IntroductionWelcome| 00:01 | Welcome to Logic 8 Essential Training.
| | 00:03 | I am Joe Godfrey and I will be
your guide through these exercises.
| | 00:06 | I have worked with digital audio as a
musician, composer, producer and sound
| | 00:11 | designer for advertising,
TV, film and new media.
| | 00:15 | If you are a beginner and you have
never dealt with digital audio before or if
| | 00:19 | you are already working in another
program and you are switching to Logic,
| | 00:22 | I hope you find these exercises to be a
stimulating way to learn the program.
| | 00:26 | I have been using Logic since version 4.
| | 00:28 | I started with digital audio in the
80's with a Synclavier then moved to
| | 00:32 | Opcode's Vision and when that went away I had to
choose a new best friend and I went with Logic.
| | 00:38 | Logic has always had a reputation for
having a very steep learning curve and
| | 00:42 | with Logic 8, Apple has made
pretty much made that go away.
| | 00:46 | And now it has the intuitive feel of a lot
of the other programs in the Apple Pro Suite.
| | 00:51 | Logic 8 is probably best known as a
music production software, kind of a
| | 00:55 | recording studio on your computer, but
lots of other creative artists need the
| | 00:59 | tools that Logic offers.
| | 01:00 | Animators, web designers, game
designers, film editors, radio engineers,
| | 01:05 | musicians, everybody that works with audio.
| | 01:08 | Audio projects revolve around good
dialogue and narration, good sound effects,
| | 01:12 | and good music and we will be examining
options inside of Logic for those audio elements.
| | 01:18 | Logic lets you accurately capture a
performance but that's just the beginning.
| | 01:22 | The beauty of editing digital audio is
that you can perfect the performance and
| | 01:26 | modify the performance in a thousand ways.
| | 01:29 | So in this training we
will learn how to do that.
| | 01:30 | We will cover how to record, how to edit,
how to use the loops and synths inside
| | 01:35 | Logic to create your own compositions,
how to combine sounds so they work
| | 01:39 | together, and how to export.
| | 01:40 | So let's get started so you can start
creating better audio for your projects.
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| Understanding Logic Pro| 00:01 | Most people that use Logic will
use it to create, edit, and produce
| | 00:05 | finished audio tracks.
| | 00:06 | That's not as simple as it sounds because
there are many different kinds of audio tracks.
| | 00:10 | It maybe as simple as you and your
guitar and a loop or two or as complicated as
| | 00:14 | using a MIDI keyboard to trigger a
whole orchestra's worth of samples.
| | 00:18 | Before Logic 8, you
basically opened into an empty page.
| | 00:22 | You had to build your workspace from
scratch, or, if you needed to work in a
| | 00:26 | hurry you had to spend time building
templates for different types of projects.
| | 00:30 | And that process alone was
enough to turn people away.
| | 00:33 | Now with Logic 8, we open into a page
that lets us choose the type of project
| | 00:37 | that we want, and a lot of that
workspace building is done for us.
| | 00:41 | Channel strips let us choose a suitcase
roads for instance with a lot of chorus
| | 00:46 | and a pinch of reverb or a guitar sound that
wah-wahs along with the tempo we have selected.
| | 00:51 | And this is stuff we used to
have to build from scratch.
| | 00:54 | It's almost like they injected some
GarageBand genetics into Logic 8 and
| | 00:58 | that's a real time saver.
| | 00:59 | Besides using Logic to produce finished
audio tracks you can use Logic to create
| | 01:04 | music to be printed and played by others.
| | 01:06 | Maybe you are familiar with a program
like Sibelius that takes a MIDI score
| | 01:10 | and preps the parts.
| | 01:11 | That's basically been built
into Logic since the beginning.
| | 01:14 | If you have ever spent time on a
scoring stage in front of an orchestra trying
| | 01:18 | to track down a copying error while the
meter clicks away, you will appreciate
| | 01:22 | knowing that the parts you print out in
Logic are free of transposition errors
| | 01:26 | and missing bars and the usual
recording session vibe killers.
| | 01:30 | So we will begin by creating,
editing, and producing audio for a few
| | 01:33 | different types of projects.
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| Using this title| 00:01 | We decided to model this training
based on how Apple designed Logic 8.
| | 00:04 | There are some basic setup procedures
that all projects share, then when you
| | 00:08 | are ready to be creative, you choose the
type of project you are doing and go from there.
| | 00:12 | So in the first couple of chapters,
we learn our way around the workspace
| | 00:16 | and then we dedicate a chapter to working
with loops and patches that ship with Logic.
| | 00:20 | Then we have chosen
four basic types of projects:
| | 00:23 | one centered around live performance,
one centered around virtual synths, one
| | 00:28 | centered around scoring to picture, and
one remix project where we build a track
| | 00:32 | around an existing vocal.
| | 00:33 | Then we cover the concept of mixing,
getting the sounds to work together, and
| | 00:37 | writing automation to your mix.
| | 00:38 | And we think that's how
most people will use Logic.
| | 00:41 | Some people use Logic as a typewriter
to build MIDI mock-ups for film scores
| | 00:46 | or game audio cues.
| | 00:48 | In a MIDI mock-up, you just want
enough of a string or a timpani sound to
| | 00:51 | convey the concept, and eventually, you will
print those parts and give them to real players.
| | 00:56 | Chapter 9 is where we cover that.
| | 00:57 | Logic 8 has a new feature that helps
you archive your projects and you can back
| | 01:01 | up your settings to a network and even
write out a Logic to your .Mac account.
| | 01:05 | We'll cover that in Chapter 10.
| | 01:07 | In Chapter 11, we'll cover Waveburner,
which is the CD burner that ships
| | 01:11 | with the Logic suite.
| | 01:12 | Technically, it isn't part of Logic.
| | 01:14 | It's a standalone app and it's been
around for a while but this latest version
| | 01:18 | that ships with Logic 8 has some nice
new features and we built a chapter to
| | 01:21 | show you how to use it.
| | 01:22 | I will show you the way that I approach
a project and that's certainly not the
| | 01:26 | only way to approach a project.
| | 01:27 | Now, I will try and show you
other options for how to do things.
| | 01:30 | You are certainly welcome to do it
the way that I do it, but I think as you
| | 01:34 | learn Logic, you will find layouts and
templates that will help you work more
| | 01:37 | creatively and efficiently.
| | 01:39 | And that's our goal here, to show you
the power of this program, to give you a
| | 01:42 | range of creative options to explore and
to help you streamline your workflow so you
| | 01:46 | can do more and have more fun doing it.
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| Using the software's Keyboard| 00:01 | I used a MIDI keyboard to build this training.
| | 00:03 | It's a simple USB MIDI keyboard that
you can buy online or at a music store.
| | 00:08 | We are pretty sure that some of you
already have MIDI keyboards and we will set
| | 00:12 | those up in the next chapter.
| | 00:13 | If you don't have a MIDI keyboard,
you can still make lots of music just by
| | 00:17 | using the loops or you can use a feature
in Logic that's similar to GarageBand's
| | 00:22 | musical typing feature.
| | 00:23 | In Logic, hit the Caps Lock button and
you get an ASDF keyboard and you can use
| | 00:29 | the row of numbers to change the octave
and the row of letters that begins with
| | 00:34 | Z to change from piano, which is music
speak for soft, to really, really loud.
| | 00:40 | (Piano plays.)
| | 00:48 | Now let's hear something a little higher.
| | 00:49 | I will hit the number 7
and go up to this octave.
| | 00:52 | (Piano plays.)
| | 00:57 | Now I'll hit the number 5 and
switch back to the second octave.
| | 01:00 | You can change the transparency of this.
| | 01:02 | I will leave mine on full
transparency so we know it's there.
| | 01:05 | And there is one more interesting thing
about this little Caps Lock keyboard.
| | 01:08 | If you go to Preferences and Global and
slide over to the Caps Lock Keys tab,
| | 01:16 | you can tell Logic to turn the
Spacebar into a sustain pedal.
| | 01:21 | Normally in Logic, the Spacebar starts
and stops the playhead, so my advice is
| | 01:26 | only check this when you are actually
doing musical typing and then uncheck it
| | 01:30 | when you are done.
| | 01:31 | So let's close Preferences, and it's
not just piano that you can play with this
| | 01:35 | keyboard. If I switch to
-move this keyboard out of the way-
| | 01:39 | switch to a drum sound and I can use my-.
| | 01:42 | (Music plays.)
| | 01:49 | Now I am playing piano and drums at the same time,
so let me time turn off piano and we will just hear-.
| | 01:53 | (Music plays.)
| | 01:58 | So let me move down an octave.
I will hit the number 4 and now I think I
| | 02:02 | actually have some drums.
| | 02:04 | (Music plays.)
| | 02:15 | Now I frankly don't like playing
music this way and I like a MIDI keyboard
| | 02:19 | and if you don't already have a MIDI keyboard,
I think you will probably find you will want one.
| | 02:23 | But if you don't have one or you are
traveling and you don't have it with you,
| | 02:27 | you can follow along
using the Caps Lock keyboard.
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| An important note for laptop users| 00:01 | Speaking of ASDF keyboards, I used a
standard Mac keyboard in this training.
| | 00:05 | Many of the default keys in Logic are
keypad keys like Asterisk and Enter and 0.
| | 00:11 | If you are running Logic on a laptop, you
are not going to find some of those keys.
| | 00:14 | The good news is that Apple realized
that and built a solution into Logic.
| | 00:18 | So if you are on a MacBook, you
should open Logic and go to Preferences and
| | 00:24 | slide down to the bottom to Key
Commands and then hit Options and then Presets.
| | 00:30 | And then on the bottom of this list,
you will find a choice for US Standard
| | 00:34 | keyboard or US MacBook keyboard.
| | 00:36 | And if you are not in the US, you will
find other choices that may work for you.
| | 00:40 | One of the unique things about Logic is
that you can customize just about every
| | 00:44 | keystroke, and we will go into
detail about that in the next chapter.
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| Using the exercise files| 00:00 | If you are a premium subscriber to the
lynda.com Online Training Library, or
| | 00:05 | if you purchased the disc, you have
access to the Exercise Files that we will
| | 00:09 | be using in the training, so you can follow
along in real time with the same raw materials.
| | 00:14 | Each chapter contains session files
that reference all of the audio files that
| | 00:18 | you will need to follow along for that exercise.
| | 00:21 | Just open the session file for your movie
and Logic will find the files that it needs.
| | 00:25 | You can start at the beginning of a
chapter and watch each movie and follow the
| | 00:29 | thought process of each of the steps
or you can just jump in for a surgical
| | 00:33 | strike at a particular skill or feature.
| | 00:35 | Some of the movies don't have Exercise
Files because in some cases we create
| | 00:40 | sessions from scratch, and
that's something you can do as well.
| | 00:43 | You may notice throughout the training
that the filename in your Exercise Files
| | 00:47 | is different from the filename that you
see in the header of the Logic session.
| | 00:51 | With the exception of the sessions we
create from scratch, each chapter contains
| | 00:56 | a session for each one of the
movies and they go in order.
| | 00:59 | So it shouldn't be hard to follow along.
| | 01:01 | In some of the sessions, we add live parts
using singers and guitars and a MIDI keyboard.
| | 01:06 | So, you will see us create those
parts and in some cases, edit those parts.
| | 01:10 | You can follow along in two ways.
| | 01:12 | The first way is by recording your own
voice or live parts and then editing your
| | 01:17 | parts while we edit ours.
| | 01:19 | The second way you can follow along
is that you will be able to find our
| | 01:23 | recordings in the next movie's session file
and then you can work on them from there.
| | 01:27 | For example, in the Live Tracking chapter,
I record a bass groove in one of the movies.
| | 01:33 | When we open up the session file for
that movie, the bass part isn't there yet.
| | 01:37 | But when we open up the next session file,
the bass part is there for you to work with.
| | 01:41 | So that's pretty much how we, or
at least I, build music in Logic.
| | 01:46 | You lay down one part and you fix it and
that inspires the next part, and that's
| | 01:50 | how you build a track.
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| Troubleshooting the exercise files| 00:01 | Male Speaker: Depending on how your software
was installed, Logic Pro 8 may not be able to
| | 00:05 | find some of the sound files
associated with the exercise files for Logic Pro
| | 00:09 | 8 Essential Training.
| | 00:10 | In order for the exercise files to work
as intended, GarageBand should really be
| | 00:14 | installed before the Logic Pro Suite.
| | 00:17 | For most Mac installations, this is not
going to be a problem as GarageBand is
| | 00:20 | installed as part of the default load.
| | 00:23 | But if you've installed Logic Pro
before GarageBand, or never installed
| | 00:26 | GarageBand at all, you may run into
some of the problems that I'm going to
| | 00:29 | go over in this movie.
| | 00:31 | The other thing that you want to be
sure of is that when installing Logic Studio,
| | 00:35 | you installed all of the Logic
Studio Content, as well as Soundtrack Pro.
| | 00:40 | This will ensure that all the files
referenced in this title are actually
| | 00:44 | present on your machine.
| | 00:47 | In addition, your version of Logic
really should be updated to the most
| | 00:50 | current version, at least version 8.0.1.
| | 00:55 | Logic 8.0 had a few issues that
were fixed with the 8.01 update.
| | 01:01 | Most problems occur when
opening up an exercise file.
| | 01:05 | So we'll go ahead and do that, we'll
find Chapter 7, and open up a random file.
| | 01:11 | When I open it up, it says Audio file
"Solid 70s Drumset 07" was not found.
| | 01:17 | This is because Apple installs the loops
with the first application that was installed.
| | 01:22 | So since GarageBand was installed first,
it had some of the loops that Logical
| | 01:26 | later tried to install.
| | 01:28 | The Logic installer was smart enough to
not install those files again, but now
| | 01:32 | they're in a different
folder on your hard drive.
| | 01:35 | So our version of the exercise file
cannot find the Solid 70s Drumset 07.caf,
| | 01:41 | because it's not in the same place on
your machine as it was in the machine that
| | 01:45 | we recorded this title on.
| | 01:48 | The easiest way to fix that and the
way that works most of the time is to
| | 01:52 | simply click Search.
| | 01:54 | When you click Search, it will find the
files and in fact, it'll find all the
| | 02:00 | missing files that it can
from the specified exercise file.
| | 02:03 | If Search doesn't work for you however,
you're going to have the search manually.
| | 02:07 | And the way to do that is by
clicking on the Manually button.
| | 02:11 | And then navigate to this folder,
Library/Audio/Apple Loops/Apple.
| | 02:21 | Your file will be in one of these
folders, as long as you installed all the
| | 02:26 | Logic Studio content.
| | 02:28 | You can either search through the folders,
or do a search right in this search field.
| | 02:38 | And I found Solid 70s Drumset.
| | 02:40 | I can go ahead and click Open, and it finds it.
| | 02:44 | It's missing another file, and I'm just going
to click on Search to find the rest of files.
| | 02:52 | And my file is completely reconnected.
| | 02:54 | Now there's one other thing that
happens very rarely, but when it does, it can
| | 02:58 | be rather confusing.
| | 02:59 | After re-linking your media, if you're
prompted that the audio files does not
| | 03:02 | have sufficient access privileges, so
the overview cannot be saved, go ahead and
| | 03:07 | uncheck the Show this Message Again option.
| | 03:10 | Just because Logic can't save an
overview does not mean you can't
| | 03:14 | continue working with Logic.
| | 03:15 | For advanced users, and I caution you
not to do this unless you know exactly
| | 03:20 | what you're doing, this problem can be
solved by navigating to Macintosh Hard
| | 03:25 | Drive/Library/Audio/Apple Loops,
| | 03:29 | pressing Command+I for Get Info, and
changing the access privileges for the
| | 03:35 | Apple Loops directory, by unlocking it,
typing in your password, and making sure
| | 03:43 | that your login is Read and Write,
simply by clicking Read & Write.
| | 03:51 | Then go to this dropdown menu,
and apply to enclosed items.
| | 03:58 | Following these directions will allow
premium users and those watching this on a disk
| | 04:01 | to follow along successfully
with Logic Pro 8 Essential Training.
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|
|
1. Setting Up LogicInstalling the program| 00:00 | Before we get started working with Logic,
I wanted to say something about the
| | 00:03 | installation process.
| | 00:05 | The program is small.
| | 00:07 | The virtual instruments, the effects
and the sound library is what's going to
| | 00:11 | take a long time to install, but it's worth it.
| | 00:13 | It's going to take maybe several hours,
but take the time to install it all.
| | 00:17 | You do have the option of only
installing some of the loops if we look inside
| | 00:22 | Logic Studio Content.
| | 00:24 | You have a lot of Jam Packs to pick from.
| | 00:26 | Well, you could skip the Orchestra Jam
Packs if you do Techno projects and you
| | 00:30 | know there is no way you are ever
going to need an English horn or a timpani.
| | 00:34 | Go through the discs one by one and
once Logic is installed, you need the first
| | 00:39 | one again to finish the install.
| | 00:41 | When you are done with that, run a software
update and we will see you in the next movie.
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| Launching Logic for the first time| 00:00 | When you launch Logic for the first
time, it will take a while because it's
| | 00:04 | caching the audio unit plug-ins and
looking around for other things that are
| | 00:08 | attached to your computer.
| | 00:10 | And this is a pretty fast computer so
that may take a little longer on your
| | 00:14 | computer but don't worry about that
and then after this first launch
| | 00:17 | it doesn't take this long.
| | 00:18 | It only does this the first time.
| | 00:21 | So then you arrive at this page and
this is something brand new in Logic 8.
| | 00:25 | Because Logic can do so many things, it
makes sense for you to use a setup that
| | 00:29 | fits the needs of your current
project and this is where you do that.
| | 00:34 | The top one is called Explore, and
you have three choices here. One is to
| | 00:38 | create an Empty Project.
| | 00:40 | If you go back to Logic 4, 5, 6, you
use to boot into Logic and have to create
| | 00:45 | basically everything from scratch.
| | 00:47 | If you wanted a guitar part that had a
flanger on it and maybe some delay and
| | 00:52 | maybe a little bit of plate
reverb, you created it from scratch.
| | 00:56 | So this lets you go back to a clean
slate. You create everything from scratch.
| | 01:00 | The next one down is Guitar Toes.
| | 01:02 | Let's say you want to strap on your
guitar and just explore some ideas.
| | 01:07 | You are going to save
some of it, throw some of it away.
| | 01:10 | When you open this, the Save dialog
box pops up and because I am not going to
| | 01:15 | save this, I am just showing you around,
I am going to cancel out of this and
| | 01:18 | move on to the Arrange window.
| | 01:20 | All right the Arrange window shows up,
and now I have a bunch of different
| | 01:24 | guitar sounds that I can just strap
on my guitar and try these sounds.
| | 01:30 | This is like walking around the
music store and plugging into different
| | 01:33 | amplifiers with different pedal boards.
| | 01:35 | It should be pretty clear here. These
are great descriptions, so I am going to
| | 01:39 | close out of this and
open another type of project.
| | 01:47 | And this window is loading some
sounds, pulling them off your hard drive.
| | 01:51 | This is what you loaded
when you installed the program.
| | 01:54 | So that it can give you the
other end of the music store.
| | 01:58 | Again I am going to take this Save
dialog box and just cancel out of this.
| | 02:02 | I am going to close this for a moment.
| | 02:04 | This looks pretty complicated.
| | 02:05 | We get into this in a later movie.
| | 02:07 | We just close it for now.
| | 02:09 | Now we are at the other end of the
music store where we have got pianos,
| | 02:12 | organs, some bass, some drum kits, lots of fun
instruments that let you explore in different ways.
| | 02:19 | Right, if you don't play guitar,
what good is the guitar stuff?
| | 02:22 | So now you are in a place where you
can do pianos, organs, guitars, drums and
| | 02:26 | see what you can come up with creatively here.
| | 02:28 | So this is a brand new thing in Logic 8.
| | 02:31 | It's great just to get in
there and explore ideas.
| | 02:34 | You don't have to do a lot of setting up.
| | 02:36 | Before we strap on our guitar or fire
up our keyboard or sing into Logic,
| | 02:41 | we need to hook up whatever audio and
MIDI interfaces we'll be working with, and
| | 02:45 | that's what we do in the next few movies.
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| Setting up audio interfaces| 00:00 | In this movie we are going to talk
about setting up audio interfaces,
| | 00:03 | getting digital audio into Logic.
| | 00:05 | There are lots of ways to
get digital audio into Logic.
| | 00:08 | If you are transitioning from GarageBand,
you may have one of those devices you
| | 00:12 | buy at the Apple store. You plug it
into your guitar. It goes into the line
| | 00:16 | input of your laptop or your Macintosh.
| | 00:18 | And Logic will accommodate that and
it will accommodate everything through
| | 00:23 | rackmount FireWire interfaces, all
the way up to the fanciest TDM systems.
| | 00:28 | So let's look at some
options for audio interfaces.
| | 00:31 | I will open the Guitar Tones and again,
I have the option of saving this project,
| | 00:36 | which I am not going to do.
| | 00:37 | I will go to Logic Pro >
Preferences and Audio and I get this window.
| | 00:46 | Now, there are lots of different
options here for Preferences. We will explore
| | 00:49 | them as we move through different movies.
| | 00:51 | The one we are interested in now is Audio.
| | 00:53 | So we will go to Devices and we
have Core Audio, DAE, and Direct TDM.
| | 00:58 | Let's go backwards.
| | 00:59 | TDM is Time Delay Multiplexing, and
that's what we use if we have a giant Pro
| | 01:04 | Tools TDM system hooked up to the Mac.
| | 01:07 | DAE Digidesign Audio Engine, maybe
you're transitioning from Pro Tools, you have
| | 01:12 | an Mbox, an M-Audio interface,
something in the Digidesign family.
| | 01:16 | This would be your choice here.
| | 01:19 | We are going to use Core Audio.
| | 01:20 | That's Apple's FireWire driven interface.
| | 01:23 | So when we say Enabled and Apply Changes,
so we applied the changes, and now Logic
| | 01:31 | has a place to send this audio. You
will notice that our plug-ins came back.
| | 01:35 | They are not grayed out, they don't
have a black line through them anymore, so
| | 01:38 | now Logic has a place to send them.
| | 01:40 | Because we are not using the Build-in
Line Output and Input here, we are going
| | 01:44 | to switch to the MOTU 8pre.
| | 01:46 | That's our interface.
| | 01:47 | It's a FireWire driven
interface, and apply those changes.
| | 01:51 | The Core Audio window pops up to
tell us it's doing it and now we have
| | 01:55 | chosen that interface.
| | 01:56 | All right, so once I have applied these
changes, I have some other choices to make here.
| | 02:01 | This has to do with how the Macintosh
processes the digital audio off your hard drive.
| | 02:05 | I will bet you that these default
settings would work just fine for your
| | 02:10 | computer if it's a relatively fresh computer.
| | 02:12 | If you are working on the fastest,
newest Mac you got yesterday, you may want to
| | 02:17 | kick the buffer size up.
| | 02:18 | It will process a little faster.
| | 02:20 | If you are working on an older
system, you may need to kick this down.
| | 02:23 | You will know because Logic will not be
pulling your audio off the hard drive.
| | 02:27 | It will stutter and pause and this is where
you will go to make changes if you need them.
| | 02:33 | But try the default
settings and see if they work.
| | 02:36 | If you want to record everything you
do in 24-Bit Recording, this is where
| | 02:40 | you make that choice.
| | 02:41 | Down here, there are some Buffer
Ranges and things, and these are choices you
| | 02:45 | make based on the CPU power
that you are dealing with.
| | 02:48 | So, try the default settings.
| | 02:50 | If you are having issues, this is
where you will go to make those changes.
| | 02:54 | One really important thing we want
to verify is that Logic and our audio
| | 02:58 | interface are speaking the same
language as far as sample rate.
| | 03:02 | So where we go to do that is let's pop
over to our MOTU Audio Setup and there
| | 03:07 | is the panel for that.
| | 03:09 | And this is seeing a sample rate of 441.
So we want to jump back into Logic for a second,
| | 03:15 | look at our Project Settings for Audio.
| | 03:20 | This brings up another panel altogether.
| | 03:22 | We have a lot of choices to make here,
which we'll explore later on, but right now
| | 03:26 | we want to look at Audio.
| | 03:28 | And our Sample Rate is 441.
| | 03:31 | We have all these other choices to make too.
| | 03:34 | Your audio interface may determine
how far down this list you can go.
| | 03:39 | The way we are wired with
FireWire, we can use these two.
| | 03:42 | If we are using a light
pipe, we can use these two.
| | 03:47 | So, depending on which interface you
have and how you have it hooked up,
| | 03:51 | that's the sample rate you
will choose for your project.
| | 03:54 | What I want to verify is that Logic and our
audio interface are talking to one another.
| | 03:59 | So I am going to pull up my MOTU
Audio Setup again and change my Sample Rate
| | 04:05 | from 44 to 48.
| | 04:07 | And there is it over in the
MOTU Audio Setup, changed to 48.
| | 04:12 | I am going to change it back to 441,
and the MOTU Audio Setup found it at 441.
| | 04:19 | So I know that this audio interface and
Logic are speaking the same language now.
| | 04:24 | That makes me happy.
| | 04:26 | Beyond sample rates, there is one other
aspect of digital audio that we need to
| | 04:29 | talk about and that's in
the next movie, Word Clock.
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| Understanding WordClock| 00:00 | This is just a brief movie to remind
you that all your digital devices need to
| | 00:05 | speak the same digital language.
| | 00:07 | Digital mixers, digital preamps, A/D
converters, it's all just 0s and 1s until
| | 00:13 | they agree about where one digital
word stops and the next one starts and
| | 00:18 | that's called Word Clock.
| | 00:19 | If you are having issues with clicking
and popping in your digital audio,
| | 00:24 | it's probably a Word Clock mismatch.
| | 00:27 | Most devices carry Word Clock through the
FireWire bus and that's how this MOTU 8Pre works.
| | 00:33 | We are using a clock source of Internal.
| | 00:36 | We also have a choice for ADAT Optical,
and that's what we would use if we're
| | 00:41 | using a light pipe, a fiber
optic cable that carries the audio.
| | 00:45 | It's called ADAT because the Alesis ADAT
made that format pretty popular in the 90s.
| | 00:50 | So if we choose that, we want to
switch our Audio Input to ADAT.
| | 00:55 | That means we are receiving audio
through the light pipe and we want to switch
| | 00:59 | Audio Output to ADAT.
| | 01:01 | So that's if we are connecting to a
digital mixer like maybe a Yamaha 02R or
| | 01:06 | something like that.
| | 01:07 | And just be sure that your sample
rates match too, when you pick one here
| | 01:11 | make sure that you have picked it on
all your digital devices, so they all
| | 01:14 | agree on the sample rate.
| | 01:16 | If you want to know more about digital
audio, check out Dave Schroeder's Digital
| | 01:19 | Audio Principles in the lynda.com library.
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| Setting up MIDI interfaces| 00:00 | I am still in Audio MIDI Setup, but
I have switched over to MIDI Devices,
| | 00:04 | so I can show you the two MIDI things
that are connected to this system.
| | 00:08 | I have got an E-MU keyboard here and
our MOTU 8Pre, which also carries MIDI in
| | 00:13 | addition to the audio.
| | 00:14 | So let me double-click on the E-MU,
show you the properties for this.
| | 00:19 | And this was set by the driver when we
installed this device, so I can't click
| | 00:24 | here and add or remove anything.
| | 00:27 | These properties came along with the driver.
| | 00:29 | The same thing happened when
we installed the MOTU 8Pre.
| | 00:32 | We move this over here and you can
see both of them at the same time.
| | 00:38 | And these properties were
set by the driver as well.
| | 00:40 | There is only one MIDI
in and out on this device.
| | 00:44 | Some devices are going to give you 8
ins and outs and so you will click here
| | 00:48 | and add the other ports, but this one only
has one and it was determined by the driver.
| | 00:54 | These days, so many of the keyboards
are coming with USB connections that we
| | 00:58 | don't have to do a lot of hard wiring
of MIDI, so chances are your USB keyboard
| | 01:04 | is already installed itself and your
driver has made the connection for you.
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| Verifying MIDI input| 00:00 | Now that MIDI is flowing into the
computer, let's be sure that it's also
| | 00:04 | flowing into Logic.
| | 00:06 | So I am in Logic now and I got here by
choosing File > New. I won't close this
| | 00:13 | and I picked Explore and Empty Project.
| | 00:17 | It's the simplest kind of
project you can make in Logic.
| | 00:21 | So I close this and I named this project
Environment, and I have a project with
| | 00:26 | one virtual instrument track in it.
| | 00:29 | Now I am going to Window
and the Environment page.
| | 00:34 | The keystroke for that is Command+8,
and I want to be sure that I am looking
| | 00:37 | at Clicks & Ports.
| | 00:41 | So now I am on the page that I want.
| | 00:43 | Physical Input is over here on the left,
and I see my E-MU keyboard and my Caps
| | 00:48 | Lock keyboard, and if I tap my MIDI
keyboard, I can tell that Logic is receiving
| | 00:56 | MIDI and sending it on to the Sequencer Input.
| | 00:59 | I didn't have to create any of this and
I am only showing it to you, because if
| | 01:04 | you are ever having a problem with
Logic not seeing your keyboard or trouble
| | 01:08 | with one of the keys on your
keyboard, this is where to start looking.
| | 01:12 | And now that MIDI is flowing into Logic,
in the next movie we will see how to get it out.
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| Connecting outboard MIDI gear| 00:01 | Many of us have outboard MIDI synths
that we have been using for a while.
| | 00:05 | With so many great sounds inside Logic,
you may never want to use those again,
| | 00:09 | but if you do, here is how you do it.
| | 00:12 | I am still on the Environment page
that I navigated to in the last movie.
| | 00:17 | Now I want to switch from
Clicks & Ports to MIDI instruments.
| | 00:22 | There is already a 16-channel
general MIDI device here and we can use the
| | 00:27 | Inspector to select which device it's
wired to and clicking on an individual
| | 00:34 | MIDI channel lets us set
parameter for that particular channel.
| | 00:41 | To create a new instrument, go to New
and Instrument, and you can name it up
| | 00:47 | here in the Inspector.
| | 00:49 | To create a new multi-timbral instrument,
choose New > Multi-instrument and now
| | 00:56 | you have something that can
receive on 16 different MIDI channels.
| | 00:59 | Just click on these and you
make the MIDI channels available.
| | 01:05 | So I have created this multi-
instrument and if I go up here to name it, I can
| | 01:10 | give it a name that's worthy of it
and the neat thing is that if it's like,
| | 01:16 | let's say it's a Roland 2080 or a 990,
you have the patch names for most of the
| | 01:24 | really popular multi-timbral synths in here.
| | 01:27 | There is your JV80 and 880, there is
your 1080, there is your 2080 and you don't
| | 01:33 | have to do this manually. You can
just use these patch names that ship with
| | 01:38 | Logic, so that's pretty great.
| | 01:39 | Let me close out of here and of course
you can set your port just like you did
| | 01:44 | before with the single timbral
instrument and that's the process of
| | 01:49 | communicating with outboard synths.
| | 01:51 | And I will show you how to actually
record with them in an upcoming movie, but
| | 01:55 | first, maybe you are migrating from an
earlier version of Logic and you have
| | 01:59 | already set up a MIDI environment, you
don't want to go through this all again
| | 02:04 | and that's the topic of the next movie.
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| Importing an existing environment| 00:00 | If you are migrating from an earlier
version of Logic and you have already set
| | 00:04 | up a MIDI environment, go to Options >
Import Environment, and you have a choice
| | 00:12 | to import every parameter of the
environment or individual layers.
| | 00:16 | I will choose Layer and
navigate to my older version.
| | 00:22 | This is an existing LSO document,
which is a Logic 7 Session File.
| | 00:28 | You can use any old Logic file
that has your environment in it.
| | 00:31 | Select it and say Open and from
the Layer menu, I will choose MIDI
| | 00:40 | Instruments, and Import, and
there are all my outboard synths.
| | 00:47 | The top line is stuff that receives on
one MIDI channel, and then the 2080,
| | 00:53 | I have set up to be the internal sounds,
the expansion cards, and then one that
| | 01:00 | just sends to the 2080 on Channel
10 so that I have isolated drum kits.
| | 01:05 | And I have a 990, an old M1,
and there is my old FAT.
| | 01:09 | Gee, I wonder if those sounds
will ever come back? Probably not.
| | 01:13 | Now the environment that I imported
uses an Emagic Unitor8 as the MIDI
| | 01:18 | interface, and I don't have that
attached to this computer, but if you have
| | 01:22 | already set up an environment, you
know what interface you are using in your
| | 01:27 | studio, and that's how to get Logic
to talk to your outboard synths using
| | 01:32 | the Environment page.
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| Selecting an outboard synth| 00:01 | In the last movie, I imported an
environment from an old Logic session and now
| | 00:05 | I have got some outboard synths to work with.
| | 00:08 | And when you are in the Arrange window,
Option+Command+N lets you create a new track.
| | 00:13 | So I will do Option Command+N and
I have a choice to create external MIDI.
| | 00:18 | When you create an external MIDI track,
you have to choice to pick from all the
| | 00:24 | outboard synths that are in your environment.
| | 00:26 | So I will choose my 2080.
| | 00:29 | And now I am talking to my
2080 and I can record with it.
| | 00:34 | Let me scroll down to my Kurzweil and I
have some choices here and if I open the
| | 00:40 | Inspector over on the left and click
Program, I see that all the patch names
| | 00:48 | from my Kurzweil showed up in here too,
so I can choose the individual patch
| | 00:52 | inside that outboard synth
and start recording with that.
| | 00:56 | So there are so many great sounds
inside Logic, you may never want to use your
| | 01:00 | outboard synths again, but
if you do that's how you do it.
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|
|
2. Exploring Your WorkspaceUnderstanding types of projects and which to use | 00:00 | The cool new thing about Logic 8 is
that when it's time to do a project, you go
| | 00:04 | to File and New and you have some choices.
| | 00:07 | These choices didn't use to be there.
You used to open Logic into a blank page
| | 00:12 | basically and create all
your instruments from there.
| | 00:16 | Unless you took the time to set up an
environment that you wanted to work in
| | 00:20 | with different synths and different
sounds and maybe an electric piano with a
| | 00:23 | flanger and some delay on it, but
now all that is really built for you.
| | 00:28 | So we have already taken a look at this
collection called Explore, where you get
| | 00:33 | basically an empty project and some
guitar stuff and some instruments.
| | 00:38 | Now we want to look at what's inside
the Compose collection and we will start
| | 00:42 | with this Electronic template.
| | 00:44 | When I choose this, Logic loads some
sounds so that I have some electronic
| | 00:49 | instruments to work with.
| | 00:50 | So I am at the Save page.
| | 00:52 | I don't need to save this.
| | 00:53 | I will just cancel out, just so we can
take a look behind that window, and I am
| | 00:56 | all set now with some cool drum kits
to play with, some cool basses to play with,
| | 01:01 | and some cool synth patches for
the kind of project that I am going to do.
| | 01:04 | Now I can change all this later, but
the cool thing is I have a good place to
| | 01:09 | start and explore ideas.
| | 01:11 | All right let's leave that one up there.
| | 01:12 | We will go to the File
menu and we will look at New.
| | 01:16 | Whenever you move from project to
project, Logic will ask you do you want to
| | 01:21 | close this current project and if I say
Don't Close, it will leave it back there
| | 01:26 | and I can just come back to it later.
| | 01:28 | It's up to you whether you want to leave
different projects open at the same time.
| | 01:32 | Some times I have been working on a
project and then a client or a friend will
| | 01:36 | call and say "Hey, can I hear where you
are with the other thing?" and you want
| | 01:40 | to jump into that other project, you
can do that. So it's up to you whether you
| | 01:44 | want to leave multiple
projects open at the same time.
| | 01:47 | So we are going to go to Compose and
we have looked at Electronic. Let's slide
| | 01:51 | down and look at the Song Writer
template and again it's going to load the
| | 01:54 | sounds that it needs to give me this template.
| | 01:57 | Again I will cancel out of the Save,
and now I have a whole bunch of different stuff,
| | 02:02 | places to record vocals,
places to record basses, drum kits and
| | 02:08 | everything in the Electronic template
was sounds coming out of the Macintosh.
| | 02:13 | This template has sounds
going into the Macintosh.
| | 02:16 | This is expecting to see a guitar
sound and some of these are instruments,
| | 02:21 | so we are going to explore where the
different sounds come from in later chapters here.
| | 02:27 | But the cool thing about the template is
it gives you a place to put the sounds.
| | 02:32 | Another choice we have from the File menu >
New, Don't Close, is to slide down to Produce.
| | 02:38 | There is a whole collection of
templates now that involve things that are sort
| | 02:43 | of greater than just song
writing and just audio production.
| | 02:47 | We can work in Surround, this is from
mastering or working with high-end TDM
| | 02:53 | audio and one of those
choices is Music for Picture.
| | 02:56 | Let's take a look at that template.
| | 02:59 | Again, I will cancel out of the Save window.
| | 03:02 | Now we have a place to drop
video and a bunch of audio tracks.
| | 03:06 | We could be recording maybe Foley for
our movie, maybe music for our movie so
| | 03:12 | this is an ideal template if your project
involves video. You are scoring to a picture.
| | 03:17 | You want to hit certain cuts with
audio or music or you are editing music to
| | 03:20 | picture, so the great thing about Logic
8 is that you can start with a template
| | 03:24 | that's close to what you want.
| | 03:26 | You don't have to spend the first half
of the project just setting up your gear.
| | 03:30 | You can start creating pretty much
right away with these templates,
| | 03:33 | and if you don't like the template idea,
start with a blank slate. You get that option too.
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| Completely customizable keystrokes| 00:00 | When I first started using Logic,
I was used to keystrokes for my old
| | 00:03 | sequencer and every once in a while, I would
have hit the wrong key and do the wrong thing.
| | 00:08 | Well Logic lets you program almost
any key to perform any operation.
| | 00:11 | I say almost because there are a few you
can't get to, but let's take a look at
| | 00:15 | the ones we can reprogram.
| | 00:17 | Like if you are moving from Pro Tools
and for a long time F12 has meant record
| | 00:21 | to you and you want F12 to mean
record in Logic, here is how we do it.
| | 00:25 | It all begins at the Logic Pro
menu > Preferences > Key Commands.
| | 00:30 | So for your open Global Commands right
there on top is the record button and the
| | 00:35 | record is patched to the
Asterisk key in our set.
| | 00:39 | Let's click on Record.
| | 00:40 | We will say learn by key label and hit F12.
| | 00:44 | Aha! We have now launched into dashboard.
| | 00:49 | We are outside of Logic in
dashboard, so let's fix that.
| | 00:53 | We will click out of here
over to System Preferences.
| | 00:57 | Slide over to Expose and tell F12 that
instead of launching us to Dashboard,
| | 01:04 | we want to put a modifier key in here.
| | 01:07 | If I hold down this menu and hit the
Option key or the Shift key or the Ctrl key,
| | 01:13 | I have some options for
reprogramming these keys in Expose.
| | 01:19 | So I will hold down Option and
choose Option+F12 for Dashboard.
| | 01:23 | While I am here, I will change Option+F11,
Option+F10 and Option+F9 so these are
| | 01:32 | still open to me but I just need
to hold down the Option key now.
| | 01:35 | And that means I can reprogram those keys
in Logic to do more efficient things for me.
| | 01:39 | I am going to close System Preferences
and now when I go to Record, Learn by Key
| | 01:44 | Label and hit F12, F12 has
been patched to Record now.
| | 01:49 | If you forget a keystroke, you
can always search in this list.
| | 01:53 | Let's look for Quantize and up
come all the various Quantize options.
| | 02:00 | Quantize selected events, the default is
the letter Q. Now let's search for Marker.
| | 02:08 | Let's change the keystroke for Create
Marker to the letter M. So Learn by Key Label,
| | 02:15 | letter M and when I do that
Logic warns me that M is already patched to
| | 02:20 | the Mute command, and M for Mute is
actually more intuitive than M for Marker
| | 02:26 | in working with audio.
| | 02:27 | So it's nice that Logic warns us that
it's already patched to another key and we
| | 02:31 | have the option to override it
or choose another key for Marker.
| | 02:35 | So I will cancel out of this and I want
to explain the difference between Learn
| | 02:38 | by Key Label and Learn by Key Position.
| | 02:41 | So these pop-ups are really handy.
So Learn by Key Label assigns a key to a
| | 02:46 | command based on what's printed on the key cap.
| | 02:49 | So even if the letter Y is actually Z
in a different language, it's going to go
| | 02:54 | by what's printed on the key cap.
| | 02:56 | Key Position on the other hand lets
you program by the key position, in other
| | 03:01 | words the one that's up above the
letter Q or the one that's over on the right
| | 03:05 | side of your keypad can do different things.
| | 03:08 | I am going to jump back to record for
a moment to show you one more thing.
| | 03:13 | So in addition to Learn by Key Label and
Learn by Key Position, you can learn by MIDI.
| | 03:18 | So if we pick a command, let's do Record Toggle
and Learn New Assignment and hit some MIDI key,
| | 03:26 | you can program some of the keys
that you don't use a lot like maybe the
| | 03:30 | lowest C and the highest A or different keys
on your keyboard to do some of these commands.
| | 03:37 | Now this window also lets you
learn the default keystrokes.
| | 03:40 | They are in pull-down menus all over
the program, but in this window if you
| | 03:45 | choose "used" you get a
list of all the commands.
| | 03:53 | I need to clear Record out of here.
| | 03:56 | You get a list of all the commands
that are already assigned in the program.
| | 04:00 | Now we can also display unused and
there are tons of commands here that are
| | 04:05 | ready for you to assign keys to.
| | 04:07 | If you throw in the Shift, Control,
Option and Command, if you throw in the
| | 04:11 | modifier keys, you may never have
to go to a pull-down menu again.
| | 04:16 | Once you have created a library
of keystrokes, you can export them.
| | 04:20 | Options > Export Key Commands.
| | 04:24 | I will give this a name, My Keys,
and I will save this out to the Desktop.
| | 04:31 | So let's hide Logic Pro and jump
out to the Desktop and here is a file.
| | 04:37 | It's a Logic keys file tag and this
contains my keys. I can take them with me if
| | 04:42 | I move around, so that's handy if you
are moving to a new computer or if you are
| | 04:46 | working on somebody else's computer.
| | 04:48 | All right let's pretend that we have
just shown up in somebody else's computer
| | 04:52 | and we want to Options > Import key commands.
| | 04:55 | I will jump to the Desktop.
| | 04:57 | I will light up that file, open it and
now I have imported the key commands that
| | 05:02 | I saved from my computer.
| | 05:04 | There is one other important concept
here and let me go back to all and let's
| | 05:10 | open Global Commands.
| | 05:12 | On a laptop, the Record function is
the letter R. Depending on the kind of
| | 05:19 | keyboard you are working on you may
want to switch it. For instance on a
| | 05:23 | standard Desktop it's the Asterisk key.
| | 05:27 | If I choose Presets > MacBook, it changes
to the letter R. On a standard keyboard,
| | 05:36 | in this training, we will use the
default keystrokes for US Standard, except
| | 05:40 | once in a while we might assign an
operation to a keystroke together and when we
| | 05:44 | do that keep in mind that you
can choose any keystroke you want.
| | 05:47 | Now you can create lots of good music
without ever opening this window, but
| | 05:51 | being able to customize some of these
keys can speed up your workflow and give
| | 05:55 | you more time to work on your music and
that's what this program is all about.
| | Collapse this transcript |
| Understanding Logic's window structure| 00:00 | Logic keeps track of a lot of data.
| | 00:02 | It uses a series of windows to
let you see what you need for
| | 00:05 | different operations.
| | 00:07 | We use different windows as we do
different phases of our project but for now,
| | 00:11 | let's just take a look
around and see what's in here.
| | 00:13 | Our goal here isn't go
into detail about each one.
| | 00:17 | Our goal here is just to briefly
describe what each of them shows you and
| | 00:21 | why they are there.
| | 00:23 | So, take a deep breath, here we go.
| | 00:24 | We are already in the Arrange window.
| | 00:27 | That's the default window.
| | 00:29 | It's a timeline where you will
choose your sounds and record your music.
| | 00:33 | It's probably where you will
spend most of your time in Logic.
| | 00:36 | So, what I have here is a little piano
sound playing a whole note scale,
| | 00:40 | let me solo it and play. Spacebar to play.
| | 00:44 | (Piano plays.)
| | 00:50 | Let me solo a little drum loop that
comes with it. 0 to return the playhead to
| | 00:54 | the beginning and spacebar to play.
| | 00:57 | (Music plays.)
| | 01:02 | And together they sound like...
| | 01:04 | (Music plays.)
| | 01:10 | Now, the Arrange window has a lot of
options, so there is a movie about those
| | 01:14 | options later in this chapter.
| | 01:15 | Let's return to playhead to the
beginning and take a look at the next window.
| | 01:19 | The windows I am showing you are all
listed in the Window menu, but I am going
| | 01:23 | to use the keystrokes for them.
| | 01:24 | So, the next one up on the list is the mixer.
| | 01:28 | Every track that's in your
timeline has a channel in the mixer.
| | 01:33 | The mixer is where you will make
adjustments to those sounds like how much
| | 01:36 | reverb it has and then you will set the
volumes and other parameters once your
| | 01:40 | composition is built.
| | 01:42 | So, we will be coming back
here when it's time to mix.
| | 01:44 | Let me close this for now.
| | 01:47 | Next on this list is the Event List.
| | 01:50 | This is a window that's
displaying what's in my sequence.
| | 01:54 | I have a region and we will
talk about regions later too.
| | 01:57 | I have a region played by the exotic world
beat and one played by this Steinway Piano.
| | 02:03 | If I click on the Steinway Piano region,
I get inside of it and I can take a
| | 02:08 | look at the position and the channel
and the pitch and the length and
| | 02:16 | the velocity of each
of the notes in my sequence.
| | 02:20 | So, let me play it in the Arrange
window and you will see it in the Event List.
| | 02:25 | (Music plays.)
| | 02:30 | So, the playhead that's moving across the
timeline here is moving up and down here.
| | 02:35 | Let me select that very last note.
| | 02:38 | And just by clicking on it I hear it.
| | 02:40 | I am just clicking on the note
and dragging my mouse up and down.
| | 02:46 | (Individual piano notes.)
| | 02:51 | Let's take it way up to a high
note and see what it sounds like.
| | 02:54 | (Individual piano notes.)
| | 02:59 | That's C.
| | 03:00 | (Music plays.)
| | 03:05 | So, the point here is you can edit the
start point and the pitch and the length
| | 03:11 | of notes in a data processing way.
| | 03:13 | Let me close the event list.
| | 03:16 | Next up is the Score window.
| | 03:18 | Let's move the playhead back to the beginning.
| | 03:21 | Score is your own personal copyist.
| | 03:24 | It's always transcribing what
you play in musical notation.
| | 03:29 | But you can edit in here as well.
| | 03:31 | This note that I changed in the
event list is a really high note.
| | 03:35 | Let's push it back down.
| | 03:36 | (Individual piano notes.)
| | 03:41 | And now, let's play the sequence again.
| | 03:42 | (Music plays.)
| | 03:47 | So, you can just pick up
a note and push it around.
| | 03:50 | (Piano plays.)
| | 03:58 | On the musical notation,
pick the note you like.
| | 04:01 | Let's move the playhead back to the
beginning, but before I close this out,
| | 04:04 | notice that it kept track of the pedal move too.
| | 04:07 | This is a sustain pedal on/sustain pedal off.
| | 04:11 | Let's close that window and take
a look at the Transform window.
| | 04:16 | Transform is a different way
of editing your MIDI data.
| | 04:19 | If you think about the event list
as letting you precisely edit events,
| | 04:24 | Transform is more for editing
groups or clusters of notes.
| | 04:28 | You can select let's say all the
notes from bar one to bar five and then
| | 04:34 | perform an action on them.
| | 04:36 | There are some presets here that are kind
of handy. Let's double speed those notes.
| | 04:42 | And let's select and operate and listen to it.
| | 04:45 | (Music plays.)
| | 04:46 | Whoops. Playhead back to the beginning.
| | 04:48 | (Music plays.)
| | 04:52 | It made them go twice as fast.
| | 04:54 | Let's solo that just so that we can hear it.
| | 04:56 | (Piano plays.)
| | 05:00 | Now, you might be thinking wow!
| | 05:02 | This means I can finally play that
Beethoven sonata that I have been working on
| | 05:06 | all this time and play it really,
really slow and then speed it up.
| | 05:10 | Yeah, that's what that means.
| | 05:11 | Now, I am going to undo that, take
it back to their normal length, okay.
| | 05:17 | So that's back to where I want it.
| | 05:18 | Let's look at one more option in here.
| | 05:21 | Let's do a fixed note length and make
these notes be really, really short.
| | 05:27 | Let's go 000120 and listen to the result.
| | 05:34 | We want to select and operate.
| | 05:36 | (Music plays.)
| | 05:43 | Well, here's the thing.
| | 05:44 | It did make them really, really short.
| | 05:46 | If you can see up here, let me
undo, these are nice big long notes.
| | 05:50 | If I select and operate they become
little tiny short notes, but the thing is I
| | 05:55 | had the sustain pedal down.
| | 05:57 | So, if I didn't have the sustain pedal down,
you'd hear the tiny little short notes.
| | 06:01 | So this is a place to edit
in a different kind of way.
| | 06:04 | But let me undo that and get back to
where we were, close this window and let's
| | 06:09 | look at the Hyper Editor.
| | 06:12 | Now, I have chosen the Pencil tool here,
so that I can write in a volume move,
| | 06:17 | let's say, and I just draw it in with
the pencil and you can see in the lower
| | 06:21 | left-hand corner, whatever move I make here
is changing the volume of this piano sound.
| | 06:30 | So, this is yet another way to edit your data.
| | 06:33 | I don't care for this that much.
| | 06:35 | I don't use this that much, but if it
helps you to think of it this way,
| | 06:39 | in a graphic way, great.
| | 06:41 | I am going to undo that data and reset my piano.
| | 06:45 | I just Option-clicked on this
fader and set it back to zero.
| | 06:50 | Let's move the playhead back to zero
and take a look at the next window.
| | 06:55 | This is the piano roll.
| | 06:57 | Now here's yet another way to look at
your MIDI data and this is my favorite
| | 07:01 | window for editing MIDI.
| | 07:03 | On the left here is a keyboard.
| | 07:05 | I can just click and hear the notes.
| | 07:09 | If I play the sequence you can hear
the notes and see them at the same time.
| | 07:11 | (Music plays.)
| | 07:17 | And let me jump back to the beginning here.
| | 07:20 | These notes have different colors
because they have different velocities.
| | 07:25 | If I go to the Velocity tool up here,
I can click and drag and add Velocity.
| | 07:32 | (Single piano note played faster.)
| | 07:35 | As I am doing this, I hear the
different velocity responses.
| | 07:43 | (Single piano note played slower and faster.)
| | 07:51 | That this sound gives me.
| | 07:52 | (Single piano note played faster.)
| | 07:56 | I am just going to push them all
into the sort of a brighter color area.
| | 08:00 | Now that one is just a little bit too bright.
| | 08:04 | This one is maybe not quite bright enough.
| | 08:05 | (Piano playing.)
| | 08:19 | Okay, let's listen from the beginning.
| | 08:20 | (Music plays.)
| | 08:24 | So, this is my favorite way to edit the data.
| | 08:27 | I am going to take the tool off of
the Velocity tool, so that I can use the pointer,
| | 08:31 | (Piano scale played up and down.)
| | 08:39 | And show you that I can move
something around on the keyboard.
| | 08:42 | Let me undo that. Scroll down
here to where the notes are.
| | 08:46 | I can also move a note earlier in time.
| | 08:50 | Let's have this note start earlier.
| | 08:52 | (Music plays.)
| | 08:53 | This note is very quiet, so it's kind
of getting a lost against this other note.
| | 08:57 | Let's edit it and make it big and
loud, so we can hear the change.
| | 09:04 | (Music plays.)
| | 09:06 | Let me undo those two things.
| | 09:09 | Another option I like is to use the
pointer and Option-Drag something.
| | 09:18 | So, now I have the original note back here
and it's cloned over here on the downbeat.
| | 09:23 | (Music plays.)
| | 09:26 | And I can make this a nice big long note,
just grab the trimmer, grab the end of it.
| | 09:29 | I can shorten it, lengthen it. I am just
going to delete that note. Select it, good-bye!
| | 09:36 | So, I have a lot of control
over the way I edit in this window.
| | 09:38 | I think you can see now why it's my favorite.
| | 09:40 | All right let me close that window.
| | 09:43 | Next step is the Transport.
| | 09:45 | Now, this is a tiny little Transport.
| | 09:49 | There is already a big Transport at
the footer of your Arrange window,
| | 09:55 | so let's close this Transport and take a
look at the one that's at the bottom of
| | 09:58 | the Arrange window.
| | 09:59 | This is where you set the tempo
and the length of your sequence.
| | 10:03 | The counters give you a numerical
readout of where the playhead is in both bars
| | 10:08 | and beats and SMPTE code.
| | 10:11 | Now, if this is the first time you are
hearing about SMPTE code and you wonder
| | 10:15 | if you need to know this to be able
to write a song, the answer is no.
| | 10:18 | Let me show you what this is doing.
| | 10:21 | This is keeping track of the playhead and this
is just counting a clock. Let's take a look.
| | 10:26 | (Music plays.)
| | 10:32 | SMPTE is just another way of counting time.
| | 10:35 | It's measured in hours, minutes, seconds and
frames and sub-frames instead of bars and beats.
| | 10:43 | So, it's just another way of measuring time.
| | 10:45 | You can also set the meter of your
sequence and the divisions and we will
| | 10:49 | talk about this later.
| | 10:51 | One handy thing in the Transport window
is if you have a MIDI keyboard hooked up.
| | 10:56 | If you tap it, it will tell
you that it's receiving MIDI.
| | 11:00 | It tells you the channel, the
pitch, and the velocity when you tap.
| | 11:07 | That's a nice feature so you can verify
that your keyboard is actually working.
| | 11:11 | Now, there is more to talk about in
the Transport and there is a movie about
| | 11:14 | this later in this chapter.
| | 11:16 | One more to look at.
| | 11:17 | Let's look at the Environment.
| | 11:19 | The Environment is how Logic
communicates with other devices in its environment,
| | 11:24 | like your MIDI keyboard and your outboard synths.
| | 11:26 | Now, this time I see that
my Xboard 49 is in here.
| | 11:31 | It's a physical input.
| | 11:34 | It's wired to the input notes, which
then is wired to the input view, which then
| | 11:40 | is wired into Logic.
| | 11:42 | This is a way of sort of
verifying your MIDI connections.
| | 11:45 | Let me show you what I mean.
| | 11:47 | (Piano plays.)
| | 11:53 | So, I am tapping my MIDI keyboard.
| | 11:55 | You see the keys here on the keyboard display.
| | 11:58 | You also see them as a note list over here.
| | 12:00 | So this is a way of verifying that
your MIDI data is getting from your
| | 12:05 | keyboard into Logic.
| | 12:06 | Let's close the Environment.
| | 12:08 | Now, we are back in Arrange, so that's
a quick trip around the windows and like
| | 12:12 | I said earlier, this Arrange window is
probably where you will spend most of your
| | 12:16 | time crafting new music.
| | 12:17 | So, you can choose those windows from
the Window menu or you can do Command and
| | 12:22 | the appropriate number and there is
another function in Logic where you just tap
| | 12:26 | a number and see what you want to see.
| | 12:28 | Those are called Screensets and that's up next.
| | Collapse this transcript |
| Creating and customizing screensets| 00:00 | Just as Logic lets you customize your
keystrokes, you can create custom layouts
| | 00:05 | and assign them to keys.
| | 00:07 | What I have done is opened up the
standard Orchestral session, which you can get
| | 00:11 | by going Compose and Orchestral.
| | 00:13 | And Logic has given me a set of
Screensets and nice descriptions for them.
| | 00:20 | We are in Screenset 1.
| | 00:22 | If I hit 2 on the number pad,
I get the Screenset 2. 3 gives me 3.
| | 00:29 | Let me just step through them.
| | 00:35 | And these are already laid
out in this particular template.
| | 00:40 | Now, setting up your own is pretty easy.
| | 00:43 | Let's go back to Screenset 1.
| | 00:45 | Let's say that we don't want
the Inspector off on the left.
| | 00:49 | First of all, let's duplicate this
layout and send it to-- let's be sure that
| | 00:55 | it's the next available. How
about #9, we will send it to #9.
| | 00:59 | So we'll duplicate this layout and send it to
#9 and we will call this My Layout and say OK.
| | 01:11 | This Screenset is already used,
would you like to overwrite? Sure.
| | 01:15 | Now, this Screenset I am
going to make some changes to.
| | 01:18 | I am going to Ctrl+Up arrow and
resize my tracks a little bit so I can see
| | 01:25 | more of them, and then I am going to
hit the letter I and take away the
| | 01:29 | Inspector over there.
| | 01:30 | And while I am at it,
I will click on Score over here.
| | 01:34 | And now Screenset 9 looks like that.
| | 01:37 | By the way, this has Auto Zoom in it,
so anytime I click on a track, I can see
| | 01:45 | inside that track. There is no notes in here
by the way, so that's why they are all green.
| | 01:50 | But if I switch back to 1, I get this
original 1 Screenset. Let's go to 5.
| | 01:54 | I get this Screenset and then back to 9,
the one I just created, and there is
| | 02:00 | my custom Screenset.
| | 02:01 | Logic lets you store up
to 90 Screensets per song.
| | 02:05 | So it's a pretty simple concept but
it's sure to speed up your workflow.
| | 02:08 | Lay out the windows you like and save
them as a Screenset and then you can just
| | 02:12 | use the number pad to jump between them.
| | Collapse this transcript |
| Understanding the importance of saving iterations| 00:00 | Another way Logic lets
you customize is by saving.
| | 00:03 | So let's go up to File menu
and take a look at some options.
| | 00:07 | In File, we can just Command+S and save.
| | 00:10 | That one you are used to.
| | 00:14 | Save As lets you save at some
place new with a different name.
| | 00:16 | This is a good time to remind
you to save iterations of projects.
| | 00:20 | If you finish work on a Monday, let's say,
and when you start work on a Tuesday,
| | 00:26 | it's a good idea to save this as a new version.
| | 00:29 | If you go through life with one
file of all your work, you are kind of
| | 00:33 | asking for trouble.
| | 00:34 | I always like to be able to retrace my
steps because I have worked with clients
| | 00:38 | who say "You know, we loved what you did
on Monday, and then when you added that
| | 00:43 | thing on Tuesday, we'd really like to go
back to where you left it on Monday and
| | 00:47 | go in a different direction."
| | 00:48 | So saving Logic files will not
occupy very much hard drive space for you.
| | 00:54 | The sounds take up all the space.
| | 00:56 | These project files are
fairly small, so save iterations.
| | 01:00 | Let's back out of this. Cancel.
| | 01:03 | Another option is Save A Copy As, so
it's not going to touch your original.
| | 01:07 | It's just going to make a duplicate
somewhere else, possibly with a different name.
