

Click the No
Effects
test
song if it isnt already open.
Real Instrument track to bring up the Track Info window.
Click the Details triangle to access the effects.

Click Vocals in the instrument category pane, and select Pop Vocals in the instrument list pane, as shown in Figure 8.35. We like the compressor and equalizer settings, so well leave them where theyre at.
Select Chorus in place of Flanger in the first assignable effect slot.
Click the edit button to bring up the effects edit window. Adjust the Intensity slider
to 100% and the Speed slider to about 15%, as shown in Figure 8.36.
CREATING AND SAVING REAL INSTRUMENTS
FIGURE 8.35
Since were going to create
a vocal instrument, its a
good idea start with a
vocal instrument.
FIGURE 8.36
Dont ya just love it when
your intensity is at 100%?
7
8
9
Select Make Preset from the preset pull-down menu. Name this preset Doubler and
click Save.
Click the Echo check box to activate echo. Adjust the Echo slider to about 30%.
Leave the Reverb slider at about 40%.
Click Save Instrument. Name the instrument Double
your new Software Instrument.
Chorus
and click Save to save
Now you have a cool vocal Real Instrument for your bag of tricks. You can apply the
effect to an existing vocal track or plug in a mic; dial up the new Double Chorus instrument; and sing, scat, rap, and scream to test it out. Now that you have created your own
instruments, did you know that you could create your own Apple Loops too? Thats
exactly what well show you how to do in the next chapter.
147
9
MAKING YOUR OWN LOOPS
f you have 100 Apple Loops, you want 200. If you have 1,000, you want
2,000. Thats just the way it is.
After you have bought Jam Pack and scoured the Web for free and commercial Apple Loops, you will want to know how to create your own
audio loops and turn them into Apple Loops.
Thats right, you can create Apple Loops from your own recordings and
save them for use in your other songs or even share your loops with
other GarageBand users for fun and profit.
And how about organizing and indexing your collection of Apple Loops?
Well show you how to keep your collection organized as well.
RECORDING YOUR OWN AUDIO LOOPS

The best way to avoid any licensing questions when your hit tune is up
for a certain music award with a gramophone-shaped trophy in the Best
Pop or Dance or R & B Song Created Using Loops but No Lip Sync category is to record your own loops.
CREATING AND SAVING AN AUDIO LOOP

Lets create and save an audio loop. This is the first step in the Apple
Loop creation process:
1
2
Launch GarageBand and select File > New. Name your new song
Loop Test.
For simplicity, lets create a four-measure synth lead in the key of C.
IN THIS CHAPTER:
Record your own audio
loops
Make your own Apple
Loops using the
SoundTrack Loop Utility
Import third-party Apple
Loops
Save and index Apple
Loops in the Loop Browser
150
CHAPTER 9 MAKING YOUR OWN LOOPS
3
4
Select Synth Leads from the instrument category pane and Cheerful Trance from the
instrument list pane. Then close the Track Info window.
Click Cycle to activate a cycle region. Drag to adjust the cycle region to cover the
first four measures if it isnt there already, as shown in Figure 9.1.
FIGURE 9.1
The cycle region now covers the first four bars,
sounds like a sign in
Sturgis, South Dakota.
tip
If you dont
have a MIDI
keyboard,
you can use
the Onscreen Musical
Keyboard.
FIGURE 9.2
Wow! Four whole notes.
5
6
7
8
Activate both the Metronome and the Count-in in the Control menu.
Play a simple sequence of four whole notes going G, F, E, C in the middle octave of your keyboard.
Click the record button to record when you are ready. Click Play to exit
recording and pause playback.
Click the track edit button to view your track, which should look like
Figure 9.2.
ADJUST THE NOTE TIMING

To ensure that our sequence loops well and to refresh some of our note
editing skills, well shorten our notes to quarter notes:
Select each of the four notes in the edit grid. Then, drag the right side
of each note of the sequence to the left to shorten it until it is a quarter
note. Shorten all four notes until they are quarter notes, as shown in
Figure 9.3.
2
3
Click Fix Timing to correct the timing of the notes so that each falls on
the first beat of the measure.
151
note
If you want to
know more about
note editing and fixing
note timing refer to
Chapter 3, Recording
Your Own Music with
Software Instruments.
Click Play to hear our sequence. The next step is to save our loop so
that we can use it later.
FIGURE 9.3
Were getting a refresher
course in Software
Instrument note editing.
4
5
Select File > Export to iTunes. Also be sure to save the song at this
point.
Now comes the hard partfinding the exported file. The exported file
is saved by GarageBand in one of two places: If all is right with the
world inside your Mac, you will find the file in the iTunes folder as your
name, your names Album, Loop Test.aif. Otherwise, the file is the
latest bounced file in your iTunes, Import folder.
Once you find the file, drag the file onto the GarageBand timeline,
where it will create a new Real Instrument track, as shown in
Figure 9.4.
Click the Tempo indicator to bring up the Tempo slider. Drag the slider
so the tempo is now 90 BPM. Notice that the imported audio track
appears to have shortened in length compared to the Cheerful Trance
Software Instrument track, as shown in Figure 9.5.
tip
If you can see
your song in
the iTunes
Library, you can
find the song file by
Control-clicking the
song name in iTunes.
This pops up a contextual menu where you
can select Show Song
File to bring up a file
menu showing the location of the song file on
your hard drive.
152
FIGURE 9.4
Our loop sequence is back,
disguised as a Real
Instrument region.
FIGURE 9.5
Uh oh, the tempo changed,
but our imported audio
loop didnt.
note
Imported audio loops
are just Real Instrument
regions and can be
looped and manipulated like any other
Real Instrument region.
It is important to keep
in mind, though, that
imported audio loops
dont have the ability to
change key and tempo
like Apple Loops do.
Go ahead and drag the Tempo slider back to 120 BPM; the loop is back
to its proper length.
As long as you use an imported audio loop in a song in the same key and tempo
as the original loop, you are okay.
CREATING A PSEUDO REAL INSTRUMENT APPLE LOOP

Before we get into changing our Real Instrument loop into a genuine Real
Instrument Apple Loop, well show you how to create a pseudo-Apple Loop using
a bit of trickery:
Duplicate our newly created Real Instrument loop by selecting Track >
New Basic Track. Option-drag the Real Instrument region that we created in the last section to the new track.
Position the playhead so that it is at measure 2 beat 1, as shown in

Figure 9.6.
FIGURE 9.6
We are preparing to split
the track at measure 2
beat 1.
3
4
Select Edit > Split.

Repeat the region splitting operation at measure 3 beat 1 and measure 4 beat 1. We
now have four regionsone for each of our notesas shown in Figure 9.7.
FIGURE 9.7
Now we have a region for
every note of our
sequence.
Click the Tempo indicator to bring up the Tempo slider. Drag the slider so the tempo
is now 90 BPM. Notice that our cut-up track now expands to the same length as the
Cheerful Trance Software Instrument track, as shown in Figure 9.8.
FIGURE 9.8
We tricked our way into
being able to change the
tempo.
Go ahead and drag the Tempo slider back to 120 BPM so that all the loops are back
to their proper lengths.
153
154

As you can see, it is a very labor-intensive process to get a Real Instrument that you can
change tempo with. If you are doing this with a drum loop or a denser piece of music,
you will have to split the region into even smaller regions at all the notes or transitions
in the region, not just at the start of each measure. But this is a good trick for creative
effects or for sparse sounds if you need to change the tempo of a song.
As well as creating your own audio loops, there are hundreds of collections of audio
loops, both commercial and freely available on the Web in a variety of audio formats.
Better quality loop collections are sorted by tempo and key. You can import those loops
as they are into GarageBand, and they will sound great as long as the tempo and key of
the loop match the songs.
Of course, the best solution is to convert your audio loops into Apple Loops so that they
can be used in songs at different tempos and keys.
CREATING APPLE LOOPS

Apple Loops are Apples proprietary audio loop format that allows loops to adapt to
the tempo and key of a song when used in Apples GarageBand and SoundTrack
products.
note
Apple Loops work with
both GarageBand and
Apples SoundTrack
program.
There are other proprietary loop formats out there that have the ability to adapt
to different keys and tempos, such as Acid Loops and ReCycle Loops. But they are
also limited to the programs that support them.
You can turn your audio loop collection into Apple Loops using Apples free
SoundTrack Loop Utility, which is part of the Apple Loops SDK and also included
as a part of the SoundTrack application.
DOWNLOADING THE APPLE LOOPS SDK
tip
Five free Apple
Loops are
included as
sample files with
the Apple Loops SDK.
To create your own Apple Loops, you will need to download the free Apple Loops
SDK (Software Development Kit) from
http://developer.apple.com/sdk/#AppleLoops. Click the Apple Loops SDK 1.1
SDK link to download the SDK.
Once the package is downloaded, click the installer to install the contents.
If you dont have developer tools installed as part of your system, a Developer
folder is created on your hard drive with an Apple Loops SDK folder in it. This
folder contains the documentation and sample files for the SoundTrack Loop
Utility. The actual utility is located in the Applications/Utilities folder.
USING THE SOUNDTRACK LOOP UTILITY

The SoundTrack Loop Utility is your ticket to creating your own Apple Loops for use in
GarageBand.
In order to turn your plain-Jane audio file into being worthy of the Apple Loop label, the
SoundTrack Loop Utility does two things:
First, it automatically tries to mark the beats or transients in a sound file so that it
can be stretched or shortened to work in different tempos and keys.
Second, it saves a bunch of labels, called tags, with the file. These allow the file to
be searched and browsed in GarageBands Loop Browser.
Lets turn the audio loop that we created in the first section of this chapter into an Apple
Loop:
1
2
Open the SoundTrack Loop Utility.

You are presented with a file open window that looks a little different with its serious gray color than a typical file open window (see Figure 9.9).
FIGURE 9.9
Gray looks so serious.
Go ahead and navigate to and open the audio loop file that we created in the first
section of this chapter. Once this file is open, the SoundTrack Loop Utility looks like
Figure 9.10.
Property Tags
File Info
FIGURE 9.10
This is where you turn
wimpy audio loops into
big, bad Apple Loops.
Search Tags
Descriptors
The Asset Window
155
156
Click the play button in the bottom center of the window to hear our loop play back
as a loop. Click the button again to stop playback.
Notice that the interface consists of two parts: the main window and the kind-of-hanging-off window called the Assets window.
Notice that the Assets window contains our audio loop file.
The main window is divided into four quadrants. The four quadrants are titled: Property
Tags, File Info, Search Tags, and Descriptors.
The Property Tags allow you to save a number of tags with your files that are helpful to
GarageBands Loop Browser:
Number of Beats tagAllows you to set the length of the loop in beats. The utility
generally does a good job of setting this property automatically. In our case, the
loop is four measures long, which equates to 16 beats in 4/4 time.
File Type radio buttonsAllow you to set whether your file is intended to loop or is
a one-shot sound file. An example of a one-shot file might be a sound effect.
Key menuAllows you to set the musical key or root note of your file. In our case,
the key of our file is C.
Scale Type menuAllows you to save whether the file is in a major or minor key. In
our case, our file is in C major.
Time Signature menuAllows you to set the time signature of your file if it is other
than 4/4 (common) time.
Author fieldSaves your name along with your creation.
Copyright fieldLets you set your copyright information.
Comment fieldThis is where you can thank the Academy.
In addition to the files property tags, you can set search tags and descriptors for the
file. These simply add the tags that classify your file for GarageBands Loop Browser:
Genre tagThis lets you set a genre for the file, so that the file is searchable by
genre in GarageBand. In our case, the genre is electronic.
Instrument selectorThis allows you to set the Loop Browser categories for your
file. In our sample file, we will select Keyboards > Synthesizer.
The Descriptors radio buttons allow you to set the subjective qualities of your
loop.
note
The more tags you set
for a loop, the easier it
will be to find the file
in GarageBands Loop
Browser.
Clicking Save in the lower-right corner of the main window saves our loop file
with all the tags that we have set, thus making the file officially an Apple Loop.
While this was technically all we needed to do to save our file as an Apple Loop,
we would be remiss if we didnt point out a few more of the SoundTrack Loop
Utilitys features.
First is the ability to batch process files. Like a playlist in iTunes, you can add several files to the asset list in the Assets window.
You can add files to the list by dragging them onto the Assets window or by
clicking the plus button in the upper-right corner of the Assets window, as
To batch-process a list of files, you must choose at least the instrument tag
for the files. Then you can click Save All in the lower-left corner of the
Assets window.
However, if you batch-process your files, be aware that the SoundTrack
Loop Utility is automatically applying property tags for the loops.
Occasionally, the utility misinterprets the files and may, for example, think
that an 80-BPM four-measure file is a 160-BPM two-measure file.
157
tip
You can toggle
the Assets
window by
clicking Assets in
the lower-left corner of
the main window.
FIGURE 9.11
The Assets window is
where you manage your
loop files. ASSets, very
funny, stop your giggling.
By individually processing your audio loops, you can check to see that the
files are interpreted correctly and add more descriptive tags to the file.
In addition to the Assets window, the SoundTrack Loop Utility has the
Transients window.
You can access the Transients window by clicking the Transients tab in the
upper-left corner of the main window.
The Transients window is where the slicing and dicing goes on that allows
the loop files to change tempo (see Figure 9.12).
caution
The SoundTrack Loop
Utility can misinterpret a
files tempo when batchprocessing. It is generally better to process
files individually.
158
FIGURE 9.12
The Transients window is
where sound files are
sliced, diced, and pured,
so that they can be
stretched and shrunk to
match tempo.
We dont want to mess around too much in the Transients window as the utility does its
magic pretty much automatically.
If you look to the bottom of the window just below the playback controls and the Assets
and Save buttons, you will notice a bar with a couple of sliders and a pull-down menu.
This is the preview bar.
The preview bar allows you to listen to your files at different tempos, musical keys, and
even volume levels. Note that these controls only affect the playback of your file and
dont actually affect the file that you are saving.
Once you start processing a lot of loops, you may find you want to preview them in the
Transients window at different keys and speeds. Sometimes notes may skip or tones
may sound warbly if the divisions arent set satisfactorily for your particular sequence.
Hopefully, weve given you a quick overview of how to use the SoundTrack Loop Utility.
If you want to learn more on setting up markers in the Transients window and other features of the utility, take some time to read the documentation included with the download of the SDK. Next, lets find our newly created Apple Loop and import it into
GarageBand.
IMPORTING YOUR APPLE LOOPS INTO

GARAGEBAND
In order to make our Apple Loop available to GarageBand, we have to import it. We can
just drag the file into GarageBands Loop Browser window to import it and index it.
However, GarageBand indexes the file at its current location on your hard drive under its
current name, neither of which is desirable.
IMPORTING YOUR APPLE LOOPS INTO GARAGEBAND
Lets rename our file and put it someplace where we can find it again.
Apples Apple Loops are stored in the Library/Application Support/GarageBand/Apple
Loops directory in a folder titled Apple Loops for Garage Band. Create a folder in the
Apple Loops directory named My Own Apple Loops and possibly even another directory
called Third Party Apple Loops if you are downloading any third-party Apple Loops
from the Web. Find the Apple Loops file that we created with the SoundTrack Loop
Utility. If all is right with the world inside your Mac, you will find the file in the iTunes
folder called your name, your names Album, Loop Test.aif. Otherwise, the file is the
latest bounced file in your iTunes, Import folder.
Once you have found the file, move it into the My
Apple Loops
Rename the file to something more descriptive, such as Synth
1
2
3
4
5
Launch GarageBand and open the Loop

Loop Browser.
Test
folder if you created one.

sequence 01.aif:
song. Click Loop Browser to open the
Drag the entire My Apple Loops folder onto the Loop Browser window. A dialog
pops up to tell you that GarageBand is indeed indexing your loops.
Click Synths and then click Electronic in the Loop Browser.
Scroll the Loop Browser window until you find Synth sequence 01. Drag the Synth
Apple Loop onto the timeline just below our last Real Instrument track.
sequence 01
Click the Tempo indicator to bring up the Tempo slider. Drag the slider so that the
tempo is now 90 BPM.
Notice that the old imported audio track appears to have shortened in length compared
to our newly added Synth sequence 01 Apple Loop, sliced-up region and the original
Cheerful Trance Software Instrument track (see Figure 9.13).
FIGURE 9.13
Our sample sequence is a
bit lame, but now you can
create your own way
cooler Apple Loops.
159
160
caution
Shifting the songs
tempo or key by large
amounts will result in
Apple Loops sounding
unnatural when compared to their original
keys or tempos.
note
Several free Apple
Loops from Mac Audio
Guy are available at
http://macaudioguy.
com/gbb/downloads/.
tip
Regularly drag
your entire
Apple Loops
directory into
the Loop Browser window to update your
Apple Loops index.
You could adjust the tempo of the song and our sliced-up region would still fit.
You can adjust the tempo or the key of the song or even transpose our new Apple
Loop and it will still fit with the song.
Go ahead and save the Loop
third-party Apple Loops.
Test
song. Next, well take a brief look at using
USING THIRD-PARTY APPLE LOOPS

There are hundreds, if not thousands, of free Apple Loops available on the Web
already. When downloading and installing these Apple Loops, a little housekeeping on your Mac will help in keeping your loops organized and make managing
your collection less of a headache.
INSTALLING THIRD-PARTY APPLE LOOPS

Remember that in the last section we said Apples Apple Loops are stored in the
Library/Application Support/GarageBand/Apple Loops directory in a folder
titled Apple Loops for Garage Band.
We suggested at that point creating a folder named Third Party Apple Loops.
The reason is that, as you expand your Apple Loop library, you will be able to sort
between Apples, third-party, and your own Apple Loops easily.
After you download Apple Loops from the Web, depending on how they are
archived, either install or move the loops into your Third Party Apple Loops
folder. And youll be good to go.
INDEXING THIRD-PARTY APPLE LOOPS

Its easy to make sure that all your third-party Apple Loops are browsable and
searchable in GarageBands Loop Browser.
All you have to do is drag the Third Party Apple
Browser window to update your entire collection.
Loops
folder onto the Loop
In the next chapter were going to show you how to add and use third-party Audio
Unit instruments and effects with GarageBand. Well also introduce you to some
advanced GarageBand and general recording tips and techniques.
10
ADVANCED TECHNIQUES
ouve learned how to record and save songs using Apple Loops,
Software Instruments, and Real Instruments. But what about the
really good stuff that they dont tell you about in the GarageBand
documentation? Well, read on my friend because this chapter is
GarageBands X-Files.
USING AUDIO UNIT INSTRUMENTS AND

