Practical Projects for Your Elective Course

I will be presenting a session at the NJMEA Conference this week titled Practical Projects for Your Elective Course. In preparation for this presentation, I have reissued an older episode of my podcast with similar content to make it quickly accessible in the feed for attendees of the session.

This post contains the episode and resources related to the presentation.

The podcast episode opens with my first impressions of the Apple Vision Pro which I got to try out last week.

Enjoy!

Listen to the podcast episode and subscribe below!

Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS

This is the first year that I have had consistent access to a cloud-based DAW and notation editor with all of my students. The result of this experience has been dozens of new Soundtrap project ideas. I plan to do an episode and post about how I am using these tools for composition projects in the band classroom later this year.

In the episode above, and in this post, I give an overview of three of my most successful Soundtrap projects this year. These projects can be done in any digital audio workstation, including Bandlab, GarageBand, Logic, Ableton Live, etc.

Listen to the episode for a more thorough explanation of each idea.

C Melody and Loop Audition

Melody writing in Noteflight and producing in Soundtrap go hand in hand. Because of Noteflight’s many export options, you have many ways to get your melody out of Noteflight and into your Soundtrap project.

After giving students some time to experience the user interface of Soundtrap, I have them write a short, 8 measure long, melody in the key of C using Noteflight.

Next, I have them export this melody as a MIDI file and then import it into a track in Soundtrap. Next, I have them add three more tracks and create an accompaniment for their melody using at least one of the three loop types.

1. Bass

2. Percussion

3. Harmonic (guitar, synth, piano, etc.)

Here is a recent submission of this project one of my students made. This assignment was submitted later in the semester when we had expanded the project into composing two alternating melodies which became the basis of a song-form in Soundtrap. By alternating between both melodies (and varying the loop accompaniment) the student made a song that follows the form: Verse—Chorus—Verse—Chorus—Bridge—Chorus. This particular student chose to improvise the blues scale over the bridge.

Row Your Boat Multi-Track

This idea was taken from the amazing Middle School Music Technology class content in MusicFirst. I recommend checking out their subscription options if you like this idea. MusicFirst combines the activity with curated YouTube and Spotify playlists that give students an idea about early recording studio practices for multi-track recording before music was produced digitally.

I am giving an overview of this project with permission from MusicFirst. Full Disclosure: MusicFirst is a past sponsor of the Music Ed Tech Talk blog and podcast.

To start, the student performs the song Row Row Row Your Boat into a software instrument track in Soundtrap. After it is recorded, they quantize it to the nearest 1/8th or 1/16th note so that it is rhythmically accurate.

Next, they duplicate this track two times. Using the piano roll to edit the MIDI content of each loop, students select all notes and drag them higher to create harmony. I have them move the second track a third higher and the next track a fifth higher so that they get a nice three-part voicing.

After multi-tracking the melody of Row Row Row Your Boat, this student moved the starting point of each region to create a round.

Next, I have them move any notes that land on black keys as a result down to the nearest white key so that every note of each voice is in the key of C.

Next, I have them duplicate these three tracks and transpose them up an octave. Next, I have them take the lowest voice and transpose it down three octaves to add some bass. You can have students make the final result as dense as you like.

Optionally, students can experiment with using different instrument sounds and adding groove-based loop accompaniment.

Here are three recent examples of my student’s submissions:

All-Star Remix

In this assignment, I take a popular song that students choose and separate the voice from the instrumental accompaniment. Then I add it to an audio track in a Soundtrap template and match the tempo and key of the Soundtrap project to the vocal track.

This way, students can drag and drop loops and have them match the pitch and tempo content of the vocals.

I have a post with more details about this project here.

You can watch a video of how to do it below.

Here are two examples of my own student’s recent work:

For a Soundtrap project idea for teaching band/choir/orchestra students to compose, check out the podcast episode and blog post below:

• Getting Performing Arts Students to Compose

Episode Info

See below for all notes associated with the podcast episode…

Description

Robby overviews his three most successful Soundtrap projects in 2021.

