IntroductionWelcome| 00:04 | Over the years GarageBand has
become a very powerful recording studio
| | 00:08 | right inside your Mac.
| | 00:09 | In this course I'll be walking you
through the major aspects of this studio.
| | 00:14 | I'll show you how to get up and
running by connecting your instruments and
| | 00:17 | hardware devices, setting sound
preference, and creating projects.
| | 00:22 | We'll take a close look at creating
tracks with a variety of effects presets and
| | 00:27 | using the library of Apple
Loops to flesh out your recordings.
| | 00:30 | And you'll see how to configure
GarageBand to record acoustic instruments as
| | 00:34 | well as electric guitars.
| | 00:36 | Then we'll record a song from the
ground up. We'll select a rhythm loop and
| | 00:40 | then record guitars, bass, vocals, as well
as a keyboard part using a MIDI controller.
| | 00:46 | We'll go on to edit the tracks by
groove-matching some of the rhythms and
| | 00:50 | punching in a few musical fixes.
| | 00:53 | We'll dive deep into mixing to get
just the right balance between all of
| | 00:56 | your recorded tracks.
| | 00:57 | Then I'll show you how to create
and publish a podcast with GarageBand.
| | 01:01 | Finally, we'll cover some housekeeping
issues like saving and archiving your projects.
| | 01:05 | I've had a lot of fun creating this
course, and I'm really looking forward to
| | 01:08 | taking you on a tour of
GarageBand '11 Essential Training.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or you're
| | 00:04 | watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:08 | throughout this title.
| | 00:10 | Inside the Exercise Files folder, which
you can place on your Desktop or anywhere
| | 00:14 | else on your computer you like, you'll
find a series of folders named after the
| | 00:17 | chapters that these individual
exercise files were created in.
| | 00:22 | So as we move through the course,
I'm saving a new version of the GarageBand
| | 00:25 | file at each stage of the production,
especially during the middle section where
| | 00:29 | we are working on building
a song from the ground up.
| | 00:33 | We have provided one free exercise file,
which is the final mixed-down version of the song.
| | 00:38 | It won't take you through each step of
the process as we do in the course,
| | 00:41 | but for those of you who want to just be
able to see what the finished version is
| | 00:44 | like and work with some assets in GarageBand,
| | 00:47 | that file will be made available on this
course's page on the Online Training Library.
| | 00:52 | If you're a Monthly member or Annual
member of lynda.com, you don't have access
| | 00:56 | to the exercise files, save for the
one that we are providing, but you can
| | 01:00 | follow along from scratch with your own assets.
| | 01:02 | Let's get started.
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1. Getting Up and Running with GarageBandConnecting instruments, MIDI controllers, mics, audio interfaces, and speakers| 00:01 | There's one thing that every audio
recording application on the market has in
| | 00:04 | common, and GarageBand is no exception:
| | 00:06 | you need to be able to get an audio
signal into the application and you need to
| | 00:09 | be able to get an audio signal out.
| | 00:12 | Since GarageBand is an audio recording
application that's made exclusively to
| | 00:15 | run on Mac OS X, in this course we'll
be focusing only on the Mac as a hardware
| | 00:20 | platform for working with audio.
| | 00:22 | Every Mac has some
combination of audio in and out ports.
| | 00:26 | You'll have to look up the specs for
your particular machine if you're not sure
| | 00:29 | what your computer offers.
| | 00:31 | Your Mac may have a built-in analog
audio in and out, or optical digital in and
| | 00:36 | out, or a combination of these.
| | 00:38 | There are so many permutations of audio
gear and connector types available these
| | 00:42 | days that there's no way to
exhaustively cover this subject in this course.
| | 00:46 | But do check out the Digital Audio
Principles course with Dave Schroeder, here on
| | 00:50 | the lynda.com Online Training Library.
| | 00:52 | Dave goes into great depth about all of
these variations on the theme of getting
| | 00:56 | audio signals in and out of your computer.
| | 00:58 | In addition to the analog and digital
audio line in and out ports on your Mac,
| | 01:03 | you also have USB, FireWire,
and Thunderbolt available to you.
| | 01:08 | This opens up a more flexible way
to get audio in and out of your Mac.
| | 01:11 | While the built-in audio ports on your
Mac are useful, many of you will find
| | 01:16 | everything you need in one device
called a digital audio interface.
| | 01:19 | There are dozens of manufacturers
that make digital audio interfaces.
| | 01:23 | These devices are designed to
operate between your audio source and your
| | 01:27 | computer and then on the way back out
between your computer and your speakers or
| | 01:31 | a studio monitors or headphones.
| | 01:33 | Sometimes called digital I/Os or audio
in/out boxes, they come in many shapes
| | 01:39 | sizes and prize ranges.
| | 01:40 | The one you choose will largely
depend on your budget and the number of
| | 01:43 | simultaneous ins and outs that you may need.
| | 01:46 | Some questions to ask yourself might be,
are you going to want to record a whole
| | 01:50 | band at once, or will it just be
yourself, or you and one other musician?
| | 01:55 | This will determine the
number of inputs you need.
| | 01:58 | Will you be wanting to send audio back
out to 5.1 surround sound speakers or
| | 02:03 | just a stereo pair of
monitors or maybe just headphones?
| | 02:06 | This will determine how many outs you need.
| | 02:08 | Some other factors to consider in
choosing an audio interface might be, do your
| | 02:12 | microphones require 48V phantom power?
| | 02:15 | If so, your I/O will need to have that feature.
| | 02:18 | Will you be recording instruments like guitars
and basses connected directly to your interface?
| | 02:23 | If so, you'll need to have an interface
that offers instrument-level inputs, as
| | 02:27 | well as line-level or microphone inputs.
| | 02:31 | Finally, will you want to plug
headphones into your interface to monitor while
| | 02:35 | you're playing without
having your speakers turned up?
| | 02:37 | Make sure to get an I/O with a
headphone jack on the front, preferably one
| | 02:41 | with a separate volume.
| | 02:42 | For this course I'll be
using the Apogee ONE interface.
| | 02:45 | It's a USB interface of a built-in
condenser mic and also has a mic preamp
| | 02:50 | with phantom power, so you
can use your own mics as well.
| | 02:53 | It comes with a Y adapter allowing
you to connect an XLR cable for a
| | 02:57 | microphone or a quarter-inch jack
instrument input for use with electric
| | 03:01 | guitar, bass, or keyboards.
| | 03:03 | The only other connection type
you'll need to think about it is a MIDI
| | 03:06 | USB connector to connect your MIDI keyboard
or other MIDI controller to your computer.
| | 03:11 | Almost all MIDI controller devices now
come with a MIDI-to-USB converter built
| | 03:16 | in, and this means you can just plug in
your USB cable and start playing with all
| | 03:20 | of the various software
instruments available in GarageBand.
| | 03:22 | Let's not get ahead of ourselves.
| | 03:24 | If you don't know what a software
instrument is, we'll be covering them
| | 03:28 | extensively in a later chapter.
| | 03:30 | One quick tip before we
move on to the next movie:
| | 03:33 | anytime you've all your devices
connected according to the manufacturer's
| | 03:37 | instructions and your computer's powered
up and ready to go but for some reason
| | 03:40 | you aren't getting any sound in or
sound out, things just don't seem to be
| | 03:44 | working the way they're supposed to,
| | 03:45 | the first troubleshooting step for
getting everything working again is always
| | 03:49 | to shut down your computer, power off
all of your devices, including the audio
| | 03:53 | interface, your MIDI many keyboard, or
USB mic, and reseat all of your connections.
| | 03:58 | This just means and unplug your USB and
FireWire cables from your computer and
| | 04:02 | your devices and reconnect them all,
making sure they're seated properly in
| | 04:06 | their respective ports.
| | 04:08 | Once everything is reconnected, power up
all of your external devices first--
| | 04:12 | this means any external hard drives and
printers, et cetera, plus your audio
| | 04:17 | interface and MIDI controller, and then
boot up your Mac. Most of the time this
| | 04:21 | simple procedure will solve the problem.
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| Setting important Mac OS X and GarageBand preferences| 00:00 | Once you've connected your digital
audio interface and have plugged in at least
| | 00:03 | one instrument or microphone into one of
your inputs, you have one last thing to
| | 00:07 | do before you can get audio in and out
of your Mac, and that is to set your sound
| | 00:12 | preferences within Mac OS X, as well
as your audio input and audio output
| | 00:16 | preferences within GarageBand.
| | 00:18 | Let's take a look at the
system-wide preferences first.
| | 00:21 | From the Apple menu, choose System
Preferences, and on the far right of the
| | 00:26 | Hardware row, click on Sound.
| | 00:29 | We are primarily concerned with
the Output and Input tabs here.
| | 00:33 | All of your audio output options,
including interfaces you may have connected,
| | 00:38 | are all going to be listed for you
here, and my window might look very
| | 00:41 | different than yours because of the
different devices we have connected here to
| | 00:44 | make this recording possible.
| | 00:46 | If you wanted your sound to simply
play out of your laptop's built-in
| | 00:49 | speakers, or through your headphone jack,
you'll just choose Line Out or even
| | 00:53 | your internal speakers.
| | 00:55 | If your Output volume slider is grayed
out, it just means that the device you've
| | 00:58 | chosen has output volume
controls on the device itself.
| | 01:02 | By graying this out Mac OS X is
just making sure that you only have one
| | 01:06 | gain stage on output.
| | 01:08 | This is to prevent you from
adjusting your output in multiple places.
| | 01:12 | Next, click the Input tab and you
can select your device for sound input.
| | 01:16 | You can use Line In or Digital In,
if you're using one of those ports, or again,
| | 01:20 | if you have an interface
connected as I do, select it here.
| | 01:23 | If your device has its own input gain
control, you'll not be shown an Input
| | 01:27 | level slider here.
If it does, you should see a slider.
| | 01:30 | I don't have one right now, so you are
just seeing this "The selected device
| | 01:33 | has no input controls."
| | 01:35 | If you're using a built-in mic or a
device with no individual input gain,
| | 01:39 | you'll be able to set that here by moving the
slider, and you can use the Input level
| | 01:43 | meter as a guide to set your level.
| | 01:45 | We'll discuss getting proper
input levels in a later movie.
| | 01:48 | For now, select your devices for
output and input in the System Preferences
| | 01:52 | Sound pane and close Preferences.
| | 01:54 | Next, let's open GarageBand, and from
the GarageBand application menu,
| | 01:58 | you can choose Preferences.
| | 02:00 | Throughout the course I'll be using
this keyboard shortcut for accessing
| | 02:03 | preferences, Command+Comma.
| | 02:06 | We'll be discussing different areas of
GarageBand's preferences throughout the
| | 02:09 | course as each section becomes
pertinent to what we are doing.
| | 02:12 | To set up our audio input and output, click on
the Audio/MIDI icon at the top of the window.
| | 02:18 | You'll see the Audio Output and Audio
Input dropdown menus and if you click on
| | 02:23 | them, you'll see a similar set of
choices to the ones you saw in the main
| | 02:26 | System Preferences pane.
| | 02:28 | You can choose System Setting if
you'd like to allow GarageBand to take its
| | 02:31 | lead from the choices you've made for
input and output in the System Prefs,
| | 02:35 | or you can force GarageBand on an ad-hoc
basis to use a specific audio input or
| | 02:40 | output device here.
| | 02:41 | Just keep in mind that you can open
Preferences at anytime and change these settings.
| | 02:46 | A few seconds later you'll be getting
audio in or sending audio out of the new
| | 02:50 | device that you've chosen.
| | 02:51 | Ready to change back: Command+Comma select a
new device, click OK, and get back to recording.
| | 02:57 | The Audio/MIDI pane also shows
you how many MIDI devices GarageBand
| | 03:01 | currently sees connected.
| | 03:02 | I have two MIDI devices connected and
it's saying, "2 MIDI Input(s) detected."
| | 03:07 | You can also adjust the velocity level of
notes you play on your MIDI controller here.
| | 03:11 | If you find that even when you're
trying to play a nice soft piano note on
| | 03:15 | your MIDI keyboard but that the
sound is always coming in at the highest
| | 03:18 | level for example,
you can adjust this slider a little lower here.
| | 03:22 | You may have to do a few tests to find the
sweet spot for your controller and playing style.
| | 03:27 | We'll cover this in detail in the
chapter on software instruments.
| | 03:30 | One final thing I'd like to mention is
that when you're working with audio on
| | 03:33 | your Mac, oftentimes you can set your
preferences and just leave them alone;
| | 03:37 | other times you'll be visiting your
preferences regularly and selecting a
| | 03:40 | different device for sound input.
| | 03:42 | For example, I might use my audio
interface as my input device most of the time,
| | 03:47 | except when I want to use my USB condenser mic.
| | 03:50 | In order to use it, I just need to
hit Command+Comma to open my GarageBand
| | 03:53 | Preferences, click on Audio/MIDI,
and change my audio input from my audio
| | 03:58 | interface over to my USB mic.
| | 04:01 | When I do that, GarageBand asks me if
I'd like to change the audio driver.
| | 04:04 | Just click Yes and it will switch
over to your newly selected input device.
| | 04:08 | The reason I mentioned this is that
many people tend to assume that Preferences
| | 04:11 | are something you set and forget.
| | 04:13 | In the case of working with audio
recording on your Mac, I found that getting
| | 04:17 | comfortable with frequently visiting
your System Preferences and your GarageBand
| | 04:21 | Preferences is not only helpful, but necessary.
| | 04:24 | In a later movie we'll see how you
can set GarageBand's input and output
| | 04:27 | settings on the fly for any
new track that you're creating.
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| Creating a project with tempo, time signature, and key| 00:00 | Whenever you want to create a new
project in GarageBand, you'll have two quick
| | 00:03 | stops to make first.
| | 00:04 | The first of these is the New Project chooser.
| | 00:08 | On the left side you'll need to choose
what you want to do in GarageBand--create
| | 00:11 | a new project, work on a learn-to-play
lesson, create a ring tone, and so on--
| | 00:15 | and on the right side, depending on which
you've chosen, how you are going to do it.
| | 00:19 | So if you click on New Project, you'll
see that there are nine project starter
| | 00:23 | templates designed to save you time.
| | 00:26 | If you are doing one of the things
listed here--writing a song or playing
| | 00:29 | electric guitar--just go ahead and choose it.
| | 00:31 | You can always modify it later.
| | 00:33 | Keep in mind that all of these
project types are just preset window
| | 00:36 | configurations optimized for each
specific task, and you can use these
| | 00:40 | as starting places.
| | 00:42 | The point is, if you choose Electric
Guitar, you're not precluding yourself from
| | 00:46 | creating a podcast or a Loops-based song;
| | 00:48 | it will just take you less steps to
get there if you choose the one you want
| | 00:51 | from the New Project chooser to begin with.
| | 00:54 | If you aren't doing anything in
particular but just want to play, the simplest
| | 00:57 | way to create a project with nothing in
it but one MIDI track for recording with
| | 01:01 | a software instrument using your MIDI
keyboard, like a piano or organ, just go
| | 01:06 | ahead and choose Piano.
| | 01:07 | The simplest way to set up a project
with nothing else in it except one real
| | 01:11 | instrument track ready to record
something through a microphone,
| | 01:14 | choose Acoustic Instrument. And as you
might've guessed by now, the quickest way to
| | 01:18 | create a GarageBand project with
nothing more than a single track preset with
| | 01:22 | everything you need to play and record
some electric guitar using all of the
| | 01:25 | amp models and guitar stompboxes that are at
your fingertips with GarageBand '11, Electric Guitar it is.
| | 01:32 | For this example let's
choose Acoustic Instrument.
| | 01:34 | I am going to double-click or
just click and select Choose on
| | 01:38 | Acoustic Instrument.
| | 01:40 | The second stop is the Save As dialog.
| | 01:43 | Do yourself a favor and take a
moment to decide on a descriptive name and
| | 01:47 | save all of your GarageBand project files
in a location that you can easily find later,
| | 01:51 | in case you want to delete some
project files or back them up.
| | 01:54 | I just always save mine in the
Music directory under my username.
| | 01:57 | I am going to name that NewProject.
| | 02:00 | I've already got my Music directory selected.
| | 02:02 | If you need to actually navigate
through your finder, you can click this down
| | 02:05 | arrow here to expand this sort of normal
view for finding where you want to save things.
| | 02:10 | I am just going to leave that at Music for now.
| | 02:12 | Then in the bottom half of the Save As
dialog box you can set your tempo with
| | 02:16 | the slider or just by typing in the
beats per minute, or bpm, that you'd like
| | 02:21 | to record or play at.
| | 02:22 | If you're planning to use the metronome,
this'll be the starting tempo that your
| | 02:26 | click will play at when you turn it on.
| | 02:27 | It also determines the speed at which
Apple Loops will play back in this project,
| | 02:32 | and even some of the effects you might
use will have certain timed elements
| | 02:35 | that will sync up your project,
all based on this tempo setting.
| | 02:39 | You can set your time signature by
choosing a value from the Signature dropdown menu.
| | 02:44 | You can choose 4/4, or 6/8, 3/4, and so on.
| | 02:48 | And then finally, the key your song
will be in, as well as whether it's a
| | 02:52 | major key or a minor key.
| | 02:54 | If you don't have all these answers at
your fingertips when you're creating your
| | 02:57 | new project file, for whatever reason,
you can just use the default values of 120
| | 03:02 | beats per minute, 4/4, and C major.
| | 03:04 | You aren't trapped once
you make a selection here.
| | 03:07 | These settings can be altered from
within your project file, but sometimes it
| | 03:11 | can be really helpful.
| | 03:12 | My general rule of thumb is if you
already know what tempo, signature, and key
| | 03:15 | your song is going to be in, then by
all means enter it in the Save As dialog,
| | 03:19 | and then you don't have to worry about it later.
| | 03:21 | If you are just experimenting,
or haven't really decided on these values yet on
| | 03:24 | the song you'd like to work on,
then just go with the defaults.
| | 03:27 | The song that I am going to be creating
throughout the middle five chapters of
| | 03:30 | this course is going to be 4/4, and the
tempo is going to be 154 beats per minute,
| | 03:37 | and the key is A major.
| | 03:42 | Once those are set, I'll click
Create and my project will open up.
| | 03:47 | In the LCD display, I can cycle around
with the up or down arrows until I get to
| | 03:50 | project, and you'll see that my
settings are already configured.
| | 03:54 | You can click and hold on this icon as
well to see the four different displays
| | 03:58 | that are available to you.
| | 04:00 | Be aware that when you change the
settings after you've actually recorded
| | 04:03 | something into a track, or after you've
dragged some loops into your timeline,
| | 04:07 | these settings can alter what you
played to suit the new tempo, signature,
| | 04:11 | or key, leaving you at the
mercy of the Undo command.
| | 04:14 | Basically, if you change your tempo down
10 beats per minute and you've already
| | 04:18 | recorded something, GarageBand is going
to attempt to shift that tempo down and
| | 04:22 | actually destructively edit your audio region.
| | 04:25 | So if you do that by mistake, just go
ahead and hit Command+Z to undo and get
| | 04:30 | back to where you were before you made
that change. You can also always change
| | 04:34 | or tempo or your key back
to what it originally was.
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| Creating a track| 00:00 | Creating a track is probably the
most fundamental task to building up
| | 00:03 | a GarageBand project.
| | 00:05 | You need a track to actually record any
type of audio input, and you even need a
| | 00:09 | track to introduce Apple
Loops into your arrangement.
| | 00:11 | I will press Command+L to open my
Loops Browser, or you can just click the
| | 00:15 | little loop icon in the lower-right
part of the interface, which is right here.
| | 00:19 | You will notice the gray text in the
main GarageBand timeline area indicating
| | 00:22 | "Drag Apple Loops here."
| | 00:24 | So anytime you drag a Loop from the
Loop Browser into your timeline, GarageBand
| | 00:28 | will create a track for you and you can
play back that Loop in your arrangement.
| | 00:32 | Let's explore a few
other areas of the interface.
| | 00:34 | Here we have three different
views for our Loop Browser.
| | 00:36 | At the moment I'll switch over to
column view and go ahead and click on By
| | 00:40 | Instruments, and I can look at all the
different instruments that are available,
| | 00:43 | a whole lot of different voices you can use.
| | 00:46 | I am just going to start here
with the All Drums selection.
| | 00:49 | I notice that in this last column, in the
parentheses, it tells you how many loops
| | 00:53 | are available in each of
those different categories.
| | 00:55 | So I will just click Acoustic Drums and
find a beat I can lay in to create a new track.
| | 01:00 | One thing I would like to know though,
before I start browsing throughout these
| | 01:03 | beats is, what is the tempo that
currently exists for this beat?
| | 01:07 | So right now it's telling me for
instance Live Edgy Drums 03 is a 16-beat loop,
| | 01:12 | but I've no idea how fast or slow that
original loop was recorded at, so I don't
| | 01:16 | know how it's going to work with my 154 Tempo.
| | 01:19 | So I just click to preview any one of these.
| | 01:21 | (music playing)
| | 01:25 | And click again to stop, I feel like--
| | 01:27 | (music playing)
--these are pretty fast beats.
| | 01:31 | (music playing)
| | 01:34 | So if I'd like to see the original
tempo displayed, I am just going to hit
| | 01:36 | Command+Comma to go back to Preferences
and click on Loops, and down here at the
| | 01:41 | bottom is a check box that says,
"Display original tempo and key," so if I click
| | 01:44 | that, I am going to add those
two columns to my Loop Browser.
| | 01:48 | So now I can see that these original
loops are recorded at 110, and since my
| | 01:52 | tempo is 154, it will speed them up to
match 154, but it may just actually sound
| | 01:57 | kind of sloppy and be too fast, like
that's a really quick hi-hat pattern.
| | 02:02 | I mean, I am sure somebody could play
that, but it doesn't sound very natural.
| | 02:05 | So I am going to drag this into my timeline.
| | 02:07 | You will notice that as I am doing this,
there is a green plus next to my cursor
| | 02:11 | saying I am going to actually
add a track if I drop this off.
| | 02:14 | You can see that Live Edgy Drums is
hovering in the area below the one track
| | 02:18 | that I had created to create a new track.
| | 02:22 | So if I just drop it off here,
GarageBand creates this new track for me, gives
| | 02:26 | it a generic name, Kits.
| | 02:28 | It's Drum Kits basically,
and here is my Stereo Loop.
| | 02:32 | So if I press the spacebar to play,
you can here how fast this is in my 154 Timeline.
| | 02:36 | (music playing)
| | 02:41 | Okay, so here is an example of
let's slow the tempo down and see how
| | 02:45 | GarageBand affects this loop.
| | 02:47 | I'm going to bring it down to maybe 120,
which is a little bit faster than it
| | 02:52 | was originally recorded at,
but certainly a little more suitable for this beat.
| | 02:56 | And I am going to double-click
in the ruler to play it this time.
| | 02:59 | (music playing)
Okay, and spacebar to stop.
| | 03:05 | For the moment since I am not actually
going to be tracking anything. I don't
| | 03:08 | need to hear the sound of the metronome,
which here, I'll play for you just by itself.
| | 03:12 | (metronome ticking)
| | 03:14 | So I can just turn that off temporarily
by clicking Metronome down here in the
| | 03:18 | bottom of the interface.
| | 03:19 | I'm going to press Home to go back to the
beginning and spacebar to play. No metronome.
| | 03:24 | (music playing)
and there is our beat.
| | 03:27 | So I create a new track by dragging a
loop in from the Loop Browser into my
| | 03:32 | timeline and I can continue to do that
here by maybe going to Bass and Electric
| | 03:37 | Bass. And now I am just improvising
here, and I suggest you do the same, because
| | 03:41 | you literally have no idea what you'll
come up with just by dropping a few loops
| | 03:44 | into your timeline and
listening to them play together.
| | 03:47 | I'm going to preview a little bit of Bass here.
(music playing)
| | 03:58 | That's pretty cool.
Let's try that one. Drag it in.
| | 04:00 | I am actually going to line it up
with the same start point as my previous
| | 04:04 | loops, so they can play together.
| | 04:05 | And I will double-click
before to play them both.
| | 04:08 | (music playing)
Cool!
| | 04:14 | Both of these loops have
created real instrument tracks.
| | 04:17 | These are actually made from
audio recordings that are loops.
| | 04:20 | There is also MIDI loops that you can
use, and you have to look for the green
| | 04:23 | icons to find those.
| | 04:25 | All right, I am going to scroll down to
Piano here and try to find a MIDI loop
| | 04:30 | that we can use. How about some Clean Piano?
(music playing)
| | 04:37 | Classic Rock Piano, Delicate Piano
(music playing)
| | 04:42 | That's not going to work too well with
the funky bass, but I am going to keep
| | 04:46 | looking here. Latin Lounge Piano.
(music playing)
| | 04:50 | Actually, that might be
kind of fun. Let's try that.
| | 04:53 | Drag it in, put it on its own track.
| | 04:55 | You'll notice this one is green.
| | 04:57 | Green indicates that it's a software
instrument loop, or a MIDI loop, as opposed
| | 05:00 | to an audio loop, and drop that in.
| | 05:03 | The other way you can tell that it's
MIDI is you can actually see little
| | 05:06 | square notes in there.
| | 05:07 | That's basically the MIDI data of that loop.
| | 05:10 | We'll explore this more in upcoming movie,
but I am going to play this together now.
| | 05:13 | (music playing)
| | 05:18 | Pretty cool, that's a funky little deal. I am
into it. And we did bring this down to 120.
| | 05:23 | I can maybe try it again.
| | 05:24 | Let's go down to 110 and see how this sounds.
| | 05:26 | (music playing)
| | 05:32 | Little more pocket to it there.
| | 05:33 | GarageBand always names newly
created tracks appropriately, if somewhat
| | 05:38 | generically, but you can rename
them yourself just by doing a slow
| | 05:41 | double-click on the name.
| | 05:43 | The first click selects the track,
and the second click activates the
| | 05:47 | name editing field.
| | 05:48 | If you double-click too fast,
GarageBand will think you want to open the track
| | 05:52 | Info panel on the right.
| | 05:53 | So if I actually just do this,
it takes me over to the track info for that
| | 05:57 | instrument or closes it and then reopens it.
Even if you do it sometimes right on
| | 06:01 | the name, you end up with that.
| | 06:02 | So a slow click to select and a second
click on the name to edit is the most
| | 06:07 | reliable way to make sure you're
actually editing it every time.
| | 06:10 | All right, I'll name that Drums.
Let's type it in and hit Enter to save it.
| | 06:13 | Now throughout this course
I'll be talking about regions.
| | 06:17 | Audio objects within tracks are called regions.
| | 06:19 | Specifically real instrument tracks
contain audio regions and software
| | 06:24 | instrument tracks contain MIDI regions.
| | 06:26 | Audio regions are actual digital
audio waveforms that are digital
| | 06:31 | representations of sound that you
recorded into GarageBand through a mic or
| | 06:34 | through a line in and in this case through loops,
| | 06:37 | but they were actually recorded as
audio files to begin with as well.
| | 06:40 | Those are actual recorded audio.
| | 06:41 | MIDI regions contain data
and no actual audio waveforms.
| | 06:47 | They capture information about which
key, knob, or button you pressed on your
| | 06:51 | MIDI keyboard and how hard you
pressed it and how long you held it down.
| | 06:55 | The software instrument track itself
is where you actually specify which
| | 06:59 | software instrument the
data is going to trigger.
| | 07:02 | So you can click on the little i button
in the lower right to open up Track Info
| | 07:06 | or double-click the track header like
we did before, to gain access to the
| | 07:10 | library of software instruments.
| | 07:12 | So you can actually record some music
on your MIDI keyboard and while recording
| | 07:16 | have it set to a piano sound, like
we have right now, and with a software
| | 07:20 | instrument track you can decide later
that you actually want that part to be
| | 07:23 | triggering say a church organ instead.
| | 07:26 | GarageBand lets you easily change the
software instrument through the Track Info
| | 07:29 | panel anytime you like, and that goes
from MIDI performances that you record as
| | 07:33 | well as every software
instrument loop in your Loops Library.
| | 07:36 | Like a loop that comes with GarageBand
but don't like the sound of it? Change it
| | 07:39 | anytime you want. And this one here is our--
(music playing)
| | 07:44 | --Latin Piano. It's very easy to just
choose a different sound, like right now I
| | 07:47 | am clicking on Organ, Pop Organ.
| | 07:49 | It's asking me, do I want to
change this Grand Piano setting?
| | 07:52 | I can say Continue, and now
we've got the Pop Organ sound.
| | 07:56 | (music playing)
| | 08:00 | It doesn't work quite as well as
piano, but you get the point.
| | 08:04 | There are three other
ways you can create tracks.
| | 08:05 | You can go to the Track menu and choose
New Track, or you can use the keyboard
| | 08:09 | shortcut of Option+Command+N,
or perhaps the easiest way is just to click this
| | 08:14 | Plus button in the lower left.
| | 08:16 | All of these methods will bring up this
overlay where you can choose whether you
| | 08:19 | want to create a software instrument
track, a real instrument track, or an
| | 08:22 | electric guitar track.
| | 08:24 | Electric guitar tracks are just real
instrument tracks where you plan to
| | 08:28 | record an electric guitar plugged
directly into your interface or into your Mac,
| | 08:32 | and use the amps and effects that Apple
has designed to make your guitar sound
| | 08:36 | like it's being played through a whole
range of amps and speaker cabinets with
| | 08:41 | 15 effects stompboxes at your disposal
to create the pedalboard of your dreams.
| | 08:45 | We'll come back to this, but I also
want to point out that when you're creating
| | 08:48 | a track, you can disclose the
Instrument Setup triangle and switch your global
| | 08:53 | input and output settings on the fly.
| | 08:56 | If you want to switch back to another
input setting the next time you create
| | 08:59 | a track, you'll have to switch it back
one more time, either on the fly or in
| | 09:03 | your Track Info panel.
| | 09:05 | Here let's actually create a real
instrument track by double-clicking, and you'll
| | 09:08 | always have access to your input source here.
| | 09:11 | I am going to click another new track,
and if I wanted to change it here on the
| | 09:15 | fly, I could go ahead and do that.
| | 09:19 | During the next chapter, we are going
to explore these basic track types for
| | 09:23 | recording, and we will set up one
of each for the song that we will be
| | 09:26 | recording later on,
| | 09:27 | the song I wrote in preparation for this
course, it's called Easier to Find.
| | Collapse this transcript |
|
|
2. Working with Tracks and RegionsExploring Real Instrument tracks and setting a good input level| 00:00 | To create a real instrument track,
click the Plus button in the lower left.
| | 00:05 | Real instrument tracks are for recording
any type of instrument that makes sound
| | 00:09 | out into the open air.
| | 00:10 | This can include anything recorded using
a microphone, such as a vocal, an acoustic
| | 00:15 | instrument like a guitar, or a drum,
or even an amplifier that a bass or an
| | 00:19 | electric guitar might be playing through.
| | 00:21 | Create a real instrument track if
you're going to be recording something
| | 00:23 | that makes its own sound which you intend
to capture through a microphone or line input.
| | 00:28 | I am going to need to record acoustic
guitar during our tracking sessions later,
| | 00:33 | and I will be putting it in
this real instrument track.
| | 00:35 | I am going to go ahead and name it,
and I will double-check my Input settings as
| | 00:42 | well to make sure it is set to my
Apogee ONE. And I can click on my parameters
| | 00:47 | here and make sure that in fact my
external phantom power mic is selected.
| | 00:52 | Right now the Recording
Level is cranked up quite a bit.
| | 00:54 | I want to make sure we don't
overload that when I do that,
| | 00:56 | so I'm just pulling it down a little to
set a better level in just a moment,
| | 01:00 | and everything else here is just
fine how I want it to be.
| | 01:03 | I will close that up. So the first thing we need
to do is actually set a good level for the guitar to
| | 01:07 | come through this microphone.
| | 01:08 | So what I am going to do is make sure
that mic is positioned close to my guitar
| | 01:12 | and I am going to strum and we are
going to set a level here, and I want you to
| | 01:15 | keep your eye on the levels that are
going to be moving up here in the upper
| | 01:18 | left, and we are going to set our levels
so that we are really getting close to
| | 01:22 | the top of these meters but not peaking out.
| | 01:24 | We'll see that as an example.
| | 01:26 | The microphone is currently live,
and you can actually see the meters moving
| | 01:30 | right now just while I am talking.
| | 01:32 | But I am going to strum the guitar and make
sure that we are not overloading the input here.
| | 01:36 | (music playing)
| | 01:37 | Did you notice how, over there on the
left, the LEDs are triggering the clipping
| | 01:44 | lights here on the left, and you notice
that they filled in the entire region and
| | 01:50 | they're going red on us?
| | 01:51 | So the thing to do is to pull down our
input quite a bit here and see if we can
| | 01:57 | get this in a nice, more acceptable region.
| | 02:02 | So when you're doing a level test,
you want to strum or play the instrument
| | 02:06 | that you're playing at the loudest that you
would be playing it in the actual performance.
| | 02:11 | So what happens a lot of times people will
check a level and do something like this.
| | 02:14 | (music playing)
[00:02:1655]
Okay, that's kind of quiet, pull it up,
pull it up, and then when they actually
| | 02:19 | get around to playing, they thrash
and they are overloading everything.
| | 02:22 | So make sure you try to play the way
that you are going to be playing when you
| | 02:25 | actually do record the instrument, so let's
see what happens if we actually play some chords.
| | 02:30 | (music playing)
| | 02:33 | Still seems to be pretty loud.
| | 02:35 | So rather than just keep tweaking this,
I am going to try to use GarageBand's
| | 02:38 | Automatic Level Control.
| | 02:39 | So if you turn this on and then play,
GarageBand will automatically set the
| | 02:43 | level for us. Let's try that.
(music playing)
| | 02:54 | Made a couple of changes, so
let's see how that actually sounds.
| | 02:58 | (music playing)
| | 03:05 | That's a pretty good level. You don't want
to peak out, but if that occasionally gets up into the
| | 03:09 | yellow, that's just fine.
| | 03:10 | You can choose to record your real
instrument completely dry with no effects,
| | 03:15 | or you can add some effects or plug-ins,
like compression or EQ or even a little
| | 03:19 | reverb while you record.
| | 03:20 | For starters, GarageBand includes a
bunch of presets for the most common real
| | 03:24 | instruments, which are essentially
broken down into acoustic guitars, band
| | 03:28 | instruments, bass drums,
podcastings, if you are doing voiceover for
| | 03:33 | podcasting or other types of vocals,
and including this one may seem
| | 03:36 | strange--guitars previous version.
| | 03:39 | So basically the electric guitar
presets from previous versions of GarageBand
| | 03:43 | before they added the new electric
guitar track type and all of its bells and
| | 03:47 | whistles, which we will be
covering just a couple of movies from now.
| | 03:50 | So I will choose Acoustic Guitars.
| | 03:52 | In order to be able to hear what
GarageBand is doing in terms of processing our
| | 03:56 | sound and using some of the effects
presets is you need to actually turn
| | 03:59 | Monitoring on and if you have headphones
on and no speakers currently turned up,
| | 04:04 | you can use the no feedback
protection version of this.
| | 04:08 | But if you do have speakers on and a
microphone plugged in at the same time, you
| | 04:12 | could run into feedback, so you are going
to want to just choose the Regular On.
| | 04:16 | I am going to go New Feedback
Protection and choose Acoustic Guitars, since I
| | 04:21 | am going to be playing Acoustic Guitar,
and here what GarageBand offers as some
| | 04:24 | starting places for sounds.
| | 04:27 | Click on Bright, and Bright sounds like this.
| | 04:30 | (music playing)
| | 04:36 | Okay, let's try the Large Reverb sound.
(music playing)
| | 04:44 | It's got that nice big tail at the
end of it or Reverb. I might try the
| | 04:49 | Squirreling Echo sound as well.
(music playing)
| | 05:01 | I think after hearing some examples, I
would like use Large Reverb Preset, but
| | 05:05 | it's actually little bit too large for my taste,
| | 05:07 | this sort of really huge strong echo at the end.
(music playing)
| | 05:12 | It's kind of a little too dramatic,
so what you can do with any one of these
| | 05:15 | presets is, again, sort of use them as
a starting place and make edits, and you
| | 05:19 | can do that by clicking the Edit tab
here and looking at the individual effects
| | 05:24 | that actually make up that preset.
| | 05:26 | For example, in this case we're dealing
with a compressor, a track reverb, some EQ.
| | 05:31 | Those are the effects that are
currently installed in this preset.
| | 05:35 | To adjust the parameters for my reverb,
we can just click here and get access to
| | 05:38 | all the parameters that
make up that individual sound.
| | 05:41 | So we have Reverb Time, which is how
long that reverb tail stretches out.
| | 05:45 | I think I want to make that a little
bit shorter, because I think it was too
| | 05:48 | dramatic, so I will just test that.
(music playing)
| | 05:52 | It is still there, but it's not quite
as long. And also I might want to actually
| | 05:56 | bring the volume of the reverb itself
down a little bit, and the original volume
| | 06:01 | of my guitar itself, the dry sound,
up a little bit more, adjust the mix if you
| | 06:06 | will, between the Reverb
sound and the guitar sound.
| | 06:08 | (music playing)
| | 06:14 | All right, so that's a pretty good
starting place for my real instrument track
| | 06:17 | for the acoustic guitar.
| | Collapse this transcript |
| Exploring Software Instrument tracks, keyboard velocity, and MIDI| 00:00 | To create a new software instrument
track, press Option+Command+N, and
| | 00:05 | select Software Instrument if you
intend to use a MIDI keyboard, drum
| | 00:09 | controller, or wind controller, any
MIDI-capable input device, to trigger
| | 00:13 | sounds from within GarageBand.
| | 00:16 | You can use a MIDI keyboard to play
grand piano sounds, or analog lead synth
| | 00:20 | sounds, or any of a huge variety of
sound effects in virtual instruments like
| | 00:24 | cellos, horns, electric piano, and drums.
| | 00:27 | You've started out with a Grand Piano
sound selected by default, and to change
| | 00:31 | this or to explore the sound library on
the hunt for that perfect instrument,
| | 00:35 | you can just explore the Track Info panel
and hit Command+I if it's not showing.
| | 00:39 | Or press the little i button in the lower
right--that will open and close it.
| | 00:42 | And just start clicking and playing your
MIDI keyboard and see if there are some
| | 00:45 | things that you like.
