IntroductionWelcome| 00:00 | (Music playing.)
| | 00:04 | Welcome to Logic Pro 9
Essential Training. I'm Scott Hirsch.
| | 00:07 | If you have got an ear for music and a
desire to produce professional sounding tracks,
| | 00:11 | Logic Pro 9 is for you.
| | 00:13 | By working with a large list of
software instruments and sounds, all the way
| | 00:17 | to the final mix down,
| | 00:18 | you can take your audio skills
to the next level with Logic.
| | 00:21 | I'll show you the ins and outs of Logic's
complex yet intuitive MIDI capabilities.
| | 00:26 | I'll take you through the awesome Amp
Designer and Pedalboard tools and how to
| | 00:29 | use the new Flex Time feature
to get your audio locked in time.
| | 00:33 | And we'll work through Logic's powerful
mixing and processing features including
| | 00:36 | automation and channel strips.
| | 00:38 | Logic Pro is an incredibly powerful
audio application that's accessible
| | 00:42 | to beginners just getting into composing and
recording, all the way up to experienced pros.
| | 00:46 | So let's started with
Logic Pro 9 Essential Training.
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| Using the exercise files| 00:00 | If you are a premium member of the
Lynda.com Online Training Library or if
| | 00:04 | you're watching this tutorial on a
DVD-ROM, you have access to the Exercise Files
| | 00:08 | used throughout this title.
| | 00:10 | The Exercise Files are organized by chapter.
| | 00:13 | Each chapter contains
subfolders that correspond to each video.
| | 00:17 | You can open the .logic files
to follow along as we work.
| | 00:20 | Some of the folders will
contain an Audio Files folder.
| | 00:24 | This contains the media for the project files.
| | 00:26 | Sometimes more than one project
file references an Audio File folder.
| | 00:30 | Logic will occasionally
lose the link between the two.
| | 00:35 | If this happens, you will get
this Audio file not found dialog.
| | 00:38 | That's okay. Just hit Search and
Logic will search your hard drive and find
| | 00:42 | the appropriate files.
| | 00:43 | The audio files might not always be in
the same folder as your project file.
| | 00:47 | This is okay.
| | 00:48 | Exercise Files contain full Logic
project files from real life sessions.
| | 00:53 | Some of these were recorded with
a full band, and some of them were
| | 00:55 | composed directly in Logic.
| | 00:57 | If you don't have access to the
Exercise Files, you can follow along from
| | 01:00 | scratch or with your own assets.
| | 01:02 | Let's get started.
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1. Getting Set Up with Logic Pro 9Installing the software| 00:00 | The Logic 9 installation package is
much more than a single application.
| | 00:04 | When you install, you'll be asked what,
how, and where you would like to install
| | 00:07 | all of the contents of the nine DVDs
that ship with the full Logic 9 package.
| | 00:11 | Let's go over to some of the nuances
and techniques for installing Logic the
| | 00:15 | best way for your setup.
| | 00:16 | For the most part, installing Logic is
like installing any other application.
| | 00:20 | You're guided to the install
dialogs and check the appropriate
| | 00:23 | license agreements.
| | 00:24 | However, there are a few points to be aware of.
| | 00:26 | Number one, leave a lot of time.
| | 00:28 | The nine DVDs contain tons of content.
| | 00:31 | Even simply copying nine DVDs of
material would take time, but the install
| | 00:35 | process takes even longer
than just a simple copy.
| | 00:38 | I would safely leave at least four or more
hours dedicated to installing the software.
| | 00:43 | Note also that you have to be around
to change the discs when you do this.
| | 00:47 | Number two, you need a lot of space.
| | 00:49 | If you want to install all of the
programs content, you need 9 free gigabytes in
| | 00:53 | your internal hard drive.
| | 00:54 | To install the content DVDs
you need another 32 gigabytes.
| | 00:58 | Luckily, this optional content can
be installed to an external drive.
| | 01:02 | Okay, let's start the install.
| | 01:03 | So we'll pop in the install disc.
| | 01:05 | It's a white DVD that comes
with the installation package.
| | 01:07 | Okay, so here's the install disc that
we popped in, Logic Studio Install, and
| | 01:12 | we are going to double-click on
the Install Logic Studio package.
| | 01:15 | That will bring up the Install dialog.
| | 01:17 | It runs a program to determine if the
software can be installed on your machine,
| | 01:21 | and here's the Install dialog.
| | 01:23 | You'll notice here that Logic
Pro is not just one application.
| | 01:27 | In fact, the installation
discs include eight applications.
| | 01:30 | So we are going to go ahead and
continue and this is the Read Me.
| | 01:33 | Continue past that and the License Agreement.
| | 01:36 | Of course, we read all of
those in our spare time.
| | 01:38 | Agree to that.
| | 01:39 | And here we have the Custom Install.
| | 01:41 | You are forced to do a Custom Install
always, because there's so many components
| | 01:45 | to the installation package.
| | 01:46 | The applications themselves like Logic
Pro, MainStage, and Soundtrack Pro must
| | 01:50 | go on your main internal hard drive.
| | 01:52 | However, you may disable some of them
if you don't want them at this time by
| | 01:56 | unchecking the boxes.
| | 01:57 | If you already have certain applications
already installed on your machine,
| | 02:00 | they will be grayed out and
Logic will automatically skip them.
| | 02:03 | Logic is pretty smart about what to
install and it doesn't double up on things
| | 02:06 | if it doesn't have to.
| | 02:08 | Down below we have the Logic Studio Content.
| | 02:10 | We can open this disclosure triangle to
see all the content that will be installed.
| | 02:13 | Again, Logic knows if it's already been
installed then it will skip it if it's not needed.
| | 02:18 | We go to the Sound Effects.
| | 02:19 | That's the additional content that is
optional, but it provides you with tons of
| | 02:22 | sound effects and jam packs that you
might use when you are composing in Logic.
| | 02:26 | This is where you can redirect it to go
to an external location instead of your
| | 02:29 | internal hard drive.
| | 02:30 | Remember it's 32 gigabytes of material.
| | 02:33 | In the Location column you can open
up and change where you're going to
| | 02:35 | install this content.
| | 02:37 | If you click on Other, you can see
your desktop here and you can move to an
| | 02:40 | external hard drive to install this
content somewhere else besides your
| | 02:44 | internal hard drive.
| | 02:46 | This is perfectly fine as long as you
have that hard drive hooked up whenever
| | 02:49 | you want to work in Logic
and use those sound effects.
| | 02:52 | In addition, if you already have some of
jam pack and sound effects content from
| | 02:55 | other apps you've already
installed, that's no problem.
| | 02:58 | As long as you point the new
installation to the same place where those sound
| | 03:01 | effects and jam packs are located, Logic will
only install any new item required by Logic.
| | 03:07 | Once you've set up the Custom Install
exactly the way you want it, it's time to
| | 03:10 | hit Continue and actually
perform the installation.
| | 03:12 | Remember leave a lot of time.
| | 03:13 | Now that you've successfully installed
Logic Pro, it's time to make some music.
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| Launching Logic for the first time, using the templates| 00:00 | The first time you open Logic you'll be
prompted to use some pre-made templates.
| | 00:04 | In this lesson, we'll explore some of
these as well as learn how to save and
| | 00:07 | make our own custom template.
| | 00:09 | Here we go. To launch Logic Pro 9,
you can do one of three things.
| | 00:13 | You can click on it's icon in your
dock, a black rectangle with a platinum
| | 00:17 | record on it. You can find it in your
Mac hard drive, Applications, under Logic.
| | 00:24 | If you see any other thing besides
Logic Pro, those are older versions.
| | 00:27 | We are running 9.1.
| | 00:29 | It's possible you might see Logic Pro 8,
Logic Pro 9, but the one you want to
| | 00:33 | open for Logic 9.1 is Logic Pro.
| | 00:37 | Or you can double-click on an already
saved Logic project file, which is any
| | 00:41 | file that has the .logic suffix.
| | 00:44 | This is an example of one of those.
| | 00:46 | But that will bring you in to that project.
| | 00:50 | Let's open it from the
dock and see what happens.
| | 00:56 |
| | 00:56 | When Logic loads up, the first thing
you're prompted with is the Templates dialog.
| | 01:00 | These are a bunch of already made
templates that are stylized to different
| | 01:03 | productions styles and uses.
| | 01:05 | For fun let's open the Electronic one.
| | 01:10 | Because this project file is a template,
we are automatically forced into a Save
| | 01:13 | As dialog asking us where we'd like
to save our version of this project.
| | 01:17 | Here we'll name it and give it
a place to go on our hard drive.
| | 01:20 | You might want to save it to an
external FireWire hard drive, which I recommend
| | 01:24 | since audio will start quickly eating
up space or you might want to define a
| | 01:28 | place in your computer where you'll
save all of your Logic projects to.
| | 01:30 | I am going to save it to
Desktop > Exercise Files > Chapter 01.
| | 01:36 | We'll call it my1stproject.
| | 01:39 | Some options are already
checked for us down here.
| | 01:41 | Like Include Assets and Copy
external audio files to project folder.
| | 01:45 | We'll leave these checked since they
will consolidate everything to one place
| | 01:48 | and create the necessary folders. Hit Save.
| | 01:51 | This is a project with 15 tracks of
pre-loaded software instrument tracks.
| | 01:56 | We'll learn about how to load
up our own track soon enough.
| | 01:59 | So let's close this project.
| | 02:00 | Choose File > Close Project.
| | 02:03 | Before we open a new one, let's look at
what choosing those options did when we
| | 02:06 | first saved our project.
| | 02:08 | We'll find the project.
| | 02:11 | There it is, my1stproject.
| | 02:13 | Inside of there you're going to have
your project file and an Audio Files folder.
| | 02:17 | Because we chose Include Assets,
Logic automatically made an outside
| | 02:21 | folder and put our project file in
there and in Audio Files folder for files
| | 02:25 | that go with our project.
| | 02:27 | Okay, now let's make a new project.
| | 02:29 | Go back to Logic and choose File > New.
| | 02:32 | Again, you get the Templates dialog, but
this time we are going to choose Empty Project.
| | 02:38 | This time instead of prompting you
to save, you get a New Tracks dialog.
| | 02:42 | A Logic project always has to
have at least one track in it.
| | 02:45 | Let's choose Software Instrument and hit Create.
| | 02:48 | I would like to differentiate the three
types of tracks you will use in Logic.
| | 02:54 | This is a Software Instrument track.
| | 02:57 | Like the tracks in the Electronic
template these types of tracks makes sound
| | 03:01 | from software instruments that come with Logic.
| | 03:03 | These include drums, synthesizers,
pianos, strings, horns, orchestras,
| | 03:08 | organs, you name it.
| | 03:10 | These tracks can only
contain MIDI regions in them.
| | 03:13 | These MIDI regions contain sets of
instructions called MIDI events telling the
| | 03:18 | software instrument on the track what
notes to play and when to play them.
| | 03:21 | Let's make another track.
| | 03:23 | Go up to the local menu Track > New.
| | 03:26 | This time we'll choose an
Audio track and hit Create.
| | 03:31 | Audio tracks hold digital audio regions,
which point to audio files on your hard drive.
| | 03:35 | Finally, we'll make the third type
of track, Track > New, which is an
| | 03:40 | external MIDI track.
| | 03:44 | External MIDI tracks send MIDI events
and instructions out of Logic to MIDI
| | 03:49 | controllable devices that
are external to your Mac.
| | 03:52 | As you work, you might find it useful
to save certain track configurations that
| | 03:56 | you want to come back to every time you work.
| | 03:58 | This can save a lot of setup time.
| | 04:00 | To make your own templates
choose File > Save As Template.
| | 04:05 | Let's save this as my1sttemplate.
| | 04:09 | Let's hit Save.
| | 04:11 | Now we'll close this project
file, File > Close Project.
| | 04:15 | We don't need to save this.
| | 04:17 | Now when we click File > New,
we'll go back to the Templates dialog, but
| | 04:21 | you'll notice there's a new folder called
My Templates and there's my1sttemplate,
| | 04:25 | the one we just made.
| | 04:26 | So as you are working in Logic and you
like what you're working on, you can make
| | 04:30 | a template for that to go back to anytime.
| | 04:32 | Let's go back into it. Because it's
a template it forces us into a Save As.
| | 04:40 | Let's call this my2ndproject.
| | 04:45 | If you don't want to see the templates every
time you launch Logic, you can turn it off.
| | 04:48 | Go to Logic Pro > Preferences > General.
| | 04:52 | Here under Project Handling where it
says Startup Action, we can change this.
| | 04:56 | We can change it to Do
Nothing if that's what we want.
| | 04:59 | We have some other options here too.
| | 05:00 | We might want to change it to open the
most recent project that you're working on.
| | 05:05 | The steps we learned in
this lesson are essential.
| | 05:07 | We now know how to open
Logic and save our own template.
| | 05:10 | We also checked out
Logic's different track types.
| | 05:12 | Stay tuned for more.
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| Understanding audio interfaces| 00:00 | Logic can use the sound card
that is already inside your Mac.
| | 00:04 | But if you are serious about recording
and mixing, it will behoove you to learn
| | 00:07 | about how you can use external audio
interfaces along with Logic Studio 9.
| | 00:11 | Out-of-the-box, the Macintosh audio
interface includes a 1/8-inch or mini
| | 00:15 | connector for both input and output.
| | 00:17 | Software that is part of your Mac's
operating system is called Core Audio, and
| | 00:21 | is referred to as Built-in
Input and Built-in Output by Logic.
| | 00:25 | You can see some options for the Core
Audio if you go to your Apple pulldown
| | 00:29 | menu > System Preferences,
and click on the Sound.
| | 00:34 | Here are some options for
our internal Mac sound card.
| | 00:38 | Your Mac's built-in audio sound card
is great and you can always use it when
| | 00:41 | you take your laptop on a
plane, train, wherever you go.
| | 00:44 | But for more professional sounding
inputs and outputs, including more than
| | 00:48 | one stereo pair of outputs, you should
think about getting an external audio interface.
| | 00:53 | They come in all shapes and sizes.
| | 00:54 | They connect usually via FireWire or
USB, but some higher end ones connect
| | 00:59 | with the PCIe slot.
| | 01:00 | External devices handle audio-
to-digital conversion or ADC.
| | 01:05 | This turns sound into numbers
that computers can understand.
| | 01:08 | And digital-to-analog conversion, or DAC,
turning numbers back into sound that
| | 01:13 | humans can understand.
| | 01:15 | Many audio interfaces also include
preamplifiers that are able to take in and
| | 01:19 | deal with any signal, whether it is
from a microphone, guitar, or keyboard.
| | 01:23 | Most interfaces also handle headphone
and monitoring options to manage sound
| | 01:27 | feeding studio speaker monitors.
| | 01:30 | Some common two-channel interfaces
include Apogee Duet, a simple and sleek
| | 01:35 | two-channel audio interface with
special features designed for Logic.
| | 01:39 | There is the Metric Halo ULN-2, a
higher end two input, two output interface.
| | 01:45 | And there is the Digidesign MBox,
which is in its own special category,
| | 01:49 | because it also comes with Pro Tools,
a very popular digital audio workstation
| | 01:53 | you may have heard of.
| | 01:54 | This might be advantageous to you
since you can use Pro Tools and you can use
| | 01:57 | the MBox as Logic's interface as well.
| | 02:00 | There are many more two-channel
interfaces ranging in price from about $60
| | 02:04 | to upwards of $5,000.
| | 02:05 | If you are interested in either
recording more than one person at a time, or
| | 02:10 | mixing in surround, you have to
get an interface with more inputs and
| | 02:14 | outputs options, or I/O.
| | 02:16 | Some common multichannel interfaces
include Apogee Ensemble, with specific
| | 02:21 | features that work with Logic.
| | 02:23 | There is the Mark of the Unicorn, MOTU 896,
or there is Digidesign's 003 rack.
| | 02:29 | This also comes with Pro Tools.
| | 02:31 | There are many more of these
multichannel audio interfaces out there ranging
| | 02:35 | anywhere from about $200 to $20,000.
| | 02:39 | Once you are in a Logic project, you can
configure your audio interface by going
| | 02:43 | to Logic Pro > Preferences > General,
choose the Audio tab, Devices, Core Audio.
| | 02:50 | Here you can choose the input and output
device that is connected to your computer.
| | 02:54 | Right now we are using the internal Mac
card, as you can tell because it says
| | 02:57 | Built-in Input and Output.
| | 02:59 | But if I wanted to use a external
device, which I have here, it's called a
| | 03:03 | Hammerfall DSP, I would select it
from this menu, for both input or output.
| | 03:09 | Also, if you ever need to reset your device,
you can come to this window and
| | 03:13 | uncheck the Enabled box,
recheck it, and hit Apply.
| | 03:16 | It will reload and reset.
| | 03:19 | Your audio interface is the only thing
standing between your music and Logic.
| | 03:23 | There are many good ones out there and
they are only getting cheaper as time goes on.
| | 03:27 | Although Apple has a special
relationship with Apogee, it is good to know that
| | 03:31 | Logic supports almost all interfaces out there.
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| Understanding MIDI interfaces| 00:00 | Logic Pro is perfectly capable of running
on your Mac without any external devices.
| | 00:05 | However, one of Logic's strengths is its
powerful MIDI recording, sequencing, and
| | 00:09 | editing capabilities.
| | 00:11 | Having an external MIDI
input device can be very useful.
| | 00:14 | Let's go over what's out there and
differentiate the various types of external
| | 00:17 | MIDI devices Logic can talk to.
| | 00:20 | MIDI, which stands for Musical
Instrument Digital Interface, is a technology
| | 00:24 | from an earlier era.
| | 00:26 | Computers don't even have
standard MIDI ports on them.
| | 00:28 | Today, most MIDI is transferred over
USB cables instead of the 8-pin MIDI
| | 00:32 | cables from the 80s.
| | 00:34 | This is how you will get MIDI into your Mac.
| | 00:37 | To see what is connected to your
computer, you can go to your main hard drive,
| | 00:41 | Applications > Utilities > Audio
MIDI Setup. Double-click on it to open.
| | 00:48 | And if you don't see this window pop up,
you can go to Window and make sure you
| | 00:52 | say Show MIDI Window.
| | 00:55 | This window shows you the types of MIDI
devices that your computer currently sees.
| | 00:58 | You can also test them here to make
sure they are active and being communicated
| | 01:02 | to by your computer.
| | 01:03 | For example, we have the
E-MU Xboard 49 MIDI Controller.
| | 01:08 | If I click on Test Setup, I can hit
any key on our keyboard and I should
| | 01:12 | see the arrow light up.
(Piano notes playing in background.)
| | 01:13 | That tells that the computer is now
seeing and talking to that device.
| | 01:17 | Now we can close Audio MIDI
Setup and go back to Logic.
| | 01:24 | Logic can talk to several
different types of MIDI devices.
| | 01:28 | Let's break them down.
| | 01:30 | MIDI controllers are usually
keyboard-based devices that output MIDI
| | 01:34 | messages via USB to Logic.
| | 01:37 | They can be used to play and
control the many amazing sounding software
| | 01:41 | instruments that come with Logic.
| | 01:43 | Most of them look like
keyboards with some additional controls.
| | 01:46 | However, they don't have to be
keyboards. They can also look like drum pads,
| | 01:50 | even MIDI saxophones or guitars that
can spit out MIDI instead of sound.
| | 01:55 | MIDI controllable devices are usually
rack-mounted boxes that contain sound
| | 02:00 | modules, samples or sound effects of their own.
| | 02:03 | They do not control Logic, but rather
Logic can be used to control them in a studio.
| | 02:08 | Logic can send MIDI messages out to
these devices to make them playback sounds
| | 02:13 | or change effects parameters.
| | 02:15 | With the power of software effects in
instruments, the popularity of these types
| | 02:19 | of devices is waning, but
you will see them in studios.
| | 02:23 | Finally, control surfaces use MIDI not
to play instruments in Logic but more to
| | 02:28 | control Logic's playback
system and virtual mix console.
| | 02:32 | You can think of these like a big
glorified computer mouse that helps
| | 02:35 | control Logic via something that
looks more like a mixing console than a
| | 02:39 | computer keyboard and mouse.
| | 02:41 | To configure your MIDI controller
device in Logic, you don't have to do much.
| | 02:45 | The general rule is that if your
computer sees it through Audio MIDI Setup,
| | 02:48 | where we just were, Logic will too.
| | 02:51 | Logic also comes with the
built-in MIDI input device.
| | 02:54 | I like to use this device when I only
have my laptop and external controllers
| | 02:58 | are not possible, like if I am
on a plane or a subway train.
| | 03:01 | It's called the Caps Lock Keyboard.
| | 03:03 | It turns your QWERTY
keyboard into a MIDI controller.
| | 03:06 | Make sure to enable it by going to the
Logic Pro > Preferences > General tab,
| | 03:12 | and at the end, here we have Caps Lock Keys tab.
| | 03:14 | Just make sure it's enabled.
| | 03:16 | Now we can hit the Caps Lock on our
keyboard and it activates the Caps Lock keyboard.
| | 03:22 | Like I said, this turns your
QWERTY keyboard into a controller.
| | 03:24 | And we can use the ASDFG
line to control the white keys.
| | 03:30 | (Piano notes playing.)
| | 03:31 | The keys above that, WETU,
those are our black keys.
| | 03:37 | The number keys control what octave we are on.
| | 03:39 | So if want to move over to
higher octave, I can type 6?
| | 03:42 | (Piano notes playing.)
| | 03:44 | And get a higher octave.
| | 03:46 | You can also change the transparency of the
Caps Lock keyboard with this handy slider here.
| | 03:50 | If you want to see objects
that are underneath it at anytime.
| | 03:53 | Hit Caps Lock again to deactivate it.
| | 03:56 | Control Surfaces may be configured
using Logic Pro > Preferences > Control
| | 04:02 | Surfaces and go to Setup.
| | 04:05 | In the Setup menu, you can choose to,
under the New menu, Scan All Models.
| | 04:10 | This will look for and install any
model you have connected to Logic.
| | 04:15 | In this case, I have no new devices.
| | 04:17 | But what I get after this is a list of
all the devices that Logic will talk to.
| | 04:22 | If you happen to own any of these
devices, such as the Tascam FW-1082, you can
| | 04:28 | add it here to your list of
devices that Logic will talk to.
| | 04:34 | Finally, MIDI controllable devices
such as the rack-mounted devices we talked
| | 04:38 | about earlier require a
little bit more to set up.
| | 04:40 | You must be prepared to configure the
specific MIDI output port you wish to
| | 04:44 | communicate to your device over.
| | 04:46 | This can be done by making
a new external MIDI track.
| | 04:49 | We will go up to Track >
New > External MIDI. Create.
| | 04:53 | We get a new external MIDI track.
| | 04:56 | Now in the Library pane on the right-
hand side, you can see a list of devices
| | 05:00 | outside of our computer.
| | 05:01 | In this case, we have a Yamaha Motif
connected and here we can communicate over
| | 05:06 | any of the available 16 channels to that device.
| | 05:08 | If I want to communicate over
channel 1, I can select that.
| | 05:11 | Now this external MIDI track is talking to
our Yamaha Motif device outside of our computer.
| | 05:17 | The MIDI capabilities of
Logic are truly wonderful.
| | 05:20 | You will definitely benefit from an
external MIDI controller if you keep
| | 05:23 | going with this program.
| | 05:24 | More can be learn about MIDI technology
in the "Why MIDI" chapter of this series.
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2. Getting Your Workflow in OrderGetting to know the Arrange window| 00:00 | The Arrange window is the central
hub mission control of a Logic project.
| | 00:04 | It is where you will be spending
most of your time in the program.
| | 00:06 | And as the name suggests, it is a
place where you can arrange all of the
| | 00:10 | elements for your song while
maintaining a global point of view.
| | 00:13 | With the use of handy collapsible side
and bottom panes, you're also able to
| | 00:17 | view and control a variety of
different parameters for your song.
| | 00:20 | Let's dive into the Arrange window and
understand what all of these areas do and
| | 00:24 | how we can use them to manage our
project as efficiently as possible.
| | 00:27 | The center area of the
Arrange window is the Arrange area.
| | 00:31 | In here you get to see all of your tracks
horizontally laid out in a timeline fashion.
| | 00:36 | Tracks are individual lanes where
the sounds live for your project.
| | 00:40 | Audio tracks contain audio regions.
| | 00:43 | Audio regions are rectangular objects
that can be freely edited at start and
| | 00:47 | end points, and they are associated with the
corresponding audio file on the hard drive.
| | 00:51 | Bass.2 is an example of an audio
region on the audio track called Bass.
| | 00:58 | Software instrument
tracks contains MIDI regions.
| | 01:01 | MIDI regions are rectangular objects
that contain MIDI events or individual
| | 01:06 | notes or commands that control
a software instrument in Logic.
| | 01:10 | These objects called Ultrabeat are
examples of MIDI regions in the software
| | 01:14 | instrument track Beat 1.
| | 01:15 | Let's use the Spacebar to
hit Play and hear the tune.
| | 01:19 | You'll notice the vertical line
scrolls across the screen from left to right.
| | 01:23 | This is called our playhead.
| | 01:24 | (Music playing.)
| | 01:30 | Use the Spacebar again to stop playback.
| | 01:34 | You can use Return to send the
playhead back to the beginning of the song.
| | 01:38 | Zooming horizontally and vertically can
be managed with the Zoomer controls in
| | 01:41 | the lower right of the Arrange window.
| | 01:44 | To zoom in and out horizontally,
you can control this slider.
| | 01:48 | To the right, you zoom in.
| | 01:49 | To the left, you zoom out.
| | 01:51 | To zoom in and out
vertically, you can use this slider.
| | 01:53 | Moving it up zooms you out.
| | 01:55 | Moving it down zooms you in.
| | 01:57 | You can also manage
zooming with some key commands.
| | 02:00 | Use Ctrl+Option+Right-
Arrow to zoom in horizontally.
| | 02:04 | Ctrl+Option+Left-Arrow to zoom out horizontally.
| | 02:07 | Ctrl+Option+Up-Arrow zooms you out vertically.
| | 02:10 | Ctrl+Option+Down-Arrow zooms you in vertically.
| | 02:13 | Tracks may be selected only one
at a time in the Arrange window.
| | 02:17 | To select a track, click on what's
called the track header, this area of
| | 02:21 | our Arrange window.
| | 02:23 | Once a track is selected,
parameters associated with the track and its
| | 02:27 | contents will show up in the Inspector column
on the left-hand side of the Arrange window.
| | 02:31 | So if I select Beat 1, I see
parameters associated with that track in the
| | 02:36 | Inspector column on a left-
hand side of the Arrange window.
| | 02:39 | The topmost box is
called a region parameter box.
| | 02:42 | We can close it by
closing the disclosure triangle.
| | 02:45 | Below that we have the track
parameter box. We can close that.
| | 02:48 | And then we see the channel strip
where we can see real-time processing
| | 02:52 | inserts and we can also control the volume
and left or right panning of the selected track.
| | 02:57 | Remember the selected track is Beat 1.
| | 02:59 | Let's hit Play and see how we can
control the volume of the drumbeat from
| | 03:02 | Beat.1 on this song.
| | 03:04 | (Music playing.)
| | 03:14 | Hit the Spacebar to stop playback.
| | 03:16 | When I move the fader down,
the drumbeat gets quieter.
| | 03:19 | When I move the fader up,
we hear the drumbeat louder.
| | 03:22 | To the right of the channel
strip, you have the main output.
| | 03:25 | This is essentially a master
volume control for all tracks together.
| | 03:28 | When we hit Play, we can control them
all together as a master volume control.
| | 03:32 | (Music playing.)
| | 03:42 | We can show or hide the Inspector by
clicking on the Inspector icon in the top toolbar.
| | 03:47 | That hides it from view.
| | 03:49 | Click it again to show it.
| | 03:50 | You can also use the I button
on your keyboard to do this.
| | 03:53 | Speaking of this toolbar across the top,
on the right-hand side we have some
| | 03:57 | buttons that activate the right windowpane.
| | 03:59 | Click on Media to see access to
files and loops on our hard drive that we
| | 04:03 | might use in the song.
| | 04:05 | Next to that we have lists.
| | 04:06 | This is a text list type view
of important events in our song.
| | 04:10 | Next to that we have Notes.
| | 04:11 | This lets us write info about
tracks or songs for later use.
| | 04:14 | You can click right in here and type stuff.
| | 04:20 | To close this window, click on
Notes again and it goes away.
| | 04:23 | Finally, across the bottom of the
Arrange window, we have the Editors.
| | 04:26 | These offer more close-up views of audio.
| | 04:29 | For example, if I select the Rhodes
track, I can show the Sample Editor that
| | 04:33 | shows us a close-up view
of audio for that track.
| | 04:37 | It can also show us MIDI, if I select the
Synth track and turn on the Piano Roll Editor.
| | 04:42 | You also have access here to a view of
the Mixer where we can see all channel
| | 04:46 | strips together at one time.
| | 04:48 | We can see the Score window, where we
can view musical notation for our project.
| | 04:53 | And also there is the Hyper Editor,
which is another way we can view and edit
| | 04:56 | MIDI in our project.
| | 04:57 | Now that we're familiar with the
Arrange window, we'll have a better
| | 05:01 | understanding of this main
window we will been working in, in Logic.
| | 05:03 | Of course, we just scratched the
surface and we now know where everything is.
| | 05:07 | In the coming chapters, we'll dive
deeper into how to use all of these important
| | 05:11 | areas to make great music in Logic.
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| Using the many windows of Logic| 00:00 | The Arrange window and its handy
side panes allow you to see a global
| | 00:03 | perspective of your project.
| | 00:05 | But if you want to go deeper
into Logic's MIDI, audio or mixing
| | 00:08 | capabilities then you have to learn
about how to manage your view of some
| | 00:11 | other important windows.
| | 00:13 | The Window pulldown menu provides a quick
way to get to the pop-up window of your choice.
| | 00:18 | Note that almost every window has
its own key combination involving the
| | 00:21 | Command key and a number.
| | 00:23 | Let's use Command+2 to open up the Mixer window.
| | 00:26 | This is a key window you'll be working a lot in.
| | 00:28 | To maximize the window to full screen,
click on the green plus button at the top
| | 00:33 | left of the window, and to close the
screen, click on the red button or type
| | 00:37 | Command+W on your keyboard,
coming back to our Arrange window.
| | 00:41 | Some windows like the Piano Roll
window depend on a region to be selected to
| | 00:45 | determine what their content will show.
| | 00:47 | For example, select the Dark Pad ModW
MIDI region and open the Piano Roll from
| | 00:55 | the Window pulldown menu.
| | 00:58 | We now see the content of that
MIDI region in the Piano Roll window.
| | 01:02 | These are MIDI notes that are
in the Dark Pad ModW MIDI region.
| | 01:05 | Let's close this window.
| | 01:06 | Command+W. Now, let's select the
Base.2 region and let's open the Piano Roll
| | 01:12 | window by typing Command+6.
| | 01:15 | Notice there's nothing in there.
| | 01:16 | Why is this?
| | 01:17 | That's because Base.2 is an audio region.
| | 01:20 | There's no MIDI in it to edit.
| | 01:22 | The Piano Roll window is for MIDI editing only.
| | 01:25 | So selecting an audio region shows us nothing.
| | 01:27 | Let's close it. Command+W.
| | 01:29 | Let's keep the Base.2 region selected
and let's open the Sample Editor window.
| | 01:34 | Window menu > Sample Editor.
| | 01:37 | Notice there's no quick key
combination for this window.
| | 01:39 | Now, we see a closeup
view of the audio waveform.
| | 01:43 | This is what we can use
the Sample Editor window for.
| | 01:45 | Command+W to close.
| | 01:47 | Some windows also have
different ways to update their content.
| | 01:51 | Let's select the Dark Pad ModW
region again and open the Event List
| | 01:56 | window, which is Command+0.
| | 01:58 | This window shows us each MIDI
event in this region in list form.
| | 02:02 | Notice at the top left,
we have a yellow Link icon.
| | 02:06 | Yellow means it's in Content Link
Mode, which means it's showing us the
| | 02:09 | content of the Dark Pad ModW region.
| | 02:12 | Now let's open another
Event List window. Command+0.
| | 02:15 | We'll pull it over next to it.
| | 02:19 | This time change the Link Mode to purple by
clicking on it two times in this new window.
| | 02:25 | Notice the content of the window changes.
| | 02:27 | This is called Same Level Link
Mode when the Link button is purple.
| | 02:31 | Now the one on the left being Content
Link Mode shows us the contents of the
| | 02:35 | region and the one on the
right is in Same Level Link Mode.
| | 02:38 | It shows us information about all
regions globally in the project.
| | 02:42 | We hit Spacebar to play and we can see
a status bar going down both windows,
| | 02:47 | showing us where we are in the
project for the right window and within the
| | 02:50 | region for the left window.
| | 02:52 | (Music playing.)
| | 02:59 | There are two types of windows,
normal windows like the Arrange window, and
| | 03:03 | floating windows like the Event List windows.
| | 03:06 | Floating windows always stay on top.
| | 03:08 | Notice when I click on the Arrange
window behind, they still hover on top.
| | 03:12 | Let's close these windows.
| | 03:16 | The Mixer, Piano Roll, and Event List
windows are windows you'll use a lot.
| | 03:20 | Other ones covered in this course are
Command+3, the Score window, Command+5,
| | 03:26 | the Hyper Editor, Command+7,
the Floating Transport window.
| | 03:32 | Some quick ways to navigate through
windows when you have more than one open are
| | 03:35 | to use the Window pulldown menu.
| | 03:37 | At the bottom you see a
list of all the open windows.
| | 03:40 | Click on any you want to bring to the front.
| | 03:42 | Let's try the Arrange window.
| | 03:44 | Also you can use Command+~ button on your
keyboard to toggle between all open windows.
| | 03:50 | Command+~, toggling
between any open active windows.
| | 03:55 | Finally window screensets can be
made recalled the number keys that are
| | 03:59 | stored with the project.
| | 04:00 | See the movie on screensets to
learn more about this feature.
| | 04:04 | It's a good idea to
practice your window shortcuts.
| | 04:06 | Moving around windows quickly and
efficiently will set you free to be more
| | 04:09 | creative and work faster in Logic.
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| Creating your own screensets| 00:00 | When you're working in Logic, you will
find a certain combination of windows to
| | 00:03 | be particularly useful for certain tasks.
| | 00:06 | In this lesson, we'll explore how you
can store these views in screensets and
| | 00:10 | quickly move between them with handy shortcuts.
| | 00:13 | It's nice to make a home screenset
of just the Arrange window that you can
| | 00:16 | return to at any time.
| | 00:18 | Go to the Screenset
pulldown menu and choose Rename.
| | 00:22 | We'll call this one home.
| | 00:24 | Notice it's assigned a number, number 1.
| | 00:26 | Typing 1 on your keyboard at any
time will recall this screenset.
| | 00:30 | Now let's make another one.
| | 00:32 | Type 2 on your keyboard.
| | 00:34 | Notice we're now in Screenset 2.
| | 00:35 | Now let's resize the windows to
include a Piano Roll and Event List.
| | 00:41 | Make our Arrange window a little smaller.
| | 00:43 | Command+6 to open up the Piano Roll.
| | 00:45 | I am going to put that beneath.
| | 00:48 | And we're going to make
an Event List, Command+0.
| | 00:50 | That'll go on the right.
| | 00:52 | Now let's rename this
screenset in the pulldown menu.
| | 00:56 | We'll call this one 'midi editing' because
that's what we might use the screenset for.
| | 01:04 | Now, we've got Screenset 1
home and Screenset 2 midi editing.
| | 01:07 | You can also lock screensets from
the pulldown menu. Let's lock it.
| | 01:12 | Any locked screenset's going yp have a dot
next to it indicating that it's locked and
| | 01:16 | it can't be altered.
| | 01:17 | Now we can go up to 1, take us back to
our home, or choose 2 from the menu and
| | 01:22 | get our Screenset 2.
| | 01:24 | Also remember you can use 1 and 2 on your
keyboard to toggle between the two screensets.
| | 01:30 | You can make up to 99
screensets for each Logic project.
| | 01:34 | To get to the double-digit screensets,
hold Control down as you enter both numbers.
| | 01:39 | Hold Control for example and type 79.
| | 01:42 | We just made Screenset 79.
| | 01:45 | You can also delete screensets from
the pulldown menu. Let's delete 79.
| | 01:49 | Make sure it's checked and hit the Delete.
| | 01:51 | Now we're back to just 1 and 2.
| | 01:54 | Screensets you make are
not global to all projects.
| | 01:57 | Just the one you are in.
| | 01:59 | However it is possible to save them
in your own template or import them
| | 02:03 | from project to project.
| | 02:04 | So if you have a bunch of screensets
that you like, just make a template out of
| | 02:08 | that and you can start with
that anytime you open Logic.
| | 02:11 | Customizable screensets are a great
example of how flexible Logic is to your
| | 02:15 | personal needs as a user.
| | 02:17 | Many fast Logic users use them to
maximize speed and efficiency as they work.
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| Using the Transport window and controlling playback| 00:00 | Knowing how to hear what you want, when
you want, is an essential skill to have
| | 00:04 | when working in Logic.
| | 00:05 | Let's learn about how to use the
Transport window to your advantage.
| | 00:09 | We already know Logic plays when we hit
Spacebar and the playhead moves across the screen.
| | 00:14 | To position the playhead using your
mouse, you can point and click directly on
| | 00:18 | the playhead line, either in a gray area
where there are no regions, or in the
| | 00:23 | narrow bar ruler at the
top of the Arrange window.
| | 00:26 | You can drag left or right to move the
playhead, or click elsewhere in the bar
| | 00:31 | ruler to move it to that location.
| | 00:34 | To hear a specific amount of time, you
can also Command+Click and drag a Marquee
| | 00:38 | Selection in the Arrange area.
| | 00:42 | When you hit play, playback will
start at the beginning of the selection
| | 00:45 | and stop at the end.
| | 00:46 | (Music playing.)
| | 00:49 | To deselect the Marquee
Selection, click elsewhere.
| | 00:52 | The transport buttons in the lower left
of the Transport bar will be familiar to you
| | 00:56 | if you have ever used
a tape, DVD, or CD player.
| | 00:59 | Play and Stop do exactly what you would think.
| | 01:01 | (Music playing.)
| | 01:04 | If you hit Play and then hit Pause,
the playhead goes into Scrub Mode.
| | 01:08 | (Music playing.)
| | 01:10 | When we are in Scrub Mode, we can click
on the playhead and drag left or right
| | 01:14 | to audition what's
directly beneath the playhead.
| | 01:16 | (Music playing.)
| | 01:20 | We can move backwards or forwards and
slower or faster, depending on how quickly
| | 01:24 | and in what direction we
move the mouse as we drag.
| | 01:27 | To get out of Scrub Mode, click
the Stop button in the Transport bar.
| | 01:32 | The Go To Beginning
button is the same as Return.
| | 01:35 | It takes your playhead to
the beginning of the project.
| | 01:38 | Next to it we have the Go
To Selection Start button.
| | 01:41 | If you have a region selected, like
Dark Pad ModW, and you click this button,
| | 01:45 | playback will start from
the beginning of that region.
| | 01:47 | (Music playing.)
| | 01:52 | The display area of the Transport
provides information that helps with more
| | 01:56 | specific project navigation.
| | 01:58 | On the bottom half here, musical time
is shown in bars, beats, which divide bars,
| | 02:04 | divisions, which divide beats, and
ticks, of which there are 240 to every division.
| | 02:11 | Above this we have SMPTE time code.
| | 02:13 | SMPTE stands for Society of Motion
Pictures and Television Engineers.
| | 02:17 | SMPTE time code shows us hours,
minutes, seconds, frames, and sub-frames.
| | 02:24 | By convention, SMPTE time code
starts at hour 1, when you are at the
| | 02:28 | beginning of your project.
| | 02:30 | The bars and beats start at
bar 1, beat 1, division 1, tick 1.
| | 02:36 | To move your playhead to a specific
location, double-click the Bars and Beats display
| | 02:40 | and let's type 2 2 1 1 and hit Return.
| | 02:46 | The playhead moves to bar 2,
beat 2, division 1, tick 1.
| | 02:51 | Let's double-click again
and try typing just 3. Return.
| | 02:55 | The playhead automatically goes to
bar 3, beat 1, division 1, tick 1.
| | 03:00 | You can also click and drag up and down on
any of the numbers to move your playhead.
| | 03:04 | If I click on the beat, I can move that
up and down to move the playhead by the
| | 03:08 | resolution of beats.
| | 03:11 | The numbers to the right are the left
and right locater position, which affect
| | 03:15 | how playback operates in Cycle Mode.
| | 03:18 | To activate Cycle Mode, click the
Loop button on the right-hand side of our
| | 03:21 | Transport, or simply type C.
Typing C will turn Loop Mode on and off.
| | 03:26 | You will notice also at the top of the
Arrange window we see a green selection
| | 03:31 | now going from bar 8 to bar 9.
| | 03:34 | When we hit Play, Logic will
automatically loop between these two bars.
| | 03:38 | (Music playing.)
| | 03:43 | It will do this forever until
we hit the Spacebar to stop.
| | 03:46 | We can edit where our left and right
locators are by clicking and dragging
| | 03:50 | either side of this selection in the bar
ruler or by changing the numbers in our display.
| | 03:55 | We can click directly on them to
drag up or down to change the in and out
| | 04:01 | point of our locators.
| | 04:03 | To deactivate Cycle Mode, we can
either click on the Loop button, type the C
| | 04:08 | button, or just click directly in the
middle of the green selection in the bar ruler.
| | 04:13 | You can customize the controls
you see in the Transport bar.
| | 04:17 | To access the Transport View options,
right-click on the Transport bar and
| | 04:21 | choose Customize Transport Bar.
| | 04:23 | We will get a very large list of
different parameters you can add to
| | 04:26 | the Transport bar here.
| | 04:27 | For example, let's turn on Play from Beginning.
| | 04:32 | Notice we get a new button in the left-
hand side of our Transport bar. Click OK.
| | 04:36 | When we click this button, Logic will
automatically play from the beginning of the project.
| | 04:40 | (Music playing.)
| | 04:45 | It's good to have precise
control of our playback in Logic.
| | 04:48 | Going forward, you will be able to
hear what you want to quicker and easier
| | 04:51 | as you compose.
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| Using the Toolbox| 00:00 | You may have noticed that our cursor
changes its shape depending on where it is
| | 00:03 | physically located in Logic's windows.
| | 00:05 | In this lesson, we'll explore the
toolbox and learn how to quickly select the
| | 00:08 | right tool for the job.
| | 00:11 | The default Pointer tool
is a multifunctional tool.
| | 00:14 | This means it can change its function
depending on where it is relative to a
| | 00:17 | region in the Arrange window.
| | 00:19 | On the bottom right-hand side of our
region it turn into a trimmer. On the top,
| | 00:23 | right-hand side it turns into a loop.
In the middle it turns into a pointer
| | 00:26 | which you can use to select or move a region.
| | 00:29 | The Pointer is cool but there
are other tools we will need.
| | 00:31 | You can choose them with the menu on the
upper right of the Arrange window, here
| | 00:36 | the list of all the tools
we have at our disposal.
| | 00:38 | If I choose the Eraser tool, my
cursor is now the Eraser tool.
| | 00:41 | I'll go back and choose the Pointer tool.
| | 00:44 | The menu to the right is our alternate tool.
| | 00:46 | That's a tool that'll show up whenever
we hit Command in the Arrange window.
| | 00:50 | Notice right now it's
currently selected as the Marquee tool.
| | 00:53 | When I hit Command in the Arrange window,
my cursor turns automatically into the
| | 00:56 | Marquee tool. So you can change either
your primary tool or your alternate tool
| | 01:00 | at any time, to give you
access to two tools at once.
| | 01:03 | It is tiring and time-consuming to
constantly go up to the top right to change
| | 01:08 | your tools. If you're working
intensely for hours on end, you have spent a large
| | 01:12 | amount of time dragging the mouse up there.
| | 01:13 | There is got to be
a faster way. There is.
| | 01:16 | It's the Escape key.
| | 01:17 | Any time you hit the Escape key it pops
up a toolbox wherever your mouse is and
| | 01:21 | you get a list of your primary tools from there.
| | 01:23 | So at any time I can hit Escape and
choose for example the Eraser tool.
| | 01:27 | Now that's my tool. Hit Escape again.
| | 01:29 | Choose the Pointer tool.
| | 01:30 | Even faster are the numbers we see
next to the tools when we hit Escape.
| | 01:34 | Notice that every tool has
a number associated with it.
| | 01:36 | If I hit Escape and then the number 3,
I automatically get the Eraser tool.
| | 01:41 | Escape+1 takes me back to the Pointer tool.
| | 01:44 | These are fast and useful
ways to change your tools.
| | 01:47 | One last point, be aware that the list
changes slightly and the tools will do
| | 01:51 | different things depending
on what window we are in.
| | 01:53 | If I select the Dark Pad ModW region
and open the piano roll, I can see by the
| | 01:58 | list of tools that they
are different in this window.
| | 02:00 | For example, I've a Finger tool, but
I didn't have a Finger tool in the Arrange window.
| | 02:04 | Also they do different things.
| | 02:06 | For example, the Pencil tool
actually creates a MIDI event.
| | 02:08 | (Music playing.)
| | 02:11 | If I close this window and go back to
the Arrange window, you'll see,by hitting
| | 02:14 | Escape, and choosing the Pencil tool, that in
this window it actually makes an empty region,
| | 02:19 | something totally different.
| | 02:20 | It may sound trivial and unnecessary
to master quick selection of your tools,
| | 02:25 | but you'll be astounded down the road
how much difference it makes to quickly
| | 02:27 | get the right tool when you need
to perform a specific task in Logic.
| | 02:31 | The faster you can make the move,
the less likely that creative impulse you
| | 02:34 | have will be forgotten.