Chapters:

• 00:00:00 - Intro

• 00:00:14 - Sponsor: DMV Percussion Academy

• 00:01:24 - About this Episode

• 00:03:51 - YAY SUMMER

• 00:05:11 - 1: Melody Composition / Loop Accompaniment

• 00:14:35 - 1: Student Examples

• 00:16:15 - 2: Row Your Boat Multi-Track

• 00:22:19 - 2: Student Examples

• 00:24:27 - 3: All-Star Remix

• 00:34:38 - 3: Student Examples

• 00:36:00 - Grading for Mastery Not Creativity

• 00:37:47 - Tech Tip of the Week

• 00:39:20 - App of the Week

• 00:40:00 - Album of the Week

• 00:42:44 - Conclusion

Show Notes:

• Noteflight

• Soundtrap

• MusicFirst

• How to Make a Song Remix Project in Soundtrap (Blog Post and YouTube Video)

• Reddit: Isolated Vocals

• Neural Mix Pro

• Lalal.ai

App of the Week: 
Reeder 5

Album of the Week:
Alison Balsom - Paris

Thanks to this week’s sponsor, the DMV Percussion Academy. Learn more and register here.

Please don’t forget to rate the show and share it with others!

Subscribe to Music Ed Tech Talk:

Subscribe to the Blog

Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS

Ben Giroux - Violin Sonata No. 1 in G minor: Fuga, J.S. Bach

I love bragging about my past private students, so here is Ben Giroux (Peabody Conservatory - BM Percussion Performance '21, BM Recording Arts and Sciences '22) performing the fugue from Bach's first violin sonata. Ben filmed and edited this video himself. Ben told me it ws ok to leave his email here in case you are in need of videography, live recording, audio, or video editing. Ben is available and can be reached here: GirouxBL99@gmail.com

Audio Hijack 4, Shortcuts, Podcasting Automation

Audio Hijack 4 is Here! | Rogue Amoeba Blog:

Today, we’re thrilled to unveil a major upgrade to Audio Hijack, our flagship audio recorder and processor. Audio Hijack 4 brings both powerful new functionality and powerful new interfaces, to make its ability to record any audio on your Mac more accessible than ever. With an absolutely ridiculous 107 new features, enhancements, improvements, and bug fixes, Audio Hijack has never been better.

Read on to learn more or just click to download Audio Hijack 4!

Audio Hijack is an essential tool in my workflow. I use it to do everything from recording my podcast to capturing audio from apps. It's sort of a Swiss Army Knife of audio utilities on the Mac. And today it gets better.

You can read the post from Rogue Amoeba above to get the full scoop. You can read my previous post on Audio Hijack to get a feel for how I use it. I also had Rogue Amoeba's CEO Paul Kafasis on Music Ed Tech Talk to talk about all sorts of creative ways to use their audio apps in the classroom.

My favorite new feature of Audio Hijack 4 is the Shortcuts integration.

I can now automate features of Audio Hijack by adding actions in my Shortcuts. One example of this is my "Podcasting" Shortcut which I trigger before I record my show (or go on Zoom calls).

This Shortcut...

• reminds me to turn off my fan (using the speak text action)
• tracks how long I record in the time tracking app Timery
• sets a reminder to turn back on the fan later in the evening
• opens Craft and Obsidian (where I keep my show outline and show notes, respectively)
• opens Zoom, launches the meeting, mutes my mic, and records the call (as a back up)

Now I can add Audo Hijack as a step. In the action above, I am having it automatically start running my "Input Device" session, which takes the audio input of my Scarlet 6i6 audio interface and records it as an AIFF.

This Shortcut also puts my devices into a Podcasting Focus mode which silences all notifications except the ones from my wife.

3 Soundtrap Projects Your Students Will Love

Listen to the podcast episode and subscribe below!

Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS

This is the first year that I have had consistent access to a cloud-based DAW and notation editor with all of my students. The result of this experience has been dozens of new Soundtrap project ideas. I plan to do an episode and post about how I am using these tools for composition projects in the band classroom later this year.

In the episode above, and in this post, I give an overview of three of my most successful Soundtrap projects this year. These projects can be done in any digital audio workstation, including Bandlab, GarageBand, Logic, Ableton Live, etc.