(music playing)
| | 00:53 | You know you can actually get
into all sorts of crazy stuff here.
| | 00:55 | (music playing)
| | 01:08 | We have a whole horn section.
| | 01:10 | This brings up a good point.
| | 01:11 | The small arrow to the right of any of
these sound names, you will see that in a
| | 01:14 | few of the categories here there,
Mallets don't have any, Keyboards have two, so
| | 01:19 | this is an indication that these were
among the sounds that were not installed
| | 01:23 | when you first ran your GarageBand
installer or when you got your new Mac and
| | 01:27 | GarageBand was already on there.
| | 01:29 | They don't install all of the loops
and software instruments from the very
| | 01:32 | beginning, so it sort of makes
for a quicker installation process.
| | 01:36 | It's especially helpful now that
GarageBand is available through the Mac App
| | 01:39 | Store and no longer on the iLife DVD
that used to just be able to install all
| | 01:43 | the libraries at once.
| | 01:45 | So they leave them out, and you can just
click on them and you get this message,
| | 01:49 | "Software Instrument or Apple Loop
selected is not currently installed." And if we
| | 01:52 | want to install them. let's just go
ahead and say Download Now and click OK and
| | 01:56 | it'll go ahead and find out what we
need and bring up Software Update.
| | 02:00 | Now you can either just click Install or
if you want to say Show Details, you can
| | 02:03 | see exactly what Software Update
thinks your system currently needs.
| | 02:07 | Looks like we need a couple of other
updates here as well, but the one that I
| | 02:10 | want to point out is GarageBand
Instruments and Apple Loops, you will see, is
| | 02:14 | something that you can download to
complete the full installation of GarageBand.
| | 02:18 | It's 1.2 gigabytes of sounds and loops.
Right now I am not going to go ahead
| | 02:21 | and spend that time.
| | 02:22 | You certainly don't need to
watch this progress bar go.
| | 02:25 | But you may want to actually run that
on your own version of GarageBand and
| | 02:28 | make sure that you have all of the loops
and software instruments that you might want.
| | 02:31 | I am going to say Not Now.
| | 02:33 | Let's move back to GarageBand here.
| | 02:35 | So for now we can't use Grant Piano
Punchy or On Stage because they are not
| | 02:38 | currently installed.
| | 02:39 | So we'll just switch back to Grand
Piano, and that's our sound that we have
| | 02:42 | going. And notice that GarageBand
continues to update the name of our track each
| | 02:46 | time we click a new software instrument.
| | 02:49 | You can always change the name.
| | 02:50 | If I don't like the name Grand
Piano, I can just click and name it.
| | 02:56 | Give it a better piano name.
| | 02:57 | I'd like to point out that every single
thing in GarageBand is editable and customizable.
| | 03:02 | I may like this Grand
Piano sound just fine.
| | 03:04 | (music playing)
| | 03:09 | But I may want to actually make some
modifications to that, make it into a sound
| | 03:12 | that's more to my liking.
| | 03:13 | So I am just going to click the Edit tab.
| | 03:14 | First of all, I can activate Compressor
that's already been inserted here for me
| | 03:18 | just by turning on the little
activation button on the left. And if I want to
| | 03:23 | edit the Compressor settings,
just click on the Edit Parameters button here on
| | 03:27 | the left, and I can edit the Threshold,
Ratio, Attack, or Gain of my Compressor.
| | 03:32 | (music playing)
| | 03:35 | I am going to make it compress a little
bit more to get that ratio up a bit, and
| | 03:39 | I'll lower the Threshold as well, so that
softer sounds are compressed and it doesn't
| | 03:43 | have to wait for the louder sounds to
kick in. And I will make the Attack a
| | 03:47 | little bit faster and give a little
more juice to this piano sound by raising
| | 03:52 | our Gain up a little bit.
| | 03:53 | (music playing)
| | 03:58 | Sounds pretty good.
(music playing)
| | 04:00 | Let's just go back here and bring our
Threshold down just a little bit more,
| | 04:05 | Ratio up just a little bit more,
and our Gain up just a little bit more.
| | 04:08 | (music playing)
That sounds pretty punchy,
| | 04:13 | so we will keep that as our piano sound for now.
| | 04:15 | A couple more things about editing
software instruments while we are here,
| | 04:18 | and this applies to editing the
presets of real instrument tracks and
| | 04:21 | electric guitar tracks as well.
| | 04:23 | You can add a new effect to the chain
just by clicking here and choosing one.
| | 04:28 | I will add a Phaser, for example.
| | 04:30 | Now I can edit those parameters if I
want to by clicking here, or even click the
| | 04:35 | little green light to bypass the
Compressor if I want to just hear this as I'm
| | 04:39 | editing it. Okay, now that I have a Phaser on there--
(music playing)
| | 04:43 | --you can hear the effect that it's giving.
| | 04:44 | It actually sounds a little bit
more like an electric piano now.
| | 04:46 | (music playing)
| | 04:56 | Lower the Intensity of that a bit and
make it a little bit faster, make it a
| | 05:00 | little bit gnarlier with some of this
feedback that can come around in here.
| | 05:02 | (music playing)
| | 05:07 | That sounds pretty good.
| | 05:09 | And you'll also notice, if you watch
the level meters up here in the upper left,
| | 05:13 | that it's impossible for me to
peak if I even pound on this.
| | 05:16 | (music playing)
| | 05:18 | That's the loudest that
this sound can get up to.
| | 05:21 | MIDI notes aren't capable of clipping
because they're basically just data that
| | 05:24 | you could always go back in later and
edit them and turn them down or turn them up.
| | 05:29 | It's just information about what keys
you pressed and how hard you pressed them.
| | 05:32 | If you find that you're actually not
getting enough level, you can go back to
| | 05:36 | GarageBand's Preferences by pressing
Command+Comma and if we click Audio/MIDI,
| | 05:40 | you'll notice there's our Keyboard
Sensitivity slider, and we talked about this
| | 05:44 | in an earlier movie.
| | 05:45 | So if you need to actually get more
volume and velocity out of your keys,
| | 05:49 | you can slide that up so even
when you press a very light key--
| | 05:51 | (music playing)
--it's actually coming out quite loud.
| | 05:55 | If we move it all the way down here,
you will see that we can get really quiet.
| | 05:59 | (music playing)
| | 06:02 | So less sensitivity means that you can
control how intense the actual keystrokes are.
| | 06:08 | (music playing)
So you can actually get some dynamics in there.
| | 06:13 | I actually like it to be up a little
bit higher so I can hear what I am doing.
| | 06:17 | (music playing)
| | 06:19 | Sounds pretty good. And that's how easy
it is to add a software instrument track
| | 06:24 | to your project and make some edits,
add some effects, edit those effects.
| | 06:29 | If you actually wanted to save this new
Phaser or Compressor Piano as your own
| | 06:32 | instrument so that you can use it later,
just click Save Instrument at the bottom
| | 06:36 | right, give it a name, and hit Save,
and later on when you're browsing around in
| | 06:45 | your Software Instrument Library you
will notice under Pianos and Keywords that
| | 06:49 | My Phased Piano is actually
now available to you here.
| | 06:52 | So go ahead and be creative and
build up your own library of sounds and
| | 06:55 | make sure you save them.
| | 06:56 | You can always come back
and use them anytime you like.
| | Collapse this transcript |
| Exploring Electric Guitar tracks and monitoring| 00:00 | To create an electric guitar track,
let's press Option+Command+N and select
| | 00:04 | Electric Guitar and before I
click Create, let's just peek in the
| | 00:08 | Instrument Setup panel and make sure
that the guitar is connected into the
| | 00:11 | Apogee ONE, which it is.
| | 00:13 | And also I can choose, if I have a USB
interface or a FireWire interface that
| | 00:17 | has multiple inputs,
| | 00:19 | you will see that those will all list out here.
| | 00:20 | You would have Mono 1, Mono 2, Mono 3,
Mono 4 if you had four instrument inputs.
| | 00:26 | This one just has one.
That's actually why it's called the ONE.
| | 00:28 | So Mono 1 is already set and Built-in
Line Output is fine for how we want to
| | 00:32 | be hearing our sound.
| | 00:33 | And with electric guitar we want to
make sure that the check box next to "I want
| | 00:37 | to hear my instrument as I
play and record" is checked.
| | 00:40 | The reason this is checked is because
when you're playing your electric guitar
| | 00:43 | through GarageBand you want to able to
able to use GarageBand's amps effects and
| | 00:47 | stompboxes as you play and actually
hear your guitar coming through your
| | 00:51 | speakers or headphones with all of the
effects applied that you have chosen.
| | 00:55 | The future is what's known as
monitoring, and you always have the option of
| | 00:58 | monitoring what you're recording as
you are recording it, but it's most
| | 01:01 | important with electric guitar sounds.
| | 01:03 | By the way of example, let me actually
create a real instrument track, while the
| | 01:07 | electric guitar is plugged in, and show
you what you get if you didn't choose
| | 01:11 | electric guitar as your track type.
| | 01:14 | Okay, so basically--
(music playing)
| | 01:21 | You have a clean electric guitar with
no effects applied to it whatsoever.
| | 01:25 | It doesn't really sound very good.
| | 01:26 | It's just your dry, dead guitar. It sounds fine!
| | 01:30 | Just doesn't sound like it's plugged in
like an electric guitar. It sounds like you
| | 01:33 | are playing an electric guitar with no amp.
| | 01:36 | So that's not what we want in this case,
so this is a good opportunity to show
| | 01:38 | you how to delete a track.
| | 01:40 | A track that's selected can easily be deleted
just by pressing Command+Delete on your keyboard.
| | 01:45 | You can go up to the Track menu and
choose Delete Track if you want as well,
| | 01:49 | but Command+Delete is the shortcut,
and I find end up doing that quite often.
| | 01:52 | In fact, it's just as easy to duplicate
tracks with Command+D. So if I actually
| | 01:56 | have a few tracks here and I want to get
rid of them, I can hit Command+Delete and
| | 01:59 | Command+Delete and get rid of those.
| | 02:01 | You can tell that monitoring is turned
on because the Monitoring button here in
| | 02:05 | the Track header is glowing yellow and
if you need to turn Monitoring off for
| | 02:08 | one reason or another on the fly,
you can just tap it and get that turned off.
| | 02:13 | Okay, but now we have electric guitar
coming in through the Apogee ONE in Mono
| | 02:18 | and it's in Channel 1. And currently
the default is the Clean Combo amp, just
| | 02:23 | for this Sustain pedal, and so let's
see with this how that sounds like.
| | 02:26 | (music playing)
| | 02:30 | So it sounds good, a nice little English
Combo amp, sort of the British invasion
| | 02:34 | amp, got that biting
distortion with the sparkling highs.
| | 02:37 | You get a nice little description here
if you mouse over your amps, of what
| | 02:40 | they do and what they are based on.
| | 02:42 | These are all sort of
based on classic amp combos.
| | 02:45 | You can use the menu at the top of the
Guitar Track Info panel to choose from
| | 02:49 | a variety of different guitar amp and
stompbox preset combinations, and you can
| | 02:53 | also press the period key to advance
through the list, or the comma key to go back.
| | 02:59 | So you can make your way through that
list and play your instrument and see
| | 03:02 | what it sounds like.
(music playing)
| | 03:05 | And hit period.
| | 03:06 | (music playing)
Hit period again.
| | 03:09 | (music playing)
| | 03:18 | Till you find something you like.
(music playing)
| | 03:24 | Basically, I am seeing too that my
guitar level is absolutely pegging every
| | 03:28 | single thing that I play.
(music playing)
| | 03:33 | Coming out too high, so I want to edit
my input level, and that's something that
| | 03:36 | you can get by double-clicking on the amp
itself. Anytime you have your amp combo selected,
| | 03:42 | double-click it and you have sort of
access to that same row of Track Info panel
| | 03:46 | stuff that you saw when we were
looking at the acoustic instrument.
| | 03:50 | You can add effects and EQ and things
like that, as well as adjust--like I was
| | 03:53 | going to do here--our input recording level.
| | 03:55 | So you can do that manually just by
clicking and dragging the slider down,
| | 04:00 | and you can also turn down
your instrument volume itself.
| | 04:03 | In this case, I am actually going to
bring the volume on the guitar itself down
| | 04:06 | a little bit, see if I can
get a better signal in here.
| | 04:09 | (music playing)
| | 04:21 | As we have seen in the previous two movies,
all of these settings can be modified.
| | 04:24 | So with electric guitar tracks you have
three general areas you can make adjustments.
| | 04:28 | One is the guitar amp itself, which
is this front panel, and this is sort of
| | 04:31 | meant to represent the knobs and
dials that would be on this physical amp,
| | 04:35 | if you were playing it.
| | 04:36 | So you have your Gain, Bass,
| | 04:37 | Mids, and Treble to adjust your EQ of the
sound overall and the presence overall,
| | 04:41 | which sort of brightens your sound.
(music playing)
| | 04:46 | You can hear it get brighter
(music playing)
| | 04:49 | and then get a little darker.
(music playing)
| | 04:53 | So I have to just find the sweet spot.
(music playing)
| | 04:57 | Okay and if we want to add a little
bit of reverb to it from the amp, we can do that.
| | 05:05 | (music playing)
| | 05:08 | Bring it down.
(music playing)
| | 05:15 | You can make all those adjustments.
| | 05:16 | You can also adjust the
effects that are used on this track.
| | 05:20 | These are more of the
track effects, so Compression.
| | 05:23 | You might want to add something else
like maybe a Chorus, but these are
| | 05:28 | things that when it comes to electric
guitar tracks, you usually like to reserve
| | 05:31 | for the stompbox models.
| | 05:32 | You don't want to apply
distortion in the track effect on this;
| | 05:35 | you might want to use a
distortion pedal for guitar.
| | 05:37 | So I am going to double-click to go
back to the front of the amp here, and if I
| | 05:41 | double-click on the stompboxes, you
will see that I have access to fifteen
| | 05:45 | different Effect pedals here.
| | 05:46 | You can use up to five together, and you
can just click and drag them into place
| | 05:51 | or change around your order by clicking
and dragging. And then when I click on
| | 05:55 | the individual stompboxes, I can adjust
each of their various parameters, taking
| | 05:59 | them out by dragging them back into the bin.
| | 06:01 | If you ever need to bypass one of your
stompboxes, you can just click on it and
| | 06:05 | then click on the big button at the bottom.
| | 06:07 | That's basically why they call it a stompboxes.
| | 06:09 | This is meant to be a model of guitar
pedals that you would just step on on the
| | 06:13 | floor to turn on and off.
| | 06:14 | So you can just click those.
| | 06:15 | If you actually just want to hear your
Sustaining Chorus without the overdrive,
| | 06:18 | you can sort of skip it, just by turning it off.
| | 06:21 | (music playing)
| | 06:31 | And that's how easy it is to set up
an electric guitar track, and as we go
| | 06:34 | into recording the song,
| | 06:35 | we will actually work with a lot
of these parameters in more detail.
| | 06:38 | For now that's a quick look, and I just
encourage you to come in here and experiment.
| | 06:41 | All the stuff is about plugging your
instrument in, getting some of these sounds
| | 06:44 | up, twisting the dials,
and finding what sounds good.
| | 06:48 | We could very easily spend an entire
chapter delving into each and every one of
| | 06:52 | the guitar amps and stompboxes
available in GarageBand, but now that you know
| | 06:56 | how to select them and how to add them
to your pedalboard, and how to move them
| | 07:00 | around to alter the order that your
guitar sound travels through them,
| | 07:03 | it's up to you to plug your
guitar in and start experimenting.
| | 07:06 | They each have a small set of
parameters with clickable dials and switches,
| | 07:10 | and since there is no right way or wrong
way to use them, just use your ears and
| | 07:14 | discover what amazing
custom tones you can create.
| | 07:17 | Anytime you stumble upon something mint,
just click Save Setting and make up a
| | 07:21 | fun descriptive name that will allow you
access that electric guitar tone within
| | 07:25 | any of your GarageBand projects.
| | 07:28 | Most people think of GarageBand as a
recording application only, but it can also
| | 07:32 | be a very powerful application for
guitar practice and even performance.
| | 07:36 | Plug into your interface, run a
line out to a mixer and speakers, or a full PA,
| | 07:41 | and you have an infinite number of
guitar stacks and pedalboard configurations
| | 07:44 | to choose from, on the fly.
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| Positioning the cursor on audio regions to access different tools| 00:00 | Rather than choosing different tools
for interacting with audio regions from a
| | 00:03 | tool panel, GarageBand's main cursor
has many of its tools built in and become
| | 00:07 | active depending on where you hover your mouse.
| | 00:10 | So let's actually get an audio loop in
here, so we can show this example, okay.
| | 00:14 | Clicking on Loops in the lower right,
I am going to click on Drums, and we will
| | 00:18 | find a drumbeat here.
| | 00:21 | Let's try--hear sample
of couple of these funk beats.
| | 00:24 | Actually, I am going to slow their tempo
down a bit too, because we are still up at 157.
| | 00:27 | So I will go down to
around where they were created at.
| | 00:32 | (music playing)
| | 00:39 | This one will be a good example.
| | 00:41 | So I am going to drag it in to a new track.
| | 00:43 | I am going to put at bar two.
| | 00:44 | You may have noticed I have been
doing that throughout the course, starting things at bar two.
| | 00:47 | I like to always leave at least one bar,
if not more, space before any given song
| | 00:53 | begins, in case you want to actually
have a little time before something begins.
| | 00:57 | And we'll get into doing a count-in
and setting the metronome and stuff.
| | 01:00 | I will show you why that can be
valuable later. But for now, that's why I
| | 01:03 | continue to drag things into bar two.
| | 01:06 | This loop break here, it's an audio region.
| | 01:08 | It's on a real instrument track.
| | 01:09 | I am going to use this slider in the
lower left here to zoom in just a little
| | 01:12 | bit, so you have a little
more view on our file here.
| | 01:15 | Vintage Funk Kit 04 is a stereo audio file.
| | 01:18 | I can tell that because I can see
both left and the right waveforms.
| | 01:22 | And by hovering my mouse in the center
of the audio region, or anywhere in the
| | 01:25 | heart of this colored bar, I can
actually click with the standard cursor to
| | 01:29 | select, click out to deselect.
| | 01:32 | That's the way that you can
actually interact with the region itself.
| | 01:35 | You can even click and drag left or
right to reposition it in time, have it, say,
| | 01:38 | for instance, play later in
the song or earlier in the song.
| | 01:42 | If I hover over the lower-left
corner, my cursor becomes a trim tool.
| | 01:46 | It allows me to click and drag the head
of the region to the right, eliminating
| | 01:51 | some of the audio material at
the beginning of the region.
| | 01:54 | Let's listen to that Trim edit.
| | 01:55 | (music playing)
| | 02:00 | Okay. I'm going to hit Home to go back to the
beginning and for the moment I am going
| | 02:04 | to turn off the metronome as well, because
we don't need to hear that for this example.
| | 02:07 | And keep in mind that you can only
trim back out again as far as you had
| | 02:11 | original audio material, so there is no
way that I can trim past the start point
| | 02:16 | of what this loop originally was.
| | 02:17 | So the trim tool is kind of about
taking away from one of the directions, from
| | 02:21 | either the head of the
region or the tail of the region.
| | 02:25 | So the lower right-hand corner,
my cursor becomes a trim tool as well and allows
| | 02:29 | me to take out a portion of my audio region.
| | 02:32 | So now I just have the
first four beats of this loop.
| | 02:35 | (music playing)
| | 02:38 | And finally, by positioning the mouse
over the top-right corner of any given
| | 02:42 | audio region, the cursor becomes a loop tool.
| | 02:45 | This allows you to click and drag to
the right, effectively looping the audio
| | 02:49 | region as many times as you'd like.
| | 02:53 | (music playing)
Okay. I'll press Undo and Home to go back to the beginning.
| | 03:01 | Now that we have a four-beat loop,
which was originally and eight-beat loop,
| | 03:05 | let me make this six beats by trimming
the end and then looping, and you will
| | 03:11 | notice that what I've looped,
as I press play here, is the six beats.
| | 03:16 | (music playing)
| | 03:25 | And you kind of hear that skip.
| | 03:26 | Basically, we have this bizarre 6/4 loop
going on right now that really kind of
| | 03:32 | isn't well suited for this type of beat.
| | 03:33 | I mean you could argue that it's
fine, but to me it sounds strange.
| | 03:36 | So the point I would like to make about
looping at six beats is if you actually
| | 03:40 | want to modify the trim of an audio
region that's already looped, as you click
| | 03:45 | and drag to retrim the region, you'll
notice that all of your loop instances
| | 03:50 | adjust to accommodate.
| | 03:52 | So I have brought this down to now
be only two beats long, and my entire
| | 03:55 | original audio region is now only two
beats, so the loop that keeps repeating
| | 03:59 | is those two beats.
(music playing)
| | 04:05 | So if I make that go back out to its
original size, I can drag out to a full eight
| | 04:09 | beats, and my loops are now
going to include all eight beats.
| | 04:11 | (music playing)
| | 04:18 | So if you have trimmed your region,
the Loop tool will only loop the part of
| | 04:21 | the region that's currently visible,
and will disregard any audio that's not
| | 04:25 | currently revealed.
| | 04:27 | When you want to trim or loop a region
in your timeline GarageBand makes it easy
| | 04:30 | by offering a context-sensitive
cursor instead of a traditional toolbar.
| | Collapse this transcript |
|
|
3. Jump-Starting the Recording Process with Magic GarageBandChoosing a genre in the Project Chooser| 00:00 | Magic GarageBand is a way to
jump-start your writing and recording process.
| | 00:04 | It's one of GarageBand's many modes,
and it allows you to choose a genre,
| | 00:09 | audition and assign band members,
and play along with professionally recorded
| | 00:13 | audio loops which are arranged into song forms.
| | 00:16 | To access Magic GarageBand's Genre
Chooser, select Magic GarageBand from the
| | 00:20 | left-hand column and once you do,
you'll see the nine music genres available
| | 00:24 | to you. These are Blues, Rock, Jazz,
Country, Reggae, Funk, Latin, Roots Rock,
| | 00:30 | and Slow Blues.
| | 00:33 | Before you get too excited about Magic
GarageBand, it can't actually write music
| | 00:36 | for you, but it can present a song
form in a certain genre that can provide
| | 00:41 | inspiration that you might need
to start working on a new song.
| | 00:44 | It will be particularly helpful to
you if you're new to songwriting or new
| | 00:48 | to music in general.
| | 00:49 | But experienced musicians and songwriters will
likely find Magic GarageBand kind of limiting.
| | 00:54 | To preview the song forms presented in
each genre, hover your mouse over each
| | 00:58 | genre box and click on the Preview
button that appears, to begin playing a
| | 01:02 | sample from the default song,
and you can click again to stop.
| | 01:05 | (music playing)
| | 01:12 | I am going to preview few more.
| | 01:12 | Here is the Rock one.
(music playing)
| | 01:17 | How about Country?
(music playing)
| | 01:22 | Maybe Reggae?
(music playing)
| | 01:24 | Much cooler!
(music playing)
| | 01:27 | How about Jazz?
(music playing)
| | 01:33 | Once you've identified which
genre you want to work with, select the
| | 01:36 | genre box and click Choose in the
bottom right or just double-click.
| | 01:40 | I am going to go with Funk.
| | 01:41 | So when I click it, the Magic
GarageBand stage will open up and begin loading
| | 01:45 | instruments from the library.
| | 01:47 | If you have any of the GarageBand
Jam Packs installed, those instruments will
| | 01:50 | automatically be available to here as well.
| | 01:53 | I'll be discussing GarageBand
Jam Packs in the first movie in Chapter 4.
| | 01:56 | Next, we'll see how to audition
different players and make the final hiring
| | 02:00 | decisions, as it were, for you band.
| | Collapse this transcript |
| Auditioning players in the band and hiring new players| 00:00 | Okay, here we are in Magic GarageBand,
and I've chosen the Funk genre from the
| | 00:04 | Genre Chooser, and now we're
basically looking at the funk band that
| | 00:07 | GarageBand gives us. I'm going to hit
Play and you can hear part of the song.
| | 00:10 | (music playing)
| | 00:25 | It's a funky groove.
(music playing)
| | 00:28 | You can hit the spacebar to stop.
| | 00:29 | If you want to just hear the snippet
of the song, you can press the Snippet
| | 00:32 | button and press Play.
(music playing)
| | 00:34 | or the Entire Song.
| | 00:36 | So this is a toggle that can take you
back and forth, and you can click and drag
| | 00:39 | the playhead anywhere you'd like,
so if you want to hear the ending--
| | 00:41 | (music playing)
| | 00:51 | A bunch of hits at the end,
so you can fall way back to the top here.
| | 00:55 | Basically, what's being shown to you here
is these are all the instruments in the
| | 00:58 | band that you just heard in that
version of the song, the guitar, the bass,
| | 01:02 | drums, keyboard, melody instrument--
in this case a horn section--and right now
| | 01:07 | you weren't hearing anything out of
my instrument, because I wasn't playing
| | 01:10 | anything along here.
| | 01:11 | So this gives you chance to choose
something that you're going to play
| | 01:14 | along with the band.
| | 01:15 | For now we're going to focus on rest of
the instruments, and then we'll add my
| | 01:19 | instrument in again.
| | 01:20 | So I'm going to just click No
Instrument while My Instrument is selected.
| | 01:23 | Just make that go away for now.
| | 01:25 | And the first thing we're going
to do is check out the guitar.
| | 01:27 | So I'm just going to click on Guitar,
and you'll see that we actually have five
| | 01:30 | different choices for which guitar
sound will be used within this funk song.
| | 01:35 | So right now they have the Crisp
guitar chosen for this song by default.
| | 01:39 | If you click the disclosure triangle
next to Guitar, you'll see that you can
| | 01:42 | either mute the speakers for mute and
solo, which means just hear the guitar.
| | 01:47 | You can click either of
those buttons and press Play.
| | 01:50 | Now we're just hearing the guitar part.
(music playing)
| | 01:55 | So while that's playing, I can
change these sounds out, it takes a second to
| | 02:01 | load in, and you can hear what the
Chunky sound is for the guitar, and here
| | 02:08 | is the Distorted sound.
| | 02:09 | (music playing)
| | 02:13 | Muted sound.
(music playing)
| | 02:15 | Okay, and the Wah, Wah sound.
(music playing)
| | 02:30 | So you can sort of build the
band that you want to build.
| | 02:33 | If you're more into the distorted type
of sound, we'll leave it on distorted.
| | 02:37 | So for now we've got the funk song,
back to the verse top here, for a sec,
| | 02:41 | with Distorted added.
| | 02:43 | (music playing)
| | 02:49 | You don't have to be in
solo mode to change these,
| | 02:51 | so I'll change it back to Chunky for just a sec.
| | 02:53 | (music playing)
| | 03:02 | Okay, so making your way around the
horn, bass, we've got the moving part,
| | 03:08 | as they're calling it.
| | 03:09 | Let's hear what the grooving bass part is like.
| | 03:10 | (music playing)
| | 03:20 | Now these are different parts, so
moving over to bass, let's audition
| | 03:22 | these different parts. I'm going to go ahead
and solo that as well, so we can start to hear.
| | 03:26 | (music playing)
| | 03:36 | Okay, let me go ahead and add the
guitar solo in, so it's just the guitar and bass.
| | 03:41 | (music playing)
| | 03:46 | If I want the bass to be a little bit
louder, I can also adjust its level here,
| | 03:51 | (music playing)
so you can form your own mix.
| | 03:55 | Let's bring the drums in as well.
(music playing)
| | 04:07 | Okay, now that I hear them all together,
I kind of think I do want that distorted
| | 04:10 | guitar, so I'm going to come back over here to Distorted.
(music playing)
| | 04:22 | We'll come back to the top of the
song, so we have a little more room
| | 04:25 | to audition our band.
(music playing)
| | 04:26 | Okay, I'm going to turn off these solos,
so I can hear the whole band together.
| | 04:32 | I like my bass, guitar, and drums.
| | 04:35 | Now let's decide what to do with our keyboard
without being interrupted by our horn section.
| | 04:40 | So I'm just going to mute the horns by
clicking the little speaker next to the horns.
| | 04:44 | (music playing)
| | 04:58 | I'll check out the Wah.
| | 04:59 | (music playing)
| | 05:11 | I can't really hear that quite as well the organ.
I may end up sticking with organ on this one.
| | 05:17 | (music playing)
| | 05:20 | That might interfere with the
bass. It sounds a little bass-y.
| | 05:22 | I'm going to listen to it with the
bass and see what it sounds like together.
| | 05:25 | (music playing)
| | 05:28 | I kind of like how they're working
together, so I'm going to hang there with that.
| | 05:31 | There we go, unmute those.
(music playing)
| | 05:36 | Come back to the intro.
| | 05:38 | (music playing)
| | 05:51 | Funky groove!
| | 05:52 | So let's check out our Melody,
maybe a nice guitar solo, instead of our horn section.
| | 06:01 | (music playing)
| | 06:12 | Sounds pretty good so far.
| | 06:14 | So now you may actually want to play
along and you can do that before committing
| | 06:18 | to opening this project in GarageBand
just by going back to the My Instrument
| | 06:22 | spotlight, clicking on it, and you can
actually choose to use a keyboard sound.
| | 06:26 | So, if I'm going to use my MIDI
keyboard, it's giving me these three options:
| | 06:30 | Grand Piano, Clav, an Electric Piano.
Or you can click Customize and actually
| | 06:34 | choose a different sound
that may not be here already,
| | 06:36 | so I might want to use the
Whirly, so I'll click on that.
| | 06:38 | And if you want to actually switch to
line in for a guitar or bass to play
| | 06:42 | along, you can actually change that here.
| | 06:44 | So you can go to the
Input 1, which is the Apogee,
| | 06:47 | if I wanted to just do a line in for a
guitar or bass. We'll stay with Keyboard
| | 06:50 | for now, and I'm going to click on
Whirly here and run this back to beginning,
| | 06:55 | press play and play along,
and adjust my volume if I need to here.
| | 07:00 | (music playing)
| | 07:06 | to beginning.
| | 07:24 | If I wanted to actually record
something, I'll do the same thing, pull it back
| | 07:29 | (music playing)
| | 07:51 | Spacebar to stop.
| | 07:52 | Now I've actually got a little bit of
a MIDI recording in here of my noodling,
| | 07:56 | and I can take this entire band and
this entire project, including what I just
| | 08:00 | recorded, over into GarageBand to continue
working on it just by clicking Open in GarageBand.
| | 08:05 | And GarageBand will load all those
sounds and build the song form for me, and
| | 08:11 | even include my little new link.
| | 08:13 | And there it is ready to be mixed, worked with.
| | 08:16 | You can do anything you want with this,
and you've got your next great Funk hit.
| | Collapse this transcript |
|
|
4. Building a Song from the Ground Up Using Apple LoopsBrowsing and filtering the Apple Loops library| 00:00 | The Loop Browser interface makes it
really easy to browse through your large
| | 00:03 | library of Apple Loops.
| | 00:05 | In situations where you may have one or
more of the Jam Pack libraries installed,
| | 00:09 | you'll have thousands of loops to choose from.
| | 00:12 | Locating and previewing filtered lists
of loops based on criteria you set is
| | 00:16 | essential for following the muse, especially
when she's moving quickly, so have at it.
| | 00:21 | The Loop Browser offers a number of ways to
search and filter through your list of loops.
| | 00:25 | The first is this very top
double-arrowed menu that right now says Loops.
| | 00:30 | If you click and hold, you can either
Show All of your loops, just the loops that
| | 00:34 | come with GarageBand, or any of the
individual Jam Packs you may have installed.
| | 00:39 | We have the Jam Pack Rhythm Section installed,
so that's one way to search just that library.
| | 00:43 | I'm going to keep it set to Show All so
I have access to all of my Apple Loops.
| | 00:48 | And I can either use the musical
button view, or the column view to search.
| | 00:52 | We'll start with column view
and then move over to button view.
| | 00:54 | This works the same way the
column view in the Mac OS Finder does.
| | 00:57 | You click on one element in
the first column By Instruments.
| | 01:01 | Second column you can scroll down and
choose what you want to click on, maybe
| | 01:05 | Organ, and then in the right column here
are all of the different Organ loops in
| | 01:10 | their families, and it tells you how
many loops there are in each family.
| | 01:14 | So in the Distorted Organ
family there are 23 different loops.
| | 01:17 | And you can scroll down here to see all of them.
And these are all in this case MIDI loops.
| | 01:21 | (music playing)
Just click to preview and click to stop.
| | 01:28 | (music playing)
| | 01:37 | These columns to the right tell you
what tempo the loop is originally developed
| | 01:40 | at, what key, and how many
beats there are to the loop.
| | 01:44 | And if you'd like to add any loops to
your favorites, just click the check box in
| | 01:48 | the Favorites column and then once
you've checked a few--so when your click on
| | 01:52 | Favorites as a filtering option, all
of the categories that show up are only
| | 01:56 | pertinent to the things
that you've actually chosen.
| | 01:58 | So you can actually look for Jazz,
Organ, and you're going to find the Jazz
| | 02:03 | Organ that you favorited.
| | 02:05 | Under Melodic, for example, you'll see under
Keyboards all three of them fit that criteria.
| | 02:10 | So each loop in the Apple Loops
library doesn't just apply to one
| | 02:13 | particular filter or sort.
| | 02:15 | Depending on how the loops are organized
and how the metadata may be sorted,
| | 02:19 | they could show up in multiple lists.
| | 02:20 | So I'm going to go back to All, and then
I'm going to click on musical button view.
| | 02:26 | Another thing that you can do is
choose which scale, major, minor, neither a
| | 02:30 | major or minor scale, or something
that's good for both, if you want to
| | 02:33 | filter down in that way.
| | 02:34 | If you're working on a song that's in
a minor key, you might as well look for
| | 02:37 | minor key loops, and so on.
| | 02:40 | You can reach Favorites here in the
musical button view as well. Anything that
| | 02:43 | you favorited will show up in the list.
| | 02:45 | And you can always press Reset in the upper
left undo any filters that you've pressed.
| | 02:50 | This view just allows you to apply
filters that then stick, so if I click
| | 02:54 | Rock/Blues, all of the loops down here
now fit into the Rock/Blues category, and
| | 02:58 | I can filter down further by saying Bass.
| | 03:02 | So now it's just Rock/Blues Bass
loops. And I can even apply a sort of mood or
| | 03:07 | style by choosing Acoustic, or
Relaxed, or Grooving, and so on.
| | 03:12 | So right now we've got Acoustic, Bass,
Rock/Blues, and there are a bunch of MIDI
| | 03:16 | loops here I can choose from.
| | 03:17 | (music playing)
| | 03:27 | If you want to undo one of these
filters, you actually need to uncheck it,
| | 03:32 | because if I try to click one of these
other ones and try to get this button to
| | 03:35 | now come over to
Percussion, it won't quite work.
| | 03:37 | I've had to undo Bass and then apply Percussion.
| | 03:41 | Right now, I'll press Reset one more time.
A couple of other little things to look at.
| | 03:44 | You do have a volume
control for while you're sampling.
| | 03:47 | So you're previewing these loops and
you want to turn it down a little bit,
| | 03:50 | feel free to do that.
| | 03:53 | You can skip from one to
the next just by clicking.
| | 03:56 | (music playing)
| | 04:03 | And you can simplify the view over here.
| | 04:05 | If you don't need to know the
tempo and the key, we can hop back into
| | 04:08 | Preferences, look under Loops,
and uncheck Display original tempo and key,
| | 04:13 | and you've got a little more room down here.
| | 04:15 | If you don't have a need for that,
you might as well turn it off.
| | 04:17 | I like to keep it on, because it's
good for me to know what tempo a loop was
| | 04:21 | originally created at, so when I'm
building a song I know that something is not
| | 04:24 | going to be too far off.
| | 04:25 | Another thing that you can do is
Filter for more relevant results.
| | 04:28 | So if this check box is on, anytime you
do a search, depending on what key you're
| | 04:34 | in, or what tempo you're in, only the
loops that are within two semitones, for
| | 04:38 | example, of the key will show up in the list.
| | 04:40 | So if we are in C major, you're noticing
that all of the loops that are showing up
| | 04:46 | in here basically B, C, and D. You're
not going to see any loops that are in the
| | 04:50 | key of F, for example,
unless they are MIDI loops.
| | 04:53 | Because MIDI loops, software
instruments, it doesn't matter how many keys we
| | 04:57 | switch. The thing was created in F
and you play it in A. It's going to sound
| | 05:01 | exactly as good as it did in F.
| | 05:03 | With audio loops, it's much more
difficult to have them transpose more than a
| | 05:07 | couple of semitones and have the
quality of the sound still be there.
| | 05:10 | So you can use all of these different
methods for searching and filtering to
| | 05:14 | help to narrow down your list and
make browsing for the loops that work in
| | 05:17 | your project a breeze.
| | Collapse this transcript |
| Dragging Apple Loops into your arrangement and choosing from alts| 00:00 | Now that you've seen how powerful and
easy it is to use filters to browse your
| | 00:04 | Apple Loops library and preview
individual loops, the next step is to drag and
| | 00:08 | drop your chosen loops into the timeline.
| | 00:10 | If you haven't seen the previous
movie on browsing and filtering your Apple
| | 00:13 | Loops library, I suggest you check
it out now before continuing on here.
| | 00:18 | Without a solid grasp of how to
quickly browse your immense library of loops
| | 00:21 | based on very specific criteria you
can establish, it's very easy to be so
| | 00:26 | overwhelmed with all the choices that
very little creative work ever gets done.
| | 00:29 | So take a look at how to do that and
then join us here, and we'll look at putting
| | 00:33 | loops together into the
timeline to build a song.
| | 00:35 | So another thing that we can do in
addition to browsing loops is bring in loops
| | 00:40 | or files, audio files of any kind,
from our computer desktop, or from within
| | 00:44 | iTunes, into GarageBand to
use, as we build up loops.
| | 00:48 | So I happen to have a drum part saved in iTunes.
| | 00:52 | So actually, the only two songs I have
in iTunes right now. Your iTunes library
| | 00:56 | is likely completely filled up here, at
least this window anyway. I have a drum
| | 01:00 | part and I have a tom-tom drum
part that's a little shorter.
| | 01:03 | But before I drag that drum part in,
I'd like to talk about tempo for a minute.
| | 01:06 | I happen to know that since this
drum part was created for another song
| | 01:10 | project I was working on,
| | 01:11 | I know that the tempo is 108 bpm,
and this project is set to 120.
| | 01:16 | So if I drag this drumbeat in and then
change my tempo, I could affect this file,
| | 01:20 | so I am going to change
the tempo first, down to 108.
| | 01:25 | So that's now the tempo of the project.
| | 01:27 | Then I can click and drag my
drum part file into my timeline.
| | 01:31 | I mentioned before that I like to
drop things on bar 2, just to give myself
| | 01:35 | that little bit of extra breathing room.
| | 01:37 | If I did drop it at bar 1, it's not
terribly difficult to drag it up to bar 2,
| | 01:41 | but that's just where I'd like to start,
| | 01:42 | always having a little bit
of space before the song.
| | 01:46 | You'll also see the green plus on the
icon telling me that I am going to create
| | 01:50 | a new track when I drop this off, and
there's a red number 1 telling me that I'm
| | 01:54 | dragging only one audio file in from
my media browser into the timeline.
| | 01:58 | When I drop this audio file, GarageBand
converts it, because it was an AAC file,
| | 02:02 | 192k AAC to be exact, and this
project is 441, 16-bit project.
| | 02:09 | GarageBand had to convert that
file over to be able to work with this
| | 02:13 | particular project.
| | 02:14 | So that's in there.