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| Naming tracks and regions| 00:00 | When you're working in your Logic
project, you should get used to organizing
| | 00:03 | everything the best you can. You'll
thank me later for getting you in this habit
| | 00:07 | when you're trying to tweak that one
glockenspiel region in your 74 track
| | 00:10 | masterpiece and you need to find it
quicker than a needle in a haystack.
| | 00:14 | This project contains two tracks
that are not organized very well.
| | 00:17 | The first track is called Audio 1,
which is the default name given to an
| | 00:21 | audio track, and we have inst 2, which is
default name given to a software instrument track.
| | 00:28 | These tracks also contain regions that are
unnamed and not customized with names or icons.
| | 00:33 | Let's organize them.
| | 00:33 | We can name tracks by double-clicking
in the track header. Double-click here.
| | 00:38 | We can name this track bass.
| | 00:40 | We can name regions by choosing the Text
tool from our pulldown menu and clicking
| | 00:46 | on the top portion of our region.
| | 00:47 | Let's rename this region bass.1.
| | 00:51 | We can also name regions according to what
the track names are that the region is in.
| | 00:55 | Let's try this with our house kit
track and all the regions are named beat.
| | 01:00 | Select the track, go to Region >
Name Regions by Tracks/Channel Strip and
| | 01:06 | all the regions in that track will be named
according to what the track name is, house kit.
| | 01:11 | You can also name a bunch of regions by
dragging a selection around all regions
| | 01:15 | in a track and naming one
of them with the Text tool.
| | 01:18 | For example all these regions are
named part. If I drag a selection to select
| | 01:22 | all of these regions and use the Text
tool to rename one of them to hi-hat,
| | 01:27 | all of the regions will be called
that because they were all selected.
| | 01:31 | You can also use this technique
to number tracks sequentially.
| | 01:34 | Since they're all still selected, if I
go back to rename the first region and
| | 01:38 | I type a 1 after and hit Return,
the region following it will have 2, 3, 4 and so on.
| | 01:44 | If you'd like to name all regions to the
same number, not sequentially, simply go
| | 01:49 | back in and type a space after the number.
| | 01:52 | Now all of the regions
will be called simply hihat1.
| | 01:55 | Color-coding can be done via the
Color palette in the toolbar at the top of
| | 02:00 | the Arrange window.
| | 02:01 | Let's color-code these
regions here that we have selected.
| | 02:05 | Let's color-code them a bright pink.
| | 02:07 | You can color code any regions at any
time by selecting them with the Pointer
| | 02:11 | tool and using the Color
palette to re-color the region.
| | 02:16 | One reason you might want to selectively
color-code a region is to differentiate
| | 02:19 | it from other regions in the track.
| | 02:21 | This is especially useful in situations
like this when we have regions with the
| | 02:24 | same name on the track.
| | 02:26 | If you're a visual organizer, you might
like the handy icons in the track headers.
| | 02:31 | Icons are assigned in the Inspector pane
on the left in the Track parameter section.
| | 02:35 | For example, if I choose bass, I can
go in here to the Track parameter box and
| | 02:40 | change the icon to you guessed it, a bass.
| | 02:45 | Since we're talking about organizing,
you can reorganize the order of your
| | 02:48 | tracks at any time by pointing your
mouse in the track header so it is a hand
| | 02:53 | and dragging the track up or down, to
change where it vertically with all the
| | 02:57 | other track headers.
| | 03:00 | If you hover over the lower left of the
track header, the icon turns into a finger.
| | 03:04 | This can be used to resize just
that one track, bigger or smaller.
| | 03:10 | To restore all tracks to the same
size, hold Shift and click on any track
| | 03:14 | in that same location.
| | 03:17 | Now we know how to best organize our project.
| | 03:19 | This will be useful for you down the
road, plus if you're collaborating your
| | 03:22 | partner will now know where everything
is and what you are thinking at the time.
| | Collapse this transcript |
| Learning useful and custom key commands| 00:00 | If you're into working fast in
Logic, key commands are the best.
| | 00:04 | Like I always said, the faster you can
do what you need to do, the more time
| | 00:07 | you'll have to think creatively.
| | 00:09 | Logic is key command heaven. Not only
are there thousands of key command combos
| | 00:13 | for almost every task, Logic is the
only audio program I know of that lets you
| | 00:16 | make up your own customizable key commands.
| | 00:19 | I'm going to point out some useful
ones and show you how to customize them.
| | 00:22 | Before getting started, I want to
point out that if you have an installation
| | 00:25 | of Logic 8 on your Mac, you might
see different key commands as they have
| | 00:28 | changed from 8 to 9.
| | 00:29 | Logic will hold on to your Logic 8 key
command set until you initialize them.
| | 00:34 | Let's initialize our key commands if
you want to follow along with this lesson.
| | 00:37 | To do so go to Logic Pro >
Preferences > Key Commands.
| | 00:41 | Here we can go to the Options menu and
Initialize all Key Commands. Now we're on the same page.
| | 00:48 | Now let's go back into the Options menu and
choose Presets and let's use the U.S. Preset.
| | 00:54 | That's what we'll be going over in this lesson.
| | 00:56 | Of course, all standard key commands you
might know from other programs work in Logic.
| | 01:01 | Command+C is Copy.
| | 01:02 | Command+V is Paste.
| | 01:04 | Command+X, Cut, etcetera.
| | 01:06 | Let's go over some handy
ones that work just in Logic.
| | 01:09 | Let's close the Key Command Preferences panel.
| | 01:11 | Z is auto track zoom.
| | 01:14 | That means if you have a track
selected and you hit Z on your keyboard,
| | 01:17 | that track zooms to full size.
Z again take it back to normal size.
| | 01:21 | The Slash button above your
numeric keypad let you go to a position.
| | 01:25 | For example, if I type 6 and hit
Enter, my playhead will go to bar 6.
| | 01:31 | We can use the C button to
turn Cycle Mode on and off.
| | 01:35 | If we type X, we see the Mixer panel at the
bottom of our Arrange window. X again hides it.
| | 01:41 | P shows us the Piano Roll at
the bottom of our Arrange window.
| | 01:45 | Hit P again to hide it.
| | 01:47 | F shows the File Browser on the
right-hand side of our Arrange window.
| | 01:52 | Option+L toggles on and off the Library.
| | 01:55 | If we type O, we get to see the Loops Browser.
| | 01:58 | If we select a region, we
can type M to mute that region.
| | 02:02 | This means we won't hear that
particular region as the playhead moves over that
| | 02:06 | portion of the song, and we'll unmute it.
| | 02:08 | Likewise we can hit S to solo that region.
| | 02:11 | In that case we'll only hear that
region as the playhead travels over
| | 02:14 | that region in our song.
| | 02:16 | To customize your key commands, we can
go back into the Key Commands Preference.
| | 02:20 | Let's this time use a key command to
open the Key Command Preferences, Option+K.
| | 02:24 | That brings us back into the
Key Commands Preference panel.
| | 02:27 | We can organize our key commands by ones that
are used, once that are unused, or all at once.
| | 02:33 | We can also collapse different
sections of our key commands using the handy
| | 02:37 | disclosure triangles.
| | 02:40 | To find a specific command we'll use
the Search bar in the upper right of
| | 02:43 | the Key Commands panel.
| | 02:45 | Click in here and type 'new track.'
| | 02:48 | That's the new key
command we're going to assign.
| | 02:50 | I see New Tracks in this list.
| | 02:53 | Option+Command+N is currently the key
command that lets us make a new track.
| | 02:58 | If you use Pro Tools a lot like me,
you're used to a different key command to
| | 03:01 | make a new track, which is Shift+
Command+N. I'd like to change this to
| | 03:06 | Shift+Command+N to open New Tracks.
| | 03:09 | To do this we'll click on Learn by Key Label.
| | 03:12 | Now all I need to do is type in the key
command I want, Shift+Command+N, and
| | 03:16 | it automatically assigns that to the command.
| | 03:19 | It's now Shift+Command+N to make new tracks.
| | 03:22 | What happens if it's already taken?
| | 03:23 | Let's try Command+N to see.
| | 03:26 | Make sure the Learn by Key Label
button is still pressed. Type Command+N and
| | 03:30 | Logic tells you, Oh!
| | 03:32 | That's already used and it's reserved
for a different command, so we're not able
| | 03:35 | to use Command+N for this.
| | 03:37 | Once you've customized your key
commands to your liking, you may want to take
| | 03:42 | them with you to different
places you may be working.
| | 03:44 | This is easy. Go up to Options
menu and choose Export Key Commands.
| | 03:49 | Let's choose the Desktop and
let's put our key command set there.
| | 03:52 | We'll save it as mykeycommands,
hit Save and it will go to the Desktop.
| | 03:58 | Now when you get to the next location
you're working, simply go to Options >
| | 04:02 | Import Key Commands, go to the
Deskto,p and there is our key commands set.
| | 04:07 | Notice that it has a
specific extension, .logikcs.
| | 04:11 | That's a key command extension.
| | 04:13 | Also notice it's pretty small in size, 74 KB.
| | 04:17 | This means you can take it along with
you on a USB drive or even email it to
| | 04:21 | yourself so can have it at a different
place. Click Open and your key command
| | 04:25 | set will be imported.
| | 04:27 | You also might want to copy your key
commands set to the Clipboard and then
| | 04:30 | paste it into a text editor to printed out.
| | 04:33 | That way you can have a list of your
key commands next to your workstation.
| | 04:36 | Before doing this make sure you clear
the Search bar, because we want to get all
| | 04:40 | the key commands in our list.
| | 04:42 | Now go to the Options menu and
click on Copy Key Commands to Clipboard.
| | 04:46 | Logic will tell you that they're now in
your clipboard, you can paste them into
| | 04:50 | a word processor. Click OK and let's go
to text editor or any word processor of
| | 04:56 | your choice, click Command+V, and all of
your key commands go into that document.
| | 05:02 | We can now print this and have it as a
document that we've display next to our workstation.
| | 05:06 | As you can see one of the great
benefits of using Logic is the boundless
| | 05:10 | customization and freedom you have as
a user. Customizable key commands are a
| | 05:14 | great example of this.
| | Collapse this transcript |
| Saving and going mobile with your project| 00:00 | You might have noticed that Logic has
many preferences to set and be aware of.
| | 00:04 | This is perhaps one of the
drawbacks to being so customizable.
| | 00:08 | Let's go over how the preferences work
and then we'll talking about different
| | 00:11 | ways to save your project.
| | 00:13 | Global preferences effect how
Logic works on the large scale.
| | 00:17 | These get saved and remain
intact every time you open Logic.
| | 00:21 | Open the Global Prefs panel by going
to Logic > Preferences and choosing any
| | 00:25 | of the subheadings.
| | 00:26 | This is our Global Preferences panel.
| | 00:28 | You can also get to it by going to the
Preferences icon in the toolbar at the
| | 00:32 | top of the Arrange window.
| | 00:35 | Notice across the top of the
Preferences panel, we have different subheadings
| | 00:39 | and some of these subheadings
might have tabs within them.
| | 00:43 | There are many preferences here.
| | 00:45 | Project settings are specific to
the project you're currently in.
| | 00:49 | To open the project settings, go to
File > Project Settings and click on any of
| | 00:54 | the subheadings.
These are our project settings.
| | 00:57 | You can also get into this panel by
going to the Settings icon next to the
| | 01:01 | Preferences icon in the toolbar
at the top of the Arrange window.
| | 01:04 | Click on Settings and
click any of the subheadings.
| | 01:06 | Just remember these project settings get
saved into your .logic file when you hit Save.
| | 01:13 | If you like your settings to be a
certain way every time you open a new
| | 01:16 | project, no problem.
| | 01:18 | Just save the project with
those settings as a template.
| | 01:21 | Remember to make templates,
we can go to File > Save As Template.
| | 01:25 | Okay, as you can see I have
been hard at work on this project.
| | 01:28 | I use cut, copy, and paste key commands to
create a longer arrangement for the song.
| | 01:33 | Now I want to save it.
What are my options?
| | 01:35 | If I go to File > Save or Command+S,
that will overwrite the current project
| | 01:40 | and keep the same name.
| | 01:41 | File > Save As makes a new project file,
lets you rename it, and opens you into that file.
| | 01:48 | In the Save As dialog, you'll
see a box at the bottom for assets.
| | 01:53 | These are everything your project
refers to, including samples, audio files,
| | 01:58 | instrument, plug-in settingsm etc.
| | 02:01 | Remember, if your are only using the
sound set that comes with Logic, you might
| | 02:04 | not necessarily need to include assets,
because other Logic systems will have
| | 02:08 | them too you as long as
they installed those files.
| | 02:10 | But if you recorded your own sounds,
used your own samples, settings, etcetera,
| | 02:15 | you need to look into the Advanced Options
and make sure you check what you want to take.
| | 02:20 | The caveat to doing this is that your
project folder will be larger in size.
| | 02:23 | It'll include audio files and other
settings, instead of just your project file.
| | 02:29 | We also have the option to do as Save A Copy As.
| | 02:32 | This allows you to collect all the
assets your project is using or referring to,
| | 02:36 | and put them in a new place.
| | 02:38 | If you choose to Include Assets.
It's good to use this for backing up your project.
| | 02:43 | It's also good to know that when you
choose this option, File > Save A Copy As,
| | 02:47 | Logic will not automatically bring you
into that project once you hit Save.
| | 02:51 | Though it just simply collect the files
associated and put them all in different place.
| | 02:56 | Let's open the Media pane on the right-hand
side of our Arrange window and go to our Bin tab.
| | 03:01 | Here we see a list of all the
audio files our project is referencing.
| | 03:05 | You can click on one of them and use the
Up or Down arrows to select different files.
| | 03:09 | Notice across the top it shows us the
full path name of these files and where
| | 03:13 | they are on our hard drive.
| | 03:14 | When I go down under the bottom, you can
see that these two bottom files are not
| | 03:19 | part of the project file
where everything else is.
| | 03:21 | They are on a different spot on our hard drive.
| | 03:24 | This means that our project is referencing
files that exist outside our project folder.
| | 03:29 | If you want to consolidate everything
into your project folder easily, you do
| | 03:33 | this by going to File > Project > Consolidate.
| | 03:37 | From here you can choose to Copy audio
files referenced outside of your project
| | 03:42 | or simply move them altogether.
| | 03:44 | You can also choose to Leave files
not used in your Arrange window and you
| | 03:48 | have some other options here, for
Sampler instruments, Samples, Impulse
| | 03:52 | Responses, etcetera.
| | 03:54 | Managing your media in your project
versions is an important skill to have in
| | 03:58 | today's world of constant tweaking,
remixing, and moving from studio to studio.
| | 04:02 | Now you have got the know-how to
deal with all your media in these types
| | 04:05 | of situations.
| | Collapse this transcript |
|
|
3. Recording Live Music and Getting Stuff into the BoxSetting up for recording | 00:01 | Are you ready to record something into Logic?
| | 00:03 | Recording live audio into
Logic is as easy as ever.
| | 00:06 | But first we need to go over some
initial setup options to get the most out of
| | 00:09 | your recordings. Once these are in place,
| | 00:11 | you'll be busy tracking in no time.
| | 00:14 | Here we have a new project we just started.
| | 00:16 | Notice by the name, which is
Untitled, we haven't saved it yet.
| | 00:19 | Here is a really good tip.
| | 00:21 | Save your session now before
recording anything with assets.
| | 00:24 | This automatically sets your audio
recording path, so you don't have to do it manually.
| | 00:29 | Go to File > Save As and navigate to
the place you want to save it, then we'll
| | 00:36 | name the project. guitarrecording.
| | 00:39 | Make sure Include Assets is checked and
Copy external audio files to project folder.
| | 00:45 | This will ensure that all the sounds
we record will end up in our project
| | 00:48 | folder for this project.
| | 00:51 | Assuming our audio interface is properly set up,
as we discussed in the Audio Interface video,
| | 00:55 | we'll need to decide on three options
for the audio files you'll be recording to
| | 00:59 | your hard drive, File Type, Sample
Rate, and Bit Depth. Choose File Type.
| | 01:05 | Go to Global Settings.
| | 01:06 | Logic Pro > Preferences > Audio.
| | 01:09 | Click on the General tab.
| | 01:12 | Here we have three recording file types
we can choose. WAVE or BWF, AIFF, or CAF.
| | 01:20 | I recommend using WAVE.
| | 01:22 | It's the industry standard.
| | 01:23 | However, if you're planning on doing
a very long interrupted recording,
| | 01:27 | you can use CAF for that.
| | 01:28 | We are going to stick
with WAVE for this project.
| | 01:31 | While we are still in these
Preferences, we can change our Bit Depth.
| | 01:36 | Go to the Devices tab.
| | 01:37 | As you can see 24-Bit
Recording is currently checked.
| | 01:41 | I recommend 24-bit.
| | 01:43 | It's the best audio quality.
| | 01:44 | If you uncheck it, you
will be recording at 16 bits.
| | 01:47 | That will take up less disk
space but it won't sound as good.
| | 01:50 | Here you'll also notice that Software
Monitoring is checked, leave this on to
| | 01:55 | monitor, but not commit or print any
effects in your tracks as your record.
| | 01:59 | Unless you have a more complex hardware
monitoring system this is recommended.
| | 02:04 | Okay, now we are done
with the Global Preferences.
| | 02:06 | Let's go into the Project Settings.
| | 02:07 | Go into File > Project Settings > Audio.
| | 02:11 | Here we can adjust the
Sample Rate we are recording to.
| | 02:14 | Right now it's set to 48 kilohertz.
| | 02:16 | I usually go with 48.
| | 02:18 | It's high quality but not so high
that it taxes our system's performance.
| | 02:22 | As you could see in this list, you can
go down to 44.100 or up to some higher
| | 02:26 | sample rates if your
audio hardware allows you to.
| | 02:29 | We'll just stick to 48 for this project.
| | 02:32 | Now we are done with the preferences and
settings. We're ready to check our input signal.
| | 02:36 | Click the I button on the track header
or in the channel strip and we should be
| | 02:41 | able to get an input coming in.
| | 02:42 | I've got my guitar connected to Input 1, so as
soon as I hit I, I should see and hear a level.
| | 02:50 | (Music playing.)
| | 02:54 | Now we can set our levels coming in.
| | 02:56 | Remember the track volume here only
sets the monitoring level the way we hear it,
| | 03:01 | but not the record input level.
| | 03:03 | You must set your record volume on the
Preamp Gain or Trim control of whatever
| | 03:08 | input device you're using outside of Logic.
| | 03:11 | This volume only lets us change how
we hear it coming out, but not in.
| | 03:15 | When you check your instrument
coming in, you might hear a delay.
| | 03:19 | This is caused by something called latency.
| | 03:21 | I like to call latency the
dirty word of digital audio.
| | 03:25 | Anytime you send audio through your
computer, you have to deal with the time it
| | 03:28 | takes to get through the computer system.
| | 03:30 | Computers must use a memory buffer to
stay ahead of what's coming in. No digital
| | 03:35 | audio workstation including
Logic is exempted from this.
| | 03:38 | Logic has some great ways to deal
with it though and minimize any problems.
| | 03:41 | Let's go back to our
Global Preferences for a second.
| | 03:44 | Logic Pro > Preferences > Audio.
| | 03:48 | Here we have something
called the I/O Buffer Size.
| | 03:51 | Right now it's set to 1024 samples.
| | 03:54 | That's pretty high.
| | 03:55 | That's going to cause quite a bit
of latency when we are recording.
| | 03:58 | We can open this window
and we can change it to 128.
| | 04:01 | As you can see the Resulting
Roundtrip Latency just went down quite a bit.
| | 04:05 | That'll help with the latency problem
if you're hearing a delay when you're
| | 04:08 | inputting your signal.
| | 04:09 | There is another place we
can deal with low latency.
| | 04:13 | It's a Low Latency button
in the Transport window.
| | 04:15 | When we click this, it turns on a
special Low Latency Mode in Logic that
| | 04:19 | selectively bypasses plug-ins and other
processes to lower the latency when you record.
| | 04:24 | The trade-off here is less
processing power for plug-ins.
| | 04:28 | But this can be changed
back when it's time to mix.
| | 04:30 | Okay, we are almost there.
| | 04:32 | What will the recording
files be called when we record?
| | 04:35 | You can control this by first
naming your track before you hit Record.
| | 04:39 | This is highly recommended.
| | 04:41 | Let's change the name on
our track before we record.
| | 04:44 | Double-click on Audio1 and
let's call it guitartake.
| | 04:49 | Now, each take we record in this track
will automatically create a file in the
| | 04:52 | hard-drive with a track
name guitartake_take number.
| | 04:57 | So we'll get guitartake_1, guitartake_2.
| | 05:01 | This is a lot better than having a
whole bunch of files on your hard-drive
| | 05:04 | called Audio101, Audio 102.
Later you won't remember what those are.
| | 05:08 | All right, let's hit the R button to
record enable the track and we are ready to go.
| | 05:14 | I'll hit R in our keyboard and Logic
will start recording, and I'll record
| | 05:17 | a little guitar line.
| | 05:19 | (Music playing.)
| | 05:28 | Congratulations!
| | 05:29 | You now know all the required
steps to set up Logic to record audio.
| | 05:33 | In other videos of the Record
chapters, we'll get into all the working
| | 05:36 | techniques and different styles of
recording, from multiple instruments to punch
| | 05:40 | recording to comping multiple takes.
| | Collapse this transcript |
| Understanding Metronome settings or the click track| 00:00 | If you are recording audio before
anything else in your Logic projects,
| | 00:04 | you're going to want to reference
Logic's timing grade as you record.
| | 00:07 | That way later you can take advantage of
all the cool things you can do with the
| | 00:10 | software instruments and
audio quantizing options.
| | 00:13 | We can do this with the standard studio
tool called a click track or Metronome
| | 00:17 | as it's known in Logic.
| | 00:18 | Let's see how to set this up.
| | 00:19 | The Metronome On/Off toggle is in the
bottom-right of the Transport window.
| | 00:24 | Click it to enable or disable at any time.
| | 00:26 | When it's enabled and you
hit Play, you'll hear a click.
| | 00:29 | (Tapping or clicking.)
| | 00:31 | That's our Metronome.
| | 00:33 | By default, Metronome uses a
special software instrument hidden from
| | 00:37 | normal view.
| | 00:38 | To see this, hit Command+2 to show the
Audio Mixer, and then hit All at the top
| | 00:44 | of the Audio Mixer to see
all tracks, even hidden ones.
| | 00:48 | Here you'll see a track called Click.
| | 00:49 | It's actually Instrument 256 and
inserted in that track is an instrument
| | 00:54 | called a Klopfgeist.
| | 00:56 | Klopfgeist is German for "knocking ghost."
| | 00:59 | Logic uses this simple
instrument to make the click sound.
| | 01:02 | We can hide this track now and pretty
much forever but it's good to know it's there.
| | 01:07 | To hide it, click back on the Arrange
button just to show tracks that are just
| | 01:10 | in your Arrange window.
| | 01:11 | Let's close the Mix window.
| | 01:13 | To access the Metronome settings, you
can right-click on the Metronome or go
| | 01:17 | into File > Project Settings > Metronome.
| | 01:21 | For the click settings, the bars and
beats are audible by using different notes
| | 01:25 | and different velocities
played by the Klopfgeist.
| | 01:28 | You can add in divisions
by clicking the Divisions box.
| | 01:31 | Once you do that, you'll hear
some different tones in the click.
| | 01:34 | Let's check it out.
| | 01:35 | (Tapping/clicking.)
| | 01:40 | The Tonality slider can be used to
emphasize or de-emphasize the sound of the click.
| | 01:44 | You also have access to
the volume of the click here.
| | 01:47 | (Tapping and clanging.)
| | 02:02 | Some musicians do not like to hear
the difference in tonality between bars and beats.
| | 02:07 | In this case you can make all the
bars, beats, or divisions the same by
| | 02:10 | making them the same note.
| | 02:11 | So I am going to do that,
I can make them all for example G5.
| | 02:15 | Then we will hear no difference.
| | 02:18 | It will just be solid click.
| | 02:20 | Now we'll hear everything as the same note.
| | 02:22 | (Clicking.)
| | 02:26 | Notice we still have velocities.
| | 02:27 | We can also make all the velocities the same.
| | 02:29 | (Clicking.)
| | 02:34 | When you're recording and you're using
a click, be aware of headphone bleed.
| | 02:37 | That's what it's called when you get
the sound of the click track from the
| | 02:40 | headphone of the musicians into the microphone.
| | 02:43 | You can use the tonality or volume to
adjust to make sure you're not getting
| | 02:47 | headphone bleed in your recording.
| | 02:48 | To enable an external MIDI device to
play your clicks we'll disable the Software
| | 02:53 | Click Instrument and deal
with just this MIDI section.
| | 02:56 | Here you can choose a MIDI port to
communicate to outside of your Mac.
| | 03:00 | The notes in this case and MIDI
channels are set under this MIDI section.
| | 03:04 | Otherwise, if you're only using
the Software Click Instrument, these
| | 03:07 | settings don't do anything.
| | 03:09 | Most likely, you'll make the most of
the Metronome click during recording when
| | 03:13 | your performers need to
hear the click to stay on time.
| | 03:16 | You can set Click while recording or
Click while playing or Only during count-in
| | 03:20 | also in this window.
| | 03:22 | If you keep Click while recording
selected, every time you go into Record,
| | 03:25 | you'll hear the Metronome regardless
of whether it's turned on or off in
| | 03:29 | the Transport Bar.
| | 03:30 | To set the length of your recording
count-in, go to the Recording Settings.
| | 03:35 | Here you can choose a count-in of 1
bar or more than 1 bar or half a bar and
| | 03:40 | so forth.
| | 03:42 | A count-in helps get a performer ready
for the take by letting he or she hear
| | 03:46 | the click of bar or so before recording starts.
| | 03:49 | This is also known as pre-roll.
| | 03:51 | You can also record a pre-
roll in seconds rather than bars.
| | 03:53 | You can do 1 second, 2 seconds, etcetera.
| | 03:56 | The Metronome is a valuable tool that is
essential to keeping your performers on
| | 04:00 | time when recording.
| | 04:01 | Use them to set up your song
especially if audio recording is the first thing
| | 04:05 | you're laying down in your project.
| | Collapse this transcript |
| Understanding tempo| 00:00 | Logic's flexible timing grade
is one of its greatest strengths.
| | 00:04 | Let's learn how we can set up and change
our project's tempo and time signatures.
| | 00:08 | Tempo refers to the duration
of time each musical beat takes.
| | 00:12 | It's measured in beats per minute or BPM.
| | 00:14 | You'll find your current Tempo setting
in the middle of the Transport window.
| | 00:19 | Default BPM is 120 or 2 beats per second.
| | 00:23 | Adjust it here to change
the global BPM of your song.
| | 00:27 | You can click up or down on the number
to make the BPM higher or lower, or
| | 00:32 | you can double-click on the number
to enter a number in manually.
| | 00:35 | Let's try 140.
| | 00:37 | You can also change the tempo during playback.
| | 00:40 | I'm going to play the song and
I'm going to drag the Tempo down.
| | 00:43 | We should hear the tempo slow as this happens.
| | 00:45 | (Music playing.)
| | 00:54 | Now I'm going to speed up.
| | 00:56 | (Music playing.)
| | 01:00 | Because these are all MIDI-based
software instrument tracks, they're able to
| | 01:04 | conform to the changing tempo in real-time.
| | 01:07 | Once you decide an appropriate tempo
for your song, you may leave it there or
| | 01:10 | you may wish to speed it up or slow
it down during the course of your song.
| | 01:14 | To do this, open the Global Tracks triangle.
| | 01:18 | Here we have a Tempo lane.
| | 01:19 | Let's open this up, and let's
pull the window down to make it big.
| | 01:23 | As you can see, the tempo is
140 for the course of this song.
| | 01:26 | Let's double-click at bar
5 to make a new tempo node.
| | 01:30 | We can click and drag after this node to
pull the tempo down after that point in time.
| | 01:34 | Let's pull it way down.
| | 01:36 | So you can hear a dramatic change.
| | 01:38 | Now, I'm going to deselect Cycle Mode
and play from before the tempo change.
| | 01:42 | We should hear the Tempo
dramatically shift from 140 to 116 at bar 5.
| | 01:47 | (Music playing.)
| | 01:55 | You can also make a gradual change
from 140 to 116 by clicking on the node in
| | 02:00 | the middle and pulling to the left.
| | 02:02 | This makes a gradual tempo curve.
| | 02:05 | Now, the tempo will gradually change
from 140 to 116 between bars 1 and 5.
| | 02:11 | (Music playing.)
| | 02:19 | The cool thing about trying out
different tempos is that you can audition and
| | 02:22 | change between up to 9
alternate tempos in your Logic project.
| | 02:25 | To do this, just click in the
Alternative box in the Tempo lane.
| | 02:29 | If you like what you did that you want
to try a different tempo, simply go to
| | 02:32 | this pulldown menu and choose number 2.
| | 02:35 | Now, we have a fresh Tempo lane to start.
| | 02:37 | You can move between your
alternate tempos at anytime.
| | 02:40 | This is great for remixes and film
scoring since it lets you try out all
| | 02:43 | different kinds of tempo options.
| | 02:45 | If you're still not sure what you want
your tempo to be by a BPM number, you can
| | 02:49 | manually tap in a tempo to your keyboard.
| | 02:52 | This is cool but it requires a little setup.
| | 02:53 | Go to File > Project Settings
and click on Synchronization.
| | 02:57 | Here we're going to change the Sync
Mode to Manual, and we're going to click on
| | 03:02 | Auto Enable External Sync and close this window.
| | 03:05 | Now we're going to go to
Options > Tempo > Tempo Interpreter.
| | 03:09 | This will interpret the tempo
as we tap it into our keyboard.
| | 03:12 | Now we need to hold Shift and tap the
T button to the tempo we want to hear.
| | 03:16 | (Tapping sound.)
| | 03:23 | (Music playing.)
| | 03:29 | When I hit Stop, it locks in the tempo
I was tapping, which is somewhere around 98 BPM.
| | 03:35 | The time signature, or how many beats
per bar, defaults to 4/4 or common time.
| | 03:41 | This means every bar is divided into 4 beats.
| | 03:44 | The time signature can be changed at
anytime in the Transport, but note that it
| | 03:48 | changes from where the playhead is onward.
| | 03:50 | So if I double-click on here where it
says 4/4 and type in 3, it gives me 3/4 time.
| | 03:56 | That means every bar is
divided into 3 beats, not 4.
| | 04:00 | If you look in the Signature lane of
your Global Tracks, you'll see that 3/4
| | 04:04 | occurs from right around
when my playhead was onward.
| | 04:07 | Once you make a new time signature,
you can pull them around in different
| | 04:10 | locations in the Signature lane by
clicking on the division line and
| | 04:13 | dragging left or right.
| | 04:15 | Keep in mind you can set all of these
tempo and time signature changes ahead of
| | 04:19 | time before you record a band and the
performers will hear all the changes
| | 04:22 | reflected by the
metronome in their headphone mix.
| | 04:25 | Logic makes it easy to have complex
tempo and time signatures in your song with
| | 04:29 | a few clicks of the mouse.
| | 04:30 | You'll find these useful when you're
composing, setting up click tracks for
| | 04:33 | recording sessions, or working on remixes.
| | Collapse this transcript |
| Recording live instruments and vocals using multitrack recording| 00:01 | So you want to record a band.
Multi-track live recording is simple with Logic Pro.
| | 00:05 | In this lesson, we'll go over
everything we need to know to set up a
| | 00:08 | multi-track recording session.
| | 00:10 | We're going to record a four-piece band,
drummer, bass, guitarist and singer.
| | 00:15 | To get the best recording possible,
we use will a few mikes on the drums,
| | 00:18 | a couple on the guitar and a couple of
lines from the bass. This will give us the
| | 00:22 | most separation as we record.
| | 00:24 | We're going to need 8 inputs.
| | 00:25 | So let's make 8 mono audio tracks.
| | 00:27 | Go up to the Track menu, click New to
make new tracks, and we'll type in 8 for
| | 00:33 | Number, we're going to make Audio tracks,
Format will be Mono and here's a cool trick
| | 00:38 | that Logic lets you do. You can
click the Ascending button where it says
| | 00:41 | Input and I'm going to
order the inputs from 1 to 8.
| | 00:44 | You'll see what I mean when you click Create.
| | 00:46 | Here we have 8 audio tracks.
| | 00:48 | Let's click on Audio 1 and open the Inspector.
| | 00:52 | Notice this track has Input 1.
| | 00:54 | If I go to Audio 2,
it's set to Input 2.
| | 00:57 | Audio 3 is Input 3 and so on.
| | 00:59 | By clicking the Ascending button it
automatically ordered our inputs for all 8 tracks 1 to 8.
| | 01:04 | Let's close the Inspector
button by typing I on our keyboard.
| | 01:07 | Now, we want to make sure we are
organized to name our tracks.
| | 01:11 | That way audio regions and files
recorded on them will share the track names.
| | 01:15 | I like to use the first 2 initials of
the song followed by the instrument on the track.
| | 01:19 | The reason for this is that
otherwise I'd have hundreds of files on my
| | 01:23 | hard drive named kick, snare or guitar,
but no idea what song they belong to.
| | 01:29 | This way each file written to my hard drive
has an ID for the description of what it is.
| | 01:33 | This song is named Cannonball.
| | 01:36 | So let's name the tracks CB_ and then the
instrument that's going to be on the track.
| | 01:41 | For instance, Audio 1's going
to be our kick drum microphone.
| | 01:45 | So let's double click on it. Type in CB_Kick.
| | 01:50 | Number 2 is going to be our snare drum.
| | 01:52 | Let's type in CB_Snare.
| | 01:56 | Number 3 will be the
mike on our hi-hat, CB_Hat.
| | 02:00 | 4 is going to be our bass guitar
and we have 2 lines for our bass.
| | 02:04 | One is going to be a DI or direct insert.
| | 02:07 | That means we're taking the
line directly from the guitar.
| | 02:09 | We'll call that one CB_Bass_DI.
| | 02:13 | The next one is the
microphone on the amp itself.
| | 02:16 | So let's type in CB_Bass_amp.
| | 02:21 | We have 2 mikes on our guitar amp.
| | 02:23 | One is going to be a ribbon
microphone and one the dynamic microphone.
| | 02:27 | This gets us 2 different
sounds for the same guitar.
| | 02:30 | Audio 6 we'll type in CB_Guit for
guitar, _ribbon for the ribbon microphone.
| | 02:39 | The next one is going to be the
dynamic microphone, CB_Guit for guitar
| | 02:45 | and dyn for dynamic.
| | 02:48 | The last is our vocal microphone.
| | 02:50 | Let's go CB_Vocal for vocal.
| | 02:53 | Now that we have all the
tracks named, we're ready to roll.
| | 02:57 | Let's make sure all tracks are
selected and we'll record enable them.
| | 03:01 | A quick way to do this is to go over
to the Mix window, Command+2, select all
| | 03:05 | the tracks by dragging a selection
around all of them, and clicking the R button
| | 03:09 | to record enable them.
| | 03:10 | This way you can record
enable them all at one time. Okay.
| | 03:14 | Let's close the Mix
window and we're one step away.
| | 03:17 | We can use the R button on our
keyboard to pop right into recording.
| | 03:20 | Is the band ready?
| | 03:22 | I think they're ready. Here we go.
| | 03:24 | (Music playing.)
| | 03:25 | (Man singing: The only thing I have is information.)
| | 03:31 | (Man singing: The only thing I have I did not own.)
| | 03:40 | No matter how small your band or
recording setup is, there'll be a time when
| | 03:44 | you'll need to setup a
multi-track recording session.
| | 03:47 | Now, you are armed with the know-how
to use Logic Pro to record any size band,
| | 03:51 | from a duo to an orchestra,
using multi-input recording.
| | Collapse this transcript |
| Playing with guitar madness: Amp design| 00:00 | Some of the coolest new features in
Logic 9 are dedicated to the electric guitar.
| | 00:05 | In order to give you every imaginable
guitar tone available, plus ones not
| | 00:08 | even discovered yet, Logic provides you with
two awesome tools, Amp Designer and Pedalboard.
| | 00:14 | Let's check out Amp Designer.
| | 00:16 | The first thing you should understand
about Logic's guitar features is that they
| | 00:20 | allow you to plug your guitar in
directly to your audio interface.
| | 00:23 | As long as your interface can accept an
instrument level signal, you're good to go.
| | 00:27 | This means you can get heavy-duty
sounds all without an amplifier.
| | 00:31 | You can record screaming guitar all
night long with headphones and your
| | 00:34 | neighbors won't even know.
| | 00:36 | The sound on this first track is what
my guitar sounded like direct into Logic.
| | 00:40 | I'm going to enter Cycle Mode
by hitting C and let's listen.
| | 00:44 | (Music playing.)
| | 00:54 | As you can tell, it sounds kind of weak.
| | 00:56 | That's what a DI guitar sounds like.
| | 00:58 | Let's dial-up the sound
using the channel strip settings.
| | 01:01 | This is in our channel strip at the top.
| | 01:03 | As you can see our button is
slightly hidden, but you can also get to the
| | 01:06 | channel strip settings through the
Mixer at the very top of the channel.
| | 01:09 | Click in Settings, go to Electric
Guitar > Guitar Tone Sampler, and let's
| | 01:15 | use British Invasion.
| | 01:17 | As you can see this loads up our
channel strip with a bunch of plug-ins
| | 01:19 | including Amp Designer.
| | 01:21 | Let's hear what it sounds like now.
| | 01:22 | (Music playing.)
| | 01:29 | Cool! It's got a nice Beatles-y tone to it.
| | 01:32 | The rest of the tracks in this project were
made up from presets all from that same folder.
| | 01:36 | Each of them are recorded direct just
like the first track and they all contain
| | 01:40 | different combination of plug-ins
inserted in their channel strips.
| | 01:43 | One thing they all have in common
though is that they all contain an
| | 01:45 | instance of Amp Designer.
| | 01:47 | Let's listen to them.
| | 01:48 | I'm going to deselect Cycle Mode,
start at the beginning and hit Play.
| | 01:52 | (Music playing.)
| | 01:53 | So we start out with the British
Invasion sound that we already dialed up.
| | 01:55 | (Music playing.)
| | 01:59 | The next track, we hear a Country Twang sound.
| | 02:01 | (Music playing.)
| | 02:08 | Then we've got a Black
Sabbath seventies metal type tone.
| | 02:11 | (Music playing.)
| | 02:16 | Next, we have a U2-ish clean echo sound.
| | 02:19 | (Music playing.)
| | 02:25 | Here we have a Dick Dale surf sound.
| | 02:27 | (Music playing.)
| | 02:37 | Next, we have a rock and
roll, glam rock type tone.
| | 02:40 | (Music playing.)
| | 02:43 | Here's some heavy metal riffery.
| | 02:45 | (Music playing.)
| | 02:55 | We dialed up some smooth jazz in this one.
| | 02:57 | (Music playing.)
| | 03:01 | And finally, we've got a Jimmy
Page like stadium rock sound.
| | 03:05 | (Music playing.)
| | 03:08 | Again, all of these tracks used
Amp Designer in their channel strip.
| | 03:11 | Let's go into Amp Designer and check it out.
| | 03:13 | We'll go back to the first track and
we'll double-click on Amp Designer to
| | 03:17 | open the plug-in window.
| | 03:18 | This is what the Amp
Designer plug-in window looks like.
| | 03:21 | Amp Designer allows you
separate control over four elements:
| | 03:25 | the amplifier head with Tone,
Reverb and Tremolo controls.
| | 03:29 | The amplifier cabinet, which allows
you control over the speaker size and
| | 03:33 | the cabinet enclosure.
| | 03:34 | The style of the microphone you are
using to record the amplifier cabinet, and
| | 03:38 | the position of the
microphone relative to the cabinet.
| | 03:42 | If you want presets of these elements,
you can go to the plug-in settings menu.
| | 03:45 | This is at the top of the plug-in window.
| | 03:47 | Here different tones are broken into
categories like Pure Amps, which are
| | 03:52 | classic combinations, Hybrid Amps,
which mix and match different heads and
| | 03:56 | different cabinets, or you can browse by tone.
| | 03:59 | You can choose between Clean,
Crunch, Distorted, etcetera.
| | 04:03 | You can also mix and match yourself
at anytime from the pulldown menus at the
| | 04:07 | bottom of the window.
| | 04:08 | For instance, if you wanted to hear this
sound through a Blackface head, you can
| | 04:12 | go up to Large Blackface Amp to give
us kind of an old school Fender tone.
| | 04:16 | And then if you wanted to hear that
head through a single 1x12 tweed cabinet,
| | 04:20 | you can dialup Brownface 1x12.
| | 04:22 | We can also change the
microphone. We have 3 options.
| | 04:26 | Ribbon for a large deep tone,
Condenser for a bright detailed tone, and
| | 04:32 | Dynamic for a crunchy or more brittle tone.
| | 04:36 | Also, you can move the position
of the mic relative to the speaker.
| | 04:39 | To do this, just hover over where the
microphone is and you get this pop-up window.
| | 04:43 | As in real life, if you move the mic
towards this middle of the speaker cone,
| | 04:48 | it'll generally yield a brighter tone, and
towards the outside edge, you'll get a darker tone.
| | 04:53 | Feel free to mix and match at will
between your amplifier head, cabinet and
| | 04:57 | microphone to create a combination that
perhaps was never made before in real life.
| | 05:01 | Being able to design your own amp from a
long list of classic components used to
| | 05:05 | be a freedom reserved only for the lucky few.
| | 05:07 | Now, with Logic 9 anyone can design
and enjoy combinations of their dreams.
| | Collapse this transcript |
| Playing with guitar madness: Pedal board| 00:00 | Designing your own amp is cool.
| | 00:02 | But many guitar players like to augment
their tones even more with stomp-box pedals.
| | 00:07 | Logic 9 contains a massive set of
pedals to put in line between your
| | 00:10 | guitar input and the amp.
| | 00:12 | Let's check some of these out.
| | 00:13 | You'll notice in the top track, in the
channel strip, Pedalboard is loaded in
| | 00:17 | there but it's currently
inactive since it's not lit up blue.
| | 00:20 | You can activate a plug-in any time in
the channel strip by Option+Clicking it.
| | 00:25 | Now that it's blue, it's active.
| | 00:27 | Let's open the Pedalboard
by double-clicking on it.
| | 00:30 | This is Logic's Pedalboard.
| | 00:31 | Currently this track contains
1 pedal, Hi-Drive Treble Boost.
| | 00:35 | The list of all the other pedals
that you can use is on the right.
| | 00:38 | There are a lot of them in there.
| | 00:40 | Let's listen to what this pedal sounds like.
| | 00:42 | (Music playing.)
| | 00:47 | At any time you can turn on and off
the pedal by clicking on the big button
| | 00:51 | at the bottom.
| | 00:52 | This is equivalent of
stepping on the pedal in real life.
| | 00:55 | If the light on the top
is on, the pedal's active.
| | 00:57 | If it's off, it's inactive or bypassed.
| | 00:59 | (Music playing.)
| | 01:05 | We can also adjust the tone
of the pedal on real time.
| | 01:08 | This pedal has one control, Level.
| | 01:10 | (Music playing.)
| | 01:16 | To adjust the dial, click on it.
Drag up to go right, drag down to go left.
| | 01:22 | Let's close this window and we'll
go over to the Country Twang track.
| | 01:25 | We'll double-click on Pedalboard to
open up the Pedalboard for this track.
| | 01:29 | In this track we've 2 pedals already being
used, the Squash Compressor and the Blue Echo.
| | 01:34 | Let's add another pedal to this.
| | 01:36 | I like this one called Spin Box.
| | 01:38 | It's a Leslie speaker cabinet emulator.
| | 01:40 | Click on it and drag it to your Pedalboard.
| | 01:43 | At anytime if you want to remove a
pedal from your Pedalboard, you can click on it
| | 01:46 | and drag it back to the bin.
| | 01:48 | Let's add this back.
| | 01:49 | Let's click on the Fast button
and hear what this one sounds like.
| | 01:53 | First let me go to the Arrange window
and move this window down, click on the
| | 01:57 | region and hit equal on our keyboard to
move our cycle locators to that region.
| | 02:03 | (Music playing.)
| | 02:09 | Cool!
| | 02:10 | Another handy thing with the Pedalboard
is utilitarian pedal called the Mixer.
| | 02:14 | Let's drag a Mixer out into the Pedalboard area.
| | 02:17 | The Mixer pedal lets you blend between
different pedals instead of having them
| | 02:20 | go in line from one another.
| | 02:22 | Let's pan side B to the left a
little bit and pan side A to the right.
| | 02:27 | Now, when I drag this fader up to B,
we'll hear just the Squash Compressor and
| | 02:31 | Blue Echo on the left.
| | 02:32 | (Music playing.)
| | 02:37 | On the right, we'll hear the Spin Box Pedal.
| | 02:39 | (Music playing.)
| | 02:44 | With this Mixer pedal, we can blend
between the two in a stereophonic fashion.
| | 02:48 | Let's close this window and
let's go down to the Glam Rock track.
| | 02:52 | We'll click on the region, and again hit
equal to move our cycle locators to that spot.
| | 02:58 | Let's open the Pedalboard
from the Glam Rock track.
| | 03:01 | Like the first track, this one
contains one pedal, the Hi-Drive Treble Boost.
| | 03:05 | Let's drag a Wah pedal
out from the Pedalboard bin.
| | 03:09 | Some pedals like Wah have a moving control.
| | 03:12 | To move the control, click on the Wah and
drag the mouse up and down while it's playing.
| | 03:17 | (Music playing.)
| | 03:27 | In the video on automation, you'll
learn how to quickly assign a MIDI keyboard
| | 03:31 | controller to this type of control.
| | 03:33 | As you're working with pedals, if you
come up with a combination you like,
| | 03:36 | you can always save them.
| | 03:38 | Go up to the top of the plug-in window
and open the plug-in settings pulldown menu.
| | 03:42 | Here we can go to Save Settings As
and we can save it as my pedal combo.
| | 03:48 | Now if we go back in, we'll see that my
pedal combo will be available to all of
| | 03:53 | our Logic projects going forward.
| | 03:55 | Playing guitar in Logic is a blast.
| | 03:57 | You can get the tone of
your dreams with these tools.
| | 04:00 | Don't forget that you can save
your settings if you come across a
| | 04:02 | combination that's really good.
| | Collapse this transcript |
| Working with takes recording and comping| 00:01 | When you record, it's very common to record
more than one try or take of a performance.
| | 00:05 | Each time you record over a region on
a track Logic saves the information and
| | 00:09 | later lets you edit the best of all the
takes into one final composite or comp.
| | 00:14 | It's like a "best of" all the recordings.
| | 00:17 | This process is known in the
audio world is comping takes.
| | 00:21 | This video we will go over how to
master Quick Swipe comping in Logic Pro.
| | 00:25 | In this project we see the vocal track looks
a little different than what we're used to.
| | 00:29 | It has a disclosure triangle on the left,
another pulldown menu on the right, and
| | 00:33 | a toggle button next to that.
| | 00:36 | All of these icons tell us that this is
a region that includes multiple takes or
| | 00:41 | to be more technical,
it is a packed take folder.
| | 00:44 | You can see the contents of the packed
take folder by opening the disclosure
| | 00:48 | triangle on the left.
| | 00:49 | You can see here that
it's made up of three takes.
| | 00:53 | At the very top,
this region is the current comp.
| | 00:56 | It's what we hear when we hit Play.
| | 00:59 | The second highest is the most recent full take.
| | 01:01 | Then we have the one before that, and
finally we have first take we did when
| | 01:05 | we started recording.
| | 01:07 | To simplify our life, let's color-
code these using the Color palette.
| | 01:10 | Go up to the Color palette and let's
color code the first take as red,
| | 01:16 | the second take as green,
and the first take as yellow.
| | 01:21 | This will help us later as
we comp these takes together.
| | 01:25 | Let's make sure Quick Swipe Comping
is on by clicking the button on the top
| | 01:28 | right of the region.
| | 01:29 | When the button is filled in, it's on.
| | 01:33 | Once you are in Quick Swipe, you'll see a
special tool as you go down into the regions.
| | 01:37 | It looks like an I-beam.
| | 01:38 | This is our Quick Swipe tool.
| | 01:41 | So we'll use this to choose
the parts of the takes we like.
| | 01:44 | It turns out we like the red take all the way
up into the chorus, which is this area here.
| | 01:48 | At that point we want to
switchover to the green take.
| | 01:51 | So click into the green region
up until about half the chorus.
| | 01:55 | At that point we decided
that we like the yellow take.
| | 01:58 | Let me go down to the yellow take and take
it from there on out to the end of the chorus.
| | 02:03 | Notice as I am doing this, the top region
reveals the different takes that we've decided on.
| | 02:08 | So we're going to hear red up until
the chorus, green at the beginning of the
| | 02:11 | chorus, and yellow after that
point and then we'll go back to red.
| | 02:15 | Using Quick Swipe like this is an
easy way to make comps without a lot of
| | 02:19 | cutting and pasting and worrying about
accidentally moving your takes out of sync.
| | 02:23 | We don't have to make
any edits to these regions.
| | 02:26 | We just simply dragged with the I-beam
cursor and choose the areas of each take
| | 02:29 | that we wanted and Logic automatically
made a comp on the top region for us.
| | 02:34 | Let's listen to our changes.
| | 02:36 | (Music playing.)
| | 02:37 | (Man singing: Just lay me
down in the old churchyard?)
| | 02:40 | We are first hearing the red take.
| | 02:42 | (Music playing.)
| | 02:44 | And then it switches over to the green take.
| | 02:46 | (Man singing: ?rain on you.