| | 01:11 | Another option is to save this as a template.
| | 01:14 | Let me show how that works.
| | 01:16 | When I make that choice,
| | 01:18 | Logic will put this template in
the user level, Library\Application
| | 01:24 | Support\Logic\Project Templates\.
| | 01:27 | So it already knows where to put it.
| | 01:29 | You want it there and I will show you why.
| | 01:31 | Let's call this "My Template", let's
save this and here is the cool part.
| | 01:39 | When I go to File > New, and let's not
close this existing session, I have a new
| | 01:46 | choice now in my collection.
| | 01:48 | My Templates has a folder and my
template is one of the projects in the folder.
| | 01:54 | So the templates that ship with
Logic are a great way to get started.
| | 01:58 | But if you find that you are never
going to use a particular sound and you are
| | 02:01 | always going to use another sound,
you should customize and save your templates
| | 02:06 | and then when it's time to open up a
project, you can have exactly what it is
| | 02:10 | that you want to work with.
| | Collapse this transcript |
| Customizing the Transport window| 00:00 | This movie is about the
Transport window and how to customize it.
| | 00:04 | When you open a session, there is
already a big Transport window at the foot
| | 00:08 | of the Arrange window.
| | 00:09 | So let's take a look at some of the
buttons that are in the default Transport window.
| | 00:13 | So Play from Selection.
| | 00:16 | If I move this region, say,
back one bar and play...
| | 00:21 | (Music plays.)
| | 00:25 | If I move the playhead back to the
beginning, but I play from selection,
| | 00:29 | it's going to ignore the fact that the playhead
is at the beginning and play from the selection.
| | 00:34 | One more time.
| | 00:36 | (Music plays.)
| | 00:40 | So that's a handy feature.
| | 00:41 | Now, I am going to move this
guy back over to the beginning.
| | 00:44 | The next one over is the
Rewind and the Fast Forward.
| | 00:47 | Let's forward this so you can just
scoot ahead by a bar or back by a bar.
| | 00:57 | So if you find those handy, great.
| | 00:59 | Here is the Stop button.
| | 01:00 | Well, you will have a Spacebar
that will start and stop you.
| | 01:04 | You also have the Enter key on a
standard keyboard that will start you.
| | 01:08 | (Music plays.)
| | 01:11 | And the 0 key will stop you.
| | 01:14 | But if you prefer to use
the button, there it is.
| | 01:17 | Likewise, for the Play.
| | 01:18 | Now, you've got other options. You could pause.
| | 01:21 | Pausing and stopping are really kind of similar.
| | 01:23 | If I play from here.
| | 01:25 | (Music plays.)
| | 01:26 | It's going to finish out the phrase
and if I play from here, (music plays),
| | 01:30 | it's going to finish out the phrase.
| | 01:31 | If I want the playhead to go back to
the beginning, I have to tap 0 again
| | 01:36 | to take it back there.
| | 01:36 | Now, this one is really
important. This is Record.
| | 01:39 | I am going to take this piano out of
Record Mode, so that I can show you if I click,
| | 01:44 | (Music plays.)
| | 01:50 | I'm not really recording anywhere.
| | 01:52 | I don't have any track to record onto.
| | 01:55 | I have no instrument loaded onto my keyboard.
| | 01:58 | When you are recording, you
want to record onto a track.
| | 02:01 | Now, if I armed this track, that's the
word for it, armed it, and if I armed
| | 02:06 | this track, I would be
recording onto those tracks.
| | 02:09 | So it's important to put the information
in the track that you want it to be in.
| | 02:14 | So, that's the Record button.
| | 02:17 | Here is SMPTE and we talked
about this a little bit earlier.
| | 02:20 | Hours, minutes, seconds, frames and sub-frames.
| | 02:24 | It's just a different way of counting time.
| | 02:27 | So, at 120 beats a minute,
each of these bars is two seconds.
| | 02:33 | I didn't quite hit the 3.
| | 02:35 | Let me click down here and set it for exactly 3.
| | 02:39 | So, if I change my tempo, let's go to 93 beats
a minute, some non-divisible by 2 number.
| | 02:48 | And now each bar, if I go to bar 2,
let's go to exactly the bar 2 here,
| | 02:56 | the bar has become two seconds
and 14 and some decimals long.
| | 03:01 | So it's really just
another way of counting time.
| | 03:03 | Now, I am going to go back to 120.
| | 03:06 | Up where the numbers are, there is
a kind of a lighter gray area that's
| | 03:10 | defining bar 1 through 5.
| | 03:12 | Those are the locators.
| | 03:13 | If I change the other locator to bar 2,
now that's the kind of shaded area.
| | 03:20 | We saw before that I have tempo and
meter and devisers, plus a way to check and
| | 03:27 | see if my keyboard is actually sending data.
| | 03:29 | If I tap this, I see that the MIDI notes come
through and the velocities that I am tapping with.
| | 03:37 | So that's a look at the Transport window.
| | 03:39 | Now, if I right-click in the
Transport window, I can customize this bar.
| | 03:44 | These are the default buttons
that show up in the Transport window.
| | 03:47 | Now, if you want to customize the
main Transport window down here in the bottom,
| | 03:51 | that's fine.
| | 03:53 | Let me give you an option that may be better.
| | 03:56 | Let me cancel out of this.
| | 03:58 | Let's create a new
Transport window. That's Command+7.
| | 04:02 | In the Window menu, there is a Transport choice.
| | 04:06 | Now, this Transport window can be customized.
| | 04:08 | Let me right-click in here
and add buttons, delete buttons.
| | 04:13 | I can actually just make this
Transport window be exactly like the
| | 04:18 | other Transport window.
| | 04:19 | Not sure why I would want
to do that, but you can.
| | 04:21 | Let me cancel out of this and
show you a handy kind of shortcut.
| | 04:25 | If I right-click in the counter
area, I can choose Big Bar Display.
| | 04:30 | Now, this Transport window is
just sitting there counting big bars.
| | 04:35 | So let's watch it count.
| | 04:36 | (Music plays.)
| | 04:41 | Now, I still have some buttons in
here that I am not really crazy about.
| | 04:45 | Really what I want is this counter.
| | 04:47 | I do see the Timeline up here.
| | 04:49 | I do see the counter down here. Maybe
I'm a guitar player and I am eight feet
| | 04:54 | away with the guitar strapped to me.
| | 04:57 | And it's a little hard to see exactly
where the playhead is and I want a big display.
| | 05:02 | So there is a choice here
that says Open Giant Bar Display.
| | 05:07 | Now, I have a great big, let me grab
this corrugated area on the side here,
| | 05:12 | I have a great big bar display that I
could easily see from even across the room.
| | 05:20 | Now, this is a floater window.
| | 05:22 | That means wherever I drop it,
it's going to rise to the top, not be cut off
| | 05:26 | by anything behind it.
| | 05:27 | Now, I can close this Transport, put
this counter down here where I can see it.
| | 05:33 | I can actually even cover up my other Transport.
| | 05:36 | And when we pull up a film project,
we will actually see that there is another
| | 05:41 | choice and that's to watch a
SMPTE counter across the bottom.
| | 05:44 | But we will save that for
when we talk about film.
| | 05:47 | So Logic lets you create
multiple Transport windows.
| | 05:51 | You can, and sometimes you should,
have multiple Transport windows.
| | 05:55 | So it's another way that Logic lets
you customize your workspace for the
| | 05:59 | project you are working on.
| | Collapse this transcript |
| Customizing the Arrange window| 00:00 | Let's spend sometime
in Logic's Arrange window.
| | 00:03 | This is the default window
when you create a session.
| | 00:06 | Now before we explore each section
let's take a look around the screen and
| | 00:10 | just see what's here.
| | 00:11 | Let's start at the top.
| | 00:12 | Across the top line you have got a toolbar.
| | 00:15 | On the left is an Inspector.
| | 00:17 | The big grey grid in the middle is the timeline.
| | 00:21 | There is a media browser on the
right and a Transport on the bottom.
| | 00:25 | You can make parts of this window disappear.
| | 00:28 | The letter I toggles the Inspector.
| | 00:31 | The letter B toggles the browser.
| | 00:35 | You can also push off to the left here
and make the Inspector go away and push
| | 00:40 | off to the right and make the browser go away.
| | 00:43 | There are a lot of other keystrokes
to show and hide information here.
| | 00:47 | Let me give you that again.
| | 00:48 | There are a lot of other keystrokes
to show and hide information here.
| | 00:52 | I am not going to cover them all but
I will remind you that you can learn
| | 00:55 | them by going to Logic Pro > Preferences >
Key Commands, and then do a search for Toggle.
| | 01:04 | And most of these are global
commands and you will get a list here of the
| | 01:08 | various keystrokes and what they control.
| | 01:12 | So let me close out of that.
| | 01:15 | Now below the toolbar
there are some local menu bars.
| | 01:19 | These are different than the
menu bars that are across the top.
| | 01:22 | And there are lots of choices here for
different functions and we will explore
| | 01:26 | those in upcoming projects.
| | 01:27 | Below that is this big grey Arrange window,
and this contains your tracks and regions.
| | 01:32 | Now there is a lot to say
about tracks and regions.
| | 01:35 | So there is a movie about
that later in this chapter.
| | 01:37 | Across the top is a timeline
that's keeping track of bars and beats.
| | 01:42 | The white vertical line with a little
green triangle at the top is the playhead.
| | 01:47 | Logic used to call it the Song Position Locator.
| | 01:50 | But playhead seems like a better name.
| | 01:52 | You can move the playhead to
whatever part of the song you want to hear.
| | 01:59 | If the playhead is somewhere else
and you want it back at the beginning
| | 02:03 | just type the number zero on your keypad
and the playhead snaps back to the beginning.
| | 02:08 | Now there are two more cool
timeline functions to show you.
| | 02:11 | If you click and drag to the right in the
bars and beats area you can define a cycle.
| | 02:17 | Let's define Bar 2.
| | 02:19 | That's up here from bar two to bar three.
| | 02:23 | And now if I hit Play...
| | 02:24 | (Music plays.)
| | 02:32 | I just cycle that same section over and over.
| | 02:35 | The Transport window now
tells me that cycle is in effect.
| | 02:39 | There is a nice big green button over
there on the lower right that tells me that.
| | 02:43 | Now there is kind of a reverse cycle too.
| | 02:45 | If I clear that, just clicking on it to
clear it, I can activate it again if I
| | 02:51 | hit that Cycle button, but
I am just clicking to clear it.
| | 02:54 | If I drag from the right to
the left, let's do that again.
| | 03:00 | If I drag from the right to the left
and I will push this over to Bar 2.
| | 03:07 | Actually let me put it in the middle
of the bar here and I think you will see
| | 03:11 | what I mean by this.
| | 03:12 | I am going to start at the beginning
and this is the opposite of a cycle.
| | 03:17 | Now it avoids that area
that I have just defined.
| | 03:20 | (Music plays.)
| | 03:24 | Once again.
| | 03:25 | (Music plays.)
| | 03:29 | Now, I am just doing it with this little
piano and drum thing, but if you imagine
| | 03:34 | that you use this in a song, let's say
you want to hear the song without the
| | 03:41 | drum fill at the front or without the 8
bar guitar solo in the middle or without
| | 03:48 | 8 bars of the guitar solo in the middle.
| | 03:50 | So I think that gives you some ideas
for how you might use this skip over
| | 03:54 | this area function.
| | 03:56 | So it's like a reverse
cycle. It means ignore this part.
| | 03:59 | We click in there and clear that as well.
| | 04:01 | Our song is currently 130 bars long.
| | 04:05 | I just haven't really taken the time
to adjust it yet so let's do that now.
| | 04:09 | I am going to click down here in the
Transport and it's actually only five bars
| | 04:13 | long so let me type five in here and
this little guy at the end here is the end
| | 04:18 | of the song indicator.
| | 04:20 | So you can pick that up and move it.
| | 04:22 | So now the song is 7 bars long and that's
reflected down here in the Transport as well.
| | 04:28 | So these two guys are talking together.
| | 04:30 | I will change it to five.
Now it's five down on the Transport.
| | 04:34 | You need to know how long your song is
for a lot of reasons but mostly when you
| | 04:38 | bounce it out you don't want a lot of
blank space at the end of your song.
| | 04:42 | So it's good to always set the
endpoint for the end of your data and not just
| | 04:48 | let it hang out there in space.
| | 04:49 | You will be resizing the Arrange
window as you build your project.
| | 04:53 | So let's learn some handy keystrokes for that.
| | 04:55 | Control+Right and Left lets you
resize the workspace horizontally.
| | 05:00 | So let's take a look at that.
| | 05:02 | Control and Right lets me zoom in this way.
| | 05:06 | Control+Left lets me zoom that way.
| | 05:10 | Control+Up and Down lets you
resize the individual tracks.
| | 05:20 | Now you could use the scroll bars down
here in the lower right hand corner and
| | 05:24 | accomplish that too.
| | 05:26 | But I prefer those keystrokes.
| | 05:28 | I am always faster with those than I am
with those functional scrolling kind of things.
| | 05:37 | Now let's make the tracks small so
I can show you one more cool thing.
| | 05:40 | I am going to click on this Steinway
Piano and hit the Z key and when I hit the
| | 05:45 | Z key, whatever track I select auto zooms.
| | 05:51 | Now that's kind of a nice compromised
position between great big tracks and
| | 05:55 | little bitty tracks.
| | 05:56 | So I will turn off Z so that they are
both the same size and I can also click
| | 06:02 | and move tracks around in the Arrange window.
| | 06:06 | And we will talk about this more when
we actually work with loops and start
| | 06:10 | assembling a song why you would want
to have tracks in a certain position.
| | 06:14 | Now that's a lot of information but the
Arrange window is kind of the anchor of Logic
| | 06:18 | so it's good to get familiar with it.
| | Collapse this transcript |
| Exploring Meter options| 00:00 | Well there is a little bit of math
involved in making music and it's time for
| | 00:04 | just a little bit of math class.
| | 00:07 | This piece is in 4/4 time.
| | 00:09 | All that means is there is 1, 2,
3, 4, 1, 2, 3, 4. (Music plays.)
| | 00:16 | Four beats per bar.
| | 00:17 | Most of the music you listen to,
probably most of the music you will write, is in
| | 00:22 | 4/4 time, but every once in a while
we need to write something in 3 or 5 or 7
| | 00:27 | or some different time signature.
| | 00:29 | So there are a couple ways to change that.
| | 00:32 | I could just move the playhead to
let's say bar 3, click over here and say
| | 00:38 | move the playhead to bar 3, I want it
exactly at bar 3 and change the number on
| | 00:44 | top to let's say 5.
| | 00:46 | If I move the playhead,
| | 00:50 | it shows me that at bar 3,
we are going to 5 beats a minute.
| | 00:55 | Now this changes the grid across the top.
| | 00:58 | It really had nothing to do with--
| | 01:00 | It doesn't even know about what's
going on down here in the song itself.
| | 01:04 | It's just a way of
measuring the beats across the top.
| | 01:08 | And you notice that by adding those 2
beats, putting 1 beat on this bar and 1
| | 01:12 | beat on this bar, I have made my
sequence beat 2 beats shy of bar 5.
| | 01:18 | Before I did that it was
rolling right out to bar 5.
| | 01:22 | So it didn't change the sound.
| | 01:24 | It just changed the way of measuring it.
| | 01:26 | Now let me undo that and I will take it
back to 4/4 and I will take my playhead
| | 01:30 | back to the beginning.
| | 01:31 | There is another way of doing this
that's probably a little more functional and
| | 01:37 | this is probably the way you will do it.
| | 01:39 | If we type the letter U, we get into
the List menu and in this Signature menu
| | 01:45 | and meter really has nothing to do
with what key this is in, but that's just
| | 01:48 | where they park this function.
| | 01:51 | There is the key signature at 4/4.
| | 01:53 | If I go in here and create a signature
and change it to 6/4, now I have 6 beats
| | 02:01 | per bar all away to the end of the piece.
| | 02:04 | So now let's a meter change this way.
| | 02:07 | If I go to bar 2, right up to bar 2 and
create a signature, now we are in a bar
| | 02:16 | of seven. Well, I can change that to
three or four. So I am just scrolling
| | 02:22 | my mouse to make that change I can also
just click on it and type 4/4. So now I
| | 02:27 | have a bar of 6 followed
by a bunch of bars of four.
| | 02:33 | I could move out here to our four, create
another signature, and now we are in five.
| | 02:39 | Now again this isn't
changing the content of the tracks.
| | 02:43 | This is just a way of counting
the beats across the timeline.
| | 02:45 | Now you might be wondering hey, we looked
at a score function earlier where Logic
| | 02:51 | is writing down everything I play.
Is that keeping track of that too?
| | 02:55 | And of course it is.
| | 02:57 | Let's look at the Score.
| | 02:58 | And we see that there is a bar of six followed
by two bars of four, followed by a bar of five.
| | 03:04 | So it's measuring the same thing
here as it is back on the timeline.
| | 03:09 | So there are two ways to set a meter.
| | 03:11 | Down here in the Transport.
Up here in the Signature tab in the lists.
| | 03:16 | Now in addition to the meter changes
sometimes we need to make changes in the key
| | 03:20 | and that's the next movie.
| | Collapse this transcript |
| Exploring Key Signature options| 00:00 | In the last movie, we looked at changing
the time signature, the way of counting
| | 00:04 | the bars and the beats.
| | 00:05 | Now, we are going to look at some
transposition options and some key
| | 00:09 | signature options, and they are just a little
bit different, just a little strange in Logic.
| | 00:14 | Let's take a look.
| | 00:14 | So we are going to hit the letter U
so that we can show the Signature tab.
| | 00:19 | And I have created a loop here that's
probably just a little more annoying than
| | 00:24 | the last loop I was
working with, the whole tone scale.
| | 00:26 | This one is the C note four times across
and it will help me explain this to you.
| | 00:32 | (Music plays.)
| | 00:40 | Now, it would be a good idea to
quantize these notes, so let me jump in here
| | 00:45 | and I will select them all, all the
notes, and quantize them to a whole note.
| | 00:55 | So now, they are exactly on the beat and
that's going to be important for me going forward.
| | 00:59 | So I will close out of the Piano Roll.
| | 01:01 | I actually didn't need to show the
Piano Roll to show you that we were
| | 01:05 | quantizing, but you sort of have to
take Logic's word for it unless you are
| | 01:09 | looking at them and we didn't
want to take Logic's word for it.
| | 01:12 | So I am going to close out of the Piano Roll
and know that these are exactly on the four beats.
| | 01:17 | One, two, three and four.
| | 01:18 | Now, if I move the playhead back to the
beginning and then jump down one bar and
| | 01:24 | add a new key signature, add bar 2, and
change this to, let's just say, the key of D,
| | 01:31 | and then move down another bar,
bar 3, and create a new key and we call this,
| | 01:37 | let's just go up to E Flat just
to be different, you might be thinking
| | 01:41 | that these notes, which are exactly the
same, are now going to be C and then D
| | 01:47 | and then E Flat and E Flat.
| | 01:50 | Let's take a listen.
| | 01:51 | (Music plays.)
| | 02:00 | So they are exactly the same.
| | 02:02 | I made all these changes and it
ignored them all, and here's why.
| | 02:07 | What we are creating here is a key
signature and this is really valid for that
| | 02:12 | Score thing we looked at before.
| | 02:14 | Now, I have just jumped out to the
Score here and you will see that what I am
| | 02:17 | doing is creating the key
signature for these bars.
| | 02:21 | So there is my 2 sharps for the key of
D, my naturals to cancel that and my 3
| | 02:27 | flats for the key of E flat.
| | 02:28 | The C notes are still the same.
| | 02:32 | Now, if you're into music, this will
sort of be baffling to you, well like, how
| | 02:35 | can I be changing keys and all
the notes are still the same?
| | 02:37 | Let's close out the Score and there is
a distinction in Logic between changing
| | 02:43 | the key signature and transposing the song.
| | 02:46 | To transpose the song, we go to
Global Tracks and we are looking for
| | 02:50 | the transposed track.
| | 02:52 | It's not in this list.
| | 02:54 | We have to create it.
| | 02:55 | So Right-click where it says Global
Tracks > Configure Global Tracks, and choose
| | 03:01 | Transposition, then we are done.
| | 03:04 | Now, we will open Transposition.
| | 03:08 | And let's use the Pencil tool
to change the transposition.
| | 03:13 | Let's change it on the bar, and then
again at bar 3, and now let's listen
| | 03:21 | to what my C notes do.
| | 03:25 | (Music plays.)
| | 03:31 | Now, because this is a global function,
anything with pitch information in
| | 03:35 | the sequence will obey this transposition.
Guitar parts, anything with pitch reference.
| | 03:40 | This drum, this exotic real beat
could care less about transposition.
| | 03:45 | It's just going to sit there and be a
drum all the way to the end of the song.
| | 03:48 | Now, if you are sharp musically, you
will all know that this going up four
| | 03:52 | semitones has nothing to do with these
key of D and going up seven has nothing
| | 03:57 | to do with this key of E flat.
| | 03:58 | And I kind of created this so that
you will understand the distinction
| | 04:02 | between just changing the key
signature in certain places and actually
| | 04:07 | transposing the sequence.
| | 04:09 | Now, can you go create great music
without ever worrying about the key signature
| | 04:13 | and the transposition? Sure.
| | 04:16 | But very often this is important to us.
| | 04:19 | We need to take the whole track up
maybe a half a tone, so we can get that cool
| | 04:23 | open tuning out of the guitar or
maybe the singer wants it down a step.
| | 04:28 | So transposition is different than key signatures.
| | Collapse this transcript |
| Exploring Tempo options| 00:00 | It's pretty easy to set a global tempo in Logic.
| | 00:03 | Reach down into the Transport.
| | 00:06 | We are at 120 beats per minute now.
| | 00:08 | Just double-click in there and change it to 150.
| | 00:12 | (Music plays.)
| | 00:18 | So Logic will stay there through
the whole song beginning to end.
| | 00:22 | Let's say you wanted to get faster at
some point in the song. Let's look at some
| | 00:26 | other options for setting tempo.
| | 00:29 | Go back to 120 here and
we will type the letter T.
| | 00:33 | That takes us to the Tempo Editor.
| | 00:35 | Let's say at bar 3, we just
want to change the tempo instantly.
| | 00:39 | We move over to bar 3, create a
new event and change this tempo to,
| | 00:44 | let's say 180 beats per minute.
Go back to the beginning and play it.
| | 00:47 | (Music plays.)
| | 00:55 | All right, so it obeyed that command.
| | 00:56 | It started at 120 and stayed there
for exactly 2 bars, and then kicked up
| | 01:01 | into this faster tempo.
| | 01:02 | Put the playhead back at the beginning.
| | 01:05 | Now what if instead of an instant
change, we wanted kind of a gradual change?
| | 01:10 | Let's go up to Options and say Tempo
Options and a completely new window pops up.
| | 01:16 | So let's look at options in here.
| | 01:18 | I am going to delete the instant change that
I created at bar 3 and work in this window.
| | 01:24 | I want to start at bar 1 and at bar 3,
I would like to be at some new tempo
| | 01:32 | and let's say 180.
| | 01:37 | Now this is creating a tempo curve and
I think I am ready to calculate this.
| | 01:43 | What it's asking me is when I get to
180, should I stay there and if I click
| | 01:48 | Continue with new Tempo, I think it
will get to 180 and then stay at 180.
| | 01:54 | So down here in the lower-right,
| | 01:56 | I am going to click Apply
and it's done some math for me.
| | 02:00 | It's kind of interpolated it
and said I am going to start...
| | 02:04 | (Music plays.)
| | 02:11 | At 120 and work my way up to 180.
| | 02:14 | Now it actually is starting at 135
because it has to start getting faster right
| | 02:19 | away to get to 180 in that
short of a time. So let me undo that.
| | 02:24 | Let's start at 120 and go
to 140 and apply that change.
| | 02:30 | So it's starting 120 and then
working its way to 140, but it starts
| | 02:36 | getting faster right away.
| | 02:38 | (Music plays.)
| | 02:46 | So that's how you can create a gradual
increase in tempo. The musical term for
| | 02:50 | that is an Accelerando.
| | 02:53 | You can tell that they intended for
you to experiment with these settings
| | 02:56 | because there is an Undo button
right next to the Apply button.
| | 02:59 | So in my experimenting, I found that
there is no mathematical formula that
| | 03:04 | always works on every song.
| | 03:07 | It depends on the sounds you are using and how
much and how fast the tempo value is changing.
| | 03:13 | Now I am guessing most of your songs
won't have any tempo changes at all.
| | 03:16 | You will find one and you will stay
there, but Logic makes it pretty easy to
| | 03:20 | experiment and make changes
when that's what you want.
| | Collapse this transcript |
| Using the Metronome feature| 00:00 | In this movie, we are going to
explore some Metronome options.
| | 00:03 | Now in Chapter 3, when we cut a track,
I actually use a drumbeat for my Click.
| | 00:09 | It helps me kind of get in the
groove better than just a click, click,
| | 00:12 | click, click, click.
| | 00:13 | But sometimes we just want a simple Click,
and let's figure out how to set one up.
| | 00:17 | So you could click on the Click button.
| | 00:20 | It turns out that in this layout,
the Click button is over here with this little
| | 00:24 | arrow, and if I just click on it,
I don't actually get it. I see that it's over there,
| | 00:28 | but I am not able to actually edit it.
| | 00:31 | Now I could right-click on the Record
button and say Recording Settings, and
| | 00:38 | jump from Recording over to
Metronome and make these changes.
| | 00:41 | Let me show you another way to do this.
| | 00:45 | Remember you can have multiple
Transport windows, so let's say Window >
| | 00:49 | Transport, and what I have done here, I have
a little standalone Click Transport window.
| | 00:55 | What I did is I started with all of the
buttons, the default buttons, and I just
| | 01:01 | went through and click, click, click,
click and unchecked everything but Click.
| | 01:05 | Now I could show you me clicking
all these buttons but that's not very
| | 01:09 | interesting so that's how I got this one
little Transport window that's nothing but Click.
| | 01:15 | So this little Transport controls
whether I hear Click or not, but it doesn't
| | 01:19 | actually determine the sound.
| | 01:21 | So I am going to park this
up here around the toolbar.
| | 01:24 | Remember this is a floater window.
| | 01:26 | So wherever I drop it it's
just going to hang out on top.
| | 01:29 | Now I run down to the Record button,
right-click on it and switch again from
| | 01:33 | Recording to Metronome because
these are the settings I want to make.
| | 01:37 | Now over here on the left you can send
the Click signal out to an outboard MIDI
| | 01:42 | synth, so that you can maybe use a
clave on your drum machine or a high hat.
| | 01:49 | I kind of like a high hat better than a clave.
| | 01:51 | And the way you do that is choose the
MIDI port, send it out to the synthesizer
| | 01:56 | that you want to use.
| | 01:57 | It turns out that neither of my
synthesizers really have a good sound.
| | 02:01 | So I am not going to use this option.
I am just showing you how to do it.
| | 02:05 | Then you pick the MIDI Channel that
it's on and you pick the Note that it's on.
| | 02:08 | And you have a choice for the accented
downbeat of the bar or all the beats that
| | 02:13 | follow the downbeat of the bar.
| | 02:16 | Division means the space between the beats.
| | 02:19 | The reason you might want to use
Division is if you are doing a really slow beat,
| | 02:26 | it might help you to stay on
the Click if you did a division.
| | 02:33 | So that's a subdivided part of the beat.
| | 02:37 | Now the same options are over here on
the right, but this is the Software Click
| | 02:41 | Instrument with this lovely German name.
| | 02:43 | Remember Logic started life in Germany
and this lets you select the note and the
| | 02:49 | velocity and let's see how this works.
| | 02:51 | Now you can determine how much
tonality you want in your Click.
| | 02:55 | Remember on the right hand side here
you are going to actually be putting some
| | 02:58 | pitch sound into it. On the left-side
you are taking all the pitch out of it.
| | 03:01 | Well if you are working with a singer,
sax player or somebody that needs a
| | 03:05 | pitch reference, stay on the left side here
and don't try and feed pitch into the Click.
| | 03:10 | It might influence their
pitch in a negative way.
| | 03:13 | And then here you can obviously set
the volume for your Click and which output
| | 03:17 | is coming out of it.
| | 03:18 | And in the lower left-hand corner you
can tell Logic to play the Click while
| | 03:21 | recording and that's usually what you want.
| | 03:23 | You also have an option to have it only
during count-in. You would use that when
| | 03:28 | you want to Logic to count you into
the downbeat, boom, but then you want no
| | 03:33 | Click reference at all because you
want to kind of improvise and play in a
| | 03:37 | free-floating kind of way.
| | 03:39 | So that's your option for that.
| | 03:41 | You can also have Click while playing,
but that will kind of drive you nuts so
| | 03:45 | typically you want to set this for
while recording and leave while playing off.
| | 03:51 | Now if you are finding it hard to
play with a Click, well, you will get
| | 03:53 | better the more you do it.
| | 03:55 | If the Click just doesn't inspire you,
well then bring in a drum loop or maybe
| | 03:59 | some other kind of percussion
part and play along with that.
| | 04:03 | Sometimes that gives you more
inspiration than just a lonely Click by itself.
| | Collapse this transcript |
| Using Channel Strips| 00:00 | In this movie we are
talking about Channel Strips.
| | 00:03 | The concept of channel strips is you
browse the sounds in the library by
| | 00:07 | their descriptions and then when you
choose one, Logic will load everything
| | 00:11 | it needs to make that sound.
| | 00:13 | It will load inserts, which might include
distortion, a compressor, a delay, a reverb.
| | 00:20 | It will insert those into the inserts
area and then it will load the appropriate
| | 00:24 | virtual synth down here in the I/O.
Let's look at some examples of this.
| | 00:29 | Now this Steinway Piano has a channel
EQ and a Space Designer, and for this
| | 00:36 | piano sound Logic has loaded the EXS24
plug-in so it can assemble a series of
| | 00:42 | individually recorded piano files into a
piano that you can play with your MIDI keyboard.
| | 00:47 | And there is a movie later
on in the title about EXS24.
| | 00:52 | You can add your own inserts to this list.
| | 00:54 | Click on the grey button and
add like Distortion to this piano.
| | 00:59 | When you add another plug-in you get
another free grey button so now you can add
| | 01:04 | another insert if you want to.
| | 01:06 | So that's how you add them.
| | 01:07 | Let me close this Distortion.
| | 01:09 | I don't really want to hear
the sound of the distorted piano.
| | 01:12 | If you want to change the order of the
plug-ins, in fact let's take this plug-in
| | 01:16 | away, no plug-in right there.
| | 01:18 | Let's go back to the
channel EQ and the Space Designer.
| | 01:21 | If we wanted the Space Designer,
which is a kind of a room simulator, if we
| | 01:25 | wanted that in front of the EQ so that
when the EQ we weren't just EQing the
| | 01:30 | piano side, we were actually EQing the
room that goes along with it, hold down
| | 01:35 | the Apple key and push this up here and
you rearrange the order of the inserts
| | 01:41 | in this instrument.
| | 01:42 | Okay let's take a look at another one
of the sounds in here. Hold down where
| | 01:46 | it says Steinway, go over to Bass.
| | 01:49 | Let's choose from Bass.
| | 01:52 | Let's do, how about 02, Smooth Fretless.
| | 01:56 | Now this time it's loading the sounds
it needs to create this Fretless Bass.
| | 02:04 | It's loaded 4 inserts and again the EXS
has assembled a bunch of real sounds of
| | 02:10 | electric bass onto our keyboard
and see what the sound is like.
| | 02:13 | (Music plays.)
| | 02:27 | Well it's smooth and it's fretless.
Let's see what a pitch bend sounds like.
| | 02:31 | (Music plays.)
| | 02:37 | Let's take a look at one more
from the Channel Strip library.
| | 02:40 | I will click where it says Smooth Bass.
| | 02:42 | Let's go to the next one down, Drums
and Percussion. Well let's pick Warped.
| | 02:47 | I am pretty warped.
I think I want some warped drums.
| | 02:50 | I will pick UFO Kit.
| | 02:51 | That sounds pretty cool.
| | 02:53 | On this one, it's loaded Compressors,
SpectroGate, a whole bunch of inserts and
| | 02:58 | again these are real
sounds being assembled by EXS24.
| | 03:01 | Now let's see what this one sounds like.
| | 03:04 | (Music plays.)
| | 03:18 | So there is a delay in there, and then
that's all being fed to the room, and so
| | 03:22 | this is a really complex sound.
| | 03:25 | And we didn't have to do
any manual assembly of this.
| | 03:28 | This is all put together and stored
in here in the Channel Strip library.
| | 03:32 | There are just tons of these and
they are organized by category.
| | 03:38 | It's really easy to sift through them.
| | 03:41 | Now you can customize Channel Strips too.
| | 03:44 | After you make some changes that you want.
| | 03:46 | Let's say you decide you don't want
this Compressor and this Channel EQ.
| | 03:53 | You want the rest of this but not that.
| | 03:55 | Now you have kind of a custom UFO
Kit, so you click here and say Save
| | 04:01 | Channel Strip Setting As.
| | 04:04 | It knows where to put it.
| | 04:06 | If we look in here it's in Application Support.
| | 04:10 | First of all I should say User Level,
Library/Application Support/Logic/
| | 04:14 | Channel Strip Settings, and Instrument.
| | 04:16 | So it knows where to put it, leave it there.
| | 04:19 | Cancel out of that, and you would be
able to give it your own name like My UFO
| | 04:24 | Kit or My Spaceship or
whatever makes sense to you.
| | 04:27 | The Channel Strip menu gives you access
to the same list of sounds as you see in
| | 04:33 | the Library on the right.
| | 04:35 | The difference is that the Library
lets you search and the Channel Strip
| | 04:38 | menu really doesn't.
| | 04:39 | But the Channel Strip menu gives you
a keystroke for stepping through the
| | 04:44 | sounds while auditioning them. So, here
we are in our Steinway Piano Club and
| | 04:51 | I will play that sound.
| | 04:52 | (Note plays.)
| | 04:55 | And then Shift and Right Bracket
takes me down to the next sound, so it's
| | 05:01 | already loaded Steinway Piano
Hall. Let's take a look at that.
| | 05:07 | It's moved from that sound to this sound.
| | 05:09 | (Notes play.)
| | 05:12 | Shift and Right Bracket,
it moves to the next sound.
| | 05:16 | So that's a handy way for going
through this list when you are just trying to
| | 05:19 | audition your pianos,
see which one sounds good.
| | 05:22 | Now I am going to jump into the Mixer
window just to show you that even after
| | 05:28 | we have assembled our song and we have got
our sounds that we choose in the Arrange window.
| | 05:34 | Let's say we are working along here and
setting levels and we go, "We really want
| | 05:38 | a brighter piano than the Steinway."
| | 05:40 | We have access to the same Channel
Strips over here in the Mixer window that we
| | 05:45 | do back in the Arrange window.
| | 05:46 | So right there at the top of each fader
you can choose the Channel Strip there too.
| | 05:52 | One last thing about Channel Strips.
| | 05:54 | I'm back in the Arrange window here.
If you are using a G4, look down here at
| | 06:02 | this option #14 and you will see that it's
optimized a lot of these plug-ins for a G4 computer.
| | 06:09 | So a couple of releases ago in Logic you
basically had to build these all from scratch.
| | 06:15 | You could go find a cool piano
sound but you didn't have all the neat
| | 06:18 | inserts and Space Designer and
Channel EQ and Flangers and all the cool
| | 06:24 | stuff that's been put in here.
| | 06:26 | So this is a really neat feature in Logic.
| | Collapse this transcript |
| Using Tracks| 00:00 | A track. In this piano over here is a
track. This audio over here is a track.
| | 00:08 | Let's go back to the piano.
| | 00:09 | A track is an empty vessel for holding
information, and that information can
| | 00:14 | be MIDI data like this Steinway
Piano note or audio data like this audio
| | 00:21 | waveform of a drumbeat.
| | 00:23 | A track has properties.
| | 00:25 | It has a specific sound assigned to it
and it has a set of plug-ins that you can
| | 00:30 | choose or modify like EQ and Compression
and Delay, and those are independent of
| | 00:36 | the sound in the track.
| | 00:38 | So these inserts up here can come or
go. It won't change the fact that this is
| | 00:42 | going to be a piano sound.
| | 00:44 | Tracks should contain information of
a similar nature, for instance if an
| | 00:49 | instrument plays at the beginning of
the song and then lays out for a while
| | 00:53 | and then plays again, it would make sense
to keep that information on the same track.
| | 00:58 | If you wanted to change the sound of the
piano in the early part of the song and
| | 01:04 | then later on in the song, changing it
here would change it for anything in this
| | 01:08 | track. Let me give you an example.
| | 01:10 | Let me hide this browser over here, and
I'll hide the Inspector over on the left.
| | 01:15 | Let's Option-drag this piano out to here.
Let's have him play from bar 1 to bar
| | 01:21 | 5 and again at bar 9.
| | 01:23 | It would make sense to keep this
information and this information on the same track.
| | 01:29 | It wouldn't make sense to put a
tambourine part on the same track as a piano.
| | 01:33 | So I hope that helps you think about
tracks. Keep things together that use the
| | 01:37 | same instrument. Tracks are free, so
don't be shy about using more tracks.
| | 01:43 | If you can't see your tracks,
remember that Control and the Up arrow will
| | 01:47 | shrink them down a little bit, and you got
plenty of room down there to add more tracks.
| | 01:52 | I like to see them big, so
I am going to make them bigger.
| | 01:55 | Now having said that, you can go
overboard and create a track for every
| | 01:59 | instrument for every section of your
song and then you wind up with a session
| | 02:04 | that's got so much data, it's so
deep, it's kind of unmanageable.
| | 02:08 | So there isn't one full-proof way to do this.
| | 02:11 | And I have seen different
composers use different approaches.
| | 02:14 | And I think as you work with Logic,
you will develop the approach that
| | 02:17 | makes sense for you.
| | 02:19 | Tracks have icons to help
you remember what's on them.
| | 02:22 | Just click on the icon to open up
instrument 1. We have a lot of icons to pick from,
| | 02:28 | so there is the one
we are using now, this piano.
| | 02:31 | We have a whole bunch of choices to make.
| | 02:34 | This piano seems like a good one.
| | 02:36 | This audio does not seem like a good one.
| | 02:38 | Let me click up here and refresh this.
| | 02:44 | And instead of this audio icon, well,
I am hearing drums. Let's look at some drums.
| | 02:49 | It's not exactly a drum machine.
| | 02:51 | It's sort of more like a drum kit.
| | 02:54 | Now this track deserves a better name
than audio 1, so we can click in here and
| | 02:59 | give it a better name.
| | 03:00 | Let's call this The World Beat.
| | 03:06 | Tracks can display a lot of information.
| | 03:08 | Let's right-click on the
track and Configure Track Header.
| | 03:13 | So there are buttons available to us here.
These are the defaults, Record, Mute,
| | 03:20 | Solo and then for an
audio track, Input Monitoring.
| | 03:24 | We don't get that for a MIDI track.
| | 03:25 | There is no input besides the MIDI.
So let's close out of that window.
| | 03:30 | You can move tracks around.
| | 03:31 | I guess we call it shuffling.
| | 03:33 | If we push this track up above the
piano, the drums are on top now, push
| | 03:38 | the piano above the drums, and
the piano comes back on the top.
| | 03:42 | So that's a bit about tracks.
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| Using Regions| 00:00 | Let's talk about Regions.
| | 00:01 | These little pieces of information that
live inside the track are called Regions.
| | 00:06 | Regions have a start time and an end
time and they can be moved around inside
| | 00:11 | the track, and one of my favorite
things is to lay down a part with one
| | 00:17 | instrument and then have
it be doubled by another.
| | 00:19 | Let me give you an example of that.
| | 00:20 | I am going to shrink this just a
little bit to make room for another track.
| | 00:24 | Let's get rid of the Inspector on the left.
| | 00:26 | Let's do bring up the Browser
on the right. Switch to Library.
| | 00:30 | So now, I want to create a new track.
| | 00:34 | It's going to be a
Software Instrument. Create it.
| | 00:37 | And for this sound, I want a
Guitar, an Acoustic Guitar, and a
| | 00:45 | Classical Acoustic Guitar.
| | 00:48 | Now, I am going to pick up these regions.
| | 00:50 | So let me throw this one away for
the moment and pick up this region and
| | 00:55 | Option+Drag it down to this other track.
| | 00:58 | It still says Steinway Piano, but now these
notes are being played by this instrument.
| | 01:04 | Let me Solo this guitar.
| | 01:06 | (Music plays.)
| | 01:11 | Let's hear them both together without the drums.
| | 01:14 | (Music plays.)
| | 01:21 | Now, actually a guitar can't perform like that
because a guitar doesn't have a sustain pedal.
| | 01:27 | So this is a way to get things to
behave in ways that are actually different
| | 01:32 | than the instrument.
| | 01:33 | And just like we can name a
track, we can name a region.
| | 01:36 | Let me bring the Inspector back and
this Classical Acoustic Guitar, Instrument 2,
| | 01:42 | is going to be called guitar now.
| | 01:45 | Now, I am going to Solo the
notes on this Classic Guitar.
| | 01:48 | (Music plays.)
| | 01:53 | And I can quantize what information
is in this region just by taking this.
| | 01:59 | Let me give it a better name, too.
| | 02:00 | Let's call this the guitar part.
| | 02:05 | Now, these notes that are currently on
the guitar started out on a piano and now
| | 02:10 | they have a new name and they
are being played by a new sound.
| | 02:14 | And now, I can Quantize these notes.
Quantize means snap to the beat.
| | 02:18 | Let me select them and
make them all quarter notes.
| | 02:22 | I will take this region, which is
currently not quantized, and let's refresh this.
| | 02:30 | There we go. Currently not
quantized and now they are.
| | 02:36 | And they should lock to the drums a
little better than they were locking before.
| | 02:39 | (Music plays.)
| | 02:44 | That's been bothering me for a while
now that they weren't exactly on the beat.
| | 02:47 | So, now they are.
| | 02:50 | Let me close the Browser for a second
just to show you that regions can loop.
| | 02:55 | The next thing under Quantize is Loop.
| | 02:58 | So, if I select a region and I loop it,
it will go out as far as the song is.
| | 03:04 | So, Ctrl+Left Arrow and I see
that it's going out forever.
| | 03:09 | Well not forever. At least to bar 130.
| | 03:12 | That's the length of my song.
| | 03:14 | If I change the length of my song,
let's call it 16 bars now. The loops conform
| | 03:20 | to the end of the song.
| | 03:21 | Let me Ctrl+Right Arrow again to
zoom in and then Ctrl+Left Arrow to zoom
| | 03:27 | back out a little bit.
| | 03:27 | Now, regions can also transpose by themselves.
| | 03:31 | So, I will click in here and
I will take this up 12, let's say.
| | 03:35 | (Music plays.)
| | 03:38 | Let's hear that by itself.
| | 03:39 | (Music plays.)
| | 03:44 | Now, the defaults are up an octave, up
two octaves, up three octaves and then
| | 03:48 | down an octave, down two
octaves, down three octaves.
| | 03:51 | You can click in here and change the value.
| | 03:54 | Let's take it up 2 and...
| | 03:56 | (Music plays.)
| | 03:59 | And if you recall, that's a
different pitch than we started with.
| | 04:01 | (Music plays.)
| | 04:07 | So, the concept of this
movie is to think about regions.
| | 04:11 | Regions are the data in the tracks.
| | 04:13 | The tracks are the thing
that contains the sound.
| | Collapse this transcript |
| Merging Regions| 00:00 | This movie is about merging regions.
| | 00:03 | Let me take this region of piano,
Option-drag it out, let's skip a bar and
| | 00:08 | let's Option-drag it out, skip
another bar and now we have three distinct
| | 00:12 | regions of the Steinway Piano.
| | 00:14 | If I lasso them, I am just going to kind
of draw a line through all three of them,
| | 00:18 | and use the Equals key,
| | 00:19 | I merge them into one big region.
| | 00:22 | Now let me undo that, Command+Z. I will
show you that you also have a command up
| | 00:27 | in the toolbar that lets you merge the regions.
| | 00:30 | So either way, Equals key, merge the regions.
| | 00:33 | Why would you want to merge a region?
| | 00:35 | The most typical example
of that is comping a vocal.
| | 00:38 | You are taking pieces from individual
takes and then assembling them into a
| | 00:42 | performance and then you merge those
regions, which came from different places,
| | 00:47 | into one file and then give it a new name.
| | 00:49 | Now we will cover naming in the first movie.
| | 00:50 | Now I am going to undo the Merge just
so I can show you that these individual
| | 00:56 | regions can still have their own
properties and still be merged.
| | 01:00 | So I am going to bring back the
Inspector, letter I. Instead of selecting all
| | 01:04 | three of these I just want this one in the
middle and let's transpose it up to semi tones.
| | 01:12 | So this one sounds like...
| | 01:13 | (Music plays.)
| | 01:15 | And this one sounds like...
| | 01:16 | (Music plays.)
| | 01:20 | And then this one is more like the original.
| | 01:22 | (Music plays.)
| | 01:23 | It's exactly like the original.
| | 01:25 | I am going to take these three, draw a
lasso through them and merge them with
| | 01:31 | the Equals key, so there is this original sound.
| | 01:34 | (Music plays.)
| | 01:41 | And?
| | 01:42 | (Music plays.)
| | 01:46 | Remember I put the bar of space in
there on purpose just so that you can see
| | 01:50 | that when you merge them
it includes the blank space.
| | 01:54 | Now, if you try and merge MIDI data
with audio data, Logic tells you no,
| | 01:59 | in pretty certain terms.
| | 02:01 | Let me hit the Merge button
and let's see what happens.
| | 02:05 | So it's telling you in a
nice way you can't do this.
| | 02:09 | You can't take MIDI data
and merge it with audio data.
| | 02:12 | So Abort, Continue, either one
gets you back to where you started.
| | 02:17 | Merge things that belong together,
but don't try and merge MIDI and audio.
| | 02:20 | Now I am going to undo the
merge to show you one more thing.
| | 02:23 | And I am being very,
very cautious. It's typical.
| | 02:27 | I will take this track and
create a track with the same settings.
| | 02:32 | And I will Option-drag this down and
make them be exact clones of the original.
| | 02:39 | And then I will merge these guys and
leave these guys individual and then
| | 02:45 | sometimes I will just Mute this and
then kind of make it really small so that I
| | 02:51 | can see that this region is my
original stuff and this is the merge.
| | 02:56 | This goes back to that philosophy that
I have of being able to retrace although
| | 03:01 | I really kind of do want to have this
whole piece be merged, I still like the
| | 03:06 | fact that they are in my session as
the individual pieces and they are not in
| | 03:10 | anybody's way and they are muted so we
are not going to hear them. So that's
| | 03:15 | a bit about merging regions in your timeline.
| | Collapse this transcript |
| Demixing| 00:00 | Well, I wanted to put this movie here
right after merging because this is kind
| | 00:04 | of the opposite of merging.
| | 00:06 | This is called Demix. It's not remix.
| | 00:08 | It's Demix.
| | 00:09 | Let me show you what I mean.
| | 00:10 | I have a region here with
the bunch of notes in it.
| | 00:12 | I am going to Ctrl+Up arrow just so
that I give myself a little more room here
| | 00:18 | and I am going to take this region,
go to the Region menu and say Split and
| | 00:22 | Demix and then Demix by Note
Pitch, and watch what happens.
| | 00:28 | It breaks down different every note
that's in the region into a different track.
| | 00:34 | Again, I am just doing Ctrl+Up
arrow so that you can see them all.
| | 00:38 | So now, the eight different notes that
were in that region are all split out by note.
| | 00:43 | If a note repeated in the region, which
is not the case in this region but if it did,
| | 00:48 | each note would be on its own track.
| | 00:51 | In this case, there is eight different notes.
| | 00:54 | Now, with what we know about using the
library and creating tracks, here is one way
| | 00:59 | I can think of to use this.
| | 01:00 | I will go and create some tracks.
| | 01:03 | I will create seven software
instrument tracks and I will put them right
| | 01:07 | under this first piano.
| | 01:10 | And now, I have seven new vessels.
| | 01:12 | I am going to Ctrl+Up arrow again so that we
can shrink these a little so we see them all.
| | 01:18 | And I can assign this track to one of
these instruments and this track to one of
| | 01:25 | these instruments and so forth, and then
just pick these guys up, these regions,
| | 01:31 | and slide them up here and then each
note that I played initially on the piano
| | 01:38 | will come out of a different instrument.
| | 01:39 | But it's the kind of thing that's
very easy to do in Logic and it gives you
| | 01:44 | interesting results and part of the reason
that this program is so fun to work with.
| | 01:48 | That's Demix.
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| Naming Regions| 00:00 | Can this be true?
| | 00:01 | Can there be just a movie
about naming regions? Well, yeah.
| | 00:05 | Naming regions is an important way to
keep track of your data, and there are a
| | 00:08 | couple of tricks in here that I
think might help you down the line.
| | 00:11 | So let me show them to you.
| | 00:13 | We have got our Steinway Piano.
| | 00:14 | Let's make another iteration of it.
| | 00:16 | I am just Option-dragging it out.
| | 00:19 | And again, Option-dragging it out,
putting a little space between them.
| | 00:22 | Now if we want to name a particular
region, we can just click on it, name it in
| | 00:26 | the Inspector up in the
upper left, Piano. Let me undo that.
| | 00:32 | If I want to name multiple
regions, I can lasso them.
| | 00:36 | Now three of them are selected, the
Inspector tells me so, and I will call this
| | 00:41 | Piano, and that names all three of them.
| | 00:45 | And let me undo that, because I want
this to be named the same as the track.
| | 00:50 | If you want incremental numbers like 1,
followed by 2, followed by 3, then when
| | 00:56 | you are naming them, select all three
and end the name with a number, and now
| | 01:03 | you get 1, 2, and 3.
| | 01:04 | Now I'm going to undo that so
I can show you one more trick.
| | 01:09 | If we go in here and select the three
of them, and I call this, let's say, "Jan
| | 01:13 | 08" and put a Space after the name,
and then say Return, this tells me that
| | 01:21 | these were recorded the month and
the year, but if I hadn't put the space
| | 01:27 | behind them, it would have interpreted
this number as 8 and made this one 9,
| | 01:31 | and made this one 10.
| | 01:32 | And that trick is particularly handy
when you want to attach a date to the regions,
| | 01:36 | but you don't want incremental numbers.
| | 01:39 | So those are a few of my tricks
about naming regions in your sessions.
| | Collapse this transcript |
| Coloring Regions| 00:00 | Well, we started this chapter by
talking about the customization in Logic and
| | 00:05 | part of the customization of Logic is
your ability to define region colors.
| | 00:09 | You can use colors to identify sections of
your arrangement or particular track types.
| | 00:16 | Sometimes I use colors in the sense of
tone colors and I make bright things like
| | 00:21 | trumpets red and darker things like
cellos dark blue or purple or maybe warm
| | 00:27 | things like a nylon guitar gold or brown.
| | 00:31 | You can also make the regions in your
intro one color, the verses another color and
| | 00:36 | use the colors in the structural
way, not in a tone color way.
| | 00:39 | So let's take this pop song region
that's sitting out here in front of the song
| | 00:44 | and click on the Colors button, and
let's make it, because it's an intro,
| | 00:50 | let's make it kind of a gold color.
| | 00:54 | And then we could take this bass part,
which really doesn't look good in green.
| | 00:59 | It's maybe best in black or maybe kind
of a dark color because it's a bass part
| | 01:05 | so maybe a dark red.
| | 01:07 | This vocal is kind of the star of the
show, so it wants to be maybe a bright color
| | 01:13 | to remind me to make it
nice and loud in the mix.
| | 01:17 | This drum is sort of an important part of
the groove, but it doesn't have to be a
| | 01:22 | bright color to remind me. It could
be white or maybe black like the bass.
| | 01:27 | So I am not going to color everything.
| | 01:29 | I think you get the idea now.
| | 01:31 | You can take a region and assign a color
to it, and there are kind of three ways
| | 01:35 | to get to this Color palette. Let me close it.
| | 01:38 | You can use the button like we did
there, you can do View > Colors, or you can
| | 01:46 | use the associated keystroke, which is
Option+C. This is kind of the standard
| | 01:52 | color palette that you get
in a lot of Apple programs.
| | 01:55 | You get to choose the colors
that show up in these little tiles.
| | 01:59 | So let's say you don't really care for
this pink. Double-click on it and you can
| | 02:03 | move to a different color, find this
nice blue, pick it up, save it down here.
| | 02:08 | Maybe it's a little darker blue.
| | 02:11 | Pick it up, save that down here and you
can build the colors that you like that
| | 02:16 | you use all the time.
| | 02:17 | When you say OK, that pink
has now become that color.
| | 02:21 | So, you're probably familiar with how to
use colors from your other Apple programs.
| | 02:25 | But the neat thing is we can bring that
right into Logic and use it in creative ways
| | 02:30 | to help us identify the stuff that
makes up our song, just another way you
| | 02:34 | can customize Logic for
the way you like to work.
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|
|
3. Working with LoopsUsing the Window Media Browser| 00:00 | In this chapter, we are going to explore
some options for creating music with Loops.
| | 00:04 | Loops live inside the Media window
and they live in there with some other
| | 00:07 | things, so let's take a
look at the other things first.
| | 00:09 | On the left side, there is the Audio Bin.