Let's take a listen real quick.
| | 02:17 | (music playing)
| | 02:30 | Okay, sort of a dark sort of
tom-tom-based kind of groove at 108 in 4/4.
| | 02:34 | Notice I have the metronome going
there, if you can hear that as well.
| | 02:39 | Zoom out just a little bit, so a little more
view and click back over to the Loops Browser.
| | 02:44 | Now that I have a drum part based on an
audio file I brought in from iTunes,
| | 02:49 | I am going to start building a
song around this idea in 108.
| | 02:54 | My intent at the end of this is to be
able to plug my bass in and play along
| | 02:58 | with this song that I built based on loops.
| | 03:01 | So I am going to get some guitar parts
in here from my Loop library and try to
| | 03:04 | build something up that's maybe missing
some bass, so that when I plug in, I can
| | 03:07 | actually play along and
contribute to the mix overall.
| | 03:10 | So Guitars to filter, and let's look for,
let's see, a little picking part.
| | 03:16 | (music playing)
No. No.
| | 03:21 | (music playing)
That's actually kind of cool.
| | 03:25 | Let's see how that works.
| | 03:27 | Drag that in here to my
second track, also at bar 2, drop it in.
| | 03:33 | It creates an acoustic guitar track
for me, and I can click the loop corner in
| | 03:36 | the upper right and drag this loop out.
| | 03:38 | Let's look for some other guitar parts to use.
Let's use a MIDI-loop.
| | 03:45 | How about some of these, Beachside?
(music playing)
| | 03:53 | Yeah, that's a little more of my speed.
Let's try that one.
| | 03:57 | Beachside Electric 13, drag that in.
| | 04:00 | Let's give this a little listen here.
(music playing)
| | 04:13 | So I am going to use my panning now to
just bring that Beachside guitar off to
| | 04:17 | the left a little bit.
| | 04:18 | Keep my acoustic picking
in the middle with the drums.
| | 04:21 | (music playing)
Let's give them a little more space.
| | 04:27 | I am going to put something
else on the right side in a minute.
| | 04:28 | We will get one more part here.
| | 04:31 | Progressive Solo sounds good, let's see.
| | 04:33 | (music playing)
That's great!
| | 04:42 | We'll pop that in here,
maybe alternate with the beach guitar.
| | 04:46 | One thing you can do is obviously
loop things out--we've talked about that.
| | 04:49 | But what if we wanted to just copy this?
| | 04:50 | You can click and hit Command+C and
Command+V and it will paste it in right
| | 04:54 | wherever the playhead is,
a pretty common way to do that.
| | 04:57 | A quicker way is to hold the Option key down
and click and drag the file. Duplicate it.
| | 05:02 | So now I can do that here as well.
| | 05:07 | And then maybe we'll play the
song together with all the parts.
| | 05:13 | Just making it up here as I go.
It is just so fun to do this.
| | 05:15 | I have to encourage you to play,
because it's one of those things in GarageBand
| | 05:18 | that you can just sort of sit and
suddenly an hour has gone by, and you've built
| | 05:22 | up this incredible song that came from
nowhere out of these thousands of loops,
| | 05:25 | and there's just infinite combination.
| | 05:27 | So let's listen to what we have here.
(music playing)
| | 05:31 | I am going to move this out to the right
as well, the Progressive Solo a little bit.
| | 05:34 | (music playing)
Cool!
| | 05:49 | Something else to keep in mind is
if you want to switch between all the
| | 05:52 | different loops that are in the family,
you know we said Progressive Solo 24,
| | 05:56 | but obviously, there are 27 other
Progressive Solos you can choose from.
| | 06:01 | Now that I've got it placed in there
three times, you could click on this
| | 06:04 | little menu in the upper left and
change it to any of the different ones that
| | 06:08 | are part of that family.
Same goes for MIDI loops.
| | 06:10 | So the Beachside Electric,
| | 06:11 | there are 17 you can choose from.
| | 06:13 | So it's one way to sort of keep things
in the same flavor but maybe a slightly
| | 06:17 | different piece of music.
| | 06:19 | So explore the Alts as well,
same goes for this one.
| | 06:22 | So now we've got a song put together
here that's a nice backdrop, and it's going
| | 06:26 | to let me plug my bass guitar in and play along.
| | 06:29 | So we'll explore that in the next
and final movie of the loop chapter.
| | Collapse this transcript |
| Jamming along with your composition| 00:00 | Now that I've got a bit of song built
up using Apple Loops and also a drum part
| | 00:04 | that I imported that was an AAC file I
had in iTunes, it's time to plug my bass
| | 00:08 | in and jam along with my little composition.
| | 00:12 | So the way I am going to do that is
Option+Command+N for new track, I am going
| | 00:15 | to select Real Instrument and before I do,
I am just going to look in Instrument
| | 00:20 | Setup and make sure that my instrument
is connected with the Apogee ONE, which
| | 00:23 | it is, and it is currently in Instrument mode.
| | 00:26 | It's Mono track, and I do
want to hear my bass as I play.
| | 00:30 | I am going to click Create.
| | 00:32 | GarageBand created a basic track
for me with no effects. Before I actually
| | 00:36 | go to setting up the bass sound, I
should set my recording level and make sure
| | 00:40 | that I am not overloading things.
| | 00:41 | The Apogee ONE tends to be pretty sensitive,
| | 00:43 | so I need to make sure this is down low enough
to not distort it while I am recording.
| | 00:47 | So I am going to use Automatic
Level Control and just play a few notes.
| | 00:51 | (music playing)
So that looks pretty good.
| | 01:00 | I sort of expect that to be a little higher,
but every interface is going to be different.
| | 01:04 | That's how this one is behaving.
| | 01:06 | Turn off Automatic Level
Control and monitoring back on again.
| | 01:10 | I don't need Feedback
Protection, so I can keep that there.
| | 01:14 | (music playing)
All right, and I'll start looking at Bass sounds here.
| | 01:20 | We've got a whole list of preset sounds.
| | 01:23 | I'll go to Amp Fuzz Bass here for a
second and just click on the Edit tab.
| | 01:28 | You can see every single one of
these effects presets has a list of the
| | 01:31 | individual effects that make it up,
and you can always come into the Edit tab and
| | 01:35 | click on the icon and modify any of the
settings that go into any of these,
| | 01:39 | but they are all starting places and
some of them sound pretty good.
| | 01:42 | So I am going to look down here a
little bit lower and maybe look at Rock Bass
| | 01:45 | to see what that sounds like.
| | 01:46 | (music playing)
| | 01:53 | Let's see. What about Wave Bass?
| | 01:57 | (music playing)
All right!
| | 02:06 | How about Seventies?
(music playing)
| | 02:17 | I kind of like Rock Bass,
so we'll stick with that.
| | 02:19 | Now I am going to play this timeline
through and as the song is playing, since I
| | 02:24 | am plugged in and I am monitoring,
I can actually play along and sort of jam
| | 02:27 | with my composition and try to
make something up. Let's see how it goes.
| | 02:30 | (music playing)
| | 03:17 | Okay, so that's it.
| | 03:18 | You just play along, do your
things, practice, make up ideas.
| | 03:22 | You can also record.
| | 03:23 | I am going to press Return and go back
to the head of the tune and if I just
| | 03:26 | press R instead of spacebar,
I can actually record my part.
| | 03:29 | (music playing)
| | 04:19 | And spacebar to stop.
| | 04:20 | Now I've got a little bit of a bass
part there, and maybe we'll just turn this
| | 04:23 | into a proper song and go to the Track
menu, choose Fade Out, add a little fade-
| | 04:28 | in, and now I've got a nice
ending and everything. Here we go!
| | 04:31 | (music playing)
| | Collapse this transcript |
|
|
5. Recording Real InstrumentsSetting tempo, enabling count-in and metronome, and dragging in a drum loop| 00:00 | We've seen how to use Magic GarageBand
to create a song from some preset genres
| | 00:04 | to play or sing over, and we've seen how
to experiment with Apple Loops to build
| | 00:08 | up a song from scratch.
| | 00:10 | We could take either of these
approaches and continue from there within
| | 00:12 | this course to build out a final song,
but instead I'd like to create an
| | 00:16 | acoustic instrument project.
| | 00:18 | I am going to name it Easier to Find,
| | 00:22 | that's the name of my song, save it
in my Music directory. And my plan is to
| | 00:26 | start with the metronome and a basic
drum loop for a rhythm track and try to get
| | 00:30 | a solid take of the acoustic guitar part.
| | 00:32 | So I need to set the Tempo of my song,
which I know is going to be 154 BPM,
| | 00:38 | and the Time Signature is 4/4 and
the key of the song is A major.
| | 00:42 | So I may as well set that here and click Create.
| | 00:45 | Once I have the acoustic guitar
part recorded, I'll start to over-dub
| | 00:48 | additional real instrument tracks
like bass, electric guitar and vocals, or
| | 00:52 | maybe some additional percussion.
| | 00:53 | For most of us, when we are recording music,
it's helpful to play to a click or a metronome.
| | 00:58 | GarageBand allows you to do this
with its Metronome feature, which is
| | 01:01 | located right here.
| | 01:04 | Whether you are playing back or
recording, if the metronome is turned on, it
| | 01:07 | will play quarter notes at the
tempo your project is set to.
| | 01:13 | You can always turn the metronome off
or on at will by clicking this Metronome
| | 01:18 | button, or by pressing Command+U.
| | 01:19 | I find that I usually like to use
the metronome as I lay down some of the
| | 01:25 | initial rhythm tracks of a song, like
bass or drums, or even my first guitar track,
| | 01:30 | and then eventually end up turning
it off, allowing the rhythm tracks
| | 01:33 | I've already recorded to be my guide.
| | 01:35 | You do whatever works for you.
| | 01:36 | The metronome can be on, it can be off.
| | 01:39 | It doesn't get recorded.
| | 01:40 | It's just a helpful way for you
to keep in time with your song.
| | 01:43 | GarageBand's default behavior is to
start recording from the current position of
| | 01:47 | the playhead when you press R.
Sometimes that's inconvenient, especially if you
| | 01:53 | are running your own recording session;
| | 01:54 | it's nearly impossible to press Record and play
on the first beat of the song at the same time.
| | 01:59 | You may need a little breathing room.
| | 02:00 | There is an easy way to have GarageBand
count one measure of time for you before
| | 02:04 | starting to actually record,
and that is the Count-In feature.
| | 02:08 | Just select Count-In from the Control
menu, or press Shift+Command+U, and watch
| | 02:12 | what happens when I press R to record now.
| | 02:15 | I am at bar 18.
Actually, let me get exactly on bar 18.
| | 02:18 | I am going to press R, the playhead
jumped back one measure, counted four, and then
| | 02:26 | began recording at 18.
| | 02:27 | That gives me a full bar of time to
get my pick in my hand and get ready to
| | 02:31 | play, sort of start to feel the
tempo, and then play on b eat 1.
| | 02:34 | Okay, so I'll clear this track out.
| | 02:36 | I am going to press Command+A to select all.
| | 02:38 | It happened to be on this track, so it's
going to select every audio region in that track.
| | 02:42 | Press Delete to erase those and press
Return to put my playhead back at the
| | 02:46 | beginning of the song.
| | 02:49 | Now I need to lay down the drum loop to
play to because as helpful as they are,
| | 02:52 | for me, metronomes don't
provide much in the way of feel.
| | 02:55 | It might be 100% in time, but I want a
little groove to play my acoustic guitar part to.
| | 03:00 | I've installed the Rhythm Section
Jam Pack so you may not have all these
| | 03:04 | loops, but don't worry.
| | 03:05 | If you don't have that jam pack
installed, the loops I am using in this course
| | 03:09 | will be included in the exercise files.
| | 03:11 | I am going to go to the Loop Browser
by pressing Command+L, and I'll use the
| | 03:16 | filters to dive down to Rock/Blues and
Kits. And I can either scroll down, or
| | 03:22 | I happen to know that the family of loops I am
looking for starts with the word syncopated,
| | 03:26 | so I can just search for
that here and easily find them.
| | 03:28 | S-y-n-c, Enter, bang!
| | 03:30 | Here's my whole family of loops.
| | 03:33 | I happen to be into this
Syncopated Pop Drumset 27,
| | 03:35 | so I am going to look for that here and
drag that into my timeline and put it at
| | 03:40 | bar 2 in a new track.
| | 03:42 | So here's my drum kit.
| | 03:43 | I don't like the word, kits, for title,
| | 03:45 | so I am going to click on the name to rename it.
| | 03:47 | I am going to click in the upper-right
corner and drag this loop out to about
| | 03:53 | bar 40, but wait, what happened?
| | 03:56 | I can't go any further.
| | 03:57 | See this little triangle up here?
| | 03:58 | This is what GarageBand
thinks is the end of the song.
| | 04:01 | This is something you can click and
drag and position anywhere you want.
| | 04:04 | That way if you were doing a mix down,
you could have the song automatically end
| | 04:08 | here, even if you have information
after it, sort of a way for you to say,
| | 04:11 | "this is my end for right now."
| | 04:13 | So you can actually move that out
manually, throw that out about 43. And if you
| | 04:18 | want to zoom out to get a little more
view of your timeline, so you have some space
| | 04:21 | to work feel free to do that, and I
am going to move this loop out to 40.
| | 04:29 | I am going to press Return to put my
playhead back at the beginning and play.
| | 04:33 | And when I do, listen for the four
beats of metronome that will play before the
| | 04:38 | drums start, and then when the drums
come in, you'll hear the metronome and the
| | 04:41 | drums playing together.
| | 04:42 | You may have to listen carefully.
| | 04:43 | For me, I'd like to hear the drums
and the metronome, so I know where the
| | 04:47 | time is, but I am really paying
attention to the drums, and the metronome is
| | 04:51 | helpful for my count in.
| | 04:52 | (music playing)
| | 05:01 | Metronome is nice to have with the
syncopated part as well because the metronome
| | 05:04 | is a very square beat on 1, 2, 3, 4,
1, 2, 3, 4, even if the drum set is playing
| | 05:09 | a very syncopated part on upbeats and offbeats.
| | 05:12 | So it's kind of nice to have
both of those playing here.
| | 05:15 | So I am going to pres Return one more
time and put the playhead back to the top,
| | 05:18 | and I am ready to start tracking the
acoustic guitar part for this new tune.
| | Collapse this transcript |
| Using GarageBand as a scratchpad for recording new ideas| 00:00 | One of the most straightforward uses of
GarageBand is as a sketch pad for new ideas.
| | 00:05 | I'll select my new acoustic guitar
track and actually go ahead and name it.
| | 00:08 | I am going to call it Acoustic, then just
GTR for guitar, hitting Return to save that.
| | 00:14 | And as long as I've got my input
source set to the correct input for my mic
| | 00:18 | or line-in and I set Monitor to On--I am going
to use no feedback, since I have my speakers off--
| | 00:24 | I'm ready press record and get
this new idea down before I forget it.
| | 00:28 | I stumbled upon an interesting tuning
for the acoustic guitar recently, and it
| | 00:32 | inspired these three different parts.
| | 00:33 | I decided they should be a verse a
pre-chorus and a chorus of a short song that
| | 00:38 | might be just right for this course.
| | 00:39 | I am going to use GarageBand to get
this guitar idea down, so that I can start
| | 00:43 | working on other parts to flesh it out.
| | 00:46 | Since I'm recording into microphone,
I've got my speakers turned off.
| | 00:49 | What you don't want is sound coming out
of your speakers and going back into the
| | 00:53 | microphone that you're using to record.
| | 00:55 | So in most cases if you're using a mic,
you'll want to turn your speakers down and
| | 01:00 | grab some headphones to record with.
| | 01:01 | I'll just check the Control menu to make
sure Metronome and Count-In are checked,
| | 01:06 | and now I'll just press R to begin recording.
| | 01:09 | (music playing)
| | 02:14 | That was a pretty good pass. Let's listen.
| | 02:16 | (music playing)
| | 03:20 | Yeah, I think I'll keep that one, and
this is as good a time as any to remind
| | 03:23 | you to press Command+S to save.
| | 03:25 | Be sure to save your GarageBand
project files early and often.
| | Collapse this transcript |
| Using the Arrange track to create song form sections | 00:00 | Now that you have gotten a decent
version of the song down on acoustic guitar,
| | 00:03 | I can use that to performance as a
roadmap to make my GarageBand project file
| | 00:07 | easier to navigate and make it more
helpful to me and anyone else that ever
| | 00:11 | might work on this project with me.
| | 00:13 | In the Track menu choose Show
Arrangement Track or press Shift+Command+A.
| | 00:18 | Notice the new narrow band across
the top that's labeled Arrangement.
| | 00:21 | The Arrangement track's main function is
to allow you to distinguish sections of
| | 00:25 | the song and mark them with a label
that tells you where you are in the song.
| | 00:28 | You could use words like verse, chorus,
and bridge, or you can use your own
| | 00:33 | made-up names like, shiny part or
dark part, whatever suits you.
| | 00:37 | Click the Plus button in the
Arrangement Track to create your first arrangement
| | 00:40 | region. Double-click where
it says Untitled to name it.
| | 00:43 | I am going to name my first section
Intro, hit Return to save, and then play the
| | 00:48 | song to see where the Intro ends.
| | 00:50 | I think it's very short so--
| | 00:51 | (music playing)
| | 00:56 | Okay, it's just those little guitar
licks at the beginning.
| | 00:59 | I am using the left arrow and right
arrow to step bar by bar, so it's at
| | 01:03 | bar four that it ends.
| | 01:04 | I have positioned the playhead at bar
four so that I can click and drag the
| | 01:08 | right edge of the arrangement region to
meet, and now I have got my Intro marked
| | 01:12 | off as those first four bars.
| | 01:14 | Next, click Plus again, and this time
let's name it Verse, and I am going to find
| | 01:19 | the end of the verse by clicking the
playhead a little further along, and see if
| | 01:23 | I can figure out where the Pre-Chorus starts.
| | 01:24 | (music playing)
There it is.
| | 01:30 | Okay, so that is bar 20 and I am going
to drag the end of the Verse arrangement
| | 01:38 | region out to match bar 20.
| | 01:39 | So now the Verse is completely
encapsulated by that one arrangement marker.
| | 01:43 | Here I will click plus again.
| | 01:45 | Now I am going to name it
Pre-Chorus, figure out where that ends.
| | 01:50 | (music playing)
| | 01:54 | There is the Chorus starting there.
Use the left arrow to go back, right-click
| | 01:59 | and drag the edge of Pre-Chorus to
meet the playhead and we have got the
| | 02:02 | Pre-Chorus. Press plus one last time,
double-click to name it Chorus, and drag the
| | 02:09 | end of that out to the end of the song.
| | 02:10 | So now I have got Intro,
Verse, Pre-Chorus, and Chorus.
| | 02:14 | After doing this, it becomes very easier
to communicate with others about the song.
| | 02:18 | You can say something like "Press play
starting at the Pre-Chorus" to someone and
| | 02:22 | they know exactly what you mean.
| | 02:23 | They click at the beginning of the
Pre-Chorus and hit play, and you can listen to it.
| | 02:27 | So it's a quick way to navigate around.
| | 02:29 | The other thing you can do is if you
happen to be zoomed very far into the
| | 02:32 | project, you can actually look up and
see where am I at the moment? So I happen
| | 02:36 | to be deep in the Verse here, but I can
tell that's where I am, and that's where
| | 02:39 | I have been working.
| | 02:40 | You can always zoom out to see more,
but it's nice so I just be able to glance
| | 02:44 | up and be able to reference where you are.
| | 02:46 | As we will see in later movie,
it becomes very easy to select individual
| | 02:50 | sections of the song within your
arrangement, but by clicking in the Arrangement track,
| | 02:54 | it allows you to select them.
| | 02:55 | You can copy and paste and move things
around, and we will flesh this arrangement
| | 02:59 | out in the later movie.
| | Collapse this transcript |
| Splitting Apple Loops and choosing alternates to build a drum part| 00:00 | Using our new arrangement markers as a
guide, as well as some of the musical
| | 00:04 | accents that take place within the
guitar part, I'm going to use some different
| | 00:07 | drum loops for each section, so that
the song has some dynamics and actually
| | 00:11 | builds to something in the drum part as well.
| | 00:13 | If you click in the upper-left corner
of an Apple Loop, you'll see all the
| | 00:16 | variations of that same loop.
| | 00:19 | The Syncopated Pop Drumset loop
family has some 39 variations to it.
| | 00:24 | If I change that selection here then the
entire song will have the new beat variation.
| | 00:29 | So listen to the song now.
| | 00:31 | (music playing)
| | 00:38 | So that's actually kind of a neat
beat, but it's too energetic for the
| | 00:41 | beginning of that song.
| | 00:42 | So I'm going to go back to what I
had with 27 and show you how to choose
| | 00:47 | different loops at different stages in
the song from this family, and they are
| | 00:50 | all sort of designed to work together,
| | 00:52 | so they tend to work pretty well.
So that you don't have to sit and listen in
| | 00:55 | the audition all 39 of these
and pick which ones I want,
| | 00:58 | I've actually gone ahead and made some
decisions about where I should change the
| | 01:02 | drum loops throughout the song.
| | 01:03 | So I'm going to press Play and when
I get to the place where I'd like to
| | 01:06 | insert a new drum loop,
| | 01:08 | we're going to split this
existing loop and make a change.
| | 01:11 | So we'll take the process one step at a time.
| | 01:13 | We're going to play right now and
when we get to the sort of big chord in the
| | 01:16 | verse I'm going to change. So I'll stop it there.
| | 01:19 | (music playing)
| | 01:23 | Okay, so that big chord there, I'm
going to hit the left arrow to go back to
| | 01:26 | it, and let's turn the Metronome off
because I don't need to hear it right now,
| | 01:30 | and I'm going to zoom in a little bit
as well, just so I can see sort of what
| | 01:34 | I'm doing a little bit better.
| | 01:35 | So once I have the playhead positioned
where I want to make the change and drum
| | 01:39 | loop is actually selected--
and you could tell it because it's darker--
| | 01:42 | I'm going to go Edit > Split or press
Command+T, and it will actually cut that loop in half.
| | 01:49 | So now I have two pieces of
Syncopated Pop Drumset 27.
| | 01:53 | This one is still looped out to the
end, but the first one, it went back to
| | 01:56 | its original state.
| | 01:57 | So if you want to actually fill it in,
you're going to have to click that loop
| | 02:01 | again and drag it out to where we are.
| | 02:03 | If I want to change the second one,
this time I'm going to actually change it to 31,
| | 02:07 | I can just make a change and now goes
from Syncopated Pop Drumset 27 to 31 at
| | 02:13 | the point that I've chosen.
| | 02:14 | So I can make divisions throughout the
song, continue to fill in by clicking and
| | 02:18 | dragging the initial loop
and making all of my new selections.
| | 02:21 | So I'll go ahead and do that right now.
| | 02:23 | (music playing)
| | 02:30 | Okay, so those cymbals sort of work
well with that last little phrase, but
| | 02:34 | then we kind of go back into the melody again.
| | 02:36 | So I'm going to hit Command+T, fill in
loop before, and I'm going to choose 27 to
| | 02:43 | sort of go back to the main feel of the verse.
(music playing)
| | 02:52 | Okay, go back to those big chords again,
left arrow, Command+T, fill in the loop
| | 02:58 | and go back with 31 again,
so we get cymbal hits.
| | 03:02 | Here is how it sounds
going through that transition.
| | 03:04 | (music playing)
| | 03:13 | Okay, Pre-Chorus is time for a new
drum beat, so we'll backfill that, and
| | 03:17 | for the Pre-Chorus I actually want to
go with 15, which is that really fast
| | 03:21 | beat that we had before.
I think it will work really well with that.
| | 03:24 | So let's listen to that
and see where that ends.
| | 03:25 | (music playing)
| | 03:37 | Chorus is where it's going to start.
| | 03:39 | I'll split again, I'll backfill, and
I'll choose our chorus, which is going to be
| | 03:44 | Syncopated Pop Drumset 03.
| | 03:46 | (music playing)
| | 04:00 | That's where we go kind of back to
halftime again, so I'll split one more
| | 04:03 | time, backfill the loop, and choose 37,
which is going to our sort of outro drum pattern.
| | 04:10 | (music playing)
| | 04:19 | Okay, so you heard that
cymbal crash right at the end.
| | 04:21 | I'm going to actually drag the loop
to the left, so it doesn't continue on.
| | 04:27 | Hopefully, we can just catch that last
cymbal right where the last hit of the guitars go.
| | 04:31 | So see what that looks like.
(music playing)
| | 04:36 | It kind of cuts off.
| | 04:37 | It's not going to work.
| | 04:39 | See if we go a little further.
(music playing) Okay.
| | 04:43 | So in this case that's not going to
work, so we'll try to find the cymbals
| | 04:45 | crash somewhere else.
| | 04:47 | For now, I'm just going to have that
loop end right when the harmonics hit.
| | 04:50 | (music playing)
| | 04:53 | Okay, so kind of be a big ending
where drops out except for the harmonics.
| | 04:57 | And one other thing I wanted to do is
right before the chorus, we have a spot at
| | 05:01 | the end of the Pre-Chorus where it'd be kind of
nice to have a little gap as well. Here's that spot.
| | 05:05 | (music playing)
| | 05:09 | And the beat works going through there,
but I sort of envisioned there being
| | 05:12 | a little bit of a sort of hit and hold.
| | 05:14 | So I'm going to click that back.
| | 05:15 | (music playing)
| | 05:16 | Cool! So now we have got our whole drum
arrangement and we hit Home and we'll listen to it.
| | 05:26 | (music playing)
| | 06:26 | Now we have a much more interesting
drum part, and the rhythm section is
| | 06:29 | starting to come together.
| | 06:30 | Now it's time for my favorite instrument,
the five-string bass, and that will really
| | 06:34 | tie the room together.
| | Collapse this transcript |
| Recording multiple takes with cycle record| 00:00 | To get the bass part of this song
down, I am going to create a new real
| | 00:03 | instrument track by clicking the plus
and double-clicking on Real Instrument.
| | 00:08 | I've connected my bass amp's line out
directly to my audio interface, as I'd like
| | 00:12 | to record the bass with my own bass sound.
| | 00:15 | If I wanted to, I could plug the bass
directly in and use GarageBand's amps
| | 00:19 | simulators and effects to get my sound.
| | 00:21 | But in this case, I'd like to record my
bass part straight out of the ashdown.
| | 00:24 | I am all connected and ready to
set an input level for recording.
| | 00:27 | I will make sure Monitors is On, so I
can hear my bass sound coming through the
| | 00:31 | headphones along with the guitar and
drums, and I'll click the check box for
| | 00:34 | Automatic Level Control and let
GarageBand set a good level for me.
| | 00:38 | (music playing)
| | 00:49 | Okay cool, I can click that check
box off and my input level sticks.
| | 00:53 | I think I'm ready to go.
| | 00:54 | I'll keep Count-In on, so I have one
bar to get ready after hitting record and
| | 00:59 | since I have a solid drum loop and a
good rhythm guitar part to play to, I can
| | 01:03 | leave the metronome off.
| | 01:05 | I am going to press Return and make sure I
am at the beginning and press R to record.
| | 01:09 | (music playing)
| | 02:09 | Cool, not bad. Now I've got one decent bass take,
but I'd like another, to be able to make
| | 02:14 | some choices later on.
| | 02:15 | If I just press Return and R again,
I'll record a new bass part, yes, but I'll
| | 02:20 | erase the part I just recorded.
| | 02:22 | (music playing)
| | 02:31 | The way to keep that last pass and
record a new one and have both parts saved as
| | 02:35 | multiple takes is to turn Cycle Record on.
| | 02:38 | It's the button with the two
cycling arrows right next to Metronome.
| | 02:42 | Click it and then you have to set a
cycle region in the cycle ruler that appears
| | 02:46 | at the top of the screen
under the standard ruler.
| | 02:48 | Click and drag to fill the space that you'd
like to record in with the yellow cycle bar.
| | 02:53 | In this case we want it to record a
second bass take throughout the whole song,
| | 02:56 | so I have to click and drag from bar
one all the way to the end of my song.
| | 03:00 | Now that I have the Cycle Record button
on and a cycle region set to the whole
| | 03:04 | song I'll press Return and R
to record from the beginning.
| | 03:08 | (music playing)
| | 04:11 | Okay, now notice that there is a small
yellow 2 in the upper left of that bass region.
| | 04:16 | It also says 2 takes.
| | 04:18 | If you click and hold on the 2,
you'll see a menu allowing you to choose which
| | 04:22 | take you'd like to make the active take.
| | 04:24 | You can change this at any time,
and in a later movie we'll go over how to
| | 04:28 | switch from one active take to another
at different points throughout the song.
| | Collapse this transcript |
| Punching in a small section of audio| 00:00 | I would like to show you how to take
care of small problem if you find something
| | 00:03 | that you've recorded
that isn't just quite right.
| | 00:06 | You meant to play something
differently than you played it.
| | 00:08 | There is a very easy way in GarageBand
to do what's called punch in where you
| | 00:12 | can designate an area where GarageBand
will automatically begin recording and
| | 00:15 | stop recording so that you can play along
and sort of replace a small section of audio.
| | 00:20 | So I need to figure out in my bass
part where that place it, because I knew
| | 00:25 | during that take that there is a
problem somewhere around the Pre-Chorus.
| | 00:28 | So, I'm going to go ahead and just listen to it.
| | 00:30 | I am going to double-click in the ruler
so that it starts playing right here.
| | 00:33 | If I put the playhead here and push the
spacebar to play, Cycle Record happens to
| | 00:38 | be on, so it sent my playhead back to begin.
| | 00:41 | (music playing)
| | 00:52 | Okay so I heard it there.
| | 00:53 | There's a place where the guitar changes
chords and the bass sort of lags behind.
| | 00:57 | Now it might be a little hard to hear,
so one nice thing is to be able to sort of
| | 01:00 | isolate an instrument and do what's
called soloing it up. I'm going to
| | 01:04 | click on the headphone icon, which will
solo the bass and play the middle part of
| | 01:08 | the Pre-Chorus again.
| | 01:09 | (music playing)
| | 01:14 | Hear how it did that little slide in
the middle there, that little boo-doo.
| | 01:17 | That was sort of late. The guitar chord
changes and I was reacting hearing oh,
| | 01:23 | there is a chord change and there and
fine, it could probably live, but I would
| | 01:26 | really rather replace that Pre-Chorus
and really try to nail it since I'll be in
| | 01:30 | instrumental section of the song.
| | 01:32 | I can't even count on it being
masked by the vocal or anything.
| | 01:35 | So what we want to do is actually
designate the area that you want to punch in
| | 01:38 | by setting the cycle region, and we can
just click and drag the ends of this down
| | 01:43 | and make it the right size.
| | 01:45 | I will go back and grab
the beginning of it here.
| | 01:47 | So you might think, "Okay, I will have it
punch in right exactly at the Pre-Chorus."
| | 01:52 | Well, the problem with that is you
might actually miss a tiny bit of that first
| | 01:56 | note, or you might miss a little
bit of the tail end of the last note.
| | 01:59 | I can't have GarageBand cut out too early,
so what I'd like to do is pull it back a
| | 02:03 | bar and add a bar, so that I have
actually got a little bit of breathing room.
| | 02:08 | So then you probably want to press
Play and see exactly what the cycle
| | 02:11 | region sounds like
| | 02:12 | now that you've identified it. You can
sort of get used to exactly how long you
| | 02:16 | have when you come in.
| | 02:17 | I am also going to zoom in, so I can see the
area a little bit better, and I will press Play.
| | 02:22 | (music playing)
| | 02:34 | Okay, so I have one, two, three, four, bang.
| | 02:38 | I will turn the Metronome on so
you can here it tap out this first four beats.
| | 02:40 | (music playing)
| | 02:41 | Okay, and if I make sure that
Count-In is on as well, when I punch, I will
| | 02:48 | actually have four beats from the count-
in and then four beats for my breathing
| | 02:51 | room, so that I can actually count
eight beats, get into the grove of the song,
| | 02:55 | and maybe even play along during that
last little part and then jump into the
| | 02:59 | Pre-Chorus with both feet and nail it.
| | 03:01 | So I will turn off Soloing, make sure
that my bass track is selected, might as
| | 03:05 | well name it too while I am here, Bass
Guitar, and Monitoring is on, now that I'm
| | 03:11 | setting it on, and my level
is the same as it was before.
| | 03:14 | In fact, I want to make
sure I don't change that level.
| | 03:17 | The worst think would be if I do a
nice punch-in and the performance is
| | 03:20 | perfect, but I have adjusted the level
too much and suddenly the bass is too
| | 03:23 | hot, or not hard hot.
| | 03:25 | It's just a bit of pain
to fix that after the fact.
| | 03:28 | So don't mess with your set levels until
you are sure you are done with a given part.
| | 03:31 | After I do my take, GarageBand will
cycle around again, allowing me to do a
| | 03:35 | second take, but if I am satisfied, I
can just press Stop right when I am done
| | 03:39 | and even if it's cycled around, I can
always junk that second bit of a partial
| | 03:43 | take after the fact.
| | 03:44 | (music playing)
| | 04:01 | Much like we did in the movie on
dividing our drum loop into individual pieces
| | 04:05 | and being able to choose the alternate loops,
| | 04:07 | we are going to do the same thing with
this bass part. The difference is I had
| | 04:11 | take one and two originally and I have
one and two during the Pre-Chorus, but I
| | 04:15 | have just recorded a third overlay,
| | 04:17 | a punch-in if you will for the Pre-Chorus.
| | 04:19 | So I will need to be using Take 2
during the first half of the song,
| | 04:23 | switch over to Take 3 during the
Pre-Chorus and the switch back to Take 2 for
| | 04:27 | the rest of the track.
| | 04:28 | The way to do that is to put the
playhead at the place you want to make the
| | 04:32 | division, click on the Bass
Track, Command+T to Split,
| | 04:35 | and I'll use the right arrow to get to the end of
the Pre-Chorus and Command+T to split again.
| | 04:41 | I'll zoom back out a little bit.
| | 04:43 | Now we have got three bass regions.
| | 04:45 | There's no such thing as Take 4 up here
because I didn't even play anything there, so
| | 04:49 | we can go ahead and switch back to Take 2.
| | 04:51 | I know that's the one I wanted to use.
| | 04:53 | Take 4 is that tiny little tag of a
cycle region when I came back around and it
| | 04:57 | started almost trying to record again,
| | 04:59 | so that's not even a real take.
| | 05:00 | In fact, we would even go delete Take 4
and get rid of that from the list entirely.
| | 05:05 | "Selected Take will be deleted from the region,"
Absolutely, goodbye. And there's my Take 3.
| | 05:09 | So there is my punch-in and then on the
rest of the song, we go back to Take 2 as well.
| | 05:14 | So let's listen to it right now and I
will turn Cycle Region off, so it can
| | 05:18 | manually play through here as I would
like to, and we will listen to how it
| | 05:21 | sounds and then make adjustments if we have to.
| | 05:23 | First of all, let's listen
to it soloed and hear the punch.
| | 05:25 | (music playing)
| | 05:43 | Well, that's sounded nearly perfect,
and GarageBand really does a nice job cross-
| | 05:48 | fading between the old take and the new take.
| | 05:50 | You don't even have to worry about
cleaning up that edit at all.
| | 05:52 | As far as I'm concerned, that's a done deal.
| | 05:54 | I will go back and play the
whole section with the whole song in.
| | 05:56 | (music playing)
| | 06:13 | And that's how easy it is to punch in
a section of audio and just push your
| | 06:17 | recorded compositions that much further.
| | Collapse this transcript |
| Using Groove Matching to tighten up the rhythm of a performance| 00:01 | Anytime you're working with a number of
tracks, chances are that more or one of
| | 00:04 | them might be a little bit
out of rhythm with the rest.
| | 00:06 | Groove Matching is one of the new
features in GarageBand '11, and the results
| | 00:10 | you can achieve are quite amazing.