Like you're too wet to be dreaming?)
| | 02:51 | (Man singing: Drink their blood
and when they call on you?)
| | 02:54 | Then at the end of the
chorus we get the yellow take.
| | 02:56 | (Man singing: Rise up like the moon,
like the moon, like the moon?)
| | 03:05 | If you listen carefully you might have
heard that between the green and yellow comps
| | 03:08 | we split the word "moon."
| | 03:09 | We can always go back in and
trim this with our Quick Swipe tool.
| | 03:15 | Let's listen to that.
| | 03:16 | (Music playing.)
| | 03:17 | (Man singing: Like the moon,
like the moon, like the moon?)
| | 03:22 | Perfect! When we are done comping, we can
go down to the pulldown menu on the right to
| | 03:26 | see a list of options here.
| | 03:27 | We may want to choose
Export Active Comp to New Track.
| | 03:32 | This will take the comp we've made,
leave it here, and put on a new track.
| | 03:35 | When I do this, you can go down and
see the comp has been put on a new
| | 03:39 | audio track for us.
| | 03:41 | Logic also includes
crossfade between all the takes.
| | 03:44 | You alternatively choose Move Active
Comp to New Track from this pulldown menu.
| | 03:50 | This removes our current comp from
this track and puts it on another track.
| | 03:54 | Now it's gone from here, but the whole
thing is moved down here to a new track.
| | 03:58 | Let's hit Command+Z to undo this.
| | 04:02 | If you're really ready to commit the
work you've done with comping and would
| | 04:05 | rather not have any option to redo your
comp later, you can go up to this menu
| | 04:09 | again and choose Flatten and Merge.
| | 04:12 | This takes the comp work you've done
and creates a new composite file on your
| | 04:16 | hard drive, but you lose
access to your original edits.
| | 04:19 | You should really be sure you want to do this.
| | 04:22 | Finally, it's also possible at anytime to
unpack all of your takes to their own tracks.
| | 04:27 | Choose Unpack to New Tracks to do this.
| | 04:30 | This takes all three takes and puts them on
their own separate tracks without any comps.
| | 04:35 | This might be useful if you decide that
you want to use the takes to double or
| | 04:38 | triple a part instead of
making a comp out of them.
| | 04:42 | Quick Swipe Comping is yet another
reason why working on Logic is quick
| | 04:45 | efficient and very powerful.
| | 04:47 | Now that you understand how it
works you're ready to comp like a pro.
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| Punching in to replace bad audio| 00:00 | Punch recording allows musicians to
record over problem areas in a recording take.
| | 00:05 | The name comes from the old analog days
when the engineer had to carefully punch
| | 00:08 | the Record button in and out,
careful not to erase what was needed.
| | 00:12 | In this lesson you will learn how Logic
makes audio punch recording a safe and
| | 00:16 | easy way to fix that problem take
and turn it into one solid performance.
| | 00:21 | In this project we have a slide
guitar overdub part that was just
| | 00:23 | recorded. Let's listen.
| | 00:25 | (Music playing.)
| | 00:33 | It sounds pretty cool, but it has some problems.
| | 00:36 | The second phrase, from bar
17 to 130, is pitchy and flat.
| | 00:40 | Let's check that part out.
| | 00:42 | (Music playing.)
| | 00:49 | Otherwise, it's a good part.
| | 00:50 | The cool thing is the
guitarist is still in the booth.
| | 00:52 | So let's use audio punch
recording to fix this part.
| | 00:56 | There are two ways to use punch recording.
| | 00:58 | One is to set a predetermined time to
punch in and let Logic do the punching for us.
| | 01:02 | It will the punch in and
punch out automatically.
| | 01:05 | The other is to punch on the
fly like the old pros used to do.
| | 01:08 | Let's start with the
predetermined punch style first.
| | 01:11 | The first thing we want do is put
Logic into punch recording mode.
| | 01:14 | In the Transport Bar in the lower
right select the Autopunch button.
| | 01:19 | Also, next to that select the Replace button.
| | 01:22 | This'll replace the old part
with the new part once we punch in.
| | 01:26 | Because we selected the Autopunch button,
you'll notice a thin lane opened up in
| | 01:30 | the top bar ruler of the Arrange window.
| | 01:32 | Now you can click and drag in that
narrow lane to select the area you wish to
| | 01:36 | record over, from about bar 117 to about 130.
| | 01:41 | If you want to see a number display of
these locater positions, you can change
| | 01:46 | your Transport Bar settings.
| | 01:48 | Right-click in the Transport Bar,
choose Customize Transport Bar, and select
| | 01:53 | Sample Rate or Punch Locators.
| | 01:56 | Now we've got our Punch Locators
located in the middle of the Transport Bar.
| | 02:00 | We can click and drag in them
to move our punch locations.
| | 02:02 | We want it to be from about 117 to 130.
| | 02:06 | Notice we also have Cycle Mode
enabled, the green bar on top of that.
| | 02:10 | When we do the punching, this is
where playback will start and stop.
| | 02:14 | You can move this a little closer.
| | 02:18 | This will allow our musician to hear
the song a little bit before the recording
| | 02:22 | actually starts so that
they get into the groove.
| | 02:24 | We are ready to punch.
| | 02:26 | Let's record enable the track
and hit R to start recording.
| | 02:30 | Again, playback will start from the
beginning of where a cycle locator is and
| | 02:34 | Logic will automatically punch in
where we set our punch locators.
| | 02:37 | (Music playing.)
| | 03:07 | Hit Stop when it's done.
| | 03:08 | Cool! We just replaced the part.
| | 03:11 | It sounds better now.
| | 03:12 | Now let's explore punching on the fly.
| | 03:15 | It sometimes easier and faster if you're
in the flow of a project and don't want
| | 03:18 | to take the time to set
up a predetermined punch.
| | 03:21 | To do this we will turn off
Autopunch in the Transport window.
| | 03:23 | Next, we'll go to the Record button
in the left-hand side of the Transport
| | 03:27 | window and right-click it.
| | 03:29 | Here we will turn on Punch on the Fly.
| | 03:32 | Now we can disable Cycle Mode and hit Play.
| | 03:36 | Whenever we feel the need to punch
in, we just type R on the keyboard.
| | 03:39 | I'd like to replace this little
section here at the end of the first phrase.
| | 03:43 | So make sure the guitar player is
ready, roll back a little bit, hit the
| | 03:47 | Spacebar button to play, and when
I am ready to punch in, I'll hit R.
| | 03:51 | When I am done, I'll hit Stop or Spacebar.
| | 03:54 | (Music playing.)
| | 04:06 | If you didn't get the
punch perfect, it's no problem.
| | 04:08 | As long as the player was playing along,
you can actually use the Trimmer tool
| | 04:12 | to drag in and out the punch point.
| | 04:15 | You might ask how this is possible.
| | 04:17 | Well, in Punch on the Fly Mode, Logic
secretly records the whole pass from when
| | 04:21 | you hit Play just in case you miss the punch.
| | 04:24 | If you don't press Record,
any extra data is discarded.
| | 04:28 | It's probably good not to leave this
option on, however, as it can slow down your
| | 04:31 | system when you're not using it.
| | 04:32 | So go back to the Record button, right-
click it, and deselect Punch on the Fly
| | 04:37 | unless you are actively using it that time.
| | 04:39 | Awesome!
| | 04:40 | You now know how to use Logic's audio
punch recording features to fix your
| | 04:43 | recordings and make them
sound the best they can.
| | 04:46 | You can even fool people into
thinking you're able to get perfect takes all
| | 04:49 | in one shot.
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| Using Varispeed to create an old tape machine sound| 00:00 | Here is another technique that
comes straight from the good old days of
| | 00:04 | tape-based analog recording.
| | 00:05 | It's called varispeed and it refers to
speeding up and slowing down the tape
| | 00:08 | transport to create pitch
and speed effects in recording.
| | 00:11 | Of course, Logic has no tape transport.
| | 00:14 | But the Varispeed speed features in
Logic 9 emulate this kind of technique and
| | 00:18 | add their own special twist of course.
| | 00:20 | We are still listening to our
work in progress, "Nathaniel."
| | 00:23 | (Music playing.)
(Man singing: Oh Nathaniel, how the days are laid down.)
| | 00:29 | To turn on varispeed we
will go to the transport prefs.
| | 00:32 | Right-click on the Transport Bar
and choose Customize Transport Bar.
| | 00:37 | Here in the middle under Display
you can check Varispeed. Hit OK.
| | 00:42 | This brings some new
controls in your Transport Bar.
| | 00:44 | You have plus and minus button on the
right. You also have Speed Only in the middle.
| | 00:50 | This is our Varispeed controls here.
| | 00:52 | To enable Varispeed, click
on the plus minus button.
| | 00:55 | You see Speed Only lights up.
| | 00:57 | Speed Only is a kind of modern twist on
tape varispeed, because it allows you to
| | 01:02 | slow down or speed up the project, but
then Logic automatically compensates for
| | 01:06 | the pitch, leaving the song in the same pitch.
| | 01:09 | It does use a lot of real-time processing
and this can result in some audio artifacting.
| | 01:14 | Let's hear what it does.
| | 01:15 | Click directly on the percentage
button and drag up to speed up.
| | 01:19 | I am going to speed it up 20%.
| | 01:21 | You can also double-click on
this and type in the number 20.
| | 01:24 | (Music playing.)
| | 01:26 | (Man singing: Like a dominos
or like moles in the ground.)
| | 01:29 | (Music playing.)
| | 01:31 | (Man singing: Our mountain to ashes...)
| | 01:33 | As you can hear the song has
sped up, but the pitch is the same.
| | 01:36 | Let's try slowing down.
| | 01:38 | Double-click here and type -20.
| | 01:41 | This is going to be 20% slower.
| | 01:43 | (Music playing.)
(Man singing: ?flag a ride.)
| | 01:45 | (Music playing.)
| | 01:48 | (Man singing: Blowing, blowing down the mountain...)
| | 01:51 | Although we do hear a little bit of
audio artifacting, the pitch is the same as
| | 01:55 | normal, but the whole song has slowed down 20%.
| | 01:57 | If you click on Speed Only, you get
pulldown menu for all the controls
| | 02:02 | related to Varispeed.
| | 02:04 | In here we can change the way that we
control our speeding up and slowing down
| | 02:07 | by other things besides percentage.
| | 02:09 | We can speed up and slow down by
Resulting Tempo, we can detune using Semitones
| | 02:14 | and Cents, or we can deal with
the Tuning Reference using hertz.
| | 02:17 | Of course, in Speed Only detuning and
tuning reference won't do anything, since
| | 02:22 | this mode doesn't actually alter the pitch.
| | 02:25 | Let's try out Varispeed Mode.
| | 02:27 | Varispeed Mode does not correct for pitch.
| | 02:29 | It's actually more like slowing
down and speeding up actual tape.
| | 02:33 | Let's go back into the
menu and choose Semitones.
| | 02:36 | Here we'll double-click and will type -5
to slow it down 5 semitones from normal.
| | 02:42 | Let's hear what this sounds like.
| | 02:43 | (Music playing.)
| | 02:49 | (Man singing: I was that
kid on the Georgia line.)
| | 02:54 | So here we hear less artifacting and
we hear the whole pitch move down and
| | 02:59 | everything slow down together,
just like slowing down tape.
| | 03:02 | Let's hear what it sounds sped up.
| | 03:04 | Let's go 5 semitones above.
| | 03:06 | (Music playing.)
| | 03:08 | (Man singing: I was that
kid on the Georgia line.)
| | 03:13 | You can use varispeed in MIDI Mode if
you have the software instruments tracks.
| | 03:16 | This mode pitches the audio up and down
and also transposes non-drum MIDI events
| | 03:22 | up and down to match the audio shift in pitch.
| | 03:25 | So audio in MIDI stays locked in tune.
| | 03:26 | So you only want to use this one if you
have software-based tracks with MIDI on them,
| | 03:31 | something we don't have in this project.
| | 03:33 | I want to make a note here that
varispeed is different than Flex Time, which
| | 03:36 | we'll explore in the Flex Time video.
| | 03:39 | Flex Time is track specific while
varispeed affects the entire project globally.
| | 03:44 | So why use varispeeding?
| | 03:46 | If the artifacting isn't too bad,
you can use Speed Only Mode to pick the
| | 03:49 | tempo up for the whole song just a
little bit, or slow it down just to get a
| | 03:53 | little bit more in the pocket.
| | 03:55 | You can use the Varispeed Mode to slow
down the song to make it heavy and slow.
| | 03:59 | If that's your thing, but also you can
slow down or speed up, record to that
| | 04:04 | speed, then put it back to normal.
| | 04:06 | This can yield interesting
textures and effects for your song.
| | 04:10 | Varispeed Mode takes some old-school tape
techniques and brings then into the digital world.
| | 04:14 | Another awesome new feature of Logic 9.
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|
|
4. MIDI and Virtual InstrumentsUnderstanding MIDI| 00:00 | If words like MIDI, sequencing, and quantizing
sound scary and confusing to you, don't worry.
| | 00:06 | This lesson will tell you
everything you need to get on your way to
| | 00:08 | mastering MIDI in Logic.
| | 00:10 | MIDI is an acronym for Musical
Instrument Digital Interface.
| | 00:14 | The first thing to know about
MIDI is that it is not sound.
| | 00:16 | It's actually a simple, low-resolution
computer protocol originally developed in
| | 00:21 | the early 1980s, so that
computers could talk to one another.
| | 00:25 | With today's high-powered computers,
you may ask what business low-resolution
| | 00:29 | data from the 80s has in our music workflow.
| | 00:32 | But it's actually the simplicity and
small data streams that make MIDI fast,
| | 00:36 | reliable, and very powerful.
| | 00:38 | Let's look at some MIDI in Logic
to help you understand how it works.
| | 00:42 | In this project, we have a synth
part that was recorded as digital audio.
| | 00:45 | It was sampled at 48kHz and
exists as a file on the hard drive.
| | 00:49 | And it is on the Moog track.
| | 00:51 | Let's take a listen. We are going
to solo the track and we'll hear it.
| | 00:55 | (Music playing.)
| | 01:04 | This audio is sampled at 48kHz and
exists as a file on the hard drive.
| | 01:08 | It was recorded from the classic
pre-MIDI analog Moog synthesizer.
| | 01:13 | I also have a version of the same performance
that was recorded as a sequence of MIDI events.
| | 01:18 | This is a generic .mid file.
| | 01:20 | Let's look at the right-hand side of the
Arrange window to compare sizes between
| | 01:24 | this file and the audio file.
| | 01:26 | The file I am referring to is
called synthMIDI.mid. It is 514 Bytes.
| | 01:31 | The audio file we just
listened to is called Moog.
| | 01:34 | It is 8.3 MB.
| | 01:37 | If I did my calculations correct, that audio
file is almost 17,000 times bigger in size.
| | 01:43 | Let's bring it into the session.
| | 01:44 | I am going to simply click and drag
from the bin and drag it into an empty part
| | 01:48 | of the Arrange window.
| | 01:51 | When you bring a MIDI file into Logic, it
automatically loads a generic piano sound.
| | 01:55 | Notice that you can see
the MIDI notes in the region.
| | 01:58 | Let's listen to how this sounds.
| | 02:04 | (Music playing.)
| | 02:10 | So those MIDI notes are
playing a generic piano sound.
| | 02:13 | You already have a pre-made track
with a software instrument loaded on it.
| | 02:17 | Let's move this MIDI region up into
that track to make the MIDI events on that
| | 02:21 | track play this software
instrument called Filter Bubble.
| | 02:25 | Click and drag the
region up into the next track.
| | 02:27 | Let's hear what this sounds like.
| | 02:29 | (Music playing.)
| | 02:31 | Let's solo it, just to hear it by itself.
| | 02:33 | (Music playing.)
| | 02:41 | Cool. Now we can see how MIDI
can play different instruments.
| | 02:44 | It's separate from the sounds that it
makes through the software instruments.
| | 02:47 | Next we are going to open up the List pane
on the right-hand side of the Arrange window.
| | 02:52 | The List shows us a text type view of
all the MIDI events inside our currently
| | 02:57 | selected MIDI region.
| | 02:58 | Here we can see
information about those MIDI events.
| | 03:01 | Note that MIDI events contain
information like position of the song,
| | 03:05 | the pitch value, the value expressed as
velocity, and duration length of each
| | 03:10 | of the MIDI events.
| | 03:11 | In MIDI, velocity is not exactly volume.
| | 03:14 | It sometimes corresponds to the volume,
but it really is a value between 0 and
| | 03:18 | 127 of how hard the note was
struck when it was recorded.
| | 03:22 | Speaking of 0 to 127,
you'll see that a lot in MIDI.
| | 03:26 | It's the total range of any MIDI event.
| | 03:29 | This means 128 total steps, counting
numbers 0 to 127 on any MIDI control.
| | 03:35 | We can also look at this
MIDI region in the Piano Roll.
| | 03:38 | Let's hit Command+6 to
open the Piano Roll window.
| | 03:41 | Here we can see the MIDI
events in the Timeline fashion.
| | 03:45 | We can move these MIDI events around
and change their lengths and durations.
| | 03:48 | (Music playing.)
| | 03:51 | We can also hear what
happens when we do this.
| | 03:53 | Let's close this window.
| | 03:54 | There is another type of MIDI event
message called a continuous controller.
| | 03:59 | Continuous controller messages are
different than note-based MIDI events.
| | 04:03 | They are usually performed with a knob,
slider, or wheel on a MIDI controller
| | 04:07 | and they can control parameters such
as bending the pitch of a synth, or a
| | 04:10 | filter cut-off effect.
| | 04:12 | But just like MIDI note events,
continuous controller messages can be edited and
| | 04:16 | changed after they are recorded.
| | 04:18 | Let's select the MIDI Snare region, and
let's open it up in the Hyper Editor window.
| | 04:24 | Here we can see some continuous
controller messages that were recorded into this
| | 04:28 | region, such as Modulation.
| | 04:29 | Now that you're familiar with what
MIDI is and can do, you're ready to get
| | 04:35 | going with the many MIDI tools,
capabilities, and features that are available
| | 04:39 | for MIDI in Logic 9.
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| Using the Logic synth instruments| 00:00 | Logic ships with a very large arsenal
of incredible sounding synthesizers.
| | 00:04 | To new users, their names are very confusing.
| | 00:06 | Many of the synths begin with ES
and contain an initial after that.
| | 00:10 | This lesson aims to briefly describe
each of Logic's synths and shows you a few
| | 00:14 | ideas about how to start manipulating
the controls to craft your own sounds.
| | 00:18 | Let's start with the top track.
| | 00:20 | On here we have an ESM.
| | 00:22 | To open up the instrument parameters,
double-click on the ESM in the channel strip.
| | 00:26 | This is what the ESM interface looks like.
| | 00:30 | This instrument is a
monophonic, one-voice basic synth.
| | 00:33 | And it's primarily used to
make solid, fat-based synth sounds.
| | 00:38 | In this synth, you can only have one note
playing at a time and this comes in handy.
| | 00:42 | Since it can't play chords, the next
note supersedes the one before and you can
| | 00:47 | use the Glide control to slide between notes.
| | 00:50 | Also check out the Cutoff
filter to carve your sound.
| | 00:52 | Let's hear it.
| | 00:53 | (Music playing.)
| | 00:57 | Let me solo the track and let's hear this synth.
| | 01:01 | (Music playing.)
| | 01:10 | With a lot of these
instruments, they contain dials.
| | 01:13 | To control dials, click directly in the
center of the dial and drag your mouse
| | 01:17 | up to turn it right, and drag
your mouse down to turn it left.
| | 01:21 | The next track contains an ESP.
| | 01:23 | The ESP is a polyphonic synth.
| | 01:25 | Let me open up the ESP
control and close the ESM.
| | 01:29 | Double-click on ESP in this channel
strip and there are the ESP controls.
| | 01:33 | I will solo the track.
| | 01:35 | Like the ESM, it's a simple synthesizer.
| | 01:37 | The instrument has eight voices that
can play all at once, so it is polyphonic.
| | 01:42 | It can be used to create more complex bass
sounds in the ESM or simple chordal sounds.
| | 01:47 | You can use the sliders on the left
to dial-in different wave shapes that
| | 01:50 | can craft the sound.
| | 01:51 | You can also use the A and D of the
ADSR filter on the right to carve the way
| | 01:57 | your notes begin and end.
| | 01:59 | Let's hear this one.
| | 02:00 | (Music playing.)
| | 02:16 | On our next track, we have an ESE.
This is the ensemble synth.
| | 02:20 | Let's double-click on it to see it.
| | 02:23 | The ESE is designed to play
pads or chord-based synth beds.
| | 02:27 | It's great for retro style pads.
| | 02:30 | Like the ESM, the Cutoff filter is
especially useful in this synthesizer.
| | 02:34 | Let's solo this track and hear it.
| | 02:36 | (Music playing.)
| | 02:49 | Next we have the EFM.
We'll solo that track.
| | 02:53 | The EFM is a different style of synthesizer.
| | 02:56 | It uses something called frequency modulation.
| | 03:00 | That's what the FM stands for.
| | 03:03 | You might know of this from the
Classic Yamaha DX7 synth of the 80s.
| | 03:08 | Frequency modulation especially excels
in metallic shimmery sounds, but it is
| | 03:12 | very versatile in its uses.
| | 03:14 | Change the controls of the Modulator
and the Carrier to create an infinite
| | 03:18 | amount of new tones.
| | 03:20 | Also detune the Carrier for wild bendy sounds.
| | 03:23 | Let's hear this one.
| | 03:24 | (Music playing.)
| | 03:38 | Next we have the ES1.
| | 03:40 | The ES1 is a more versatile synth and
it can make many different sounds, from
| | 03:46 | baselines, to pads, to
polyphonic tones. Let's open it up.
| | 03:52 | It has two oscillators or tone
generators, which you can blend together, and
| | 03:57 | an LFO or Low Frequency
Oscillator for modulation style effects.
| | 04:02 | Use the Mix slider and the wave shaped dials
to change the sound of the two oscillators.
| | 04:07 | (Music playing.)
| | 04:22 | On our next track we have an ES2.
| | 04:25 | The ES2 starts taking the
synthesis techniques into higher levels.
| | 04:29 | As you can see, it has many, many controls.
| | 04:32 | It looks like a spaceship.
| | 04:33 | It has three oscillators and can do more
complex synthesis techniques like ring modulation.
| | 04:39 | It also has a router at the bottom that lets
you control the signal flow of the effects.
| | 04:43 | Check out the cool graphic
interface, the triangle to blend the three
| | 04:47 | oscillators, and the square
graph to manage the effects.
| | 04:50 | I like to use this synth for the interesting
sequences that are stored in the Preset menu.
| | 04:56 | This one is called Wave Pad Groove 01.
| | 04:58 | (Music playing.)
| | 05:11 | The next synth we'll go over is the EVOC.
| | 05:15 | The EVOC is Logic's vocoder synth.
| | 05:19 | Vocoder is short for voice encoder.
| | 05:22 | Like frequency modulation, vocoding
is a different style of synthesis that
| | 05:26 | blends a carrier and modulator to
create a third synthesized sound.
| | 05:30 | You're probably familiar with vocoding
if you listen to Kraftwerk or any song
| | 05:34 | with a singing robot sound, but
it has many other uses as well.
| | 05:38 | It uses an audio track as a carrier.
| | 05:41 | In this case, the track above it called words.
| | 05:43 | And it has its own MIDI input as the modulator.
| | 05:46 | Let's check out how this sounds.
| | 05:47 | I'm going deselect the Cycle
region and play it from here.
| | 05:52 | (Music playing.)
| | 05:55 | The last synth we'll go over is Sculpture.
| | 05:58 | Sculpture is truly a masterpiece of synthesis.
| | 06:01 | It employs theories and methods
of a fairly new field of synthesis,
| | 06:06 | modeling synthesis.
| | 06:08 | It relies on the acoustic properties
and a theory of an oscillating string.
| | 06:12 | So, as you might expect, it's
pretty awesome at strings emulation.
| | 06:15 | But as you can see, the complex and
innovative processing allows for many rich
| | 06:19 | and evocative sounds, from lush
soundscapes, to deep-synth string beds.
| | 06:23 | I love this instrument for doing
sound design for film and video and in my
| | 06:27 | opinion the weird or spooky sounds are awesome.
| | 06:29 | But that's just the tip of the iceberg
and the more you spend and learn about
| | 06:33 | this tool, the more uses it will have.
| | 06:35 | Here is one preset sound I
actually used for a film soundtrack.
| | 06:38 | It's called Marble on a Journey.
| | 06:40 | (Music playing.)
| | 06:49 | This is by no means a comprehensive
tutorial on all the ins and outs of
| | 06:53 | these synth instruments.
| | 06:54 | But hopefully these ideas give
you a place to start with them.
| | 06:57 | Some people are content working from the
presets, but others like to tweak to no end.
| | 07:01 | These ideas should get you going.
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| Working with the emulator instruments| 00:00 | In addition to the world-class synths
and samplers you get with Logic, they also
| | 00:04 | have included three
modeled keyboard instruments.
| | 00:07 | You get the EVB3, a classic Hammond B3
with Leslie speaker emulator, the EVD6,
| | 00:13 | an emulation of the Hohner D6 Clavinet,
and EVP88, an electric piano emulation.
| | 00:18 | Let's check these out.
| | 00:21 | A real Hammond B3 organ is quite a
machine. Between the drawbars, the foot
| | 00:25 | pedals, and the rotating speaker
cabinet, there is a lot going on.
| | 00:28 | Logic has faithfully emulated a
version of this venerable instrument and
| | 00:32 | at 0 pounds 0 ounces,
it weighs in a little lighter.
| | 00:35 | When you open the EVB3 by double-
clicking it in the channel strip, the first thing
| | 00:40 | that catches your eye are the drawbars.
| | 00:42 | Just like a real Hammond organ
there are upper and lower drawbars used to
| | 00:46 | generate different tonal combinations.
| | 00:48 | Let's play this MIDI region back
and try moving the tone bars to
| | 00:51 | create different sounds.
| | 00:52 | (Music playing.)
| | 01:04 | There are also drawbar
presets that you can click on.
| | 01:07 | That's what these are down here.
| | 01:09 | (Music playing.)
| | 01:17 | Another feature of the EVB3
is the Chorus knob over here.
| | 01:21 | This turns on the vibrato and tremolo of the organ
in different styles and strengths. Let's hear it.
| | 01:26 | (Music playing.)
| | 01:34 | You can change the rate or even
deactivate it by clicking on the Upper button.
| | 01:39 | Don't confuse this control with the
spinning Leslie effect, which we will get
| | 01:42 | to in a second.
| | 01:44 | Across the bottom here, we have
simple EQ controls. Low, Mid, and High.
| | 01:49 | The controls for the Leslie
speaker cabinet are on the bottom right.
| | 01:53 | Down here we have Chorale, which
means slow spin, Brake, which means stop
| | 01:58 | spinning, and Tremolo, which means spin fast.
| | 02:01 | Let's hear what these do.
| | 02:02 | (Music playing.)
| | 02:08 | Let me turn off the chorus, so
we can hear it just by itself.
| | 02:10 | I'll click on the Upper button to do that.
| | 02:11 | (Music playing.)
| | 02:22 | As you can tell, you can actually hear the
speed of the speaker spinning up and down.
| | 02:25 | You can also change the type of cabinet.
| | 02:28 | Where it says Cabinet, if you click
in there, you get a pulldown menu.
| | 02:31 | Here we can choose Wood, Proline, Single.
| | 02:34 | These are all different types of Leslie
cabinets that are out there in the world.
| | 02:38 | The ones with IR after
them are the most realistic.
| | 02:42 | IR stands for Impulse Response.
| | 02:44 | That means these are
acoustically modeled sounds.
| | 02:47 | If you chose the Split option, that
means the low and high speakers from the
| | 02:50 | original Leslie cabinet are split
to your left and right speakers for a
| | 02:54 | wider stereo image.
| | 02:55 | (Music playing.)
| | 03:02 | As you can see, the EVB3 has many more
controls that allow you to dial in the
| | 03:06 | Hammond sound of your dreams.
| | 03:07 | Let's go on to the next instrument, the EVP88.
| | 03:16 | The EVP88 gives us the Rhodes and
Wurlitzer electric pianos in all of their
| | 03:20 | various shapes and sizes.
| | 03:23 | You can either change the presets from
the Preset menu in the standard place that
| | 03:27 | it is in all plug-in
windows, or from the dial up top.
| | 03:31 | Just click on the middle of the dial
and turn right or left and change presets.
| | 03:35 | Let's hear some of these presets.
| | 03:37 | (Music playing.)
| | 03:50 | As you can see below, there are some
parameters that allow you to change the
| | 03:53 | tonality of the instrument.
| | 03:54 | It's a very realistic instrument.
| | 03:57 | The velocity and pressure from the
MIDI events actually put more gain on the
| | 04:00 | output just like a real electric piano.
| | 04:02 | You can get everything from the clean
bell sound of Herbie Hancock's Rhodes Mark I,
| | 04:06 | to the phasey Steely Dan dream sound
of the suitcase piano, to the thick trem
| | 04:11 | of Neil Young's Wurlitzer 200A.
| | 04:16 | On the last track we have an EVD6.
| | 04:19 | The D6 uses Logic's breakthrough string
modeling to emulate a classic Hohner clavinet.
| | 04:24 | You have heard this on such hits as
Stevie Wonder's "Superstition" and
| | 04:27 | The Door's "Love Me Two Times."
| | 04:32 | The controls at the bottom let you
choose it from right to left, Brilliant,
| | 04:36 | Treble, Medium, Soft, as Filter options.
| | 04:39 | You also can choose different pickups.
| | 04:41 | That's right, real clavinets actually have
strings inside them and guitar like pickups.
| | 04:45 | You can also change the stereo spread, how
wide across the stereo field the sound is.
| | 04:50 | Let's hear some of the presets.
| | 04:51 | Let's try out Wah Clav > 70s Funk Clav.
| | 04:55 | (Music playing.)
| | 05:00 | You can also check out Distorted Clav.
| | 05:04 | (Music playing.)
| | 05:12 | These instruments can employ
groundbreaking technologies that give you very close
| | 05:16 | emulations to some real instruments and
unlike the actual instruments they don't
| | 05:19 | break down, go out of
tune, or take up tons of room.
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| Using the EXS24 sampler| 00:00 | Unlike the synthesis and emulator
instruments, which create sound, sampling
| | 00:04 | instruments use prerecorded audio
files to create incredibly realistic
| | 00:08 | sounding instruments.
| | 00:09 | This is awesome because aside from
drawing from Logic's extensive library of
| | 00:12 | sampled instruments, you can record your
own samples, even bring in samples from
| | 00:16 | outside sample libraries.
| | 00:18 | Let's check out Logic's sampler, the EXS24.
| | 00:20 | When you'll open the EXS24 by double-
clicking it in the channel strip, you may
| | 00:26 | be surprised that there are no presets
in the usual Preset menu where you find
| | 00:29 | lots of sounds for software instruments.
| | 00:31 | This is because in order to load
sample banks for the EXS24, you must use the
| | 00:36 | Sampler Instrument field
directly above the Cutoff knob.
| | 00:40 | In here, you have all of your
instruments, from multilayer orchestral string
| | 00:44 | sections to every orchestral instrument
by itself, to bass and electric guitars,
| | 00:49 | pianos, horns and drums sets.
| | 00:52 | Let's hear a few of the
hundreds of library samples.
| | 00:58 | Here is a Full String section.
| | 01:00 | (Music playing.)
| | 01:08 | Next, we have a Harp.
| | 01:10 | (Music playing.)
| | 01:15 | Finally, we some Steel Drums.
| | 01:17 | (Music playing.)
| | 01:23 | Remember these are actual sampled sounds
that are being triggered by MIDI events.
| | 01:27 | The MIDI events in the track
are playing through the EXS24.
| | 01:32 | In the Instrument window, you also have
access to apply a filter to any of the sounds.
| | 01:36 | That's what this cutoff knob is for.
| | 01:38 | Let's hear what that sounds like.
| | 01:40 | (Music playing.)
| | 01:49 | You also have three LFOs to
synthesize modulation on your sounds.
| | 01:53 | If you're interested in bringing in and
editing your own samples to the EXS24,
| | 01:56 | you should take a look at the EXS Sample Editor.
| | 02:01 | To get to that, click on Edit in
the top right of the EXS24 window.
| | 02:04 | Here you see a display of the entire
MIDI keyboard and which notes or zones
| | 02:09 | correspond to which samples.
| | 02:12 | As you can see here this full orchestra
setting employs many samples, made up of
| | 02:16 | many individual Wave files.
| | 02:18 | If we click over to Groups in the top
left, we can see that this string section
| | 02:22 | is a multilayered sample patch and
different physical samples are played
| | 02:25 | depending on the velocity of how
they're played on the MIDI keyboard.
| | 02:29 | This Sample Editor is where you can
build to map your own sample libraries.
| | 02:34 | You can also use this editor to convert
and map ReCycle files from Propellerhead Software.
| | 02:38 | You do this under the Instrument menu.
| | 02:41 | Let's go back to the main EXS24 window.
| | 02:44 | If you click Options next to Edit on
the right, you'll see that the EXS24
| | 02:49 | supports importing from many popular
sample library formats including AKAI, Giga
| | 02:54 | Studio and SampleCell.
| | 02:56 | The EXS24 is a very powerful tool.
You can start by using the preset sounds but
| | 03:01 | it's good to know that there are many
complex layers lying beneath the surface
| | 03:05 | of this cool instrument.
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| Building tracks with Ultrabeat| 00:00 | The Ultrabeat software instrument is
admittedly daunting at first glance.
| | 00:04 | If you're familiar with how typical
drum machines wowrk, you'll be flying
| | 00:07 | with it in no time.
| | 00:08 | If not, no problem.
| | 00:10 | We'll go over some of the
basics of Ultrabeat in this video.
| | 00:13 | Let's open Ultrabeat by
double-clicking on the plug-in.
| | 00:15 | Next we'll load up a drum kit
by going to the Preset menu.
| | 00:21 | Let's try Minimal Electro Kit.
| | 00:24 | Loading a kit loads up to 25
individual drum sounds named on the left in
| | 00:29 | the Assignment section.
| | 00:31 | As you can see, these sounds
correspond to MIDI notes on your MIDI keyboard.
| | 00:36 | They use typical general MIDI mapping.
| | 00:39 | C1 is your kick drum, D1 is your snare,
F1 is your hi-hat, if your sound set has
| | 00:44 | those types of sounds.
| | 00:47 | Each sound also has a simple mixer
next to it where you can control level,
| | 00:51 | pan, solo and mute.
| | 00:54 | Each sample can be altered by using the
large Synthesizer section window to the right.
| | 00:59 | You select the sound you want to
alter and change the controls over here
| | 01:04 | to alter that sound.
| | 01:06 | These are synthesizer controls like
low frequency oscillators, LFOs, noise
| | 01:11 | filters and other types of
filters that can alter each sound.
| | 01:15 | Once you're happy with the sound of
the kit, you can use Ultrabeat like any
| | 01:18 | other software instrument and play or
record MIDI events using Logic's Arrange window.
| | 01:23 | But the thing that really sets
Ultrabeat apart from other instruments in Logic
| | 01:27 | is that it has its own internal sequencer.
| | 01:30 | That's where the controls are at
the bottom of the plug-in window.
| | 01:34 | Turn on the pattern sequencer by
clicking its on button on the bottom left.
| | 01:39 | To see a better view of the
patterns, let's switch over to full view.
| | 01:43 | This button is located on the bottom right.
| | 01:44 | Now you can see all sounds
in a grid-like pattern view.
| | 01:49 | The grid has 16th note
divisions and goes for 32 steps.
| | 01:53 | There are always 12 already loaded-
up patterns for you with every preset.
| | 01:57 | This is the first pattern.
| | 01:59 | Let's hit Play on the
sequencer and listen to it.
| | 02:01 | (Music playing.)
| | 02:06 | And Stop to stop playback.
| | 02:09 | You can switch to the other 11
preset patterns by opening up the Pattern
| | 02:13 | pulldown menu located here at the bottom.
| | 02:17 | These are the 12 already preset patterns.
| | 02:20 | You were listening to number 1.
| | 02:20 | Notice that they correspond
to MIDI notes on your keyboard.
| | 02:25 | To make your own pattern, go to an
empty pattern in the pulldown menu, like 13.
| | 02:31 | Here we have a blank pattern grid.
| | 02:33 | Let's create a four on the floor kick beat.
| | 02:35 | We'll select Noize Kick
as our active instrument.
| | 02:38 | Let's put the kick on beats 1,
5, 9, 13, 17, 21, 25 and 29.
| | 02:49 | Let's hit Play to hear what we've done.
| | 02:51 | (Music playing.)
| | 02:55 | Cool, that's a start.
| | 02:57 | Let's make a snare drum.
| | 02:58 | On the Can Snare track, let's put
the snare drum in on 5, 13, 21 and 29.
| | 03:07 | Let's hear what this sounds like.
| | 03:09 | (Music playing.)
| | 03:14 | It sounds good.
| | 03:15 | Let's make a hi-hat sound by dragging on the
Closed Hat lane straight across on every beat.
| | 03:22 | Let's hear what this sounds like.
| | 03:23 | (Music playing.)
| | 03:28 | It sounds good.
| | 03:29 | Now let's go to our Pattern
pulldown menu and right-click to copy this
| | 03:33 | pattern to the clipboard.
| | 03:34 | Now let's open the pulldown menu and
go to the next available empty pattern.
| | 03:39 | Here we'll right-click again and paste this.
| | 03:41 | Now we're going to add a couple of
different sounds to this next pattern.
| | 03:45 | We'll put Mid and High
Zaps in various locations.
| | 03:58 | Let's check this out.
| | 03:59 | (Music playing.)
| | 04:04 | Let's make one more pattern.
| | 04:06 | I'm going to go to the next empty
pattern in the pulldown menu and for this one,
| | 04:11 | let's make a snare drum beat that goes
across every beat of the whole pattern.
| | 04:20 | Now let's right-click in the
Velocity area and let's alter the velocity.
| | 04:24 | It gives us some
differentiation with the feel of the drumbeat.
| | 04:28 | Let's hear this.
| | 04:29 | (Music playing.)
| | 04:34 | Cool. Now we've made three patterns.
| | 04:37 | At this time, we can bring these
patterns out into the Arrange window.
| | 04:41 | To do this, we're going to go to the
first pattern we made, which is number
| | 04:45 | 13, and we'll take this pattern and bring
it into our Arrange window as a MIDI region.
| | 04:54 | Let's see that what the
next two patterns we made.
| | 05:05 | Now we want to turn the Pattern Sequencer off.
| | 05:08 | This way Ultrabeat will be able to
play the pattern from the MIDI regions in
| | 05:11 | the Arrange window.
| | 05:12 | Let's hear this.
| | 05:13 | (Music playing.)
| | 05:18 | Cool. Now you know a little more about
working in Logic's Ultrabeat instrument.
| | 05:22 | It's one of the most complex tools to
get into in Logic but now you'll be able
| | 05:26 | to get rolling with it.
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| Using channel strips to select a virtual sound| 00:00 | Once you start composing with MIDI in
Logic, you might start to feel that the
| | 00:03 | sound possibilities and options are endless.
| | 00:06 | For some, this can be overwhelming.
| | 00:08 | To help with this, Logic has come up
with a really easy way to get the right
| | 00:12 | sound for your track without futzing with
controls and plug-ins for hours and hours.
| | 00:16 | These are called channel strip
settings and you can use them to work with
| | 00:19 | awesome pre-made sounds or to
store and recall the ones that you've
| | 00:23 | carefully created yourself.
| | 00:25 | In this project, we have a track called Fisa.
| | 00:28 | It has some MIDI information in it but there
is no sound on the input of the channel strip.
| | 00:33 | You can see that here.
| | 00:35 | Let's use channel strip
settings to dial in a sound.
| | 00:38 | Go up to the Setting button at the top
of the channel strip, and let's click and
| | 00:43 | hold it, we'll go into Keyboards,
Warped Organs, and Old Box Organ.
| | 00:53 | As you can see it just loaded up the
channel strip with the bunch of plug-ins and
| | 00:57 | an instrument, the EVB3, on
the input of the channel strip.
| | 01:00 | Let's just know what this sound is like.
| | 01:02 | I will solo the track and hit Play.
| | 01:05 | (Music playing.)
| | 01:10 | This is kind of a droning track and
I like this sound of that but I want it to
| | 01:13 | sound more like a
classic Farfisa organ instead.
| | 01:16 | I'm going to go into the EVB3
instrument by double-clicking on it and I'm going
| | 01:20 | to go up to the presets of this plug-in.
I'm going to change the sound of this
| | 01:24 | organ a little bit. I'm going to go
to Other Simulations > Cheesy Organs.
| | 01:29 | That's kind of like the
idea of what a Farfisa is.
| | 01:32 | Cool. All the settings changed.
| | 01:34 | I'll close this and let's listen to it again.
| | 01:38 | (Music playing.)
| | 01:42 | Perfect, that's the sound I want.
| | 01:45 | Now that I've altered this channel
strip a little by changing the settings of
| | 01:48 | the plug-in, I can save it
and I can use it in later songs.
| | 01:52 | I always like to use
sound of a Farfisa in my work.
| | 01:54 | So I'd like to save this
so that I can use it later.
| | 01:57 | To do this, go back up to the top of
the channel strip where you originally
| | 02:00 | put the settings in place.
Go to Save Channel Strip Setting as.
| | 02:06 | We'll call this my farfisa. Hit Save.
| | 02:11 | Now at any time, I can go into channel
strip settings and my farfisa will show
| | 02:16 | up as an option and I can load
this sound that I've just created.
| | 02:21 | Channel strip settings aren't
just for software instrument tracks.
| | 02:24 | You can also dial them in
from regular audio tracks too.
| | 02:27 | Let's go to the wah1 track.
| | 02:30 | This contains the sound of the wah
guitar. And unsolo of the Farfisa track and
| | 02:35 | let's listen to the wah1 track.
| | 02:38 | (Music playing.)
| | 02:41 | Okay, it's just some simple guitar chops,
but I'd like to enhance the sound a little bit.
| | 02:45 | I'm going to go over to its channel
strip on my left-hand side here, go into
| | 02:50 | Setting, Electric Guitar > Clean >
Clean Reverb and I like the Boutique Retro
| | 02:58 | Clean Verb for this. It's going to
load up channel strip with guitar sounds
| | 03:02 | including Amp Designer.
| | 03:04 | Let's hear what it sounds like now.
| | 03:07 | (Music playing.)
| | 03:11 | Cool. I like that sound.
| | 03:12 | Notice there is also another wah track.
| | 03:14 | I'd like to copy and paste
these settings onto that track.
| | 03:17 | To do this, let's go to the Mix window.
| | 03:21 | Here we have wah1 and we want to copy
these settings to wah2. This is easy.
| | 03:26 | Just go into your channel strip
settings. Click Copy Channel Strip Setting.
| | 03:30 | Now I'll go into the wah2 track, into its
settings, and paste that channel strip setting.
| | 03:35 | All the settings are now pasted into wah2.
| | 03:38 | Now we can hear them both together.
| | 03:41 | (Music playing.)
| | 03:45 | Cool, now they both have
that same channel strip sound.
| | 03:48 | Let's close the Mix window.
| | 03:51 | Now we're going to use channel
strip settings to add drums to our song.
| | 03:53 | Let's unsolo these tracks and let's click
down on the bottom track and make a new
| | 03:59 | stereo instrument track.
| | 04:01 | By clicking on the bottom track,
the new track will appear below this track.
| | 04:04 | Go to Track > New.
Now let's make one software instrument.
| | 04:12 | A new software instrument track is created.
| | 04:16 | Of course, it's not loaded with any sounds yet.
| | 04:18 | This time we're going to call up our
channel strip setting not from the Setting
| | 04:21 | menu in the Channels Strip, but rather
from the Library on the right-hand side
| | 04:24 | of our Arrange window.
| | 04:25 | Let's go into the Drums and Percussions
folder, we'll go into the Ultrabeat Drum
| | 04:30 | Kits, and let's choose
something called Funk Boogie Kit.
| | 04:34 | As soon as I clicked on that, the
channel strip was loaded up with those sounds.
| | 04:39 | This is an alternate way to load
channel strip settings into your channel strip.
| | 04:42 | Now I am going to go Browser
pane and here I have a MIDI file
| | 04:47 | called drumbeat.mid.
| | 04:48 | I'm going to drag that drumbeat
into the track I just made.
| | 04:55 | Let's solo this up and here how it
sounds through this new channel strip
| | 04:58 | setting we've just made.
| | 04:59 | (Music playing.)
| | 05:05 | It sounds good.
