IntroductionWelcome| 00:00 | (Music playing)
| | 00:03 | Hi! I am Damian Allen.
| | 00:06 | In the following lessons I'll take you
to through the core new features in Logic
| | 00:09 | Studio focusing on its
flagship product, Logic Pro 9.
| | 00:13 | Before you dive into individual topics,
take a look at a What's New video that
| | 00:17 | most closely matches your background.
| | 00:20 | If you are a guitarist, that's What's
New for Guitarists, if you play keyboards,
| | 00:24 | What's New for Keyboard Players, and
if you're an audio engineer or recording
| | 00:28 | musician, check out What's New for Engineers.
| | 00:31 | Then dive right into lessons to
discover what turns out to be a fairly
| | 00:35 | spectacular step forward for Logic Studio.
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| What's new for guitarists| 00:00 | If you are a guitarist looking to
upgrade to the latest version of Logic Studio,
| | 00:04 | look no further than the new Amp
Designer and Pedalboard plug-ins.
| | 00:08 | Completely redesigned Amp simulations get
you closer to the real thing than ever before.
| | 00:13 | Not only it's the sound of Amp modeling
improved from the previous version, but
| | 00:16 | the interface is designed to look and
feel just like a regular guitar amp,
| | 00:21 | right down to the choice and
placement of the recording microphone.
| | 00:26 | Pedalboard gives you access to
effects in a way guitarist understand.
| | 00:30 | Layout your paddles anyway you desire,
choosing from dozens of unique stompboxes.
| | 00:35 | And of course, you can combine these
with all of Logic's regular effects.
| | 00:39 | If you are thinking of replacing your
live rig with a laptop and soundcard, the
| | 00:43 | combination of Amp Designer, Pedal
Board and the new Playback and Loopback
| | 00:47 | plug-ins may just convince
you to give MainStage a try.
| | 00:52 | You'll probably want to jump straight to
the lessons on Amp Designer and Pedal
| | 00:55 | Board and then take a look at some
of the other new tools, especially the
| | 00:59 | powerful Flex editing feature.
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| What's new for keyboard players| 00:00 | Keyboard players have long been the
heart and soul of the Logic community.
| | 00:04 | And even though guitarists have seen a
huge boost with the inclusion of Amp
| | 00:07 | Designer and Pedalboard, there are
plenty of new features for Keyboard players
| | 00:10 | that make this a worthy upgrade.
| | 00:12 | New Audio to EXS options allow you to
create EXS instruments and drum tracks
| | 00:18 | out of any audio file, while new Warp
effects and the Live Loop Recorder give
| | 00:23 | you new ways to seriously
mangle your synth sounds.
| | 00:27 | And don't leave the new guitar
amps and stompboxes to the guitarists.
| | 00:30 | These are perfect for taking your pads and
lead sounds in completely new directions.
| | 00:35 | Pretty much all the lessons in this
title will give you a grasp of features you
| | 00:39 | can start using today in your
keyboard sound design and performance.
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| What's new for audio engineers| 00:00 | If you approach Logic primarily as
an engineer, you'll be pleased to find
| | 00:04 | hundreds of new features and
enhancements tucked away at just about every
| | 00:07 | level of the application.
| | 00:09 | The most obvious one, of
course, is the Flex Audio toolset.
| | 00:13 | This allows you to manipulate audio
with greater ease than ever before and
| | 00:17 | reduce the risk of clicks and pops
caused by traditional slicing methods, but
| | 00:22 | you'll also find all kinds of workflow
improvements throughout, like the new
| | 00:25 | Pointer tool click zones that will
help you work with multiple tools without
| | 00:29 | ever having to press a keyboard
shortcut to switch between them.
| | 00:33 | Be sure to check out the lessons on
interface and workflow enhancements for just
| | 00:37 | a few of the most important changes.
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| Using the exercise files| 00:00 | If you're a premium member of the lynda.com
Online Training Library, or if you're
| | 00:04 | watching this tutorial on a DVD ROM,
you have access to the Exercise Files used
| | 00:09 | throughout this title.
| | 00:11 | For easy access to the files, drag the
Exercise Files folder to your desktop
| | 00:15 | while you are doing the training.
| | 00:17 | Inside, you'll find project
files for the lessons in the course.
| | 00:22 | Now if you are a monthly subscriber or
annual subscriber of lynda.com, you don't
| | 00:26 | have access to the Exercise Files,
but you can follow along from scratch, or,
| | 00:30 | using your own assets.
| | 00:32 | Let's get started.
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1. Flex Time EditingEditing audio like MIDI with the Flex Tool| 00:00 | Since the early `80s, the Midi
Protocols enabled keyboard players to change
| | 00:05 | the pitch, speed, and amplitude of note
data after the performance has been recorded.
| | 00:10 | Digital audio technology has finally
caught up to the point where we can now
| | 00:14 | perform similar edits on recordings of
live instruments like vocals and guitar.
| | 00:19 | Logic Pro's method for performing
these functions is called Flex editing.
| | 00:23 | Now while it's similar to functionality
referred to as 'elastic audio' in other
| | 00:27 | applications, Logic Pro's implementation
of the Flex toolset provides some unique
| | 00:31 | and efficient ways to work with audio.
| | 00:33 | Let's dive right in.
| | 00:35 | There are two ways to work with the flex system:
| | 00:38 | using the Flex tool, or the Flex view.
| | 00:41 | The Flex tool is perfect for quick
tweaks to your audio, while you'll want to
| | 00:44 | activate the Flex View
for more extensive editing.