There are no files in here right now,.
| | 00:14 | We will see some in there later.
| | 00:15 | But you can add audio files and once the
files are in here, you can delete them,
| | 00:19 | optimize them, back them up, save them
as, save them with different names, or
| | 00:24 | you can take the audio file right from
here and add it to the Arrange window.
| | 00:27 | The information you get here is about
the same as the information you get from
| | 00:31 | the Standalone Audio Bin window.
| | 00:34 | But in this case, you get it
right inside the Arrange window.
| | 00:36 | Over on the right, it's the Browser and
this is like a Finder that's built into
| | 00:40 | your Arrange window, so you
can start searching for things.
| | 00:43 | Let's say that we have a file that we
are looking for and we know that it's
| | 00:46 | world something, World
Drums maybe. World something.
| | 00:50 | So, we will type in World and take it to
the appropriate place. It's not in Logic.
| | 00:56 | Let's just look in the entire Macintosh
for the word "World" and up pops a list
| | 01:01 | of things with world in the title
and where they are located on the drive.
| | 01:05 | Now, let's say that I remember that it's
world, but it's not exotic. It's world drums.
| | 01:11 | That's what I am looking for.
| | 01:12 | So, I will refine the search for
world drums and now I have got a much more
| | 01:17 | manageable list of three things.
| | 01:19 | I think it's this one that I want and
I can reach down in the lower left-hand
| | 01:23 | corner of this window and audition it.
| | 01:25 | (Music plays.)
| | 01:33 | Okay, I think that's one I can work with,
I will pick it up from here and drag
| | 01:37 | it into my timeline, inserting it at bar one.
| | 01:40 | So, that's one way to get
Loops into your timeline.
| | 01:43 | This is the Library that contains presets
that you can use to perform your own music.
| | 01:47 | We cover this in detail in the Channel
Strips movie in the previous chapter.
| | 01:52 | Now, let's go to the Loops browser.
| | 01:54 | Do you remember when you installed
Logic and you waited and you waited and you
| | 01:58 | waited while it installed all
those Loops? Well here they are.
| | 02:01 | They are in the Loop library.
| | 02:03 | Now, you are probably hoping that with
all of these Loops to choose from,
| | 02:07 | you have a really good search engine
available to you and the good news is you do
| | 02:11 | and that's the topic of our next movie.
| | Collapse this transcript |
| Sorting Loops| 00:00 | Now, let's take a look at some of
the options for searching and sorting
| | 00:03 | through these loops.
| | 00:04 | We will start at the top of the View menu.
| | 00:07 | The default is to Show All, but you can
actually sift through the sound track
| | 00:11 | loops or anyone of these Jam Packs that
you installed when you installed Logic.
| | 00:16 | The next menu gives you a
choice of time signatures.
| | 00:19 | If you know that the loop you want is in 4/4,
that's the default, just leave this there.
| | 00:24 | If you know that the loop that you
want needs to be in 5, or 7, or maybe it's
| | 00:30 | 3/4 time like a waltz or maybe you just
want any loop and not refine the search
| | 00:36 | to 4/4, this is where you pick the time
signature of the loops you are browsing.
| | 00:40 | As far as descriptions there
are a couple of choices here.
| | 00:43 | The default is this nice grid where
you can look at All Drums and then refine
| | 00:49 | your search by Electronic Drums and
then refine your search by Beats and then
| | 00:56 | refine your search by Intense and each
time the number of items gets smaller.
| | 01:01 | Now, let's look at Distorted.
| | 01:03 | Now we are down to 43 and we have
some choices in here too. Let's look at
| | 01:06 | Distorted and Processed.
| | 01:08 | Now, we are down to 39.
| | 01:10 | So, clicking on these
adjectives refines your search.
| | 01:13 | If you want to back out through your
search, just reset all the parameters and
| | 01:17 | now you are back to the entire Library.
| | 01:19 | I like searching this way, but
there is another option for searching.
| | 01:23 | If you click on this sort of Explorer
type layout, now you can Search All and
| | 01:27 | refine your search to let's say
Bagpipes, and then Bagpipes, and you have 12
| | 01:33 | choices of bagpipes to pick from.
| | 01:36 | Banjos, Banjos, 167 different kinds of banjos.
| | 01:41 | When you want to audition them...
| | 01:43 | (Music plays.)
| | 02:00 | Let's take a look at some of these guitars.
| | 02:02 | (Music plays.)
| | 02:14 | There are a couple of more things
to show you about this Search window.
| | 02:17 | Up here is a way that you can sort by scale.
| | 02:19 | Let's go back to the grid for our search,
let's do Guitars, and Processed, and I
| | 02:27 | have 539 Processed Guitars here.
| | 02:29 | If I restrict the search to things that
are in minor keys, I knocked down about
| | 02:35 | well maybe half of those.
| | 02:37 | If I go to major keys, I get
probably the other half of that search.
| | 02:42 | But then there are some that are neither
major nor minor and some that are good for both.
| | 02:47 | So, that's a really cool way to sift
through the sounds. If you know that the
| | 02:51 | song you are writing is in a major key then
search for majors and eliminate all the minors.
| | 02:56 | It's one more thing about
this window I want to show you.
| | 02:58 | Over here there is a double arrow that
tells you that there are more adjectives
| | 03:01 | and when you click on that a list
pops up and shows you that there are more
| | 03:04 | choices to make. Or if you want to see
those choices, you can slide this down and
| | 03:10 | get everything that's available to you.
| | 03:13 | That's true in either layout that you choose.
| | 03:15 | Now, you notice that some
of these are grayed out.
| | 03:18 | For instance, let's switch to Music
and let's switch to 5/4 and a lot of the
| | 03:24 | choices go away, get grayed out.
| | 03:27 | There are no jingles for instance or
textures that are in 5/4 and Good for Both.
| | 03:33 | So, let's go 5/4 and Any, and
now some choices become available.
| | 03:38 | So, those are some options for
searching and sorting this massive loop library
| | 03:42 | that you installed when you installed Logic.
| | 03:44 | Now, there are some options for
auditioning the loops that are different for the
| | 03:47 | ones from searching and sorting
and that's what we look at next.
| | Collapse this transcript |
| Auditioning Loops| 00:00 | Now, you may have noticed in our
searching and sorting that some of the loops
| | 00:03 | came up blue and some of them came up
green. Let's look at the difference.
| | 00:07 | So, I am searching in music for
things that are in 4/4 through all the
| | 00:11 | Library in any scale.
| | 00:13 | I will slide down here at the bottom
and choose Slide Guitar. We haven't heard
| | 00:17 | of any slide guitar yet.
| | 00:19 | So, if I scroll through this list, I
see that most of them are blue, the blue
| | 00:23 | icon, the waveform icon over on the left.
| | 00:26 | But as I get further down the list,
some of them are green. Well here's the difference.
| | 00:30 | Blue loops are waveforms,
they are audio waveforms. They are like
| | 00:35 | this blue world drum loop
that I put into my session.
| | 00:38 | If I listen to this Acoustic Slide...
| | 00:40 | (Music plays.)
| | 00:49 | So it plays the same little
phrase over and over and over.
| | 00:52 | I hit the 0 key to make it stop.
| | 00:55 | And if I drag this Acoustic Slide to my
timeline, it's going to play in an audio track.
| | 01:01 | I am going to double-click on this to
show you that it's an audio waveform.
| | 01:05 | Hit the Spacebar and play it.
| | 01:06 | (Music plays.)
| | 01:15 | So, it's a four bar phrase,
but it's an audio waveform.
| | 01:20 | Now here's the difference.
| | 01:22 | If I scroll down and I pick one of
these green dobros, let's pick the first one,
| | 01:27 | and I drag that to my timeline.
| | 01:31 | It's a green loop, which consist of
if I double-click on it, MIDI data.
| | 01:36 | Let's mute the Audio 2, let's mute
the world drums and just play this one.
| | 01:41 | (Music plays.)
| | 01:50 | So, this MIDI data can be edited.
| | 01:53 | I can click on some MIDI note.
| | 01:54 | (Music plays.)
| | 02:05 | I will just take it down to this root note here.
| | 02:07 | (Music plays.)
| | 02:18 | So, that's the big difference.
| | 02:20 | Loops that are green are MIDI data.
| | 02:22 | You can get inside and
edit what's inside the loop.
| | 02:24 | Loops that are blue are audio data. You can
change the tempo of it but that's about it.
| | 02:29 | Well there are a couple of more aspects
of auditioning that I would like to talk
| | 02:33 | about, tempo and key.
| | 02:34 | Let's scroll up to the Down Home Dobro 48,
this blue one, which we know is an audio file now.
| | 02:40 | (Music plays.)
| | 02:45 | Its native tempo is 120.
| | 02:47 | Each of these loops has a native tempo.
| | 02:49 | It's where they were created.
| | 02:50 | They can be played at any tempo.
| | 02:52 | If I choose the global tempo of my
song to be let's say 90 beats a minute.
| | 02:57 | (Music plays.)
| | 03:02 | It's conforming its playback to
the global tempo that I have chosen.
| | 03:07 | If I choose 180 and click it again.
| | 03:10 | (Music plays.)
| | 03:16 | Now the MIDI loops will do that too.
| | 03:18 | (Music plays.)
| | 03:27 | So, if I change back to 120 where I started...
| | 03:30 | (Music plays.)
| | 03:41 | So conforming to a tempo
is pretty much automatic.
| | 03:44 | It's going to take a look at your
global tempo and audition this loop at
| | 03:48 | whatever your global tempo is.
| | 03:49 | Now, you may think that I should sort
by tempo and by the way you can sort by
| | 03:54 | name here or tempo, or key or how many
beats, how long the loop is and whether
| | 04:01 | it matches your description and
we will get to favorites in the next movie.
| | 04:04 | Let's go back to name for a moment.
| | 04:06 | You may think that if you tempo is 120
that you only want loops that are 120
| | 04:11 | and that's not true.
| | 04:12 | You can get some really cool effects by
taking something that's native tempo is
| | 04:16 | 90 and playing it on 138
or 138 and playing it at 90.
| | 04:21 | So, don't feel like you have to have
an exact match of your song tempo with
| | 04:24 | the loop's native tempo.
| | 04:26 | You can get some really interesting
effects, if you take a drum beat that
| | 04:29 | started like at 90 and speeded it up to 140.
| | 04:32 | Now, there is one more important aspect
about auditioning loops and that's key.
| | 04:36 | Your song has a key. Whether you set it
or not up in the global tracks and the
| | 04:41 | signature, your song has a key.
| | 04:44 | The default is C. If you see it for
something else than that's your key.
| | 04:47 | You can choose to have the MIDI
loops auditioned in the song key.
| | 04:53 | (Music plays.)
| | 04:56 | Or you have some other choices.
| | 04:58 | You can take it to its original key,
which it tells us right here is A.
| | 05:02 | Let's play it in A.
| | 05:04 | (Music plays.)
| | 05:12 | Or I can choose any 1 of the 12
different chromatic notes that are available to me.
| | 05:17 | Let's take it into the key of E and listen.
| | 05:19 | (Music plays.)
| | 05:31 | Now, here's the distinction
between greens, which are MIDI data, and
| | 05:35 | blues, which are audio.
| | 05:36 | If I click this Down Home Dobro, which its
native key is G, let's click it and find out.
| | 05:42 | (Music plays.)
| | 05:51 | Now, let's play it in the song key.
| | 05:55 | (Music plays.)
| | 06:00 | Change it to its original key.
| | 06:01 | (Music plays.)
| | 06:09 | Change it to another key.
| | 06:10 | (Music plays.)
| | 06:19 | Now, there is one kind of loop
that kind of has a mind of its own.
| | 06:22 | Let's take a look at that.
| | 06:23 | Let's go back to the search and Reset,
and take a look at Jingles and up
| | 06:29 | pops this Blues track.
| | 06:31 | (Music plays.)
| | 06:37 | Now, if I change the key,
| | 06:38 | (Music plays.)
| | 06:44 | Or change it to another one of these choices,
| | 06:47 | (Music plays.)
| | 06:49 | It's ignoring me.
| | 06:50 | (Music plays.)
| | 07:03 | Now, not only is it ignoring all the
keys that I am throwing at it, if I throw
| | 07:08 | it a different tempo, let's say 80
beats a minute and click on it.
| | 07:14 | (Music plays.)
| | 07:18 | It's ignoring that too.
| | 07:20 | So, these jingles, these custom-built
tracks that you can use in your projects,
| | 07:24 | have their own keys and tempos and if
it's set to zero and the dash for the key,
| | 07:29 | it's going to ignore any change
you make to the tempo or the key.
| | 07:33 | Now, as you scroll through these
different loops and audition them, you are
| | 07:37 | going to find some that you probably
never ever want to hear again and some that
| | 07:41 | you want to use all the time, just
can't wait to get in there and use that one.
| | 07:45 | On the right here is a place for you to
choose Favorites and add it to your list
| | 07:49 | and that's the topic of our next movie.
| | Collapse this transcript |
| Favoriting Loops| 00:00 | Well, you notice that my
Favorites selector is grayed out.
| | 00:04 | I haven't chosen any favorites yet.
| | 00:05 | I saved that because I
wanted to show you how to do that.
| | 00:08 | So I am going to Show All, Signature
4/4, Scale Any and search for world,
| | 00:14 | W-O-R-L-D, and hit Return, and
up pop a bunch of world things.
| | 00:20 | Now, you are not going to choose the
same ones that I am going to choose by the way.
| | 00:24 | You will choose your own favorites,
but I will show you how to choose a few
| | 00:28 | favorites and you can take it from there.
| | 00:29 | So the pieces that I want are
down here toward the bottom.
| | 00:32 | I actually want this World Muted Guitar,
I will add it to my Favorites, and now
| | 00:37 | Favorites is not grayed out. There
is actually something in there now.
| | 00:40 | I do want this World Fretless.
| | 00:43 | That's a bass and I want World Drums 01.
| | 00:47 | And just for kicks, I think maybe
I will grab one of these Shakuhachis.
| | 00:54 | Clear this world search and
just go to Favorites. Ta-da!
| | 00:57 | There are my four loops I
just chose as favorites.
| | 01:00 | If you decide later on that you really
don't care for that loop so much anymore,
| | 01:05 | you can unfavorite it by clicking here.
| | 01:07 | Now, I don't want to have to re-search
for them so I am not going to unclick it,
| | 01:11 | but there is your list of favorites.
| | 01:13 | From inside your Favorites,
you have lots of choices too.
| | 01:16 | You can narrow the search down to guitars and
now there is only one guitar in my Favorites.
| | 01:21 | So, if you Reset, go to Favorites,
there are your Favorites again.
| | 01:26 | You can do the same thing with your
Favorites as you did with any other loop.
| | 01:29 | You can play it in the song key,
play it in the original key.
| | 01:33 | It too will conform itself to the
tempo of your session and you can sort by
| | 01:37 | tempo and key and name and reverse name.
| | 01:40 | So that's another great rainy day
project is to go through some of these loops
| | 01:44 | and find some things you want to work with.
| | 01:46 | That way, you can jump right in and
start writing when you get a project.
| | Collapse this transcript |
| Using loops to build a groove| 00:00 | Having all these loops is great, and
having the ability to search and audition
| | 00:04 | is all great, but what good is it
really until we can make music with them?
| | 00:08 | So that's what we are doing now.
| | 00:09 | So I am going to go to My Favorites
and I have already selected these four.
| | 00:13 | If you need to know how those got
there, watch the previous movie.
| | 00:16 | The green icon means that Shakuhachi
contains MIDI data and if I dragged it to
| | 00:20 | the big gray window, Logic would
automatically build a MIDI track to hold it.
| | 00:24 | Let me show you a little trick.
| | 00:26 | If I drag this MIDI loop to an audio
track, Logic automatically converts it to
| | 00:30 | an audio file in this key and this tempo.
| | 00:33 | In an audio sequencer, we prefer the
flexibility of MIDI but converting MIDI to
| | 00:38 | audio is handy if you want to use this
sound in a program that doesn't accept
| | 00:42 | MIDI files like Final Cut or Motion.
| | 00:44 | Next step, I will add my drums.
| | 00:48 | Just dragging them to the timeline,
Logic creates the audio track that it
| | 00:51 | needs to play the sound.
| | 00:53 | Next up is my fretless bass.
| | 00:55 | Now, I was a little inaccurate on
purpose when I dragged this to the timeline
| | 01:01 | and dropped it on bar 2.
| | 01:02 | I am actually going to move it now to
bar 1 because I wanted to start at the
| | 01:06 | beginning and I will drag my
guitar and insert it at bar 1.
| | 01:11 | Now, it's muted my drums. I'm going to
take the mute off my drums and let's
| | 01:14 | hear what this sounds like.
| | 01:14 | (Music plays.)
| | 01:24 | Well, I think maybe that
Shakuhachi should be out on its own.
| | 01:28 | So for now, in this music creation process,
I don't need access to these loops anymore.
| | 01:33 | I am going to push this out of the
way and just have a nice big Arrange
| | 01:36 | window to work with.
| | 01:37 | I have selected 95 beats a minute here.
| | 01:40 | I kind of like this tempo just to experiment.
| | 01:43 | Let me try 105 beats a minute and
see what it's like at that tempo.
| | 01:47 | (Music plays.)
| | 01:51 | Well, that's too fast.
| | 01:52 | Let's try 90 and see what
it's like at that tempo.
| | 01:55 | (Music plays.)
| | 02:02 | I actually kind of prefer 95.
| | 02:04 | Now that I have tried both sides
of it. I guess we could call that
| | 02:08 | bracketing the tempo.
| | 02:09 | Try that one that's a little faster.
| | 02:10 | Try that one that's a little slower.
| | 02:12 | That will help you decide what's the
right tempo for the piece you are writing.
| | 02:15 | So back the beginning. I am going to
push the drums back to bar 3, actually all
| | 02:20 | of these little pieces back to bar 3.
| | 02:22 | I may want the fretless bass to come in
before the drums but my goal here is to
| | 02:28 | isolate this Shakuhachi
at the beginning for now.
| | 02:30 | (Music plays.)
| | 02:41 | I think I am happy with that.
| | 02:43 | I may change my mind later.
| | 02:44 | That's the beauty of Logic is you start
assembling things and nothing is glued down.
| | 02:48 | You can pick it up and move it.
| | 02:49 | So to make these regions loop, I go
to the upper right-hand corner of this
| | 02:53 | region, push and drag out.
| | 02:55 | Let's make this piece be 16 full bars
long and I will just push and drag all of
| | 03:00 | them out to 16 bars long.
| | 03:06 | Except the Shakuhachi.
| | 03:08 | Now, I think I am done
with the left side of this.
| | 03:11 | I don't think I need to do any
inspecting of any of these tracks right now.
| | 03:14 | I will push this bar over to the
left and now I have a nice big Arrange
| | 03:19 | window to work with.
| | 03:20 | If I hit the 0 key, I have sized the
Arrange window to the entire length of my piece.
| | 03:25 | If you want to resize the tracks
vertically, hold down the Ctrl key, hit the
| | 03:30 | Down arrow until the tracks are the
size that you want them, so that's looking
| | 03:37 | pretty good to me now.
| | 03:38 | I am going to play it again.
| | 03:39 | (Music plays.)
| | 03:52 | Now I am hearing just a little bit of
distorted crispness in my headphones.
| | 03:57 | I am going to push this out just a
little bit and bring my overall volume down,
| | 04:01 | just a smidgen, maybe 5 db.
| | 04:03 | That's going to depend on what
output you are using whether you need to
| | 04:07 | adjust this up or down.
| | 04:08 | Now, I will push this back out to
the left and listen some more, right
| | 04:13 | from here, from bar 6.
| | 04:14 | (Music plays.)
| | 04:21 | All right, I actually do want to
change the level of the drums against the
| | 04:26 | bass and the guitar.
| | 04:27 | So to do that, there are several ways to do it.
| | 04:29 | I am just going to pop out to the
Inspector for that track and for Audio 2,
| | 04:34 | I'll bring its volume down just a little bit.
| | 04:36 | It's a very intense loop you could see
it has really spiky waveforms here that
| | 04:41 | are right up to the top.
| | 04:42 | So, it's not clipping my track but it's
louder than I want it to be and that's
| | 04:46 | where I adjust its relative volume
from the drums to the bass to the guitar.
| | 04:51 | There is the relative volume of
the drums. There is the bass.
| | 04:55 | There is the guitar.
| | 04:57 | Now, I will rename my track to Shaku so
I know what sound is in this track, and
| | 05:03 | this one we call groove.
| | 05:06 | These are already called Fretless
Electric Bass and Muted Electric Guitar.
| | 05:10 | They take their names from the MIDI loops.
| | 05:12 | So now, I have got it sounding
about like I want it to sound.
| | 05:15 | I will push this left wall out again and now
I have a nice big Arrange window to work with.
| | 05:21 | So, here is my idea.
| | 05:22 | I am going to put the playhead back
at the beginning and explain my idea
| | 05:27 | and then do my idea.
| | 05:28 | I would like the bass part not to play
the same thing over and over and over.
| | 05:33 | I could double-click it and change
the notes in the bass part manually.
| | 05:38 | It starts at bar 3.
| | 05:41 | Let's say I want maybe one
bar of the phrase and then....
| | 05:45 | (Music plays.)
| | 05:49 | From bar 4 to bar 5, I
wanted to do something different.
| | 05:53 | I could delete the parts in this track
and then replace them with a MIDI keyboard.
| | 05:59 | That's one way of doing it.
| | 06:00 | Here is another way of doing it.
| | 06:02 | Let me close out the Piano Roll for that track.
| | 06:05 | Just click on the word Piano Roll down
here at the footer of the Arrange window.
| | 06:08 | And instead of having this be loops
all the way from beginning to end, I am
| | 06:13 | going to take this one-bar phrase,
hold down the Option key, drag it over here,
| | 06:18 | drag it over here and now I
have a phrase, some space, a phrase, some
| | 06:25 | space, a phrase, some space.
| | 06:28 | So, that accomplishes part of the
task of building this song out of loops.
| | 06:31 | In the next movie, we will actually
edit the MIDI data and finish the process.
| | Collapse this transcript |
| Editing MIDI Loops| 00:00 | In this movie we are going
to look at editing MIDI data.
| | 00:03 | We are also going to use a sound
that's already in our session and a MIDI
| | 00:06 | keyboard to add notes to the sequence.
| | 00:09 | Now I ended the last movie by taking our
World Fretless loop and Option-dragging
| | 00:13 | it and creating 3 iterations.
| | 00:16 | And I think what that gives me the
opportunity to do is to click on this track
| | 00:20 | and use this command which says make
a New Track with Duplicate Setting.
| | 00:26 | In other words give me a clean slate but
give me the Fretless Bass to play with.
| | 00:30 | So let me click that and it puts a
clean slate of Fretless Bass down here below
| | 00:35 | the existing Fretless Bass.
| | 00:36 | Now I want to resize my tracks a
little bit and you will find yourself doing
| | 00:40 | this as you work through Logic.
| | 00:42 | You will get it set up
perfectly for what you have.
| | 00:44 | You will add something
and you will need to resize.
| | 00:46 | It's just part of the process.
| | 00:47 | So hold down the Control key, a couple
ticks of the Up arrow and now it's looking good.
| | 00:52 | I don't have quite the track height that
I had but it's just fine. I can see it.
| | 00:56 | Now I am going to click the Record
button and instead of calling this Fretless
| | 01:00 | Electric I think I will
give it a name like Bass Solo.
| | 01:06 | This will tell me that when I look at
this track that this is the Fretless
| | 01:09 | Electric Groove or loop and
this is stuff that I added myself.
| | 01:13 | So now I want to see if this
bass part is actually working.
| | 01:15 | (Notes play.)
| | 01:19 | I am playing my MIDI keyboard.
| | 01:20 | You can probably hear the keys rattling.
| | 01:23 | (Notes play.)
| | 01:26 | Now this particular MIDI patch, if I
hit it real hard I am going to bang the
| | 01:30 | keyboard really hard.
| | 01:31 | (Notes play.)
| | 01:32 | It has that slide into the pitch.
| | 01:34 | It starts a tone higher and
slides into the note that I want.
| | 01:40 | So I am going to have to change the
MIDI velocity response of this patch so
| | 01:46 | that it doesn't do that.
| | 01:47 | So I am going to run over here and
look at the MIDI Thru for this particular
| | 01:51 | track and then take its velocity
and knock it down a little bit.
| | 01:56 | I am just clicking on that number,
clicking on that plus and minus 0 and mouse
| | 02:00 | dragging it down to maybe 20 less than it was.
| | 02:04 | (Music plays.)
| | 02:06 | Now I can bang as hard as I want and
I won't get that thing that I got back
| | 02:11 | here when it was 0.
| | 02:12 | So I am changing the way this
instrument responds to my touch.
| | 02:18 | I am hitting it as hard as I can hit
it and I can't make it do that thing.
| | 02:23 | It's somewhere in 5--
| | 02:26 | That's good enough for me.
| | 02:27 | So that's tailoring the instrument
to make it respond the way you want.
| | 02:30 | All right, I'll close that, hide
this and maybe overdub a bass part here.
| | 02:35 | (Music plays.)
| | 03:14 | All right, I like things about that take.
| | 03:17 | In fact I think I like it
enough to maybe edit it.
| | 03:20 | So I am going to double-click it and
watch the notes as I listen to what I play.
| | 03:25 | Now I know what bar 1 through 5 sounds like.
| | 03:28 | I am just going to put the playhead at bar 5.
| | 03:29 | (Music plays.)
| | 03:56 | There are a few little glitches in here.
| | 03:58 | This note should not overlap.
| | 04:01 | There is another little glitch back here.
| | 04:04 | This note probably
shouldn't overlap quite so much.
| | 04:07 | This note is kind of a tell-tale note.
| | 04:10 | All of these notes have a high MIDI velocity.
| | 04:12 | I can tell from the color.
| | 04:14 | This particular note has a low MIDI velocity.
| | 04:17 | I think it's because it was
just sort of a clam, right.
| | 04:19 | A bad note that happened. It shouldn't
really be there. Light it up, make it go away.
| | 04:24 | Let's take a listen now.
| | 04:26 | (Music plays.)
| | 04:33 | Now I am going to click on the Piano
Roll at the footer of the Arrange window
| | 04:37 | and take a look at my track again.
| | 04:39 | There is data being overlaid here.
| | 04:41 | I had used some pitch wheels and well,
actually that's the only thing I used.
| | 04:46 | A pitch wheel and this track the one
that I brought in as a MIDI loop doesn't
| | 04:51 | have any of that data in it.
| | 04:53 | I could add it but I don't want it in this part.
| | 04:56 | This part has the dey-da-dey-da-day.
| | 05:00 | It has the little scoops into the noise.
| | 05:01 | I put those in on purpose so
I could show you pitch bend.
| | 05:04 | So I will expect to see that if you put
mod wheels and pitch bends and sustain
| | 05:08 | pedals and other MIDI
events in your MIDI performance.
| | 05:12 | Now let's take a listen from the top.
| | 05:13 | (Music plays.)
| | 05:51 | I hear a bad note back here.
| | 05:53 | (Music plays.)
| | 05:57 | And I am going to double-click this again.
| | 05:59 | Actually let me show you another way to do this.
| | 06:02 | Instead of double-clicking it and
launching the Piano Roll from there, let me
| | 06:05 | take this region and go
to Window and Piano Roll.
| | 06:10 | Now I will get a bigger
version of the same thing.
| | 06:14 | So let me take a listen to this.
| | 06:15 | I am going to look at mouse
scrolling up so I can see all the notes.
| | 06:20 | (Music plays.)
| | 06:22 | This note should be on that beat I think.
| | 06:26 | Let's move it over there and let's see.
| | 06:28 | Now this one probably has to be a
little shorter if that's the case.
| | 06:31 | Okay now let's take a listen.
| | 06:33 | (Music plays.)
| | 06:39 | That's a way better groove, huh. One more time.
| | 06:42 | (Music plays.)
| | 06:47 | That's the concept of MIDI editing.
| | 06:49 | You get in and fix the
parts even when they are close.
| | 06:52 | This was just back just a little bit but
it needed to be on that beat to feel right.
| | 06:56 | Let me close out this window.
| | 06:59 | Move the playhead back to
the beginning and let's see.
| | 07:01 | (Music plays.)
| | Collapse this transcript |
|
|
4. Tracking and Mixing a Live PerformanceCreating a live tracking session| 00:00 | In this chapter,
we are going to build a song.
| | 00:02 | We are going to add acoustic guitar.
| | 00:04 | We are going to add drums via a loop.
| | 00:06 | We are going to add some MIDI bass and
then we are going to add a live vocal,
| | 00:10 | and then we will see what else it needs.
| | 00:12 | So to start our project,
we would open up Logic Pro.
| | 00:21 | And we would choose from
| | 00:22 | the File menu, New Project, and we
would go Compose, and slide all the way down
| | 00:26 | to the bottom to the Songwriter template.
| | 00:30 | So, this environment has some things
we'll want, and some things we don't, and
| | 00:34 | we will be editing this
environment as we move through the project.
| | 00:37 | We will be saving these files as we go
too, so I will save this empty layout as
| | 00:42 | 04_01, and then for the rest of the
chapter, you can either follow along from
| | 00:47 | movie to movie, or open the numbered
Logic file for that particular movie.
| | 00:52 | Now it's time to make some sound,
and we will start by building a groove.
| | Collapse this transcript |
| Building your groove| 00:00 | All right, so we are in our
empty Songwriter template now.
| | 00:04 | Let's take a look at some of the
tracks that Logic has given us to work with.
| | 00:08 | If I scroll through these electric
guitar tracks and look over here in this
| | 00:12 | Inspector, each track has
different plug-ins on it.
| | 00:17 | We will talk about those later.
| | 00:19 | What's important here is to know that
it's expecting to see audio. This isn't
| | 00:23 | using a loop, this isn't using an
internal synth in Logic. This is expecting you
| | 00:30 | to play a guitar part into it.
| | 00:32 | The acoustic guitar parts
are laid out the same way.
| | 00:35 | They are expecting to see audio.
| | 00:37 | Now when we get to this brush kit, this
is a sound that's coming from inside of Logic,
| | 00:42 | so is this kit, so
are these two bass parts.
| | 00:46 | These are being generated
inside of Logic using plug-ins.
| | 00:49 | When we get past the bass down to the
lead vocal parts, these four are again
| | 00:54 | expecting to see input from a microphone.
| | 00:57 | Now in the next chapter, we go a lot
deeper into what these virtual synths do.
| | 01:01 | We explore Ultrabeat and EXS24 and some of
the other virtual synths that ship with Logic.
| | 01:09 | Once we get past this bass part,
again Logic is expecting to see audio.
| | 01:14 | This time it's expecting to see a mic.
| | 01:19 | So that's what Logic has laid out for us.
| | 01:21 | All right so for the particular song
idea that I am working with today, I have
| | 01:25 | decided I want to work at 110 beats a minute.
| | 01:28 | The default tempo in Logic is 120, and
by the way Logic lets you take tempos up
| | 01:33 | to 4 decimal places.
| | 01:35 | So for this particular song, I have
decided I want to work at 110 beats a minute.
| | 01:39 | Logic's default is 120. I am going to
double-click on the 120, change it to 110,
| | 01:45 | just hit Enter and now I have reset
the global tempo to 110 beats a minute.
| | 01:51 | All right, now it's time to import some audio.
| | 01:53 | Now there is couple of ways to do this.
| | 01:55 | I could go to the Window and choose the
Audio Bin and import it from here.
| | 02:00 | Audio File > Add Audio File.
| | 02:02 | I am going to close that out and I can
peak over into that window by going to
| | 02:08 | the Browser off on the right.
| | 02:10 | So let me jump to the Desktop,
Exercise Files/Chapter 04/Pop Song/Audio
| | 02:19 | Files, and I have two audio
files here that I want to work with.
| | 02:23 | They should be in your exercise folder too.
| | 02:25 | The first one is this guitar part.
I will pick it up and I will drag it to--
| | 02:29 | I have three choices for where to
put this acoustic guitar part.
| | 02:32 | I will put it on this Stereo Doubler.
| | 02:35 | Now I want to set my overall volume a
little lower here just for the way that we
| | 02:38 | are recording this title.
| | 02:40 | So I will go down 3 db. This is reducing the
overall level of all the tracks in my session.
| | 02:46 | I will start my playhead at
bar 3 and listen to this part.
| | 02:49 | (Music plays.)
| | 02:54 | So you can hit the Spacebar to stop it.
| | 02:56 | I am working on a standard keyboard,
so I am going to hit the number 0 on the
| | 03:00 | keypad and that will bring the
playhead back to bar 1 beat 1.
| | 03:04 | So Spacebar plays it, Spacebar stops it,
zero sends it back to the beginning of the song.
| | 03:11 | Now there are two bars of count
off on the front of this guitar part.
| | 03:14 | So I am going to use my Trimmer, just
go right to the front of the region here,
| | 03:18 | use my Trimmer and trim off the
first two bars of that guitar part.
| | 03:23 | So now I don't have this blank space.
| | 03:25 | And then I will bring my
guitar over to bar 1 beat 1.
| | 03:29 | All right let's explore these other two
guitar sounds that are sitting in Logic here.
| | 03:33 | Let's listen to this one
again just a little bit.
| | 03:34 | (Music plays.)
| | 03:39 | And what does this same guitar
part sound like with this setting?
| | 03:43 | (Music plays.)
| | 03:48 | A little more natural.
| | 03:49 | Let's take it up to Basic Acoustic.
| | 03:51 | (Music plays.)
| | 03:58 | All right I have tried all three of
these and I like Basic Acoustic the best.
| | 04:03 | I am going to click
on Stereo Doubler (Dry.)
| | 04:06 | and get rid of that track.
| | 04:08 | Click on Mic on Fingerboard
and get rid of that track.
| | 04:11 | Now if I decide I want to explore other
sounds for this guitar, I can go over to
| | 04:16 | the Inspector for this track,
click on Basic Acoustic.
| | 04:20 | And I have a lot of Acoustic Guitar
choices here to pick from and this will
| | 04:26 | apply those sounds to this guitar part.
| | 04:28 | It's a great way to just check out
what's inside Logic and see how it might
| | 04:34 | inspire you for this song
or for some future song.
| | 04:37 | All right I know I am not going to use this
jazz guitar thing, so I am going to clean that up.
| | 04:42 | I am not going to use this Vintage Spring thing.
| | 04:44 | I may use the Mellow Amp thing.
| | 04:46 | I will keep that around.
| | 04:48 | I might wind up using these brush kits later.
| | 04:50 | I don't have a male singer today so all
I am doing is lighting up the tracks and
| | 04:54 | deleting them, just the Delete key.
| | 04:57 | I do have a female singer, but I don't
have pop background singers, so I will
| | 05:01 | lose both of those tracks.
| | 05:03 | Now I have a kind of a clean place to work here.
| | 05:06 | So I am going to add my drums to the track.
| | 05:08 | Now because that's an audio file and
because Studio Brush Kit and Studio
| | 05:13 | Tight Kit are expecting to see
virtual synths, I will just pick up my drum part
| | 05:18 | and drag it down in here to an
empty space below the Click and it
| | 05:22 | creates a new track for me.
| | 05:23 | It already knows what to create.
| | 05:25 | So I will double-click where it says
Audio 2 and call this drum, and I really
| | 05:32 | don't want that much distance between
my acoustic guitar part and my drum loop,
| | 05:37 | so I will slide over here and get the
hand on the left side of the track and
| | 05:41 | push it right up through the
other tracks next to the guitar part.
| | 05:47 | I have some options here for contouring
the sound of this drum loop, all right.
| | 05:51 | Same options I had back with the guitar part.
| | 05:54 | But right now I am just
going to listen to it as it is.
| | 05:56 | (Music plays.)
| | 06:01 | All right, well, it's short. Too short.
| | 06:03 | This needs to loop, but even before we
do that we kind of have to dress up our
| | 06:08 | workspace a little bit here. So because
I have done contouring sounds right now,
| | 06:13 | I will reach over here on the left
and push Inspector out of the way.
| | 06:18 | And I will reach on the right and
push the Media display out of the way.
| | 06:22 | And now I have a nice big Arrange window.
| | 06:25 | There is couple of ways to get
a short region to loop in Logic.
| | 06:29 | One way is to put your cursor in the
upper right hand corner of the region and
| | 06:32 | drag it out like that.
| | 06:35 | And let's make it be as long as it
needs to be for this guitar part.
| | 06:38 | So we will take it out to about bar 29.
| | 06:41 | Another way to get your regions to loop
in Logic is to do them in the Inspector.
| | 06:47 | So I will bring the Inspector back and
this region called pop song drums has
| | 06:52 | a flippy triangle associated with it
and the loop function can be turned on
| | 06:58 | and off right here.
| | 06:59 | You can also fade into a region and fade
out of a region, you can do exponential
| | 07:04 | fades or just straight fades, so you
have a lot of control over how you want a
| | 07:08 | particular region to sound.
| | 07:10 | So looping is on. I will close this.
| | 07:12 | I will push this out of the way.
| | 07:15 | And now let's listen to what we have.
| | 07:16 | (Music plays.)
| | 07:23 | Well, the guitar is kind of drowning
out the drums, so let's fix that part.
| | 07:27 | We will take the guitar volume and bring
him down a little bit and now we will listen.
| | 07:33 | (Music plays.)
| | 07:44 | Well, I definitely want the guitar
to dominate this arrangement for now
| | 07:48 | because the singer I am working with
has an idea for a melody, so I will make
| | 07:53 | fine-tuning adjustments to the drum
and the guitar volumes when she gets here
| | 07:58 | and does her vocal.
| | 07:59 | I am going to give myself my big
Arrange window again and roll out to the back
| | 08:04 | here and explore. So my loop is just
a little longer than my guitar part.
| | 08:08 | Well it's a lot longer than my guitar
part so I will trim it up here, make it be
| | 08:12 | exactly as long as the guitar and
actually it wants to end on that downbeat.
| | 08:17 | That will be my last strum of
guitar. Let's just take a quick listen.
| | 08:21 | (Music plays.)
| | 08:26 | All right, so we need a little,
maybe an electric guitar part in here or
| | 08:29 | something to get us through this bar.
| | 08:31 | The total length of my song is 28
and a half bars,. This marker back here
| | 08:37 | determines that, so I will push this out
here. There is no point in having a 300
| | 08:41 | bar song if its only 28 bars long.
| | 08:45 | So that's the length of my song now.
| | 08:47 | It tells me down here next to my tempo
the length, how many bars are in my project.
| | 08:53 | So again I will hit the zero key and
then this is kind of an important key
| | 08:57 | combination you will use a lot. Ctrl and
the Left Arrow lets you zoom in and out
| | 09:04 | horizontally of your project.
| | 09:06 | So Ctrl+Left Arrow takes you one way and
Ctrl+Right Arrow takes you the other way.
| | 09:16 | You can do the same thing down here with
your scrollbars and you can do the same
| | 09:21 | thing here with your slider, but
I think you will find that Ctrl and Left Arrow
| | 09:27 | is the way to go for resizing your screen.
| | 09:30 | This track is definitely ready for a
bass part and that's our next movie.
| | Collapse this transcript |
| Tracking a virtual bass| 00:00 | So we're adding a bass to the track
that we created in the previous movie with
| | 00:04 | the guitar and a drum loop.
| | 00:05 | Well, I've decided that I want to use one of
these virtual instruments to add my bass part.
| | 00:10 | I could plug-in a bass and record some
audio, but I want to use one of these
| | 00:13 | virtual instruments that are
really cool that ship with Logic.
| | 00:16 | So I'm going to try this Liverpool Bass.
| | 00:19 | That's a pretty intriguing title and I'm
using a MIDI keyboard to play this instrument.
| | 00:24 | (Music playing.)
| | 00:32 | So I'm in tune.
| | 00:34 | I'm in the right key.
| | 00:37 | So I want to start this bass part right
where the drums start and I'm going to
| | 00:40 | give myself kind of run up to it.
| | 00:42 | So I'm going to move my guitar part
and my drums back two bars so that I can
| | 00:48 | hear a little countoff to get ready for
the part and then I'll put Logic into record.
| | 00:53 | So here are my two bars and then I can start.
| | 00:58 | (Music playing.)
| | 01:04 | Well, the problem with that
is it's technically correct.
| | 01:07 | I do have a click back
here that I can listen to.
| | 01:10 | The problem with it is it's not
getting in the groove to play this part
| | 01:14 | right off the get-go.
| | 01:15 | Now when you put Logic into
Record, you're going to get a click.
| | 01:21 | If you want to hear the click during
playback, there are some options for that.
| | 01:24 | The Click options are down
here on the right-hand corner.
| | 01:27 | You can just turn on your Click.
| | 01:30 | Typically, you don't want click during playback.
| | 01:32 | So I wouldn't hear it if I hit the
Spacebar and Play, but I will hear it if I
| | 01:36 | hit the Asterisk key and Record.
| | 01:39 | But the problem is that click is not
getting me launched into the groove to
| | 01:44 | play this bass part.
| | 01:46 | So one of my favorite things to do
is to use drums for the count off.
| | 01:49 | I'm just going to reach up to the drum part and
push this loop so that it starts at bar 1.
| | 01:55 | Later on I will worry about turning it
back so that it actually matches the guitar.
| | 01:59 | Now it's little short, so I need to
extend it a little bit. No problem.
| | 02:03 | Extend the loop little bit and now
this drum part is the right groove to get
| | 02:07 | me into the bass part.
| | 02:08 | So this track is ready to record.
| | 02:10 | I'm going to hit the asterisk key.
| | 02:11 | It's going to give me a little count
off into the drum part, launch me into the
| | 02:15 | right groove, so I can play my bass part.
| | 02:16 | (Music playing.)
| | 03:24 | Now there are a couple of
different ways to get to perfection.
| | 03:27 | I could lay down another tape, but I
like things about this one and I think I
| | 03:31 | can edit the things I don't like about this one.
| | 03:34 | But I'm just going to go
ahead and edit this one.
| | 03:35 | So I'm going to light up this region,
scroll down to Piano Roll and I can edit
| | 03:42 | this inside the Piano Roll.
| | 03:44 | There are all the notes in my bass part,
but I actually want I think to go to
| | 03:49 | the Window and have the Piano Roll be
its own separate window, because from
| | 03:54 | here on out in this movie we're going
to concentrate on editing. We don't need
| | 03:57 | to see the Arrange window.
| | 03:59 | I pull up Piano Roll and then I'll
maximize Piano Roll so that that's all we're
| | 04:04 | seeing on this window.
| | 04:05 | Now my Transport is still on effect.
| | 04:07 | So if I hit zero, I go back to the
beginning and if I use my Control+Left Arrow,
| | 04:13 | I zoom in and see a little bit more of it.
| | 04:16 | So there is my whole bass part.
| | 04:18 | If you've never seen a Piano
Roll before, over here are the keys.
| | 04:21 | (Music playing.)
| | 04:26 | So this is the pitch of a particular note and
then this is where they occur on the Timeline.
| | 04:31 | So you're basically just-- if I just
move this out of the way a minute-- you're
| | 04:35 | taking a peek inside this region,
you're looking at the data that's in there,
| | 04:39 | but you're looking at in a
real zoomed in kind of way.
| | 04:41 | All right, so what's in here?
| | 04:43 | I will Control+Right Arrow a little bit and
let's just take a look at the notes as it plays.
| | 04:48 | (Music playing.)
| | 05:03 | The different colors are
different MIDI velocities.
| | 05:07 | There is a tool for adjusting that.
| | 05:08 | If you slide up here to the upper right
-hand corner, change your arrow to the
| | 05:11 | Velocity tool and let's zoom
in just a little bit more here.
| | 05:16 | I can take a particular note and click
on it and change its velocity, not its pitch,
| | 05:22 | but its MIDI velocity.
| | 05:25 | And if I stop talking, you'll hear that
the different velocities give different
| | 05:29 | sounds of this particular instrument.
| | 05:30 | (Music playing.)
| | 05:43 | And there is a really interesting
effect on this particular patch when I push
| | 05:47 | the Velocity all over to the top.
| | 05:49 | (Music playing.)
| | 05:53 | It has a little drop off of pitch there.
| | 05:55 | (Music playing.)
| | 05:59 | So I have to go all the way to 127 to get that.
| | 06:03 | It starts about 124, 125.
| | 06:10 | So on a particular note,
| | 06:11 | I may want to have a little slide.
| | 06:13 | Well, that's ideal for
the last note of the piece.
| | 06:17 | Let's scoot on out here and have this
particular note play that little drop-off.
| | 06:28 | So let me start just a little bit before that.
| | 06:30 | (Music playing.)
| | 06:41 | Actually, on retrospect
I don't like the drop-off.
| | 06:43 | I need it to be a nice big long note.
| | 06:45 | So I'll leave that one there.
| | 06:47 | But there is probably another place
in here in my song that would benefit
| | 06:51 | from that drop-off.
| | 06:54 | Maybe the very first note.
| | 06:56 | Let's try that at bar 3.
| | 06:58 | (Music playing.)
| | 07:11 | This note would benefit from the drop-off.
| | 07:13 | (Music playing.)
| | 07:17 | I even like it better there
than I like it on the first note.
| | 07:20 | It's too busy on the first note.
| | 07:21 | (Music playing.)
| | 07:23 | So, we'll leave that there.
| | 07:24 | So that's a way to adjust
all your MIDI velocities.
| | 07:27 | Every single note has a range of
colors here that it can trigger velocities.
| | 07:31 | So I'll go back to my Pointer tool.
| | 07:34 | The other problem with this track
besides the kind of irregular MIDI velocities
| | 07:39 | is that some of these notes are a
little bit behind the beat. Some of these
| | 07:45 | I don't think I rushed really,
but I dragged a little bit.
| | 07:49 | So I'm going to select all the notes
with Command+A and then if I slide up to
| | 07:53 | this menu, I have a bunch of choices
for how I want to quantize them and that
| | 07:57 | means where they fall in relation to the beat.
| | 08:00 | If I played them a little late, I can fix them.
| | 08:02 | So this is 16-note groove.
| | 08:05 | It's regular notes, chi-chi-chi-chi
chi-chi, as opposed to a swing.
| | 08:11 | Chi-cha, chi-cha, chi-cha.
| | 08:12 | So I'm going to quantize them to the 16th note
and I see that they jump around a little bit.
| | 08:17 | Let me undo that and then redo it and
you'll see that they kind of snap to a grid.
| | 08:23 | Now let's listen to another part.
| | 08:24 | (Music playing.)
| | 08:40 | Now sometimes when it quantizes,
it pushes notes that I've meant to play
| | 08:45 | separately together and
that's the case where that happened.
| | 08:48 | So this note actually needs to
come back just a little bit. Oops!
| | 08:50 | I had all the notes selected.
| | 08:53 | Let me select this note and
move him back just a little bit.
| | 08:57 | He needs to come between that
note and that note and now he does.
| | 09:01 | So that's the kind of
editing you do in this Piano Roll.
| | 09:05 | Now if quantizing makes it just a
little too perfect for you, there is a really
| | 09:09 | cool option in Logic.
| | 09:10 | Let me just scroll up to Window > Transform.
| | 09:16 | In Transform, I'm going to select all
the notes inside bar 1 to bar 30 and apply
| | 09:24 | a humanization to them.
| | 09:26 | This just applies some random
amounts that you Select and Operate.
| | 09:32 | So let's take a listen now and see what
adding just to touch of random did to our piece.
| | 09:36 | (Music playing.)
| | 09:49 | Okay, so I sort of like the feeling that the
touch of randomness gives to this bass part.
| | 09:53 | It makes it feel a little more, well, human.
| | 09:55 | Let me close out of Humanize.
| | 09:59 | I found a note here that's a little bit
too long, so I'm going to zoom in with
| | 10:03 | my Control+Right Arrow and I just pick
up the end of this note and move it over
| | 10:08 | and make it be the right length.
| | 10:11 | So you can edit the duration of any length.
| | 10:13 | You can make it longer, drag it out,
make it shorter, push it in, and make it be
| | 10:18 | just the right length.
| | 10:20 | Now I want to take a
quick listen to my bass part.
| | 10:22 | (Music playing.)
| | 10:32 | I kind of like what Humanize did to this.
| | 10:34 | So quantizing it to get it perfect,
humanizing it just to add a touch of random.
| | 10:39 | So we're done with Piano Roll.
We've edited the bass part.
| | 10:43 | We're back to the Arrange window.
| | 10:44 | Let's take the Piano Roll out of the
Arrange window and it's time to set up a
| | 10:48 | queue and add some vocal.
| | Collapse this transcript |
| Setting up a cue| 00:00 | Now, it's time for this song to get some vocal.
| | 00:02 | So I've invited Ellen Johnson in to sing,
and I have set up a track for her to sing on.
| | 00:08 | So I will double-click the track,
and give it a name that's worthy of it.
| | 00:17 | What I've done here is open the
Inspector for this particular track so that I
| | 00:22 | can change this input.
| | 00:24 | This is going to vary depending on the
kind of audio interface that you use.
| | 00:28 | So for us, we want Input 2.
| | 00:30 | So now I'll close that again and the
important concept to remember when you're
| | 00:36 | setting up a cue is that what you send
to the singer or the guitar player or the
| | 00:41 | sax player or whatever musician you're
working with can really influence the
| | 00:46 | performance that you get back.
| | 00:48 | So when you're working with singers
try and send them enough pitch for them
| | 00:52 | to lock in the pitch.
| | 00:53 | If you send them all the cool drum
parts, you may not give them enough pitch
| | 00:57 | information for them to lock in the
pitch and give you a great performance.
| | 01:01 | So what I am going to do now is run this
track for Ellen and see what she thinks
| | 01:06 | she needs to be able to
deliver a good performance.
| | 01:10 | So I've turned on the Input Monitoring
and the Record for this track, and now
| | 01:17 | I am just going to play.
| | 01:18 | (Music playing.)
| | 01:31 | So Ellen, what you think?
| | 01:32 | Is there something I can give you
that will help your performance?
| | 01:35 | More guitar, more drums,
less bass, anything like that?
| | 01:39 | Ellen Johnson: Well, as you said previously,
it helps to get the reference of the instruments.
| | 01:43 | So if you could give me a little
bit more guitar that would be helpful.
| | 01:46 | Joe: All right. So that probably
means I want to pull down the drums.
| | 01:49 | Let me switch to that track and
pull the drums down a little bit.
| | 01:53 | I am going to take them way down
and you tell me if that's too much.
| | 01:56 | Then I'll switch to the bass and pull
the bass way down and let's play it from
| | 02:05 | here and see if this is a
better cue for you.
| | 02:08 | (Music plays.)
| | 02:20 | Ellen: Yes, I like that.
That works for me.
| | 02:22 | Let me just check my overall levels, seems good.
| | 02:25 | So this particular track I'm printing
you on has a little bit of EQ, a little
| | 02:33 | bit of Compression, a little bit of
Limiter and a little bit of Chorusing on it.
| | 02:37 | It also has some Reverbs in on it,
so vocalize for me a little bit.
| | 02:42 | Let me change the Reverb setting and
see if this is helping you or if you want
| | 02:46 | a little less of it.
| | 02:48 | So go ahead and sing and I'll change this.
| | 02:50 | You tell me it's better or worse.
| | 02:51 | Ellen: Okay.
| | 02:52 | Ellen singing: Let's build
a new world and fill it.
| | 03:00 | I think there is maybe a
little bit too much reverb. Okay.
| | 03:03 | Joe: Let me pull it down here.
| | 03:04 | How's that for you now?
Just start acapella.
| | 03:06 | Ellen singing: Let's build a new world.
| | 03:09 | Ellen: Yeah, I think that should work better.
| | 03:11 | Joe: Okay. Great!
| | 03:11 | So we've got our cue set up.
| | 03:15 | The important concept here is to send
the singer or the sax player or whoever
| | 03:19 | you working with the information they
need to give you a good performance.
| | 03:23 | You can always change all these levels later.
| | 03:26 | In fact, you will change all these levels later.
| | 03:28 | This is about shaping the
performance that you need from the musician
| | 03:32 | you're working with.
| | 03:33 | So now it's time to print the vocal.
| | Collapse this transcript |
| Recording the vocal| 00:00 | All right, so we've built this track.
| | 00:02 | We started with a couple of loops, we
have added a base part, we have set up the
| | 00:05 | cue and now it's time to print the vocal.
| | 00:08 | Well, we're writing audio and Logic needs
to know, where we want to write our audio to.
| | 00:12 | I am going to go down to the Record
button and right-click on it and at the
| | 00:18 | bottom of this list is Record Settings.
| | 00:21 | At the bottom of this page is a place to
put audio that's being recorded in core audio.
| | 00:27 | Well, that includes the
FireWire interface that we're using.
| | 00:30 | So there's no recording path.
| | 00:32 | This is something you basically do the
first time you launch Logic and start recording.
| | 00:37 | I am going to set it.
| | 00:38 | I am going to point it to the Desktop, the
exercise files, chapter 04, pop song, Audio Files.
| | 00:47 | It will live in there with my
popsongdrums loop and my popsonggtr loop and Choose.
| | 00:54 | Now you may want to change
this from project-to-project.
| | 00:57 | I don't want everything I ever do to go in
exercise files, chapter 04, pop song, Audio Files.
| | 01:03 | So change this as you need to
for the projects you're working on.
| | 01:07 | So I can close out of this window and,
now it really is time to do the vocal.
| | 01:11 | So we'll do a few takes with that one.
| | 01:17 | (Music playing.)
| | 01:21 | (Woman singing: Let's build a new world,
world, filled with hope instead of greed.)
| | 01:39 | (Woman singing: Working together.
That's how we'll succeed.)
| | 01:53 | (Music playing.)
| | 02:04 | (Woman singing: Working together.
That's how we'll succeed.)
| | 02:21 | Cool, nice job.
| | 02:22 | Let me back up to the beginning.
| | 02:24 | Now we're going to keep that,
but we want to try another one.
| | 02:27 | It's already given us the
name of the track and 01.
| | 02:32 | So we're good with that.
| | 02:33 | Let's talk about the options here.
| | 02:35 | If I light up this track and I delete it,
Logic asked me, look, are you sure you
| | 02:40 | want to delete this from
your disk? I can't undo this.
| | 02:43 | Are you sure?
| | 02:44 | And I don't want to
delete it. I want to keep it.
| | 02:48 | This is the window that lets me choose
whether I want to delete it from the
| | 02:51 | project or just delete it from the Timeline.
| | 02:54 | So keep means keep it in the audio
bin, take it out of the Timeline.
| | 03:00 | Now I have a clean slate.
| | 03:01 | I am ready to record a second take.
| | 03:03 | Ellen, can I get you at the end to do that sort of
too-ooo-oo sort of in the hole there of the guitar.
| | 03:12 | I am looking for kind of a little
signature thing towards the end.
| | 03:15 | I love what you're doing in the beginning.
| | 03:17 | Let's just get another one with maybe
just a little more at the end there.
| | 03:21 | Ellen: Okay. .
| | 03:22 | Joe: Great. Here it goes.
| | 03:23 | (Music playing.)
| | 03:31 | (Woman singing: Let's build a new world.
Filled with hope instead of greed.)
| | 03:45 | (Music playing.)
| | 03:48 | (Woman singing: Working together.
Well, that's how we'll succeed.)
| | 04:03 | (Music playing.)
| | 04:13 | (Woman singing: Working together.
That's how we'll succeed?)
| | 04:23 | (Music playing.)
| | 04:30 | Cool, great ending.
| | 04:31 | Let's do one more now that
you've sort of locked in a little bit.
| | 04:36 | If I had to, because Ellen's vocal
starts a little bit after the guitar,
| | 04:42 | she doesn't need a pitch
reference right off the top.
| | 04:44 | But if I had to, I'd probably peel this
little guitar chord right off the back
| | 04:49 | of here and put it out here at the top.
| | 04:52 | The other thing I could do is just fire
up an electric piano, lay down a pitch
| | 04:56 | reference right out here in the front.
| | 04:58 | Just remember that you can put parts
anywhere you want them on the Timeline,
| | 05:01 | because you can always move
them later to make them line up.
| | 05:04 | So again, I am going to delete this from
the Timeline, keep it in the audio bin,
| | 05:09 | say OK and print a new track.
| | 05:11 | (Music playing.)
| | 05:19 | (Woman singing: Let's build a new world.
Filled with hope instead of greed.)
| | 05:27 | All right, let's stop that one
because it got a little pitchy right there.
| | 05:31 | This time we'll delete it and we do want to
delete it, so we'll say OK. It's gone forever.
| | 05:36 | Here is our new one.
| | 05:37 | (Music playing.)
| | 05:45 | (Woman singing: Let's build a new world...)
| | 05:56 | I like a lot of the stuff you did there.
| | 05:59 | I do want to get a new
approach to the ending though.
| | 06:02 | So let's not do a whole new track.
| | 06:04 | Let's delete this from the Timeline,
keep it in the audio bin, say OK.
| | 06:09 | Let's just go in right in here.
| | 06:11 | I am going to drag up here, in the
Timeline, because we are just going to punch
| | 06:15 | in this one little area right here.
| | 06:18 | So let me try and give you
this much run-up to this. So.
| | 06:21 | (Music playing.)
| | 06:33 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 06:38 | Cool! I love the way it ends now.
| | 06:39 | So now we've got some
creative options to explore.
| | 06:42 | We've got three really good takes and
a couple of little pieces we can edit.
| | 06:46 | So the next movie, we're going to
take all that and try and comp a vocal.
| | 06:49 | Find the best of each performance and
string it together and see what we can
| | 06:53 | really make out of this.
| | Collapse this transcript |
| Comping the vocal| 00:00 | We've got three nice performances
of this song from top to bottom.
| | 00:04 | Different interpretations, different
phrasing and now it's time to pick our
| | 00:07 | favorite things about each performance,
put them together into one nice lead
| | 00:11 | vocal from top to bottom.
| | 00:12 | I want to show you that if you have
Cycle Record on, which we did to pick up
| | 00:16 | this little tag here at the end, that
if you press the 0 key you'll go back to
| | 00:21 | the beginning of the cycle.
| | 00:22 | If you take cycle off, press the 0
key, you'll go back to the beginning.
| | 00:27 | So just in case that happens to you.
| | 00:28 | That's what's going on.
| | 00:29 | I am going to take this Ellen vocal
tag and I am just going to remove it from
| | 00:33 | the Timeline because we'll punch it
in later, but we want to keep it in our
| | 00:37 | audio bin but we don't want
it in the timeline for now.
| | 00:40 | Ellen vocal track is still listening to
input, so we're going to take that off,
| | 00:45 | because at this point we're
just concerned with playback.
| | 00:48 | This track has some nice plug-ins on
it. This came with the preset and we
| | 00:53 | initially pulled up our template.
| | 00:55 | And I want every track that contains an
Ellen vocal to have these same presets
| | 00:59 | on it, so we're comparing apples and apples.
| | 01:01 | So I am going to light up the Ellen
vocal track, and this button up here lets
| | 01:05 | you create a new track with duplicate settings.
| | 01:09 | So I have three vocals and
I am going to make a comp.
| | 01:12 | So that means I need three more of these.
| | 01:14 | So click once, click twice, click three times.
| | 01:18 | Now I have four tracks to hold my vocals.
| | 01:21 | You can and should name tracks,
so that you know what's on there.
| | 01:24 | So I'll call this one Ellen
vocal 1. All I did for that was to
| | 01:28 | double-click right on the title.
| | 01:31 | We'll call this one Ellen vocal 2.
| | 01:35 | We'll call this one Ellen vocal 17, no
just kidding, 3 and we'll call this one
| | 01:45 | Ellen vocal comp, and I might even want
to put a star or two out here just so I
| | 01:54 | know that that's the star vocal.
| | 01:56 | Well now let's go find the audio
files that are going to populate these
| | 01:59 | tracks that we just made.
| | 02:01 | Now, we could go over to the Media button,
click it and find our audio files in the browser.
| | 02:08 | I am going to close that button.
| | 02:10 | My favorite way to do it is from the,
this is kind of old-school Logic, but I go
| | 02:14 | to the audio bin and that pulls up a
window with my Ellen vocal#01, 02 and 03. Oops!
| | 02:21 | Not 03, 04 that's because 03 was that
pitchy one that we threw away, and when
| | 02:27 | we threw it away from the Timeline, we told
Logic throw it away from the audio files too.
| | 02:31 | So we're not going to keep it at all.
| | 02:32 | So I have 01. I will pick
it up and drag it into 01.
| | 02:37 | Now where does it start?
| | 02:38 | Does it start where the guitar
starts on bar 3 or does it start where the
| | 02:43 | song starts on bar 1?
| | 02:44 | Well, let's investigate.
| | 02:45 | Let's drop it on bar 3 and then, we'll listen.
| | 02:49 | (Music playing.)
| | 02:53 | (Woman singing: Let's build a new?)
| | 02:57 | All right, so right away we know that
I pressed Record on bar 1 and that's
| | 03:01 | where this audio track started recording.
| | 03:04 | So it needs to start at bar 1 in order
for this vocal part that happens at bar 3
| | 03:09 | to happen with the guitar. Now let's listen.
| | 03:12 | (Music playing.)
(Woman singing: Let's build a new?)
| | 03:15 | Okay, cool!
| | 03:16 | Now let's go back to the Audio Bin and
bring Ellen vocal #02 in and we'll put it
| | 03:23 | right next to #01 and #04 goes in the
slot for #03 and this is going to be all
| | 03:29 | the pieces of 1, 2 and 3 put together.
| | 03:32 | So we're done with this
window. We can close this.
| | 03:36 | And let's trim up these regions so
that they actually start at bar 3.
| | 03:40 | I am just grabbing on the left side of
the region, getting the trimmer, taking
| | 03:45 | off the first two bars of dead air.
| | 03:48 | Now, I have three choices.
| | 03:50 | Now my drums start two bars before
everything else starts and I don't really want that.
| | 03:54 | So I'll pick up this region
and push it back to bar 3.
| | 03:59 | Now, everything starts together.
| | 04:01 | Well, it starts at Bar 3.
| | 04:02 | I really would like it to start at bar 1.
| | 04:05 | So I'll select all, Command+A, and then just
push all the regions over to start at bar 1.
| | 04:12 | Now, when I start the sequence.
| | 04:15 | (Woman singing: Let's build,
let's build, let's build a new?)
| | 04:19 | Oh! Three Ellens.
| | 04:20 | Okay, now there are things about
number 1, things about number 2 and things
| | 04:23 | about number 4 that we like.
| | 04:25 | There are things about 1,
2 and 4 that we don't like.
| | 04:27 | So now, it's picking the things we
want, turning them into the comp.
| | 04:31 | I've already listened to the first line of
the song for 01 and I am not crazy about it.
| | 04:37 | So I am going to mute 01, mute 03 and
take a listen to line 1 of Ellen vocal#02.
| | 04:43 | (Music playing.)
| | 04:44 | (Woman singing: Let's build a new world.)
| | 04:51 | Now first of all, I want to take
Ellen's vocal and bring its volume down.
| | 04:56 | It's really kind of drowning out
the guitar a little bit. How much?
| | 05:01 | I am doing this by ear.
| | 05:03 | (Music playing.)
| | 05:04 | (Woman singing: Filled
with hope instead of greed.)
| | 05:10 | Now I still have the cue going
from when Ellen did her tracking.
| | 05:14 | So my bass is buried.
| | 05:15 | So I am going to click on the bass and
this is a really handy command to launch.
| | 05:20 | If you hold down the Option key and click, snap.
| | 05:23 | It goes back to 0 for volume.
| | 05:25 | So let's check the bass level now.
| | 05:27 | (Music playing.)
| | 05:31 | (Music playing.)
| | 05:35 | (Woman singing: Working together.)
| | 05:39 | That's getting there.
| | 05:39 | And now, let's bring our drums back in,
because she asked for those to be softer.
| | 05:43 | Clicking on drum loop.
| | 05:45 | Its volume is way down.
| | 05:46 | Let's Option+click set it back to 0.
| | 05:49 | I think it's going to be too loud at 0.
| | 05:50 | Let's start maybe down up around -3.
| | 05:53 | (Music playing.)
