IntroductionWelcome| 00:04 | Hi, I am Josh Harris and welcome
to remixing a song in Logic Pro.
| | 00:08 | In this course we will look at how to
construct a remix from start to finish
| | 00:12 | using only a pre-existing
vocal track as a starting place.
| | 00:14 | (Music playing)
| | 00:21 | I will start by giving you some
suggestions about establishing a musical
| | 00:24 | direction and showing you how to time
such a vocal by using Logic's Flex mode.
| | 00:29 | Then we'll explore the Apple loops
library, look at how to import external audio
| | 00:34 | files into your session, and see how
to program your own feeds using Logic's
| | 00:38 | powerful Virtual Synths and compose
baselines that complement your drum parts.
| | 00:42 | I'll show you some of my preferred
methods for creating compelling musical
| | 00:46 | arrangements and master-quality final mixes.
| | 00:49 | (Music playing)
| | 00:54 | We will be covering all these techniques
plus plenty of other tools and features
| | 00:58 | along the way to help you get the
most out of using Logic Pro to create
| | 01:01 | infectious and memorable remixes.
| | 01:04 | Now let's get started with
remixing a song in Logic Pro.
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| Using Logic Pro as a remixing environment| 00:00 | With all the digital audio
workstations available to music makers today,
| | 00:04 | why choose Logic Pro?
| | 00:06 | Well for me first and
foremost, I love the way it looks.
| | 00:09 | I'm actually able to stare at this
arrange window for hours and my eyes
don't get tired.
| | 00:14 | What we are looking at right now is
a snap shot of the arrange window of
| | 00:18 | our finished remix.
| | 00:19 | I have been using Logic for over 13
years now and I find it to be a wonderful
| | 00:23 | musical platform for capturing
my ideas in an immediate manner.
| | 00:28 | Just a quick tour of the arrange window.
| | 00:29 | What we have up here on the left are
audio files, you can see the blue audio
| | 00:34 | files icon and I'll actually expand
this by holding down Ctrl+Option and the
| | 00:40 | Down Arrow that blows up the screen or
shrinks the screen and Ctrl+Option Right
| | 00:47 | and Left arrow expands and contracts.
| | 00:50 | So we can see as we expand here, this
is an audio waveform and the green track
| | 00:55 | here is MIDI data, we double-click on
that, we see our Piano Roll, and there is
| | 01:00 | our MIDI data right here.
| | 01:02 | I click Piano Roll again, that
closes the window, and I will shrink the
| | 01:07 | arrange window back down.
| | 01:09 | I spend most of my time in this
window. Recording the MIDI data arranging
the track.
| | 01:15 | You can see that I've actually
color coded some different tracks here.
| | 01:18 | Visually color coding different
sections of the arrangement helps me identify
| | 01:22 | where I am in the track.
| | 01:24 | If I hit X, it pulls up the mixer
window, and the mixer window has all of the
| | 01:29 | tracks that are on the arrange window,
set up in a mixing console fashion.
| | 01:33 | I hit X again, and I can also get back
to the mixer by hitting Command+2, which
| | 01:38 | gives me a slightly different view.
| | 01:40 | Here you can see your plug-ins, your
Sends and Returns to your Reverbs and
| | 01:45 | Delays and all these different effects,
there are also Channel Strip settings.
| | 01:49 | If I click and hold Setting, a menu
pops down, giving me access to different
| | 01:52 | presets for different effects.
| | 01:54 | I simply close the mixer window, by
hitting Command+W, and as you dive deeper
| | 01:59 | into working with Logic, you'll see that
you're able to customize the program to
| | 02:03 | fit the way your mind works.
| | 02:05 | If you would like to import key
commands or change key commands, you simply go
| | 02:09 | to Preferences and you go to Key
Commands here, and all these different
| | 02:13 | functions in Logic are set up with
certain key commands, which you are able to
| | 02:18 | change them over here on the right side.
| | 02:20 | Simply close this window to
get back to the Arrange window.
| | 02:23 | And I need to point out, when it comes
to bouncing down your finished mixes,
| | 02:29 | one of the huge pluses for me with
Logic is the fact that it has the ability to
| | 02:33 | do off-line bouncing, versus real time bouncing.
| | 02:37 | Real time bouncing means that you need
to actually sit through listening to your
| | 02:41 | track from start to finish in real time,
and then when it's finished a stereo
| | 02:46 | wave file of the finished mix is produced.
| | 02:49 | Off-line bouncing, if I click the
bounce window here, it bounces a file
| | 02:54 | off-line, so I won't hear anything
and you can see right here you can choose
| | 02:58 | which mode, real time or off-line.
| | 03:00 | As a remixer, doing tracks that are
usually six, seven or eight minutes long,
| | 03:05 | Not having to deal with real time
bouncing has saved me hours upon hours
| | 03:09 | over the last 10 years.
| | 03:11 | That's a huge plus for me.
| | 03:13 | Also, with logic being an Apple
product, the software maker is also the
| | 03:18 | creator of the computer.
| | 03:20 | So the stability for logic on a Mac
is extremely high, I very rarely have
| | 03:24 | encountered any problems with logic.
| | 03:27 | Every piece of software may crash
now and again, but I have had very few
| | 03:30 | instances where logic has crashed on me.
| | 03:33 | And you're able to put it on a
laptop of any size, a desktop of any size
| | 03:38 | whether it's an iMac, a MacBook, a
MacBook Pro, and essentially you're able to
| | 03:43 | set up with a pair of headphones, and
you can start making music. And if you
| | 03:48 | even don't have a MIDI controller, you
can hit the Caps lock key and a little
keyboard pops up.
| | 03:54 | And all you have to do is
| | 03:56 | (Music playing)
| | 04:01 | These keys correspond to different
keys on the keyboard, I have actually
| | 04:04 | programmed a baseline using this little
keyboard by hitting Caps lock and this
| | 04:08 | virtual keyboard comes up.
| | 04:09 | Hit Caps lock again and it closes.
| | 04:12 | These are just a few of the
functions that I feel make Logic a standout
| | 04:16 | program for remixing.
| | 04:18 | Electronic music composition can be a
very solitary pursuit, and for me Logic
| | 04:22 | Pro really appeals to
that side of my musicianship.
| | 04:26 | So much of the electronic music world
is a mobile world, somebody might be at
| | 04:31 | a DJ gig in Brussels, and then
they're working on their remix that night on
| | 04:35 | the plane home, that's how this works,
that's that world, it's very much a
| | 04:39 | boot up the computer and work on the
track anywhere any time, and that's what
| | 04:43 | Logic provides its users.
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| Optimizing Logic's performance and monitoring system usage| 00:00 | Before we get started working on the
remix, it's important to tweak some
| | 00:03 | parameters within Logic
and optimize its performance.
| | 00:07 | First and foremost, you want to check
your Sample Rate and underneath Settings,
| | 00:12 | we go to Audio, and we see that our
project has a Sample Rate of 44.1.
| | 00:19 | This is very important, because when
you're receiving vocals for a remix, some
| | 00:23 | times the vocals might not be a 44.1.
| | 00:26 | I've certainly received vocals that are at 48K.
| | 00:29 | It's important to make sure that your
logic sessions' Sample Rate matches the
| | 00:33 | Sample Rate of the vocals that
you've received for your remix.
| | 00:38 | Next, under the Preferences, there
is a pull-down menu and I go to the Audio menu.
| | 00:43 | Here I will find my Buffer Size,
otherwise known as Latency.
| | 00:47 | Latency is essentially a delay, the
default is 256 samples, which results in a 13.6 ms delay.
| | 00:55 | You can see, as I pulled on this menu
that there are different choices, if I
| | 00:59 | click on 1024, it results in a 48.4 ms delay.
| | 01:04 | So how is this setting affect our remixing work?
| | 01:07 | Well, when it comes to using some of
Logic's virtual synthesizers that may
| | 01:11 | require more CPU load than the others,
the I/O Buffer is very important, because
| | 01:16 | if the I/O Buffer is set too low,
you'll actually sure what sounds like
| | 01:20 | distortion, which is the audio I/O
Buffer getting clogged with information and
| | 01:25 | it can't process it all in time.
| | 01:27 | You can certainly change this setting
throughout the process of working on your
| | 01:31 | remix, it really depends on what you're
doing and if you're noticing delays and
| | 01:35 | they become distracting, then all you
have to do after you change the setting is
| | 01:39 | click Apply Changes, and
the change will take effect.
| | 01:43 | Next is the Recording Path. Generally
when you open up a blank session in Logic,
| | 01:48 | it creates what's called an Audio Files folder.
| | 01:50 | But I like to double check and make
sure that the audio files are path to the
| | 01:55 | correct folder and the way to check is
to click and hold the Record button and
| | 02:00 | this menu pops up and you go to Record Settings.
| | 02:03 | And as you can see, No
Recording folder has been set.
| | 02:07 | So I choose Set, and I go into our
exercise files and I path it to Audio Files
| | 02:13 | and I click Choose.
| | 02:15 | Now any external audio that's
recorded, any file merging, anything that
| | 02:20 | results in the creation of a new audio
file will place the new audio file in
this folder.
| | 02:25 | Why is this important?
| | 02:27 | When it comes to working on
computers, file organization is of the
utmost importance.
| | 02:32 | If you happen to share a session with
another producer and you take your session
| | 02:37 | off your hard drive and you put it on
his hard drive or you are sending files
| | 02:40 | back and forth over the Internet, and
your exercise files or audio files are
| | 02:44 | scattered in multiple folders, when
your partner opens up the session, there
| | 02:48 | will be missing audio, and this is a nightmare.
| | 02:51 | I've been through it many, many, many
times, and I cannot stress enough that
| | 02:55 | file organization is key.
| | 02:58 | So double-check the recording path and
make sure that it is indeed path to the
| | 03:02 | audio files folder of your desired session.
| | 03:05 | In the lower right-hand corner of the
Transport window you'll see a CPU meter
| | 03:10 | and hard drive meter.
| | 03:12 | The CPU meter lets you know how
much work the computer is doing,
| | 03:16 | it's a System Performance meter.
| | 03:18 | The hard drive meter let's you monitor
disk activity, as in hard disk activity.
| | 03:23 | So I'm going to open Sculpture,
which is one of Logic's Virtual Synths,
| | 03:28 | and you'll see as I play the notes
that the CPU meter will start to rise a little bit.
| | 03:33 | (Music playing)
| | 03:40 | So as you can see, just playing five
notes on the Virtual Synths causes the CPU
| | 03:44 | meter to move probably
about 1/8 to 1/10 of its limit.
| | 03:49 | So you can imagine, as you're
building up your remix and you have 7, 8, 9,
| | 03:53 | 10 maybe 12 or 14 Virtual Synths going
at the same time, this CPU meter can get pretty high.
| | 04:00 | So this is something that you want to
pay attention to, because it can result
| | 04:03 | in the computer actually not being able
to perform all the tasks that you are asking it to do.
| | 04:08 | So if you are experiencing odd computer
behavior, check the system usage window
| | 04:12 | first. It's easy to lose track of CPU
usage as you are working on your mix.
| | 04:17 | Be aware that some Virtual Synths,
like I just showed you with Sculpture, can
| | 04:21 | really tax a CPU and it might make
sense to convert those parts to audio files,
| | 04:26 | which we will cover later in the course.
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| Working with software synths| 00:00 | As I mentioned earlier Logic Pro is
loaded with some fantastic sounding software synths.
| | 00:06 | As I pull down the menu here, I can
see that there's a whole list here, the EFM1
| | 00:10 | all the way down to the EXS24, to Sculpture.
| | 00:14 | For the purposes of this remix, I
am going to focus on the ES1 the ES2 and EXS24.
| | 00:21 | So let's go ahead and open up the ES1
and this was one of Logic's early software
| | 00:26 | synths that came with I believe Logic 4 or 5.
| | 00:30 | And I generally gravitate towards this
plug-in for synth bass or lead sounds
| | 00:36 | and sometimes supplemental ear candy sounds.
| | 00:39 | And if we pull down the menu here
we see all the presets categorized,
| | 00:43 | Leads, Pads, Bass Strings, Keyboards,
Sequence Elements and Warp Synth sounds.
| | 00:48 | So let's just pull up a Lead sound
| | 00:50 | (Music playing)
| | 00:53 | And we can access presets by pointing
down this menu and selecting this way or
| | 00:57 | simply by using these arrows here.
| | 00:59 | (Music playing)
| | 01:15 | Close this out and we will
add another software synth.
| | 01:21 | And let's check out the ES2.
| | 01:25 | The ES2 is actually an extremely deep,
deep software synth, it has many, many,
| | 01:32 | many more sounds in the ES1, and
actually I think that some of the sounds are
| | 01:37 | wider and bigger sounding.
| | 01:38 | (Music playing)
| | 01:41 | And I will find a synth Lead sound here.
| | 01:44 | (Music playing)
| | 01:47 | The sounds are a little
sharper sounding, edgier sounding.
| | 01:50 | (Music playing)
| | 02:02 | And the next software synth is the EXS24.
| | 02:09 | And this is Logic Sampler, so it
comes out of the box with a huge library of sounds.
| | 02:14 | You can see acoustic pianos, all the way
down to guitars and textures as well as
| | 02:19 | sounds from the GarageBand library.
| | 02:22 | You're also able to import your own
samples and import third-party samples as well.
| | 02:27 | So I will pull up a synth lead sound,
this is one of my favorite sounds.
| | 02:32 | (Music playing)
| | 02:36 | And you scroll through your patches
using the plus and minus signs right here.
| | 02:41 | (Music playing)
| | 02:52 | So this gives you an overview of the
three software synths that we will be using
| | 02:56 | during our course on
remixing a song in Logic Pro.
| | 03:00 | For more on Logic Pro, please check out
Virtual Instruments in Logic Pro with
| | 03:06 | Brian Trifon and Logic Pro 9
Essential Training with Scott Hirsch. Both are
| | 03:11 | available on the lynda.
com Online Training Library.
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| Using the exercise files| 00:00 | If you are a premium member of the
Lynda.com Online Training Library or if
| | 00:04 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:09 | files used throughout this title.
| | 00:11 | I will open up the Exercise Files
folder, and inside the Audio Files folder are
| | 00:16 | all of the external audio
files necessary for this course.
| | 00:21 | Right below the Audio Files folder are
the Chapter folders that correspond to
| | 00:24 | the Table of Contents for this course.
| | 00:26 | I will open up Chapter 2 and show
you that there is one session for each
| | 00:30 | movie in the chapter.
| | 00:32 | I've also taken the time to print
a wave file of the finished remix.
| | 00:37 | All of the sampler instruments and
samples needed for this course are
| | 00:40 | contained in these folders,
| | 00:42 | and this is the final Logic
session for the finished remix.
| | 00:46 | If you're a monthly member or annual
member over lynda.com, you don't have
| | 00:50 | access to the exercise files, but
you can follow along from scratch with your own assets.
| | 00:56 | Let's get started.
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| Relinking audio files| 00:00 | Occasionally, Logic Pro will have
trouble finding audio files that were
| | 00:03 | previously used within the project.
| | 00:06 | Several reasons may cause this;
| | 00:08 | you are not connected to a relevant
hard drive, or you actually renamed your
| | 00:12 | hard drive, you have stored the files
in a different volume, or folder, or
| | 00:17 | possibly moved them to another volume, you
have actually renamed the files in the Finder.
| | 00:23 | Or perhaps you renamed them in
the audio bin of another project.
| | 00:28 | Or maybe you deleted the files by accident.
| | 00:31 | In any of these situations, Logic Pro
will prompt you with a dialog box similar
| | 00:36 | to this one, Audio files not found, and
it will give you the name of the audio
| | 00:41 | files that are missing, starting with
the first one, and a description of where
| | 00:45 | it believes the audio file lives.
| | 00:48 | You have several ways to
respond to this dialog box.
| | 00:52 | Click the Skip All button if you know
that one or more audio files no longer
| | 00:56 | exists or was renamed.
| | 00:58 | Otherwise click the Skip button to
individually manage each missing or renamed file.
| | 01:04 | Click the Search button to prompt a
search in the current volume, and if that
| | 01:08 | search is unsuccessful, Logic Pro
will provide a File Not Found dialog.
| | 01:14 | And finally, Locate, which is the
choice we are going to choose in this movie.
| | 01:18 | Click the Locate button to manually
define where to search for each file.
| | 01:23 | A dialog box containing the name of
the audio file being searched for in the
| | 01:26 | Title bar will appear on screen.
| | 01:29 | Generally, when you locate the first
audio file that's missing, it will
| | 01:34 | automatically find the others if all
the missing audio files are living in
| | 01:38 | the same folder.
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|
|
1. Session Setup and Time-StretchingSetting up your session| 00:00 | One of the most important areas
of production work is organization.
| | 00:04 | So let's take a few minutes to set
up our session for optimum workflow.
| | 00:09 | I've already launched the Logic
application and underneath the File menu, I'm
| | 00:12 | going to select New.
| | 00:14 | It presents three options for me;
| | 00:16 | Empty Project, Guitar Tones, or Instruments.
| | 00:18 | I'll choose Empty Project for this
movie, and it will immediately ask me if I
| | 00:23 | like to choose an Audio, Software
Instrument, or External MIDI track.
| | 00:27 | I'll select Audio tracks. I'm going to
choose 2 Stereo, and then I'll actually
| | 00:35 | add several software instrument tracks
and I will choose which specific virtual
| | 00:41 | software synths I use in a little while.
| | 00:43 | We'll choose 3 and I'll close the bin.
| | 00:48 | Now I will move on to the Mixer window
and I will use the X key for that and
| | 00:53 | underneath Sends, I'll choose Bus 1 and
you'll notice an auxiliary channel pops
| | 00:59 | up and I will choose Bus 2.
| | 01:01 | I'll do the same on the second audio
track. And the reason that I'm doing this is
| | 01:07 | I like to put some of my
audio tracks in context.
| | 01:11 | What I mean by that is, if I bring in
an audio file that saves the lead vocal,
| | 01:16 | it's dry, has no effects on it, I don't
like to listen to that while I'm working
| | 01:20 | as I'm building up the mix.
| | 01:22 | I prefer to put some reverb and delay
on things as placeholders and then I will
| | 01:26 | adjust and dial in the final
settings when I get into the mixing stages.
| | 01:30 | So I'm going to name this reverb 1 and
I'll move over here to Auxiliary Channel
| | 01:36 | 2 and call this delays 1.
| | 01:38 | Now I'll scroll up and choose
PlatinumVerb and then over on the Delay channel, I
| | 01:45 | will choose the Stereo Delay setting and
I'll close the mixer and this gives you
| | 01:52 | a little bit of a head
start on setting up a session.
| | 01:55 | As you bring in your audio files, you
already have instruments 1, instruments 2;
| | 01:59 | as you bring in additional audio files,
you are able to do a duplicate of an
| | 02:04 | audio file by clicking on this plus
sign right here with these squares
| | 02:08 | and you can just click and add audio
files as you need to, but this will help
you get started.
| | 02:13 | You'll hear me saying that many times
throughout this course good workflow is key.
| | 02:17 | Without it, it can take twice
as long to get your mix done.
| | 02:20 | While that may be fine for working on
your friends remix, when it comes time
| | 02:24 | to work on projects for labels and
indie artists, you may not have the luxury of time.
| | 02:28 | In other words, there is no
upside to working on a remix with a
| | 02:32 | disorganized session.
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| Determining and verifying source BPM | 00:00 | It's extremely important at this stage
of the remixing process to determine the
| | 00:05 | tempo, otherwise known as BPM or
beats per minute, of the original version.
| | 00:10 | So I'm going to show you how to import
the original version into the session
| | 00:14 | and determine its BPM.
| | 00:16 | I open up the Audio Bin by pressing B
and underneath Audio File, I choose Add
| | 00:21 | Audio File and from the Audio Files
folder, I choose Simply Falling. I add it
| | 00:27 | to the Audio Bin, drag it out onto the
Arrange window, close the Audio Bin by pressing B again.
| | 00:37 | Underneath the Metering section of
the Plug-ins menu, I choose BPM Counter.
| | 00:43 | I'll drag that out here.
Play the track.
| | 00:46 | (Music playing)
| | 00:53 | Logic has determined that 112 beats
per minute is the tempo of the original
| | 00:57 | version of Simply Falling.
| | 00:59 | The reason that it's important to
tackle this at this stage of the process is
| | 01:03 | that if you don't know what the beats
per minute of the original track is, when
| | 01:07 | you go to bring your vocals into the
session to time stretch them, how can you
| | 01:12 | time stretch a vocal track if
you don't know its source BPM?
| | 01:18 | Sometimes a source BPM is provided
for you with the vocal stems and you can
| | 01:22 | eliminate this process.
| | 01:23 | But now you know how to verify the BPM
of the original track by using the BPM
| | 01:27 | Counter if you're uncertain of it.