| | 00:48 | In this lesson, we'll start
by looking at the Flex tool.
| | 00:52 | Here we'll take a look at shifting a
Guitar's tab that was recorded ahead of the beat.
| | 00:56 | In the Crash Chords track, Ctrl+Option+Drag
to zoom around bars 21 to 26.
| | 01:04 | You can clearly see that at bar 23, the
guitarist was a little over eager to hit
| | 01:09 | the note, early by almost a quarter beat.
| | 01:13 | To access the Flex tool, press the
Escape key to bring up the tool pop up menu.
| | 01:18 | Select the Flex tool from the list,
or press the keyboard shortcut R.
| | 01:23 | Now, click down anywhere on the audio
region we're editing to trigger the Flex tool.
| | 01:29 | Before you can use the Flex tool for
editing, Logic needs to analyze the audio
| | 01:33 | waveform for transients.
| | 01:35 | Transients are beats, or significant
changes in amplitude, that logic detects
| | 01:40 | in order to separate your
audio into editable sections.
| | 01:44 | Just so you know, this doesn't cut your
audio up, although you can do that too.
| | 01:49 | More on that in a moment.
| | 01:50 | It simply creates markers
for the Flex tool to use.
| | 01:54 | To get started, you need to choose a Flex mode.
| | 01:57 | If it's a percussive track,
choose rhythmical slicing.
| | 02:01 | Slicing will actually slice the audio
into regions based on the transients.
| | 02:06 | If it's a solo instrument like a trumpet,
lead guitar, or vocal, choose Monophonic.
| | 02:11 | Although be careful with lead guitars,
because often they'll have multiple notes.
| | 02:15 | And if it's an instrument playing
chords, such as the rhythm guitar we are
| | 02:19 | working with here now, here
we'll choose Polyphonic and click OK.
| | 02:25 | If you look in the Inspector
right now, you'll see additional
| | 02:28 | Quantization Options.
| | 02:30 | We'll cover the Quantization
of audio in a later lesson.
| | 02:34 | Now, position the Flex tool over
the portion of audio you want to move,
| | 02:37 | in this case the tab portion of the guitar
just before by 23, and drag to the right.
| | 02:47 | Notice how the tail of the previous
chord moves as you drag, but the start of
| | 02:51 | the previous chord stays put.
| | 02:53 | So does the start of the chord
following the one we are adjusting.
| | 02:58 | That's because they are
anchored by their own transients.
| | 03:01 | Line the start of the chord up with
the start of bar 23, and release the mouse.
| | 03:08 | And that's all there is to it.
| | 03:09 | Play it back to review. We'll solo it first.
| | 03:15 | (Guitar notes)
| | 03:24 | And we can now hear that the
guitar chord starts right up bar 23.
| | 03:29 | Let's have a quick look at one other
handy feature of the Flex tool.
| | 03:32 | We'll Ctrl+Option+Click to zoom out.
| | 03:37 | And look at the situation where you want
to move a whole phrase of audio around.
| | 03:41 | In the past you'd slice up the audio, then
move one of the new smaller regions around.
| | 03:47 | Instead, select the Marquee tool.
| | 03:53 | Then drag through the
section of audio you want to move.
| | 03:58 | Switch back to the Flex
tool, and drag to reposition.
| | 04:06 | What's great about this, beyond the
fact that you don't have to spend all the
| | 04:09 | time removing silent sections of the
audio region, is that the waveforms never cut.
| | 04:14 | So you don't have to worry about clicks and
pops created from nonzero point crossings.
| | 04:20 | Now as we mentioned at the start of
this lesson, the flex tool is useful for
| | 04:23 | quick tweaks like this one, but for
more complex editing you'll want to
| | 04:27 | switch to the Flex View.
| | 04:29 | In the Flex View, you can actually see
the transient markers that Logic Pro
| | 04:33 | created during the initial
analysis, and add your own.
| | 04:38 | We'll take a look at the
Flex View in the next lesson.
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| Working in Flex view| 00:01 | The Flex View is where you'll do
most of your detailed audio tweaks.
| | 00:06 | With it, you can subtly adjust the
phrasing of vocal performances, and fix the
| | 00:09 | timing of that one wrong note in an
otherwise Hendrix-worthy guitar solo.
| | 00:15 | To activate the Flex View, choose
View > Flex View or press Command+F.
| | 00:24 | You'll see Off buttons appear in
the headers for each track.
| | 00:28 | This actually brings up an important point.
| | 00:30 | Each track can be individually
activated and deactivated for Flex editing.
| | 00:35 | Also, when Logic detects transients it
does so for an entire track, not just
| | 00:40 | individual audio regions in a track,
and we'll see that in a moment.
| | 00:44 | Watch the previous lesson on the
Flex tool if you're unfamiliar with the
| | 00:47 | concept of transients.
| | 00:49 | Let's take a look here at the lead vocal track.
| | 00:52 | Click the Flex button currently
labeled Off to reveal the Flex menu.
| | 00:58 | Note, in addition to the modes
covered in the previous lesson, there are
| | 01:01 | two additional modes:
| | 01:03 | Tempophone and Speed.
| | 01:05 | Tempophone will create a heavily
affected result emulating a tape-based
| | 01:09 | Tempophone Unit, and the Speed mode will
remove the Automatic Pitch Compensation
| | 01:14 | causing changes in Speed to
also affect the pitch of the note.
| | 01:18 | Here, because we're working with the lead
vocals, we are going to choose Monophonic.