Let's hear it with the song.
| | 05:07 | (Music playing.)
| | 05:15 | Once you've used channel strips to
get a sound for starters, you can always
| | 05:18 | tweak later and re-save them as
new channel strips. One more thing.
| | 05:22 | Pay attention to the settings in channel strips.
| | 05:24 | They can be a great way to learn
how to create instruments and process
| | 05:27 | tracks like a pro.
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| Understanding the basics of MIDI recording| 00:00 | Recording MIDI in Logic is like
recording audio, except that there are some
| | 00:04 | more possibilities and options
to know about when you overdub.
| | 00:07 | Remember that MIDI events are tiny in
file size and unlike sampled audio they're
| | 00:11 | stored inside your .logic project file.
| | 00:14 | Let's learn how to set up and record MIDI.
| | 00:17 | You're either going to record live MIDI
from your attached MIDI keyboard or via
| | 00:21 | the handy Caps Lock Keyboard.
| | 00:23 | Either way the concepts are the same.
| | 00:24 | Here we have a simple project.
| | 00:26 | The two tracks above are audio backing
tracks for the MIDI lead we're about to record.
| | 00:31 | A Lead Synth track software
instrument has already been made.
| | 00:34 | It's using the ES2 as a software synthesizer.
| | 00:37 | For software instrument tracks there's no
need to record enable the track manually.
| | 00:41 | As you see, once the track is selected
it already pops into record enable on its own.
| | 00:45 | Let's play some notes to make sure we're
getting MIDI input from our MIDI keyboard.
| | 00:49 | (Music playing.)
| | 00:52 | Now let's check our settings.
| | 00:54 | Go to File > Project Settings > Recording.
| | 00:57 | We can set count-in to give us some
time before we are actually ready to record
| | 01:01 | so that we can get into the song.
| | 01:02 | 1 bar should be enough and we can
choose more or less here if we wanted to.
| | 01:07 | Now we have the playhead
at the beginning of our song.
| | 01:09 | All you need to do is hit R to start recording.
| | 01:12 | I made this song in the key of C
so most white keys will work if you're
| | 01:15 | playing along.
| | 01:17 | (Music playing.)
| | 01:35 | Cool. We've just recorded a MIDI region.
| | 01:37 | Let's zoom on it a little bit to check it out.
| | 01:39 | Ctrl+Opt+Right Arrow.
| | 01:42 | Notice the region is called Miami Lead.
| | 01:44 | Why is it called that?
| | 01:45 | Here is something to know
about MIDI region naming.
| | 01:48 | Logic called it Miami Lead because
that's the name of the patch in the ES2.
| | 01:52 | Let's check it out. Double-click on
the ES2 in the Channel Strip. The name of
| | 01:56 | the patch or the preset is called Miami Lead.
| | 01:59 | Remember you can always select your
track and hit Opt+Shift+N to rename your
| | 02:04 | regions according to your track name.
| | 02:05 | Here is a few more things to know about
setting up your input when you record MIDI.
| | 02:10 | Remember MIDI isn't just notes.
| | 02:11 | It could also be
continuous controller messengers.
| | 02:14 | Depending on the controller you're using,
there are other MIDI messages that can
| | 02:17 | be transmitted, like after touch or
pressing down on notes a second time after
| | 02:21 | being held will trigger MIDI events, or
pitch shift or other controlled changes
| | 02:26 | that might be done with the
knob on your keyboard controller.
| | 02:28 | These can be filtered out along with
even the notes themselves by going to File >
| | 02:33 | Project Settings > MIDI.
Click on the Input Filter tab.
| | 02:37 | Here we can filter out any of
these MIDI messages while we record.
| | 02:40 | Clicking on Pitch Bend, for example,
will filter out any Pitch Bend messages
| | 02:44 | coming in from your MIDI
controller while you record.
| | 02:48 | Just like audio as we've learned in
the video punching in, it is possible to
| | 02:51 | punch in a record over sections of MIDI
but you must take care. Since old and new
| | 02:56 | MIDI can be merged in real time,
| | 02:58 | if you want to replace a section, you must
click the Replace button in the Transport.
| | 03:02 | That's this button here.
| | 03:03 | If you don't, Logic will merge
together your new part with the old part,
| | 03:07 | something that can't even
be done in audio recording.
| | 03:09 | Let's check out how to make a punch.
| | 03:11 | It's just like audio.
| | 03:12 | Click the Punch button in Transport
window, select the area that you want to
| | 03:16 | punch in, and hit the R button to record.
| | 03:19 | (Music playing.)
| | 03:31 | Cool. I'll just replace that section there.
| | 03:34 | Notice that when you're done with
punching, you don't get multiple regions like
| | 03:37 | you do with audio but rather one
merged region with the new MIDI notes.
| | 03:40 | Let's disable Punch Mode.
| | 03:43 | Finally, let's go over one
of Logic's best-kept secrets.
| | 03:46 | If you're playing around or
auditioning a MIDI performance and you weren't
| | 03:49 | actively recording, Logic always
keeps the last thing you played.
| | 03:52 | Let's check that out.
| | 03:53 | Let's go over here and hit Play.
| | 03:55 | I'm just going to play some keys in
the keyboard but we're not actually recording.
| | 03:58 | (Music playing.)
| | 04:05 | Just say we really loved
that and we want to get it back.
| | 04:07 | The sneaky key command for
this is to hit all three modifiers,
| | 04:11 | Ctrl+Opt+Command+R. Logic remembered
what you've last played even though you
| | 04:16 | weren't recording and
brings that right into the track.
| | 04:18 | Let's hear it.
| | 04:19 | (Music playing.)
| | 04:24 | Now we've gotten started on MIDI recording.
| | 04:26 | Don't worry if you aren't that good of
a performer. As we'll see, the cool thing
| | 04:30 | about MIDI is that once you get your
performance recorded, you can tweak the
| | 04:33 | notes, the feel, and the
timing to your heart's content.
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| Learning how to use MIDI with Cycle Record| 00:00 | Unlike audio files, MIDI events are
extremely flexible and lightweight.
| | 00:04 | One benefit of this is the ability to
merge a new MIDI recording with an old one.
| | 00:08 | Other possibilities in Logic include
unique cycle record features and the good
| | 00:12 | old takes folder, similar to what
we saw in the Quick Swipe video.
| | 00:16 | Let's check this out.
| | 00:17 | You can manage how Logic deals as
multiple MIDI takes in the Project Setting
| | 00:21 | Recording Preferences.
| | 00:23 | Under the MIDI section, where it says
Overlapping Recordings, you can manage
| | 00:27 | what Logic will do when
you'll cycle record MIDI.
| | 00:30 | Let's change this to Create
take folders for our first try.
| | 00:33 | In this mode, when we cycle record
Logic will make take folders for each pass.
| | 00:38 | Let's go into Cycle Mode by
hitting C on our keyboard.
| | 00:41 | Now we're going to record a MIDI
pass on this Lead synth track.
| | 00:44 | We'll let it loop several times.
| | 00:47 | (Music playing.)
| | 01:04 | When we hit Stop you see
have a packed take folder.
| | 01:07 | This takes folder works a lot like the
take folder we've learned about in the
| | 01:10 | Quick Swipe video, with one
exception. There is no quick swipe copying.
| | 01:14 | Notice the Quick Swipe button is missing.
| | 01:16 | To see all the takes, open the
disclosure triangle on the left-hand side.
| | 01:19 | If we scroll down, we can see
all the takes we just made.
| | 01:24 | You can go through all these takes to
choose the best one and keep the other ones,
| | 01:28 | but to edit a composite, you
must export these takes to a new track and
| | 01:32 | work from there to make a comp.
| | 01:34 | To do this, go into the menu on the
right-hand side of the region and choose
| | 01:37 | Unpack to New Tracks.
| | 01:39 | This takes all your takes
and puts them on new tracks.
| | 01:43 | Notice each of these new tracks is
already loaded up with the same Channel Strip
| | 01:47 | setting as the original.
| | 01:50 | Let's hit Undo to undo this.
| | 01:52 | Let's close the takes folder
and let's delete this recording.
| | 01:56 | With the region selected,
I hit the Delete key to delete it.
| | 01:59 | Now we're going to see how to use a
different merge recording preference to
| | 02:01 | record a drum loop on a drum set.
| | 02:03 | Let's select the Instrument 1 track, which
is already preloaded with an Ultrabeat drum kit.
| | 02:07 | Then you go up to Project Settings >
Recording, here we're going to go back
| | 02:12 | into the Overlapping Recording Preferences
and change it to Merge only in Cycle record.
| | 02:18 | This will create a single region for
each pass and merge all of the passes
| | 02:22 | together into that region.
| | 02:23 | That way we can record the kick drum,
the snare drum and the hi-hat in separate
| | 02:27 | passes, but have them all be
merged together into one final region.
| | 02:32 | When I hit Record, I'm going to use
the low C to record the kick drum.
| | 02:35 | It'll sound like this.
| | 02:36 | (Music playing.)
| | 02:38 | Then I'm going to use the D key above it
to make the snare drum on the second pass.
| | 02:42 | (Music playing.)
| | 02:43 | In the last pass, I'm going to use
the F-sharp key to recording the hi-hat.
| | 02:47 | (Music playing.)
| | 02:48 | When we're done, we'll have one
region that contains all of these
| | 02:50 | performances merged together.
| | 02:52 | Let's hit the R key to start.
| | 02:55 | (Music playing.)
| | 03:12 | And there it is, our final region
with all three passes merged together.
| | 03:16 | Let's delete this region.
| | 03:17 | I want to show you another way
to do this with the most control.
| | 03:20 | What we want to do is going to the
Project Settings, under Recording, and change
| | 03:25 | this to Create new tracks in Cycle record.
| | 03:28 | It will work the same way, but for
each pass Logic will make a new track.
| | 03:32 | Let's see how this works.
| | 03:34 | (Music playing.)
| | 03:48 | When I hit Stop, I have three tracks,
kick drum, snare drum and hi-hat.
| | 03:54 | This gives us the most control because
all three passes are now in different
| | 03:57 | tracks and we can change their
channel strips to make different sounds.
| | 04:00 | You now have seen some different
options for recording MIDI in Logic.
| | 04:04 | You will use these techniques to your
advantage as you work from here on out.
| | Collapse this transcript |
| Using Logic's step input| 00:00 | Step Input MIDI recording gives you
another way to compose MIDI events.
| | 00:04 | This mode literally allows you to
step in each event one at a time without
| | 00:08 | recording in real-time.
| | 00:09 | It's useful for a more methodical
approach to building parts or chords.
| | 00:13 | It can also be used to make very
fast and intricate parts that would be
| | 00:16 | impossible to play in real time.
| | 00:18 | Step Input can be performed with or
without an external MIDI keyboard.
| | 00:22 | In fact, Logic has a special pop-up window
called, you guessed it, the Step Input Keyboard.
| | 00:27 | Let's open it by going to the Options
menu and choosing Step Input Keyboard.
| | 00:31 | Then we get a pop-up window here that
we can use to manage our step inputting.
| | 00:35 | Across the top of the keyboard,
we have note length represented.
| | 00:39 | To the right, we have note velocities
represented with musical notations from
| | 00:43 | pianissimo to fortissimo.
| | 00:46 | The ppp is our lowest velocity
and the fff is our highest velocity.
| | 00:50 | Of course, we have the corresponding
keys below that we'll use to write in our
| | 00:53 | Step Input as we record.
| | 00:55 | We're going to use Step Input to
compose a synth sound in our Lead Synth track.
| | 00:59 | To give ourselves space to work in,
we first need to draw an empty MIDI
| | 01:02 | region in this track.
| | 01:03 | Make sure you have a Pencil tool from
your toolbox by hitting Escape and click
| | 01:08 | once in the Lead synth
track to draw an empty region.
| | 01:11 | With this empty region still selected,
we're going to hit Command+6 to open
| | 01:15 | the Piano Roll window.
| | 01:16 | This way we'll see the
MIDI event as we make them.
| | 01:18 | In the Piano Roll window, we want to
make sure that the In button at the
| | 01:22 | top left is selected.
| | 01:24 | Currently, it's deselected.
| | 01:25 | When we select it, it turns red.
| | 01:27 | This will allow this window to
receive incoming MIDI messages as we use
| | 01:31 | Step Input to record.
| | 01:33 | Okay, now we're going to start step inputting.
| | 01:35 | First, we want to select a note length.
| | 01:37 | We're going to record some quarter notes first.
| | 01:39 | So click on the Quarter Note button and
up around the fourth octave we're going
| | 01:43 | to play three notes, G, A and G.
(Music playing.)
| | 01:48 | As you can see,
they come in one at a time and
| | 01:50 | they're a quarter note in length.
| | 01:51 | Mow we're going to change
the duration of the next note.
| | 01:55 | Let's select the Whole Note
and let's play the note E.
| | 01:57 | (Music playing.)
| | 02:00 | Cool! We have G, A, G, E.
Let's hear how that sounds.
| | 02:03 | Hit Return to get back to the beginning
and you hear it along with tracks above
| | 02:07 | in the Arrange window.
| | 02:07 | (Music playing.)
| | 02:12 | Sounds good.
| | 02:13 | For the next part of our Step
Inputting, we're going to try out the MIDI
| | 02:16 | keyboard instead of using
notes on the Step Input Keyboard.
| | 02:19 | You can do this too.
| | 02:20 | Deselect the last note by clicking on
the gray area of the Piano Roll window.
| | 02:24 | Now let's make a rest.
| | 02:26 | Select Half Note and click on the Rest once.
| | 02:29 | Your play cursor should move ahead a half note.
| | 02:32 | As you see, it's a little bit off the grid.
| | 02:33 | So we're going to move it over a
teeny bit, so it gets back on the grid.
| | 02:37 | Perfect, we'll start from there.
| | 02:39 | Let's go back to choosing quarter
notes and on my MIDI keyboard, I'm going to
| | 02:43 | play the notes C and D.
| | 02:44 | (Music playing.)
| | 02:48 | Recording with the MIDI keyboard is a
little different because it listens to the
| | 02:50 | incoming velocity from the MIDI keyboard.
| | 02:53 | In that case, you don't
select your velocity here.
| | 02:56 | The velocity is set by how hard you
hit the notes in your MIDI keyboard.
| | 02:59 | That's why these are different colors.
| | 03:00 | I'm going to play two more notes.
| | 03:02 | Let's go back to Half Note and
let's play the notes F and E.
| | 03:06 | (Music playing.)
| | 03:09 | You can also use a Step Input
Mode to build chords one at a time.
| | 03:13 | Let's use the Caps Lock Keyboard to do this one.
| | 03:16 | Open the Caps Lock
Keyboard by hitting Caps Lock.
| | 03:18 | I'll decrease the transparency by
moving the slider to the right, so we can
| | 03:22 | see it a little better.
| | 03:23 | Then we're going to click the Chord
button on the left hand side of the
| | 03:26 | Step Input Keyboard.
| | 03:27 | This will allows us to play more than one
note at a time and have them come in together.
| | 03:32 | With the Chord button selected, I'm
going to play about four keys at the same
| | 03:35 | time on my Caps Lock Keyboard.
| | 03:37 | (Music playing.)
| | 03:39 | There, I've recorded a chord of half notes.
It let me put in more than one at a time.
| | 03:44 | Step Input can be a valuable tool for
composers who prefer to write in their
| | 03:47 | melodies and build complex
harmonic chords one note at a time.
| | 03:51 | It's kind of like composing with sheet
music except that you get to hear each
| | 03:54 | note as you write it.
| | 03:56 | We used the Piano Roll here to
demonstrate Step Input, but you can use any of the
| | 03:59 | MIDI Editors as you work with
it, including the Score Editor.
| | Collapse this transcript |
| Mastering quantization| 00:00 | One of my favorite definitions of
music is by a French avant-garde composer
| | 00:05 | Edgard Var?se, who said,
"Music is organized sound."
| | 00:07 | Logic software instruments and your
awesome recording techniques have the
| | 00:10 | sound part covered.
| | 00:12 | Now we'll use quantization to deal with
how those sounds are organized in time.
| | 00:16 | Quantization is the rhythmic correction
of audio or MIDI to a specific time grid.
| | 00:20 | Here we'll learn how to use MIDI quantization.
| | 00:23 | Let's listen to this song.
| | 00:24 | (Music playing.)
| | 00:32 | Okay, the drum sounds a little generic.
| | 00:34 | Very straight and drum machine like
and the bass is pretty off-rhythm.
| | 00:38 | We'll use Region Quantize
first to fix the bass part.
| | 00:41 | Region Quantize can be done within the
Region parameter box on the left-hand
| | 00:45 | side of the screen in the Inspector pane.
| | 00:48 | The Region parameter box will show you the
contents of the region you have selected.
| | 00:52 | In this case, the region is called
Liverpool Bass and we're seeing the
| | 00:55 | parameters for that region in this box.
| | 00:58 | Quantizing is a nondestructive
process and you can always get back to the
| | 01:01 | original performance.
| | 01:02 | Right now, the quantizing for a region
is in the default or Quantize Off setting.
| | 01:06 | No quantizing is happening.
| | 01:08 | Let's open this pulldown menu and
we'll get to see all the quantizing
| | 01:11 | options for that region.
| | 01:12 | These are all the Quantize options we have.
| | 01:14 | At the very top of this pulldown menu,
we've got some quantizing options for
| | 01:18 | mixed and odd meter quantization.
| | 01:20 | Swing quantization, which impose
some human feel grooves, are next.
| | 01:24 | There are the ones with the letters after them.
| | 01:26 | At the bottom of the menu, we've got
our straight quantization, which is where
| | 01:29 | we begin for this region.
| | 01:30 | Let's try 1/8th notes first.
| | 01:33 | You can already see the
notes moved around in the region.
| | 01:35 | Let's hear it.
| | 01:36 | (Music playing.)
| | 01:44 | Cool! That fixed our faulty performance.
| | 01:46 | Let's try quarter notes and see how that sounds.
| | 01:49 | (Music playing.)
| | 01:58 | As you can see, in this place the
performance in a grid of quarter notes this time.
| | 02:01 | Let's go back to Off and
we'll see how it's nondestructive.
| | 02:03 | We'll get back to the original
performance and how it's played.
| | 02:07 | (Music playing.)
| | 02:11 | Okay, let's go back to the 1/8th notes.
| | 02:12 | I think that sounded the best for now.
| | 02:15 | In the Region Parameter list,
let's also explore some of the Advanced
| | 02:18 | Quantization techniques.
| | 02:20 | Open that disclosure triangle to see them.
| | 02:22 | These allow even more control
over the feel of the performance.
| | 02:26 | As you can see, there are lots of
controls in Logic to subtlety change
| | 02:29 | quantization like Delay,
Dynamics, Q-Range, Q-Strength.
| | 02:33 | I'll make some advanced adjustments here, but
feel free to try some of them out on your own.
| | 02:37 | Go down to the Q-Length and double-click.
| | 02:40 | Let's try a Q-Length of 100.
| | 02:41 | Let's also adjust the Q-Velocity here to 50.
| | 02:47 | These fine -uning quantize controls can be
used to add a more human feel to the performance.
| | 02:51 | Let's see how they sound.
| | 02:52 | (Music playing.)
| | 03:01 | Pretty subtle, but it sounds a little
less robotic and more human this way.
| | 03:04 | Now we're going to check out the
Swing options by quantizing the drums.
| | 03:07 | So let's click on the Studio Brush Kit region.
| | 03:10 | Let's also solo the tracks, so
we can hear it just by itself.
| | 03:13 | Swing values, which delay certain
notes in the grid, become more extreme as
| | 03:17 | the letter goes higher.
| | 03:19 | They're up at the top of the menu.
| | 03:21 | So 16F is going to have more swing than 16A.
| | 03:24 | Let's see if we can hear that.
| | 03:25 | Let's try a 16A Swing
first and listen to the drums.
| | 03:29 | (Music playing.)
| | 03:34 | It's pretty subtle but we'll really
hear it if we choose 16F, the highest swing
| | 03:38 | value for 16th notes.
| | 03:40 | (Music playing.)
| | 03:48 | You can hear how the hi-hat is really swinging.
| | 03:50 | Now let's try putting the
drums to 8D Swing value.
| | 03:53 | 8D is another swing value, but this time
it's based on eighth notes instead of
| | 03:58 | 16th notes, and D is pretty high swing value.
| | 04:01 | Let's also put the bass into a swing value.
| | 04:03 | Click on the Liverpool Bass and
let's choose instead of the 1/8th note
| | 04:07 | straight quantization,
| | 04:08 | let's choose 8C Swing value for the bass.
| | 04:11 | Okay, let's hear them together.
| | 04:12 | I'm going to un-solo the Studio
Brush Kit and we'll hear both together.
| | 04:16 | (Music playing.)
| | 04:24 | This really changes the feel of our
song to kind of a more bluesy feel.
| | 04:27 | You can really hear how you can change
the feel of the whole performance just by
| | 04:30 | adjusting the Quantize options.
| | 04:33 | So what we've done here is region qantization.
| | 04:35 | All MIDI events in the
region are quantized together.
| | 04:38 | It's also possible to have more
control by using the Quantize features in
| | 04:42 | the MIDI Editor windows.
| | 04:43 | Select the Studio Brush Kit and hit
Command+6 to open the Piano Roll window.
| | 04:47 | Now we're going to select only the
specific events we want to quantize.
| | 04:51 | To do this, drag a
selection around just the hi-hats.
| | 04:56 | This will allow us to only quantize the hi-
hats and leave the other drumbeats alone.
| | 05:00 | Remember, we can only do
this from a MIDI Editor.
| | 05:03 | With those hi-hats selected, I'm going
to go up to the Quantize pulldown menu
| | 05:07 | that's in this window and choose 8C.
| | 05:09 | You can see that only the hi-
hats moved. Let's choose 16C.
| | 05:16 | As you can see, we're just quantizing the hi-
hats and leaving the other MIDI events alone.
| | 05:20 | You can also quantize
individual notes with the Quantize tool.
| | 05:24 | To get the Quantize tool, hit Escape to get
your toolbox and choose the Quantize tool.
| | 05:29 | Now we can click on just a
specific MIDI event to quantize it.
| | 05:33 | Try this kick drum event here. Click once on it.
| | 05:36 | You can see it automatically quantize to
a 16th note grid, because that's what's
| | 05:39 | selected in our pulldown menu currently.
| | 05:42 | Finally, if you ever want to
permanently and destructively set the Quantize
| | 05:46 | values in the region, you can
do this from the Arrange window.
| | 05:49 | Let's close the Piano Roll window.
| | 05:51 | So to destructively and permanently
set those values, make sure you have
| | 05:55 | the region selected.
| | 05:56 | Go to MIDI > Region Parameters
and select Apply Quantization
| | 06:00 | Settings Destructively.
| | 06:01 | Remember, this won't allow you to go back
to the original performance if you do it.
| | 06:06 | Quantization allows us to fix out of
time parts, but there is so much more
| | 06:09 | you can do with it.
| | 06:10 | You can start exploring the subtle ways
you can humanize or dehumanize a performance.
| | 06:14 | The possibilities really are endless.
| | Collapse this transcript |
| Working in the Piano Scroll window| 00:00 | The Piano Roll window is one
of Logic Pro's best assets.
| | 00:03 | It offers an easy and intuitive way
to create and edit MIDI note events and
| | 00:07 | their velocities, all while
viewing them in a timeline fashion.
| | 00:10 | Let's see how to use this powerful tool.
| | 00:12 | The Piano Roll must be open from a MIDI region.
| | 00:15 | Let's double-click on the
first Lead synth 1 region.
| | 00:18 | That opens the Piano Roll pane, which is
cool for quick updating, but let's open
| | 00:22 | the full window for this lesson.
| | 00:24 | You can hit Command+6 to do that.
| | 00:27 | Now we get the full Piano Roll window.
| | 00:29 | This window is just like the Arrange
window in that you can resize it from
| | 00:32 | pulling on the bottom right-hand corner.
| | 00:36 | You can also use the Zoomer tools in
the bottom right to zoom in and out
| | 00:40 | vertically and horizontally.
| | 00:43 | On the top of the window,
we have the little blue guy.
| | 00:46 | This is the Catch button.
| | 00:47 | When this is on, the screen will
update as the Playhead moves off the screen.
| | 00:51 | Let's see how this works.
| | 00:52 | (Music playing.)
| | 01:04 | As you can see, the screen updated.
| | 01:06 | Next to the Catch button,
we have the Link button.
| | 01:09 | When the Link button is
yellow, it's in content mode.
| | 01:11 | This means that the Piano Roll window
will update its content if another region
| | 01:15 | is selected in the Arrange window.
| | 01:17 | If the button is off, it means it'll
stay with this content no matter what other
| | 01:20 | regions are selected in the Arrange window.
| | 01:23 | The In button is used for Step
Inputting, as we saw in the Step Inputting video.
| | 01:27 | The Out button is important.
| | 01:29 | It must be on if you want to hear the
notes you're working on in the window.
| | 01:32 | Let's keep it on for this video.
| | 01:34 | Then we have some local menus.
| | 01:36 | Those offer us some different options
for editing in the Piano Roll window.
| | 01:39 | Next to that, we have our Quantize features.
| | 01:41 | Quantize pulldown menu,
Quantize Selected Events button.
| | 01:45 | Next to that, we have two important displays.
| | 01:48 | The first one shows the name
of the region we are working in.
| | 01:50 | We're currently working in Lead synth 1.
| | 01:52 | The one to the right of that is a
helpful display of what bar and beat and note
| | 01:57 | our cursor is at, at all times in the window.
| | 01:59 | It's very useful when
you're drawing in MIDI events.
| | 02:02 | As you can see, it updates in real
time depending on where our cursor is in
| | 02:05 | the window.
| | 02:06 | On the left of the window, we have a
representation of a piano keyboard showing
| | 02:09 | what notes correspond to the
horizontal lanes in the window.
| | 02:13 | You can play this keyboard by
clicking on these notes to audition sounds.
| | 02:16 | (Music playing.)
| | 02:21 | You can also use these keys to select notes.
| | 02:24 | If I click on the E key, every E MIDI
event in the whole region is selected.
| | 02:29 | All the little rectangles we see out
in main area are the MIDI note events of
| | 02:32 | varying lengths, and they're color-
coded according to note velocity.
| | 02:36 | To create a note, you can
right click and choose Create Note.
| | 02:39 | (Music playing.)
| | 02:43 | I find a better way to create a
note is to use the Pencil tool.
| | 02:46 | The best way I found to use this
is to have the Pencil tool as your
| | 02:49 | secondary tool.
| | 02:51 | As we see up in the top window,
our primary tool is the Pointer.
| | 02:53 | Our secondary tool is the Pencil tool.
| | 02:56 | That way, any time we hit
Command we get the Pencil tool.
| | 02:59 | So to create a Note, you
can easily just Command+Click.
| | 03:03 | As you click to create a note, you can
drag and change the note length before
| | 03:07 | you release the mouse.
| | 03:08 | (Music playing.)
| | 03:11 | To make it a bigger or
smaller, then you release the mouse.
| | 03:14 | To edit a note, the Pointer tool is your master.
| | 03:17 | It does a few functions depending
on where it is on the note event.
| | 03:20 | A single-click on a note selects that note.
| | 03:22 | (Music playing.)
| | 03:25 | As you notice, Logic plays
the note when you select it.
| | 03:28 | If we take the Pointer to the
edge, it turns into a Trimmer tool.
| | 03:32 | This way you can trim the note length.
| | 03:33 | (Music playing.)
| | 03:34 | It also does this in the left edge.
| | 03:36 | (Music playing.)
| | 03:38 | If you want to move the note, click directly
in the center of the note and hold the mouse.
| | 03:42 | (Music playing.)
| | 03:43 | You Pointer tool will turn into a
Hand tool and you can move the note up or
| | 03:46 | down, left or right.
| | 03:49 | (Music playing.)
| | 03:53 | You can select groups of notes by
dragging a cursor selection around the
| | 03:56 | notes you want to select.
| | 04:00 | This way, you can move all
the notes together as a group.
| | 04:03 | (Music playing.)
| | 04:07 | You can also trim all of them
together as a group here as well.
| | 04:09 | (Music playing.)
| | 04:11 | Notice I'm trimming all notes
at one time because they're all
| | 04:13 | currently selected.
| | 04:15 | (Music playing.)
| | 04:18 | To deselect notes, click anywhere in the
gray area where there aren't any notes.
| | 04:23 | Velocity editing requires the V tool,
which allows you to pull up or down on a
| | 04:27 | note to change its velocity.
| | 04:29 | You can get to the V tool by hitting
Escape and popping up your toolbox.
| | 04:32 | Let's choose the Velocity tool here.
| | 04:34 | Notice the V next to the cursor.
| | 04:37 | To change the velocity, click
directly on a note and pull up or down on
| | 04:41 | the mouse.
(Music playing.)
| | 04:42 | Pulling up increases the velocity,
pulling down lowers the velocity.
| | 04:45 | (Music playing.)
| | 04:48 | Velocity is the color-coded with purple
being our lowest velocity and red being
| | 04:52 | our highest velocity.
| | 04:53 | Also, if you can't see color, you can
use the length of the line inside a note
| | 04:57 | to see what your velocity is.
| | 04:59 | Notice as it gets higher,
line increases in size.
| | 05:02 | (Music playing.)
| | 05:08 | There is an array of special
tools in the local Edit menu.
| | 05:12 | Some notable ones are Select
All Following of Same Pitch.
| | 05:15 | Also, Select Equal Colored Events.
| | 05:18 | Of course, all standard editing functions work.
| | 05:20 | You have Cut, Copy, Paste, etcetera.
| | 05:23 | Now you know how to use the Piano Roll
window and the editing features inside of it.
| | 05:27 | I suggest practicing and
getting good and fast at this window.
| | 05:30 | You're going to use it a lot.
| | Collapse this transcript |
| Editing controller messages with Hyper View| 00:00 | In the video, Working in the Piano
Roll Window, we learned how to edit and
| | 00:03 | create MIDI notes, but what about
continuous controller messages, like pitch
| | 00:07 | shifting and modulation?
| | 00:08 | These can be edited as well in the
Piano Roll window using Hyper View.
| | 00:12 | Let's take a look at the first
Lead synth 1 region in the song.
| | 00:16 | Notice it has some white lines in it.
| | 00:18 | These white marks symbolizes that this
region contains continuous controller
| | 00:21 | MIDI data embedded in it.
| | 00:23 | Let's use Command+6 to
open the Piano Roll window.
| | 00:27 | Right now, we just see the MIDI note events.
| | 00:30 | Click on the small icon at
the bottom left of the window.
| | 00:33 | This opens Hyper View.
| | 00:35 | Hyper View shows us the continuous
controller message embedded in this region.
| | 00:39 | To find out which controller message it
is, open the Triangle pulldown window.
| | 00:43 | You can see Modulation is checked.
| | 00:45 | Let's listen to this region.
| | 00:47 | Every time the modulation goes up,
you'll hear the note get a little squiggly.
| | 00:50 | (Music playing.)
| | 01:12 | This sound of the note getting
squiggly is a function of the synth instrument
| | 01:15 | currently inserted into our
software instrument track.
| | 01:18 | Modulation made you other
things with other synth instruments.
| | 01:21 | Let's look back in the menu.
| | 01:22 | You can see there are many continuous
controller types that may or may not be
| | 01:26 | applicable to your specific instrument.
| | 01:28 | Let's deselect all the notes by clicking
on the gray area of the Arrange window.
| | 01:32 | Now we're going to check out some of
the tools we have available in Hyper View.
| | 01:36 | We'll use the Escape key to get
into our toolbox when we do this.
| | 01:40 | Let's check out the Pencil tool.
| | 01:42 | The Pencil tool lets you draw notes,
which is the name of these little points in
| | 01:46 | our controller data.
| | 01:47 | You can click and drag with the
Pencil tool to create new notes.
| | 01:50 | (Music playing.)
| | 01:54 | You can use the Eraser tool to erase notes.
| | 02:03 | The Finger tool lets you
select specific notes and move them.
| | 02:11 | Also with the Finger tool, if you
drag to the left or right, it'll erase
| | 02:15 | notes in its wake.
| | 02:17 | Then if you drag back, it'll
reveal those notes that you just erased.
| | 02:22 | If you want to select more than one note,
you can use the Automation Select tool
| | 02:26 | down at the bottom of your toolbox.
| | 02:28 | This allows you to drag a selection
around the bunch of notes and select them
| | 02:32 | all at the same time.
| | 02:34 | Notice they turn white when they're selected.
| | 02:36 | Once they're selected, we can move
them all around collectively as a group.
| | 02:40 | We can move them up or down, even left or right.
| | 02:48 | All of these options allow us to fine
tune and change the continuous controller
| | 02:51 | performance we recorded.
| | 02:53 | Let's deselect these by going back to
our Pointer tool and clicking in the gray area.
| | 02:56 | We can also use the Curve tool to
make a more gradual change between notes.
| | 03:03 | The Automation Curve tool
allows us to click between two notes.
| | 03:07 | If we pull left or right,
it turns into an S shape curve.
| | 03:10 | If we pull up or down, it
stays as a normal curve.
| | 03:15 | Again, that lets the movement be
more gradual between notes to fine-tune
| | 03:20 | our performance.
| | 03:21 | Hyper Draw also allows you an
alternative way to edit MIDI Note Velocity.
| | 03:25 | Let's choose velocity from the Hyper
Draw pulldown menu on the left. It's down at
| | 03:29 | the bottom of the list.
| | 03:30 | Here we see a bunch of lines that
represent vertically where the velocity
| | 03:36 | is from 0 to 127.
| | 03:38 | Let's scroll up a little
bit in our Piano Roll window.
| | 03:40 | Notice the first note is a very low velocity.
| | 03:43 | If I move its line up,
its velocity will increase.
| | 03:47 | Notice the note color changed.
| | 03:50 | Some people prefer to edit and view
velocity this way in the Hyper View menu.
| | 03:54 | Hyper View Mode is an ingenious way to
allow you to see both the MIDI notes and
| | 03:58 | the continuous controller
messages at the same time.
| | 04:01 | It's very useful to know about when you
want complete control over all your MIDI
| | 04:04 | parameters, and a clean
way to view them together.
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| Working with the Hyper Editor| 00:00 | In the video editing controller
messages with Hyper View, we used a special
| | 00:04 | view to edit one continuous controller
MIDI event message at a time in the Piano Roll.
| | 00:09 | What if we want to view and edit more
than one continuous controller messages at a time?
| | 00:13 | There's a special MIDI editing window
exactly for this purpose, the Hyper Editor.
| | 00:17 | Not to be confused with Hyper View,
the Hyper Editor also excels at editing
| | 00:21 | and writing drumbeats.
| | 00:23 | Let's check it out.
| | 00:24 | Select the first Lead synth region.
| | 00:25 | We can open Hyper Editor from the
Window menu or by choosing Command+5.
| | 00:30 | As you can see, there's some
modulation information written in there.
| | 00:33 | Let's listen to it.
| | 00:34 | It makes the notes squiggly
when the modulation gets higher.
| | 00:38 | (Music playing.)
| | 00:45 | This information is contained
in the Modulation lane, which is
| | 00:47 | currently selected.
| | 00:48 | Just like tracks in the Arrange window,
you can select different modulation
| | 00:52 | lanes when you want to work on them.
| | 00:56 | On the top of the left pane, we see a
region parameter list that mimics the
| | 00:59 | Region parameter box from
our Arrange window here.
| | 01:04 | In fact, the information in both boxes is linked.
| | 01:07 | At the bottom of the left-hand pane, we
have the Event Definition parameter box
| | 01:11 | that contains specific control
over the lane we have selected.
| | 01:14 | Since we've Modulation selected,
it gives us information about that lane.
| | 01:18 | And between these two boxes, we have
an important part of the Hyper Editor.
| | 01:22 | This is called the Hyper Set menu.
| | 01:24 | We're currently looking at the MIDI
Controls layer, but there are some other
| | 01:28 | layers we can look at.
| | 01:30 | We'll do that in a second.
| | 01:34 | Out in the main editing area, we can use
different tools to edit the modulation.
| | 01:38 | As you can seem we currently
have the Pencil tool selected.
| | 01:41 | You can select your tools just like
any other window by hitting Escape and
| | 01:44 | getting the toolbox.
| | 01:46 | The pencil tool lets us
write in controller messages.
| | 01:48 | (Music playing.)
| | 01:51 | The Erase tool let us erase these messages.
| | 01:58 | We can use the Line tool to
make smooth linear changes.
| | 02:00 | Just click on one end of the message,
drag your mouse over, and click again.
| | 02:04 | You can see it follows that line.
| | 02:07 | Let's get back to our Pointer tool.
| | 02:10 | Now we'll see how we can edit two
controller messages at the same time.
| | 02:13 | You can see we already have
some modulation information.
| | 02:15 | If I go up to the Pan Lane, I can now
write some Pan continuous controller
| | 02:19 | messages into this MIDI region.
| | 02:21 | I'lll use the Pencil tool to do this.
| | 02:28 | Let's hear what that sounds like.
| | 02:30 | (Music playing.)
| | 02:38 | This is what's cool about the Hyper Editor.
| | 02:40 | You can edit multiple continuous
controller parameters at the same time.
| | 02:43 | You can't do this with the simple
Hyper View of the Piano Roll window.
| | 02:46 | Let's close this window and we'll see
we have some new lines in our region.
| | 02:51 | This references the new continuous
controller messages we've written in.
| | 02:54 | Now let's use the Hyper Editor to
make a drumbeat, something it's good at.
| | 02:57 | Let's select the empty region in the Breaks track.
| | 03:02 | Let's also hit Equal on a keyboard to
make our Cycle loop go just for that bar.
| | 03:07 | Now we'll hit Command+5 to
open up the Hyper Editor.
| | 03:09 | So right now we're looking at the MIDI
Controls layer but to add a drum we want
| | 03:13 | to change it to a different layer.
| | 03:14 | We'll go into this menu.
| | 03:16 | We'll choose GM Drum Kit.
| | 03:18 | GM stands for General MIDI.
| | 03:19 | It's a generic note mapping and
naming scheme for assigning notes to
| | 03:23 | specific drums.
| | 03:25 | Not every instrument uses it, but
Logic's drums generally match roughly to
| | 03:28 | the names.
| | 03:29 | Okay, we're going to start with the Kick drum.
| | 03:31 | So I'll select that lane.
| | 03:32 | I'll change the Grid in the Lane
Parameter box to quarter notes.
| | 03:35 | Now I'm going to make a Kick drum in
every quarter note by clicking and dragging
| | 03:40 | with the Pencil tool.
| | 03:41 | The higher I drag up to the top,
the higher the velocity gets.
| | 03:45 | (Drumbeat.)
| | 03:57 | Let's go back to the Arrange window for
a second and solo this track, so we can
| | 04:00 | here just the drums by themselves.
| | 04:02 | I'll just move this window over
and will solo the breaks track.
| | 04:06 | I'll hit Command+Tilde to get
back to our Hyper Edit window.
| | 04:11 | There it is.
| | 04:14 | Let's listen to the Kick drum.
| | 04:16 | (Drumbeat.)
| | 04:20 | Cool.
| | 04:21 | And we'll move this window over a
little bit, and we'll make a Snare drum.
| | 04:23 | I've gone to the SD 1 track.
| | 04:26 | I'll make a snare drum on
every other quarter note.
| | 04:29 | (Drumbeat.)
| | 04:35 | Finally we're going to make a hi-hat sound.
| | 04:37 | We'll really play with the velocity on this one.
| | 04:39 | I'll go down to Closed Hi-Hat and
we're going to click and drag and we'll make
| | 04:44 | a different velocity as we ago.
| | 04:45 | (Drumbeat.)
| | 04:48 | This way the hi-hats will get louder
towards the middle of the bar and quieter
| | 04:52 | again towards the end.
| | 04:53 | Let's hear this drumbeat we
just made how it sounds like.
| | 04:55 | (Drumbeat.)
| | 05:02 | It sounds cool.
| | 05:03 | That go back to the Arrange
window, and hear everything together.
| | 05:06 | Command+Tilde, we're back to the Arrange window.
| | 05:10 | Unsolo the track and hit Play.
| | 05:12 | (Music playing.)
| | 05:17 | That sounds great!
| | 05:19 | Now we've explored another
editor in Logic for editing MIDI.
| | 05:22 | Don't get overwhelmed.
| | 05:23 | There are many ways to edit MIDI info
in Logic, and you'll know when the time
| | 05:26 | comes which editor is right for you.
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| Working with the Events List| 00:00 | Remember the movie The Matrix, when
the computer code turned into reality?
| | 00:04 | The Event List provides a non-
graphical look at events in your Logic project,
| | 00:09 | both regions in the timeline and
MIDI events within those regions.
| | 00:12 | If you understand how it works, you
can use it to precisely alter, augment, or
| | 00:16 | create new MIDI events in your project.
| | 00:18 | Notice in our project here
all regions are deselected.
| | 00:22 | If not, you can do so by clicking
on a gray area in the Arrange window.
| | 00:25 | Let's open the Lists
from the right toolbar icon.
| | 00:30 | See how the Link Mode
in the top left is purple?
| | 00:33 | This will show us a list of all the
regions globally in the project, and
| | 00:36 | where they begin.
| | 00:37 | You can change the location of any
region by clicking on the Start position.
| | 00:41 | Let's try this with wah2 for example.
| | 00:44 | Notice how wah2 region will change
position as I click and drag on the number.
| | 00:52 | Now, let's select the first Lead synth 1 region.
| | 00:55 | We're going to go back up to the Link
icon and double-click it, so that it
| | 00:59 | turns yellow.
| | 01:01 | Now we're in Content Link Mode.
| | 01:03 | The List view now shows us the contents
of the MIDI events, and the Lead synth 1 region.
| | 01:07 | Let's turn on Cycle by hitting C on a
keyboard, and we'll hit Spacebar to play.
| | 01:11 | You can follow the white line as
it goes over each note in the list.
| | 01:15 | (Music playing.)
| | 01:25 | You can see it's moving really fast.
| | 01:26 | That's because we have a whole bunch
of information in this MIDI region.
| | 01:30 | We have MIDI event notes.
| | 01:31 | We also have a whole bunch of modulation.
| | 01:33 | This is a little confusing and
we can actually filter this out.
| | 01:36 | To filter information out of the List,
just click on the names of the events you
| | 01:40 | want to filter up in the top of this menu.
| | 01:42 | Let's filter everything
out except for the notes.
| | 01:49 | Cool! That's a lot better.
| | 01:51 | Now we're just seeing notes only
and we can follow along a lot easier.
| | 01:55 | (Music playing.)
| | 02:04 | You can see how the line
was following each note.
| | 02:07 | The columns in the List
window are pretty useful.
| | 02:09 | From left to right they show
us the position of the note.
| | 02:12 | The Num column shows us
what the pitch of the note is.
| | 02:15 | The Val column shows us the velocity
of the note, and the Length/Info column
| | 02:20 | shows us the note duration.
| | 02:22 | We can change the pitch of a note by
clicking on its name in the Num column and
| | 02:25 | dragging up and down.
| | 02:27 | (Music playing.)
| | 02:33 | To create a new MIDI event, click Create
and then click the event you want to make.
| | 02:38 | In this case I want to click Create and Notes.
| | 02:40 | (Music playing.)
| | 02:42 | That will add a note to the list.
| | 02:45 | I can then edit its parameters.
| | 02:46 | I can change its location.
| | 02:49 | Say I want to change to number 21,
double click here and type 21, Enter.
| | 02:53 | That changes the location of the note.
(Music playing.)
| | 02:56 | I can also change that note's pitch
or velocity by clicking and dragging
| | 03:04 | in those values.
| | 03:05 | (Music playing.)
| | 03:08 | While the Events Lists is definitely
a clunky way to create and edit MIDI,
| | 03:11 | it could come in handy for those
times when you have to fix very specific
| | 03:15 | MIDI events.
| | 03:16 | Remember it's there, and use it at
your discretion as you work in Logic.
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|
|
5. Samples, Loops, and Conforming Tempo and PitchImporting prerecorded audio into Logic| 00:00 | Besides recording real-time into
Logic, there are many other ways of getting
| | 00:03 | material into your timeline.
| | 00:05 | In this video, we'll explore some
different methods of getting audio and MIDI
| | 00:08 | files that are already on
your computer into your timeline.
| | 00:11 | You may develop your favorite way of doing this.
| | 00:13 | I am going to go over some different
methods and discuss the differences
| | 00:15 | between them.
| | 00:16 | The first method we're going to
try is to import sounds directly from
| | 00:19 | our Finder.
| | 00:20 | So let's go to our Finder, and we're
going to go to Desktop/Exercise Files/
| | 00:25 | Chapter 05 and in here, we have a
groove bin that has some sounds for us.
| | 00:29 | Let's grab the Rhodes Funk 90 bpm file,
and we're going to drag it right into
| | 00:34 | our timeline in Logic in
the Track we have selected.
| | 00:38 | It asks us about Tempo Information.