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| Lining up vocals over a kick drum| 00:00 | When receiving vocals for a remix, it's
extremely important to check and see if
| | 00:04 | the vocals actually line up properly
against the grid and when I speak of the
| | 00:08 | grid, I'm simply referring to bars and beats.
| | 00:11 | Measures 1, 2, 3, 4. You see the
actual grid on the screen here, these lines
and the screen.
| | 00:17 | I know for this remix of the vocals
were sent to me properly and that all I
| | 00:21 | needed to do was import them onto
the Arrange window when they lined up.
| | 00:24 | But for the purposes of this
lesson, I misaligned the vocals.
| | 00:28 | In other words, when I drag the vocal
out on to the Arrange window, it will not
| | 00:31 | line up against the grid.
| | 00:33 | So, in order to get into the Audio bin,
I hit B. Underneath Audio File, I choose
| | 00:40 | Add Audio File, and I
choose the misaligned vocal file.
| | 00:48 | Drag that onto the Arrange window,
close the Audio bin by hitting B. And I will
| | 00:53 | use Logic's metronome at this point
which is not the click track I prefer to
| | 00:58 | listen to, but just to listen to the
vocals against a tempo reference point, I'm
| | 01:03 | going to use Logic's metronome.
| | 01:05 | You simply press the button here and
you'll hear its metronome going while
| | 01:10 | the vocal track plays.
| | 01:11 | (Music playing)
| | 01:19 | So it's easy to hear that
those vocals are not in time.
| | 01:22 | Let's go back to the original for a
moment just so we can double check and here
| | 01:26 | where that vocal phrase actually
comes in, what beat it comes in on.
| | 01:30 | I am going to play the original now.
| | 01:32 | (Music playing)
| | 01:41 | Essentially, it enters on the end of Beat 3.
| | 01:44 | So I mute the original, go back to the
vocals and at this point I'm going to add
| | 01:50 | a 909 kick drum with the EXS 24.
| | 01:53 | I've gone ahead and opened up the EXS24,
I have chosen a 909 Kit, and I will
| | 02:01 | simply draw in the quarter
notes on the Piano Roll here.
| | 02:08 | Most kick drums in the drum kits that
are set up in Logic have C1 as the first
| | 02:14 | kick drum of the kit.
| | 02:16 | I access my pencil, which is a
secondary tool, so I hit Command and I just
| | 02:24 | placed my kick drums on each
downbeat or quarter note of the measure.
| | 02:30 | I close the Piano Roll, I hit L which
creates a loop and now you'll hear a
| | 02:36 | looping kick drum against the vocals.
| | 02:38 | (Music playing)
| | 02:45 | So it's pretty obvious
that these are not lined up.
| | 02:48 | How do we line them up?
| | 02:49 | Well, we simply expand this audio file,
the vocal audio file, and we're going to
| | 02:55 | find a section of the file that
actually lands on a downbeat. And when I say
| | 02:59 | downbeat, I mean either
Beat 1, Beat 2, Beat 3, or 4.
| | 03:03 | Some part of the audio file that I can
zoom in on, cut it, and in order to get to
| | 03:10 | the scissors, I choose the
Scissors as my secondary tool,
| | 03:15 | I zoom in, I hear that snare
drum right here and I cut it.
| | 03:21 | I delete the left side of the file,
but it's non-destructive editing, so we
| | 03:25 | can get that file back.
| | 03:27 | And now I need to take this snare drum
and line it up on Beat 2, because I know
| | 03:36 | the snare drum actually lands on Beat 2.
| | 03:39 | Expand the screen to make sure that
I'm actually on Beat 2. And I'm using the
| | 03:43 | Command key after I click and hold
the audio file to really get in on the
| | 03:48 | fine increments there.
| | 03:51 | So now when we play it against the kick drum--
| | 03:53 | (Music playing)
| | 04:05 | --we can hear that it's lined up a
little bit better, but let's be certain.
| | 04:08 | So let's go into the song where
the actual first verse starts.
| | 04:11 | (Music playing)
| | 04:25 | Now I can hear from this that the
downbeat is actually falling on Beat 4 and
| | 04:28 | that's not what I want.
| | 04:30 | So I need to slide this over another beat.
| | 04:33 | So let's zoom out and we click and
hold the Audio Region and you can see
| | 04:38 | 2121. Let's try that.
| | 04:42 | Slid it one quarter note to the right.
| | 04:43 | (Music playing)
| | 04:55 | That's much better.
| | 04:57 | Now, let's bring back the left side
of the audio file that we deleted.
| | 05:02 | All I do is drag it to the left and it opens up.
| | 05:05 | So as you can see, this is a bit of a
process, and I can't stress enough how
| | 05:09 | important it is to find that
downbeat within the vocal file.
| | 05:12 | Once you have that and you line up
against the grid, it's off to the races, and
| | 05:17 | you really can't make any progress on
your remix until the vocals are sitting
| | 05:21 | nicely over a kick drum.
| | 05:23 | You'll find as you build your track and
add more drums that some slide shifting
| | 05:27 | and massaging a vocal timeing it needs to occur.
| | 05:29 | But if you're able to have the vocals
locked in at around 95%, you'll be in
| | 05:34 | great shape to move forward.
| | Collapse this transcript |
| Choosing destination BPM and time-stretching in Flex mode| 00:00 | While the last movie dealt with placing
a misaligned vocal over a kick drum, I'm
| | 00:04 | actually going to import the proper
vocals that were sent to me that I know line
| | 00:09 | up over the kick drum.
| | 00:10 | I open up the Audio Bin by hitting the
B key, underneath Audio File, I choose
| | 00:15 | Add Audio File, and I'm going to
choose this vocal which I know is at 112 beats per minute.
| | 00:24 | Drag it onto the Arrange window, close
the Audio Bin by hitting B again and just
| | 00:29 | to double check, we will play
this audio file over our kick drum.
| | 00:34 | (Music playing)
| | 00:34 | And actually, let's scan up into
the song a little bit further.
| | 00:41 | (Music playing)
| | 00:49 | I'll even go to the very end to
make sure that nothing's drifted.
| | 00:52 | (Music playing)
| | 01:03 | Okay, so we're in excellent shape here.
| | 01:05 | We know that this vocal is
actually at 112 beats per minute.
| | 01:08 | It is lining up over our kick drum at
112 beats per minute, and now I will set
| | 01:13 | up Flex Mode which will actually
analyze the audio file and allow us to change
| | 01:18 | the session's BPM on the fly.
| | 01:20 | In other words, once Flex Mode has
analyzed this Audio File, I can pick a new
| | 01:25 | tempo and the file will change and be
exactly on beat with the kick drum at the
| | 01:30 | new tempo like it is right
now at 112 beats per minute.
| | 01:33 | So, in the Inspector window, I'm going
to click on the second arrow and you can
| | 01:39 | see the Flex Mode is off.
| | 01:41 | I will choose Polyphonic.
| | 01:43 | I highly recommend choosing
polyphonic for all vocals.
| | 01:46 | Rhythmic deals with more drum loops,
Monophonic might be something like a
| | 01:51 | baseline, but for vocals,
I always choose Polyphonic.
| | 01:55 | Flex Mode has analyzed the file and
all I need to do now is experiment with a
| | 02:00 | couple of different BPMs.
| | 02:02 | So we are at 112, let's just choose
120 just to hear what that's starting to
| | 02:07 | sound like, and again, I'll go
into the meat of the song here.
| | 02:11 | (Music playing)
| | 02:19 | Okay, so the vocal is still
locked up over the kick drum.
| | 02:23 | I prefer the BPMs of my remixes
to be in the 125 to 132 range.
| | 02:27 | The reason that I prefer the 125 to
132 BPM range is that I generally work on
| | 02:33 | full vocal remixes that are
geared towards mix show and radio.
| | 02:38 | They're also played in the clubs,
but generally these are the types of
| | 02:41 | remixes that I work on.
| | 02:43 | Now by no means are you forced to
use the same BPMs that I'm using.
| | 02:47 | But I do think it's important to
think about your audience here.
| | 02:50 | If you're looking to do a club remix
and you know that the DJs who will be
| | 02:55 | playing your remix play records that
are in this BPM range then it doesn't
| | 03:00 | really make sense to do
a remix that's at 98 BPM.
| | 03:03 | So I'll actually go ahead and bump this
up to 125 and again, I want to listen to
| | 03:09 | the meat of the song.
| | 03:10 | (Music playing)
| | 03:20 | And again, just to be thorough, I'm
going to fast forward up to the end of the
| | 03:24 | song to make sure that nothing has drifted.
| | 03:26 | (Music playing)
| | 03:37 | Excellent. So every theme sounds fantastic.
| | 03:41 | The vocal sounds good at this tempo.
| | 03:44 | I wouldn't push it too much further,
it's important to sit with the vocals at
| | 03:48 | different BPMs and listen to them,
just a vocal over a kick drum, and find any
| | 03:53 | areas of the song where you
might hear what we call artifacts.
| | 03:57 | The voice starts to sound a little unnatural.
| | 04:00 | I think it's extremely important to
spend time during this part of the process.
| | 04:04 | Once you commit to a BPM and you bring
in audio files and you start to build
| | 04:09 | your track, it's not impossible to
change the BPM later on down the road, but
| | 04:13 | it certainly is a lot easier if you're
able to commit to a BPM at this stage of
| | 04:18 | the game and I highly recommend taking
the time to listen to the entire song
| | 04:23 | all the way through to make sure that
you are 100% certain that this BPM will
| | 04:28 | work for you.
| | Collapse this transcript |
| Exporting time-stretched vocals and importing into a session| 00:00 | So I've chosen the BPM for the remix and
since I'm a huge believer in saving CPU
| | 00:04 | or computer processing power, I prefer
to export the vocals and then import them
| | 00:09 | back into the session.
| | 00:11 | This way I can turn off Flex Mode and
avoid taxing the computer unnecessarily.
| | 00:15 | The reason that I like to do this is
because I've been working on laptops for so
| | 00:18 | many years and I worked on laptops
when they actually weren't that powerful.
| | 00:22 | So I learned to conserve
CPU power wherever I could.
| | 00:26 | It's just a habitual thing.
| | 00:28 | Okay, so again, our vocal is locked up
at 125 beats per minute, I'm going to
| | 00:34 | mute everything else but the vocal
that I'm going to bounce and my Reverb and
| | 00:38 | Delays are not engaged and this is a
good thing because I do not want to
| | 00:42 | actually bounce this
vocal down with effects on it.
| | 00:45 | We'll get into the effects later as
we build the track and then eventually build the Mix.
| | 00:49 | So it's important to make sure that
if you have applied any effect such as
| | 00:53 | Reverbs or Delays that you actually
turn them off, otherwise they will be
| | 00:57 | bounced with your file.
| | 00:58 | I defined my bounce region up here at
the top by dragging this over to the end.
| | 01:03 | I will double check and make sure
that the vocal is the only thing playing.
| | 01:07 | (Music playing)
| | 01:14 | Excellent. I choose Bounce up
here at the top right-hand corner.
| | 01:18 | I'll name my file and I will
actually put it in the Audio Files folder.
| | 01:23 | I know Logic likes to
default to the Bounces folder.
| | 01:26 | I'd like to save the
Bounces folder for finished mixes.
| | 01:30 | So I will choose the Audio Files
folder and I'm okay with 24-bit AIFF, the
| | 01:35 | Sample Rate is correct.
| | 01:37 | Now Normalize is on, I
actually don't want Normalize on.
| | 01:40 | What normalize will do is actually
boost the level of your file so that the
| | 01:44 | highest point of the audio
file is actually at 0 dB.
| | 01:48 | We don't want that,
| | 01:49 | I am not interested in
affecting the audio file like that.
| | 01:52 | So we have Add to Audio Bin checked
which means that it will add the audio file
| | 01:56 | to the Audio Bin automatically,
and all I do after I name my file.
| | 02:02 | Actually, I'm not going to name my
file so I can show you how to name my file
| | 02:05 | from the Audio Bin in the
event that you forget to do this.
| | 02:08 | I do sometimes have this happen and
it's important for me to show you how to
| | 02:11 | rename your audio file
from within the Audio Bin.
| | 02:14 | So I'm going to hit Bounce.
| | 02:17 | Logic is calculating the new file,
and when I open up the Audio Bin the
| | 02:21 | new file will be there.
| | 02:22 | As you can see, it's creating an
overview for it, and because I didn't name it,
| | 02:26 | it default it to Output 1-2.
| | 02:29 | So in the Audio Bin, there is my new file.
| | 02:32 | I'm interested in renaming it now and
when I rename it here, it will rename
it on the disc.
| | 02:38 | I don't need to overwrite the .AIF file.
| | 02:40 | I will simply call this
iyeoka_simply falling_125 bpm.
| | 02:47 | It changes it in the Audio Bin and
it will also change it in the Audio Files folder.
| | 02:52 | Now I drag out on the window and as
you can see, it literally is an identical
| | 02:57 | looking waveform to what is one track above it.
| | 03:00 | Now we can turn off Flex Mode, and you
can see that that file now that Flex Mode
| | 03:09 | is turned off went back to its
original waveform overview at 112 beats per
| | 03:13 | minute, which is why it's longer.
| | 03:15 | I delete it from the Arrange window;
| | 03:17 | I'll double-check to make sure the new
file is lined up over the kick drum just
| | 03:21 | like the old file was.
| | 03:22 | (Music playing)
| | 03:29 | And again, scanning up to the end of the song.
| | 03:32 | (Music playing)
| | 03:41 | It sounds like everything is intact.
| | 03:44 | So as you can see, taking a few minutes
now to export these vocals and importing
| | 03:48 | them back into the session will
absolutely help you down the road as you start
| | 03:51 | to build your track and
ask more of your computer.
| | 03:55 | If we're 80 or 95% down the road on a
remix, we have Plug-ins, Reverbs, Delays,
| | 04:00 | EQs, Compressors, Specialty plug-ins on
certain tracks and that's creating a CPU
| | 04:06 | load and then you have all these vocals
that are in Flex Mode, your computer may
| | 04:10 | hit the ceiling,
especially if you're on a laptop.
| | 04:13 | So this is one area of the process
where you can do yourself a favor, spend
| | 04:17 | three or four minutes and save a lot
of CPU power as well as headaches down
| | 04:21 | the road.
| | Collapse this transcript |
| Thinking about your direction| 00:00 | Establishing a musical direction. I
find this to be actually one of the most
| | 00:05 | important parts of the process.
| | 00:07 | Some of my favorite remixes over the
last 10 years are the ones where I stepped
| | 00:11 | back, sat down, and took time to
figure out my musical direction prior to
| | 00:17 | starting my actual remix.
| | 00:20 | I love to sit back and
just listen to the vocals.
| | 00:23 | It's actually a very, very inspiring
process to just listen to nothing but the vocals.
| | 00:29 | Hopefully, the vocals for
your remix will inspire you.
| | 00:33 | I like to sit back and listen to the
song maybe two or three times from start to finish.
| | 00:39 | This way you can make sure that
there's no key changes, nothing that happens
| | 00:44 | two and a half, three minutes into the song
that catches you off guard.
| | 00:48 | It's always good to think ahead.
| | 00:50 | That's really the important
part of listening to these vocals.
| | 00:54 | In addition to just the pure enjoyment
of listening to well recorded vocals by
| | 00:58 | themselves, I usually find my creative
inspiration at this part of the process.
| | 01:03 | It's very exciting to me to sit back
and actually forget about the music that
| | 01:09 | was underneath these
vocals in the original version.
| | 01:12 | That's something that you have to be careful of.
| | 01:14 | I actually don't like to listen to the
original versions of songs too many times
| | 01:19 | and there have been times where I've
actually not heard the original version and
| | 01:22 | just been sent the vocals and I
purposefully did not seek out the original
| | 01:27 | version because I didn't want it to
steer me in any sort of direction.
| | 01:32 | I don't like to listen to
the vocals too many times,
| | 01:35 | it burns my ears out and clouds my perspective.
| | 01:38 | This is a theme that we will
cover in upcoming movies as well.
| | 01:42 | Keeping perspective on your
creative work is extremely important.
| | 01:46 | If you're just listening to 8 bars or 16
bars are just Verse 1 and Chorus 1 over
| | 01:52 | and over and over, you will absolutely
lose creative perspective and it will be
| | 01:56 | very difficult to sort of pull yourself
back and imagine sum of all parts as a
| | 02:02 | whole as opposed to just a
section here or a section there.
| | 02:06 | I love to listen to other people's remixes.
| | 02:09 | That's actually something I do
even when I'm not working on remixes
| | 02:13 | just to get a vibe, a direction,
| | 02:15 | it's very exciting to seek out what
other remixers and producers are doing
| | 02:19 | because sometimes I'll hear a base sound
or a baseline or a set of chord changes
| | 02:23 | and go that's really cool.
| | 02:25 | I think I'd like to
implement that into a track sometime.
| | 02:29 | That being said, I make it a point
not to copy or knock off another
person's work.
| | 02:33 | There is a fine line between
hearing a musical idea, a musical riff, a
| | 02:38 | baseline, a track, a set of chord
changes and then actually completely copying
| | 02:43 | it and ripping them off.
| | 02:44 | That's not what I mean.
| | 02:46 | I like to get inspiration from hearing
the way that someone arranged a song, the
| | 02:51 | base sound they chose, the baseline
they played, the drums, the vocal editing,
| | 02:56 | all these things play a part in my
mind and help me establish a creative
| | 03:01 | direction prior to programming any
drums or playing any keyboard parts.
| | 03:05 | I'd like to think of my
studio as an extension of my brain.
| | 03:10 | When I get an idea, whether it's a
drum loop, a baseline, a keyboard part
| | 03:14 | or even a melody, I'd like to be able
to sit down and immediately capture that idea.
| | 03:19 | It's really important to
think of the studio this way.
| | 03:22 | It's also very easy to get tripped
up and hung up in the electronics, the software.
| | 03:29 | So I encourage you to think about
music away from the computer, prior to
| | 03:34 | actually starting your remix.
| | 03:37 | It's important for you to
find your voice, be original.
| | 03:40 | There's nothing wrong with inspiration
and paying tribute to your inspirations
| | 03:44 | within a track but it's very
important for you to establish your own sound.
| | 03:49 | If you hear ten other guys that are
doing the same thing that you are doing,
| | 03:53 | it's going to be very difficult
to stand out and separate yourself.
| | 03:57 | So all of these things play a very
important part in establishing a musical
| | 04:01 | direction prior to sitting down and
even listening to the first drum loop.
| | 04:06 | I hope these tips and suggestions help you.
| | 04:08 | The more you work, you'll come up with
your own list and hopefully, these five
| | 04:13 | suggestions will get you going
in a direction sooner than later.
| | Collapse this transcript |
|
|
2. Working with LoopsUsing Apple Loops| 00:00 | For those of you who may not be
familiar with Apple Loops, let's spend a few
| | 00:04 | minutes examining how they work and
gain an understanding of how important they
| | 00:07 | can be to the remixing process.
| | 00:10 | I hit the B key, that opens up the Audio
Bin, and you'll see that there are three
| | 00:15 | other menu tabs, Loops, Library and Browser.
| | 00:18 | I click on the Loops tab and
basically this is where the Apple Loops live.
| | 00:24 | All I need to do is choose the
characteristics of the loops that I am looking for.
| | 00:28 | This is the filter section of
the Apple Loops search area.
| | 00:31 | I'm looking for Beats and up
pops a huge list of drum loops.
| | 00:36 | I'll sort them from highest BPM to lowest.
| | 00:40 | And you can see just how much content
comes with Logic right out of the box.
| | 00:44 | These are all drum loops, and I will
explain the difference between the blue and
| | 00:49 | the green loops in a moment, all the
way down to 80 BPM all the way up to 160.
| | 00:55 | Over here in the Beats column, 16
beats basically means it's four measures.
| | 01:00 | There is four beats per
measure, times 4 measures is 16.
| | 01:04 | The Blue Apple Loops are audio files,
and you can hear as I audition one and
| | 01:11 | I'll audition one whose original
BPM is not the same BPM as our remix.
| | 01:15 | (Music playing)
| | 01:21 | As you can hear, that's not 110 beats
per minute, it's quite a bit faster.
| | 01:25 | It's actually 125 BPM, the BPM of our remix.
| | 01:29 | So all of the Apple Loops automatically
sync to the BPM of your session, which is a
| | 01:34 | wonderful, wonderful feature.
| | 01:37 | Think of it like the lead vocal
that we time stretched in Flex mode.
| | 01:41 | It's a very instantaneous process.
| | 01:43 | You can audition these loops at any BPM
and unless you are doing something very
| | 01:48 | extreme like 40 or 50 BPM
difference between the source tempo and the
| | 01:53 | destination tempo,
generally things sound really good.
| | 01:58 | All I have to do is simply drag a beat
out on to the Arrange window and there
| | 02:03 | it is. And I'll close the Bin for a
moment, and as we expand the waveform we see the one bar loop.
| | 02:09 | And this little icon right up here
shows us that it's an Apple Loop.
| | 02:13 | It has different characteristics than
an audio file, which I'll get to in a moment.
| | 02:17 | I am going to mute out the other tracks
just so we can listen to the Apple loop.
| | 02:23 | (Music playing)
| | 02:28 | And if I wanted to loop that I would
simply hit L and boom, there is an Apple Loop.
| | 02:33 | We can even listen to it against the lead vocal.
| | 02:35 | (Music playing)
There it is.
| | 02:49 | Everything is locked to the grid.
| | 02:51 | So, I'll mute this Apple loop out and
let's go back to the Loops tab and I will
| | 02:57 | pull out a Green Apple Loop
which is basically a MIDI file.
| | 03:01 | I drag it onto the
Instrument window, close the Bin.
| | 03:05 | I expand it and you can
see the MIDI data right here.
| | 03:08 | I'm going to highlight two bars
because that's the length of this loop.
| | 03:14 | Let's zoom in on the Piano Roll and
we can take a look at the MIDI notes.
| | 03:17 | (Music playing)
| | 03:24 | Let's close the Piano Roll for a moment
and take a look at our Drum Kits and see
| | 03:30 | what it shows: Hip Hop Drum Kit.
| | 03:32 | Let's say I'm not crazy about that
Hip Hop Drum Kit and I'd like to find another Drum Kit.
| | 03:39 | Well, all I have to do is go down
here and choose a different Drum Kit.
| | 03:43 | I will choose Rock Drum Kit.
| | 03:44 | You may occasionally run into a window
such as this, that's just letting you
| | 03:47 | know there are multiple locations
of the samples that you've chosen.
| | 03:51 | I've chosen Rock Kit and it's pathing to
the Cavern Kit samples, so I will click
| | 03:56 | OK and click OK again and
we have changed Drum Kits.
| | 04:02 | So let's take a listen.
| | 04:04 | (Music playing)
| | 04:08 | Close this window, open up the MIDI
files and we can lasso the MIDI data.
| | 04:15 | (Music playing)
| | 04:23 | And move the notes around.