(Woman singing: That's how we'll succeed.)
| | 05:59 | Well, actually 0 is not a bad place to start.
| | 06:02 | I think we're going to replace this
drum loop as we go along, but let's work on
| | 06:06 | the vocal right now.
| | 06:07 | I like her delivery on number 2.
| | 06:09 | Let's see if number 3 beats it.
| | 06:12 | (Music playing.)
| | 06:13 | (Woman singing: Let's build--)
| | 06:15 | No, I don't like the high opening.
| | 06:17 | It's just kind of too much of a shot.
| | 06:20 | Nice opening on number 2.
| | 06:21 | So our job is to take this line out of
this region and bring it down here, and
| | 06:28 | make it part of the comp.
| | 06:29 | That's our selection process.
| | 06:31 | There's a handy tool for that.
| | 06:32 | I am going to run-up to the
Tools and use the Scissors.
| | 06:36 | And I'll just click in here between
the first line of the song and the second
| | 06:40 | line of the song and make an edit.
| | 06:42 | Now I'll jump back up to the Pointer
tool and again, I am going to Option, hold
| | 06:48 | down the Option key and drag this down,
make a clone of it down on this track.
| | 06:53 | So this is the first line of my comp vocal.
| | 06:56 | (Music playing.)
| | 06:57 | (Woman singing: Let's build a new world...)
| | 07:03 | Now, I did change the volume for Ellen vocal 2.
| | 07:07 | I didn't change the volume for Ellen
vocal comp yet, and it's going to want to
| | 07:11 | be maybe somewhere down in
this area, just to get us started.
| | 07:15 | Let's move to line 2.
| | 07:17 | Let's listen to track 1 first. We'll mute this.
| | 07:20 | (Woman singing: ?world.
Filled with hope instead of greed.)
| | 07:27 | Okay. That's number 1. Here is number 2.
| | 07:31 | (Woman singing: Filled with hope instead of greed.)
| | 07:37 | That's pretty promising.
| | 07:38 | Let's check out number 3.
| | 07:39 | (Music playing.)
| | 07:41 | (Woman singing: Filled with hope instead of greed.)
| | 07:46 | I think I like number 3 for the second line.
| | 07:49 | I am going to go to the Scissors
tool again, chop it here, chop it here.
| | 07:54 | You notice that the cuts are
snapping to the grid and that's what we want
| | 07:57 | here with the vocal.
| | 07:58 | We don't want a lot of loose
little pieces floating around.
| | 08:01 | So I'll jump in here, change to the
Pointer tool, Option-drag this down and now
| | 08:07 | I've got the first line from
performance 2, the second line from performance 3.
| | 08:12 | Well I've got a little
homework assignment for you.
| | 08:14 | Between now and the next movie, go
through these three vocals, pick the lines
| | 08:19 | you like from each of the three, use
your Scissor tool to chop them, Option
| | 08:23 | drag them to the comp and you'll have line 1,
line 2, line 3 all the way to the end of the song.
| | 08:29 | When you get them all, the easiest way
is to just sort of lasso them like this
| | 08:34 | and you want to merge them together.
| | 08:36 | So I've lassoed them.
| | 08:38 | The equals key is what merges them
together and when I merge, Logic says I am
| | 08:44 | going to create a new audio file
from these things you've selected.
| | 08:47 | And you say Create.
| | 08:49 | Now your merged comp will
be longer than this piece.
| | 08:52 | So when you've selected all the lines,
you'll have a merged comp that's from top
| | 08:56 | to bottom and we'll call it the comp.
| | 08:59 | Go to the Text tool, click on your
merged vocal, and we'll call this Ellen comp
| | 09:07 | and that's your comp.
| | 09:11 | The track tells you so, the region
tells you so and that's the process of
| | 09:15 | comping a vocal in Logic.
| | 09:17 | And this is the same process you should
go through in comping multiple takes of
| | 09:20 | a guitar solo or a sax solo or
anything else that you record in Logic.
| | 09:24 | So that's the process of comping in Logic.
| | Collapse this transcript |
| Tracking a live instrument| 00:00 | Okay, well now we've comped our vocal and
let's take listen to where we're at now.
| | 00:04 | (Music playing.)
| | 00:06 | (Woman singing: Let's build a new world,
filled with hope instead of greed.)
| | 00:20 | I am feeling like it needs another
texture in here and maybe it's an
| | 00:25 | electric guitar part.
| | 00:26 | So this chapter is all about how
to track live instruments in Logic.
| | 00:30 | So let's track a live guitar
so you can see that process.
| | 00:34 | So up here at the top, I have a
place to put my electric guitar.
| | 00:38 | I am already strapped in, wired up,
so I am going to Record Arm this track.
| | 00:44 | Turn up my volume and--
| | 00:45 | (Music playing.)
| | 00:54 | Well this sound is not inspiring me at all.
| | 00:56 | There is really nothing mellow about this.
| | 00:58 | So let's go find a better sound for
this part, because again the sound that I
| | 01:03 | hear in my cue is going to
influence the way I perform.
| | 01:06 | So let me jump out here to the
Inspector and we'll use a Channel Strip for
| | 01:12 | my electric guitar.
| | 01:14 | So right now we're somewhere in
here. We're in this Clean (Dry) area.
| | 01:18 | Let's try-- Wire Brush sounds sort
of interesting. Let's try that.
| | 01:23 | (Music playing.)
| | 01:30 | Well, not for this song.
| | 01:32 | So we're going to keep looking.
| | 01:34 | So one of the cool sounds I found was down
here in this MainStage Guitar Rigs, okay.
| | 01:41 | These are for sort of doing live and then we
could argue that this is kind of a live thing.
| | 01:46 | So there are a bunch of different
parameters here. I am going to Rock Guitar and
| | 01:51 | looking through this list, I'll just
pick Pop Session and looking through this list,
| | 01:56 | I'll just pick Hot Amp. See what we get.
| | 01:59 | (Music playing.)
| | 02:09 | So some of that reverb that Ellen wasn't
crazy about I might like on this guitar.
| | 02:14 | Let's put just a bit of reverb on it.
| | 02:16 | (Music playing.)
| | 02:21 | Just a bit more, just
clicking and pushing this up.
| | 02:24 | That's my Bus end, which is my reverb.
| | 02:26 | (Music playing.)
| | 02:31 | Just a bit more and I think I am ready to track.
| | 02:33 | (Music playing.)
| | 02:36 | All right, now it's swimming
in reverb. Now that's too much.
| | 02:39 | So maybe about there.
| | 02:40 | Let's give this a try.
| | 02:42 | I'm probably not going to come in at
the beginning, so I don't need to count off.
| | 02:46 | I don't need to move my tracks around.
| | 02:48 | I am not sure what I am going to play yet.
| | 02:50 | (Music playing.)
| | 02:54 | (Woman singing: Let's build a new world,
filled with hope instead of greed.)
| | 03:11 | (Woman singing: Working together.
That's how we'll succeed.)
| | 03:25 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 03:36 | (Woman singing: Working together.
That's how we'll succeed.)
| | 03:45 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 03:51 | All right. I kind of know
my way around the part now.
| | 03:55 | There's nothing really
there that I want to keep.
| | 03:57 | I am going to switch to my Pointer tool.
| | 03:59 | I am going to keep that in the
Audio Bin, but not in the Timeline.
| | 04:04 | Now that I know my way around the song
a little bit, let's try and do a better one.
| | 04:09 | (Music playing.)
| | 04:11 | (Woman singing: Let's build a new world.
Filled with hope instead of greed.)
| | 04:28 | (Woman singing: Working together.
Well, that's how we'll succeed.)
| | 04:42 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 04:53 | (Woman singing: Working together.
That's how we'll succeed?)
| | 05:02 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 05:10 | And we still need to fix
the drums there at the end.
| | 05:12 | Let me make that loop happen at
the cut-off there at the end.
| | 05:17 | Let's check that ending again.
| | 05:19 | (Woman singing: ?succeed. Ooo-ooooo-oo-oo.)
| | 05:28 | All right. Nice guitar
sound. I like this one.
| | 05:30 | I am keeping that.
| | 05:31 | So if you need to record a live
instrument, if you're feeling like it needs just
| | 05:35 | one more part, it's that easy to do.
| | 05:37 | Just use a track, get your volume set up,
find a cool sound that inspires you,
| | 05:42 | hit Record and print it onto Logic.
| | Collapse this transcript |
| Arranging the song| 00:00 | Okay, in this movie we're going to look
at some options for arranging the song.
| | 00:04 | I am still feeling like
it needs a better groove.
| | 00:06 | This drum loop that's here,
I am going to solo this track.
| | 00:09 | (Music playing.)
| | 00:13 | It's not quite as aggressive
for where this song wound up.
| | 00:17 | So I am going to explore
another option for drum loop for this.
| | 00:20 | So I am going to look in here, look in my loops.
| | 00:24 | There is one that I found
the other day, pop ultra.
| | 00:31 | And this was pretty cool.
| | 00:32 | Let's take a listen.
| | 00:33 | (Music playing.)
| | 00:40 | Now the fact that there isn't a real
syncopated kick here I think works in
| | 00:43 | our favor, because I've got a pretty
syncopated baseline. If I had like a really heavy kick,
| | 00:51 | I think it would kind of interfere
with that syncopated baseline and I am
| | 00:55 | sort of liking that now.
| | 00:56 | So I am going to drag Pop
Ultra Remix into an audio track.
| | 01:01 | This one is empty, doesn't have
anything in it and it's just a little two bar
| | 01:04 | phrase and let's give it pop ultra beat.
| | 01:10 | Let's give it a nice name.
| | 01:12 | Let's move it up here. We're going to
grab right on the number 14 with our hand,
| | 01:17 | push and slide it up here
next to the other drums.
| | 01:21 | So you'll find in organizing your
song that you'll want to keep things together
| | 01:28 | like these two guitar
parts sort of belong together.
| | 01:31 | These drums kind of belong together.
| | 01:33 | This bass probably ought to be up here
near the drums. These vocals belong together.
| | 01:39 | Lay Logic out the way it makes sense for you.
| | 01:41 | If you want your vocals on top,
that makes a lot of sense.
| | 01:44 | I happened to put my guitars on top
but there's no reason why you couldn't
| | 01:48 | put your vocals on top.
| | 01:49 | So let me check and see if this
loop is working with the groove.
| | 01:52 | (Music playing.)
| | 01:54 | (Woman singing: Let's build a new?)
| | 01:57 | All right. Well, it's a pretty heavy kick.
| | 02:00 | We may be able to handle that in mixing.
| | 02:01 | So I am going to leave that there for
the moment and explore another piece that
| | 02:07 | I feel like it's missing.
| | 02:08 | Maybe just kind of a world-beat
element, maybe something like a shaker.
| | 02:12 | We search for shaker.
| | 02:17 | Maybe one of these.
| | 02:18 | (Music playing.)
| | 02:25 | Hmmm. Getting there.
| | 02:27 | (Music playing.)
| | 02:41 | Let's see how that lays in the track.
| | 02:42 | (Music playing.)
| | 02:47 | So I am going to pick it up and drag it to
a blank region. There's no track down here.
| | 02:53 | Just going to bring it in and then I'll
name it, double-click and call it shaker
| | 03:01 | and grab on 15 and let's put it up here
with our percussion elements, under the
| | 03:06 | drums before the bass.
| | 03:08 | And I think we're done with
our loop library for the moment.
| | 03:12 | I'll just close that up, push it out to
the side, and let's have these loops go
| | 03:19 | out to the end of the song.
| | 03:22 | Actually, I think I am done with
the left side too with the Inspector.
| | 03:25 | Hit zero, take me back to the
beginning and push this out.
| | 03:31 | Now actually I want these to end I
suppose right there where that guitar hits.
| | 03:35 | Let's check out our groove now.
| | 03:37 | (Music playing.)
| | 03:38 | (Woman singing: Let's build a new world.
Filled with hope instead of greed.)
| | 03:55 | (Woman singing: Working together...)
| | 04:00 | All right. So that's getting there.
| | 04:01 | I don't want this groove to start with that
kind of leading myself into it creatively.
| | 04:06 | So again, I am going to select all.
| | 04:09 | That's every region in the timeline,
give myself a 4-bar intro, just push
| | 04:14 | everything back 4 bars.
| | 04:16 | I kind of have an idea that I want
to try the first four bars of this
| | 04:20 | guitar part by themselves.
| | 04:23 | So I am going to go into my Scissor tool.
| | 04:26 | I am going to click, not all the
regions, just the guitar and Option+Drag
| | 04:34 | the first four bars of the guitar
part over to the left, so that the song
| | 04:38 | starts like this now.
| | 04:39 | (Music playing.)
| | 04:49 | (Woman singing: Let's build a new world?)
| | 04:55 | All right, this pop ultra
beat is making me crazy.
| | 04:58 | It is just a little too heavy.
| | 04:59 | Let's bring its volume down. Pop ultra beat.
| | 05:03 | Let's bring him down to maybe there.
| | 05:04 | (Woman singing: ?world. Filled with hope instead of greed.)
| | 05:17 | Well, we know how the rest of the song goes.
| | 05:19 | The key to it was taking this guitar
part, taking those four bars and arranging
| | 05:25 | the song by copying those four
bars and putting them out in front.
| | 05:28 | (Music playing.)
| | 05:34 | Now maybe our shaker can join them out front.
| | 05:37 | If I just drag this loop out here, it
should be-- I am going to check my ending. Ah!
| | 05:42 | It did make it a little shorter.
| | 05:43 | No problem. We'll extend it back out.
| | 05:45 | (Music playing.)
| | 05:57 | Now it turns out that these drum kits
that came with my template, a long-long time ago,
| | 06:01 | there's some nice tom-toms on here.
| | 06:03 | (Music playing.)
| | 06:07 | Playing these with a MIDI keyboard.
| | 06:08 | Let me check the other kit.
| | 06:09 | (Music playing.)
| | 06:12 | Maybe little tom fill into the vocal,
into the guitar part. Let's add that.
| | 06:19 | (Music playing.)
| | 06:29 | (Woman singing: Let's build?)
| | 06:30 | Let's check that out.
| | 06:31 | (Music playing.)
| | 06:42 | It's close, not digging the
groove just yet. Maybe a cymbal.
| | 06:46 | (tsk-tsk. Cymbal crash.)
| | 06:48 | Let's try that.
| | 06:49 | (Music playing.)
| | 07:01 | (Woman singing: Let's build...)
| | 07:03 | All right. So now we've got a nice guitar and
shaker and tom-tom fill into our groove.
| | 07:09 | I hope that gives you some options for
how to think about the timeline as far
| | 07:13 | as crafting your song.
| | 07:15 | Don't feel like because something
started at bar 1 it has to live at bar 1.
| | 07:19 | You can move things around in creative ways
to try different arrangements of your song.
| | 07:24 | Next, we want to take all these
sounds that we've created and shape them a
| | 07:28 | little bit into a nice mix and
then we're ready to balance this out.
| | Collapse this transcript |
| Understanding the Mix window| 00:00 | When we are working in the Arrange
window, we layout the tracks in a way that
| | 00:03 | makes the most sense from
a musical point of view.
| | 00:06 | We may want to put the track we are
working on on the top, or keep all the
| | 00:10 | guitars together, choices like that.
| | 00:12 | When we move to mixing, there's no need
to feel constrained by the layout that
| | 00:16 | we use to construct the song.
| | 00:18 | So here are a couple of options for
you for how to set up the Mix window.
| | 00:21 | When you open the Mix window, the command
for that is Command+2. And if your mixer
| | 00:27 | is not full-screen, just click on the
plus key, the green button, to maximize it.
| | 00:33 | When you open the Mix window, all your
tracks are there and they're in the same
| | 00:37 | order as they were in the Arrange window,
except instead of top to bottom, now
| | 00:41 | they're left to right.
| | 00:42 | All right, let's go back to the
Arrange window and move the tracks around.
| | 00:46 | Let's put the tracks that comprise
the groove of the song on the top.
| | 00:50 | That would be the heavy drum loop, just
push to the top, the lighter drum loop.
| | 00:59 | The shaker, this tom fill, the bass
underneath that, and I've got two tracks
| | 01:10 | I'm not using at all. Studio Brush Kit, we'll
delete that, and Subby Bass, we delete that.
| | 01:16 | And I'll put the comp vocal right
next to the acoustic guitar strumming.
| | 01:21 | Now, switching back to the Mix window,
what I've done is lay things out left to
| | 01:28 | right from heavy to light, or
I suppose you could say from groove to melodic.
| | 01:33 | And if the song is feeling a little
heavy to me, then I know to give a little
| | 01:37 | less emphasis in the mix
to stuff here on the left.
| | 01:41 | Well that's Concept 1.
| | 01:43 | Concept 2 is to think of this mix
like you might construct a photo.
| | 01:47 | You want the subject of your photo to
be the focal point and then there are
| | 01:50 | supporting elements that
comprise the depth of field.
| | 01:54 | So in that case, we'll switch back to
the Arrange window and let's put the vocal
| | 02:00 | on the top. That's our most
important thing in this song.
| | 02:03 | The heavy drumbeat probably is
the next most important thing.
| | 02:07 | This guitar part is probably
the next most important thing.
| | 02:11 | The bass part is probably
the next most important thing.
| | 02:16 | The other drum loop is probably the
next most important thing followed by the
| | 02:20 | shaker part, and this guitar part
arguably could come in maybe next to the bass.
| | 02:28 | So now we have kind of laid out the
tracks in their order of importance.
| | 02:32 | And if I go back to the Mix window,
I see that the really important things in
| | 02:37 | my song are over here on the left, and
it's not that these pieces of the mix
| | 02:42 | aren't important. They are just not as
critical to the mix as the lead vocal and the groove.
| | 02:47 | So in this case, the stuff on the
left is going want to be louder than the
| | 02:51 | stuff on the right.
| | 02:52 | Now there are all sorts of
ways to lay out your tracks.
| | 02:55 | But I hope this movie showed you that
the Mix window is flexible and lets you
| | 02:58 | customize the order for
the way that works for you.
| | 03:01 | So now that we have looked at some
options for laying out the tracks,
| | 03:05 | let's mix the song.
| | Collapse this transcript |
| Mixing the song| 00:00 | Well, this idea is starting to take shape.
| | 00:02 | There are a few things I
feel like I want to add to it.
| | 00:05 | Maybe a cymbal crash.
| | 00:06 | Maybe another drum fill.
| | 00:08 | Maybe something ethereal when it goes
to the 5 chord there halfway through.
| | 00:12 | But I want to do a mix of where I am
right now so that I can walk around with it
| | 00:17 | for a couple of days and try and get some new
ideas before I come back to it. So let's do that!
| | 00:22 | Now, in this movie we're going to
look at some options for mixing.
| | 00:25 | There's a chapter devoted to mixing
where we talk about automation and Aux-ins
| | 00:29 | and that sort of thing.
| | 00:30 | But for now, we're just basically going to
set some EQs, set some levels and mix this out.
| | 00:36 | So one thing that's been bothering me
about this big drum loop that we added is
| | 00:40 | it's really pretty heavy for this song.
| | 00:42 | So I am going to jump back into the
Arrange Window and turn on a cycle, just a
| | 00:48 | four bar cycle, from bar five to bar nine.
| | 00:51 | Verify it down here in the Transport.
| | 00:53 | That's what it's going to play, from bar
five to bar nine, and then jump back to
| | 00:57 | the Mixer and listen to -
| | 01:00 | (Music playing.)
| | 01:02 | (Woman singing: Let's build a new world.)
| | 01:07 | I am going to click on this
Solo button for that track.
| | 01:12 | Now I've isolated that
drumbeat from all the other stuff.
| | 01:15 | (Drum beat.)
| | 01:19 | I am going to the top of that track,
double-click where it says EQ and actually
| | 01:24 | insert the EQ for it.
| | 01:28 | So this is a way for me to adjust
multiple parameters of the frequencies from 20
| | 01:34 | Hz on the low side to 20 K on the top side.
| | 01:40 | Now, there are some
really cool presets in this EQ.
| | 01:43 | If you're not exactly sure what to
start moving, click up here where it says
| | 01:49 | Default and slide down and you will
have a lot of choices to make here.
| | 01:55 | If you want a punch up the kick of a
particular sound- now that actually did
| | 02:01 | the opposite of what I wanted.
| | 02:02 | It brought the kick up.
| | 02:02 | But you have Snare EQs, all kinds
stuff for drums, lots of other things.
| | 02:11 | I am just going to go down to EQ Tools,
slide down and I want to cut some of the
| | 02:15 | bottom out of this loop.
| | 02:17 | So I am going to do a low cut and I am
going to actually widen out the amount of
| | 02:28 | low that I take out of this and
I can thin it out to almost nothing.
| | 02:36 | Keeping the top of the loop, but I have
taken all that thud out of the bottom of it.
| | 02:42 | Now, I want a little bit of the thud back.
| | 02:43 | I am going to bring this back.
| | 02:53 | And all I am doing to change the
frequency here is clicking and dragging
| | 02:57 | up-and-down on the Frequency parameter.
| | 03:02 | So I like it at about 100 and now let's
hear in context. We'll un-solo the drum
| | 03:07 | loop and listen to the first four bars.
| | 03:09 | (Music playing.)
| | 03:10 | (Woman singing: ?new world.
Let's build a new world.)
| | 03:24 | I am going to mute the vocal.
| | 03:25 | (Music playing.)
| | 03:33 | Bring up the bass a bit.
| | 03:35 | (Music playing.)
| | 03:42 | See how much of this drum loop I
want. This is the lighter drum loop.
| | 03:48 | (Music playing.)
| | 03:52 | Seems pretty happy where it is.
| | 03:54 | (Music playing.)
| | 04:02 | All right, I am going to stop just for
a moment so I can make the point that a
| | 04:05 | lot of times we do what's
called mixing on the fly.
| | 04:08 | In the very, very old days we would
track, track, track, track, track and then
| | 04:12 | mix, mix, mix, mix, mix and now
there's a lot more back and forth.
| | 04:16 | We set the Reverb level on
the guitar when we tracked it.
| | 04:19 | We didn't track it dry and then add it later.
| | 04:21 | I think you'll find that
you'll work like that a lot.
| | 04:24 | So we actually have about the
right amount of reverb on this guitar.
| | 04:28 | I am going to pull it down just a
smidgen from where we tracked it.
| | 04:31 | But it's feeling okay to me.
| | 04:33 | Let me hear this groove again.
| | 04:34 | (Music playing.)
| | 04:54 | Now we're going to solo the vocal and see if
there's things we can do to finesse the vocal.
| | 04:59 | (Woman singing: Let's build a new world.)
| | 05:08 | I think I want to double-click on this
Channel EQ and let's use one of those
| | 05:13 | presets Voice > Female Vox,
just to try and brighten up.
| | 05:19 | This is in the frequency from 500 cycles up
to 20K and it's brightening by 2, 5, a few dB.
| | 05:27 | That's not very much.
| | 05:29 | Let's see if it adds something to this vocal.
| | 05:31 | (Woman singing: Let's build a new world.)
| | 05:39 | Now, I am going to bring up at
5600, which is not a magic number.
| | 05:43 | It could be anywhere in this 5000 range.
| | 05:45 | I am going to bring it up
just a bit more just to show you.
| | 05:48 | Let's go to maybe 9 dB.
| | 05:51 | I am just clicking and pushing on the
dB parameter of these three parameters.
| | 05:56 | (Woman singing: Let's build a new world.)
| | 06:04 | It brightens it up just a bit.
| | 06:06 | Now, we'll bypass this EQ just
so we can hear the difference.
| | 06:09 | You'll see when I click
up here that it goes away.
| | 06:12 | (Woman singing: Let's build a new world.)
| | 06:15 | Darker.
| | 06:19 | Brighter, more sibilance,
we're working the track better.
| | 06:23 | One important concept to think of
here is if you want the vocal to be more
| | 06:27 | prominent, the kind of rookie mistake
is to grab for the volume and turn it up.
| | 06:32 | Well, there are other ways to make the
vocal more prominent and EQ is one of them.
| | 06:36 | So don't just always reach to turn
things up. Try and contour the sound so that
| | 06:41 | it becomes more prominent in the mix.
| | 06:43 | So let's un-solo the
vocal and hear where we are.
| | 06:46 | (Music playing.)
| | 06:48 | (Woman singing: Let's build a new world.)
| | 06:56 | (Woman singing: Let's build a new world.)
| | 07:05 | I think I am getting there.
| | 07:07 | Let me say about that much.
| | 07:09 | There a couple of little tweaks I feel like it
needs and that's what we'll do in the next movie.
| | 07:13 | I am going to take automation and write the
vocal level and play with the shaker level.
| | 07:17 | So automation is next.
| | Collapse this transcript |
| Recording vocal automation| 00:00 | I like the overall level of the vocal
in this track, but there are a couple of
| | 00:04 | lines that need some extra emphasis.
| | 00:06 | And for that we use automation.
| | 00:09 | So I am going to slide over to the comp
vocal tracks, way on the left here, and
| | 00:13 | right above the place where you pan
a vocal is the place where you write
| | 00:17 | automation for this track.
| | 00:19 | And the way you write automation for a
track is to click on the Off button,
| | 00:22 | it's defaulted to Off and slide down to
the bottom and say Write automation.
| | 00:27 | Logic gives you a warning that
says Write is very dangerous because
| | 00:31 | you're overwriting anything that exists.
In most cases it's better to use Latch or Touch.
| | 00:36 | Nonetheless I want to write some
automation. I am going to say OK.
| | 00:40 | This is the first time I am writing automation.
| | 00:42 | So I am going to play the whole track.
| | 00:44 | I believe I am still in Cycle Mode.
| | 00:46 | Let me jump back out to the Arrange
window and I am still listening to only
| | 00:50 | bars five through nine.
| | 00:51 | So let's get rid of that.
| | 00:53 | Now, I want to listen to the whole song.
| | 00:58 | Go to the Mixer and write this automation.
| | 01:00 | And what I am looking for here is
consistency in the level of the vocal.
| | 01:04 | I am using the meters a little bit,
but mostly I am using my ears to make sure
| | 01:09 | that all her lines come out at
approximately the same volume.
| | 01:13 | (Music playing.)
| | 01:24 | (Woman singing: Let's build a new world.
Filled with hope instead of greed.)
| | 01:38 | (Music playing.)
| | 01:41 | (Woman singing: Working together.
Well, that's how we'll succeed.)
| | 01:56 | (Woman singing: Ooo-ooooo-oo-oo.)
| | 02:00 | (Woman singing: Ooo-ooo-ooooo-oo-oo.)
| | 02:05 | (Woman singing: Working together.
Well, that's how we'll succeed.)
| | 02:16 | (Woman singing: Ooo-ooo-ooooo-oo-oo.)
| | 02:23 | When its done writing automation, Logic
automatically switches you to Touch Mode
| | 02:28 | and that's its way of telling you, I have
some automation here. You can update it.
| | 02:32 | You can read it.
| | 02:34 | You can turn it off.
| | 02:36 | So we'll leave it in Touch Mode.
| | 02:37 | And now I am going to move my playhead
back to the beginning and not touch the
| | 02:41 | mouse and just playback and you'll
see the volume changing, reading the
| | 02:45 | automation that I just wrote.
| | 02:47 | (Music playing.)
| | 02:57 | (Woman singing: Let's build a new world,
filled with hope instead of greed.)
| | 03:14 | (Woman singing: Working together.
That's how we'll succeed.)
| | 03:22 | So I am going to use Command+1 to
switch back to the Arrange window, because I
| | 03:26 | want to show you that you can
write your automation in here too.
| | 03:29 | So here is my Ellen comp vocal.
| | 03:32 | In the View menu, I am going to
tell Logic to show me track automation.
| | 03:37 | Now there is no automation for any of
these other tracks but there is a lot of
| | 03:41 | automation for this vocal.
| | 03:42 | And I am not crazy about the
volume of this second line.
| | 03:48 | (Woman singing: ?filled
with hope instead of greed.)
| | 03:52 | I am okay with the last part of it
where her waveform is a little thicker here,
| | 03:57 | but not with the "filled with" part.
| | 04:00 | So I am going to update this automation.
| | 04:02 | I am just going to go right in front
of that line. I am looking at the same
| | 04:07 | basic parameters here in the track,
and here in the Inspector and I have the
| | 04:13 | same volume control over here
that I had back in the Mix window.
| | 04:18 | So I am going to play this and update by
watching the waveform update this information.
| | 04:22 | (Woman singing: ?filled
with hope instead of greed.)
| | 04:32 | And that little move right there
helped that line come out of the track a little better.
| | 04:37 | So that's the process of
automating your vocal in Logic.
| | Collapse this transcript |
| Bouncing the song| 00:00 | Now it's time to create an audio file
out of the all the different sounds that
| | 00:03 | we put together, and in
Logic that's called a bounce.
| | 00:07 | So we will go to the File menu and Bounce.
| | 00:10 | The first thing we need to
determine is the name of this bounce.
| | 00:13 | So I will just call this ellen song
rough, because like I said before there are
| | 00:21 | some cymbal crashes.
| | 00:22 | There is some finesse stuff.
| | 00:24 | So this is a rough mix that I am going
to walk around with for a few days and
| | 00:28 | decide where I want to take it from here.
| | 00:30 | The next thing we determine is where this goes.
| | 00:32 | Let me just choose the Desktop.
| | 00:35 | The next thing we determine is
the start and the end of the Bounce.
| | 00:40 | You could bounce one bar of this song.
| | 00:43 | In this case, I want to start not at
bar five, but bar one, and I will take it
| | 00:48 | out to-- bar 32 looks pretty good.
| | 00:51 | Let's actually go to 33,
and let the reverbs finish.
| | 00:55 | You can do multiple formats in your bounce.
| | 00:58 | If I wanted to create a PCM track, an
uncompressed audio track, I have some
| | 01:05 | choices. Sound Designer II, AIF,
Wave, and this Core Audio format.
| | 01:10 | So I will pick an AIF.
| | 01:13 | I have a choice of three resolutions.
| | 01:15 | 16 bit is pretty good.
| | 01:17 | 44100 is the Sample Rate I will choose.
| | 01:20 | These are the CD quality Sample Rate
and Bit Depth, which are just fine for me.
| | 01:25 | Do I want separate left and right
tracks or do I want interleaved?
| | 01:28 | I want one track with the left and
right glued together. That's interleaved.
| | 01:32 | I can add this to my Audio Bin.
| | 01:35 | What that means is it will make the
nounce and then throw it back in your Audio
| | 01:38 | Bin so that it's saved as one of
the audio files in your project.
| | 01:42 | That's a great idea.
| | 01:43 | Do I want to add this to my iTunes library?
| | 01:46 | Well, actually the one I want to
add to my iTunes library is the MP3.
| | 01:50 | So this looks great for the AIF.
| | 01:53 | The next one is the MP3 that I will be adding.
| | 01:57 | So I am going to kick the
Data Rate up real high for this.
| | 02:01 | I do want Joint Stereo and I do want
to add the MP3 to my iTunes Library.
| | 02:06 | Moving back over to the left for a
second, you can do this in real time, which
| | 02:10 | means it will start at the beginning of the
song and play it to the end and lets you
| | 02:13 | listen to the bounce as you
do it, and I suggest that.
| | 02:17 | If you are in a hurry and you have
a really long song, you can Bounce
| | 02:21 | Offline and it will just go
through and give you what you have been
| | 02:24 | listening to all this time.
| | 02:25 | Well, we will use offline this time,
and we will normalize the file, which
| | 02:29 | means it will make the loudest thing in this
file be as loud as it should and no louder.
| | 02:35 | So that's a handy
feature right there at the end.
| | 02:38 | So let's do this bounce and that's
how fast it goes through your song.
| | 02:44 | If we chose the Real Time option, we would
be listening to it as we did this Bounce.
| | 02:52 | It's done.
| | 02:53 | It's making the MP3, doing final
compression on it, and we are done.
| | 02:59 | If I hide Logic and jump into iTunes, it's
already given me the MP3 in my iTunes Library.
| | 03:08 | If I hide iTunes and look out at the
Desktop, it's given me the AIF and the MP3.
| | 03:13 | Well, our goal in this chapter was to
show you that getting an idea into Logic
| | 03:19 | is not that hard and I hope
this chapter accomplished that.
| | 03:23 | Set up a mic and sing, strap on a
guitar and play in the Logic and try and get
| | 03:27 | the ideas that are in your head and in your
ears into Logic so that you can work with them.
| | 03:31 | There is a lot of cool stuff inside
Logic you can add to your live performances
| | 03:35 | to make things come alive.
| | 03:37 | So go have fun, make great music.
| | Collapse this transcript |
|
|
5. Tracking and Mixing Virtual InstrumentsUnderstanding virtual instruments| 00:00 | The goal of this chapter is to
introduce you to virtual synths.
| | 00:04 | Virtual synths are
synthesizers that live inside of Logic.
| | 00:07 | We can create sounds with them, we can
edit them and the advantage of a virtual
| | 00:11 | synth is that we can make changes to
the part even after we've recorded it.
| | 00:15 | Let me give you an example of that.
| | 00:18 | Here's a Steinway Piano, playing notes
that I recorded using a MIDI keyboard.
| | 00:24 | We'll solo this and take a listen.
| | 00:26 | (Piano playing)
| | 00:31 | All right, so, now here is something I
bounced out, an audio file of that same
| | 00:38 | piano playing those same notes.
| | 00:39 | (Piano playing)
| | 00:45 | Here's the difference.
| | 00:46 | With this data, I can change the notes,
| | 00:49 | maybe take all of these notes
and push them up a half a tone.
| | 00:54 | (Piano playing.)
| | 00:59 | All right, so now you hear the difference
between the one I changed and the one I didn't.
| | 01:04 | Let me mute the audio one and just
listen to the new one, the MIDI one.
| | 01:09 | (Piano playing.)
| | 01:13 | I can also make a change to the tempo here.
| | 01:16 | If I change this from my default
tempo of 82 to let's just say 160.
| | 01:23 | (Piano playing)
| | 01:26 | I have control over the tempo and the pitch
and even the sound of the notes that I
| | 01:31 | created with this virtual instrument.
| | 01:33 | For instance, if I want to change
from the Steinway Acoustic Piano to
| | 01:41 | maybe some Pop Strings.
| | 01:43 | (Strings playing.)
| | 01:49 | Meanwhile, this poor piano down
here is still stuck just being a piano.
| | 01:53 | (Piano playing.)
| | 01:57 | So the piano sounds great, but I
really don't have the ability to change
| | 02:00 | it after I record it.
| | 02:02 | That's why we use virtual synths.
| | 02:04 | We have the ability to change the tempo,
change the notes, and even change the
| | 02:09 | sound after it's been recorded.
| | 02:12 | That's the beauty of virtual synths.
| | Collapse this transcript |
| Sequencing with Ultrabeat| 00:00 | When you want to create a groove
in Logic, you have a lot of choices.
| | 00:03 | You can use an audio loop.
| | 00:05 | You can use a MIDI loop and there's a
powerful plug-in called Ultrabeat that
| | 00:09 | lets you program your own beats.
| | 00:11 | So I've set up a session here
that uses the Ultrabeat plug-in.
| | 00:16 | If you want to create this session on
your own, go to File > New > Explore >
| | 00:22 | Instruments and then delete all
the tracks except Studio Tight Kit.
| | 00:27 | That's how I got to where I am.
| | 00:29 | Then change your master
tempo to 100 beats a minute.
| | 00:32 | All right, so if we double-click on
the word Ultrabeat over here in the
| | 00:38 | Inspector, we launch the plug-in.
| | 00:41 | Now, if your plug-in opened up to a
bunch of knobs and buttons, just click on
| | 00:46 | full view in the lower right-hand corner
because that's the part we want to look at now.
| | 00:50 | Well, there is some math involved here.
| | 00:52 | What it has done is it's broken down a two-
bar phrase into 32 separate little slices.
| | 01:00 | That's the X coordinate.
| | 01:02 | The Y coordinate is each
individual piece of a drum kit.
| | 01:07 | So using this X/Y grid, you can
tell if the tom is playing anything.
| | 01:13 | It turns out that these toms aren't
playing anything in this whole pattern.
| | 01:19 | This closed hat is playing on the 4th,
the 5th, the 9th, the 11th. It tells you
| | 01:24 | which beats are playing.
| | 01:26 | So blue lights means it's
on, gray means it's off.
| | 01:30 | So the kick is happening
on 1 and 9, 15, 17 and 25.
| | 01:36 | I think it would be clearer if I play this
little groove and show you how it counts.
| | 01:41 | So, I'm going to hit the
Spacebar and start the beat.
| | 01:44 | (Drums playing)
| | 01:48 | (Drums playing)
Kick, kick, kick, kick, kick.
| | 01:54 | Let's look at this closed hi-hat.
(Drums playing)
| | 01:57 | Here, here, here, here, here,
here, here, here, here, here.
| | 02:04 | Here, here, here, here, here, here,
here, here, here, here.
| | 02:12 | If we want to add some
snares, let's take them out.
| | 02:24 | So let's put a crash cymbal in on
the downbeat of the first bar and the
| | 02:28 | downbeat of the second bar.
| | 02:29 | That's number 1 and number 17. Let's listen.
| | 02:33 | (Drums playing)
| | 02:38 | All right, let's take the 17 out,
just use the downbeat of one.
| | 02:41 | (Drums playing)
| | 02:48 | Let's put some tom toms
in here at the end.
[00:02:51.00
(Drums playing.)
| | 03:03 | Now, I'm feeling like the toms are a
little loud, so I'm going to click on
| | 03:07 | Hi Tom 2 and use my mouse scroll
wheel to lower the volume of Hi Tom 2.
| | 03:13 | Click on Hi Tom 1. Use my mouse scroll
wheel to lower the volume of Hi Tom 1.
| | 03:18 | Now we'll take a listen.
| | 03:19 | (Drums playing)
| | 03:26 | So they are not sticking
out quite so much anymore.
| | 03:28 | Let's do the same thing with Crash
Cymbal 1, click on it, use my mouse scroll
| | 03:33 | wheel to lower its volume,
listening from the top.
| | 03:35 | (Drums playing)
| | 03:38 | Still a bit loud, click,
scroll wheel, volume.
| | 03:41 | (Drums playing)
| | 03:51 | Let's take a look at another
feature, the Swing parameter.
| | 03:54 | Now it's kind of subtle on this beat.
| | 03:57 | So let's take a look at one
of the other kits in Ultrabeat.
| | 04:00 | Logic has broken them down by the musical style.
| | 04:03 | So let's take a look at this Classic Techno Kit.
| | 04:05 | We'll hit full view, so that we can
look at where the beats occur and hit
| | 04:10 | Spacebar to play it.
| | 04:11 | Well, I'm hitting the Spacebar to
play, but I'm not hearing sound.
| | 04:16 | The power switch for the
Ultrabeat sequencer isn't on.
| | 04:20 | So once that's on,
and I hit the Play button.
| | 04:23 | (Drums playing)
| | 04:28 | Let's put some tambourine in this part.
| | 04:31 | If I just click and I drag all the way
across, I add notes on every single beat of it.
| | 04:37 | (Drums playing)
| | 04:45 | Now, let's adjust the Swing parameter.
| | 04:48 | (Drums playing)
| | 04:57 | I think you can hear the vertical
nature of this one and then changing the
| | 05:05 | Swing parameter back.
| | 05:06 | (Drums playing)
| | 05:16 | So in this groove, you can really hear
the difference in the Swing parameter.
| | 05:20 | I can choose different patterns
inside this Classic Techno Kit.
| | 05:24 | I do that down here in
the lower left-hand corner.
| | 05:26 | I'm going to choose a
different sequence for this pattern.
| | 05:30 | (Drums playing)
| | 05:41 | And I'll scroll through the next one.
| | 05:42 | (Drums playing)
| | 05:52 | Now, let me put my
tambourine back in here. Aha!
| | 05:55 | Well, you see the problem
with writing music with a mouse.
| | 06:00 | Because I'm using my mouse to scroll,
I've accidentally gone to the row below that.
| | 06:04 | So I'll just click on a note and it disappears.
| | 06:08 | If I keep holding down my mouse button
and drag over the other already placed notes,
| | 06:12 | they disappear.
| | 06:14 | I can also click where I have to,
to get rid of any stray notes.
| | 06:18 | Now, I'll just add the notes that I'm missing.
| | 06:23 | Now I've got a complete line, from top to bottom.
| | 06:25 | If you happen to stray down into a
line below and erase what you meant to keep,
| | 06:31 | or add what you meant not to keep,
just do your editing with your mouse.
| | 06:39 | Let's take a listen of what we have now.
| | 06:41 | (Drums playing)
| | 06:55 | Now, if you haven't done a lot of
beat programming, thinking of music as 32
| | 07:00 | independent slices is probably not the
most intuitive thing for you, but really,
| | 07:05 | when you start working with this program,
you start thinking of 1 as a downbeat,
| | 07:08 | 9 as a downbeat, 17 as a downbeat,
25 as a downbeat, so that will start to
| | 07:14 | become more intuitive the more you do it.
| | 07:16 | The open hat is really driving this and
let's pull that down just so that you can hear that.
| | 07:21 | So click on this and--
| | 07:22 | (Drums playing)
| | 07:32 | And almost make it go away,
just scrolling my mouse wheel.
| | 07:38 | (Drums playing.)
| | 07:44 | It seems like a good level.
| | 07:46 | So not only can we change which notes
play when, we can change the sounds too.
| | 07:50 | Let's stick with our open hat and we'll
go down to the lower right-hand corner
| | 07:54 | and change this full view to look
at some filters that are available.
| | 07:59 | So I'm adjusting the filters for the Open
Hat here and let's just play the groove.
| | 08:04 | (Drums playing)
| | 08:12 | I'm just adding a little
brightness to that Open Hat.
| | 08:15 | (Drums playing)
| | 08:17 | Or taking it away.
| | 08:18 | (Drums playing)
| | 08:22 | I sort of like it being brighter and you
can apply these to any-- there's the Shaker.
| | 08:27 | You can adjust the Shaker.
| | 08:29 | Now, we don't have any Shaker in this groove.
| | 08:32 | We do have our tambourine.
| | 08:33 | Let's see what we can do to that.
| | 08:35 | (Drums playing)
| | 08:53 | We'll just solo the tambourine.
| | 08:55 | (Tambourine playing)
| | 08:57 | Our sequence stopped.
| | 08:58 | Let's play it again.
| | 08:59 | (Tambourine playing)
| | 09:04 | So that gets a little brittle up there.
| | 09:07 | That's just about right.
| | 09:08 | Let's un-solo it, hear it in the groove.
| | 09:10 | (Drums playing)
| | 09:18 | Now that I changed the shape of the
sound, of the open hat, it's poking out a
| | 09:24 | little too much from the groove for me,
so I'm going to use my mouse wheel,
| | 09:28 | scroll it down, scroll its volume down
just a little bit. Listen some more.
| | 09:34 | (Drums playing)
| | 09:39 | Okay, I'm liking this.
| | 09:40 | Now, I'm going to switch back
to this groove, the basic groove.
| | 09:46 | (Drums playing)
| | 10:02 | I want to put some kick in here.
| | 10:04 | (Drums playing)
| | 10:18 | How about 1 and 9?
| | 10:20 | Boom, boom-boom.
| | 10:21 | (Drums playing)
| | 10:25 | So when you've got your grooves set,
you're ready to bring it into your session.
| | 10:29 | I'm going to move the Ultrabeat plug-in
out of the way just a little bit.
| | 10:33 | I want this to show up
at beat 1 in my sequence.
| | 10:36 | So I will hit 0 to take my
playhead back to the beginning.
| | 10:40 | There is a little grid right here next to the
word Pattern, right next to the Sequence menu.
| | 10:47 | Pick that up and drag it to your session.
| | 10:50 | There is your MIDI for Ultrabeat.
| | 10:52 | Now, we can push this out of the way
and take a look at the notes inside here.
| | 10:57 | Actually, let's just play it
and we can see the notes.
| | 11:00 | (Drums playing)
| | 11:05 | And then we can edit the MIDI, the
duration of these notes, and the velocity of
| | 11:12 | these notes like we can any other MIDI data.
| | 11:15 | Ultrabeat's a great drum and
percussion sequencer inside of Logic.
| | 11:19 | Use it to make really cool
grooves and really great music.
| | Collapse this transcript |
| Using the EXS24 MkII| 00:00 | One of the other great virtual
synths inside Logic is EXS24.
| | 00:04 | EXS is a sample playback unit.
| | 00:08 | What's the advantage of a sample playback unit?
| | 00:11 | Well, maybe you've had experience of
walking through one of those warehouse
| | 00:14 | stores and tapping on one of the
keyboards that they have there, and maybe it's
| | 00:19 | said that it was a piano sound and
you tapped on it and you went,
| | 00:23 | "Ooh! That's nothing like a real piano.
| | 00:25 | "I know what a real piano sounds like.
| | 00:27 | "That's not a real piano."
| | 00:28 | EXS takes individually recorded audio
files of piano, or any other instrument, and
| | 00:35 | assembles them into an instrument that
you can play with your MIDI Keyboard.
| | 00:39 | So, let's take a look.
| | 00:40 | I'm going to double-click on the EXS24
plug-in and what we've got here is the
| | 00:46 | sound of a Steinway Piano.
| | 00:47 | I'll put Logic into record
back here so that we can hear.
| | 00:53 | I'll just play a chord on a keyboard.
| | 00:54 | (Piano playing)
| | 00:59 | So, sounds like a piano.
It doesn't sound like one of those cheap
| | 01:02 | warehouse synthesizers.
| | 01:05 | The advantage here is that EXS lets
you do things to this piano that no
| | 01:09 | piano can really do.
| | 01:10 | For instance, if I wanted
to play in the key of C...
| | 01:13 | (Piano playing.)
| | 01:15 | Or play a scale in the key of C.
| | 01:17 | (Piano playing scale.)
| | 01:21 | but I wanted to actually hear the
pitches of D-flat or E-flat, I could tune my
| | 01:26 | piano up one semitone, and
now instead of Cs, I hear...
| | 01:31 | (Piano playing)
And I can play.
| | 01:33 | (Piano playing scale)
| | 01:37 | I can play a D-flat scale.
| | 01:39 | Now, try that on a real piano.
| | 01:40 | If you are a really good
piano player, you can do that,
| | 01:42 | but it's a lot easier if you do this.
| | 01:46 | I can also push up two more.
Now I'm up three semitones.
| | 01:50 | (Piano playing)
| | 01:53 | I can play in the key of C, but
hear things in the key of E-flat.
| | 01:57 | Now, this is true for any other keys. In
fact, I can take this way down and play notes...
| | 02:02 | (Piano playing)
| | 02:06 | That aren't even on a real piano.
| | 02:10 | So, I'm using this plug-in to use
piano sounds to create instruments that
| | 02:14 | really don't exist.
| | 02:15 | I'm going to set this back to 0.
Option+Click on it, set it back to 0.
| | 02:19 | Here is another cool thing that EXS lets me do.
| | 02:22 | I'll push this Glide up to
about there and hit a C chord.
| | 02:27 | (Piano playing)
| | 02:33 | So it winds up as a C chord,
but it takes a while to get there.
| | 02:37 | (Piano playing)
| | 02:45 | Now, I don't know any
really piano that can do that.
| | 02:48 | Let's push this down just a little bit.
| | 02:50 | That's a very long Glide, almost
two seconds, 1700 milliseconds.
| | 02:54 | So, let's do about a half a second Glide.
| | 02:58 | (Piano playing)
| | 03:07 | So there are some really interesting
effects you can get here inside this plug-in.
| | 03:11 | I'll use the Pitch slider to do some
portamento here and I'll move this down.
| | 03:17 | All I did was split this little
circle and move the bottom half of it down.
| | 03:22 | (Piano playing.)
| | 03:30 | And if I push this green belt up
over the top, I'll hit the same keys.
| | 03:35 | (Piano playing.)
| | 03:41 | So now it's sliding from the top-down,
instead of from the bottom-up, when it was down here.
| | 03:47 | I'll Option+Click that and set that back to 0.
| | 03:50 | Push this down here.
| | 03:52 | A piano sound is defined by
hitting a key and then it decays.
| | 03:57 | Well, down in the lower right-hand
corner we have control over the Attack.
| | 04:01 | That's the initial onset of the sound,
the Decay, the Sustain and the Release.
| | 04:06 | It's abbreviated A, D, S, R.
| | 04:10 | I can take the Attack of this piano
and push it way up, and you're probably
| | 04:14 | thinking, 'Well, the piano
is going to sneak in now.
| | 04:16 | "I have taken away the Attack."
| | 04:18 | That's what we'll hear.
| | 04:19 | Let me switch chords, so you
don't keep hearing a C chord.
| | 04:21 | Let's do an E chord this time.
| | 04:22 | (Piano playing.)
| | 04:26 | So I get the sound of the piano,
but I don't get that typical Attack.
| | 04:30 | (Piano playing.)
| | 04:32 | I rolled off the Attack.
| | 04:33 | (Piano playing.)
| | 04:36 | I can make this piano ring out a really long
time by setting the Release for a long time.
| | 04:41 | (Piano playing.)
| | 04:51 | All right, let me set this back down here
and I'll put the Attack back on the piano.
| | 04:56 | The library of sounds
that ships with EXS is huge.
| | 05:00 | If we click on the word Steinway Piano
up here in the plug-in, we see that the
| | 05:05 | sounds are grouped by category and
there are tons of sounds in each one.
| | 05:09 | Well, for now, I want to switch to
Orchestra to Tuned Percussion and show you
| | 05:16 | that there are four
kinds of timpani sounds here.
| | 05:19 | Let's take a look at the
first one, Timpani SingleStrokes.
| | 05:24 | It loads the audio files it needs to
assemble this patch and now I have...
| | 05:29 | (Timpani playing.)
| | 05:37 | So, as promised, Timpani SingleStrokes.
| | 05:39 | I'm going to scroll to the next patch,
not by using the menu, but simply by
| | 05:46 | clicking the Plus key here and it loads
the sounds it needs to make this patch.
| | 05:52 | Now, if I went back to Timpani
SingleStrokes and I wanted to do a Timpani Roll...
| | 05:58 | (Timpani playing)
| | 06:01 | It's just not very convincing.
| | 06:04 | I'm doing this with my MIDI
keyboard banging two different keys.
| | 06:07 | The nice thing is that that's already in Logic.
| | 06:09 | It's in this plug-in.
| | 06:11 | So, again, the Plus key. It loads the
sounds it needs and now with one key I
| | 06:15 | can make this sound.
| | 06:16 | (Timpani roll)
| | 06:20 | Let me hit the plus key and let's
listen to the next sound, and this is a
| | 06:24 | tremolo of Timpani. Again, one key.
| | 06:27 | (Timpani roll)
| | 06:35 | Just hold it down as long as
I need it and then release.
| | 06:37 | The next sound, I'll hit the Plus
key and go to the next sound.
| | 06:41 | This one is just basic, old timpani.
| | 06:43 | (Timpani playing)
| | 06:48 | So there are different sounds
being assembled to give you these
| | 06:52 | different performances.
| | 06:53 | If you make changes to a sound, let's
say we put that Glide feature onto our
| | 06:58 | sound and this is different
now than the factory patch.
| | 07:02 | Go over to the Options
button on the right-hand side.
| | 07:06 | Click and say Save instrument as.
| | 07:10 | It saves it to-- I'll hold down the Apple
key so I can show you this hierarchy--
| | 07:16 | it saves it at the user level.
| | 07:18 | That's important in case you have other
users that are trying to access these sounds.
| | 07:22 | So just remember that
it's saved at the user level.
| | 07:24 | I'll cancel out of that.
| | 07:27 | Now because this library is so huge
and offers you so many choices, it's a
| | 07:32 | good rainy day project to kind of go
through these sounds and decide which
| | 07:36 | ones you really like,
| | 07:37 | maybe save some of these patches with
your own names, because it's kind of hard
| | 07:41 | at the beginning of a project to
just sift through 3,000 or 4,000 sounds.
| | 07:45 | It's nice to do that sort of project
when the clock isn't ticking and you're not
| | 07:49 | up against a deadline.
| | 07:50 | So that's a great rainy day project.
| | 07:52 | So a big part of what makes Logic
great is that it gives you access to these
| | 07:55 | great sounds that are created by
assembling real recordings of real instruments.
| | 08:01 | Then you can process them in so many ways.
| | 08:03 | A lot of those great sounds
are in this library in the EXS.
| | Collapse this transcript |
| Sound sculpting in Sculpture| 00:00 | In this movie, we're going to take a
look at one of the other cool virtual
| | 00:03 | synths that ships with Logic.
| | 00:05 | This one is called Sculpture.
| | 00:07 | If Ultrabeat's goal is to give you
really knockout loops to work with and EXS's
| | 00:12 | goal is to give you kind of
knockout sounds to work with,
| | 00:15 | Sculpture's goal is to let
you craft your own sounds.
| | 00:19 | This is great tool for sound designers
looking for something that isn't quite a
| | 00:23 | musical instrument, but isn't quite a sound
effect, something in between. Let's take a look.
| | 00:28 | So to add the plug-in, I scroll down to
the I/O, click on this, up pops a nice
| | 00:33 | menu that lets me choose all these
different plug-ins, and I'll just pick
| | 00:37 | Sculpture in Stereo, and up pops this
fairly daunting graphic user interface.
| | 00:43 | Let's pick it up and move it up to the top here.
| | 00:46 | Now the reason I did it this way, as
opposed to choosing a channel strip, is
| | 00:51 | that I didn't want any external things,
like delays and compression and flanging
| | 00:58 | and other things that might come with this
plug-in if I chose it from a channel strip.
| | 01:03 | We just want to listen to
what's inside of Sculpture.
| | 01:06 | I think the easiest way to show you
around this program is to start at the top
| | 01:10 | and let's just pick a sound.
| | 01:12 | Let's go to Modeled Bass and pick the
very first one, Aggressive Pluck Bass.
| | 01:17 | So some parameters change and I'm just
going to tap some keys on the keyboard.
| | 01:21 | (Bass playing)
| | 01:27 | So I have some waveforms and I
have some sounds that I can play with.
| | 01:33 | The four quadrants here shape the sound.
| | 01:36 | If I push this little ball, just
with my mouse, push it over to Nylon.
| | 01:39 | (Bass playing)
| | 01:42 | And drag it around.
| | 01:43 | (Bass playing)
| | 01:53 | So I get harshness out here on the right.
| | 01:55 | (Bass playing)
| | 02:02 | More steely kind of sound out here.
| | 02:04 | (Bass playing)
| | 02:05 | More woody kind of sound over here.
| | 02:07 | (Bass playing)
| | 02:09 | Let's take a look at another sound.
| | 02:11 | Let's go to Modeled Pads
and pick Flanged Voices.
| | 02:15 | (Synthesizer playing)
| | 02:32 | So, I'm just tapping keys. All that
transformation is happening inside the plug-in.
| | 02:37 | Let me slide over to the Nylon
side and let's play some more notes.
| | 02:41 | (Synthesizer playing.)
| | 02:46 | And push it over to Wood.
| | 02:46 | (Synthesizer playing)
| | 02:59 | Let's take a look at one
more sound inside of Sculpture.
| | 03:02 | Go up to the menu, choose Plucked
Instruments. Bottom of the list, Wooden Plucks.
| | 03:11 | This simple sound sounds like this.
| | 03:13 | (Synthesizer playing)
| | 03:16 | Now, there is a little delay on this.
| | 03:18 | I'll roll over to the Delay window.
| | 03:21 | Turn off the Delay so we
just hear the first attack.
| | 03:24 | (Synthesizer playing)
| | 03:28 | And we'll move the ball around
and see how we can shape this sound.
| | 03:31 | (Synthesizer playing)
| | 03:35 | Over to Wood.
| | 03:36 | (Synthesizer playing)
| | 03:40 | Down to Glass.
| | 03:41 | (Synthesizer playing)
| | 03:46 | Over to Steel.
| | 03:47 | (Synthesizer playing)
| | 03:59 | Now, let's put our delay back in.
| | 04:01 | Let's kick up the feedback of the delay.
| | 04:04 | What this does is recycle the delay,
so the first delay feeds into the next
| | 04:10 | delay, then the next delay and I think
you'll hear what this sounds like here.
| | 04:13 | (Synthesizer playing)
| | 04:27 | And again, all these sounds are coming
out of Sculpture, no plug-ins back here,
| | 04:31 | no delays, no reverbs.
| | 04:32 | Everything is coming out of here.
| | 04:35 | So let's cut this feedback back just
a little bit and let's kind of pick a
| | 04:39 | middle kind of sounding.
| | 04:41 | (Synthesizer playing)
| | 04:49 | Pull the feedback back just a bit more.
| | 04:52 | What we've really got here is the
ability to take these raw materials and kind
| | 04:56 | of build up sounds around them.
| | 04:58 | Now this would be a really impossible
plug-in if you just opened up into this page
| | 05:02 | and have no place to start, but luckily,
you've got lots of great places to start.
| | 05:07 | You've got basses and
keyboards and bells and all these cool
| | 05:11 | different categories.
| | 05:12 | I'll go down to Motion
Sequences and pick Rhythmic Mallets.
| | 05:18 | And now, inside of Sculpture I have...
| | 05:20 | (Mallets playing)
| | 05:29 | Let's change the shape of
this sound a little bit.
| | 05:31 | (Mallets playing)
| | 05:35 | Let's make it a little more glassy.
| | 05:38 | (Mallets playing)
| | 05:43 | Take the delay off just so
we can hear the pure sound.
| | 05:45 | (Mallets playing)
| | 05:50 | I'll turned this object on because I want to
hear a little more of the Nylon area over here.
| | 05:57 | (Mallets playing)
| | 06:02 | Now, we're going to hear
a little more of the Wood.
| | 06:04 | (Mallets playing)
| | 06:12 | So I find that the best way for me to
use this plug-in is to kind of start with
| | 06:16 | one of these presets, get close to
where I want to go and then make the changes
| | 06:21 | that inspire me to use this in my piece.
| | 06:23 | Now, if you find a cool sound that you
like, just like the other plug-ins,
| | 06:27 | you can click in the menu, Save Settings As,
give it a name and it will show up in
| | 06:33 | this list the next time you pull it up.
| | 06:36 | So when you're looking for authentic
sounds, like a chime or a piano or a
| | 06:40 | timpani, EXS is the place to go.
| | 06:43 | Those are real samples,
real recorded instruments.
| | 06:46 | When you're looking for sounds that
maybe even haven't been invented yet,
| | 06:49 | Sculpture is the place to go.
| | 06:51 | Start with the Preset, change the
Material, maybe turn on the Delay, up the
| | 06:56 | Feedback a little bit, and now you're
working with sounds that might inspire you
| | 07:00 | to do a completely different kind of project.
| | 07:03 | So that's Sculpture.
| | Collapse this transcript |
| Using the EVP88 Vintage Piano Synth| 00:00 | We've looked at Ultrabeat and EXS24 and
Sculpture and now, let's take a look at
| | 00:04 | some of the other vintage instruments in Logic.
| | 00:07 | We're going to look at the most
commonly used synths and show you what they look
| | 00:10 | like, and show you how you can modify
the sound and save it as a custom preset.
| | 00:14 | The goal here is to make you
comfortable with how these virtual synths work
| | 00:18 | in Logic so you can start experimenting
with them and using them in your compositions.
| | 00:21 | So I've gone to the Library >
Electric Pianos and I have a list of the most
| | 00:26 | commonly used electric piano sounds
and the sound you're looking for may be
| | 00:31 | right in this list.
| | 00:32 | But let's say that the sound
you're looking for needs modification.
| | 00:36 | It's not exactly one of these presets.
| | 00:38 | Let's close the Browser, letter B, so
that I can open up the plug-in that makes
| | 00:45 | this sound and it's the EVP88.
| | 00:48 | I'll double-click and up comes
this great graphical user interface.
| | 00:53 | Now, if yours isn't open, you may just
have this lovely black leather cover here,
| | 00:59 | just click the word Open, with a little
triangle next to it and you'll get the
| | 01:03 | controls for the electric piano module.