| | 01:24 | Logic Pro goes to work analyzing
all the audio regions in the track.
| | 01:28 | When it's done, you'll be ready to Edit.
| | 01:32 | Now in the case of this lead vocal
track, the vocal line is a composite
| | 01:36 | created from a take folder.
| | 01:39 | Now when you're working with take
folders, to actually see the transients, you
| | 01:42 | need to expand the take folder and look at
the individual audio regions contained within.
| | 01:48 | We'll be looking at the vocal
phrase starting around bar 29.
| | 01:51 | So let's Ctrl+Option drag to zoom in there.
| | 01:54 | In this case, we are working
with the third complete take down.
| | 02:01 | Let's take a listen to the track.
| | 02:05 | (Rock track with vocals)
| | 02:12 | And I'll just scroll back
quickly with my mighty mouse wheel.
| | 02:17 | Now the faint vertical lines you
see are the detected transients.
| | 02:21 | When you're working with the Flex tool,
these are the points which limit the
| | 02:25 | flexing to a specific section of your
audio region, but in the case of the Flex
| | 02:29 | tool, they were invisible.
| | 02:30 | Here in the Flex view, things work a
little differently than the Flex tool.
| | 02:35 | If you position your pointer over the
top of one of the transients, and drag
| | 02:39 | left or right, you'll see that the
entire audio waveform in the region moves.
| | 02:47 | In the previous lesson, only
the section of the audio between
| | 02:50 | neighboring transients moved.
| | 02:52 | Notice when you release the mouse
that a mark is being created over the
| | 02:56 | transient that you moved.
| | 02:57 | You have just created a flex marker.
| | 03:00 | You'll see that the transient for that
marker is now denoted by a bold white line.
| | 03:04 | Okay, so obviously there's no much
point in moving the entire waveform.
| | 03:10 | We could've done that simply by dragging
the region in the standard Arrange view.
| | 03:14 | So press Command+Z to Undo.
| | 03:18 | What we need to do is limit the
portion of the audio that will be affected by
| | 03:22 | the Flex adjustment.
| | 03:24 | In this case, let's look at adjusting the
timing of a trill in the middle of bar 30.
| | 03:28 | Let's take a listen.
| | 03:30 | (Rock track with vocals)
| | 03:37 | We'll adjust it so that the trill
actually begins on the second beat of the bar,
| | 03:41 | and lasts a little longer.
| | 03:43 | This time, instead of clicking the top
of the transient that we are adjusting,
| | 03:47 | in this case the one falling between the
second and third beat of the bar, we'll
| | 03:51 | click on the bottom half of the transient line.
| | 03:54 | Notice how the pointer changes from a
single marker icon to a triple marker icon.
| | 03:59 | Click down.
| | 04:00 | And not only is the chosen transient
converted to a flex marker, but Logic also
| | 04:05 | converts the nearest transients on
either side into markers. This is key.
| | 04:11 | Now that the neighboring transients
have been converted to markers, they'll act
| | 04:14 | like these anchors to limit the
extent of the flexing. Let's take a look.
| | 04:19 | Position your pointer at the top
of the center marker, and drag left.
| | 04:25 | You'll see the audio to the right of
the marker expands and the audio to
| | 04:28 | the left compresses.
| | 04:32 | As you drag further, you'll see the colors
of the compressed and expanded audio change.
| | 04:39 | Green indicates compressed audio.
| | 04:41 | Orange indicates expansion.
| | 04:44 | The shade of orange or green indicates the
severity of the compression or expansion.
| | 04:50 | If the audio is compressed beyond a factor
of 8X, this section will turn red as a warning.
| | 04:56 | You've probably noticed by now that
the audio outside of the two neighboring
| | 05:00 | markers is unaffected.
| | 05:02 | That's the whole point of
creating the adjacent flex markers.
| | 05:04 | They anchor the flexing,
limiting to the section between them.
| | 05:10 | Now be aware that if you decide you need
to go beyond the border of one of these
| | 05:14 | marker, just drag past it.
| | 05:17 | Logic will create a marker out of the
next transient and limit the adjustment to
| | 05:21 | that marker instead.
| | 05:24 | Now let's release the mouse and press
Command+Z to Undo any changes you just created.
| | 05:30 | Instead, let's just drag the marker
until it snaps to the second beat of bar 30,
| | 05:37 | and we'll take a listen.
| | 05:38 | (Rock track with vocals)
| | 05:48 | We've successfully extended
the duration of the trill.
| | 05:51 | Now, in this case, we got lucky. Logic
detected all the transients we needed
| | 05:55 | to make the change.
| | 05:57 | Notice, however, that it didn't
automatically pick up the second trill.
| | 06:01 | (Rock track with vocals)
| | 06:05 | The trill occurs here, but we don't see
any transient markers to adjust it with.
| | 06:10 | If we need to adjust to that trill,
we'll need additional markers other than the
| | 06:15 | ones provided by Logic transient analysis.
| | 06:18 | And that's a story we'll
cover in the next lesson.
| | 06:21 | There, we'll look at adding custom
flex markers to make exactly the changes
| | 06:25 | we need to make.
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| Creating, moving, and deleting Flex markers| 00:02 | Creating a Custom Flex marker is simple.
| | 00:05 | Here we'll continue with the vocal
phrase from the previous lesson.