Listen to the episode for a more thorough explanation of each idea.

C Melody and Loop Audition

Melody writing in Noteflight and producing in Soundtrap go hand in hand. Because of Noteflight’s many export options, you have many ways to get your melody out of Noteflight and into your Soundtrap project.

After giving students some time to experience the user interface of Soundtrap, I have them write a short, 8 measure long, melody in the key of C using Noteflight.

Next, I have them export this melody as a MIDI file and then import it into a track in Soundtrap. Next, I have them add three more tracks and create an accompaniment for their melody using at least one of the three loop types.

1. Bass

2. Percussion

3. Harmonic (guitar, synth, piano, etc.)

Here is a recent submission of this project one of my students made. This assignment was submitted later in the semester when we had expanded the project into composing two alternating melodies which became the basis of a song-form in Soundtrap. By alternating between both melodies (and varying the loop accompaniment) the student made a song that follows the form: Verse—Chorus—Verse—Chorus—Bridge—Chorus. This particular student chose to improvise the blues scale over the bridge.

Row Your Boat Multi-Track

This idea was taken from the amazing Middle School Music Technology class content in MusicFirst. I recommend checking out their subscription options if you like this idea. MusicFirst combines the activity with curated YouTube and Spotify playlists that give students an idea about early recording studio practices for multi-track recording before music was produced digitally.

I am giving an overview of this project with permission from MusicFirst. Full Disclosure: MusicFirst is a past sponsor of the Music Ed Tech Talk blog and podcast.

To start, the student performs the song Row Row Row Your Boat into a software instrument track in Soundtrap. After it is recorded, they quantize it to the nearest 1/8th or 1/16th note so that it is rhythmically accurate.

Next, they duplicate this track two times. Using the piano roll to edit the MIDI content of each loop, students select all notes and drag them higher to create harmony. I have them move the second track a third higher and the next track a fifth higher so that they get a nice three-part voicing.

After multi-tracking the melody of Row Row Row Your Boat, this student moved the starting point of each region to create a round.

Next, I have them move any notes that land on black keys as a result down to the nearest white key so that every note of each voice is in the key of C.

Next, I have them duplicate these three tracks and transpose them up an octave. Next, I have them take the lowest voice and transpose it down three octaves to add some bass. You can have students make the final result as dense as you like.

Optionally, students can experiment with using different instrument sounds and adding groove-based loop accompaniment.

Here are three recent examples of my student’s submissions:

All-Star Remix

In this assignment, I take a popular song that students choose and separate the voice from the instrumental accompaniment. Then I add it to an audio track in a Soundtrap template and match the tempo and key of the Soundtrap project to the vocal track.

This way, students can drag and drop loops and have them match the pitch and tempo content of the vocals.

I have a post with more details about this project here.

You can watch a video of how to do it below.

Here are two examples of my own student’s recent work:

For a Soundtrap project idea for teaching band/choir/orchestra students to compose, check out the podcast episode and blog post below:

• Getting Performing Arts Students to Compose

Episode Info

See below for all notes associated with the podcast episode…

Description

Robby overviews his three most successful Soundtrap projects in 2021.

Chapters:

• 00:00:00 - Intro

• 00:00:14 - Sponsor: DMV Percussion Academy

• 00:01:24 - About this Episode

• 00:03:51 - YAY SUMMER

• 00:05:11 - 1: Melody Composition / Loop Accompaniment

• 00:14:35 - 1: Student Examples

• 00:16:15 - 2: Row Your Boat Multi-Track

• 00:22:19 - 2: Student Examples

• 00:24:27 - 3: All-Star Remix

• 00:34:38 - 3: Student Examples

• 00:36:00 - Grading for Mastery Not Creativity

• 00:37:47 - Tech Tip of the Week

• 00:39:20 - App of the Week

• 00:40:00 - Album of the Week

• 00:42:44 - Conclusion

Show Notes:

• Noteflight

• Soundtrap

• MusicFirst

• How to Make a Song Remix Project in Soundtrap (Blog Post and YouTube Video)

• Reddit: Isolated Vocals

• Neural Mix Pro

• Lalal.ai

App of the Week: 
Reeder 5

Album of the Week:
Alison Balsom - Paris

Thanks to this week’s sponsor, the DMV Percussion Academy. Learn more and register here.

