Using aliases is one of the most powerful features of MainStage, and it also helps to make your computer better mimic the behavior of a patch/combi setup of a keyboard workstation. I can simply tweak the sound at the concert level and the adjustments apply across all of my patches.
#Apple mainstage logo Patch#
If I determine at sound check that the venue isn’t being kind to a certain frequency, I don’t have to go into each individual patch to make adjustments. I’ll often put some EQ controls at the top level. This is incredibly helpful if you want to create global adjustments. If you select a patch, however, and add a channel, then whatever you created is only available for that patch.
Select the entire concert in the browser, then create a reverb channel, that reverb is now available for every single patch in the entire concert. Essentially, anything you create and set at a higher level overrides whatever you set at a lower level. There is a hierarchy that exists to allow you to have consistency across your sounds, and allow for diversity within patches at the same time. Understanding the concert, set, and patch paradigm is key to harnessing the power of MainStage. Configuring your MainStage concert files takes some time, and setting things up so that your show runs efficiently and in a stable manner is key for having a successful MainStage experience. You’ll also find MainStage in the backline setup of a multitude of tours, driving both keyboard and guitar setups.
You’d be hard pressed to find a Broadway musical these days that doesn’t trigger sounds for the keyboard players using MainStage. Apple’s MainStage has quickly become the de facto standard for hosting virtual instruments on Mac platforms.
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