[00:00:9.00]
(Rock track with vocals)
| | 00:19 | In the last lesson, we adjusted
detected transients to modify the timing of a
| | 00:24 | vocal trill, but we have a second trill
here that occurs just after the first,
| | 00:29 | but Logic detected no transients in that area.
| | 00:32 | (Rock track with vocals)
| | 00:36 | Just scroll back with our mighty mouse.
| | 00:40 | Listening to this section, we are
going to hear that the trill begins half a
| | 00:43 | beat before bar 31, and
continues right on bar 31.
| | 00:53 | So here's what we'll do.
| | 00:54 | Move the playhead to the half beat
to act as a guide for the alignment.
| | 00:59 | Then click down on the top half of the waveform.
| | 01:02 | That's all there is to it.
| | 01:03 | You have now created a custom flex marker.
| | 01:06 | Now I'll move the playhead to the started at
bar 31, and click again to create a second marker.
| | 01:14 | Finally, drag the marker at the
half beat back to beat four of bar 30.
| | 01:23 | Now when you play it back you'll hear that
both vocal trills occur over a full beat.
| | 01:29 | (Rock track with vocals)
| | 01:38 | To delete a flex marker, simply double-click it.
| | 01:44 | When you do, the flexed audio
will return to its original timing.
| | 01:48 | Let's click to recreate a marker around bar 31.
| | 01:54 | Now since we didn't use the playhead
this time to help position the marker, it's
| | 01:58 | not exactly on bar 31.
| | 02:01 | Obviously, just dragging the
marker would flex the audio.
| | 02:06 | Press Command+Z to Undo.
| | 02:09 | Instead, Option+Drag the
marker and snap it to bar 31.
| | 02:15 | By Option+dragging, the marker is
moved without flexing the audio.
| | 02:21 | Finally, if for some reason you want
to delete all of your flex markers,
| | 02:25 | right-click the audio region,
and choose Delete All Flex Markers.
| | 02:30 | Now note that this doesn't delete the
transients, just any flex markers that
| | 02:34 | have been created from them or created manually.
| | 02:37 | You can actually delete transient markers,
but that's done in the sample editor.
| | 02:41 | And we'll look at that in a later lesson.
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| Quantizing audio| 00:00 | In the previous lessons, we have already
seen how powerful transients can be for
| | 00:04 | flexing audio, but they can also be
used to automatically quantize audio to
| | 00:08 | match the timing of a song.
| | 00:11 | Quantizing has been used for years to
tighten up Midi Performances, but with
| | 00:15 | the Flex technology in Logic Pro 9, you can
perform the same process with digital audio.
| | 00:22 | To use the Quantize feature you
first need to enable a Flex mode for
| | 00:26 | the track in question.
| | 00:27 | Here we will work with the Funky Riff track.
| | 00:30 | So go ahead and select its track header.
| | 00:32 | Let's take a listen.
| | 00:34 | (Music playing)
| | 00:52 | Activate Flex View.
| | 00:53 | Then set the Flex mode for
Funky Riff to Polyphonic.
| | 00:59 | Now while the guitar line is
basically monophonic, there is an
| | 01:03 | interaction between notes.
| | 01:04 | So just to be safe we'll choose Polyphonic here.
| | 01:09 | Let's zoom in on a single bar, bar 13.
| | 01:12 | Ctrl+Option drag through to select.
| | 01:17 | In the Inspector for Funky Riff,
you'll see the Quantize option at the top.
| | 01:21 | If you can't see the option it's
probably because you haven't activated the
| | 01:25 | Flex mode for the track.
| | 01:27 | Notice in the Range Editor that the transients
don't perfectly line up with all of the beats.
| | 01:35 | Now for most of the detected transients,
they're spaced about a 16th beat apart.
| | 01:40 | There is one exception, which we'll
get to in a moment, and that's this
| | 01:43 | transient here, just before
the fourth beat of bar 13.
| | 01:48 | But since most of our transients are a 16th
apart, we'll choose 1/16 from the Quantize menu.
| | 01:56 | While we're here, notice the
additional options for Swing and Tuplets.
| | 02:01 | When you release the mouse, you'll instantly
see the transients snapped to the 16 beats.
| | 02:07 | Now let's take a closer look at the
case of the extra transient at the fourth
| | 02:11 | beat. Because of this transient, the
tail of their preceding note has been
| | 02:16 | unnaturally shortened by the Quantize.
| | 02:19 | We need to get rid of this extra
transient so that it doesn't mess up the Quantize.
| | 02:26 | Watch what happens to that transient
as we set the Quantize back to Off.
| | 02:33 | It shifts back, and the note
before stretches out again.
| | 02:38 | Then open the Sample
Editor and navigate to bar 13.
| | 02:45 | Click the Transient Editing mode button,
and you'll see the detected transients
| | 02:52 | appear in the Waveform Editor.
| | 02:54 | In Transient Editing mode, you can
move and delete transients as desired.
| | 02:59 | To move the unwanted transient to a new
location, just drag it. Or to delete it
| | 03:07 | entirely, simply double-click it.
| | 03:11 | With the extra transient removed,
the Quantize should now work just fine.
| | 03:16 | Before we check it though, let's
look at another useful way of removing
| | 03:20 | unwanted transients.
| | 03:23 | Press Command+Z until the
transient returns to its original position.
| | 03:30 | A moment ago we deleted the transient,
which works fine for our situation,
| | 03:34 | but what if there are several of these
unwanted transients all up and down the timeline?
| | 03:38 | We'd have to go and search for
them and delete each one individually.