EFFECTS
There is a saying in the audio industry: We love standards, thats why
we have so many of them. This saying has never been truer than when
applied to audio plug-in formats.
As we mentioned in the previous chapter, Audio Units are Apples own
audio plug-in format. There are other plug-in formats out there from various manufacturers. By far, the most prevalent audio plug-in is the VST
(Virtual Studio Technology) format, promoted by German software developer Steinberg.
When Apple acquired the Logic line of professional audio products, it
decided that it needed its own plug-in format and came up with Audio
Units, which are optimized for your Macs OSX Core Audio Architecture.
Over the last year, developers have rushed to port over their VST instruments and effects and create new Audio Unit instruments and effects.
Enough of the history. First well tell you how to use Audio Unit (AU)
instruments with GarageBand and then well go into AU effects in
GarageBand.
IN THIS CHAPTER:
Use Audio Unit instruments and effects
Learn some GarageBand
secrets, tips, and techniques
Get some Pro Recording
secrets, tips, and techniques
162
CHAPTER 10 ADVANCED TECHNIQUES
AUDIO UNIT INSTRUMENTS FOR GARAGEBAND

We talked about Apples DLSMusicDevice in Chapter 8, Making Your Own Software and
Real Instruments, which introduced you to Audio Unit instruments. Now lets take a
look at a couple of third-party AU instruments.
Some examples of AU instruments are excellent commercial products like
Native Instruments $299 Absynth 2 (http://www.nativeinstruments.de/)
note
Sources on the Web to
find AU instruments
include the Mac Music
Web site (http://
macmusic.org/softs/)
and the Audio Units

Web site (http://
audiounits.com/).
BitHeadzs $499 Unity Session 3.3 (http://www.bitheadz.com/)

Or freeware bargains like these are available:
Green Oaks Crystal (http://greenoak.com/). Note that the AU version of
Crystal is on the VST downloads page.
Ultimate Sound Banks PlugSound Free (http://www.usbsounds.com/).
For the purposes of this book, lets take a look at Green Oaks Crystal. Crystal can
be downloaded at http://greenoak.com/crystal/download.html.
Make sure that you download the AU version. Once the file has downloaded and
unstuffed, you will have a file called Crystal.component. Move this file to your
Library/Audio/Plug-ins/Components directory.
caution
Next, lets launch GarageBand to check out our new instrument:
Audio Unit instruments

are processor intensive. You need at least
a G4 733MHz Mac to
use AU instruments in
GarageBand.
FIGURE 10.1
Aye, Captain, weve got to
select the Crystal AU in the
Generator menu or we
wont have enough power!
1
2
3
4
Create a new song and call it AU
Test.
Click the Details triangle in the lower-left corner of the Track Info
window.
Scroll down the Generator pull-down menu and select Crystal, as shown
in Figure 10.1.
USING AUDIO UNIT INSTRUMENTS AND EFFECTS
Click the Generator edit button to bring up the Crystal edit window, as shown in
Figure 10.2.
FIGURE 10.2
The Crystal interface
doesnt exactly conform to
Apples Aqua interface
look.
Select the preset pull-down menu in the upper-left corner of the Crystal interface
right below the Poly and Copy buttons, as shown in Figure 10.3.
FIGURE 10.3
The preset menu is not
easy to find, but there are
112 juicy synth presets
hiding there.
Scroll down four slots in the Atmosphere section and select the Method preset
from the preset menu. Go to the edit window preset pull-down menu at the top
center of the window and select Make Preset. Name the preset Crystal Method, as
163
164
FIGURE 10.4
We are saving the Crystal
Method preset for use in
GarageBand.
8
9
Close the Crystal edit window.

Notice that you now have a Crystal Method preset for the Crystal Generator in the
Track Info window (see Figure 10.5).
FIGURE 10.5
Thats one brand-new
Software Instrument; are
you ready for the next
111?
USING AUDIO UNIT INSTRUMENTS AND EFFECTS
10
11
Select Synth Pads in the Track Info window Instrument category pane.
Click Save Instrument and name the instrument Crystal
Method.
There you have it. We have just created a new Software Instrument for
GarageBand using an AU instrument. You could go back and repeat this
process 111 times to have all of Crystals presets available to GarageBand
or, more likely, you can save out a preset from the Crystal preset list for use
in GarageBand whenever you need it in a particular song.
You can also edit or create presets for Crystal using Crystals own interface
within the Generator edit window.
With Audio Unit instruments added to GarageBands already powerful builtin generators, the possibilities for sound creation are virtually limitless.
Next, lets look at AU effects.
AUDIO UNIT EFFECTS FOR GARAGEBAND
165
tips
All AU instruments and
effects are only
available to
GarageBand if stored in
the Library/Audio/
Plug-ins/Components
directory.
You can change an
instruments icon by
clicking the instrument
icon and selecting a new
icon in the Track Info
window.
Audio Unit instruments are great, but Audio Unit effects are even better
because they dont suck up as much processor power and can be used with Real
Instruments as well as with Software Instruments.
Sources on the Web to find AU effects include the Mac Music Web site (http://
macmusic.org/softs/) and the Audio Units Web site (http://www.audiounits.com/).
Some examples of AU effects are excellent and expensive commercial products like
these:
Cycling 74s $199 Pluggo Bundle (http://www.cycling74.com/products/
pluggo.html)
Metric Halos $349 Channel Strip (http://www.mhlabs.com/)
Or, freeware bargains like these are available:
MDA effects (http://mda-vst.com/)
Super Destroy FX (http://destrofx.smartelectronix.com)
When you download or buy AU effects, make sure that you get the AU version. Also be
sure to put AU effects into your Library/Audio/Plug-ins/Components directory.
Its really easy for your effects collection to grow in a hurry (see Figure 10.6).
The important thing to remember is to explore your effects to see what each one does.
That will tell you when to use a particular effect or maybe even when not to use any
effects at all.
Now that you are loaded with knowledge to create enough Apple Loops, Software
Instruments, and effects to keep you busy for a couple of years, lets look at some of
GarageBands not-so-obvious features.
166
FIGURE 10.6
Twenty-four Audio Unit
effects and counting.
GARAGEBAND TIPS AND TRICKS

One of GarageBands minor faults is that some of its most powerful features are undocumented and therefore ignored or, worst yet, dissed by people who dont know that
these features exist. In this section well show some really awesome and relatively
unknown things that you can do with GarageBand.
THE IMPORTING MIDI FILES TRICK

Many musicians or music enthusiasts out there have MIDI files in their collections and
would love to see how they could benefit from GarageBands Software Instruments. If
nothing else, itd be cool to import MIDI files and sing over them karaoke style.
Thankfully, there is a freeware utility out there that will let you import your MIDI files
into GarageBand. Its called Dent Du MIDI by Bery Rinaldo and is available for download
at http://homepage.mac.com/beryrinaldo/ddm. The name of the program, Dent Du MIDI,
is the name of a mountain in the Swiss Alps, which is pronounced dont do MIDI.
Clever, huh? But not as clever as the program.
Dent Du MIDI is a simple droplet-type application with a few conversion options and a
MIDI drum remapper (see Figure 10.7).
FIGURE 10.7
Just drop the MIDI file
and step away from the
application.
Dent Du MIDIs conversion options are

Pass Through Program Change EventsWhile GarageBand itself doesnt recognize these messages, the DLSMusicDevice does. Check this if you plan to use the
device. This option is defaulted to Off because program change events have been
known to hang GarageBand.
Pass Through Volume Change EventsVolume changes in the MIDI file show up
in GarageBand as the tracks volume curve. This option is defaulted to On.
Pass Through Pan Change EventsAlthough GarageBand doesnt display pan
automation, setting this option to On preserves the MIDI files pan information.
The default is On.
Translate Drum TracksThis option allows you to remap nonstandard MIDI drum
tracks to GarageBands standard drum map. The default is Off.
Add Track Name from MIDI FileIf your MIDI file has track names, this option
is really handy to help you keep track of the proper instruments. The default
is On.
Add General MIDI Program NameIf you are importing a general MIDI file, this
option tries to assign instrument names to the tracks. The default is Off.
Output MIDI FilesThis option should only be used to break a MIDI file into individual MIDI track files. The output files cannot be imported into GarageBand. The
default is Off.
167
168

To convert a MIDI file or files, just drop them onto the mountain icon. A progress bar
tells you when the conversion is complete. Dent Du MIDI creates a folder with the original MIDI filename in the original directory with -GB appended to it. Inside the folder is
an .aif file for each of the MIDI tracks in the MIDI file.
To import the files into GarageBand, follow these steps:
1
2
3
4
note
A sample MIDI file titled
KOOLIT.MID and the
converted GarageBand
song file MIDI Test are
available at http://
macaudioguy/gbb/
downloads/.
Launch GarageBand and create a new song.

Delete the Grand Piano track.
Drag the converted .aif files onto GarageBands timeline. All the files
appear as tracks in GarageBand.
Assign a Software Instrument to each track.
An example of a converted MIDI file is shown in Figure 10.8.
FIGURE 10.8
Living proof that
GarageBand does do MIDI.
THE REWIRE TRICK

This one is pretty obscure for most GarageBand users, but its so good we couldnt
leave it out.
ReWire is a proprietary standard that allows different sound programs to synchronize
with one another, where one program is the master and the other program is the slave.
The master programs transport buttons, like Play and Stop, control the slave as well.
Other settings like tempo are shared between the two programs.
Programs such as Logic, Cubase, Pro Tools, and Reason all support ReWire either as a
master or slave. The secret is that GarageBand can act as a ReWire master.
This means that you can run GarageBand and control a program that runs as a ReWire
slave, such as Reason and Abelton Live.
Reason is a $499 virtual studio application from Propellerhead Software. Reason has
excellent MIDI and Software Instrument capabilities but cant record Real Instruments.
Adding GarageBands Real Instrument recording capabilities to Reason is a match made
in audio heaven.
All you need to do to get ReWire to work is to launch GarageBand first and then launch
the ReWire slave application.
Once the ReWire connection is automatically established, you will be able to control the
slave app with GarageBand and the slave apps audio output will be mixed with
GarageBands output. You can even export the mix to iTunes, and the resulting song will
have both GarageBands and the slave apps tracks.
Figure 10.9 shows GarageBand and Reason running together.
FIGURE 10.9
GarageBand is the master
of its ReWire slave,
Reason.
THE SOUNDFLOWER TRICK

This next trick is one that you have to be pretty creative to figure out how it can be useful. But it is quite useful and doesnt cost a thing.
Soundflower is a virtual audio driver and is a free download from Cycling 74 at
http://www.cycling74.com/.
Soundflowers usefulness lies in its ability to route the audio output of one application
or device to another application or device.
What use is this for GarageBand? Recording the audio output of another sound program
directly into GarageBand without first having to record a file that GarageBand can
import is both a time-saver and a disk space saver.
Another use might be to record sound from a FireWire camcorder or other FireWire
device into GarageBand.
Or, how about recording an Internet radio broadcast? Or, how about recording your
GarageBand song to another audio program without exporting to iTunes?
Like we said, Soundflower can be quite useful.
169
170

Well show you how to record an Internet radio broadcast into GarageBand:
1
2
Download and install the Soundflower driver.

Launch iTunes, select an Internet radio station, and begin playing the station (see
Figure 10.10).
FIGURE 10.10
Old school techno is our
cup of tea; you can listen
to whatever you what.
3
4
5
Launch GarageBand, open a new song, and call it Rip

Piano track.
Test.
Delete the Grand
Select GarageBand > Preferences. Select the Audio/MIDI tab.

Select Soundflower (2Ch) from the Audio Input pull-down menu, as shown in
Figure 10.11.
FIGURE 10.11
Selecting Soundflower as
an audio input probably
wont hurt your allergies.
6
7
Select System Preferences from the Apple menu in the Finder. Select Sound preference, and then click the Output tab.
Select Soundflower (2ch) from the output menu, as shown in Figure 10.12. Close the
System Preferences window.
FIGURE 10.12
A Soundflower by any
other name is still an output driver.
8
9
In GarageBand, create a new Real Instrument track. Select Basic Track > No
Effects and click the Monitor radio button to On. Click OK.
Click the record button to begin recording the Internet radio broadcast, as shown in
Figure 10.13.
FIGURE 10.13
Why you would want to
record an Internet radio
broadcast is left to your
own imagination.
After using Soundflower to route audio, its a good idea to return to your default audio
input and output settings both in the Finder System Preferences and in GarageBands
Preferences.
Having Soundflower on your Mac is like having a Swiss army knife in your pocketyou
never know exactly when youll need it or for what, but its sure nice to know that its
there.
171
172
THE GARAGEBAND AS A DIGITAL RECORDER TRICK

It should be obvious that GarageBand is a great stereo audio recorder. And it can even
act as an audio editor. But youd be surprised how many people overlook this capability.
We have heard that GarageBand could only record 1 hour of audio. We did our own
experiment and found that this is not true. You can record as long as your hard drive will
let you (see Figure 10.14).
FIGURE 10.14
The counter is past 1 hour
and GarageBand is still
chewing up our hard drive.
note
A GarageBand stereo
Real Instrument track
uses about 10MB of
disk space for every
minute of recording.
Lets say that you needed to record several half-hour presentations during a conference. One way to record them would be to create a new song for each session;
another would be to create a new track for each session.
Now here comes the good partyou dont have to export your recording to
iTunes. Locate your song project, which is usually in the GarageBand folder
inside of your Music folder in your user directory. All you have to do is Controlclick the song file to bring up its contextual menu and select Show Package
Contents, as shown in Figure 10.15.
FIGURE 10.15
Selecting Show Package
Contents is like opening a
present.
RECORDING TRICKS AND TECHNIQUES
173
In the song file contents window there are two folders, the ProjectData file that contains the Software Instrument and effects settings for the song and the Media folder that
contains the Real Instrument tracks for the song.
Open the Media folder and you will see your Real Instrument tracks as, guess what, .aif
audio files (see Figure 10.16).
FIGURE 10.16
So, this is where they hide
the audio files.
You can copy these files directly to another audio editor, your CD burning software, or
even import them to iTunes.
THE GREAT RECOVERY TRICK

This trick allows you to recover a deleted track if, and only if, you have not
saved your song file since deleting the track.
If you suddenly realize that you really liked that first-take vocal track that
you deleted five tracks ago and wished you could get it back, we have a
trick for you. If you have not saved your song file, you can open the song
file by selecting Show Package Contents like in the previous trick and then
dragging the lowest-numbered recording files back into GarageBand. And if
you are lucky, your first take will be among the recovered tracks.
caution
Regardless of this
trick, we still recommend that you save
your song file often.

In this next section well look at a few universal recording tricks that work with
GarageBand as well as other recording software.
BOUNCING TRACKS
Bouncing is an old recording term that refers to a method used to get seven tracks of
audio on a four-track analog tape recorder. The technique involves mixing three tracks
onto track 4. Then, you erase tracks 1, 2, and 3 and record on tracks 1 and 2. Next, you
mix them to track 3, erase tracks 1 and 2, and record on them again. This was working
without a net, to say the least. Thankfully, the days of such destructive processes have
passed.
174

But a derivative of this old trick can get you more tracks to record with in GarageBand.
As we have explained throughout this book, Software Instruments eat up processor
power like Anna Nicole eats bonbons. Real Instrument tracks are far less taxing on your
Macs processor but are hell on your hard drive. If your Mac is threatening to puke out
on you after your third Software Instrument track, here is what you can do:
1
2
3
4
5
tip
Exporting a
Software
Instrument
track to iTunes
and then reimporting
the track as a Real
Instrument track conserves your Macs
processor power and
allows you to get
more tracks out of
GarageBand.
Set up a mix that you like of the Software Instrument tracks.

Select File Export to iTunes.
Save your song to preserve your original instrument settings, and then
open a new song.
Drag your mixed audio file from iTunes into your new songs timeline,
where it becomes a Real Instrument track.
Continue recording Software or Real Instrument tracks until youve
recorded your song or your Mac starts to croak again. And then bounce
again if necessary.
Bouncing isnt pretty, but it can gain you more tracks. The advantage of this
method is that, when you get a faster computer, you can go back and reconstruct
all the tracks from the bounced songs.
If you wanted to get real fancy with this technique, you could even export the
repetitive sections of your Software Instrument tracks, process them through the
SoundTrack Loop Utility, and reimport them as Apple Loops.
THE CROSS-FADE PAN TRICK

One recurrent complaint about GarageBand is that you cannot automate your pan settings the same way that you can your volume curves. Well show how to automate your
panning, and it will only cost you an extra Real Instrument track:
1
2
3
4
5
6
7
Launch Garage Band, open a new song, and name it Pan
Test.

Click Loop Browser and click Drums.
Select Club
Dance Beat 001
from the Loop Browser and drag it into the timeline.
Drag another copy of Club Dance

track, as shown in Figure 10.17.
Beat 001
into the timeline to create a second
Click Cycle to create a cycle region over the two tracks.

Click the show track volume triangles for both tracks. Click to activate both Track
volume check boxes.
FIGURE 10.17
Two identical drum tracks
are better than one.
8
9
Drag the first tracks pan knob all the way to the left. Drag the second tracks pan
knob all the way to the right.
Create three control points in the first tracks volume curve and drag them into the
positions shown in Figure 10.18.
FIGURE 10.18
Fading out the left track
pans the sound to the
right.
10
Create three control points in the second tracks volume curve and drag them into
the positions shown in Figure 10.19.
As you can hear and see, by using clever fades we can pan the sound to the right and
then the left and then back to the center. Who said we couldnt automate panning in
GarageBand?
175
176
FIGURE 10.19
Houston, we have an automated pan.
THE SPLITTING DRUMS TRICK

When recording albums, probably more time and effort are spent getting the drum
sound than anything else. Typically, producers use up to 10 tracks just to record a drum
kit and spend several hours to get just the right mic placements and effect settings for
the kit.
With GarageBand, drum loops are either stereo Real Instrument loops with all of the
drums mixed to two tracks or Software Instrument loops which may not even have any
pan information at all recorded as part of the loop.
To get that big studio sound, you need to split out your drums to different tracks so that
you can tailor your effects to each part of the kit to make a better sounding whole.
For stereo-mixed Real Instrument drums, this is a difficult operation where you must
duplicate the track several times over and try to isolate the individual drums using
equalizers. Not fun, and often not worth the effort.
However, Software Instrument drum loops do present us with the opportunity to individualize our drums.
Lets split up a Software Instrument drum loop:
1
2
3
4
5
Launch Garage Band, open a new song, and name it Drum
Test.

Click Loop Browser and click Drums.
Select Classic
Rock Beat 03
Drag three copies of Classic

as shown in Figure 10.20.
from the Loop Browser and drag it into the timeline.

Rock Beat 03
into the timeline to create four tracks,
FIGURE 10.20
Now thats a stack of drum
loops.
6
7
8
Click Cycle to create a cycle region over the loops.