(Music playing)
| | 04:38 | So as you can see, this gives you
unlimited options for editing MIDI data.
| | 04:43 | choosing drum sounds,
reassigning samples and so on and so forth.
| | 04:47 | So let's close the Piano Roll and go
back here to the Apple Loops Library, and
| | 04:56 | I'm going to take it off Beats and
actually we are going to do the same
| | 05:00 | process with a Bass line.
| | 05:02 | Now I don't use this generally because
I'm a keyboard player, so I almost always
| | 05:08 | play my own parts in.
| | 05:10 | But it's kind of cool sometimes, if
you know your song is the Key of B.
| | 05:13 | (Music playing)
| | 05:21 | I have dragged that onto the window
and I will just play this Bass line along
| | 05:25 | with the drums that I have chosen.
| | 05:26 | Now I will mute out the MIDI
drums and go back to the Drum Loop.
| | 05:29 | (Music playing)
| | 05:38 | So you can see that not only we have
options with drum sounds but we also have
| | 05:42 | them with musical loops as well.
| | 05:44 | And over here in this Key column, are
the keys that these loops belong to.
| | 05:49 | For example, this is in the Key of B,
this in the Key of E and again, four bars,
| | 05:54 | two bars, one bar, remember
there are four beats to a measure.
| | 05:59 | So I hope this helps give you an
overview of how Apple Loops work, and you can
| | 06:03 | see how important they will become as
we start to build our musical track.
| | Collapse this transcript |
| Auditioning drum loops| 00:00 | I like to start building my remixes
with drums first, and now that I've shown
| | 00:04 | how Apple Loops work, let's take some
time to listen to some non-Apple Loops
| | 00:09 | mixed with Apple Loops.
| | 00:10 | So I open up the Audio Bin using the B
key and I will browse Audio Files that
| | 00:17 | are in the Audio Files folder in this fashion.
| | 00:20 | Anything that's already been added to
the Audio Bin and is part of our current
| | 00:24 | session is grayed out.
| | 00:26 | And you can see as I scroll up and down,
that there are quite a few files at
| | 00:30 | the bottom that are not grayed out,
which means they have not yet been added to the session.
| | 00:35 | The vocals have been along
with the original version.
| | 00:39 | So, I have taken the time to include
some loops from my own personal library in
| | 00:43 | the Audio Files folder.
| | 00:45 | And I will now show you how to import them.
| | 00:48 | Before we import them, let's preview them.
| | 00:51 | You see over here as a loop is
highlighted, I can move over to the Play button.
| | 00:55 | (Music playing)
| | 01:03 | So that's a 4 bar drum loop
playing from start to finish.
| | 01:06 | This was already set up at the tempo
of our remix of 125 prior to putting it
| | 01:12 | into the Audio Files folder.
| | 01:14 | So I have several different kick drums.
| | 01:15 | (Music playing)
| | 01:25 | And you can see that I don't have to
wait for a file to stop playing before I
| | 01:28 | can use the Up and Down
arrows to play the next file.
| | 01:32 | I actually like to scroll through
sounds pretty quickly so I do it in this fashion.
| | 01:36 | (Music playing)
| | 01:48 | So now that we have previewed them,
let's actually add them to the Audio Bin.
| | 01:54 | We highlight which loop we would like
to choose, click Add and go down to the next one.
| | 02:00 | We are able to import all of these
loops in one shot by selecting the top loop
| | 02:06 | here, kick loop 2, and I will scroll
down to the bottom, hold the Shift key and
| | 02:11 | there you see that all
of the files are selected.
| | 02:14 | I click Add and Done and all
the files pop up in the Audio Bin.
| | 02:20 | Now we can actually continue to
preview them from within the Audio Bin.
| | 02:24 | If I would like to audition these
loops because I can't remember what they
| | 02:28 | sounded like, prior to importing them
into the Audio Bin, all I have to do
| | 02:32 | is select the loop.
| | 02:33 | (Music playing)
| | 02:36 | And hit the Spacebar.
| | 02:37 | (Music playing)
| | 02:46 | So, I like kick loop 2, and all I need
to do is drag it out onto the Arrange
| | 02:51 | window and there we go.
| | 02:54 | And I will close the Audio Bin and I
will loop this using the L key and I will
| | 02:59 | listen to this against the vocal to
make sure that I like the way the kick drum
| | 03:01 | sounds with the vocal.
| | 03:03 | (Music playing)
| | 03:15 | I like the way that sounds.
| | 03:16 | I will duplicate the track, open up the
Audio Bin and now add some more drums.
| | 03:22 | (Music playing)
| | 03:35 | I like that loop, it has a little
bit of a breakbeat feel, a little bit
| | 03:37 | different than your average house loop.
| | 03:39 | I will drag that out onto the window,
close the Audio Bin by hitting B, hit the
| | 03:43 | L key and now I have two loops that are
locked at a 125 beats per minute, looped
| | 03:49 | underneath the vocal.
| | 03:51 | Let's move further into the song and
take a listen to how the kick drum and this
| | 03:54 | top loop sound underneath the vocal.
| | 03:56 | (Music playing)
| | 04:08 | Those sound good together.
| | 04:10 | Let's see I am interested in adding an
Apple Loop on top of these two loops.
| | 04:14 | I simply go back to the Loops tab,
click on Beats and I'll choose Electric and here we go.
| | 04:21 | I have got my huge list of Apple
Loops that I will simply just select a
| | 04:25 | couple, just for the purposes of
showing you how to marry Apple Loops and non-Apple Loops.
| | 04:30 | (Music playing)
| | 04:46 | Okay, this is not a loop that I would use
for the actual remix itself, but for the
| | 04:51 | purposes of this movie, I'd like to show
you how to bring an Apple Loop into the
| | 04:55 | session and layer it with non-Apple Loop.
| | 04:58 | I will hit the L key and I will mute
the vocal just so we can only listen
| | 05:03 | to drums right now.
| | 05:05 | (Music playing)
| | 05:14 | So you see it's that easy.
| | 05:16 | There are plenty of third-party Loop
libraries out there and most of them have
| | 05:20 | Apple Loops as an available format.
| | 05:22 | To instantly audition drum loops is paramount.
| | 05:25 | It allows you to hear what
works and does not work with the
| | 05:29 | vocals instantaneously.
| | 05:31 | Now that we have chosen a main drum
loop and for this movie I'm going to keep
| | 05:36 | the kick loop 2 and top loop 4
and I will disregard Club Beat 2.
| | 05:41 | It is time to start layering
additional drum loops, which we will move onto
| | 05:45 | in the next movie.
| | Collapse this transcript |
| Layering drum loops| 00:00 | Before we dive into the nuts and bolts
of this movie, Layering Drum Loops, I
| | 00:04 | took the time to clean up the session a
little bit and actually put the vocals
| | 00:08 | in a little bit of context and
I'll show you what I did very quickly.
| | 00:11 | Command+2 is also another
way to get to the Mixer window.
| | 00:16 | I went ahead and added reverb and delay
to the vocals and all you have to do is
| | 00:23 | if a Bus is at 0 all the way down like
this, if you hold down Option and Click
| | 00:31 | it automatically sets it at 0dB and
I'll show you the same thing on Bus 2 which
| | 00:36 | is our delay, there we go.
| | 00:39 | So the Sends are actually at zero, and
over here our corresponding returns this
| | 00:45 | is send to Bus 1, here is the return on Bus 1.
| | 00:48 | This is send to Bus 2,
here is the return on Bus 2.
| | 00:50 | I went ahead and just pulled the levels
down, so that they weren't overbearing.
| | 00:53 | I also lowered the Output of the
Master Fader down to -8dB, because as we add
| | 01:00 | elements to the mix right now, that
Master Fader will overload and live in the
| | 01:05 | red and we don't want that.
| | 01:06 | So I went ahead and pulled the Output down.
| | 01:09 | Let's close the Mixer and
move on to Layering Drum Loops.
| | 01:13 | Drums can make or break a remix, so
let's continue on by building up the track
| | 01:17 | and layering some additional drum loops.
| | 01:19 | Now for the purposes of this movie I'm
actually going to choose a couple of drum
| | 01:24 | loops that will not be the loops that
we use in the final mix, but this is a
| | 01:27 | very important concept.
| | 01:29 | We've chosen the kick drum.
| | 01:31 | (Music playing)
| | 01:35 | Let's say that we would like to add a
loop, but the loop has a kick drum in it.
| | 01:39 | We have to reconcile that.
| | 01:41 | Open up the Audio Bin window, choose
the Loops tab, I'm going to bring this
| | 01:45 | Club Dance Beats 006 in.
| | 01:47 | (Music playing)
| | 01:50 | And as you can hear, it
does have a kick drum in it.
| | 01:53 | I'll drag this onto the Arrange Window,
close the Audio Bin, hit L to Loop the
| | 01:58 | audio file, and now, what's going to
happen is the kick drum that we chose is
| | 02:03 | going to play on top of the
kick drum that's in this loop.
| | 02:06 | Let's take a listen.
(Music playing)
| | 02:12 | That's a little too much kick
drum. How do we reconcile this?
| | 02:15 | Well, we simply roll off the low
end of the loop we just brought in.
| | 02:21 | Up here in the Plug-in section I will
choose EQ>Channel EQ and I will select
| | 02:29 | a high-pass filter which simply
means that all frequencies to the left of
| | 02:35 | this curve are removed.
| | 02:37 | I'll slide this over.
| | 02:38 | I know that the meat of the
kick drum lives around 80 or 90 Hz.
| | 02:44 | So I'm actually going to roll off more
than that, because I don't want any of
| | 02:49 | this loops kick drum to clash with
the kick drum that we've already chosen.
| | 02:53 | So I'll go as high as maybe 300-400
Hz on a High-pass filter, and now we can take a listen.
| | 03:01 | I'm going to play this loop in AB,
the EQ in and out, so you can hear the
| | 03:05 | difference between leading the kick
drum in the loop and having two kick drums
| | 03:09 | fighting each other and
high-pass filtering it out.
| | 03:12 | All I do to bypass a plug-in is hold the
Option key and click on the plug-in and
| | 03:18 | you can see that it bypasses it in this fashion.
| | 03:21 | (Music playing)
| | 03:33 | So as you can hear, the kick drums
almost flam. They're playing on top of each
| | 03:37 | other, and it doesn't sound tight;
it's sounds a little bit woofy.
| | 03:41 | So this is a huge, huge, huge
part of layering drum loops.
| | 03:45 | You have to examine the frequencies
that are being combined as you combine the loops.
| | 03:51 | Before we exit this movie, I would like
to open up the EQ Plug-in and show you
| | 03:55 | how you can visually look at the
frequencies that are occurring in your mix.
| | 04:00 | Here is an Analyzer button right here,
I click it and when I play the track --
| | 04:04 | (Music playing)
| | 04:11 | As you can see, you get a
visualization of the frequencies that make up your track.
| | 04:15 | Now bear in mind that these
frequencies are after I've engaged the High-pass
| | 04:19 | Filter, what we call Post-EQ.
| | 04:21 | A few things to keep in mind when
layering the drum loops; Are the percussive
| | 04:27 | elements working together?
| | 04:28 | For example, do the rhythms of
the hi-hats work with the shaker or
| | 04:32 | tambourine patterns?
| | 04:34 | Also, what is your reasoning for
choosing this loop, what is it bringing to the
| | 04:39 | table in terms of making the drums
better and most importantly, does it work
| | 04:43 | well with the vocals?
| | Collapse this transcript |
| Drum loops and drum programming| 00:00 | It's important to spend some time
programming drums in addition to
| | 00:03 | using third-party loops.
| | 00:06 | I've gone ahead and chosen the kick
loop 2 and top loop 4 and I'm going to open
| | 00:11 | up the Audio Bin and add one more loop
at the top, and all I need to do close
| | 00:16 | this window here so that all these
regions don't appear is hold down the Option
| | 00:21 | key and click the Arrow and that closes
everything up, so that the window is not
| | 00:26 | quite as messy looking.
| | 00:29 | So I'm going to grab top loop 3.
| | 00:31 | (Music playing)
| | 00:36 | I like that, I know that that will add
something to the chorus, but for now I'm
| | 00:40 | going to drag it out on the Arrange Window.
| | 00:43 | Close the Audio Bin by pressing B. I'll
highlight top loop 3 and hit L and now
| | 00:49 | all three of these loops are looping.
| | 00:52 | I'll move up into the song.
| | 00:53 | I've gone ahead and actually shifted
the vocals over to the right, so that they
| | 00:58 | actually enter at measure 41.
| | 01:00 | I did this because I know
that I'm going to build an intro.
| | 01:04 | This is a remix, we need to
create a DJ intro and a DJ outro.
| | 01:08 | So I generally at this stage of the
game move the vocals over, so that they're
| | 01:13 | starting at somewhere around measure
41, measure 49, measure 57, it's an
| | 01:17 | arbitrary decision, but
for now I'm using measure 41.
| | 01:21 | So that's why the vocals are in a
different place as we begin this movie
| | 01:25 | than the previous movie.
| | 01:27 | So just to listen to all three
loops together with the vocal.
| | 01:30 | (Music playing)
| | 01:38 | Okay, so in addition to using these
drum loops I'd like to add a little bit
| | 01:42 | of drum programming on top. I'm going
to go ahead and grab an 8 bar region
| | 01:47 | here that will cycle.
(Music playing)
| | 01:58 | I think I would like to add an
open hi-hat on the ends of each beat.
| | 02:01 | So I've gone ahead and set up two drum
kits in the EXS24 and these are included
| | 02:07 | in your Exercise Files,
Electro Kit and Big Beat Remix.
| | 02:15 | So I'm going to go ahead and just
play a few notes on the keyboard just so
| | 02:19 | that we can audition some of the drum
sounds that we have available to us for the programming.
| | 02:24 | (Music playing)
| | 02:28 | I like this sound. It's a light open
hi-hat, it will sound good on the ands of
| | 02:33 | each beat and it will help the
chorus pulse a little bit, so I'm going to
| | 02:37 | Record the MIDI data in.
| | 02:39 | (Music playing)
| | 02:41 | So I simply played the hi-hat for four
measures, and what I'll do now to put it
| | 02:55 | in exact time is called Quantizing.
| | 02:59 | Up in the upper left-hand corner in
the Inspector window the top arrow as you
| | 03:04 | open it down, you have a list of
Quantizations and I'm going to choose 8A Swing.
| | 03:12 | Basically quantizing to eighth
notes with a little bit of a swing.
| | 03:16 | I click and hold this MIDI region
here, I can see this is an exact four bars which I like.
| | 03:21 | It will help me in the copying and
pasting portion and let's take a listen, I'm
| | 03:25 | actually going to mute the vocal, so
we can really just focus on the drums.
| | 03:28 | (Music playing)
| | 03:35 | And I'll copy that for eight bars.
| | 03:36 | All we do to copy a region is hold
down Option and drag and there we go.
| | 03:41 | Now the four bar section is an 8-bar
section. And I'm going to play this for 8
| | 03:46 | bars and mute it and unmute it, so that
you get a sense of what this one little
| | 03:49 | part adds to the drums.
| | 03:51 | (Music playing)
Excellent.
| | 04:01 | So now what I'll do is I would
like the hi-hats to be a little bigger
| | 04:06 | sounding, so I will copy this MIDI
data much like I copied and draged this four
| | 04:12 | bar MIDI region over here, I will
Option+Drag both MIDI regions down to the track below it.
| | 04:19 | Now the hi-hats are layered.
| | 04:21 | Most of the drum kits are set up in
the general MIDI fashion which means that
| | 04:25 | from drum kit to drum kit
samples are assigned to the same keys.
| | 04:29 | By that I mean kick drums are
generally C1, snare drums are generally D1,
| | 04:35 | hi-hats are usually F#, G# or A#.
| | 04:42 | So now we have a hi-hat pattern on one
drum kit and a hi-hat pattern on another.
| | 04:48 | So let's go ahead and solo these
out and listen to them together.
| | 04:51 | (Music playing)
That's nice.
| | 04:59 | The second hi-hat actually gives
the hi-hat pattern a wider image.
| | 05:04 | So let's listen to them in the context
with the rest of the drums, and all I do
| | 05:09 | to undo two tracks being soloed is
I hold down Option and click Solo.
| | 05:15 | (Music playing)
| | 05:20 | And now with the vocal --
| | 05:21 | (Music playing)
| | 05:32 | To me the chorus comes alive.
| | 05:33 | Now I know that we are actually not in
the chorus section of the song, but I'm
| | 05:37 | again thinking in my mind that when I
get to certain portions of the song where
| | 05:43 | I'd like the drums to pop a little more
I will have these hi-hat patterns in.
| | 05:48 | We're not at the arranging stages yet,
we're simply auditioning sounds and
| | 05:51 | listening to them with the vocals
and making sure that everything is working together.
| | 05:56 | Great drum programming can make a track
standout and I feel that it's a bit of a
| | 06:00 | copout to have my drum tracks
consist of simply drum loops.
| | 06:04 | So I always take the time to program
some of my own drums and layer them in with
| | 06:08 | any loops that I'm using.
| | Collapse this transcript |
|
|
3. Programming Bass LinesChord changes and harmonic structure| 00:00 | Now that we've pulled in our drum loops
and we have a sense of what the backbeat
| | 00:03 | of the track is going to be, it's
time to get into the musical changes.
| | 00:07 | This is the point of the remixing
process where I will mute out everything
| | 00:12 | except for the original song. And I
will also create a piano track so that I
| | 00:19 | am able to play with the original
version and get a handle on what the chord changes are.
| | 00:25 | So I will create a software
instrument and I will choose a Steinway Studio Piano.
| | 00:33 | Hit B to close the Audio Bin and
let's take a listen to the original and
| | 00:39 | here's my piano sound.
| | 00:40 | (Music playing)
| | 00:45 | Okay, and we're going to listen to the
original and I'm not going to worry about
| | 00:48 | the chords just yet, I'm going to worry
about single notes, I like to listen for
| | 00:52 | the baseline of the original and get a
handle on what that baseline is doing
| | 00:56 | before I get into
programming my own baseline for remix.
| | 01:00 | So here's the original.
| | 01:01 | (Music playing)
| | 01:36 | So as I'm listening to the chord
changes of the original, I hear that the
| | 01:40 | baseline is basically playing B to G
to E. And I'll expand upon that and
| | 01:54 | actually play full chords with it to
make sure that I actually have the
right chords.
| | 01:58 | Chords are essentially two or more
notes being played simultaneously, so
| | 02:03 | these are just octaves.
| | 02:05 | B and a B but I'm actually going to
expand it and play full chords where play a
| | 02:14 | B minor chord, and you can see down
in the Transport Window that as I play
| | 02:19 | those notes right above the No Out in
the lower right corner of the Transport
| | 02:25 | next to the CPU Meter there is a B m.
The lowercase m next to the letter B stands for minor.
| | 02:31 | So let's roll back and
listen to the chords again.
| | 02:34 | (Music playing)
| | 02:42 | Second chord is G major, third chord
is E minor, fourth chord is F# major.
| | 02:57 | Now I've listened to the original
enough to know that basically the same four
| | 03:01 | chords are used for the entire song.
| | 03:04 | So I actually don't need to scan up
further into the song to check to see if
| | 03:08 | there are some chord changes that I
might want to be aware of prior to
| | 03:12 | programming the baseline and the
keyboards, but I do encourage you to listen
| | 03:17 | all the way through the song and make
sure that you're not missing any chord changes.
| | 03:21 | This is a very important part of the process.
| | 03:24 | I have heard many, many, many people
actually put the music in a different key
| | 03:29 | than the original song, and you're not
doing yourself or the artist any favors
| | 03:34 | by creating a musical
track that's in the wrong key.
| | 03:37 | So prior to programming the baseline
it's essential that you spend a few
| | 03:43 | minutes and get a handle on what the
chord structure is of the original and
| | 03:48 | then you can start with the original
chords as a base set of cord changes to
| | 03:53 | put underneath a vocal.
| | 03:55 | I actually very rarely use the
original cord changes in a remix.
| | 03:58 | I will search for different harmonic
solutions that will work underneath the
| | 04:03 | vocal that very rarely are the
exact same changes as the original.
| | 04:07 | But for this song they feel good, they
feel like the right chord changes to my
| | 04:12 | ears, and so I'm going to go ahead and
go with those cord changes as the chord
| | 04:16 | changes for the remix.
| | Collapse this transcript |
| Getting bass sounds and programming bass lines| 00:00 | Now we've come to my favorite
part of the remixing process,
| | 00:03 | programming basslines.
| | 00:05 | Let's briefly discuss the role of a
bassline and how important a role it plays
| | 00:10 | in dictating the groove.
| | 00:12 | I feel that basslines are equally as
important as vocals and I generally
| | 00:16 | spend the most amount of time
working with them until the bass drum vocal
| | 00:20 | groove is just right.
| | 00:22 | So let's go ahead and open up the
EXS24 and I'll just point out briefly that
| | 00:27 | every time you select a software
instrument from the menu here you have a box
| | 00:31 | here that says Open Library and what
that will do is pull-open a library of
| | 00:36 | presets for the virtual instruments.
| | 00:38 | I'm going to go ahead and uncheck this
because I already know which software
| | 00:41 | synth and which preset
bank I'd like to work from.
| | 00:45 | So underneath Virtual
Instruments I select the EXS24.
| | 00:50 | I am going to choose Stereo, I pull
down the menu to Bass and I'm going
| | 00:55 | to choose Synth Bass.
| | 00:57 | I'm pretty familiar with these sounds
as I've used the EXS24 many, many times
| | 01:02 | on many, many remixes.
| | 01:04 | So I'm going to go ahead and
select this Hard Pluck Drive.
| | 01:07 | It's actually a synth-based sound that
I really gravitate towards and let's you
| | 01:11 | hear what it sounds like.
| | 01:13 | (Music playing)
It's a little bit of a SH101 type sound.
| | 01:20 | So let's just go ahead and play the
track from the verse and I've got it looped
| | 01:25 | right now verse 1 chorus 1.
| | 01:27 | It's basically a 24 bar loop and I'm
going to play several different bassline
| | 01:32 | scenarios and I'll actually record a
couple of them and this is a very important
| | 01:36 | part of the process here.
| | 01:37 | Sometimes what I'll do is record 4 or 8
bars of one bassline idea, 4 or 8 bars
| | 01:42 | of another bassline idea and have
them side-by-side and listen to them.
| | 01:46 | So let's go ahead and record one
bassline idea in this 8 bar section.
| | 01:50 | (Music playing)
| | 02:10 | That's a pretty standard dance bassline.
| | 02:12 | It's what we call in on the end bassline,
| | 02:14 | it's on the 8th note of each beat.
| | 02:17 | So I will go ahead and in the Inspector
Window click my Down Arrow and quantize
| | 02:21 | to 16th, actually I quantize to 8th
notes because that is the proper duration of
| | 02:27 | the note that I am playing.