| | 03:42 | The alternative is to use the plus
and minus buttons next to the Transient
| | 03:46 | Editing mode button.
| | 03:49 | Clicking the minus button reduces
the number of detected transients.
| | 03:56 | Keep clicking the button until
the unwanted transient disappears.
| | 04:03 | To restore a larger number of
detected transients, click the plus button.
| | 04:10 | This is a great way of reducing
the number of transients on extremely
| | 04:14 | dynamic audio tracks.
| | 04:17 | Let's enable quantizing again.
| | 04:23 | Play back the track and you'll now find
that the audio quantizes nicely without
| | 04:27 | compressing the tail of the
note before the fourth beat.
| | 04:29 | (Music playing)
| | 04:43 | Obviously Quantize won't always work perfectly.
| | 04:46 | Usually whether the musician knows it or
not, they have added some kind of grove
| | 04:50 | to their performance
that shifts it off the beat.
| | 04:53 | In such cases, you can try a Swing
option in the Quantize menu, or try adjusting
| | 05:00 | the Q-Swing Parameter
by dragging up or down.
| | 05:09 | You can also double-click
and enter a numeric value.
| | 05:13 | The default value, if you
need to reset it, is 50%.
| | 05:18 | Finally for extra fine tuning,
click the disclosure triangle next to
| | 05:23 | Advanced Quantization.
| | 05:27 | So Quantization is a great way to
tighten up the timing of your tracks.
| | 05:31 | You can even extract grove templates
and apply them to other parts or take an
| | 05:35 | existing groove template,
and apply it to your audio.
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| Flex editing tips| 00:01 | Now while we have covered the most
important features in the new Flex Time
| | 00:04 | System in Logic Pro 9, the feature
actually shows up throughout the application.
| | 00:10 | Here we have got a few other quick tips.
| | 00:12 | You can actually time stretch any
entire audio region simply by Option+dragging
| | 00:17 | its lower-right corner.
| | 00:19 | Let's check this out with the Warp Factor track.
| | 00:21 | We'll solo it and take a listen.
| | 00:24 | (Warped vocals)
| | 00:35 | Option+drag the lower
right corner to stretch it.
| | 00:42 | (Music playing)
| | 00:53 | You can also do this more
precisely with the Marquee tool.
| | 00:56 | Review the section on time stretching
using the Marquee tool in the user manual
| | 01:00 | for more information.
| | 01:03 | To use the transient markers in another
track to align the flex marker in your
| | 01:06 | current track, start dragging the flex
marker and then, without releasing the
| | 01:14 | mouse, move your mouse over the
track you want to use as a guide.
| | 01:19 | The pointer will now snap the flex
marker to transients in the guide track.
| | 01:28 | To quickly slice up a track at its
transient markers just right-click and choose
| | 01:35 | Slice at Transient Markers.
| | 01:39 | This is great for quickly slicing up
percussive tracks into separate hits.
| | 01:45 | (Drums playing)
| | 01:50 | That's it for now.
| | 01:51 | There are plenty of other ways that
Flex Time can be used in Logic Pro, some
| | 01:55 | in explicit tool operations, others behind
the scene, like extracting groove templates.
| | 02:01 | And if you find you don't get the
result you are after the first time around, try
| | 02:05 | adding additional flex markers and
experimenting with different flex modes and
| | 02:09 | their respective fine tuning parameters.
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2. Amp Designer and PedalboardDesigning an amp| 00:00 | (Music playing)
| | 00:04 | Virtual guitar amps and effects
have been around for a long time now.
| | 00:09 | Love them or hate them, they're a
whole lot easier to set up and lug around
| | 00:12 | than a Marshall stack.
| | 00:14 | In fact, Logic has had Guitar Amp
modeling built-in since Version 7.
| | 00:19 | Now, if you weren't impressed enough by
the previous incarnation to ditch your
| | 00:23 | physical guitar rig, you might be
surprised by this latest version.
| | 00:29 | To get started, plug your guitar into an input.
| | 00:33 | Add a new track.
| | 00:35 | Make sure that the correct input is selected,
and make sure Record Enable is selected.
| | 00:43 | Click an empty insert slot
and choose Amps and Pedals.
| | 00:47 | Now you'll see four different options here,
which may seem a little confusing at first.
| | 00:52 | The last option, Pedalboard, is for
adding stompbox effects to your signal chain
| | 00:57 | and we'll cover those in later lessons.
| | 01:00 | Guitar Amp Pro is actually the
previous amp simulation system in Logic Pro.
| | 01:04 | It's mainly here for legacy support,
although you can always experiment with
| | 01:09 | it if you so desire.
| | 01:11 | And Bass Amp is obviously
useful for bass guitar amp emulation.
| | 01:15 | But the one we want to
focus on here is Amp Designer.
| | 01:19 | That's the brand new Guitar Amp
modeling system in Logic Pro 9.
| | 01:22 | So go ahead and select it.
| | 01:26 | You should instantly be able to play
your guitar and hear the results.
| | 01:30 | (Guitar playing)
| | 01:38 | Now as you can already see, the Logic
team has gone to great pains to make
| | 01:42 | guitarists feel at home.
| | 01:44 | As a result, you'll see that the Amp
Designer window looks just like a real guitar amp.
| | 01:49 | These amp models emulate some of
the most famous amps on the planet.
| | 01:53 | Of course, they are not labeled by
brand, but as you flip through the model
| | 01:57 | pop-up menu to the left, you'll quickly
be able to tell your Mesa Boogies from
| | 02:02 | your Fenders, Marshalls and Voxs simply
by looking at the design of the amp head
| | 02:07 | and the matching speaker cabinet.