| | 01:06 | Now, back here in the Logic Sequencer,
I'm going to solo the track I've already
| | 01:10 | laid down here with a
little electric piano part.
| | 01:12 | (Synthesizer playing)
[00:01:24.5]
All right. Well, let's hear this with some
drums because it's a little weak by itself.
| | 01:29 | (Music playing)
| | 01:40 | Let's loop bars 1 to 5, and
have this play over and over.
| | 01:47 | (Music playing)
| | 01:57 | Let's put some Tremolo into it.
| | 01:59 | (Music playing)
| | 02:13 | I am going to pullback,
a little slower Tremolo.
| | 02:16 | (Music playing)
| | 02:20 | Put some Chorus into it this time.
| | 02:21 | (Music playing)
| | 02:31 | Now, let's put some Drive in,
| | 02:33 | (Music playing)
| | 02:37 | Darken the sound.
| | 02:38 | (Music playing)
| | 02:43 | Pull the Drive down a little.
| | 02:45 | (Music playing)
| | 02:49 | Thin it out, a little less bass.
| | 02:51 | (Music playing)
| | 02:56 | Let's brighten it.
| | 02:57 | (Music playing)
| | 03:00 | Now, most of the bright has been dialed out.
| | 03:03 | (Music playing)
| | 03:17 | Now, you can use this wheel to scroll
between the different sounds available to you.
| | 03:22 | Let's just change a
sound and play the same part.
| | 03:25 | (Music playing)
| | 03:36 | So, it kept my Tremolo settings that I
manually adjusted and my Chorus and my
| | 03:41 | Drive and my EQ, but it just changed
the module that it's using to play this.
| | 03:45 | Now while you're inside this module,
you can click where it says default and you
| | 03:49 | can change the settings in this area as well.
| | 03:52 | So, let's change this to a Wurlitzer
with the Tremolo and play it some more.
| | 03:56 | Go back to the beginning.
| | 03:58 | (Music playing)
| | 04:03 | All right, so let's say you've dialed
up a sound, added the amount of Tremolo
| | 04:09 | that you want, the amount
of Chorus that you want.
| | 04:11 | You're ready to save
this preset with your name.
| | 04:16 | Hold down this menu and you get
Save Setting As and we'll call this
| | 04:21 | Wurlitzer Tremolo Joe.
| | 04:25 | It's saves it in the EVP folder,
inside your Plug-In Settings, inside Logic,
| | 04:31 | Application Support,
Library and at the User level.
| | 04:34 | So, these are your settings.
| | 04:38 | And go ahead and save it out.
| | 04:39 | And now it's available to me as a
choice and when you do this, your settings
| | 04:45 | kind of take precedent over of
the other settings on the menu.
| | 04:49 | The Factory Settings are now in a folder
called Factory, with your settings on top.
| | 04:54 | So, this is another great rainy day project.
| | 04:56 | Go through these settings, modify them
to your heart's content, save them out
| | 05:00 | and you'll have now a whole list of
your settings along with the factory
| | 05:05 | settings if you ever want to go back to those.
| | 05:07 | So, even though Logic ships with a
bunch of great electric piano sounds, don't
| | 05:11 | be afraid to pull one up and get into
the User Interface and tweak some settings
| | 05:15 | and dial up the piano of your dreams.
| | Collapse this transcript |
| Using the EVB3 Vintage Organ Synth| 00:00 | Well, in this movie I want to show
you some options for organ sounds.
| | 00:03 | If we pull up the basic Library and
go to Keyboards, we see that there is a
| | 00:07 | folder for Organs in there and there
are a couple of dozen really nice, basic
| | 00:11 | Organ sounds, but that's not the
only place you'll find Organs in Logic.
| | 00:15 | If we search in the Library, O-R-G-A-N,
it turns out that we have lots and
| | 00:21 | lots and lots of organs.
| | 00:24 | And they are kind of
scattered in different places.
| | 00:27 | Some of them are GarageBand Organs.
| | 00:29 | Some of them are Orchestral Organs.
| | 00:31 | So, once you have done your search for
organ, you may find that the organ sound
| | 00:35 | you're looking for is on this list and
maybe not on the list you'll find in the
| | 00:38 | Keyboard section under Organs.
| | 00:41 | So, I have pulled up Jazz Standard
organ and I think you'll find that most of
| | 00:45 | the organs in Logic are
controlled by the EVB3 plug-in.
| | 00:49 | So, I will double-click on the EVB3 plug-in
and up pops this lovely, graphical,
| | 00:54 | user interface and I'll turn on my
organ, actually it's ready to record, so...
| | 01:00 | (Organ playing)
| | 01:03 | Now, keep in mind that I am a guitar
player, not an organ player, and you're going
| | 01:07 | to hear a guitar player
playing this organ, but..
| | 01:10 | (Organ playing)
| | 01:15 | Not being an organ player, all I know
about these Drawbars is that they add
| | 01:19 | nice little overtones.
| | 01:20 | (Organ playing)
| | 01:40 | So, you get control over overtones by
adding Drawbar Settings over here in the Uppers.
| | 01:45 | There is a nice little Percussion element
that you can add over here on the right.
| | 01:49 | (Organ playing)
| | 01:54 | Or take it away.
| | 01:55 | This was set for about half.
| | 01:57 | (Organ playing)
| | 01:59 | And you can set the onset
of that Percussion effect.
| | 02:03 | (Organ playing)
| | 02:06 | So that it comes in later or stays longer.
| | 02:09 | (Organ playing)
| | 02:15 | You can change the tuning of the organ
and the clicking, and you have all kinds
| | 02:19 | of settings for EQ and then over
here on the right is some Reverb.
| | 02:23 | (Music playing.)
| | 02:27 | And the type of Reverb, just click on
the word Large under the word Mode and
| | 02:32 | you have a choice of different kinds of Reverbs.
| | 02:35 | So, you can use the old Spring Reverb
or we'll just stick with the Large room.
| | 02:39 | Now, one kind of caveat for the organ is
that your sustain pedal doesn't work anymore.
| | 02:44 | If you're used to playing keyboard
parts with a sustain pedal, like most
| | 02:47 | guitar players are, you'll find
that your sustain pedal doesn't work.
| | 02:51 | However, you can use your sustain pedal
for your Chorale. I actually prefer to
| | 02:56 | change this to a ModWheel.
| | 02:57 | (Music playing.)
| | 02:58 | And then when I am holding
keys down and add the ModWheel?
| | 03:03 | (Organ playing)
| | 03:08 | So, I am just changing the
ModWheel from full off to full on.
| | 03:15 | (Music playing.)
| | 03:22 | So, that's that organ sound we all love.
| | 03:25 | Now down at this flippy triangle down
here are some other controls, where you
| | 03:29 | can set the horns and the drums and if
you're used to an actual B3, then you're
| | 03:36 | going to love all the
control that this gives you.
| | 03:39 | So, I'll close this triangle and run
up and show you that saving a preset is
| | 03:44 | just like it's saved in the electric piano.
| | 03:47 | If I found a setting that I like, I want
to Save Setting As and I'll call this my B3.
| | 03:54 | Again, it saves it at the User level
in Library/Application Support/Logic/
| | 03:59 | Plug-In Settings and puts it in the B3
folder, and once I save that, my settings
| | 04:05 | now take precedent over the factory settings.
| | 04:09 | And one more cool thing to show you
is that you can change the style of the
| | 04:13 | cabinet from Single and Split. This is
your Leslie Control basically, from a
| | 04:18 | Wood cabinet to all the
different types of Leslies that you get.
| | 04:22 | So, the B3 module gives you a lot of
options, so you can dial in the organ
| | 04:25 | sound you're looking for.
| | Collapse this transcript |
| Using the EVD6 Vintage Clavinet Synth| 00:00 | One of the other great vintage
synths in Logic is the D6 Clavinet Module.
| | 00:05 | Now, I am in the Loop Library to
show you something interesting about the
| | 00:08 | Clavinet Patches in here.
| | 00:10 | If I type in Search for clav, I get
some clavinets, some clavs, but I also get
| | 00:20 | some claves, which is
not exactly what I'm after.
| | 00:24 | But if I add to this clavinet,
now I have clavs without the claves.
| | 00:33 | So, there is a handy search feature for you.
| | 00:35 | We have loops that are audio
loops and loops that are MIDI loops.
| | 00:40 | If you don't understand the difference
between these blues and these greens,
| | 00:43 | then hit Chapter 3, where we talk about that.
| | 00:45 | And I have lots of cool little loops.
| | 00:48 | (Music playing.)
| | 01:10 | So, lots of cool loops to work with,
but let's say I want to make my own sound.
| | 01:14 | I use the D6 plug-in and
I'll double-click on it.
| | 01:18 | And up pops this cool graphic user
interface that I can start modifying.
| | 01:22 | Now, I have already laid down a little
clavinet part in my sequence. I'll just
| | 01:26 | start that and will take a listen.
| | 01:27 | (Music playing.)
| | 01:37 | And I'll make some changes to this.
| | 01:39 | I'll add some Distortion.
| | 01:41 | I'll add some Modulation, like the
Flanger, although I have a choice of Phaser
| | 01:46 | and Chorus as well, and
change the Voh a little bit.
| | 01:50 | I'm using the ModWheel to control the
Voh. That's down here and you can change
| | 01:55 | it to a breath controller or the velocity
sensitivity or any one of these controllers.
| | 02:01 | And it's easy to teach the D6 plug-in,
what you want to use, you just hit
| | 02:06 | learn and move some MIDI controller and it
remembers what you moved and that's your controller.
| | 02:11 | I'll leave it for ModWheel for now
and let's play this little loop and
| | 02:14 | I'll make some changes to it.
| | 02:16 | (Music playing.)
| | 02:36 | Let's change that to Chorus.
| | 02:38 | (Music playing.)
| | 02:48 | Let's turn that off.
| | 02:50 | (Music playing.)
| | 02:52 | Control the Voh.
| | 02:53 | (Music playing.)
| | 02:59 | Using the ModWheel to control the Voh.
| | 03:00 | (Music playing.)
| | 03:12 | Now, the sounds you get from a clav
have a lot to do with where the pickups are
| | 03:16 | on the little strings, and you can grab the
controls for the pickups and change from
| | 03:21 | bottom to top or just move the whole
pickup and you get a lot of control here
| | 03:27 | over how the sound changes.
| | 03:31 | (Music playing.)
| | 03:37 | And you have controls for the Brilliant,
Treble, Medium and Soft down at the bottom.
| | 03:43 | (Music playing.)
| | 03:59 | So, I'll move these pickups around.
| | 04:01 | You get different textures
from the very same Clavinet Patch.
| | 04:05 | Once you've found a setting that you like,
saving it is just like it is with the
| | 04:09 | Electric Piano and the B3.
| | 04:11 | Click up here, Save Setting As.
Again, it saves it at the User level in
| | 04:17 | Application Support, Logic, Plug-In
Settings and a bunch of D6 patches.
| | 04:23 | So I'll save this one as joe and now
my clavinet shows up here along with the
| | 04:29 | factory clavinets down below.
| | 04:31 | So, if I look in the Channel Strip
Settings, I see that in Keyboards > Clav
| | 04:39 | I have a bunch of choices.
| | 04:41 | I see that I also have in, let's say,
the GarageBand choices some clavinets.
| | 04:49 | Now there's one kind of quirky thing here.
| | 04:52 | If I go to the Library and move this
Clavinet graphic user interface out of the way
| | 04:57 | and I do a search for clavinet,
I get nothing in the Library.
| | 05:05 | But if I refine the search for clav,
I get a nice list including all the stuff
| | 05:11 | from GarageBand and the other
places it looks for clav sounds.
| | 05:15 | So, refine your search in the loops by
choosing Clavinet to eliminate the claves
| | 05:22 | and other things that have clave in them,
but in the Library, if you're looking
| | 05:26 | for a clav sound, type in
the word clav and not clavinet.
| | 05:30 | And now I am going to play
that little loop that I made.
| | 05:33 | (Music playing.)
| | 05:35 | So, now I am going to mute the Rhodes
and the organ from this little loop and
| | 05:40 | just play this clavinet.
| | 05:42 | (Music playing.)
| | 05:52 | And once you have a clav in your
sequence, you can scroll through the clavs in
| | 05:55 | the Library and find the clav you like.
| | 05:57 | And as always, if you want to do some
editing, open up the plug-in and tweak the
| | 06:03 | settings so they work for
the project you're working on.
| | Collapse this transcript |
| Exploring other virtual synths| 00:00 | In this chapter we have taken a look
at a lot of the virtual synths that ship
| | 00:03 | with Logic, but not all of them.
| | 00:05 | Logic also ships with the EFM1,
ES E, ES M, ES P, ES1 and ES2.
| | 00:14 | Now, you can make a lot of great
music in Logic without ever opening
| | 00:17 | these virtual synths.
| | 00:18 | For instance, this Analog
Lead patch uses the ES2.
| | 00:22 | But if I choose it from the Library
or from the Channel Strip list,
| | 00:30 | I'm choosing it based on the adjectives,
the description, not which plug-in it uses.
| | 00:34 | But musicians like to experiment and explore.
| | 00:37 | It's probably what makes us musicians.
| | 00:39 | So, when the factory patch doesn't
quite get you where you want to be, open up
| | 00:43 | the interface, get inside and start tweaking
and if you find something you like, save it.
| | 00:47 | That's another way you can customize Logic.
| | Collapse this transcript |
|
|
6. Creating Audio for VideoUsing Logic with video| 00:00 | In addition to using Logic to create
music tracks, Logic is great for creating
| | 00:04 | music and sound for a video.
| | 00:06 | In this chapter, we'll
look at some of those options.
| | 00:08 | You can import a finished video and a
narration track if your movie has one.
| | 00:12 | You can import a rough cut and add
narration, sound effects, and music, which
| | 00:16 | might help the editor finish the cut,
and you can also import the individual
| | 00:20 | clips from the rough cut, because the
audio from one set of clips might need
| | 00:25 | different sweetening from another set of clips.
| | 00:27 | Then you can send those clips back to
Final Cut or Avid and the editor can
| | 00:31 | reconnect them and use the
audio you created in Logic.
| | 00:35 | So let's examine these options one at a
time and you can decide which is right
| | 00:38 | for the project you're working on.
| | 00:40 | So I got to this window by going to
File > New and up pops this Template
| | 00:45 | window and I'm going to scroll down to
Produce and choose this nice template
| | 00:49 | for Music For Picture.
| | 00:50 | I'll save my session as 06_01.
I'll save it in the exercise files for Chapter 6,
| | 00:59 | Save and now I have an Arrange
window with the Inspector on the left and
| | 01:05 | the Browser on the right, and
let's close those for the moment.
| | 01:08 | Letter I to close the Inspector on the
left, press two taps of the letter B to
| | 01:13 | close the Browser and let's
take a look at this Arrange window.
| | 01:16 | So this template gives us a track to
hold the video and we'll see that in
| | 01:21 | action in the next movie, and this
template gives us a different looking timeline.
| | 01:25 | In addition to bars and beats,
we've got a SMPTE Clock, S-M-P-T-E,
| | 01:30 | a SMPTE Clock counting time.
| | 01:32 | If you've been using Logic 7 or earlier
and you're used to typing the letter U
| | 01:36 | to toggle that display, Logic 8 uses
little icons in the upper right-hand
| | 01:40 | corner that let you control the Marquee Stripe.
| | 01:43 | So you can choose Bar, Bar
and Time, Time, Time and Bar.
| | 01:48 | We're set for Bar and Time now but I
can make the Time go away or bring it back
| | 01:54 | or default to Time and then add Bars.
| | 01:58 | Now because I'm going to write music to this
picture, the display that I want is Bar and Time.
| | 02:03 | I wanted to default the Bars but I want to
keep track of the time while it's up there.
| | 02:08 | Then we've got this giant floating
window and by floating I mean wherever I drop it,
| | 02:12 | it's going to rise to the top.
Nothing will ever obscure it.
| | 02:15 | So I'll bring it back down here and
that's displaying SMPTE time, hours,
| | 02:20 | minutes, seconds, frames and subframes.
| | 02:23 | Now if this is new to you, there's a
movie in this chapter that explains how
| | 02:27 | bars, beats, tempo and timecode interact.
| | 02:30 | So that's a look at our
workspace for writing music to picture.
| | 02:33 | Next step, we'll import
the movie and get to work.
| | Collapse this transcript |
| Importing a movie into Logic| 00:00 | Now it's time to get
the movie into the project.
| | 00:02 | There are couple ways to do this.
| | 00:04 | In the Video track of the global
tracks, there is a button for Open Movie.
| | 00:09 | I can also go to the Options
menu and choose Movie > Open Movie.
| | 00:14 | Either way, I get to a page that lets me
find the movie, select it, and then open it.
| | 00:20 | Now this movie is a 640 x 360 movie
and it's a little over a minute long and
| | 00:25 | I'll say Open and it pops up into Logic.
| | 00:28 | So this is a big movie.
| | 00:29 | It's actually crawling
off the edge of my screen.
| | 00:32 | And I'll move into my Arrange window
but I see that it's still pretty big.
| | 00:36 | It's cluttering up my Arrange window.
| | 00:38 | It's going to be hard to work on my
music with this big movie sitting here.
| | 00:41 | So really in the Arrange window,
I just want a kind of a reference movie.
| | 00:45 | So I'm going to right-click, right in
the middle of the movie here and say let's
| | 00:49 | take it to half the size and then I'll
click in the Title bar and move it kind
| | 00:53 | of off to the right here, just so
that I can see it but it's not really
| | 00:56 | dominating my workspace.
| | 00:57 | So now we have a screenset that's the
Arrange window and this small reference movie.
| | 01:02 | Let's go to the Screenset menu and
duplicate the screenset, and we'll duplicate
| | 01:08 | it to open space number 9.
| | 01:10 | That's a good place for it and we'll
call this full screen movie and say OK.
| | 01:18 | Now we're in Screenset number 9 and
what I'm going to do is right-click on this
| | 01:23 | movie and say Fullscreen.
| | 01:25 | Now I have a fullscreen
copy of the movie in Screenset 9.
| | 01:28 | In Screenset 1, I have my
Arrange window and my reference movie.
| | 01:33 | In Screenset 9, I have a full screen
movie and you can use your keys on your
| | 01:38 | keypad to move between 1 and 9,
just like any other set of screensets.
| | 01:43 | So one, tapping the number 1 on my keypad.
| | 01:46 | 9, tapping the 9 on my keypad and I
think you'll find this is a handy way for
| | 01:51 | you to watch your movie with the
music in place and then switch back to the
| | 01:55 | Arrange window, make the choices you
need to make and then move back and preview
| | 02:00 | and move back and work.
| | 02:02 | And that's a handy tip, which should save
you resizing your movie in the Arrange window.
| | 02:08 | Now I want to right-click on the
Movie window and choose Video Projects
| | 02:12 | Settings and Video.
| | 02:15 | And the Video Output can go to the
Window or to FireWire bus, maybe to an NTSC
| | 02:22 | monitor, to a second monitor.
| | 02:24 | There are some choices here for
where to send this Video Output.
| | 02:27 | I'll leave mine in my window.
| | 02:29 | If my movie has sound, I can choose to
have this Movie Volume route to an output
| | 02:35 | and have the reference
sound come out of my Macintosh.
| | 02:40 | And the Sound Output gets routed to an
External Device or in the System Sound.
| | 02:46 | This is in your audio MIDI setup.
| | 02:48 | Now that's going to let you hear
whatever audio is in that movie.
| | 02:52 | If you want to work with whatever
audio is in this movie, let's close
| | 02:56 | Projects Settings, go to Options >
Movie and Import Audio from Movie
| | 03:02 | and this extracts the audio and puts it in
your Audio Bin or you can Import Audio to Arrange.
| | 03:08 | This is grayed out for now.
| | 03:10 | But if I import this audio,
it puts it in my Audio Bin.
| | 03:16 | I will go to Window > Audio Bin.
| | 03:19 | There is my AIF, which I drag to any
audio track here and now I can work with
| | 03:24 | the audio in this movie, not just listen to it.
| | 03:26 | So I'm going to rollover to the movie
and right-click on it and take a look at
| | 03:30 | Video Project Settings one more time.
| | 03:32 | I'm going to take a look at the
Synchronization tab and General.
| | 03:37 | So here, I can choose the Video
Frame Rate that I'm dealing with.
| | 03:41 | This is 29.97 drop frame and I like to
leave this box checked, which says Auto
| | 03:46 | detect the format of the MIDI Time
Code, if there is any MIDI time code
| | 03:49 | working on this movie.
| | 03:51 | And there is an option for SMPTE Offset
which is a fancy way of saying make bar 1,
| | 03:57 | beat 1 happen somewhere
other than the start of the movie.
| | 04:01 | So you can type in an address here and
make bar 1, beat 1 happen somewhere else.
| | 04:06 | Like maybe we want bar 1, beat 1
to happen halfway through the movie.
| | 04:10 | No music at the front and then boom,
something happens in the movie that
| | 04:13 | triggers this sequence.
| | 04:15 | We want bar 1, beat 1 to happen there.
Or maybe we want bar 1, beat 1 to happen
| | 04:21 | before the movie, so we can write
kind of an intro or preface to the scene.
| | 04:25 | Now you also have an option for SMPTE
Offset, so you can make bar 1, beat 1
| | 04:30 | equate to any other SMPTE address.
| | 04:33 | Now we'll leave the Offset unchecked and
grayed out and we'll leave ours set for
| | 04:37 | bar 1, beat 1 happens at one hour SMPTE.
| | 04:41 | It's helpful to have markers when
we're working with video and that's up in
| | 04:45 | the next movie.
| | Collapse this transcript |
| Creating timeline markers| 00:00 | In this movie, we want to look at
the concept of creating markers in the
| | 00:03 | timeline that help us tell
where cuts are in the picture.
| | 00:07 | So if I start the playhead moving.
| | 00:08 | (Music playing.)
| | 00:13 | I see that there is a cut coming up here.
| | 00:15 | It's sort of in the 3 second area.
| | 00:21 | We move it just to another frame.
| | 00:23 | Yeah, it's kind of in that
3 going on 4 second area.
| | 00:29 | I can actually probably get a little
more precise here by pulling the playhead
| | 00:33 | and let's actually just
call this downbeat of three.
| | 00:36 | And I can create a marker by going to
Options > Marker > Create or Control+K.
| | 00:42 | If you need a mnemonic for Control+K,
it's "marker" with the stress on the K.
| | 00:48 | So I make a Marker there in my line
and I want to open the event list.
| | 00:53 | So I'll hit Lists and I'm in the
Marker tab and I have a marker at bar 3.
| | 01:00 | If I hit Shift+R, I change the display
of that marker from bars and beats to
| | 01:07 | minutes and seconds.
| | 01:08 | Now I can fine-tune just by scrolling with my
mouse, just click and push, click and pull.
| | 01:14 | I can fine-tune to the position of
that marker and I can double-click on it
| | 01:19 | and give it a name.
| | 01:20 | We'll call this scene 1.
| | 01:24 | Now this used to be the way that you
would go through your movie when you were
| | 01:28 | starting a scoring process and you
would kind of determine where your cuts were
| | 01:33 | and that would sort of determine where
your beats would fall and where tempo
| | 01:37 | changes needed to be.
| | 01:38 | And if you have worked with Final Cut,
you know that in Final Cut you can
| | 01:42 | create Scoring Markers and those will
show up in Soundtrack but they don't show
| | 01:47 | up in Logic, at least not yet, but Logic has
something that Soundtrack doesn't, at least not yet.
| | 01:53 | I'm going to close the Event list
and move my movie out of the way.
| | 02:01 | Next to the Open Movie button in the
Video Track is a Detect Cuts button and I'm
| | 02:07 | going to hit that and Logic now scans my movie.
| | 02:10 | It looks for where scenes are
changing and it does an amazingly good job of
| | 02:15 | analyzing these cuts and
creating a list of markers for me.
| | 02:20 | So I'll move my movie back out of the way.
| | 02:22 | Let's go up to Lists again and there is the
one that I created at about the 4 second mark.
| | 02:28 | Let's delete that and the ones with the
little icons are all things that Logic
| | 02:33 | created by looking at my movie.
| | 02:35 | Now you see that a lot of
these are very close together.
| | 02:37 | Well, that's true because--
let me close out my event list.
| | 02:42 | Letter E twice and I'll Control+Left
Arrow into the Timeline and you can see
| | 02:49 | that over here, in this area of the
movie, let me start sort of here at bar 6.
| | 02:54 | (Music playing.)
| | 03:04 | Now it nailed that cut right there at
about the 17 second mark but it interpreted
| | 03:09 | all the stuff here
between like 11 and 13 as cuts.
| | 03:13 | It's just really incredibly fast-moving
film but it does an amazingly good job
| | 03:18 | of picking out where your scenes are.
| | 03:20 | Now the markers don't always
determine where your bars and beats fall, but
| | 03:24 | sometimes you want to hit a certain piece
of music on a certain frame of the film.
| | 03:29 | And so there is a lot of interplay
between bars and beats and time code and if
| | 03:33 | this is a new concept to you,
then the next movie explains it.
| | Collapse this transcript |
| Understanding bars, beats, and timecode| 00:00 | In this movie, I want to show you how
bars and beats and time code are connected.
| | 00:05 | I'm going to close this giant SMPTE
display that came with this template that I
| | 00:09 | opened for scoring the picture.
| | 00:11 | I'm going to the Window menu
and open a new Transport window.
| | 00:14 | So up pops this little window.
I'm going to right-click in the window and say
| | 00:19 | Open Giant SMPTE Display.
| | 00:21 | Now I get what I closed already.
| | 00:23 | But I'm also going to Open Giant
Bar Display and then I'll close this
| | 00:29 | Transport window that popped up.
| | 00:31 | Now I've got the Bar Display
laying on top of the SMPTE Display.
| | 00:34 | I can see one through the other.
| | 00:36 | So I'll just move these, so I can see SMPTE
on the bottom and Bars and Beats on the top.
| | 00:41 | The other thing I want to do is to go
to the Record button, right-click on it,
| | 00:45 | go to Recording Settings and turn on,
in the Metronome tab, Click while playing.
| | 00:52 | We're just going to listen to some
Click while we talk about this interconnectivity.
| | 00:57 | So I'll close Project Settings
and I'll play just to be sure that I'm
| | 01:01 | actually hearing a Click.
| | 01:03 | (Music playing.)
| | 01:05 | Right now, I'm hearing the soundtrack
from the movie, which I don't want to
| | 01:08 | hear, so I'll mute that.
| | 01:13 | So there is your downbeat, the low
note, followed by three higher ticks.
| | 01:19 | Bars, beats and time code are just
different ways of measuring time.
| | 01:24 | Time code does it in hours, minutes,
seconds and frames and meter does it in
| | 01:28 | groups of beats called bars.
| | 01:31 | Every time your SMPTE frame counter
gets to 29, holding down the mouse and
| | 01:35 | pushing and making these numbers change,
| | 01:37 | it increments the seconds by
one and starts over again at zero.
| | 01:41 | Let me move the playhead back to the beginning.
| | 01:44 | Every time your beat counter gets to 4,
it increases the bars by 1 and starts over.
| | 01:53 | We're looking at bars and beats and
pieces of beats here on the right.
| | 01:58 | Let me move the playhead back
to the beginning and start over.
| | 02:03 | So right now, I'm at one hour of SMPTE
and one bar and one beat in the music.
| | 02:09 | At 120 beats per minute, which is my
Tempo down here in the Transport window.
| | 02:14 | There are two beats per second.
| | 02:16 | So the numbers on the counters
are kind of changing together.
| | 02:19 | Let's watch that happen.
| | 02:20 | (Music playing.)
| | 02:24 | So every time I get an increment on the bar
number, I get an increment on the second number.
| | 02:30 | We're actually getting two seconds per bar.
| | 02:34 | Now let me move the playhead back to
the beginning and at 90 beats per minute--
| | 02:38 | I'll change my Tempo. Just
double-click in here and type 90.
| | 02:41 | At 90 beats per minute,
there are 1.5 beats per second.
| | 02:46 | So the numbers aren't changing as fast
but the numbers on the counters are still
| | 02:50 | changing with the pattern. Let's watch that.
| | 02:52 | (Music playing.)
| | 03:04 | So 1.5 beats per second.
| | 03:07 | Those are nice round numbers.
| | 03:09 | They're kind of multiples of 60.
| | 03:10 | Well, let's pick a tempo like-- I just
move my playhead back to the beginning again.
| | 03:15 | Let's pick a Tempo like 103, not
a multiple of 60, and then I'll play.
| | 03:21 | (Music playing.)
| | 03:25 | Well, the counters are still counting
what they count but there is less of a
| | 03:28 | pattern in their increments.
| | 03:30 | That's how bars, beats
and time code are connected.
| | 03:34 | When we're not working with video, we
just pick the tempo that feels good and
| | 03:37 | we don't worry about the time code.
| | 03:39 | When we are working with video, there
might be a particular frame where we need
| | 03:43 | the music to start or to
pause or to speed up or slow down.
| | 03:47 | So in the next movie,
we'll look at examples of that.
| | Collapse this transcript |
| Adjusting tempo and song structure| 00:00 | Now tempo is also connected with
bars and beats and timecode and here are
| | 00:05 | a couple of examples.
| | 00:06 | Let's say that we have 120 beats a
minute and I'm going to Control+Left Arrow on
| | 00:12 | my Arrange window and
move my movie out of the way.
| | 00:16 | And if I go to bar 9, that's
the end of eight full bars.
| | 00:22 | 1, 2, 3, 4, 5, 6, 7, 8,
the downbeat of bar 9.
| | 00:26 | That's going to take at 120 beats
a minute, 16 seconds to complete.
| | 00:31 | If I what those eight bars to happen in
let's say 20 seconds, I have to pick a
| | 00:38 | number that's closer to about 95.
| | 00:41 | Let's try 96 and now those eight
bars will take 20 seconds to complete.
| | 00:47 | If I choose a faster tempo, let's pick
162 just to a pull a number out of the air,
| | 00:53 | those eight bars now are going to come
in at 11 not quite 12 seconds of time.
| | 00:59 | So if structure is important to you, you
have an eight bar phrase that needs to happen,
| | 01:04 | you may pick that tempo that's appropriate so
that you hit the marker that you want to it.
| | 01:09 | Now structure is also variable,
because you can change a beat to 3/4 or 5/4 and
| | 01:16 | maybe you just change one bar of the sequence,
so that you hit the mark you want to make.
| | 01:21 | So that's how bars and beats depend
on tempo to hit certain time codes.
| | 01:26 | Now if this process remind you of
those two algebra problems in high school
| | 01:29 | where you have two trains moving at
different speeds, well, it's a little like that.
| | 01:33 | But here is the point.
| | 01:34 | Some days the pulse, the tempo,
will be the most important factor.
| | 01:39 | Other days, the
structure will be more important.
| | 01:43 | Now there is also a third option of
asking the editor to add or delete a few
| | 01:47 | frames on certain clips to help the
music flow better and sometimes the editor
| | 01:52 | will be happy to accommodate, because
you both share the goal of getting the
| | 01:56 | music and the pictures to work together.
| | 01:58 | Well, I think we've done enough math now.
| | 02:00 | I think it's time to make some noise.
| | 02:02 | So in the next movie, we'll
put some music to this video.
| | Collapse this transcript |
| Scoring a movie| 00:00 | Well, let's start making some music here.
| | 00:03 | The track that shipped
with this is kind of techno...
| | 00:06 | (Music playing.)
| | 00:13 | And I still here Click in play. All right!
| | 00:15 | So I'm going to go to the Record
button > Record Settings > Metronome and
| | 00:20 | turn off Click in play. I will close that.
| | 00:25 | They are kind of in the
150 beat per minute area.
| | 00:27 | (Music playing.)
| | 00:33 | How I know that? Well.
| | 00:34 | (Music playing.)
| | 00:38 | There is a track kind of starting in there.
| | 00:40 | So if we change to about 150.
| | 00:44 | (Music playing.)
| | 00:52 | It's actually not quite that high.
| | 00:54 | I think I want this to move pretty fast.
| | 00:57 | So I think I'm going to pick 150 beats a minute.
| | 01:00 | There may be more in the 140 area,
but I've talked to the editor and this is
| | 01:04 | the kind of track we want to shoot for.
| | 01:06 | So I'm going to Control+Left Arrow and
sort of fix up my workspace a little bit here.
| | 01:11 | The track that I need at 150 beats a
minute needs to be about 41-42 bars long,
| | 01:18 | not this 250 in here.
| | 01:19 | So I'll just double-click there and I'll
call it 45 and then I can mouse push my
| | 01:26 | way down to about there.
| | 01:27 | So that's about the right size of
sequence that I need and I'll push the
| | 01:31 | playhead back to the beginning and then
Control+Right Arrow, so that I can kind
| | 01:35 | of see my workspace a little bit.
| | 01:37 | So this track has been sort of helpful
to get me in the ballpark, but now I want
| | 01:41 | to mute it and just have it hang out
there in case I need to refer to it later.
| | 01:45 | But I want start adding some sounds.
| | 01:47 | I'll close my Transports for now,
because I'm really more interested in the
| | 01:52 | Arrange window now that I am in the
timecode and I'll actually close my Global Tracks.
| | 01:57 | They'll still be there if I ever need
to go back to them, but I want to work
| | 02:00 | with my musical structure now.
| | 02:03 | I'm going to open the Browser with the
letter B and go to the Loops tab and
| | 02:09 | I have already gone through and found some
loops that I want to work with on this project.
| | 02:15 | I did searches through all the
various categories here and marked them as
| | 02:19 | Favorites and we've covered
that in an earlier chapter.
| | 02:22 | But now I have this list of stuff here.
| | 02:25 | You don't have these Favorites checked
already and you may not want these to be
| | 02:29 | your Favorites at all, but in case you do,
I'm going to push this up so that you
| | 02:33 | can see the list and I'll just kind of
push my mouse out of the way, so that you
| | 02:37 | can take a look at what's on my list and
you can decide if you want to add these
| | 02:41 | to your Favorites list for
projects that you're going to work on.
| | 02:44 | Now, I see that some of these are
blue and some of these are green, which
| | 02:47 | means greens need to go into an Instrument
Track and blues need to go into an Audio Track.
| | 02:53 | Now I know because of the subject of
the movie I'm working with, it's Tokyo at night,
| | 02:57 | and I haven't shown you the movie
yet, but I'm just going to bring in some
| | 03:01 | tracks that I think are going to work
for me for this project and then we'll
| | 03:05 | start building a track to it.
| | 03:06 | So let me listen to what I've got here.
| | 03:09 | (Music playing.)
| | 03:13 | That's going to be good for later.
| | 03:14 | (Music playing.)
| | 03:17 | That's probably going to be good for later.
| | 03:18 | (Music playing.)
| | 03:21 | It might be a good one to start with.
| | 03:24 | Let's bring that into the
Timeline and put him at bar 1.
| | 03:29 | Let's listen what else we have here.
| | 03:30 | (Music playing.)
| | 03:33 | Oh! That's a great opening.
| | 03:35 | Okay, we bring him in and
you will use him at bar 1.
| | 03:37 | (Music playing.)
| | 03:40 | Maybe later.
| | 03:41 | (Music playing.)
| | 03:42 | Maybe later.
| | 03:43 | (Music playing.)
| | 03:46 | Very much like 01, we'll save him.
| | 03:48 | (Music playing.)
| | 03:50 | A little heavy for the opening.
| | 03:51 | (Music playing.)
| | 03:59 | Yeah. That might be great for the ending.
| | 04:02 | So I'm going to just scoot out to the
ending here and bring him in and we'll put
| | 04:06 | him on his own track, and we'll
sort of what we call back-time this.
| | 04:11 | We'll make the ending end where the movie ends.
| | 04:14 | The movie ends at about bar 41.
| | 04:17 | This track now ends at about bar 41
and with any luck that'll be the kind of
| | 04:21 | ending that I'm looking for.
| | 04:23 | If it's not, I will fix it.
| | 04:24 | We need some rhythm here.
| | 04:25 | So here are some drums.
| | 04:26 | (Music playing.)
| | 04:30 | Okay, I like that.
That's a good opening.
| | 04:31 | That's a blue file, so that needs to
go up here on our Audio Track and let's
| | 04:36 | just loop that and kind of have him
play the whole way through. We'll change
| | 04:40 | that later but that's a
good start. And now I have--
| | 04:43 | (Music playing.)
| | 04:48 | And it might be a good transition later on.
| | 04:51 | How about this Tabla's?
| | 04:52 | (Music playing.)
| | 04:57 | I know I'm going to want to use those somewhere.
| | 04:58 | I'll just park them out here in the
middle of the piece somewhere and they can
| | 05:02 | start to take over later on.
| | 05:04 | Now because we're in Japan, I am
sort of feeling like we need to start
| | 05:08 | this track with a welcome to Japan sound
and nothing does that like a Shakuhachi.
| | 05:15 | So I'm going to click on this Shakuhachi.
| | 05:18 | (Music playing.)
| | 05:23 | Nothing takes me to Japan faster than that.
| | 05:26 | So it should lay into this track.
| | 05:28 | (Music playing.)
| | 05:39 | Now maybe this Evolving Atmosphere
wants to give the Shakuhachi some room.
| | 05:43 | Let's loop this drumbeat.
| | 05:45 | (Music playing.)
| | 05:58 | Now that seems very loud to me.
| | 06:00 | I'm going to go over to the Inspector,
letter I, and look at my Output level,
| | 06:04 | because this Evolving Atmosphere is lovely,
but it's evolving me right into the red.
| | 06:11 | So I'm going to choose this and
pull it down just a little bit.
| | 06:15 | It's kind of dominating the track here.
| | 06:18 | So I've checked that the output is
coming out of Output 1 and 2 and I should be
| | 06:22 | able to hear this now.
| | 06:23 | Playhead back to the beginning.
| | 06:25 | (Music playing.)
| | 06:35 | All right, so this Talking Beat is
getting a little old or is it the World Drums?
| | 06:39 | Let me hear what the World Drums sound like.
| | 06:41 | (Music playing.)
| | 06:42 | Yeah, that's really the part that's getting me.
| | 06:44 | The Talking Beat is kind of nice.
| | 06:45 | (Music playing.)
| | 06:50 | Let's have the World Drums start a little later.
| | 06:52 | Maybe after that about bar 9.
| | 06:56 | That's a good round number, after
the Evolving Atmosphere takes over.
| | 07:00 | (Music playing.)
| | 07:03 | So come on, Evolving Atmosphere.
| | 07:05 | I just have to start at the
beginning of this, because the note
| | 07:08 | actually triggers at bar 3.
| | 07:10 | So if I click in here in the middle of
this phrase, it's actually just one big note.
| | 07:15 | So just be aware of that in Logic that
if you're not ahead of the region,
| | 07:20 | if you're starting in the middle of the
region, you're not triggering the note.
| | 07:23 | So it's not going to just start
playing right there in the middle.
| | 07:26 | So if that ever happens to you,
then you'll know what's going on.
| | 07:29 | So let's go to where we actually
trigger our Evolving Atmosphere.
| | 07:32 | (Music playing.)
| | 07:47 | I'm going to get some more
items in here to work with.
| | 07:50 | I like this Abstract Atmosphere.
| | 07:52 | I'll bring that in and I'll bring
in this Drum Kit and I'll bring in...
| | 08:01 | (Music playing.)
| | 08:09 | It's a little dark for
this piece. Maybe this one.
| | 08:12 | (Music playing.)
| | 08:15 | Okay, that's a hit.
| | 08:17 | Let me check the output on this guy and
this instrument is routed to Output 9 and 10.
| | 08:22 | I'm going to change it to Output 1 and 2.
| | 08:25 | That's my sum output, my master output.
| | 08:28 | So now we'll be able to hear it and
I think we'll need another Evolving
| | 08:32 | Atmosphere back here.
| | 08:34 | (Music playing.)
| | 08:35 | That one is too heavy.
| | 08:36 | (Music playing.)
| | 08:38 | That one's too much like
the opening. So is that one.
| | 08:41 | (Music playing.)
| | 08:48 | That's sounding like that
could be a nice end piece.
| | 08:51 | So let me find another track for that.
| | 08:54 | I'll just drop it into the timeline on
an empty track and then we'll change its
| | 08:59 | output, which is patched to 11 and 12.
| | 09:02 | Now it's going out to 1 and 2.
| | 09:05 | I'll close the Browser with the letter
B twice and that sounds like that could
| | 09:10 | be a good ending piece.
| | 09:12 | So this is the process.
| | 09:14 | Well, I've been laying out this track
in kind of musical ways and now it's time
| | 09:18 | to actually look at the movie and
see how it's working with the picture.
| | 09:21 | So I'll jump over here to the Movie
Inspector, open up the little triangle.
| | 09:26 | If I double-click on the movie,
it makes it nice and big and then I'll just
| | 09:29 | shrink it down so that I have my of
reference movie that I really want.
| | 09:33 | Let me move the playhead back to
the beginning. The zero key does that.
| | 09:36 | (Music playing.)
| | 10:04 | Well, I'm feeling like it needs
some more musical stuff going on here.
| | 10:07 | So I will move my movie out of the way.
| | 10:11 | Jump back into Browser, look at my Loops,
look at my Favorites, and this Guitar
| | 10:19 | has not made into the project yet.
| | 10:21 | So it's time for him.
| | 10:23 | We'll bring him into
Instrument 7 and then check the Output.
| | 10:27 | It's actually going into section 13 14.
| | 10:29 | We'll switch to 1 and 2 and it feels
like that needs to happen about.
| | 10:35 | (Music playing.)
| | 10:40 | These Drums are not
quite ready to come in yet.
| | 10:44 | Maybe the Tabla should come in there.
| | 10:48 | (Music playing.)
| | 10:54 | Yeah, I'm liking that.
| | 10:56 | Okay, let me bring this out.
| | 10:58 | I'm starting at bar 9 and
let's just do round numbers.
| | 11:00 | We will do eight bars of Tabla, eight
bars of Drums and then move this guy so
| | 11:05 | that he can come in about halfway
through the Tablas and we'll let this Guitar
| | 11:11 | come in about with the Tablas there at bar 9.
| | 11:15 | So let's move him over from bar 10 to bar 9
and loop him out for a while and see what we got.
| | 11:21 | (Music playing.)
| | 11:36 | This is feeling okay to me. Let's see.
| | 11:39 | I think we're ready for
another Evolving Atmosphere.
| | 11:42 | (Music playing.)
| | 11:44 | Still a little too heavy
for me. What's this one?
| | 11:47 | (Music playing.)
| | 11:49 | Eh. Too simple.
| | 11:50 | (Music playing.)
| | 11:55 | That's kind of close cousin of
our first Evolving Atmosphere.
| | 11:59 | Now there is an argument to be made for
having Evolving Atmosphere 07 to be on a
| | 12:05 | different track from Evolving
Atmosphere 01, but I'm actually going to put them
| | 12:11 | on the same track, because chances are,
if I raise or lower the volume of one of these,
| | 12:17 | I'm probably going to want to
raise or lower the volume of both of them.
| | 12:21 | So they can live together on the same
track even though they're not technically
| | 12:24 | exactly the same sound.
| | 12:25 | And let's start him off at
bar 17 and see what we got.
| | 12:30 | (Music playing.)
| | 12:45 | So before I put a lot more effort into
this project, I want to run this by the
| | 12:49 | editor that I'm working with and make
sure that he likes where I'm headed.
| | 12:53 | He likes the sounds I've picked, he likes
the tempo I've picked, he likes how it's
| | 12:56 | working with the picture.
| | 12:57 | So I'm going to what I've got so far
and marry it up to this movie and then
| | 13:02 | send it back to him.
| | 13:04 | The way I do that is to go to
Options > Movie > Export Audio to Movie.
| | 13:11 | Now if this page looks familiar,
this is actually the Audio window of the
| | 13:15 | QuickTime Export, so you've
probably seen this before. I'll say OK.
| | 13:20 | I'll give it a name.
| | 13:22 | I'll call this Tokyo at Night #1.
| | 13:24 | That seems like a good name for it.
| | 13:26 | I'll just pop it on my Desktop and say Save.
| | 13:30 | Now the next window that pops up says
Select the audio tracks of the movie to
| | 13:34 | keep in the new movie.
| | 13:35 | Well, that's the temp music that he
sent to me and I don't want to send that
| | 13:39 | back to him and I certainly don't want to
send it back to him with my music in there too.
| | 13:44 | So if you light this up, then
it will travel back in the movie.
| | 13:48 | If you click outside of it, then
you basically take it out of the mix.
| | 13:53 | So think of this as a Mute
button, just clicking outside of it.
| | 13:57 | So with the movie, without
the movie, and I'll say OK.
| | 14:01 | The Export is pretty fast just like
all the bounces in Logic and I have a
| | 14:05 | QuickTime movie now that I can run by
my editor and see if he likes where I'm
| | 14:09 | going with this project.
| | 14:11 | If you were really mixing this and
including the announcer that came with this movie,
| | 14:15 | my advice is to use that
Import Audio do a Range command we talked
| | 14:20 | about earlier and then build your
music and sound around the announcer and
| | 14:24 | then my advice is also to export a
Music Only version in case they decide to
| | 14:29 | change the announcer later.
| | 14:30 | That happens a lot.
| | 14:31 | Now next up is spotting to picture.
| | 14:33 | Taking sound effects from the library and
placing them on the appropriate frame of video.
| | Collapse this transcript |
| Adding sound effects to your movie| 00:01 | In addition to Logic's vast library of
musical sounds, Logic also ships with a
| | 00:05 | huge sound effects library.
| | 00:08 | So in this movie, I'll show you some options
for working with the sound effects library.
| | 00:12 | Now to get to the sound effects
library, I'm going to open the Browser,
| | 00:15 | hit the letter B and go to Loops and over on
the right here I have musical notes and effects.
| | 00:24 | I'll reset this list, because the sound
effects that I've put into my Timeline already,
| | 00:30 | I found by searching through this list.
| | 00:33 | So Busy Station is over here.
| | 00:35 | Let me move my movie out of the way
and here's Busy Station, which is, as
| | 00:43 | it says, just a nice--
| | 00:44 | (Video playing. Crowd noises.)
| | 00:52 | Kind of a busy train station environment.
| | 00:55 | I also found Traffic and just Walla over here.
| | 00:58 | There's a bunch of Walla in here.
| | 01:02 | Seven Crowd Wallas, a Bar
and Children and a Party.
| | 01:06 | So there's just a ton of sound
effects in here for you to use.
| | 01:09 | Let me clear this search and I
want to go back to the Event List.
| | 01:13 | So I'll just click on Lists and Event
and each of these tracks, the music that
| | 01:19 | shipped with the movie plus the three
sound effects that I've added, are in the
| | 01:23 | Event List with SMPTE numbers,
SMPTE reference numbers on them.
| | 01:27 | If yours are showing up as bars,
then it's Shift+R, changes from bars and
| | 01:33 | beats to SMPTE numbers.
| | 01:35 | If you want to reposition one of these
regions in the Timeline, you can just
| | 01:40 | kind of reach over here and you can see
it moving in the Timeline to reflect my
| | 01:44 | change over here in the Event List.
| | 01:46 | So if you had a specific frame of
film, like let's just pick something.
| | 01:53 | Right there, 11:03.
| | 01:57 | We will make Traffic happen at 11 and 11:03.
| | 02:03 | Now the Traffic happens
right on that frame of film.
| | 02:06 | Another handy feature is
what's called Event Float.
| | 02:09 | Let me move my movie out of the way
and I got this little window by going to
| | 02:14 | Options and Event Float.
| | 02:17 | Now anything that I select in either
the Timeline or in the Event List shows up
| | 02:24 | here in this floating window called Event List.
| | 02:27 | I can change the location in here, just like I
change it over on the right in the Event List.
| | 02:34 | So this is kind of a peak inside the
Event List and this is handy to just kind
| | 02:38 | of keep up here or over on the right
or actually even in the Arrange window itself.
| | 02:44 | Because when we're spotting
sound effects to picture, we don't really
| | 02:48 | care about bars and beats anymore.
| | 02:50 | We really care about this SMPTE
clock that we're working with.
| | 02:53 | In fact, when I'm doing this work,
I leave my clock, my Tempo, at 120 beats per
| | 02:58 | minute, because that means that the
playhead is going to be moving at 2 beats a second.
| | 03:03 | That helps me calculate where
things are in the Arrange window.
| | 03:07 | I've changed my display also using the
little Marquee Stripe to Time, because
| | 03:12 | all I care about when I'm
doing this work is time.
| | 03:15 | I don't care about bars and beats anymore.
| | 03:18 | So this time I just want SMPTE
time across the ruler in the top.
| | 03:22 | Now from here, the process of mixing
and putting these sound effects to picture
| | 03:26 | is just like it is with music.
| | 03:28 | We'll go to Options >
Movie > Export Audio to Movie.
| | 03:34 | Again, we're in this sort of QuickTime
window that we get when we choose this
| | 03:38 | option and we can pick a name.
| | 03:42 | Let's call this Tokyo at NightSFX
and we'll pop this on the Desktop.
| | 03:50 | Choose Save and again we have the
choice to move this window out of the way.
| | 03:54 | We have the choice to include this
audio track that shipped with the movie,
| | 03:59 | which we don't want to do, so we'll
click outside and now it's going to exclude
| | 04:03 | that from the mix, just like with audio,
think of this as the Mute button for
| | 04:08 | this audio track that came
with the movie. We'll say OK.
| | 04:14 | And now we have the movie with
sound effects instead of music.
| | 04:18 | So not only can Logic let you make
great audio tracks with MIDI loops and your
| | 04:24 | own performances, but it's also a
pretty great sound effects machine.
| | Collapse this transcript |
| Exporting OMF and XML files from Final Cut Pro into Logic| 00:00 | Okay, well, I'm in Final Cut
Pro now and no, you're not lost.
| | 00:04 | You're still inside the Logic title,
but I've jumped into Final Cut Pro to show
| | 00:07 | you a way to get audio out
of Final Cut Pro into Logic.
| | 00:11 | Now, we haven't included the exercise
files for the OMF and XML part of this
| | 00:15 | training, but I wanted to include this
concept for people that have Final Cut Pro
| | 00:20 | or Avid or work with people who do.
| | 00:22 | One of the hippest ways to do this is to
go to Final Cut Pro and System Settings
| | 00:27 | and if you're going to be scoring your
own movies and you want to be able to
| | 00:30 | edit your Final Cut Pro audio inside
Logic, slide over to External Editors.
| | 00:36 | Chances are, when you installed the
Final Cut Pro, it set the audio file editor
| | 00:42 | as Soundtrack Pro, but you can reach
over here and grab Logic and choose it and
| | 00:50 | now anything you edit out of
Final Cut will jump into Logic.
| | 00:55 | Let me show you how that works.
| | 00:56 | You're working in your Final Cut Pro timeline.
| | 00:59 | You right-click on this and say Open
in Editor, and now you're in Logic.
| | 01:05 | Now, it isn't in the timeline,
but it is in the Audio Bin.
| | 01:09 | There's my audio file that jumped out of
Final Cut and right into Logic and then
| | 01:13 | I can just pick it up and drag it to
my Arrange and start working with it.
| | 01:17 | So that's a pretty handy shortcut. Okay.
| | 01:20 | Let's close this project and don't
save it and we're back in Final Cut now.
| | 01:26 | Now, this is a top to bottom audio file.
| | 01:29 | It's actually a little piece of
temp music out of the library.
| | 01:32 | I'll go to this Sequence, light up the
Sequence and say File > Export > Audio to
| | 01:38 | AIFF, and that accomplishes kind of
what we just did, which is to send this
| | 01:43 | audio out as a full top-to-bottom AIF.
| | 01:47 | Now there are some other ways to do this.
| | 01:50 | I'm going to go to my Final Cut Pro
timeline, type the letter B to get a razorblade.
| | 01:55 | I'm just going to make some cuts here.
| | 01:58 | Type the letter A to get back to the arrow.
| | 02:02 | You can pretend with me that we have
different elements than just this top
| | 02:06 | to bottom music track.
| | 02:08 | Let's pretend that we have
some music and then some talking.
| | 02:11 | Maybe some sound effects and more talking.
| | 02:13 | These are different things that we
want to edit differently as opposed to one
| | 02:17 | top to bottom track.
| | 02:18 | I've lit up my sequence in the Bin.
| | 02:20 | I'm going to say File > Export > Audio to OMF.
| | 02:26 | I have a choice of sample
rates here and bit depths.
| | 02:30 | Handles are audio that's outside the in
and out points, so stuff before the in
| | 02:36 | point and stuff after the out point.
| | 02:38 | You can choose to add it or not.
| | 02:40 | You can choose to include the Levels or the
Panning that's already been set in Final Cut.
| | 02:45 | If your editor has already done stuff,
my guess is that you're bringing it into
| | 02:49 | Logic so that you can have independent
control over the levels and the panning,
| | 02:53 | but you can include that if you want.
| | 02:54 | So I'll say OK and I've got to give this a name.
| | 02:57 | I'll say Tokyo Night omf and I'll pop
it on the Desktop. It's pretty fast.
| | 03:03 | Now I'll jump into Logic and I'll
make a New > Produce > Music for Picture,
| | 03:12 | because that's probably the template
you want to work with, and I'll call this
| | 03:15 | omf and I'll pop that on the Desktop.
| | 03:18 | I go to File > Import and there's my
omf file that came out of Final Cut.
| | 03:27 | It asks me, where would you like to
put the audio that I'm going to import?
| | 03:31 | The logical place to put it is in my omf
Logic file, Audio Files, so I'll select
| | 03:36 | that and then say Choose.
| | 03:38 | It's drawing the waveforms.
| | 03:42 | I believe down here at the bottom it has
brought in a left side and a right side.
| | 03:49 | If I light up this region and go to my
Sample Editor, I just want to verify that
| | 03:55 | it's a Mono file and not a
Stereo file. That's what it is.
| | 03:59 | Because I have stereo elements here,
I'm going to pan this track, Track 3, full left,
| | 04:06 | just pushing with the mouse and
pan this one full right and now I have a
| | 04:12 | stereo mix inside of Logic.
| | 04:15 | If I close my Browser, letter B twice,
and Control+Left-click, I see that it's
| | 04:21 | brought in the pieces that left Final Cut Pro.
| | 04:25 | So those cuts that I made in Final
Cut Pro are now over here in Logic.
| | 04:28 | Now I have to do the same thing with
Track 1 because it's a left side and Track 2,
| | 04:32 | because it's a right side.
| | 04:35 | Now I pretty much have my Final
Cut mix inside Logic with the cuts.
| | 04:39 | Now, keep in mind, these are
regions in your Logic timeline.
| | 04:43 | So if you change the tempo, it's going to
change where these regions stop and start.
| | 04:48 | That's not something you want when
you're trying to preserve sync between
| | 04:51 | something you got in Logic and
something you've got in Final Cut Pro.
| | 04:55 | So here's what you do.
| | 04:57 | Light up all these regions.
| | 04:58 | I'm just going to select them all
and go to my Lists and look at Events.
| | 05:04 | I have SMPTE start times for all these regions.
| | 05:08 | Now if your start times are in bars
and beats, hit Shift+R and you can toggle
| | 05:14 | between SMPTE time and bars and beats.
| | 05:17 | After you've selected all of these,
right-click and lock their SMPTE positions
| | 05:22 | and you get a little lock here in
the Event List and here in the region.
| | 05:26 | I'll change my Tempo now to 145 just
to pick a number, and the bars and beats
| | 05:33 | have changed completely, but these
are still locked in place on their
| | 05:38 | respective time codes.
| | 05:40 | That means you're not restricted to 120
beats a minute or whatever tempo you had
| | 05:44 | when you brought it in.
| | 05:45 | You can change the Tempo to your
heart's content and these regions will
| | 05:48 | stay locked in time.
| | 05:49 | Now I'm going to jump out to
the Desktop and just hide Logic.
| | 05:53 | I'll just do a Command+I and show
you that this OMF file has audio in it.
| | 05:57 | It's 11.7 megabytes.
| | 05:59 | So it's actually containing the
audio that Logic is interpreting.
| | 06:03 | There's another way to do this.
| | 06:05 | To show you that I need
to move back to Final Cut.
| | 06:07 | So let me just open Final Cut and
I'll go to the File menu > Export > XML.
| | 06:14 | Now, I'll use the latest
version here, version 4.
| | 06:18 | If there's some legacy reason for your
computer why you need to choose another version--
| | 06:23 | I'm going to use the latest version.
| | 06:25 | I just think that's a good
idea on this software release.
| | 06:28 | So you decide what version
you think you should use.
| | 06:31 | Maybe talk with your editor about that.
| | 06:33 | Save project with latest clip metadata. Yeah.
| | 06:35 | I'm going to do that too
and I'm going to say OK.
| | 06:39 | Then I'll call this Tokyo Night xml
to distinguish it from the omf that I
| | 06:44 | already have on the Desktop
and I'll jump back into Logic.
| | 06:48 | Let's just go ahead and make a new
file, so we're not confusing this.
| | 06:51 | I'm now going to close that one.
| | 06:53 | I'm going to use the same template
though, Music for Picture, and we'll call
| | 06:57 | this xml, pop it on the Desktop,
save it, and now I want to import my xml
| | 07:06 | file and I'll say Open.
| | 07:08 | It asks me which sequence inside the
Final Cut document that I want to use.
| | 07:14 | I only have one sequence in there, but
if I did have more, I'd have a pull-down
| | 07:17 | menu here to choose from.
| | 07:19 | That is the sequence I want to use.
| | 07:20 | It tells me the framerate and
how long it is. I'll say OK.
| | 07:24 | It's writing the waveforms.
| | 07:26 | I'm going to close the Browser, with
the letter B twice, and the Inspector with
| | 07:34 | the letter I, so that I can see what's in here.
| | 07:37 | I'll go to my timeline and Control+Left
Arrow and I have the same basic layout
| | 07:41 | that I had back there in Final Cut.
| | 07:44 | Now there is one kind of
odd thing that XML data does.
| | 07:49 | It's given me a Stereo file here
for each region that it exported.
| | 07:53 | So here's kind of the workaround for that.
| | 07:56 | It turns out that if I look in here,
I know that it's a Stereo file.
| | 08:00 | I see two tracks here,
looking in the Sample Editor.
| | 08:03 | So what I need to do is open my
Inspector, and for this track, change the
| | 08:08 | track's type from a Mono track,
Left side only, to a Stereo track.
| | 08:16 | Once I do that, I can click on
Audio 4 and just get rid of it.
| | 08:18 | Do I want to erase the automation data? Sure!
| | 08:25 | I do the same thing for Audio 1.
| | 08:27 | I actually have a Stereo
file here. Let's be sure.
| | 08:30 | Go to the Sample Editor. Yup!
| | 08:31 | Two tracks, Stereo file, and I'll just
light up Audio 2 and delete it. I'll erase.
| | 08:42 | I'll actually delete the whole track and
then I want to change Audio 1 to a Stereo file.
| | 08:50 | Let's be sure that Audio 3 is a Stereo
file and now I have Stereo audio for the
| | 08:57 | bottom set which we're pretending is
music or sound effects and Stereo audio for
| | 09:03 | the top set which we're pretending
is announcer or maybe sound effects.
| | 09:08 | The same thing applies here.
| | 09:10 | If I want to change my Tempo, I really
should select them all, go to the Lists,
| | 09:16 | Event, change the display from bars and
beats to SMPTE by using Shift and R and
| | 09:23 | then right-click on one of
the events and lock their SMPTE.
| | 09:27 | Now I can do the same thing with my
tempo change that I did with the OMF.
| | 09:31 | Now the thing about XML data is if I
hide Logic and hide Final Cut and show you
| | 09:37 | this XML file, I'll just
Command+I, this one's only 84 KB.
| | 09:42 | So it's really just a bunch of metadata.
| | 09:44 | In fact, if I open it with TextEdit,
I can see that it's just a whole bunch of code,
| | 09:49 | referring to these clips and
where to find them and where they start and
| | 09:55 | stop, but there's really no
audio in here. This is just data.
| | 09:58 | That's why it can be so small.
| | 10:00 | So if your editor sends you an XML,
they're going to have to bundle the audio
| | 10:04 | and send you those files as well.
| | 10:06 | The OMF has the audio built-in.
| | 10:08 | So there are a couple of interesting
ways to get clips out of Final Cut Pro into
| | 10:12 | Logic, so that you can work with them.
| | Collapse this transcript |
| Exporting XML files from Logic back into Final Cut Pro| 00:01 | Most of the time when you work with video,
you bring in the video, you may bring
| | 00:04 | in an announcer element, a sound effect element.
| | 00:07 | You may add the sound
effect element in here in Logic.
| | 00:10 | You'll build the music, you'll mix the
music and you'll send out a composite mix,
| | 00:14 | announcer sound effects
and music all bundled together.
| | 00:18 | Every once in a while you want to send
those out as separate elements and let's
| | 00:21 | look at some options for that.
| | 00:22 | The most common option is Stems.
| | 00:25 | The concept of stems is each of the
three elements of the soundtrack,
| | 00:29 | the dialogue, the music and the sound
effects, go back to Final Cut or Avid as
| | 00:34 | independent audio files, though each
be the same length which means that even
| | 00:38 | if no sound effects happen until later you
need the blank space to get them to line up.
| | 00:43 | So the editor will just put everything
at the beginning of the sequence and then
| | 00:47 | if the sound effects don't happen
until bar 17 or second number 30,
| | 00:52 | there will be 30 seconds of blank space up
there so that it happens at the right time.
| | 00:57 | So there are a couple terms to get familiar with.
| | 00:59 | The name for this process is a DME mix,
isolating the dialogue, the music and the
| | 01:04 | effects into their own files, and the
Mixer will use the DME Stems and what's
| | 01:08 | called a three fader mix.
| | 01:10 | Send D to output 1, M to output 2, and
E to output 3 and then bounce each output.
| | 01:16 | Now I'll cover this when we talk
about mixing and show you how to route
| | 01:20 | different elements to different
outputs and then bounce them out.
| | 01:23 | Now when you're making stems be sure
that you make the lengths the same.
| | 01:26 | Start them at bar 1 even if
nothing really happens there at bar 1.
| | 01:30 | The idea is to make all three of them
be exactly the same just with different
| | 01:34 | content and you need that blank space
to get them to line up and sync later on.
| | 01:38 | Now besides exporting a composite
soundtrack and exporting the pieces as stems,
| | 01:43 | there are couple other ways to get these
clips out of Logic and back into a film
| | 01:47 | editing program like Final Cut or Avid.
| | 01:49 | Let's talk about OMF first.
| | 01:51 | So I'll go to the File menu and we
will export this project as an OMF File.
| | 01:57 | I'll choose Version 2.
| | 02:00 | I do want to include the audio.
| | 02:02 | I'm going to take any stereo files that
are interleaved with the left and right
| | 02:05 | connected and split them and I'll
use this dithering if I need it.
| | 02:09 | I don't have any 24-bit files and so I
don't have to choose this box to convert them.
| | 02:13 | I'll say OK.
| | 02:14 | I'll call this OMF 4 AVID,
pop it on the Desktop.
| | 02:22 | It takes my core audio files, which are
just loops going to make this drum loop,
| | 02:27 | and turns them into AIF files
and they show up in the OMF.
| | 02:30 | Now exporting an XML file back to
Final Cut is just about that easy.
| | 02:34 | I'll go back to the File menu > Export
and at the bottom of the list is Project
| | 02:40 | to Final Cut Pro/XML.
| | 02:43 | I'll call this XML 4 FCP, pop it on the Desktop.
| | 02:53 | It makes its tracks.
| | 02:54 | I'll jump back into Final Cut
Pro and I'll import that XML data.
| | 03:02 | I'll jump to my Desktop
and I should have XML 4 FCP.
| | 03:08 | The Destination. It's making a new
sequence, so I'll say OK and I'll take a
| | 03:13 | look at that sequence.
| | 03:14 | So it's unrendered audio. That's why
I've this red stripe across the top.
| | 03:18 | But if I take a look at the audio
waveforms I see that I've got all my pieces
| | 03:24 | that left Logic and they're all
sitting over here now in Final Cut.
| | 03:28 | Now you might be asking why on earth would
you want to mix your audio in Final Cut Pro?
| | 03:34 | Well, I don't think you
would frankly, but you could.
| | 03:38 | If you wanted to send the pieces back to
your Final Cut Pro editor as pieces, not
| | 03:42 | as a composite track, that's how you do it.
| | 03:44 | Everything is in sync now and
there's that concept of stems.
| | 03:47 | So even though this piece doesn't
actually play until this point in the sequence,
| | 03:51 | it's got blank time in there that's
kind of glued into it so that it does play
| | 03:55 | at the appropriate point in the sequence.
| | 03:57 | So there are couple options for you
getting audio out of Logic back to your film editor.
| | Collapse this transcript |
|
|
7. RemixingBeginning the remixing process from a vocal track| 00:01 | In Chapter 4 we built a track and then
edit a vocal and that's typically the
| | 00:04 | way you build a track.
| | 00:06 | In this chapter, we'll turn that
process around and cover the concept of
| | 00:10 | remixing, taking a vocal track that was
recorded with a click and a guitar and
| | 00:15 | building a track around it.
| | 00:17 | Now that we know our way around Logic,
| | 00:19 | we'll put some of those tools and
techniques to work in this chapter and there
| | 00:23 | are some features like how to use drum
fills to make loops feel like real drums
| | 00:28 | and shadow vocals up and octave and
delays that are timed to the beat and
| | 00:33 | rather than show those in an abstract way,
I wanted to show them in the context of a project.
| | 00:37 | We're using a song written and performed
by Dan Grimm and it's a neat story with
| | 00:43 | a lot of imagery as opposed to
a pop song with a dance beat.
| | 00:48 | We know the tempo and we'll start
with the vocal and the guitar parts he
| | 00:51 | recorded and then see what we can do in
Logic to enhance them and stay true to the song.
| | 00:58 | Now I've already built a track to this song.
| | 01:01 | I build it over here in the bar 1 area
and then I set the locators for bar 1 and
| | 01:07 | bar 100 and I went to the Region local
menu > Cut/Insert Time and chose Insert
| | 01:15 | Silence Between Locators, and that moved
all the pieces of the sequence later by
| | 01:21 | 100 bars and gave me a
blank area in the bar 1 area.
| | 01:25 | Well, it's not quite blank because I've
already added the guitar part and the vocal part.
| | 01:32 | I did that by going to the Audio Bin,
Window > Audio Bin or Command+9, and here
| | 01:39 | are the files that are in
here ready for me to import.
| | 01:43 | I had imported the audio files that Dan
gave me and then they were in this list
| | 01:48 | and I picked them up and
dragged them to the Arrange window.
| | 01:51 | You can also do that from the Finder.
| | 01:53 | Just drag them into the Arrange window.
| | 01:55 | Let me close this Audio Bin and I've
already trimmed up this vocal and I haven't
| | 02:01 | trimmed up this guitar.
| | 02:03 | There's some extra stuff on the
front of the guitar part but I've already
| | 02:07 | trimmed up the vocal and
I've timed it to the Click.
| | 02:09 | Now the way I did that was to go to
the Record button, right-click on it,
| | 02:15 | Record Settings and switch over to Metronome
and tell the Metronome to Click while playing.
| | 02:23 | So I'll turn that on and then I'll listen
to the vocal part along with some click.
| | 02:32 | (Dan singing: 7 crows for
a secret... never to be told.)
| | 02:39 | (Dan singing: My name's Corvus? Corvus Crow.