(Music playing)
| | 02:35 | So let's move over to the next 8 bar section.
| | 02:39 | I click and hold in my Cycle Points
region and I slide the Cycle Points Marker
| | 02:44 | over to the next 8 bars.
| | 02:46 | So I'll try a slightly different
pattern in this next 8 bar section.
| | 02:49 | (Music playing)
| | 03:08 | Okay. Let's quantize that to 16th notes and
as you can see I started a little bit
| | 03:16 | before the downbeat, so there is a
little bit of a MIDI region hangover here.
| | 03:21 | All I need to do is grab the Edit Tool
here and slide it over to the right and
| | 03:26 | now it's a perfect 8 bar region.
| | 03:27 | And all you need to do to double-check
that is click and hold in the region and you
| | 03:30 | can see on the lower right-hand
corner here 8 0 0 0; 8 measures or 8 bars.
| | 03:38 | So let's take a listen
to these two back-to-back.
| | 03:42 | (Music playing)
I'd like to try one more idea.
| | 04:15 | I think both of those will definitely
work, but I'm going to move over here to
| | 04:19 | the chorus section and try a third
bassline idea, a little more syncopated.
| | 04:23 | (Music playing)
| | 04:43 | Quantize it, and I will drag the MIDI
region over so it's at perfect 8 bars and
| | 04:51 | take a listen to it.
(Music playing)
| | 05:08 | I actually prefer that the best
out of the three and here's why.
| | 05:12 | I think it pulses the groove a little
bit better than the other two options and
| | 05:16 | I think it sits well with the vocal.
| | 05:17 | There is space around the bass notes
being played allowing the vocal to breathe.
| | 05:21 | So I'm going to go ahead and delete
these other two basslines and I will copy and paste.
| | 05:27 | Click on my MIDI region, hold down
the option key, drag to the left and
| | 05:32 | repeat the process.
| | 05:34 | So now I have a 24 bar section
here, which is verse 1 and chorus 1.
| | 05:39 | And you're certainly welcome to change
the bassline from section to section, but
| | 05:44 | for this remix I think this
8 bar phrase works perfectly,
| | 05:48 | so I'm going to go ahead
and have this be the bassline.
| | 05:51 | I'd like to take a moment to talk about
how important choosing bass sounds is to
| | 05:55 | the remixing process.
| | 05:57 | It's always a good idea to audition
bass sounds to make sure they sonically
| | 06:01 | blend well with the drums and vocals.
| | 06:04 | In most remixes the kick drum is going
to occupy the deepest set of frequencies,
| | 06:09 | the lowest set of frequencies,
| | 06:10 | so I generally like my bass sound to sit
a little bit above that, in other words
| | 06:16 | I'm not necessarily looking for a
real stubby kind of a bass sound that can
| | 06:20 | muddy up the low end and get
in the way of the kick drum.
| | 06:22 | That just happens to be the style
of remixing that I'm working on.
| | 06:26 | If you're working on drum and bass or
dub step or another style of remixing you
| | 06:32 | may want to have the bass be
the lowest set of frequencies.
| | 06:35 | So here's how we quickly
can audition bass sounds.
| | 06:39 | I will go ahead and solo out just by
highlighting the three MIDI regions and
| | 06:44 | hitting the S key, that's one way to
solo or hit the S key again and the solo is
| | 06:50 | disengaged, or I can simply hit solo
here, and that will play the bass track.
| | 06:58 | So even though I know this is the sound
I'm ultimately going to use, let's open
| | 07:03 | up to EXS24 and just go through
the bass sound auditioning process.
| | 07:08 | (Music playing)
| | 07:22 | So I'll go ahead and select the bass
sound that I initially chose, which is I
| | 07:27 | feel the keeper bass sound Hard Pluck
Drive, and we'll close out of the EXS24
| | 07:33 | and undo the solo button.
| | 07:35 | But this just gives you a little bit
of an insight as to how to program the
| | 07:38 | basslines and then once the MIDI data
is in I think this is actually the best
| | 07:43 | way of auditioning sounds.
| | 07:45 | Play your part in, make sure that
you're happy with the part and then take a
| | 07:49 | moment to scroll through presets and
decide what sound you ultimately would
like to use.
| | 07:54 | Before we move on to adding secondary
and supportive basslines let's go ahead
| | 07:58 | and listen to all of the elements together.
| | 08:00 | (Music playing)
| | Collapse this transcript |
| Layering bass sounds and side chaining| 00:00 | Now that I've chosen my bass sound and
my bassline, it's time to pulse the track
| | 00:04 | a bit more by adding a
secondary or supporting bassline.
| | 00:08 | This might be a few extra notes with a
different sound that plays off the main
| | 00:12 | bassline or it might be an actual
literal doubling of the main bassline.
| | 00:17 | It all depends on how it
flows with the primary bassline,
| | 00:20 | the drums and the vocals.
| | 00:22 | So let's go ahead and open up the ES1
and I will select Software Instrument and
| | 00:30 | underneath the pull-down menu,
I will select ES1 Stereo.
| | 00:34 | Now I know the presets
within the ES1 pretty well.
| | 00:38 | So I am going to pull down the
menu here and choose a lead sound.
| | 00:46 | But I'm actually going to play it in
the lower register, so it functions as a
| | 00:49 | supporting bass sound.
| | 00:51 | This is something that I actually enjoy doing.
| | 00:54 | Just because a synth preset is
categorized as a lead sound doesn't mean you
| | 00:58 | can't use it in its lower
register as a bass sound or vice-versa.
| | 01:02 | A bass sound could be used as a lead sound.
| | 01:05 | So this is called Super Fat Moog.
| | 01:08 | (Music playing)
| | 01:10 | And I'm going to go ahead and play the
looped 24 bar section and experiment with
| | 01:16 | some supporting bass, riffs or lines or
even just notes here and notes there to
| | 01:21 | see how it sits in the groove.
| | 01:23 | (Music playing)
| | 01:42 | That seems to work well with the vocals,
it's not stepping on it, it's filling
| | 01:45 | in a little bit of a hole in and around
the main bassline, and adding something
| | 01:50 | to the groove in my opinion,
it's filling it out a bit.
| | 01:53 | So let's go ahead and record that end.
| | 01:54 | (Music playing)
| | 02:15 | We click down here on the
inspector and our 16A quantization.
| | 02:20 | We can actually choose 8A Swing because
it's an eighth note part, and I will go
| | 02:25 | ahead and copy that and copy it again
and so now we have a secondary bassline.
| | 02:30 | (Music playing)
| | 02:48 | Now that's definitely working.
| | 02:50 | I'm going to go ahead and show you a
very exciting production trick that has
| | 02:54 | actually been used for quite a few
years now in remixing but it's the sound
| | 02:58 | that I'm sure you've heard in tracks
before, but might not know how to dial it
| | 03:03 | up in your own studio.
| | 03:04 | So what I'm going to do is close the
Quantization window in the Inspector, and
| | 03:10 | I'm going to choose compressor here.
| | 03:13 | What we're essentially going to do at
this stage is called side-chaining the
| | 03:17 | compressor with a kick drum.
| | 03:19 | So this is several steps.
| | 03:20 | First I am going to choose the
compressor on the synth bass track right here.
| | 03:26 | But before I dial in the compressor,
I'm going to go up to the drums, and I'm
| | 03:30 | going to duplicate the track.
| | 03:34 | I'm going to click-and-hold and copy
down the kick drum but I am going to move
| | 03:39 | this track up and I will
rename this kick trigger.
| | 03:46 | I will turn off the output,
| | 03:47 | the physical output will be No Output.
| | 03:51 | I go back to my secondary bassline track,
double click on the Compressor plug-in
| | 03:57 | and underneath side chain,
I choose kick trigger.
| | 04:00 | What is essentially happening here is
that the kick drum, which is playing on
| | 04:05 | every quarter note 1, 2, 3, 4, is
going to trigger the compressor, and the
| | 04:11 | compressor will then affect the bass sound.
| | 04:14 | So let's go ahead and play the track
with this setup now on the secondary bass track.
| | 04:19 | (Music playing)
| | 04:27 | All I did here is lower the threshold
on a compressor which means that the
| | 04:31 | compressor is actually kicking in and
doing what it's supposed to do at a lower volume rate.
| | 04:37 | So in order to make sure that the
compressor is triggering and affecting the
| | 04:42 | bassline in time with our groove, what
I like to do is mute out the other drum
| | 04:47 | elements and the vocals as well, and
just listen to the basslines together.
| | 04:54 | (Music playing)
| | 05:01 | You can hear that the compressor is
starting to sort of pump a little bit, but
| | 05:04 | I'd like it to be a more drastic pump.
| | 05:06 | So I open up the compressor plug-in and
essentially, what I'm going to do here
| | 05:12 | is tweak the Compressor settings and
use my ears to make sure that the muaah of
| | 05:18 | the bass sound is in time with the groove.
| | 05:21 | (Music playing)
| | 05:32 | So you have to play with the Ratio,
you have to play with the Compressor
| | 05:36 | Threshold, and you may have to play with
the Attack which represents how quickly
| | 05:41 | the compressor grabs the
sound and actually compresses it.
| | 05:45 | Let's close this out, take a listen
to all of our elements together with the vocal.
| | 05:50 | (Music playing)
| | 06:09 | So now we have a nice swell that
comes in and around the main bassline and
| | 06:14 | supports the vocal in a nice fashion.
| | 06:16 | As you experiment with layering bass
sounds or programming a secondary bassline,
| | 06:21 | always ask yourself if the new
part is making the track better.
| | 06:25 | Don't add parts for the sake of adding parts.
| | 06:28 | It's easy to fall into that trap and
then you wind up with a crowded track with
| | 06:31 | elements fighting one another.
| | 06:33 | If the bassline does not do the job,
then move on to programming your synth parts.
| | 06:38 | There's nothing wrong with having one
bassline but this just gives you a little
| | 06:42 | bit of insight into how to add a
little more in the low end, a little more
| | 06:45 | flavor and pulse your track a bit more.
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|
|
4. Programming Synth PartsChoosing foundational synth parts and sounds| 00:00 | Now that we have our bassline
programmed in, it's time to move on to choosing
| | 00:04 | our foundational synth parts
and those particular sounds.
| | 00:08 | As I start to add what I refer to as
foundational synth parts, the remix will
| | 00:12 | really start to take shape.
| | 00:13 | I generally start with the chorus
sections first since those areas of the
| | 00:17 | remix typically have the densest
amount of production and require the most synth parts.
| | 00:22 | Let's go ahead and open up the ES2.
| | 00:27 | I will choose the ES2 from my list of
virtual synths and I generally like to
| | 00:34 | start with a synth pad or some sort of
sound and part that helps to find the
| | 00:40 | chord structure of the remix.
| | 00:43 | So I will choose Dark Pad 03,
and this is what it sounds like.
| | 00:47 | (Music playing)
| | 00:52 | Okay, so this is an important tip.
| | 00:56 | The first chord is B minor and the
notes that are in the chord B minor are B, D, F#.
| | 01:00 | I'd like to take the third of the chord
out removing the D, and just play B, F#
| | 01:11 | and then the octave B.
| | 01:14 | This helps give the remix
a slightly darker sound.
| | 01:18 | I am not putting the third of the
chord in which basically will make a chord
| | 01:23 | either major or minor and will really
affect the color of the musical changes.
| | 01:28 | Let's go ahead and program in this pad sound.
| | 01:30 | (Music playing)
| | 01:52 | Let's go ahead and quantize this part.
| | 01:54 | Even though it will quantize at 16A
Swing, when I am holding down notes for a
| | 01:58 | whole measure, I like to just
quantize them to quarter notes.
| | 02:02 | Let's trim up this extra space at the
beginning that we don't need making our
| | 02:05 | section 8 bars and let's
just take a listen to it.
| | 02:08 | (Music playing)
| | 02:25 | Now, here's something that's fun to do.
| | 02:28 | Let's play around with
transposing this part up or down an octave.
| | 02:32 | In the Inspector Window we
have all of our MIDI parameters.
| | 02:35 | You can double-click here and type in 12,
there are 12 notes that will take it
| | 02:40 | up in octave or I will put it back
to 0 and I can choose -12 or +12.
| | 02:46 | So here's what it sounds like an octave down.
| | 02:47 | (Music playing)
It's a little muddy.
| | 03:01 | Let's go ahead and try it an octave higher.
| | 03:02 | (Music playing)
| | 03:20 | I like it, but I'd actually like the
first chord to be an octave lower.
| | 03:24 | So I am going to go to my Scissors
Tool, which is a secondary tool, and we
| | 03:28 | access the secondary tool by hitting
Command and there's the scissors, and I am
| | 03:33 | going to cut it right there.
| | 03:35 | I will single-click and highlight the
MIDI region that is just the first chord
| | 03:41 | which is the B minor chord without the
D and I will turn off the Transposition
| | 03:46 | and let's take a listen now.
| | 03:47 | (Music playing)
| | 04:05 | So, I like that better.
| | 04:06 | Now, we're looking at a MIDI region
that has two measures of an 8 bar phrase as
| | 04:12 | its own MIDI region.
| | 04:13 | Visually, this can become distracting
as you start to copy and paste and build
| | 04:17 | the arrangement later on.
| | 04:18 | So I simply hit the Escape key,
select the Glue Tool, highlight the MIDI
| | 04:24 | region and boom, they merge.
| | 04:27 | Double-click Escape which will
return me to my main tool, which is right
| | 04:31 | here, the arrow and let's take a listen.
| | 04:33 | (Music playing)
It's all there.
| | 04:49 | Let's go ahead and copy and paste.
| | 04:52 | The reason that we're working with
just this 24 bar chunk here is that I've
| | 04:57 | listened to the song, I know what the
chord changes are, there are no surprises
| | 05:01 | musically later on in the song and I
generally like to take a 24 or 32 bar
| | 05:05 | section, usually the first verse and
the first chorus and if there's something
| | 05:09 | after the first chorus, I like to
loop that which generally is 24 or 32 bars
| | 05:14 | and work within that framework.
| | 05:15 | I'd like to play all of my synth parts
in within this section of the remix to
| | 05:20 | make sure that everything
works in a verse chorus fashion.
| | 05:25 | I don't worry about the other
sections of the song just yet.
| | 05:28 | We'll cover that when we get to
the arranging section of the course.
| | 05:31 | We have our pad in, I am going to close
that window, and I'd like to have the pad
| | 05:36 | pump similarly to the secondary bassline.
| | 05:40 | So here's a neat trick.
| | 05:41 | Instead of having to set up the
compressor with a side chain all over again,
| | 05:45 | let's streamline the process and we
will copy the compressor settings from
our bass track.
| | 05:54 | So all we need to do to do that is we
go to the plug-in, hold down Option, hold
| | 06:00 | down Command, and a little hand pops up
when you click on the plug-in. Drag it
| | 06:06 | over to the next track
and release and there we go.
| | 06:10 | One thing you do have to check, double-
click the Compressor and make sure that
| | 06:15 | the side chain is actually there.
| | 06:17 | Sometimes the side chain won't
appear here and it will be on None.
| | 06:20 | So if you're not hearing the
compressor work, you need to check that
| | 06:24 | parameter, close out of the Mixer
Window by hitting X and let's take a listen
| | 06:29 | and see how this pad sounds.
| | 06:30 | (Music playing)
It's sitting nicely in the pocket.
| | 06:46 | Before we move on to adding another
foundational synth part, I want to make
| | 06:50 | mention of our main Output Meter here.
| | 06:52 | It is going into the red, this is
nothing to worry about at this time, this is
| | 06:57 | something we will address when we are
in the mixing section of the course.
| | 07:00 | So as you add elements and there are
more sounds traveling through this Master
| | 07:04 | Fader, you will see it hit the red a few times.
| | 07:07 | This is why I've backed it down to -8db
and I may back it down a little bit more
| | 07:12 | as we add more parts, But it's nothing
to be concerned about. If this was the
| | 07:16 | final mix down, then it would be a problem.
| | 07:18 | So let's go ahead and add what
I like to call a Synth Comp part.
| | 07:23 | I will choose the EXS24, and Stereo,
and underneath, Synth Leads, going to
| | 07:35 | choose Basic Velo, close the
window, and there's our sound.
| | 07:45 | (Music playing)
| | 07:46 | So let's go ahead and
experiment with some rhythms.
| | 07:49 | What I mean by rhythms is I'd like
to think of these parts almost as if
| | 07:53 | they're drum parts;
| | 07:54 | very rhythmic, very syncopated.
| | 07:56 | Yes, I am playing the keyboard part
but I could just as easily by playing a
| | 08:00 | shaker part or a hi-hat part.
| | 08:02 | Let's go ahead and play the track
and I will experiment with some different rhythms.
| | 08:05 | (Music playing)
| | 08:24 | Let me give you an example of a non-syncopated part.
(Music playing)
| | 08:43 | That's not very exciting.
| | 08:44 | I am going to actually go ahead and
loop the chorus for this part because
| | 08:48 | this part may only appear on the
choruses, it most likely will not appear on the versus.
| | 08:52 | So I am going to just loop the chorus
sections right now and I will experiment
| | 08:56 | with some different patterns and
you'll hear that as I play these keyboard
| | 09:00 | parts, they really do
feel almost like drum parts.
| | 09:02 | They just happened to be
played with synth sounds.
| | 09:05 | (Music playing)
| | 09:22 | Okay. So I more or less have an idea of the
part I'd like to play and rhythmically
| | 09:26 | how it's going to go.
| | 09:28 | Let's go ahead and record this in.
| | 09:29 | (Music playing)
| | 09:48 | I wasn't crazy about that performance,
so I am actually going to delete it and
| | 09:51 | do it again, and just before I hit
Record, double-check. This particular
| | 10:02 | sound, the harder I hit it, it opens
up the filter, that's the velocity part of the patch.
| | 10:10 | So I have to be careful that I
don't play the part too hard.
| | 10:19 | Okay, let's try it again.
(Music playing)
| | 10:40 | And we'll quantize it.
| | 10:41 | I have an extra section of the
MIDI region that I don't need.
| | 10:45 | We trim it back, we have a perfect 8
bars and let's take a listen and let's
| | 10:48 | actually mute out the vocal at this
moment, just to listen to all the instrument parts.
| | 10:52 | (Music playing)
| | 11:10 | That part is working. It actually is
really the bassline, it's the same rhythm as the bassline.
| | 11:15 | So we're supporting a rhythm
that we already have in the track.
| | 11:19 | This gives you an idea of how to build
up the song after you have the bassline
| | 11:23 | in. Define your chord structures,
begin to put rhythmic elements in, that we
| | 11:29 | call foundational synth parts.
| | 11:31 | I hope this offer some ideas for
creating your foundational synth parts, always
| | 11:35 | think about the rhythm of the
parts as well as the textures.
| | 11:39 | Choosing sounds at this stage of the
remix is critical because it will really
| | 11:43 | determine which direction your track is heading.
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| Layering synth parts| 00:00 | As we move into adding additional
synth parts, or what I like to refer to as
| | 00:04 | synth layers, I'd like to encourage all
of you to take the time to build up the
| | 00:09 | track, experiment, add a lot of parts,
it's okay in the stages of the remix
| | 00:14 | process if you add too many parts.
| | 00:16 | A lot of the remixing process is
constructing to then deconstruct.
| | 00:21 | What you have to be aware of is when
you cross that threshold and the track
| | 00:26 | is just too crowded.
| | 00:27 | What we're going to do in this movie,
is add some additional parts. And I am
| | 00:33 | going to take a listen to what I
have so far and you may notice as I play
| | 00:38 | the track right now that the
foundational synth parts from the last movie
| | 00:42 | are slightly different.
| | 00:43 | I took some time to massage them, make
some adjustments and just dial them in a
| | 00:49 | little bit more to where I was
extremely happy with them and felt that they were keeper parts.
| | 00:55 | Let's take a quick listen and I will
actually just loop the chorus section
| | 00:58 | again, we don't need to
listen to the verse right now.
| | 01:00 | (Music playing)
| | 01:09 | Okay, so at this stage of the remix,
I'd like to think about frequency holes.
| | 01:17 | and what I mean by frequency holes are;
what frequencies are available right now?
| | 01:22 | When I am listening to the track,
there is a bass, there is a secondary bass
| | 01:26 | part, but I still like a
little more meat in the low end.
| | 01:29 | The first thing I am going to do is add
a synth layer, which is basically going
| | 01:33 | to outline the chords, the B, G, E, F#
chord changes, just a single note part in
| | 01:39 | the lower register of an EXS24 sound.
| | 01:43 | So I select EXS24 from my list of
virtual instruments and I really like this
| | 01:51 | sound under synth leads called Dance Basic.
| | 01:54 | I have used this on dozens and
dozens of remixes, it sounds like this--
| | 02:00 | (Music playing)
| | 02:02 | --nice fat saw wave, and what I am
going to do is just basically play whole
| | 02:07 | notes, outlining the chords. So
let's go ahead and lay that in.
| | 02:11 | (Music playing)
| | 02:31 | And I will go ahead and quantize
that to quarter notes, trim the extra MIDI region.
| | 02:37 | It doesn't sound good to my ears
to just leave this sound as is.
| | 02:41 | So much like we did in the last movie,
I am going to go ahead and copy the
| | 02:45 | compressor from the synth pad
track and move it over to this track.
| | 02:50 | So we hold down Option and Command and
drag, close the Mixer Window with X and
| | 02:55 | let's take a listen.
| | 02:56 | (Music playing)
| | 03:09 | It sounds a little fuller
to my ears, and I like that.
| | 03:11 | So I am going to un-mute the vocal
and let's take a listen with the vocal briefly.
| | 03:16 | (Music playing)
| | 03:26 | Sounding really good with the vocal.
| | 03:28 | The next thing I am going to do is add
a piano. And I will choose it from the
| | 03:35 | EXS24, in the pull-down menu,
under Acoustic Pianos, Steinway Piano.
| | 03:43 | (Music playing)
| | 03:51 | Let's go ahead and record in octave parts.