Let's choose No. We're going to
| | 00:41 | choose our own Tempo.
| | 00:42 | As you see, it comes right in.
| | 00:44 | Another way to import sounds into
Logic are to use the File menu,
| | 00:47 | but first, we want to make a new
track for that sound to live on.
| | 00:50 | Go to Track > New, and let's
make an Audio Track in Stereo.
| | 00:54 | Hit Create, and here we have
a new track called Audio 2.
| | 00:58 | Now we can go up to the File >
Import Audio File and we'll find the sound
| | 01:03 | we want to bring in.
| | 01:04 | Let's bring upright bass.aif.
| | 01:06 | You can also play and
audition the sound from this dialog.
| | 01:09 | Click Play to hear it.
| | 01:10 | (Bass playing.)
| | 01:15 | Sounds good.
| | 01:16 | When you click Open, it will bring
that file right under the track you
| | 01:19 | had selected.
| | 01:20 | Another way to bring files into
Logic is to use the Media bin on the
| | 01:23 | right-hand side of your Arrange window.
| | 01:25 | Let's open it by clicking the Media button.
| | 01:28 | Here we have a File
Browser at the right-hand tab.
| | 01:30 | It's already pointed to our Chapter 05,
but let's go into the groove bin folder
| | 01:34 | inside that, by double-clicking on it.
| | 01:36 | Here are the sounds we just saw on
the Finder, but now we see them in
| | 01:39 | the Browser tab.
| | 01:40 | From here, I am going to
bring in some Congas sounds.
| | 01:43 | Notice there are two in this groove bin.
| | 01:45 | If we click on a top-one, it tells
us some information about right across
| | 01:47 | the top.
| | 01:48 | Notice we see 48000.
| | 01:51 | That's actually referring to our
Sample Rate, 48 kHz for this file.
| | 01:54 | The one below it says 44100.
| | 01:57 | That's 44.1 kHz.
| | 01:59 | How do we know which one
to bring into our project?
| | 02:01 | Well, we should check what
our Project Settings are set to.
| | 02:04 | Go to File > Project Settings >
Audio and we see the Sample Rate for this
| | 02:09 | project is 44.1 kHz.
| | 02:10 | So we'll bring in the 44.1 Congas file.
| | 02:14 | Let's do that by dragging it into
the empty space in the Arrange window.
| | 02:19 | If we were to drag in the 48 kHz
file into our 44.1 session, we'd hear it
| | 02:23 | back too slow.
| | 02:24 | That's what happens when you bring
the wrong Sample Rate into your project.
| | 02:27 | But last thing we're going to do
is to bring a MIDI file in from this
| | 02:30 | Browser window.
| | 02:32 | As you can see, we have an organ.mid file.
| | 02:34 | This is a MIDI file.
| | 02:36 | Let's bring it into the empty
space in our Arrange window.
| | 02:38 | When you bring in a MIDI file into an
empty track in Logic, it automatically
| | 02:42 | loads it up with the Grand Piano setting.
| | 02:45 | Let's hear out all these sounds together.
| | 02:46 | (Music playing.)
| | 02:51 | That sounds okay, but let's change
the sound of this track to an Organ.
| | 02:54 | Go into the Channel Strip Settings,
choose Keyboards > Organs and let's
| | 02:59 | try Classic Blues 01.
| | 03:01 | Now let's hear it all together.
| | 03:02 | (Music playing.)
| | 03:07 | Great, we have a new arrangement.
| | 03:08 | Before we close, let's take a look at
the file structure of this project on
| | 03:11 | the hard drive.
| | 03:12 | We'll hit Command+Tab to go to the Finder.
| | 03:14 | Here is where our project file lives,
| | 03:16 | but none of the files we added to
our Arrange window have been added to
| | 03:19 | our project folder.
| | 03:20 | Let's take care of that.
| | 03:22 | Close the Finder, come back to Logic,
now go to File > Save As, and we'll name
| | 03:27 | this file 05_01_end, but this time
we'll make sure to include the Assets.
| | 03:33 | We'll also check 'Copy external
audio files to the project folder.'
| | 03:37 | Let's hit Save.
| | 03:38 | Now when we go to the Finder, we can
see that our project folder contains the
| | 03:42 | audio files that we imported.
| | 03:44 | Remember that the .mid file, once you
add it to your range, becomes part of your
| | 03:47 | project file itself.
| | 03:49 | But the audio files themselves are
included in the audio files folder.
| | 03:52 | In this lesson, we learned a few
different methods of how to get audio files
| | 03:55 | that you or someone else may
have recorded into your Logic song.
| | 03:58 | Remember to include Assets if you want
to eventually take your project somewhere
| | 04:02 | else besides your system.
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| Exploring Apple Loops| 00:00 | Logic 9 ships with thousands and
thousands of carefully crafted and
| | 00:03 | perfectly recorded loops, of all
genres, styles, and fields, that you will
| | 00:07 | have at your fingertips.
| | 00:09 | Let's see how to use this powerful Apple
Loops and the Apple Loop Browser in Logic 9.
| | 00:14 | As you can see, our project has one audio track.
| | 00:16 | Let's open the Loops Bowser
by typing 0 on our keyboard.
| | 00:20 | The Loops Browser has several views we
can use to choose Loops and search for them.
| | 00:24 | You notice that in the pulldown menu,
next to View, we can see a list of all the
| | 00:28 | Jam Packs and Apple Loops that
are installed on our computer.
| | 00:31 | That's where the content of all
those DVDs that came with Logic went.
| | 00:34 | With all these options, you might
think it's hard to find what you want, but
| | 00:38 | Apple already thought of that, so they
embedded into each file special metadata,
| | 00:42 | or additional information, that
makes these loops searchable by keyword.
| | 00:46 | Up on the top right, we have some
different ways to filter through all the loops.
| | 00:50 | We can look at just musical-based
loops or sound effects-based loops.
| | 00:54 | We can also view and search by a Browser view.
| | 00:57 | Let's keep it on the Musical Note for now.
| | 00:59 | We are going to use these keywords down
at the bottom to choose a certain sound.
| | 01:02 | I am looking for something that's
Electric, Electric Piano based, Grooving,
| | 01:08 | and Jazz.
| | 01:10 | That filters through all of the
thousands of Apple Loops and shows us just loops
| | 01:13 | that match those descriptions.
| | 01:15 | You can audition these by
clicking on them in this list.
| | 01:17 | Let's hear some of the Upbeat Electric Pianos.
| | 01:20 | To play them, click on it.
| | 01:21 | (Electric piano playing.)
| | 01:26 | You can hit the Spacebar at any time
to stop, and the Spacebar again to play
| | 01:30 | when you are in this window.
| | 01:31 | (Electric piano playing.)
| | 01:32 | You can also use the Up and Down
arrows to select through the list.
| | 01:36 | (Electric piano playing.)
(Electric piano 2 playing.)
| | 01:43 | Cool!
| | 01:44 | That's the one I like.
| | 01:46 | I can simply drag this out into my audio
track I have selected in the Arrange window.
| | 01:49 | It's going to ask me about Tempo
Information, because Apple Loops have embedded
| | 01:55 | Tempo Information already in them.
| | 01:57 | But my project has its own
Tempo Information. It's at 100 BPM.
| | 02:01 | Let's not use the Apple Loops
Tempo and let's keep the project tempo.
| | 02:04 | I am going to click No.
| | 02:05 | So there is our Apple Loop.
| | 02:07 | We drag that into our Arrange window.
| | 02:08 | Let's zoom in a little bit on this and
use the Ctrl+Option+Right-arrow to zoom in.
| | 02:12 | I have to make sure I have
selected back in the Arrange window.
| | 02:18 | This little icon at the top of the
Region tells us it's a Stereo Apple Loop.
| | 02:21 | Just remember that's what
that icon means as we go forward.
| | 02:25 | Now let's use the browser
to search for another sound.
| | 02:27 | Go over here and reset the browser.
| | 02:29 | And this time, we are going
to use the Text Search Method.
| | 02:32 | Click in here and type in 'funk bass.'
| | 02:35 | We are going to get a bass
line to go with this piano sound.
| | 02:38 | Hit Return, and Logic will filter
through and find loops that match funk bass.
| | 02:43 | I am looking for an Upright sound, and there
is a whole bunch of Upright Funk Bass sounds.
| | 02:47 | I already know I like number 18. Let's hear it.
| | 02:50 | (Funk bass playing.)
| | 02:55 | Great!
| | 02:56 | I am going to drag this out into the
Arrange window, just underneath the Upbeat
| | 02:59 | Electric Piano track.
| | 03:00 | This one is two bars long.
| | 03:02 | It's also a Mono Apple Loop.
| | 03:04 | You can see it only has one circle in its icon.
| | 03:07 | Let's find one more sound.
| | 03:08 | Let's go back up into the Browser and we
will use the Browser tool to search for this.
| | 03:11 | Get into the Browser View by clicking
on the Browser icon next to the Note.
| | 03:15 | I am going to go By Instrument.
| | 03:18 | And the Instrument we are going to
look for is Clavinet, and then we are
| | 03:21 | going to choose Grooving.
| | 03:22 | We want a groovy Clavinet sound.
| | 03:24 | Here are some cool ones.
| | 03:25 | Downtempo Funk Clav 03.
| | 03:27 | I want to point out here that some of
the Apple Loops have a green icon, and
| | 03:31 | some of them have a blue icon.
| | 03:33 | Green icon Apple Loops are actually
MIDI-based, and we will see what that means
| | 03:37 | when I drag Downtempo Funk
Clav 03 into our Arrange window.
| | 03:42 | Notice it came in as a MIDI Region,
but it also automatically loaded up a
| | 03:46 | Channel Strip with the
Clavinet sound already on it.
| | 03:49 | Let's hear what these all sound like together.
| | 03:51 | (Music playing.)
| | 03:55 | It sounds pretty cool.
| | 03:56 | The advantage to using MIDI-based
Apple Loops is that now that we brought it
| | 04:00 | into our Arrange window, we
can actually change its sound.
| | 04:03 | Let's see what this sounds like.
| | 04:04 | I am just going to go up into the
Channel Strip Settings up here for this track,
| | 04:08 | and I am going to change it to an
Organ sound instead of a Clavinet.
| | 04:10 | But it will still keep the
performance that was in the original Apple Loop.
| | 04:13 | Go to Channel Strip Settings,
go to Keyboards > Organs.
| | 04:17 | Let's try Classic Blues 01.
| | 04:18 | Let's see what this sounds like.
| | 04:20 | (Music playing.)
| | 04:26 | I like it.
| | 04:27 | Apple Loops are a powerful and very deep
resource to any Logic user who wants to
| | 04:31 | embellish his or her tracks.
| | 04:32 | As you can tell, it would take an
entire lifetime to exhaust all the
| | 04:35 | possibilities that come with Logic,
and they sound pretty fresh too.
| | Collapse this transcript |
| Creating your own Apple Loop| 00:00 | Apple Loops are great, but some artists
and composers find it limiting to only
| | 00:04 | use loops from Apple's Jam Packs.
| | 00:06 | In this video, we will learn how to
make any regular audio file into an Apple
| | 00:09 | Loop that is searchable in Logic's Loop Browser.
| | 00:11 | Here is the project we are working on.
| | 00:13 | We are going to add a sound
from the Browser menu on the right.
| | 00:16 | We am going to add hiphopbeat90BPM.
| | 00:18 | If we click on it, we
will be able to audition it.
| | 00:20 | (Music playing.)
| | 00:26 | Cool! It's a two bar loop.
| | 00:28 | Let's see if it works with our project.
| | 00:29 | I am going to drag it
right into the Arrange window.
| | 00:31 | Okay, you made it in.
| | 00:34 | Let's hear how it sounds with our project.
| | 00:36 | First click in the Arrange
window before you hit play.
| | 00:38 | (Music playing.)
| | 00:44 | That doesn't sound so good.
| | 00:46 | Let's zoom in a little bit. Ctrl+Option+Right-
arrow, and move the Browser back a little bit.
| | 00:53 | Notice the icon of hiphopbeat90BPM.
| | 00:56 | It doesn't look like the Apple
Loops icons from these other regions.
| | 00:59 | That's because it's not an Apple Loop.
| | 01:02 | Since it's not an Apple Loop,
it can't conform to our tempo.
| | 01:05 | Our tempo of this project is 100, and
according to the name of this file, it's at 90 BPM.
| | 01:10 | Well, that explains it.
| | 01:11 | That's why it doesn't work.
| | 01:12 | So what are our options?
| | 01:14 | Well, one thing we can do is actually
make this region into an Apple Loop.
| | 01:18 | Logic comes with something
called the Apple Loops Utility.
| | 01:20 | It's a separate application, but you
can access it from Logic. Let's use that.
| | 01:25 | With this region selected, go up
to the Audio menu and choose Open in
| | 01:29 | Apple Loops Utility.
| | 01:30 | First, it will ask you about the length.
| | 01:33 | We already know this is a 2 bar loop.
| | 01:35 | So let's keep it at 2 bars, and use set length.
| | 01:39 | As you can see, Apple Loops Utility just opened.
| | 01:41 | It's going to ask us some
questions about this file.
| | 01:44 | One, is it Looping or Non-looping?
| | 01:46 | Well, we want this to loop
eventually, so let's check Looping.
| | 01:50 | Here we can also assign metadata,
so we can search for it better later.
| | 01:53 | We are going to give it some keywords.
| | 01:55 | We are going to say it's a Drum Part.
| | 01:57 | It's a Drum Kit, and we will use
some of these Descriptors. It's a Part.
| | 02:02 | It's Grooving.
| | 02:03 | If some of these don't apply, you can
just leave the button in the middle.
| | 02:06 | Okay, that's good for the Descriptors.
| | 02:08 | Let's go over to the top and
go over to the Transients tab.
| | 02:11 | Transients are sudden
changes in audio amplitude.
| | 02:14 | They are used by Logic in the Apple Loops
Utility to detect where the rhythm is in a file.
| | 02:19 | When you work with the Transients here,
you want to make sure the Sensitivity
| | 02:22 | slider is set high enough, so it detects all
the important rhythmic elements in the file,
| | 02:26 | but not so high that it detects too much.
| | 02:28 | If we pull the Sensitivity all
the way back, we get less markers.
| | 02:33 | Push it all the way forward,
| | 02:34 | it gets maybe too many.
| | 02:35 | I would say right about in the
middle is perfect for this file.
| | 02:38 | You can kind of visually see where they occur.
| | 02:40 | When you are done with this, hit Save.
| | 02:46 | That just made our file into an Apple Loop.
| | 02:48 | Let's close this window and let's check it out.
| | 02:52 | When I click back on Logic, the icon
on our file just turned into a little
| | 02:55 | loop-de-loop symbol.
| | 02:57 | That indicates to us that we
just made an Apple Loop out of it.
| | 03:00 | Let's see if it works now in our project.
| | 03:02 | (Music playing.)
| | 03:07 | Sounds great now.
| | 03:09 | Because it got turned into an Apple
Loop, it was able to conform into our
| | 03:11 | project tempo of 100, even
though it was natively 90.
| | 03:15 | The last step we would want to do here
is to add it to the Apple Loops Library.
| | 03:18 | Let's make sure the region is selected.
| | 03:20 | Go up to Region and say
Add to Apple Loops Library.
| | 03:23 | This asks us again about the Descriptors.
| | 03:26 | Again, we are going to choose Drums,
Beats, Grooving, any Descriptors that match
| | 03:32 | this loop will be good.
| | 03:33 | When we hit Create, it adds it to our
Library, and now we will be able to search
| | 03:38 | for it in our Loops Browser.
| | 03:40 | Let's try using some of
those keywords to find it.
| | 03:43 | Let's see, we did All Drums, we did Grooving.
| | 03:47 | Let me scroll down here
and see if we can find it.
| | 03:54 | Probably under the Hs, since
it starts with Hip Hop Beat.
| | 03:59 | A lot of Hip Hop Beats, but
there it is, hiphopbeat90BPM.
| | 04:04 | (Music playing.)
| | 04:07 | Cool! It has been added to our Library.
| | 04:10 | It's a great idea to build your own
Loop Library and a lot of musicians do it.
| | 04:14 | With the help of Apple Loops Utility,
all those loops can now be a part of your
| | 04:17 | Apple Loops Enabled Workflow in Logic.
| | Collapse this transcript |
| Conforming tempo, region to session, or session to region| 00:00 | When you are using loops and samples
that you or someone else recorded, you
| | 00:03 | might not always know the tempo of the
loop you are dropping into your project.
| | 00:07 | Logic has some ways to deal with this issue.
| | 00:09 | Let's listen to the song we have going.
| | 00:11 | (Music playing.)
| | 00:31 | It's a nice little 8 bar
arrangement, but it needs some drums.
| | 00:34 | Over in our browser, we have
something called dope beat 2 bar.
| | 00:38 | Let's click on it to hear it.
| | 00:40 | Hit the Play button if it
doesn't play automatically.
| | 00:41 | (Drums playing.)
| | 00:47 | I like the sound of that.
| | 00:48 | Let's see if it works with our arrangement.
| | 00:50 | I am going to click on it and drag it
into the Arrange window, underneath the
| | 00:53 | Jazz Standard track.
| | 00:54 | But actually, before I drop it,
I am going to move it to bar 3.
| | 00:59 | I can use the handy pop-up indicator
to tell me when I am at bar 3 and then
| | 01:03 | let go of the mouse.
| | 01:04 | Okay. Let's see how this works with our song.
| | 01:07 | Click back in the Arrange window and hit Play.
| | 01:08 | (Music playing.)
| | 01:19 | Sounds kind of like a train wreck.
| | 01:20 | Something is not right.
| | 01:21 | I don't think this dope beat 2
bar is the right tempo for our song.
| | 01:25 | Remember, our song's tempo is at 100,
but we don't know what the tempo of the
| | 01:29 | dope beat 2 bar region is.
| | 01:30 | We are going to use Logic as
a detective to find this out.
| | 01:34 | We do know that the dope
beat 2 bar 2 is two bars long.
| | 01:37 | So we need to make a 2 bar cycle up
in our bar ruler, from bar 3 to bar 5.
| | 01:41 | Let's drag the edges of
the cycle region to do that.
| | 01:47 | Now select dope beat 2 bar region.
| | 01:50 | Go up to the Options menu, under
Tempo, and say Adjust Tempo using Region
| | 01:54 | Length and Locators.
| | 01:56 | There's also a quick key
command for this, Command+T.
| | 01:59 | What this does is it looks at
what we are saying is 2 bars,
| | 02:01 | then looks at our region and conforms the
Global Tempo of the Logic project to match.
| | 02:06 | It's going to ask us if we want to
change the tempo of the Project globally?
| | 02:10 | That's what we want to do. So click Globally.
| | 02:14 | Notice the project tempo
just switched to 90.0003.
| | 02:17 | That's what the tempo of our dope beat 2 bar is.
| | 02:20 | The whole project has
changed its Global Tempo to match.
| | 02:23 | Let's see if it works.
| | 02:24 | (Music playing.)
| | 02:28 | Sounds right!
| | 02:31 | But what if we really wanted the
tempo of our project to be 100.
| | 02:34 | What are our options?
| | 02:36 | Let's go back to 100.
| | 02:39 | Again, now the region's back out of time.
| | 02:41 | But this time, we are going to conform the
region itself to the project tempo of 100.
| | 02:46 | For this, we will use the time stretch algorithm.
| | 02:48 | Make sure the Region is still
selected, then go up to Audio > Time Stretch
| | 02:53 | Region to Locators.
| | 02:54 | This will look at our region and
time stretch it to the 2 bar cycle we
| | 02:57 | already have selected.
| | 02:58 | Notice it actually wrote a new file.
| | 03:02 | If you look in our browser, there's now
the original dope beat 2 bar and there's
| | 03:05 | a new dope beat 2 bar.1.
| | 03:08 | That's our newly time stretched audio file.
| | 03:11 | Let's see if it works.
| | 03:12 | Remember, our BPM is now back at 100.
| | 03:14 | (Music playing.)
| | 03:19 | Great! It worked.
| | 03:20 | I want to make a note here that this is
different than Flex Time or Apple Loops.
| | 03:24 | This is actually writing a new file and
time stretching it to match our locators.
| | 03:28 | So now you know how to deal with a sample
or a loop that is from an unknown tempo.
| | 03:33 | It's your choice whether you want to
make the Global Tempo of this session
| | 03:35 | changed to match your new tempo, or if
you want to use the time machine, like we
| | 03:39 | did, to adjust the tempo of the
sample or loop to match a set tempo.
| | 03:44 | Keep in mind, with Flex Time and
Apple Loops there are other ways to
| | 03:47 | nondestructively change
the tempo of an audio region.
| | Collapse this transcript |
| Using the new Flex Time feature| 00:00 | Have you ever recorded a take where
the feel and spirit of the performance is
| | 00:03 | right on, but the rhythm is lacking a little?
| | 00:06 | Flex Time is a new feature in Logic 9
that allows you to conform an out of time
| | 00:10 | audio performance to match better with
your song, so the next time the singer
| | 00:13 | botches the rhythm a little, or the
guitar player just can't quite lock-in with
| | 00:17 | the drummer, this tool allows you to
seamlessly fix those parts without altering
| | 00:21 | the fidelity of the sound.
| | 00:22 | Flex Time uses slice technology,
much like other well-known programs, like
| | 00:26 | ReCycle or Ableton Live.
| | 00:28 | Let's see how it works.
| | 00:29 | Let's take a listen to this song.
| | 00:31 | Especially pay attention to the wah guitar.
| | 00:33 | (Music playing.)
| | 00:47 | Okay. It sounds to me like the wah guitar,
between bars 3 and 5, is a little out of time.
| | 00:52 | We are going to use Flex Time to fix this.
| | 00:55 | Let's zoom in a little bit on these tracks.
| | 01:01 | Okay. So we get our view nice and good.
| | 01:03 | You can see the wah guitar
regions we need to change.
| | 01:06 | We are going to actually use the
Congas as a guide track to help us with the
| | 01:09 | rhythm of the wah guitar.
| | 01:11 | To get into Flex Mode, go up to View > Flex View.
| | 01:15 | Command+F also opens Flex View.
| | 01:17 | You will notice that a couple of different
pulldown menus appear in the audio tracks.
| | 01:21 | If you open up one of these menus, you
see all of the different algorithms that
| | 01:24 | you can use in Flex Time.
| | 01:26 | These modes operate Flex Time in
different ways, depending on what your
| | 01:30 | content is of your track.
| | 01:31 | Slicing Mode simply
separates at the transients of audio.
| | 01:34 | It doesn't perform any
time compression or expansion.
| | 01:37 | It's really good for drums and percussion.
| | 01:40 | Rhythmic Flex Mode time stretches the
material, but doesn't pitch shift it.
| | 01:43 | It's really good for rhythm guitars,
keyboard parts, and Apple Loops.
| | 01:47 | Monophonic is optimized for voice or
melodic instruments, playing single notes.
| | 01:52 | Polyphonic is optimized for
chordal instruments, like keyboards.
| | 01:56 | The Tempophone is the effect of a
historical tape-based time stretching device
| | 02:00 | called the tempophone.
| | 02:02 | You can use that for special effects.
| | 02:04 | Finally, the Speed Mode
pitch shifts as it stretches.
| | 02:08 | First we are going to turn on
Flex Time for the Congas track.
| | 02:10 | Let's use Slicing Mode.
| | 02:12 | As soon as you select it, the track
gets analyzed and we can see some of the
| | 02:15 | transients are showing up with
white lines going across the region.
| | 02:18 | This is good, because we are going to
use these as a guide while we Flex Time
| | 02:21 | the wah guitar track.
| | 02:22 | Let's turn on Rhythmic Flex
timing for the wah guitar track.
| | 02:27 | Again, it analyzes the track, you see
the transients, and we also see a Flex
| | 02:31 | tool that showed up.
| | 02:33 | When you are at the bottom of the region
with the Flex tool, it turns into three
| | 02:36 | Flex tools and the top is just one.
| | 02:38 | Clicking with three Flex
tools creates three Flex markers.
| | 02:42 | Clicking with one creates one.
| | 02:44 | These Flex markers are what we are going
to use to move the sounds around in time.
| | 02:47 | So now, using the Congas as a rhythmic
guide, we are going to move some of these
| | 02:52 | transients around to match the Conga.
| | 02:54 | As you move, you will
notice there's some color-coding.
| | 02:57 | When the audio is orange, it
means it has been time stretched.
| | 02:59 | When it's green, it means
it has been time compressed.
| | 03:02 | So we are just going to match some of
these transients and hopefully the sounds
| | 03:06 | will get back in time.
| | 03:07 | It's kind of a trial and error thing.
| | 03:09 | You have to move them around and then
listen, but you can see how I am moving
| | 03:12 | these transients to match the Congas track.
| | 03:19 | Okay. Let's hit C to Cycle and
let's listen to this region.
| | 03:21 | (Music playing.)
| | 03:27 | It sounds pretty good!
| | 03:28 | Maybe this one needs a little adjustment back.
| | 03:30 | (Music playing.)
| | 03:32 | Perfect!
| | 03:34 | For the second region, I am going
to do something slightly different.
| | 03:36 | I will select it, and then we are
going to actually go up into the
| | 03:39 | Region parameters box.
| | 03:40 | Now that we have analyzed the track with
Flex Mode, we can actually quantize the
| | 03:44 | audio, just like we would do with MIDI events.
| | 03:46 | Let's open the Quantize
menu and choose 16th note.
| | 03:50 | All the transients have now
quantized to 16th note grid.
| | 03:53 | This should work with our song too.
| | 03:55 | Let's move this cycle over
there and listen to that region.
| | 03:58 | (Music playing.)
| | 04:01 | That's great!
| | 04:02 | Let's hear both of them together.
| | 04:03 | (Music playing.)
| | 04:09 | Great!
| | 04:10 | Remember, at any time, you can
disable Flex Mode and go back to your
| | 04:13 | original performance.
| | 04:14 | Just click back in the
Flex Mode menu and go to off.
| | 04:16 | (Music playing.)
| | 04:19 | There's our original out of time performance.
| | 04:21 | We can go back to Rhythmic and all
our Flex Time markers are still there.
| | 04:26 | When you are done, you can disable Flex
View by going back up into the View menu
| | 04:30 | and unchecking Flex View.
| | 04:32 | Even with Flex View off, we still have
the benefits of the Flex work we did.
| | 04:35 | (Music playing.)
| | 04:39 | Also, you can use the Flex tool, in the
toolbox, without having to go into Flex View.
| | 04:44 | Hit Escape to open your toolbox and
choose the Flex tool, and once you Flex Time
| | 04:48 | analyzed your tracks, you can move any
transient around with this tool, as you
| | 04:53 | see I am doing with the wah track.
| | 04:56 | With the magic of Flex Time, Logic
makes audio act like MIDI, where any
| | 05:00 | performance can be re-timed without
the destructive reprocessing and loss of
| | 05:04 | audio quality that can be
associated with time stretched processing.
| | 05:07 | It's powerful stuff.
| | 05:09 | Feel free to use Flex Time on vocals,
bass, guitars, drums, any sound that you
| | 05:14 | need to lock into the groove better.
| | Collapse this transcript |
| Beat mapping your project| 00:00 | Using Flex Time to make out of time region or
performances work in a project is very cool,
| | 00:05 | but sometimes you'll find yourself in a
situation with a live band where tempo
| | 00:08 | fluctuations occur naturally.
| | 00:10 | The ebb and flow of the tempo when a
band plays a song together, are a part of what
| | 00:14 | makes a song feel live.
| | 00:15 | In other words, you like the imperfect
tempo and you want to keep it like that.
| | 00:19 | In this lesson, we'll learn how to
use the Beat Mapping features of Logic,
| | 00:23 | and with these you can map out the
grid of your Logic project to match these
| | 00:26 | tempo fluctuations.
| | 00:27 | The best way to start this process is to
single out a drum part that has all the
| | 00:31 | rhythmic timing elements clearly defined.
| | 00:33 | In this case, we'll use the Kick drum.
| | 00:35 | The next step is to get a ballpark
reading on the average tempo of the drum part.
| | 00:40 | This will obviously change
over the course of the song.
| | 00:43 | We need to get a starting point.
| | 00:44 | So on the Kick drum's Channel Strip,
we're going to open an Insert. This is
| | 00:48 | under Metering, and it's called BPM Counter.
| | 00:52 | BPM Counter basically listens to
incoming audio and tells us a rough estimate of
| | 00:56 | the beats per minute.
| | 00:57 | (Music playing.)
| | 01:06 | Okay, it tells us that
average tempo is about 134.7.
| | 01:10 | So let's make our project
tempo 134.7, for starters.
| | 01:14 | Go into the Transport, double-click,
type in 134.7, hit Enter, and now we have a
| | 01:21 | rough ballpark tempo.
| | 01:22 | Let's see if we stay on the whole time.
I'm going to move it to the end of the song.
| | 01:26 | I'll turn on the Metronome to see
if it's on time.
| | 01:29 | (Music playing.)
| | 01:33 | See, already by about the midpoint in the
song, the band has gotten off from that tempo.
| | 01:38 | That's okay.
| | 01:38 | We are going to use Beat Mapping to fix this.
| | 01:41 | Bring your cursor to the beginning of the
song and to turn on Beat Mapping, we need
| | 01:45 | to configure our global view.
| | 01:46 | So go to View > Configure Global Tracks.
| | 01:49 | Here, we can turn on the
Beat Mapping lane. Click Done.
| | 01:54 | Open the Beat Mapping lane up nice and big.
| | 01:56 | Let's also pull out the Kick
track so we can see it nice and big.
| | 01:59 | Make sure the region is selected and
click Detect on the Beat Mapping lane.
| | 02:03 | It's going to ask if you want to
overwrite existing transients. Let's say Yes.
| | 02:07 | It's analyzing the Kick track.
| | 02:09 | It's looking at the transients
that are there. Okay, great.
| | 02:12 | Now I need to zoom in a little bit.
| | 02:14 | I am going to zoom in pretty far
here to really see what's going on.
| | 02:19 | So in the Beat Mapping lane, we have
Logic's grid above the top and then we
| | 02:23 | have, on the bottom, where Logic
thinks the transients are in the region.
| | 02:27 | You can see, like in the case of
this first beat, it's slightly off from
| | 02:31 | where the timing grid is.
| | 02:32 | So in Beat Mapping what we can do is
drag from the top over to the transient and
| | 02:37 | we can form a tempo for that location.
| | 02:39 | Beat Mapping takes a little while
because you've to do this beat by beat.
| | 02:42 | Some of them are right on.
| | 02:44 | This one is slightly off.
| | 02:45 | Let's move it over. You just
click and drag and it sets it.
| | 02:48 | So again, some of these beats are
going to be right on. Other ones might
| | 02:52 | need more adjustment.
| | 02:53 | This ones look okay. I'm going to go down a
little bit. This one is little off,
| | 02:57 | just click it back.
| | 02:58 | Here we go. This one is little off,
click that back. This one is little off,
| | 03:04 | click that back and go off.
| | 03:08 | It takes a little bit of time.
| | 03:09 | But you'll be happy later,
once you set this all up.
| | 03:11 | These ones are getting off.
The drummer speeding up a little bit.
| | 03:18 | Do a couple more and then we'll
zoom out and see what we have done.
| | 03:20 | Okay, I am going to use a Ctrl+Option+
Left Arrow to zoom out a little bit.
| | 03:25 | As you can see, we are starting the
change the tempo over the course of the song.
| | 03:29 | I have another project
where we have done this already.
| | 03:31 | Let's close this one and open that one.
| | 03:36 | We'll open the Global Tracks.
| | 03:37 | We'll open the Tempo so
we can see what's going on.
| | 03:39 | You can see here, the tempo fluctuates
slightly over the course of this song.
| | 03:44 | The Beat Mapping has been done for the
whole song and it goes all the way to the end.
| | 03:47 | If you want to hear what it sounds
like, once the song has been beat mapped
| | 03:50 | perfectly, you can turn on
the Metronome and we can listen.
| | 03:53 | That way we'll hear the Logic's timing
grid against our song.
| | 03:56 | (Music playing.)
| | 04:00 | Let's get rid of that problem area we
heard before and see if it's on time.
| | 04:04 | (Music playing.)
| | 04:06 | See, I think it was around here.
| | 04:08 | (Music playing.)
| | 04:12 | Let's check the end of the song and
make sure it's on time there.
| | 04:14 | (Music playing.)
| | 04:21 | Pretty good.
| | 04:22 | This song has been completely
beat mapped, and now it matches with
| | 04:25 | Logic's timing grid.
| | 04:26 | Many of our favorite older rock music
was recorded on tape without the benefits
| | 04:29 | of Flex Time, and the idea that everything
has to be locked in to an unchanging tempo.
| | 04:34 | With this technique, you can keep the
breathing room of a natural performance
| | 04:37 | intact and still reap the
rewards of Logic's timing grid.
| | Collapse this transcript |
| Importing elements from project to project| 00:00 | With Logic, it's easy and fun to
work on multiple versions of a song.
| | 00:04 | I'm talking about remixes, and alternate
versions, dance mixes, that sort of thing.
| | 00:08 | If you're working this way, you might
find that you want to import elements from
| | 00:11 | one project into another.
| | 00:12 | Logic 9 has some new features that
make this simple and very powerful.
| | 00:16 | Here is a song, Nathaniel.
| | 00:18 | As you can see, from the Global Tracks
View of a tempo, it has been beat mapped.
| | 00:22 | This means the timing grid in Logic has
been matched to the bands performance.
| | 00:26 | I am going to import the Bridge section
we worked on in a different version of
| | 00:29 | this song into our current version.
| | 00:31 | Let's open the Media Browser.
Make sure the Browser tab is checked and we see
| | 00:35 | we have an Alternate Version.
| | 00:37 | If we double-click on this,
we'll get some of our Import options.
| | 00:40 | Here, we see a list of all the
tracks that are in our Alternate Version.
| | 00:44 | We get to choose different elements
from these tracks that we'd like to import
| | 00:47 | into our current Logic project.
| | 00:49 | For this project, we are most
interested Beat 1, Synth and Shaker tracks,
| | 00:53 | but we are going to choose what
elements we want to bring in from those tracks.
| | 00:57 | As you can see, we can choose
between Content, Plug-Ins, Sends, I/O, or
| | 01:02 | Automation. We are going to choose Content
and Plug-Ins from all three of these tracks.
| | 01:08 | That means we'll get regions and the plug-ins
in Channel Strip settings that are on the tracks.
| | 01:12 | They all come into our current project.
| | 01:15 | Let's hit Add to do that.
| | 01:16 | So now if I scroll down to the bottom
of the Arrange window, you can see three
| | 01:22 | new tracks have been added:
Beat 1, Synth and Shaker.
| | 01:25 | Those came from the other project,
and now they are in this project.
| | 01:28 | That's what we wanted, except they are
not exactly in the right place of our song.
| | 01:32 | We wanted to put them into bridge.
| | 01:34 | The bridge is at bar 44.
| | 01:36 | Let's move our playhead to bar 44.
| | 01:39 | Double-click in a Transport
menu, type in 44 and hit Enter.
| | 01:42 | That brings our playhead to bar 44.
| | 01:45 | Now we'll select all these regions.
| | 01:47 | Right-click on any one of them, and say
Move to Playhead Position. There we go.
| | 01:52 | We moved all our regions to that spot.
| | 01:53 | Let's see what they sound like in the
context of the song.
| | 01:57 | (Music playing.)
| | 02:21 | Great, it worked.
| | 02:23 | Because the region on these tracks we
brought in are MIDI based, they confirmed
| | 02:26 | automatically to the Beat
Mapped tempo of this project.
| | 02:30 | Importing tracks and element of other
projects into your current projects is a
| | 02:33 | powerful workflow option.
| | 02:34 | There are many cases when this is
useful and necessary, like in this example.
| | 02:39 | Also, you can have favorite plug-in
chains, tempo maps, or even specific markers,
| | 02:44 | input-output and send assignments
you have created in another project.
| | 02:48 | You can always bring all of those
into your current project using this
| | 02:51 | handy tool.
| | Collapse this transcript |
|
|
6. Editing and ArrangingUnderstanding the basic editing techniques in the Arrange window| 00:00 | They don't call it the
Arrange window for nothing.
| | 00:03 | In this video, we're going to see how
the sketch of a song can be developed and
| | 00:06 | arranged using tools and techniques
in Logic's powerful Arrange window.
| | 00:11 | Here we have a sketch of a song.
| | 00:12 | The idea began with the top guitar track.
| | 00:15 | Let's listen to it a little bit, solo it up.
| | 00:19 | (Guitar playing.)
| | 00:35 | To see if this idea would work, I
recorded a bunch of instruments: bass, pedal
| | 00:40 | steel, I even added some software instruments.
| | 00:43 | Now in traditional recording in
composition, you've to re-record the guide
| | 00:47 | tracks and redo the other instruments,
try out a different arrangement for the
| | 00:50 | song, but not in Logic.
| | 00:52 | Here is some helpful navigation points to go
over before we start altering the arrangements.
| | 00:56 | When you're zooming in really close to
the Arrange window and working on editing
| | 01:01 | regions, you might find it hard to
stay focused when the screen scrolls to
| | 01:04 | update where the playhead is.
| | 01:05 | Let me zoom in really close
with the right arrow, Ctrl+Option.
| | 01:09 | Go to the beginning of our song.
| | 01:13 | You'll see what I mean.
| | 01:14 | Watch the playhead as it scrolls off
the screen and the screen updates.
| | 01:17 | Let me zoom in even more.
| | 01:28 | See how the screen updates? This is
controlled by this blue walking man.
| | 01:32 | It's called Catch.
| | 01:34 | You can turn Catch off, but you'll get
frustrated because the second you turn it
| | 01:37 | off, and you hit Play again,
Catch will automatically come back on.
| | 01:43 | You can make Logic stop doing
this in the Global Preferences.
| | 01:45 | Go up to Logic Pro > Preferences >
General and click on the Catch tab.
| | 01:50 | Here we can turn this off,
Catch when Logic starts.
| | 01:54 | Now we're in control.
| | 01:55 | If you don't want Catch to be on,
turn the guy off and it won't catch.
| | 01:59 | (Music playing.)
| | 02:01 | When we want catch, we could simply
turn it on and it will catch for us.
| | 02:05 | (Music playing.)
| | 02:09 | Cool! We'll leave it off for now.
| | 02:11 | We'll go back to the beginning of our song.
| | 02:14 | The Marquee tool is also a very
useful when working with an arrangement.
| | 02:17 | I have it set as my secondary tool in
the upper right of the Arrange window.
| | 02:21 | This means that anytime I want, I can
Command+Click. I can control playback this way too.
| | 02:26 | If I Command+Click and make a
little selection, Logic will play just
| | 02:29 | over that selection,
| | 02:30 | and stop at the end.
| | 02:33 | I can also Command+Single-Click to
start playback from that location.
| | 02:36 | Logic will play from there.
| | 02:39 | Now we are ready to alter our
arrangement. Let's zoom out a little bit.
| | 02:43 | I think the whole intro might be too long.
| | 02:45 | If you want to try out a global edit like
this, you can use a feature called Skip Cycle.
| | 02:49 | To use it, you can do two things
with the locator that controls cycle.
| | 02:54 | First, let's turn on Cycle
by hitting C in our keyboard.
| | 02:56 | I am going to zoom out a little bit.
Down here at bar 35 we have a cycle.
| | 03:01 | Notice in the Transport window, the cycle
goes from bar 35 beat 3 to bar 39 beat 3.
| | 03:08 | Let's change this to start at 39 beat 3,
by double-clicking in here, 39, space, 3,
| | 03:13 | Enter, and we'll change it to
end at 35 beat 3, 35, space, 3.
| | 03:20 | So the first number is later
in time than the second number.
| | 03:24 | Look at the Cycle indicator in the bar ruler.
| | 03:26 | It has some funny stripes.
| | 03:28 | This is a skip cycle.
| | 03:30 | When it's in this mode, Logic will now
skip right over it, without missing a
| | 03:33 | beat during playback.
| | 03:34 | Let's hear what this sounds like.
| | 03:36 | I'll move the playhead to right
before and we'll hit Play. Oops!
| | 03:39 | I have my marquee still over there,
so let me click to disengage that.
| | 03:45 | (Music playing.)
| | 03:48 | That one fast, let's watch it again.
| | 03:50 | See how the playhead skips
right over the Skip Cycle area.
| | 03:53 | (Music playing.)
| | 03:59 | This is cool.
| | 04:01 | This technique lets you try out
arrangement ideas involving removing bars
| | 04:04 | without having to edit anything.
| | 04:07 | Okay, let's make another one,
| | 04:08 | only this time we are going to
click and drag in a time ruler right to left,
| | 04:11 | from bar 52 to bar 20.
| | 04:15 | Scroll down a little bit. Okay, I can
see in the Transport bar, it goes from 52
| | 04:27 | to bar 20, but bar 20 is at beat 3,
so let me click and drag on that, until I get it
| | 04:32 | down to beat 1, from 52 to bar 20.
| | 04:35 | This is a 32 beat skip cycle.
| | 04:38 | Let's hear what that sounds like.
| | 04:39 | Zoom out a little bit, again, we'll play
it from right before. We'll see what it
| | 04:43 | sounds like when it skips over that section.
| | 04:45 | (Music playing.)
| | 04:56 | It sounds good.
| | 04:57 | It doesn't miss a beat, and that's the
part I wanted to cut out of the intro.
| | 05:00 | So now to commit to this
change, it's pretty easy.
| | 05:03 | You can go up to the local Edit menu,
choose Cut/Insert Time and Snip:
| | 05:09 | Cut Sections between Locators.
| | 05:11 | This automatically cuts all the
regions and closes the gap that we had where
| | 05:15 | our skip cycle was.
| | 05:16 | Some other useful arranging tools are folders.
| | 05:19 | Just like folders on your desktop, you
can pack tracks in to folders for the
| | 05:23 | ease of editing. The guitar, bass,
low guitar and steel all go together.
| | 05:28 | So let's pack them in a folder.
| | 05:30 | I am going to zoom out a little bit and
I'll drag a selection around all these
| | 05:34 | regions, like that.
| | 05:39 | Now, going to the Regions menu,
choose Folder and say Pack Folder.
| | 05:44 | You can also do this with Shift+Command+F.
As you can see, all the tracks are
| | 05:48 | packed into one folder.
| | 05:50 | This lets you work with them as a group.
| | 05:52 | It makes things a little easier.
| | 05:53 | When you are ready to unpack them, you
can go back into Region, back into Folder
| | 05:58 | and you have two options.
| | 05:59 | You can Unpack Folder to new
tracks or you can use existing tracks.
| | 06:03 | Since these already have the same tracks
they are in before, we'll choose this one.
| | 06:06 | If you have any regions that were
overlapping due to comp takes or other
| | 06:10 | editing, Logic will ask if you
want to put them on their own tracks.
| | 06:13 | In this case, we'll choose No.
| | 06:17 | All the regions went back
to their original tracks.
| | 06:19 | Finally, if you have too many tracks
out in your Arrange window when you are
| | 06:22 | editing and you want to work in a
cleaner space, you can, at anytime, hide tracks.
| | 06:27 | To do this, click the H
button. It's next to the Catch.
| | 06:30 | You will now see an H in
all of your track headers.
| | 06:34 | Select all the tracks you want to hide.
In this case we'll hide guitar, bass,
| | 06:37 | low guitar and steel, then click the H
again at the top of the Arrange window.
| | 06:43 | All those tracks will be hidden and
the H will turn orange to indicate we
| | 06:46 | have hidden tracks.
| | 06:48 | To show them again, click on the H.