Song of a man of a gun of a dame?)
| | 02:48 | All right, so the vocal is nice and
locked to the click and I'll unsolo the
| | 02:53 | vocal and solo the guitar and play it.
| | 02:56 | (Music playing.)
| | 03:14 | They've locked to the click.
| | 03:16 | Now because of way I set the in
points here, because of the way these were
| | 03:19 | recorded, they're
actually not quite on downbeats.
| | 03:24 | If we zoom way in here, you can see
that this guitar part is not quite on a
| | 03:29 | downbeat and this vocal part
is not quite on a downbeat.
| | 03:33 | That's just because of the way I had
trimmed up the audio regions to start.
| | 03:38 | So let's take a look at
that in the Event window.
| | 03:42 | If I go to Lists and Event, we can
see that the guitar is actually starting
| | 03:48 | on the fourth beat of bar 1 and the vocal is
actually starting on the eighth note after bar 11.
| | 03:54 | So the important concept here is
that they're locked to the click, really
| | 03:59 | doesn't matter where they start as long
as they're working in the structure of
| | 04:03 | the song and they're locked to the click.
| | 04:06 | So now that that's done, I'll close the
Browser, two Bs, two letter Bs to close it,
| | 04:11 | right-click on the Record
Settings button again, Metronome and turn off
| | 04:17 | Click in play, and now when we play.
| | 04:21 | (Music playing.)
| | 04:22 | (Dan singing: 6 crows for gold?)
| | 04:25 | We get guitar and vocal and no click.
| | 04:27 | Now let me Ctrl and Left Arrow a
little bit and you can see that I've added
| | 04:32 | markers up here for intro and tag and
all the verses and choruses and all the
| | 04:38 | other parts of the song.
| | 04:40 | It's not critical that you add markers
but it helps you find your way around.
| | 04:43 | It helps you know where you are on the
timeline and I did that by going to Lists
| | 04:48 | and switching from Event over to Marker
and you can create a marker right there
| | 04:54 | by hitting that button.
| | 04:56 | You can also go to Options > Marker
and Create and the command for that is
| | 05:03 | Control+K. It's not M
because Logic saves that for Mute.
| | 05:07 | So whether you create it with the
keystroke or by hitting a little button,
| | 05:11 | I'll move the playhead back to the beginning,
just hit the 0 key and I'll create a
| | 05:16 | Marker there at the beginning at bar 1
beat 1 and double-click on it and give it
| | 05:21 | a name, the beginning.
| | 05:23 | Okay and I can move a marker.
| | 05:29 | Let's move it to bar 2.
| | 05:32 | I can actually click on this number
and scroll it anywhere in the sequence.
| | 05:40 | But actually this marker doesn't help
me at all so I'm going to light it up and
| | 05:43 | delete it using the Delete key.
| | 05:45 | So I've put markers in for the
beginning of the song and then actually I have
| | 05:50 | some of the markers in here for the end
of the song, the parts that I've already
| | 05:54 | added that I'm going to add in this chapter.
| | 05:57 | Now let me close the Marker list, B
and B again to close it and if you're
| | 06:02 | wondering why the vocal and the guitar
don't start exactly at bar 1 beat 1, well,
| | 06:10 | I haven't decided yet if I want some
sound effect or some other musical piece or
| | 06:16 | something else to happen before this
guitar takes us into the song and I've left
| | 06:22 | room for that and I can always delete
that time later if I want the song to
| | 06:26 | start the way it starts.
| | 06:28 | Now that the guitar and the vocal are
in place, it's time to build some drums
| | 06:32 | and percussion and that's in the next movie.
| | Collapse this transcript |
| Building the rhythm track using Logic's library| 00:00 | I am going to play this song starting
at the vocal, then we'll see where we are
| | 00:04 | feeling like it should have its first element.
| | 00:08 | Here it is starting at the vocal.
| | 00:10 | (Dan singing: 5 crows for silver, 6 crows for gold,
7 crows for a secret... never to be told.)
| | 00:23 | (Dan singing: My name is Corvus... Corvus Crow
Son of a gun of a man of dame who had a deal with a moonshadow.)
| | 00:37 | (Dan singing: I roam the town here... last man alive
Where once there was a gold boom before the mines went dry.)
| | 00:51 | All right! Well, I am feeling like it
needs a little percussion to help the guitar.
| | 00:55 | The guitar has been in since the intro.
| | 00:58 | I call this the tag here at the beginning
and it's really the story of the song, I guess.
| | 01:04 | And then here's the first verse and the
second verse and I am feeling like about
| | 01:09 | the second verse it needs something.
| | 01:11 | And so, what I decided it
needs is this little loop.
| | 01:14 | I am going to go to the Browser, to the Loops.
| | 01:18 | What I found was funky pop drums 06.
| | 01:24 | I believe this is what I am looking for.
| | 01:26 | Just take a listen to this.
| | 01:29 | (Music playing.)
| | 01:38 | Now you're thinking gee!
| | 01:39 | That's a little heavy for this guitar
than this guy talking about who he is.
| | 01:44 | Well, yeah, that's how I was feeling too.
| | 01:46 | So, I am going to bring this in, in my
loop and I'll bring it back on Instrument 3
| | 01:51 | and I'll just drop in here close to bar.
| | 01:54 | Well, actually Insert Region at bar 19, okay?
| | 01:57 | And that seems like a good spot for it.
| | 02:01 | Now I am going to close the
Browser, letter B and letter B again.
| | 02:05 | Control+Right-click so that I can see
if I got the right placement for this.
| | 02:10 | I want it on the words
"I roam in the town here."
| | 02:14 | (Dan singing: ?who had a deal with a moonshadow)
| | 02:17 | (Dan singing: I roam the town here... last man alive.)
| | 02:23 | All right. I am good with the placement, but
I don't like what I am hearing and I am going
| | 02:29 | to double-click this, open up the Piano
Roll and actually I want to look at the
| | 02:34 | Piano Roll a little bigger. So let me
close this and look at the Piano Roll in
| | 02:39 | all its glory here, because I
want to make some edits to this.
| | 02:44 | And what I've got in this Funky Drum
Loop is some kick stuff and snaps and
| | 02:56 | I've got some hi-hat down here and more
kick and what I really want-- I am going to
| | 03:04 | zoom in here so that I can
see everything in this loop.
| | 03:09 | What I really want is this shaker up here.
| | 03:13 | So, I am going to Control+Right-click
here a little bit, take all of this hat
| | 03:20 | and kick stuff and delete it and all of
this kick and snap stuff and delete it.
| | 03:30 | Let me close this and now I think I
have a nice little shaker starting here at.
| | 03:37 | (Dan singing: I roam the
town here... last man alive.)
| | 03:43 | And that's pretty much all I
feel like it needs right there.
| | 03:47 | It's just a little shaker
creeping in to help out that guitar part.
| | 03:52 | So remember, in MIDI loops, the ones
that are green, not the ones that are blue,
| | 03:56 | in MIDI loops, you can get
inside there and change the sounds or delete
| | 04:01 | the sounds or change the velocities and
contour these loops, so that they fit your needs.
| | 04:06 | Now, this iteration of this loop,
I want to happen more than once and I have a
| | 04:14 | couple of choices for how to do this.
I can just grab here and make it loop up
| | 04:18 | till a certain distance
and that's what I'll do.
| | 04:24 | I don't want to go quite to the end.
Let me just go to about there and then
| | 04:31 | we'll fix that later.
| | 04:33 | Now, I have a nice shaker
going on under my guitar.
| | 04:36 | (Dan singing: Where once there was
a gold boom before the mines went dry.)
| | 04:44 | (Dan singing: I've seen murder?)
| | 04:47 | And I feel like there maybe it needs a drumbeat.
| | 04:52 | And I've found one back here and what
I'll do is I could go to the Media browser
| | 04:57 | and show you where I found it, but here it is.
| | 04:59 | It's Slow Rock Beat 01, and I'll Option+Drag it.
| | 05:05 | I am just lighting up this region and
Option+Dragging it over here, until it
| | 05:10 | lines up with the chorus and I
think that's where I want to have it.
| | 05:13 | Let's take a listen.
| | 05:14 | (Music playing.)
| | 05:16 | (Dan singing: A murder of crows...)
| | 05:18 | I think I missed it by a bar.
| | 05:20 | So, let me zoom in here and
make it happen on the chorus.
| | 05:24 | (Dan singing: Where once there was
a gold boom before the mines went dry.)
| | 05:31 | (Dan singing: I've seen murder... a murder of crows.
A little voodoo secret every corvus knows.)
| | 05:45 | (Dan singing: Handsome?)
| | 05:46 | All right! So that's feeling pretty good.
| | 05:50 | I think it can carry itself through
the next verse. I do feel like I want
| | 05:56 | to have a bass part in here and I'll just
bring in the bass part that I already played.
| | 06:02 | This one starts about, let me zoom
in here, at about the first chorus.
| | 06:12 | Actually he starts between the
percussion and that drumbeat.
| | 06:19 | So, I want to get the number exactly.
| | 06:23 | Event, it looks like he starts at bar 122,
which would mean 122 minus 100 gives me 22.
| | 06:38 | Let me Option+Drag this over to
about 22, and see how that feels.
| | 06:47 | (Music playing.)
| | 06:48 | (Dan singing: I roam the town here... last man alive
Where once there was a gold boom before the mines went dry.)
| | 07:02 | (Dan singing: I've seen murder?)
| | 07:05 | I think I missed this one by a bar or two,
because that F didn't happen on the right pitch.
| | 07:11 | So, let's take a listen now.
| | 07:13 | (Dan singing: ?before the mines went dry.)
| | 07:17 | (Dan singing: I've seen murder?
a murder of crows.)
| | 07:23 | And all I did to get this part
was light up this MIDI patch and--
| | 07:27 | (Music playing.)
| | 07:38 | So, rather than have you watch me play
this part, we'll just leave this part in.
| | 07:43 | It seems a little loud to me.
| | 07:44 | I am going to pull it down just a little bit.
| | 07:45 | Just grabbing its volume
over there in the Inspector.
| | 07:48 | (Dan singing: I've seen murder... a murder of crows.
A little voodoo secret every corvus knows.)
| | 08:02 | All right! That's a good place to start.
| | 08:03 | Now, I feel like it wants a different
kind of beat later in the song and what I
| | 08:09 | found for that is this Solid Rock Beat.
| | 08:14 | Actually, I guess there's one in
between there, this fill, if I move back here,
| | 08:19 | we can see that this is Funky Pop Drum
11 and let's take a listen to that right there.
| | 08:28 | (Dan singing: I've seen murder... a murder of crows.)
| | 08:35 | And I believe this is just a little
fill part, so let me bring this up and
| | 08:40 | this one starts at 136 and it's actually
that chorus part, so I am going to
| | 08:46 | Option+Drag this guy over to the one more
building and he should be somewhere in this area.
| | 08:56 | Let's try it there.
| | 08:59 | (Dan singing: I've seen murder... a murder of crows.
what happened up there, Harry? You was holdin a boulder of gold.)
| | 09:12 | (Dan singing: Sheriff Jim McDoogle?)
| | 09:15 | All right. Remember this top one is my
shaker and this Slow Rock Beats is down
| | 09:21 | there grooving along.
| | 09:23 | That might be a case where I want to
shorten this loop and let this guy take
| | 09:28 | over and then bring this guy back.
| | 09:31 | So, by bringing him back, I am just
Option+Dragging him and starting him after
| | 09:35 | this little fill part takes over.
| | 09:37 | Let's see how that plays out.
| | 09:39 | (Dan singing: ?fission trout...
I saw old Handsome Harry with both eyes eaten out.)
| | 09:51 | (Dan singing: I've seen murder... a murder of crows
what happened up there, Harry? You was holdin a boulder of gold.)
| | 10:05 | (Dan singing: Sheriff Jim McDoogle...)
| | 10:09 | All right. The Funky Drum seems
just a little bit too energetic.
| | 10:13 | I am going to bring their volume down
and that will kind of make it match the
| | 10:18 | volume of the Slow Rock Beats.
| | 10:20 | So, I have a drum loop that works for
the verses and then I have one for this
| | 10:25 | chorus and then now we're back to a
verse and I'll trim this up, so that it
| | 10:29 | stops at the next chorus.
| | 10:32 | At that point I think it
needs a heavier drumbeat still.
| | 10:36 | Let me run back here and
grab this Solid 70s Rock Beat.
| | 10:42 | Option+Drag it over into my work area
and start it at the chorus where the
| | 10:49 | next one takes over.
| | 10:51 | So, let's hear what that sounds like.
| | 10:52 | (Dan singing: ?mighty oaks.
3 men bit the dust by 4 like-minded Colts.)
| | 11:04 | (Dan singing: I've seen murder... a murder of crows
What happened up there, fellas? Only Corvus knows.)
| | 11:19 | All right. This is a nice loop,
but it feels kind of loopy to me.
| | 11:22 | It's not really changing with the music.
| | 11:25 | So, actually I want this to
be up one track like that.
| | 11:30 | I am going to grab all of this back here.
| | 11:33 | I am going to actually delete this one
that I just brought in, just so that I
| | 11:37 | can lasso all these parts and Option+Drag them
over, hopefully line them up with this chorus.
| | 11:44 | And let's see how I did. Let me zoom in.
| | 11:48 | That's Control+Right and they all need
to come over two bars to the left and
| | 11:53 | let's see how this works.
| | 11:54 | (Music playing.)
| | 11:55 | (Dan singing: I've seen murder... a murder of crows.
What happened up there, fellas? Only Corvus knows.)
| | 12:07 | (Music playing.)
| | 12:24 | So, what we have here is this loop of
just a regular beat and then this one loop,
| | 12:30 | which is not actually looping.
| | 12:33 | It could loop, but it's not looping,
and all that is, is just this little fill.
| | 12:38 | (Music playing.)
| | 12:43 | But it's nice, because it's sort of made
up of the same textures as this regular beat,
| | 12:49 | but it feels like a drum part now.
| | 12:52 | It feels like the drummers is laying
into a groove and then lightening up for a
| | 12:55 | fill to take us back into
a new section of the song.
| | 12:59 | Now it needs a bass part.
| | 13:01 | The bass comes in here and then he
drops out and I need to fix that.
| | 13:05 | I will do that in the next movie.
| | Collapse this transcript |
| Editing the parts of the rhythm | 00:00 | Well, now it's time to
fix this pesky bass part.
| | 00:03 | Let me show you some MIDI editing.
| | 00:06 | I'll take Snap and change it to the Bar.
| | 00:10 | So, I want the cursor to snap to the bar.
| | 00:14 | And I'll come into my Scissors tool.
| | 00:16 | I can select it from the tool
palette or if hit the Escape key, I get the
| | 00:22 | choices and then I want number 5.
| | 00:25 | So, if I hit Escape+5, I get the Scissors tool.
| | 00:30 | If I listen to this bass part,
Control+Right-click here.
| | 00:35 | (Dan singing: Where once there was
a gold boom before the mines went dry.)
| | 00:45 | So, I want this chorus part.
| | 00:47 | It starts right there at bar 23, so
right at bar 23, I am going to move
| | 00:55 | my cursor to-- and I need to zoom in to do this.
| | 00:59 | Control+Right-click and right on bar 23,
and when you click with the Scissor tool,
| | 01:05 | it tells you where
you're actually clicking.
| | 01:09 | And so down there it says Bar 23, Beat 1.
| | 01:13 | That's exactly where I want to click and now
I have a standalone performance of the chorus.
| | 01:20 | (Dan singing: I've seen murder.)
| | 01:24 | That's the A minor to G part.
| | 01:26 | Well, I would be smart if I went back to
my Text tool and I got in here and called
| | 01:34 | this Bass chorus A minor to G. That
will remind of the part that it is.
| | 01:43 | Now that doesn't last very long, so I am
going to hit Escape and Scissors tool again.
| | 01:49 | And out here at bar 27, I need to
make another edit, because it starts a
| | 01:55 | new part of the song. Ah!
| | 01:56 | Now this is a neat feature in Logic.
| | 01:59 | It says when you play this part you
carry it over the bar and should I keep
| | 02:05 | those notes that travel with this region or
should I shorten them or should I split them?
| | 02:11 | In this case, I want to split them.
| | 02:14 | And let's hear what I came up with here.
| | 02:17 | (Dan singing: ?a murder of crows.
A little voodoo secret every corvus knows)
| | 02:28 | (Dan singing: Handsome Harry Hartford had?)
| | 02:31 | Now, what I am concerned about is
do I have a clean entrance at bar 23,
| | 02:35 | or at bar 27 rather and here it is.
| | 02:39 | (Dan singing: Handsome Harry?)
| | 02:40 | And it seems like I do.
| | 02:42 | I am in good shape there.
| | 02:44 | This is correctly named. This next
region that I just created by snipping these
| | 02:49 | two is not correctly named, so I'll
jump back to the Text tool and we'll call
| | 02:55 | this Base Verse A minor to D minor and
that will remind me that it's that part.
| | 03:06 | Now, my bass part sort of
runs out here at the chorus.
| | 03:14 | (Dan singing: I've seen murder? a murder of crows.
What happened up there Harry? You was holdin a boulder of gold.)
| | 03:28 | So, I go to the chorus, which is bar 35.
| | 03:32 | Escape, 5, get my Scissor tool again,
and I am going to zoom in just a bit and
| | 03:38 | click right at 35, Escape and get my
Text tool and this one is another chorus.
| | 03:46 | So, we'll call this Chorus 2.
| | 03:52 | So, I am hopefully saving time by not
performing this bass part top to bottom,
| | 04:00 | and you'll have to decide if this is a
timesaver for you or if you are better
| | 04:03 | off just playing the part.
| | 04:05 | But I'm at a verse now, so I'll click
this region that says Verse and I'll
| | 04:10 | Option+Drag it over to this verse and
then I will Option+Drag this chorus over
| | 04:15 | to this chorus and then I
know that the solo is a verse.
| | 04:19 | So, I'll Option+Drag this over
and then I need another re-intro.
| | 04:27 | Let's fix this chorus back here
first, sliding back here so I can see.
| | 04:32 | There's another chorus at 63.
| | 04:34 | Let me click this region.
Option+Drag it to 63.
| | 04:41 | I need to hear what the re-intro
part is chord-wise in the guitar part.
| | 04:46 | (Music playing.)
| | 04:52 | All right! So that's a chorus.
| | 04:54 | Let me Option+Drag this in here.
| | 04:56 | And now I've taken that little phrase
and hopefully built myself a bass part.
| | 05:01 | I can always go in here and punch, edit,
add more ferocious bass part, if I want one,
| | 05:07 | but this is going to be fine
for building the rest of this track.
| | 05:10 | What I think I've decided, now that
I hear these drums working together.
| | 05:15 | This drum, the Slow Rock Beats, doesn't
quite carry the energy back here in this verse,
| | 05:23 | so I think I'm going to lasso.
| | 05:25 | Let me just jump in a little bit,
so Option+Left Arrow to zoom.
| | 05:30 | I'm going to select these drums and
slide them over here so that they happen in
| | 05:35 | this area, and I think
that's more like what I want.
| | 05:41 | Then this region, I think
I'll leave him playing up there.
| | 05:45 | Let's take him out to the end and
of course I want my shaker to go out
| | 05:49 | there toward the end too.
| | 05:51 | So, now let's see what I've got.
| | 05:53 | Let's start at this chorus.
| | 05:56 | (Dan singing: I've seen murder... a murder of crows
what happened up there Harry? Only Corvus knows.)
| | 06:09 | (Music plays.)
| | 06:27 | So the drums and the bass
seem to be working together.
| | 06:31 | I may want to just bring this bass
up just a smidgen now, just to kind of
| | 06:36 | work with those drums.
| | 06:37 | The drum has got a little heavier on me.
| | 06:39 | So, I think I'm in good shape with
the bass part, I could select all these
| | 06:45 | regions and merge them using the
Equals key, but I sort of like the fact
| | 06:49 | that they are still separate regions.
| | 06:51 | And I'll give you a tip that I like,
whenever I'm unsure whether to merge or not.
| | 06:56 | Sometimes I'll create a new track
with exactly the same characteristics of
| | 07:03 | this track and then I'll take these
regions and Option+Drag them down here and
| | 07:09 | make sure that they don't shift in time,
but right there where they're supposed
| | 07:13 | to be and then I'll merge that one.
| | 07:16 | What it actually did was it merged it
with this friend way back here in the
| | 07:20 | back, so that's not a good thing.
| | 07:22 | So, I just want to make sure that I'm
actually merging what I want to merge.
| | 07:25 | And now I have the unmerged one and
the merged one and then I could just mute
| | 07:29 | one and listen to the other.
| | 07:32 | And that's just one more way that I
leave breadcrumbs, so that I can go back and
| | 07:36 | rearrange and change later
if I want to. All right!
| | 07:40 | We're now at a point in the song
where we need to fill up this part that he
| | 07:44 | left vacant for me.
| | 07:45 | I have got a nice guitar part driving
me through here, but I have no vocal.
| | 07:49 | I need to figure out what can go in
this solo area and I actually have two of them.
| | 07:54 | I have a long one and short one
and that's what we do in the next movie.
| | Collapse this transcript |
| Adding guitar strums using Delay Designer| 00:00 | When I was building this track,
I thought about adding a second guitar part.
| | 00:04 | I thought about doubling the guitar
part or maybe strapping on an electric
| | 00:08 | guitar and overdubbing some rhythm.
| | 00:10 | But I wanted to do this track with loops
that are in your library and except for
| | 00:15 | the guitar and the vocal,
so far we've done that.
| | 00:19 | And one of the things I found in
the library is this 12 Strings Drum.
| | 00:23 | So, what I am going to do is lasso
these three guys and then move them over.
| | 00:28 | This one starts at bar 140, and if I
Option+Drag them over, and start them at
| | 00:35 | bar 40, they should be in about the right place.
| | 00:38 | Let me Control+Right-click,
zoom in and let's check this out.
| | 00:43 | (Dan singing: Sheriff Jim McDoogle...)
| | 00:48 | I may have missed this one by a bar too.
| | 00:51 | Let's bring them over here to verse 5
and solo this 12 String, and so you can
| | 00:57 | hear what it sounds like.
| | 00:58 | (Music playing.)
| | 01:08 | Now, it's not a very convincing
soloed, but in the track it's not too bad.
| | 01:13 | (Dan singing: Sheriff Jim McDoogle...
a godless man. Tracked down Statller and Waldorf?)
| | 01:24 | And with all the other things that
are going on, it's kind of convincing.
| | 01:29 | And what it is, is a patch,
which is just a strum of chord.
| | 01:33 | If I open my MIDI keyboard, and if we
look in the Inspector, let me close these
| | 01:42 | panels, so that we can look in the Inspector.
| | 01:45 | I've added a Delay Designer.
| | 01:48 | If I Option+Click on that and turn it
off for the moment, all I hear is one
| | 01:54 | strum of acoustic guitar.
| | 01:58 | I have A minor chord on the top of the keyboard.
| | 02:01 | I'm playing the A above middle C. I
have major chords with bass notes in them,
| | 02:11 | so those are two different ones.
| | 02:12 | (Music playing.)
| | 02:23 | All over the keyboard,
I have major and minor chords.
| | 02:26 | And what I did was, let me Option+Click
on my Delay Designer and double-click on
| | 02:32 | the button so that you can
see what's going on in here.
| | 02:36 | You have a whole bunch of
choices for designing delays.
| | 02:40 | And what I chose was Simple
Pattern and 1/16 note Bandpass Sweep.
| | 02:46 | So, without the plug-in-in in,
it sounds like this. Let me solo in.
| | 02:53 | (Music playing.)
| | 02:59 | And I would be happy if it just kind of
attacked the downbeat like that, but I
| | 03:04 | sort of like it when it has the delay on it.
| | 03:06 | It fits into the groove better.
| | 03:08 | (Music playing.)
| | 03:17 | The thing is you kind of have to be
careful, because we have a spot here where
| | 03:20 | the chords move faster. They are not
whole bar chords. They're one-beat chords
| | 03:27 | I guess I should say.
| | 03:28 | (Music playing.)
| | 03:31 | So there's a little bit of
overlap there when those guys play.
| | 03:34 | But in the context of the track it's fine.
| | 03:37 | So let's hear it again,
in the context of the track.
| | 03:42 | (Dan singing: Sheriff Jim McDoogle... a godless man
Tracked down Statller and Waldorf for a trial they'd yet to stand.)
| | 03:55 | (Dan singing: Out there at dusk near the?)
| | 04:01 | So, it's kind of a cheesy sound on its
own, but in all it's all about how it
| | 04:05 | works in the track, right?
| | 04:07 | That's an interesting way to get a
rhythm part and you can find this loop.
| | 04:11 | It's in your library.
| | 04:14 | It is 12 String Acoustic Chords, so if
you do a search in your Media browser for
| | 04:21 | 12 String Acoustic Chords,
it will pop right up there.
| | 04:23 | Now you also have some strumming
patterns in there and if you feel like those
| | 04:27 | work better for you, then use those.
| | 04:29 | But you can sort of create an
artificial strum using your Delay Designer.
| | Collapse this transcript |
| Adding the instrumental solos| 00:01 | Well, we've still got this
big gap in here in the song.
| | 00:04 | It's somewhere out here after this chorus.
| | 00:07 | (Dan singing: Only Corvus knows.)
| | 00:09 | (Music playing.)
| | 00:16 | And again my goal here was to use
loops and sounds that are all in your
| | 00:20 | Logic Library as opposed to strapping on an
electric guitar and playing a big solo here.
| | 00:26 | So what I've done is I am going to
right arrow and Ctrl out to where these
| | 00:33 | little pieces are and I will just lasso them.
| | 00:38 | Let me grab the Organ while I am at it.
I see that they are starting at 152.
| | 00:46 | So I will Option+drag them over to--
I think I have learned my lesson here
| | 00:52 | that I want to go not to 52 but to 51, and
let's see if they are in the right place now.
| | 01:00 | Ctrl and resize it vertically with
the down arrow and horizontally would be
| | 01:09 | right arrow, and what I have got in
Audio 8 is a Texture and Ambience loop.
| | 01:18 | Let's take a listen to this.
| | 01:20 | (Music playing.)
| | 01:29 | So it's just kind of an ugly guitar
thing and it got uglier when I added this
| | 01:34 | Guitar Amp simulator to it.
| | 01:36 | So without that, it's actually not so bad.
| | 01:39 | (Music playing.)
| | 01:44 | But I kind of grunged it up a
whole lot when I added this Guitar Amp.
| | 01:48 | So I am going to Option and click on the
plug-in, so it gets back in there and
| | 01:54 | I will double-click on this and what we
see is this amazing Guitar Amp simulator,
| | 02:00 | and I've picked Woodstock Plexiglas.
| | 02:03 | This seemed like a Woodstock kind of
song to me, but you have tons of plug-ins
| | 02:08 | here to shape this sound in
any way you want to shape it.
| | 02:14 | I remember the old guitar player days
when we used to have to bring three or
| | 02:18 | four amplifiers to a session and this is
so much greater, all of these plug-ins.
| | 02:25 | You can pick Distorted and Crunches and
Cleans and all sorts of amp simulators.
| | 02:31 | And then you have control over all
these choices, for as far as your effects
| | 02:37 | like Tremolo and your Spring Reverbs.
| | 02:40 | The amps, you can pick the head of the
amp, then you pick the EQ of the amp,
| | 02:48 | then you pick the speaker design of the amp.
| | 02:51 | So lots of fun time in here
to play with these choices.
| | 02:55 | The Microphone Position, do you
want it Off-Center or Centered?
| | 03:00 | I chose Off-Center and
then the type of microphone.
| | 03:03 | Do you want this sort of short-looking mic
or do you want more of a Neumann type of mic.
| | 03:08 | So I will go with this and like all
these plug-ins, if you find a setting you like,
| | 03:13 | go ahead and save it and it'll
save in the right place and it will be
| | 03:16 | here the next time you want to use it.
| | 03:18 | Let me close out of this and let's take
a listen to this little thing that I've
| | 03:23 | inserted in the solo part here.
| | 03:26 | What I've got is that Texture and
Ambience and then this Folk Mandolin.
| | 03:31 | Let's take a listen to that just by itself.
| | 03:33 | (Music playing.)
| | 03:39 | I think I resisted the temptation
to give it any stuff, although that's
| | 03:44 | certainly an option if we feel like it needs it.
| | 03:47 | And let's hear these little guys.
| | 03:49 | (Music playing.)
| | 03:51 | That was just a click on the timeline.
| | 03:54 | Here I will set it back here and play it.
| | 03:56 | (Dan singing: Only Corvus knows.)
| | 03:58 | (Music playing.)
| | 04:29 | So that could maybe use
some chorus or something.
| | 04:32 | I feel kind of good about it but it does need
to come up a little bit in volume. So Audio 10.
| | 04:36 | Let's kick it up maybe a couple of dB.
| | 04:39 | It's just sort of sitting back there in
the bushes and we want to bring it out
| | 04:43 | because it's in the Solo area.
| | 04:46 | So all right. That's feeling pretty good,
and then the second solo, I grab this
| | 04:51 | organ from the library.
| | 04:53 | It's just a classic Solo organ here,
put in place back here, I am going to Ctrl
| | 04:58 | and right-click and so we can hear that.
| | 05:01 | (Dan singing: Crows for a
secret... never to be told.)
| | 05:07 | (Music plays.)
| | 05:22 | (Dan singing: 5 crows for silver?)
| | 05:25 | Now that's nice, but it doesn't fade.
| | 05:28 | So that's not a problem.
| | 05:30 | We'll write some automation in here.
| | 05:33 | So on this track, we'll go to
about there and write some automation.
| | 05:41 | Logic tells me, you sure you
don't want to use Latch or Touch?
| | 05:44 | Yeah, I am sure for this one.
| | 05:46 | I am actually going to write automation
and I am just going to write a fade into
| | 05:50 | this so that that organ goes away in a
nice place against the vocal. Here we go.
| | 05:55 | (Music playing.)
| | 06:02 | (Dan singing: 5 crows for silver?
6 crows for gold...)
| | 06:07 | And I don't really like the way I wrote it.
| | 06:10 | So I am going to write it again.
| | 06:11 | So let me take this back to 0,
and write this automation again.
| | 06:16 | (Music playing.)
| | 06:20 | (Dan singing: 5 crows for silver?
6 crows for gold...)
| | 06:25 | That's seemed better, okay.
| | 06:27 | I will leave it in Touch Mode and take a listen.
| | 06:33 | I think it's time to do something with
the vocal, but let's take a listen to
| | 06:38 | this organ and how it flows now.
| | 06:40 | (Music playing.)
| | 06:44 | (Dan singing: 5?
| | 06:46 | Actually, let's go back to where the attack is.
| | 06:48 | (Music playing.)
| | 06:58 | (Dan singing: 5 crows for silver?
6 crows for gold...)
| | 07:03 | Seems good, okay.
| | 07:05 | Now the Shaker has dropped out.
| | 07:11 | The Drums take us right up to the outro
here, and I can see from my vocal part
| | 07:17 | that the vocal and the
guitar are just about to end.
| | 07:21 | This little white mark back here is a
fade that I put into the guitar track.
| | 07:27 | So let's open up the Inspector for that,
and I've told it to fade out by this number.
| | 07:34 | I am just rolling along here and you can
see that it actually changes the shape of this.
| | 07:39 | I can fade out exponentially
or lots of different ways.
| | 07:44 | You can change the Curve of the delay.
| | 07:47 | If we were zoomed in, we would see the
shape actually change a little bit more,
| | 07:50 | but all it does is to take
that guitar part and fade it out.
| | 07:54 | So let's take a listen.
| | 07:55 | (Dan singing: to be told?)
| | 07:59 | And I do want to trim up this last
piece of the vocal so that it's nice and
| | 08:04 | clean there at the end.
| | 08:05 | And I don't want to cut off the vocals.
| | 08:09 | So I will take Smart Snap and
so it just brings it up to there.
| | 08:15 | (Dan singing: Never to be told...
| | 08:20 | And that's a nice clean ending.
| | 08:22 | I actually considered and actually
put in some wind here, back in the other
| | 08:32 | version, the later version.
| | 08:34 | I took this wind and let's
bring it back into our session.
| | 08:39 | Option+drag and it starts at 152.
| | 08:42 | So I guess that means I want to
start it at, let's call it, 51.
| | 08:50 | It's during the solos, and it just was an
attempt to create some chaos here in the solo.
| | 08:56 | (Music plays.)
| | 09:07 | So it's just a sound effect
running through a compressor.
| | 09:11 | So I found the sound effect in the browser.
| | 09:15 | I will go to the letter B to bring up
the browser, I will go through the Loops,
| | 09:20 | and I'm looking now at Musical loops.
| | 09:25 | But if I jump over here to FX, now
I get a whole bunch of sound effects
| | 09:31 | that shipped with Logic.
| | 09:33 | I just typed in Wind and got a bunch of winds.
| | 09:40 | Now I also have Brass and Wood winds
and the kind of winds I don't want, but
| | 09:46 | down here at the bottom is Wind Haunted.
| | 09:50 | That's the one I used.
| | 09:51 | All right, so the wind is in place.
| | 09:54 | So I am going to close the browser,
leter B to close, and let's hear the wind in
| | 09:58 | the context of the solos.
| | 09:59 | (Music playing.)
| | 10:13 | All right, that sort of added to the
chaos for me and you can take it out or
| | 10:19 | mute it or whatever if you don't like it.
| | 10:23 | Now there's a spot that's left to work
with yet, because the solos sort of end
| | 10:29 | here and I want this spot
right here as a re-intro.
| | 10:35 | And I did something interesting with
the voice and that's in the next movie.
| | Collapse this transcript |
| Editing and adding vocal effects| 00:00 | Well, I have got this four-bar phrase
here after the solos that I called re-intro.
| | 00:06 | I actually put this back here in the
one that I have already cut up and
| | 00:12 | you will see that there are three regions in the
vocal part here, another little region down here.
| | 00:18 | So I will tell you what. I will do it
the way that I did it when I did it.
| | 00:23 | So I will go to the beginning,
and listen to this vocal, solo it.
| | 00:29 | (Dan singing: 5 crows for silver, 6 crows for gold.)
| | 00:35 | So it's the tag that it gives us at the
beginning and I will turn on Snap to the Bar.
| | 00:41 | I will hit the Escape key to get my Tool
palette and I want the Scissor and I am
| | 00:46 | going to snip, I am just going to
Ctrl and down arrow here so that I have a
| | 00:51 | little bigger area to work with.
| | 00:53 | I am going to snip this right at V1 and
then I am going to snip it again at V2
| | 01:00 | right on the downbeat of 19, because
the region that I want is-- let me switch
| | 01:08 | back using my Escape key
back to the Pointer tool.
| | 01:12 | The region that I want is this introductory.
| | 01:16 | (Dan singing: My name is Corvus?)
| | 01:19 | This kind of who I am in the song part.
| | 01:23 | So I'm going to Option+
drag it down onto this track.
| | 01:27 | So I have made a clone of it and I am
going to push it back, just grabbing with
| | 01:33 | my mouse and pushing and I want to slide
it right in here at bar. What is that, 59?
| | 01:40 | And this track I have already made.
I found this in the Media browser.
| | 01:46 | It's in Vocal Effects.
| | 01:48 | It's called Filtered Delay Tail
and it's a Channel Strip setting.
| | 01:56 | It's in the Voice >
Warped Voices and there it is.
| | 02:00 | Filtered Delay Tail, and it's
got a whole bunch of stuff in here.
| | 02:05 | And the effect that it gives me is, let me
solo this and bring the playhead back here.
| | 02:10 | (Music playing.)
| | 02:11 | (Dan singing: My name is Corvus? Corvus Crow.)
| | 02:18 | (Dan singing: Son of a gun of a man of dame?)
| | 02:21 | Now you are thinking, wait,
where did this come from?
| | 02:24 | This is not in context of this song at all.
| | 02:27 | You went Woodstock on the solos. Well,
why are you getting so electronic here?
| | 02:31 | Well, I don't know. I think it sort of adds a nice
feature right here in this area and I do think I
| | 02:36 | want to bring it down in volume a little bit.
| | 02:38 | So it's just kind of a suggestion of the
ghost of Corvus, let's say. So here we go.
| | 02:45 | Here is coming out of the
solo into this little area.
| | 02:47 | (Music playing.)
| | 02:50 | (Dan singing: My name is Corvus? Corvus Crow.)
| | 02:57 | (Dan singing: Son of a gun of a man of
dame who had a deal with a moonshadow.)
| | 03:04 | (Dan singing: 5 crows for silver, 6 crows for gold.)
| | 03:10 | (Dan singing: 7 crows?)
| | 03:12 | All right, my bass part is crashing.
| | 03:14 | I have the wrong thing in the wrong
place, and I will fix that in a minute.
| | 03:19 | But that's an interesting
little vocal thing you can do.
| | 03:22 | Now, you could argue whether this is
appropriate for the song or not and I would
| | 03:26 | listen to that argument, but if I
just bring it down so that it's kind of a
| | 03:29 | whisper in the track.
| | 03:31 | (Dan singing: Crow? Son of a gun of a man
of dame who had a deal with a moonshadow.)
| | 03:40 | So it's just sort of taking
over after the solo is there.
| | 03:43 | So that's just an interesting
effect that I wanted to show you.
| | 03:46 | There is one thing I'm feeling like it
needs and I have already done this too in
| | 03:50 | my track that I built.
| | 03:52 | I have a second pass of the vocal
that Dan gave me, and I am going
| | 03:56 | to Option+drag that.
| | 03:58 | That one starts at 148.
| | 04:00 | So I think I want it to start
at about 47 here on this chorus.
| | 04:06 | And this is just a different performance
of the lead vocal and it sounds like this.
| | 04:12 | (Dan singing: I've seen murder?)
| | 04:15 | And the two of them together, I am
just going to click over here and solo
| | 04:19 | them both together.
| | 04:20 | You can just solo swipe like that now in Logic.
| | 04:23 | Just click on the S and drag.
| | 04:26 | You can solo all the way down, or un-solo them.
| | 04:30 | So actually I want these two,
and let's take a listen.
| | 04:34 | (I've seen murder... a murder of crows.
What happened up there fellas? Only Corvus knows.)
| | 04:47 | So he didn't do this as a double,
he actually did it as a second take, but
| | 04:51 | I like it as a double, and that seems
like the place it ought to happen.
| | 04:55 | Now I just need to worry about its volume.
| | 04:57 | It's already down 10 dB.
| | 04:59 | So it seems like it's in
a good place in the mix.
| | 05:01 | (Dan singing: I've seen murder...
a murder of crows. What happened up there?)
| | 05:10 | Well, now we can also go in and double
this electronically, but I sort of like
| | 05:15 | using the second take.
| | 05:17 | There is just a little bit of
performance and flanging and adds a nice texture
| | 05:22 | to the vocal right about the place
where we need it to launch into the solos.
| | 05:26 | I am also keeping in here on after the solos.
| | 05:29 | (Dan singing: 5 crows for silver...)
| | 05:32 | But then at the end of the song,
it needs to kind of wind down here.
| | 05:36 | (Music playing.)
| | 05:38 | (Dan singing: 5 crows for silver,
6 crows for gold. Well, 7 crows for?)
| | 05:48 | Okay, so it started soft.
| | 05:49 | It kind of got a little bigger there in the
middle and now it's kind of ending soft again.
| | 05:54 | One thing that's bothering me well
besides my bass part is this drum fill sort
| | 05:59 | of launches me into what I
think should be another beat.
| | 06:04 | One of the things that's bugging me
about this track is there are really no
| | 06:07 | cymbal crashes like a real drummer would do.
| | 06:11 | I am going to add those and fix my bass
part and then I think we're just about
| | 06:15 | ready to mix this thing.
| | 06:17 | So that's in the next movie.
| | Collapse this transcript |
| Final touch-ups | 00:00 | Well, it's time to put some final
touches on this piece and then mix it out.
| | 00:05 | Now, we've got a problem
with our bass part over here.
| | 00:07 | It seems okay here at 59.
| | 00:10 | (Dan singing: My name is Corvus? Corvus Crow.)
| | 00:16 | But then I have repeated
the chorus back here at 63.
| | 00:21 | (Dan singing: 5 crows
for silver, 6 crows for gold.)
| | 00:26 | There's a wrong note there,
because the chords are different here.
| | 00:29 | So, I have got a couple of choices.
| | 00:31 | I could go into this part and edit it or
I could just replace it with the correct notes.
| | 00:39 | So, it's kind of six to one and
half and a dozen of the other.
| | 00:42 | And you're going to think I did
this on purpose, but I really didn't.
| | 00:45 | But I am glad I showed you this earlier.
| | 00:48 | I have the breadcrumbs, all the little
pieces that actually made up this bass
| | 00:52 | part that we are listening to, which
is the one below the little pieces.
| | 00:56 | So, let me mute the one we are
listening to and go back to here.
| | 01:01 | This is a reason why I like to do this
little trick that I showed you where you
| | 01:06 | merge, but you keep the pieces.
| | 01:09 | It turns out that the merge has an
error in it and I can actually just light up
| | 01:13 | this part and get rid of it.
| | 01:15 | It's not in my way, so I won't. But
I'm going to delete this bass chorus, because
| | 01:20 | I need to Option+Drag this part of the song
over here and not the chorus part of the song.
| | 01:28 | So now, let's listen and see if the
bass player is playing the right notes.
| | 01:31 | (Dan singing: 5 crows for silver, 6 crows for gold.
7 crows for a secret... never to be told.)
| | 01:43 | (Music plays.)
| | 01:58 | (Dan singing: 5 crows for silver?)
| | 02:01 | It might feel like it wants a
bass note right there at the end.
| | 02:04 | That's a nice final touch.
| | 02:05 | We will go in right here at
71 and put a bass note on.
| | 02:10 | So, on the Record and I believe I
have one bar of count-off in here.
| | 02:17 | Another little trick I like to do
sometimes so as to not mess up the part that
| | 02:21 | I'm very happy with already is to
just grab another instrument like this.
| | 02:26 | It's the same bass I believe, it is.
| | 02:29 | So, I'll just record this part down there,
I have got kind of a clean place to put it.
| | 02:34 | I am at bar 71 and here we go recording.
| | 02:38 | (Music playing.)
| | 02:42 | (Dan singing: 5 crows for silver?)
| | 02:46 | Okay. So, that's a heavy note.
| | 02:48 | I'm going to double-click it and
change its velocity to a softer note.
| | 02:53 | (Music playing.)
| | 02:58 | So, I just went into the Velocity tool,
which is in your Tool palette, and just
| | 03:03 | click-and-drag on the
note and change the velocity.
| | 03:06 | Let me quantize it to the
downbeat while I'm here.
| | 03:11 | Let's do it right to a downbeat.
| | 03:14 | I'm not sure I want it to be that long.
| | 03:16 | Let's take a listen, at bar 71.
| | 03:18 | (Music playing.)
| | 03:22 | (Dan singing: 5 crows for silver?)
| | 03:26 | Just a smidgen shorter.
| | 03:28 | It's pretty good though. One more time.
| | 03:30 | (Music playing.)
| | 03:31 | (Dan singing: 5 crows for silver?)
| | 03:35 | I don't know.
| | 03:36 | Maybe it's actually longer than it wants to be.
| | 03:41 | Let's write just a little bit of fade on to it.
| | 03:46 | On this track and let me go ahead and
write some automation in here on this track.
| | 03:55 | I am going to close my Piano Roll
now and I want to see my Timeline.
| | 04:00 | I am going to write a little Fade In on that A.
| | 04:08 | (Music playing.)
| | 04:11 | (Dan singing: 5 crows for silver, 6 crows?)
| | 04:15 | That seems good. Okay.
| | 04:17 | Now, one more thing that's bothering me is I
don't have a cymbal crash here on this outro.
| | 04:24 | I can probably get one from this kit. Oops!
| | 04:28 | My bass is still on Record.
| | 04:30 | I take the bass out of Record.
| | 04:31 | (Music playing.)
| | 04:36 | I don't want a really loud cymbal
crash, but I feel like this drummer has
| | 04:40 | left me high and dry.
| | 04:41 | He had filled me into a downbeat
and I have nothing here to show for it.
| | 04:45 | So, let me put a little cymbal crash
here on this downbeat and get myself some
| | 04:50 | run up here and go in there.
| | 04:53 | (Music playing.)
| | 05:03 | (Dan singing: 5 crows for silver...)
| | 05:07 | That seems good. Maybe just a little bit louder.
| | 05:11 | In the Piano Roll, I am going to click
on this note, switch to my Velocity tool
| | 05:15 | and maybe just let's give it
just a little bit more gas there.
| | 05:20 | I will also quantize it to
the downbeat and take a listen.
| | 05:26 | (Music playing.)
| | 05:28 | (Dan singing: 5 crows for silver,
6 crows for gold.)
| | 05:29 | Okay and I am pretty happy with
how the transition turned out.
| | 05:38 | My bass note is taking me into there nicely.
| | 05:43 | I think I'll pick up this bass part
and push it up here, not Option+Drag it,
| | 05:47 | but actually move it.
| | 05:48 | Do I want to move the automation data?
| | 05:51 | I love when Logic does this.
| | 05:53 | It caught me. I am moving something
that contains automation data and
| | 05:57 | Logic says, well, would you like me
to move it with or not move it?
| | 06:01 | And I definitely want to move it.
| | 06:03 | I don't want to have to write that fade again.
| | 06:06 | So, volume is a track property.
| | 06:08 | It's not contained in this region.
| | 06:10 | Logic is smart enough to catch your
mistakes even before you make them.
| | 06:14 | So, I will close this Piano Roll, and
take a listen one more time to this ending.
| | 06:18 | (Music playing.)
| | 06:19 | (Dan singing: 5 crows for silver, 6 crows for gold.
7 crows for a secret... never to be told)
| | 06:33 | Now, I thought about putting kind of a
reverb-y ending on it or maybe bringing my
| | 06:37 | wind back in just
to sail us out on. I don't know.
| | 06:42 | It all just sort of felt not right
for me in the context of the song.
| | 06:47 | But those are all just
creative choices you make.
| | 06:49 | Technically, Logic will let you do all of that.
| | 06:52 | One more thing I need to clean up
here at the beginning is this guitar.
| | 06:56 | I am going to move playhead back to
the beginning and Control+Right-click
| | 07:00 | and just tighten up this guitar here, so
that it starts nice and clean at the beginning.
| | 07:06 | (Music playing.)
| | 07:08 | Okay. I am not sure.
| | 07:09 | I may have trimmed off just a smidgen of it.
| | 07:11 | Let me do a smart snap and tab
just a little bit of run-up to it.
| | 07:18 | (Music playing.)
| | 07:23 | Now, there is a little bit of noise in
this track, which I think I can get rid of
| | 07:27 | if I do a little Fade In.
| | 07:29 | So, I am just going to click up here in
the Region Inspector, Fade In and just
| | 07:34 | push with my mouse and
write a little Fade In there.
| | 07:37 | So, let's take a listen now.
| | 07:39 | (Music playing.)
| | 07:43 | Seems good.
| | 07:45 | Now, I realized that in building this
track, you really have never heard it from
| | 07:48 | top to bottom without me stopping and
adding something or stopping and taking
| | 07:53 | something out or editing something.
| | 07:54 | And the next movie is me bouncing out
the track and then you can take a listen to it.
| | Collapse this transcript |
| Bouncing the mix| 00:00 | Well before I bounce
this out and let you hear it,
| | 00:03 | I want to give a big shout out to Dan
Grimm, who let me borrow his song to show
| | 00:07 | you this concept of remixing.
| | 00:09 | So, you can find out more about
him at www.myspace.com/dangrimm.
| | 00:19 | So, go there and say hi to Dan for me.
| | 00:21 | We are just about to bounce out.
| | 00:24 | Everything is coming out of Output 1 and 2.
| | 00:27 | So, we will go to the Bounce
and determine the bounce area.
| | 00:31 | It turns out that I do want to
start right here at bar 6 and beat 4.
| | 00:38 | Maybe I will take it back one
beat to beat 3 and I will end at 75.
| | 00:45 | So, let me verify that.
| | 00:47 | I want to mess up my Bounce.
| | 00:51 | 75 and maybe beat 3.
| | 00:54 | So 75 and beat 3 seems good.
| | 01:07 | I will just reach in here and
type 75 3 and I'm in good shape now.
| | 01:16 | I do want an AIF, 16 bit,
48 stereo interleaved file.
| | 01:23 | I'll add it to my Audio Bin, which is always a
good idea to keep your mixes in your Audio Bin.
| | 01:28 | Let's give it a better name than Output 1-2.
| | 01:31 | Let's call this CorvusRemix and
we will pop it into that Desktop.
| | 01:46 | That seems like a good place for it.
| | 01:49 | So, I have other options here for the Bounce.
| | 01:51 | I can make an MP3 and I can
add it to my iTunes Library.
| | 01:55 | None of those things are
something I need to do right now.
| | 01:58 | And I will go ahead and do this Bounce.
| | 02:10 | Now I am going to make a new track.
| | 02:11 | I actually want this to be an Audio track
and I want it to be Stereo, and create it.
| | 02:20 | I will name this THE MIX.
| | 02:27 | I think I'll grab with my little hand
and push this up to the top so that it's
| | 02:31 | sitting on top of all the other tracks.
| | 02:36 | One thing I didn't do in this
chapter is to change these icons to fit the
| | 02:41 | instruments that are in them.
| | 02:43 | That's kind of something I would like to spend
time doing, but you know how to do this, right?
| | 02:49 | You click on the icon in your
instrument and you can change it to whatever this
| | 02:55 | instrument happens to be.
| | 02:56 | This one is our guitar part.
| | 02:59 | THE MIX has an icon of an audio file.
Well I might want to pick a different one,
| | 03:04 | but actually that tells me
what I need to know about this.
| | 03:07 | That's an audio file.
| | 03:08 | So, now I'll go to my Audio Bin and it
should have brought this in as an audio file
| | 03:17 | and I will pick it up and drag it to 1.
| | 03:25 | Now, I have a mix inside of my session
that's sort of already archived for me,
| | 03:29 | I don't have to go out and hunt for it.
| | 03:33 | This is that breadcrumb
thing I was talking about before.
| | 03:35 | You have the THE MIX and all the pieces.
| | 03:39 | So, let me solo this, hide my Browser,
letter B twice, hide my Inspector, letter I
| | 03:46 | and we have a nice long
song for you to listen to.
| | 03:52 | Thanks again to Dan for
letting me borrow his song.
| | 03:57 | (Music playing.)
| | 04:11 | Dan singing: 5 crows for
silver, 6 crows for gold.
| | 04:17 | 7 crows for a secret... never to be told.
| | 04:25 | My name is Corvus... Corvus Crow.
| | 04:31 | Son of a gun of a man of dame
who had a deal with a moonshadow.
| | 04:38 | I roam the town here... last man alive
Where once there was a gold boom before the mines went dry.
| | 04:52 | I've seen murder? a murder of crows,
a little voodoo secret every corvus knows.
| | 05:06 | Handsome Harry Hartford had a malady.