| | 02:09 | (Music sample of two guitar styles)
| | 02:26 | Now the plug-in is called
Amp Designer for a reason.
| | 02:29 | So let's look at configuring an amp.
| | 02:32 | First off, if you look at the model list,
you'll see there are two kinds of amps:
| | 02:36 | stacks and combos.
| | 02:38 | And the strange thing is they
all look like real world stacks.
| | 02:43 | If you are new to guitar terminology, a
combo amp is one where the amplifier and the
| | 02:48 | speaker are contained within a
single unit that's easy to carry around.
| | 02:52 | Easy being a relative term, of course.
| | 02:54 | Whereas a stack is a system where a
separate amp head combined with one or
| | 03:00 | more speaker cabinets.
| | 03:02 | Now in order to provide complete
freedom in customizing the amps, the artwork
| | 03:06 | for all the amps splits them into
amplifier on the left, and speakers on the
| | 03:10 | right, regardless of whether their real
world counterparts are combos or stacks.
| | 03:17 | Now while the model pop-up menu
allows you to select classic amps and their
| | 03:20 | matching cabinets, you can also mix and match.
| | 03:23 | So if you like a Mesa Boogie head with,
say, a Marshall cabinet and of course,
| | 03:30 | I'm not officially saying
that's what we have pictured here.
| | 03:32 | You can do that just by
changing the amp and cabinet options.
| | 03:37 | Notice how the model menu now reads
'Customized' since you have a non-standard
| | 03:42 | pairing of amp head and speaker.
| | 03:45 | Now Amp Designer doesn't just simulate
a guitar amp, it simulates a guitar amp
| | 03:50 | that's miked up and fed
back into a recording system.
| | 03:54 | To that end, you actually have a
choice of three different kinds of mics:
| | 03:59 | Condenser, Dynamic, and Ribbon.
| | 04:02 | Condenser mics are pretty common in
recording studios and used for recording all
| | 04:07 | kinds of instruments including electric guitars.
| | 04:11 | Ribbon mics are slightly less common,
but are a very popular choice for amping
| | 04:15 | guitars in studios, since they
produce very clean highs and mids.
| | 04:20 | Now Dynamic mics, made famous by the
SM57, are a more common choice for live
| | 04:25 | performance situations.
| | 04:28 | Now which one should you choose?
| | 04:29 | Well, it's completely up to you, of course.
| | 04:31 | Each one is going to produce a different
filtering of the overall tone of the guitar.
| | 04:36 | (Guitar playing)
| | 04:47 | Now if you mouse over the speaker cabinet
itself, you'll see a speaker overlay appear.
| | 04:53 | Drag the circular target left and
right to position the mic more or less
| | 04:57 | off-axis to the speaker cone.
| | 05:01 | Drag up or down to move the mic
placement closer to, or further away from, the speaker.
| | 05:06 | (Guitar playing)
| | 05:16 | Unlike a real guitar rig, you can
completely change the sound after
| | 05:20 | recording, and as long as your guitar
strings are about the same age and your
| | 05:26 | pickup and tone settings are the same,
you can drop in and add new guitar
| | 05:29 | sections weeks after the original
recordings and the new and old will still
| | 05:34 | sit naturally together.
| | 05:37 | Now before we wrap on basic
customization, a couple more things.
| | 05:41 | Logic Pro ships with dozens of amp presets
and you can find these in the Preset menu.
| | 05:47 | Not only do these select amp and
cabinet settings, but they also change the
| | 05:50 | individual gain, tone, and
effects controls on the amp head.
| | 05:53 | (Guitar playing)
| | 05:59 | If you find a sound you like, just
select Save Settings As to save out a preset.
| | 06:07 | Now closing out the Amp Designer
window, you'll find that you can also choose
| | 06:11 | channel strip presets
with complete guitar sounds.
| | 06:15 | Click the Setting button
and choose Electric Guitar.
| | 06:18 | Here you can choose presets that allow not
only Amp Designer but also a Tuner, EQ,
| | 06:27 | Compression and
complementary Pedalboard effects.
| | 06:31 | Be sure to watch the lessons on
Pedalboard effects for more information.
| | Collapse this transcript |
| Adjusting EQ, presence, and gain controls| 00:00 | Now for anyone unfamiliar with the
guitar amps, the amplifier controls in Amp
| | 00:05 | Designer are pretty much self-explanatory.
| | 00:07 | There are, however, a few
things to pay attention to.
| | 00:11 | And we'll take a look at those here.
| | 00:12 | And for those of you who are new to the
world of guitar amps, we will also take
| | 00:16 | a look at the basic functioning of amp settings.
| | 00:19 | Let's look first at the three EQ controls.
| | 00:22 | Now in the real world, different
makes and models of guitar amps employ
| | 00:26 | different kinds of EQ circuitry.
| | 00:27 | So the way the Bass, Mids, and Treble
controls shape the sound is going to vary
| | 00:33 | from amp model to amp model.
| | 00:34 | (Guitar playing)
| | 00:38 | Let's have a look when we
adjust the bass and the EQ.
| | 00:43 | (Guitar playing)
| | 00:47 | Obviously, a much more bass heavy sound.
| | 00:49 | Now you can actually customize an
amp by choosing a different kind of EQ.
| | 00:55 | Mouse over the EQ label and
click to access a pop-up menu.
| | 00:59 | Here you can choose an EQ
circuitry typical of another kind of amp.