Here we go.
| | 04:01 | (Music playing)
| | 04:20 | And I will quantize them to a quarter note.
| | 04:24 | The purpose of this part is to add a
punctuation on the downbeat of the chorus
| | 04:31 | and actually throughout the
chord changes of the chorus.
| | 04:34 | I like the tambour of the piano, it
has a nice attack and it really helps the
| | 04:38 | chorus feel like a chorus
when we hit the downbeat.
| | 04:42 | So the grand piano is in.
| | 04:44 | The next track I am going
to add is an apple loop.
| | 04:47 | So I open up the Audio Bin by
hitting B and I will drag this on to the Arrange Window.
| | 04:54 | I will put it right where verse 1 starts.
| | 04:57 | Now you see I accidentally
drag this on to a MIDI track.
| | 05:01 | So I'm going to create a new
audio track which is Stereo.
| | 05:06 | I do not need to open the Library, and I
will simply drag this down and move it
| | 05:13 | over to the chorus because we're
working with just the chorus section.
| | 05:17 | Let's take a listen to this part.
| | 05:19 | (Music playing)
| | 05:24 | Clearly, it's not in the same key as our track.
| | 05:28 | So what I'm going to do, and this is
one way to get the most mileage out of
| | 05:33 | instrumental apple loops.
| | 05:35 | Let's figure out what key this is in.
| | 05:37 | I am going to mute everything else
out except for this part and the piano.
| | 05:44 | I don't want to hear the piano track
playing, so I am going to mute the MIDI
| | 05:47 | region, by just highlighting the MIDI
region and hitting M. That mutes it.
| | 05:52 | The piano is still
accessible to me as a virtual synth.
| | 05:56 | Let's listen to this apple loop.
| | 05:57 | (Music playing)
| | 06:03 | This apple loop is in the key of C,
our track is in the key of B; B minor to be specific.
| | 06:09 | So here's what we're going to do.
| | 06:11 | I'm going to take the Scissors Tool.
| | 06:13 | I am actually going to put the piano
part back in, because what I'm going to
| | 06:18 | essentially do is take this apple loop
that's in the key of C, and cut it up and
| | 06:22 | have it follow our chord changes.
| | 06:24 | We know as we expand the screen that we
have one chord change for two measures.
| | 06:31 | I am going to use the Scissors Tool
and cut up this 4 bar apple loop and just
| | 06:37 | paste the back half to cover 8 bars.
| | 06:41 | So every two measures, we have a new chord.
| | 06:44 | We know it's in the key of C. As we
play with the Transposition, we know that
| | 06:49 | there are 12 notes in the scale.
| | 06:52 | So let's double-click and enter our
own data, and since it's in the key of C,
| | 06:56 | I'd like to go one-half step down
for B. So the first two bars now is
| | 07:01 | transposed down to B. The next chord
change is G. So if we're working from C
| | 07:06 | and we count backwards on the keyboard,
C to B to B flat to A to A flat to G,
| | 07:12 | that's actually five half steps.
| | 07:15 | So we'll double-click and enter -5.
| | 07:18 | Now, we're moving onto our third chord
change which is E. I'd like the E to be
| | 07:23 | higher than the B. So I'm going to
enter a value of +4. If we start at C and go
| | 07:30 | up to E, it's four half steps;
| | 07:32 | C# D, D# E. And finally, F# which
I'd like to be above E. So I will
| | 07:41 | double-click and enter 6.
| | 07:44 | Let's listen to this track against the
piano track and the piano track will keep
| | 07:48 | us honest and make sure that we
have the correct transpositions.
| | 07:51 | (Music playing)
| | 08:08 | Everything sounds great.
| | 08:10 | Now, let's listen to
everything in a little bit of context.
| | 08:14 | I shrink the tracks on the Arrange
Window, and I will un-mute everything, and
| | 08:20 | I'd actually like to name this track.
| | 08:22 | This is part of good housekeeping.
| | 08:24 | We double-click on the track, and I
will call this -- well let's call it what
| | 08:29 | it's actually called in the apple loop.
| | 08:30 | So I will expand the screen,
it's called trance travel synth.
| | 08:33 | I will double-click here and call it
trance travel synth and let's take a
| | 08:40 | listen to what we have.
| | 08:40 | I will mute the vocal out right now,
I'll pop it back in, in a moment.
| | 08:44 | (Music playing)
I love it.
| | 09:02 | I think it sounds great, there is a
lot of texture there, there is a little bit of edge to it.
| | 09:07 | I am going to un-mute the vocal.
| | 09:09 | You'll find throughout this course at
different stages I am constantly muting
| | 09:13 | and un-muting parts to make sure
that everything is working together.
| | 09:16 | This is a very important lesson not
just in remixing but in production overall.
| | 09:20 | The elements of your track have to work
together, and they really have to work
| | 09:24 | with the vocal when you're
working on a full vocal remix.
| | 09:27 | So let's take a listen to the
track so far with the vocal in it.
| | 09:30 | (Music playing)
Sounds fantastic.
| | 09:49 | Think about what it is you're looking
to accomplish by layering synth parts.
| | 09:53 | It's very easy to get carried away and
add too many layers, resulting in a track
| | 09:57 | that is way too dense.
| | 09:59 | As mentioned earlier, I prefer to work
on this part of the process in the chorus
| | 10:03 | section, which is these 8 bars.
| | 10:06 | This is the part of the mix that will
most likely have the most amount of parts in it.
| | 10:11 | My suggestion is that as you build up
your synth layers, build up a section
| | 10:15 | of the song that is actually going to
have a lot of parts in it when the mix
| | 10:19 | is actually finished.
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| Lead line hooks| 00:00 | One of my signature production
traits is Lead-line Synth Hooks.
| | 00:04 | Many songs are made up by
instrumental hooks that are in the intros,
| | 00:07 | choruses, and outros.
| | 00:09 | You can even look at old Motown songs
and some of the guitar or piano hooks are
| | 00:13 | as important as the chorus looks themselves.
| | 00:16 | So I apply the same philosophy to remixing.
| | 00:19 | Generally I will come up with a
synth hook that is either woven into the
| | 00:22 | choruses or comes in an 8 bar section
that follows the chorus, what I like to
| | 00:27 | refer to as a post-chorus.
| | 00:29 | So, I will open up the EXS24, close the
MIDI parameters window here, choose the
| | 00:38 | EXS24>Stereo, and I'm actually going
to take a string sound, a Solina string.
| | 00:47 | The Solina is an old vintage keyboard
and I think I'm going to use that, even
| | 00:52 | though it's considered a Synth
Lead Line or a Lead-line Hook,
| | 00:56 | I'm going to play with a string sound, and--
| | 00:58 | (Music playing)
| | 01:02 | --that's what the Solina sounds like, a
very classic old vintage synth sound.
| | 01:06 | And I will actually go ahead and move
the attack of the sound down a little bit,
| | 01:13 | which means that the sound will come
out sounding a little bit punchier, more
| | 01:18 | appropriate for a synth-lead sound.
| | 01:20 | (Music playing)
| | 01:23 | Let's loop the chorus, I'm going
to experiment with some lead-line hooks
| | 01:27 | underneath the lead-vocal in the
chorus and let's see how it sounds.
| | 01:31 | (Music playing)
| | 02:04 | Okay, so that gives me an idea where
I want to head with the part, so I'm
| | 02:07 | going to go ahead and record it in.
Again, I'm looking for a synth-line hook that's memorable.
| | 02:12 | Something that you might even sing
after you've heard it one or two times, so
| | 02:15 | I'm going to record this part in.
| | 02:17 | (Music playing)
| | 02:38 | And I'll quantize it, 16A Swing, and
I'll trim back the extra MIDI region that
| | 02:44 | I don't need and let's take a listen to it.
| | 02:46 | (Music playing)
| | 03:03 | I really like the part, I'm not 100%
sure that it works well in that section of the song.
| | 03:11 | I will actually move the vocals over
a little bit creating that post-chorus
| | 03:17 | section that I mentioned in the early
part of the movie, and what I mean by
| | 03:20 | moving the vocals over 8 bars, is that
I'm moving verse 2 over, I'm not actually
| | 03:25 | moving the chorus section over.
| | 03:27 | I click and hold where it's 66, 8 bars
over will put this at 74, and Logic is
| | 03:34 | prompting me with a question of do
I want to move the automation data?
| | 03:38 | I'm going to select Don't Move, there
was some previous automation data on the
| | 03:41 | track that I was playing around with
and I actually don't need it to move.
| | 03:45 | Let's shrink the tracks down in the
Arrange window and I'm going to move
| | 03:52 | this over 8 bars and then lasso
everything else and copy it. Option+Drag, Option+Drag.
| | 04:03 | So let's listen to the chorus
section and the post-chorus section.
| | 04:08 | (Music playing)
| | 04:40 | That feels a bit more natural to me
to have the Lead-Line Hook come after the vocal ends.
| | 04:45 | It's introducing a new section of the
song and I'm opening up myself with the
| | 04:50 | ability to build the track up even
more after the chorus section, which is
| | 04:55 | really what we'd like to cal the Hype.
| | 04:57 | Here's a new 8 bar section, a very
exciting 8 bar section that's been introduced
| | 05:02 | as a result of the fact that the Lead-
Line Hook didn't quite work underneath the
| | 05:06 | lead-vocal for the choruses.
| | 05:08 | While lead-line hooks might not
make sense in every remix that you work on,
| | 05:12 | they can certainly bring energy to a track.
| | 05:14 | You may find yourself working on a
remix of the song that doesn't have a strong
| | 05:18 | chorus, and you may need to come up with
a section of the song like we did here,
| | 05:22 | called the Post-Chorus.
| | 05:23 | This also sets us up nicely for what I
like to call Synth Candy which is coming
| | 05:28 | up in the next movie.
| | 05:29 | Where we fill in the holes with production
Ear Candy and the track really starts to
| | 05:34 | take on a finished sound at that point.
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| Synth candy| 00:00 | For those of you who may not be
familiar with the term Ear Candy, it refers to
| | 00:04 | the flourishes and supplemental parts
that are found within a musical track.
| | 00:09 | I like to think of them as the
parts that make the track feel finished
or complete.
| | 00:13 | As we think about Ear Candy for the
synth parts of this remix, I'd like to call
| | 00:17 | these parts Synth Candy.
| | 00:19 | They might be one or two note high
parts on a chorus that gives the chorus a
| | 00:23 | lift or a part that floats
around the lead vocal on a verse.
| | 00:27 | I'm going to add two synth parts
throughout the course of this movie, and I will
| | 00:31 | start by bringing an Apple Loop onto
the arrange window, this part right here,
| | 00:37 | Electro Emotion Synth.
| | 00:41 | I drag this part out onto the Arrange
window, and close the Audio Bin by hitting
| | 00:47 | B. Let's take a listen to this
part before we dive into editing it.
| | 00:54 | (Music playing)
| | 01:03 | Okay, as you can hear, it's just
one four-bar keyboard part that repeats.
| | 01:08 | It's actually in the same key as our
trance travel synth part was when we
| | 01:14 | originally brought it on to the
Arrange window, and that is the key of C. I'm
| | 01:17 | going to move this track down so that
these two Apple Loops are right next to
| | 01:23 | each other, and much like editing the
trance travel synth part I will use the
| | 01:29 | scissors and cut this Apple Loop and
paste it over, so that we have a full
eight bars.
| | 01:35 | Now since this is in the key of
C, I'll go ahead and enter in my
| | 01:39 | transposition numbers.
| | 01:40 | We want to bring it down to B, which
is the first chord, so -1, and we can
| | 01:45 | double check it against the
Trance Travel synth, that's -1.
| | 01:48 | The second value is -5, so let's go
ahead and change this to -5, and the third
| | 01:55 | value on the Trance Travel synth is +4,
I'm actually going to leave this at -1.
| | 02:01 | So essentially, the first and the third
set of chord changes are the same notes
| | 02:07 | on this keyboard part, after it's transposed.
| | 02:10 | And then on the last part I will go
ahead and enter in +6, because that is the
| | 02:17 | same value that we have up here.
| | 02:19 | So let's take a listen to this 8
bar phrase with just these two parts
playing together.
| | 02:27 | (Music playing)
| | 02:44 | So as you can hear, what we basically
did was take a two bar repetitive keyboard
| | 02:50 | arpeggio, transpose it to follow the
chord changes of our remix, and now we
| | 02:54 | actually have a very interesting
keyboard line that adds a lot of tension,
| | 03:00 | especially on the second chord,
when we put everything in the Mix,
| | 03:03 | the second set of chord
changes right here measures 67 to 69.
| | 03:06 | There is a nice bit of tension that enters.
| | 03:09 | (Music playing)
| | 03:33 | I'll also back down the Master Fader
another dB or so, because we're starting to
| | 03:37 | get into the two to three dB
range of the red right now.
| | 03:42 | And although, there is no audible
distortion, as we add more parts, we'll
| | 03:46 | find ourselves pulling the Master Fader
down so that we are not maxing out at 6 dB in the red.
| | 03:52 | I'm going to add one more part, it
will be from the ES2, and I will close the
| | 03:59 | Parameters window here in the Inspector
window, add Software Instrument, select
| | 04:05 | ES2, and I'm going to choose Analog Bass clean.
| | 04:13 | This is a situation where I'm going to
use a bass sound and actually play some
| | 04:17 | notes higher up in the register.
| | 04:18 | (Music playing)
This is our sound.
| | 04:22 | I'll move it up a couple of dB so
we can really hear it as I'm playing against the track.
| | 04:26 | (Music playing)
And I know going into this part
| | 04:29 | I'm looking for something that's a
little bouncy, something to help pulse the
| | 04:33 | track along a little bit more.
| | 04:34 | So let's play around for a minute
before I actually record the part.
| | 04:38 | (Music playing)
| | 04:55 | I think that's going to work really well, It's
a little bit bouncy, which is nice, and I
| | 04:59 | will record it right now, so I don't forget it.
| | 05:01 | (Music playing)
| | 05:21 | Let's quantize it, and
let's take a quick listen.
| | 05:25 | (Music playing)
| | 05:42 | So we've added two more keyboard parts
to our track in this movie, and both of
| | 05:47 | these parts have quite a bit of
movement, but not too much movement, and the
| | 05:50 | track is not feeling crowded,
it's actually feeling just right.
| | 05:53 | There is a lot of motion in the track,
but you do have to take caution that as
| | 05:58 | you add parts, and add parts, and add
parts, the amount of space that each part
| | 06:03 | lives in become smaller, and it's
very easy for things to sound crowded and
| | 06:08 | cluttered, and we haven't even begun to
add reverbs and delays to our synth parts.
| | 06:12 | At this stage of the remixing process
you will most likely need to do a little
| | 06:17 | bit of self editing.
| | 06:18 | It's very important that you
keep the parts that enhance the mix.
| | 06:22 | Don't marry yourself to parts, even if
you come up with a really cooler part,
| | 06:26 | and it's not working and it's not working,
don't be attached to your ideas, make
| | 06:31 | sure that they are adding to the sum of
all parts and complementing the vocal.
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|
|
5. Building the ArrangementThe importance of arranging| 00:00 | Now it's time to talk about arranging.
| | 00:02 | This is one of the most
critical parts of the remixing process.
| | 00:06 | If you don't have a great arrangement,
your track will most likely fall flat,
| | 00:10 | especially if it's being
played in the club by DJs.
| | 00:14 | So I will disengage the loop setting here.
| | 00:18 | I highlighted all these tracks.
| | 00:19 | They are just looping till
the end of the song right now.
| | 00:22 | I will hit the L key and turn them off.
| | 00:25 | I will click-and-drag, copy-and-paste,
and I'm just copying-and-pasting, and
| | 00:33 | copying-and-pasting, because the way I
like to start building my arrangement
| | 00:38 | is to actually copy-and-paste sections
and then mute arrange or deconstruct on
the fly.
| | 00:45 | So I am pasting drums all the way
across here, all the way across.
| | 00:52 | I know that this remix is going to wind
up being between 5 and 6 minutes long.
| | 00:57 | So that's why several movies ago, I
went ahead and moved the vocals to start
at measure 41.
| | 01:03 | That gives us 40 measures of intro, DJ
intros I like to call it for someone to
| | 01:08 | mix the record in from the previous
record that they are mixing out of.
| | 01:12 | So I always like to start with drums,
and I don't want to play all of the drum
| | 01:17 | loops at the very beginning.
| | 01:19 | So what I'll do is maybe delete the
first 8 bars of the top drum loop and just
| | 01:26 | start the mix like this.
| | 01:28 | (Music playing)
I'm not sure yet.
| | 01:40 | I like to play around with these
ideas before I actually start really
| | 01:43 | building up the arrangement.
| | 01:45 | As we think of the arrangement, and how
important it really is, you want to have
| | 01:49 | ebbs and flows in your track.
| | 01:51 | It needs to breathe.
| | 01:52 | Ideally, I like to have elements coming
in and out every 8 bars, so that the ear
| | 01:56 | picks up on things happening.
| | 01:58 | I generally break the track down in
the similar fashion as I build it up.
| | 02:02 | There might be a 32 bar or a 40 bar
intro and subsequently a 32 or 40 bar outro
| | 02:09 | with the body of the song happening
generally from here to about here, that's
| | 02:15 | about measure 41 to maybe a measure 161.
| | 02:18 | All these arrangement principles will
make more sense as we start to build up
| | 02:22 | our remix and the song
takes on a more definitive form.
| | Collapse this transcript |
| Arranging your track| 00:00 | Now we're at the stage where we
need to start arranging our mix.
| | 00:04 | And I think that this is probably the
most time-consuming part of the remixing
| | 00:09 | process especially when
you're just starting out.
| | 00:12 | I struggled with this quite a bit
when I began remixing 10 years ago and it
| | 00:16 | took me probably a good five or six
remixes in before I really started to get a
| | 00:21 | handle on why some of these mixes are
arranged the way they are for the dance floor.
| | 00:27 | So picking up where we left off in
the last movie, I had already started to
| | 00:32 | construct a drum intro and I'm actually
going to save this top loop, this loop
| | 00:38 | that I think really belongs in
the choruses for a little bit later.
| | 00:43 | I'm going to bring in some
keyboard elements around Measure 17.
| | 00:50 | And this is also the part of the
process where I may move some tracks around
| | 00:55 | and group them on the arrange window
so that visually it makes a little more sense for me.
| | 00:58 | We'll get into a little bit more of
this when we get into the mixing part of the course.
| | 01:03 | But as I start to build the
arrangement, I do move tracks around so it visually helps me.
| | 01:08 | You're also able to color code if you so desire.
| | 01:11 | You'll notice that these are
obviously different colors and if I wanted to
| | 01:14 | change the color of one of these
regions, all I would have to do is hold down
| | 01:19 | Option+C and a Color palette window
pops up and I can assign any color that I
| | 01:23 | want to any of the regions on the window.
| | 01:26 | This comes into play and it's very
helpful when you're actually color coding
| | 01:30 | sections, maybe we like the whole chorus
or post-chorus section to be this color
| | 01:38 | and visually as we start to copy and
paste and map out the arrangement, these
| | 01:42 | types of tools really, really
help make the process easier.
| | 01:45 | I'm actually going to undo that.
All right.
| | 01:48 | So let's continue on.
| | 01:49 | We have an eight-bar drum intro
that's kick in our first loop.
| | 01:53 | (Music playing)
| | 01:57 | And then I'll actually copy and
paste these hi-hats that I added and I'll
| | 02:01 | paste them over and over.
| | 02:05 | I think it's easier to actually copy
and paste and then remove what I referred
| | 02:09 | to several movies back as mute arranging.
| | 02:11 | This is sort of a different way of arranging.
| | 02:14 | It's a subtractive way of arranging and
I find that it's easier to approach this
| | 02:18 | in a subtractive fashion whereby I'm
removing parts as opposed to adding parts.
| | 02:24 | So we have our eight bars of drums and
I'm actually going to bring these in even
| | 02:28 | eight bars earlier, not at
Measure 17 but at Measure 9.
| | 02:31 | So picking it up right before Measure 9.
| | 02:33 | (Music playing)
| | 02:50 | And I actually like to
arrange as the track is playing too.
| | 02:55 | Almost like a live type of arranging.