Select the first track and click Edit to bring up the track editor.
Drag-select all the notes except the kick drum (C1) notes, as shown in Figure 10.21.
Delete the selected notes.
FIGURE 10.21
All the selected notes are
going bye-bye.
9
10
Select the second track. Select and delete all of the notes except for the snare
drum (D1).
Select the third track. Select and delete the kick drum (C1), snare drum (D1), and
low tom-tom (F1) notes.
177
178
11
12
Select the fourth track. Select and delete the kick drum (C1), snare drum (D1), and
high tom-tom (A1) notes.
Pan track 2 to about 2 oclock, pan track 3 all the way to the right, and pan track 4
all the way to the left.
If you listen to the loop now, youll notice that weve greatly increased the stereo effect
of the drum kit. Next, name the track regions Kick, Snare, OH right, and OH left (see
Figure 10.22). OH is recording jargon for overhead.
FIGURE 10.22
All the drums are getting
their own tracks, effects,
and pan settings. Arent
they special?
You can create a fifth track with the original Classic Rock Beat 03 as a reference. That
way, you can solo just this track to hear the original and then mute it to hear the newly
split version.
By splitting the drum track, not only can we increase the stereo spread of the drum kit,
but we can also give each track its own effects and level or even instrument settings.
Download the Drum Test file from http://macaudioguy.com/gbb/downloads/ to check
out the effect settings that we chose.
Once you have a drum sound that you like, if your Mac has enough horsepower, you
can keep the separate Software Instrument tracks as part of your song. Or, if your Mac
isnt as powerful, you can export the drum tracks, process them through the
SoundTrack Loop Utility, and reimport them as Apple Loops.
MORE DIVIDE-AND-CONQUER TRICKS

Duplicating tracks can open up all kinds of creative possibilities for your songs.
Here are a few tricks from up our sleeves:
Duplicate a clean guitar track and then put some serious amp effects on the duplicated track. Then set up a very slow cross-fade between the two tracks. Instant
automated effects.
Duplicate a guitar track twice. Then pan one of the duplicated guitar tracks hard
left and lower its volume; then move or slip the track so that it is delayed exactly
1/32 note in the timeline. Pan the other duplicated guitar track hard right and
lower its volume; then move or slip the track so that it is delayed exactly 1/16 note
in the timeline. Whoa! Talk about surround effects.
179
Split the first note from a region and then duplicate it several times before the original note. Slowly fade up the duplicated notes for that backward echo effect.
Duplicate a track, pan it opposite of the original track, and try radically different
effects or even instruments for each.
Duplicate a Software Instrument drum loop and switch it to a different Software
Instrument drum kit. Pop Kit plus Hip Hop kit equals Hip Pop kit.
THE DOUBLED VOCALS TRICK

It is a rare hit pop song where the vocals arent doubled at least in the chorus section of the song. There is a good reason for thissinging the part
several times irons out any inconsistencies and gives the song more punch.
Merely duplicating a recorded track wont work in this case. If you are the
singer, insist on recording at least two tracks of any vocal part. If you are a
recordist, recording as many vocal takes as possible only makes sense.
tip
If you cant
sing harmony,
you can use
GarageBand and
the SoundTrack Loop
Utility to help.
Also sing the chorus part in harmony if you are able. It is very satisfying to
sing harmony with yourself.
To create a harmony part with the SoundTrack Loop Utility, all you have to do is solo and
export the part that you want to harmonize. Process the part through the SoundTrack
Loop Utility and reimport the part as an Apple Loop. Finally, transpose the part in the
track editor. Figure 10.23 shows a harmonized loop.
FIGURE 10.23
Maybe we can teach the
world to sing in perfect
harmony.
The harmonized loop may have a slightly metallic sound, but it will be in perfect harmony with your original track. A little equalization and some subtle effects and people
will think you sang the harmony part perfectly.
180
FINAL TIPS FOR SPICING UP THE MIX

Here are some tips to help spice up your songs and mixes:
Thicken up a weak vocal with the chorus effect.
Make a bass sound punchier by boosting the upper mid frequencies with the
Equalizer.
Quiet a humming guitar amp with the gate effect.
Have some friends over for cocktails and trick them into recording some background vocal tracks.
Listen to your mixes on as many different speaker systems as possible.
Especially listen to your mix on a car stereo or two.
Unplug your home phone and turn off your cell phone when recording.
The compressor effect works best on bass and vocals.
A Real Instrument is always better than a Software Instrument for a lead part.
Its easier to ruin a mix with too many effects than with too few.
Additional percussion instruments can often be found in the kitchen.
Really crazy ideas either succeed gloriously or fail miserably.
Dont fool yourselfmaking a sound louder in the mix doesnt make it sound
better.
Steal from the best; listen closely to and copy techniques from albums that you
like.
Export several mixes of your song. Being able to pick and choose after your ears
have healed is priceless.
Everyone wants to hear more of themselves in a mix. Simply remind them that
you have a Delete key and know how to use it.
The cops usually come later if you close the garage door when playing.
WENDY CARLOSS RECORDING TIPS FOR BEGINNERS
o reach synth goddess Wendy Carloss humorous Recording Tips for Beginners, go to
http://www.apocalypse.org/~wendy/resources/studiotips.html.
FINAL THOUGHTS
Some in the recording industry have characterized GarageBand as a toy. It is not
and we have hopefully shown that you can achieve professional results with
GarageBand.
Others in the recording biz have seen it as taking business away from the
recording studios. This may be partially true, but any empowering technology is
going to bring fresh ideas to how music is recorded and have an overall positive
effect.
FINAL THOUGHTS
Some are frustrated by its simplicity, others by its complexity. GarageBand cant be
everything to everybody, but it comes very close at least for its market. And it
attempts, at least, to be a product that doesnt get in the way of creativity.
What people forget is that great albums have been produced with technology that
isnt even close to GarageBands capabilities or its audio quality. Speaking personally as a recording engineer, I can do some things with GarageBand today than I
couldnt have done with a quarter-million dollars worth of studio gear 20 years
ago. A reel of 1/4'' reel-to-reel tape used to cost the same as what you pay for
GarageBand today.
As your interest and experience grow, you may want to move on to more expensive
professional recording softwareor you may not.
We look forward to the day when your garage band uses GarageBand to record the
demo that gets you that mega record deal. Or better yet, the day when your garage
band announces at the big awards show with the gramophone-shaped trophy that
you recorded your big hit using GarageBand, a Mac in your basementand this
book.
181
GLOSSARY
amplifier An electronic device that

raises an audio signal level, resulting in
a louder sound level.
ballad Usually a slower-tempoed

song with voice as the primary
instrument.
amplitude The absolute height of an

audio signal waveform, which defines
the loudness of a sound.
backbeat Usually beats 2 and 4 of

a measure in popular music.
analog An electrical waveform signal

that is analogous to the sound pressure
level waves in the air.
audio Sound, but usually applied to
the electrical or digital signal that represents sound.
audio input The connection going into
a computer or an audio device.
axe Slang for instrument, usually a
handheld instrument like a guitar or
trumpet.
bar Measure. Also where bands

play.
bass Low-pitched range of sound.
Also a low-pitched instrument such
as a bass guitar or an upright double
bass.
bass player Musician who can be
replaced by a pianists left hand.
beat A unit of musical time; a subdivision of a measure. The pulse of a
song.
bpm Beats per minute. Relates
musical time to conventional time
and defines the tempo.
184
CHORD
chord The sounding of two or more

simultaneous notes.
echo An effect where a sound is

delayed in time and repeated, usually
at a lower volume.
chorus A refrain or repeated portion

of a song where repeated words are
sung over a repeated melody. Also, an
effect where the processed audio signal moves slightly out of time and
tune with the original signal, creating
the illusion of several instruments or
singers.
clipping When a signal exceeds a
circuits capacity to handle it, causing
the signal to be truncated and resulting in a distorted sound.
compressor An effect that reduces
the overall volume range from the
softest to the loudest by boosting
lower volume and lessening higher
volume parts of a signal.
effect A process that changes the

character of a sound.
equalizer An effect that affects the
frequency content of a sound.
F
fader
trol.
A linear or sliding volume con-
fifth A pleasing musical interval

seven semitones or five notes above
the tonic note. An example is G above
C. When the band cant afford a quart.
cycle GarageBands term for looping

a portion of a song.
flanger An effect where the

processed audio signal moves slowly
in and out of time with the original
signal.
flat A note which is lowered one-half

step in pitch. A place for British musicians to crash.
decibel Unit of sound volume measurement.

digital audio An encoding and
decoding scheme where an analog
audio signal is represented as a string
of binary numbers.
distortion A harsh sound created by
overloading an electrical circuit.
downbeat
sure.
The first beat of a mea-
frequency The cyclic variation of an

audio signal in cycles per second or
hertz (Hz). The hearing range of
humans is usually said to be between
20Hz and 20,000Hz. Its often used to
describe the pitch range of a sound.
An example would be an equalizer can
boost low frequencies.
drummer A person who hangs out

with musicians in a band.
gain Measurement of signal amplification. Another term for volume level.
dynamic range The difference

between the softest and the loudest
part of a sound.
guitarist
guitar.
A music critic armed with a
OVERDUB
H-I
M-N
harmonics The overtones of a sound

which happen at musical intervals or
whole number multiples of a sound.
major key A musical scale generally

thought to have a happy sound.
harmony A pleasing combination of

notes sounded together. Usually an
interval of third or fifth for vocals.
hertz (Hz) The measure of pitch of a
sound. 1Hz equals one cycle per second of a sounds waveform.
hum Low-frequency interference to
an audio signal, usually at 60Hz,
caused by power source interference.
The distance between two
interval
pitches.
melody The series of notes that form

the musical shape of a song. The hummable part of a song.
metronome A device that keeps
musical time.
middle C Note that has a pitch of
261.63Hz. Generally found at the middle of a piano keyboard
MIDI (Musical Instrument Digital

Interface) A computer language for
transmitting and storing musical information.
K
key A pleasing-to-the-ear series of
eight musical notes that begins and
ends with the root or starting note.
Also a physical part of an instrument,
i.e. piano keys.
kick drum
kit.
The bass drum of a drum
kilohertz
ond.
1,000Hz or cycles per sec-
minor key A musical scale generally

thought to have a sadder sound.
mixer A device that combines audio
signals.
monitors
mono
A pair of loudspeakers.
A single channel audio signal.
musician Musical performer who is

usually employed in the food service
industry.
mute A control that silences a particular track.
note
lead singer Person in the band who

doesnt mind standing around holding
a tambourine.
lyrics
measure A unit of musical time

made up of beats and defined by the
time signature, also called a bar.
The words of a song.
A single musical tone.
O
octave A tone range of 12 semitones
in which the pitch of a note is doubled.
overdub To record on an unused
track while listening to previously
recorded tracks.
185
186
PAN
pan The panoramic illusion of a

sounds placement in space from left
to right.
scale A repeating series of (usually

8) discrete pitches.
patch A collection of sound generator or effects parameters; also called a

preset.
percussion instruments Instruments
that are generally struck to make
sound.
phaser An effect where the
processed audio signal is slightly out
of phase or time with the original signal.
pitch The discrete frequency of a
sound where a low-frequency sound is
perceived as a low-pitched note and a
high-frequency sound is perceived as
a high-pitched note.
preset
A stored set of parameters.
punch-in Recording onto a portion

of a previously recorded track. In
GarageBand, this refers to region
recording.
Q-R
quarter note A note having the duration of 1/4 of a whole note, which is
usually one measure in duration.
Real Instrument GarageBands term
for an effect preset for sound that is
either input or imported into
GarageBand.
region In GarageBand, a unit of
recorded sound or MIDI information.
reverb An effect that seeks to emulate the reflections of sound in space.
An example would be that a shower
stall is a small reverberant space.
root note Usually the beginning note
for a scale. The fundamental or defining note for a key or a chord.
semitone The smallest pitch division

of a scale.
sharp A note that is raised one semitone in pitch.
Software Instrument A term used by
GarageBand to define an instrument
preset that includes an internal sound
generator as well as effects.
solo A control which allows you to
hear a specific track exclusively. Also a
portion of a song where one instrument is allowed to predominate.
song A musical composition. Also in
GarageBand, the project file where all
the software settings and performance
information are stored.
sound Rapid variations of fluid (air,
water, and so on) pressure that can be
detected by the ear.
stereo Two channels of audio
recorded simultaneously in near proximity so as to create an illusion of 3D
space when reproduced.
synthesizer An electronic musical
instrument which combines sound
generators and modifiers that can be
controlled.
T
tempo The relationship between real
time and musical time expressed in
beats per minute.
third Musical interval spanning four
semitones. An example is C to E.
timbre The character of a sound. For
example, a piano and a guitar sound
different even when playing the same
note.
WHOLE NOTE
timing The relationship between

musical events and musical time. It is
usually desirable to have a musical
event happen on the musical beat or a
subdivision of the beat.
tone In music theory, a musical
interval of two semitones. Also the
harmonic quality of a sound. For
example, a flute has a pure tone,
whereas a cello has a complex or dark
tone.
track In GarageBand, its either a
mono or stereo audio or MIDI data
channel. Multitrack recording is where
several tracks of data are overlaid.
transpose To move a note or series
of notes up or down in pitch.
tremolo Slight up and down variation of the volume of the sound of a
note.
tuning The referencing of an instrument to a specific frequency. Also
adjusting instruments so that they are
playing at the same frequency as
other instruments.
U-Z
unison Two or more instruments
playing the same notes.
velocity How quickly or hard a keyboard key is struck, which usually
defines the volume of a note.
verse The exposition part of a song
where different words are sung to a
repeating melody.
vibrato Slight rapid up and down
variation of the pitch of a note.
volume A measurement of the loudness of a sound.
waveform A graphical representation
of a sound or audio signal.
whole note Usually a note duration
of one measure.
187
A
EXPANDING GARAGEBAND
f you are having fun with GarageBand, you may find it worthwhile to
expand its capabilities. You can do that with the GarageBand Jam Pack
and some third-party products.
You can never have enough RAM, and soon you will find the same is true
of Apple Loops. Once you have tired of the almost 2000 loops and 50+
software instruments that come with GarageBand, you will want more,
more, more!
THE GARAGEBAND JAM PACK

Apple has just the thing for that uncontrollable desire for more and more
sounds to feed your GarageBand habit. And it will only cost you twice as
much as the original program.
Why should you spend $99 to expand a $49 product, you ask. Because it
is worth every penny. For only $99, you can add over 2,000 more Apple
Loops, over 100 more Software Instruments, 100 more effects settings,
and 15 more guitar amp settings. Having that many sounds to choose
from should scratch the itch and keep you off the street for a little while.
Beyond the price tag, having all that selection does have its downside.
And that downside is disk space. Add another 3GB to the 2.5GB that
GarageBand is already occupying, and 5.5GB of disk space for one program plus all of your GarageBand projects might find you singing,
Where did my drive go?
If you are crazy for even more Apple Loops and want to stay with Apple
products, you can drop another $199 and buy Apples Soundtrack application. It not only gives you Apple Loops not already in your repertoire,
but it also gives you a whole other application that allows you to sync to
video and other cool tricks. If you dont want to lay down the $199 for
Soundtrack, dont fret. If you have the disk space and you still cant get
enough, there are even more third-party expansion options.
190
APPENDIX A EXPANDING GARAGEBAND
THIRD-PARTY GARAGEBAND EXPANSION OPTIONS

If you are willing to do a little hunting on the Internet, you will soon find that you can
Google up some free Apple Loops. Thats rightFREE! Whats the catch? Like Apple,
some of these bigger companies know once youre hooked, youll be back for more. And
like the old saying goes, Next time itll cost you. At press time, there are hundreds of
commercial CDs of Apple Loops available. That said, there are also many good,
free, no-strings-attached sources for Apple Loops out there.
notes
In addition to these
sources of Apple
Loops, we show you
how to roll your own
Apple Loops in Chapter
9, Making Your Own
Loops.
We go into depth about
how to use Audio Units
and where to find them
in Chapter 8, Making
Real Instruments.
Here are a few sources for Apple Loops that we found:

Drums on Demandhttp://www.drumsondemand.com/
BitShift Audiohttp://www.bitshiftaudio.com/
SampleNethttp://www.samplenet.co.uk/
Sound Shopperhttp://www.soundshopper.com/
New sites are springing up all the time, so you may also want to search for
GarageBand Apple Loops on the Web.
GarageBand musicians do not live by Apple Loops alone. In fact, there is a whole
world of plug-in Software Instruments and audio effects out there. These plug-ins
work for GarageBand and are called Audio Units. Audio Units are an Apple standard for third parties to create audio plug-ins that work with OS X audio applications, including GarageBand, Soundtrack, Logic, and many more. Like Apple
Loops, there are both free and commercial Audio Units available to expand your
GarageBand.
B
CONFIGURING YOUR STUDIO
ou can make music using just GarageBand and your Mac; however,
if you really want use GarageBand to its full potential, you will
need some additional equipment. Fortunately, its the kind of gear
that many musicians already possess from doing live gigs or from having
set up a home studio in the past.
In this appendix well show you how to hook all that stuff up to your Mac
so that GarageBand can live up to your expectations and allow you to
create that mega-hit thats rolling around in your brain just waiting to
get out.
MONITORING
The most important pieces of gear in a studio are a good set of monitoring speakers. Repeat after me: The most important pieces of gear in a
studio are a good set of monitoring speakers. Remembering this will
save you many heartaches and wasted hours.
If you are monitoring through little popcan computer speakers, your
magnum opus may sound like mouse excrement in a popcan when
played back on a decent system. In addition to a good set of speakers, if
you are going to be doing any recording with a microphone, you are
going to need a decent set of closed or semi-closed headphones.
Speakers basically come in two varieties: powered speakers with amplifiers built in to their enclosures and passive or nonpowered speakers,
which need to be hooked up to an amplifier.
Nowadays, powered speakers have become more popular in computerbased studios. These speakers usually combine the convenience of selfcontained units with the good sound of built-in amplifiers that are
matched with the speakers characteristics.
192
APPENDIX B CONFIGURING YOUR STUDIO

Good examples of this type of monitors in the $300-a-pair range include the M-audio
BX5 studio reference monitors (http://m-audio.com/), the KRK RP5 Rokit monitors, and
the Edirol MA-20D Digital Micro monitors. If these are too rich for your blood, you might
consider these monitors in the $100 range: the Edirol MA-5D, the JBL Creature 2.1
speakers, or the Altec-Lansing AYP3.
If you decide to go with passive speakers, consider that you will also need an amplifier
in your purchasing decision. Some reputable brands of speakers and amplifiers include
Yamaha, JBL, Mackie Designs, and Alesis.
Regardless of the type or brand of monitoring speakers that you decide to use, the most
important factor is that they sound good to your ears and are fairly accurate.
There are basically two ways to hook up your speakers to your computer. One is
directly connecting the sound output of the computer or audio interface to the powered speakers or to the amplifier for unpowered speakers, as shown in Figure B.1.
Secondly, if you are using a mixer, you will want to route the output of your computer
or audio interface to your mixer and then route the monitor output of your mixer to
the powered speakers or to the amplifier for unpowered speakers, as shown in
Figure B.2.
FIGURE B.1
POWERED MONITORS
How to hook up monitors

without using a mixer.
Shown are both powered
and nonpowered speaker
hook-ups. (Illustration by
Annie Kennedy.)
AUDIO OUT
AMP
PASSIVE SPEAKERS
HEADPHONES
note
Most powered computer speakers automatically mute when
you plug in a set of
headphones.
The latter method is the better way to go simply because you wont have be constantly
unplugging your speakers to plug in headphones, although most amplifiers and
some powered speakers have headphone jacks. The important factor here is to
have the ability to turn off the speakers while still being able to monitor through
the headphones.
In order to avoid feedback when recording to GarageBand with a microphone,
you will need to monitor through a set of headphones. Good pairs of professional closed-cup and semi-closed-cup headphones can be found for under $100,
so there is no reason to use cheap walkman-type headphones. Some good
examples of professional headphones are Sony MDR 7505, Sennheiser HD25-sp,
Audio-Technica Ath M30, and Fostex t40-RP.
Some people choose to monitor entirely through headphones. While this may
seem to be a cheaper alterative to speakers, monitoring through headphones is fatiguing as well as potentially dangerous to your hearing.
HOOKING UP A MIDI KEYBOARD
FIGURE B.2
This diagram shows how
to hook up both powered
and passive monitors
using a mixer. Impress
your friends with this
tricky setup. (Illustration
by Annie Kennedy.)
193
POWERED MONITORS
USB
AUDIO
INTERFACE
AUDIO OUT
AMP
PASSIVE SPEAKERS
MIXER
HEADPHONES
PROTECTING YOUR EARS
f you think about it, hearing is perhaps the most important ability of a musician or just
plain lover of music. It is bad enough that everybodys hearing degrades over time, but to
accelerate that process is, to say the least, unwise.
Exposing yourself to music (or any noise) over 90Db in loudness over a period of time can
cause hearing loss in the form of not being able to hear soft or high-frequency sound, ringing
in the ears, and total hearing loss.
If you are a performer, wear ER-15 musician earplugs when on stage. If you are recording or
listening to music, try to keep your monitoring levels below 86Db.
If youd like to read more, there is an excellent article by Clive Williamson at http://www.
symbiosis-music.com/hearing.html.
nuff said.