| | 00:12 | Some people feel that this is a little
bit like cheating--well, if you want to play
| | 00:16 | good rhythm, you've got to learn to play
good rhythm--but the truth is, a lot of
| | 00:19 | people are just starting out with music
or maybe they're actually pretty good at
| | 00:22 | music, but they're just starting out
with recording, and the whole idea of
| | 00:25 | throwing headphones on and tracking
guitar is a little bit of nerve wrecking,
| | 00:28 | you are not going to do your
best performance all the time.
| | 00:30 | Sometimes that's the performance you
have, so you can use Groove Matching to
| | 00:34 | bring the rhythm of a given track into
step with the rhythm of another track.
| | 00:38 | It's kind of a luxury to be able to
just sort of click a couple of buttons in
| | 00:41 | GarageBand and bring your rhythm
section into groove with each other.
| | 00:44 | So if this is something
you want to use, go for it.
| | 00:47 | If you feel like it's
cheating, then don't use it.
| | 00:49 | It's one of those features
that's totally up to you.
| | 00:51 | It's not automatic, but it's very powerful.
| | 00:54 | A good example of the groove
matching function would be to tighten up my
| | 00:58 | original scratch acoustic guitar part
using the drum track that I laid in here
| | 01:02 | as the groove track, and then I can use
the groove assigned check boxes, as you
| | 01:06 | will see, to connect the guitar part to
that drum loop track, and I will do this
| | 01:10 | by hovering my mouse over the
left edge of any of the tracks.
| | 01:13 | You will see that you can click to
assign one track as the groove track.
| | 01:18 | So the fact that I used drum loops
from the Apple Loops library and I know
| | 01:21 | that these loops are solid, going to
make that my groove track by clicking on
| | 01:25 | the star to the left.
| | 01:26 | GarageBand wants to
analyze audio for groove tracks.
| | 01:28 | You have to actually give it
permission to go through and find all of the
| | 01:33 | rhythmic anomalies and sort of figure
out where it's going to do its work.
| | 01:36 | And we also have to enable the Follow
Tempo & Pitch function, which as soon as
| | 01:41 | I click Continue here, I can
show you where that's located.
| | 01:43 | Normally you would have it off,
but in order to perform a groove-match, you
| | 01:47 | have got to let GarageBand switch Follow
Tempo & Pitch on, so go ahead click
| | 01:50 | Continue to that as well.
| | 01:51 | So GarageBand performed an analysis of my
bass track, my acoustic guitar track and
| | 01:57 | also the drum track as the master.
| | 02:00 | By default, it has placed a check mark here
in the left column for both Bass and Guitar.
| | 02:05 | But perhaps I want to keep the bass as
it was when I recorded it and justify
| | 02:10 | Groove Matching to the acoustic guitar.
| | 02:12 | So I can turn those off and decide which
tracks I want to apply Groove Matching to.
| | 02:17 | Drum loops are often a really good
choice for groove masters, since they're
| | 02:20 | completely in time, but there's no
reason not to use whatever drummer you have
| | 02:25 | playing on your song, even if it's not
loops, since the drummer is first and
| | 02:28 | foremost setting the time and feel of the song.
| | 02:31 | If your drummer is falling out of step,
hopefully you have another track you can
| | 02:34 | elect as the groove track and
lock your other tracks to it.
| | 02:36 | What I want you to take a look at here--
| | 02:38 | I am going to zoom in a little bit more
so we can see our waveforms a little more
| | 02:42 | clearly of guitar and bass here--
| | 02:44 | when I actually click the check mark in
the left column to follow the timing of
| | 02:48 | our groove track in the acoustic guitar,
| | 02:49 | I want you to watch these waveforms
just carefully and notice when I click the
| | 02:53 | check box that they are actually
going to nudge around a little bit.
| | 02:56 | GarageBand has used the rhythm of
the drums to reposition the transients
| | 03:00 | within this acoustic guitar track to
match it so that the rhythm is solid
| | 03:04 | between the two took.
| | 03:06 | So keep your eye on those waveforms.
| | 03:07 | See how they just moved around a
little bit there? I'm going to scroll further
| | 03:13 | along in the song here, because I know that
there is a part right here before the Chorus--
| | 03:17 | let me turn Groove Match off here for a sec
and zoom in a little bit more Pre-Chorus--
| | 03:22 | I was listening back to the song
here before recording this movie and
| | 03:27 | realizing that when I came in at the
beginning of the Chorus on the acoustic
| | 03:31 | guitar track that in fact I was a bit
late to my rhythm, and you can actually
| | 03:36 | see that here as I zoom in.
| | 03:38 | This is the downbeat of Chorus.
| | 03:39 | Here is Bar 26, so as far as the
Metronome is concerned, this is the one, and
| | 03:44 | the drum part really does come in there.
| | 03:46 | That first snare kick drum hit right
at the beginning, it's on the money.
| | 03:49 | My guitar note is a little bit late,
so sort of lagging out a little bit.
| | 03:53 | The bass is fine, the bass is right on
here on the money as well, but as I click
| | 03:57 | this, watch how this waveform
scoots back to the top of the bar.
| | 04:01 | That's basically what Groove Matching is doing--
| | 04:04 | it's stretching and compressing your
audio to match another track that you
| | 04:07 | elect as your grid.
| | 04:08 | So let's listen to it without.
| | 04:10 | You can sort of hear me
coming in a little bit late.
| | 04:12 | It's kind of subtle. I am not very late,
but late enough to make this worth doing.
| | 04:16 | (music playing)
| | 04:20 | Play it one more time.
| | 04:21 | (music playing)
| | 04:24 | So I feel like that guitar
is just a little bit soggy.
| | 04:26 | It's a little bit behind the beat.
| | 04:28 | I am going to click Groove Match on
and play the same section for you.
| | 04:30 | (music playing)
One more time.
| | 04:35 | (music playing)
| | 04:38 | So now everybody is on the money.
| | 04:39 | We have got nice-sounding rhythm track
and we can go back to the beginning and
| | 04:43 | take a listen and hear this tight track.
| | 04:45 | (music playing)
| | 05:00 | I am going to adjust some of my
volumes just a little bit, while we are
| | 05:02 | listening back here as well,
| | 05:03 | try to get a little bit of a better blend.
| | 05:06 | (music playing)
| | 05:40 | So let GarageBand help your tracks
really stand out by using Groove Matching in
| | 05:45 | moderation, especially when trying to
push your rhythm tracks to be as solid as
| | 05:49 | they can possibly be.
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|
|
6. Recording Electric Guitar TracksTuning up and tracking a rhythm electric guitar part| 00:00 | Time to record some big crunchy guitars.
| | 00:02 | I'll take this opportunity to show you
the tuner in GarageBand and while you
| | 00:06 | didn't see me tune the acoustic guitar
or the bass earlier, I can assure you
| | 00:10 | that I spent time making sure they were in tune.
| | 00:12 | Select Tuner from the LCD display
menu and pick each string cleanly,
| | 00:18 | independently, and make
adjustments until your tuner turns blue.
| | 00:22 | The needle should sort of
point straight up in the middle.
| | 00:24 | If you're flat, it will be to the left;
if you're sharp, it will be to the right.
| | 00:28 | So you want to make it balance in the middle.
| | 00:30 | Making sure all of your instruments are
in tune is one of the bare essentials in
| | 00:33 | recording music that can have a huge
impact on the overall sound of your track.
| | 00:38 | Even when things are only slightly out
of tune, most listeners will feel like
| | 00:41 | something is just not quite right,
even if they can't put their finger on it.
| | 00:44 | (music playing)
| | 00:55 | Option+Command+N for a new track,
and this time I will choose Electric Guitar.
| | 01:00 | Using the Guitar Amp Preset menu, I will
choose Fat Stack and get ready to track a pass.
| | 01:06 | This time I am going to double track
the guitar part, which means I'll actually
| | 01:09 | record it twice on two separate tracks
so that it will sound like there are two
| | 01:13 | guitars playing together on
the same part in my final mix.
| | 01:17 | Let's do the first one.
| | 01:18 | I am going to do press R and then sit
back and wait for the big moment to come in.
| | 01:21 | (music playing)
| | 02:28 | Okay, now with that guitar track
still selected, press Command+D to
| | 02:32 | duplicate the track.
| | 02:33 | This will give you a new track of the same type,
with the same effects and settings in place.
| | 02:38 | You will notice that it only
duplicated the track and not the audio region
| | 02:42 | contained within the track.
| | 02:43 | That's because you can independently
duplicate a region, and this was just the
| | 02:47 | approach of duplicating a track so
that we can record our second guitar part
| | 02:52 | into a track that's already set
up exactly the same as the other.
| | 02:54 | So effectively, they sound the same as
each other. So that the original guitar
| | 02:58 | part isn't competing for my
attention while I'm tracking this new one,
| | 03:02 | I am just going to press Mute
and keep it out of the mix for now.
| | 03:05 | Okay, I am ready to track the second electric
guitar part, so I'll press R and give it a go.
| | 03:10 | (music playing)
Now I am double tracking.
| | 03:14 | (music playing)
| | 04:15 | Cool, now that I've got my two rhythm
guitar tracks, in the next movie we can
| | 04:19 | work on balancing, panning, and
tightening those guitar parts up, so they serve
| | 04:23 | the song as a proper wall-o-guitar.
| | Collapse this transcript |
| Customizing the guitar sound using amps, stompboxes, and effects| 00:00 | Now that we have got our double-tracked
Fat Stack guitars here, let's make use
| | 00:04 | of the fact that we have an entire
stereo spectrum to play sounds within.
| | 00:09 | Now if you think of wearing a set of
headphones or listening to two
| | 00:12 | speakers--a left speaker and a right
speaker--GarageBand allows you to pan your
| | 00:15 | sound from left to right around
basically what's considered to be a stereo arc,
| | 00:20 | and that positioning of sound can help
give both differentiation between sounds,
| | 00:25 | make something distinct, and create
some room for sounds to stand on their own
| | 00:29 | and have their own sonic space to live in.
| | 00:30 | So having all of our panning knobs
right up center right now is part of what's
| | 00:35 | making this sound like very one-dimensional mix.
| | 00:37 | I will play a little bit of it
right now and just listen to it.
| | 00:39 | (music playing)
| | 00:45 | Okay, and if you are not listening to
this on stereo speakers or in headphones
| | 00:49 | right now, you are probably
not hearing it to that degree.
| | 00:52 | You may want to come back and revisit
this chapter when you do have a stereo set
| | 00:55 | of headphones on, so you can really hear it.
| | 00:57 | What we want to do with our stereo
guitar tracks is pan one hard left and one
| | 01:03 | hard right, allowing each of those
tracks to independently live in the two
| | 01:07 | speakers, and it will create a much wider
degree of space between the two, making
| | 01:11 | this guitar track essentially sound huge.
| | 01:13 | It's going to be much wider than
this sort of narrow center-focused sound
| | 01:18 | that it currently has.
| | 01:19 | So I am going to play the guitar track
and the whole mix right now and as we go,
| | 01:24 | I am going to pan the first one to the
left and the second one to the right and
| | 01:28 | go ahead and listen for the difference
once I have actually panned them out.
| | 01:31 | (music playing)
| | 01:44 | Bring them back to the middle now.
| | 01:45 | (music playing)
| | 01:59 | So another thing you're probably
noticing is that once they are panned, they
| | 02:02 | actually end up feeling a little softer.
| | 02:04 | Basically what you're getting is 50%
of the overall sound that was coming out
| | 02:08 | when it was in the middle, because when
anything is panned to the center, you're
| | 02:12 | having an equal amount of sound in
the left that you do in the right.
| | 02:15 | So if we go all the way to one side,
you're getting a little bit of attenuation
| | 02:19 | down on the overall volume.
| | 02:20 | So we might need to bring
them up in the mix a little bit.
| | 02:23 | I'm going to go back to the beginning of the chorus
and work with their balance just a tiny bit.
| | 02:27 | (music playing)
| | 02:36 | Okay, that sounds pretty good.
(music playing)
| | 02:41 | Now the other thing we have to think
about beyond placement in the stereo
| | 02:44 | spectrum is what is our overall sound doing?
| | 02:46 | So we're going to focus a lot more
on this during the mixing chapter,
| | 02:49 | but for now, I actually do kind of
want to tweak the overall guitar sound and
| | 02:53 | see if I can get them blending in with
the acoustic guitar a little bit better
| | 02:57 | because it's got more of a clear,
almost brittle sound to it, whereas these
| | 03:00 | guitars are very, very warm and very chorused,
| | 03:02 | so I want to kind of brighten
them up maybe a tiny bit as well.
| | 03:05 | So what I want to do is actually solo
out the acoustic guitar and both of the
| | 03:09 | stereo electric guitar tracks,
so we can hear just guitar.
| | 03:12 | Let me go back to the top again, and I
am going to open up my Track Info panel
| | 03:16 | so I can start to look at the sound of
my Acoustic Guitar, my Fat Stack left,
| | 03:22 | and Fat Stack right.
| | 03:23 | In fact, now that I say that and these are
named the same thing, let me take a quick
| | 03:26 | moment to name them properly,
| | 03:29 | now that we have split them up. So now
we've got Fat Stack left and Fat Stack right.
| | 03:35 | Let's go ahead and
listen to these three guitars.
| | 03:38 | I will use the right-arrow to skip ahead
and get to the place where they all come in.
| | 03:44 | (music playing)
| | 03:53 | Now my sense is that I want to kind of
open up the tone of the distorted guitars
| | 03:57 | just a little bit to make them sort
of have a little more life and kind of
| | 04:01 | breath and sort of high-end quality to them.
| | 04:03 | Right now, they are very warm and mid,
which is great for a Fat Stack, but I kind of
| | 04:07 | want a little more presence.
| | 04:08 | So what I am going to do right now then
is solo just one of these tracks so we
| | 04:13 | can hear the guitar and then work on
editing its sound. And for the moment, I am
| | 04:17 | going to pan it center so we can
actually hear it in both the ears.
| | 04:20 | The first thing I am going to do
while I am playing is look at, by clicking
| | 04:24 | once on the guitar amp, what the
settings are for the preset for a Fat Stack on
| | 04:28 | the amp and make some adjustments to just
see what I can do with this tone a little bit.
| | 04:32 | (music playing)
| | 04:36 | More presence will make it
feel brighter and more open.
| | 04:40 | (music playing)
| | 04:46 | You can hear as I am going up and down
with that, it sort of sounds more like
| | 04:49 | it's almost like it's going,
sort of opening and then closing.
| | 04:53 | So here is the opening and closing.
(music playing)
| | 05:00 | So what you are going to try to do is
find the sweet spot. What sounds good?
| | 05:02 | What's the tone you're going for?
| | 05:03 | So I am going to try to
adjust this right now to my taste.
| | 05:05 | (music playing)
| | 05:17 | That sounds a little bit better to me.
| | 05:19 | Let me hear it with the acoustic now, see what we think.
(music playing)
| | 05:33 | I kind of like the sound of that.
| | 05:34 | Since we've been talking about
stereo panning, the actual movement of
| | 05:38 | positioning your pan fader to the
left or the right of the center,
| | 05:42 | there is a number of ways you can do it.
| | 05:43 | If you click and hold and drag up then
the fader will go to the right; if you
| | 05:48 | click and hold and drag
down, it will go to the left.
| | 05:51 | You can put it back in the center by
Option+Clicking on the Pan Fader, and the
| | 05:55 | other way you can do it is by
positioning your mouse in the middle and using
| | 05:58 | your scroll wheel down, you can
go to the left and scroll wheel up,
| | 06:02 | you can go to the right. And that
same actually effect works on the volume
| | 06:07 | slider as well, so you can use your scroll bar
if you want to, but it sort of jumps in
| | 06:11 | pretty big increments, which is why I
prefer to kind of get in here and drag it.
| | 06:15 | They don't give you a whole lot of room
here with the Volume fader so you sort
| | 06:18 | of have to work with it in
whatever way is best for you.
| | 06:19 | So in addition to adjusting the amp settings--
let me go back to just hearing my Fat Stack Left--
| | 06:26 | I am going to look at our
stompbox pedal here right now.
| | 06:30 | The preset for a Fat Stack comes with an
overdrive pedal, but maybe we can add a
| | 06:34 | little bit to that, sort of have
some additional fun with our sound here.
| | 06:37 | I am going to play again.
| | 06:39 | Clicking once on Overdrive will bring up
the settings for that particular pedal,
| | 06:43 | so you can adjust them.
| | 06:43 | We also have a sort of overall drive
control on this pedal, a tone control, and Level.
| | 06:50 | Level will just make it louder or
softer, and the Drive kind of increases the
| | 06:54 | grip of the distortion sound, and the
Tone is almost like another presence we
| | 06:59 | had on the amp itself.
| | 07:01 | So we were adjusting the amp's presence.
| | 07:03 | This could adjust sort of overall tone
to the right is this sort of higher tone,
| | 07:07 | and to the left is sort of a lower
warmer tone if we wanted to. I am going
| | 07:11 | to leave that how it is there because that
pedal's sounding fine to me right now.
| | 07:14 | But that's how you can
get in here and adjust this.
| | 07:17 | If you'd like to see your entire
library of stompbox effects, just
| | 07:20 | double-click on any one that happens
to be sitting in front of your amp, and
| | 07:24 | you can see all 15 of them.
| | 07:25 | There is a whole bunch of different ones here.
| | 07:26 | There's a couple of choruses,
some additional distortion pedals, the
| | 07:30 | Grinder, the Fuzz machine.
| | 07:32 | There is a lot of tremolo effects and
vibrato effects in some of these. The Vibe
| | 07:36 | and the Squash Compressor can
give you some additional compression.
| | 07:39 | I encourage you to play with all of these.
| | 07:40 | They all have a wide variety of sounds to them.
| | 07:44 | For now let's just add the Phase Tripper
phaser effect to our pedal by clicking
| | 07:48 | and dragging and dropping it on the floor.
| | 07:51 | Now, we've got Overdrive and Phaser.
| | 07:53 | If I double-click, I will leave the
sort of well editing mode and look at my
| | 07:58 | pedalboard as it currently is.
| | 07:59 | So here is the phaser. It's on.
| | 08:01 | I can tell it's on because the light is on.
| | 08:03 | If I click the big button, I can turn it off.
| | 08:05 | It goes gray up here and this light
goes off, so you can bypass any stompbox
| | 08:08 | effect easily by doing that.
| | 08:10 | I am going to play the track back,
and then I am going to turn the phaser on and
| | 08:13 | show you want it sounds like to add that sound.
| | 08:15 | (music playing)
| | 08:25 | So the phaser is kind of a moving
filter effect that sort of sweeps and swoops
| | 08:28 | Even though the Phase Tripper is sort of
this very obvious sort of almost obnoxious
| | 08:30 | from highs to lows, and you can adjust
the speed at which that swoop occurs
| | 08:35 | with the Rate knob.
| | 08:36 | You can adjust how deep the swoop is
at that rate with the Depth knob, and the
| | 08:41 | Feedback sort of controls how much of
these sort of other qualities of harmonics
| | 08:46 | and sort of overtones that
come in are involved in the sound.
| | 08:48 | So as I play, I am going to sort of
monkey with these knobs a bit, and you can
| | 08:52 | see how fun it is to sort
of mess around with this.
| | 08:54 | (music playing)
| | 09:32 | sound when you get it really cranked up,
| | 09:35 | if you pull back on some of these and you
can get the Rate kind of low, make it
| | 09:38 | be a slow sweep, bring the Feedback down a
little bit, you can kind of get a neat effect.
| | 09:43 | So what we'll do is I will keep this
phaser stompbox in line here, and we will
| | 09:48 | bypass it for now. And later when
we're in the mixing chapter, what I'd
| | 09:52 | actually like to do now that I've sort
of heard this on the sound is when we
| | 09:56 | get to a certain point in the song, maybe the
chorus or maybe the pre-chorus--we can experiment--
| | 10:00 | we will use Automation in the mixing
phase to kick the phaser on at that
| | 10:05 | perfect spot that we want it on and
then pull it back out where we don't want
| | 10:08 | it to be there anymore.
| | 10:09 | So I have one other thing to do, which is
bringing this setting that I just made and
| | 10:13 | the adjustments I made
here over to my other track.
| | 10:16 | So I could just go into that track and
do it manually, but of course, we have
| | 10:20 | our friendly Save Setting down here.
| | 10:21 | So what I am going to do is click it and
call this Fat Stack II and hit Save, and
| | 10:28 | now you'll notice it's
actually been added to our presets.
| | 10:32 | So I can go over to the other guitar
track, which is still set to Fat Stack, and
| | 10:36 | change it to our new setting, Fat Stack
II, and it brings in that new presence
| | 10:43 | adjustment and the phaser as is.
| | 10:45 | I can un-solo that track, bring these
back to their proper panning position, and
| | 10:51 | now we can go ahead and listen to it
in the song. And just so you can hear how
| | 10:55 | it's going to be, I can manually throw
the Phaser in as we run through here.
| | 10:57 | (music playing)
| | 11:27 | So that's how easy it is and how much
fun it is to experiment with all the
| | 11:31 | different parameters you can adjust
on your guitar amps, on your stompbox
| | 11:35 | pedals, and also working with the
stereo spectrum to really modify the sound of
| | 11:39 | the instruments that you've recorded to
bring your mix to the place that you're
| | 11:42 | really trying to hit with it.
| | Collapse this transcript |
| Using Flex Time to fix a double-tracked rhythm guitar part| 00:00 | We spent some time talking about
rhythm and timing in the movie on Groove
| | 00:03 | Matching and how we assigned our
syncopated drum track to be our groove track
| | 00:08 | and matched the rhythm of the
acoustic guitar track to that by clicking the
| | 00:12 | check box on the left.
| | 00:13 | I'd actually like to do the same thing
with our two guitar tracks and click the
| | 00:17 | Groove Match check box on the left.
| | 00:19 | Let them fall in step with that drum
loop as well, because the rhythm is a little
| | 00:23 | bit sketchy on some of these little phrases.
| | 00:24 | So I'm just going to feel
comfortable clicking those and know that these
| | 00:28 | are nice and clean.
| | 00:29 | I am also noticing one other thing.
In the last movie we applied a new
| | 00:33 | preset that we had customized to these two
guitar tracks and had called it Fat Stack II.
| | 00:37 | GarageBand has this habit of renaming
your tracks every time you touch anything
| | 00:42 | having to do with the presets,
so it's called them both Fat Stack II.
| | 00:46 | I am going to take one second here and
click and rename these to Fat Stack Left
| | 00:52 | and Fat stack Right, so they're
named the way I'd like them to be.
| | 00:58 | So now that I've groove-matched both
of these tracks to that original drum
| | 01:01 | track, I can feel safe in
knowing that these are nice and tight.
| | 01:05 | Well, there happens to be some spots
where I played something completely in
| | 01:09 | rhythm that is not what I wanted to play.
| | 01:12 | So what I'm talking about here
specifically--I will put the playhead
| | 01:16 | roughly up to the spot where it is
and zoom in for you, so we can all see
| | 01:20 | what's going on here--
| | 01:21 | the rhythm of this one bar, there's
sort of an accent on the two of the bar in
| | 01:25 | the Acoustic Guitar track.
| | 01:26 | You see here's bar 16, and here's
the first quarter note of bar 16.
| | 01:30 | So that's the 1, 2, and here's
where that acoustic guitar accent is.
| | 01:35 | I am noticing that on Fat Stack Left
guitar I played that accent just fine, but
| | 01:40 | on Fat Stack I I came right in on the 1.
| | 01:42 | Well, let's say I want to move that to the 2.
| | 01:45 | I can double-click on this region and
open it up in the editor, and you can see
| | 01:49 | that the playhead is
actually right here in both windows,
| | 01:53 | so at bar 16. So this is my chord
that I want to move over here to the 2.
| | 01:58 | You will see that this cursor in the top
half of the editor window is the Flex tool.
| | 02:03 | If I go below the median, it
becomes the Selection tool.
| | 02:07 | So you need to make
sure you're up on top here.
| | 02:09 | So as I've located the note that I
want to move, go ahead and click the Flex
| | 02:13 | Time Marker on that accent, and then
take a look up here in the timeline.
| | 02:17 | I'll move the playhead out of the way.
| | 02:18 | When I hover my Flex tool over that
area that I just marked, I get a little
| | 02:23 | arrowhead, a line, and an X.
This X will delete that flex edit.
| | 02:28 | If I click it, it just goes away.
Or if I hover over the marker, I can click
| | 02:34 | and drag the marker, effectively moving my
chord away from where it was in to a new location.
| | 02:41 | I am going to hit Undo
because this is important to look at.
| | 02:43 | If I move past this region of
highlighted color, GarageBand wants to kind of
| | 02:49 | swallow up that whole chord.
| | 02:50 | So what it does is when it says, "Ooh!
| | 02:52 | You're moving too far," is it says we
probably want to flex this entire next piece.
| | 02:57 | So it goes ahead and selects that
as flexible for you automatically.
| | 03:01 | So we can just keep moving this chord
out till we position it where we want it
| | 03:06 | on the two of the bar
instead of on the one of the bar.
| | 03:09 | So let's listen to it with the
metronome on, before I've made the Flex move,
| | 03:15 | from bar 15, so we'll hear one bar of
time, and then we'll hear that chord
| | 03:20 | playing on the one, and I am going to
solo that track out. And actually I will
| | 03:24 | put it in the middle again,
so it's very easy to hear.
| | 03:27 | (music playing)
| | 03:32 | One more time, I will go back two bars,
so we get a little more time to hear.
| | 03:35 | (music playing)
| | 03:41 | So it comes right in on the one.
| | 03:44 | Now when I move it to the
two and play it from bar 14.
| | 03:51 | We'll hear 1, 2, 3, 4, 1, 2, 3, 4, 1,
2 is where it will come in.
| | 03:56 | (music playing)
| | 04:01 | So I've effectively displaced that chord
by one beat just by using the Flex tool
| | 04:06 | to click and drag a note into a new
place, incredibly easy to do that.
| | 04:10 | Let me pan that back out to the right,
and let's hear both parts together and
| | 04:14 | make sure they're in sync.
(music playing)
| | 04:19 | Sounds good. I will even check it out with the
acoustic guitar too just to make sure
| | 04:22 | everything is sounding good.
| | 04:23 | (music playing)
| | 04:28 | So that's perfectly flexed in my opinion now.
| | 04:30 | So I am going to scroll to the end of
the tune by using my scroll slider to move
| | 04:36 | sideways. And I know that there's
something I heard toward the end that I wasn't
| | 04:41 | terribly happy about either in the Fat
Stack guitar, so I am going to use this
| | 04:45 | as an opportunity to do one more flex move here.
| | 04:48 | I am going to play it from about bar 35,
zoom back out a little bit and give this a listen.
| | 04:54 | (music playing)
Move back a little.
| | 05:00 | (music playing)
| | 05:04 | Yeah, that's where it is, sort of strange.
(music playing)
| | 05:09 | I sort of want it to play da, da, da, da,
and that last little note
| | 05:14 | is sort of out of time.
(music playing)
| | 05:18 | It kind of comes late and sort
of feels sloppy and sort of late.
| | 05:21 | So I think it's in this track.
| | 05:23 | I am going to use
Option+Click to center-pan this.
| | 05:31 | It looks like maybe that's the note there.
(music playing)
| | 05:35 | Yeah, so that's in the wrong place.
I am just not happy with that.
| | 05:37 | Zoom in a little bit,
| | 05:39 | get my Waveform so I can see what I'm doing.
(music playing)
| | 05:44 | Click my Flex Time tool and I am
going to try a couple of things.
| | 05:48 | Do I want it on the 4, do I
want it on the 1? I am not sure.
| | 05:51 | Let's listen to it on the 4.
| | 05:52 | I am going to go back to bar 33,
so we can hear a whole bar.
| | 06:01 | (music playing)
Okay, so that felt pretty natural. Da, da, da.
| | 06:09 | I am going to try it on the 1
also and see if that's what I want.
| | 06:13 | (music playing)
And that feels really late.
| | 06:19 | I am not into that.
| | 06:20 | I think we want it on the 4, and let's see what
happens in the other track, at that same spot.
| | 06:26 | (music playing)
| | 06:29 | Center that up as well.
(music playing)
| | 06:33 | Yeah, it looks like I'm sort of
playing a slightly different part there, but
| | 06:36 | I'm hitting on the 4.
| | 06:37 | So I think I am going to
be happy with that choice.
| | 06:40 | Pan these back out where they
belong and listen to it together from 33.
| | 06:47 | (music playing)
Excellent! That sounds good to me.
| | 06:55 | Those are in good shape.
| | 06:56 | Let's hear that same moment in
the mix from almost back to 33.
| | 07:02 | (music playing)
| | 07:06 | Yeah, so now it sounds like
that's what I intended to play.
| | 07:08 | Everything is going on that 4.
| | 07:10 | It's that easy to use Flex Time and the
Flex tool to move a note or a few notes
| | 07:14 | forward or backward in time to fix
rhythmic mistakes or even change a creative
| | 07:18 | idea after the fact.
| | 07:19 | Why not take a few extra minutes
to clean up a few problem spots?
| | 07:23 | Your Flex Time edits are always left
highlighted so that you know when you've
| | 07:27 | made a Flex Time edit in the past.
| | 07:28 | So when you come back into your
project, you'll always see that color
| | 07:34 | highlight, telling you, hey!
| | 07:35 | I already moved that in the past.
| | 07:36 | So that's a really helpful reminder
that you've made flex edits as well.
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| Using Cycle Record to record multiple takes for soloing| 00:00 | It's time to lay down a lead guitar
part to add some more space to the song.
| | 00:04 | I am going to create an electric guitar
track and select Dreamy Texture from the
| | 00:10 | Electric Guitar Preset menu and
go ahead and record a lead track.
| | 00:15 | (music playing)
| | 01:23 | Okay, cool! Something that makes recording and
finalizing your parts a breeze is being
| | 01:28 | able to record multiple takes of the same part
and then choose between them, or even combine them.
| | 01:33 | The process of editing several takes
into one final performance is usually
| | 01:37 | called comping a part and
it's easy to do in GarageBand.
| | 01:40 | Click this Cycle Record button and we still
got the one from when we did our bass punch-in.
| | 01:45 | This is exactly the area that I want
to work with, since the guitar solo area
| | 01:50 | during the pre-chorus of that take
that I just did, had a whole bunch of
| | 01:54 | mistakes in it, but the beginning
part was fine, the end part was fine.
| | 01:56 | It's just that pre-chorus
that was all over the place.
| | 01:59 | So I'm going to use the Cycle Record
technique to record multiple passes, and
| | 02:03 | then we'll comp together a final guitar solo.
| | 02:06 | I will start the cycle region at the
beginning of the pre-chorus, or one bar
| | 02:11 | before it, bar 19, and then go all the
way out to bar 27 just like we did in an
| | 02:14 | earlier movie when we punched in the bass part.
| | 02:17 | This gives me plenty of time to let the last
note ring out into the beginning of the chorus.
| | 02:21 | My plan is to do three or four passes,
allowing me to choose between multiple
| | 02:25 | takes of lead guitar, or even split
them up and comp the best version I can.
| | 02:29 | (music playing)
| | 03:34 | In the next movie, we'll take these
five passes apart and decide what our final
| | 03:38 | lead guitar break should sound like.
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| Compositing a final guitar solo from multiple takes| 00:00 | Using the Multiple Takes feature in
GarageBand to give yourself some choices is
| | 00:04 | the name of the game with comping.
| | 00:06 | I recorded several lead guitar passes
in the last movie, and in this one we're
| | 00:10 | going to use the Split function
again to cut the audio region and to comp
| | 00:14 | together a lead guitar part.
| | 00:17 | Some may call this process
frankensteining the guitar solo, but I like to think
| | 00:20 | of it as creative jigsaw-puzzling.
| | 00:23 | So the way that we're going to go
about this is, just like we did when we
| | 00:26 | punched bass in, is position the
playhead before the Pre-Chorus and use the
| | 00:31 | Split command, which is Command+T, and then
move the playhead to the end of the Pre-Chorus,
| | 00:36 | select the region we want
to split, and Command+T again.
| | 00:39 | So let's do some quick housekeeping
before moving on to comping the solo.
| | 00:44 | I know that the original guitar part
needs to be Take 1 at the beginning
| | 00:48 | and Take 1 at the end.
| | 00:50 | So for these two independent audio
regions now I can jettison Take 2 through 6,
| | 00:55 | because there was actually nothing here.
| | 00:57 | I only did Take 2 through
6 during the Pre-Chorus.
| | 01:00 | So I'll say Delete unused takes, and I'll
do the same thing for the other audio region.
| | 01:10 | So Take 1 is all that remains for the
first half of the song and for the ending,
| | 01:15 | and now for the Solo Section we
have all six performances that I did.
| | 01:20 | Now in your exercise file you'll have
all six of these takes, and you can feel
| | 01:23 | free to go ahead and review them
all, see which one you like best.
| | 01:26 | In fact, you could probably make a
different version of the guitar solo.
| | 01:30 | I know that my original pass when we did the
lead guitar all the way through was horribly bad.
| | 01:35 | I made a number of mistakes in there,
so that was what drove me to doing
| | 01:38 | multiple takes after that,
to sort of replace the solo.
| | 01:42 | But I reviewed these already, and to me
the first half of Take 5 is the best,
| | 01:48 | the first half that we have, and
the second half of Take 6 is the best,
| | 01:51 | second half that we have.
| | 01:53 | So what I want to do is I'm
going to go back to Take 5.
| | 01:56 | You see that this now says a total of 6
takes and we're listening to 5, and I'm
| | 02:01 | going to listen to the first half
and just make sure that's what I want -
| | 02:03 | (music playing)
| | 02:10 | So that's sound fine to me.
| | 02:11 | I'm going to double-click and open
this in the editor so I have a better view.
| | 02:15 | And Take 6 we'll listen to,
| | 02:17 | and listen for the second half, right about
here is where it's going to get good, if you will.
| | 02:21 | (music playing)
| | 02:33 | So it's basically right smack in the middle.
| | 02:36 | So I'm going to bring the playhead
back to the middle. Let's verify
| | 02:39 | that's where I want to be.
| | 02:40 | I'm going to double-click right here.
(music playing)
| | 02:44 | Okay, so I can see that waveform and
here is where the second half begins.
| | 02:48 | (music playing)
Okay, so right at the end of this note.
| | 02:54 | In case of Take 6, I may come in a
little bit early, so I want to make sure
| | 02:57 | there is enough room there.
| | 02:58 | Since Take 5 is the one I want, and
this is Take 5 I'm looking at, I'm free to
| | 03:04 | bring this playhead back as close
to the tail end of that as I want.
| | 03:07 | I don't want to cut it
off, but get pretty close.
| | 03:10 | Select, Command+T, and now simply leave
this on 5 and the second half we
| | 03:17 | can switch over to 6. So we've now Take 1, Take 5,
Take 6, Take 1, and here is our completed guitar solo.
| | 03:24 | (music playing)
| | 03:38 | It sounds good to me.
| | 03:39 | Turn off Cycle region. I don't need that
anymore. And if I want to, I can clean up here.
| | 03:45 | If there are some things that I wanted
to maybe revisit in here, I think I'm
| | 03:49 | not sure, or maybe I want something
different, definitely I would not delete
| | 03:52 | them. But I did listen to them all, and
as far as I'm concerned, these ones all
| | 03:55 | stunk compared to the last one.
| | 03:56 | So I'll delete those and I am going to
delete the unused takes here as well.
| | 04:01 | So now I've just flat audio regions,
and all the excess baggage is gone, and I'd
| | 04:09 | hit Save there and save this off.
| | 04:11 | Okay, so now we've got this comping
procedure done, the punch-in of the solo.
| | 04:15 | I'm going to hit Return and go back to
the beginning and listen to our whole new
| | 04:19 | Dreamy Texture lead guitar part.
| | 04:20 | (music playing)
| | 04:25 | I might do a little mixing on
the way through here as well.
| | 04:27 | (music playing)
| | 05:17 | That sounds good. Great!
That really sits in there quite well.
| | 05:21 | I'm happy with that.
| | 05:22 | So another way that you can use
comping creatively to put together a certain
| | 05:26 | part of the song that you may be you
still working on, let's say using comping as
| | 05:30 | a writing tool, is that you could
set up a cycle region and just sort of
| | 05:34 | improvise the part that you want to play.
| | 05:36 | Now when we did this guitar solo, I
was attempting to play a solo that I had
| | 05:39 | previously written, so this is sort
of different than what we did before.
| | 05:42 | Let's say I was making
up that solo from scratch
| | 05:45 | is you could just sort of play and then,
heck, you could do 25 takes if you wanted
| | 05:49 | to, and just make up something different
every single time, and then go back and
| | 05:54 | listen to all of your
different takes and try to decide, hey!
| | 05:57 | This is a great first quarter
middle part here I really like. Ooh!
| | 06:00 | I love that one little phrase, and geez,
I don't have really have a good ending.
| | 06:04 | Let me punch in again and try some new
endings and sort of use it as a way to
| | 06:09 | sift through your improvisations to
actually compose and write your part.
| | 06:13 | So, using comping as a way to put
together multiple takes of a part to try to
| | 06:18 | find that seamless performance is one
way, and using it to improvise creatively
| | 06:23 | to write a part is another
way that you can use comping.