That's how you can show and hide tracks.
| | 06:52 | When you are arranging compositions,
these techniques make it easy to try out as
| | 06:56 | many things as you want.
| | 06:57 | You don't have to get the
orchestra or the band to play it again.
| | 07:00 | We are trading time for creativity.
| | 07:03 | That's what it's all about.
| | Collapse this transcript |
| Tips for editing and arranging | 00:00 | As we continue with the Arrange window
editing, let's get more into the actual
| | 00:03 | movement of regions.
| | 00:05 | We are going to work
with the shaker tracks here.
| | 00:07 | We need to edit them to start a
bit earlier for the bridge section.
| | 00:10 | We would like to cut the first two
hits of the shaker and copy them earlier.
| | 00:14 | To do this, we can use the
Scissor tool to splice them.
| | 00:17 | Go into your Escape tool
menu, choose Scissor tool.
| | 00:21 | When you click and drag on a region
with the Scissor tool, you will be able to
| | 00:24 | hear the audio underneath.
| | 00:25 | This is called scrubbing the audio.
| | 00:27 | When you click and drag, you'll hear the
audio and you can use the status pop-up
| | 00:31 | to see where you are.
| | 00:32 | Let's click and drag and
release the scissor at bar 64, 2, 1, 1.
| | 00:43 | There, it made a splice in the region.
| | 00:46 | Another way to splice a region is
to splice at the playhead location.
| | 00:49 | I am going to hit Escape to go back to
the Pointer tool and then I am going to
| | 00:52 | move my playhead to that same location.
| | 00:54 | I will select the second shaker region
and I am going to use a quick key to splice.
| | 00:59 | That key is backward slash.
| | 01:01 | Because I have that region selected and
I have my playhead at that spot, I was
| | 01:05 | able to hit slash and splice the region.
| | 01:06 | As you can see, it's in two pieces now.
| | 01:09 | Now, we can select both of these shaker
regions by dragging a selection over them.
| | 01:13 | I will hold down Option as
we drag them to the left.
| | 01:16 | This will make a copy of them right next to it.
| | 01:19 | You have probably noticed by now, when
we move our playhead, or regions, or notes,
| | 01:23 | pretty much anything in Logic, it
generally stays on time in the time grid.
| | 01:27 | This is because of the snapping features,
which are managed in the upper-right
| | 01:30 | corner of the Arrange window.
| | 01:32 | It's called the Snap menu.
| | 01:34 | By default, Logic uses Smart Snap,
which automatically manages your snap
| | 01:39 | resolution depending on how
zoomed into the timeline you are.
| | 01:42 | This is usually pretty good, but you
can override this in the Snap menu.
| | 01:46 | You can change it to snap only the nearest bar.
| | 01:48 | If I choose that, I am only able to
move regions according to big bar chunks.
| | 01:55 | I can do it by Beat, Division, Ticks,
Frames, Quarter Frames or even Samples.
| | 02:02 | Samples is going to be
your finest snap resolution,
| | 02:05 | in other words, complete freedom from the grid.
| | 02:07 | Next in the Snap menu, we have the Drag menu.
| | 02:10 | Use this menu to control what
happens when you move regions.
| | 02:13 | The default mode is Overlap.
| | 02:16 | In this mode, when regions overlap,
what's underneath them stays intact.
| | 02:20 | I will show you how this works.
| | 02:21 | I will move the shaker regions over and I
cover up the shaker beneath. It overlaps them.
| | 02:26 | When I move it back, that
material is still there.
| | 02:29 | The next mode is No Overlap.
| | 02:32 | In this mode, if I move the regions
over and I move them back, it will have
| | 02:35 | trimmed that region that I covered.
| | 02:37 | I am going to hit Command+Z to undo that.
| | 02:41 | Cross Fade (X-Fade) Mode makes as
that when you overlap regions, Logic
| | 02:44 | automatically makes a crossfade between them.
| | 02:47 | There, you can see I made a crossfade
since I overlapped a region. If I pull it back,
| | 02:52 | the crossfade will be gone.
| | 02:52 | Finally, Shuffle Right and
Shuffle Left can save you time.
| | 02:57 | If I go in the Shuffle Right Mode, and
I move my regions over, if I move them
| | 03:01 | back, even just a little bit, they will
automatically snap to the region next to
| | 03:05 | it on its right, almost like a magnet.
| | 03:07 | You can use this to save time as you edit.
| | 03:09 | Shuffle Left works the same way,
except it works in the opposite direction.
| | 03:13 | Being a master region mover and shaker in
the Arrange window is a useful skill to have.
| | 03:17 | You can use some of these tips
for fast editing and arranging.
| | Collapse this transcript |
| Editing and merging regions in the Arrange window| 00:00 | Copies and loops of song elements
used to be an arduous process, involving
| | 00:04 | generational loss, dubbing and tape splicing.
| | 00:07 | In Logic, copies of multiple iterations of
regions are a breeze in the Arrange window.
| | 00:11 | Let's check it out.
| | 00:12 | When you are working with regions,
don't forget about the Region Parameter box.
| | 00:16 | You can use the Region Parameter box to
loop any region for the rest of the song,
| | 00:20 | or until it hits the next region in its track.
| | 00:22 | Let's try this on the Bridge region here.
| | 00:25 | Select the region, go up to the
Region Parameter box and click Loop.
| | 00:30 | As you can see, it looped that region
all the way until it hit the next region.
| | 00:34 | If that region wasn't there, it would
loop all the way to the end of the song
| | 00:39 | and we know it's the end of the
song by the End of the Song marker.
| | 00:42 | It's the square box in the bar ruler.
| | 00:44 | That's an easy way to loop,
but let's see some other ways.
| | 00:50 | I will turn that off.
| | 00:51 | You can always loop a region by
going in the upper corner of the region
| | 00:54 | and pulling out a loop.
| | 00:56 | This way, you have control
over how many loops you make.
| | 00:59 | You can also pull it back at any time.
| | 01:02 | Another way to repeat regions is to
use Command+R. If the region is still
| | 01:06 | selected, type Command+R on your keyboard.
| | 01:08 | This allows you to manually type
in how many copies you want to make.
| | 01:11 | Let's make 14 copies of this region.
| | 01:15 | You can choose different adjustment
options, which allow you to keep a shorter
| | 01:18 | region on the grid, at every bar or beat,
for example, or you can just leave it
| | 01:23 | at Auto and Logic will
automatically put them where it sees fit.
| | 01:26 | You also have the option
to choose Copies or Aliases.
| | 01:30 | Copies will make 14
independent copies of your region.
| | 01:34 | Aliases, or clones, are a little different.
| | 01:36 | They're like copies, except they will
follow any changes you make to the original.
| | 01:40 | So, if I make 14 aliases or clones, I will
get some different looking regions out here.
| | 01:45 | They are different because
their names are in italics.
| | 01:47 | That indicates to us that
they are aliases or clones.
| | 01:50 | It also means that if we edit any MIDI
information in the original region, all
| | 01:55 | of these clones will follow that edit.
| | 01:57 | For audio regions, if you choose
Aliases or Clones, a clone will be made.
| | 02:00 | Let's choose Aliases or
Clones on an audio region.
| | 02:03 | We will select the shaker region and
we will type Command+R. Let's make two
| | 02:08 | aliases, or clones, of this shaker region.
| | 02:09 | We'll zoom out a little bit to see them.
| | 02:13 | Because we made aliases, or clones, and
not copies, when we trim one of these
| | 02:16 | regions, they're all trim together.
| | 02:18 | You can always trim a region by going
into the bottom right of the region,
| | 02:22 | clicking and dragging to left or right.
| | 02:25 | Notice how since they are clones,
all the regions follow that edit.
| | 02:29 | Once you have made edits or loops in the
Arrange window, you may eventually wish
| | 02:32 | to consolidate these into one region.
| | 02:35 | This is called merging.
| | 02:36 | There is a tool for this.
| | 02:37 | It's the Glue tool.
| | 02:39 | Let's select all of the aliases we made
in the drums track here, click and drag
| | 02:42 | a selection around them.
| | 02:44 | Now if I hit Escape, I can choose my
Glue tool and all I need to do is click on
| | 02:48 | any one of these regions.
| | 02:49 | It merges them all into one mini region.
| | 02:51 | Merging audio regions is
slightly different than that.
| | 02:54 | For example, if I use the Scissor
tool to make some splices in the acoustic
| | 02:59 | track, but I don't move anything around,
I can easily merge those back together,
| | 03:03 | just like the MIDI region.
| | 03:04 | Select your Pointer tool, select those
regions, select the Glue tool, and click.
| | 03:09 | But if you are wanting to combine
several different regions that have been moved
| | 03:13 | around, merging will have to write a new file.
| | 03:15 | I can show you this on the steel
regions here. Let's select them.
| | 03:21 | Now if I use the Glue tool to merge
them, Logic will give me a warning.
| | 03:25 | It tells me a new file
has to be made. It's okay.
| | 03:27 | Let's hit Create.
| | 03:28 | It's actually good that this happens.
| | 03:29 | This way nothing is overwritten.
| | 03:31 | You still have access to the original
pieces in the audio bin if you need them.
| | 03:35 | Mastering region editing in the
Arrange window is the gateway to creating
| | 03:38 | great arrangements.
| | 03:39 | When you are working under a deadline,
it helps to know how to edit quickly
| | 03:43 | and precisely.
| | Collapse this transcript |
| Mastering fades for audio region arranging| 00:00 | Audio regions can be very sensitive to edits.
| | 00:03 | Whenever you cut into audio waveforms,
you risk audio clicking on the cut.
| | 00:07 | Crossfades can help
smooth over these transitions.
| | 00:11 | We have made some arrangement
changes to our song, at Bar 20.
| | 00:14 | Some of these audio regions
could be edited more smoothly.
| | 00:17 | Let's solo the bass track and hear that cut.
| | 00:20 | (Bass playing.)
| | 00:25 | Did you hear the click over the cut?
| | 00:26 | Let's listen again.
| | 00:27 | (Bass playing.)
| | 00:32 | There is a sharp click right there.
| | 00:34 | We can fix that with a crossfade.
| | 00:36 | To make a crossfade, we can use the Fade tool.
| | 00:39 | Hit Escape to get your toolbox,
choose the Fade tool, which looks like a
| | 00:42 | sideways V and drag over the cut.
| | 00:47 | You can see there is a
white fade made over the cut.
| | 00:50 | Let's listen to this cut now.
| | 00:51 | (Bass playing.)
| | 00:58 | The fade helps solve that problem
of the click between the regions.
| | 01:03 | Once a fade is made, you can right-
click on the fade to change its parameters.
| | 01:07 | Let me get to Fade pulldown menu.
| | 01:09 | For crossfades, you can choose
the default Equal Power Crossfade.
| | 01:13 | This minimizes volume dips between audio
regions, resulting in a more even crossfade.
| | 01:19 | For some regions, this
doesn't quite sound right.
| | 01:21 | It can boost the levels.
| | 01:23 | For these, you should choose a
regular old Crossfade, but this Equal Power
| | 01:26 | Crossfade works for this fade as we heard.
| | 01:29 | You can also use this right-
click menu to delete fades.
| | 01:32 | Let's go down to the
bottom and choose remove fade.
| | 01:35 | A quicker way to remove a fade is just
to Option+Click it with the Fade tool.
| | 01:39 | Let's hit Command+Z to undo that.
| | 01:40 | We want to keep this fade.
| | 01:42 | To change the length and position of the
fade, you can just click with your mouse.
| | 01:46 | If you click on the edges, you can
make the Fade longer, on either side.
| | 01:50 | You can also make it shorter.
| | 01:53 | If you click right in the middle, you
can change the center point of the fade.
| | 01:57 | When you are working with fades, you
might need to do this to fine-tune your
| | 02:02 | fade so it sounds right.
| | 02:03 | In some cases, on a cut between two
regions, you may need to trim the cut point
| | 02:08 | to a different location.
| | 02:09 | If there is media on either end
of the cut, this is no problem.
| | 02:13 | Just position the pointer on the top
portion of the cut and you can roll the edit.
| | 02:17 | Let me show you how to do
this in the low guitar track.
| | 02:19 | Let me choose the Pointer tool and I
will zoom in a little bit on the track,
| | 02:25 | center the cut in our view. Here is a cut.
| | 02:29 | If I move the pointer up to the top,
I get this handy Double Trim tool.
| | 02:33 | This way, I can roll the
edit to another location.
| | 02:37 | Fade Ins and Fade Outs can also be
managed with the Region Parameter box.
| | 02:42 | Let's fade out the low guitar
region at the end of the song.
| | 02:45 | Let's zoom out to see a better view.
| | 02:47 | I am going to unsolo the bass, click on
the Arrange window in the gray area to
| | 02:53 | deselect, and select just the
last low guitar drone region.
| | 02:56 | Okay. Now, we can use the Region
Parameter box to fade out.
| | 03:00 | Next to the word award Out,
| | 03:02 | double-click and we can enter a value.
| | 03:04 | This is going to be our length
of the Fade Out in milliseconds.
| | 03:06 | For example, type 1000 and hit Enter.
| | 03:11 | That's a one-second fade.
| | 03:12 | You see it appeared at the end of the region?
| | 03:14 | Let's double-click in there
again. Let's type 30,000.
| | 03:18 | That's a 30-second fade and it
fades out at the end of the song.
| | 03:22 | Once you make a fade like this, you
can also change it to have a curve.
| | 03:25 | If you notice in the Region Parameter
box, you can click next to the word Curve
| | 03:29 | and drag up or down.
| | 03:31 | If you click Up, it will create a concave curve.
| | 03:33 | If you click Down, it will make a convex curve.
| | 03:37 | One last really cool thing you can do
with fades is actually not to fade at all.
| | 03:41 | Let's create a fade with the fade
tool at the end of the steel track.
| | 03:45 | Click on the region, hit Escape to get
our Fade tool and we will just drag over
| | 03:49 | the end of the steel track.
| | 03:50 | There, we made a long fade at the end.
| | 03:53 | But now we are going to go into the
Region Parameter box and where it says Fade,
| | 03:57 | we are going to choose Slow Down.
| | 03:59 | This actually slows down the speed of the
region over the course of the fade we drew.
| | 04:03 | It's really cool for special effects.
| | 04:05 | Let's solo this track to hear this.
| | 04:09 | (Guitar playing.)
| | 04:34 | As you can hear, over the course
of the fade, it was slowing down.
| | 04:38 | At the very end, it would
slow down all the way to a stop.
| | 04:41 | Don't forget, you can make Fade Ins as well.
| | 04:44 | Just do the same as we did before, at
the beginning of regions, like this.
| | 04:48 | Fades are an essential
part of digital audio editing.
| | 04:51 | It's not uncommon for every audio region in
a project to have some sort of fade on it.
| | 04:56 | Now you know how to use them.
| | Collapse this transcript |
| Fixing and morphing sound with the Sample Editor| 00:00 | If you're recording your audio at CD
quality, or 44.1 kHz sampling rate, that
| | 00:05 | means each audio file is made
up of 44,100 samples per second.
| | 00:11 | You can do so much with
regions in the Arrange window.
| | 00:13 | If you really want complete control
over every infinitesimal sample of your
| | 00:17 | audio, you'll have to explore the Sample Editor.
| | 00:20 | Before we get there,
let's talk about audio edits.
| | 00:23 | As we discussed in the fades video,
edits over a waveform can produce clicks.
| | 00:28 | Technically, this is occurring because
we have not edited on the zero crossing.
| | 00:32 | A zero crossing is where an audio
waveform, which constantly oscillates between
| | 00:37 | positive and negative axes, crosses zero.
| | 00:41 | Let's use a magnifying glass and zoom
way into the shaker track to reveal the
| | 00:45 | crossing point of this edit.
| | 00:46 | Escape, hit our Zoom tool and let's zoom way in,
even more, even more than that. There we go.
| | 00:54 | Here we can see this edit has not been
made where the waveform crosses zero,
| | 00:59 | at the middle point.
| | 01:00 | To ensure that your edits happen on
the zero crossing, you can go up to the
| | 01:03 | Audio menu and choose Snap Edits to Zero Crossing.
| | 01:07 | Any edits from here on now will be sure
to happen where the waveform crosses zero.
| | 01:11 | Let's go back to our Pointer
tool and we'll zoom back out.
| | 01:19 | Okay, now you can click on the top
part of our shaker tracks and trim our
| | 01:22 | edit and we'll be sure that our edit occur
on the zero crossing and not somewhere else.
| | 01:27 | Zooming all that way in to
see the shakers was a pain.
| | 01:30 | There's an easier way to look
at audio in high-resolution.
| | 01:33 | It's called the Sample Editor.
| | 01:34 | Let's select the bridge beat region at
the bottom of our Arrange window. We'll zoom in
| | 01:38 | a little bit to see it.
| | 01:39 | Now let's open up the Sample Editor.
| | 01:42 | Go to Window > Sample Editor.
| | 01:44 | This is our Sample Editor.
| | 01:46 | It offers us a very close-up view of the
audio waveforms in that bridge beat region.
| | 01:51 | In this window, you have complete
access to digital audio editing.
| | 01:54 | You can audition the selection
by turning on the Loop button.
| | 01:57 | When we hit play, or Spacebar, it will
play the whole region and loop to the beginning.
| | 02:02 | (Drums playing.)
| | 02:11 | Hit Spacebar to stop.
| | 02:13 | You can also view and change where
Logic thinks the Selection Transients are by
| | 02:17 | clicking on the Transient tool.
| | 02:20 | Those white lines are where Logic
hears the transients of this beat.
| | 02:23 | They are pretty accurate too.
| | 02:24 | You can also use this window to redraw
the waveform with the Pencil tool to fix
| | 02:29 | digital clicks and small anomalies.
| | 02:31 | To get to the Pencil tool, hit Escape and you
can choose the Pencil tool from the toolbox.
| | 02:35 | Let's go back to the Pointer tool.
| | 02:38 | In this window, you can
also change the anchor point.
| | 02:41 | That's where Logic snaps the region
to the grid in the Arrange window.
| | 02:45 | To do this, open the local Edit
menu and uncheck Lock Arrange Position
| | 02:49 | when moving Anchor.
| | 02:51 | Now I am going to position the window,
so we can see both the region in the
| | 02:54 | Arrange window and the Sample Editor.
| | 02:57 | Click down where it says Anchor and
move the Anchor to the third transient.
| | 03:03 | As you can see, when I did that the bridge beat
region moved over and now it has a white line.
| | 03:08 | The white line indicates the new anchor
point and Logic repositioned the region,
| | 03:12 | so the new anchor points syncs to Bar 60, which
was the original start point for that region.
| | 03:17 | Let's uncheck the transients
and move the anchor point back.
| | 03:21 | The bridge beat region
returns to its normal sync point.
| | 03:25 | Now let's go back to the Sample window
and select the first bar by clicking and
| | 03:30 | dragging in the main area.
| | 03:31 | Since we still have the Loop button selected when
we hit Play, we'll hear just as first bar loop.
| | 03:37 | (Drums playing.)
| | 03:43 | We can reflect this selection in
the Arrange window by choosing Edit >
| | 03:47 | Selection- > Region.
| | 03:50 | See how the region in the Arrange
window was updated to reflect the selection?
| | 03:53 | You can always trim it back out.
| | 03:56 | Hit Command+Tilde to go
back to the Sample window.
| | 04:00 | Finally, there are large amount of
processing tools available in the Sample
| | 04:03 | Editor's Factory menu.
| | 04:05 | Before applying any of them, it might
be a good idea to go to Audio File >
| | 04:09 | Create Backup. That way you
won't write over any file.
| | 04:12 | A lot of these audio processing tools
will overwrite the file if you don't do this.
| | 04:16 | So let's create a backup.
| | 04:17 | It asks you, you want to
create it, you will say yes.
| | 04:21 | Now let's go into the Factory menu.
| | 04:23 | We are going to check out one of
these tools called Audio Energizer.
| | 04:27 | This tool applies an algorithm to the
audio to make it effectively louder in the mix.
| | 04:32 | We can adjust the Factor from quieter to louder.
| | 04:35 | It's more than just turning up the volume.
| | 04:36 | It's actually applying a special process.
| | 04:38 | Let's put this about at 300 and hit Energize.
| | 04:44 | As you can see, the audio
waveforms got a lot bigger.
| | 04:46 | Let's hear what they sound
like in the Arrange window.
| | 04:48 | (Music playing.)
| | 04:56 | They gave this region a much-needed energizing.
| | 04:58 | This is just a few of the many
features in the Sample Editor.
| | 05:01 | Be sure to check out all the menu
items and their powerful features when
| | 05:04 | you have the chance.
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7. Working with NotationWorking with notes and composing in the Score Editor| 00:00 | Well the Graphical MIDI data
in Logic is clear and precise,
| | 00:03 | some composers still prefer
to write their music with good
| | 00:06 | old-fashioned notation.
| | 00:07 | Logic has a very
sophisticated built-in notation system.
| | 00:10 | It lives in the Score Editor.
| | 00:12 | The Score Editor allows you to view any
MIDI region's content, but also, you can
| | 00:16 | compose in it and customize it's
display and create all kinds of sheet music,
| | 00:20 | from orchestral scores to
lead sheets, to guitar tablature.
| | 00:24 | Let's dive into the Score
Editor and see what it's all about.
| | 00:27 | Like the Piano Roll Editor, you can't
do anything in the Score Editor until
| | 00:31 | there is a MIDI region to work from.
| | 00:32 | So let's draw a blank region into Steinway
Piano Software Instrument track to get started.
| | 00:37 | Next, we have our Pencil tool.
| | 00:39 | Click once to make a new region,
With that region selected, we'll go up to Window
| | 00:43 | and choose Score. Also, Command+3 opens
the Score Editor. So this is our default
| | 00:48 | view of the Score Editor.
| | 00:49 | Like other MIDI editors in Logic, there
are local menus up top. There is a MIDI In
| | 00:54 | and Out button and
Parameter controls on the left.
| | 00:57 | There are three areas in
the left column to look at.
| | 00:59 | On top is the Display Parameter box, where
you can alter the overall look of your staff.
| | 01:05 | Below that is the Event Parameter box where
any selected event, like a note, can be altered.
| | 01:10 | Finally, on the bottom is the Parts Box,
where you have access to the actual part
| | 01:14 | elements of your score, things like
notes, rests, text, ornaments etc.
| | 01:20 | To get notes into the Score Editor,
you can either record MIDI in real-time.
| | 01:24 | Use Logic step input by playing one
note at a time from your MIDI, or Caps Lock
| | 01:28 | Keyboard, or the Step Input Keyboard.
| | 01:32 | When you drag out a note from the Part
Box to the main area, a pop-up window
| | 01:35 | will open up under your mouse that's
tells you what location and pitch you are
| | 01:38 | at, as you drop the note. Let's try it.
| | 01:41 | (Piano playing.)
| | 01:45 | You also hear the notes as you drag them in.
| | 01:47 | Let's do one more. This time,
we'll do a half note.
| | 01:50 | (Piano playing.)
| | 01:54 | and we'll finish out the bar
with another quarter note.
| | 01:57 | (Piano playing.)
| | 02:02 | Once the notes are in there, you can
edit pitch and position by clicking on them
| | 02:05 | and dragging up and down.
| | 02:07 | (Piano playing.)
| | 02:09 | Again, the pop-up window will tell
you what pitch you are at and location.
| | 02:13 | You can also change these parameters in
the Event Parameter box, as long as you
| | 02:16 | have a note selected, you can
change it's Pitch, from here too.
| | 02:21 | You also have access to the notes
Velocity in the Event Parameter box. You can
| | 02:26 | drag up and down on the numbers to change
them or double-click and type them in manually.
| | 02:32 | In the Part Box aside from notes,
you can drag out other elements.
| | 02:36 | The list of parts, will change depending
on the style staff you have selected and
| | 02:39 | the Part menu button you have selected.
| | 02:41 | You can change the Part menu button by
clicking on these different icons here,
| | 02:45 | to give you different parts.
| | 02:46 | For example, you can pull out a guitar
chord grid from the Part Box, if you click
| | 02:50 | on the chord grid button. Let's try that.
| | 02:55 | Pull out a chord grid and it opens up
the Chord Grid Library. Here, you can
| | 02:59 | audition different chords. Let's try C7.
| | 03:01 | Click on it and hit Play.
| | 03:02 | (Chord playing.)
| | 03:04 | If that's the one we want, hit OK.
| | 03:08 | It brings the C7 chord grid into our main area.
| | 03:11 | As you can see, the view
is a little cramped here.
| | 03:13 | You can change it to, any time, to Page
View by clicking on the Page button at
| | 03:17 | the top of the window.
| | 03:18 | Here in Page View, we have
a little more room to work.
| | 03:20 | We can drag our chord grid up a little bit.
| | 03:23 | You can even write lyrics in here.
| | 03:25 | If you Click on the A button, that
opens up our text possibilities.
| | 03:28 | Take the Text icon and drag it right out into
the main window. Now we can write in lyrics.
| | 03:33 | To change the style of staff, you
can go up to the main Parameters box.
| | 03:37 | Right now, we are looking at Piano
staff. We can change this to other
| | 03:40 | instruments, if we want. For example,
if we wanted to look at this in Guitar
| | 03:43 | tablature, we can do that here.
| | 03:45 | We can also look at other styles of
Instruments, say, for example, Trumpet in
| | 03:49 | Bb. Logic automatically changed the staff to
the way a trumpet player would like to see it.
| | 03:54 | Let's go back to piano.
| | 03:55 | It's important to know that besides
notes and their durations and Velocity
| | 03:59 | values, other ornamentation, like
chord grids and lyrics, are strictly for
| | 04:03 | viewing purposes only.
| | 04:04 | They don't change the MIDI in any way.
| | 04:07 | Now, let's close the Score Editor and let's
open up this region in our Piano Roll Editor.
| | 04:12 | As you can see, the three notes we
made show up as regular MIDI events in
| | 04:15 | the Piano Roll Editor,
| | 04:16 | but the guitar grid and the
lyrics don't show up here.
| | 04:19 | Of course, this lesson is just a tip
of the iceberg for the complex and multi-
| | 04:22 | featured Score Editor, but it
should be enough to get you going.
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| Editing notes, keys, and time signatures| 00:00 | One of the most powerful features of
the Score Editor is that it allows you
| | 00:03 | to compose multi-instrumental parts as
MIDI and then prepare them for a real session.
| | 00:08 | In this video, we'll learn how to
take a MIDI mockup of a string part and
| | 00:12 | transcribe it successfully in the Score Editor.
| | 00:14 | Here's a section of a song, where a
string part, using Violin and Viola was
| | 00:18 | sketched out via MIDI.
| | 00:19 | Let's take a listen.
| | 00:20 | (Music playing.)
| | 00:51 | We want to prepare these parts, using
the Score Editor, for a real session with
| | 00:55 | 3 Violins and 3 Viola players.
| | 00:58 | Right now, these MIDI regions in the
song use the EXS24 sampler for their sounds.
| | 01:03 | Before doing anything else in the Score
Editor, we should quantize the regions.
| | 01:07 | This will make sure that note
durations are solid in the score.
| | 01:10 | So let's click on Violins 2 region and
go up to the Region parameters box and
| | 01:14 | we'll quantize to 16th note.
| | 01:15 | I'll do the same for the Violas region.
| | 01:22 | Okay, now let's look at the
parts in the Score window.
| | 01:25 | Select the Violins 2 region and hit
Command+3 to open the Score Editor.
| | 01:28 | Let's go back to the beginning of the song.
| | 01:32 | The timing looks good, but
there sure are a lot of accidentals.
| | 01:36 | The key signature isn't always
something you think of or set when you are
| | 01:39 | composing with MIDI.
| | 01:40 | But when you look at notation, you
should make sure you are writing in the right key.
| | 01:44 | To change key signature, click on the
Parts Box icon with four flats in it.
| | 01:48 | Now we'll drag out F# Major, which is
the key of this song, into the clef.
| | 01:55 | Logic automatically adjusted the key
signature and the accidentals accordingly.
| | 01:59 | Now let's look at Major 7.
| | 02:01 | Logic interpreted this note as D-Natural.
| | 02:03 | While this would work,
| | 02:04 | in the key of F#, this note should
really be written as C double sharp, since
| | 02:09 | there's no D in F# Major scale.
| | 02:11 | Logic is smart, but it's not that smart.
| | 02:13 | No problem. We can fix this by right-
clicking on the note itself and choosing
| | 02:18 | Accidentals > Enharmonic Shift #.
| | 02:20 | There. We've now turned this
note into a C double sharp.
| | 02:24 | This is technically more correct.
| | 02:26 | Let's close this window, click on the
Violas region, and hit Command+3 to open
| | 02:30 | the Score Editor for that region.
| | 02:31 | Let's also change the D-Natural to a
C double sharp in this region as well.
| | 02:36 | Viola players like to view
their staff on an alto clef.
| | 02:39 | We can change that here too.
| | 02:41 | Notice the alto clef is down in our Parts Box.
| | 02:44 | Just drag it into the clef and it
replaces the G clef to an alto clef.
| | 02:48 | This is how Viola players like to view.
| | 02:50 | Okay, now what if we want to try
out this part in a different key?
| | 02:53 | Do we have to transpose everything manually?
| | 02:55 | Nope. Logic will do that for us.
| | 02:57 | Let's try it in the key of G. Close
the Score window, and go up to the Global
| | 03:01 | Tracks on the top of our Arrange window.
| | 03:03 | Let's open the Signature Lane and
we'll double-click where it says F#.
| | 03:09 | Now we can change to the key of G Major.
| | 03:12 | Hit OK and let's select the Violins
region again to go back into the Score window.
| | 03:17 | As you can see, Logic automatically
adjusted the key signature to G and all the
| | 03:21 | notes and accidentals accordingly.
| | 03:23 | That's how easy it is to
transpose your parts in Logic.
| | 03:25 | Using the Score Editor to transcribe
MIDI sketches into usable notation is a
| | 03:29 | useful skill to have in Logic.
| | 03:31 | Also, trying your arrangements in
different keys has never been easier.
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| Creating scores and lead sheets for musicians| 00:00 | So you have transcribed your MIDI
sketches into a readable score for Violin and
| | 00:04 | Viola in Logic Score Editor.
| | 00:06 | In this video, we'll learn how to format the
score and print it out for the big session.
| | 00:11 | We may, in some cases, want to print out
a master sheet with both parts on it.
| | 00:15 | To do this, select both regions by
clicking and dragging a selection around them.
| | 00:19 | Now I'll hit Command+3 to open the Score Editor.
| | 00:22 | As you can see, both
regions come in at the same time.
| | 00:25 | We have our Violin on top
and our Viola on the bottom.
| | 00:28 | Now let's click on the Page
icon to see this in Page View.
| | 00:32 | Logic puts a bracket around
the parts to keep them together.
| | 00:35 | Now we're going to finesse
this page to print it out.
| | 00:37 | Notice in the top left, Logic created
what's called the New Score Set to include
| | 00:41 | your instruments. Double-click this
menu to open the Score Set Editor.
| | 00:47 | The Score Set allows you to
group together separate parts of a
| | 00:50 | larger arrangement.
| | 00:51 | It's particularly useful in a large
orchestration to group sections of
| | 00:54 | the orchestra together.
| | 00:56 | We can give this set a name, like Strings.
Double-click in this box and type Strings.
| | 01:01 | We can also change the Full Names to
something simpler, just like Violins and
| | 01:09 | Violas. Now they'll be
referenced that way in our score.
| | 01:12 | Now I am going to set up our page
display options for printing. Go to View > Page
| | 01:18 | Display Options and let's say Show
Margins and let's also go back in here and
| | 01:24 | we'll say Show Page Rulers.
| | 01:26 | This will help us format
perfectly for the printer.
| | 01:29 | You can add that name of your song by
clicking on the A in the Parts Box and
| | 01:32 | dragging out the Song name to the main area.
| | 01:35 | You can see it gives us a name based on
our Project name, which is 07_03_init.
| | 01:40 | You can also drag out the Date.
| | 01:41 | It gives us Feb 4, 2010, today's date.
| | 01:45 | If you want to add your own custom name,
or any other text, you can drag out the
| | 01:49 | Text button into the main area.
| | 01:51 | Now you can type any text or make your own name.
| | 01:57 | Okay, now we're ready to print.
Printing is simple at this point.
| | 02:00 | Just go up to the main File menu and
go to Print, or Cmd+P. Now it's just like
| | 02:05 | printing any old page. You can
print to a PDF or to a printer.
| | 02:09 | Also, if at any time you want to take
just a small clipping of your score and
| | 02:12 | save it to a PDF file, you can do this.
| | 02:15 | Go up to Logic Pro > Preferences and Score.
| | 02:19 | These are our Score Preference and at the
bottom we have something called Camera tool.
| | 02:23 | We can select PDF File if we want
to take our clipping out to a PDF.
| | 02:28 | Now back in the Score window,
click Escape to get your toolbox.
| | 02:31 | In the Score toolbox, we have something
called the Camera tool. Select that and
| | 02:34 | drag a selection out of the
clipping you want to make a PDF out of.
| | 02:38 | It asks you where you want to save it.
Save it as score pdf, and we'll put it
| | 02:44 | in our Project folder. I'll hit Save.
| | 02:47 | That will save a small clipping
of what we chose in that folder.
| | 02:51 | This is one aspect I love about Logic,
the ability to create a session ready
| | 02:55 | score that you can edit and print at all times.
| | 02:57 | I've had many situations when highly
paid session string players were sitting
| | 03:01 | around waiting for the composer to manually
pencil out note changes in everyone's score.
| | 03:06 | Now it's all under your fingertips
and it's printable, if you have a laptop
| | 03:09 | at the session.
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8. Working with PictureSetting up for a sync video project| 00:00 | Film and video composers love Logic.
| | 00:03 | It makes total sense why they would.
| | 00:04 | Logic supports the import of any video
that Apple QuickTime will play, plus some
| | 00:09 | powerful workflow features that
make scoring to video a dream.
| | 00:12 | In this video, we'll explore how to
import video into Logic and get everything
| | 00:15 | set up to create the perfect soundtrack.
| | 00:18 | First, let's get our Logic window
views optimized for working with video.
| | 00:22 | Since we're working with time-based
material, you might find it useful to change
| | 00:26 | our Bar menu to reference Time along with Bars.
| | 00:28 | So click up in the far right of your Bar
Ruler and change this from Bar to Bar and Time.
| | 00:34 | Now we see some Time
references in our Bar Ruler.
| | 00:37 | Next, we'll definitely want to reference
SMPTE time code when we work with video.
| | 00:41 | SMPTE is the standard way to
measure time for video formats.
| | 00:45 | That way we can get frame
accurate info about the Timeline.
| | 00:49 | To do this, right-click on the display
area, right in the middle here where all
| | 00:52 | the numbers are, and we'll going
to choose Open Giant SMPTE Display.
| | 00:56 | It's not that giant, but it's a nice big
pop-up window that shows us our time in
| | 01:01 | SMPTE values. We have hours,
minutes, seconds, frames and sub-frames.
| | 01:07 | We can leave this up as we work.
| | 01:09 | Before we import a video into Logic,
let's first open the video in QuickTime to
| | 01:13 | get some information about it.
| | 01:14 | So I'm going to
Command+Tab over to our Finder.
| | 01:18 | Here's the movie we are going to look at.
| | 01:20 | I'll double-click on it and it'll
open automatically in QuickTime Player.
| | 01:24 | Let's watch it for a second.
| | 01:26 | (Video playing.)
| | 01:31 | It's a snowboarding video
that we're going to score.
| | 01:35 | To get information on a movie in
QuickTime Player, we can hit Command+I and we
| | 01:38 | get a pop-up window showing us
some information about the movie.
| | 01:42 | The thing we are concerned
about most is the FPS, Frames Per Second.
| | 01:46 | QuickTime tells us the Frame Per
Second for this movie is 23.98.
| | 01:50 | It also tells us the Current Size is 640x360.
| | 01:53 | That's good to know.
| | 01:54 | I'll Quit QuickTime, now I'll go back to Logic.
| | 01:58 | To bring in the video to Logic, we
need to configure the Global Tracks to
| | 02:02 | include the Video Lane.
| | 02:03 | Go to View > Configure Global Tracks.
| | 02:08 | Let's uncheck Signature and Tempo, and
let's check Video. We'll leave Marker
| | 02:13 | checked, so we have Marker and Video checked.
| | 02:15 | Let's open the Video triangle and you can
see there is a button here called Open Movie.
| | 02:20 | If we click on that,
| | 02:22 | we'll navigate to our snowboard video.
| | 02:24 | It's in Exercise Files/Chapter 08/Movie Files.
There it is.
| | 02:29 | Let's click Open.
| | 02:31 | When a movie comes into Logic, we'll
get a pop-up window and on the Video Lane,
| | 02:36 | we'll get some framed thumbnails for that movie.
| | 02:39 | This pop-up window is useful and when
you're working on smaller screen or a
| | 02:42 | laptop, it can get in the way from time to time.
| | 02:44 | You can always resize this window by
right-clicking anywhere on the window.
| | 02:49 | You can make it half the size or if
you want and you have two video monitors,
| | 02:53 | you can make it full screen.
| | 02:56 | Let's go back to half Size for now.
| | 02:58 | Notice, also, how you can scroll the
movie from the bottom of the pop-up window
| | 03:01 | and the playhead follows along.
| | 03:08 | Notice there is also a small
Movie triangle in your Inspector pane.
| | 03:12 | If you open this, the pop-
up window will go there.
| | 03:15 | If you double-click on it, the movie
pops back out to the pop-up window.
| | 03:20 | So you can look at it larger here and
then when you want to work, you can move it
| | 03:23 | back here to make it
smaller to get it out of the way.
| | 03:26 | Next let's go to our
Project Settings, under Video.
| | 03:28 | Here, you can set your video to go
out to an External Video Monitor.
| | 03:34 | Most composers use a piece
of hardware made by Canopus.
| | 03:37 | It's a small box that
transcodes FireWire to composite video.
| | 03:41 | That way you can send your video out of
Logic to a regular NTSC TV monitor or projector.
| | 03:46 | You would go into Video Output, under
FireWire, and Logic would spit your video
| | 03:50 | out the FireWire port to the Canopus box and
then you can take it from there to the TV monitor.
| | 03:56 | When you send video out to an external
monitor, you have to compensate for sync.
| | 04:00 | QuickTime video through the Canopus box
requires 22 Quarter Frames of sync offset.
| | 04:04 | You can manage this in the Global Preferences.
| | 04:07 | Logic makes it easy to go back and
forth between your Project Video Preferences
| | 04:11 | and your Global Video Preferences.
Down at the bottom, we have a button that
| | 04:14 | takes us to our Global Preferences.
| | 04:17 | Here, to compensate for External sync, if
we were going out the Canopus box, we would
| | 04:21 | want to 22 Quarter Frames in
the External Video to Project.
| | 04:26 | One more Preference we need to look
at in the Project Preferences is the
| | 04:29 | Synchronization tab.
| | 04:30 | Here is where we can adjust our Frame Rate.
| | 04:33 | Remember, the QuickTime Info
window told us this movie was 23.98.
| | 04:38 | That's 23.976 rounded.
| | 04:41 | Let's choose that and now our Project will
be referencing the right frames per second.
| | 04:45 | Now we know how to set up our project
to work with video. We're ready to start
| | 04:48 | composing to picture.
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| Scoring music to video| 00:00 | Logic makes life easy when
you score music to picture.
| | 00:03 | After you import the movie file, there are
some cool scoring features to know about.
| | 00:07 | Let's check them out.
| | 00:09 | If the movie you are
working on has a temp audio track,
| | 00:11 | it's up to you if you want to
reference it while you work.
| | 00:14 | You can play it from the pop-up movie.
| | 00:16 | There is a volume control down
the lower left of this window.
| | 00:18 | You can move this up and down to bring
the original volume from the movie sound
| | 00:21 | track up and down as you work.
| | 00:23 | Let's see what this sounds like.
| | 00:24 | I am going to hit Play and we will hear
the composition I have been working on.
| | 00:28 | (Music playing.)
| | 00:36 | You can also separate the sound from
the QuickTime movie and import it right
| | 00:40 | into your Logic Timeline as a region.
| | 00:42 | Let's close this window.
| | 00:43 | If I right-click in the Video Lane,
I can say Import Audio from Movie.
| | 00:49 | This brings the original audio from the
movie right into Logic as a normal track.
| | 00:53 | Now I can go over to its channel strip
and I can move the volume up and down
| | 00:56 | that way, or I can mute it
when I don't want to hear it.
| | 00:59 | Composers often like to write
around important cuts in the picture.
| | 01:02 | Finding these important edit
points is called spotting the picture.
| | 01:06 | Logic 9 has quick features that
automatically detect important cuts.
| | 01:09 | While it's not perfect,
| | 01:11 | it can take some of the time
out of the spotting process.
| | 01:13 | Click Detect Cuts in the Video Lane.
| | 01:17 | Logic analyzes the movie and
searches for the scene cuts.
| | 01:21 | Now you see scene cuts displayed as
scene markers in our Marker Lane.
| | 01:26 | To see more information about
them, we can open the Lists pane.
| | 01:29 | Here we have all of our
scene markers listed out.
| | 01:31 | We can see their positions
right now in bars and beats.
| | 01:35 | We can also go up to the View menu and
change Event Position and Length to SMPTE Units.
| | 01:40 | It might be useful when you are
working to go back and forth between bars and
| | 01:45 | SMPTE units for these
important cut points in the video.
| | 01:50 | You can also make notes
about these scene markers.
| | 01:52 | For example, if I wanted to make a note
about Scene - 3, I can double-click it,
| | 01:57 | and I will hit Return a couple of
times to go past the original name.
| | 02:01 | Now I can write notes.
| | 02:03 | Now anytime I click on Scene
- 3, I get to see those notes.
| | 02:06 | It might also be useful to
color code scene markers.
| | 02:09 | If I wanted to Color Code Scene - 8,
I select it in the Marker Timeline, then
| | 02:13 | choose the Color Palette.
| | 02:15 | I can make it any color I want.
| | 02:18 | Now Scene - 8 was colored
blue, just for reference.
| | 02:21 | When you want to move regions to a
specific location in the video track, a
| | 02:25 | feature called Pickup Clock is useful.
| | 02:27 | I am going to zoom out a
little bit in our Timeline.
| | 02:32 | Watching the video in the window over
here, I want to move something right to
| | 02:37 | this shot here, when the
guy is flying through the air.
| | 02:39 | So let me find the in-point for that.
| | 02:42 | There it is, at about 01:00:19:23 frames.
| | 02:47 | I will leave my playhead to that location.
| | 02:49 | What I want to do is move this
sound effect to that location.
| | 02:53 | So select this region and the key command for
doing this is the key command for Pickup Clock.
| | 02:58 | It's just the Semicolon on your keyboard.
| | 03:01 | So as long as I have my playhead here,
I have my region selected, I can hit
| | 03:05 | Semicolon and that region
moves right to that location.
| | 03:08 | Let's hear what that sounds like.
| | 03:10 | (Music playing.)
| | 03:17 | Perfect! Once you are done composing to the movie,
you can export your composition back
| | 03:22 | to the original QuickTime movie.
| | 03:24 | To do that, right-click on the Movie
Timeline and choose Export Audio to Movie.
| | 03:29 | Here we will choose our audio format.
| | 03:31 | Since the original movie is in MPEG 4,
it will make sense to choose MPEG 4 High
| | 03:35 | Efficiency AAC. When we hit Ok,
| | 03:37 | it will ask where we want to save it,
and it automatically put in _1 to give it
| | 03:43 | a different name than the original movie.
| | 03:44 | You can change this to
mymix or something like that.
| | 03:47 | We'll click Save and then Logic asks us
what audio tracks of movie you want to
| | 03:52 | keep in the new movie?
| | 03:53 | It's asking us if we want to blend our sound
track with the original sound in the movie.
| | 03:58 | If we do, we will keep this selected and hit OK.
| | 04:01 | If not, you can select off of it and hit OK.
| | 04:06 | Logic goes through and bounces the movie.
| | 04:08 | Composing music to video or film in
Logic 9 is powerful, fast, and fun.
| | 04:12 | Now you can write killer scores to
any movie, from YouTube, all the way up
| | 04:15 | to the big screen.
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|
|
9. MixingMixing philosophies and five tools for mixing| 00:00 | When I think about mixing a multi-track
arrangement, I like to use the analogy
| | 00:04 | of a busy multilane freeway.
| | 00:06 | The tracks are like the lanes.
| | 00:08 | In the song we will mix in this video,
we have 22 tracks and when we mix, these
| | 00:12 | lanes have to merge into two, the
left and right outputs of our stereo mix.
| | 00:17 | It's our job, as the Mixing
Engineer, to direct this traffic.
| | 00:20 | It's not an easy task.
| | 00:22 | Things we need to watch out for are
bottlenecking due to competing levels
| | 00:26 | and competing frequencies, and we have to
do this all in a way that sounds like music.
| | 00:30 | Luckily, with Logic, we
don't have to do this alone.
| | 00:32 | We have some indispensable tools at our
disposal to help direct sonic traffic.
| | 00:36 | Here is a song we are going to mix.
| | 00:39 | It's called Nathaniel. It has 22 tracks.
| | 00:42 | Let's take a look at the Mix window, Command+2.
| | 00:44 | You can see it's got a lot of tracks in it.
| | 00:47 | I like to break up the mixing process
into five distinct modes of operation, not
| | 00:53 | necessarily done in this order.
| | 00:55 | We have Volume level, Panning,
Processing tools, Automation, and Effects.
| | 01:01 | First one, Volume levels of the tracks.
| | 01:03 | We use Track faders.
| | 01:06 | It's a delicate balancing act.
| | 01:08 | Remember that your left and right stereo
output, over here, is the sum of all the tracks.
| | 01:13 | This is where the sonic freeway merges.
| | 01:15 | On a Track Fader, when it
says 0, that's unity gain.
| | 01:20 | This means that the sound level that is
inherent in the regions in the track is
| | 01:24 | unchanged as it leaves the track.
| | 01:26 | Logic allows a volume gain of +6
decibels when the Fader is at its highest.
| | 01:32 | That's 6 decibels louder than the unity
level and a Track Fader goes all the way
| | 01:36 | down to minus infinity, which is silence.
| | 01:39 | You can double-click on a Track Fader
to enter a more precise value, let's say -6,
| | 01:43 | it goes up to -6 DBs. 6 DBs below unity.
| | 01:47 | You can also Option+Click
at any time in a Track Fader.
| | 01:50 | That will return it to unity.
| | 01:52 | The next aspect is panning of the tracks.
| | 01:54 | Think of your mix as a stage.
| | 01:56 | Panning will help to determine what's
to the right or the left of the stage.
| | 01:59 | Pan by clicking directly in the center
of the circle and moving the mouse up to
| | 02:03 | pan right and down to pan left.
| | 02:06 | You have values of -64 on one
side, and 63 on the other. Why?
| | 02:11 | If you paid attention in the MIDI
videos, you'll remember that MIDI controls
| | 02:14 | have a total value of 127. That's 64+63.
| | 02:19 | The next aspect are plug-in inserts.
| | 02:21 | Primarily, we use compressors to
control loudness dynamics in the track and we
| | 02:26 | use Equalizers, or EQs, to
control frequency ranges.
| | 02:31 | Your tracks are like the
colors in an artist's palette.
| | 02:34 | You can blend their frequencies
and loudnesses like sonic paint.
| | 02:36 | As you can see, this first track has a
compressor and an EQ inserted. These are
| | 02:41 | the hallmarks of our processing tools.
| | 02:43 | The next aspect is Automation.
| | 02:45 | This is where we
introduce movement in our tracks.
| | 02:48 | Maybe an effect moves across the sonic
stage from left to right, or commonly
| | 02:51 | will ride the level of the vocal
during the song to get the most out of it.
| | 02:55 | Let's go back to the
Arrange window for a second.
| | 02:57 | If I type A on a keyboard,
we can see the automation.
| | 03:01 | Currently, we have no
automation written for the song.
| | 03:04 | Type A again to get back.
| | 03:05 | Let's go back to the Mix window.
| | 03:07 | Finally, we have Effects.
| | 03:08 | We like to use these to create space
and depth around our sounds to make them
| | 03:12 | more interesting or make something stand out.
| | 03:16 | Logic has some great plug-ins for this,
like Space Designer or Tape Delay.
| | 03:20 | Now that you have a bit of a
primer, you are ready to start mixing.
| | 03:25 | Don't get frustrated. Mixing is one of
the toughest things you can do in audio.
| | 03:28 | Remember, good mixing takes time.
| | 03:30 | Don't expect to have a slamming mix in minutes.
| | 03:32 | It commonly takes many hours of
listening and refining to get it just right.
| | Collapse this transcript |
| Setting up for a mix| 00:00 | Organization is going to be key to
your success when you are mixing.
| | 00:03 | This song may seem fairy unruly at 22
tracks, but it's nothing compared to
| | 00:07 | some of the larger mixes these days.
| | 00:09 | Subjective listing while you are
mixing is a very right-brain actively,
| | 00:12 | while technical tasks like naming, locating
and routing track outputs are very left-brain.
| | 00:17 | Let's go over some strategies to get the
left-brain organization done first, so we
| | 00:21 | can stay focused on the
right-brain activity as we mix.
| | 00:24 | It's time to get familiar with the
Mixer window, hit Command+2 to open it.
| | 00:28 | Here you see all of your tracks that
are in the Arrange window, if the Arrange
| | 00:32 | button at the top is checked.
| | 00:33 | If you select All you'll see All the
tracks in your project, even the ones that
| | 00:37 | you are currently using, like the Click track.
| | 00:41 | You can also filter out tracks by type.
For example, if you only want to see the
| | 00:45 | Output tracks, we can
uncheck the other track types.
| | 00:49 | Now, we are just seeing the Stereo Output.
| | 00:54 | Let's click Arrange again to go back.
| | 00:57 | It's good to be consistent about track order.
| | 00:59 | There are some conventions.
It's traditional to put the Kick on the first track
| | 01:03 | because back in the analog days the
heavy base sounds used to cross talk over
| | 01:07 | to other tape tracks.
| | 01:08 | Also, we usually put the vocal around
the center of the mix because it's right
| | 01:12 | in the middle of the console at mix position.
| | 01:14 | You can choose whatever order makes
the most sense to you, but be consistent
| | 01:18 | from mix to mix.
| | 01:19 | It'll help you be focused.
| | 01:21 | You can move the order of
tracks only in the Arrange window.
| | 01:24 | Let's go to the Arrange window to see.
| | 01:26 | To move tracks, go to the Track
Header till you have the Hand icon and pull
| | 01:30 | the Track up or down.
| | 01:31 | Let's move this guitar track up.
| | 01:34 | Let's also move the other guitar
tracks so they are all together.
| | 01:36 | We will move the SlideGuitar up
and we'll move the WahWah guitar up.
| | 01:42 | Once you have your tracks in order,
it's good to color-code them by type
| | 01:45 | for easy visual access.
| | 01:46 | Go back to the Mixer window and we are
going to select all of the drum tracks.
| | 01:51 | Drag a selection around all the tracks
to select more that one track at one time.
| | 01:55 | Now, we are going to color-code these
red. We will go up to the View and choose
| | 01:58 | Colors and choose red.
| | 02:01 | So, all of our drum tracks
look red in the Mix window.
| | 02:04 | Let's go back to the Arrange window.
| | 02:05 | It'd be useful, also, to see
these colors in the Arrange window.
| | 02:11 | To do this, go up to View, choose
Configure Track Header and check the button at
| | 02:16 | the bottom, Track Color Bars.
| | 02:19 | Click Done. Now we can see that red
that we just made for the drum track shows
| | 02:23 | up in the Arrange window.
| | 02:24 | It'll also be useful to
color-code our regions as well.
| | 02:27 | So, we have the Kick track selected.