Please don’t forget to rate the show and share it with others!

Subscribe to Music Ed Tech Talk:

Subscribe to the Blog

Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS

Introducing My "Scale Exercise Play-Along Tracks With Trap Beats" - Available Now on My New Online Store!

I am announcing a new section of this website. A STORE! Starting today, I will be selling digital products and services I have created for musicians and music teachers. Check it out here!

First up is a collection of Scale Exercise Play-Along Tracks with Trap Beats underneath them.

You bet there's a promotional video.

Here is the product description from the sale page:

This collection contains over 70 major scale play-along tracks for your ensemble.

Each track includes a tuning drone playing the tonic with a scale overtop in just intonation so that you can reinforce flawless intonation, tone production, and blend amongst your students. Every exercise includes a count-off and a trap beat underneath to engage your students while reinforcing slower playing and subdividing!

The audio-only version of this package includes mp3 files of the following recordings in all twelve major keys, at 70bpm.

• Whole note scale

• Half note scale

• Quarter note scale

• Eighth note scale

• Scale Exercise in Thirds

• Mini-Scale with Arpeggio

Also included:

• Remington at three different speeds! Perfect for playing underneath many of the exercises that come from popular band methods.

The premium version of this product includes the audio tracks above in addition to the Logic Pro and GarageBand stems so you can edit every element of the tracks, including speed, pitch, and instrumentation.

These are perfect for running through your Zoom/Google Meet/Virtual Classroom to keep kids playing as much as possible.

I have been using tracks like these with my band students for years now and they LOVE them. The trap beat resonates with them. Its popularity in hip hop music aside, there is something compelling about them, musically. The backbeat on three, combined with the busy hi-hat activity, helps kids subdivide slower tempos and keeps them motivated to practice stuff like long tones and scales. The strong 808 baseline asserts the beat while adding fun syncopation.

It was essential to me that the drones were in just intonation because I teach my students to hear and adjust to the beats that result when unison pitches and diatonic intervals are in/out of tune. The Yamaha Harmony Director was definitely the tool for the job. Here's a really brief blog post I shared earlier this month about the process if you want to take a stab at making something like this.

You can alternatively do this process using the (excellent) Tonal Energy Tuner App, a MIDI keyboard, and GarageBand on iOS. I wrote about that here. I prefer the Tonal Energy experience, but the Yamaha's hardware keys made it easier to "perform" the drones and allowed me to create in Logic Pro, which I am more proficient in.

The original concept for this was very ambitious initially, and I simplified the vision a ton to help myself "ship it." I have seen music teachers asking for something like this on social media a lot lately, and it seemed like time to do the work. I am happy with how they turned out and I hope to create more of these down the road in varying style, tempo, and exercise patterns.

A few notes:

1. Due to file upload limitations on Squarespace, buying the stems directs you to download a text file instead of the audio files. The text file contains a link to a third-party hosting source. A little inelegant, I know, but setting up a Squarespace store was otherwise the most comfortable choice.
2. These are incredibly effective for engaging synchronous ensemble rehearsals. No, we still can't play at once, but running rehearsal tracks through your Google Meet or Zoom call while students are muted is a great way to keep them playing. These tracks are slow enough that I have had success having groups of 3-6 unmute while playing along, and it is not total chaos. Between these, my Solfege Bingo tracks, and The Breathing Gym DVD, we can be synchronously active for more than 80 percent of each class. I get the audio to route directly through to the call using Loopback.
3. Many of these tracks, particularly the scale exercise in thirds, mini-scale, and Remington tracks, pair perfectly with a multitude of examples in the Foundation for Superior Performance band method books series. I did not title them as such because the book and my project are in no way connected. I bring it up here because I know those exercises are ubiquitous in band rehearsals, and it's for this reason, many directors have their students purchase those books.
4. I made the arrangements of these tracks simple to keep the appeal as wide-reaching and flexible as possible. My hope is that people who really want to change the style, edit the beat, change the speed, or any other kind of alternation, will buy the version that comes with the GarageBand and Logic stems. Tip: If you want to use software instruments to create your own accompaniment, and want them to be justly in tune with my tracks, Logic Pro has support for tuning systems. That means that if you mute my trap beat and add your own samba tracks, you can have the instruments play in the key area you select instead of their usual equal tempered tuning.