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|
|
7. Recording Software InstrumentsRecording a Software Instrument track| 00:00 | It's time to add some keyboards to the track.
| | 00:03 | I am kind of hearing a nice distant
echoey piano part in my head and I'll try to
| | 00:07 | achieve some of what I am imagining
and we can refine it when we get to the
| | 00:10 | mixing process in a later chapter.
| | 00:12 | For now I have my MIDI keyboard
connected, so I'll take this opportunity to
| | 00:16 | record a part just using a piano sound
with some echo and maybe a bit of reverb
| | 00:20 | on it and I'll take some
time to edit the sound later.
| | 00:24 | New track, double-click Software
Instrument, and here's our piano sound, by
| | 00:29 | default Grand Piano, and
that's fine. I'll use that.
| | 00:32 | I am going to make a couple of
adjustments to the sound before I record.
| | 00:36 | I am going to turn the Compressor on.
| | 00:38 | Without it, Ground Piano, it's sort of
pretty soft and I want to get a little
| | 00:43 | more juice out of it.
| | 00:44 | So add compression, I am going to open
this window up and actually increase the
| | 00:48 | Compression Ratio a little bit so
we get some more out of this sound.
| | 00:51 | A part of that is the gain that we
are applying in the bottom slider.
| | 00:56 | Set a little bit of softer
Attack and a little more Gain.
| | 00:59 | I also want to enable the Visual EQ
which by default wants to boost the highs a bit
| | 01:05 | and I'd actually like to boost more
of the highs in terms of frequency range
| | 01:10 | but to a bit of a lesser degree
and we can refine this later as well.
| | 01:14 | And also, I am going to add some echo to try to
create this echoey piano sound I am going for.
| | 01:19 | What GarageBand calls echo is more
commonly referred to as Delay and some Reverb
| | 01:25 | also, a good amount of Reverb.
| | 01:26 | (Music playing)
| | 01:31 | Okay, that's getting close to
what I am looking for. Sounds good.
| | 01:34 | All right, so select your MIDI track to arm
it for recording and let's hit R to begin.
| | 01:39 | (Music playing)
| | 02:26 | Okay, I am going to stop it there.
| | 02:28 | It was an okay take, but I made a few mistakes.
| | 02:31 | I can very easily hit undo on a take,
Return to go back to the top, and R to
| | 02:35 | take another stab at it.
| | 02:36 | (Music playing)
| | 03:40 | All right, sounds good.
| | 03:42 | Now we can start to focus on
editing the part and since it's MIDI,
| | 03:45 | we are going to have a lot of options.
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| Editing the parameters of Software Instruments| 00:00 | The great thing about software
instruments is that you have complete control
| | 00:03 | over a wide range of aspects of your
sounds, all of which can be adjusted long
| | 00:07 | after the part has been recorded.
| | 00:09 | With the piano part that I just tracked,
the desire was for it to be an accent
| | 00:13 | or color, not really to take over the song.
| | 00:16 | So I am going to work with the piano
generator and the effects I have enabled on
| | 00:20 | the piano track to try to have it
fulfill a textual support role in my song and
| | 00:24 | not stand out too much.
| | 00:25 | So we need to get to the Edit tab.
| | 00:27 | You can get there quickly by double-
clicking the track header of the track that
| | 00:30 | you want to edit and then clicking Edit
tab and you will notice that we have two
| | 00:34 | separate areas here.
| | 00:35 | One is Sound Generator and the other is Effects.
| | 00:38 | In the Sound Generator area, you can
see this menu which basically is a list
| | 00:41 | of all of the individual sound
modules that make up the GarageBand software
| | 00:46 | instrument library.
| | 00:47 | All of the sounds that you hear are
all based on one of these in this list.
| | 00:51 | All the piano sounds come from the piano module.
| | 00:53 | So that's what selected up here.
| | 00:56 | Those are parameters that we can edit as well.
| | 00:57 | A piano module has Volume, Cutoff, and Release.
| | 01:00 | So as you move these sliders around,
you will find the sound of your piano
| | 01:04 | actually changing a bit, although it's not
changing from the piano say into a guitar.
| | 01:08 | So it's all within the realm of piano.
| | 01:10 | I am going to close this for just a
moment and a good way to work on editing the
| | 01:14 | parameters of software
instruments is to create a cycle region
| | 01:18 | on part of your track. I am going to
turn this on and slide this yellow bar over
| | 01:22 | to the beginning of where my piano starts.
| | 01:24 | I'll also make it a little narrow so
it doesn't have to play all the way into
| | 01:28 | the middle of the verse, just the beginning.
| | 01:30 | If I Solo piano by clicking the
Headphone icon and press Play, then
| | 01:34 | GarageBand will just play piano doing
this little looped area for me while I
| | 01:38 | work on editing sounds.
| | 01:40 | (Music playing)
| | 01:42 | So I am just going to let that play.
| | 01:43 | I am going to click on the Generator
Preferences and move the sliders around and
| | 01:48 | listen to how they change things.
| | 01:50 | (Music playing)
| | 02:07 | Trying to find the sweet spot
there where it's not too bright.
| | 02:10 | That's super bright.
| | 02:11 | (Music playing)
| | 02:15 | That's nice, and overall the
volume is probably in a pretty good space.
| | 02:22 | And hit Spacebar to stop the loop.
| | 02:23 | So that's a good way to work on editing
any of your parameters, is loop a small
| | 02:28 | section of the audio and then work on the
sliders and listen to how they change things.
| | 02:32 | I am going to keep moving down here
into the effects area and this particular
| | 02:37 | sound we just have a Compressor and a Visual EQ.
| | 02:40 | I'd actually like to use the EQ
of the sound before the compressor.
| | 02:45 | Your signal chain flows from the
top to bottom, so whichever is in the top slot,
| | 02:48 | that's the first thing that
effects your sound, and the next thing is the
| | 02:52 | next thing that effects that effected sound.
| | 02:54 | So you need to make the chain be the
order that you want things to happen.
| | 02:59 | So for me, I'd actually like to work
with the EQ before I compress my sound.
| | 03:04 | So I am going to put EQ up top, click
on its parameters, loop my sound again,
| | 03:09 | and then work with exactly how much of these
high-end frequencies I want to have boosted.
| | 03:15 | And I just need to click and drag in any of
these areas to raise or lower those frequencies.
| | 03:19 | (Music playing)
| | 03:40 | That sounds pretty good.
| | 03:41 | One thing you have to remember too is
if you're working on editing your sound,
| | 03:45 | especially when it comes to EQ and
Compression, in Solo mode, you're not you're
| | 03:49 | not hearing the piano in
league with all of the other sound.
| | 03:52 | So this is sort of just the starting place.
| | 03:54 | I am approaching this from the point of
view of what is it that I think I want
| | 03:58 | my piano to sound like and I am just
going to make some small edits, and then
| | 04:02 | when I start to combine the piano with
other sounds from the song, I can make
| | 04:05 | modifications to these if I need to.
| | 04:08 | So I am going to close EQ.
| | 04:09 | That sounds pretty good to start with,
but I also know that the acoustic
| | 04:12 | guitar part is going to be a big part
of the interplay between that and the
| | 04:16 | piano, because of the high end nature
of the guitar and also the sound of the
| | 04:19 | pick on the strings.
| | 04:21 | So for the moment I'm going to also
solo guitar, so I can hear both of them
| | 04:25 | together for a moment here.
| | 04:27 | (Music playing)
| | 04:39 | So, just sort of listening for
a nice blend between the two.
| | 04:42 | I just sort of got rid of a little
bit of the highs, so they seem like they
| | 04:46 | belonged together a little bit better for me.
| | 04:48 | There's also the simple matter of track volume.
| | 04:51 | When we get around to mixing, I am going
to be bringing a number of these sliders
| | 04:55 | down so we can start from a
quieter stage and build up.
| | 04:58 | For the moment this is still our
production mix, so we don't have vocals in here yet.
| | 05:02 | I am just going to keep things where
they are, but adjust the piano volume
| | 05:06 | relative to the guitar just a bit as well.
| | 05:08 | (Music playing)
| | 05:17 | The other thing I know that I want to
do with this piano is set it off to the
| | 05:20 | left of the stereo spectrum so that
when we work with the drum part, and this
| | 05:27 | is something I've already thought about.
Tthe drum part has a hi-hat and cymbal
| | 05:31 | track that plays sort of off to the
right a bit in its stereo spectrum.
| | 05:35 | So I am going to move the piano to
the left and bring the drums in and solo
| | 05:39 | those and we'll play those together as
well, and then I'll adjust the panning
| | 05:44 | of this piano part.
| | 05:45 | (Music playing)
| | 05:51 | Just move it to the left so
it bounces with the cymbals.
| | 05:53 | (Music playing)
| | 05:58 | I am keeping the syncopated drums in
the center, because that is already
| | 06:02 | a stereo audio track.
| | 06:03 | So if the cymbals are heavy in the right,
it is because that's how that stereo
| | 06:06 | file has been mixed.
| | 06:08 | Our piano part right now is essentially a
mono track which I'm positioning to the left.
| | 06:14 | The Reverb and the effects that are on
the piano part are actually stereo effects.
| | 06:18 | So there are opening up the picture
of the piano to sound stereo, but the
| | 06:23 | track itself is mono.
| | 06:24 | Finally, I do want to look at the
Compressor as well. I am going to turn the drums off.
| | 06:29 | I'll leave the guitar on for the moment,
because I like the way that these are
| | 06:31 | working together as I
sculpt this sound a little bit.
| | 06:35 | Compression gives us four parameters to edit.
| | 06:38 | The Threshold is the volume that your
sound needs to be at before the Compressor
| | 06:42 | will actually kick in and
compress your dynamic range.
| | 06:45 | So if I want to make the Compressor kick
in more often and be more aggressive, I
| | 06:48 | need to move the threshold lower to
left, and if I want it to tread a little
| | 06:52 | more lightly on my sound, I need
to move the threshold to the right.
| | 06:55 | (Music playing)
| | 07:09 | Ratio is how much compression is
actually happening at that threshold.
| | 07:13 | The Ratio right now for this particular
setting is 1.8:1, so not even quite 2:1.
| | 07:19 | If I wanted more compression to even
out the dynamic range, I'd slide this to
| | 07:24 | the right, but I actually want
it to be a little bit lighter.
| | 07:26 | So I am going to move off some.
| | 07:27 | Attack is how quickly the compression
kicks in, at this ratio at that threshold.
| | 07:32 | So if I wanted to be a faster response,
I can slide this down to the left.
| | 07:39 | Gain is my overall gain.
| | 07:41 | In this particular instance of the
Compressor plug-in is adding 6 dB to our
| | 07:46 | overall piano sound, which I think is good,
because the piano sound itself is very quiet.
| | 07:50 | (Music playing)
| | 08:02 | I am pretty happy with that.
| | 08:04 | I am going to leave it there.
| | 08:05 | I know that I can come back in here during
the mixing phase and make other adjustments.
| | 08:08 | And remember if you're happy with the
edits that you've made for your software
| | 08:11 | instrument presets, you can always
click Save Instrument, give it a name, hit Save,
| | 08:19 | and it will always be available
to you in your preset list in the future.
| | 08:23 | So especially in cases where
you're going to be recording a software
| | 08:26 | instrument, definitely remember
that you can make an infinite number of
| | 08:29 | adjustments to the sound afterward and
don't get hung up on trying to craft the
| | 08:33 | perfect sound first.
| | 08:34 | If you're inspired play or record
something, don't let sound editing hold you up.
| | 08:38 | Get it recorded first and then edit your
sound to your heart's content after the
| | 08:42 | recording light is out.
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| Editing MIDI notes in the piano roll editor after the performance| 00:00 | Another area of infinite control with
software instruments is the ability to
| | 00:04 | edit the actual notes of what you play,
deleting notes, adding notes, all within
| | 00:09 | the Editor using the Piano Roll Visual Editor.
| | 00:12 | Double-click the piano's MIDI
region to open it in the Editor if it's
| | 00:15 | not already opened.
| | 00:18 | You can scroll down in the top area
so you can still actually see your MIDI
| | 00:22 | region, and down here in the Editor we
can see all of the individual MIDI notes
| | 00:27 | that were played during the piano
performance, so each one of these is one of
| | 00:30 | the notes that I played.
| | 00:31 | (Music playing)
| | 00:33 | You can hear that.
| | 00:34 | You can always click on
these notes to see what they are.
| | 00:38 | You can select a group of notes by
clicking and dragging a box around them to
| | 00:41 | group-select which allows
you to then either delete them--
| | 00:44 | I am going to press Undo-- or perhaps
even change those notes by clicking and
| | 00:49 | dragging them up to scale.
| | 00:50 | (Music playing)
| | 00:54 | So now we have a different
way of the piano starting.
| | 00:57 | (Music playing)
| | 01:03 | One was like this.
| | 01:03 | (Music playing)
| | 01:10 | So very easy to change any notes that you have.
| | 01:13 | Currently, I recall a mistake happening
somewhere in the middle of the song
| | 01:17 | here, and I am going to try to find
it here really quick and we'll make a
| | 01:21 | quick edit there as well.
| | 01:22 | (Music playing)
| | 01:29 | There it was.
| | 01:30 | You see that little dissonant chord there?
| | 01:33 | (Music playing)
| | 01:34 | It's because of this note accidentally
tapped my finger while I was playing.
| | 01:39 | So I can just select that and delete it.
| | 01:40 | Now I've got a nice clear chord there.
| | 01:42 | (Music playing)
| | 01:47 | In fact, even this one is.
| | 01:49 | (Music playing)
| | 01:53 | Actually I'd be happier starting
with the suspended G and going up to
| | 01:57 | the major chord there.
| | 01:58 | (Music playing)
| | 02:05 | Okay, so that will work for now.
| | 02:06 | So those are two little areas I
happened to have heard when I listened back to
| | 02:09 | this a couple of times.
| | 02:11 | But that always happens whenever I
track MIDI performances, is just sort of
| | 02:14 | go back through everything up
here in the Editor and watch and listen to
| | 02:19 | see if there is anything that either
is a mistake and you can easily fix it, or if
| | 02:24 | you actually want to change what you play,
it's very easy to make those kinds of edits.
| | 02:27 | Another thing we can look at is quantizing.
| | 02:29 | So quantizing is almost the same as
groove matching except the groove that
| | 02:34 | you're matching is the rock-solid timing
of the metronome or the tempo of your song.
| | 02:39 | You choose a degree of
resolution that you'd like to quantize.
| | 02:41 | So, for example, in the quantizing
menu here since I have my piano region
| | 02:46 | selected, I can choose which note
resolution I would like to quantize to.
| | 02:50 | Now what quantizing means is I select
a note value like 16th note or 8th note
| | 02:56 | and all of the notes that I played in
my performance will snap to the grid to
| | 03:01 | the nearest one of those. So this is bar 8.
| | 03:04 | This is 1, 2, 3, 4 and our tempo of 4-4.
| | 03:09 | So those are quarter notes and the
smaller hash marks are the eighth notes.
| | 03:14 | So if I look at for instance this
first note that I played in this bar, I am
| | 03:19 | going to zoom in a little bit so you
can see it just a little better, is closer
| | 03:24 | to the 1 than it is to the E of
1 which is the 16th note after.
| | 03:30 | If I choose 16th note or 8th note in
this case, this note is just going to bump
| | 03:36 | right up against the bar.
| | 03:37 | Let's see if it actually does that.
| | 03:40 | So there's my 8th note.
| | 03:41 | I am going to hit Undo.
| | 03:42 | I can select that again and just do 16th note.
| | 03:46 | It will do the same thing, because
this is the closest 16th or eighth note to
| | 03:51 | that note where I played.
| | 03:53 | So what you should do when you're
trying to think of what note to quantize to is
| | 03:58 | the notes that you played in your
piece, are they largely 16th notes or 8th
| | 04:03 | notes or quarter notes?
| | 04:04 | In other words, what is sort of the
predominant rhythm that your part is utilizing?
| | 04:09 | It's almost always the case when you
quantize an entire performance is there's
| | 04:13 | going to some places where GarageBand
made the wrong decision for you, and you
| | 04:17 | may have to then go in
and edit your part further.
| | 04:20 | In this case, when I am talking about this
particular arpeggio that I am playing here -
| | 04:24 | (Music playing)
| | 04:27 | -- those are 8th notes.
| | 04:28 | I'd probably be largely happy with the
quantization that GarageBand applies.
| | 04:32 | So I am going to listen to
it now with the metronome on.
| | 04:35 | (Music playing)
| | 04:46 | Okay, so that whole
section I know is exactly right.
| | 04:48 | That's how I wanted that to be.
| | 04:49 | So I am probably going to end up with
some interesting things later on in the
| | 04:53 | song, perhaps toward the end.
| | 04:55 | Let's take a listen there.
| | 04:56 | (Music playing)
| | 05:04 | As far as I am concerned, those are
actually all in time exactly as I just sort
| | 05:08 | of hoped to play them.
| | 05:10 | The only problem with quantizing
is that in a sense it's too perfect.
| | 05:14 | So if I don't actually want to play
like a computer, I want to add some
| | 05:18 | of that human touch in,
| | 05:20 | that's where this slider beneath this
Quantize Note Timing menu comes into play.
| | 05:25 | If you have it set to Max then
GarageBand will move all of your notes exactly to
| | 05:30 | their nearest 8th note without any question.
| | 05:33 | As you slide this slider to the left,
just keep an eye on these notes here.
| | 05:38 | They'll start to quiver around a
little bit and move out of place, watch.
| | 05:41 | You see them moving?
| | 05:43 | So all the way to off is no quantizing at all
and the notes are exactly where I played them.
| | 05:48 | Somewhere in the middle is probably a
good place to be. For me, moving it all the
| | 05:54 | way into perfect timing is
not really what I'm going for.
| | 05:57 | I want a little bit of that
human feel still in there.
| | 05:59 | So I can come off to maybe say 70%,
kind of meets you in the middle between
| | 06:05 | perfectly quantized and what you played.
| | 06:08 | There still may be some areas that we
are going to want to edit a little bit
| | 06:10 | later on, but for now that is a
pretty solid quantized keyboard part.
| | 06:15 | So I am going to un-solo that track and
let's listen to part of it with the song.
| | 06:18 | (Music playing)
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|
|
8. Completing the SongRecording lead vocals| 00:00 | It's finally time to get
the lead vocal part recorded.
| | 00:02 | We've covered how to create Real
Instrument tracks in earlier movies,
| | 00:06 | Option+Command+N, and I'll double-
click Real Instrument setup one for doing
| | 00:10 | vocals, and also I'll go ahead and
the name the track, and you know how to
| | 00:16 | connect your microphone as well.
| | 00:17 | We've done this before. Our Input
Source is set to the Apogee One and in the
| | 00:21 | interface parameters I have chosen
Source External 48 Volt Mic since the audio
| | 00:27 | technique of 4050 I am using
does require phantom power.
| | 00:30 | Now sometimes when recording vocals,
singers like to focus on a certain
| | 00:35 | section of the song and then move on to
others and other singers like to get a
| | 00:38 | whole take top to bottom.
| | 00:40 | Either way is fine and you can literally
press the R key on the fly right before
| | 00:45 | the vocals are supposed to come in
and then press R again when it's done.
| | 00:48 | If there's now an instrumental section,
you can punch in and punch out on the
| | 00:51 | fly just by hitting the R
key while you're playing.
| | 00:54 | By way of illustrating how to do this
type of punch-in on the fly while playing
| | 00:57 | the song, I'll take that
approach will this vocal recording.
| | 01:01 | I've got the track selected that I want
to record onto and I need to set my level.
| | 01:04 | So the first thing I am going to do is
click the Automatic Level Control, start
| | 01:08 | the song, and just sing the beginning, and
then I will stop so that our level is set.
| | 01:13 | I am sure that's going to need to be fairly low.
| | 01:14 | (Music playing)
[00:01:31.6 0]
All right, I am going to catch it
right there, move it just a little bit.
| | 01:35 | The distance I sing from the
microphone also has a lot to do with how loud
| | 01:39 | things are coming in.
| | 01:40 | So your mic technique as a singer also
definitely impact how loud things are coming out.
| | 01:45 | If I double-click this real
quick, I want to just take a peek.
| | 01:47 | You can see that when I first came in,
I was singing at a normal low volume,
| | 01:52 | but GarageBand had not done the Level Control
yet, so all of my levels are getting clipped.
| | 01:57 | You can see that these waveforms are
just what we call crew cut and just chopped
| | 02:01 | off at the top, and that's
going to provide digital distortion.
| | 02:04 | So that sounds horrible.
| | 02:05 | So we are not going to want to do that.
| | 02:06 | I close the Editor down again and I will
select this region, Delete, back at the beginning.
| | 02:13 | So now that we've got our level set.
| | 02:14 | I'll just start the song and press R
right before the vocal and I'll sing the
| | 02:17 | verses, and then I'll hit R to punch
out and then spacebar to stop, and then we
| | 02:21 | can focus on the chorus after that.
| | 02:23 | Noticing also that my clipping
indicator lights are still on from when I was
| | 02:27 | doing the test, and I can click those red
lights to turn them off. The same goes for my mains.
| | 02:32 | Those lights just warn you that
sometime in the past this meter has clipped.
| | 02:36 | So if you look down and suddenly you're
seeing that there are red lights lit up,
| | 02:40 | that's your indication that you need to
go back and review somewhere along the
| | 02:44 | line you have something that's clipping.
| | 02:45 | All right, here we go!
| | 02:46 | (Music playing)
| | 03:20 | Once I am satisfied with the vocal or if
I choose to do a few passes, then I can
| | 03:24 | move on to the chorus.
| | 03:25 | I'll just move on at this point
since I'm happy with that take.
| | 03:29 | The playhead is already in
the middle of the pre-chorus.
| | 03:30 | So I can give myself a couple of bars.
| | 03:32 | So I am going to move it ahead.
| | 03:34 | So here's where the chorus actually
begins and I am going to actually hit my
| | 03:38 | left arrow key to go back two bars
into the pre-chorus, and I will press
| | 03:44 | spacebar to play and R to
record and track the chorus.
| | 03:47 | (Music playing)
| | 04:08 | So pressing R on the fly while you're
actually playing the song back and punching in
| | 04:12 | and out is one way to approach
recording a track that doesn't actually appear
| | 04:16 | through the entire song.
| | 04:17 | For instance, a guitar obviously
will appear through the entire song.
| | 04:20 | Something like vocals comes in and out
when there's a verse, comes out for the
| | 04:23 | instrumental section, comes back in.
| | 04:25 | So it can be one way that you
can sort of pop in and out at will.
| | 04:28 | So I'm pretty happy with those takes.
| | 04:29 | I am going to go ahead and keep them
and move on over in my Track Info panel.
| | 04:33 | I'd actually like to use one of
GarageBand's vocal presets as a starting place.
| | 04:36 | So I am going to click on Vocals and then
look at the different presets on the right.
| | 04:40 | So most of the vocal presets include
a Compressor and a Reverb or an EQ.
| | 04:45 | So that's usually going
to save a couple of steps.
| | 04:46 | I am just going to choose Male Basic
and click on the Edit tab to look at what
| | 04:51 | it's plugged in for us.
| | 04:52 | So let's just listen back with it as
is right now and see how it sounds.
| | 04:55 | (Music playing)
[00:05:4.02]
So one thing I am noticing is
that it's not quite loud enough.
| | 05:26 | I am going to try to get a little
more gain out of the Compressor.
| | 05:29 | I'm going to bring this up to
about 7 and actually add a little more
| | 05:34 | compression, a little faster attack, and
bring that threshold down a little bit.
| | 05:38 | So the first halves of these lines
actually end up being a little bit louder.
| | 05:41 | Just sample part of that again.
| | 05:43 | (Music playing)
| | 05:56 | That sounds pretty good.
| | 05:57 | Let's grab the chorus.
| | 05:58 | (Music playing)
| | 06:17 | All right, not bad.
| | 06:18 | I actually did hear a few little pitchy
spots where I kind of drifted a little bit flat.
| | 06:22 | I'd typically maybe re-sing that part
and try to get it a little tighter, but
| | 06:26 | in light of this being a chorus on
using GarageBand's many features, this is a
| | 06:30 | good opportunity to use
the Automatic Tuning feature.
| | 06:33 | In the next movie I'll explore how to
use a little or a lot of auto-tuning to
| | 06:37 | get the effect you're looking for.
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| Correcting pitch with automatic tuning| 00:00 | Automatic Tuning is a feature in
GarageBand that you can use to help get notes
| | 00:04 | in tune, get them on pitch.
| | 00:06 | If you have some vocal parts maybe
that are little flat or little sharp or
| | 00:10 | maybe even other instruments as well,
and it works particularly well with vocals,
| | 00:13 | but it also should be noted that
GarageBand's implementation of Automatic
| | 00:17 | Tuning is not quite as sophisticated as
some of the ones that you find in some
| | 00:22 | of the higher-end digital audio applications,
but nonetheless it actually can be very helpful.
| | 00:27 | There's a spot here in the second half of
the verse where I sing it a little bit flat.
| | 00:31 | It's not offensively out of tune,
but it's a straight major scale melody.
| | 00:36 | So in my opinion it probably should be nailed.
| | 00:38 | I am going to go ahead and use Automatic
Tuning to kind of get it back in place.
| | 00:42 | So let's find that spot.
| | 00:43 | It's actually during the word "rearrange"
in the lyric and actually it's the note
| | 00:48 | I sing on the syllable "re" of rearrange,
so let's double-click the Verse audio
| | 00:54 | region to open it in the Editor.
| | 00:56 | I can even zoom out just a little bit, so
we can actually see what's going on here.
| | 01:03 | So let's find out where that note actually is.
| | 01:05 | (Music playing)
| | 01:13 | So re is right in there, one more time.
| | 01:16 | (Music playing)
| | 01:21 | Using the left arrow, let's go back to
that place and over here in the left you
| | 01:26 | will see Automatic Tuning.
| | 01:27 | So there is a slider, and like many
of the other functions in GarageBand we
| | 01:30 | looked at it in Quantizing earlier,
the further to the right you slide it the
| | 01:34 | more 100% of the effect it's applying.
| | 01:38 | So Automatic Tuning when you crank it
all the way up to 100, it takes every
| | 01:44 | single note that sung and it force-
matches it into 100% in-tune-ness, and
| | 01:50 | frankly what ends up happening is it
ends up sounding a little bit robotic,
| | 01:53 | a little bit. Actually like a lot of
modern music, there is a lot of vocal parts
| | 01:58 | that sort of have this sound to it.
| | 02:00 | A playback to this part. In fact I will
solo it and play it back for you so you
| | 02:03 | can hear that line completely auto-
tuned, and actually let me add one more thing.
| | 02:09 | Limit to Key says, okay, we are
in the key of a major, just step over to
| | 02:14 | my Project Settings. A Major is the key,
so it's not going to think that that
| | 02:19 | note should be a D. It
should actually be a C Sharp.
| | 02:23 | Because that's the third of A Major.
| | 02:25 | So if we don't Limit to Key and your
notes are really out of tune, sometimes
| | 02:29 | GarageBand can give you
a lot of strange results.
| | 02:31 | So if you know what key your song is
in and your project is set, you might as
| | 02:35 | well use Limit to Key.
| | 02:36 | So let's take a listen to that line.
| | 02:38 | (Music playing)
[00:02:41.7 0]
Okay, so that's an effect I
am sure you've heard before.
| | 02:44 | Let me turn it off so we
can hear it again without.
| | 02:46 | (Music playing)
| | 02:51 | And one more time with -
| | 02:53 | (Music playing)
| | 02:56 | You can almost hear it
jumping from note-to-note.
| | 02:58 | It's almost like a little stairstep.
So just like bringing the Quantizing away
| | 03:04 | from max to introduce some human
quality to it, we can do the same with
| | 03:08 | Auto-Tuning and I find somewhere around
the 20%, 30%, 40% range, tends to do a
| | 03:13 | little bit of tuning for you but
doesn't have that sort of robotic sound to it.
| | 03:17 | So let's try it here.
| | 03:17 | (Music playing)
| | 03:22 | And hear it back in the mix,
which is always where it's most telling.
| | 03:26 | (Music playing)
| | 03:30 | So that's a little more in tune.
| | 03:31 | So this sort of application of Auto-
Tuning to this vocal part somewhere in the
| | 03:35 | 30-40 range is probably going to be
decent and I will go ahead leave it on this
| | 03:40 | track and sort of allow it to put me
just a little bit more in tune. And whether
| | 03:46 | or not this is cheating it is something
I will leave to you and your friends and
| | 03:49 | your fellow musicians to debate.
| | 03:51 | Let's check out the chorus.
| | 03:53 | (Music playing)
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| Reordering, duplicating, and deleting song sections using the Arrangement track| 00:00 | In an earlier movie we went through the
process of creating arrangement markers
| | 00:04 | to identify sections of the song,
verse, pre-chorus, chorus, and so on.
| | 00:08 | The following example will show you
how to create a full-length song out of
| | 00:12 | unique small sections just by using
the power of the arrangement track and a
| | 00:16 | little old fashioned copy and paste.
| | 00:17 | Now this example doesn't really work
great for this song that we are working on.
| | 00:21 | This song was sort of composed to be a
one-minute long piece, but it's still
| | 00:26 | going to work perfectly fine for this
example, just probably not going to give
| | 00:29 | us the kind of results that you
might get if you had intended to do this.
| | 00:32 | Now one approach to building a song in
GarageBand is to record a perfect verse,
| | 00:39 | a perfect chorus, in the arrangement
that you want to do it, with guitar, bass,
| | 00:43 | drums, sort of have a solid rhythm
section, and then you use the technique we
| | 00:47 | are about to go through to kind of
build out a longer arrangement of the song.
| | 00:51 | And at that point lay in your lead
instruments, for example, your lead vocal,
| | 00:56 | maybe lead guitar or another
instrument that might be playing melody or
| | 00:59 | something that you want to sort of
have evolved throughout this song.
| | 01:02 | But drums and bass, guitar, rhythm
guitar, those things might actually be the
| | 01:06 | same through the whole piece.
| | 01:07 | So you could use this technique to achieve that.
| | 01:10 | The easiest way to do this is if
you select one of the regions, just by
| | 01:14 | clicking in the arrangement track, you
will see that vertically a shaded area,
| | 01:18 | shaded in to show you what that whole
section looks like all the way through
| | 01:22 | all of your tracks.
| | 01:23 | So if you actually wanted to take and
move one of these sections, all you need
| | 01:27 | to do is click and drag.
| | 01:29 | GarageBand gives you a cursor that
lets you position this wherever you want
| | 01:32 | to position it, shuffles other things
around and lets you just drop it off wherever you like.
| | 01:37 | Now our song goes Intro, Pre-Chorus,
Verse, Chorus. It might sound even strange
| | 01:41 | but sure enough, you can still do it.
| | 01:42 | (music playing)
| | 01:50 | So it sort of jumps from one to the
other. It's not really a workable way of
| | 01:54 | doing this particular song,
but nonetheless, you could do it.
| | 01:57 | If you want to move two things at once,
you can Shift+Click to select the second piece,
| | 02:02 | or I am going to Shift+
Click again to turn this off.
| | 02:05 | You could select the entire range by
clicking the first and Shift+Clicking the
| | 02:10 | last in the range, and
you could select them all.
| | 02:13 | And finally, if I just select the Verse
and the Pre-Chorus and I wanted to have
| | 02:18 | my arrangement go Intro, Verse, Pre-
Chorus, Verse, Pre-Chorus, Chorus, so that
| | 02:23 | it sort of had two whole verses
before we actually got to a chorus,
| | 02:27 | I want to copy these two regions and
paste them in between Pre-Chorus and Chorus.
| | 02:32 | So the way to do that is to hold the
Option key down and click and drag your
| | 02:37 | selection, and put it where
you'd like it to go. Drop it off.
| | 02:44 | Now I've got my new arrangement. Verse,
Chorus, Verse-Copy, Pre-Chorus-Copy into Chorus.
| | 02:51 | This may not be an airtight example of
this process being a seamless success,
| | 02:54 | but you can try this with your
arrangements if you've perfected your verse
| | 02:58 | and chorus rhythm section, for example,
then you can copy those out to the
| | 03:02 | rest of your song form and at that
point begin layering in your lead
| | 03:05 | instruments and your vocals on top.
| | 03:07 | This process of Option+Click-dragging
arrangement sections around is a very
| | 03:11 | powerful one for making longer
arrangements out of elements you've previously recorded.
| | Collapse this transcript |
|
|
9. Mixing and AutomatingCreating successful mixes| 00:00 | Music mixing is an
incredibly subjective creative art.
| | 00:04 | It can take years of hard work and trial
and error for any mixer to discover his
| | 00:08 | or her individual style, not
to mention develop their chops.
| | 00:12 | I know I'm still learning
with every project I work on.
| | 00:14 | In this movie, I'd like to share some
tips that I hope will you start you off in
| | 00:18 | the right direction as you delve into
this vast and crucial area of music and
| | 00:22 | audio production and begin to
create your own distinctive sound.
| | 00:26 | You've got to keep in mind the
limitations of your software and your hardware,
| | 00:30 | and know the limitations and
virtues of your source audio tracks.
| | 00:34 | What microphones were used?
Cheapies or industry standards?
| | 00:38 | A bad original source track will cause
you big problems in the mixing phase.
| | 00:42 | Were the tracks recorded in a noisy
environment or an acoustically sound room?
| | 00:47 | Recording nice hot but not peaked
levels will always give you better signal to
| | 00:51 | work with and a low amount of noise.
| | 00:54 | And a quiet mediocre original
source recording will introduce problems,
| | 00:57 | namely ambient background noise to
your mix as you try to raise those
| | 01:01 | elements up to be heard.
| | 01:03 | The more you can know about your
system, your gear, and the history of your
| | 01:06 | source tracks, the better armed you'll be
to optimize them in the context of a mix.
| | 01:10 | There are still a lot of things that
be done to overcome deficiencies like these,
| | 01:14 | but it's good to be realistic about
what you have to work with from the get-go.
| | 01:19 | Know the effect that the room or space in
which you're mixing has on how you hear things.
| | 01:24 | Bring your speakers into some
different spaces and play the same piece of
| | 01:27 | music through them.
| | 01:28 | Get to know your gear and your space.
| | 01:30 | Maybe invest in some bass straps or
other acoustic treatments to create a more
| | 01:33 | manageable sound in your mixing room.
| | 01:36 | Okay, here's where high school
geometry comes back into the picture.
| | 01:39 | Make sure your speakers or monitors
are at ear level, equidistant from one
| | 01:44 | another, forming an equilateral
triangle with your head at the tip and the two
| | 01:48 | speakers at the far points,
aimed 30 degrees inward at your ears.
| | 01:53 | It's also essential to get your
speakers up off your desk or console.
| | 01:57 | Invest in some speaker stands.
| | 01:59 | Mixing at a moderate volume,
especially for long sessions, is also crucial.
| | 02:03 | Start out the day with your speakers
turned up too aloud and your sensitivity
| | 02:06 | will be crushed by lunchtime.
| | 02:08 | It's generally a bad idea to
do a whole mix in headphones;
| | 02:11 | you really want to hear
your mix in actual speakers.
| | 02:14 | Be sure to test your mix in
headphones, certainly, but don't make that your
| | 02:17 | starting point, unless the only thing
that will ever be done with your mix is
| | 02:20 | playing it in the headphones.
| | 02:21 | For example, you might be doing
background music for a walking museum tour where
| | 02:25 | listeners will always be using headphones.
| | 02:27 | Headphones can generally be deceiving.
| | 02:30 | Listen and trust your ears
to tell you what's going on.
| | 02:33 | You should also be mixing with your gut.
| | 02:35 | There's an emotional aspect to music which
you should be tuning into and reacting to.
| | 02:40 | Mixing is the process that brings all of
the aspects of listening and feeling together.
| | 02:44 | If you're not feeling it,
it may not be quite right.
| | 02:47 | Trial and error is a great way to
see whether something is working.
| | 02:50 | Keep pen and paper handy to make notes
for yourself while listening, but don't
| | 02:53 | forget to keep listening. Have a crazy idea?
| | 02:56 | Try it! You can always press Undo.
| | 02:58 | Make a list and have CDs on hand of
some of your all-time favorite sounding
| | 03:02 | recordings in the genres
you're working within your mixes.
| | 03:04 | Every time you hear something that blows
you away, you should add that CD to the list.
| | 03:09 | Even investigate the producer,
recording engineer, and mixing engineer who
| | 03:13 | are on the record and use the
Internet to find out what else they've done.
| | 03:16 | These can be personalized reference
guides to making things sound good.
| | 03:20 | After a certain number of
hours, ears can develop fatigue.
| | 03:23 | The time it takes for this to happen
is different for everyone, but in my
| | 03:26 | experience, it's somewhere in the four
to six-hour range and depends on what
| | 03:29 | you're mixing and how loud your speakers are.
| | 03:32 | Throughout a long day of mixing, you
start to fail to be able to hear certain
| | 03:35 | frequencies with the same accuracy that you
may have had just a couple of hours before.
| | 03:39 | If you do continue mixing through
fatigue, the work you turn out will not
| | 03:43 | actually sound like you think it sounds.
| | 03:45 | Sensitivity to certain frequencies will
diminish as your ears become fatigued,
| | 03:49 | and you may start boosting those
frequencies in your mix to compensate.
| | 03:53 | When you hear the mix a day or two later,
you may realize that those frequencies
| | 03:56 | have been made far too
loud for a balanced sound.
| | 03:59 | Take frequent breaks.
| | 04:00 | Mixing can be physically and mentally taxing
endeavor when you work at it over many hours.
| | 04:05 | Breaks not only keep you rejuvenated and
give you time to remember to eat a meal
| | 04:09 | or get some sunshine, but they
give your ears a rest period as well.
| | 04:13 | You'll hear things more distinctly
and more clearly if you don't let
| | 04:16 | ear fatigue set in.
| | 04:17 | Use the entire stereo space of your
mix to position things and create sonic
| | 04:21 | space between instruments
and voices. Let things breathe.
| | 04:25 | With audio mixing, you're
looking for balance and blend.
| | 04:28 | The elements in your mix need to
work together, not against each other.
| | 04:32 | Things should be individually
discernible, but should also sound as if they're
| | 04:35 | all in the same space.
| | 04:37 | Once you've used your stereo sphere to
your liking, it's always good to listen
| | 04:41 | to your mix in a mono environment as well.
| | 04:43 | You can use Export Song to Disk in
GarageBand, and under Audio Settings, click
| | 04:47 | the Mono radio button before exporting.
| | 04:50 | See what it sounds like.
| | 04:51 | Learn to use EQ to remove
offending frequencies from your tracks.
| | 04:55 | Sometimes the EQ requires to make an
instrument sound good by itself when solo-ed
| | 04:59 | is not the EQ you want on that
sound once the whole mix is up.
| | 05:03 | Too much low end in your individual
instrument tracks will compound and make a
| | 05:06 | real problem for you later.
| | 05:08 | Remove the low end from instruments
that don't need it and if your mix is
| | 05:11 | thin at the end of your process, you can
always EQ the entire mix and add in some lows.
| | 05:16 | It's often better to cut
frequencies than it is to boost frequencies.
| | 05:20 | The best advice I ever got about mixing?