You can wile away the hours by playing mixmaster with the thousands of loops within
GarageBand, but eventually youll probably want to play and record your own music.
You can play GarageBands excellent Software Instruments using GarageBands built-in
onscreen keyboard, but it isnt the most ergonomic solution for playing music.
If you have bought an electronic music keyboard or synthesizer in the last
10 years, chances are that the thing is MIDI compatible. Without going into
what exactly MIDI is, just look on the back of the keyboard for one or two
little round connectors with five holes in it. These connectors might even be
marked as MIDI in and MIDI out, as shown in Figure B.3. As Martha Stewart
would say, Labeling is a good thing.
You will probably also notice that your Mac doesnt have one of these little
five-pin cuties. Your Mac likes its MIDI through one of its USB connectors.
What we need here is some sort of translator. Enter the USB/MIDI interface. A USB/MIDI interface is generally a little box with a USB connector on
one side and two or more MIDI connectors on the other side, just like the
ones shown in Figure B.4.
tip
Most USB MIDI
interfaces only
include the
interface and a
USB cable. Chances are
that you will have to
purchase MIDI cables
separately.
194
FIGURE B.3
These are typical MIDI
connectors. Notice the
convenient labeling. (Photo
by Jay Shaffer.)
If you are really lucky, your interface will come with some software to install. Just make
sure your Mac and the interface are speaking the same language.
FIGURE B.4
This is a USB/MIDI interface
featuring dual MIDI inputs
and outputs, which means
four connectors. (Used with
permission: m-audio
[www.m-audio.com/].)
If you dont already own a MIDI keyboard and want to purchase one, be aware that there
are two kinds of MIDI keyboards out there. There are MIDI keyboards that have their
own built-in sound generators and MIDI connectors. These can be used without a computer.
The second kind, called keyboard controllers, dont have any built-in sound generators
and usually have a USB interface and must use the computer to make sound. If you are
interested in the latter type, Apple has a simple solution for you. Apple teamed up with
MIDI giant M-Audio to release a special deal of $99 for the M-Audio Keystation 49e USB
MIDI keyboard, as shown in Figure B.5.
This is an excellent keyboard and is available at Apple stores and online at Apple.com.
Another type of keyboard to consider is the keyboard controller with a built-in audio
interface. These are a bargain in that they provide an all-in-one solution for both
audio and MIDI. Some examples of this type are the M-Audio Ozone and the Edirol
PCR-A30.
FIGURE B.5
The M-Audio Keystation
49e features 49 keys, USB
MIDI, and a 426-cubic inch
Hemi. Okay, forget the
Hemi part. (Used with
permission: m-audio
[www.m-audio.com/].)
If you want a musical keyboard that you can unhook from your computer and take to
your next karaoke party, you can pick up a consumer-type keyboard with MIDI for about
a hundred bucks. With this type, you usually have to buy a USB/MIDI interface.
For the working musician/keyboard player, professional synthesizers and workstations
start at about $500 and can go to several thousand dollars. Figure B.6 shows a complete MIDI keyboard setup.
FIGURE B.6
Two possible MIDI hookups are shown here: The
USB controller hooks
directly to the Mac, but
the MIDI keyboard has to
go through a MIDI interface. (Illustration by Annie
Kennedy.)
USB KEYBOARD CONTROLLER

USB
USB MIDI MIDI IN
INTERFACE
MIDI OUT
MIDI IN
MIDI OUT
KEYBOARD WITH MIDI
195
196
TESTING YOUR MIDI KEYBOARD

Once you have hooked your keyboard to your Mac either via a MIDI interface or via a
USB cable and installed any drivers that may have come with your keyboard or interface, it is time to test your MIDI connection. Make sure that your MIDI keyboard is
turned on:
1
2
3
Launch GarageBand and create a new project by selecting File > New.
Select GarageBand > Preferences. This brings up the Preferences window.
Click Audio/MIDI, as shown in Figure B.7.
FIGURE B.7
The Audio/MIDI preferences panel shows the
MIDI status. One MIDI
input detected off the
port bow, Captain.
Make sure that the MIDI Status item reads 1 MIDI Input(s) detected. If no MIDI
inputs are detected, recheck your hardware connections and make sure that your
MIDI keyboard is turned on.
Once your MIDI input is detected in the Preferences panel, go ahead and close the
panel. Play a note on your keyboard.
Several things should happen. You should hear a piano sound, you should see the
green level indicators move as you play a note, and finally you should see a small
blue indicator light up in the Track Info window. You should see something like
Figure B.8.
HOOKING UP A GUITAR DIRECTLY TO YOUR MAC
197
Input level indicator
FIGURE B.8
MIDI is happenin!
Track Info bar MIDI indicator

Master Level indicator
Now that you have your keyboard working with GarageBand, you will definitely want to
check out Chapter 3, Recording Your Own Music with Software Instruments.

Unlike most music software which seems to be only made for keyboards, GarageBand is
made with guitarists in mind.
You dont want to hear about MIDI mumbo jumbo; you just want to plug in your axe and
play, man. Hooking your Strat into your PowerBook and laying down a few tracks while
riding on the plane between tour dates, thats what its all about, isnt it?
HOOKING UP TO THE MAC USING AN ADAPTER

Although it does seem a bit unnatural, you can plug your guitar directly into
your Mac (if it has an audio in port).
All you need is an adapter. What you need is a mono 1/4'' phono female to
stereo 1/8'' mini male adapter.
Once again, Apple comes to the rescue; just go to your local Apple store or
go online to Apple.com and get the Monster Instrument Adapter for $19.95.
This adapter is also available from Monster Cable directly at http://
monstercable.com/. The Monster Cable iStudioLink, as shown in Figure B.9,
is a simple, elegant solution, well worth the 20 smackers.
Sure, you could probably glom together enough Radio Shack adapters to
make this thing work, but you have to ask yourself: Do you really want that
monstrosity hanging off of your Mac? And do you want to take a chance at
breaking the rather fragile 1/8'' audio input connector on your Mac? That
would be a really bad thing.
tip
A guitars audio
signal is
weaker than
your typical home
stereo line-level signal.
Although your Mac can
handle lower-level signals, you will get a bettersounding signal off your
guitar if you use a preamp to boost its signal.
198
FIGURE B.9
The Monster Cable
iStudioLink makes hooking
up your guitar simple.
Simple is good.
Monster Cable iStudioLink 2003 Monster Cable Products, Inc.
HOOKING UP TO YOUR MAC USING A PREAMP

There is another way to hook up your axe directly to your Mac, and that is to use a guitar
preamp or DI (direct injection) box. You can get these from several manufacturers for
under a hundred bucks. The advantage to using a preamp is that it not only changes your
guitars signal to a true line level signal, but also often has a level control as well as a vacuum tube or tube emulator circuit to add warmth to the sound. Figure B.10 shows a typical guitar/mic preamp. These boxes usually have 1/4'' line outs, so you will still need an
adapter to connect into your Mac. Figure B.11 shows a couple ways to hook up your guitar.
FIGURE B.10
The ART Tube MP Studio
preamp turns those wimpy
guitar and mic signals into
hefty line level signals.
Photo: courtesy of ART (Applied Research and Technology) www.artproaudio.com
Once you have plugged into your Mac, as shown in Figure B.11, its time to see if your
hot licks are getting into GarageBand.
FIGURE B.11
Strat meet Mac. Mac meet
Strat. The guitar/Mac love
connection. (Illustration by
Annie Kennedy.)
AUDIO IN
1/4" TO 1/8"
ADAPTER
PREAMP
TESTING THE CONNECTION

Make sure you have the volume on your guitar turned up; if you are using a preamp,
make sure that it is powered on:
1
2
3
4
5
6
Launch GarageBand. Create a new project by selecting File > New.

Select GarageBand > Preferences and click Audio/MIDI.
Make sure that Built In Audio is selected as the Audio Input. Go ahead and close
the preferences panel.
Under the Track menu, select New Track.
Select Real Instrument and then select Guitars and No Effects. Select the Monitor
On radio button, as shown in Figure B.12.
Click OK to complete the track creation process.
FIGURE B.12
The New Track window
tempts you with the Arena
Rock setting, but lets stick
to No Effects for now.
199
200

Play your guitar. Several things should happen. You should hear your guitar, and you
should see the green level indicators move as you play.
Dont worry if it sounds horrible at this point; we just want to make sure that the audio
is happening. If you dont hear anything at all and you are seeing the level indicators
move, check that Audio Output is set to Built-in Audio in the GarageBand Preferences
Audio/MIDI panel and that your speakers are turned on.
If you dont hear anything at all and you are not seeing the level indicators moving,
check your connections, make sure that the volume on your guitar is turned up, and that
you turned on the preamp if you are using one. If you still dont hear anything, try
repeating the new project/new track process. Once youve got everything working, flip
back to Chapter 4, Recording Your Guitar, where we go much more in depth on using
your guitar with GarageBand.
HOOKING UP A MICROPHONE DIRECTLY TO

YOUR MAC
A guitarist may get his or her flashy solos, but everyone knows the singer is the star of
the show. If you want to use GarageBand to show the world your vocal talent, youre
going to need to hook up a microphone. Chances are, if you have been singing for a little
while, you probably already own a good microphone. If you are just getting started and
need to purchase a mic, there are lots of good vocal mics available for under $100. In this
section, well show you how to connect a professional dynamic microphone to your Mac.
CHOOSING A MICROPHONE
here is one basic difference between a professional microphone and a consumer

mic. Professional mics have a three-pin connector called an XLR connector, as shown in
Figure B.13. Consumer mics generally have a 1/4'' or 1/8'' phono-type connector.
FIGURE B.13
This is a typical
pro mic with an
XLR connector.
(Photo by Jay
Shaffer.)
The reason that pro mics use XLR connectors is that a three-pin connector allows a lessnoisy, balanced connection to other audio gear. Among pro mics, there are two basic types,
called dynamic and condenser. Dynamic mics are generally the ice cream cone type of mic
that you see live performers using, as in Figure B.14. Condenser mics are usually those big
Tylenol capsule-looking mics that you see in recording studios and in Figure B.15.
HOOKING UP A MICROPHONE DIRECTLY TO YOUR MAC
FIGURE B.14
Audio Technika makes
several dynamic microphones for under $100.
Perfect for that Idol
audition. (Photo by
Jay Shaffer.)
Dynamic mics are much less fragile than condensers and dont require batteries or power.
Dynamics are generally cheaper and are far more common than condensers. By far, the most
popular mic on stages around the world is the Shure Sm-58 because it is a very rugged,
good-sounding dynamic mic. Sm-58s go for about $150, but many models of similar mics are
available for well under $100.
FIGURE B.15
This is a typical condenser
microphone shown with a
shock mount and stand.
Looks dangerous. (Photo
by Annie Kennedy.)
Condenser mics are more fragile than dynamic mics, but they are also more sensitive and
are better at picking up nuances. They also require power in the form of batteries or via
phantom power supplied by a mixer or preamp. Condensers are best used in a controlled
environment like a studio and usually start at about $300 and can go up to several thousand dollars.
If you plan on singing live on stage, get a dynamic mic. If youre going to be using the mic
in a studio situation and you can afford it, a condenser is a good choice.
201
202

In order to be able to plug your microphone into your Mac, youre going to need a couple of adapters. The first adapter is called a balancing transformer and converts your
microphone cables three-pin connector to a 1/4'' phono connector. You can find this
adapter at your local Radio Shack as catalog # 274-016. The other adapter you need is a
mono 1/4'' phono female to stereo 1/8'' mini male adapter, also known as the Monster
Cable iStudio Link. You can purchase this adapter at your local Apple store or from
Apple.com for $19.95. You can now plug your microphone, via the two adapters, into the
Audio In jack on your Mac. While this is a simple solution, it is less than ideal in that we
have some rather heavy adapters hanging from a rather fragile jack.
A better, albeit slightly more expensive, solution is to use a microphone preamp such as
the one shown in Figure B.10. You can get these from several manufacturers for under a
hundred bucks. The advantage to using a preamp is that it not only changes your microphones signal to a true line level signal, but also often has a level control as well as a
vacuum tube or tube emulator circuit to add warmth to the sound. These boxes usually have 1/4'' line outs, so you will still need an adapter to connect into your Mac.
Figure B.16 shows the connections.
FIGURE B.16
The mic-to-Mac connection is very similar to the
guitar-to-Mac connection,
but it doesnt require a guitar. (Illustration by Annie
Kennedy.)
MIC
AUDIO IN
1/4" TO 1/8"
ADAPTER
BALANCING
X FORMER
PREAMP
Once you have plugged a mic into your Mac, its time to see if your hot vocals are getting into GarageBand. If it has a switch, make sure your microphone is turned on; if you
are using a preamp, make sure that it also is powered on. Also make sure you are monitoring through headphones and that your speakers are off:
1
2
3
4
5

Under the GarageBand menu, select Preferences. In the Preferences window click
Audio/MIDI.
Make sure that Built In Audio is selected as the Audio Input. Go ahead and close
the Preferences panel.
Under the Track menu, select New Track. In the New Track window, select Real
Instrument and then select Vocals and No Effects.
Select the Monitor On radio button, as shown in Figure B.17. Finally, click OK to
complete the track creation process.
Talk into your microphone. Several things should happen. You should hear your
voice, and you should see the green level indicators move as you speak. Dont worry
if it sounds horrible at this point; we just want to make sure that the audio is
USING AN AUDIO INTERFACE
203
happening. If you dont hear anything at all and you are seeing the level indicators
move, check that Audio Output is set to Built-in Audio in the GarageBand
Preferences Audio/MIDI panel and that your headphones are connected properly. If
you dont hear anything at all and you are not seeing the level indicators moving,
check your connections, make sure that your mic is switched on, and that you turned
on the preamp if you are using one. If you still dont hear anything, try repeating the
new project/new track process. Once youve got the mic connection tested and
everything is playing nicely together, flip back to Chapter 5, Recording Vocals and
Other Instruments, where we go much more in depth with using a microphone with
GarageBand.
FIGURE B.17
The new vocal track window has all the trick vocal
settings.
USING AN AUDIO INTERFACE

The 1/8'' Audio In and Audio Out jacks on your Mac are a simple and
convenient way of getting audio in and out of your Mac, but they do have
their shortcomings. First off, the 1/8'' stereo jacks are small and fragile
and are not considered a good connector for pro-quality audio.
Furthermore, the jacks and associated electronics are exposed to possible sources of audio interference inside your computer. Third, while the
Macs built-in 16-bit 44.1KHz (CD-quality) recording was considered sufficient in the past, high-resolution 24-bit recording is the current standard. And some Macs (iBooks in particular) dont even have Audio In
jacks.
Enter the audio interface or sound card. Audio interfaces hook up to your
Mac either through a USB or FireWire cable. Sound cards are installed in a
desktop Macs PCI card slots and often have external audio breakout
boxes.
note
Different audio
interfaces can
use USB, FireWire, or a
PCI slot to hook into
your Mac. PCI interfaces
are the fastest and most
expensive, whereas
USB interfaces are the
slowest and least
expensive.
204

For the purposes of this book, well lump these together and just call them audio interfaces. These interfaces range from the $39 Griffin iMic all the way up to the just
under $10,000 Digidesign Pro Tools HD system. Of course, hooking a $10,000
interface is overkill for GarageBand, but it does soften the sticker shock for other
interfaces.
tip
What does an audio interface do? It basically takes the analog audio signal
from your guitar, microphone, or vintage Mellotron and turns it into a digital
signal that your Mac and GarageBand want to see. Nowadays, practically all
audio interfaces can do high-resolution 24-bit analog-to-digital conversion.
They differ in features like the ability to record more than two simultaneous
channels, the types of audio connectors they accept, and built-in preamps and
effects. There are even keyboards and mixers with built-in audio interfaces.
Figure B.18 shows a standalone interface connection.
Make sure
when buying
an interface
that it includes
Mac OS X driver software and that you
install the software
according to the manufacturers instructions.
Any audio interface is an improvement over your Macs built-in audio jacks. And a
professional-level interface can be had for $200$300.
FIGURE B.18
An audio interface connection is like a Fab Five
makeover for your Macs
built-in audio jacks.
(Illustration by Annie
Kennedy.)
GUITAR
USB or
FIREWIRE
MIC
AUDIO
INTERFACE
MIXER
To record with GarageBand using an audio interface, you will need to select your interfaces driver in the GarageBand preferences window:
1
2
3

Select GarageBand > Preferences and click Audio/MIDI.
Make sure that your audio interface is selected as the Audio Input.
USING A MIXER
If you visit a professional recording studio, the dominating feature in the control room
is the console or mixer; the mixer is the audio nexus of a recording studio. On a much
smaller scale, an audio mixer can serve as the nexus for your GarageBand studio.
A four- to eight-channel mixer will allow you to route audio to and from your Mac without the hassle of constantly plugging and unplugging cables from your Mac. It will also
serve as a convenient place to hook up and control multiple microphones, guitars, and
other instruments. Another important function of a mixer is to allow control of your studios monitors and headphones.
Small recording mixers are available from such manufacturers as Mackie Designs,
Tascam, Edirol, and Samson in the $100$400 range. Some mixers include a built-in
digital audio interface and software controls that add to their value.
205
THE ULTIMATE GARAGEBAND STUDIO
THE ULTIMATE GARAGEBAND STUDIO