My Online Teaching Setup (High-Tech Edition)

My studio computer and associated hardware.

When school let out in March, I wrote My Very Straightforward and Very Successful Setup for Teaching Virtual Private Lessons. The impetus for this post, and its snarky title, was an overwhelming number of teachers I saw on Facebook fussing about what apps and hardware they should use to teach online when all you really need is a smartphone, FaceTime, and maybe a tripod.

I stand by that post. But there are also reasons to go high-tech. I have had a lot of time this summer to reflect on the coming fall teaching semester. I have been experimenting with software and hardware solutions that are going to make my classes way more engaging.

Zoom

I have been hesitant about Zoom. I still have reservations about their software. Yet, it is hard to resist how customizable their desktop version is. I will be using Google Meet for my public school classes in September, but for my private lessons, I have been taking advantage of Zoom’s detailed features and settings.

For example, it’s easier to manage audio ins and outs. Right from the chat window, I can change if my voice input is going through my Mac's internal microphone or my studio microphone, or if video is coming from my laptop webcam or my external Logitech webcam. This will also be useful for routing audio from apps into the call (we will get to that in a moment).

Zoom allows you to choose the audio/video input from right within the call.

Zoom also allows you to AirPlay the screen of an iOS device to the student as a screen sharing option. This is the main reason I have been experimenting with Zoom. Providing musical feedback is challenging over an internet-connected video call. Speaking slowly helps to convey thoughts accurately, but it helps a lot more when I say “start at measure 32” and the student sees me circle the spot I want them to start in the music, right on their phone.

You can get really detailed by zooming in and out of scores and annotating as little as a single note. If you are wondering, I am doing all of this on a 12.9 inch iPad Pro with Apple Pencil, using the forScore app. A tight feedback loop of “student performance—>teacher feedback—>student adjustment” is so important to good teaching, and a lot of it is lost during online lessons. It helps to get some of it back through the clarity and engagement of annotated sheet music.

Selecting AirPlay as a screen sharing option.

AirPlaying annotated sheet music to the Zoom call using the iPad Pro and forScore app.

As much as I love this, I still think Zoom is pretty student hostile, particularly with the audio settings. Computers already try to normalize audio by taking extreme louds and compressing them. Given that my private lessons are on percussion instruments, this is very bad. Zoom is the worst at it of all the video apps I have used. To make it better, you have to turn on an option in the audio settings called “Use Original Audio” so that the host hears the student’s raw sound, not Zoom’s attempt to even it out. Some of my students report that they have to re-choose this option in the “Meeting Settings” of each new Zoom call.

If this experiment turns out to be worth it for the sheet music streaming, I will deal with it. But this is one of the reasons why I have been using simple apps like FaceTime up until this point.

My Zoom audio settings.

My Zoom advanced audio settings.

Sending App Audio Directly to the Call

I have been experimenting with a few apps by Rogue Amoeba that give me more control over how audio is flowing throughout my hardware and software.

Last Spring, I would often play my public school students YouTube videos, concert band recordings from Apple Music, and warm-up play-alongs that were embedded in Keynote slides. I was achieving this by having the sound of these sources come out of my computer speakers and right back into the microphone of my laptop. It actually works. But not for everyone. And not well.

Loopback is an app by Rogue Amoeba that allows you to combine the audio input and output of your various microphones, speakers, and apps, into new single audio devices that can be recognized by the system. I wrote about it here. My current set up includes a new audio device I created with Loopback which combines my audio interface and a bunch of frequently used audio apps into one. The resulting device is called Interface+Apps. If I select it as the input in my computer’s sound settings, then my students hear those apps and any microphone plugged into my audio interface directly. The audio quality of my apps is therefore more pure and direct, and there is no risk of getting an echo or feedback effect from my microphone picking up my computer speaker’s sound.