(Music playing)
| | 03:41 | This type of approach to arranging;
things are happening in real-time, I'm
| | 03:45 | copying and pasting parts, I'm
getting ideas, I'll also sometimes just loop
| | 03:49 | sections and just see if I get an
inspiration from just looping even just a
| | 03:54 | two-bar section, maybe
this will be part of an intro.
| | 03:57 | (Music playing)
| | 04:07 | Or even reduce it down to one bar.
| | 04:08 | (Music playing)
| | 04:14 | Or shrink it down even more.
| | 04:15 | (Music playing)
Or even more.
| | 04:21 | (Music playing)
| | 04:25 | All these types of tricks can
bring tension into your mix.
| | 04:29 | And remember, as we continue on
arranging the mix, we want to have periods of
| | 04:34 | tension and release.
| | 04:35 | The track builds up, there's tension,
everything comes in, and there's a release.
| | 04:38 | We want to break things down, I like to
actually deconstruct typically for verse
| | 04:43 | 1, so I might just have the pad and
the bass and take out these additional
| | 04:51 | drums for the verse.
| | 04:52 | So it sounds like this.
| | 04:53 | (Music playing)
| | 05:41 | So I'll work my way through the entire
track in this fashion, breaking things
| | 05:46 | down in the verses, adding elements
and taking them out every eight bars,
| | 05:50 | sometimes I'll run a 16-bar phrase
where nothing changes, but it's very rare.
| | 05:54 | And we are actually going to add more
elements into the mix in our upcoming
| | 05:58 | movies by way of
transitional sounds and vocal samples.
| | 06:02 | One trick that I usually implement
somewhere in every mix is I drop out the kick
| | 06:08 | drum, or sometimes all the drums one
beat before the chorus maybe comes in.
| | 06:14 | (Music playing)
| | 06:16 | Or one beat before, or the
post-chorus, it really depends.
| | 06:21 | I'll just give you an example here so
you can hear what it sounds like when
| | 06:24 | all the drums are removed for one bar
and then they all come back into the next section.
| | 06:29 | You can hear that it creates a moment.
| | 06:31 | (Music playing)
| | 06:47 | So removing frequencies to then bring
them back is really what this trick is all about.
| | 06:52 | It creates a moment of tension when
the low-end drops out and then comes back in.
| | 06:56 | It actually gives the chorus more of a
hype, more of a powerful feel to have the
| | 07:01 | drums drop and then come back in
for a bar, two beats, one beat.
| | 07:05 | Again, you have to feel these things out.
| | 07:07 | Arranging your track is a very internal thing.
| | 07:10 | You have to sit and listen and feel it out.
| | 07:13 | I actually listen a lot with my eyes
closed or looking away from the screen when
| | 07:17 | I'm working as to not be distracted by
what's happening on the computer monitor.
| | 07:21 | Sometimes if you know something's
about to happen, it takes away the surprise element.
| | 07:25 | So I absolutely look away from the
computer screen at different stages of
| | 07:30 | the arranging process.
| | 07:32 | But you can see we've gone ahead and
started to shape the arrangement here up
| | 07:36 | through basically what we're calling
the post-chorus and then I would copy and
| | 07:39 | paste these elements and actually
what I'll even do is delete these drums.
| | 07:44 | This is again, good housekeeping to
keep things visually clean and then I can
| | 07:48 | take this whole section here which
is our verse one, copy it over here to
| | 07:54 | Measure 73, and let's take a
listen and see how this lines up.
| | 07:58 | (Music playing)
Okay.
| | 08:03 | So that's not quite right.
| | 08:06 | I need to go up to the vocal track and
drag it over a couple of bars so that it
| | 08:16 | actually starts, verse
two that is, at Measure 73.
| | 08:21 | And again, I don't want to
move the old automation data.
| | 08:24 | (Music playing)
That's correct.
| | 08:41 | One approach I like to take in
differentiating verse one and verse two is maybe
| | 08:46 | drop the drums out for the first two
measures of verse two and I will simply
| | 08:52 | use the Scissors Tool.
| | 08:53 | And instead of deleting these
regions like this, I'm actually going to mute them.
| | 08:58 | In case I change my mind, all I have
to do is unmute them and I just hit the M key to do that.
| | 09:04 | So let's take a listen right before
verse two enters with the drums out.
| | 09:07 | (Music playing)
| | 09:19 | Again, this is just a suggestion.
| | 09:21 | You could do this with a drum roll,
some sort of a bass slide, you decide.
| | 09:26 | But these are all things to think
about to challenge yourself to implement
| | 09:30 | subtle changes between the sections of the song.
| | 09:33 | All these nuances in production
tricks really are what give a track a finished quality.
| | 09:38 | So I will basically carry on with
this process until the track is fully
| | 09:43 | arranged and then I will move into
adding what I call transitional sounds as
| | 09:47 | well as choosing vocal samples that I
like the cut up and distribute throughout
| | 09:52 | the track.
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|
|
6. Enhancing the Arrangement with Vocal Samples and Transitional SoundsCreating vocal samples and transitional sounds| 00:00 | Now it's time to glue the different
sections of the remix together with some
| | 00:05 | vocal samples and transitional sounds.
| | 00:07 | I'll begin with choosing a vocal
sample and what I mean by vocal sample is
| | 00:12 | maybe a word, the title of the song
something along those lines, something just
| | 00:17 | a couple of words that I can play with
delay, effect and pepper through out the
| | 00:21 | remix once I've made my decision to help
fill in the holes and add a little bit of flavor.
| | 00:27 | We'll go up here to where the lead vocal
is and we will go to the area where the
| | 00:34 | first chorus ends, right before the post-chorus.
| | 00:36 | (Music playing)
| | 00:46 | I'm going to use the Ctrl, Option, and
arrow keys to zoom in and make my edit on this vocal.
| | 00:52 | So here we are, right here, just a
couple of beats before the part.
| | 00:55 | (Music playing)
| | 00:58 | Right there, right on simply
falling, that's the title of the song.
| | 01:02 | I'm going to use that vocal bit.
| | 01:04 | I hold down Command and my scissors.
My secondary tool becomes available to me,
| | 01:10 | and I will also hold down Ctrl so that I
can get right in here, a fine edit point.
| | 01:16 | And you can see as I click and hold
that the location, measures 63 beat 4 3 173,
| | 01:22 | is exactly where I'm making my edit, and
I'll explain why I'm telling you this in
| | 01:26 | a minute as I copy and paste it.
| | 01:29 | Let's solo this out. And we will solo
it out by just highlighting the audio
| | 01:33 | region and hitting S.
| | 01:34 | (Music playing)
| | 01:40 | Okay, that's our edit and we will
shrink the screen back down. And it's very
| | 01:47 | important when you are making edits
that are not actually on beat 1 beat 2 on
| | 01:53 | the grid per say you click and hold
and you'll see where I made my edit point
| | 01:58 | and measures 63 beat 4 3 173.
| | 02:02 | When I actually go to paste this,
you'll notice that all that's happening is
| | 02:07 | I'm just moving back complete measures
and when I go to drop this, it will be locked in time.
| | 02:15 | For example if I were to -- and I don't
want to move the automation data -- if I was
| | 02:21 | to not pay attention to that I could
accidentally paste my vocal this way and
| | 02:28 | it won't be in beat.
| | 02:29 | Let's take a listen.
(Music playing)
| | 02:35 | That could work but I'd like the
vocals to actually sit the way it sits in the chorus.
| | 02:39 | So I will move it back to
beat 4 of the measure before.
| | 02:44 | We'll shut this off so
it doesn't keep asking us.
| | 02:48 | This is a nice vocal sample to
segway into the next 8 bar section.
| | 02:52 | I'm going to apply an echo on this
and when I say echo Tape Delay is the
| | 02:58 | plug-in I'm going to use.
| | 02:59 | I've already setup a delay on Bus 7. In
other words as I crank up the nobe here
| | 03:05 | on Bus 7 it will send the vocal to
this Tape Delay, which is on Bus 7.
| | 03:11 | I'm going to zoom into the automation
window, and we will spend more time in the
| | 03:15 | automation window when we are in the
mixing stages of the course, but I'm going
| | 03:18 | to show you how to apply a
delay to this vocal sample.
I hit the H?
| | 03:28 | Which blows up the track and down
here, I'll shrink this so we can see
| | 03:34 | it, automation data.
| | 03:40 | All we need to do draw on the
automation data is single click on the line here
| | 03:44 | and it creates a bullet point and we
create a second one so that we can move
| | 03:49 | this up and down without
moving the whole line up and down.
| | 03:54 | I'm going to undo that.
| | 03:59 | I'm slowly bringing up Bus 7 which
will send this vocal to that echo and I'm
| | 04:05 | actually going to solo this out while
I do this just so I can hear how much
| | 04:09 | delay it's throwing.
| | 04:10 | (Music playing)
It's pretty cool.
| | 04:18 | That's sort of a high pass filter.
| | 04:19 | We can look at the delay plug-in for a moment.
| | 04:22 | It's set to half notes and I've set it
up so that there's a little bit of a high
| | 04:27 | pass filter, so everything below 360
Hertz is rolled off, so it has a little bit
| | 04:31 | of an AM radio effect.
| | 04:33 | But I don't want the whole phrase.
| | 04:35 | I just want the "for you" part.
| | 04:37 | So let's listen and I'll actually set
this up so that only the "for you" of the
| | 04:43 | 'simply falling for you' phrase echoes.
| | 04:45 | (Music playing)
| | 04:52 | And I'll just move this bullet point over here.
| | 04:54 | Don't want to do that.
| | 04:56 | You can see as I'm editing I'm using
the Command+Z key to undo some edits.
| | 05:00 | When you're this close in on the
screen it's very easy to accidentally grab a
| | 05:05 | region a track below, a track above and
move something that you didn't want to
| | 05:09 | move resulting in misplaced audio
regions, and if you're not paying attention you
| | 05:14 | can actually cause yourself a lot more work.
| | 05:17 | So let's take a listen to this.
| | 05:18 | Now I'll just loop this
here in the Cycle points.
| | 05:21 | (Music playing)
And there we go.
| | 05:28 | Let's unsolo this and we'll hit
A to take ourselves out of the automation window.
| | 05:33 | I'll just take a moment to point out if
you actually heard some delay prior to
| | 05:37 | me applying this Tape Delay, it's
because I had taken the time to set up the
| | 05:42 | vocals with a reverb and delay on Bus 1 and 2.
| | 05:44 | Bus 1 has a reverb, Bus 2 also has a
delay but it's a different delay than the Tape Delay.
| | 05:51 | This is actually a quarter note on the left
side and an eighth note on the right side.
| | 05:56 | You do have to make sure that your
delays don't fight with each other, but one
| | 06:00 | is a 1/4 note, one is an 8th note, one
is a 1/2 note they all work together okay
| | 06:05 | as long as one of them
doesn't dominate the other.
| | 06:08 | So let's take a listen to
this vocal sample right here.
| | 06:12 | (Music playing)
| | 06:20 | As you can hear that's a nice segway
into that new part coming in and we haven't
| | 06:23 | even added the transitional sounds.
| | 06:26 | So this is an example of how to take a
vocal sample out of the lead vocal, cut
| | 06:30 | it with the scissors,
| | 06:32 | pay attention to where it sits in the
bars beat, so that when you copy and move
| | 06:35 | it you're able to place it in time, and,
I went ahead and set up a new track and
| | 06:40 | called it vox sample.
| | 06:41 | Now let's move on to transitional sounds.
| | 06:45 | The first thing I like to add with
transitional sounds is a crash cymbal.
| | 06:50 | I just pulled up the EXS909
and the C# key is a crash cymbal.
| | 06:56 | Let me zoom-in and I will go
ahead and record the crash cymbal.
| | 07:01 | (Music playing)
| | 07:11 | We'll quantize that up here to a quarter
note, and I will trim back the MIDI
| | 07:18 | region that is silence.
| | 07:21 | I will copy and paste this
crash cymbal almost every 8 bars.
| | 07:24 | I might leave it out in the verses,
but in the intros and the choruses and
| | 07:29 | definitely the post choruses I will use it.
| | 07:31 | Now I'll move on to add what
I call transitional sounds.
| | 07:36 | We can consider the crush cymbal the
transitional sound but it's really more of
| | 07:39 | an accent piece to
highlight the downbeat of a new phrase.
| | 07:43 | Right here I've pulled up
the Cavern Kit which is a--
| | 07:46 | (Music playing)
| | 07:50 | A drum kit in the EXS and I'm
actually going to use the drum fill as a
| | 07:54 | transitional tool. That's something I
like to do is program a drum fill, almost
| | 07:59 | feels like it was sampled or
lifted from another record.
| | 08:03 | That's one thing that I like to do in
the remixes is create these parts that
| | 08:06 | sound like they were sampled from
other records but actually were not, I played them in.
| | 08:11 | It gives a remix of flavor.
| | 08:13 | Let's go ahead and record this part in.
| | 08:14 | I know I want to do a fill
that's probably something like,
| | 08:18 | Or something along those lines.
| | 08:20 | (Music playing)
| | 08:28 | And I will quantize that.
| | 08:31 | Let's take a listen.
(Music playing)
| | 08:35 | So that fill acts as a
transitional sound of sorts.
| | 08:38 | Now let's move on and layer the
crash cymbal with another crash cymbal.
| | 08:44 | I'm going to go and play this in. The
reason that I'm doing this is I like
| | 08:47 | to have a splash of high frequencies
in on the downbeats of the choruses or the post courses.
| | 08:55 | So it really feels like
you've arrived at the section.
| | 08:58 | Let's record this in.
| | 08:59 | (Music playing)
| | 09:05 | That's a nice splash.
| | 09:07 | So I will quantize that, trim
back the unneeded MIDI region.
| | 09:13 | (Music playing)
| | 09:17 | And now let's move on to
another transitional sound.
| | 09:20 | (Music playing)
| | 09:24 | This is a pitch transitional sound.
| | 09:28 | Let's move onto another
transitional sound and I'll actually use this
| | 09:33 | transitional sound one bar before as a
lead up to the downbeat, so it will work
| | 09:39 | in conjunction with the drum fill.
| | 09:41 | (Music playing)
I like this note.
| | 09:45 | This is a nice low note.
| | 09:46 | It will complement the drum fill.
| | 09:49 | (Music playing)
| | 09:57 | And let's quantize that.
| | 09:58 | So what we're really doing here is
setting up moments in the mix, a one bar
| | 10:03 | moment that than is part of
the tension and release process.
| | 10:07 | Let's trim back the unneeded MIDI
region and let's go ahead and add
| | 10:12 | another transitional sound.
| | 10:14 | (Music playing)
| | 10:19 | These are all part of the EXS 24
standard library and you can find them under Textures.
| | 10:26 | These are different presets in
Cinematic Textures. And I'm actually going to
| | 10:33 | increase the release a little bit and
I'd like this sound to echo a little bit.
| | 10:39 | So I went ahead and set up another
Tape Delay that has a quarter note as its
| | 10:44 | duration and like the other Tape Delay
I applied a high pass filter and in this
| | 10:48 | case I rolled off all the
frequencies below 490 Hertz.
| | 10:52 | So let's go ahead and record this in
and you'll hear, as I bring the Bus up,
| | 10:59 | there's a little bit of an echo.
| | 11:03 | Creates a nice slight bit of white noise
to go underneath the rest of the track,
| | 11:07 | it adds a little bit of edge,
a little bit of dimension.
| | 11:10 | (Music playing)
| | 11:21 | And let's quantize, trim
back the unneeded MIDI region.
| | 11:27 | So you see what we've done here is
we've created what I like to call the third
| | 11:30 | dimension of the remix, the front to back.
| | 11:32 | We think of listening in stereo left to right.
| | 11:35 | These moments, these sounds, these
sweeps and effects and transitional sounds
| | 11:39 | really give the mix some depth, the
front to back part and I will, as we move
| | 11:45 | on in the next movie copy and paste
them throughout the mix as I begin to build
| | 11:51 | up the rest of the arrangement and
actually finish the arrangement and move on
| | 11:55 | to the mixing process.
| | Collapse this transcript |
| Advanced vocal editing techniques| 00:00 | Let's take a few minutes to dive
a bit deeper into Vocal Editing.
| | 00:05 | I will expand the screen
using the Ctrl+Option+Arrow keys.
| | 00:11 | And I will hone in on this vocal
sample that I grabbed, which was basically
| | 00:16 | the title of the song.
| | 00:17 | Let's just take a listen to it.
| | 00:19 | (Music playing)
| | 00:27 | I'm going to turn the Delay off that I
added for the purposes of showing you how
| | 00:34 | to do some advanced vocal editing tricks.
| | 00:37 | There's certainly a plug-ins you can
experiment with, like Ring Modulators, I
| | 00:42 | will pull one of those up just as an example.
| | 00:45 | So Ringshifter, and we will solo out the vocal.
| | 00:52 | (Music playing)
| | 00:57 | Let's pull down a Preset Menu and
we can experiment with a couple of different presets.
| | 01:00 | We will go to Warped, Crazy LFO.
(Music playing)
| | 01:09 | And let's try Moving Pad.
(Music playing)
| | 01:16 | So as you can see, these are some pretty
crazy-sounding effects, but I'm going to
| | 01:21 | take off the Ringshifter and show you
some vocal editing techniques, because
| | 01:26 | that's not really vocal editing.
| | 01:27 | That's actually just apply a plug-in.
| | 01:29 | Let's take this Scissors Tool, and we
will expand the screen a little bit, and
| | 01:35 | let's cut the vocal.
| | 01:37 | We will very finally cut it up.
| | 01:44 | I am making my cuts to coincide
with the beats of the measure.
| | 01:54 | So now that I've made all the cuts, we
can actually experiment with muting out
| | 01:58 | different parts of the audio region.
| | 02:03 | I'm just clicking and pressing M on
the different edit points of the audio
| | 02:07 | region to mute them out.
| | 02:08 | (Music playing)
| | 02:13 | That's almost a tremolo effect sort
of a fade in/fadeout type of effect.
| | 02:18 | It's pretty cool. Let's
listen to it against the drums.
| | 02:21 | (Music playing)
| | 02:28 | Okay, we can even take this
idea a little bit further.
| | 02:31 | So let me take one part of the phrase here.
| | 02:35 | (Music playing)
| | 02:38 | And I'm going to just
delete out the rest of this.
| | 02:40 | I can always undo by Command+Z,
remember this is nondestructive editing.
| | 02:45 | And I will take these two edited regions
and I'm going to just arbitrarily place
| | 02:52 | them along the grid and
just see what it sounds like.
| | 02:55 | (Music playing)
That's pretty cool.
| | 02:59 | That's almost a dotted 8th note
syncopated, da, da, da, da feel.
| | 03:04 | So let's take a listen to that again.
| | 03:06 | (Music playing)
| | 03:18 | I think that's pretty cool.
| | 03:19 | Now let's add some Delay to it.
| | 03:21 | There is already some
Delay on it, on Bus 2 actually.
| | 03:25 | But let's add the Tape Delay and
let's actually change the duration of the
| | 03:31 | Tape Delay to match.
| | 03:32 | So in here this Groove slider,
this is basically the duration of the notes straight.
| | 03:38 | If you slide this over to 75%, it
actually treats it as if it's a dot.
| | 03:42 | For example, a dotted eighth note, a
dotted quarter note, a dotted half note.
| | 03:47 | So let's try a dotted eighth note,
because that's really the rhythm that, that
| | 03:50 | vocal sample is playing.
| | 03:52 | (Music playing)
| | 03:55 | And let's bring the Bus up.
| | 03:57 | (Music playing)
| | 04:00 | Let's really bring it up, so we can hear it.
| | 04:06 | Oh, the Automation data is
still on, so this is a good thing.
| | 04:09 | I'm going to actually turn the Automation Off.
| | 04:14 | What was happening was this
automation data was pulling it back down.
| | 04:17 | So it is a good housekeeping rule.
| | 04:19 | Always check Automation data.
| | 04:21 | If something is not performing the way
that you are intending it to perform,
| | 04:26 | it's possible that maybe there's some
Automation data left on the track from an
| | 04:29 | edit that you did, several
steps ago that you forgot about.
| | 04:33 | So I've turned the Automation Off.
| | 04:35 | We have the Read, Touch, Latch, Write
selector here, I am turning it to Off, so
| | 04:39 | now, when I bring this up, we will
definitely hear the Delay this time.
| | 04:42 | (Music playing)
It's actually a little too much Delay,
| | 04:49 | so I will bring the Send, which
is the Bus, down a little bit.
| | 04:54 | (Music playing)
| | 05:06 | So this gives you an idea of how you
can use the editing tools within Logic to
| | 05:10 | create some exciting and
tension building vocal effects.
| | 05:15 | I highly recommend taking the time to do this.
| | 05:17 | This is the type of edit where I
might want to use it 4 and a half minutes into the
| | 05:22 | track when everything is broken down and
I am building a backup to slam into the
| | 05:25 | hype, the apex of the
song before breaking it down.
| | 05:29 | This can be a very tedious process,
but very rewarding, once you've gotten on
| | 05:33 | the other side of the actual editing
| | 05:35 | because you will come up with very new
and exciting and creative vocal tricks,
| | 05:40 | and this really will help
your productions come up a level.
| | Collapse this transcript |
| Filling holes in the arrangement| 00:00 | For the purposes of this movie, I have
muted the lead vocal, leaving only the
| | 00:04 | vocal samples and the rest of the track.
| | 00:07 | And as you can see, the arrangement
is built up quite a bit from where we
last left of.
| | 00:12 | One of the things that I like to do
prior to the mixing stages is to actually
| | 00:17 | sit and listen to the track
as almost an instrumental.
| | 00:20 | I generally will leave the vocal
samples in, because I do consider them to be
| | 00:24 | transitional sounds.
| | 00:25 | And I like to listen to the track from
start to finish, and make sure that the
| | 00:29 | track as an instrumental has the
energy that I'm looking for, Ebbs and Flows;
| | 00:34 | in the arrangement is paste well.
| | 00:35 | The only way to really feel out the
arrangement and decide if it makes sense
| | 00:40 | from start to finish, is to actually
sit and listen to it several times through
| | 00:44 | and make sure that there is not pockets
of unnecessary 8 bar or 16 bar sections,
| | 00:49 | you really only want to have in
your arrangement, what you need.
| | 00:53 | You don't need to make it an eight
minute mix, if it doesn't need to be an eight-minute mix.
| | 00:58 | So let me take you on a brief tour of
what I've done as I have finished out the arrangement.