We can go up here into Region and choose
| | 02:31 | Color Regions by Channel Strips/Instruments.
| | 02:33 | When I select this, it color-codes the
region according to the color we made
| | 02:36 | in the Mixer window.
| | 02:37 | There's also quick key for this.
| | 02:40 | Use a Down arrow to select the next
track and use Option+Shift+C. I'll do this
| | 02:45 | for each of these tracks. Great!
| | 02:49 | Now, we have color-coded our
regions and our tracks together.
| | 02:51 | Let's go back to the next
window and close the color palette.
| | 02:56 | Selecting more than one track in the
Mixer window is useful, because you can
| | 02:59 | move their faders and other operations together.
| | 03:02 | Notice all the drum tracks are
still selected since they are white.
| | 03:05 | Watch when I move one of the
faders, they all move together.
| | 03:10 | You can also use Groups for the same effect.
| | 03:12 | Let's try this on the BG ox.
I'll select both of those tracks.
| | 03:17 | To make a group for tracks, you can single-
click in this gray area above the word 'Off.'
| | 03:21 | Now, we can assign both
of these tracks to Group 1.
| | 03:24 | You see a yellow 1 appears in both tracks.
| | 03:27 | Let's go back into that menu
and click Open Group Settings.
| | 03:31 | And it opens a window where we can
manage the settings for our groups.
| | 03:34 | Double-click the Name field and
type 'bg ox,' for background vocals.
| | 03:38 | Hit Return to lock that in.
| | 03:40 | You can also choose what parameters
are going to be controlled by our
| | 03:43 | group settings here.
| | 03:44 | Let's close this window and now we
can see that even when the tracks aren't
| | 03:48 | selected - I'll deselect those
tracks - the faders move together.
| | 03:51 | That's how you can make a group and
they are useful when you are mixing.
| | 03:56 | Notating more significant events a
current time can also be useful in mixing.
| | 04:00 | Let's go back to the Arrange window.
| | 04:01 | For example, it's useful when you want
to jump to that second chorus or bridge
| | 04:05 | part of the song to work on
it without hunting for it.
| | 04:07 | We can use Markers to do this.
| | 04:10 | To get to Markers, you can open the
Lists menu on the right-hand side of
| | 04:13 | the Arrange window.
| | 04:14 | Choose the Marker tab.
| | 04:15 | Notice we don't have any
Markers yet for our song.
| | 04:18 | Let's move the Playhead to the
first chorus, right about here.
| | 04:22 | Now, in the list, hit Create and it makes a
Marker. You can see it up in the bar ruler.
| | 04:28 | We can double-click on the Name and we can
change this Marker's Name by typing in 'Chorus.'
| | 04:34 | As you can see, that name is
reflected up in the bar ruler.
| | 04:36 | We can also type in a bunch of notes down here.
| | 04:40 | These notes will be accessible to us
whenever we click on the Marker in the Lists view.
| | 04:44 | Let's make one more Marker
and you'll see what I mean.
| | 04:46 | Let's go to the second chorus,
hit Create and double-click here.
| | 04:51 | We will call it Chorus 2.
| | 04:53 | Now, we can use the mouse to click on
Chorus 1. You can see our notes, Chorus 2.
| | 04:59 | It might seem a little time-intensive to
do all this organizing. You'll be happy
| | 05:02 | later when all you want to do is
make creative judgments, not organize.
| | 05:06 | When you are mixing your song, all
this organizing will make it much easier
| | 05:09 | to think clearly.
| | Collapse this transcript |
| Directing audio traffic with fader levels| 00:00 | The first crucial element of your mix
is the relative volume between all the
| | 00:04 | tracks in your project.
| | 00:05 | Each track in your project, contains an
audio signal that flows from one stage
| | 00:09 | to the next, eventually
getting to the final output.
| | 00:12 | Let's make sure we understand the order and
signal flow of the tracks so we can optimize them.
| | 00:17 | The volume level of an audio
track begins at the source,
| | 00:20 | the audio region in the track.
| | 00:22 | All regions are going to have
different inherent levels depending on how they
| | 00:25 | are recorded, but before the signal reaches
the Track Fader, it goes through the plug-ins.
| | 00:31 | The plug-ins work top down.
| | 00:32 | The top plug-ins first, then the
plug-in below that, and so on.
| | 00:36 | After the signal goes through each plug-
in, which can have an effect on the level,
| | 00:40 | it then goes to the Track Fader,
where you can adjust the level even more.
| | 00:44 | Once it goes through the Track Fader,
the signal goes to the main Output.
| | 00:48 | This gives you another
opportunity to change the level.
| | 00:50 | Finally, the signal gets to the
hardware Output. This what gain stages means.
| | 00:54 | Each stop along this path can have an
effect over the overall level as it goes through.
| | 00:59 | Plug-ins can have a dramatic effect on the
level of the signal before it reaches the fader.
| | 01:03 | For example, on a snare track we have a
channel EQ. I'll double-click it to open it.
| | 01:09 | This EQ is boosting some of the
frequencies around 100 Hz and around 5000 Hz.
| | 01:14 | Because we are boosting here, the
overall level might be louder after it leaves
| | 01:18 | this plug-in. You have to be careful of this.
| | 01:21 | Let's take a listen to
the snare part in this song.
| | 01:22 | (Music playing.)
| | 01:32 | As you can see, the overall
level coming out is fine.
| | 01:34 | It's not clipping or anything.
| | 01:35 | But let's take a look at the Rhodes track.
| | 01:39 | These two tracks both have a compressor on them.
| | 01:41 | Let's hit play again to hear those.
| | 01:43 | (Music playing.)
| | 01:50 | Before we inserted the
compressor tracks, the level was fine.
| | 01:53 | But now, as we can see by the red
light on the tracks, it's clipping.
| | 01:56 | Any time you get a red on a
track it means the track is clipped.
| | 01:59 | The number indicates how far over it's clipped.
| | 02:03 | The second track has clipped 6 dB above the top.
| | 02:06 | Individual track clipping a little is okay.
| | 02:09 | There's plenty of headroom in Logic's
mixer, but you have to watch out for the
| | 02:13 | level on the main Output.
| | 02:14 | In this case, it's clipping a little too much.
| | 02:17 | So, now we want to bring down the track
volume, bring it down to at least 6 dB,
| | 02:21 | so you get under the clipping point.
| | 02:23 | (Music playing.)
| | 02:29 | That looks good.
| | 02:30 | This brings up a good point. Don't
always trust the meters. They lie.
| | 02:35 | Our ears are the things to trust.
| | 02:37 | I turned on the Rhodes track until
it's sounding good in the mix to me.
| | 02:39 | That's the way you should do it to.
| | 02:41 | Don't let the numbers fool you.
| | 02:43 | Software instrument tracks
don't have Audio Regions on them.
| | 02:46 | So, the volume level on them
starts with the output volume of the
| | 02:49 | software instrument itself.
| | 02:53 | This project has some software
instrument tracks, these ones in pink.
| | 02:56 | In the case of the N_Beat 1 track,
the volume begins with the output of the
| | 03:00 | software instrument inserted
on the track, it's Ultrabeat.
| | 03:03 | Let's double-click it.
| | 03:06 | Like most software instruments,
Ultrabeat has a main master volume.
| | 03:09 | It's up here in the top left.
| | 03:11 | It's at about halfway right now.
| | 03:13 | From here, the signal, like audio
tracks, is routed through the plug-ins.
| | 03:18 | This track has three plug-ins.
| | 03:19 | So, remember the signal level first
goes to the Ensemble, then to the Phaser -
| | 03:24 | these are different plug-ins - then to
the compressor, finally to the fader and
| | 03:30 | then to the main output.
| | 03:31 | So, you have to be careful along the way
about how loud each of these plug-ins is set.
| | 03:36 | Now we can talk about the final Output.
| | 03:38 | This is an important fader, because
it's meter shows the summed output of all
| | 03:42 | the tracks routed to Output 1-2.
| | 03:44 | Remember how I set it's
okay to clip track faders?
| | 03:47 | You don't want to clip the output fader.
| | 03:49 | Clipping here means you'll have
distorted audio on your final mix.
| | 03:52 | As you can see, it's clipped
a tiny bit. How do we fix it?
| | 03:55 | The instinct most people have
is just to turn this track down.
| | 03:58 | I don't recommend this.
| | 04:00 | You should keep your output fader at
unity, or zero, and adjust your individual
| | 04:05 | tracks until this track's meter doesn't clip.
| | 04:07 | How close should we get to it clipping?
| | 04:09 | We shouldn't get very close. Making a
song loud is done in the mastering stage
| | 04:14 | of your project workflow,
and that comes after you mix.
| | 04:17 | In fact, you want to leave
headroom here as much as you can.
| | 04:20 | I suggest not going to much
into the yellow and that's it.
| | 04:23 | (Music playing.)
| | 04:29 | Now something there in the
chorus is clipping the output.
| | 04:31 | I have a feeling it might be the Harp,
because that seems pretty loud.
| | 04:35 | We'll turn that down. We'll also turn the
Rhodes down a little bit, maybe the Bass a teeny
| | 04:40 | bit and the Vocals a little bit.
| | 04:42 | Now lets see if it doesn't clip to output meter.
| | 04:44 | (Music playing.)
| | 04:50 | That's right about the level you want
to have your output meter sitting at.
| | 04:54 | Remember, when setting levels, meters are
useful for telling us when something is
| | 04:57 | clipping, but not much else. Trust your ears.
| | 05:01 | If it sounds too loud, it probably
is too loud. Those are good words of
| | 05:04 | advice when you're mixing.
| | Collapse this transcript |
| Exploring Logic's panning features| 00:00 | Track panning is an important part of mixing.
| | 00:03 | Before Stereophonic Audio was invented,
and everything came out of one speaker,
| | 00:07 | mixing was a lot more difficult.
| | 00:08 | Now, it's possible, through panning, to
create spaciousness and find more places
| | 00:12 | for the element of your mix
across an imaginary sound stage.
| | 00:16 | You can use panning techniques to do this.
| | 00:18 | All audio software and instrument tracks
routed to a Stereo Output have a panner.
| | 00:24 | The panner controls how much of the
signal is sent to the left or right, or in
| | 00:27 | other words, Channel 1
or 2 of your final output.
| | 00:30 | To use the panner, you can click in the
center of the circle, and drag up to pan
| | 00:35 | right, drag down to pan left.
| | 00:37 | When the panner is turned all the way
to the right, the signal is sent only to
| | 00:40 | channel 2 of your Stereo Output.
| | 00:42 | When it's left, it's only sent to channel 1.
| | 00:44 | Think of your mix as a stage and pan
all the tracks as if they were actors
| | 00:50 | performing on the stage.
| | 00:51 | You wouldn't arrange actors to stand in
front of each other, and you don't want
| | 00:54 | to do that to the instruments of your mix.
| | 00:57 | Some common conventions of panning are
to put deeper instruments that ground the
| | 01:00 | mix, like the Kick Drum and the Bass, in the center,
| | 01:04 | and other lighter elements, like Guitars,
Shakers, and Percussion, towards the periphery.
| | 01:10 | The lead vocal is usually centered as well.
| | 01:12 | But there are no rules.
| | 01:14 | You are allowed to pan your mix
the way that sounds the best to you.
| | 01:16 | Just remember that you can use panning
to help carve out sonic space for the
| | 01:20 | elements in your mix.
| | 01:22 | You might notice here that some tracks,
like the OHL and OHR tracks, are panned
| | 01:27 | away from one another.
| | 01:29 | This is set because this is
how the mics were used to record.
| | 01:32 | These are drum overheads and a stereo pair
system of microphones was used to record them.
| | 01:38 | The mic technique used involved the
special relationship of the mics to one another.
| | 01:42 | In this case, 90 degrees.
| | 01:44 | Then when we play them back, panned hard away
from each other, we get the effect on the mix.
| | 01:48 | You will notice the Rhodes track and
the Background Vocals track also have that
| | 01:52 | type of arrangement.
| | 01:53 | If you look in the bottom of these
tracks, underneath the track meter, you
| | 01:56 | will see a little icon.
| | 01:58 | This tells us the output format of the track.
| | 02:00 | In this case, this is the left part of our
stereo pair, and the one over here is the right part.
| | 02:05 | Some other tracks, like the Snare
Drum and Kick Drum, are just set to Mono.
| | 02:09 | If we scroll down a little bit, we can see
the bridge section actually has a double loop.
| | 02:14 | That tell us that it's a Stereo track.
| | 02:16 | That means the information on this
track is a file with a left and right
| | 02:19 | information already embedded in it.
| | 02:22 | Let's solo this up and take a listen.
| | 02:23 | We'll hear it in its stereo track format first.
| | 02:26 | (Music playing.)
| | 02:34 | Now if I were to change this track
format to Mono, we'll hear the left and right
| | 02:37 | information summed together.
| | 02:39 | (Music playing.)
| | 02:45 | Let's go back to Stereo.
| | 02:46 | A single-click does it.
| | 02:48 | (Music playing.)
| | 02:53 | So, you always want to make sure, if
you have stereo content on your tracks,
| | 02:56 | and the track output is set accordingly,
| | 02:58 | in this case, it should be Stereo.
| | 03:00 | There is one other option for
panning stereo tracks in Logic.
| | 03:04 | It's called Binaural Panning.
| | 03:07 | Binaural panning uses a different algorithm
than simple level between left and right output.
| | 03:12 | By doing this, it emulates more of the
way humans perceptually hear sound
| | 03:15 | spatially around them.
| | 03:17 | Let's put the N_Beat 1
track into Binaural panning.
| | 03:21 | Remember this track has stereo
information on it, since it's a software
| | 03:24 | synthesis instrument.
| | 03:25 | Put it in Binaural Mode, click where
it says Stereo Out, and choose Binaural.
| | 03:29 | And notice we get a different panner.
| | 03:31 | We can double-click on
this to see a larger view.
| | 03:34 | This is our Binaural Panner.
| | 03:37 | We can alter the width and
direction around the listener's head.
| | 03:40 | Let's Solo this track to hear it.
| | 03:42 | (Drums playing.)
| | 04:03 | We should note here that this
effect is optimized for stereo
| | 04:05 | headphone listening.
| | 04:07 | So, when you bring this out into
speakers, the image kind of breaks down.
| | 04:11 | Logic has a special plug-in to help with this.
| | 04:13 | It's called Binaural Post-Processing.
| | 04:15 | We can insert it on a plug-in in the track.
| | 04:17 | Go up to our plug-ins, click and
hold, choose Imaging > Binaural
| | 04:21 | Post-Processing > Stereo.
| | 04:23 | This is just a utility plug-in, but
it can help optimize a binaural mix to
| | 04:27 | work over loudspeakers.
| | 04:28 | Now that you understand how to set up
a sound stage using panning, you're one
| | 04:33 | step closer to getting that final mix.
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| Exploring inserts: Using EQ as a mix tool| 00:00 | We can measure sound waves in terms
of their frequency and their amplitude.
| | 00:04 | Frequency is what determines the pitch
content of a sound, how high or low pitched
| | 00:08 | it is, while amplitude is the sound's volume.
| | 00:10 | In this video, we're going to look at a
plug-in tool called an Equalizer, or EQ,
| | 00:14 | that controls the
frequency of a sound in a track.
| | 00:17 | By altering the frequency within EQ,
we can carve out a unique space for a
| | 00:21 | track, so it fits better in our mix.
| | 00:23 | An EQ can be inserted as a plug-in on any track.
| | 00:26 | It can be used to enhance
elements of a sound, and fix problems.
| | 00:30 | It can even be used to make a sound
compliment another sound on a different
| | 00:33 | track, when it's combined in a mix.
| | 00:35 | The most common EQ you'll see
is the Channel Strip EQ in Logic.
| | 00:39 | Let's insert one on the Snare track.
| | 00:42 | Click under the Inserts to an available
plug-in slot and go to EQ > Channel EQ -
| | 00:47 | since this is a mono track, we can choose Mono.
| | 00:49 | The plug-in window pops-up, and you also
see a green area at the top of the track.
| | 00:55 | This is a handy, quick-glance visual
reference for our EQ Settings, once we make them.
| | 00:59 | That way we can see what's going on
in the EQ of the track without opening
| | 01:02 | the Plug-in window.
| | 01:03 | Let's look at the Plug-in window itself.
| | 01:06 | The range across the middle is the range of
human hearing. At the lowest, we have 20.
| | 01:11 | That's 20 Hz, or the
lowest frequency we can hear.
| | 01:14 | On the right, we have 20 kHz, or 20,000 Hz.
| | 01:18 | That's the highest pitch we can hear.
| | 01:20 | Let's Solo the Snare
track so we can hear it by itself.
| | 01:23 | Click the S button in the Mix window.
| | 01:26 | EQ settings can be made in real-
time while you listen to the audio.
| | 01:29 | We have a loop cycle here so the
snare will just keep repeating.
| | 01:32 | As I listen, I'll click and drag on the
line in the middle to make some rough EQ settings.
| | 01:37 | (Drum playing.)
| | 01:53 | Finer tuning can be done with
the controls below each band.
| | 01:56 | The top number is the
frequency you're working at in Hz.
| | 02:00 | Right now, this low boost is at 106 Hz.
| | 02:02 | The number below that is how
much we're boosting or cutting.
| | 02:06 | In this case, we're boosting by 7 dB, at 106 Hz.
| | 02:10 | The number below that is the Q or
the width. It's the shape of the band.
| | 02:14 | I'll now use these fine
controls to adjust the EQ as I listen.
| | 02:18 | (Drum playing.)
| | 02:36 | The Q value can be a little bit confusing.
| | 02:38 | The lower the Q value, the wider the band.
| | 02:41 | The higher the Q value, the sharper the band.
| | 02:46 | You can use a very sharp
band to fix problem areas.
| | 02:49 | I am going to use the sharp band to
identify a ring in the snare drum, and
| | 02:53 | then I'll remove it.
| | 02:54 | To do this, I'll boost the setting
really high so I can hear the ring, and then
| | 02:57 | I'll bring it down to remove it.
| | 02:59 | (Drum playing.)
| | 03:28 | After boosting, I identified
that the ring was at 210 Hz.
| | 03:31 | Then I was able to pull it back
to remove the ring from the sound.
| | 03:35 | If you EQ your track with it soloed,
make sure you always put it back in the mix
| | 03:38 | to make sure it works with the other tracks.
| | 03:41 | Let's hear it all together.
| | 03:43 | (Music playing.)
| | 03:51 | It sounds good.
| | 03:52 | Now let's EQ the vocal.
| | 03:54 | Go over to the Vocal track and we're
going to insert the same type of EQ.
| | 03:59 | This time, instead of making the
settings yourself, we're going to use a preset.
| | 04:02 | Go into the Plug-in Preset menu. Under Voice,
we have one already made for Male Lead Vocal.
| | 04:09 | Just because Logic made it as a preset,
doesn't mean it will work for every male singer.
| | 04:12 | But it's a good place to start.
| | 04:14 | One thing you notice on this EQ is that
there is a low cut. This is useful
| | 04:19 | because for a male voice, there is
not a lot of frequencies below 95 Hz,
| | 04:22 | where the cut happens.
| | 04:24 | This way we can use the EQ to filter
out any low rumble or anything going
| | 04:27 | on below the voice.
| | 04:29 | Let's take a listen and I'll alter the EQ
a little bit to match what I want to here.
| | 04:32 | (Music playing.)
| | 04:57 | If we like this setting for this
particular singer, we can always save it.
| | 05:01 | Save Setting As, just call it, My
lead vocal eq or something descriptive.
| | 05:08 | It will now be available for
all your other Logic projects.
| | 05:12 | Let's try a different kind of EQ.
| | 05:14 | We'll go over to the Background Vocal tracks.
| | 05:16 | On one of them, select EQ,
but this time choose Fat EQ.
| | 05:20 | This is a different style of EQ.
| | 05:23 | It has cruder controls, but it
has a different more analog sound.
| | 05:27 | I am going to Command+Tilde to my Arrange
window for a second, and then adjust the
| | 05:30 | playback so it's going over
where those background vocals are.
| | 05:33 | Now I am going to adjust this
EQ to where I like to hear it.
| | 05:38 | I'm going to move up the fourth band
to get some more high frequencies in
| | 05:41 | there, and then I am going to turn up the
Master Gain just to give it a little more gain.
| | 05:44 | (Music playing.)
| | 05:58 | That sounds good.
Let's go back to the Mix window.
| | 06:01 | You might have noticed I only EQed one-
half of those vocals, the one on the left.
| | 06:06 | So, I want to copy these
settings over to the other side.
| | 06:09 | To move a plug-in from one track to
another, you can Command+Click on it.
| | 06:13 | That makes your cursor into a hand,
and you can click and drag it.
| | 06:16 | We want to copy it over too.
| | 06:18 | So, I'll hold Option+Command, and that will
allow us to copy the plug-in with the same
| | 06:22 | settings over to the other track.
| | 06:25 | See? Both tracks now have
the same plug-in settings.
| | 06:27 | Let's hear how that sounds.
| | 06:30 | (Music playing.)
| | 06:37 | EQs are essential tools in mixing.
| | 06:39 | It's not uncommon to have an EQ on every
track of a song by the time you're done mixing.
| | 06:44 | Equalizers in Logic don't take
up too much processing power.
| | 06:47 | So, you can feel free to use
them as often as you need them.
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| Exploring inserts: Using compression as a mix tool| 00:00 | Compression is one of the
toughest mixing tools to master.
| | 00:03 | When done correctly, the result of good
compression is that you don't notice it.
| | 00:07 | Compression can help even out the loud
passages of a recording and bring up the
| | 00:11 | softer parts of it, resulting in audio
that is better able to sit in the mix
| | 00:15 | without getting lost or poking out too much.
| | 00:18 | Let's see how we can use
compressors in this mix.
| | 00:20 | We have a Cycle Mode made for
the verse going into the chorus.
| | 00:23 | In the verse, the
singer's words get a little lost.
| | 00:26 | In the chorus, they're little too loud.
| | 00:28 | Let's take a listen to that.
| | 00:30 | (Music playing.)
| | 00:55 | Okay, you heard in the verse, it was
little lost and the level was down here
| | 00:58 | in the track.
| | 01:00 | In the chorus it jumped up here,
he is maybe a little too loud.
| | 01:03 | There is a lot of dynamic
difference between the two parts.
| | 01:06 | Let's insert a compressor
as a plug-in to help fix that.
| | 01:08 | We'll insert it after the Channel EQ.
| | 01:11 | Compressors are under the Dynamics heading.
| | 01:14 | There is our compressor, go and insert it.
| | 01:16 | This is what the Compressor
plug-in window looks like.
| | 01:18 | Let's go over some common
controls you'll see on most compressors.
| | 01:23 | The Threshold, any sound that's louder
than the threshold will be compressed
| | 01:27 | or lowered in volume.
| | 01:28 | Sound that just not reach
the Threshold is left alone.
| | 01:31 | The Ratio controls how much sound will
be lowered if it reaches the threshold.
| | 01:36 | A ratio of 2:1 means every 2 dB will be
lowered to one, or in half, once the sound
| | 01:42 | reaches the Threshold.
| | 01:44 | A ratio of 10:1 means audio will be 10
times lower if it crosses the Threshold.
| | 01:48 | Then we have our Attack and Release controls.
| | 01:51 | These are the two time-based
parameters of a compressor,
| | 01:54 | how fast the compressor turns down
once the sound hits the Threshold and how
| | 01:59 | quickly it comes back to
normal state with the Release.
| | 02:02 | The Attack controls how fast the
compressor will turn down once the sound
| | 02:05 | reaches the Threshold and the Release controls
how quickly it comes back to a normal state.
| | 02:10 | These controls are really where you can
craft the compressor to grab on to what
| | 02:13 | you need to compress.
| | 02:15 | Ask yourself is it grabbing the onset
of the sound or is it a little bit after
| | 02:19 | the initial attack of the
sound that you want to lower?
| | 02:22 | Then we have the Gain.
| | 02:23 | The Gain is used to put back lost gain or
volume after you've compressed the sound.
| | 02:27 | Turning this up will make the sounds
that were too quiet end up louder and since
| | 02:31 | we compressed the loud sounds already,
everything should, in theory, be more
| | 02:35 | even, dynamically speaking.
| | 02:36 | I'd like to note that Logic a lot of
times sets the Auto Gain to on by default.
| | 02:41 | I like to leave this control off and
make up the gain myself with the Gain slider.
| | 02:47 | For vocals, I recommend a relatively low ratio.
| | 02:50 | Let's try around 3:1, or 3.1:1 in this case.
| | 02:54 | Attack and Release also should be
somewhat low but not all the way down.
| | 03:00 | The Threshold for this recording can
be downed around -20 since the vocals
| | 03:03 | weren't originally recorded too loud.
| | 03:06 | Make sure Auto Gain is set to off and let's
adjust the Gain to about 1 dB. Let's listen to this.
| | 03:11 | Let's see if it's working.
| | 03:12 | It'll be subtle, but you'll able to see the
gain reduction in the chorus in this area here.
| | 03:16 | This tells us how much we're compressing.
| | 03:18 | (Music playing.)
| | 03:48 | As you can see, during the loud
chorus, we were compressing about 4 dB.
| | 03:52 | That helped to even out
the chorus between the verse.
| | 03:54 | Let's try one more compression on the guitars.
| | 03:57 | This one will be more obvious
and the settings more drastic.
| | 03:59 | We're going to compress this track, N_EGuit1.
| | 04:05 | Let's insert the compressor on the
track. Again, it's under Dynamics.
| | 04:08 | Here we're going to use a Preset.
| | 04:12 | In the Preset menu, we have one for
guitar called Platinum Guitar Emphasis.
| | 04:15 | I'm going to make a couple of
adjustments to this as we play, but I'll also
| | 04:20 | bypass it on and off so we
can hear what it's doing.
| | 04:22 | First of all, let's solo it.
| | 04:23 | (Music playing.)
| | 04:46 | As you can tell, it's making the track
a lot louder, but it's also taking the
| | 04:49 | somewhat lackluster
muddiness and giving it some sparkle.
| | 04:52 | It's matching the quieter sounds of
the guitar that were getting lost to the
| | 04:56 | louder sounds of the guitar.
| | 04:57 | It sounds like good compression.
| | 04:58 | Let's hear it in the mix.
| | 05:01 | (Music playing.)
| | 05:12 | When I first played it, it was a
little too loud, but now I'm able to pull
| | 05:15 | down the track volume and we can still hear
the guitar better than the we would before.
| | 05:19 | Compression is useful for this.
| | 05:20 | It will help us adjust our track
faders but still be able to hear the song.
| | 05:24 | Compression is one of those tools that
can take a lifetime to master and as long
| | 05:27 | as you understand the basic mechanics
of how they work, you can experiment.
| | 05:31 | Remember when you use these plug-ins
not to get caught up in the graphics of
| | 05:35 | them. Mix with your ears not your eyes.
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| Using advanced signal flow with aux and send tracks| 00:00 | So far in our mix, all of the tracks
have been assigned only to one place on
| | 00:04 | their output, Stereo Output.
| | 00:06 | Now we're going to mix things up a
little bit and learn about some more
| | 00:08 | advanced signal routing.
| | 00:10 | By routing to auxiliary tracks, you
can have more control over your mix.
| | 00:14 | Let's see how to do this.
| | 00:16 | By now, we are pretty solid on the
individual levels of the 5 drum tracks in our song.
| | 00:20 | I'm going to sub mix them to an
auxiliary tracks to give us more flexibility.
| | 00:24 | First, let's select all 5 Drums by
dragging a selection around them.
| | 00:28 | Now let's click in the Output tab of
any of the drums and change it to Bus 1.
| | 00:35 | Notice that since they're all
selected, they all went to Bus 1.
| | 00:39 | Logic is pretty smart and the
second you make a bus, it makes a
| | 00:42 | corresponding auxiliary track.
| | 00:44 | To see this, we have to go down to the
end of the Mixer. There it is, Aux1.
| | 00:48 | Notice that Aux 1's input
is already set to Bus 1.
| | 00:51 | The buses are already routed to this Aux track.
| | 00:54 | A bus is an internal mixing pathway that
can be used to move and combine signals
| | 00:59 | from one place to another on the Mixer.
| | 01:01 | Let's double-click the bottom of
this Aux track to give it a better name.
| | 01:05 | We'll call it Drum Sub.
| | 01:08 | That's because this is technically going
to be a drum sub mix we're setting up here.
| | 01:12 | Now let's right-click on this Channel
Strip and choose Create/Select Arrange Track.
| | 01:16 | This will put it out in Arrange window.
| | 01:19 | Let's hit Command+Tilde to see that.
| | 01:21 | There it is, Drum Sub, at
the bottom of our tracks.
| | 01:24 | Let's drag it up closer to where the drums are.
| | 01:26 | I'll put it just after the last
drum track, the overhead right drum.
| | 01:29 | Now if we go back to the Mix
window, everything will be together.
| | 01:32 | We have our 5 drums
and then the Drum Sub Mix.
| | 01:36 | Remember, all 5 drums are going out Bus
1 and they're going through the Drum Sub
| | 01:40 | mix and coming out to Stereo Output.
| | 01:43 | The Drum Sub mix is now a master
volume control for all 5 of these drums.
| | 01:47 | Let's see what I mean by this.
| | 01:49 | (Music playing.)
| | 02:02 | So, now our Drum Sub Mix gives us
control over all the drums with one fader.
| | 02:07 | This is really useful when we're mixing.
| | 02:08 | We can also use the Drum Sub Mix
to process all of the drums at once.
| | 02:13 | To do this, we'll insert a compressor
on the track and that compressor will
| | 02:16 | compress all 5 tracks at the same time, since
they're all running through this Aux Track.
| | 02:24 | We'll use a Compressor Preset here.
| | 02:26 | Let's try Drums > Type U Tight Kit.
| | 02:29 | It's a compressor designed
already for a whole Drum Kit.
| | 02:32 | Let's see what this sounds like.
| | 02:35 | (Music playing.)
| | 02:46 | That's good. This compressor is acting like
the glue that's gluing all these tracks together
| | 02:51 | as it goes through the Sub Mix.
| | 02:52 | Just to reiterate, the signal flow is
going out Bus 1 for all of these tracks,
| | 02:57 | into Bus 1 of the Drum Sub, through the
compressor and then out the Main Stereo Output.
| | 03:02 | You can use this kind of routing
any time you see fit to combine the outputs
| | 03:06 | of multiple tracks.
| | 03:07 | It makes it easier to mix and it
saves on plug-in processing power.
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| Using advanced signal flow with time-based FX to create space in your mix| 00:00 | Insert processing, like EQ and
Compression, work well when inserted on a track and
| | 00:05 | 100% of the signal goes through it.
| | 00:07 | Some effects, like Reverb and Delay,
sound better when we hear a blend of the
| | 00:11 | effect and the original sound.
| | 00:13 | Let's learn how to use Sends to
set up this type of processing.
| | 00:17 | On the N_Key effects track, Track 10, let's
click under where it says Sends to create a Send.
| | 00:23 | Sends go on buses.
| | 00:24 | In this case, Bus 1 is already been
used by the Drum Submix. Let's use Bus 2.
| | 00:30 | Remember, a bus is an internal mixing
pathway that can be used to move and
| | 00:34 | combine signals from one
place to another on the mixer.
| | 00:38 | In this case, the bus is taking
our signal to the Aux 2 track.
| | 00:41 | Logic automatically created the Aux 2
track for us when we made a send on Bus 2.
| | 00:46 | Notice the input of Aux 2
is already set to Bus 2.
| | 00:49 | So, we're sending some of the signal
out of this track, over a send, on Bus 2 and
| | 00:55 | it's returning to Bus 2 on this Aux track.
| | 00:58 | Let's rename this Aux track
to something more descriptive.
| | 01:01 | Double-click on the name,
and we call it Delay FX.
| | 01:06 | Now let's insert a Delay as
a plug-in on this Aux track.
| | 01:09 | Under our Inserts, choose
Delay and we'll choose Tape Echo.
| | 01:14 | This is one my favorite delay effects in Logic.
| | 01:17 | We'll call the preset that I've
like calle1\8 Note Dotted Dub.
| | 01:23 | I'm going to Solo this track, so
we can really hear what's going on.
| | 01:29 | To turn up the amount sent to our
Delay FX track, we'll click and drag in this
| | 01:34 | little circle next to where it says Bus 2.
| | 01:36 | That's our Send level.
| | 01:37 | The higher up this level gets, the
more signal will be sent to our Delay.
| | 01:42 | You'll hear what this sounds
like when I hit Play and turn it up.
| | 01:45 | (Music playing.)
| | 01:58 | So, the way this signal flow is
working is that the dry sound, the unaffected
| | 02:02 | sound, is controlled by our Track Fader.
| | 02:04 | The FX sound, or the wet sound, is
being controlled by the Aux tracks level.
| | 02:09 | The amount sent to that Aux
track is controlled by the Sends.
| | 02:12 | We can blend the amount of dry and wet
signal by turning up and down the Send level.
| | 02:18 | I think it sounded good right around -14.
| | 02:22 | Let's hear that again.
| | 02:23 | (Music playing.)
| | 02:31 | Now let's set up the same type
of effect on the vocal track.
| | 02:34 | We'll create a Send on Bus 3.
| | 02:37 | You can see Bus 1 and Bus 2 are being used.
| | 02:40 | Logic automatically made an
Aux with it's input set to Bus 3.
| | 02:44 | And this time, instead of a
Delay, we're going to put a Reverb.
| | 02:47 | Let's see Space Designer and
we'll make this one Stereo.
| | 02:50 | It will take a Mono signal
and convert it to Stereo.
| | 02:54 | This is Space Designer.
| | 02:55 | It's one of the best reverbs in Logic.
| | 02:57 | Let's go to Medium Spaces > Plate
Reverbs > Soft Plate for this vocal.
| | 03:04 | Now, just like the key effects track, we
can turn up the amount of Reverb effect
| | 03:09 | by using the send knob.
| | 03:10 | Let's do this with the song playing.
| | 03:13 | (Music playing.)
| | 03:29 | Using Sends for time-based effects
like Reverb and Delay is a classic studio
| | 03:34 | workflow that really puts
the magic in your mix.
| | 03:37 | Just like sub-mixing, it also conserves
processing power and gives you a lot of
| | 03:41 | flexibility as you mix your song.
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| Using automation to create dynamic mixes| 00:00 | Once you have all your volume levels,
panning, processing, and effects in place,
| | 00:04 | it's time to give your mix a little life.
| | 00:06 | The thing that separates a good mix
from a great one is a little movement.
| | 00:10 | Automation refers to any mix control
that moves automatically during the
| | 00:14 | course of the song.
| | 00:15 | It refers not only to fader volume,
but panning, plug-in parameters and even
| | 00:19 | software instrument controls.
| | 00:21 | Automation can be written and recorded in
realtime or drawn in and edited by hand.
| | 00:26 | Let's see how to use it in Logic.
| | 00:29 | Automation controls are not seen by default.
| | 00:31 | To see the Automation controls, you
can go the View menu and click Track
| | 00:35 | Automation or just type the
A button on your keyboard.
| | 00:39 | You'll notice the track size automatically
compensates and all tracks now show the
| | 00:43 | first Automation type, Volume.
| | 00:46 | You can click in this Automation
parameter pulldown menu to choose Automation
| | 00:50 | type, which, for now, is set to Volume
as we can see, because it's checked.
| | 00:53 | You also notice, in yellow, a guide in
decibels that tells us the current volume
| | 00:59 | state that we are at.
| | 01:00 | Right now, the fader is set to -2.2 dB and I
can see that's reflected on the Channel Strip.
| | 01:06 | We also have a yellow column that
represents the fader position here.
| | 01:10 | We can click on this and drag up or
down to change the fader position.
| | 01:15 | Currently, all tracks are in their initial
state, meaning no Automation has been written.
| | 01:20 | This initial state is also signified by
the Automation status button, which is
| | 01:24 | currently set to off.
| | 01:26 | If we want to write Automation and commit
some moves, we'll change this state to Touch.
| | 01:31 | Just click where it says off
and you get a pulldown menu.
| | 01:33 | We'll choose Touch.
| | 01:35 | Touch Mode allows us to write any
parameter we are currently controlling with
| | 01:38 | the mouse, or touching if you have
a touch-sensitive control surface.
| | 01:42 | This means that if you are moving the
fader during playback, it'll write that
| | 01:45 | move as Automation into the track.
| | 01:48 | If you're touching the panner and
moving the panner, Logic will write that
| | 01:51 | information into the track.
| | 01:53 | As we start to write Automation, the
gray line running horizontally across the
| | 01:56 | track will start to contain Automation
nodes, which are Automation data point
| | 02:00 | that tell the parameter where to be.
| | 02:02 | This singer has a tendency to
fall off at the end of phrases.
| | 02:05 | So, I am going to use Automation
to lift up the end of his words.
| | 02:08 | I am going to hit Play
and start moving the fader.
| | 02:11 | You'll see the nodes written as I go.
| | 02:12 | (Music playing.)
| | 02:35 | Now that we have written Automation, we
can go into a Safe Mode, Read Mode where
| | 02:40 | the Automation parameters
can follow what we wrote.
| | 02:43 | In Read Mode, nothing can be written,
but as we play it back over this section,
| | 02:47 | you'll see that the fader will
automatically follow over the nodes we wrote.
| | 02:50 | (Music playing.)
| | 03:01 | See how the fader in the Channel
Strip is automatically moving up and down
| | 03:04 | according to the moves we just made.
| | 03:05 | If you want to rewrite something,
we can always pop it back into Touch
| | 03:09 | and revisit a move.
| | 03:10 | (Music playing.)
| | 03:16 | As soon as you are in Touch Mode and
you start moving the fader, it'll write
| | 03:19 | that move until you let go of the control.
| | 03:23 | Latch Mode is like Touch Mode.
| | 03:24 | It will write data only when you're
touching that control, except it's
| | 03:28 | different when you release.
| | 03:29 | When you release, it latches onto the last
setting and continues to write at that level.
| | 03:33 | I'll demonstrate this.
| | 03:35 | (Music playing.)
| | 03:46 | I let go of the mouse when the
fader was at 3.7 and in Latch Mode,
| | 03:50 | it continued to write that
point out until I hit Stop.
| | 03:52 | At any time, during Automation, you
can always hit Command+Z to undo the last
| | 03:56 | Automation pass you did.
| | 03:59 | The last mode, Write, ignores what
you were touching altogether and writes
| | 04:03 | Automation for all parameters
at the current state they are in.
| | 04:06 | Because Write Mode is potentially
destructive, meaning it will write over stuff
| | 04:10 | you aren't even currently touching,
| | 04:11 | Write isn't used very much.
| | 04:13 | Okay, now that you get the swing of how
Automation works for realtime recording,
| | 04:16 | let's talk about editing
and writing it in by hand.
| | 04:19 | Let's zoom all the way into the vocal
track to see our Automation's move.
| | 04:28 | With the Pointer tool, Automation nodes can
be clicked and dragged on to make adjustments.
| | 04:32 | When you drag to the left or
right, over other nodes, they go way.
| | 04:37 | But if you drag back, it will
reveal what was left behind.
| | 04:40 | If you hold the control key after
starting to move a node, it restricts your
| | 04:44 | move vertically and
makes the adjustment finer.
| | 04:46 | I can't move left to right
when I am holding Control.
| | 04:53 | A quick single-click on a node erases
it and a quick single-click on the
| | 04:57 | line creates a node.
| | 05:01 | Just like regions,
Automation can be copied and pasted.
| | 05:04 | To do this, choose the Automation Select tool.
| | 05:06 | Now we can drag to make a selection,
and we can use Option+drag to move this
| | 05:11 | selection somewhere else.
| | 05:15 | Curves in Automation may be
made with Automation Curves tool.
| | 05:20 | Click on a line between two points and
drag left or right to make an S shaped
| | 05:25 | curve and drag up and
down to make a normal curve.
| | 05:31 | You can also use the Pencil
tool to freely draw points.
| | 05:34 | And you can use the Eraser tool to erase points.
| | 05:42 | You can also view more than
one Automation type at a time.
| | 05:46 | If you wanted to view Volume and Pan
for the vocal track, just click the
| | 05:49 | disclosure triangle on the left-hand side.
| | 05:52 | Change this Automation parameter to
Pan and we can view Pan and Volume.
| | 05:56 | I'll write in some pan moves.
| | 05:58 | Notice it color-codes it.
| | 06:02 | So, Pan is green and yellow is volume.
| | 06:04 | When you are done using Automation, you
can hit the A key to go back to normal view.
| | 06:08 | Once you hit the A key, you
enter a whole new level of Logic
| | 06:11 | you may not have known it existed,
| | 06:13 | but if you master working with
Automation, you'll be able to breathe new
| | 06:16 | life into your mixes, making the mix
process as much of a performance as the
| | 06:20 | recording process.
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| Giving your mix life with automation| 00:00 | We are not quite done with Automation yet.
| | 00:02 | In this video, we'll check out how to
extend Automation to software instruments.
| | 00:06 | We'll also explore how to quickly
assign a control on your MIDI keyboard to any
| | 00:10 | automation parameter you want.
| | 00:12 | Here we have our N_Synth track.
| | 00:14 | It uses the ESE, a software
instrument, to make it sound.
| | 00:17 | One of the coolest controls in the ESE
is the Cutoff knob. Let's automate it.
| | 00:22 | First, we need to go into the Automation
pulldown menu and choose ESE and then
| | 00:26 | we can select Cutoff.
| | 00:28 | Now we have our Cutoff
Automation parameter in our view.
| | 00:31 | We'll put the track in to Touch Mode and
when we hit Play, we'll move the Cutoff
| | 00:36 | control with our mouse
and write the Automation.
| | 00:38 | (Music-playing.)
| | 00:52 | We did this control with a mouse, but
wouldn't it have been more fun and more
| | 00:55 | creative to play this part on a knob or a fader?
| | 00:58 | If you have a MIDI controller with a
Modwheel, knob or fader, it's easy to
| | 01:02 | quickly assign a control
to an Automation parameter.
| | 01:05 | With the track still enabled, go to
Global Preferences under Logic Pro >
| | 01:09 | Preferences > Automation. Down at the
bottom of this window, we have the Automation
| | 01:14 | Quick Access. Make sure
that's on and click Learn Message.
| | 01:19 | Now spin the knob or move the fader on
your keyboard controller that you want to
| | 01:22 | assign to this parameter.
| | 01:23 | I want to spin the first
knob on my keyboard controller.
| | 01:28 | As you can see by this pop-up
window, it says Assignment learned.
| | 01:32 | Logic listened as I spun the knob and
it assigned that control to the current
| | 01:35 | automation parameter.
| | 01:37 | Now I can close this box and I'll replay
this part, only this time I am going to
| | 01:41 | spin the knob instead of using
my mouse to control the Cutoff.
| | 01:44 | (Music-playing.)
| | 01:57 | Assigning a keyboard control is fun
and creative, and you can do it for any
| | 02:01 | control, even Volume and Pan.
| | 02:03 | Let's go up to the next track, Beat
track, and let's assign a different control
| | 02:07 | on our keyboard to the volume.
| | 02:09 | Put it in Touch Mode, go to the
Logic Pro > Preferences > Automation and
| | 02:14 | click Learn Message.
| | 02:16 | This time I'll spin the
second knob of my keyboard. Great!
| | 02:19 | Logic learned it.
| | 02:20 | You can already see I am
moving the fader with the knob.
| | 02:23 | Now, we can write volume automation
with the second knob on our controller.
| | 02:26 | (Music-playing.)
| | 02:32 | As you can see, I just wrote
Volume Automation on that track.
| | 02:35 | Automation is great stuff.
| | 02:37 | Definitely take some
time to practice your moves.
| | 02:39 | When you get good, it really opens
up new possibilities to your mixes
| | 02:43 | and arrangements.