A Loopback device I created which combines the audio output of many apps with my audio interface into a new, compound device called “Interface+Apps.”

I can select this compound device from my Mac’s Sound settings.

Now I can do the following with a much higher level of quality...

• Run a play-along band track and have a private student drum along
• Play examples of professional bands for my band class on YouTube
• Run Keynote slides that contain beats, tuning drones, and other play-along/reference tracks
• and...

Logic Pro X

Logic Pro X is one of my apps routing through to the call via Loopback. I have a MIDI keyboard plugged into my audio interface and a Roland Octopad electronic drum pad that is plugged in as an audio source (though it can be used as a MIDI source too).

The sounds on the Roland Octopad are pretty authentic. I have hi-hat and bass drum foot pedal triggers so I can play it naturally. So in Logic, I start with an audio track that is monitoring the Octopad, and a software instrument track that is set to a piano (or marimba or xylophone, whatever is relevant). This way, I can model drum set or mallet parts for students quickly without leaving my desk. The audio I produce in Logic is routed through Loopback directly into the call. My students say the drum set, in particular, sounds way better in some instances than the quality of real instruments over internet-connected calls. Isn’t that something...

Multiple Camera Angles

Obviously, there is a reason I have previously recommended a set up as simple as a smartphone and a tripod stand. Smartphones are very portable and convenient. And simple smartphone apps like FaceTime and Google Duo make a lot of good default choices about how to handle audio without the fiddly settings some of the more established “voice conference” platforms are known for.

Furthermore, I can’t pick up my desk and move it to my timpani or marimba if I need to model something. So I have begun experimenting with multiple camera angles. I bought a webcam back in March (it finally just shipped). I can use this as a secondary camera to my laptop’s camera (Command+Shift+N in Zoom to change cameras).

Alternatively, I can share my iPhone screen via AirPlay and turn on the camera app. Now I can get up from my desk and go wherever I need to. The student sees me wherever I go. This option is sometimes laggy.

Alternatively, I can log in to the call separately on the iPhone and Mac. This way, there are two instances of me, and if I need to, I can mute the studio desk microphone, and use the phone microphone so that students can hear me wherever I go. I like this option the best because it has the added benefit of showing me what meeting participants see in Zoom.

Logging in to the Zoom call on the Mac and iPhone gives me two different camera angles.

SoundSource

This process works well once it is set up. But it does take some fiddling around with audio ins and outs to get it right. SoundSource is another app by Rogue Amoeba that takes some of the fiddly-ness out of the equation. It replaces the sound options in your Mac’s menubar, offering your more control and more ease at the same time.

This app is seriously great.

This app saved me from digging into the audio settings of my computer numerous times. In addition to putting audio device selection at a more surface level, it also lets you control the individual volume level of each app, apply audio effects to your apps, and more. One thing I do with it regularly is turn down the volume of just the Zoom app when my students play xylophone.

Rogue Amoeba's apps will cost you, but they are worth it for those who want more audio control on the Mac. Make sure you take advantage of their educator discount.

EDIT: My teaching set up now includes the use of OBS and an Elago Stream Deck. Read more here.

Conclusion

I went a little overboard here. If this is overwhelming to you, don't get the idea that you need to do it all. Anyone of these tweaks will advance your setup and teaching.

This post is not specific about the hardware I use. If you care about the brands and models of my gear, check out My Favorite Technology to read more about the specific audio equipment in my setup.

Routing Audio from Your Apps Directly Into Your Zoom Call (Or Other Voice Chat App) with Loopback

UPDATE: Learn more about Loopback from my interview with CEO Paul Kafasis on my podcast. Listen and subscribe below…

Listen on Apple Podcasts

Listen on Spotify

RSS Feed

Loopback is an app that creates custom audio ins and outs for the Mac using the audio of other apps.

Have you been teaching a class in Google Meet or Zoom and wanted to play a song from iTunes for your digital classroom? Or perhaps a YouTube video or any other application with audio?