He would not leave that gold piece he had only yet to see.
| | 05:19 | Out there at the river... fishin trout
I saw old Handsome Harry with both eyes eaten out.
| | 05:33 | I've seen murder... a murder of crows.
| | 05:39 | What happened up there, Harry?
You was holdin a boulder of gold.
| | 05:46 | Sheriff Jim McDoogle... a godless man
| | 05:53 | Tracked down Statller and Waldorf
for a trial they'd yet to stand.
| | 06:00 | Out there at dusk near the mighty oaks
3 men bit the dust by 4 like-minded Colts.
| | 06:14 | I've seen murder... a murder of crows.
What happened up there, fellas? Only Corvus knows.
| | 06:28 | (Music playing.)
| | 06:56 | Dan singing: My name is Corvus? Corvus Crow.
| | 07:02 | Son of a gun of a man of dame
who had a deal with a moonshadow.
| | 07:10 | 5 crows for silver,
6 crows for gold.
| | 07:16 | 7 crows for a secret... never to be told.
| | 07:23 | (Music playing.)
| | 07:37 | 5 crows for silver,
6 crows for gold.
| | 07:44 | 7 crows for a secret... never to be told.
| | Collapse this transcript |
|
|
8. MixingThe mixer interface| 00:00 | This chapter is about mixing and mixing
is shaping the sounds so they fit together.
| | 00:05 | Making choices about each part's volume,
the texture, the panning, the left and
| | 00:10 | right, in the context of the other sounds.
| | 00:13 | Well, the truth is you have
been shaping your sounds all along.
| | 00:16 | You chose to play a part with one
sound over another or at a certain
| | 00:20 | intensity level, because it feels
good and it works with the other sounds
| | 00:25 | around it, or maybe you chose it
because it sticks out like a sore thumb and
| | 00:28 | that's what you wanted.
| | 00:29 | Either way as we write the music,
we are making choices about the mix as we
| | 00:34 | construct the arrangement and
we call that mixing on the fly.
| | 00:38 | So it's not like we've arrived at the
mix stage with a bunch of disconnected
| | 00:43 | sounds that we know nothing about.
| | 00:45 | But now our goal is to put
the focus where we want it.
| | 00:48 | All right, well I put together a
little sequence here that's a chordal melody
| | 00:53 | and then a piano parts comes in and then a
fretless part and then a little drum loop.
| | 00:58 | So let me just play this for
you and we'll take a listen.
| | 01:00 | (Music playing.)
| | 01:34 | And then I had a plan to fade
it there, sort around the 32nd mark.
| | 01:39 | So there are some problems with this
and most of them were caused by the fact
| | 01:43 | that I kind of cheated and I
played this part once and then I just
| | 01:47 | Option+Dragged it and Option+Dragged
it and Option+Dragged it down for these
| | 01:51 | other instruments to double.
| | 01:53 | This Beauty Pad, it gives me a nice
texture, but it's sort of got a little
| | 01:57 | too much buzz, a little too much sizzle in it.
| | 01:59 | So I'm going to fix that.
| | 02:02 | Now one of the ways to fix that is to
just turn its volume down and leave its
| | 02:06 | texture alone. Well that's not
exactly what I am looking for.
| | 02:09 | So look at some options for how to fix this.
| | 02:13 | For now, I think I want to
take a look at the Mix window.
| | 02:17 | So I'm in the Arrange window and if I
look at my Screensets, I started with an
| | 02:24 | empty template, so I have no Screensets.
| | 02:26 | So I will go ahead and duplicate
this screenset and I'll call this MIX.
| | 02:35 | That's a pretty descriptive name.
| | 02:38 | And now I am in Screenset 2, so I
can get my Arrange window by typing the
| | 02:43 | number 1, and MIX window by typing 2.
| | 02:47 | But my Screenset 2 is still showing me
Arrange, which I'm going to fix by going
| | 02:51 | to the Mixer and I can just full-screen this.
| | 02:57 | I can make this any size I want, but I'm
going to maximize it, make it full-screen.
| | 03:03 | So now I have a different layout
of what I see in the Arrange window.
| | 03:07 | My Arrange window is still back
here and everything that's laid out
| | 03:10 | vertically in the Arrange window is
laid out horizontally in the Mix window,
| | 03:16 | except in addition to all the musical
things, I also have an Output monitor
| | 03:21 | and a Master monitor.
| | 03:23 | Now let me maximize this screen again,
and there's a way to filter these tracks
| | 03:29 | using these buttons along the top.
| | 03:31 | Let's say that I want only tracks that
show audio. By clicking these different
| | 03:38 | buttons, I can show
different aspects of my project.
| | 03:43 | So let's say I want audio things to go
away. I click this button and anything
| | 03:49 | that is an audio, which in this
case is my drum loop, goes away.
| | 03:52 | Let me bring him back.
| | 03:54 | If I want any instrument, any virtual
synth type instrument to go away,
| | 04:00 | click this button and everything
that's an instrument goes away.
| | 04:03 | Let me bring them all back.
| | 04:04 | So you can filter out the different
components of your mix using these
| | 04:08 | buttons along the top.
| | 04:10 | Now one big difference about the
Arrange window and the MIX window is in the
| | 04:14 | Arrange window we can see these nice
little icons that tell us what instrument
| | 04:19 | we were listening to, and we can
kind of tell where things come in.
| | 04:23 | We know that the strings, this big
chordal thing, starts at bar 1, the piano
| | 04:27 | sneaks in later, the drum loop
doesn't happen until bar-- What is that, 6?
| | 04:32 | Well, you can't tell that from the Mix window.
| | 04:35 | You can tell when the level show up,
but you're going to know when its entrance
| | 04:39 | is coming, because you can't see it.
| | 04:40 | If it helps you, you can duplicate this
Screenset again and we'll call this both.
| | 04:47 | I think you probably know what I'm going to do.
| | 04:51 | Let me minimize this.
| | 04:52 | Make a kind of a smaller Mix window
and lay it alongside the Arrange window.
| | 04:57 | So now, I kind of get the benefits of
both here. I can sort of see what's going
| | 05:01 | on back here and I can
watch the levels over here.
| | 05:04 | So now, we have three choices.
Arrange by itself, MIX by itself, and both.
| | 05:11 | So that's kind of a handy
thing if that helps you.
| | 05:14 | Now I covered this concept a little
earlier when we were mixing the song, but
| | 05:18 | I want to go through it again, just to
remind you that when we were working in the
| | 05:21 | Arrange window we laid tracks out in
a way that makes the most sense from a
| | 05:26 | musical point of view or
a structural point of view.
| | 05:29 | We may want to put the track that we
were working on, on the top or keep all the
| | 05:35 | guitars together or things like that.
| | 05:38 | When we moved to mixing--
| | 05:39 | Let me go to 2. There is no
reason to be constrained by that particular
| | 05:45 | layout that we used in the Arrange window.
| | 05:47 | Now it's time to mix.
| | 05:49 | When you get to the MIX window you
may want to move these tracks in their
| | 05:54 | order of preference.
| | 05:55 | In other words, I want this
melody to be the strong thing.
| | 05:58 | I'll put it over on the left.
| | 06:00 | I want the groove to just sort of be there.
| | 06:02 | It's kind of on the right next to the
bass end. I'm kind of laying these out
| | 06:07 | in my order of importance from left to right,
and there are lots of ways to think about this.
| | 06:12 | You could put the melody on the left
and the accompaniment on the right or
| | 06:16 | the big sounds on the left and
the little sounds on the right.
| | 06:20 | So the important thing is to lay these
out for the way that it makes sense for
| | 06:23 | you to think about them,
to get the focus where you want it.
| | 06:26 | Well one thing about the MIX window
is not only can we not see where the
| | 06:31 | entrances are, as we see
what parts are coming in.
| | 06:34 | But we also can't see the nice icons
that we saw back in the Arrange window.
| | 06:39 | Now you do know the name of the
instrument at the very top here.
| | 06:42 | You know that this is the Beauty
Pad and the Steinway and the Yamaha.
| | 06:48 | But down here, at the bottom you just have
names like Strings and Inst 1 and Inst 3.
| | 06:53 | So there really is an advantage to going
back to the Arrange window, open up the
| | 06:58 | Inspector with the letter I, and for
this Choir, instead of Inst 1, let me open
| | 07:07 | this up, and I'll type Choir.
| | 07:13 | And after, I type the word Choir,
I jump back to my MIX window and I see that
| | 07:18 | that's a more descriptive name
there than just Inst 1, 2 and 3.
| | 07:22 | So that's a good idea for how to keep
track of your parts in the Mixer window.
| | 07:26 | All right, so there are all sorts of
ways to layout your tracks and I hope this
| | 07:31 | movie showed you that the MIX window
is flexible and lets you customize the
| | 07:34 | order for the way that works for you.
| | Collapse this transcript |
| Learning the sounds using EQ Sweep| 00:00 | One of the ways to get around the fact
that you can't see all the parts is to
| | 00:04 | go to Window and bring up a
Transport window and then right-click in the
| | 00:09 | Transport window and let's give
ourselves a big, not giant, but Big Bar Display
| | 00:15 | and then I'll just sort of bring this, grab
this and move it over to the right and maximize it.
| | 00:24 | And now, I have a little Transport
window at the foot of my Mix window, which is
| | 00:30 | kind of nice and that doesn't
affect anything in the Arrange window.
| | 00:33 | That's all sitting back
there behind here in Screenset 1.
| | 00:36 | So here I am in Screenset 2 and now
I've a kind of a nice little area where I
| | 00:41 | can work and monitor where I am in the track.
| | 00:45 | So I know that I am at bar 15 and I want
to move the playhead back to the beginning.
| | 00:48 | I'll hit the number 0 on my keypad
and now I am back at the beginning.
| | 00:53 | One of my favorite ways to get to know the
sounds that I am working with is to solo the sound.
| | 00:59 | This Choir sound I am not too familiar with,
so I'm going to get to know it a little bit.
| | 01:03 | I'm going to solo it and it already has
an EQ on it and that came with the sound.
| | 01:10 | So there's Channel EQ, so I can double-
click here and show that or double-click
| | 01:18 | on the words Channel EQ and
either way I get to the EQ page.
| | 01:22 | So let's just kind of move this out of the
way so that we can see what's behind it.
| | 01:28 | And I see that they boosted the bottom
here on the sound and kind of dipped out
| | 01:33 | the middle and it's got a lot of
cuts and boosts and that's kind of the
| | 01:40 | definition of EQ, if you're new to
this term. Equalization is cutting and
| | 01:44 | boosting of selected frequencies.
| | 01:46 | So they boosted the bottom of this Choir.
| | 01:49 | That's 50 cycles, 100, 200,
all the way up to 20K.
| | 01:53 | So they really put a lot of high end on
this and so maybe I'm thinking maybe I
| | 01:59 | want to pull down some of that
high end that they have put on there.
| | 02:03 | So as soon as I start adjusting,
this Compare light comes on and says,
| | 02:09 | "you have changed what you started with.
Would you like to compare it to where you started?"
| | 02:13 | So there's my slight adjustment.
| | 02:16 | Let's make a bigger adjustment and then I
can compare where I started with where I am.
| | 02:22 | So actually, I'll go back to here and
I have soloed this choir now and I just
| | 02:27 | want to hear what they sound like.
| | 02:29 | (Music playing.)
| | 02:39 | And I think I want to turn off the
bass boost, all the stuff that's sort of
| | 02:44 | boosting the bass, and just kind of hear
what this choir sounds like flat, okay.
| | 02:49 | I am just going to take a listen to that now.
| | 02:53 | Back to the beginning.
| | 02:54 | (Music playing.)
| | 03:04 | Okay they have got a lot
of nice reverb on there.
| | 03:07 | Now I'll just boost at around 1200,
just kind of in the middle here, and
| | 03:14 | give that a listen.
| | 03:15 | Back to the beginning.
| | 03:16 | (Music playing.)
| | 03:26 | And that's sort of the
brightness that I was looking for.
| | 03:29 | They actually dipped in the
area that I was kind of digging.
| | 03:33 | And so I'll raise the high frequency a
little bit and take a listen to this.
| | 03:39 | (Music playing.)
| | 03:44 | So that's my new EQ setting for this
choir. I sort of like that setting more than
| | 03:50 | what it shipped with.
| | 03:51 | Although I've got what it shipped
with if I want to go back to that.
| | 03:55 | So I'm going to close that and I
want to listen to the drum loop now.
| | 04:00 | So I'm going to jump back to the Arrange.
| | 04:03 | I'm going to select the drum loop and
I'm going to set the locators for the drum loop,
| | 04:11 | because I just want it to--
When I play the spacebar, I want it to play
| | 04:15 | this drum loop over and over.
| | 04:16 | (Music playing.)
| | 04:19 | Now it will do that if I actually,
solo the drum loop and unsolo the choir.
| | 04:24 | (Music playing.)
| | 04:31 | So that's a handy feature.
| | 04:33 | Select a region, set locators, and
it will cycle the area that you want.
| | 04:38 | Now, it could cycle this whole drum loop,
but to tell you the truth, this part
| | 04:42 | sounds just like that part and so
it's giving me everything I need.
| | 04:46 | So now I'm going to jump back to the
Mix window, knowing that it's soloed,
| | 04:51 | the drum is soloed,
and I can take a listen.
| | 04:55 | And I already have an EQ on this
drum and now I want to take a listen to
| | 05:00 | the parts of this drum.
| | 05:01 | (Music playing.)
| | 05:10 | So I'm going to move through these
various frequencies and show you what's
| | 05:14 | inside this drum loop and then we'll decide
what we want to add or subtract or cut or boost.
| | 05:20 | So I'll start with the low end and
make some changes and you'll hear what I'm
| | 05:23 | doing as I am doing it.
| | 05:24 | (Music playing.)
| | 06:19 | All right, so that's enough drums.
| | 06:22 | It turns out that I like the
boost sort of in the 3000, 3500 range.
| | 06:28 | I liked it up about there, but I want
to change the shape of this bell curve a
| | 06:32 | little bit and have it be a little broader.
| | 06:34 | So I'm going to pull this out like this
and this is just a general boost now of
| | 06:39 | the area between 2 and 10K, with
a kind of emphasis around in 3500.
| | 06:45 | Now I'm going to take a listen.
| | 06:46 | (Music playing.)
| | 06:51 | And also in my exploration
I think I like a little less kick drum.
| | 06:56 | Let me bring the bottom end
to this down just a little bit.
| | 06:58 | (Music playing.)
| | 07:09 | So that's kind of more to my
liking for this particular drum part.
| | 07:12 | So I'm going to close that out.
| | 07:15 | Now we'll open up the Channel EQ for
the Steinway Piano and if you're new to this,
| | 07:20 | open up the Presets and you
have a lot of EQ settings for.
| | 07:27 | There's Keyboard, there's
Guitar, there's Horns, Voices.
| | 07:31 | So if you're new to the manual setting
of EQ settings, just start with
| | 07:36 | some presets and kind of get use to
the concept and take it from there.
| | 07:41 | So if you chose a sound and you worked
with it and it was almost perfect, but
| | 07:45 | not quite perfect, EQ is a way to
finesse that sound and make it fit into your
| | 07:50 | track a little better.
| | Collapse this transcript |
| Mixing using MIDI velocity| 00:00 | Well, I have jumped back to the
Arrange window because there's something
| | 00:04 | bothering me about this Beauty Pad, this
synthesizer pad that's playing this melody.
| | 00:10 | I have decided to show you a way to address
it that's almost Automation, that's almost EQ.
| | 00:16 | It's really mixing using
MIDI Velocity, and here's what I mean.
| | 00:19 | Let's solo this Beauty
Pad and take a listen to it.
| | 00:23 | (Music playing.)
| | 00:25 | So Cycle is still on from
when I worked with my drum parts.
| | 00:29 | So I'll just leave Cycle at bars 6 to 8,
but I'll deactivate it, hitting the
| | 00:34 | little green button down here, and move
my playhead back to the beginning, and
| | 00:38 | listen to this big pad.
| | 00:41 | (Music playing.)
| | 00:47 | So there is just too much
sizzle in it. I don't know.
| | 00:51 | It's just kind of too intense
and it's drowning out my strings.
| | 00:55 | So because it's drowning out
my strings, I've got options.
| | 00:58 | I could lower its volume, but I sort of
like that dark part of the sound, but
| | 01:03 | I am just not crazy about
the sizzle part of the sound.
| | 01:06 | I could put an EQ on it and bring
down the sizzle part of the sound.
| | 01:11 | But there is another way to do
this, because it's MIDI data.
| | 01:15 | So I've opened up the Inspector here
for this MIDI data, and I'm going to reach
| | 01:19 | into the Velocity and just dial it down.
| | 01:23 | I'm just pulling with my mouse here,
and I've dialed it down quite a bit.
| | 01:28 | Let's take a listen to that.
| | 01:30 | (Music playing.)
| | 01:35 | Now, let's split the difference.
| | 01:36 | Maybe we'll go to -60.
| | 01:38 | So I'm changing the Velocity values for
all the nodes in this little sequence.
| | 01:44 | (Music playing.)
| | 01:53 | And remember, I started at 0 here.
| | 01:55 | So it started like this.
| | 01:57 | (Music playing.)
| | 02:03 | And this was kind of all, like I
said at the beginning, because I was too
| | 02:07 | lazy to play this part over and over and
over, I just cloned it, cloned it, cloned it.
| | 02:11 | But now I'm actually
wanting to do some editing on it.
| | 02:15 | And I think maybe somewhere down in
the 50 to 60 range, -50 to -60 range,
| | 02:21 | is where I want to be.
| | 02:22 | (Music playing.)
| | 02:28 | That's kind of not quite enough.
| | 02:30 | I actually liked it at 60.
| | 02:32 | And now let's hear in context.
| | 02:33 | (Music playing.)
| | 02:43 | And that seems to be blending a little better.
| | 02:46 | Now, I've got issues with the choir and
I think that's going to require a volume
| | 02:49 | adjustment, and that's
what's up in the next movie.
| | 02:52 | But I did want to show you that you can
change the texture of a MIDI instrument
| | 02:55 | using its Velocity and not just its volume.
| | Collapse this transcript |
| Writing and editing volume automation| 00:01 | There is no requirement that
you write automation when you mix.
| | 00:04 | You might just come into the Mixer and
set some levels and leave them there from
| | 00:09 | top to bottom in the piece and
not write any automation at all.
| | 00:13 | But if you want something that change
over time, to get louder, get softer, pan
| | 00:18 | from left to right, you want to make that move
once and have it happen forever. That's automation.
| | 00:24 | So let's look at some options for that.
| | 00:26 | I am going to start by going to
Logic Pro > Preferences, and Automation.
| | 00:32 | Now the first thing up is
Move Automation With Regions.
| | 00:36 | There are three choices here, Never,
Always and Ask, and I like Ask because
| | 00:42 | there are some times when I do want to
move the automation with the region and
| | 00:45 | some times when I don't. It's not
an Always for me. It's not a Never.
| | 00:49 | I like Ask.
| | 00:50 | I am going to make that
decision each time I do it.
| | 00:52 | So I am going to leave that preference set.
| | 00:54 | Snap Offset and Ramp Time, I am
going to leave set to the defaults.
| | 00:58 | This one is kind of
important 'Write' Mode Changes To.
| | 01:01 | So when you're writing automation,
which one of these do you wanted to default
| | 01:06 | to when you're done writing the automation?
| | 01:09 | Touch means as long as I'm touching the
mouse, as long as I've clicked down and
| | 01:13 | I'm holding down the mouse, like I am
now to show you this menu, keep writing
| | 01:18 | automation and when I let the
mouse up, stop writing automation.
| | 01:23 | Latch means wherever I left the fader,
even if I've clicked up on the mouse,
| | 01:28 | leave the fader there and keep writing
automation until I stop the playhead.
| | 01:32 | So you decide which one works for you.
| | 01:35 | I will stick with the default of Touch.
| | 01:38 | There are six things you can write here,
Volume, Pan, Mute, Send, Plug-in and
| | 01:42 | Solo. Five of them are checked.
| | 01:44 | It's unlikely that you re going to want to
Solo your automation in the middle of a mix.
| | 01:48 | So that one is left unchecked,
but you have that option.
| | 01:52 | You can always go in here and change this.
| | 01:54 | So basically I'm leaving all these
preferences as I found them but I did want to
| | 01:58 | show you where they are if you
decide you want to change them.
| | 02:01 | So I will close out of
Preferences and musically,
| | 02:04 | I'm feeling like this piece has choir
dominating the opening phrase and I want
| | 02:10 | to change that, or at least I want
to try and see if I like it better.
| | 02:14 | So let's take a listen.
| | 02:16 | (Music playing.)
| | 02:21 | All right, well my brass, my big pad is
better because I fixed the velocity on
| | 02:27 | that in the last movie.
| | 02:29 | But I want to start with
this choir a bit softer.
| | 02:33 | Now the issue is I would like to start
writing automation at the beginning of
| | 02:37 | the sequence, but if I go back to my
Arrange window, I see that they're actually
| | 02:43 | starting at the beginning of the
sequence and I kind of don't have the option to
| | 02:47 | write automation before the
beginning of the sequence.
| | 02:49 | So I think I'm going to Select All,
this is Command+A and just move
| | 02:54 | everybody back a bar.
| | 02:56 | Now there is that pop-up.
| | 02:58 | Do you want to move the automation data?
| | 03:00 | In this case, I do.
| | 03:04 | The automation data is just MIDI Volume
that's traveling with these regions that
| | 03:08 | I created pretty much by cloning the
string part and then adding the piano.
| | 03:14 | So now I'm going to move the playhead
back to the beginning, jump back to my
| | 03:18 | Mixer, this is Command+2, and see if
any of these volumes change over time.
| | 03:23 | So my playhead is at the beginning.
I have got one bar of count-off and then...
| | 03:28 | (Music playing.)
| | 03:40 | Actually from right here I am
going to fix this right away.
| | 03:45 | This is this thing that I don't want
to change over time but I do want these
| | 03:49 | drums to be a little quieter.
| | 03:51 | They are peaking out here and they're
kind of dominating the mix at this point.
| | 03:54 | (Music playing.)
| | 03:59 | My choir is just driving the output crazy.
| | 04:01 | So let me clear that, go back to my choir,
and I will look at the Arrange window again.
| | 04:06 | That's Command+1, move my playhead
back to the beginning, and I am going to
| | 04:10 | start writing automation right here.
| | 04:13 | So I'll jump back to the Mixer,
Command+2, and I will tell this track that I
| | 04:18 | want to write some automation with it
and up pops this warning that says,
| | 04:23 | Are you sure you want to use Write Mode
because you can be writing a lot of stuff,
| | 04:28 | like panning and all sorts of things,
at the same time. In most cases,
| | 04:33 | it's better to use Latch or Touch.
| | 04:34 | Well, I don't have any automation data
written yet, so I am going to say OK, but
| | 04:39 | I appreciate the warning.
| | 04:41 | Now my playhead is at the beginning,
which means when I start the Spacebar, I am
| | 04:45 | going to start writing, which means
when I start the Spacebar like this, I can
| | 04:50 | grab this fader and bring it down.
| | 04:51 | (Music playing.)
| | 05:27 | And true to its word,
it defaulted to Touch as soon as I stopped
| | 05:30 | writing automation data.
| | 05:31 | I got to the end of the
sequence and it kind of stopped for me.
| | 05:35 | So now I am going to move the
playhead back to the beginning.
| | 05:38 | That's the number 0 on the keypad, and hit
Spacebar, and it should read my automation.
| | 05:44 | (Music playing.)
| | 05:53 | I have got a nice kind of
surge-y quality to this choir.
| | 05:56 | They are not just static;
they are kind of coming and going.
| | 05:59 | It brings a little life into
the track. So that's good.
| | 06:02 | Now this pad is nice, but I am still
having too much of it, and I don't quite
| | 06:08 | hear enough of my keys.
| | 06:10 | Let me kick up my keys just a
little bit and take a listen again.
| | 06:14 | I'll just go from where I am.
| | 06:15 | (Music playing.)
| | 06:31 | My overall level is still
being a little bit blown out.
| | 06:34 | So let me bring these guys down a little bit.
| | 06:36 | I think that's what's causing it.
| | 06:39 | Probably my bass is a little hot too.
| | 06:42 | So this isn't automation I'm writing;
this is just levels I am setting.
| | 06:46 | So I am going to clear the Red,
because it will stay Red forever, and move my
| | 06:51 | playhead back to the beginning and
it's reading my automation again.
| | 06:55 | (Music playing.)
| | 07:21 | And I still think I have a problem
with just overall level. This pad is
| | 07:25 | really kind of killing, this bass is
a little hot, the drums can probably
| | 07:29 | come down just a smidgen more, and I'll just
roll back a little bit here to let's go to bar 8.
| | 07:39 | (Music playing.)
| | 07:50 | Just a smidgen more drums,
bass still feels pretty hot.
| | 07:54 | I am going to bring my keys down
just a smidgen, and this guy down just a little,
| | 08:00 | and that's feeling pretty good.
| | 08:03 | So that's the concept of mixing and
automation, making this change happen over time.
| | 08:10 | You write it once, it happens forever.
| | 08:12 | If the word Touch is bothering you and
you think you might grab this by chance
| | 08:17 | and write some new automation, then just
go to Read, and now this kind of locked
| | 08:23 | in the data, and it will always
read that automation that you wrote.
| | 08:28 | You can also do this in the Arrange window.
| | 08:30 | Let's take a look back there and if we
turn on Automation using a little button
| | 08:36 | or we can actually View >
Track Automation with the letter A.
| | 08:39 | So we will do that.
| | 08:43 | I can see that choir automation that I wrote.
| | 08:46 | I'm going to make this a little bit bigger.
| | 08:47 | Just move my little finger and drag it down here.
| | 08:50 | They're all the members of my choir.
| | 08:52 | So I can see that I started at 0 and
then I pulled the fader way down and I just
| | 08:56 | kind of boosted it at certain places.
| | 09:00 | I am going to Ctrl and Right-arrow to
show you that you can get in here, and
| | 09:05 | we have thousands of
little automation data points.
| | 09:09 | If you want to kind of thin
out this data, you can do that.
| | 09:12 | Just click here and drag up to there,
and now instead of about 500 little data points,
| | 09:18 | I really have just one.
| | 09:21 | On a fast computer, this is probably not
something you need to spend time doing.
| | 09:26 | On a slower computer, thinning your
automation data is probably a good idea.
| | 09:30 | Now let me show you one of my
favorite tricks for exporting an
| | 09:34 | alternate automated mix.
| | 09:36 | I could save this project out as
Automation number 1 and then save it out as
| | 09:43 | Automation number 2 but there is
kind of a handier way to do this.
| | 09:47 | So let me resize my track with
my little finger here, push it up.
| | 09:53 | And the Individual Track Zoom, it's now
six ticks smaller than all the other guys.
| | 09:58 | So that's what those
numbers tell you. Now it's at 0.
| | 10:03 | It's the same size as all the other guys.
| | 10:05 | It can be bigger or smaller, but if I
take it back to 0, it becomes the same
| | 10:10 | size as all the other guys.
| | 10:12 | I am going to Control and Left Arrow,
and zoom way, way, way, way in, and I
| | 10:17 | am going to make my sequence be 125
bars long, so that I can show you kind of
| | 10:22 | one of favorite tricks.
| | 10:23 | I am going to move my
playhead back to the beginning.
| | 10:25 | I am going to select all the tracks.
| | 10:28 | Just Command+A selects all
the regions and all the tracks.
| | 10:32 | I am going to Option+Drag, hold down the
Option key, and drag these guys back to bar 102.
| | 10:40 | I am doing that just to add
100 bars of space in between.
| | 10:47 | Now there is nothing magical about the 100 bars.
| | 10:50 | I could start the new one at bar 19 or
bar 23 or 62, it doesn't matter, but I
| | 10:56 | like to do the 100 bar thing because
then I know that iteration number 1 is my
| | 11:00 | first pass at it and in the 100 bar
range I'm getting my second pass added.
| | 11:05 | In the 200 bar range, if I decide to do
a third pass, that's my third iteration.
| | 11:10 | Now here is that handy thing
we've set in the Preferences.
| | 11:13 | Do I want to copy the
automation data? Well, duh. No, I don't.
| | 11:17 | I am going to actually go in here and
overwrite the automation data, so I don't
| | 11:21 | want to copy the automation data, Don't Copy.
| | 11:24 | And I see now, if I zoom way in, I see
that I have stuff in this track that I
| | 11:31 | wrote in the first pass, but I don't
have stuff back here in the second pass,
| | 11:36 | and that's what I am going to go in and do.
| | 11:37 | So now I will set my cycle for
this area as opposed to the beginning.
| | 11:44 | I want to kind of punch in here and
now when I hit Play or if I hit the
| | 11:48 | Spacebar, it starts to play from here,
and now I am actually a bar in front of
| | 11:53 | where the music starts, so I am
going to move my playhead back there.
| | 11:57 | I will go back to my Mixer and now I
can write automation and I'll actually
| | 12:03 | just touch it, and I have a fresh pass
to make a second stab at the choir surge here,
| | 12:11 | that I want to kind of add
that three-dimensional space to it.
| | 12:15 | (Music playing.)
| | 12:46 | Now I have a second pass.
| | 12:47 | If I go in here and look,
I can start editing this.
| | 12:50 | This one is different than the
first one. Similar, but different.
| | 12:54 | I can go in here and start editing if
I want, or I can maybe copy all these
| | 12:59 | regions back to bar 200 and
something, and take a third pass at it.
| | 13:05 | So this is helpful if you're trying to
decide how loud to make a vocal, or how loud
| | 13:09 | to make a guitar solo, or
how loud to make anything.
| | 13:12 | I don't know about you, but I like to
maybe make three passes of something and
| | 13:18 | then come in, in the morning or maybe
the next day or whatever kind of with
| | 13:22 | fresh ears and listen, and sometimes
it's so easy to decide oh, wow, it's
| | 13:26 | obviously number two.
| | 13:28 | So it's a handy tip to let you make
some choices about the mixes without having
| | 13:32 | to do a whole lot work and without having to
save a whole bunch of iterations of the session.
| | 13:36 | You can keep all this data right there
together and jump right from one to the
| | 13:40 | next as you are playing this for somebody.
| | 13:42 | Now, you know how to write and
edit automation data in Logic.
| | Collapse this transcript |
| Setting up busses for reverb and delay| 00:01 | In this movie, I want to
cover the concept of busses.
| | 00:04 | Each individual sound can have it's
own Delay settings and its own Reverb
| | 00:08 | settings and other settings, but more
commonly we want to be able to change
| | 00:13 | the reverb once and have it kind of
ripple through all the different sounds so
| | 00:17 | that they all sound like they're kind of in
the same space, and to do that we use busses.
| | 00:22 | Now, I have gone to New and I'm in the
Template section. I want hit Produce
| | 00:27 | and Multi-Track Stereo Production.
| | 00:30 | Just to show you that I will
this Multi and pop it on my desktop.
| | 00:38 | This is just to show you that.
| | 00:40 | Logic comes with a really neat template.
| | 00:42 | I will go to the Mixer page of this
and I have as advertised 24 different
| | 00:47 | places to put audio and over here on
the right, I have a Reverb and a Delay
| | 00:53 | that are Aux 1 and 2.
| | 00:56 | They've inserted a Space Designer and a
Stereo Delay for me on these two auxes.
| | 01:02 | Now this is a great template if your
project involves a lot of audio, but what
| | 01:06 | if you are using loops and virtual
synths and other types of tracks?
| | 01:10 | Well, I want to show you how to set
up busses for Space Designer and Stereo
| | 01:14 | Delay in a simpler template.
| | 01:18 | Now, this is a great template if
you're doing a project with lots and lots of
| | 01:21 | audio, but what if your track involves
loops and virtual instruments and some of
| | 01:26 | the other things we've seen?
| | 01:28 | I want to show you how to set up busses
for Space Designer and Stereo Delay in a
| | 01:33 | simpler kind of project.
| | 01:34 | So I am going to go to File > New,
and I don't need to close this project.
| | 01:41 | I am going to go to Compose
and create an empty project.
| | 01:46 | Let's give it 2 Software Instruments
and let's make another 2 Audio Tracks
| | 01:58 | and make them Stereo.
| | 01:59 | So now we have two virtual instruments, two
audio tracks, and I will jump to my Mixer window.
| | 02:09 | In the Arrange window, Opt+Command+N
gives you a choice to add new tracks.
| | 02:14 | In the Mixer window, Opt+Command+N
lets you add new auxiliary channel strips.
| | 02:20 | So this time I want 2 of these in
stereo, same output and I will create them.
| | 02:27 | Now I have two auxes.
| | 02:29 | Notice that when you create auxes,
the default setting is of/infinity.
| | 02:34 | So will Option+Click and simple as both to 0.
| | 02:37 | Now the next thing I want to do is
insert on the first aux, a reverb and I want
| | 02:46 | to go Space Designer in Stereo, and
I will just close this plug-in for now.
| | 02:53 | I had them both selected, so
it actually put them on both.
| | 02:56 | Let me select the second one and on
this guy, I will put Delay Designer in
| | 03:01 | Stereo and I will close the actual GUI.
| | 03:05 | So on Aux 1, I have a really nice reverb thing.
| | 03:11 | On Aux 2, I have a really nice delay thing.
| | 03:15 | Let's give them the names that they deserve.
| | 03:18 | I will double-click down
here and call those Reverb.
| | 03:22 | I will double-click on
Aux 2 and call this Delay.
| | 03:26 | All right, so now I have my two
instrument tracks, my two audio tracks and
| | 03:33 | I have a nice Reverb and Delay.
| | 03:35 | They are there, but there
is nothing going to them yet.
| | 03:40 | So in the I/O Setting for Reverb,
I am going to tell this to become Bus 1.
| | 03:47 | So I hold down the Selector and I get a
choice of inputs, but I want to switch
| | 03:52 | below that to Bus 1.
| | 03:56 | I want the delay to
receive information on Bus 2.
| | 04:01 | So now they exist, they have the right
plug-in in them, and they're ready to
| | 04:05 | receive information.
| | 04:07 | But nobody's ready to send information yet.
| | 04:10 | So I'm going to go to each of these
tracks and say Send to Bus 1 and to Bus 2.
| | 04:18 | Notice how the names are
only already setup here for me.
| | 04:22 | I will just continue here and add,
and now the amount that instrument 1,
| | 04:40 | whatever instrument 1 happens to be,
the amount that instrument 1 will send to
| | 04:44 | the reverb is controlled
by this little fader here.
| | 04:47 | So, you just reach over here, and you
have settings all the way up to +6 and all
| | 04:55 | the way down to infinity.
| | 04:57 | Usually, I find that somewhere in this
range here on the left side of the clock,
| | 05:01 | if we call that 12 o'clock, somewhere
over here in the 9, 10, 11 o'clock area is
| | 05:07 | usually a good place to start.
| | 05:10 | So you have choices here for Post and
Pre and Post Pan, which means it will
| | 05:14 | behave according to the pan
settings that you've picked.
| | 05:17 | So Post means it's going to
behave according to the fader level.
| | 05:21 | So if I pull the volume down, I am also
pulling the Send level down at the same time.
| | 05:26 | If I choose Pre, that means it's been a
behave according to the Send level, no
| | 05:31 | matter what the fader does down here.
I can turn this track completely down to
| | 05:36 | almost nothing and it will still send
that amount of reverb based on what I've
| | 05:40 | set on the little rotary wheel.
| | 05:41 | So let me switch this back to Post so
that they are all behaving the same way
| | 05:47 | and let's just review this.
| | 05:49 | I've added two auxes, I've named them,
I've put the appropriate plug-ins in each one,
| | 05:54 | I've told them to become Bus 1
and Bus 2, and then I have sent my other
| | 06:00 | tracks to Bus 1 and Bus 2.
| | 06:02 | I am able to control the Space Designer
one time and have it ripple through all
| | 06:09 | the tracks in my session.
| | 06:10 | I am also able to change the Delay
once and have it ripple through all the
| | 06:15 | tracks that are being assigned to Delay.
| | 06:17 | So that's the way to use busses to
make one change and have it ripple
| | 06:21 | through all your tracks.
| | Collapse this transcript |
| Using the Space Designer| 00:00 | In the last movie we created an aux
track, assigned it to Bus 1, and inserted
| | 00:05 | this plug-in called Space Designer.
| | 00:07 | Let's take a closer look at Space Designer.
| | 00:10 | This is actually one of my
favorite plug-ins in Logic.
| | 00:13 | You can insert lots of kinds of reverbs.
| | 00:15 | So when you go to Reverb, you have
different choices and I actually like the
| | 00:19 | Platinum one a lot too and these are
kind of legacy reverbs that used to ship
| | 00:24 | with old versions of Logic, but a
couple of versions ago, along came Space
| | 00:28 | Designer, and this is just cool.
| | 00:31 | So I'm going to double-click this
and bring up graphic user interface.
| | 00:36 | Now when you're looking for a space to
put your tracks into, make them sound
| | 00:41 | like they're all kind of
in the same space together.
| | 00:44 | I've chosen one called Golden Vocals.
| | 00:47 | That's one of my favorites.
| | 00:48 | And the way I got to it was to just click
on the header here and you have a Large Spaces.
| | 00:55 | You have so lots of choices.
| | 00:56 | I'm just going to scroll through these
choices here, so that you can see this
| | 01:01 | giant collection of places. Fpr instance,
if you need a kind of a cave sound or
| | 01:10 | a tomb, and then there are all
sorts of processed kind of reverbs with
| | 01:17 | interesting delays built
into them. Formant Stutters.
| | 01:22 | Rather than me scroll all the way
through these things and show you what each
| | 01:25 | one them sounds like, I think it's best
you experiment a bit and find settings you like.
| | 01:33 | One of my favorites is Golden Vocals, which
you'll find here in Small Spaces and Plate Reverbs.
| | 01:40 | But you have choices for Gated Reverbs
and all kinds of interesting spaces here.
| | 01:45 | So if you need to make something sound
like it's in a garage or a train station,
| | 01:53 | you have all kinds of spaces
here to put your sounds into.
| | 01:59 | Like all the plug-ins in Logic, if you
find the setting you like, you can save it
| | 02:04 | and it puts it in the correct place,
in the Space Designer folder inside
| | 02:08 | your plug-in settings.
| | 02:09 | Let me cancel out of that.
| | 02:14 | The concept of putting a reverb on an aux
track is you leave the reverb at full max.
| | 02:20 | You don't want to turn this down
because now you're just sort of sending
| | 02:24 | something into the reverb and
sending it back out unprocessed.
| | 02:28 | You are just kind of raising the volume of it.
| | 02:30 | So leave this at full max and then you can
decide if the reverb needs to be turned up.
| | 02:36 | I find that this middle setting is
usually just about right for me, but if you
| | 02:40 | need to have more reverb return, then
just kick this on up a little higher.
| | 02:46 | Over in the lower left-hand corner,
you can turn a filter on and you have
| | 02:50 | High-pass and Band-pass and Low-pass filters,
and you can change the resonates of them.
| | 02:57 | I find that I can usually find what I
want by going to maybe these Warped Spaces
| | 03:02 | and finding an interesting
setting to work with there.
| | 03:05 | So, if you're an experimenter, get
into the filters and see what they do for you,
| | 03:11 | but I love this plug-in because
it gives you so many choices for the
| | 03:15 | texture and the setting that
you want to put your sounds into.
| | Collapse this transcript |
| Using the Delay Designer| 00:01 | When we created the second aux,
we put it in the plug-in called Delay Designer.
| | 00:04 | Let's take a look at that.
| | 00:06 | I brought back my little whole tone scale.
If we look back in the Arrange window, there it is.
| | 00:11 | So I'll go back to the Mixer.
| | 00:12 | We have Screenset 2.
| | 00:16 | Move the playhead back to the beginning.
| | 00:17 | (Music playing.)
| | 00:22 | What I see that it's sending a little
bit to the reverb and none to the delay and
| | 00:26 | that's because my Bus settings over here.
| | 00:28 | So let me pull my Reverb setting down
and push my Delay setting up to about a
| | 00:36 | healthy amount, just so that we can hear it.
| | 00:38 | And then I'll double-click on Delay
Designer and we'll take a look at the
| | 00:43 | graphic user interface, and we'll
see here what the default setting is.
| | 00:47 | (Music playing.)
| | 00:52 | All right it's just a
simple quarter note delay.
| | 00:55 | Now there're just as many choices in this
plug-in as there were back in Space Designer.
| | 01:00 | So let's click on this header and we have
Simple Patterns, Complex, Melodic and Warped.
| | 01:05 | So as tempting as it is just to jump to Warp,
let's look at some of the simple patterns.
| | 01:11 | So I'll start with Alternating Pan.
| | 01:15 | (Music playing.)
| | 01:20 | The neat thing about this
plug-in is it follows your tempo.
| | 01:23 | If you've ever worked with the digital
delay that depended on milliseconds and
| | 01:27 | you had to get out your rule and
calculate how many beats in milliseconds, well,
| | 01:31 | this does it automatically.
| | 01:33 | I am in 120 beats a minute.
| | 01:35 | If I change to some round number like 95...
| | 01:39 | (Music playing.)
| | 01:45 | It follows my tempo and does all
the math for me, so I love that.
| | 01:49 | Let me go back to 120.
| | 01:51 | Now you have your choice here.
| | 01:53 | You can make it do 16 notes or quarter
notes or 8h notes or any fraction of the
| | 01:59 | beat that you want, and then we have
filtering going on in this delay too.
| | 02:04 | So let's choose Bandpass
Sweep and here're some of that.
| | 02:06 | (Music playing.)
| | 02:14 | Now let's try complex patterns.
| | 02:16 | Let's do a Poly Sweep.
| | 02:19 | (Music playing.)
| | 02:28 | And now I'd like to aim for the Warped.
| | 02:30 | Let's find some Warped delays.
| | 02:32 | How about a Filter Sweeper?
| | 02:33 | (Music playing.)
| | 02:41 | So this piano is becoming some
otherworldly kind of instrument.
| | 02:47 | So as with all these plug-ins, you can
save your setting and it will save it
| | 02:51 | in the proper place.
| | 02:52 | So you have lots to experiment here with.
| | 02:54 | We'll try Resonating Space.
| | 02:57 | This one is kind of a fun one.
| | 02:58 | (Music playing.)
| | 03:04 | And let's slide some of the settings out here.
| | 03:09 | It's kind of easy to change.
| | 03:12 | They're all sort of grouped together here.
| | 03:13 | I am just going to make
them a little further apart.
| | 03:16 | (Music playing.)
| | 03:20 | So I can get kind of a tapping sound out of
the piano now that I can't get by playing it.
| | 03:26 | So lots to experiment here.
| | 03:28 | That's the Delay Designer.
| | 03:30 | Move the interface out of the way.
| | 03:31 | And just remind you that by using it
as a bus, anything you send to this bus
| | 03:37 | will go through this delay and be
delayed by this plug-in setting.
| | 03:42 | And of course you can also add the
delay as a plug-in for any individual track,
| | 03:51 | but it is kind fun to run a
bunch stuff through it and have them all
| | 03:55 | delay the same way.
| | 03:57 | That's Delay Designer.
| | Collapse this transcript |
| Freezing your tracks| 00:00 | There is something in Logic called freezing.
| | 00:03 | It has nothing to do with
temperature. Let me explain.
| | 00:06 | I'm back in the Corvus Crow song for a moment.
| | 00:09 | I am going to go to Window and look at
the Mixer and on one of these tracks,
| | 00:14 | it's that processed vocal that I added
toward the back there, I have a whole
| | 00:19 | bunch of plug-ins working here.
| | 00:21 | That's just a preset that I chose
and it contains all these plug-ins.
| | 00:25 | Well, Logic will do its best to use your
computer power to process this in real time.
| | 00:32 | But once you've got this kind of set
the way you want, it's smart to sort of
| | 00:37 | take a snapshot of it and then Logic
will just read that file, that snapshot file,
| | 00:43 | and it won't have to calculate
and do all this work every time it plays
| | 00:48 | that sound and that's called Freezing.
| | 00:51 | Let me jump back to the Arrange window,
and you activate Freezing by clicking
| | 00:59 | onto a track, actually right-clicking,
and saying Configure Track Header
| | 01:04 | and then choose Freeze and up pops this little
frost kind of icon that lets you freeze tracks.
| | 01:15 | So I'll say Done and on this track,
this is this Filtered track that has
| | 01:22 | so many of the plug-ins, I'll activate
Freeze and I haven't actually done the Freeze yet.
| | 01:29 | Freeze happens when you hit the
spacebar and here's how it works.
| | 01:35 | Now, this is a pretty fast computer.
| | 01:38 | Your Freeze may take longer,
especially if there's more audio to work with or
| | 01:43 | you have a slower computer.
| | 01:44 | But if you have a slower computer,
you actually have more motivation to do some
| | 01:48 | freezing to make your computer run better.
| | 01:50 | Now here's how freezing works.
| | 01:53 | This track is frozen now.
| | 01:55 | So if I pick this track and up and try
and move it, Logic says your track is
| | 02:00 | frozen, do you want to unfreeze it?
| | 02:01 | Let me go ahead and Unfreeze it, and now it
makes the motion that I just asked it to do.
| | 02:08 | I can move it around and then when I
want to freeze it again, I hit the Freeze
| | 02:13 | icon and do a refreeze.
| | 02:16 | Let me jump back to the Mixer.
| | 02:21 | My advice is any track where you have
a whole bunch of plug-ins stacked up is
| | 02:25 | one you will want to do that on.
| | 02:28 | And if you have kind of a slower
computer, well, you may want to do it on
| | 02:31 | all of your tracks.
| | 02:32 | It's a way of making Logic run more
efficiently, and it's real easy to unfreeze
| | 02:37 | if you decide you want to
make a change to a frozen track.
| | 02:40 | So that's freezing in Logic.
| | Collapse this transcript |
| Naming your Input and Output labels| 00:00 | Well, we have seen how we can name tracks.
| | 00:03 | If I just go to a track and double-click
on its title, I can call it anything I want.
| | 00:07 | This one I called The Mix, which tells
me that there's a mix in this track, and
| | 00:11 | I want to title these organ and bass
and that will help me figure out what I've
| | 00:15 | got going on in different tracks.
| | 00:17 | Well, I can do the same thing for buses.
| | 00:19 | So let me go to my Sends and if we
choose Bus 1, we just see that it's Bus 1.
| | 00:24 | We don't know what's on the
other end of Bus 1 really.
| | 00:27 | But if we make one that's
reverb, well, we want it to be reverb.
| | 00:31 | So there's a handy feature here in the
Options menu down at the bottom, I/O Labels.
| | 00:36 | And you can define for your audio
device, if you are using an ADAT or an
| | 00:41 | Outboard Mixer or a
MOTU8pre or whatever you're using.
| | 00:45 | And down here at the bottom
there is a place for Bus 1.
| | 00:48 | Well, I've already typed in the word Reverb.
| | 00:51 | I just want in here typed in here the Reverb
for the long tag and Rev for the short tag.
| | 00:57 | And I want to tell the Labels to use
these that I've typed in and I can do this
| | 01:02 | for any of the buses that I create.
| | 01:05 | So then I'll close out of this panel.
| | 01:07 | And now when I go to my Sends and
choose Bus 1, I know that I'm sending to a
| | 01:11 | Reverb and not just Bus 1 without a description.
| | 01:15 | So that's pretty handy.
| | 01:17 | Now, it also works on the receiving end.
| | 01:19 | Let me Option+Command+N and
I will make a new aux track.
| | 01:25 | And over here when I choose its input to
be Bus 1, I see that it's too called Reverb.
| | 01:32 | And if I make another one, Shift+Command+N,
another aux, I can choose it's input
| | 01:38 | to be Delay, and then I add the Space
Designer or whatever reverb I choose over
| | 01:43 | here, and the Delay or
whatever delay I choose over here.
| | 01:47 | And remember that you need to turn
these guys up because when you create them
| | 01:51 | they default to full off.
| | 01:53 | So I just Option+Click and
set their volume back to 0.
| | 01:56 | So you could probably go through your
mix remembering that Bus 1 is Reverb
| | 02:00 | and Bus 2 is Delay.
| | 02:01 | But it's nice to uses this labeling
feature so that whenever you choose Bus 1,
| | 02:05 | you actually see the word Reverb.
| | Collapse this transcript |
| Learning how to "Surroundify" your mix| 00:00 | I'm going to invent a new word,
surroundify, and that's the process of taking
| | 00:05 | something you created in
stereo and making it surround.
| | 00:09 | Let's say you're in the middle of a project
and somebody calls up and say, "you know what?
| | 00:12 | It'd be really great to have a surround
mix of this in addition to the stereo mix."
| | 00:17 | So it's not that hard.
| | 00:18 | You have been sending to Output 1 and 2
here and when it's time to change your outputs,
| | 00:24 | let me pick Audio 2 here,
I'll just pick this track for instance and
| | 00:28 | send it, instead of Audio 1
and 2, send it to Surround.
| | 00:32 | Now I get this nice little five
position fader and if I double click on that
| | 00:37 | little guy, up pops a nice big window.
| | 00:40 | Let me move it over here closer to this
and now I can move things around in space.
| | 00:49 | So I can have them be small
surround or great big surround.
| | 00:54 | And if I want to send something in
particular to the subwoofer, that's
| | 00:57 | the low-frequency enhancer, this is the
amount of level that will go to the subwoofer.
| | 01:02 | So I may want a whole bunch or not so much.
| | 01:05 | We're set up for 5.1.
| | 01:06 | I know that because in Logic Pro >
Preferences > Audio, there's a tab for
| | 01:12 | Surround and I can choose the
kind of surround that I want.
| | 01:16 | So we have 6.1, 7.1.
| | 01:18 | You can even do Left, Center, Right and a Sub.
| | 01:20 | We leave it at 5.1, and then you can
route your various assignments to if you
| | 01:26 | want to change that.
| | 01:27 | But this is the sort of default for 5.1.
| | 01:30 | When its time to bounce, I'll close
Preference and I'll close the surround panner
| | 01:34 | and over on the right here I can see
that I have a master fader that will let me
| | 01:38 | do a surround bounce, have all
the channels working at once.
| | 01:42 | So that's how to surroundify your stereo mix.
| | Collapse this transcript |
| Bouncing stems| 00:00 | There is one more concept
to cover in terms of mixing.
| | 00:03 | I want to cover this concept of stems.
| | 00:05 | And a vocal stem, for instance, will
start at the beginning of the song and go
| | 00:10 | all the way to the end, including any
blank space that's in there, and what you
| | 00:14 | will have is all the vocal pieces in one mix.
| | 00:19 | So you will have a vocal stem, and
then you might have a rhythm section stem,
| | 00:24 | which will start at the beginning and
go all the way through, and there will be
| | 00:27 | all the rhythm parts combined.
| | 00:30 | And then you might have, not in this
song, but in some of your travels,
| | 00:34 | you might have a string stem
or a background vocal stem.
| | 00:39 | And the idea of stems is we can move
them around from platform-to-platform or
| | 00:43 | from program-to-program, because when
someone imports a stem, they will have
| | 00:48 | an audio file that's exactly the right length
and all you have to do is line then up at bar 1.
| | 00:52 | They will hear vocals up here and
rhythm section down here, and background
| | 00:56 | vocals down here, and they will be able
to make adjustments, volume adjustments,
| | 01:00 | or maybe even texture
adjustments to those individual stems.
| | 01:03 | Now, in the world of film, we do
this with dialogue, music, and effects.
| | 01:08 | You might hear the term DME mix
or DME stems. So we want dialogue.
| | 01:13 | Even if there is no dialogue at the
beginning, we want blank space up until the
| | 01:16 | point where there is dialogue or
a sound effect or a music cue.
| | 01:20 | And so the editor just needs to bring
them in, line them up with a common start
| | 01:25 | point and everything will play in sync.
| | 01:28 | So that's the concept of stems.
| | 01:29 | Well, how do we do that in
Logic? It's pretty easy.
| | 01:32 | I am going to go to my Mixer window,
and what I could do is just, if I wanted a
| | 01:37 | vocal stem, is just mute all the
rhythm parts and anything that is in a vocal
| | 01:42 | and bounce that out.
| | 01:43 | Well, there is kind of
a cleaner way to do it.
| | 01:45 | Let me show you that.
| | 01:46 | I know that my vocal--
| | 01:47 | I will jump back to my
Arrange window for a second.
| | 01:51 | My vocals are on Audio 4, 7, and 9.
| | 01:53 | So let me jump back to my Mixer, and I want
to send the output for 4 to output 3 and 4.
| | 02:04 | I will do the same thing with
the other vocal parts next to them.
| | 02:11 | Now, these guys are going on a
different output than 1 and 2, and if I slide
| | 02:16 | over to the right I think that its now
created a new channel strip for me,
| | 02:21 | a new piece where I can double-click on
here and type in the word vocal stem.
| | 02:28 | And now when I bounce this, I will
bounce the entire length of the song.
| | 02:33 | Let me start at bar 1 and go all the way
to the end of the song, and I will call
| | 02:37 | this vocal stem, and I will
just pop it on my Desktop.
| | 02:43 | I do want AIFF, 16 Bit, 48, and I will
do it offline, and I will normalize this.
| | 02:50 | Now, here is a conceptual thing to
think about when you are doing stems.
| | 02:53 | Let's say that in your mix you dipped
the music when the sound effect happened
| | 02:58 | or a dialogue piece happened.
| | 03:00 | Do you want to normalize this and have
the volume kind of come back up, or do
| | 03:06 | you want the music to stay at
the level that you mixed it at?
| | 03:10 | And that button, a checkbox, will let
you kind of decide do you want the music
| | 03:15 | to be at its full volume, or do you
want it to be where you left it in the mix.
| | 03:19 | And that's kind of a conceptual idea.
| | 03:21 | If you have any doubt about which
one to ship to your music editor, ask.
| | 03:26 | You should also verify that they want
16 or 24 bit files, just ask your editor,
| | 03:32 | and verify which sample rate
they are expecting from you.
| | 03:35 | Now, I won't take the time to bounce
this out, but I will go through one
| | 03:38 | more concept with you.
| | 03:40 | So let me go back to the Arrange window
for a second, and I see that my guitars
| | 03:44 | are on Audio 5 and Instrument 8.
| | 03:47 | Let me go back to the Mixer and I will
take Audio 5 and send it to Output 5 and 6,
| | 03:54 | Instrument 8 to Output 5 and 6.
| | 03:58 | If I slide over to the right, I see that
I now have a place to bounce my guitars.
| | 04:03 | So I will put gtrs in there, and when
I bounce that I will get guitars and
| | 04:08 | nothing but guitars, and again I have
the choice to normalize those. Do I want
| | 04:12 | to make that file live up to its audio
potential, be as loud as it can be, or do
| | 04:16 | I want it to be in context of the mix?
| | 04:19 | Now, you can do all this just by
muting and unmuting various pieces in the
| | 04:23 | Arrange window, but assigning to
different outputs and bouncing those stems is
| | 04:27 | another handy way to do it.
| | Collapse this transcript |
|
|
9. Prepping and Printing ScoresIntroducing Printing| 00:00 | In this chapter we are going to
talk about some of the options for
| | 00:02 | printing inside Logic.
| | 00:04 | I know somebody that doesn't read a
note of music, but he noodles around on the
| | 00:08 | piano in Logic, and he wrote a song for
his fiance, printed it out, handed it to
| | 00:13 | the musicians, and they
played it at his wedding.
| | 00:15 | On the other end of the scale are
professional composers who are writing music
| | 00:19 | for orchestras, and they like knowing
that once they get it right in Logic,
| | 00:23 | the parts they print out w
ill be free of any errors.
| | 00:27 | Lots of film and game composers use this
feature to write MIDI mockups of their score.
| | 00:32 | Which is kind of a proof of concept
using synthesized strings and horns, and
| | 00:36 | once the concept is approved they can spend
the money on a sound stage with real players.
| | 00:40 | Well, let's start by looking at
the Preferences and then Score.
| | 00:48 | Now, we are going to stick with the
default Preferences and we are going to come
| | 00:52 | back and examine a couple of
these later in this chapter.
| | 00:55 | In the lower right, click on Project
Settings and we have got seven tabs for
| | 01:00 | customizing the margins and
spacing and other parameters of the page.
| | 01:05 | So we will stick with these defaults,
close the Project Settings, close the
| | 01:10 | Preferences, and let's
see how Score Layout works.
| | 01:13 | I have an empty project and I have
created a virtual instrument track.
| | 01:16 | I am going to change the Tempo to 100
beats per minute and the Resolution to 8th notes.
| | 01:25 | And I will change the Length of this
project from 130 measures to let's say 8 measures.
| | 01:31 | Now I am going to the Loop Library.
| | 01:34 | I am going to look for harpsichord and
I will use this Classic Harpsichord 04,
| | 01:45 | and bring it into my track.
| | 01:47 | Let's resize Logic.
| | 01:49 | I will close the browser, letter B twice,
Control+Down Arrow makes this track be
| | 01:56 | a little bit larger vertically.
| | 01:59 | Control+Right Arrow, three or
four taps, makes it be a little bit
| | 02:04 | larger horizontally.
| | 02:05 | Now, this is MIDI data. It's green.
| | 02:08 | So we know that we can double-click on
this, or click the Piano Roll button and
| | 02:12 | grab a note and change its pitch.
| | 02:19 | In the next movie we will look at
editing this information in the Score Layout.
| | Collapse this transcript |
| Editing in Score layout| 00:00 | In the last movie we brought in
this loop and created this MIDI track.
| | 00:04 | Let's take a listen.
| | 00:05 | (Music plays.)
| | 00:08 | All right, so simple little harpsichord
loop in the key of C at 100 beats a minute.
| | 00:12 | Now, we have already got Piano Roll open,
and we know that we can highlight any note
| | 00:17 | and change it in that display.
| | 00:19 | Let's look at Score, and
let's play the loop again.
| | 00:23 | (Music plays.)
| | 00:26 | So now we are looking at the Arrange
window with the Score Overlay down below.
| | 00:30 | We can also go to Window > Score,
and pull up a big window for Score.
| | 00:36 | Let me maximize this and now we see
that we are not looking at Arrange anymore.
| | 00:40 | (Music plays.)
| | 00:43 | We are just looking at a
giant window of the Score Overlay.
| | 00:47 | And just like I can edit the notes in the
Piano Roll, I can edit the notes in Score Layout.
| | 00:59 | So clicking on the note lights it up,
and then you can move it around,
| | 01:03 | (Music plays.)
| | 01:06 | and change the pitch, or you can
change the location of a note in time.
| | 01:13 | So let's just make this
an E flat, just for grins.
| | 01:17 | (Music plays.)
| | 01:22 | And when we do that, it has to put an
accidental, a natural sign, back here to
| | 01:26 | make this E be different.
| | 01:28 | So let me undo that, Command+Z, and
now it's back to where it's happy.
| | 01:32 | (Music plays.)