Although you can start making music with just GarageBand, your Mac, and a set of
headphones, to really unleash GarageBands potential you need some additional hardware.
The ultimate GarageBand studio could end up costing a couple thousand dollars if you
purchase all the gear new and separately. Figure B.19 shows a studio configuration with
separate components.
MIDI CONTROLLER
FIGURE B.19
Behold, the ultimate
GarageBand studio with
separate components.
Impressive! (Illustration
by Annie Kennedy.)
USB1
USB2
AUDIO IN
AUDIO
INTERFACE AUDIO OUT
MIC
PREAMP
MIXER
MONITORS
HEADPHONES
GUITAR
Fortunately, by using some secondhand gear or buying multifunctional equipment, you

can reduce both your investment and studio complexity substantially.
Several manufacturers are now making multifunctional controllers that combine a MIDI
keyboard controller with mic and instrument inputs, monitor mixing, and an audio interface into one unit.
We highly recommend this approach. Products of this type include the Edirol PCR-A30,
the M-Audio Ozone, and the Novation Remote 25 Audio. Figure B.20 shows a somewhat
simpler studio configuration using a multifunctional controller.
FIGURE B.20
You can simplify the ultimate GarageBand studio
with a multifunctional
controller. Yeah, baby!
Thats what Im talkin
about. (Illustration by
Annie Kennedy.)
MIC
GUITAR
MONITORS
(active or amp + passive)
HEADPHONES
USB1
MULTIFUNCTION
CONTROLLER
WITH MIDI-USB AUDIO
For the same kind of money that you would spend for a day of professional recording
studio time, you can create your own GarageBand studio that is functionally pretty darn
close to a professional studio. At least itll do until you get that multimillion dollar
recording contract.
C
KEYBOARD SHORTCUTS
ust like with any software tool, GarageBand allows you to be

more efficient by mastering keyboard shortcuts. It is not important that you memorize these lists. But instead, use them to find
things that you commonly do, and then learn the shortcuts for those
common tasks.
Of course, you can also see many of these shortcuts by choosing the
menu items. But others arent shown anywhere but in the documentation.
MENU SHORTCUTS
These shortcuts allow you to access menu choices without touching
your mouse:
Menu Action
Shortcut
GarageBand > Preferences Dialog
-, (comma)
GarageBand > Hide GarageBand
-H
GarageBand > Hide Others
-Option-H
GarageBand > Quit GarageBand
-Q
File > New Song
-N
File > Open Song
-O
File > Close Song/Window
-W
File > Save
-S
File > Save As
-Shift-S
Edit > Undo
-Z
Edit > Redo
-Shift-Z
Edit > Cut
-X
Edit > Copy
-C
Edit > Paste
-V
208
APPENDIX C KEYBOARD SHORTCUTS

Edit > Select All
-A
Edit > Split
-T
Edit > Join Selected
-J
Track > Hide Track Mixer
-Y
Track > Show Track Info
-I
Track > Show Master Track
-B
Track > New Track
-Option-N
Track > Delete Track
-Delete
Control > Metronome
-U
Control > Snap to Grid
-G
Control > Show Loop Browser
-L
Control > Show/Hide Editor
-E
Window > Minimize
-M
Window > Keyboard
-K
Help > GarageBand Help
-?
GENERAL GARAGEBAND WINDOW SHORTCUTS

These shortcuts arent as obvious as the previous ones. But they can also be the most
useful as they allow you to quickly perform some of the most repeated tasks:
Action
Shortcut
Play/Pause
Spacebar
Go to Beginning
Home or Z
Go to End
End or Option-Z
Previous Measure
Left
Next Measure
Right
Page Back
Page Up
Page Forward
Page Down
Zoom In
Ctrl-Left
Zoom Out
Ctrl-Right
Select Previous Track
Up
Select Next Track
Down
Mute/Unmute Selected Track
Solo/Unsolo Selected Track
Show/Hide Track Volume Curve
Delete Selection
Delete
Record Start/Stop
Cycle Region On/Off
Raise Master Volume
-Up arrow
Lower Master Volume
-Down arrow
TRACK INFORMATION WINDOW SHORTCUTS
TRACK INFORMATION WINDOW SHORTCUTS

You can use these shortcuts when you select a track and bring up its information window. You can also use them when you create a new track and are presented with the
same window in order to set up the new track:
Action
Shortcut
Previous Category or Instrument
Up arrow
Next Category or Instrument
Down arrow
Switch to Category Column
Left arrow
Switch to Instrument Column
Right arrow
Toggle Between Real and Software Instrument
Tab
209
D
GARAGEBAND SOFTWARE
INSTRUMENTS
arageBand comes with 65 Software Instruments. It puts them

into 12 groups. Here is a list.
BASS
GUITARS
Deep Round Synth Bass
Big Electric Lead
Fingerstyle Electric Bass
Classical Acoustic
Fretless Electric Bass
Clean Electric
Muted Electric Bass
Electric Tremolo
Slapped Electric Bass
Steel String Acoustic
Sub Synth Bass

Tight Synth Bass
Upright Jazz Bass
HORNS
Dub Horns
DRUM KITS
Dance Kit
Hip Hop Kit
Live Pop Horns

Pop Horn Section
Jazz Kit
MALLETS
Pop Kit
Aurora Bell
Rock Kit
Church Bell
Techno Kit
Music Box
212
APPENDIX D GARAGEBAND SOFTWARE INSTRUMENTS
ORGANS
SYNTH LEADS
Cathedral Organ
Arena Run
Classic Rock Organ
Blip Side
Jazz Organ
Cheerful Trance
Pop Organ
Future Flute
Smooth Dance Organ
Ominous Dancefloor
Riffy Fifths
PIANOS AND
KEYBOARDS
Electric Piano
Synchro Nice
WOODWINDS
Grand Piano
Alto Sax
Smokey Clav
Pop Flute
Smooth Clav
Tenor Sax
Swirling Electric Piano

Whirly
SYNTH PADS
Angelic Organ
STRINGS
Lunar Strings
Hollywood Strings
Orchestral Strings
SYNTH BASICS
Circuit Dialog
Constellation
Martian Lounge
Modern Prophecy
Planetarium
Sequence Element 1
Sequence Element 2
Space Harpsicord
Star Sweeper
Aquatic Sunbeam
Cloud Break
Cosmic Reflection
Falling Star
Mercury Wash
Silicon Strings
E
EFFECTS LIST
ollowing is a reference list of all the effects that are included with
GarageBand. The effects and what each effect does are covered in
Chapter 8, Making Your Own Software and Real Instruments.
BUILT-IN EFFECTS
The built-in effects are specific to Garage Band and are used to make
up many of GarageBands Real and Software Instruments.
In the list, we note whether the effect is a hard-wired part of the instrument or is selectable.
Also, we list the Apple-provided presets for each effect:
Compressor (all instruments)
Equalizer (all instruments):
Add Brightness
Flat
Add Fullness to Snare
Hi-Fi
Add Sharpness
Improve Guitars
Bass Boost
Increase Bass Pluck
Big Drum
Mid Reduce
Brighten Strings
Reduce S
Clear Vocals
Stronger Bass
Drum Refresh
Vocal Presence
214
APPENDIX E EFFECTS LIST
Reverb (all instruments):

Bright Cathedral
note
Reverb and echo are
send effects. Their settings can be adjusted
only in the master
track and are applied
to all the tracks of a
song. However, the
individual tracks echo
or reverb send amount
determines how much
or little of the individual tracks sound is
affected.
Gate (Real Instruments only)

Treble Reduction (selectable):
Cathedral
Hard
Club
Medium
Dance Reverb
Soft
Dark Cathedral
Dark Cave
Empty Arena
Large Cathedral
Large Chamber
Large Hall
Bass Reduction (selectable) :

Hi Pass
Remove Bass
Remove Deep Bass
Distortion (selectable) :
Large Stage
Distortion 1
Living Room
Distortion 2
Medium Chamber
Distortion 3
Medium Hall
Distortion 4
Moon Dome
Scape
Overdrive (selectable) :
Small Chamber
Drive 1
Small Club
Drive 2
Small Dome
Drive 3
Echo (all instruments) :
Bitcrusher (selectable) :
Ambient Delay
6 Bit Resynth
Dance Echo A
Classic 8 Bit
Dance Echo B
Demaged Bits
Dark Eight Note Echo
Digitizer
Dark Quarter Note Echo
Soft Bit Reduction
Dub Delay A
Wave Destruction
Dub Delay B
Electric Shock
Endless Loop
Half Note Echo
Quarter Note Echo
Rock N Roll
Shift to Bright
Sixties Echo Effect
Automatic Filter (selectable) :

Deep and Slow Resonance
Downbeat Saw
Fast Saw Filter
FM Filter
Resonance Filter
Sixtienth Pulse
Soft Auto Wah
Two Bars Down Filter
INCLUDED AUDIO UNIT EFFECTS
Chorus (selectable) :
Tremolo (selectable) :
Faster Modulation
Circular Structure
Light Chorus
Fast Pan
Medium Chorus
Leslie Rotor
Smooth Chorus
Medium Pan
Spread Stereo
Mono Tremolo
Stage Chorus
Slow and Wide
Flanger (selectable) :
Full Range
Make Wide
Soft and Fast

Ultra Pan
Auto Wah (selectable) :
Medium Flange
Bass Snap
Organic
Bass Wah
Resonator
Crunch Wah
Soft Flange
Cry Baby
String Flange
Filter Ducks
Phaser (selectable) :
Circle Phases
Deep Phase
Old Phaser
Singing Phase
Hi Pass Autofilter
Light Peak
Static Peak
Wow
Amp Simulation (selectable) :
Slow & Deep
American Clean
Surrounding
American Crunch
American Overdrive
British Crunch
British Lead
INCLUDED AUDIO UNIT EFFECTS

Audio Unit effects are Apples professional-level plug-in effects and can be used by
other programs as well as GarageBand. See Chapter 8 for a description of what each
effect does:
AUBandpass
AUHipass
AUDynamicsProcessor
AULowpass
AUMultibandCompressor
AULowShelfFilter
AUDelay
AUMatrixReverb
AUGraphicEQ
AUParametricEQ
AUHighShelfFilter
AUPeakLimiter
215
F
GENERAL MIDI INSTRUMENTS LIST
n addition to the Software Instruments that come with GarageBand,

you can also create your own Software Instruments that access the
QuickTime MIDI music instruments, also referred to now as the
QuickTime Music Synthesizer. To do this, you need to set the Generator
type of the instrument to DLSMusicDevice. Then you can use your musical keyboard or other MIDI device to specify the instrument from the
general MIDI list. There are plenty to choose from, so it would be handy
to have a reference list.
You can read about how to access these instruments in the section
The Secret of the DSLMusicDevice in Chapter 8, Making Your Own
Software and Real Instruments.
PIANO
CHROMATIC
PERCUSSION
001 Acoustic Grand Piano
009 Celesta
002 Bright Acoustic Piano
010 Glockenspiel
003 Electric Grand Piano
011 Music Box
004 Honky Tonk Piano
012 Vibraphone
005 Electric Piano 1
013 Marimba
006 Electric Piano 2
014 Xylophone
007 Harpsichord
015 Tubular bells
008 Clavinet
016 Dulcimer
218
APPENDIX F GENERAL MIDI INSTRUMENTS LIST
ORGAN
ENSEMBLE
017 Drawbar Organ
049 String Ensemble 1
018 Percussive Organ
050 String Ensemble 2 (Slow)
019 Rock Organ
051 Synth Strings 1
020 Church Organ
052 Synth Strings 2
021 Reed Organ
053 Choir Aahs
022 Accordion
054 Voice Oohs
023 Harmonica
055 Synth Choir
024 Tango Accordion
056 Orchestral Hit
GUITAR
BRASS
025 Nylon Acoustic Guitar
057 Trumpet
026 Steel Acoustic Guitar
058 Trombone
027 Jazz Electric Guitar
059 Tuba
028 Clean Electric Guitar
060 Muted Trumpet
029 Muted Electric Guitar
061 French Horn
030 Overdrive Guitar
062 Brass Section
031 Distorted Guitar
063 Synth Brass 1
032 Guitar Harmonics
064 Synth Brass 2
BASS
REED
033 Acoustic Bass
065 Soprano Sax
034 Electric Fingered Bass
066 Alto Sax
035 Electric Picked Bass
067 Tenor Sax
036 Fretless Bass
068 Baritone Sax
037 Slap Bass 1
069 Oboe
038 Slap Bass 2
070 English Horn
039 Synth Bass 1
071 Bassoon
040 Synth Bass 2
072 Clarinet
STRINGS/ORCHESTRA
PIPE
041 Violin
073 Piccolo
042 Viola
074 Flute
043 Cello
075 Recorder
044 Contrabass
076 Pan Flute
045 Tremolo Strings
077 Bottle Blow
046 Pizzicato Strings
078 Shakuhachi
047 Orchestral Harp
079 Whistle
048 Timpani
080 Ocarina
SOUND EFFECTS
SYNTH LEAD
ETHNIC
081 Synth Square Wave
105 Sitar
082 Synth Sawtooth Wave
106 Banjo
083 Synth Calliope
107 Shamisen
084 Synth Chiff
108 Koto
085 Synth Charang
109 Kalimba
086 Synth Voice
110 Bag Pipe
087 Synth Fifths Sawtooth Wave
111 Fiddle
088 Synth Brass & Lead
112 Shanai
SYNTH PAD
089 New Age Synth Pad
090 Warm Synth Pad
091 Polysynth Synth Pad
092 Choir Synth Pad
093 Bowed Synth Pad
094 Metal Synth Pad
095 Halo Synth Pad
096 Sweep Synth Pad
SYNTH EFFECTS
097 SFX Rain
098 SFX Soundtrack
099 SFX Crystal
100 SFX Atmosphere
101 SFX Brightness
102 SFX Goblins
103 SFX Echoes
104 SFX Sci-fi
PERCUSSIVE
113 Tinkle Bell
114 Agogo
115 Steel Drums
116 Woodblock
117 Taiko Drum
118 Melodic Tom
119 Synth Drum
120 Reverse Cymbal
SOUND EFFECTS
121 Guitar Fret Noise
122 Breath Noise
123 Seashore
124 Bird Tweet
125 Telephone Ring
126 Helicopter
127 Applause
128 Gun Shot
219
G
MIDI IMPLEMENTATION CHART
ost MIDI instruments or other products come with this somewhat arcane chart in the last page of their documentation. Its
called the MIDI Implementation Chart.
The MIDI Implementation Chart is a standardized way to tell which

parts of the MIDI standard are recognized or implemented in a particular MIDI product.
Weve heard a clamor on the various GarageBand forums where users
are trying to figure out just which MIDI commands are implemented by
GarageBand. Since Apple didnt include a MIDI Implementation Chart
for GarageBand, we thought we would put one together ourselves as a
service to the advanced GarageBand user community.
MIDI IMPLEMENTATION CHART FOR THE

DLSMUSICDEVICE AND GARAGEBAND
This is not an official Apple chart. It was derived entirely through
experimentation.
For Table G.1, O means supported, whereas X means not
supported:
222
APPENDIX G MIDI IMPLEMENTATION CHART
Table G.1 MIDI Implementation Chart
Function
Recognized
DLSMusicDevice
Recognized
GarageBand
Basic channel
Default
Changed
1 - 16
1 - 16
1 - 16
1 - 16
Mode
Default
Mode 3
Mode 3
Messages
Altered
X
0 - 127
X
0 - 127
Velocity
Note on
Aftertouch
Note off
Key
Channel
X
X
X
X
X
X
0, 32
7
10
71
74
O
O
O
O
O
O
O
X
X
X
X
X
91
93
100, 101
120
121
123
O
O
O
O
O
O
X
X
X
X
X
X
Program change
System exclusive
0 - 127
?
X
X
System common Song position
Song select
System realtime
Tune request
Clock
Commands
X
X
X
X
X
X
Aux. messages
All sounds off
Reset all
controllers
Local on/off
All notes off
Active sensing
System reset
Note number
Pitch bend
Control change
Remarks
Bank select (MSB, LSB)

Volume
Pan position
Filter Resonance (affects filter Q)
Filter Brightness (affects cutoff
frequency)
Send to reverb (reverb depth)
Send to chorus (chorus depth)
RPN (LSB, MSB) - reserved
All sound off
Reset all controllers
All notes off
H
GENERAL MIDI DRUM KEY MAP
hen you use the keyboard to play a musical instrument, each

key represents a different note of the same instrument. But
drum Software Instruments assign a different instrument to
each note.
The map shown in Figure H.1 is the General MIDI drum map guideline;
different drum kits may map slightly different instruments to a key. For
example, one drum kit might have a handclap mapped D#1 (the standard), but another kit might have a snare roll mapped to D#1. Overall,
though, drum kits for the most part conform to this map.
It is handy, therefore, to have a chart showing which keys map to which
part of a standard drum kit.
224
APPENDIX H GENERAL MIDI DRUM KEY MAP
FIGURE H.1
With GarageBands virtual
drum kits, you can forego
the drumsticks (and the
drummer).
Not all drum kits conform exactly to the same drum map.
I
ONLINE RESOURCES
GARAGEBAND AND MAC AUDIO SITES
t seemed that the instant GarageBand was announced, an Internet

community sprang up overnight. Here are some sites that have
up-to-date news and information about GarageBand and Mac audio
in general.
Introducing GarageBand
http://www.apple.com/ilife/garageband/
This is Apples official product information page.

MacJams
http://www.macjams.com/
This is a large site with GarageBand and Mac audio news, articles,
forums, and lots of links.
MacTeens
http://macteens.com/
A site for younger Mac fiends.

MacInTouch
http://www.macintouch.com/garageband.html
This is another large site with all sorts of useful Mac information.
The GarageDoor
http://www.thegaragedoor.com/
Here is a site full of GarageBand tips and tricks.
226
APPENDIX I ONLINE RESOURCES

MacMusic
http://www.macmusic.org/
This site contains news and tons of Mac music software links. You must register (free)
to see all this sites content.
Harmony Central
http://www.harmony-central.com/Software/Mac/
This is a site with links to Mac audio-related downloads.

Mac Audio Guy
http://www.macaudioguy.com/
This is Jay Shaffers own site, and it contains sample files and updates for this book.
OSX Audio
http://www.osxaudio.com/
Here is a Mac OS Xoriented audio site.

Shareware Music Machine
http://www.hitsquad.com/smm/
This is a huge list of Mac audio shareware.