Mixing is about taking away, not about adding more.
| | 05:26 | Sleeping on it is a great technique
for being able to hear you work clearly.
| | 05:29 | Make a mix and then listen
to it again the next day.
| | 05:32 | If it still sounds good, you've got a mix.
| | 05:35 | Be prepared for the possibility of going
back to the drawing board a couple of times.
| | 05:38 | This should be considered normal.
| | 05:40 | Sometimes starting over is the best solution.
| | 05:43 | Know if and when you've hit that point.
| | 05:46 | A good tip is to start your mix by
reducing the individual levels for every
| | 05:49 | track in your project down to
-6.0, and work up from there.
| | 05:53 | If you don't do this and start out say
at 0 or unity gain, you'll run out of
| | 05:57 | headroom very quickly when
you start boosting things.
| | 06:00 | Listen to your mixes on many different systems.
| | 06:02 | On your mixing station, in your
living room, on your surround sound media
| | 06:06 | center, on a cassette clock radio, or on a
boombox, on good headphones and on bad headphones.
| | 06:13 | One of the most telling environments in
which to hear your mixes is in the car.
| | 06:17 | Mixing is a craft and an art and many
people spend their whole lives learning
| | 06:20 | to become master mixing engineers.
| | 06:23 | It's an incredibly
technical and creative endeavor.
| | 06:26 | That said no one to say enough is enough
and either start over or call it done.
| | 06:30 | Contemplate what Leonardo
da Vinci had to say about it:
| | 06:33 | "Art is never finished, only abandoned."
| | 06:36 | And finally, have fun while mixing.
| | 06:39 | In my humble opinion, mixing can be one of
the most enjoyable aspects of audio production.
| | 06:44 | The more practice you have with it, the
more likelihood there is of making truly
| | 06:47 | classic mixes and the
more you'll enjoy doing it.
| | 06:50 | Mixing isn't for everyone, but those
who end up being really good at it most
| | 06:53 | certainly love doing it.
| | 06:55 | You kind of have to.
| | 06:55 | It can be tedious,
repetitious, and very detail-oriented.
| | 06:59 | Allow your enjoyment of the process
to flow out through the speakers to your listeners.
| | Collapse this transcript |
| Pre-mixing| 00:00 | Pre-mixing is the stage where you get
your project set up to mix and do any
| | 00:04 | final editing that you need to do.
| | 00:06 | I always start by lowering the track
level on all of my tracks down to -6.0 dB
| | 00:11 | or even a little bit lower.
| | 00:13 | We may have a decent production mix
going here, but for the sake of actually
| | 00:16 | clarifying the mixing process, I'm
going to take you through all the steps I
| | 00:19 | would go through to mix this piece.
| | 00:21 | And even though some of these things
may get moved back to where they were,
| | 00:24 | I'm going to start by
bringing everything down to -6.0.
| | 00:27 | You'll find in doing this that the
sounds are going to be sort of out of balance
| | 00:30 | all of a sudden and we
can begin to work with them.
| | 00:33 | But I'd rather have everything
center around this -6.0 point rather than having
| | 00:37 | everything center around the 0 dB or
unity point, because as soon as you start
| | 00:41 | raising things above 0 at that point,
you're going to be clipping down here on
| | 00:45 | our main master out.
| | 00:47 | If we start everything down a bit, we
have much better chance of having a mix
| | 00:52 | that's not hitting our ceiling;
| | 00:53 | in other words, leaving ourselves some headroom.
| | 00:55 | Let's play back one of the
louder sections of the song.
| | 00:58 | I'm going to play where the big
welcome note is and also a part of the
| | 01:01 | pre-chorus and just see what the levels look
like and what things look like over here as well.
| | 01:05 | (Music playing)
| | 01:13 | I'm still finding that there's an awful
lot of level especially with this vocal.
| | 01:16 | I'm going to mute the vocal for a
second and see if that was what caused the
| | 01:19 | major clipping here.
| | 01:20 | (Music playing)
| | 01:27 | Definitely, the vocal had a lot to do with that.
| | 01:28 | So I may actually start with this
particular song, since there's an awful lot
| | 01:33 | going on in all these big guitars and stuff,
is actually maybe pull down to -7.0.
| | 01:39 | Seems like a pretty subtle negligible
point to make here, but you'll find that
| | 01:43 | at the end once we actually start adding
some EQ and some Compression that we're
| | 01:48 | going to be fighting with our
levels clipping in the overall mix.
| | 01:51 | So starting off there is probably a good idea.
| | 01:54 | (Music playing)
| | 02:00 | Okay, so we're going to have to
just move up that loud spot anyway.
| | 02:04 | (Music playing)
| | 02:07 | Click those lights off.
| | 02:08 | (Music playing)
| | 02:15 | Okay, so we're already still
almost right at our threshold, so there are
| | 02:18 | some spots we're going to have to
work with and some of these levels.
| | 02:21 | I think the wide guitars and also
these notes on the lead vocal, that we're
| | 02:25 | going to actually have to add some
volume automation to bring those down into
| | 02:30 | control and sort of be able
to ride them throughout the song.
| | 02:32 | So now we'll start to listen back to the
track and make small adjustments to the
| | 02:36 | overall track levels, attempting to
achieve a basic balance between all the
| | 02:40 | elements in the song to start with.
| | 02:42 | So I'm going to play the song back
from the beginning and adjust the volume
| | 02:45 | levels just a little bit left and right
here to try to find a general balance, a
| | 02:49 | starting place for all the elements in the song.
| | 02:52 | So I'll just start from the top.
| | 02:53 | (Music playing)
| | 03:46 | And also if you have a concept of where
you want particular things panned, for
| | 03:50 | instance, our double-tracked rhythm
electric guitars are designed to be panned
| | 03:54 | hard left and hard right,
| | 03:55 | you can go ahead and do that now as well.
| | 03:57 | I've also decided that with this mix,
the drum part tends to have a hi-hat or
| | 04:02 | a ride cymbal that's already mixed off to
the right off center in the stereo drum loop.
| | 04:06 | And I'd like to find something that
would provide a good balance off to the left.
| | 04:09 | So I'm going to move the Echo
Piano part out a bit left as well.
| | 04:13 | You can see I've already moved it out to
find a spot between piano, which I can
| | 04:19 | solo, and the drums which I can solo
and try to find a good balance between the
| | 04:23 | high-end cymbals of the drum kit and
the high-end sound of the piano part.
| | 04:26 | (Music playing)
| | 04:39 | That's just a good starting
place there for those two positions.
| | 04:43 | Also, the Dreamy Guitar preset
is most definitely a stereo sound.
| | 04:47 | It has some movement from side to side
in the Stompbox Effects that are being
| | 04:51 | used, the delay being the
main contributor to that.
| | 04:56 | Have a listen here.
| | 04:57 | (Music playing)
| | 05:06 | So I think I'm definitely going to
keep the guitar straight up the center to
| | 05:09 | allow the preset effects to work
their magic with the stereo spectrum.
| | 05:15 | Unsolo the guitar.
| | 05:17 | Another good piece of housekeeping is
to trim any spans of excess audio off of
| | 05:21 | tracks that were recorded,
but when no one was playing.
| | 05:24 | Listen to the beginning of the
electric guitar rhythm tracks.
| | 05:28 | There is a lot of noise before the
guitars are even supposed to come in.
| | 05:41 | Little place of touching the pick to the
strings or getting something pass that noise gate.
| | 05:45 | So the way to deal with this is
to just simply trim these tracks.
| | 05:48 | I'm going to click and Shift+Click the
second one, grab my Trim tool, and just
| | 05:53 | move those in to right before
the guitar has actually come in.
| | 05:56 | So now this is completely silent in
the guitar track and they don't actually
| | 06:00 | make any sound at all--
| | 06:01 | (Music playing)
| | 06:05 | --until they come in.
| | 06:07 | Vocals are also a good place to strip
the silence out of your tracks, as often
| | 06:10 | singers will clear their throat or hum
the pitch that's about to come up, or
| | 06:15 | even just breathing or the rustling of
lyrics sheets will translate as strange
| | 06:18 | noises in your final mix.
| | 06:20 | I'm going to go here to the vocal
track, zoom in a little bit, actually
| | 06:26 | double-click to bring this into the
editor, and figure out exactly where the
| | 06:32 | beginning of this is.
| | 06:35 | And now I'm going to use the split
technique by placing the playhead in the
| | 06:40 | track and hitting Command+T.
I've got this extra little piece.
| | 06:44 | I can select and delete.
| | 06:48 | I can even do something in here.
| | 06:49 | (Music playing)
| | 06:52 | Sometimes you want to be careful;
| | 06:53 | you don't want to take out the inhale before a
note if that's something that you want to hear.
| | 06:59 | So in other words, I guess what I'm
saying is be careful not to cut an inhaling
| | 07:03 | sound in half and have it sound strange.
so you can just double-check that by
| | 07:07 | soloing it and listening.
| | 07:08 | (Music playing)
| | 07:10 | Because that was fine.
| | 07:11 | (Music playing)
| | 07:12 | We can leave that as is,
and I'll also check the end.
| | 07:23 | (Music playing)
| | 07:26 | That's pretty close.
| | 07:27 | You can also trim right down here in
the Editor, in the lower-left corner.
| | 07:31 | The end of the song is here.
| | 07:35 | (Music playing)
| | 07:42 | So now we just basically stripped the
silence from vocal track, getting out any excess noise.
| | 07:48 | I'm also going to check the Dreamy
Guitar track which also starts at the
| | 07:50 | very beginning here.
| | 07:52 | See if there's any noise.
| | 07:55 | (Music playing)
| | 07:57 | No, it's pretty silent, although it
never hurts to clean up those spots.
| | 08:03 | The other thing is at the end we've
got an awful lot of trailing noise here,
| | 08:09 | some of which is cool and some is just --
| | 08:10 | (Music playing)
| | 08:11 | -- noisy.
| | 08:19 | We basically like it on there, but
we don't need it on this guitar track.
| | 08:33 | I'm going to cut out before the slide.
| | 08:44 | Okay, that's clean as well now, and
these two guitar tracks, they have a
| | 08:48 | slide-off that I might want to keep.
| | 08:56 | Leave those, and let's check out the bass too.
| | 09:12 | Command+T, select and delete.
| | 09:16 | Drums are going to be fine.
Acoustic Guitar, what do we have there?
| | 09:31 | And it's a nice long fade.
| | 09:32 | We're going to leave that.
| | 09:33 | That sound can last through
till the end. And let's see.
| | 09:37 | Now we've got a good clean ending.
| | 09:41 | (Music playing)
| | 09:52 | Great! The other thing you want to do during
pre-mix is make sure any of your final
| | 09:56 | editing that you want to do is taken care of.
| | 09:58 | I know there's one little thing I'd
heard a couple times on listening back at
| | 10:02 | the end of the Dreamy Guitar part,
that's just not quite in time actually with
| | 10:07 | the last three notes of the song.
| | 10:09 | Here are those three notes.
| | 10:12 | (Music playing)
| | 10:16 | If I turn this up a bit,
play it with the song --
| | 10:19 | (Music playing)
| | 10:26 | And zoom in a little bit more.
| | 10:29 | I don't want to zoom in too far,
where I can't see it any more,
| | 10:31 | but I'll scroll ahead to the end.
| | 10:34 | Okay, there they are.
| | 10:36 | This is the one.
| | 10:42 | Let me close the Track Info as well,
so we can see even a little bit better.
| | 10:48 | Here is the one, so that
first note is a little bit late.
| | 10:55 | Here is the two.
| | 10:56 | You can see that that's
almost 16th late, or a little less.
| | 11:02 | This one is also a little bit off axis.
| | 11:03 | So all I'm going to do is use the Flex
tool to click above the midpoint for the
| | 11:10 | tops of these three notes, so that
I can actually slide them into place.
| | 11:23 | (Music playing)
| | 11:26 | So now they are completely in time
with piano and the rest of the band.
| | 11:30 | And the other little cleanup that you
need to do, and the pre-mix is a good
| | 11:34 | time to do it, so that when you're
actually into mixing and focusing on the
| | 11:38 | individual sounds of everything, you're not
always jumping back and forth and making edits.
| | 11:42 | Ultimately, you end up doing that anyway,
but in this case we're going to try to
| | 11:50 | go through the mixing segment of the
course here without doing a lot of editing.
| | 11:53 | So I'm just going to do two more quick
pieces of cleanup and also add one thing.
| | 11:58 | This rhythm part here in the drums, I'll
play it with the guitar for a moment at
| | 12:04 | the end here right before this gap.
| | 12:05 | What I'm going for is right here is
where the acoustic guitar accents and the
| | 12:10 | drum loop, which sounds fine up to that
point, has its last hit, which is right here.
| | 12:14 | This last waveform is a
kick drum and it comes late.
| | 12:17 | I'd rather have it come right where guitar
comes, so here's what it sounds like now.
| | 12:21 | (Music playing)
| | 12:27 | So we have that last hit be
right where the guitar is.
| | 12:30 | So I'll do the same zoom in and in
this case I am going to use the Split tool,
| | 12:39 | Command+T, to cut that bass drum off.
| | 12:42 | I have to go back and back fill.
| | 12:43 | When we did some of the work with the
loops before, you'll recall that process.
| | 12:47 | And then I will find the place I want
that beat to come in, trim the right part
| | 12:54 | of this loop, and move
that right into place here.
| | 12:59 | (Music playing)
| | 13:07 | I've got to bring my other loop back
up to where it needs to be, so it's all connected.
| | 13:11 | (Music playing)
| | 13:15 | Okay, so now everybody stops.
| | 13:17 | Now the only problem is it seems
like the wind drops out of the sails.
| | 13:20 | If I was actually playing that on the
drums, I would probably hit a cymbal hit
| | 13:23 | there, maybe even one when we come
back in on the one of the chorus as well.
| | 13:27 | So real quick process here.
| | 13:30 | I'm just going to create a Software
Instrument track, I'm going to click and
| | 13:34 | drag it up so that it's right
underneath my drum part, so that I can see it
| | 13:38 | a little more easily.
| | 13:39 | Just choose a drum kit and
something that has good cymbal sounds.
| | 13:45 | Headbanger has good cymbals.
| | 13:46 | And I'll find the notes by
scrolling and clicking.
| | 13:52 | (Music playing)
| | 13:55 | There are some cymbals.
| | 13:57 | And as a way of doing this quickly, I
can press the R key to record and just
| | 14:00 | click on these keys to place the notes
in my timeline, and then I can move them
| | 14:05 | around and get them in just the right spot.
| | 14:06 | (Music playing)
| | 14:14 | Okay. If I look in the editor at those
two notes and again, use my playhead as a
| | 14:19 | guide, put that right in
place where I need it to be.
| | 14:25 | I'm changing my resolution to a finer
degree, so I can actually move the playhead.
| | 14:29 | I'm going to zoom in here, so I can
get the playhead where I need it to be.
| | 14:37 | This note would need to be lined up
with these. The playhead is my guide.
| | 14:40 | I can click and drag that cymbal into place.
| | 14:44 | And then the same goes for
this one, right on the downbeat.
| | 14:49 | (Music playing)
| | 14:54 | Okay. And let me turn the Compressor on,
so those cymbals are actually audible
| | 15:02 | and jumping out at us.
Let's se how that sounds.
| | 15:05 | (Music playing)
| | 15:18 | Great! So now we've got a nice way to get
into the chorus and we've got some cymbal
| | 15:22 | crashes that we've added in there.
| | 15:23 | I think I've done all of my editing and
we're done with our pre-mix and ready to
| | 15:27 | get into the specifics of
mixing these individual tracks.
| | Collapse this transcript |
| Equalizing tracks| 00:00 | As the name implies, equalization is
a process that aims to make specific
| | 00:05 | portions of the frequency range of a
given instrument or a voice in your song
| | 00:09 | less out of proportion with other
portions of the frequency range of the sound,
| | 00:14 | Much could be said about EQ and this
GarageBand Essential Training course is
| | 00:18 | not the place for it.
| | 00:20 | The art of EQing recorded sounds is a
lifelong pursuit for many engineers.
| | 00:24 | It will be helpful to you to practice
listening to sounds you've recorded with
| | 00:28 | the Visual EQ Effect open and
the Analyze check box checked.
| | 00:32 | Let's take a look at the Bass Guitar track.
| | 00:34 | While we're here, I'll replace this icon with
a Bass Guitar just for fun. It's easy to do.
| | 00:40 | You can change any of your icons, just by
clicking on this box in the Browse window.
| | 00:44 | Let's move over to the
Edit tab and focus on the EQ.
| | 00:48 | Visual EQ currently is turned off.
| | 00:50 | I am going to enable it and then click the
Adjust EQ button to bring open the window.
| | 00:55 | I'll move it over here so
we have enough room to see.
| | 00:57 | Now, you can click the Analyzer button,
bottom-right, solo the Bass Guitar, and hit Play.
| | 01:05 | Watch what happens in this graph here.
| | 01:08 | (Music playing)
| | 01:18 | This graph is a representation of the
low frequencies on the left, and the high
| | 01:22 | frequencies on the right.
| | 01:24 | It's showing you what exists on
the track in terms of frequency.
| | 01:27 | (Music playing)
| | 01:29 | This whole range, 20 hertz to 20
kilohertz, which is cycles per second,
| | 01:35 | represents the range of human hearing.
| | 01:37 | This bass has loads of
bottom end and not a lot of highs.
| | 01:39 | (Music playing)
| | 01:46 | If you listen to the bass track and
felt the bass was too bassy, then you
| | 01:50 | could look at this Spectrum Analyzer and
determine where the offending frequencies are.
| | 01:53 | Let's just look at a part of this and decide.
| | 01:57 | (Music playing)
| | 01:59 | I don't think this is particularly
overbassy, but if it was and you were
| | 02:03 | looking at this graph to try to bring
down the bassiness, we'd look for the
| | 02:07 | highest peaks in the low
range and attempt to cut them a bit.
| | 02:11 | So that's a process of clicking and
dragging within each of these lanes.
| | 02:15 | You have up and down to boost and cut a
given frequency and you can move to the
| | 02:21 | left and the right to alter
the frequency value itself.
| | 02:25 | If we display Details here, we can
actually see these numbers changing on the fly.
| | 02:29 | So this is the frequency here.
560 is where we are currently.
| | 02:33 | As I move to the left, that
decreases. Move to the right, it increases.
| | 02:38 | The Cut and Boost value is
displayed in plus or minus decibels.
| | 02:42 | So you can reduce a given frequency by
say 6 decibels by making this position move.
| | 02:47 | So I'm going to flatten that back out
again and I'm going to cut some of the
| | 02:50 | lows and take a listen to
how that affects the sound.
| | 02:54 | (Music playing)
| | 02:59 | Now, I'll boost them.
| | 03:00 | (Music playing)
| | 03:05 | Notice that when I matched that
section of the Analyzer with my boost, I was
| | 03:12 | given a total over compensation.
Basically had a resonant frequency that was just
| | 03:16 | jumping out louder than
just about anything else.
| | 03:18 | (Music playing)
| | 03:22 | That's just too much sound in
that one area, so that's no good.
| | 03:25 | If I wanted to reduce that offending frequency,
I can just put down just the smallest bit.
| | 03:29 | So it takes some of the
edge off that very bass-y sound.
| | 03:34 | (Music playing)
| | 03:38 | Something else that's nice with the
Visual EQ is again just like any of the other
| | 03:42 | GarageBand plugins and effects,
there is a series of presets.
| | 03:46 | So I'm going to look for bass and
try one that I like on my Bass Guitar
| | 03:50 | called Bass Strengthen.
| | 03:52 | We've already made some edits,
so it's just telling us, hey,
| | 03:54 | you've made some edits, are you sure
you don't want to save that preset?
| | 03:57 | I'll say nah, I will Continue, and
notice there's a little boost here around 100
| | 04:02 | and that's right at that place that we
are seeing that most of this bass lives,
| | 04:05 | and there is also another
little boost here around 2K.
| | 04:09 | So let's listen to a little bit more of it.
| | 04:12 | (Music playing)
| | 04:14 | I'll turn this off and on while we
go, so you can hear the difference.
| | 04:17 | (Music playing)
| | 04:32 | So that will really help the bass
to sit well within the entire song.
| | 04:36 | (Music playing)
| | 04:49 | With EQ, it's always important to use your ears.
| | 04:51 | Make things sound the way you want them to.
| | 04:54 | If you listen to it in the car stereo
or in your headphones and things are
| | 04:57 | sounding too distorted or too overblown,
use the EQ Analyzer to find out where
| | 05:02 | those loud frequencies are and then cut
those frequencies by a few dB and see if
| | 05:06 | that takes care of your problem.
| | 05:08 | Keep in mind these two factors.
| | 05:09 | A little EQ goes a long way.
| | 05:11 | Be gentle with your EQ adjustments, and
it's better to cut frequencies that you
| | 05:15 | don't want, called subtractive EQ
adjustments, than it is to boost frequencies you
| | 05:20 | do want, called additive EQ adjustment.
| | 05:23 | Just remember, every time you boost
something you're adding overall volume and
| | 05:27 | may need to make adjustments in your
overall track volume to compensate for
| | 05:30 | that increased gain.
| | 05:32 | Before the next movie, I'm going to
go through and make some additional EQ
| | 05:35 | adjustments to some of the other
instrument tracks, and I encourage you to go
| | 05:39 | ahead and use this exercise file 09_
03 to make adjustments yourself and see
| | 05:43 | what you come up with.
| | 05:44 | If you want to catch up and see what
EQ adjustments I've made, you can open up
| | 05:48 | the next exercise file as we
begin to work with compression.
| | Collapse this transcript |
| Compressing tracks| 00:00 | Every track of audio you could record
and indeed every one in this song we're
| | 00:04 | working on has a dynamic range.
| | 00:06 | The dynamic range of a given recorded
track is a way of quantifying how soft the
| | 00:11 | soft parts are and how loud the loud parts are.
| | 00:14 | A simple way of describing it might be
that if the softest note I played on the
| | 00:18 | bass is at -4.0 dB and the loudest note
I play is at +4.0 dB, then the bass part
| | 00:25 | has a dynamic range of about 8 decibels.
| | 00:29 | Audio compression seeks to reduce
the dynamic range of a given track,
| | 00:33 | compressing it at a
defined ratio like 2:1 or 4:1.
| | 00:37 | Results are often that the softest
things become louder and the loudest things
| | 00:41 | become softer, sort of allowing you to
raise the overall level of the entire
| | 00:46 | part without having peaks that
jump out over and start distorting.
| | 00:50 | Compression raises the quiet
stuff and turns down the loud stuff.
| | 00:53 | The effect is often that the sound is
tighter, brighter, maybe even slicker, and
| | 00:58 | when some people say that
something sounds very produced,
| | 01:01 | one of the factors that is playing into
that pro sound is the use of compression.
| | 01:05 | Sometimes you want a lot of
compression, for example, on drums, compression
| | 01:09 | can really make them pop out and sometimes
you just want a little bit of compression.
| | 01:12 | For instance, on an acoustic guitar part,
you still want to maintain some of the
| | 01:16 | natural ups and downs, the nuances
of an acoustic guitar performance.
| | 01:21 | But a little compression will bring up
some of the finer sounds and make them
| | 01:24 | audible, while reducing some of
the booming or roundness of the sound.
| | 01:28 | One thing to be sure of is you should
always EQ a sound before compressing it.
| | 01:32 | For some reason, GarageBand has
your Effects channel set up so that the
| | 01:36 | compressor comes before the EQ.
| | 01:38 | I think that's because the Visual
EQ that's positioned here is sort of
| | 01:42 | considered to be something to help
you fine-tune your overall sound of the
| | 01:46 | channel after you've applied a lot of effects.
| | 01:49 | But I think it's a little bit misleading.
| | 01:51 | There's no need to compress a bunch of
low-end energy that you're just going to
| | 01:55 | EQ out of your sound.
| | 01:57 | If you have a sound that's producing
a lot of low end and you compress it,
| | 02:00 | you're using that bassy sound
in the compression algorithm.
| | 02:03 | And then maybe taking it back out
again with EQ doesn't seem to make sense.
| | 02:07 | So to me, the way I like to put it is
let's create a sound that we would like that
| | 02:12 | has no compression and no additional
effects on it, using EQ if necessary, to
| | 02:17 | modify what was recorded live.
| | 02:19 | And then if you want to compress
the sound, go ahead and compress it.
| | 02:22 | If you want to then do some EQing
afterward, that's another discussion.
| | 02:26 | So for me, I'm going to start listening
to this vocal track and make sure that I
| | 02:29 | like our EQ and then
we'll deal with compression.
| | 02:31 | Right now, I've got a little bit of
a slope here, taking away some of the
| | 02:36 | bassier parts of my voice and raising up
some of the higher sounds to kind of open it up.
| | 02:41 | Anything above 5K that you raise a
little bit on vocal tends to make it sound
| | 02:45 | clearer and brighter.
| | 02:46 | So I'm just going to play it and watch the
analyzer here a bit and make sure I like my EQ.
| | 02:51 | (Music playing)
| | 03:01 | Now watch that middle part there.
| | 03:02 | (Music playing)
| | 03:07 | Don't want to go too far.
| | 03:08 | (Music playing)
| | 03:17 | Check the chorus.
| | 03:18 | (Music playing)
| | 03:32 | Okay, so that sort of takes a little
bit of the wind out of the sails of these huge notes.
| | 03:37 | Obviously, there's a lot of energy
there in that note, so it's going to be
| | 03:41 | jumping out of the mix like crazy.
| | 03:42 | So one of the ways you can tame
something like that is by reducing that
| | 03:46 | frequency range and sort of taking a
little bit of the honk out of the middle of it,
| | 03:49 | sort of reducing some of that
overall energy that's pushing through.
| | 03:53 | We'll also deal with it on a volume
level when we talk about automation a
| | 03:57 | few movies from now.
| | 03:58 | But for the moment, we're
pretty happy with that EQ adjustment.
| | 04:01 | I might even bring it down
and touch more on the vocal.
| | 04:05 | So I'll just hear those big
notes again with the band here.
| | 04:07 | (Music playing)
| | 04:12 | So now that I have taken care of
some of that what I would call offending
| | 04:16 | frequency sort of in the middle of
that sound, now I can bring my compression
| | 04:20 | into the mix here and start to work with
adding some compression to the sound to
| | 04:25 | make these softer parts of the line a
little bit louder and also tame the really
| | 04:30 | loud notes at the end.
| | 04:31 | So again, I'm sorry to subject you
to these soloed vocal, but it's really
| | 04:35 | sometimes the only way to do vocal
editing and processing is really solo it
| | 04:38 | out and listen to it.
| | 04:39 | So we're going to do it.
| | 04:40 | (Music playing)
| | 04:51 | We could actually almost hear it
when the Threshold passed 16.5 dB;
| | 04:57 | in other words, when this loud part happened.
| | 05:00 | This is set to Fast, so the Attack was
very quick where you could almost hear,
| | 05:04 | it's like someone spun a volume knob
to the left and sort of turned it down
| | 05:07 | really quickly just a little bit.
| | 05:09 | That's the compression kicking in.
| | 05:10 | So if you want to try to find a level
of Attack that isn't noticeable, that
| | 05:14 | still achieves the end you want.
| | 05:15 | So let's listen to it again really fast just
so you can hear on how it sort of jumps down.
| | 05:20 | (Music playing)
| | 05:24 | It's almost a moment right after
that change where it comes out, where
| | 05:27 | everything sort of jumps down a little bit.
| | 05:29 | So I definitely want to try to smooth
that out a little bit, see if it will
| | 05:33 | help to move it there.
| | 05:35 | (Music playing)
| | 05:39 | It's sort of still here.
I'm going to drop it a little more.
| | 05:43 | See how things are with the second line.
| | 05:46 | (Music playing)
| | 05:50 | So it's less noticeable, so I'm
going to go with it like that.
| | 05:53 | (Music playing)
| | 05:56 | All right! Our Gain is fine.
| | 06:00 | Ratio is pretty high.
| | 06:01 | 8:1 is actually pretty darn high
theoretically, but again, here I am attempting
| | 06:05 | to mix with my brain and not my ears.
| | 06:07 | How does it sound at 8?
| | 06:08 | Does it sound overly compressed, or am
I just thinking that 8 is too high?
| | 06:13 | So let's just listen carefully and make
sure the sound is what you're going for.
| | 06:16 | (Music playing)
| | 06:22 | Okay. I'm not going to make you
listen to that again and again.
| | 06:24 | That's funny thing is when you're mixing,
especially when you're Soloing out a
| | 06:27 | line like this, you're
often playing it repeatedly.
| | 06:30 | And you sort of have to get into a
headspace where it's not funny and annoying
| | 06:33 | to listen to something over and
over because you're actually trying to
| | 06:36 | fine-tune that sound.
| | 06:37 | So it's really helpful to hear
something again and again when you're trying to
| | 06:41 | work with something like that.
| | 06:42 | Okay, so additionally, another effect
that we have here is Bass Reduction.
| | 06:47 | It's sort of a way to cut out some of
the extreme lows that aren't necessary
| | 06:52 | in this vocal part.
| | 06:53 | And the Frequency is currently set to
76, so this is sort of another--
| | 06:57 | Bass Reduction is a sort of preset EQ that at 76 Hz--
| | 07:02 | Remember, in the Visual EQ here
somewhere, 76 is somewhere around here.
| | 07:06 | That it's going to basically roll
off everything underneath that, sort of
| | 07:10 | removing some of the
unwanted lowest frequencies.
| | 07:13 | (Music playing)
| | 07:19 | So it sort of just reduces
some of the low-end energy there.
| | 07:22 | Now let's just take a look
at the drum part as well.
| | 07:24 | We've already got the Drum
Limiter Compressor preset set here.
| | 07:28 | (Music playing)
| | 07:39 | So that's a preset I got from within
the Compressor preset list, Drum Limiter.
| | 07:44 | And that's a preset that actually
maximizes the sound of the drums and doesn't
| | 07:48 | allow them to peak out, so it might
help us with getting a nice loud drum sound
| | 07:53 | but keeping some of the clipping at bay.
| | 07:56 | (Music playing)
| | 08:14 | All right, great! Finally, let's listen to the piano part.
| | 08:18 | See what the Compressor is set to here.
| | 08:20 | When we are working on our piano
sound before, we set up a little bit of
| | 08:23 | compression and in this one we mixed
our own settings so we're not actually
| | 08:27 | using one of the presets.
| | 08:28 | But I could just go ahead
and choose one if I wanted to.
| | 08:30 | There are some piano sounds that sound
pretty good, Smooth and Piano Upfront.
| | 08:34 | I'm going to go ahead and save the one
that I previously saved here and switch
| | 08:41 | to some of these other ones real
quick, just to hear some of the presets.
| | 08:47 | We'll loop the section with the Cycle region.
| | 08:48 | (Music playing)
| | 08:53 | That really smoothed it a lot. Too smooth.
| | 08:55 | (Music playing)
| | 09:00 | I made it jump a bit. Sounds pretty good.
| | 09:01 | Let's compare it to the one I made.
| | 09:04 | (Music playing)
| | 09:13 | I think the one I made up is a
little bit stronger, sort of --
| | 09:16 | (Music playing)
| | 09:21 | All right! That sounds pretty good.
| | 09:23 | Again, I need to listen to it in the context of
the whole mix to really know if it sounds good.
| | 09:27 | I'm going to mute the vocal for a moment
and just play the band back for the chorus.
| | 09:31 | (Music playing)
| | 09:50 | All right! That sounds good.
| | 09:51 | So I'm going to go ahead and tweak the
compression to the rest of the tracks and
| | 09:55 | you can open up the 09_05 exercise file
for the next movie as we get into adding
| | 10:00 | reverb and echo effects and see how
your compression settings match with mine.
| | 10:06 | Neither are right or wrong, but it's
always interesting to see what one person
| | 10:09 | would do versus what someone else
decides to do with compression and EQ both.
| | Collapse this transcript |
| Adding reverb and echo effects to individual tracks| 00:00 | Reverb and Echo create the
illusion of space and distance in a mix.
| | 00:04 | When you mix an instrument in with no
reverb at all, the listener perceives the
| | 00:08 | sound as being very close to
them or right in their face.
| | 00:11 | To move something back a little bit
away from the listener, try adding a
| | 00:15 | little bit of reverb.
| | 00:16 | Let's look at the drum track.
| | 00:18 | I am going to solo it and activate the
cycle region and tune into the snare drums.
| | 00:23 | Snare is a really good drum to focus
on because it's such a tight short sound
| | 00:27 | that when it triggers reverb, you can
usually really hear the reverb as opposed
| | 00:30 | to say a symbol that might be
ringing out or something like that.
| | 00:33 | So I am going to play and then I am
going to introduce a little bit of reverb
| | 00:35 | and just listen to the snare drum.
| | 00:36 | (Music playing)
| | 00:50 | So I want to go with subtle here, but
I would like to have a little bit of
| | 00:53 | reverb on my drum kit.
| | 00:55 | So let's compare it by
turning it off and back on.
| | 01:03 | (Music playing)
| | 01:11 | Fine tune it a little bit.