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| Optimizing performance with freeze tracks| 00:00 | Depending on the processing speed and
power of your Mac, when you load up a
| | 00:03 | project with too many plug-ins or software
instruments, you may run out of CPU power.
| | 00:08 | Let's learn how to manage this when
your project is at its most processing
| | 00:11 | intensive state, the mix.
| | 00:14 | You can view, at any time, how much
processing power your project is eating up, by
| | 00:17 | choosing Options > Audio > System
Performance. Then you get a pop-up window that
| | 00:23 | shows you two things: the Audio, this
is the CPU power and a Disk I/O, this is
| | 00:28 | how much information is
being pulled off your hard drive.
| | 00:29 | When we are looking at CPU power, we are
mostly concerned with the meters in the audio part.
| | 00:34 | Let's hit play and see
where it lands on the meters.
| | 00:37 | (Music playing.)
| | 00:47 | As you saw, we had a quick jump
in Disk I/O, once I hit play,
| | 00:50 | but then everything balanced out.
| | 00:52 | We were barely hitting the
audio meters in this case.
| | 00:54 | This is a pretty powerful computer.
| | 00:56 | So, all these plug-ins weren't
taxing our system too much.
| | 00:59 | If the info were to read at the
top of the meters, don't worry, your
| | 01:02 | computer won't blow up.
| | 01:03 | The playback will stop and you'll
receive a message that CPU usage is too high.
| | 01:07 | Some plug-ins increase CPU usage more than
others, notably space designer and sculpture.
| | 01:13 | Here's some tips to help you if
your computer is not keeping up.
| | 01:16 | Now that we are in the mixing stage
of our project, we can increase our CPU
| | 01:19 | power by going to the Global
Preferences, Logic Pro > Preferences > Audio.
| | 01:24 | Here we can increase our I/O Buffer Size.
| | 01:27 | Right now, it's pretty low at 128 Samples.
| | 01:30 | To give ourselves more CPU power, we
can turn it all the way up to 1024.
| | 01:35 | As you can see, that increased the
Resulting Roundtrip Latency up to 48.7 ms.
| | 01:41 | If we were recording, that will be too high.
| | 01:43 | We would hear a delay.
| | 01:44 | But now that we are mixing, we can
put it high without any problems.
| | 01:47 | So, let's apply changes and close this window.
| | 01:50 | Another word about latency, remember
latency is the dirty word of digital audio.
| | 01:54 | It refers to the time delay of your
audio that computer processing causes.
| | 01:59 | Some plug-ins, especially the ones that
require more processing power, induce
| | 02:02 | different latencies in your tracks.
| | 02:05 | This can cause phase issues and a
general time smearing of your mix.
| | 02:09 | In other words, all instruments are not
outputting exactly on time if you have
| | 02:12 | different plug-ins on their tracks.
| | 02:14 | Luckily, Logic has a way to deal
with this called latency compensation.
| | 02:18 | To see that, let's go
back into the preferences.
| | 02:20 | Under Logic Pro > Preferences > Audio,
this time we'll go to the General tab.
| | 02:25 | Here we have an area called Plug-in Latency.
| | 02:28 | Notice there's a pulldown
window next to compensation.
| | 02:31 | Currently, it's set to All.
| | 02:32 | This means that Logic was already
compensating for the latency on our plug-ins.
| | 02:36 | This is good to leave on when you're mixing,
| | 02:38 | but I would turn it off when recording.
| | 02:40 | Since we are in the mixing stage
of our project, we can leave it on.
| | 02:44 | Another way you can conserve system
usage in the mix is by using a cool
| | 02:47 | technique Logic offers
called Track Freezing.
| | 02:49 | Let's go back to the
Arrange window to see this one.
| | 02:53 | Track Freezing works by writing a
temporary audio file version of a track
| | 02:57 | into Logic's memory.
| | 02:59 | When playback occurs Logic, simply
reads the file instead of doing the complex
| | 03:03 | realtime processing.
| | 03:04 | This conserves a lot of processing power.
| | 03:06 | The only trade off for us is that we
get locked out of the tracks parameters.
| | 03:09 | Let's demonstrate this on the N_Beat 1 track.
| | 03:13 | Notice, in channel strip, this
track has a lot of plug-ins in it.
| | 03:15 | but if we don't think we need to change
the parameters of those plug-ins, during
| | 03:19 | the course of our mix, we can freeze
this track and save system resources.
| | 03:23 | To enable Track Freezing, go up to the
View menu, choose Configure Track Header
| | 03:28 | and check the Freeze button, and then hit Done.
| | 03:31 | You'll notice a little snowflake
button appeared in all of our track headers.
| | 03:36 | This is our Freeze button.
| | 03:38 | So, when we are ready to
freeze this, or any track,
| | 03:40 | click on the button and then hit play.
| | 03:41 | Logic will play through the whole
song and freeze the necessary tracks.
| | 03:46 | This takes a second, but it conserves a
lot or processing power, so it's worth it.
| | 03:49 | So, now, this track is frozen.
| | 03:53 | If we try to open one of the plug-ins in
the track, you see we get a snowflake icon.
| | 03:57 | We are actually locked
out of the tracks plug-ins.
| | 04:00 | If we do need to make changes,
| | 04:02 | all we need to do is unfreeze the track
by clicking on the Freeze button, then
| | 04:05 | we can go back in and make a change.
| | 04:08 | Say I need to move this
compressor threshold a little bit.
| | 04:12 | Now that we have changed a plug-in
parameter and we want to re-freeze the
| | 04:15 | track, we have to click the Freeze
button again and hit play and let Logic go
| | 04:19 | through the process again.
| | 04:20 | Keep in mind you can freeze
more than one track at a time.
| | 04:23 | If you do that, Logic will still only have to
play through once to freeze all those tracks.
| | 04:28 | For bigger mixes, conserving processing
power might be an essential of making
| | 04:32 | it work for your computer.
| | 04:33 | Processing power is your only
limitation when it comes to working in Logic.
| | 04:37 | So, now, you have some handy tips to
effectively remove that limitation in
| | 04:40 | the mixes.
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| Using channel strips for audio processing| 00:00 | If you are new at using complex tools
like EQ, Compression, Delays, and Reverbs,
| | 00:05 | Logic's many options can be a bit overwhelming.
| | 00:08 | You might say to yourself, "How do I
know what EQ and Compression combo is
| | 00:11 | right for my lead vocal?"
| | 00:13 | Or you may even have a sound in your
head that you don't know exactly which
| | 00:15 | combinations of mixing tools will get it for you.
| | 00:18 | Well it turns out, Channel Strip
Settings aren't just for instruments.
| | 00:22 | They work for mixing too.
| | 00:23 | Let's start with the lead vocal.
| | 00:25 | Right now, the track has no plug-ins in it.
| | 00:26 | Let's look at the Channel Strip
Settings available for this track.
| | 00:30 | Since this is an audio track, there are
some different options than what we see
| | 00:33 | in a software instrument track.
| | 00:35 | Let's choose Voice > Male Voice >
Male Slap-Back Lead Vocals.
| | 00:41 | As you can see, it loaded
the track up with plug-ins.
| | 00:43 | Let's go through these, and see what they do.
| | 00:46 | Double-click on the Channel EQ.
| | 00:47 | I can see that the EQ in here is pretty subtle.
| | 00:50 | One of the things it does is it
cuts all audio from about 100 Hz down.
| | 00:54 | Since most male vocals don't go down that
low, this we will use to cut out any rumble.
| | 00:59 | There is also a slight cut at 200 Hz.
| | 01:01 | This is probably to take care
of any boxiness in the sound.
| | 01:04 | Then we have a slight boost at 1200 Hz.
| | 01:07 | This will emphasize the mid range of the voice.
| | 01:10 | Remember, Logic doesn't know
exactly how you're recording sounds.
| | 01:13 | I wouldn't trust all of these settings
completely, but they are a good starting place.
| | 01:17 | The next plugin is the compressor.
| | 01:19 | This compressor uses a relatively low
ratio, 3.7:1, and has some pretty moderate
| | 01:25 | Attack and Release times.
| | 01:28 | Next, we have a St-Delay.
| | 01:30 | This is an echo effect, and
it's set to be a slap-back.
| | 01:33 | Slap-back is a common delay effect
that you might know from the sound of
| | 01:36 | Elvis or John Lennon.
| | 01:38 | I am going to play the track with the
track soloed, and as a turn up the output
| | 01:42 | mix on the left and right side, we
will really hear this effect emphasized.
| | 01:46 | (Male voice singing.)
| | 02:03 | The next plug-in we have is called Ensemble.
| | 02:06 | This is a chorus type effect.
| | 02:08 | It's using subtle pitch and phase
shifting here to subtly widen the vocal
| | 02:13 | in the stereo field.
| | 02:14 | It's kind of a classic trick that a
lot of mix engineers do to make the vocal
| | 02:17 | appear wider as we are listening.
| | 02:19 | If we turn up the mix, we
can hear it more dramatically.
| | 02:22 | (Male voice singing.)
| | 02:36 | Finally, we have s Space Designer plug-in,
which is a reverb on a small hall setting.
| | 02:41 | If I turn up the Reverb while it's
playing, we will hear this effect emphasized.
| | 02:45 | (Male voice singing.)
| | 02:52 | So, this might be the exact sound you
are looking for this track or maybe not.
| | 02:56 | I recommend taking some time to examine
the contents of different Channel Strips
| | 02:59 | one plug-in at a time, like we just did.
| | 03:02 | It's a great lesson on how pros can get
their tracks to sound a certain way, and
| | 03:05 | you can learn a lot from it.
| | 03:06 | Also, you can use Channel Strip
Settings that aren't necessarily made for the
| | 03:10 | instrument on your track.
| | 03:11 | For example, in this song, we have a Harp track.
| | 03:14 | I am going to un-solo the vocal and
go down to the Harp track. Here it is.
| | 03:20 | There is no Harp Channel Strip Setting.
| | 03:23 | What about something else?
| | 03:24 | Let's open the Channel Strip Settings here
and let's try some ones for Acoustic
| | 03:27 | Guitar. How about Bright Acoustic?
| | 03:30 | It turns out that the EQ in this
setting and the compression sound really
| | 03:35 | good with the harp.
| | 03:36 | You will hear what I am
talking about when I hit play.
| | 03:38 | I'm going to go to the Arrange window to
make sure I am playing the right spot.
| | 03:41 | Here is the harp with that Channel
Strip Setting for Acoustic Bright Guitar.
| | 03:47 | (Harp playing.)
| | 03:56 | Don't forget if you hit upon a good
combo or alteration that you made on your
| | 04:00 | own, you can always save it for later use.
| | 04:02 | For example, the plug-ins on the kick
drum for this song I set myself, but they
| | 04:07 | work really well, and there are seven
other songs in this record that we are
| | 04:10 | mixing that were recorded
with the same Kick Drum and mic.
| | 04:13 | You can save this Channel Strip
Setting and use it in other mixes.
| | 04:16 | Go up to Setting > Save
Channel Strip As and save it out.
| | 04:20 | It will be available for other Logic mixes.
| | 04:23 | If you want to reset any Channel Strip
to remove all current settings from a
| | 04:26 | track, just go to that track and click
on the Channel Strip Settings and choose
| | 04:31 | Reset Channel Strip.
| | 04:32 | This will let you start
again from a clean slate.
| | 04:35 | Channel Strip Settings are
a powerful part of Logic.
| | 04:37 | They make your life easier by
loading up tracks quickly with plug-ins,
| | 04:41 | but also, you can use them to
learn how the pros process tracks.
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|
|
10. Working in SurroundUnderstanding surround hardware requirements| 00:00 | Surround sound mixing is getting
more and more popular by the second.
| | 00:04 | Videogame sound, DVD audio discs and HD
television are formats where people are using
| | 00:09 | Logic to mix and surround.
| | 00:11 | In this video, we will go over some of
the terminology and hardware requirements
| | 00:14 | to do a surround mix in Logic.
| | 00:17 | To mix surround in Logic, you will need more
than two channels of output on your sound card.
| | 00:21 | All formats that are considered surround
need, at the minimum, four channels of output.
| | 00:25 | This means your internal Mac
Core audio card isn't enough.
| | 00:28 | You can see the Audio Interfaces video for
more information on external audio interfaces.
| | 00:34 | Explaining the formats of Logic's surround
mixing is like giving a history of surround sound.
| | 00:39 | This is because over the last 30 plus
years, there have been several different
| | 00:43 | formats that are being used as standards.
| | 00:45 | Officially, Logic supports six formats.
| | 00:48 | Here is some information about the surround
formats that Logic supports. Quadraphonic.
| | 00:53 | This format uses four channels
with speakers set up symmetrically.
| | 00:57 | Quad became outdated in the later 70s.
| | 00:59 | There is a modern resurgence however
with the use of an alternative four-channel
| | 01:03 | format called Ambisonics.
| | 01:05 | LCRS, which stands for left, center,
right and surround, this is a four-channel
| | 01:10 | system with only one rear or surround speaker.
| | 01:13 | It was used to mix early film surround
soundtrack, like the original Star Wars.
| | 01:18 | It's also known as Dolby
Pro Logic. 5.1 or ITU 775.
| | 01:24 | This is the most common surround mixing
formats and the one we will spend the most time on.
| | 01:28 | This format uses six outputs, which
are called Left, Right, Center, Left
| | 01:33 | Surround, Right Surround and the
LFE or Low Frequency Effects Channel.
| | 01:39 | For optimum mixing, the speakers must
be set up according to the slide. 6.1.
| | 01:44 | The 6.1 format is used
for Dolby Digital EX, or DTS ES.
| | 01:50 | It adds a center surround channel in the rear.
| | 01:52 | 7.1 comes in two flavors.
| | 01:54 | The 3/4.1 uses the same speaker
configuration as 5.1, but adds two
| | 02:00 | additional side channels:
| | 02:01 | left mid and right mid placed
directly to the left and right of the
| | 02:04 | listening position.
| | 02:05 | It's designed for big cinema.
| | 02:07 | Then we have the other 7.1 format:
| | 02:10 | Sony Dynamic Digital Sound or SDDS.
| | 02:13 | It adds two additional speakers to the
5.1 matrix in the front, the left center
| | 02:18 | and the right center.
| | 02:19 | As with the other 7.1 format, this
is designed for use in a large cinema,
| | 02:24 | equipped with Sony
decoding and playback hardware.
| | 02:26 | When you're setting up Logic to work
with any of these surround types, channel
| | 02:30 | order, or which output talks to
which speaker, is very important.
| | 02:34 | Let's look at how Logic handles
this in the General Preferences.
| | 02:37 | Go to Logic Pro > Preferences > Audio
and then go to the IO Assignments tab.
| | 02:43 | Under Output, we can see
there is a Surround area.
| | 02:47 | Here you can adjust manually where
surround outputs will show up on the output
| | 02:51 | channels of your interface.
| | 02:53 | Assuming we are mixing in 5.1, when
you select the ITU 775 preset, it sets up
| | 02:59 | your output in the standard way.
| | 03:01 | The Standard ITU preset puts your
Left speaker output on Output 1.
| | 03:06 | It puts your Right speaker output on Output 2.
| | 03:08 | Your Center channel is on Output 3.
| | 03:10 | Your LFE is on Output 4.
| | 03:13 | Your Left Surround is on Output 5,
and your Right Surround is on Output 6.
| | 03:18 | Some of these outputs
will go to different places.
| | 03:20 | In the Logic default setting,
your center is actually Output 5.
| | 03:23 | The LFE is 6, your Left Surround
is 3 and your Right Surround if 4.
| | 03:29 | You can customize these to any way want them, or
you can use the presets that are already here.
| | 03:33 | Another thing to be conscious of here is
that when you bounce your surround mix,
| | 03:37 | Logic will append an extension to
your files according to the bounce.
| | 03:41 | You can see these in the Bounce Extensions tab.
| | 03:44 | As you can see, files for the left
will have a .l, files for the center will
| | 03:48 | have a .c and so on.
| | 03:50 | This default is probably good.
| | 03:51 | But you can change it here in case you
are authoring or mastering your surround
| | 03:55 | mix in a certain software that
likes different extensions.
| | 03:57 | Now that we know some terminology and
what's involved in the hardware of our
| | 04:01 | surround mix, we are ready to set up
our system and start mixing in surround.
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| Building surround mixing workflows| 00:00 | There is no one definitive
method to mixing in Surround.
| | 00:03 | Here will explore two different
approaches to managing your Surround mix.
| | 00:07 | Before we start mixing, we need to
think about what elements of the mix we want
| | 00:11 | to hear all around the room.
| | 00:12 | We need to make some decisions.
| | 00:14 | There are two different
methods to set up your workflow.
| | 00:17 | The first is to simply decide which
tracks you want to put in Surround and
| | 00:20 | assign them that way.
| | 00:22 | In this project, we will go to Mixer window.
| | 00:24 | Let's say we wanted to make the steel,
the bridge be a track and sculpture track
| | 00:28 | all go into Surround.
| | 00:29 | You can select all three tracks with Shift.
| | 00:33 | Select the steel, hold Shift, select the
bridge bea, select sculpture and now we
| | 00:37 | can change one of their outputs
to Surround. Output > Surround.
| | 00:43 | Notice all three tracks went into Surround.
| | 00:46 | You could also put all tracks
into Surround and go from there.
| | 00:48 | This is okay to do as well, but
sometimes it's beneficial to keep a handful
| | 00:52 | of tracks in conventional stereo and choose
only some go out to the surround speakers.
| | 00:57 | You probably won't be needing every
track to go to all of your surround speakers.
| | 01:01 | This method also allows you to hard assign
tracks to specific speakers of the 5.1 Matrix.
| | 01:06 | For example, maybe I want the guitar
to come out only the Center channel.
| | 01:09 | If we go to our global preferences for second,
| | 01:12 | Preferences > Audio under the I/O
Assignments, you can recall that in our 5.1
| | 01:18 | Surround Matrix if we have the ITU button
checked, the Center channel is output 3.
| | 01:24 | So, that way, if I want to guitar to go
out Center only, I can go into its Output
| | 01:29 | here and choose Output > Mono > Output 3.
| | 01:33 | That way, I don't even need to panner at
all, but the whole signal will be going
| | 01:36 | out just the center speaker.
| | 01:38 | Also, this method makes it so
you don't lose your stereo panning.
| | 01:42 | You may have work hard on the stereo
panning on a mix earlier that you did in stereo.
| | 01:46 | Since you don't put every track in
Surround, you won't lose all those pannings
| | 01:49 | that you carefully worked on.
| | 01:51 | Okay, let's return all these tracks to stereo.
| | 01:54 | The other way to set up your surround
mix is to make some auxiliary tracks in
| | 01:57 | Surround and to use them
as Master Surround Buses.
| | 02:00 | Let's make two new auxiliary tracks.
| | 02:03 | Go up to your Options menu in the
Mix window and choose Create New
| | 02:07 | Auxiliary Channel Strips.
| | 02:09 | Here we are going to make two Aux tracks.
| | 02:11 | For Format, we will leave it on Stereo.
| | 02:13 | The Input will be in Stereo.
| | 02:15 | The Output, let's choose Surround.
| | 02:17 | These tracts will be able to take
in a Stereo input and convert it to
| | 02:20 | Surround on their Output.
| | 02:21 | Then we have two tracks.
| | 02:24 | Select the first one and
we will name it surround.
| | 02:28 | We are naming it this because this
track is only going to talk to our left and
| | 02:32 | right surround speakers.
| | 02:34 | Let's go into our panner and adjust the
pan so it only goes to those two speakers.
| | 02:38 | We are also going to change our Input to Bus 1.
| | 02:45 | On the next track, we are
going to call this sub/lfe.
| | 02:50 | This is our subwoofer, or
Low Frequency Effects track.
| | 02:53 | For this panner, we are going
double-click it to open it.
| | 02:56 | I am going to turn up the
LFT Level all the way to 0.
| | 02:59 | And we are going to deselect
all the speakers in the matrix.
| | 03:05 | That way, this track will only be
talking to our subwoofer LFP channel.
| | 03:08 | We are also going to insert an EQ on this track.
| | 03:11 | This is going to be a special type of EQ
called High Cut and it's going to allow us
| | 03:18 | to cut out all the high frequencies so
we are only getting the low frequencies
| | 03:22 | that we are going to be using in our LFE.
| | 03:23 | We move down the slider until we get to 200 Hz.
| | 03:26 | I have to manually type in.
| | 03:28 | So, I will double-click here, type in 100.
| | 03:32 | That way we are only getting sound
below 100 Hz. All the low sound only is
| | 03:36 | going to this channel.
| | 03:37 | Let's put the input of this channel to Bus 2.
| | 03:41 | Let's Option+Click these
faders so they go to unity.
| | 03:45 | Now we are going to make one more Aux track.
| | 03:48 | Go into Options > Create
New Auxiliary Channel Strips.
| | 03:51 | This is going to be a Mono Input track,
but its Output will still be Surround.
| | 03:57 | Click Create and we will double-
click to name this track Center.
| | 04:01 | This track is only going to
talk to our center speaker.
| | 04:04 | Double-click on the panner and
deselect all the other speakers besides the
| | 04:08 | center speaker, and we will
move the puck right up to the middle.
| | 04:14 | Let's make this track's Input Bus 3.
| | 04:15 | Let me Option+Click on this
fader as well to send it to unity.
| | 04:21 | Now we can send any track we want to
these three are Aux tracks and then that
| | 04:26 | portion of the sound can go out to
different aspects of our surround.
| | 04:29 | It can go just to our surround speakers.
| | 04:31 | It can go just to the sub or
it can go just to the center.
| | 04:33 | For example, if I wanted to send
some of the steel track to our Surround
| | 04:37 | channels, it not only will I still go
out stereo like it is now, but I can make
| | 04:42 | a Send and put it on Bus 1.
| | 04:45 | Now I have an independent level control
over how much this track is going to the surrounds.
| | 04:49 | If I want to make the main guitar go
out the center speaker as well as a stereo
| | 04:56 | outputs, I can put it on Bus 3 for its Send.
| | 04:59 | That way, I can have a control of how
much it is talking to the center speaker
| | 05:05 | and for the bass guitar I can send a
little bit of this to the subwoofer to
| | 05:08 | get that low-energy.
| | 05:10 | On its Send, I might want to go to Bus 2
and turn up the Send for this so I can
| | 05:15 | put some of that sound into the subwoofer.
| | 05:18 | It's common to mix in surround and also
want to hear a stereo mix while you're mixing.
| | 05:22 | Often mix engineers like to switch back
and forth between the surround mix and the
| | 05:26 | stereo down mix, as it's called, when they work.
| | 05:29 | To do this, go to your Master output track.
| | 05:33 | In the Channel Strips settings here,
we have some Surround Downmix options.
| | 05:38 | Let's choose 5.1 Stereo 01.
| | 05:40 | You can see some plug-ins got
loaded up on the Channel Strip.
| | 05:43 | Double-click on the Down Mix plug-
in and this shows us this is the Down
| | 05:48 | Mixer from 5.1 To Stereo.
| | 05:51 | What's happening here is when the plug
-in is on, it's converting any Surround
| | 05:54 | 5.1 mixing to Stereo.
| | 05:56 | If I want to go back to hearing all
the surround mix, I bypass the plug-in.
| | 06:01 | This lets us turn it on and off at any
time during mixing to see how our 5.1 Mix
| | 06:05 | is translating over Stereo.
| | 06:07 | These are two different
workflows for surround mixing.
| | 06:10 | Each has its own benefits.
| | 06:11 | You should decide which works best for
you when you want to use Logic's surround
| | 06:15 | mixing capabilities.
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| Using the surround panner| 00:00 | Now that we're set up for surround,
let's go into some techniques for panning in
| | 00:03 | Logic Surround Panner.
| | 00:05 | To put a track into Surround, let's
choose steel go to the track output and
| | 00:11 | choose Output > Surround.
| | 00:14 | This gives as a Surround Panner, as
you can see in the channel strip.
| | 00:18 | It's hard to control from this view,
but if we double-click on it, we get a
| | 00:21 | pop-up window view of it.
| | 00:22 | This is Logic's Surround Panner.
As you can see, we are working with a 5.1
| | 00:27 | surround setup. We have got our left,
center, right speakers, a left surround, a
| | 00:33 | right surround and our LFE.
| | 00:35 | The dot in the middle is called a puck.
| | 00:37 | When we move the puck around the panner,
if we have a surround set up you can
| | 00:42 | hear the sound go around to the
different speakers in our room.
| | 00:48 | The Angle and Diversity
displays are at the top of the window.
| | 00:51 | They give you values depending
on where you are with your puck.
| | 00:55 | When the angle is at 0, the panner
is directly up the middle in front.
| | 00:59 | You double-click here and type 0.
| | 01:02 | notice how the puck is right
in the middle, in the front.
| | 01:05 | When the angle is at -180,
it's directly behind the listener.
| | 01:10 | The listeners represented right in the middle.
| | 01:12 | That would be the sweet spot of our mixing room.
| | 01:16 | When the value is positive, the puck
is on the right. Right now, it's at +92.
| | 01:21 | When the value is negative,
the puck is on the left.
| | 01:24 | Now it's at an angle of -92.
| | 01:26 | Diversity is the amount the
signal is spread to other speakers.
| | 01:30 | It's a value between 0 and 1.
| | 01:33 | In other words, at one, it's in all
speakers at the same time. As it approaches 0,
| | 01:40 | it's more defined to a particular speaker.
| | 01:42 | Right now, it's at 0 and the whole signal
will be coming out of the left surround.
| | 01:48 | If we have an Angle of 0 and a
Diversity of 0, the sound would only be coming
| | 01:52 | out of our center speaker.
| | 01:54 | Let's put another track in this surround.
| | 01:55 | This time we are going to
do the afro drums track.
| | 01:58 | I'll go into Stereo Output and
change the Output again to Surround.
| | 02:02 | Let's double-click this Surround Panner.
| | 02:04 | Notice it looks a little different.
| | 02:07 | That because this is a stereo
software instrument track and we get a stereo
| | 02:11 | panner in surround window.
| | 02:13 | Moving the center puck keeps
the left and right signals linked.
| | 02:18 | You can also experiment by clicking on
the left or right independently to widen
| | 02:22 | the image or narrow the image.
| | 02:26 | Sometimes, you may want to place a
sound across the front, but lower the
| | 02:29 | center channel a bit.
| | 02:31 | This can be done by panning across the
front with a diversity of about 0.30 and
| | 02:36 | lowering the Center Level a little bit.
| | 02:39 | The LFE level, which is the 0.1 of your
5.1 system, can be accessed by turning up
| | 02:44 | the LFE slider for any surround enabled channel.
| | 02:48 | This sends a signal to the LFE channel.
| | 02:50 | You can use that for the low rumble we
might need for certain sound effects.
| | 02:54 | If you want more control or
restriction of the amount of separation between
| | 02:57 | channels, you can open the disclosure
triangle at the bottom of the panner.
| | 03:01 | This gives you more control between
the values of zero and one for the left
| | 03:05 | right front speakers, the rear
speakers, or the front back percentage.
| | 03:12 | When the number is at 0, for example,
in the front, both speakers contain the
| | 03:17 | same signal, or in other words a mono signal
is coming out of your left and right speakers.
| | 03:22 | When you move it back to 1
you get more of a stereo image.
| | 03:26 | Certain software instruments are made
to natively output in surround and will
| | 03:29 | give you that option when you call them up.
| | 03:31 | An example of this is sculpture.
| | 03:34 | Let's put it on the Instrument 1
track at the bottom of our Arrange window.
| | 03:37 | Go to the I/O of this track.
I'll choose Sculpture and here we get to choose
| | 03:41 | Stereo, or in this case we'll do 5.1.
| | 03:45 | This gives us a sculpture instrument
that's automatically going to talk to the
| | 03:49 | 5.1 outputs of our mix.
| | 03:51 | You can see Logic automatically put the
surround outputs on our channel strip.
| | 03:55 | Finally, some plug-ins have multi
mono modes on surround enabled tracks.
| | 03:59 | Let's put an EQ on the sculpture track
to see. Choose EQ > Channel EQ > Multi
| | 04:06 | Mono. I'll close this Sculpture window.
| | 04:09 | This is a Multi Mono EQ.
| | 04:12 | It looks like a normal EQ, except you
have some Configuration controls at the top.
| | 04:17 | Click on Configuration.
| | 04:19 | This allows us to group certain
surround outputs to different EQs.
| | 04:22 | For example, lets put our left and right
speakers on group A. They are already on
| | 04:26 | group A, so we'll leave them there.
| | 04:27 | Let's put the center channel on
group B and lets put the left and right
| | 04:32 | surrounds on group C.
| | 04:33 | Now if we click on L-R up top, we can make
an EQ just for our left and right speakers.
| | 04:41 | Then we can click on C, and we can have a
different EQ for our center speaker.
| | 04:46 | Then we can have another different EQ for
our left surround and right surround speakers.
| | 04:52 | Finally, we can have a separate EQ
for just our LFE speaker by itself.
| | 04:56 | So, in other words, Multi Mono EQ
lets you have separate EQ controls over
| | 05:00 | your different channels.
| | 05:02 | Remember, automation can be written to
a surround channel when the track is in
| | 05:06 | Touch, Latch or Write Mode.
| | 05:07 | Let's hit the A button to go
into our Automation view.
| | 05:11 | If you wanted to write automation on this
sculpture track, you can just put it in
| | 05:15 | Touch Mode and it can
perform automation on the panner
| | 05:18 | as we hit Play. You can see we are
writing automation already in the track.
| | 05:24 | (Music playing.)
| | 05:28 | This allows you to fly sounds around the
room during your song, if that's you want to do.
| | 05:32 | Surround mixing opens up a whole new
world of possibilities to your mix.
| | 05:36 | It's up to you to decide whether
you want to re-create a naturalistic
| | 05:39 | room environment or a completely
immersive listening space with sounds
| | 05:43 | flying all around.
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|
|
11. Finishing UpBouncing down your song| 00:00 | So, you spent hours and hours leveling,
panning, processing, affecting and
| | 00:05 | automating your mix. Now what?
| | 00:07 | Now we are going to go over the final
mix down or in Logic terms, the bounce.
| | 00:11 | Before starting our mix down, or bounce, we
need to make sure a few things are in place.
| | 00:15 | We need to set the start and
end points for our project.
| | 00:18 | Logic bounces from the start point,
indicated by the left clear rectangle in the
| | 00:22 | Arrange bar ruler, to the end point, indicated
by the right clear rectangle in the bar ruler.
| | 00:28 | To move these around, you can click on
them and drag them from left to right.
| | 00:31 | You want to make sure your end
point isn't too far to the right.
| | 00:34 | Otherwise, you'll be left with a bunch
of silence written into your final file.
| | 00:38 | You also want to make sure it isn't too
close to the end of your song, because
| | 00:41 | you don't want to cut anything off.
| | 00:43 | Be aware that if you are using any time
based effects, like Reverb or Delay, they
| | 00:48 | could still be ringing out
after the last region ends.
| | 00:50 | You probably don't want to cut that stuff off.
| | 00:53 | Now deselect all the regions by clicking
in the gray area of the Arrange window.
| | 00:57 | Make sure you don't have any
track soloed or muted before you bounce.
| | 01:01 | Logic bounce is exactly what
you are hearing when you hit Play.
| | 01:04 | So, if you got forgot that you had
muted the shaker or something else earlier,
| | 01:08 | make sure it's unmated now.
Otherwise, it won't end up in your final mix.
| | 01:11 | All the levels and automation you set in your
mixing process will be part of the final bounce.
| | 01:16 | So, make sure in the Mix window,
they are all in the right place.
| | 01:19 | You can bounce in two different ways.
| | 01:21 | One is to go to File > Bounce.
The other one is to go to your Output 1-2 and
| | 01:25 | click the BNCE button.
| | 01:27 | Both of them take you to the
same window, the Bounce dialog.
| | 01:31 | This is the Bounce dialog window.
| | 01:34 | The first thing we'll do in this window is to
choose a location and a name for our bounce.
| | 01:38 | No, Output 1-2 is not a
good name for your bounce.
| | 01:41 | I like to name my mixes with a
date and version number, something like
| | 01:46 | Nathaniel (the song name) _020510 or
February 5th, 2010 _V1 for Version 1.
| | 01:57 | Next, we'll choose our destination.
| | 02:00 | For now, I'll just put
this in the Bounces folder.
| | 02:02 | Down here, Destination also refers
to what type of file we are bouncing.
| | 02:06 | The coolest thing about bouncing in
Logic is you can make four different types
| | 02:09 | of files in one bounce. I love that.
| | 02:12 | It's a real timesaver.
| | 02:14 | These four types of files are PCM,
which stands for Pulse-code Modulation.
| | 02:19 | This is an uncompressed file type.
| | 02:21 | File formats are either AIFF,
Wave, CAF or Sound Designer 2.
| | 02:28 | The PCM settings I recommend, if
you are planning to use this mix in a
| | 02:31 | professional best sounding way, are to
leave the setting exactly as your original
| | 02:35 | recording session settings were.
| | 02:37 | That means if you are recording at 24-
bit, leave this resolution at 24 Bit and
| | 02:42 | leave the Sample Rate to
whatever your recording session was.
| | 02:45 | For File Type, Interleaved is usually fine.
| | 02:48 | Do not use dithering unless you are
lowering the bit rate, something that should
| | 02:51 | only be really done in mastering.
| | 02:53 | However, if you need to burn a quick
CD of the mix, you'll have to convert it
| | 02:57 | to 16-bit resolution.
| | 02:59 | In that case, you might want to dither.
| | 03:02 | Dithering is a process that gets
the most out of your down conversion.
| | 03:04 | If you are going from 24-bit to 16-bit in
your bounce, you'll want to choose POW-r #2.
| | 03:12 | That's the best for stereophonic material.
| | 03:15 | There is an option for all
bounce styles to normalize.
| | 03:18 | This gets your mix to the maximum level.
However, I don't recommend using this feature.
| | 03:23 | If your mix will be mastered, the mastering
process will do this much more effectively.
| | 03:27 | Also, the Overload Protection setting
shouldn't be necessary if you mix your
| | 03:31 | tune while minding the output levels properly.
| | 03:33 | I'd only use these settings if you
are rushed to get an unfinished demo to
| | 03:36 | someone and you don't have time to
master it or level it correctly yourself.
| | 03:40 | Let's go back to the destinations.
| | 03:42 | We've talked about the PCM.
Now we'll talk about MP3.
| | 03:46 | Your MP3 options for bouncing
are just like the ones in iTunes.
| | 03:50 | I usually use 256 kbps.
| | 03:53 | You can also click Add to iTunes library.
| | 03:55 | Once it's done bouncing, Logic will
automatically add it to your iTunes library.
| | 04:00 | Isn't it cool to be in an Apple program?
| | 04:01 | M4A is Apple's own MP3-like codec
that's used for iTunes downloads.
| | 04:07 | You can bounce to that format
from here too. Finally, Burn:
| | 04:11 | CDDA will burn your bounce directly to a CD
inserted in your writable drive on your computer.
| | 04:16 | Here again, you should choose to dither if
your project is at 24 Bit, since CDs are at 16 Bit.
| | 04:22 | So, you can choose your Dithering option here.
| | 04:24 | You can take advantage of offline
bouncing if you are not using any external
| | 04:28 | MIDI or audio effects devices.
| | 04:30 | If you are using these or if it would
be helpful to hear one last time for
| | 04:33 | safety while bouncing, use Realtime bounce.
| | 04:36 | We'll keep it to offline for now.
| | 04:38 | Okay, now we are ready to bounce.
| | 04:40 | We are going to bounce
this time just to PCM and MP3.
| | 04:43 | So, uncheck the M4A and the Burn.
| | 04:45 | Okay, make sure everything is right.
| | 04:47 | I am going to take a look at
my Arrange window one more time.
| | 04:50 | Everything looks good and
I am going to hit Bounce.
| | 05:00 | In offline bouncing, you don't hear
the song, but it goes pretty fast.
| | 05:03 | It's a lot faster than listening
to the whole song at one time.
| | 05:07 | Here's our song in iTunes.
| | 05:09 | Let's take a listen.
| | 05:10 | (Music playing.)
| | 05:23 | It's time to celebrate.
| | 05:24 | Bouncing marks the last stage of the
complex mix process. Enjoy your work.
| | 05:29 | Now let's start on the next song.
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| Understanding why alt mixes are a good idea| 00:00 | Mixing in Logic definitely has
its advantages over mixing through a
| | 00:04 | traditional console.
| | 00:05 | From one, everything is
recallable to 100% accuracy.
| | 00:09 | That means if you need to fix the vocal
level a touch 5 or 500 days after you
| | 00:13 | mixed it, you can open the
project and everything comes right back.
| | 00:16 | If you are sitting in an expensive
mastering session however, you might not
| | 00:19 | have access or time to do that.
| | 00:21 | So, here are some tips to save
yourself by making alternate mixes.
| | 00:25 | Alternate mixes are simple and easy to do,
| | 00:27 | especially since Logic
has an offline bounce mode.
| | 00:29 | I recommend always making a version
without vocals and a version that is
| | 00:33 | a cappella, or only voice.
| | 00:35 | For one, it's common for licensing
companies to need a version of the tune with
| | 00:39 | no vocals for use in advertising, film, TV.
| | 00:42 | For two, if you get the lead vocal
level wrong, which is one of the most common
| | 00:45 | things that can happen in the mix, you
now have a way to save your mix and just
| | 00:49 | add the vocal back at the
right level when you're mastering.
| | 00:52 | To do this, just simply mute the Vocal
track and bounce it, naming it something
| | 00:56 | that make sense, something like
Nathaniel, then the date, then NOVOX.
| | 01:04 | Once you are done with that,
solo the track and do the same,
| | 01:11 | this time naming it VOX only at the end.
| | 01:14 | One thing you might wish to add or not is the
voice effects, but I'll leave that up to you.
| | 01:18 | You might want to do the same thing
for the bass track, since the bass level is
| | 01:22 | often a level problem in the mix.
| | 01:25 | Another method that comes in
handy for mastering are stems.
| | 01:28 | Stems are a few separate pieces of
your mix broken down by instrument.
| | 01:32 | To make them, you need to decide
which mix elements go with one another.
| | 01:35 | For example, in this mix, I might
do just the Drums and Percussion.
| | 01:38 | So, I'd solo all the Drums tracks and
then maybe the Beat and Shaker tracks.
| | 01:44 | Then I might go back and do just the Guitars,
then the keyboards and Harp and the Bass separate.
| | 01:50 | That would be five stems.
| | 01:52 | Again, just solo all the tracks you
want to include in the stem and bounce.
| | 01:55 | Finally, another approach to
alternate mixes is to make different versions.
| | 01:59 | For example, you might have a bass
down version, or a vocal up version, or
| | 02:03 | you might increase or decrease the level of
those elements, a few dBs in either direction.
| | 02:08 | These will be in addition to the master
mix you think is the best one, just in case.
| | 02:12 | The one thing to remember when you make
alternate mixes is to be careful of the
| | 02:15 | naming of the files.
| | 02:16 | You don't want to be in a situation
where you can't remember what is what.
| | 02:19 | So, be thorough when you're naming.
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| Exploring Logic's export options| 00:00 | Logic does its best to
play nice with other programs.
| | 00:03 | As much as I love Logic, I also use
Reason, Pro tools and Ableton Live.
| | 00:08 | In the File menu, there's plenty of
ways to get your sounds out of Logic and
| | 00:11 | into other programs.
| | 00:13 | Let's check some of them out.
| | 00:14 | Let's start with a MIDI Region.
| | 00:16 | How about Dark Pad ModW?
| | 00:18 | Remember, this Region contains MIDI data.
| | 00:22 | So, to export a Region, select the Region
you want to export, like we just did, go
| | 00:26 | to File menu > Export.
| | 00:28 | Here we can choose to export
the Region as an Audio File.
| | 00:32 | This will export in AIFF or WAV
audio file, as played through the software
| | 00:38 | instrument and plug-ins on that track.
| | 00:40 | You can change the file Format or the
Bit Depth, or even Normalize or Overload
| | 00:45 | Protect to ensure a clean
sounding file for export.
| | 00:47 | This is a cool way you can get a sound
of Logic's instruments so you can use
| | 00:51 | this option to make the MIDI go
through one of Logic's sounds and then import
| | 00:55 | it to another program.
| | 00:56 | We'll get a Region of that
link, but it'll be an audio file.
| | 01:00 | If you want to export a whole track
as an audio file, you can do that too.
| | 01:04 | Let's say the EGuitar1 track.
| | 01:07 | This time it's an audio track, but it
could be an audio track or a MIDI track.
| | 01:11 | Go to File > Export > Track as Audio File.
| | 01:15 | The dialog window looks the same as
the Region Export one, only this time a
| | 01:19 | whole track will be exported and you can
import that into another digital audio workstation.
| | 01:24 | Another thing you can do is
Export > All Tracks as Audio Files.
| | 01:28 | This will export all the tracks in
your project as audio files, in this
| | 01:32 | case giving you 23 uncut audio files to
import into another digital audio workstation.
| | 01:37 | Finally, if you want to take just a
MIDI file and keep it as MIDI, you can go up
| | 01:41 | to File > Export > Selection as MIDI File.
It'll kick this out as a .MID file
| | 01:47 | into your hard drive.
| | 01:48 | Another way to take a whole project
into another workstation is to use the OMF
| | 01:53 | and AAF features from the File menu.
| | 01:56 | File > Export, we have
Project as OMF, Project as AAF.
| | 02:01 | OMF and AAF are two file formats that
translate audio and other data, such as
| | 02:06 | Regions, edit
information, and even Volume Info.
| | 02:09 | According to Logic, the OMF format,
which stands for Open Media Framework, only
| | 02:14 | supports the exchange of audio data.
| | 02:16 | MIDI and automation data is ignored.
| | 02:18 | Let's check out the dialog box.
| | 02:20 | If you're going to Pro tools, which is a
popular OMF importing digital audio
| | 02:25 | workstation, you should choose Version 2.
| | 02:27 | You should also Convert
interleaved to split stereo.
| | 02:31 | That's what Pro tools likes to see.
| | 02:33 | If you hit OK, you'll end up with one large
file that has all the audio embedded in it.
| | 02:38 | It's my understanding that the file
size limit is 2 gigabytes for OMF files.
| | 02:43 | AAF, or Advanced Authoring Format, is
another interchange format that some digital
| | 02:48 | audio workstations and some
versions of Pro tools can read.
| | 02:51 | According to Logic, you can use it to
import multiple audio tracks, inclusive of
| | 02:56 | references to tracks, time
position, and volume automation.
| | 02:59 | Here is some settings for
AAF, pretty standard stuff.
| | 03:03 | OpenTL is for use with TASCAM hard
disk recorders, such as the MX-2424.
| | 03:09 | It only supports the exchange of audio data.
| | 03:12 | Finally, there is a Project to Final
Cut Pro/XML option, which allows you
| | 03:17 | to export a small XML file that Final Cut
can read to share data with your Logic media.
| | 03:22 | Overall, it's nice to see a program
support lots of interchange formats that
| | 03:26 | other programs can read.
| | 03:28 | Some programs, I'm not naming any
names here, purposefully restrict these
| | 03:32 | features because they fear
you'll leave them, not Logic.
| | 03:34 | Logic knows you'll always come back.
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| Mastering your own Logic project| 00:00 | Mastering is an often misunderstood process.
| | 00:03 | It's done after the mix process and it
is the last step the song or songs see
| | 00:08 | before going out into the world, whether
they are going to go to the Internet, CD or
| | 00:11 | even a Vinyl record.
| | 00:13 | I'd recommend mastering your work
with a professional mastering engineer.
| | 00:16 | They are going to have the know-how,
experience, equipment, and proper listening
| | 00:20 | facilities to make your mix shine in all lights.
| | 00:23 | That said, some budgets and timelines call
for self-mastering jobs. Logic can do that.
| | 00:28 | So, here are some tips.
| | 00:29 | This is how a mastering
session would look in Logic.
| | 00:32 | You could have one or two stereo audio
tracks with each song checker-boarded
| | 00:37 | or you can do what I did here for three
songs and have a separate track for each song.
| | 00:41 | I would recommend this as long as you
have enough system resources to run a lot
| | 00:45 | of mastering plug-ins on it at once.
| | 00:47 | Each track has a chain of
mastering plug-ins in this Channel Strip.
| | 00:52 | Let's go over some of those.
| | 00:53 | First, we have Gain.
| | 00:54 | Gain can give us
control over the gain initially.
| | 00:57 | Remember, part of mastering is
getting the level just right.
| | 00:59 | So, this is the first plug-in we
have inserted in our Channel Strip.
| | 01:04 | Then we have a linear phase EQ.
| | 01:06 | This is a mastering grade EQ
where can do subtle EQ curves.
| | 01:11 | Remember, at this stage, we don't
want our EQ moves to be too dramatic.
| | 01:14 | This is a mixed stereo file, or
program material, as it's called.
| | 01:18 | Notice there are some plug-
in presets made for mastering.
| | 01:21 | I am using the Final Mix
- Dance setting for this.
| | 01:23 | I thought it sounded good for this song.
| | 01:26 | These are the EQ curves that go along with that.
| | 01:28 | Again, they are pretty subtle.
| | 01:31 | Next, we have a Multipressor plug-in.
| | 01:33 | This is a multiband compressor that
can apply different compressions to
| | 01:38 | different frequency bands.
| | 01:39 | The Multipressor is like a compressor
that uses EQ to determine which parts of
| | 01:44 | the sound it will compress, more or less.
| | 01:46 | Notice there are mastering presets
in this plug-in settings as well.
| | 01:50 | I am using Final Rock Compressor.
| | 01:54 | Next, we have the AdLimit
or the Adaptive Limiter.
| | 01:57 | This is a mastering grade final high
ratio compressor that actually looks ahead
| | 02:02 | in the audio stream to avoid digital overs.
| | 02:04 | A digital over when you clip and you want
to avoid that at all costs when you master.
| | 02:09 | I am using the Add Density preset here
and some Gain changes to avoid clipping.
| | 02:15 | Finally, on the Output channel Strip,
there's a MultiMeter, which gives you some
| | 02:18 | ideas of the final output levels
and it gives you a view of all the
| | 02:23 | frequencies at one time.
| | 02:24 | So, you can see where your audio is
landing on the frequency spectrum.
| | 02:27 | When I play this song, I will be
able to see the MultiMeter in action.
| | 02:30 | (Music playing.)
| | 02:43 | As you can see by our main output
meter, I am just .1 away from clipping.
| | 02:48 | That's just about right for mastering.
| | 02:50 | Again, you are trying to get it as loud
as possible without actually clipping.
| | 02:53 | So, what you are trying to do in
mastering is get the settings and all these
| | 02:57 | plug-ins balanced over all frequencies.
| | 02:59 | You want the sound to be loud but still dynamic.
| | 03:02 | It's a very subtle art.
| | 03:03 | You are also trying to make them
translate well to all mediums, headphones,
| | 03:07 | small speakers, and large ones too.
| | 03:09 | So, if you can test your audio on all
of these as you work, that would be best.
| | 03:12 | The other challenge is that if you're
mastering a record, you want to get all
| | 03:16 | the songs to play
sequentially at complementary levels.
| | 03:18 | You don't want one song to end and have
another one start and have it sound like
| | 03:22 | it's on another record
because it's too loud or soft.
| | 03:25 | Once we get our settings right, we are
going to bounce like in the final mix video.
| | 03:28 | Set your start and end points by
making a cycle region, as we have in
| | 03:32 | this Nathaniel track.
| | 03:33 | Now I will click the Bounce button in the Out 1
-2 Channel Strip and we get our Bounce dialog.
| | 03:38 | This time, if our source files are at
higher bit depth than 16, we should go
| | 03:42 | down to 16 for Resolution.
| | 03:44 | That would be if we're making CD-quality audio.
| | 03:47 | Also, for CD-quality mastering, we
want to change our Sample Rate to 44100.
| | 03:51 | We will leave the File Type Interleaved,
but again, if you are moving from 24 to
| | 03:55 | 16, you want to explore our Dithering options.
| | 03:58 | When you dither your audio from a
higher to a lower bit depth, something called
| | 04:02 | Quantization error occurs as a side effect.
| | 04:05 | Noise Shaped dithering, like POW
- r#2, can help deal with this.
| | 04:10 | So, these are the challenges of mastering.
| | 04:12 | Again, it's both difficult and rewarding
to have the final say in how your music
| | 04:16 | sounds, so good luck.
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ConclusionGoodbye| 00:00 | Thanks for listening to Logic Pro 9 Essentials.
| | 00:02 | It's been an absolute pleasure
working through all the different aspects of
| | 00:05 | Logic Pro 9 with you.
| | 00:07 | In the development of this course, I'd
like to thank the following individuals:
| | 00:09 | Jai Lil Diamond, the incredibly talented
songwriter of the songs Nathaniel,
| | 00:14 | Cannonball and Isobel,
| | 00:16 | Patrick Maine, who wrote the
beautiful string arrangements on Isobel,
| | 00:19 | Yair Evnine who helped
with the notation chapter.
| | 00:22 | I also want to thank
Emily Gordon for inspiration.
| | 00:25 | Now that you know all the essentials
of this amazing program, you've got the
| | 00:28 | skills to produce, write and
mix all the music in your head.
| | 00:32 | Have a fun and creative time working with Logic.
| | 00:34 | I know I do.
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