Audio Units
http://www.audio-units.com/
This is a site with all you ever wanted to know about Audio Units.
SOURCES FOR LOOPS

Apple Loops are popping up faster on the Web than you can download them. Here are
a few sites that have Apple Loops as well as some that just have loops that you can
convert to Apple Loops:
Drums on Demand
http://www.drumsondemand.com/
This site features a collection of drum loops.

BitShift Audio
http://www.bitshiftaudio.com/
Check out the free set of Apple Loops at

http://www.bitshiftaudio.com/products/bbb/free_bee.html.
SampleNet
http://www.samplenet.co.uk/
Here is a huge sample and loop resource.

SoundShopper.com
http://www.soundshopper.com/
This is a list of commercial and free loops.
GEAR RETAILERS
MAC AND MUSIC MAGAZINES

Here are some offline resources with online counterparts:
MacAddict
http://www.macaddict.com/
This is the ultimate Macintosh magazine, of course.

Future Music
http://www.futuremusic.co.uk/hl_news.asp
This is a UK music and audio magazine.

Computer Music
http://www.computermusic.co.uk
Sister magazine to Future Music. This mag often has great software CDs.
Electronic Musician
http://www.emusician.com/
Here is Americas best electronic music magazine.
MUSIC SHARING SITES

There are also some places where you can upload and share the music you create:
http://www.icompositions.com/
http://www.macjukebox.net/
http://www.macband.com/
http://www.macidol.com/
GEAR RETAILERS
These sites have the hardware and software goodies to help you make the most of
GarageBand:
Apple Store
http://store.apple.com/
Where else? Apple has a selection of gear related to GarageBand, as well as the
expansion Jam Pack.
M-Audio
http://m-audio.com/index.php
M-Audio is a Mac MIDI giant. Check out a couple of MIDI devices from M-audio in
Appendix B, Configuring Your Studio.
Audio MIDI
http://www.audiomidi.com/
This is a California-based online retailer.
227
228
APPENDIX I ONLINE RESOURCES

Musicians Friend
http://www.musiciansfriend.com/
This is the worlds largest music gear company.

ART
http://www.artproaudio.com/
ART (Applied Research and Technology) is a manufacturer of preamps and other signal
processing gear. Youll find an example of one of its preamps in Appendix B.
Monster Cable
http://www.monstercable.com/
Manufacturer of high-quality cables and interconnects for audio, video, and computers.
Refer to Appendix B for more information.
REFERENCES
These sites are valuable references for music and recording:
MIDI Manufacturers Association
http://www.midi.org/
This organization is the keeper of the MIDI standard.

The Rane Pro Audio Reference
http://www.rane.com/digi-dic.html
Here is an audio terminology bible.
229
INDEX
Symbols
-A keyboard shortcut (editing note loudness), 43
-B keyboard shortcut (master track display),
22
-E keyboard shortcut (Track Editor display),
23, 35, 42
-I keyboard shortcut (Track Info window display), 33
-J keyboard shortcut, regions (tracks), joining, 25
-K keyboard shortcut (Onscreen Musical
Keyboard window display), 32
-L keyboard shortcut (Loop Browser display), 35
-N keyboard shortcut (new song creation),
11, 26
-Q keyboard shortcut (quitting
GarageBand), 34
-T keyboard shortcut, regions (tracks), splitting, 25
A
AAC (Advanced Audio Coding) files, 107
accessing effects, 91, 132-133
Activity Monitor
performance requirements, viewing, 8
PID numbers, viewing, 8
adapters
guitars (Monster Instrument Adapters), 197
microphones, balancing transformers, 202
230
ADD GENERAL MIDI PROGRAM NAME OPTION
Add General MIDI Program Name option (Dent

Du MIDI freeware), 167
Add Track Name from MIDI File option (Dent
adding
Crystal presets (Green Oak) to GarageBand, 163-165
loops to songs, 18
notes to regions, 44
songs
to iDVD, 115
to iMovie, 114
to iPhoto slideshows, 113
to Web sites, 111
tracks to loops, 19
adjusting
left/right channels (stereo) in tracks, 21
master track volume curve, 22
Software Instrument settings, 45
song volume via master track, 22
track volume, 21
via master track, 22
ADSR envelopes, 122
Advanced preferences pane (iTunes), 105
AIFF files, 105-107, 116, 172
Amp Simulation effect edit window, slider
controls, 143
amps
Real Instrument presets, 52
simulation effects, 215
Amp Simulation settings window (Track Info
window), 53
Analog Basic generator edit window, slider
controls, 122
Analog Mono generator edit window, slider
controls, 123
Analog Pad generator edit window, slider controls, 123-124
Analog Swirl generator edit window, slider
controls, 125
Analog Sync generator edit window, slider
controls, 125-126
Animation slider (Analog Pad generator edit
window), 124
appending notes in Software Instrument

recordings, 40
Apple Loops
audio loops, saving as, 156
GarageBand, importing into, 158-160
loops, listening to, 18
editing, 17
Software Instrument loops as, 17
rock songs
bass loops, 63-64
drum loops, 62-63
rhythm guitar loops, 65-66
Software Instrument loops as Real Instrument loops,
17
songs, adding to, 18
SoundTrack Loop Utility, 154
navigating, 156
Soundtrack software, 189
third-party Apple Loops
indexing, 160
installing, 160
Web sites, 190
BitShift Audio, 226
Drums on Demand, 226
SampleNet, 226
SoundShopper.com, 226
Apple Loops SDK (Software Development Kit)
downloading, 154
installing, 154
Apple Store Web site, 227
ART (Applied Research and Technology) Web
site, 228
Assets window (SoundTrack Loop Utility), 156
loop files, managing, 157
assignable effects
Amp Simulation effect edit window, slider controls,
143
Auto Wah effect edit window, slider controls, 141-142
Automatic Filter effect edit window, slider controls,
139-140
Bass Reduction effect edit window, Frequency slider,

138
Bitcrusher effect edit window, slider controls, 139
Chorus effect edit window, slider controls, 140
Distortion effect edit window, slider controls, 139
Flanger effect edit window, slider controls, 141
Overdrive effect edit window, slider controls, 139
Phaser effect edit window, slider controls, 141
Treble Reduction effect edit window, Frequency slider,
138
Tremolo effect edit window, slider controls, 141
Attack slider
Analog Basic generator edit window, 122
Analog Mono generator edit window, 123
Analog Swirl generator edit window, 125
Analog Sync generator edit window, 126
Digital Basic generator edit window, 126
Strings generator edit window, 120
AU (Audio Unit) Instruments
Crystal (Green Oak)
adding presets to GarageBand, 163-165
downloading, 162
navigating, 163
effects
software, 165
Web sites, 165
Plugsound (Ultimate Sound Bank), 162
software, 162
Web sites, 162
AUBandpass effect, 143
AUDelay effect, 143
Audio CDs, songs, burning to, 105-106
audio effects, managing GarageBand performance, 8
Audio In/Out jacks (Mac), 203
audio input levels, setting for vocal recordings, 73-74
audio interfaces, 203-204
audio levels for guitar recordings
adjusting volume, 50
configuring input volume settings, 50-51
settings, 49
audio loops
Apple Loops, saving as, 156
building, 149-150
drum loops, splitting, 176-178
note timing, editing, 151
Real Instrument audio loops
building, 152-153
editing tempo, 153
navigating, 156
tempo, editing, 151-152
viewing, 150
Audio MIDI Web site, 227
audio preferences, setting, 52
Audio Unit effects, 143, 215
AUBandpass, 143
AUDelay, 143
AUDynamicsProcessor, 143
AUGraphicEQ, 143
AUHipass, 143
AUHiShelfFilter, 143
AULoShelfFilter, 144
AULowpass, 144
AUMatrixReverb, 144
AUMultibandCompressor, 144
AUParametericEQ, 144
AUPeakLimiter, 143
Audio Unit Instruments (MIDI), 131, 217
Bass group list, 218
Brass group list, 218
Chromatic Percussion group list, 217
Ensemble group list, 218
Ethnic group list, 219
Guitar group list, 218
Organ group list, 218
Percussive group list, 219
Piano group list, 217
Pipe group list, 218
Reed group list, 218
Sound Effects group list, 219
Strings/Orchestra group list, 218
How can we make this index more useful? Email us at indexes@quepublishing.com
231
232
Synth Effects group list, 219

Synth Lead group list, 219
Synth Pad group list, 219
Audio Units, 190
Web site, 226
Audio/MIDI pane (Preferences panel)
audio preferences, setting, 52
MIDI keyboards, testing, 196
Optimize for Radio button, 51
reducing latency, 73
auditioning loops, 17
AUDynamicsProcessor effect, 143
AUGraphicEQ effect, 143
AUHipass effect, 143
AUHiShelfFilter effect, 143
AULoShelfFilter effect, 144
AULowpass effect, 144
AUMatrixReverb effect, 144
AUMultibandCompressor effect, 144
AUParametricEQ effect, 144
AUPeakLimiter effect, 143
Author field (SoundTrack Loop Utility Property
tags), 156
Auto Panning check box (Tremolo effect edit
window), 141
Auto Wah effect edit window, 141, 215
Mode radio buttons, 142
Reaction slider, 142
Sound slider, 142
automated panning, 174-175
Automatic Filter effect edit window, 139
Frequency slider, 140
Intensity slider, 140
Resonance slider, 140
Speed slider, 140
automatic filter effects, 214
B
Balance slider, Digital Stepper generator edit
window, 128
balancing transformers (microphones), 202
Base Gain parameter (Equalizer edit window),
134
Bass group list (Audio Unit Instruments), 218
Bass group list (Software Instruments), 211
bass loops, building for rock songs, 63-64
Bass Reduction effect edit window, Frequency
slider, 138
bass reduction effects, 214
bass tracks for dance songs, building, 27
batch-processing (SoundTrack Loop Utility),
157
beat ruler (Track window), 38
Beats column (Loop Browser), 17
Bitcrusher effect edit window, 214
Resolution slider, 139
Sample Rate Reduction slider, 139
BitShift Audio Web site, 190, 226
blues songs, building, 78
lyrics, 79
overdubbing vocal tracks, 81-83
reference tracks, 79-80
bouncing tracks, 173-174
Brass group list (Audio Unit Instruments), 218
browsing loops
in column view (Loop Browser), 15-16
in Loop Browser, 14
building
audio loops, 149-150
blues songs, 78
lyrics, 79
overdubbing vocal tracks, 81-83
reference tracks, 79-80
dance songs, 26
bass tracks, 27
drum tracks, 26
melody, 27-29
CHORUS EFFECT EDIT WINDOW
generator presets, 145

harmonies in SoundTrack Loop Utility, 179
jazz songs, 46
rhythm, 46-47
solos, 47-48
Real Instruments, 146-147
audio loops, 152-153
rock songs, 62
bass loops, 63-64
drum loops, 62-63
fade-outs, 69
lead guitar, 67-69
Software Instruments, 118, 144-145
built-in effects
amp simulation, 215
auto wah, 215
automatic filter, 214
bass reduction, 214
bitcrusher, 214
chorus, 215
compressor, 213
distortion, 214
echo, 214
equalizer, 213
flanger, 215
gate, 214
overdrive, 214
phaser, 215
reverb, 214
treble reduction, 214
tremolo, 215
burning songs to Audio CD, 105-106
button view (Loop Browser), customizing, 15
buttons
Cycle button (GarageBand control bar), 36
Fast Forward button (GarageBand control bar), 36
Fix Timing (Track Editor), 42-43
Go to Beginning
GarageBand control bar, 36
Loop Browser, 18
Loop Browser buttons

changing keywords, 15
control bar, 35
expanding selection, 14
moving, 15
resetting keywords, 15
Mute (Track column), 20
New Track button (GarageBand control bar), 35
Optimize for radio (Audio/MIDI pane), 51
Play button (GarageBand control bar), 36
Play/Stop (Loop Browser), 18
Record button (GarageBand control bar), 36
Rewind button (GarageBand control bar), 36
Save Instrument (Track Info window), 55
Solo (Track column), 20
Time/Measure Format button (GarageBand control
bar), 36
Timeline Grid button (Track window), 38
Track Editor button (GarageBand control bar), 35, 42
Track Info button (GarageBand control bar), 35
C
C key keyboard shortcut, cycling regions function, 36
changing
instruments in Onscreen Musical Keyboard, 33-34
Loop Browser button keywords, 15
octaves in Onscreen Musical Keyboard, 33
pitch in regions (tracks), 43
Real Instrument vocal presets, 75
Software Instruments in Software Instrument tracks,
41-42
Character slider, Analog Pad generator edit
window, 124
chordal movements, 43
Chorus effect edit window, 215
Speed slider, 140
233
234
CHROMATIC PERCUSSION GROUP LIST
Chromatic Percussion group list (Audio Unit

Instruments), 217
clearing favorite loop lists, 17
Click slider, Tonewheel Organ generator edit
window, 129
cloning Real Instrument tracks, editing, 58
column view (Loop Browser), 15-16
Comment field (SoundTrack Loop Utility
Property tags), 156
Compressor effects, 133, 137, 213
Computer Music Web site, 227
condenser microphones, 200-201
configuring
input volume settings for guitar recordings, 50-51
studios
guitar/Mac hook-ups, adapters, 197
guitar/Mac hook-ups, preamps, 197-199
guitar/Mac hook-ups, testing connections,
199-200
headphones, 192-193
microphones/Mac hook-ups, 200-202
MIDI keyboard hook-ups, 193-197
monitoring speakers, 191-192
multifunctional controllers, 205
testing MIDI keyboards, 196
connecting microphones to Macs, 71
continuous controllers (MIDI), 44-45
control bar, 35
Cycle button, 36
Fast Forward button, 36
Go to Beginning button, 36
Loop Browser button, 35
Master Level Meters, 36
Master Volume Slider, 36
New Track button, 35
Play button, 36
Record button, 36
Rewind button, 36
Tempo Indicator, 36
Time Display, 36
Time Display bar, 36
Time/Measure Format button, 36
Track Editor button, 35, 42
Track Info button, 35
control points (continuous controllers), 45
converting songs
to AAC files, 108
to MP3 files, 106-107
copying notes (regions), 44, 88-90
Copyright field (SoundTrack Loop Utility
Property tags), 156
Count In command, 37, 61
cross-fade panning, 174-175
Crystal (Green Oak)
downloading, 162
navigating, 163
presets, adding to GarageBand, 163-165
custom installations, 6
customizing
button view (Loop Browser), 15
Real Instrument settings, saving, 53-55
Software Instrument settings, saving, 46
Cutoff slider
Analog Pad generator edit window, 124
Digital Stepper generator edit window, 128
Piano generator edit window, 119
Cutoff Steps slider, Digital Stepper generator
edit window, 128
cutting and pasting in regions, 87-88
Cycle button (GarageBand control bar), 36
cycle recording
cycle regions, displaying, 38
exiting, 39-40
overdubbing, 40
DLSMUSICDEVICE
Software Instrument tracks, 38-39

appending notes, 40
overdubbing, 40
cycle regions
displaying, 38
setting up, 60-61
D
Damper slider, Electric Clavinet generator edit
window, 130
dance songs, building, 26
bass tracks, 27
drum tracks, 26
melody, 27-29
Decay slider
Digital Mono generator edit window, 127
Electric Piano generator edit window, 121
delays (vocals). See latency
deleting
effects, 92
songs from iDVD, 115
tracks, 13
recovering, 173
Dent Du MIDI freeware, 166-168
Add General MIDI Program Name option, 167
Add Track Name from MIDI File option, 167
Output MIDI Files option, 167
Pass Through Pan Change Events option, 167
Pass Through Program Change Events option, 167
Pass Through Volume Change Events option, 167
Translate Drum Tracks option, 167
Descriptors radio buttons (SoundTrack Loop
Utility), 156
Details tab (Track Info window), 53
developing songs, example of, 4-5
dialogs
Installation Type (iLife 04), 5
New Project, 11
setting keys, 12
setting tempos, 12
setting time signatures, 12
registration (iLife 04), 7
Digital Basic generator edit window, slider
controls, 126
Digital Mono generator edit window, slider
controls, 127
digital recorders, GarageBand as, 172
Digital Stepper generator edit window, slider
controls, 127-128
Display menu (Edit window)
Modulation function, 44
Pitch Bend function, 44
Sustain function, 44
displaying
Editor, 23
Loop Browser, 35
master track, 22
metronome, 37
New Track window, 35
Onscreen Musical Keyboard window, 32
region (tracks) information, 23
Track Editor, 35, 42
Track Info window, 35
Distortion effect edit window, slider controls,
139
distortion effects, 214
Distortion slider
Tonewheel Organ generator edit window, 129
dividing regions (tracks), 24-25
DLSMusicDevice, 130-131
MIDI Implementation Chart, 221
sound fonts, 131
235
236
DOUBLING VOCALS
doubling vocals, 179

downloading
Apple Loops SDK, 154
Crystal (Green Oak), 162
Drawbars slider, Tonewheel Organ generator
edit window, 129
Drive slider
Distortion effect edit window, 139
Overdrive effect edit window, 139
drum key maps, 34, 223
Drum Kits group list (Software Instruments),
211
drum loops
rock songs, building, 62-63
splitting, 176-178
drum tracks for dance songs, building, 26
Drums on Demand Web site, 190, 226
duplicating
notes (regions), 44
tracks, 178
duration of notes (regions), editing, 44
Duration slider
dynamic microphones, 200-201
E
earplugs, 193
Echo edit window, parameter controls, 136
Echo effects, 92, 136, 214
Echo Repeat parameter (Echo edit window),
136
Echo Time parameter (Echo edit window), 136
Echo Volume parameter (Echo edit window),
136
Edit Timeline grid (Grid menu), 42-43
Edit window, Display menu
editing
audio loops
note timing, 151
tempo, 151-152
cloned Real Instrument tracks, 58
notes (regions)
duration, 44
loudness, 43
modulation, 44
pitch, 44
pitch bend, 44
sustain, 44
Real Instrument audio loops, 17
tempo, 153
Real Instrument tracks, 56, 78, 86-90
copying/pasting regions, 88-90
cutting and pasting in regions, 87-88
splitting regions, 87
Software Instrument regions, 41
tempo in SoundTrack Loop Utility, 157
timing in regions (tracks), 42-43
vocal tracks, 78
Editor, displaying, 23
effects
accessing, 91, 132-133
amp simulation effects, 215
AU effects
software, 165
Web sites, 165
AUBandpass, 143
AUDelay, 143-144
Audio Unit effects, 215
AUDynamicsProcessor, 143
AUGraphicEQ, 143
AUHipass, 143
AUHiShelfFilter, 143
AULoShelfFilter, 144
AULowpass, 144
AUMultibandCompressor, 144
AUParametricEQ, 144
AUPeakLimiter, 143
FLANGER EFFECTS
auto wah effects, 215