Now, that sounds good to me.
| | 01:13 | So we've got a little
bit of reverb on the drums.
| | 01:16 | See how it sounds in the whole mix.
| | 01:18 | (Music playing)
| | 01:26 | All right! So it's in there.
| | 01:28 | Got a little bit of reverb on that
snare drum, sort of pushing the drums back
| | 01:31 | away from the listener just a little bit.
| | 01:33 | I don't want them to be
sitting right up in the foreground.
| | 01:36 | The sound of reverb is meant to
approximate a sound that's being made from
| | 01:39 | across a large room or even in
outdoor space like a canyon or a quarry.
| | 01:44 | This is all an audio illusion of course, but
the brain perceives these things as spaced out.
| | 01:48 | So you can use that to your advantage.
| | 01:50 | The sound of an echo or delay and of reverb
in a mix is very much the way of things
| | 01:55 | these days in the music industry and
over the last 60 years or so and it's not
| | 01:59 | showing any signs of being passe.
| | 02:01 | Reverb and delay on certain
instruments and certainly on vocals is something
| | 02:05 | that's done everyday in
mixing sessions across the globe.
| | 02:08 | The secret to really making
it work for you is moderation.
| | 02:11 | Too much reverb or too much
delay or echo just sounds ridiculous.
| | 02:15 | If you find that sweet spot where you
almost can't detect it, but it's still
| | 02:19 | creating the space that you are
looking for, then you've really hit on it.
| | 02:22 | That of course eliminates the
possibility that you may want to have an extreme
| | 02:26 | amount of reverb for a certain
type of effect which is certainly your
| | 02:29 | prerogative to do so.
| | 02:30 | But as a general rule and as the
pursuit of putting together a mix and sort
| | 02:35 | of blending and combining sounds goes, you
probably want to err on the side of moderation.
| | 02:39 | So as we mentioned, the Master Echo
and Master Reverb effects are on every
| | 02:45 | single track and you can always use
them or not just by bypassing them.
| | 02:48 | You also have the option of adding
reverb as an actual effect, just by
| | 02:52 | clicking and choosing Track Reverb and
you can actually drop a reverb right in
| | 02:55 | here and make more adjustments than
just the 0 to 100 slider that happens on
| | 03:00 | this reverb at the bottom.
| | 03:01 | So your Reverb Time is the length of
time that the sound of the reverb extends.
| | 03:05 | So basically the longer it is, the
deeper it cave, or the further away
| | 03:09 | it actually sounds.
| | 03:11 | The color of the reverb is going to
have more of a high-end crispy tone to it,
| | 03:15 | and Dark is going to be warmer, and the
Reverb Volume is the sound of the reverb
| | 03:20 | itself and how loud it is in
relationship to the original volume.
| | 03:24 | So, these last two are sort of
used to mix the two sounds together.
| | 03:28 | So let's look at the
Acoustic Guitar part for a bit.
| | 03:29 | I am going to turn cycle region back on again.
| | 03:34 | Get a little section here. Solo it out.
| | 03:37 | (Music playing)
| | 03:43 | So making here that really long
tail and turning back the bit.
| | 03:45 | (Music playing)
| | 03:50 | It sounds like we are sitting in
the middle of a giant hall like this.
| | 03:53 | (Music playing)
| | 04:01 | So that's what Dark Reverb sounds like.
| | 04:03 | (Music playing)
| | 04:10 | As you brighten it up, you can really
hear the characteristics of the original
| | 04:13 | sound coming through a little more.
| | 04:14 | (Music playing)
| | 04:22 | So, sort of a season to taste kind of approach.
| | 04:25 | One other thing that we can do is I am
going to click over to the main Browse tab
| | 04:29 | of the Track Info panel and under
Acoustic Guitars, choose the Large Reverb
| | 04:33 | Preset and see what we get over in the Edit tab.
| | 04:36 | So we've got a Compressor, a Track
Reverb inserted with a certain arrangement,
| | 04:42 | very bright, very long tail, with a very low
volume, and a high mix of the original guitar.
| | 04:48 | So let's take a listen to how that sounds.
| | 04:49 | (Music playing)
| | 05:07 | All right, I am pretty happy with that.
| | 05:08 | It's a little bit long.
| | 05:09 | But we'll see how it fits in the entire mix.
| | 05:12 | Let's hear that same
section with everything turned on.
| | 05:15 | (Music playing)
| | 05:26 | Let me try that a little bit higher on
the overall track volume of the guitar.
| | 05:29 | (Music playing)
| | 05:39 | So another thing I am going to try with
this guitar, which I haven't tried yet,
| | 05:41 | is to position it off in the right
side and see if we can get a little more
| | 05:45 | clarity by not having it straight up in
the middle competing with the lead vocal
| | 05:48 | and everything else here.
| | 05:49 | So let's see how that sounds.
| | 05:50 | (Music playing)
| | 06:15 | All right, I like the sound of that for now.
| | 06:16 | So we'll leave that there.
| | 06:17 | We'll leave our large reverb.
| | 06:19 | Actually, I still feel like
that tail is a little bit too long.
| | 06:21 | I am going to bring that down just
a little more, maybe even bring its
| | 06:25 | volume down a smidge.
| | 06:27 | So when it comes to Reverb and even EQ
and Compression, use these things in
| | 06:32 | moderation or with judicious application
and your mixes will sing. Go overboard,
| | 06:37 | and they might sink.
| | Collapse this transcript |
| Creating automated volume and pan moves| 00:00 | Before digital mixing and automation,
mixing engineers had to perform final
| | 00:04 | mixes much like the performers who
performed on the tracks they were mixing.
| | 00:08 | Sometimes it took several
attempts to get the mix right.
| | 00:11 | Decisions and edits were made with
razor blades and tape and then the mixing
| | 00:16 | engineer and indeed sometimes the
producer and even members of the band had to
| | 00:20 | reach in and actually move a fader,
change in EQ or enable effects just at the
| | 00:25 | right moment while the Master mix
is being laid off two track tape.
| | 00:29 | With the advent of motorized faders,
they can be computer-controlled and
| | 00:32 | programmed to move the faders on a
mixing console to aid the engineer's efforts.
| | 00:37 | GarageBand offers automated mixing
capabilities as well and as soon as you learn
| | 00:41 | the simple technique for marking a
point in time and altering your parameter of
| | 00:45 | choice at a second point in time, you
will be able to automate almost everything
| | 00:49 | in GarageBand when it comes to your mixes.
| | 00:51 | Let's look at the lead vocal track first.
| | 00:54 | Every track has a Show Automation
triangle in the lower right of the track header.
| | 00:59 | Enable it and you can see the
timeline for adding notes or keyframes.
| | 01:03 | So the way that this happens is along
the timeline you click your mouse and get
| | 01:07 | an automation node, click another one
and add a third, and now you've got a three
| | 01:12 | point edit you can make.
| | 01:13 | So I can drag this down and since
I'm automating volume, the volume will
| | 01:17 | actually go down here.
| | 01:19 | So I'll just play this little section
and you can hear the volume go way down
| | 01:22 | and then come back up again.
| | 01:23 | (Music playing)
| | 01:29 | So you have ultimate control
over what volume happens where and you can
| | 01:35 | actually program it in by placing
nodes and clicking and dragging around.
| | 01:38 | Now I will hit Undo four
times to make those go away.
| | 01:41 | The thing to remember though is to set two
nodes like this and then change your volume level.
| | 01:46 | Now suddenly the rest of the
song is at this new lower level.
| | 01:50 | Now if that's what you want, that's fine,
but a lot of times an automation move
| | 01:54 | is going away from the default level
and coming back to either raising or
| | 01:59 | lowering and coming back to that
default area, which is why before I created
| | 02:03 | three or yes even sometimes four nodes
where you can click and drag above the
| | 02:09 | line to select two nodes and move them together.
| | 02:12 | That way it goes down, stays down for a
certain amount of time, and comes back up
| | 02:16 | again to the original point.
| | 02:18 | So I always like to play several nodes
on line and that way I know exactly where
| | 02:22 | I was before for getting back.
| | 02:24 | The moment we happen to actually be at
-1.4 so you can see it's a little bit
| | 02:29 | below 0 and so that's my
starting place for all of my automation.
| | 02:34 | So what I want to do in this case
is affect these really loud notes in
| | 02:38 | the verse in the vocal track.
| | 02:40 | So I am going to zoom way in on them and
I am going to create a place where they
| | 02:45 | start and then a place where it's
right in the thickest part of the waveform,
| | 02:50 | which is where it's loudest. I think
it's probably going to be roughly there and
| | 02:54 | then back up to the end.
| | 02:56 | Sometimes I like to put a couple of
nodes at the beginning and end so that in
| | 03:00 | case the word or phrase leading in or
the word or phrase or sound coming out
| | 03:04 | need some adjustments then I
have plenty of tools to do so.
| | 03:07 | So for the moment we are going to
have to listen to this line several times
| | 03:12 | again and make sure we get our automation right.
| | 03:15 | Now that I have got those nodes
placed I can zoom out a little bit more.
| | 03:19 | Get some perspective here.
| | 03:21 | I am going to create a cycle region
for that section, subject you to it one more time,
| | 03:29 | and I am going to loop
it and make some adjustments.
| | 03:31 | (Music playing)
| | 03:38 | Now you noticed-- I don't know if you noticed.
| | 04:00 | I noticed that that seemed
too quiet all of a sudden.
| | 04:02 | I pulled it down one more time
then it is sort of disappeared there.
| | 04:05 | So I am going to bring that back up one.
| | 04:08 | This is a pretty delicate so you sort
of got to be careful with your mouse
| | 04:11 | as you click on them.
| | 04:12 | Remember to use Undo if you do
something you didn't mean to do.
| | 04:15 | The other thing that happens all the
time is sometimes you will click and
| | 04:17 | attempt to move a node and what will happen
by accident is you will add another like that.
| | 04:22 | So I will just hit Undo to kind of
get back to where you were and we will
| | 04:25 | listen one more time.
| | 04:26 | (Music playing)
| | 04:32 | It's almost too drastic. So I am going
to move this node out a little bit so
| | 04:35 | that the change between here and
here is more gradual as opposed to just
| | 04:39 | dropping right off.
| | 04:40 | (Music playing)
| | 04:47 | So it may even be a little bit too strong still.
| | 04:51 | Okay and we will try to actually
basically mimic the same thing here in this one.
| | 04:58 | Scroll back and if I -- if you hover
over a given keyframe, you'll see what the
| | 05:04 | decimal reading of that position is.
| | 05:06 | So that's -3.4 so if we want to match
that, go to -3.4, bring this one down a
| | 05:09 | little bit as well and check that out.
| | 05:15 | (Music playing)
| | 05:20 | That's kind of a little strong there as well.
| | 05:23 | Sometimes a subtle touch is all you need.
| | 05:26 | Again thanks for bearing with me and
hearing those loud vocal notes again and again.
| | 05:29 | We are going to go now to the chorus
at the end where I think it will benefit
| | 05:36 | from a little bit of raised volume.
| | 05:37 | (Music playing)
| | 05:42 | Compared to the default, because there is
a lot more music happening in that last
| | 05:46 | one and also there's a line
I want to work on here too. We will find that.
| | 05:52 | (Music playing)
| | 05:59 | So that echo kind of pops
out a little bit too much.
| | 06:11 | (Music playing)
| | 06:14 | Great! And the other thing I want to do is
on the Dreamy Texture during the solo
| | 06:19 | section or during the pre-chorus, I
would like to create a slight rise in volume
| | 06:25 | for the solo so the guitar can sort of pop-out.
| | 06:28 | And I will use the select technique of
clicking and dragging so that I can move
| | 06:33 | both of these at the same time.
| | 06:35 | And also zoom in so I can see my
angle and make sure I know where that's
| | 06:39 | actually happening and I am going to
make it happen kind of right on the note.
| | 06:44 | Then we are getting the pre-chorus and
actually end before the first note of the chorus.
| | 06:56 | (Music playing)
| | 07:10 | That's the way you can bring an
instrument out for a short period of time, have
| | 07:14 | it sort of rise above the rest.
| | 07:15 | I will actually do that a little bit less
when it starts and gradually build throughout.
| | 07:20 | It's also a way that you can create a
manual fadeout if you want as well just
| | 07:25 | by doing a long tail like that and
dragging it down so then an individual track,
| | 07:30 | if you wanted to make it fade, you
could manually fade it out like that.
| | 07:42 | Resume back up, unsolo that.
| | 07:46 | Now you have seen how we can use volume.
| | 07:48 | This menu here shows you that you have
Track Volume and Track Pan available to you.
| | 07:52 | If you wanted to make the panning, the
left to right panning, of a given track
| | 07:56 | change over time, you would create
nodes and move up and down, below and above
| | 08:03 | the centerline, the
centerline being center panned.
| | 08:06 | So this if you actually watch the
fader over here for panning as I'm clicking
| | 08:12 | through here it's actually moving.
| | 08:16 | So if you needed to for some reason
adjust panning over time, you can do that
| | 08:21 | and then finally-- let's get this
back in the center by Option+clicking.
| | 08:24 | What if you wanted to automate something else?
| | 08:26 | Remember, earlier we're talking about
using Phaser Stompbox pedal to come in
| | 08:32 | at a certain point in the song and then
be out for the rest of the song so one
| | 08:35 | of the parameters we might want to adjust
on this phaser is actually the Bypass button.
| | 08:40 | So I'm going to get set up for the pre-
chorus, which is where I want to actually
| | 08:46 | have this happen, and then in Fat Stack
Left we will start there, show automation,
| | 08:51 | and this time I am going to choose Add
Automation and we get a menu of all the
| | 08:55 | possible things that are on
this track that we can do.
| | 08:57 | So Stomp Boxes, here is the Phase
Tripper and the Petal State is on or off.
| | 09:02 | So if I check that, that now
becomes one of the options in my menu.
| | 09:07 | So I can actually enable that and when
this line is down, it's off. As you can
| | 09:13 | see there is no light and where
it's up, you can see the light is on.
| | 09:20 | So as we hit that point in
time, it's going to kick on.
| | 09:23 | (Music playing)
| | 09:28 | So we can do the same thing on the other track.
| | 09:46 | And then we need to remember to
| | 09:48 | kick it back off again
when the pre-chorus is over.
| | 09:50 | And zoom in if you want to make sure
that it's going off and on at the exact
| | 10:01 | right spot. You can slide the end of
this line to meet the spot you want it to be at.
| | 10:05 | Let's scroll back to the beginning and
make sure we are right at the top of the
| | 10:16 | pre-chorus which starts here on both.
| | 10:19 | We can close these down.
| | 10:26 | And that's how easy it is to automate
volume, pan, and stompbox affect state
| | 10:31 | changes and even amplifier state changes.
| | 10:34 | If you look in that Add Automation menu,
you'll see how to access to all of the
| | 10:37 | different things that are
available to you on each individual track.
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| Freezing tracks to improve system performance| 00:00 | The number of tracks that GarageBand
can have is directly proportionate to the
| | 00:03 | amount of processing power
and RAM your computer has.
| | 00:06 | Modern Macs are powerful enough that
you almost don't need to worry about
| | 00:09 | track count anymore.
| | 00:11 | If your Mac is a little older or if
you're working on a project that has a lot
| | 00:14 | of tracks so the lot of different
effects on each, you may start running into
| | 00:18 | some responsiveness problems.
| | 00:20 | If your processor is working too hard,
the top of the playhead will start to
| | 00:23 | glow yellow, orange, and then red
if things are getting really tight.
| | 00:27 | Luckily there is something you can do when
this happens. You can lock a track or freeze it.
| | 00:31 | This protects a track from being
edited, but also it renders the track to
| | 00:35 | the hard drive and plays that fully
rendered version back while you play your project.
| | 00:40 | This frees up system resources and in
many cases allows you to keep working.
| | 00:44 | From the Track menu, you'll need to
select Show Track Lock and then on all of
| | 00:49 | your tracks in the track header
you'll get a little padlock icon.
| | 00:52 | This lets you choose
which track should be frozen.
| | 00:55 | Choose a track or several tracks you might
not need to interact with for the time being.
| | 00:58 | I'm going to just go ahead
and click the Lock button.
| | 01:00 | I'm going to click it on Acoustic guitar, on
Bass guitar, and on both of the Fat Stack guitars.
| | 01:07 | When it's colored neon green it's locked.
| | 01:11 | Now that it's locked there is no way
for you to accidentally edit something
| | 01:14 | or erase something.
| | 01:15 | I can't actually click and
drag this track out of time.
| | 01:18 | It will tell me the track has locked.
| | 01:19 | I must unlock it before making changes,
and I can either unlock it right here,
| | 01:23 | or click Cancel and unclick the green padlock.
| | 01:26 | But also your computer should exhibit
more responsiveness, and if your Playhead
| | 01:30 | was displaying orange or red it
should fade back toward its normal color.
| | 01:34 | When you press Play the first time
any tracks that are locked get rendered.
| | 01:39 | You can press Truncate if you want
to stop right at that point and get to
| | 01:42 | playing, so only do part of it, or
just let it go. Of course you can cancel.
| | 01:46 | (Music playing)
| | 01:53 | Now we have those four tracks not
being processed in real-time anymore, but
| | 01:57 | playing from their rendered
versions off the hard drive.
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| Using master track effects and automating a fade-out| 00:00 | You can apply master effects to the
master track in GarageBand and these effects
| | 00:04 | will affect every track in your mix.
| | 00:07 | If you wanted to throw a breath of
reverb on your whole mix or drop in some
| | 00:10 | EQ choices at the end of the chain,
the master mix is where we'd want to
| | 00:14 | apply these effects.
| | 00:15 | Press Command+B to show the master track.
| | 00:18 | It's also in the Track menu
under Hide and Show Master Track.
| | 00:22 | And if I open up the Track Info panel,
Master Track is on the right-hand side.
| | 00:27 | Normally we would look at guitar or
instrument on the left side. Master Track
| | 00:31 | is on the right side.
| | 00:32 | One of the things you can effect
here is you'll remember in all of our
| | 00:35 | individual tracks at the bottom we
have access to a Master Echo and Master
| | 00:40 | Reverb setting and dial in just how
much of those you would like to apply to
| | 00:44 | your individual track.
| | 00:46 | On the Master Track side this is
where you actually set the properties of
| | 00:50 | those Echo and Reverb Master Track effects
that you can dial in on each individual track.
| | 00:57 | And these are standard for all of your tracks.
| | 00:59 | You set this once and then it's
available to you in all of your individual tracks.
| | 01:04 | And then down in the second half of
the window we have our Master Effects and
| | 01:07 | this is where you can introduce EQ,
Compression, or even at the moment they
| | 01:12 | have a Ducker in here.
| | 01:13 | What this is for we'll cover
this in the chapter on podcasting.
| | 01:16 | If you are going to be performing the
ducking move, which allows GarageBand to
| | 01:21 | anticipate which track should be
lowered in volume in response to others,
| | 01:25 | for example, a music bed behind a
narrator or a voiceover, this is where you
| | 01:30 | would actually set the
behavior and style of that.
| | 01:34 | If you'd like to add EQ or compression
to your mix, you can just enable them
| | 01:37 | here and edit the parameters and
that will affect the entire mix.
| | 01:42 | You can also use presets if you want.
They are all available from the Preset
| | 01:45 | menu and same with compression.
| | 01:47 | You can enable it and then choose
from a series of different mastering
| | 01:51 | compression effects.
| | 01:55 | Keep these off for now.
| | 01:56 | All right, so I can close my Track Info
panel and look at one other convenience
| | 02:01 | that is offered in GarageBand, which is
that you can create a fade out which is
| | 02:05 | essentially an automated
volume move in the master track.
| | 02:08 | Just by choosing Track > Fade Out,
and GarageBand lays in a nicely slipping
| | 02:14 | fade out curve for you.
| | 02:16 | Now you can edit this once it's here of course.
| | 02:18 | If you actually zoom in a little bit
and want to make some modifications, this
| | 02:22 | is just a nice starting point if you want.
| | 02:24 | It happened earlier or later or be
less gradual. You can redistribute those curves.
| | 02:34 | Now our song here actually has kind
of its own natural fade out and all
| | 02:38 | the instruments fade, but we might as well
actually have a fade at the very end here.
| | 02:46 | Sees my playhead as a guide. Actually I
want to delete that node and just drop these down like this.
| | 03:03 | And play the very end and see how that sounds.
| | 03:05 | (Music playing)
| | 03:14 | Fade out is a good way to bring
everything to a close, even if it's not a very
| | 03:17 | audible fade out, like a repeating
chorus where it's fading out over time.
| | 03:23 | So now that the very end of a track
you just want to bring things to a close
| | 03:25 | by bringing the volume all the way down
on your master track and a fade out is the way to do it.
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| Creating a final mixdown: Exporting a finished song to disk| 00:00 | When you feel that everything is in
place it's time to create your mixdown or
| | 00:03 | balance of your song.
| | 00:05 | Now I've made a few changes between
the last movie and this movie, just a few
| | 00:08 | minor things that I wanted
to make sure were in place.
| | 00:10 | For example, I added a little bit of
volume automation to the acoustic guitar
| | 00:14 | track, also a little bit more to the
dreamy texture track, and I worked on the
| | 00:19 | sound of the vocal a little bit more as well.
| | 00:21 | I've got a couple more automation
moments in there as well as some of the
| | 00:25 | effects that I've added. I actually
added an Overdrive to kind of give a little
| | 00:29 | more bite and a little more
brightness and presence to the overall sound.
| | 00:33 | So you can explore those too
and check out what I did there.
| | 00:35 | On our master track, however, if I
click the Browse tab I would like to add one
| | 00:39 | of GarageBand's preset sort of
mastering scenarios if you will.
| | 00:43 | So in this case, I'm going to look
under the Rock category since this is a
| | 00:48 | rock tune, and I'm going to go ahead
and play from the beginning a little bit
| | 00:52 | of the song and choose a couple of these
different ones and settle on the one that I like.
| | 00:57 | You can hear the difference.
| | 00:58 | (Music playing)
| | 01:18 | So they all sort of add a different
tonal character, a color sort of to the
| | 01:22 | entire thing. They sort of boost the
levels up a little bit and make everything a
| | 01:26 | little bit brighter.
| | 01:27 | I actually like the Rock Basic
Finalizer of these choices best.
| | 01:31 | So I'm going to go ahead and pick that,
and if you look in the Edit column you
| | 01:34 | can see actually investigate the ways
that the EQ and the Compressor are set for
| | 01:38 | those and take a quick listen.
| | 01:39 | (Music playing)
| | 01:47 | So I'm pretty much ready to go.
| | 01:49 | So as long as you make sure your end
marker is right at the end of the song
| | 01:52 | where you want it to be
we're ready to create a mixdown.
| | 01:55 | So the Share menu is the road to
mixdown and I suggest whenever doing a new
| | 01:59 | mix you use Share > Send Song to iTunes, and
then don't compress your song as you send it.
| | 02:06 | If you click Compress you have the
option of AAC or MP3 and setting those
| | 02:11 | settings here, and you can do that if
you really need that type of file, but if
| | 02:14 | you're ready to make a mixdown I
suggest you get a full resolution file out to
| | 02:18 | iTunes and then manage it from there.
| | 02:19 | You'll always have that
copy of it to go back to.
| | 02:22 | So we also want to edit our metadata
here and make it a little easier to find
| | 02:25 | in the iTunes library.
| | 02:27 | If you have a lot of songs,
it's going to be easier to find.
| | 02:29 | I will call this Playlist GarageBand.
| | 02:33 | I'll leave Artist Name, Todd Howard.
| | 02:35 | You don't need Composer Name I guess.
| | 02:37 | You can take that out if you want to. And Album Name.
| | 02:39 | Let's go with Essential
Training and click Share.
| | 02:43 | GarageBand will create a mixdown based
on all of the choices that we've made and
| | 02:48 | save to this file for all of these tracks.
| | 02:51 | The file that will result will be a 16-
bit 44.1 kilohertz CD-quality, so-called
| | 02:57 | CD-quality file and that will be able
to be burnt directly to CD, or we can
| | 03:03 | convert it to AAC or MP3 for our iPod
or anything else that we'd like to do in
| | 03:07 | terms of sending it as an
email attachment or anything else.
| | 03:10 | So here it is in iTunes.
| | 03:13 | (Music playing)
| | 03:18 | Okay, we don't need those to it again.
| | 03:20 | I'm actually going to go ahead and edit
the name of the file as well as, since it
| | 03:23 | based it on my project name.
| | 03:24 | I'm actually going to call it by its
name, Easier to Find, and we'll go ahead and
| | 03:34 | assign it a generic genre as well.
| | 03:38 | Okay, we'll notice down here in the
left column, our Playlist, it's called
| | 03:41 | GarageBand, and this is the song that's there.
| | 03:43 | My favorite little shortcut in iTunes
is to right-click on the name of the file
| | 03:48 | and choose Show in Finder and it will
pop up in a window and actually give you
| | 03:52 | access to the file itself.
| | 03:53 | So if you need to back this up to
another drive or send it to someone or burn
| | 03:58 | it directly to a CD in the Finder, or
using something like Toast, then you have
| | 04:03 | the file right there and you can
always press spacebar to demo or quick view
| | 04:06 | any file that you have.
| | 04:07 | (Music playing)
[00:04:10.4]
I'm going to close that for now, and if
I check my iTunes > Preferences, on the
| | 04:15 | General tab under Import Settings
we can make sure that our compression
| | 04:21 | settings are as we'd like to convert the file.
| | 04:23 | So if I wanted to make I'd say an MP3
at 192, I can make those choices here and
| | 04:30 | click OK, so that when I right-click on
the file I can say Create MP3 Version.
| | 04:37 | It goes through and makes an
MP3 version of the song.
| | 04:39 | If I go back over to my main Music
directory, I'll see here's both of them.
| | 04:43 | I'm actually going to right-click up
here and show Kind, so I can see that
| | 04:47 | the first file is the AIFF full resolution
file that we exported, and here is the MP3.
| | 04:54 | I can drag that into my iPod playlist
or right-click and say Show in Finder and
| | 04:59 | then send that MP3 file in an email or
up to a web site or share it on Facebook
| | 05:03 | or whatever it is I'm
going to do with that file.
| | 05:04 | And if you'd like to burn this to a CD,
choose the playlist that you made, and
| | 05:12 | this could go for any songs that
happened to be in your playlist, and then
| | 05:15 | choose from the File menu Burn Playlist to Disc.
| | 05:20 | Go ahead and make your CD burning
settings and click Burn and iTunes will ask
| | 05:25 | for a CD and make you a full resolution
audio CD copy of it, or if you want to
| | 05:30 | make an MP3 CD you can burn it like that.
| | 05:32 | And that is how to get your mixdown
out of GarageBand, into iTunes, ready to be
| | 05:37 | shared with the world in any fashion you like.
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|
|
10. Sharing and Archiving Your Songs, Podcasts, and ProjectsSharing your songs with iTunes and burning CDs| 00:00 | As a musician, I've discovered that
working alone or even with a band in the
| | 00:04 | vacuum of the studio or rehearsal space
I can sometimes forget that creating
| | 00:08 | songs is a two-way conversation
between the artist and the audience.
| | 00:12 | In case of a live performance, this
dialog goes on in real time and it is a very
| | 00:16 | rewarding experience.
| | 00:17 | When it comes to recording music,
this is a somewhat modern technological
| | 00:22 | balancing act where an artist can
easily get lost within the process and start
| | 00:26 | to lose focus on the other half of
the musical equation, the listener.
| | 00:29 | This is not to say that musicians
shouldn't work on new material for themselves.
| | 00:34 | That's the first half of the story,
but the other part, the essential piece
| | 00:37 | that completes the puzzle for me, is when
someone else can share in what I've created.
| | 00:43 | Nowadays, this is an incredibly easy
process with email, Facebook, and other
| | 00:47 | readymade methods for sharing
audio, video, and photos with others.
| | 00:51 | This leaves one final step in GarageBand
to explore that makes this all possible:
| | 00:56 | sharing your final mixes with others.
| | 00:58 | The Share menu in GarageBand offers a
number of automated methods for getting
| | 01:02 | your song out of
GarageBand and into people's ears.
| | 01:05 | There is also the option of skipping
anything automatic and just exporting a
| | 01:09 | full resolution audio file to disc,
ready for you to do with it what you will.
| | 01:13 | We've covered doing this at the end of
the movie about mixdown earlier, and you
| | 01:18 | can always save it to your local
computer or an external hard drive and burn it
| | 01:23 | off from Toast or from the Finder or
send it directly to iTunes as a full
| | 01:27 | resolution file and bring your CD from there.
| | 01:30 | One of the ways that we can send songs
to iTunes by choosing it you'll see our
| | 01:34 | options and we can compress the file and
choose AAC or MP3, however we want it to
| | 01:41 | be in our iTunes library directly, or as
I pointed out in the mixdown movie, I
| | 01:45 | like to send them out uncompressed and
then make my conversions to MP3 or AAC
| | 01:50 | over in iTunes and sort of
manage that process from iTunes.
| | 01:54 | Whatever we enter here in the metadata
fields will also carry over and you can
| | 01:58 | edit that information further
once you're in iTunes as well.
| | 02:01 | So it's not imperative that you get this
right at this point, although if you do
| | 02:04 | save a file directly to your desktop and
then get that file out to others, if it
| | 02:08 | is something like an MP3 where it does
carry with it all of this metadata then
| | 02:13 | you would probably do want to make
sure this says what you'd like it to say.
| | 02:18 | The other options you have if you're
working on a ringtone, you can send your
| | 02:21 | ringtone to iTunes through this menu as well.
| | 02:24 | If you are working on a podcast and
you're using iWeb to build your web site and
| | 02:28 | publish that podcast, you can send the
podcast directly to iWeb from here, and
| | 02:33 | if you're scoring a movie you
can send it to iDVD as well.
| | 02:35 | It's not what we are working on
currently, which is why that's grayed out, but
| | 02:39 | those options are available to you.
| | 02:41 | And finally, you can burn songs
directly to a CD right out of GarageBand and
| | 02:45 | your final mix will go to
CD just as you created it.
| | 02:49 | If you need to adjust any of your settings,
they are available under the triangle here.
| | 02:53 | You can either mount the CD on desktop
or eject it when it's done, and we'll
| | 02:58 | close this up, click Burn, and we now
have a CD being mixed down and burned of our final song.
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| Opening a GarageBand project in Logic| 00:00 | Apple makes it incredibly easy to
take your GarageBand projects to the
| | 00:03 | next level by allowing you to open
them up in Logic Pro without doing
| | 00:07 | anything special whatsoever.
| | 00:09 | Just take your final_mixdown
GarageBand project file and right-click it and
| | 00:14 | choose from the Open With menu Logic Pro.
| | 00:17 | Just give it a name.
| | 00:20 | I will keep it final_mixdown in Logic.
| | 00:23 | I'll save it to my Chapter 10
exercise files and I will copy external audio
| | 00:29 | files into the Logic project folder.
| | 00:32 | What this means is all of the
individual audio files that we recorded into
| | 00:36 | GarageBand will actually get copied
over to the Logic project file which is
| | 00:40 | exactly what you want to do, especially
if you're going to be sharing this Logic
| | 00:44 | project file with anyone
else you might be working with.
| | 00:47 | So it's sort of as way to move
everything automatically to that folder for you.
| | 00:51 | Click Save and voila, you have your
entire project ported over to a Logic session.
| | 00:57 | You'll notice that we have all of our
arrangement markers which are now in
| | 01:01 | Logic's Marker track at the top,
Intro, Verse, Pre-Chorus, Chorus.
| | 01:06 | We have all of our files in here.
Our loops are just the way they were in
| | 01:11 | GarageBand where we've got the
initial loops, and then they're looped out
| | 01:13 | wherever they were.
| | 01:14 | Everything is basically exactly
the same as it was over there.
| | 01:16 | Colored a little differently and the
track headers are a little different, but
| | 01:20 | now you're in Logic.
| | 01:20 | So you're in a whole new world.
| | 01:22 | Now GarageBand files will not open in
any other DAWs like Pro Tools or Cubase.
| | 01:27 | They will only work with Logic.
| | 01:29 | Also, you can't take a Logic
project and go back to GarageBand with it.
| | 01:33 | Once you're in Logic, you're in Logic.
| | 01:35 | Since we are in Logic here, we can
collaborate with other Logic users.
| | 01:39 | So I took the opportunity to send this
Logic project to a musician and producer
| | 01:43 | friend of mine in another city by
zipping my Logic project directory and sending
| | 01:47 | it to them over the Internet.
| | 01:49 | I'll select the Close Project from
the File menu and open up the version of
| | 01:53 | the Logic Project my friend sent back
to me and we'll take a look at it.
| | 01:56 | One thing to keep in mind when working
with others is they may have plug-ins
| | 02:05 | or other instruments that you don't
have in your system and you'll be given a
| | 02:08 | warning in Logic that when you open up those
projects, those things are not available to you.
| | 02:13 | So for the moment we can click Continue
and just take a look at the project that
| | 02:17 | my friend sent over to me.
| | 02:18 | He wrote a drum part for this song and
recorded himself playing a full drum kit
| | 02:22 | and these are all his drum tracks.
| | 02:24 | He recorded each drum with a
separate mic into individual tracks.
| | 02:27 | He did some vocal processing and also
reamped the guitars where he took the
| | 02:32 | clean unaffected original electric
guitar signal of my two guitar rhythm tracks
| | 02:37 | and routed them out of Logic through
his audio interface and sent those signals
| | 02:41 | into a real guitar amp, mic-ed the amp,
and then recorded those two guitar
| | 02:45 | tracks back into Logic.
| | 02:47 | By doing this, he circumvented
GarageBand's and Logic's electric guitar Stompbox
| | 02:52 | and amp effects and captured real amp
sound, almost like I was in his studio in
| | 02:56 | Seattle playing the tracks myself.
| | 02:59 | Recording drums, reamping guitars, and
adding vocal effects are all things you
| | 03:03 | can also do in GarageBand, but here's
the rough mix with his added tracks.
| | 03:07 | I think you will enjoy the result.
| | 03:08 | (Music playing)
| | 04:08 | The flexibility and opportunity
GarageBand and Logic afford musicians who want
| | 04:12 | to collaborate from across the city
or across the world is astounding.
| | 04:16 | If you're interested in making the
move to Logic, be sure to search the
| | 04:19 | lynda.com Online Training Library for courses
on Logic such as the Logic Essential Training course.
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| Archiving GarageBand project files| 00:00 | GarageBand provides several methods for
saving your projects and a few of them
| | 00:04 | even offer some hard drive
space savings, but at a cost.
| | 00:07 | Now, in my opinion, the best thing
to do is just get yourself a nice, big
| | 00:10 | external FireWire or a USB hard drive.
| | 00:13 | They are incredibly affordable now-a-
days by comparison to even a couple of
| | 00:16 | years ago, and just keep all of
your project files backed up on it.
| | 00:20 | Anything you're still working on or
likely to work on again soon, you can keep
| | 00:24 | on your computer, but if you're done
with it, or have made several mixes and you
| | 00:27 | want to just back it all up, then
you can save it all to your external
| | 00:30 | hard drive and not worry about it.
| | 00:32 | Everything is at its full quality,
the resolution that you originally
| | 00:36 | recorded at, and you don't have to worry
about making choices about saving hard drive space.
| | 00:41 | That said, let's go through some of
the options that you have for saving
| | 00:44 | and archiving projects.
| | 00:45 | Some of them may actually be
particularly useful to you.
| | 00:48 | First of all, there is
the standard File > Save As.
| | 00:52 | Now, the thing with Save As is this is the
largest file format that you can save it.
| | 00:58 | So all of your original audio that
you've recorded into the project, all of the
| | 01:02 | data for your MIDI performances, all of
the loops that you may include, as well
| | 01:07 | as your automation data are all saved
into the GarageBand project package, and
| | 01:12 | then that takes up as much space as it
takes up, depending on the tracks you
| | 01:15 | have and how long your file is, et cetera.
| | 01:18 | But you can always just use Save As.
| | 01:21 | Call this final_mixdown-SaveAs, and save it.
| | 01:27 | If I actually go look at that file
and do a Command+I for Get Info, I can see
| | 01:32 | that it's 92.7 megabytes for a one-
minute song of some 8 or 10 tracks.
| | 01:38 | Keep in mind too that if you're
recording at an even higher quality, press
| | 01:42 | Command+Comma to go in to Preferences
and Advanced and under Audio Resolution,
| | 01:46 | if you have this set to Best, you
will be recording at 24-bit as well as
| | 01:51 | exporting 24-bit files.
| | 01:53 | This is going to add again to your
overall file size, so depending on what size
| | 01:57 | you're using for your recording, that
will have a large impact on the size of
| | 02:01 | your final file once you've saved it.
| | 02:03 | Another option you have
is Save as Archive Project.
| | 02:06 | Under File > Save As.
| | 02:07 | Now, what Save as Archive Project does
is it will actually save all of the real
| | 02:13 | instrument loops that you have used in
your project directly into the project file,
| | 02:17 | so that you can actually bring
this GarageBand project to another Mac who
| | 02:21 | may not have the loops that you have
and continue to work on the project.
| | 02:26 | So this is actually the way that we've
saved a number of the exercise files in
| | 02:29 | this course, so that you could have
access to some of the loops that are located
| | 02:33 | in the Rhythm section jam pack,
which you may or may not have.
| | 02:37 | So you just click Archive Project
and I will name this one Archive and
| | 02:44 | Save, and we'll go back out and take a look
at this one, see if there's any difference.
| | 02:49 | 93.5, so a little bit of file difference.
| | 02:52 | Saving as an archive project is
always going to be a little bit bigger
| | 02:55 | because we're including the Apple
loops as well as all of the other stuff
| | 02:59 | that we've recorded.
| | 03:00 | Now, there is another check box in
File > Save As that we will visit, and
| | 03:05 | this is Compact Project.
| | 03:07 | Now, what you do with Compact Project
basically is trade quality of audio for file size.
| | 03:13 | So for some reason you need to save a
workable, editable GarageBand file but
| | 03:18 | with much less file space.
| | 03:20 | Some examples might be a situation
where your hard drive is getting quite full
| | 03:23 | and you still need to save the project
or maybe you are going to save hundreds
| | 03:27 | of GarageBand files off to a laptop
maybe and take them on a trip with you.
| | 03:32 | You can use these three different
settings for Micro, Small, and Medium, which
| | 03:36 | basically takes all of your audio
files that you've recorded and converts
| | 03:41 | them to Apple's supportable format,
which is AAC, and you can choose three
| | 03:44 | different quality levels.
| | 03:46 | Medium size compact projects at
192 actually sound fairly good.
| | 03:50 | You are going to be mostly happy with that
if you have to save down to this file format.
| | 03:54 | I definitely recommend using the Medium.
| | 03:57 | So we will just go ahead and Save this one
as well and we will compare our file size.
| | 04:02 | CompactMed so we know it's
medium, and we click Save.
| | 04:05 | Well, this might take a little bit
longer because it has to do the conversions.
| | 04:09 | All of our audio files over to AAC.
| | 04:11 | But luckily, this project is only
1 minute long, so it's going pretty
| | 04:15 | quickly through them.
| | 04:16 | I will go back to the Finder again and
take a look and we see that our project
| | 04:22 | size is now 21.3 megabytes.
| | 04:25 | But this is still a completely
editable, workable GarageBand project file.
| | 04:29 | It's just that all of the audio
files have been down-converted to AAC.
| | 04:34 | Good practice and good rule of thumb
is to always save a master mix as well
| | 04:37 | using the Share > Export Song to
Disk command and make sure the Compress
| | 04:43 | button is unchecked, so that you can
save a full resolution file off to your
| | 04:52 | hard drive as well.
| | 04:53 | Now, you've got a CD-quality master
saved to your hard drive and you can burn
| | 04:57 | that to a CD, you can archive that,
you can save it, upload it somewhere, so
| | 05:02 | it's always going to be your backup of
your best quality of this final mixdown.
| | 05:06 | I usually save a master mixdown file
AIF like the one I just saved and my
| | 05:11 | original GarageBand project file in a
folder called whatever the name of the
| | 05:15 | song is and back that up
to an external hard drive.