| | 01:05 | (Guitar playing)
| | 01:09 | Okay, so for those new to guitar
amps, let's take an overview of the
| | 01:13 | controls and their function.
| | 01:15 | By the way, if you are happy with
your amp and cabinet combination, and the
| | 01:18 | position and type of mic being emulated,
you can click the disclosure triangle
| | 01:23 | to the left of the Mic pop-up menu.
| | 01:25 | This hides the amplifier
artwork in my controls.
| | 01:28 | Not as pretty, but it takes up a lot
less of your screen real estate this way.
| | 01:33 | As you saw before, when we adjusted
the Bass control, change the value of the
| | 01:37 | knobs and the amps
simply by dragging up or down.
| | 01:41 | (Guitar playing)
| | 01:44 | The EQ controls just
mentioned should be obvious.
| | 01:47 | Bass boosts or cuts low-frequency sounds.
| | 01:50 | (Guitar playing)
| | 01:53 | Mids, the mid range frequencies.
| | 01:55 | (Guitar playing)
| | 02:00 | And Treble, high frequency sounds.
| | 02:03 | (Guitar playing)
| | 02:09 | There is actually one more EQ control
and that's the Presence knob to the right.
| | 02:15 | That controls frequencies beyond
the range of the Treble control.
| | 02:19 | Presence boosts or cuts these high-frequency
sounds right at the output stage of the amp.
| | 02:24 | The result is a change in the
perceived clarity of the sound.
| | 02:28 | Let's take a listen.
| | 02:30 | (Guitar playing)
| | 02:34 | People have tried in vain, over the
years, to describe the effect of this
| | 02:37 | using words.
| | 02:39 | You'll variously hear people
describe the control as affecting the sound's
| | 02:42 | sparkle, clarity, brightness, or even muddiness.
| | 02:47 | Your best bet in understanding its
effect is simply to play your guitar, spin the
| | 02:51 | knob back and forth and hear the result.
| | 02:54 | Moving on, the next two controls to
look at are the all important Gain
| | 02:58 | and Master controls.
| | 03:00 | The Gain control determines how much the
guitar signal is boosted, in other words,
| | 03:04 | made louder, on its way into
the main guitar amplifier.
| | 03:08 | And then the Master control sets the final
volume of the sound on its way out of the amp.
| | 03:14 | So to create overdrive distortion, first,
set the Master level all the way to zero.
| | 03:20 | Now crank the Gain up to 10.
| | 03:23 | Sorry, no 11 setting here in Logic.
| | 03:27 | By doing this you're overloading the
volume of the guitar going into the amp,
| | 03:31 | causing it to distort.
| | 03:33 | Now slowly drag the Master level back up,
until you reach the desired level of sound.
| | 03:41 | (Distorted guitar playing)
| | 03:52 | To create lower levels of
distortion, just back off the Gain.
| | 03:56 | (Distorted guitar playing)
| | 04:10 | There is one other volume control
in Amp Designer and that's the Output
| | 04:14 | value seen here.
| | 04:16 | In the compact UI mode, it's shown
as a draggable numeric entry field.
| | 04:21 | Expand the disclosure triangle for the
artwork to see a slider for its value instead.
| | 04:28 | Now this might seem confusing.
| | 04:30 | Why have another volume control when
you already have a Master knob on the amp?
| | 04:36 | The answer is that this is a global Gain
control outside of the amp model itself.
| | 04:41 | You see, the Master knob controls
the level of the amplifier before it
| | 04:45 | feeds into the speaker cabinet
simulator, which in turn feeds into the
| | 04:49 | microphone simulator.
| | 04:51 | Adjusting the Master level will affect
the final tone of the sound since the
| | 04:56 | speaker cabinet simulator will produce
a different sound depending on how hard
| | 05:00 | its virtual speaker cone is being driven.
| | 05:03 | (Distorted guitar playing)
| | 05:11 | In contrast, the Output control just
effects the overall sound feeding back
| | 05:17 | into the Logic channel strip, so it won't
affect the sound shaping of the amp model one bit.
| | 05:22 | (Distorted guitar playing)
| | 05:33 | Most of the time, you'll want to just
leave this set to the default of 0 dB gain,
| | 05:37 | and simply make level adjustments
via the channel strip's fader control.
| | 05:43 | And that's it for an
explanation of the EQ and Gain controls.
| | 05:46 | In the next lesson, we'll take a
look at the Effects portion of the
| | 05:49 | control system.
| | Collapse this transcript |
| Adding effects and reverb| 00:01 | In this lesson, let's take a look at
the Effects section of Amp Designer using
| | 00:05 | this amp here, which looks
remarkably like a Vox AC30.
| | 00:09 | The first effect is Reverb, and it's
pretty simple, just a Level knob and an ON/OFF
| | 00:14 | switch to enable or bypass the reverb.
| | 00:17 | (Guitar playing with increased levels of reverb)
| | 00:28 | Obviously, the Level control determines how
much reverb is mixed back into the signal.
| | 00:32 | There is a hidden function though.
| | 00:35 | Mouse over the Reverb label and
click to reveal a menu of reverb types.
| | 00:42 | Like everything else, the reverbs are
emulated in an effort to stay faithful to
| | 00:46 | the amp designs they are modeled after.
| | 00:48 | So different amp models will
use different spring reverb units.
| | 00:51 | They are pretty authentic although,
regrettably, you're unable to kick the side
| | 00:56 | of the amp to get that
shopping-cart-down-the-elevator-shaft sound.