automatic filter effects, 214
bass reduction effects, 214
bitcrusher effects, 214
chorus effects, 215
Compressor, 133, 137, 213
deleting, 92
distortion effects, 214
Echo, 136, 214
Equalizer, 134, 137, 213
flanger effects, 215
Gate, 133, 214
hearing, 133
master track effects, 92-94
overdrive effects, 214
phaser effects, 215
Reverb, 136-137, 214
rock song mixes, 98-99
treble reduction effects, 214
tremolo effects, 215
vocal effects, 74
changing, 75
modifying, 76
Electric Clavinet generator edit window,
129-130
Damper slider, 130
Volume slider, 130
Electric Piano generator edit window, slider
controls, 121
Electronic Musician Web site, 227
<EMBED> tag, 112
embedding songs in Web pages, 111-112
emptying GarageBand window, 12-13
end of song markers, 101-102
Ensemble group list (Audio Unit Instruments),
218
Equalizer edit window, parameters, 134
Equalizer effects, 134, 137, 213
error messages, Unable to continue, 7
Ethnic group list (Audio Unit Instruments), 219
exiting cycle recording, 39-40
expanding
Loop Browser button selection, 14
Onscreen Musical Keyboard, 33
expansions
GarageBand Jam Pack, 189
Export to iTunes command, 103
exporting
parts of songs, 101
songs to iTunes, 103-105
extending loops, 19
F
fade-outs in rock songs, building, 69
fading tracks, 21
Fast Forward button (GarageBand control bar),
36
Fav column check box (Loop Browser), 16
favorites, loops
clearing favorite lists, 17
tagging as, 16
viewing, 16
feedback
microphones, 192-193
monitoring (headphones), 72-73, 83
Feedback slider
Flanger effect edit window, 141
Phaser effect edit window, 141
File Type radio buttons (SoundTrack Loop
Utility Property tags), 156
files
MIDI files, 18
song files, saving, 11
Filter for More Relevant Results check box
(Preferences dialog), 15
filtering loop searches, 15
Fix Timing button (Track Editor), 42-43
Flanger effect edit window, slider controls, 141
flanger effects, 215
237
238
FREEWARE
freeware
AU Effects, 165
AU Instruments, 162
Dent Du MIDI, 166-168
Pass Through Program Change Events option,
167
Pass Through Volume Change Events option,
167
Soundflower, recording Internet radio broadcasts,
169-171
Frequency slider
Bass Reduction effect edit window, 138
Treble Reduction effect edit window, 138
Future Music Web site, 227
G
GarageBand
Apple Loops, importing, 158-160
control bar, 35
Cycle button, 36
Fast Forward button, 36
Loop Browser button, 35
Master Level Meters, 36
Master Volume Slider, 36
New Track button, 35
Play button, 36
Record button, 36
Rewind button, 36
Tempo Indicator, 36
Time Display, 36
Time Display bar, 36
Time/Measure Format button, 36
Track Editor button, 35, 42
Track Info button, 35
Crystal presets (Green Oak), adding to, 163-165

as digital recorder, 172
Export preferences pane, 105
features overview, 3-4
installations
custom, 6
Software Instruments option, 7
system requirements, 5
performance requirements, 7
audio effects management, 8
RAM, 8
setting process priorities, 8-10
Software Instruments management, 8
viewing, 8
as ReWire master, 168-169
third-party Apple Loops, installing, 160
window, 12
keyboard shortcuts, list of, 208
Loop Browser, opening, 13
Mixer column, slider controls, 21
Track column, 18-20
tracks, deleting, 13
GarageDoor Web site, 225
Gate effects, 133, 214
generators, 117
Analog Basic generator edit window, slider controls,
122
Analog Mono generator edit window, slider controls,
123
Analog Pad generator edit window, slider controls,
123-124
Analog Swirl generator edit window, slider controls,
125
Analog Sync generator edit window, slider controls,
125-126
Audio Unit instruments, 131
Digital Basic generator edit window, slider controls,
126
Digital Mono generator edit window, slider controls,
127
IMPORTING
Digital Stepper generator edit window, slider controls, 127-128

DLSMusicDevice, sound fonts, 130-131
Electric Clavinet generator edit window, 129-130
Damper slider, 130
Volume slider, 130
Electric Piano generator edit window, slider controls,
121
Piano generator edit window, slider controls,
118-119
presets, building, 145
Strings generator edit window, slider controls, 120
Tonewheel Organ generator edit window, slider controls, 129
Genre tag (SoundTrack Loop Utility Search
tags), 156
Glide control, Analog Mono generator edit
window, 123
Go to Beginning button
GarageBand control bar, 36
Loop Browser, 18
Grid menu (Track Editor), 42-43
guitars
adapter/Mac hook-ups, 197
lead guitar, building rock songs, 67-69
Mac hook-ups, testing connections, 199-200
preamp/Mac hook-ups, 197-199
recording
basic guitar tracks, 55
building rock songs, 67-69
editing, 56
overdubbing, 57, 59-61
setting audio levels, 49-51
stomp boxes, 50
rhythm guitar loops, building rock songs, 65-66
Guitars group list (Audio Unit Instruments),
218
Guitars group list (Software Instruments), 211
H
Harmonic Steps slider, Digital Stepper generator edit window, 128
Harmonics slider
harmonies, building in SoundTrack Loop
Utility, 179
Harmony Central Web site, 226
headphones
latency, 73
microphone feedback, 192-193
monitoring, 72-73
hearing effects, 133
hearing loss, 193
High slider, Amp Simulation effect edit window, 143
Horns group list (Software Instruments), 211
I
iCompositions Web site, 227
iDisk Web sites
.mac File Sharing Web pages, 110-111
songs, moving to, 109-111
iDVD songs
adding to, 115
removing from, 115
iLife 04
installations
custom, 6
registration dialog, 7
iMovie, songs, adding to, 114
importing
Apple Loops into GarageBand, 158-160
MIDI files, 166-168
239
240
INDEXING THIRD-PARTY APPLE LOOPS
indexing third-party Apple Loops, 160

Installation Type dialog (iLife 04), 5
installing
Apple Loops SDK, 154
GarageBand
performance requirements, 7-8
Software Instruments option, 7
iLife 04
Software Instruments, 7
third-party Apple Loops into GarageBand, 160
Instrument selector (SoundTrack Loop Utility)
Genre tag, 156
Search tag, 156
Intensity slider
Tremolo effect edit window, 141
Internet radio broadcasts, recording, 170-171
Introducing Garageband Web page, 225
iPhoto, slideshows, adding songs to, 113
iPod
manual updating, 109
songs, moving to, 109
iTunes
AAC files, 107
converting songs to, 108
Advanced preferences pane, 105
AIFF files, 107
Audio CD, burning, 106
MP3 files, converting songs to, 106-107
WAV files, 107
J-K
jacks, Audio In/Out jacks (Mac), 203
jazz songs, building, 46
rhythm, 46-47
solos, 47-48
Join Selected command, 25
joining regions (tracks), 25
key, setting, 12
Key column (Loop Browser), 17
Key menu (SoundTrack Loop Utility Property
tags), 156
keyboard controllers, hook-ups, 195
keyboard shortcuts
-A (editing note loudness), 43
-B (displaying master track), 22
-E (displaying Track Editor), 23, 35, 42
-I (displaying Track Info window), 33
-J (joining tracks), 25
-K (displaying Onscreen Musical Keyboard window), 32
-L (displaying Loop Browser), 35
-N (creating new song files), 11, 26
-Q (quitting GarageBand), 34
-T (splitting tracks), 25
C key, cycling regions function, 36
GarageBand window shortcuts list, 208
menu shortcuts list, 207-208
Option--N (displaying New Track window), 35
R key (recording function), 36
Track Info window shortcuts list, 209
Z key (return to beginning of songs), 36
keyboards
MIDI keyboards, 35, 197
hook-ups, 193-195
keyboard controllers, 195
testing, 196
USB/MIDI interfaces, 193-195
LOOPS
Onscreen Musical Keyboard

changing instruments in, 33-34
changing octaves, 33
displaying, 32
expanding, 33
playing, 33
USB keyboards, 35
Keyboards group list (Software Instruments),
212
keywords (Loop Browser button), resetting, 15
L
latency, 73
lead guitar in rock songs, building, 67-69
left/right channels (stereo), track adjustments, 21
linking songs to Web pages, 111-112
listening to loops, 17
in timeline (Loop Browser), 18
Loop Browser
Beats column, 17
buttons
changing keywords, 15
expanding selection, 14
moving, 15
resetting keywords, 15
view, customizing, 15
column view, browsing loops, 15-16
default view, 13
displaying, 35
Fav column check box, 16
favorites list, clearing, 17
Key column, 17
loops
browsing, 14-16
searching, 14-15
opening, 13
Play/Stop button, 18
Tempo column, 16
timeline
adding loops to, 18
adding tracks to loops, 19
extending loops, 19
listening to loops, 18
views, switching between, 16
Loop Browser button (GarageBand control
bar), 35
loops
auditioning, 17
bass loops, building rock songs, 63-64
browsing
in column view (Loop Browser), 15-16
in Loop Browser, 14
drum loops
splitting, 176-178
extending, 19
favorites
clearing favorite lists, 17
tagging as, 16
viewing, 16
files, managing, 157
editing, 17
rhythm guitar loops, building rock songs, 65-66
searching
filtering searches, 15
in Loop Browser, 14-15
shortening, 23-24
Software Instrument loops as Real Instrument loops,
17
tracks, adding to, 19
241
242
LOOPS
Web sites
BitShift Audio, 226
Drums on Demand, 226
SampleNet, 226
SoundShopper.com, 226
loudness of notes (regions), editing, 43
Louie, Louie chordal movements, 43
Low slider, Amp Simulation effect edit window, 143
lyrics, writing for blues songs, 79
M
M-Audio Web site, 227
.mac accounts
File Sharing Web pages (iDisk Web sites), 110-111
songs, moving to, 109-111
Mac Audio Guy Web site, 226
Mac Jukebox Web site, 227
MacAddict Web site, 227
Macband Web site, 227
Macidol Web site, 227
MacInTouch Web site, 225
MacJams Web site, 225
MacMusic Web site, 226
MacTeens Web site, 225
magazine Web sites
Computer Music, 227
Electronic Musician, 227
Future Music, 227
MacAddict, 227
Mallets group list (Software Instruments), 211
managing
audio effects, GarageBand performance, 8
loop files, 157
Software Instruments, GarageBand performance, 8
manual updating (iPod), 109
master effects, 92
Master Level Meters (GarageBand control
bar), 36
Master Level slider, Amp Simulation effect

edit window, 143
master output levels in rock song mixes, 101
master tracks, 93
displaying, 22
effects, 93-94, 135
accessing, 132-133
Compressor, 133, 137
Echo, 136
Equalizer, 134, 137
Gate, 133
hearing, 133
Reverb, 136-137
Info window, 93-94, 135
rock song mixes, 100
volume curve, adjusting, 22
Master Volume Slider (GarageBand control
bar), 36
maximum safe levels (tracks), 97
melody of dance songs, building, 27-29
menu shortcuts, list of, 207-208
menus
Key (SoundTrack Loop Utility Property tags), 156
Scale Type (SoundTrack Loop Utility Property tags),
156
shortcuts, list of, 207-208
Time Signature (SoundTrack Loop Utility Property
tags), 156
metronome, displaying, 37
Metronome command, 37
microphones
audio input levels, setting, 73-74
balancing transformers, 202
basic recording techniques, 71-72
condenser microphones, 200-201
dynamic microphones, 200-201
feedback, 192-193
headphones
latency, 73
monitoring, 72-73
MIXING
Mac hook-ups, 71, 200-202

testing, 202
preamps, 202
changing, 75
modifying, 76
recording space preparation, 76
vocals, recording, 77
XLR connectors, 200
Mid Frequency parameter (Equalizer edit window), 134
Mid Gain parameter (Equalizer edit window),
134
Mid slider, Amp Simulation effect edit window, 143
MIDI (Musical Instrument Digital Interface),
18, 32
Audio Unit Instruments, 217
continuous controllers, 44-45
Dent du MIDI freeware, 166-168
Pass Through Program Change Events option,

167
Pass Through Volume Change Events option,
167
drum key maps, 34, 223
Implementation Chart, 221
importing, 166-168
keyboards, 35, 197
hook-ups, 193-195
keyboard controllers, 195
testing, 196
sequencers, 32
MIDI Manufacturers Association Web site, 228
Mix column (Track window), 38
Mix slider
Mixer column (GarageBand window)
pan control, 21
volume curve, 21
volume slider, 21
mixers
audio interfaces, 204
passive speakers, hook-ups, 192
powered speakers, hook-ups, 192
mixing
rock songs, 95
effects, 98-99
master output levels, 101
master tracks, 100
panning, 95-97
volume, 95-96
tracks, tips, 180
243
244
MODE RADIO BUTTONS
Mode radio buttons, Auto Wah effect edit window, 142

Model radio buttons, Amp Simulation effect
edit window, 143
Modulation function (Display menu), 44
modulation of notes (regions), editing, 44
Modulation slider
Monitor radio button, 72-73
monitoring headphones, 72-73, 83
monitoring speakers
hook-ups, 192
powered versus passive, 191
Monster Cable iStudioLink, 198
Monster Cable Web site, 228
Monster Instrument Adapters, 197, 202
moving
Loop Browser buttons, 15
regions (tracks), 23
songs
to iPod, 109
to .mac accounts, 109-111
MP3 files, 107, 116
music
AAC files, converting to, 108
Audio CD, burning to, 105-106
iDVD
adding to, 115
removing from, 115
iMovie, adding to, 114
iPhoto slideshows, adding to, 113
iPod, moving to, 109
iTunes, exporting to, 103-105
.mac accounts, moving to, 109-111
MP3 files, converting to, 106-107
Web pages, linking to, 111-112
Web sites, adding to, 111
music sharing Web sites

iCompositions, 227
Mac Jukebox, 227
Macband, 227
Macidol, 227
Musicians Friend Web site, 228
Mute button (Track column), 20
muting tracks, 20
N
Name field (Track Editor), 42
naming regions (tracks), 42
navigating
Crystal (Green Oak), 163
New Project dialog, 11
key, setting, 12
tempo, setting, 12
time signatures, setting, 12
New Track button (GarageBand control bar),
35
New Track window, displaying, 35
noise gates, 133
notes (regions)
adding to regions, 44
appending in Software Instrument recordings, 40
duplicating, 44
duration, editing, 44
loudness, editing, 43
modulation, editing, 44
pitch, editing, 44
pitch bend, editing, 44
selecting all, 43
sustain, editing, 44
timing, editing audio loops, 151
Number of Beats tag (SoundTrack Loop Utility
Property tags), 156
PLAYHEAD LOCKS
O
octaves, changing (Onscreen Musical
Keyboard), 33
Onscreen Musical Keyboard
changing instruments in, 33-34
displaying, 32
expanding, 33
octaves, changing, 33
playing, 33
opening Loop Browser, 13
Optimize for Radio button (Audio/MIDI pane),
51
latency, reducing, 73
-N keyboard shortcut (New Track
Option-
window display), 35
Organs group list (Audio Unit Instruments),
218
Organs group list (Software Instruments), 212
OSX Audio Web site, 226
Output Level slider
Amp Simulation effect edit window, 143
Output MIDI Files option (Dent Du MIDI freeware), 167
Overdrive effect edit window, slider controls,
139
overdrive effects, 214
overdubbing, 40
cycle regions, setting up, 60-61
guitar recordings, 57-61
vocals, 78, 81-83
P
pan control (Mixer column), 21
panning
Pass Through Pan Change Events option (Dent

Pass Through Program Change Events option
(Dent Du MIDI freeware), 167
Pass Through Volume Change Events option
(Dent Du MIDI freeware), 167
pasting in regions, 87-88
Percussion Level slider, Tonewheel Organ generator edit window, 129
Percussion Time slider, Tonewheel Organ generator edit window, 129
Percussive group list (Audio Unit
Instruments), 219
performance requirements (GarageBand), 7
audio effects management, 8
process priorities, setting, 8-10
RAM, 8
Software Instruments management, 8
viewing, 8
Phaser effect edit window
Feedback slider, 141
Speed slider, 141
phaser effects, 215
Piano generator edit window, slider controls,
118-119
Piano group list (Audio Unit Instruments), 217
Pianos and Keyboards group list (Software
Instruments), 212
PID (process ID) numbers, viewing, 8
Pipe group list (Audio Unit Instruments), 218
pitch
notes (regions), editing, 44
regions (tracks), changing in, 43
Pitch Bend function (Display menu), 44
Play button (GarageBand control bar), 36
Play/Stop button (Loop Browser), 18
playhead (Track window), 38
playhead locks, 86
245
246
PLAYING ONSCREEN MUSICAL KEYBOARD
playing Onscreen Musical Keyboard, 33

playlists (Audio CD), burning, 106
plug-ins, 190
PlugSound (Ultimate Sound Bank), 162
Portamento control. See Glide control
powered speakers, 191
hook-ups, 192
mixers, 192
Pre Gain slider, Amp Simulation effect edit
window, 143
preamps
guitar hook-ups, 197-199
microphone preamps, 202
Preferences panel (Audio/MIDI pane)
Optimize for Radio button, 51, 73
setting audio preferences, 52
Presence slider, Amp Simulation effect edit
window, 143
preview bar (SoundTrack Loop Utility
Transients window), 158
Process Viewer (GarageBand)
performance requirements, viewing, 8
ProcessWizard, process priorities, setting, 10
Property tags (SoundTrack Loop Utility)
Author field, 156
Comment field, 156
Copyright field, 156
File Type radio buttons, 156
Key menu, 156
Number of Beats tag, 156
Scale Type menu, 156
Time Signature menu, 156
punch-ins. See overdubbing
Q-R
QuickTime
DLSMusicDevice, 130-131
MIDI Implementation Chart, 221
sound fonts, 131
Music Synthesizer (Audio Unit Instruments), 217