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|
|
11. Other FeaturesTaking music lessons| 00:00 | While GarageBand was clearly
designed to be a digital audio recording
| | 00:03 | application geared around the
production of songs, there are a number of other
| | 00:07 | features the application has to offer
that I'd like to just spend a few minutes
| | 00:10 | covering in this chapter.
| | 00:11 | iPhone ringtones, podcasting,
movie scoring, and first up, guitar and
| | 00:17 | piano lessons.
| | 00:18 | So plug in and let's start there.
| | 00:20 | One of the exciting features that
Apple introduced into GarageBand in Version
| | 00:24 | '09 and has expanded upon the idea in
GarageBand '11 is the Learn to Play lessons
| | 00:30 | as part of GarageBand.
| | 00:31 | So the idea here is to learn to play
the guitar or the piano better by taking
| | 00:36 | lessons that are built into GarageBand.
| | 00:39 | So they have a very friendly chap who
teaches you the way to finger chords and
| | 00:44 | the way to follow rhythm.
| | 00:46 | It takes you all the way through
basic guitar and basic piano lessons.
| | 00:52 | You can actually go into the Lesson
Store and by choosing Guitar or Piano,
| | 00:58 | download additional lesson
series for rock guitar, for example.
| | 01:02 | You can download them individually or
download all of them at once. Same with Piano.
| | 01:06 | There is the basic set and then as
well as Pop and Classical Piano and you
| | 01:11 | can just click on them and choose which one
you'd like to download, do it one at a time.
| | 01:15 | For instance, I will download quickly
the Pop Piano Major and Minor Chords.
| | 01:20 | One thing to keep in mind about
downloading lessons is they do take up a lot
| | 01:23 | of hard drive space.
| | 01:24 | So make sure you have room to download.
| | 01:26 | This one, for example, takes 731 megs.
| | 01:30 | It's telling us here in the readout.
| | 01:33 | I can pause my download just by
clicking Pause and come back and resume at a
| | 01:37 | future time. For instance, if I am
downloading to my laptop and want to close
| | 01:40 | the laptop and leave for my WiFi
network, then come back later and resume the
| | 01:44 | download, I can do that.
| | 01:46 | Once these files are downloaded, they
are always going to be located here under
| | 01:50 | Learn to Play, in this case under
Piano or Guitar, and you'll be able to
| | 01:54 | utilize them once they are fully downloaded.
| | 01:57 | And all of the additional sets,
| | 01:59 | Basic Piano plus the two others, and
Basic Guitar and the two others are free.
| | 02:02 | They just don't come preinstalled
because of how much space they take up.
| | 02:06 | So another thing that you can do is
if you click on the Artist Lessons
| | 02:10 | category under Learn to Play, any artist
lessons you've downloaded will appear under that tab.
| | 02:14 | To get artist lessons, go to the Lesson Store.
| | 02:17 | You can either go back to the home
screen and click on Artist or you can just
| | 02:20 | go directly to the tab up top, and you
can download any of the guitar lessons or
| | 02:25 | piano lessons you see from your
celebrity contributors and learn from the
| | 02:31 | masters how to play great songs like
"Limelight" and "The Spirit of Radio" from Alex
| | 02:36 | Lifeson or "lack Coffee In Bed" from Squeeze.
| | 02:40 | If you don't currently have your
Apple ID and iTunes account information
| | 02:44 | configured, you can click on the
Account tab and fill that stuff in here.
| | 02:48 | You can create a new Apple ID if you
don't have one and the artist lessons cost
| | 02:53 | $4.99 and the other lessons are free.
| | 02:56 | So once you are in Learn to Play, I don't
have a guitar connected to the system right now.
| | 03:00 | So I won't actually do the Chord Trainer,
but I double-click on Chord Trainer, I
| | 03:04 | can show you that this is set up to
allow you to play along and choose from this
| | 03:09 | menu here whether you want to learn
Major Open Chords, Minor Open Chords, Major
| | 03:14 | Barre Chords, or Minor Barre Chords.
| | 03:15 | So if you choose, for instance,
Major Open Chords, it's going to take you
| | 03:19 | through playing a C chord, D chord, G
chord, et cetera, and what you do is play
| | 03:24 | along and it tells you if you are correct,
so it can sense what you are actually playing.
| | 03:29 | You plug your guitar in like you
would to record an electric guitar track.
| | 03:33 | Every tuner built in as well so you
can tune up, make sure everything is
| | 03:37 | hunky dory, and if you go into Setup,
you can adjust your input devices, set the
| | 03:42 | specific parameters of them and
decide whether to monitor or not.
| | 03:46 | You can also change for a left-handed
view if you are a left-handed guitar
| | 03:49 | player or show the fretboard top-
down as opposed to bottom-down.
| | 03:53 | You also have access to GarageBand's
Preferences directly from here if you need
| | 03:57 | to get to them, and you
click Setup again to return.
| | 04:00 | I'll click the X in the upper left
to go back to my main window and click
| | 04:05 | over on Piano Lessons.
| | 04:07 | If I choose Intro to Piano by double-
clicking, the lesson takes over the window
| | 04:12 | and you can click Play and learn the lesson.
| | 04:15 | (Male speaker: Hi, I'm Tim. This is the first in a series
of lessons that will help you learn to play the piano.)
| | 04:20 | So you can pause the lesson at anytime,
and if you click on Setup you have a
| | 04:25 | lot of options about how
your preview is displayed.
| | 04:27 | You can, for instance,
show the keyboard as well.
| | 04:30 | If you go back, you'll see that
now a keyboard is displayed here.
| | 04:32 | So anytime he presses on the keyboard,
you'll see numbered fingers on the
| | 04:37 | keyboard below and you can make a
bunch of different choices about which
| | 04:42 | notation style is shown in the middle
section of the screen or no notation.
| | 04:46 | Again a large view area and keyboard only.
| | 04:49 | So you can set this up any way you like.
| | 04:51 | You also have access to the mixer which
lets you adjust the relative volume of
| | 04:57 | the teacher's voice, the
teacher's piano, and the backing band.
| | 05:01 | If you are playing along at the end
each of these lessons has a sort of band
| | 05:05 | track that you can play to.
| | 05:06 | You can adjust the volume there, as
well as make individual adjustments for the
| | 05:11 | members of the band, and you can adjust
your instrument, which is the piano that
| | 05:15 | you are perhaps playing along on.
| | 05:17 | There's also a nice glossary in
here that gives you a lot of musical
| | 05:22 | terminology explained.
| | 05:24 | You can find out, if you are really new
to this stuff, what is a major chord.
| | 05:28 | I might have chosen Open
Major Chords from that menu.
| | 05:31 | If you are saying what major open chords,
well, it actually takes the time to go through.
| | 05:36 | (Male speaker: There are several
ways to play an open A Major Chord.)
| | 05:38 | Little videos and a description as well
as some illustration is taking you
| | 05:42 | through it.
| | 05:43 | So this is pretty comprehensive basic
music theory and guitar and piano theory.
| | 05:49 | So it's actually quite helpful.
| | 05:50 | While you are playing the lesson, you
can also access your notation settings
| | 05:54 | directly from this menu in
the upper right-hand corner.
| | 05:58 | If you'd like to check out the How Did
I Play feature, you have to select the
| | 06:01 | Play chapter, which is just move your mouse
up here, click on Play and then hit Record.
| | 06:07 | What will happen is it will take you
through the piano lesson that you just
| | 06:10 | learned and you play along and
basically GarageBand will grade you on your
| | 06:14 | performance and let you know and it
tracks you progress through history and you
| | 06:18 | have history results that you can
view and keep tabs on your progress.
| | 06:23 | So I am going to press Record and show
you how it works really briefly here.
| | 06:26 | (Music playing)
| | 06:38 | Okay, so as you've heard, I played
a wrong note in that chord there.
| | 06:41 | So it's showing me that I made an error
in that bar, but these other four bars
| | 06:45 | were fine and I've got 89%
success rate, so I am doing pretty good.
| | 06:49 | You can also cycle this around and run
through it a number of times in a row.
| | 06:53 | Same as the cycled region in
GarageBand. And a button for going back to the
| | 06:58 | beginning and starting over and you
can even slow it down if you are feeling
| | 07:00 | like the tempo is too fast. Use the
slider to adjust to a slower tempo.
| | 07:05 | And it tells you that you'll be muting
the teacher's voice because you've slowed
| | 07:09 | the Lesson Tempo down, then it will
drop down to 83 and you now have -
| | 07:13 | (Music playing)
| | 07:19 | --more time to get your piano on.
| | 07:22 | So if it's going too fast, you can just
slow it down and work at your own pace.
| | 07:26 | So the lessons are really helpful way
to learn the basics of piano and guitar
| | 07:30 | right inside GarageBand.
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| Creating ringtones| 00:00 | If you ever wanted to create a ring
tone for your iPhone or for any cellphone,
| | 00:04 | now's your chance.
| | 00:06 | GarageBand makes it very easy by
having a special project type called iPhone
| | 00:10 | Ringtone and there's an example that's
included and you can also make one based
| | 00:16 | on loops and one based on a real
instrument or voice. Or you can take any
| | 00:20 | project and turn it into a ringtone
just by making sure you stay under the
| | 00:24 | limit, the iPhone's limit,
of 40 seconds in length.
| | 00:28 | Most cellphones have a 29 second limit.
| | 00:31 | So if you're trying to make a ring tone
that might be available to all phones,
| | 00:34 | you're going to be looking at
going under the 29 second limit.
| | 00:37 | But if you know if it's just for your
iPhone and it's just for yourself, the
| | 00:41 | iPhone actually allows you to go to 40.
| | 00:43 | So if we just create a loops-based one,
Loop ringtone, we'll that basically
| | 00:52 | gives us a-- I'm going to put my
playhead right at the end and go to our time screen--
| | 00:57 | a 25 second cycle region.
| | 01:00 | The way that you specify your
ring tone length in GarageBand is by
| | 01:03 | positioning the cycle region, turning it on,
and making sure that it is less than 40 seconds.
| | 01:09 | So if you need to figure out where 40
seconds is, you can drag your end file
| | 01:13 | out to 40 and extend your cycle
region that far, and then fill in this area
| | 01:21 | with recorded music.
| | 01:23 | We're actually going to go ahead and
make one from the song that we developed in
| | 01:26 | this course, and I'm going to
open that right now. Let's see.
| | 01:30 | Get our finalmix file and all I'm
going to do this time is create a cycle
| | 01:38 | region that starts at the beginning of
the song, and we're going to solo out the
| | 01:46 | Dreamy Texture guitar.
| | 01:48 | So we can just use it for our
ringtone sound and let's see where I
| | 01:51 | actually want it to start.
| | 01:56 | (Music playing)
| | 01:58 | It sounds like a good ring sound.
| | 02:00 | I'll grab a start there and we
are going to go over to Time mode.
| | 02:04 | So I know I'm basically 5 seconds
in right now, so I can go up to 45.
| | 02:08 | I'm probably going to keep it to 34
so that I beat the 29 second rule.
| | 02:14 | Scroll out to about 34
seconds, which is here. Oops!
| | 02:18 | You'll notice it's easy enough to do that.
| | 02:20 | I tried to click in the ruler to get my
playhead there and I clicked here in the cycle region.
| | 02:26 | Frankly, I do that all the time
by accident. You may as well.
| | 02:29 | So you are just going to have to
reposition or redrag that cycle region in
| | 02:34 | order to fix the problem.
| | 02:36 | Here is our start point and I'll make
it a little shorter, have it stop at the
| | 02:45 | pre-chorus, why not? Okay, perfect. So now--
| | 02:48 | (Music playing)
| | 03:14 | So that's going to be our whole length.
| | 03:16 | All I need to do to create a ringtone
is to go to the Share menu and choose
| | 03:21 | Send Ringtone to iTunes.
| | 03:22 | It creates a mixdown of that
section for me. Exports to iTunes.
| | 03:29 | (Music playing)
| | 03:34 | Adds it to my Ringtones playlist in my
iTunes Library and now when I sync my
| | 03:39 | iPhone to this iTunes, I can get my
Easier ringtone just by syncing this
| | 03:47 | ringtone to my phone.
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| Creating podcasts| 00:00 | Another really great feature in
GarageBand is the ability to quickly and easily
| | 00:04 | create and author your own podcast episodes.
| | 00:07 | One of the templates in the main
GarageBand project chooser is called Podcast,
| | 00:11 | and if you double-click that and give
your podcast a name, and save it off to
| | 00:17 | your music folder or the place
you're saving your GarageBand projects.
| | 00:21 | You will see what looks like a new
interface in some ways, but in many ways it's
| | 00:25 | just GarageBand skinned
a little bit differently.
| | 00:27 | One of the things that you're seeing
here is the Podcast Track itself is
| | 00:31 | being shown and that's available in the Hide
and Show Podcast Selection of the Track menu.
| | 00:37 | You'll see a small selection of tracks
that have already been created, one for a
| | 00:41 | male voice, one for a female voice.
| | 00:43 | These are simply starting places and
you can either delete them by selecting
| | 00:46 | them and pressing Command+Delete or
create new tracks for yourself for whatever
| | 00:50 | you might need to create in your podcast.
| | 00:53 | Down at the bottom, you'll also notice
when you click the Podcast Track that
| | 00:56 | there's sort of a new view down
here that talks about adding markers,
| | 01:00 | chapters, and URLs and we'll go
through this in this movie, and also on the
| | 01:04 | right-hand side the Track Info panel is replaced
with some information that's known as metadata.
| | 01:08 | So the Title, the Artist, Composer,
Parental Advisory where you can say
| | 01:13 | whether your podcast is R-rated or
cleaner than R-rated, and it's nice to let
| | 01:17 | people know what type of content you
have, especially if you're going to be
| | 01:20 | releasing your podcast to the iTunes
Store podcast directory, and also a
| | 01:25 | description of your podcast.
| | 01:26 | I am going to simply go open up a new file,
| | 01:29 | not save the one we are just looking at
and open up my MR Podcast project where
| | 01:35 | I've actually already got a few things
started here to work with so that we can
| | 01:38 | look at some of the unique things
about creating a podcast in GarageBand.
| | 01:42 | So all the same things
apply. You still have your zooming.
| | 01:44 | Your tracks are the same, all the
selection tools and cursors are still applicable.
| | 01:49 | What I've got here in our main
Timeline now is a voiceover track which I've
| | 01:54 | recorded, which is me speaking,
doing the announcer thing.
| | 01:57 | We've got a Music Bed for which I used
the easier to find song with no vocal.
| | 02:03 | I exported it by muting the vocal track
and doing a Share > Export Song to Disk
| | 02:09 | and then imported the file.
| | 02:11 | All of your media assets, your audio
files that are in iTunes, your photos
| | 02:15 | that are in iPhoto, are all available
by clicking the Media Browser button in
| | 02:19 | the lower-right corner.
| | 02:20 | You'll see that right now I am
looking at my iTunes Library listed for me
| | 02:24 | here and so when I made that export
I included it here in iTunes and I was
| | 02:29 | able to drag that in and have the
instrumental version of the song play as
| | 02:32 | our background bed.
| | 02:34 | You can also look at your iPhotos and
also movies that you might have created in
| | 02:38 | iMovie so that you can do
scoring or other things.
| | 02:41 | For our purposes here, I am going to
use the iPhoto view to grab a piece
| | 02:45 | of artwork that I created, basically
the cover art for this show, MR, the
| | 02:50 | Music Review Podcast.
| | 02:52 | I can click and drag this into my
Podcast Track by selecting the Podcast Track,
| | 02:57 | and dragging my artwork
into the Drag Artwork Here.
| | 03:00 | Well, now I've actually got an image
that will be saved as the cover art
| | 03:06 | for this podcast show.
| | 03:07 | So in iTunes it will show up as my
album cover, if you will, for the podcast.
| | 03:11 | So let's just play the beginning of this.
| | 03:13 | I created a track for some audio sound effects
here and used something from the Loops browser.
| | 03:18 | I go into my Podcast Sounds View
button and look at all the Jingles, Stingers,
| | 03:22 | Sound Effects, that are available in
GarageBand for all sorts of crazy uses.
| | 03:26 | I mean, there are sounds you can use
for your show. There are strange Foley
| | 03:31 | sounds like, Bubbles, Bell
Tower, all sorts of things.
| | 03:37 | There is a great library
stuff that you can explore.
| | 03:40 | I found the Record Player Static to be
kind of an interesting way to start a
| | 03:43 | show that was going to be about music and
also feature that instrumental music coming in.
| | 03:48 | So let's just play it from the beginning,
and I'll listen in to the first little
| | 03:51 | portion of the voiceover.
| | 03:53 | (Music playing)
| | 04:05 | (Male speaker: Hey everybody and welcome
back to MR, the Music Review Podcast.)
| | 04:10 | Now one thing that you've probably
noticed is as soon as I started speaking,
| | 04:13 | my voice was too quiet.
| | 04:15 | The music and the voice were competing
with each other and roughly at the same level.
| | 04:18 | (Music playing)
| | 04:18 | (Male speaker: Hey everybody and welcome
back to MR, the Music Review Podcast. I'm your host...)
| | 04:24 | Now, one thing you're tempted to do at
that point is of course turn up the voice
| | 04:28 | or maybe even turn down the music.
| | 04:29 | Well, when you're putting together a
podcast show or something that follows sort
| | 04:33 | of the format of radio editing
and radio style audio production,
| | 04:36 | we want that Music Bed to kind of
duck down out of the way under the voice
| | 04:40 | when it comes in, almost like you
reached over to the Fader and pulled the
| | 04:43 | volume down a little bit.
| | 04:45 | As we learned in earlier movies, you
could always create some automation and do
| | 04:48 | some track volume adjustment.
| | 04:50 | But GarageBand includes a cool feature
for doing podcast where this situation
| | 04:54 | happens an awful lot and they refer to
it as ducking, and these buttons that you
| | 04:58 | see over here to the left of the
panning knobs are our ducking controls.
| | 05:02 | Now, the way that it works is you tell
GarageBand which tracks you want to favor
| | 05:07 | and which tracks you want to be
subordinate to those, and the quickest way to do
| | 05:11 | that is to select your dominant track first.
| | 05:14 | In this case, the male voice, and you
do that by clicking the Up arrow in the
| | 05:18 | top of the ducking controls.
| | 05:20 | What this does is designate the male
voice track to be our prominent track and
| | 05:25 | any of the other tracks that have the
downward facing blue arrow will lower in
| | 05:29 | volume when that track exists.
| | 05:32 | So GarageBand actually is able to listen
to know when there is audio on that track.
| | 05:37 | So in the silence this music track is
playing loud and as soon as the voice track
| | 05:41 | comes in, this volume will go
down based on this selection here.
| | 05:44 | So let's take a listen and see how that works.
| | 05:47 | (Music playing)
| | 05:49 | (Male speaker: Hey everybody and welcome back to MR, the Music Review
Podcast. I'm your host, as always, Todd Howard and it's great to be back?)
| | 05:56 | So now you can actually hear the entire
narration, but the music is still there.
| | 06:00 | And if you want to adjust the behavior
of your ducking controls, you can always
| | 06:04 | pop over in the Podcast Track, under
Track Info to Master Track, under Edit,
| | 06:10 | and adjust your ducking controls
here just by clicking and making some
| | 06:14 | selections and choices that suit your
taste and the style of show that you're
| | 06:18 | doing of course as well.
| | 06:19 | Something else that's a great fun way
to enhance your podcast is if you're able
| | 06:24 | to deliver your podcast as AAC files as
opposed to MP3, you can include chapter
| | 06:30 | markers and additional artwork as
well as web site URLs into the podcast
| | 06:35 | itself that users can react to by
clicking on in iTunes or viewing and
| | 06:40 | selecting on their iPhones and iPods, but you
have to actually be using iTunes to view AAC files.
| | 06:46 | So please know that if you are
interested in reaching a wide audience, some of
| | 06:50 | them may not have iTunes or Apple
products that are able to view them, you need
| | 06:55 | to make sure you make an MP3 version
and an AAC version and be aware that the
| | 06:59 | MP3 version will not contain the
features that we're about to cover.
| | 07:03 | So what's cool about chapter markers
is let's say you actually had a fairly
| | 07:07 | long podcast, maybe an hour long, and there
are maybe eight acts or eight main subjects.
| | 07:12 | Maybe it's a news show and you want to
mark them all as individual news stories
| | 07:15 | that they are going to be covering.
| | 07:17 | You can create chapters and name them
after those stories and then when a user
| | 07:21 | is listening to it in iTunes, they can
hop around chapter to chapter and not be
| | 07:25 | required to listen to the
entire show straight through.
| | 07:27 | So it lets you have easy access.
| | 07:29 | The way that you create a chapter in
GarageBand is to place the playhead
| | 07:32 | somewhere in the Timeline
and click the Add Marker.
| | 07:36 | Now a marker can do a number of things.
| | 07:38 | So let me create a marker and then
we'll explore the three or four things you
| | 07:42 | can do with a marker.
| | 07:43 | Now, I know that somewhere here later
in the podcast I've already included
| | 07:47 | a couple of pictures of guitars to symbolize
some music reviews we're doing of instruments.
| | 07:51 | (Male speaker: We'll check out the Breedlove 5 string
and the Takamine 4 string. We'll compare and contrast?)
| | 07:57 | You can see how those images changed up here.
| | 07:59 | This is giving you a nice little view
of what your listener will see on their
| | 08:03 | device when your podcast is playing.
| | 08:05 | The artwork shows by default all the time
unless there is a marker with artwork included.
| | 08:11 | So we'll watch here again and see.
| | 08:12 | (Music playing)
| | 08:13 | (Male speaker: We'll check out the
Breedlove 5 string and the Takamine 4 string.)
| | 08:17 | So you've got a way to show
them images as things are going by.
| | 08:20 | Now if you actually have a web site
URL that you maybe want to include, let's
| | 08:24 | say I want to go to Breedlove's
web site when I show that guitar,
| | 08:27 | I can include the URL here and you'll
want to include the entire HTTP address
| | 08:33 | that will take users to the site that
you want to draw their attention to.
| | 08:36 | Sometimes it's good for sponsors.
| | 08:38 | If you're having someone sponsor your
show and you want to be able to link to them,
| | 08:41 | that's something you can
describe to them as a benefit of sponsoring
| | 08:44 | your show so you'll be able to link users out
using the enhanced AAC podcasts from GarageBand.
| | 08:49 | So I am going to place the playhead
later where I mentioned the club, The T,
| | 08:55 | and in my Media Library I have a logo
for The T-Club right here and we'll
| | 08:58 | figure out where we want to put it,
and then we'll cover these other features
| | 09:01 | here in Add Markers.
| | 09:02 | (Male speaker: ?performing at The T?)
| | 09:04 | Okay, it's right there.
| | 09:05 | Get it right at "performing at the."
| | 09:07 | (Male speaker: ?performing at The T?)
| | 09:09 | So right there is where I want that graphic
to come up and where I want the marker to be.
| | 09:13 | So I will place a marker by
clicking Add Marker and it assumes now that
| | 09:17 | this marker is going to take users to a
place that begins what is the rest of the show.
| | 09:23 | So by default, it throws in
this whole big block, assuming that
| | 09:26 | that's going to be your marker.
| | 09:27 | So I will call this one The T. If you
don't include a chapter title, then the
| | 09:32 | marker does not behave like a
chapter in enhanced podcasts.
| | 09:36 | So currently, I have the chapter
called Reviews here which if someone selects
| | 09:41 | that will take them to the place where
they're going see two graphics that come up in a row.
| | 09:45 | So that's why the second guitar
doesn't actually have a title.
| | 09:48 | So I will drag my T Club graphic into
the well and now I've got a new graphic.
| | 09:53 | So we came out of the default, which is
the show art, and went into the T and
| | 09:58 | here's how you decide where you
are going to end a given graphic.
| | 10:01 | Let me pull this back up so we
can see what we're doing here.
| | 10:04 | Look back and view from here.
| | 10:06 | (Male speaker: ?performing at The T, the fair city's best nightclub
for catching new, up-and-coming performers playing all original music.)
| | 10:13 | So that's where I want it to end.
| | 10:15 | I can use my Trim tool to click and
drag the end of the T graphic to meet my
| | 10:21 | playhead or-- I will press Undo--
| | 10:23 | I can create a new marker and it'll
chop us off there and that will be the end
| | 10:27 | of the T, and this one will now have no
artwork defaulting back to our main view
| | 10:31 | for the rest of the show.
| | 10:32 | Now, this just sort of
becomes a placeholder at this point.
| | 10:35 | You can select markers by clicking on
them and highlighting the row, using your
| | 10:38 | Delete key to delete them, or making
alterations to the check boxes on the left
| | 10:43 | by selecting it and saying I don't
actually want to display artwork after all,
| | 10:47 | and turn that off there.
| | 10:48 | So I will just close my Podcast Preview
and now that let's say our podcast is done.
| | 10:53 | We love how it sounds, the end is good.
| | 10:55 | (Male speaker: See you on the other side!)
| | 10:59 | Cool! So that's our podcast.
| | 11:00 | This one is only a minute long.
| | 11:02 | So now all that remains is getting our
podcast out of GarageBand and into the
| | 11:06 | world and the way we do that is by
choosing from the Share menu either Send
| | 11:11 | Podcast to iTunes, which will
immediately export and save it in iTunes.
| | 11:15 | If you are an iWeb user and have your
web site created using the iWeb tool in
| | 11:19 | the iLife suite from Apple, you can
choose Send Podcast to iWeb and it will
| | 11:23 | automatically create a new page for
your podcast over in iWeb, allowing you to
| | 11:28 | edit and upload your web page very
quickly, or you can just save the file off to
| | 11:32 | disk and do what you like with it.
| | 11:34 | I am going to send it to iTunes.
| | 11:35 | I make sure I've included my metadata.
| | 11:40 | And since I want this to be an AAC to
include all my artwork I am going to
| | 11:43 | choose the AAC Encoder.
| | 11:45 | If you're also doing MP3, you can come
back again and select Share > Send to
| | 11:49 | iTunes and then choose MP3 and make
any other adjustments you need to there.
| | 11:53 | The Audio Settings are just some
compression settings that are sort of preset.
| | 11:57 | If your podcast is only spoken words,
choose the Spoken Podcast and it will have
| | 12:02 | the ability to bring the file size
down without hurting the quality.
| | 12:06 | If you have music or other things that
require high-delivery quality, then you
| | 12:09 | want to choose one of these or the
iTunes Plus format and Custom is available
| | 12:13 | as well so you can make your own choices about
how exactly you'd like to compress your podcast.
| | 12:17 | We can also set the
artwork for recommended size.
| | 12:20 | This is here because I created this
a little bit larger at 600, or we can
| | 12:24 | uncheck it to send the full
file through. I'll click Share.
| | 12:29 | Make a nice mixdown and over in iTunes we
now have the playlist and the podcast.
| | 12:36 | (Music playing)
| | 12:40 | (Male speaker in fast forward, inaudible)
| | 12:43 | So, there it is!
| | 12:44 | I can right-click and Show in Finder.
| | 12:46 | I now have my M4A file that I can do
with anything I like, upload it with an
| | 12:50 | FTP application, send
it to someone in an email.
| | 12:54 | For now, let's look at how you can
announce this podcast in the iTunes Store and
| | 13:00 | share it that way, because the iTunes
Store podcast directory is probably one of
| | 13:04 | the largest if not the largest online
podcast directories and probably the de
| | 13:08 | facto place for people to subscribe to podcasts.
| | 13:12 | So getting your podcast up on iTunes
is probably a good idea if you'd like to
| | 13:15 | share it with the world, so to speak.
| | 13:17 | Go to the iTunes Store and click on
Podcasts in the top menu and then on the
| | 13:22 | right-hand side you'll see Submit a Podcast.
| | 13:25 | If you actually have hosted your
podcast with your web provider or on your own
| | 13:29 | or with iWeb, you will have a podcast feed URL.
| | 13:32 | That's the RSS feed that
is supporting your podcast.
| | 13:36 | So once you have that created, you can
paste that URL here and click Continue
| | 13:41 | and submit your podcast and it takes a
little while to show up in iTunes, but
| | 13:45 | that is a place that anyone can go
to search for your podcast, leave you
| | 13:49 | reviews, recommend to others,
share to others, use Ping, share it.
| | 13:53 | So that's a great thing to do if you
actually want to get your podcast out there.
| | 13:58 | That's how easy it is to create
and edit a podcast in GarageBand.
| | 14:02 | If you've always wanted to be a
broadcaster, now it's your chance to make up
| | 14:05 | your own show and export it and get
it out there into the iTunes Store and
| | 14:09 | share what you have to say with the world.
| | Collapse this transcript |
| Scoring a movie| 00:01 | Let me show you how to
score a movie in GarageBand '11.
| | 00:04 | Under the New Project chooser double-click
on the Movie project type and save your file.
| | 00:10 | I am going to create a score
for a snowboarding video clip.
| | 00:14 | Click Create and GarageBand opens up a
project file but with a couple of things
| | 00:18 | displayed that you don't normally see.
| | 00:20 | Movie Markers and the Movie Track are
displayed right up here with our normal
| | 00:25 | GarageBand timeline.
| | 00:26 | Basically the Movie Marker area is the
editor for a movie track, so it's just
| | 00:31 | like opening the editor and the Movie
Track itself is shown and hidden just by
| | 00:35 | choosing it from the Track menu.
| | 00:37 | And also we are currently set up to be
browsing in the Media Browser over to the
| | 00:41 | Movies directory, so if you actually
have iMovie projects that you have created,
| | 00:45 | your videos will show up here as well.
| | 00:47 | For the moment I just have a QuickTime
video clip on the hard drive, so I am
| | 00:50 | going to go ahead to my finder and
here's my Tahoe movie clip and I am going to
| | 00:54 | drag it into the timeline
and come back to GarageBand.
| | 00:56 | So what I see here is a series of
thumbnails giving me an idea of where I am
| | 01:02 | in the movie and if I zoom in and out, these
thumbnails update to show even more information.
| | 01:07 | So it's a little easier to
figure out where you are.
| | 01:09 | And this particular clip
has no audio to it right now.
| | 01:13 | There is an audio track, but it's silent.
| | 01:15 | I can see there are no waveforms there.
| | 01:16 | So I could actually just select it and
hit Delete and get rid of this track.
| | 01:20 | So you don't actually need our movie
sound at the moment and I will actually
| | 01:23 | delete the Movie Sound track as well.
| | 01:25 | Now a couple of things to note
about the Movie Track itself.
| | 01:28 | One is there is a thumbnail of the
movie up here that will play and you can
| | 01:32 | see it playing here in real-time.
| | 01:34 | But that's a little hard to see
especially you are going to be working
| | 01:36 | on scoring something.
| | 01:37 | You want to be able to see the
movie you are working with. Just click
| | 01:40 | it and open up the Movie Preview window.
| | 01:42 | You can resize it to basically take over your
whole screen or if you have two monitors you can move
| | 01:47 | it to the other monitor and watch the
movie while you are scoring and while
| | 01:50 | GarageBand is working on the other monitor.
| | 01:53 | Let me keep it about this big or so.
| | 01:54 | And the same commands work. Return
takes you to the beginning, spacebar plays
| | 01:59 | the movie, and this is basically your
GarageBand timeline as you normally would
| | 02:04 | operate within it, except there is
also a video track associated with it.
| | 02:10 | Comes to the end, goes black, and keeps going.
| | 02:13 | Why don't we set up a cycle region that
brings us to the end of our movie clip?
| | 02:19 | That way when I'm playing the movie it will
cycle around when it hits the end of the timeline.
| | 02:25 | Now right now GarageBand is still
thinking that there is a tempo to this
| | 02:28 | project and the default tempo is of
course 120 beats per minutes, so that
| | 02:32 | what's showing right now and you'll
see that we made it out to-- looks like
| | 02:38 | Bar 7 or so at the end here at 120.
| | 02:45 | If I change the tempo, let's say I
move it to 140 beats per minute, then the
| | 02:51 | movie stretches out to accommodate this
new length and we have to readjust our
| | 02:58 | cycle region to actually meet the end
of the movie where it actually ends.
| | 03:01 | So the tempo affects the
overall length in your timeline.
| | 03:05 | So we are going to try looking through
our loops and find a drumbeat that might
| | 03:09 | work well as a bed for our score.
| | 03:12 | Okay, so I am going to filter for Rock
/Blues Drum Kits and maybe search for
| | 03:18 | something funky and look
through and see what we have here.
| | 03:23 | I want to use a real audio loop,
so I am going to look for something.
| | 03:25 | And some of these titles are hidden,
so I am going to show those and we will
| | 03:31 | start out to sample a couple.
| | 03:32 | (Music playing)
| | 03:35 | Now the thing is when I am sampling these,
wouldn't it be nice to see the movie? Well, you can.
| | 03:38 | If I press Play right now on the movie
and then preview one of my drum loops,
| | 03:43 | it's not going to come in until the next bar.
| | 03:45 | So you'll see that's sort of a pack to
preview them while the movie is going on,
| | 03:49 | but it does work. Click.
| | 03:51 | I am waiting and here it comes.
| | 03:53 | (Music playing)
| | 04:00 | Gives actually a pretty good drumbeat at 21.
| | 04:01 | So we will keep 21, drag it into the
timeline, drop it off, close my preview for
| | 04:08 | the moment, just so I can position my
loop properly, drag that back to the
| | 04:13 | beginning of the file, and we
will loop it out a couple of times.
| | 04:17 | We see how far that takes us.
| | 04:18 | (Music playing)
| | 04:26 | Okay, that's cool!
| | 04:27 | Although so if I just keep
looping this I am going to end up --
| | 04:30 | (Music playing)
| | 04:34 | -- with sort of no drama that
happens when he leaves the ground.
| | 04:37 | So I actually want to get
to a different beat there.
| | 04:39 | So maybe a fill will work just fine or
some cymbal crashes. So I know there's some
| | 04:44 | fills here as well, so let's hear what we have.
| | 04:46 | (Music playing)
| | 04:48 | That's not going to work.
| | 04:49 | (Music playing)
| | 04:59 | Actually that's kind of
cool so we will try that.
| | 05:00 | I am going to drag that in and hope to
hit it right where he leaves the ground.
| | 05:05 | (Music playing)
| | 05:11 | The timing isn't quite perfect, but I
am noticing that if I want to extend this,
| | 05:17 | I can just change the tempo and try to
find a tempo that will actually work pretty well.
| | 05:21 | So why don't we try bring it down a
little bit to 136, maybe for example, and
| | 05:29 | see how our timing is.
| | 05:30 | (Music playing)
| | 05:35 | So kind of like have the fill end
when he hits the ground again, so I am
| | 05:38 | actually going to come
down even a little bit more.
| | 05:40 | See if I can match it.
| | 05:43 | (Music playing)
| | 05:50 | So that's a little bit better.
| | 05:51 | I am going to come down just two more.
| | 05:55 | (Music playing)
| | 06:00 | All right! That will be good, all right.
| | 06:01 | And then I'm going to just come back to
my regular beat. I am going to click on
| | 06:04 | the first loop, Option+Click drag
it to copy it, and move it down the
| | 06:08 | timeline, and then I will end my
loop at the end of the video and have my
| | 06:15 | cycle region also end there.
| | 06:16 | Okay, so let's try one more time.
| | 06:17 | (Music playing)
| | 06:29 | Okay, great! So that's a great clip. I am loving it.
| | 06:31 | Let me make this just a little bit
bigger so that you can see this if you are
| | 06:34 | viewing it on a smaller screen.
| | 06:36 | Okay, so the next thing I want to
do is start to add to my song here.
| | 06:40 | I am just going to do something really simple,
maybe add a bass part and a keyboard part.
| | 06:44 | So I am going to click
over to my Track Info panel.
| | 06:47 | I am going to create a new track and I
will just choose Software Instruments.
| | 06:52 | I have my MIDI keyboard connected and I
am going to look for a bass sound in the
| | 06:55 | Software Instrument library.
| | 06:56 | So click on Bass and sample some of
these sounds here with my keyboard.
| | 07:02 | (Music playing)
| | 07:11 | Ah, that's sounding good!
| | 07:12 | (Music playing)
| | 07:14 | Excellent! Perfect for snowboarding!
| | 07:15 | Okay, so I am going to set the Count-
In on, and turn on my Metronome, so a
| | 07:22 | little bit of a counting before I record.
| | 07:23 | And for the moment I'm going to turn
cycle region off, so that I can do a single
| | 07:28 | pass hopefully here and get a
good little Bass part count.
| | 07:31 | (Music playing)
| | 07:46 | All right! Not too bad.
| | 07:48 | Make a couple of quick edits here to
the end, since I mangled it a little bit at the very end.
| | 07:53 | (Music playing)
| | 07:57 | All right, let's go with Quantizing.
| | 08:00 | I am going to do a 16th note and see
if I can lock it up a little bit.
| | 08:05 | (Music playing)
| | 08:17 | All right! I want to get that last phrase proper,
so I am just going to copy by clicking
| | 08:22 | and dragging, hit Command+C, section my
playhead and paste in those notes, so I
| | 08:29 | can repeat that at the end.
| | 08:30 | (Music playing)
| | 08:35 | Cool! So now I have a little sort of
breakdown section at the very end. Excellent!
| | 08:38 | Next let's get a synthesizer pad going here.
| | 08:42 | Again, Software Instrument and let's
find some Synth Pads that sound cool.
| | 08:47 | Let's see what we have.
| | 08:48 | (Music playing)
| | 08:50 | No, no.
| | 08:51 | (Music playing)
| | 09:00 | I like that. That sounds good.
| | 09:02 | (Music playing)
| | 09:03 | All right, back to the top, record armed.
| | 09:07 | (Music playing)
| | 09:22 | All right, let's see how we did.
| | 09:24 | I will open up the Preview and we
will listen to it with our score.
| | 09:27 | (Music playing)
| | 09:41 | Great! So I'm happy with that.
| | 09:43 | Let's call that done and we will
share our movie with iWeb or with iDVD.
| | 09:48 | If we are going to burn a DVD we might as
well send it to iDVD and get this thing
| | 09:53 | created and burnt out.
| | 09:55 | (Music playing)
| | 10:04 | All right, so here is our snowboarding video.
| | 10:06 | Let's go and preview this.
| | 10:08 | (Music playing)
| | 10:16 | Click on our Snowboarding movie.
| | 10:17 | (Music playing)
| | 10:34 | But perhaps the simplest way to get a
scored movie out of GarageBand is to share by
| | 10:39 | exporting movie to disk and we will
just go with the Full Quality QuickTime.
| | 10:43 | We could change it to Apple TV or
something perfect for the iPod or email.
| | 10:47 | Well, let's do Full Quality for now.
| | 10:50 | Click Export, snowboarding-with-music.mov.
| | 10:55 | Okay it creates a mixdown, converts it to
QuickTime, and we have our QuickTime Movie.
| | 11:01 | (Music playing)
| | 11:06 | And that's all there is to
scoring a movie in GarageBand.
| | Collapse this transcript |
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|
ConclusionGoodbye| 00:00 | Well, this brings us to the end of
GarageBand '11 Essential Training.
| | 00:04 | I've surely had a great time recording
it and I hope you've learned some things
| | 00:07 | along the way that will be helpful
to you in your own musical endeavors.
| | 00:10 | In the meantime, if you have any
questions or run into something you don't know
| | 00:14 | how to handle, I have a web site
recommendation for you: discussions.apple.com.
| | 00:20 | If you navigate to iLife and then
choose GarageBand, you'll find lots of
| | 00:24 | ongoing discussions.
| | 00:26 | Many of the people who post questions
and answers there will also point you to
| | 00:29 | their own blogs or other sites so that
you can learn from and participate in the
| | 00:33 | GarageBand community.
| | 00:35 | Also, I've written a book called GarageBand
'11 Power! and that may be of use to you as well.
| | 00:41 | Don't forget to check back here at
lynda.com in the Online Training Library for
| | 00:45 | audio and music courses old
and new that may be relevant.
| | 00:49 | Keep on playing and recording your
music and have fun with GarageBand '11.
| | Collapse this transcript |
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