| | 01:02 | I've copied and pasted the vocal
samples in the various parts of the
| | 01:05 | arrangement, mostly in the
intro and the outro here.
| | 01:08 | And I've copied and pasted the crash
cymbal pretty much every eight bars
| | 01:13 | throughout the entire song.
| | 01:16 | And I've added a second drum fill which
is colored in red and a third drum fill
| | 01:20 | which is colored in green.
| | 01:22 | So I have used the color palette tool so
that it will help me differentiate between
| | 01:26 | which drum fill is which, as I
went ahead and copied and pasted.
| | 01:30 | So what we have here is essentially a
finished arrangement; a DJ drum intro, the
| | 01:36 | body of the song, verse 1 here, chorus
1, the post-chorus verse 2, chorus 2,
| | 01:43 | post chorus 2 and a section that
I like to refer to as the drop.
| | 01:48 | And essentially what I've done is
dropped out everything, but a couple of elements.
| | 01:53 | And I will just play this instrumental
section and you can hear when the track
| | 01:57 | kicks back in, how the energy picks up.
| | 01:59 | (Music playing)
| | 02:25 | You'll also notice that on the master
fader, I applied a channel strip setting
| | 02:29 | simulating mastering.
| | 02:30 | I will explain this further as we get
into the mixing portion of the course.
| | 02:34 | So let's just play the outro, because
we did spend a few minutes several movies
| | 02:39 | ago listening to the intro, or
the intro under construction.
| | 02:42 | So I've got the post-chorus happening
here in the vocal samples filling in the
| | 02:47 | holes and then the arrangement breaks
down and ends basically off of 16 bars of drums.
| | 02:54 | (Music playing)
| | 03:52 | And it ends at the end of that phrase
with a crash cymbal on the downbeat.
| | 03:56 | So I also added one more transitional
sound which you heard here as we were
| | 04:00 | playing through measure 152 into 153.
| | 04:02 | And I actually switched the Piano sounds.
| | 04:06 | So you will notice that there's a
different Piano preset under the EXS24 Piano.
| | 04:11 | And that is an overview of what a
finished arrangement looks like.
| | 04:15 | You should have an intro and outro
that builds in the intro, builds into may
| | 04:20 | an 8 bar hype section, full
instrumentation and then it breaks down into verse
| | 04:26 | 1, the body of the song, some sort of
an 8 bar or maybe even the 16 bar drop,
| | 04:31 | which is what this section is over here,
where everything breaks down, except
| | 04:34 | for a few keyboard parts.
| | 04:36 | We slam back into the track for a
strong chorus and post-chorus and outro,
| | 04:41 | and the track deconstructs at
the end, ending on a crash cymbal.
| | 04:44 | So I hope this tour of the final
arrangement gives you insight, into how to
| | 04:48 | finish off the
arrangement that you're working on.
| | 04:51 | Fill in the holes, and come up with a very solid
five and a half minute to six and a half minute mix that makes sense.
| | 04:58 | There is no extra fluff in this arrangement.
| | 05:00 | There are no 8 bar sections
that don't need to be here.
| | 05:04 | It's very important that you listen to
the track all the way through to make
| | 05:07 | these final decisions as to whether a
section should stay or go or if it needs
| | 05:11 | to be extended or shortened.
| | 05:13 | These are all things that you can't
really make decisions on until you sit and
| | 05:18 | listen to something in an almost finished state.
| | Collapse this transcript |
|
|
7. Completing the Arrangement and Creating a Final MixMixing philosophies| 00:00 | We've come to a very exciting portion
of the course, the mix, but before we dive
| | 00:05 | in and actually mix I would like to
discuss my mixing philosophies and
| | 00:08 | approaches for a few moments.
| | 00:10 | What we're looking at here is the
Arrange window of the final mix.
| | 00:14 | I have all my tracks in the order that
I like them to be in and if we take a
| | 00:18 | moment to look at that I prefer to put
the vocals up top, I like to group the
| | 00:24 | instruments in sections.
| | 00:25 | So we have vocals, vocal samples, drums
from low frequency on up starting with
| | 00:33 | the kick drum, the top loops and the
year candy to the crash cymbal, the
| | 00:38 | transitional sounds and then the bass
followed by the keyboards and if I were to
| | 00:44 | have guitars in a mix I would put them
after the keyboards, but I like to think
| | 00:49 | of my mix like a house, you built the
foundation first and then you construct
| | 00:54 | the rest of the house.
| | 00:55 | Another way to think of a mix is if
you're in the Goodyear blimp and you were
| | 00:58 | staring down on a baseball field and
the vocal is the pitcher's mound and home
| | 01:02 | plate is the kick drum.
| | 01:04 | All of this imagery helps me while I'm
sitting down to dial in vocal, dial in
| | 01:08 | the low end and a cymbal of mix;
| | 01:10 | this is a very critical part of the process.
| | 01:13 | If you're able to make your mixes
sound finished people will respond in a
| | 01:17 | completely different manner than
if your mixes sound unfinished.
| | 01:21 | As you can see I actually have a track
that I don't need this was a placeholder
| | 01:25 | a duplicate track of the
vocal sample box samples track.
| | 01:29 | So I'm actually going to delete this
and I'll delete the automation data.
| | 01:34 | So one thing that will help you when
you're actually sitting down to begin the
| | 01:38 | mix, is to really make sure that
this Arrange window was organized.
| | 01:42 | Color coat different sections if
that's what helps you, make sure that your
| | 01:46 | tracks are named the way that you
would like them to be named and allow
| | 01:50 | yourself to have a streamlined set up,
so that you're not getting lost in your own arrangement.
| | 01:55 | Let's take a look at the mixer window.
I hit Command+2 and I'll pops the mixer window.
| | 02:00 | The track order on the arrange window
corresponds to the left right track order
| | 02:05 | on the mixer window.
| | 02:06 | If I wanted to rename something on
the mixer window it would rename on
| | 02:09 | the Arrange window.
| | 02:11 | So as we take a look at the mixer
window from left to right, again, vocals,
| | 02:15 | drums, bass and the rest of the
keyboards, I've gone ahead and set up reverbs
| | 02:21 | and delays and some extra effects that
I'll get to as we dive deeper into the mixing process.
| | 02:28 | Now you'll notice on the master fader I
do have what I call a mastering chain.
| | 02:34 | Some of my colleagues feel that it's
not a great idea to actually assemble your
| | 02:38 | final mix with mastering plug-ins on
the master fader, I feel that for remixing,
| | 02:44 | and my history in remixing, that it is
a good idea, you just have to be very
| | 02:49 | careful with how you set
up your mastering chain.
| | 02:51 | This is a very conservative mastering
chain composed of all logic plug-ins and
| | 02:56 | once you begin to understand what each
plug-in does, it's very easy to set them
| | 03:01 | in a conservative fashion.
| | 03:03 | Some of the mastering plug-in
presets for the channel strip,
| | 03:06 | if I click down here, you see a whole
list of different mastering scenarios and a
| | 03:12 | lot of these mastering channels strip
presets are little bit heavy-handed and if
| | 03:16 | you just slap them on your mix
they may not flatter your mix.
| | 03:19 | What I've done is setup my own
mastering chain that allows me to build my final
| | 03:23 | mix and because these settings are so
conservative, it's not really an issue. And
| | 03:29 | I will tell a brief story in my
second remix for major-label years ago.
| | 03:34 | I turned in a mixed down of the final
mix and I had nothing on the master fader
| | 03:39 | and the volume was very low.
| | 03:41 | The A&R person who is A&R in the remix
didn't like the way the mix sounded and
| | 03:45 | almost rejected it, but it was nice
enough to give me a chance to resubmit it
| | 03:50 | and I applied what I would call
mastering simulation on the track which
| | 03:54 | basically made it louder and
punchier and it sounded finished.
| | 03:57 | This is the sheen that a finished track
has, and once I resubmitted the track he
| | 04:02 | was very happy with the way it
sounded and the mix was accepted.
| | 04:05 | So you have to take it case by case.
If you're able to have a professional
| | 04:09 | mastering engineer master your mix
then all you would need to do would be to
| | 04:13 | disengage these plug-ins bypass them by
holding down the Option key and clicking
| | 04:19 | and simply pull down this master fader,
so that there is several DB of headroom
| | 04:24 | up here and send the mastering
engineer a stereo wave file bounce of your mix.
| | 04:29 | But in this day and age our budgets are
tight, most of us don't have the luxury
| | 04:34 | of a mastering engineer
taking our mix at the final stages.
| | 04:37 | So I learned early on to simulate my
own mastering and there have been many
| | 04:42 | scenarios where I've actually had my
mastered mix, this mastering setup here be
| | 04:49 | the final-final that winds up being
played on the radio or goes to club DJs.
| | 04:53 | So take the time to play with this
it will help your mix sound finished.
| | 04:58 | As we move back to the arrange window
again as we scroll up and down and look at
| | 05:03 | the different tracks.
| | 05:04 | The channel strip settings for each
track do appear in the Inspector window and
| | 05:09 | I also use this window
during the mixing process.
| | 05:13 | To access automation we just simply hit
A and that brings us to the automation
| | 05:18 | window and all of the plug-ins
including the volume and pan are accessible here
| | 05:24 | we click and hold and whatever plug-
ins are actually on the channel strip, and
| | 05:28 | we'll use the vocal as an example, you
see the tape delay send three and all of
| | 05:34 | these parameters for each plug-in are
available to you in the automation window.
| | 05:39 | So you can do some very interesting
things with filtering, volume, swells,
| | 05:42 | panning, filter cut off, things of that nature.
| | 05:46 | We just click A and it takes
us back to the Arrange window.
| | 05:49 | So I hope that this gives you a nice
tour of logic arrange in mixing window with
| | 05:54 | a mix that's in its final stages.
| | 05:56 | Again use caution with the mastering
plug-ins. I actually put them on at the
| | 06:00 | very beginning and I build my mix with
them on, but it will take a moment for
| | 06:04 | you to get a handle on what the
limiter does, what the compressor does, and in
| | 06:09 | this session in the exercise files I
have provided you with my channel strips
| | 06:14 | setup which you're welcome to use as a
jumping off point for your own mixes.
| | 06:18 | If you would like to understand on a
deeper level just what these plug-ins do,
| | 06:22 | please check out Logic Pro 9 Essential
Training with Scott Hirsch, available on
| | 06:27 | the Lynda.com Online Training Library.
| | Collapse this transcript |
| Mixing drums and bass| 00:00 | The first step that I like to take when
I sit down and construct to final mix is
| | 00:04 | to mute all of the channels.
| | 00:06 | Then I will highlight the eight bar
section that contains the most amount
| | 00:09 | of instrumentation.
| | 00:11 | I unmute the kick drum, and I'll also
unmute the kick trigger that will trigger
| | 00:15 | the compressors because as I bring the
bass in, the secondary bass sound, it is
| | 00:19 | side chained by the kick drum.
| | 00:21 | So let's listen to the kick drum by itself.
| | 00:24 | (Music playing)
| | 00:28 | It's a nice healthy kick sound. I don't
feel the need to add any additional EQ.
| | 00:33 | My EQ setting on my mastering channel
strip is taking care of some additional
| | 00:37 | low-end boosting and I'll show you
right there 2db at 61 Hertz to really pull a
| | 00:43 | little bit extra low-end out.
| | 00:47 | The next step is to bring the
bass in, the main bass part.
| | 00:50 | (Music playing)
| | 01:02 | You'll notice I have two plug-ins on the
bass, one is an EQ, and I'm rolling off
| | 01:07 | the low end because I don't want any
sub bass frequencies to fight with the
| | 01:10 | low-end frequencies in my kick drum.
| | 01:12 | In other words you're going to run into
problems with the low-end sonics of your
| | 01:16 | mix, if you have a base pushing low
frequencies of 60 Hertz on down and a kick
| | 01:22 | drum pushing 60 Hertz on down.
| | 01:23 | The two cannot live in that same sonic
space. So I roll off with a high pass
| | 01:29 | filter here everything below 61 Hertz
and I bump it a little bit at 95, 4db at
| | 01:36 | 95 Hertz with a Q. A Q refers to how
narrow or wide the EQ curve is and I'll put
| | 01:43 | this back where it was at 130, 1.3 and
close it then I added a compressor and
| | 01:51 | it's a conservative compression, not a
lot 1.5db to one ratio and the threshold
| | 01:57 | is at -16.5dB with a makeup gain of 1.5dB.
| | 02:02 | (Music playing)
| | 02:07 | So you see that as the base is being
compressed it's only been compressed
| | 02:11 | about two to three dB.
| | 02:13 | I'll close the compressor and as the
base in drums or looping I'll add the
| | 02:17 | other drum elements.
| | 02:18 | (Music playing)
| | 02:53 | So that grove is sounding really good.
The blend is nice there is not too much
| | 02:56 | going on a high end of the drums.
| | 02:58 | The high-end frequencies of the
high hats and the crash cymbals and the
| | 03:01 | transitional sounds are
coming to the mix nicely.
| | 03:04 | I like a little bit of a punch in the
high end not too much, because things can
| | 03:08 | get a little bit brittle and shrill
sounding if there's too much high-end.
| | 03:11 | Now I'll bring in the secondary base
sound, our ES1 base sound that has the kick
| | 03:17 | side changed into the compressor.
| | 03:19 | (Music playing)
| | 03:29 | You'll notice that this is poking into
the red just a little bit 0.3dB, I'm not
| | 03:34 | worried about it there's no audible
distortion and most importantly we're not
| | 03:37 | hitting the red on our Master fader and
that's where you would really hear the
| | 03:41 | distortion if there was any.
| | 03:43 | A slight portion to the one or two dB
in the red is not a huge deal and I've
| | 03:48 | never been able to pick up any sonic
distortion when some of the metering goes
| | 03:52 | 1, 2, 3 dB into the red on the
actual independent tracks themselves.
| | 03:57 | In addition to the side change
compressor I've added distortion.
| | 04:01 | Now I put that on Bus 6 and my Send on
Bus 6 corresponds to my return on Bus 6
| | 04:07 | and let's just take a listen to what
the distortion does in terms of adding a
| | 04:10 | little bit of bite to this bass sound.
| | 04:12 | I will solo out the bass and then I'll
actually just solo out the plug-ins, so
| | 04:16 | you can hear what the plug-in brings
to the table in terms of adding a little
| | 04:20 | bit of bite on the high-end.
| | 04:21 | (Music playing)
| | 04:25 | Now let's listen to just the plug-in.
| | 04:28 | Notice when I click on Bus 6 it
brings up a corresponding return, Bus 6.
| | 04:32 | (Music playing)
| | 04:37 | So that set of frequencies is being
added to this base and I've gone ahead and
| | 04:43 | rolled off low-end in this bass as well.
Because I have two bass sounds now and
| | 04:46 | they need to coexist in
terms of the low-end frequencies.
| | 04:50 | (Music playing)
| | 05:05 | So as you can hear, both bass sounds are
sitting very nicely in the drum grove.
| | 05:09 | I start every mix this way the
bass and the drums are the foundation.
| | 05:13 | A word of caution when mixing drums and
bass is very easy to muddy the mix with
| | 05:18 | too much low end. I mentioned it with
rolling off the low-end using a high pass
| | 05:22 | filter with both bass sounds.
| | 05:25 | I happen to like a healthy amount of
lowland in my mixes, but there is a fine
| | 05:28 | line and you do need to be aware of it.
| | 05:31 | Compression and EQ are wonderful tools
to dial these frequencies in and really
| | 05:35 | listen to make sure that the low-end
elements are not fighting one another.
| | Collapse this transcript |
| Mixing synths and transitional sounds| 00:00 | Now that the drums and bass are in good
shape it's time to start adding in the
| | 00:03 | synths and the transitional sounds.
| | 00:06 | Now you'll notice from the last
movie I actually did unmute the
| | 00:09 | transitional sounds.
| | 00:10 | But we'll actually zoom in on them in
different sections of the remix where all
| | 00:14 | of them are playing.
| | 00:15 | Let's begin with the foundational
synth parts and make sure that those are
| | 00:19 | sitting nicely in the mix.
| | 00:20 | So what I consider to be the
foundational synth parts are the Pad, Dark Pad 03
| | 00:25 | as well as the Basic Velo Patch.
| | 00:30 | And what I've done with the Basic Velo
Patch is added reverb as well as an EQ.
| | 00:36 | So if I click on Bus 3, we see I
added in AVerb right here under the Reverb
| | 00:40 | menu, pulled down AVerb, and I
actually just went for a Logic preset, the
| | 00:45 | default is what I used and I brought
the return down so that there was not too
| | 00:49 | much of a wash on the reverb.
| | 00:51 | I will solo that out so you can take a listen.
| | 00:53 | (Music playing)
| | 01:01 | You'll notice that I had Bus 4
set up and then I took it off.
| | 01:05 | The reason I did that is because I
felt that adding in delay made the track messy.
| | 01:09 | There were one, too many rhythms with
the delays, echoing, and bouncing around
| | 01:13 | within the drum and bass track.
| | 01:15 | But just for the purposes of letting you
A-B, what it sounds like with delay and
| | 01:19 | without, I'll Option+click and turn it back on.
| | 01:22 | (Music playing)
| | 01:33 | So you can hear the echo, and that
definitely adds another rhythmic element to
| | 01:36 | the part but it wasn't quite the
right rhythmic element for the mix.
| | 01:39 | So I Option+click and turn it off.
| | 01:42 | Now I'll unmute the Basic Velo track
and we'll go ahead and listen to the Dark
| | 01:47 | Pad and the Basic Velo
along with the bass and drums.
| | 01:49 | (Music playing)
| | 02:09 | In addition to the Side Chain
Compressor on the Dark Pad 03 track, I went
| | 02:14 | ahead and added EQ.
| | 02:16 | I rolled off 150 Hertz on down because
generally with textural synths, or like
| | 02:23 | synth pads, most keyboard sounds
actually, I like to roll off around 150 Hertz
| | 02:28 | on down with a high-pass filter because
that gives the bass more room to live.
| | 02:33 | And I pop the high end a little bit
with 6.5 dB at 5200 Hertz or 5.2K.
| | 02:40 | I'll close this, I added reverb and
some delay, and because the part is a
| | 02:45 | held-stained part, the delays really
don't factor in, in terms of getting in the
| | 02:49 | way of the other elements.
| | 02:50 | It just adds a little bit
of a dimension to the part.
| | 02:53 | So we can take a listen to this part soloed out.
| | 02:56 | (Music playing)
| | 03:11 | It's not a drastic difference between
listening to it dry and with effects,
| | 03:15 | but it's just enough to add a
little bit of sheen and give the sound a
| | 03:18 | slightly different timbre.
| | 03:20 | So again, let's take a quick listen to
these two elements in with the rest of
| | 03:23 | the drums and bass and transitional sounds.
| | 03:26 | (Music playing)
| | 03:36 | So now I'll bring in the Grand Piano
and the low saw wave synth that we call
| | 03:40 | Dance Basic from the EXS24, and
let's take listen to the track bringing
| | 03:44 | these two elements in.
| | 03:45 | (Music playing)
| | 04:04 | As I go to the Grand Piano track, you'll
notice I added reverb and we can take a
| | 04:08 | listen to the reverb on the Grand Piano track.
| | 04:11 | (Music playing)
| | 04:14 | And here it is without any reverb.
| | 04:15 | (Music playing)
| | 04:19 | It's much more of a two-
dimensional sound without reverb.
| | 04:22 | So I add the reverb, it gives us a nice
front-to-back a three-dimensional sound.
| | 04:27 | (Music playing)
| | 04:29 | Little bit of the decay there on the
reverb, and then let's take a listen to the
| | 04:33 | Dance Basic track which I also added
an EQ after the compressor which is side
| | 04:37 | chain by the kick drum.
| | 04:39 | And I rolled off at 86 Hertz here as
opposed to 150 because I'm actually looking
| | 04:44 | to have this sound support
the bass just a little bit.
| | 04:47 | It's not meant to be a bass layer per se,
| | 04:50 | it's just a low synth part that
happens to have enough low-end that when
| | 04:54 | you layer it in with the two bass
parts, it adds a little bit more meat in
| | 04:57 | that frequency range.
| | 04:59 | So let's take a listen.
| | 05:00 | (Music playing)
| | 05:08 | And we'll put everything back in.
| | 05:10 | (Music playing)
| | 05:29 | Now we'll add the last of our keyboard parts.
| | 05:31 | We have our Trance Travel Synth, we
have our Electro Emotion Synth, and these
| | 05:36 | are our two Apple Loops.
| | 05:38 | We'll add these two in first before
we add the high-end keyboard parts.
| | 05:42 | (Music playing)
| | 06:02 | So you'll notice with the Travel Synth,
I added a plug-in from the Pedalboard
| | 06:06 | and all we need to do to access the
Pedalboard is to click and pull down the
| | 06:10 | menu to Amps and Pedals and
there is the Pedalboard plug-in.
| | 06:14 | I double-click and here's a PHAZE
plug-in that I put on the Pedalboard.
| | 06:18 | Basically simulates a stomp box,
a guitar stomp box phase pedal.
| | 06:22 | And all you need to do to bring a pedal
onto the Pedalboard is double-click it.
| | 06:27 | If you leave the cursor on the
Pedalboard for a few seconds, a description of
| | 06:30 | what the pedal is pops up.
| | 06:32 | All we need to do to remove a pedal
from the Pedalboard is to highlight it and delete it.
| | 06:37 | So here's the Travel Synth soloed and
we'll listen to it first with the Phaser
| | 06:41 | off, and I just simply press the silver
button here and I will pop the Phaser in
| | 06:46 | and out as we listen through the chord cycle.
| | 06:48 | (Music playing)
| | 07:05 | So now you have an idea of what it
sounds like what the Phaser on and off.
| | 07:09 | Let's explore a couple of the
parameters within the Phase Pedal and I'll push
| | 07:12 | them around to an extreme setting so
you really can hear what's going on.