Quit GarageBand command, 34
R key keyboard shortcut (recording function),
36
radio broadcasts (Internet), recording, 170-171
RAM (random access memory), performance
requirements, 8
Rane Pro Audio Reference Web site, 228
Reaction slider, Auto Wah effect edit window,
142
editing, 17
Real Instrument Track Editor, 56, 78
Real Instruments
audio loops
building, 152-153
editing tempo, 153
building, 146-147
effects
accessing, 132-133
Compressor, 133
Equalizer, 134
Gate, 133
hearing, 133
REGIONS
guitar presets, 52
settings, modifying, 53-55
track color designations, 57
Track Editor, 56, 78
tracks
cloning, 58
editing, 86-90
overdubbing, 57-61
vocal presets, 74
changing, 75
modifying, 76
Reason (Propellerhead Software) as ReWire
slave, 168-169
Record button (GarageBand control bar), 36
recording
cycle recording
displaying cycle regions, 38
exiting, 39-40
overdubbing, 40
guitar
basic guitar tracks, 55
editing, 56
overdubbing, 57-61
setting audio levels, 49-51
stomp boxes, 50
Internet radio broadcasts, 170-171
keyboard shortcuts, 36
program changes on tracks, 131
spaces, vocal recording preparations, 76
tracks
bouncing, 173-174
duplicating tracks, 178
mixing tips, 180
splitting drum loops, 176-178
vocals, 77
basic performance techniques, 80
blues songs, 78-83
editing, 78
latency, 73
monitoring, 72-73, 83
Real Instrument presets, 74-76
setting audio input levels, 73-74
recovering deleted tracks, 173
Reed group list (Audio Unit Instruments), 218
Reeds radio button, Electric Piano generator
edit window, 121
reference tracks in blues songs, building,
79-80
regions (tracks)
copying/pasting, 88-90
cutting and pasting within, 87-88
cycle regions
displaying, 38
setting up, 60-61
information, displaying, 23
joining, 25
moving, 23
notes
adding to, 44
duplicating, 44
editing duration, 44
editing loudness, 43
editing modulation, 44
editing pitch, 44
editing pitch bend, 44
editing sustain, 44
selecting all, 43
pitch, changing, 43
Real Instrument track regions
color designations, 57
editing, 86-90
247
248
REGIONS
renaming, 42
shortening, 23-24
Software Instrument regions, editing, 41
splitting, 24-25, 87
timing, editing, 42-43
Track window, viewing in, 38
registration dialog (iLife 04), 7
rejoining regions (tracks), 25
Release slider
removing
effects, 92
songs from iDVD, 115
renaming regions (tracks), 42
Repeat Color parameter (Echo edit window),
136
repeating loops, 19
Resolution slider, Bitcrusher effect edit window, 139
Resonance slider
retailer Web sites
Apple Store, 227
ART, 228
Audio MIDI, 227
M-Audio, 227
Monster Cable, 228
Musicians Friend, 228
returning to beginning of songs via keyboard
shortcuts, 36
Reverb Color parameter (Reverb edit window),
137
Reverb edit window

Reverb Color parameter, 137
Reverb Time parameter, 137
Reverb Volume parameter, 137
reverb effects, 92, 136-137, 214
Reverb Time parameter (Reverb edit window),
137
Reverb Volume parameter (Reverb edit window), 137
Rewind button (GarageBand control bar), 36
ReWire, 168-169
rhythm in jazz songs, building, 46-47
rhythm guitar loops in rock songs, building,
65-66
Richness slider
rock songs
building, 62
bass loops, 63-64
drum loops, 62-63
fade-outs, 69
lead guitar, 67-69
mixing, 95
effects, 98-99
master output levels, 101
master tracks, 100
panning, 95-97
volume, 95-96
Rotary speaker radio buttons, Tonewheel
Organ generator edit window, 129
S
Sample Rate Reduction slider, Bitcrusher
effect edit window, 139
SampleNet Web site, 190, 226
Save Instrument button (Track Info window),
55
SOFTWARE INSTRUMENT TRACKS
saving
audio loops as Apple Loops, 156
customized Software Instrument settings, 46
modified Real Instrument settings, 55
song files, 11
Scale Type menu (SoundTrack Loop Utility
Property tags), 156
Search tags (SoundTrack Loop Utility), 156
searching loops
filtering searches, 15
in Loop Browser, 14-15
selecting
loops as favorites, 16
notes (regions), 43
sequencers (MIDI), 32
Shareware Music Machine Web site, 226
shortcuts (keyboard)
-A (editing note loudness), 43
-B (displaying Master track), 22
-E (displaying Track Editor), 23, 35, 42
-I (displaying Track Info window), 33
-J (joining tracks), 25
-K (displaying Onscreen Musical Keyboard window), 32
-L (displaying Loop Browser), 35
-N (creating new song files), 11, 26
-Q (quitting GarageBand), 34
-T (splitting tracks), 25
C key (cycling regions function), 36
GarageBand window shortcuts list, 208
menu shortcuts, list of, 207-208
Option--N (displaying New Track window), 35
R key (recording function), 36
Track Info window shortcuts list, 209
Z key (return to beginning of songs), 36
shortening
loops, 23-24
regions (tracks), 23-24
Show Editor command, 23, 42

Show Master Track command, 22
Show Track Info command, 33, 53
slideshows (iPhoto), songs, adding to, 113
software
Apple Loops SDK
downloading, 154
installing, 154
AU effects, 165
AU Instruments, 162
Crystal (Green Oak)
adding presets to GarageBand, 163-165
downloading, 162
navigating, 163
PlugSound (Ultimate Sound Bank), 162
Reason (Propellerhead Software) as ReWire slave,
168-169
Soundflower, recording Internet radio broadcasts,
169-171
Soundtrack, 189
Software Instrument tracks
cycle recording, 38-40
appending notes, 40
overdubbing, 40
editing
continuous controllers, 45
note (region) duration, 44
note (region) loudness, 43
note (region) pitch, 44
note (regions) modulation, 44
note (regions) pitch bend, 44
note (regions) sustain, 44
region (tracks) pitch, 43
switching Software Instruments, 41-42
via Track Editor, 42-43
249
250
SOFTWARE INSTRUMENT TRACKS
loops as Real Instrument loops, 17

notes (Regions)
adding, 44
duplicating, 44
editing, 41
recording, 36-37
building, 118, 144-145
components of, 45
customized Software Instruments, saving, 46
Drum Kits group list, 211
effects
accessing, 132-133
Compressor, 133
Equalizer, 134
Gate, 133
hearing, 133
generators, 117
Analog Pad generator edit window, 123-124
Analog Sync generator edit window, 125-126
building generator presets, 145
Digital Stepper generator edit window, 127-128
Electric Clavinet generator edit window, 129-130
Piano generator edit window, 118-119
Guitars group list, 211
Horns group list, 211
installing, 7
Mallets group list, 211
managing GarageBand performance, 8
Organs group list, 212
Pianos and Keyboards group list, 212
settings, adjusting, 45
Strings group list, 212

Synth Basics group list, 212
Synth Leads group list, 212
Synth Pads group list, 212
types of, 31
Woodwinds group list, 212
Solo button (Track column), 20
solos
jazz songs, building, 47-48
tracks, 20
songs
AAC files, converting to, 108
Audio CD, burning to, 105-106
blues songs, building, 78-83
chordal movements, 43
dance songs, building, 26
bass tracks, 27
drum tracks, 26
melodies, 27-29
developing, example of, 4-5
exporting parts of, 101
files, starting, 11
iDVD
adding to, 115
removing from, 115
iMovie, adding to, 114
iPhoto slideshows, adding to, 113
iPod, moving to, 109
iTunes, exporting to, 103-105
jazz songs, building, 46
rhythm, 46-47
solos, 47-48
key, setting, 12
loops
adding, 18
adding tracks to, 19
browsing, 14-16
extending, 19
listening to, 18
searching, 15
searching for, 14
tagging as favorites, 16
STRINGS/ORCHESTRA GROUP LIST
.mac accounts, moving to, 109-111

MP3 files, converting to, 106-107
rock songs
building, 62-69
mixing, effects, 98-99
mixing, end of song markers, 101-102
mixing, master output levels, 101
mixing, master tracks, 100
mixing, panning, 95-97
mixing, volume, 95-96
saving, 11
tempo, setting, 12
time signatures, setting, 12
tracks
adjusting left/right channels (stereo), 21
adjusting volume, 21
fading, 21
muting, 20
soloing, 20
volume, adjusting via Master track, 22
Web pages, linking to, 111-112
Web sites, adding to, 111
sound cards. See audio interfaces
Sound Effects group list (Audio Unit
Instruments), 219
sound fonts, DLSMusicDevice, 131
Sound pane (System Preferences menu), input
volume levels, 50-51
Sound slider, Auto Wah effect edit window,
142
Soundflower freeware, Internet radio broadcasts, recording, 169-171
SoundShopper.com Web site, 190, 226
Assets window, 156
managing loop files, 157
audio loops, saving as Apple Loops, 156
batch-processing, 157
Descriptors radio buttons, 156
harmonies, building, 179
navigating, 156
Property tags
Author field, 156
Comment field, 156
Copyright field, 156
File Type radio buttons, 156
Key menu, 156
Number of Beats tag, 156
Scale Type menu, 156
Time Signature menu, 156
Search tags
Genre tag, 156
Instrument selector, 156
tempo, editing, 157
Transients window, 157
preview bar, 158
speakers
monitoring speakers, 191
hook-ups, 192
powered versus passive, 191
powered speakers, 191
hook-ups, 192
mixers, 192
Speed slider
Tremolo effect edit window, 141
Split command, 25
splitting
drum loops, 176-178
regions (tracks), 24-25, 87
stereo, left/right channels, adjusting in
tracks, 21
stomp boxes, 50
Strings generator edit window, slider controls,
120
Strings group list (Software Instruments), 212
Strings/Orchestra group list (Audio Unit
Instruments), 218
251
252
STUDIOS
studios, configuring
guitar/Mac hook-ups
adapters, 197
preamps, 197-199
testing connections, 199-200
headphones, 192-193
microphones/Mac hook-ups, 200-202
MIDI keyboard hook-ups, 193-197
monitoring speakers, 191-192
testing MIDI keyboards, 196
sustain in notes (regions), editing, 44
Sustain function (Display menu), 44
Sustain slider
switching
between views in Loop Browser, 16
Software Instruments in Software Instrument tracks,
41-42
Sync Envelope slider, Analog Sync generator
edit window, 125
Sync Modulator slider, Analog Sync generator
edit window, 125
Sync slider, Analog Sync generator edit window, 125
Synth Basics group list (Software
Instruments), 212
Synth Effects group list (Audio Unit
Instruments), 219
Synth Lead group list (Audio Unit
Instruments), 219
Synth Leads group list (Software
Instruments), 212
Synth Pad group list (Audio Unit Instruments),
219
Synth Pads group list (Software Instruments),
212
System Preferences menu, Sound pane volume configuration, 50-51
T
tagging loops as favorites, 16
tempo
audio loops, editing in, 151-152
editing in SoundTrack Loop Utility, 157
Real Instrument audio loops, editing in, 153
setting, 12
Tempo column (Loop Browser), 16
Tempo Indicator (GarageBand control bar), 36
testing
guitar/Mac hook-ups, 199-200
microphone/Mac hook-ups, 202
MIDI keyboards, 196
third-party Apple Loops
GarageBand, installing in, 160
indexing, 160
Timbre slider
Time Display bar (GarageBand control bar), 36
Time Signature menu (SoundTrack Loop Utility
Property tags), 156
time signatures, 12, 88
Time/Measure Format button (GarageBand
control bar), 36
timeline (Loop Browser), loops
adding to, 18
adding tracks to, 19
extending, 19
listening to, 18
timeline (Track window), 38
timing regions (tracks), editing in, 42-43
Tone slider
Tonewheel Organ generator edit window, slider controls, 129
Track column (GarageBand window), 18
track edit waveform display, 89
TRACKS
Track Editor
displaying, 35, 42
Fix Timing button, 42-43
Grid menu, Edit Timeline grid, 42-43
Name field, 42
playhead locks, 86
Software Instrument tracks, editing, 42-43
Track Editor button (GarageBand control bar),
35, 42
Track Info button (GarageBand control bar), 35
Track Info window
Amp Simulation settings window, 53
Details tab, 53
displaying, 35
effects, accessing, 91
keyboard shortcuts, list of, 209
Onscreen Musical Keyboard, changing instruments
in, 33-34
Save Instrument button, 55
adjusting settings, 45
saving customized settings, 46
Track window, 38
tracks
bass tracks, building dance songs, 27
bouncing, 173-174
deleted tracks, 13
recovering, 173
drum loops, splitting, 176-178
drum tracks, building dance songs, 26
duplicating, 178
effects, deleting, 92
fading, 21
left/right channels (stereo), adjusting, 21
loops, adding to, 19
master track effects, 93-94, 135
accessing, 132-133
Compressor, 133, 137
Echo, 136
Equalizer, 134, 137
Gate, 133
hearing, 133
Reverb, 136-137
maximum safe levels, 97
melodies, building dance songs, 27-29
muting, 20
program changes, recording, 131
Real Instrument tracks
cloning, 58
color designations, 57
editing, 56, 78, 86-90
overdubbing, 57-61
recording, mixing tips, 180
reference tracks, building blues songs, 79-80
regions
changing pitch, 43
cycle regions, 60-61
displaying cycle regions, 38
displaying information, 23
editing Software Instrument regions, 41
editing timing, 42-43
joining, 25
moving, 23
renaming, 42
shortening, 23-24
splitting, 24-25
rhythm, building jazz songs, 46-47
adding notes (regions) to regions, 44
cycle recording, 38-40
duplicating notes (regions), 44
editing note (region) duration, 44
editing note (region) loudness, 43
editing note (region) pitch, 44
editing note (regions) modulation, 44
editing note (regions) pitch bend, 44
editing note (regions) sustain, 44
editing region (tracks) pitch, 43
editing via Track Editor, 42-43
editing, continuous controllers, 45
editing, switching Software Instruments, 41-42
recording, 36-37
253
254
TRACKS
solos, 20
building jazz songs, 47-48
vocal tracks
editing, 78
recording, 77
volume, adjusting, 21
adjusting via master tracks, 22
setting, 96
Tracks column (Track window), 38
transferring songs
to iPod, 109
to .mac accounts, 109-111
Transients window (SoundTrack Loop Utility),
157-158
Translate Drum Tracks option (Dent Du MIDI
freeware), 167
Treble Gain parameter (Equalizer edit window),
134
Treble Reduction effect edit window, Frequency
slider, 138, 214
Tremolo effect edit window, slider controls, 141
tremolo effects, 215
troubleshooting
feedback, monitoring (headphones), 72-73
latency, 73
Tuning slider
U-V
Unable to continue error message, 7
updates to iPod, manual updates, 109
USB keyboards, 35
viewing
audio loops, 150
favorite loops, 16
GarageBand performance requirements, 8
master track, 22
PID numbers, 8
regions in Track window, 38

Software Instrument settings, 45
vocals
delays. See latency
doubling, 179
recording, 77
basic performance techniques, 80
blues songs, 78-83
editing, 78
latency, 73
monitoring, 72-73, 83
Real Instrument presets, 74-76
setting audio input levels, 73-74
volume
curves (master track), 21-22
fading in tracks, 21
guitar recordings, input volume setting configuration,
50-51
track volume adjustments, 21
via master tracks, 22
setting in, 96
volume curves, 21-22
volume envelopes, 122
Volume slider
Electric Clavinet generator edit window, 130
Mixer column, 21
ZOOM SLIDER
W-Z
WAV files, 107
Web pages
.mac File Sharing (iDisk Web sites), 110-111
songs, linking to, 111-112
Web sites
Apple Store, 227
ART, 228
AU effects, 165
AU Instruments, 162
Audio MIDI, 227
Audio Units, 226
BitShift Audio, 190, 226
Computer Music, 227
Drums on Demand, 190, 226
Electronic Musician, 227
Future Music, 227
GarageDoor, 225
Harmony Central, 226
iCompositions, 227
iDisk Web sites
.mac File Sharing Web pages, 110-111
moving songs to, 109-111
Introducing Garageband, 225
M-Audio, 227
Mac Audio Guy, 226
Mac Jukebox, 227
MacAddict, 227
Macband, 227
Macidol, 227
MacInTouch, 225
MacJams, 225
MacMusic, 226
MacTeens, 225
MIDI Manufacturers Association, 228
Monster Cable, 228
Musicians Friend, 228
OSX Audio, 226
Rane Pro Audio Reference, 228
SampleNet, 190, 226
Shareware Music Machine, 226

SoundShopper.com, 190, 226
windows
Amp Simulation settings, 53
Edit, Display menu
GarageBand window, 12
deleting tracks, 13
keyboard shortcuts list, 208
Loop Browser, opening, 13
Mixer column, 21
Track column, 18-20
New Track, displaying, 35
Onscreen Musical Keyboard, displaying, 32
Track, 38
Track Info
adjusting Software Instruments settings, 45
Amp Simulation settings window, 53
changing instruments in Onscreen Musical
Keyboard, 33-34
Details tab, 53
displaying, 35
keyboard shortcuts list, 209
Save Instrument button, 55
saving customized Software Instruments settings,
46
viewing Software Instruments settings, 45
Woodwinds group list (Software Instruments),
212
writing lyrics for blues songs, 79
XLR connectors (microphones), 200
Z key keyboard shortcut (return to beginning
of songs), 36
Zoom slider (Track window), 38
255

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Making Music with

800 East 96th Street

MacAddict Guide to Making Music

Copyright 2004 by Que Publishing

All rights reserved. No part of this book shall be reproduced,

Warning and Disclaimer

Getting Started with GarageBand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Expanding GarageBand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Getting Started with GarageBand

Making Music with Apple Loops

Customizing the Button View 15

Working with Tracks and Regions 22

Recording Your Own Music with Software Instruments

MACADDICT GUIDE TO MAKING MUSIC WITH GARAGEBAND

Recording Your Guitar

Getting Your Guitar to Play Well with GarageBand 49

Recording Vocals and Other Instruments

Editing and Mixing Your Music

Editing and Arranging Regions 85

Exporting to iTunes 103

MACADDICT GUIDE TO MAKING MUSIC WITH GARAGEBAND

Making Your Own Software and Real Instruments

Making Your Own Loops

Recording Your Own Audio Loops 149

Using Audio Unit Instruments and Effects 161

The GarageBand Jam Pack 189

Configuring Your Studio

MACADDICT GUIDE TO MAKING MUSIC WITH GARAGEBAND

Menu Shortcuts 207

GarageBand Software Instruments

Synth Pads 212

Built-in Effects 213

General MIDI Instruments List

MIDI Implementation Chart

MIDI Implementation Chart for the DLSMusicDevice and GarageBand 221

General MIDI Drum Key Map

GarageBand and Mac Audio Sites 225

About the Authors

We Want to Hear from You!

hen GarageBand was announced in January 2004, we immediately knew that

WHO SHOULD READ THIS BOOK

PEOPLE NEW TO BOTH

HOW THIS BOOK IS ORGANIZED

BEYOND THE BOOK

We will also be posting updates here:

or many amateur musicians, GarageBand is the tool we have been

CHAPTER 1 GETTING STARTED WITH GARAGEBAND

CHAPTER 1 GETTING STARTED WITH GARAGEBAND

WHAT TO EXPECT FROM GARAGEBAND ON YOUR MAC

WHAT TO EXPECT FROM GARAGEBAND ON

CHAPTER 1 GETTING STARTED WITH GARAGEBAND

WHAT TO EXPECT FROM GARAGEBAND ON YOUR MAC

CHAPTER 1 GETTING STARTED WITH GARAGEBAND

eady to make some music? That usually means years of musical

STARTING A NEW SONG

CHAPTER 2 MAKING MUSIC WITH APPLE LOOPS

SETTING THE TEMPO AND KEY

CLEARING THE TRACK WINDOW

USING THE LOOP BROWSER