| | 01:35 | Now, there's an issue with how it's
displaying the rhythm of this little phrase.
| | 01:39 | Let's play the phrase.
| | 01:40 | (Music plays.)
| | 01:43 | So I have some 16th notes in here, but
it's displaying them as concurrent 8th notes,
| | 01:48 | which is not really what I am
hearing it all. So let's fix that.
| | 01:52 | In Score, up on the upper left-side,
if I open up the triangle for this region,
| | 01:59 | I am going to quantize it to 16th notes,
and now it fixes the phrase so that I
| | 02:07 | don't have notes laying on top of
one another, and now it's an accurate
| | 02:10 | depiction of what I am hearing.
| | 02:12 | (Music playing.)
| | 02:15 | Now, I want to hit 0, move the
playhead to the beginning, Control+Left Arrow,
| | 02:23 | and then click on this region, hold down
the Option key, and drag it over to bar 3.
| | 02:30 | So I have just made a clone of
this first region into bar 3.
| | 02:34 | So if I select the first region,
I see that it's showing me bar 1 in Score view,
| | 02:39 | ending at bar 2.
| | 02:42 | If I select the second region, it's
showing me bar 3, ending at bar 4.
| | 02:47 | In the Arrange window I have a
region, some space, and a region.
| | 02:52 | In the Score view I have
only the region I am looking at.
| | 02:57 | Now, I will transpose the second
region using the Transposition parameter in
| | 03:01 | the Region Inspector.
| | 03:02 | These double-arrows let me go up an
octave or down an octave or up two, down
| | 03:07 | two, up three, down three.
| | 03:09 | I actually just want to
change this one semitone.
| | 03:12 | So I will click over on the plus
and minus and push with my arrow.
| | 03:15 | I can also double-click it and type in the 1.
| | 03:19 | Hit Return so it takes, and
now this region is up 1 semitone.
| | 03:24 | Now, I want to go to the Lists
up in the upper right-hand corner.
| | 03:27 | I want the Event List.
| | 03:30 | I wanted to show you that if I double-
click on the first region, I see the notes
| | 03:35 | in the key of C. If I use this arrow
and jump back a level and double-click on
| | 03:40 | the second region, these notes are
still in the key of C, even though the
| | 03:46 | pitches have changed.
| | 03:47 | Let's play it and hear it.
| | 03:48 | (Music playing.)
| | 03:50 | There is our bar of rest, and--
| | 03:53 | (Music playing.)
| | 03:56 | So they have been changed in Score view
to all sorts of flats and sharps to try
| | 04:01 | and accommodate this change that I made,
but in the Event List I still see the notes
| | 04:06 | where they occurred on the
keyboard when they are originally played.
| | 04:09 | Now, we can fix this.
| | 04:10 | We will go to Signature and create a key,
and double-click so that this happens
| | 04:17 | exactly at bar 3, the downbeat of 3,
and we will change it to D-flat Major, and
| | 04:25 | now in Score view, everything is happy.
| | 04:28 | I have a key signature of 5 flats and
there aren't those accidentals and crazy
| | 04:33 | flats and sharps that I had
before I made this key signature.
| | 04:36 | A piano player can read this one.
| | 04:38 | The last one, I don't think so.
| | 04:40 | Time signatures work the same way.
| | 04:42 | If I changed the time signature to 3/4
at bar 1 and move the playhead back to
| | 04:48 | the beginning, I see that its moved my
key signature and if we take a look at
| | 04:54 | the Arrange window while we play it--
| | 04:55 | (Music playing.)
| | 05:03 | I hear exactly the same thing,
but it looks completely different.
| | 05:07 | This region which used to start at
bar 3 is now on the third beat of bar 3,
| | 05:14 | because it's counting time differently.
| | 05:15 | So I am going to go back to 4/4 at
bar 1 and my regions are back the way I want them.
| | Collapse this transcript |
| Working with key signatures and transposition| 00:00 | Well, in the last movie we cloned this
region, we moved it back, and we fixed
| | 00:04 | the Transposition so that it's looking
right, but there's one more important thing
| | 00:08 | about how the Arrange and
Print functions are different.
| | 00:11 | If I leave these two region separate
and I go to Score Layout and I choose
| | 00:17 | Print, and Preview, Logic gives me
two instances of this little motif.
| | 00:29 | One in the key of C, one in the key of
D-flat. One is starting at bar 1,
| | 00:33 | one is starting at bar 3.
| | 00:35 | But I don't really get a sense that
they are connected, even though they are
| | 00:38 | connected in the Arrange window.
| | 00:40 | So let me close out of Preview, and
let's close the Score view, and go back to
| | 00:45 | the Arrange window.
| | 00:46 | And if I close the browser, just so that
I can kind of drag a lasso around these
| | 00:51 | two regions and merge them with the
equals key, now this score at the bottom is
| | 00:57 | looking right, and if I go to Score view,
I now have what I am looking for.
| | 01:03 | One in the key of C, a bar of rest,
and one in the key of D-flat.
| | 01:08 | And if I choose Print, and Preview,
I get what I am looking for now.
| | 01:14 | Now, there is one more
thing to show you about this.
| | 01:17 | I am going to close Preview and close
the Score window and back to the Arrange.
| | 01:21 | I want to go back to the Event List
and actually the Events and not the
| | 01:26 | Signature, so I will click on the Event
tab, and this merged region now with the
| | 01:32 | notes in C and the notes in D-flat,
the pitches actually reflect the
| | 01:37 | Transposition now, except
that they are not in D-flat.
| | 01:40 | Over in the Score view I see 5 flats.
| | 01:43 | In the Event list I see the notes C# and
G# and C#, and that's as close to Logic
| | 01:49 | is going to get to showing you flats.
| | 01:51 | It shows you sharps, just so you know.
| | 01:53 | And if we undo the merge, Command+Z,
and take a look at the notes in the second region,
| | 01:59 | we are back to good old C and E
and G again, without the Transposition.
| | 02:04 | Even though if we listen to region 2,
we are actually in the key of D-flat.
| | 02:12 | Now, we are not quite done with this yet.
| | 02:13 | Let me close the browser with two taps of the
letter B. Move the playhead to the beginning.
| | 02:19 | Let's close the Score Overlay for
the moment. Open up Global Tracks.
| | 02:24 | And if you right-click on the word
Global Tracks, you can configure the Global
| | 02:28 | Tracks, and there is a
setting for Transposition.
| | 02:31 | I will click that and say Done.
| | 02:33 | Now I have added a row that lets me transpose.
| | 02:37 | So let's take the second region and
undo its region Transposition up in the
| | 02:42 | upper left-hand corner, and now it's
in the key of C. Here is the first one,
| | 02:47 | and the second one. Same key.
| | 02:50 | And at bar 3, I will double-click on
this blue line and add a Transposition of
| | 02:55 | up 1 semitone, and now we
will play part of the first one,
| | 03:02 | (Music playing.)
| | 03:04 | And the bar at rest, and?
| | 03:06 | (Music playing.)
| | 03:09 | So we have just performed a Global
Transposition, which is different than a
| | 03:13 | Region Transposition.
| | 03:14 | Changing this region's Transposition in
its Region Inspector only changes that region.
| | 03:20 | Transposition in a Global Track
changes everything in your session.
| | 03:24 | Now let's take a look at the Score view,
and because we have a key signature change
| | 03:31 | and a Global Transposition,
we are hearing what we are seeing and seeing
| | 03:35 | what we are hearing.
| | 03:36 | If I go to Lists, and I take away the
key signature of D-flat at bar 3, I will
| | 03:46 | just light it up and delete it, I can
see that we are back to the screwy flats
| | 03:51 | and sharps thing in bar 3.
| | 03:52 | So let me undo the deletion and
now it's back to where we want it.
| | 03:59 | Before we are done with this, here's yet
another kind of screwy thing about this.
| | 04:03 | Earlier I told you that you could
noodle around and print it out and hand it
| | 04:06 | to a musician to play.
| | 04:07 | Well, that's true about pitch-based
instruments, but not necessarily true about
| | 04:11 | drums and percussion, and here's what I mean.
| | 04:14 | Let's close the browser, turn off Score.
| | 04:18 | Let's create a new track.
| | 04:21 | Let's make this a software
instrument and kind of resize Logic here.
| | 04:29 | Let me Control+Up Arrow and
we will get this looking the way we want.
| | 04:34 | We will close the Global
Tracks, and I want to search for....
| | 04:37 | Let me go to Loops and 2step.
| | 04:42 | I think it's in the Beats.
| | 04:43 | I will just go find it. There it is.
| | 04:45 | Oh, it's 2-Step.
| | 04:47 | I will use this one and
bring it into my MIDI track.
| | 04:54 | I want it to start at bar 1 and we
will just solo it so we don't hear the
| | 04:57 | little harpsichord with it,
playhead back to the beginning.
| | 05:00 | (Music playing.)
| | 05:02 | All right, so it's a little drum groove.
| | 05:04 | And remember, green loops mean we are
dealing with MIDI data, not audio data.
| | 05:08 | So let's take a look at this region in Score.
| | 05:12 | Actually, it's better if we open
up the Score window and maximize it.
| | 05:16 | We can see that we have got all sorts
of weirdness happening here, even if we
| | 05:20 | quantize to the 16th note.
| | 05:24 | And what we are looking at is the notes
that this loop uses this particular drum
| | 05:29 | kit to play, but keep in mind that if
you hand these notes to a drummer, you are
| | 05:34 | going to get a funny look, because this
is Logic talking within itself saying,
| | 05:38 | play these notes to get these
sounds, but that only works in Logic.
| | 05:43 | So there are a couple of quirks about
how Logic takes data from your Arrange window
| | 05:47 | and displays it in Score view,
but it's still a very powerful part of the program.
| | Collapse this transcript |
| Printing an orchestral score| 00:00 | Well, I have created an orchestral score, and
the way I did this was by going to File > New.
| | 00:05 | I am not going to close this.
| | 00:07 | Compose and choosing this Orchestral
template, a complete set of orchestral
| | 00:11 | instruments arrange for scoring and
notation, because that's what we're going
| | 00:15 | to do in this movie.
| | 00:16 | So I will close out of this.
| | 00:18 | And this is pretty handy.
| | 00:19 | You have all the different
instruments in the orchestra.
| | 00:22 | There is a typo in here.
| | 00:23 | It's kind of interesting. Percussion is
spelled right over here; precussion is over here.
| | 00:27 | So I expect they'll fix
that in the next release.
| | 00:30 | So I have created this little sequence
and I'll play it for you, and notice that
| | 00:33 | I've pulled the volume down here
because by adding several instruments together
| | 00:37 | I've kind of maxed out my volume,
so here's the little sequence I made.
| | 00:41 | (Music playing.)
| | 00:58 | So again this is a MIDI mockup. I am not
concern about the sound of the instruments.
| | 01:03 | I know that this is going to be played by
real players, but I want the parts to be right.
| | 01:08 | So that when they show up on the stage,
all the people are playing the right notes.
| | 01:12 | So I need to pull this volume down even more.
| | 01:14 | Let me kick it down to closer to 4, and
not everybody is playing on this cue.
| | 01:19 | If I take a look, I am doing Ctrl+Down
Arrow just to show you that some of these
| | 01:26 | instruments don't have any notes.
| | 01:27 | The horns are all
playing exactly the same thing.
| | 01:30 | In fact, I cheated.
| | 01:32 | It's not really cheating, but I took
the part from Horn 1 and cloned it, and
| | 01:35 | cloned it, and cloned it, so that
the four horns are playing in unison.
| | 01:38 | So you don't have to type in each person's part.
| | 01:41 | You can just create it once, and clone it down.
| | 01:44 | Now if I really wanted to take the time,
I would go into this part and change
| | 01:47 | the name of Horn 1's region to Horn 2, and
Horn 3, and Horn 4, but I don't need to do that.
| | 01:52 | They are going to be fine on the parts.
| | 01:54 | So the trombones are playing different notes.
| | 01:56 | You can see just from MIDI layout here.
| | 01:59 | And the timpani has a little roll in there.
| | 02:03 | The percussion has some parts, and then
the piano and the violin are playing the
| | 02:08 | same thing, the melody.
| | 02:10 | And I did the same thing here.
| | 02:11 | I took a piano and cloned it down
to the violin part, and then I just
| | 02:16 | changed the name of this.
| | 02:18 | So you have that option.
| | 02:19 | I didn't do it for the horns.
| | 02:20 | I did do it for the violin.
| | 02:22 | Then strings are playing, this little
chordal figure, let me just play the
| | 02:28 | strings for you and you'll hear how they work.
| | 02:30 | (Music playing.)
| | 02:44 | So let me unsolo the strings and
I'll Ctrl+Up Arrow and get more of the
| | 02:53 | instruments on the page at the same time.
| | 02:55 | So let me close Piano Roll, so we
have a nice, big Arrange window.
| | 03:00 | Let me move the playhead back to the
beginning and let's take a look at the score.
| | 03:04 | Window > Score.
| | 03:06 | Now I am looking at only the Violin part.
| | 03:09 | So I need to drill up one level and I
do that by hitting this little arrow and
| | 03:13 | now I see the entire score, and you
can play the sequence in Score view.
| | 03:19 | I'll just hit the Spacebar.
| | 03:20 | (Music playing.)
| | 03:38 | And that's a handy feature if you're looking
for some particular bad note in there, somewhere.
| | 03:42 | You can just kind of watch
the notes go by and fix the bad note.
| | 03:47 | Now I want to put a double bar in bar
2, because these in bar 1 are pickup
| | 03:52 | notes to get us to bar 2.
| | 03:54 | The melody really starts at bar 2.
| | 03:56 | So to do that in Score view, I'll
use this little tool and there's the
| | 04:01 | double bar marker and I'll put a
double bar at bar 2 and it does it on all
| | 04:06 | the parts in the Score.
| | 04:08 | Now it's really fairly clear to a
conductor that that's an important spot in the
| | 04:12 | Score and not just another bar
line like all the other bar lines.
| | 04:16 | Now let's take a look at
what this Score view gives us.
| | 04:18 | If I go to File and Print and just
look at Preview, I get a pretty decent
| | 04:24 | layout for an 8.5 x 11 page, but the
truth is I probably want to go to Page Setup.
| | 04:31 | So once you get to this menu
you can create a custom size, or just use
| | 04:36 | Tabloid, which is 11 by 17. or any choice
that makes sense for the size of score
| | 04:42 | that you're picking.
| | 04:43 | You probably want to use landscape mode
so that you get some width as opposed to
| | 04:47 | some length, but it depends on how many
parts you're picking, and how many bars
| | 04:51 | you have in your piece.
| | 04:52 | So I'll cancel out of this because
actually I just want to do Print and Preview,
| | 04:59 | and on the left here our Piccolo
Flute, all the different instruments.
| | 05:04 | And so it's laid this out for me, and
I'm ready to print the scores so that I
| | 05:08 | have something to follow when I
conduct this orchestra on the stage.
| | 05:12 | Now each musician in the orchestra
needs a part and that's in the next movie.
| | Collapse this transcript |
| Printing individual parts| 00:00 | When now that we've laid out the
score, let's take a look at some of the
| | 00:03 | individual parts and start with the piano.
| | 00:05 | I have selected the piano and I'll go
to Window and Score and I see that I have
| | 00:10 | a standard two staff piano.
| | 00:12 | There is my double bar at bar 2.
| | 00:14 | It's a simple piano part.
| | 00:16 | It's just one note, one finger piano,
like guitar players like to play, and
| | 00:21 | I can change this part so that it's
actually not in the style of a piano.
| | 00:25 | I could change it so that
it's in the style of a guitar.
| | 00:29 | There are some sort of tablature for
guitar, which of course would drive a
| | 00:33 | piano player crazy.
| | 00:34 | I could change it to the style of an
English horn and now it's actually in the
| | 00:38 | wrong key because an English horn is
played in a different key to get those notes.
| | 00:42 | So there is your selection for the style of
the layout for the part that you are printing.
| | 00:48 | Now the good news is that Logic is
very smart about these things and whatever
| | 00:53 | notes you play for the French Horn
let's say, which is pitched in the key of F,
| | 00:58 | there it says so right there.
| | 00:59 | It will transpose the notes printed on
the page so that when the horn player
| | 01:04 | plays the notes on that horn,
you'll get the notes you expect to hear.
| | 01:07 | Now, composers and arrangers
know how to transpose these parts.
| | 01:11 | The good news is if you don't know
how to transpose these parts, Logic had
| | 01:15 | already taken care of that for you.
| | 01:16 | You just decide what notes
you want the horn to play.
| | 01:18 | Logic will take care of the math
to get the horn to play those notes.
| | 01:23 | Now, earlier I told you that I created
this violin part by taking the notes from
| | 01:27 | the piano part and cloning them down
there and changing the name, and that is
| | 01:30 | actually come back to bite me a little bit.
| | 01:33 | Let me light up the violin part,
Score, and this is now our violin part.
| | 01:39 | That's because the style carried over
with it when I copied the piano part
| | 01:43 | down to the violin.
| | 01:45 | So I'm going to fix that by selecting
Violin and now that's the kind of part
| | 01:51 | that a violin player expects
to see, not a two staff part.
| | 01:55 | Logic lets us choose Page View and we
can see what this part will look like on
| | 01:59 | the page and from there it's
pretty simple. We choose File > Print.
| | 02:05 | This time we probably want to change
our setting back to an 8.5x11 page.
| | 02:10 | We'll just take a preview of it
and there is our violin part.
| | 02:14 | So this part is prepped and
ready to hand to a musician.
| | 02:16 | There is even an electronic way to send
this part if the musician wants to take
| | 02:21 | a look at it in advance.
| | 02:23 | That's in the next movie.
| | Collapse this transcript |
| Using the Camera tool for snapshots| 00:00 | Well, there is one more neat little
feature to show you in Score View.
| | 00:03 | I've chosen my violin part and if I
look at the tools that are available in the
| | 00:08 | Arrange window, I don't see anything
marked Camera, but if I switch to Score View,
| | 00:14 | so I'll just go Window > Score,
there is my Violin part. If I open up the
| | 00:19 | Tool palette now I do have a Camera tool.
| | 00:22 | The Camera tool allows you to just to click
and drag and take a picture of something.
| | 00:27 | So I'll just take a picture of the
first couple of bars of this piece.
| | 00:30 | Let's just pick up that much, and I've
actually already taken the picture and
| | 00:35 | where I put it is up to me.
| | 00:37 | I can go to Logic Pro > Preferences >
Score and select whether the Camera tool
| | 00:43 | writes to the Clipboard or a PDF file.
| | 00:46 | So in my case I've written it to the
Clipboard, I'll jump over into TextEdit,
| | 00:51 | make a new document, and paste my violin part.
| | 00:55 | Let me jump back into Logic and if I use a PDF,
I can email this to someone as an attachment.
| | 01:02 | If I don't use a PDF, I can use that
image file on a website or maybe in an email
| | 01:09 | or printed in a text document, so there
are some options for how you can use the
| | 01:13 | Camera tool in Score View.
| | Collapse this transcript |
| Logic's Chord Analysis tool| 00:00 | In this movie I want to show you a really
interesting thing inside of Logic. It has a brain.
| | 00:04 | It has a pretty good brain and I've
written this cue, this very dark and brooding
| | 00:09 | cue that's very chromatic and I am trying
to kind of throw Logic off, and I think
| | 00:13 | I did a good job, but let's see how
smart Logic is and I'll play this cue and then
| | 00:18 | we'll talk about it.
| | 00:19 | (Music playing.)
| | 00:52 | Well that sound you hear is probably
Bernard Herrmann spinning in his grave.
| | 00:56 | But it was sort of inspired by him.
| | 00:58 | So maybe he is not spinning too fast.
| | 01:01 | So I'll move my playhead back to the
beginning and what I want to show you is
| | 01:05 | the ability of Logic to analyze your MIDI
region and give you a chord analysis of it.
| | 01:11 | So we'll go to Global Tracks, right-
click on Global Tracks, and ask it to show us
| | 01:16 | Chords and then we'll say Done.
| | 01:19 | Now there are no chords in here right now.
| | 01:21 | So I will open up the flippy
triangle and hit the word Analyze.
| | 01:24 | Now you have to have a
region selected to do this.
| | 01:27 | If you don't, Logic will warn you that
you don't have a region selected, but now
| | 01:31 | I do and I will Analyze, and just
that fast it gives me my Chord Chart.
| | 01:35 | So if I Control and right-click, I see
that it's calling the first chord a D Minor.
| | 01:41 | That's true, then the
second note where it goes to--
| | 01:44 | (Music playing.)
| | 01:48 | So as that chromatic melody moves,
it's calling this an E with no third over D,
| | 01:53 | and it's calling this an E7 over D,
and so it's done a pretty good job of
| | 01:58 | getting these right.
| | 01:59 | One place where it gets it
kind of wrong is this last chord -
| | 02:03 | (Music playing.)
| | 02:06 | Which is really just an inversion of
a D major chord. It starts in D Minor
| | 02:10 | ends up in D Major.
| | 02:12 | When it gives you an analysis that
isn't quite to your liking then you
| | 02:17 | double-click on what it gave you,
and in here you can determine a better
| | 02:22 | spelling of this chord.
| | 02:23 | So I'll say that the Root Note is a D
and the Lowest Note is an A and it's a
| | 02:29 | Major chord and I'll say OK.
| | 02:31 | Now I am not quite happy with what
it's saying up here yet, but let's say OK.
| | 02:36 | And now it's given me a
flatted 13th I guess in there.
| | 02:40 | So let me go in there and say well, I
really don't have a B-flat in this chord.
| | 02:44 | Maybe I do have one lingering over
here from earlier in the sequence.
| | 02:48 | So that's just my sloppy playing so
Logic is telling me "practice more."
| | 02:52 | So let's take that out of there and now
I really do have a D over A and that's
| | 02:57 | the chord that I want spelled out at the end.
| | 03:00 | So that's a cool way to get a
chord analysis of your MIDI region.
| | 03:03 | Now when I go to Window and Score
and I see my part laid out here,
| | 03:10 | I can go to Functions and insert
those chords from the Global Chort Track
| | 03:16 | into my lead sheet.
| | 03:17 | There is my D over A, the one that I
fixed, and I would really want to go
| | 03:21 | through these and maybe change them,
clean them up a little bit, but you can
| | 03:24 | see how we do that now.
| | 03:26 | Now they are blue because they are
the thing being edited at the moment.
| | 03:29 | If I click out of there, it will set
them as the chords, and then if I go to
| | 03:35 | File > Print and just choose Preview,
there they are in black, not blue, and
| | 03:42 | they are ready to become a lead sheet for
someone that needs to play this little piece,
| | 03:46 | and that's a bit
about chord analysis in Logic.
| | Collapse this transcript |
| Understanding what the parts tell you| 00:00 | Well, I'm back in the Orchestral
layout because I've added a simple trumpet part.
| | 00:04 | I've muted everything else and I
wanted to tell you a little bit about
| | 00:08 | what the parts can tell you
about the piece you've written.
| | 00:11 | Composers and arrangers go to school
to learn these instruments and their
| | 00:15 | ranges, and just in the trumpet
family you've got bass trumpet, and B-flat
| | 00:19 | trumpet and C trumpet and A trumpet and
a bunch of other trumpets and other keys
| | 00:24 | that are used for baroque music.
| | 00:25 | You've got piccolo trumpet, cornet, flugelhorn.
| | 00:28 | I think that's all of them,
but maybe I left somebody out.
| | 00:30 | Lots of trumpets in the trumpet family,
and then you've got mutes that change
| | 00:34 | the color of all those different horns.
| | 00:36 | Well, don't be intimidated if you don't
know the ranges of all these instruments
| | 00:39 | because you can tell a lot
just by looking at the part.
| | 00:42 | Most pitched instruments
have about a three-octave range.
| | 00:46 | Piano and Harp are the obvious
exceptions, and the very high ranges of each
| | 00:51 | instrument are usually
louder than the lowest ranges.
| | 00:53 | Think of the bassoon, the high C at the
beginning of The Rite of Spring, or a screech
| | 00:58 | trumpet part in a big band.
| | 01:00 | If you write the part and then let Logic
lay it out for that instrument, you can
| | 01:04 | see that there are a couple or
three ledger lines above the staff.
| | 01:07 | You are not in what a friend of mine
calls the meat of the horn and we're using
| | 01:11 | horn in the general sense of
all instruments not just horns.
| | 01:14 | So let's take a look at this trumpet part.
| | 01:16 | I go to Score and I can see that I'm
starting at the high end here and
| | 01:23 | I am working my way to two or three
ledger lines. That's these extra staff
| | 01:26 | things above the staff.
| | 01:28 | So I'm not in the meat of the horn.
I'm at the high energy end of the horn,
| | 01:33 | and what that means is you might get that note,
or you will get that note with a good player.
| | 01:38 | You get that note, but you
may be limited dynamically.
| | 01:41 | For instance, clarinets have a lovely
warm color and they are very low range
| | 01:45 | called chamois and if you think of the
opening notes of the Rhapsody Blue,
| | 01:49 | but they can't play that note for fortissimo.
| | 01:52 | They can't play it super loud.
| | 01:53 | They can play it sort of in that dark
low range, and this trumpet part, which
| | 01:57 | starts at the higher end of the range -
| | 01:59 | (Music playing.)
| | 02:03 | And if we took this higher, maybe it
won't go a whole lot of higher, but it will
| | 02:07 | go maybe up from D to maybe F or G.
| | 02:11 | A good screech trumpet player can play
those notes but can't play them softly.
| | 02:16 | If you are to be writing a lot of music
for real players, I'm not trying to talk
| | 02:20 | you out of doing your homework.
| | 02:21 | Don Sebesky and Henry Mancini have both
written great books on jazz arranging.
| | 02:26 | The Piston book is kind of the seminal
work on orchestral arranging, and if you
| | 02:30 | want to learn the intricacies of the
tone colors, I'd refer you to those.
| | 02:34 | But I wanted to make the point that you
can tell a lot about the sound you are
| | 02:37 | going to get just by looking at the part.
| | Collapse this transcript |
|
|
10. Using Project ManagerSaving custom settings and templates| 00:01 | In this chapter we'll cover various
things you can save and how to save them.
| | 00:05 | First, let's talk about virtual instruments.
| | 00:07 | Let's say you started with a Channel
Strip from the Library, an electric piano,
| | 00:11 | and for the thing you are working on
you tweak the chorus maybe, and possibly a
| | 00:17 | couple of other settings and you found
something you like and you want to save it,
| | 00:22 | because you're going to work with it later.
| | 00:24 | Go to the Channel Strip menu and Save
Setting As, and I have already got one in
| | 00:30 | here that I created in the
process of these projects.
| | 00:33 | There are all my factory settings,
in case I want to refer back to those.
| | 00:37 | So your settings will show up on top
here with the factory settings down below.
| | 00:40 | Now let me switch to the
Mixer. That's Command+2.
| | 00:44 | I'll close the electric piano module.
| | 00:48 | Let's say that for a vocal track, something
involving audio, you've tweaked a setting.
| | 00:55 | You started with Female Ambient Lead
vocal, which is a Channel Strip setting here
| | 01:01 | in the factory patches, but you've
tweaked it a bit and you want to save that.
| | 01:07 | So you save your Channel Strip
Setting as, and it does the same process.
| | 01:13 | So you can bring this setting up
again the next time you want to use it.
| | 01:17 | That's what you do for sounds so it
can be assigned to individual tracks.
| | 01:21 | But what if you created a collection of
instruments for a particular style or project?
| | 01:26 | Maybe it's something that's way off
the map that you'd never find in the
| | 01:29 | templates, like a tabla patch that
you like and a jazz bass sound and a
| | 01:35 | percussion groove and a pizzicato
strings sound and it's quirky, and you like it
| | 01:40 | and there is a good chance you'll
want to work with this setup again.
| | 01:43 | One way to do this is to switch back to
the Arrange and delete all the regions.
| | 01:48 | Select all the audio that's in your
Arrange window and delete them all.
| | 01:54 | Do I want to erase the automation data? Sure.
| | 02:00 | Now I have kind of a clean slate, but
I have all these cool sounds over here
| | 02:04 | that I may want to use in another project.
| | 02:07 | Now you could go to the File menu and
save this project, save it as, and then
| | 02:13 | just open up this project next time, but
there is even kind of a hipper way to do this.
| | 02:18 | You can go to Save as Template and call
this 'my quirky orch' and then the beauty
| | 02:30 | of this is after you save it and you go
to New, you'll see this-- I don't want
| | 02:36 | to close this project.
| | 02:38 | You will see this in My Templates and
there's my quirky orch, and you can have a
| | 02:42 | whole collection of these things.
| | 02:44 | Now before we had Logic 8, Logic 7 and
before, we used to save projects,
| | 02:51 | or at least I did it, used to save a
collection of orchestral things and a
| | 02:55 | collection of jazz things and
different collections of things, and now with
| | 03:00 | Logic 8, this is the way you do it and
you have your own set of templates and
| | 03:04 | you can just start working from there.
| | 03:06 | Now to really take advantage
of this, go to Preferences.
| | 03:09 | Let me close out of this window
so that Preferences is available.
| | 03:14 | Preferences and Global and set your Startup
Action to Create New Project from Template.
| | 03:20 | There are other choices here that may
be more efficient for you, but Create New
| | 03:24 | Project from Template lets you choose
from that list every time you open Logic.
| | 03:29 | Now you can also choose a default template.
| | 03:33 | So once I choose Using Default Template,
I hit the Choose button and then I pick
| | 03:38 | the one that I want to use every time I open up.
| | 03:41 | So I can almost guarantee,
no, I really can guarantee that in your travels
| | 03:46 | you're going to adapt instruments and
create new sounds which you're going
| | 03:49 | to want to save and that's a way you
can save them, so you can work with them later.
| | Collapse this transcript |
| Archiving your project| 00:01 | Well, you know what Shakespeare
says. "All's well that ends well."
| | 00:04 | Sometimes projects go on and on with
remixes and new guitar solos and more lead
| | 00:11 | vocal and you get to the point where
you are not really making it any better.
| | 00:15 | You are just making it different.
| | 00:18 | My friend David Cole, I should say
Academy Award winning producer David Cole,
| | 00:22 | modified Shakespeare to
say "all's well that ends."
| | 00:27 | So when your project has come to
an end, you want to archive it.
| | 00:30 | You could just archive everything,
everything you recorded including the false
| | 00:34 | starts and the out of tune stuff and
every mix you printed and even the ones you
| | 00:39 | didn't use and all the sequences.
| | 00:43 | Now with hard drives being as cheap as they
are, it's tempting just to save everything.
| | 00:48 | But there's a more efficient way to
archive and that's what this movie is about.
| | 00:51 | Let's go to File and
Project Settings and Assets.
| | 00:56 | And we have the choice to copy external
audio files, copy EXS, copy Ultrabeat,
| | 01:01 | copy all this data that goes
to make up this Logic session.
| | 01:05 | You've actually had this option
all along every time you saved.
| | 01:11 | If I Save As, I have a choice
to include all this down here.
| | 01:16 | Now I just saved this exercise
file without any of this data.
| | 01:21 | Let me show you what trouble I am in.
| | 01:23 | Let me hide this and go back here and
I have now a small Logic Pro 8 project file
| | 01:30 | that's 3.4 megabytes, and if I
moved this and save this without saving this data,
| | 01:39 | when I get back to Logic I am
not going to hear any of this audio.
| | 01:44 | It hasn't been saved with this project.
| | 01:46 | So I'm in the Save Copy As and
then include my external audio files.
| | 01:53 | That's all these guys and
I'll just check everything here.
| | 01:57 | I don't have a movie, so
I don't need to check that.
| | 02:00 | And I will call this 10_02A let's
say and save it in the same folder.
| | 02:08 | If I pop back out, that's what I expect to see.
| | 02:11 | I have audio files in here now with all
the sounds I need to make these sounds.
| | 02:17 | So I have Sampler Instrument
and then all my Ultrabeat samples.
| | 02:21 | So this is a much bigger file, but
it's what it takes to play this song.
| | 02:27 | If you've been saving iterations of your
project, which I encourage you to do so
| | 02:31 | that you can breadcrumb your way back to
an earlier version, if you need to, and
| | 02:36 | if you've been saving all the audio
files and movie files with every iteration,
| | 02:40 | you've probably got multiple copies of
things that you probably only need one
| | 02:45 | copy of, or maybe one copy and a backup copy.
| | 02:48 | So when you get to the end of a project,
Logic gives you a nice choice here.
| | 02:52 | You go to the File menu
and Project and Consolidate.
| | 02:57 | So now we have a choice to move this to
an archive folder, and this is where it
| | 03:08 | will put the folder right on my
desktop, and I think these choices will be
| | 03:12 | self-explanatory to you, but audio files,
should I copy them or move them or
| | 03:19 | leave them in place?
| | 03:21 | Well, most of the time you
are going to want to copy them.
| | 03:24 | Moving them will actually remove
them from your current session document.
| | 03:28 | So you do this kind of at your peril.
Copying them is just archiving a copy in
| | 03:36 | the place where you are sending this.
| | 03:39 | Do you want to archive audio files
and not used in the Arrange window?
| | 03:43 | Maybe these are extra vocal takes,
like I said things that are out of tune,
| | 03:47 | performances that didn't quite
make it into the Arrange window.
| | 03:51 | How do you want to treat them?
| | 03:53 | Do you want to leave them behind,
separate them from the ones you used, or treat
| | 03:58 | them like the used files?
| | 04:01 | So I think if you go through these
choices, they will all make sense for you or
| | 04:04 | you can just reach down in the lower
left-hand corner and say copy everything
| | 04:08 | or move everything.
| | 04:10 | Now if you are working with
archiving in Final Cut Pro, this all is
| | 04:14 | very familiar to you.
| | 04:15 | It's how the Media
Manager works in Final Cut Pro.
| | 04:18 | Let me cancel out of this and show
you one more thing in the Audio Bin.
| | 04:25 | It's been keeping track of the audio
that you have been using and all little
| | 04:28 | pieces of each clip that you used.
| | 04:30 | There is a choice to select unused files.
| | 04:41 | And now you have a choice of things
that you aren't using in the Arrange window
| | 04:46 | and you can delete them from your
Audio Bin or you can save them, just archive
| | 04:53 | them offline to an unused files area.
| | 04:56 | You can move them, copy them, back them up.
| | 04:59 | So that's a fairly easy way to tell
what are you using and what are you not in
| | 05:04 | your Arrange window.
| | 05:05 | Now there is one more way to backup
your settings offline, and I'll show you
| | 05:12 | that in the next movie.
| | Collapse this transcript |
| Backing up custom settings to a network| 00:01 | There is one more neat feature they have
added to Logic 8 and I want to show you that.
| | 00:04 | This lets you back up. It's pretty cool.
| | 00:07 | So I'll go to Logic > Preferences, and
Sharing, and up pops this window that says
| | 00:13 | I can back up my Channel Strip settings,
plug-in settings and key commands to
| | 00:19 | either another computer that's
connected to my network, be it Bonjour,
| | 00:25 | or on my .Mac which is offside.
| | 00:28 | I guarantee you sleep a lot better when
you know that your key commands and your
| | 00:32 | plug-in settings, and Channel Strips
are all backed up on your .Mac account.
| | 00:36 | So that's very cool.
| | 00:38 | Then if your hard-drive
crashes, you can restore.
| | 00:41 | So this will say, I will go fetch your data
from your .Mac account and load it into Logic.
| | 00:49 | You're probably familiar with this
concept if you use Address Book Sync and
| | 00:53 | the other .Mac features.
| | 00:55 | So that's really neat
that it's backed up offsite.
| | 00:57 | It really comes in handy if you move
to a different studio and another town
| | 01:01 | maybe, and you are working on
somebody else's system, but you want to have
| | 01:04 | access to your Channel Strip settings
and your plug-in settings, and your key commands.
| | 01:08 | You can load them in here, and you don't
have to hold them with you on your hard-drive.
| | 01:13 | Pretty cool!
| | Collapse this transcript |
|
|
11. Using WaveburnerBurning discs with Waveburner| 00:00 | In this chapter, we are
going to talk about WaveBurner.
| | 00:02 | WaveBurner is the CD burner
that ships with the Logic Suite.
| | 00:06 | Technically, it isn't part of Logic.
| | 00:08 | It's a standalone app.
| | 00:09 | It's been around for a while but this
latest version that ships with Logic 8 has
| | 00:13 | some nice new features.
| | 00:15 | It ships with Logic but it will burn
CDs of any audio, not just audio that you
| | 00:20 | have created in Logic and these CDs are
compliant with CD players in your car,
| | 00:24 | at home and any other place you can play CDs.
| | 00:27 | Now just to be really clear about this,
these are audio CDs that are meant to be
| | 00:31 | listened to, not data CDs
that are meant to store data.
| | 00:35 | You could import your songs into iTunes,
create a playlist, and burn a CD from there.
| | 00:40 | The advantage of burning in
WaveBurner is you have more control over
| | 00:43 | the authoring process.
| | 00:45 | So let's take a look.
| | 00:46 | When you open a blank document, you
get a toolbar at the top, followed by a
| | 00:50 | graphical view of your project, a
Timeline for assembling and examining
| | 00:54 | your waveforms, a bin in the lower-
left that shows you which sound files
| | 00:58 | you are working with, the list in
the middle shows you how those regions
| | 01:02 | are being assembled on the CD and in
the lower-right, you have access to
| | 01:06 | some sound processing presets.
| | 01:08 | In a lot of the Apple programs,
importing a file is Command+I or
| | 01:13 | Shift+Command+I. In this program,
importing a file is Command+F. So if it helps you,
| | 01:18 | think of it as kind of a find.
| | 01:20 | You can also import by clicking the
Import button in the toolbar or the Import
| | 01:25 | tab in the Regions bin.
| | 01:27 | I am going to import something that I
am pretty sure you have, something you
| | 01:31 | installed when you installed Logic.
| | 01:32 | So I am going to go to the top level
of the hard-drive, then Library, Audio,
| | 01:39 | Apple Loops, Apple, Apple Loops for
Soundtrack Pro, and Associated Production Music.
| | 01:47 | I am going to choose these first
three files and add them to my session.
| | 01:54 | WaveBurner tells me that it has to do
some file conversion because these are
| | 01:58 | core audio files, CAFs and it
wants them to be PCM files, AIS.
| | 02:04 | So it's just telling me it's going to
do that and would like to know where it
| | 02:07 | would like me to put them.
| | 02:08 | So I will just jump out to the Desktop,
Apply to All, so it does all three files
| | 02:13 | at the same time and save them.
| | 02:19 | It's converted them successfully.
| | 02:21 | I will say OK and now they are in my session.
| | 02:25 | If we wanted these three tracks in this
particular order with two second pause
| | 02:30 | between each one, we can actually
just click Burn and be done, but let's
| | 02:34 | explore some other options.
| | 02:35 | Now the graphical view on the top is
showing me that I have three tracks.
| | 02:39 | One pretty long one, one that's a little
shorter, and one that's quite a bit shorter.
| | 02:43 | The Timeline is showing me kind of a
zoomed in version of my entire project.
| | 02:48 | If I want the Timeline to show me the
entire project, I reach up into this Red area,
| | 02:53 | click my mouse and push.
| | 02:56 | So that's kind of a click-and-drag,
except I am not really dragging.
| | 03:00 | I am pushing so that I can widen out that
space and now I see in the Timeline what I
| | 03:05 | see in the graphical view on top.
| | 03:08 | When WaveBurner imported these files
and imported them alphabetically, well,
| | 03:12 | let's say we want to change the order of
them from instead of Long to Medium to Short.
| | 03:17 | Let's go Short to Medium to Long.
| | 03:19 | So we will just click on the Short,
push, and get it up to the top.
| | 03:23 | Now, let's click on the Medium, push,
and put it in between Short and Long.
| | 03:28 | So you can rearrange the
order of the tracks that easily.
| | 03:31 | There is one kind of quirky thing
about this Timeline. Usually we see things
| | 03:35 | in a straight line but this one juggles
between kind of a top track, and a bottom track.
| | 03:40 | So every time you add a new track, it's
going to do kind of an odd, even, or an
| | 03:44 | A and B track for you, so that you
can see how many tracks you have.
| | 03:48 | So this is doing math for us and
adding the lengths of all the different
| | 03:51 | pieces in our CD and we are just shy of two
minutes for these three tracks added together.
| | 03:58 | So this is a basic CD. We brought in
three tracks, we have rearranged the order,
| | 04:02 | we are happy with how we have
laid this out. Let's burn it.
| | 04:06 | Click on Burn. We decide
how many copies we want.
| | 04:10 | Let's go with one, and I will use
the default settings and burn this CD.
| | 04:16 | Well so far we really haven't done
anything that we can't do in iTunes.
| | 04:19 | We have brought in three tracks,
rearranged their order and burned to CD.
| | 04:23 | The real power of WaveBurner comes
in the choices you can make about
| | 04:27 | processing the audio, and adding
some markers and indexing, timing your
| | 04:31 | tracks, and that's what's up next.
| | Collapse this transcript |
| Timing your tracks| 00:00 | So in this movie we will talk about
timing the tracks, making the tracks shorter.
| | 00:04 | I am going to zoom in just a bit, reach
up and click and scroll and then push
| | 00:12 | this over to the left, so that I can
see the opening of this medium track.
| | 00:18 | Now we will play this track.
| | 00:19 | (Music playing.)
| | 00:27 | So let's say that I want to take off
that symbol thing at the beginning of the
| | 00:32 | track in this burn of the CD.
| | 00:35 | There are two ways to make a track shorter.
| | 00:37 | With the Arrow tool selected, well
you go to the front of the Region.
| | 00:41 | You get a Trimmer, then you can trim
the start point of the track, right up to
| | 00:47 | this kind of Brick Wall so that it
starts like-- oh, let me move the playhead
| | 00:51 | back to where it starts.
| | 00:53 | (Music playing.)
| | 00:54 | So right away, we are right at the beginning.
| | 00:56 | Now you can use your trimmer to get that back.
| | 00:59 | You can only go as long as the track
is, but just reach in there and trim.
| | 01:04 | Now the other way to trim the
audio is to use the Scissor tool.
| | 01:07 | You can reach down here and grab the
Scissor tool or you can just appear in the
| | 01:11 | Timeline, hold down the Apple
key and you get the Scissor tool.
| | 01:15 | Now you just reach over here,
and cut, where you want it to cut.
| | 01:18 | Now that gives me only the symbol.
| | 01:20 | So I am going to select this track again,
here is the summary of what I just did here.
| | 01:26 | The Scissor tool cuts wherever you click.
| | 01:28 | So if you want to take stuff out, you
can use the Trimmer, and then if you want
| | 01:31 | to leave stuff in, just cut
everything else away using the Scissors.
| | 01:35 | Now let's say I want to adjust the
timing of the pause between the first track,
| | 01:39 | and the second track.
| | 01:40 | I just take this Arrow and push it, and
now the region gap I have narrowed it to
| | 01:45 | let's say half second.
| | 01:46 | I can take it back up to the two seconds.
| | 01:49 | I can extend it out.
| | 01:50 | So I am adjusting the length
of the pause between the tracks.
| | 01:54 | So for a real long ballad, you may
want more than the standard two seconds or
| | 01:59 | for kind of a real energetic piece,
maybe you are making a demo reel, you want
| | 02:03 | no pauses between the tracks, you
want to flow right from one to the other.
| | 02:07 | You may actually even cross-fade tracks.
| | 02:10 | We will talk about that more in a little bit.
| | 02:11 | So set the length of the pause or
eliminate the pause between the tracks in your CD.
| | 02:19 | You can set the default length of
pauses by going to WaveBurner > Preferences,
| | 02:25 | General, and there you can set the
Default Pause Length from two to whatever
| | 02:30 | number works for you.
| | Collapse this transcript |
| Adding track markers and index points| 00:00 | Let me suggest a couple of
ways to use Track Markers.
| | 00:03 | You might want to make a demo reel with
a whole series of pieces strung together.
| | 00:07 | You want it to be able to play as an
endless piece from beginning to end, but you
| | 00:12 | also want listeners to be
able to jump from style to style.
| | 00:15 | So you'd make one big project, but you'd
make Track Markers throughout your file.
| | 00:19 | So here is another example.
| | 00:21 | Sometimes, when I'm undecided about a
creative choice like how much reverb to
| | 00:25 | put on the lead vocal, or the balance
of the vocal against the band track.
| | 00:29 | I will print a few mixes with subtle
changes between them, and then burn them to
| | 00:34 | a CD and live with them for a while, in my car,
you know in some setting other than my studio.
| | 00:40 | I feel like I should give you a
little bit of a glossary here because I'm
| | 00:43 | talking about tracks, I am talking
about regions, and I am talking about songs.
| | 00:48 | Tracks, for the purposes of
WaveBurner, are individual songs or regions.
| | 00:53 | So, each one of these pieces down
here has become a track in WaveBurner.
| | 00:59 | We sometimes say, hey! nice track,
| | 01:01 | as if to say nice mix, nice song,
but I am going to try and avoid
| | 01:06 | that now, and call a track a track as
it is in WaveBurner lingo, and for the
| | 01:11 | purposes of the audio content, let's
think that the stuff that goes into our CD
| | 01:16 | could either be songs, or
they could all be sound effects.
| | 01:20 | I have nothing to do with music, just
a whole series of sound effects back to
| | 01:23 | back, and so they could be
songs or let's say regions.
| | 01:28 | I wanted to get that out of the way.
| | 01:29 | What's a Track Marker?
| | 01:31 | Well a Track Start Marker is how the
CD player distinguishes one song or
| | 01:36 | region from another.
| | 01:37 | You can use the CD player's navigation buttons
to go forward or back through the list of songs.
| | 01:43 | This is the concept you are
familiar with from your own CD players.
| | 01:46 | Index points are points inside of a region.
| | 01:49 | Why would you use them?
| | 01:50 | Well, here is an example.
| | 01:51 | You are making a sound effects CD.
| | 01:54 | You've got 15 audio files of babies crying.
| | 01:57 | Each one is really short, but each one
is distinctive and deserves to be there.
| | 02:02 | Now, each of those 15 audio files
could be its own track, and then you'd have
| | 02:06 | 15 really short tracks and if you had
lots of little audio files like this,
| | 02:11 | you'd probably quickly exceed the 99 tracks
that the CD specification, the CDs spec, gives you.
| | 02:18 | So you create index points for each
baby crying or whatever you're using and
| | 02:23 | then you have one track of
your allotted 99 and 15 indexes.
| | 02:27 | So people can search for the baby
that they want and know that it's number
| | 02:32 | 11 versus number 7.
| | 02:34 | I am going to choose the medium track,
and there's a little cymbal roll here
| | 02:39 | that gets me into it.
| | 02:42 | So let's add a Track Marker after
the cymbal roll in the medium track.
| | 02:48 | I scroll up to this area above the
Timeline, and add a Track Marker.
| | 02:53 | Once I have added it, I can push it
around until it's lined up precisely what I
| | 02:57 | want to line up with.
| | 02:59 | Let's move the playhead out of the way,
so that you can see that this marker is
| | 03:02 | here and now that I've moved the
playhead out of the way, I can see that it's
| | 03:06 | not exactly lined up and that's pretty good.
| | 03:09 | Now, Untitled Track 2 is not a good track name.
| | 03:13 | So I'll click on the name, and I'll call
it Medium Track After Intro and hit Return.
| | 03:23 | Now, if you've closed your eyes and
listened to this track, you won't hear any
| | 03:27 | difference with this Track Marker
being here, but if you open your eyes and
| | 03:31 | you looked at the Track Marker display on the
CD player, you'd see the number increase by one.
| | 03:36 | If you want to delete a Track Marker or an
index point, click on it, hit Delete, it's gone.
| | 03:42 | It's gone from the display up here.
| | 03:44 | It's gone from the list in
the middle at the bottom.
| | 03:47 | Now, let's use these three pieces of
music and apply that indexing concept that
| | 03:52 | we talked about with the baby crying.
| | 03:54 | I want to roll up and expand my display,
click and push, so that I see all of
| | 04:01 | the contents of my CD.
| | 04:03 | I am going to click in the Track
area for number 2, and delete that Track
| | 04:08 | Marker, and I am going to push this audio up,
so that it ends right after the first one.
| | 04:14 | There is actually just a
little cross-fade right there.
| | 04:17 | I will go right after that cross-fade.
| | 04:18 | Now, I will go up, and I only have two
tracks now, the first one and the second one.
| | 04:23 | Let me light up, but it has now become
the second one, and delete that Track
| | 04:27 | Marker and push this audio
up behind the second one.
| | 04:31 | Now I have one track.
| | 04:33 | Let's click on the Orange Index Marker
icon, and I will add an Index Marker for
| | 04:39 | the second track and for the third track.
| | 04:43 | Now, I am saying track,
I mean piece of audio information.
| | 04:47 | I can also move that Index Point,
and then if I click inside the flippy
| | 04:53 | triangle for my first track, my only
track, I can rename the Index Points as
| | 04:59 | Medium Version and Long Version or whatever
titles are appropriate for what you're doing.
| | 05:05 | So when we started this movie,
we had three pieces of audio here, three
| | 05:10 | different songs let's call them and we
added a marker and then we deleted it,
| | 05:14 | and then we deleted two Track Markers
and replaced them with Index Points.
| | 05:19 | So if we had a bunch of audio to
cram onto a CD, this would look like one track,
| | 05:23 | but it would have Index Points
inside of it for the Medium Version and
| | 05:28 | the longer version.
| | 05:29 | Now keep in mind that not all
CD players can read indexes.
| | 05:33 | It's really ideal for something like my
baby example where you're using a search
| | 05:37 | engine to find sounds using descriptions
and adjectives, but you want specific
| | 05:43 | location points for where
those sounds happen in the track.
| | Collapse this transcript |
| Processing the audio| 00:00 | Well, we started this chapter by
bringing in some audio, rearranging the
| | 00:04 | order, and burning a CD.
| | 00:06 | You can do that in iTunes.
| | 00:08 | The part you can't do in iTunes
really is to process the audio.
| | 00:11 | So let's look at some options for that.
| | 00:14 | This Medium track that I have
highlighted has the cymbal roll in the front.
| | 00:18 | Let's put the playhead up there and play it.
| | 00:21 | (Music playing.)
| | 00:24 | Now if you click on the diamonds that
are at the front of this area, you can
| | 00:28 | write a fade right into the music.
| | 00:30 | Let me just drag it way out there
and let's take a listen of this fade.
| | 00:33 | (Music playing.)
| | 00:40 | So I'll put just a little bit of a
fade-in here and if I push out to the right,
| | 00:44 | you can see that I have other data
points and you could sort of think of these
| | 00:47 | as the ability to do a parabolic fade up
into something or fade out of something.
| | 00:53 | Maybe to make the volume lower somewhere.
| | 00:55 | Then you have this sort of
Bezier adjustments that you can do.
| | 00:58 | Now let me undo that.
| | 01:00 | Undo, undo, undo, undo and now
we're back to the way we found this.
| | 01:06 | You can also set Fade
parameters in the Region Info window.
| | 01:11 | The shortcut for that is Command+R or
there is a button up here in the upper
| | 01:15 | right that will take you to Region Info.
| | 01:17 | Pop over to the Fades tab and you have
different shapes of fades to do and then
| | 01:23 | you can set the length and get
exactly the shape that you want.
| | 01:27 | We can change the texture of the audio too.
| | 01:30 | Choose a Region, I've already selected
this Medium track ,and look on the right
| | 01:34 | at the Region Plug-ins and you can click
Add Plug-in and you have some choices
| | 01:39 | about how to process this audio.
| | 01:41 | Let's say on this track we want to
add WaveBurner > Imaging > Stereo Spread.
| | 01:48 | Up pops a graphic and we can
widen the stereo image of this file.
| | 01:53 | So we're adjusting the
stereo image across frequencies.
| | 02:00 | Now you can experiment
with the settings manually.
| | 02:05 | Let me close out of that window. Or if
you click on the word Default you have
| | 02:11 | some choices for different settings.
| | 02:14 | I'll pick the bottom one Medium Mid &
HF Spread and the concept there is it
| | 02:19 | leaves the bottom, the kick and the
bass and low stuff, alone and gives me a
| | 02:24 | little more stereo in the higher stuff.
| | 02:27 | Now that's adding a plug-in to this
region, to this one piece of audio.
| | 02:32 | In the Region Plug-ins there is another choice.
| | 02:34 | I can add a Plug-in Chain.
| | 02:36 | Let me light up Stereo Spread and delete it.
| | 02:38 | Let me click on Plug-in Chain and
I can see that I have choices that are
| | 02:42 | determined by the style of the music.
| | 02:45 | When I pick one of these,
let me do Enhance Pop Music.
| | 02:48 | It puts a series of plug-ins in.
| | 02:50 | So you have a choice.
| | 02:51 | You can add them manually yourself or
you can use these presets that are sort of
| | 02:56 | determined by the style of the
music that you're trying to enhance.
| | 03:00 | Now the difference between Region plug-
ins and Mix plug-ins is let me light up
| | 03:04 | each of these and get rid of them and
let's switch over to Mix Plug-ins and this
| | 03:09 | will apply the plug-in to all
the regions in your project.
| | 03:14 | So there are lots of great plug-in
choices here for getting any individual
| | 03:18 | region sounding like you want it or the
entire project sounding like you want it.
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| Normalizing the audio| 00:01 | There is a button up here for normalizing.
| | 00:03 | Some people see that and they think
"no way, dude! I spent a lot of time making
| | 00:07 | this song unique, and I don't want that
button to take all that away and make it
| | 00:11 | normal, whatever that is."
| | 00:13 | Think of normalizing as optimizing your
audio, making it the appropriate volume,
| | 00:18 | taking the loudest thing and making
it exactly as loud as it should be.
| | 00:22 | Computers are really good at math and
Normalize can look at a file and tell that
| | 00:27 | it needs to be, oh let's say, 12.4%
louder and it will apply that change.
| | 00:33 | Let me show you how this works.
| | 00:34 | So I will select this region and
I will check this disk for clipping.
| | 00:39 | It analyzes this and this is a guitar
part from earlier in the title and I
| | 00:45 | brought it in on purpose at a lower
volume and called it guitar with low volume,
| | 00:49 | and its Peak Value is -4 and some change DB.
| | 00:54 | So it's not really living up to its
potential, and we will say okay, thanks
| | 00:59 | for telling me that.
| | 01:00 | Now if I hit Normalize and set the
Maximum Value for zero DB, in other words
| | 01:06 | take it right up to no more head room
but not any louder than it should be.
| | 01:11 | Please don't clip it but take it all the
way up to its potential and say OK, and
| | 01:16 | then if I run another check for clipping,
I see that it's taken it up to 300ths
| | 01:22 | of a decimal point from
the absolute perfect level.
| | 01:26 | That's close enough for me.
| | 01:28 | So I suggest you normalize your files
because if you don't, people will have to
| | 01:33 | turn up their volume to hear your files
and then turn them back down when they
| | 01:37 | go to all the other files in the
world. You really don't want that.
| | 01:40 | So normalize your files, make them
compatible with all the other files in the
| | 01:44 | world and don't worry.
| | 01:45 | It's not going to take all the
creativity out of your music.
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| Deciding whether to burn, bounce, or save| 00:00 | Once you build a project, you have
imported your audio, you have rearranged
| | 00:04 | the order, you have added track markers,
maybe index markers if you need them,
| | 00:08 | changed your audio around, processed it,
faded it, trimmed it, whatever you had to do.
| | 00:12 | There are basically three options
for getting stuff out of WaveBurner.
| | 00:16 | Now, the first one we saw in the first
movie of this chapter and that's we just
| | 00:20 | burn a CD. You click up here and it
would ask us for a CD, we pop it in and we
| | 00:26 | burn a CD that we can take
with us and listen to the audio.
| | 00:29 | Another option is to save out this project.
| | 00:32 | So, let's go to the File menu and
we will Save As and we will call this
| | 00:38 | Adrenalin without the "e",
and save it to the Desktop.
| | 00:45 | Another way to do this is to bounce this
project and I will show you what this is.
| | 00:51 | Let's do Adrenalin Bounce, and we
will put that on the Desktop as well.
| | 00:57 | Now, I have shrinked up my screen, so that I
can show you these two files on the Desktop.
| | 01:01 | Let me select these two files and
Command+I, so that we can look at the
| | 01:05 | information for them.
| | 01:06 | Well, this one on the left is 24K.
| | 01:09 | This is the WaveBurner document.
| | 01:11 | If you work in Final Cut Pro,
you know that you have an FCP file that's
| | 01:15 | relatively small compared to
the size of your giant movies.
| | 01:18 | So, this document is just keeping
track of the order of the songs that are in here,
| | 01:23 | the names of the songs that are
in here, but there aren't any sounds in
| | 01:27 | here for it to deal with.
| | 01:29 | The document on the right is a
WaveBurner project that could be taken to another
| | 01:34 | version of WaveBurner or archived for later.
| | 01:37 | If you just wanted to open up this demo
reel that you've created, you would have
| | 01:41 | the audio stored inside it.
| | 01:43 | There are 19 Megabytes here.
| | 01:45 | So, not only does it contain all the
data that's inside this project file,
| | 01:48 | it contains all the audio it
needs to recreate this elsewhere.
| | 01:52 | So, there are three options
for you, Burn, Bounce, and Save.
| | 01:56 | Now you know what each one does and
which one to pick depending on what you
| | 02:00 | want to accomplish.
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ConclusionAdditional resources| 00:00 | The first place I look when Logic is
being illogical is the manual, which you
| | 00:05 | can access from the Logic menu.
| | 00:07 | Just hit Help and it's
the first thing on this list.
| | 00:11 | There is 1,030 pages in the last edition
I looked at and the search works great
| | 00:15 | and I can usually find what I am looking for.
| | 00:17 | Another great resource is
down here, Logic Pro Support.
| | 00:21 | I believe I have that
loaded over here in Firefox.
| | 00:24 | Let me jump in to it and there is
http://www.apple.com/support/logicpro.
| | 00:29 | Now there is your manual again, there
is your 1,030 pages and you can usually
| | 00:34 | find a lot of great stuff in here, and
there is pretty good discussion boards in
| | 00:38 | here and one of my favorite places to
go is an independent site here called
| | 00:43 | Logic Pro Help, and in addition to great
discussion boards you can subscribe to
| | 00:48 | newsletters and then syndicate these
RSS feeds and there are classes that they
| | 00:54 | offer in the LA area and user groups
that meet in the LA area so those are my
| | 00:59 | recommendations for digging
a little deeper into Logic.
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| Goodbye| 00:00 | Thanks for watching this Logic 8 title,
and I hope it inspires you to make great
| | 00:04 | songs and great soundtracks.
| | 00:06 | I would like to take a minute to thank my
producer Max and all the people at Lynda.com.
| | 00:11 | Ellen Johnson for helping with the
vocal track chapter, Dan Grimm for helping
| | 00:15 | with the remix chapter, CJ Vanston
and David Cole for being great and
| | 00:20 | inspirational friends, my students at AI
San Diego and UCSD for keeping me on my toes
| | 00:25 | and my wife Susan for giving
me the energy to keep exploring.
| | 00:29 | So I wish you all the best in your
Logic travels and thanks again for watching.
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