| | 07:16 | The Sweep has to do with how
drastic the actual whew of the Phaser sound is.
| | 07:22 | (Music playing)
| | 07:48 | You'll notice as I selected the rate,
it was giving me Half Note, Quarter Note
| | 07:52 | with a Dot, Half Note Triplet, Quarter Note.
| | 07:55 | Because I've chosen the Phaser to be in
sync with the BPM of the song, it allows
| | 07:59 | me to choose different note values.
| | 08:01 | I've restored the settings pretty
close to where they were before I took you
| | 08:04 | through sort of the Phase Pedal.
| | 08:06 | So let's go ahead and close this out
and I actually added a little bit of
| | 08:10 | compression because the Phaser sweeps
and there are peaks and valleys in the
| | 08:14 | sound, it's a little bit dynamic and I
wanted to make sure that the compressor
| | 08:18 | grabs some of those peaks.
| | 08:20 | (Music playing)
| | 08:27 | You can see the compressor working a little bit.
| | 08:28 | It's not just a steady grab, it's
pulsing a little bit and parts of it are half
| | 08:32 | a dB all the way up to three dB of compression.
| | 08:35 | So let's unsolo this and take a
listen to the other Apple Loop which is the
| | 08:40 | Electro Emotion Synth.
| | 08:42 | All I did here is simply add
an EQ boost, really just a gain.
| | 08:47 | I like to put these EQ plug-ins on in
the event that I want to do an EQ cut or a boost.
| | 08:52 | I also have a Master Gain if I'd
like something to be boosted 2 or 3 dB.
| | 08:56 | You're certainly welcome to boost your
volumes over here with the Master Fader.
| | 09:00 | I just happen to do it over here with
this Master Gain, and I've slightly panned
| | 09:05 | these off to the left and right.
| | 09:06 | So the Trance Travel Synth is at about
10 o'clock and the Electro Emotion Synth
| | 09:11 | is at maybe 1 o'clock.
| | 09:13 | Let's move on to listen to the last two
keyboard sounds and the Analog Bass from
| | 09:17 | the ES2 which is being played in a
higher register as well as the Solina Strings
| | 09:21 | sound which is really our lead line hook.
| | 09:23 | (Music playing)
| | 09:42 | With both of these sounds, all I did is
add reverb and delay, Bus 3 and 4, just
| | 09:47 | to give them a little more space and
dimension much like with the other sounds
| | 09:50 | that I've added reverb and delay to.
| | 09:52 | I added a little bit of gain with Solina
part, boosted it a few dB, and with the
| | 09:59 | Analog Bass sound, I actually rolled
off at 220 Hertz so that it really has a
| | 10:04 | smaller sound to it.
| | 10:05 | Let's solo it out and take a listen.
| | 10:07 | (Music playing)
| | 10:20 | You can hear as I was disengaging and
engaging the high-pass filter on those low
| | 10:24 | notes, it really makes a difference.
| | 10:26 | I wanted this sound to be a little bit
smaller so that it wouldn't step on the
| | 10:29 | other elements of the mix.
| | 10:31 | Let's take a moment to explore the
transitional sounds, I'll move to the Measure
| | 10:34 | 32 area where several sounds
are coming in at the same time.
| | 10:38 | At Measure 33, this is where all of
instrumentation comes in, in full force.
| | 10:43 | So several transitional sounds are
happening here leading up to the downbeat of
| | 10:46 | Measure 33 and we'll
just take a listen to those.
| | 10:48 | (Music playing)
| | 11:00 | And you can hear as I stop the
playback that there is some delay that's
| | 11:03 | continuing to carry on with this sound,
TransitionFX1.
| | 11:07 | Remember, I applied the Tape Delay
setting several movies ago, and we have a 51%
| | 11:14 | feedback, but it's a high
-pass filtered feedback.
| | 11:17 | So it carries on for a while, it just
adds a little bit of a white noise type
| | 11:21 | sound underneath the whole mix,
something that's not very audible but if I were
| | 11:25 | to mute it, you would notice that
something was missing from the main mix.
| | 11:29 | This should give you a good overview
of how to blend your synth sounds after
| | 11:33 | you've already set up your drums and
bass, and think about reverbs and delays,
| | 11:37 | EQs and compression. Panning as well,
left to right, front to back as far as
| | 11:43 | adding effects, adding depth.
| | 11:44 | It's very easy to go a little crazy
with delays and reverb so you may find
| | 11:48 | yourself washing your mix out at first
but then having to scale things back, and that's okay.
| | 11:54 | There's nothing wrong with putting up
the volume knob a little bit high at first
| | 11:57 | to make sure that something is poking
out the way you want it to poke out.
| | 12:01 | But remember, all of the decisions that
I've made during the mixing process up
| | 12:04 | until this point are made
in support of the vocal.
| | 12:08 | So as we move into the next movie,
which is mixing vocals, we'll see how all of
| | 12:12 | these elements tie together.
| | Collapse this transcript |
| Mixing vocals| 00:00 | Hands down, mixing vocals is the most
time consuming part of the mixing process,
| | 00:05 | because it will require the most
amount of automation, and on some level, the
| | 00:09 | most amount of critical listening.
| | 00:12 | We've touched upon automation a
little bit in previous movies, but we will
| | 00:15 | really dive into it full force when I
show you what's involved with automating a lead vocal.
| | 00:21 | But, before we dive into the
automation process, let's take a look at the
| | 00:25 | Channel Strip setting that
I've set up for this vocal.
| | 00:28 | Earlier on, I added reverb and delay,
because I didn't want to work on the mix,
| | 00:32 | with just a drive vocal.
| | 00:33 | But, now I've dialed it in a little bit
more, and I pulled the returns down on
| | 00:38 | both the reverb and delay as well as
added a Phaser to the delay. And let's go
| | 00:43 | ahead and take a listen to that.
| | 00:44 | Now, I'm going to solo out the lead
vocal and highlight our 24-bar section which
| | 00:49 | is verse 1 and chorus 1
and I will solo both vocals.
| | 00:53 | Down here is the Vocal Sample.
| | 00:54 | (Music playing)
| | 01:11 | You can hear that when I took the
Phaser off the delay, it did change the way
| | 01:15 | that the delay sounds.
| | 01:16 | I like to have shimmer on the delays.
| | 01:18 | The Phaser rounds them off a little bit
and they sort of have a sweeping sound
| | 01:24 | as they are echoing.
| | 01:25 | So that's a trademark of my vocal setup.
| | 01:28 | I almost always put Phasers on delays,
and the delays are at quarter notes on
| | 01:34 | the left and quarter notes on the right.
| | 01:36 | Now you'll notice that I slightly
adjusted the groove on the right side.
| | 01:41 | I purposefully did not, let the right
side of the Stereo Delay be exactly the
| | 01:46 | same as the left side, they are offset.
| | 01:47 | Here is what it sounds
like if they're not offset.
| | 01:50 | (Music playing)
| | 02:06 | What's happening here is when the
delays are ever so slightly offset, the delay
| | 02:10 | is actually spread wider, and the
difference between these two is so negligible
| | 02:14 | that the right delay is not
going to sound out of time.
| | 02:17 | When I put this back to 50%, the echo
was very centered, and I actually prefer
| | 02:23 | to have the delay spread a little bit.
| | 02:25 | So that's why I pull it down to 49.666%.
| | 02:29 | I've added an EQ and I've reduced 5.5
dB at a 156 Hz, which was giving me a
| | 02:36 | little bit of a low sound in the
voice that wasn't too crazy about.
| | 02:41 | I'll put it back in so you can hear.
| | 02:42 | (Music playing)
| | 03:00 | Again, this is very subtle.
| | 03:02 | It might not catch your ears at first
the difference between having this EQ in
| | 03:06 | and out, but what's going on is that
on some of her low notes throughout the
| | 03:10 | song, if there is too much low mid,
and I consider this to be a low mid
| | 03:14 | frequency, 150 Hz, it starts to get
woofy sounding, and it gets in the way and
| | 03:19 | it sounds muddy and the lyrics are not audible.
| | 03:22 | So that's the way I've set the EQ.
| | 03:24 | I didn't feel the need to pop anything
on the high end, and I've left it flat,
| | 03:28 | and just only reduced some
of the low mid frequencies.
| | 03:32 | The Compressor is set very conservatively.
| | 03:34 | Let's take a look at it.
| | 03:35 | (Music playing)
| | 03:42 | It's only compressing several dB.
| | 03:44 | This vocal was actually sent to me with
some EQ and compression already on it.
| | 03:49 | So I don't want to over-
compress by adding my own compressor.
| | 03:52 | So I just want a little bit here to
grab some of the higher transients.
| | 03:57 | Now, let's move on to the automation process.
| | 04:00 | I will unsolo the vocals, and they will
be in with the rest of the track and I
| | 04:04 | hit the A key and that brings us back
to the Automation screen and we're going
| | 04:08 | to look at the Volume Parameters.
| | 04:09 | Again, you can choose Pan and all of
the parameters for all of your plugins are automatable.
| | 04:16 | But, for now, let's focus on volume.
| | 04:19 | You can see, as I shrink the screen and
show you the whole song, that there are
| | 04:24 | quite a few bumps and ducks.
| | 04:27 | I pop some words a few dB louder, and
I pulled some things down a couple of dB here and there.
| | 04:32 | When I am in the process of mixing
vocals, it's very important to marry the
| | 04:37 | vocals to the music.
| | 04:39 | I've been told by many people over the
years that the way that my remixes sound,
| | 04:43 | it almost sounds as if the singer
recorded their vocals to my mix.
| | 04:47 | So you really want to go after having
your vocals sound like they belong with
| | 04:52 | the music that's underneath them.
| | 04:54 | So let's take a listen and I will go
ahead and run this from Verse 1 and you can
| | 04:59 | hear that even though these are just
subtle moves, a push here, a duck here, it
| | 05:05 | allows the vocal to sit very level.
| | 05:08 | It's not too loud, it's not too soft,
there is not a word or a syllable of
| | 05:12 | a word that's jumping out too loud
or there is not a syllable of a word that's buried.
| | 05:16 | So let's take a listen to it from Verse 1.
| | 05:18 | (Music playing)
| | 05:36 | I'll highlight this moment
right here on the word you keep.
| | 05:39 | I've raised this 1.7 dB on just this
one word because I felt that it was getting lost.
| | 05:45 | (Music playing)
| | 05:50 | I'll Command+Z to bring it back.
| | 05:52 | Actually, I'll loop this section,
so we can listen to this with the
| | 05:56 | Automation off and on.
| | 05:58 | (Music playing)
| | 06:19 | Just the part on the word ya, it's
brought up a little bit, and I'm not losing the lyric.
| | 06:24 | When I listen to the vocals in the
mix, I don't want to struggle to hear the lyrics.
| | 06:28 | It's very important.
| | 06:29 | Vocals are actually the first thing I
believe that people gravitate towards when
| | 06:34 | they are listening to a full vocal record.
| | 06:36 | If they can't hear the words, that's
the first comments out of their mouth.
| | 06:39 | No matter how great the rest of the
track sounds, if you're struggling to
| | 06:43 | understand what the singer is saying,
then you've got problems, and you will be
| | 06:47 | back at the drawing board revising your mix.
| | 06:49 | So let's move on to later in the song
where I've really had to push several
| | 06:54 | dB of automation here.
| | 06:55 | (Music playing)
| | 07:12 | Let me roll this section again,
turning the Automation off, so that no
| | 07:16 | automation data will be read, and you
can hear what it sounds like without
| | 07:21 | automation, and just how buried this section is.
(Music playing)
| | 07:43 | Let's take a listen to this passage
again with the automation data being read.
| | 07:47 | (Music playing)
| | 08:04 | So this is the part of the song where
Iyeoka is singing at the top of her range.
| | 08:08 | It's a very special moment in the
vocal performance, and I certainly want to
| | 08:11 | make sure that it's highlighted.
| | 08:13 | That gives you an idea of sometimes
how much automation need to apply.
| | 08:17 | 3 dB may not sound like a lot, but
it's definitely the difference between a
| | 08:22 | vocal sounding buried and
a vocal sounding upfront.
| | 08:25 | Now we're fortunate enough in this
mix that we're only dealing with one lead vocal.
| | 08:29 | But, think about if you had a lead and
maybe some stereo background vocals and
| | 08:36 | some harmonies on the verses.
| | 08:38 | You really have to create a sonic space
for your vocals, and it takes the most
| | 08:43 | amount of time of the mixing process
because you're dealing with a human
| | 08:46 | performance, and I don't think I've
ever worked on a remix where I haven't had
| | 08:50 | to do some amount of automation on the vocals.
| | 08:54 | You can see how involved automating the
vocals are, and it's important to take
| | 08:57 | frequent breaks to keep your ears fresh.
| | 09:00 | It's very easy to fatigue your ears
resulting in vocals that are too loud or not loud enough.
| | 09:05 | I find that I actually put the vocals
up too loud the more that I listen to
| | 09:10 | something over and over.
| | 09:11 | So I frequently take breaks every 20
minutes to walk around the room and clear my head.
| | 09:16 | Remember, this is the part of the
process where you really have to keep your perspective.
| | 09:21 | It's very easy to think that after I've
listened to something 25-30 times, oh
| | 09:25 | I can hear it, I know the song, I
know the lyrics, and you have to remember
| | 09:30 | that when someone has heard your mix
for the first time, they are not going to
| | 09:33 | have that advantage.
| | 09:34 | So it's important that all the elements
of the mix whether you are listening to
| | 09:38 | it at a loud volume or a
soft volume come through.
| | 09:41 | We don't want to have any one element
popping out or being buried when listening
| | 09:46 | to the mix at different volumes.
| | 09:49 | I hope this gives you some insight as
to how to approach mixing a lead vocal.
| | 09:53 | For those of you who are doing this
for the first time, I encourage you to
| | 09:56 | be extremely patient.
| | 09:57 | This is not a skill that happens overnight.
| | 10:01 | You will need to do many, many, many
mixes to really dial this in, and I'm not
| | 10:05 | saying that to be discouraging, this
is really the part of the mixing process
| | 10:09 | that requires the most amount of hours log.
| | 10:13 | It took me years before I felt like I
really, really had a handle on how to mix vocals.
| | 10:18 | It's a craft and you
need to approach it as such.
| | 10:21 | So do not get frustrated.
| | 10:23 | Make sure to step away from the computer,
make sure to not burn out your ears,
| | 10:27 | because this part of the process will
fatigue your ears much faster than all the
| | 10:32 | other parts of the remixing process.
| | Collapse this transcript |
| Final touches, referencing, and mastering your final mix| 00:00 | Okay, we're in the final stages of
the mixing process and before we bounce
| | 00:04 | down our final mix, let's take a
moment to give everything an overview, Final
| | 00:09 | Touches as I'd like to say.
| | 00:11 | Take a look at your Arrange window
and make sure that everything is in
| | 00:14 | order from your vocal samples to
your drums to your base to all of your keyboard parts.
| | 00:20 | Make sure that nothing has
been miss-copied or miss-pasted,
| | 00:24 | make sure that nothing has
been left out of your arrangement.
| | 00:27 | And also this is a good time to
talk about referencing your mix.
| | 00:31 | I like to listen to my
final mixes on my studio monitors,
| | 00:35 | I actually have two different
sets to A, B back and forth.
| | 00:38 | I also listen in headphones but I
don't mix in headphones, I simply use
| | 00:42 | headphones as the reference tool.
| | 00:44 | Then I'll burn CDs and take them out
to my car or if you have an iPod or MP3
| | 00:49 | player take that out to your car, plug
that into the auxiliary in jack and take
| | 00:54 | a listen in your car.
| | 00:55 | Take your mix over to where your
friend might be DJing and get a sense of
| | 00:59 | what your mix sounds like in different
listening environments, this is very important.
| | 01:03 | The vocals may sound a little bit
louder at your friend's place and sound a
| | 01:07 | little bit quieter in the car, it just depends.
| | 01:10 | What we're looking to achieve in the
final mix is a mix that will translate
| | 01:13 | onto different systems.
| | 01:15 | So I'd like to sit and listen to the
remix from start to finish multiple times
| | 01:19 | before bouncing down.
| | 01:20 | Let's also take a moment to
look at the mastering chain.
| | 01:24 | Command+2 and here we have our mastering chain.
| | 01:28 | We have a Multi Meter,
| | 01:29 | these are visual displays of
the frequencies within the Mix.
| | 01:32 | (Music playing)
| | 01:40 | And then we have our EQ which is
an EQ that affects the overall mix.
| | 01:44 | Next we have a compressor and this is
set very conservatively to only compress a few dB.
| | 01:49 | (Music playing)
| | 01:55 | Then we have the Adaptive Limiter, and
I make sure that when I put this on,
| | 02:00 | because this is a plug-in you
have to be very careful with,
| | 02:03 | you do not want the margin here over
on the left side to slam into the red.
| | 02:07 | I'd like to set the Input Scale
low enough and the Gain low enough so
| | 02:10 | that nothing slamming into the red,
I also make sure that there is no
| | 02:14 | audible distortion.
| | 02:15 | Limiting is a very delicate process
so you have to use it conservatively.
| | 02:20 | Finally we have the Multi Meter
which gives us a graphic EQ type of an
| | 02:26 | analysis of our mix.
| | 02:28 | As we look at the Multi Meter I'd
like to see an even spread of frequencies
| | 02:32 | throughout the entire frequencies scale,
but since this is a dance mix we look
| | 02:36 | for little bit of a hump in the low-end.
| | 02:38 | I'll play the track again and you'll
see that there is a little bit of a hump
| | 02:40 | around 60 to 80 to 100 hertz area.
| | 02:43 | (Music playing)
| | 02:50 | As we close this out, I will actually
bypass all these plug-ins and let you here
| | 02:54 | what the mix sounds like without
any plug-ins on the Master Fader.
| | 02:57 | And I'll actually pull the Master
Fader down because we know from previous
| | 03:01 | movies that as we have all these
elements in, the Master Fader will tend to hit the red.
| | 03:06 | (Music playing)
| | 03:33 | So you can hear what a difference it
makes as I reengage the plug-ins and put
| | 03:36 | the Master Fader back up at zero.
This is simulated mastering.
| | 03:40 | If we were going to send our mix to a
professional mastering engineer, I would
| | 03:44 | simply bypass these plug-ins and pull
this down to probably about -10 dB and
| | 03:51 | bounce at 24-bit stereo Wave
file of the mix in that fashion.
| | 03:56 | Let's go ahead and reengage the plug-
ins, and go back to our Arrange window.
| | 04:03 | It's important to define your Bounce
region prior to bouncing down your mix.
| | 04:07 | I select the Bounce menu here and I
have the ability to choose 24, 16, 8 Bit.
| | 04:14 | If I'm bouncing down to eventually
burn to CD for myself, I'll choose 24-bit
| | 04:19 | and typically I choose Wave file but
you have a choice of Sound Designer ll,
| | 04:22 | AIFF, Wave, or CAF.
| | 04:25 | I usually leave this box Add to Audio
Bin unchecked and Normalize is always off
| | 04:30 | and I always bounce offline.
| | 04:32 | I make sure that I'm
naming my file, just like this.
| | 04:37 | Call this simply falling_final 1 and
I'll put it in the Bounces folder as
| | 04:42 | Logic has prompted me to.
| | 04:44 | You simply click Bounce and
Logic will write the file offline.
| | 04:48 | If you have incorporated some 16-bit
elements into your mix and you're bouncing
| | 04:53 | down the mix for mastering the 24-bit,
it's okay to bounce down at 24-bit.
| | 04:57 | All of Logic's virtual synths, plug-ins,
and reverbs are 24-bit, so I encourage
| | 05:02 | you to bounce your files down at 24-bit.
| | 05:05 | As you can see Logic is bouncing down
the file, and in our next movie we'll
| | 05:09 | import our final mix and place it side-
by-side with the original version so we
| | 05:14 | can take a listen to where we
started and where we ended up.
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| Listening to the final mix| 00:00 | We've made it to the end of the line.
| | 00:02 | We've remixed an entire song in Logic Pro.
| | 00:05 | Let's go ahead and pull the original
version out onto the Arrange window and
| | 00:10 | right next to it we'll
place our finished remix.
| | 00:14 | I'll shrink the screen.
| | 00:15 | I will mute out our remix for the
moment, and play about 30 seconds of the
| | 00:20 | original just to remind you where we
started before we listen to our entire
| | 00:24 | remix start to finish and
enjoy where we wound up.
| | 00:27 | (Music playing)
| | 01:10 | Now, let's take a listen to our remix,
all the way from the start until the very end.
| | 01:14 | (Music playing)
| | 06:55 | It's always exciting to listen to the
finished remix next to the original.
| | 06:59 | Essentially, what we've done is
produced an entirely new musical track
| | 07:03 | underneath a solitary vocal.
| | 07:05 | It's not an easy task but it's both
challenging and very rewarding, and I hope
| | 07:09 | you have found this process as fun as I do.
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ConclusionFinal thoughts | 00:00 | Congratulations on finishing up
remixing a song in Logic Pro, and thank you for
| | 00:05 | taking the time to watch the course.
| | 00:07 | I know that this is a lot of
information to process, but keep in mind that the
| | 00:11 | only way to get really good is to log the hours.
| | 00:14 | Your workflow should improve with
each track and you will develop your own
| | 00:18 | philosophies and approaches to the
different modules of building a remix.
| | 00:22 | I hope that all of you come away from
this course with a better handle on how to
| | 00:25 | construct a remix in Logic Pro.
| | 00:27 | Take the time to find your voice as a
remixer, you do not want to sound like ten
| | 00:32 | another remixers remixing
in the same style as you.
| | 00:35 | As you spend more time working on
your craft you will begin to find your
| | 00:39 | signature tricks and sounds as a remixer.
| | 00:41 | Feel free to search for more of my
work on YouTube by searching Josh Harris
| | 00:46 | and remixer.
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