Sure, you can play it right on your computer and let the audio from your speakers go straight back into the microphone input of your computer. This works ok in my opinion. But it isn't going to produce a pure representation of the audio I am trying to send. And in some cases, it creates issues with echo, delay, or a nasty feedback loop.

So what do you do? Rogue Amoeba makes excellent Mac apps that, for lack of better explanation, hack into the audio system of your Mac. I have written about Audio Hijack here before, their app that allows you to record audio from other applications (and that's just the start of all the powerful things it can do). Rogue Amoeba also makes an excellent utility called Loopback.

What does Loopback do? Think about your computer's audio settings. You have an Input and an Output. The Input is, by default, your computer microphone, and the Output is the speakers. If you connect an audio interface that has higher quality microphone and speakers plugged in, you would need to set the Input and Output to that interface to get the input and out put the be the microphone and speakers, respectively.

Usually my computer microphone is a Device that can be set to the computer’s Input. In the scenario above, Loopback has allowed me to combine the audio from my microphone and the Music app into a new audio Device called “Music+Mic” that can be selected as the input of my Mac or any individual app.

Your Inputs and Outputs can be controlled from the Sound settings of your computer. Some audio apps also let you control how, specifically, they behave. For example, I have manually set up GarageBand and Skype to use my audio interface as the Device I use for input so that whether I am recording for my podcast, or simply catching up with a relative, they hear me through the microphone, no matter what Device my Mac’s audio Output is set to in the System Preferences.

Loopback allows you to create Inputs and Outputs that are accessible to your Mac's Sound settings as well as your apps. In the example above, I have created an Input that combines my Mac's microphone (the usual Input) with the output of the Apple Music app, something I might want to use to play a recording example for my students in a Google Meet.

Selecting my new audio Device from the System Preferences.

Look now as I go to my computer's Sound settings, and I can select this new custom Input to be used across the entire operating system! This way, when I am in a Google Meet, students are hearing both me speaking through the mic and all of the output of the Music app.

Now I can route my band warm up tracks, reference recordings, or any other audio I desire, into my Google Meet classrooms.

🔗 Three synched performances of Fake Plastic Trees by Radiohead

Three synched performances of Fake Plastic Trees by Radiohead:

This is really awesome and interesting. Fun to note how much darker and expansive their mix becomes in the 2003 recording. Other than that, the change in Thom Yorke's vocals is most noticeable. Younger Thom has more control, is brighter, and clearer but I don't necessarily prefer that. Most of all interesting is how little their arrangement of this song has changed over the years. 

🔗 Soundtrap Enable Import Export MIDI Music Files

Soundtrap Enable Import Export MIDI Music Files:

The MIDI music technology protocol is used worldwide to enable electronic devices -- computers, cellphones, karaoke machines and more -- to generate sounds. The enhanced MIDI support by Soundtrap furthers the creative process by making the multiple tools used to make music interoperable online. This is part of an effort by Soundtrap to broaden its ecosystem of best-of-breed industry solutions so that musicians and music creators have even more flexibility in their music-making efforts. For example, Soundtrap is now interoperable with digital audio workstations (DAWs) through MIDI File Export so users can send all or part of their composition to other solutions such as GarageBand or Pro Tools.

I experimented with Soundtrap with my general music classes last Spring. I was entirely skeptical about the prospect of running a DAW in a web browser but Soundtrap impressed me. It does a great job handling audio and MIDI files in a way that doesn't feel much slower than using a native app like GarageBand. My students loved the collaborative features and we were all left wanting more.

One of my GarageBand assignments in previous years was a MIDI remix, where I put MIDI files for familiar movie and pop songs in a shared folder and encouraged students to remix them, altering the instrument voices, form, and adding loops to transform the style. The fact that I can actually now do this assignment entirely in a web based application through Soundtrap's MIDI import and export is impressive. And this is not even to mention the fact that Soundtrap can perform import and export between other web-only based applications like Noteflight. Very cool. If you have been thinking about checking out Soundtrap for yourself, or for a classroom, I highly encourage it.