| | 00:58 | Now, if you like, you can choose a
different reverb type for any of the amp
| | 01:03 | models you are working with.
| | 01:04 | You'll see you have basic spring types,
but there are also three room reverb
| | 01:08 | types using a typical digital reverb sound.
| | 01:12 | (Guitar playing with reverb)
| | 01:17 | Moving on, each amp has a
Tremolo and Vibrato system,
| | 01:21 | again, regardless of whether these were
present in the historic amp upon which
| | 01:25 | the models are based. Enable or
bypass with the ON/OFF switch.
| | 01:30 | (Guitar playing)
| | 01:36 | By default, it's set to Tremolo, which
will oscillate the amplitude, or loudness,
| | 01:40 | of the guitar, or you can switch to Vibrato --
| | 01:44 | (Guitar playing)
| | 01:49 | -- which will oscillate the pitch of the guitar.
| | 01:52 | Use the speed slider to determine how
fast the effect oscillates, and the depth
| | 01:57 | to determine how extreme the effect is.
| | 02:00 | (Guitar playing)
| | 02:12 | Now the one control that doesn't exist on
any real world amp is the Sync/Free toggle.
| | 02:18 | When set to Free, the
controls work as advertised.
| | 02:21 | When set to Sync, the oscillation
control will lock to the master tempo in
| | 02:26 | Logic or MainStage.
| | 02:27 | You'll see now that as you drag the
speed knob in Sync mode, the tooltip values
| | 02:33 | are reported in beats.
| | 02:39 | In Free mode, the values are in hertz.
| | 02:44 | And that's all there is to it.
| | 02:46 | You may already be wondering, how you could
enable and disable Tremolo during a performance.
| | 02:51 | You do that simply by mapping MIDI
hardware to the ON/OFF switch or even to the
| | 02:55 | Tremolo/Vibrato switch.
| | 02:57 | (Guitar playing with vibrato)
| | 03:05 | In MainStage, you do this using the
standard mapping method, but to see how it's
| | 03:10 | done in Logic Pro, watch the
lesson on mapping the Pedalboard.
| | Collapse this transcript |
| Assembling a pedalboard| 00:00 | If you are a guitarist frustrated by
all the menus and options in digital
| | 00:04 | audio workstations, Logic Pro 9's Pedalboard
will actually come as a huge relief to you.
| | 00:10 | With digital models of some of the
most popular stompboxes ever conceived,
| | 00:14 | you'll be adding and tweaking
effects presets as soon as you insert the
| | 00:17 | Pedalboard into one of Logic's Insert Slots.
| | 00:21 | Now let's assume you already have Amp
Designer instantiated into one of your
| | 00:24 | Channel Strip Insert slots and you've
set the amplifier up the way you like it.
| | 00:30 | Since the Signal Chain travels down
the inserts and stomp boxes are obviously
| | 00:34 | connected to your guitar before the
guitar signal reaches the amplifier,
| | 00:38 | you'll want to Command+Drag Amp
Designer down one slot to make sure you have
| | 00:42 | room for the Pedalboard.
| | 00:45 | Click the new empty slot above Amp Designer,
choose Amps and Pedals > Pedalboard > Mono.
| | 00:52 | An empty Pedalboard window opens.
| | 00:55 | Let's first take a look at all
the goodies you have to choose from.
| | 01:00 | By default, you'll see a list of
all 30 stompboxes available to you.
| | 01:07 | To add a stomp box, just
drag it to the Pedalboard.
| | 01:12 | (Guitar playing)
| | 01:18 | And to remove one, just
select it, and press Delete.
| | 01:22 | Now to make it easier to choose a pedal,
click Show All, and you'll find you can
| | 01:29 | limit your choices to one
of several subcategories.
| | 01:33 | For those new to guitar effects,
distortion pedals, you may have guessed it,
| | 01:37 | distort the guitar sound.
| | 01:39 | But due to the many ways guitarists
have tried to grunge up their guitars
| | 01:43 | over the years, from poking holes
in the speakers to cranking Preamps to
| | 01:46 | obscene levels, there are many
different flavors of distortion, from velvety-smooth
| | 01:51 | to Seattle nasty.
| | 01:54 | (Guitar playing with distortion)
| | 02:01 | I'll select and press Delete.
| | 02:05 | Next we have the Modulation effects
that add and blend out of fade signals to
| | 02:09 | produce various thickening and spacey effects.
| | 02:11 | You'll also find a couple of pedals here
that will produce Rotary and Vibrato effects,
| | 02:18 | effectively turning your guitar into a
poor man's Hammond B3, or at least trying to.
| | 02:25 | (Guitar playing)
| | 02:35 | Delay, think echo.
| | 02:37 | Believe it or not there are
delays and then there are delays.
| | 02:41 | Back in the day analog tape was used to
create looping echoes for guitarists, and
| | 02:46 | that's what you'll see here with Tru-Tape.
| | 02:48 | (Guitar playing)
| | 02:52 | Then came so-called Bucket Brigade
Analog Delay pedals followed by more accurate
| | 02:57 | digital delay pedals.
| | 03:00 | Nowadays a lot of guitarists miss the
way old analog pedals would warm up and
| | 03:04 | slowly muffle the sound of the repeated guitar.
| | 03:07 | The Tape delay will give you some of
this or use the Tone Cut control on the
| | 03:11 | Blue Echo pedal to shape
the tone of the repeats.
| | 03:14 | I will increase the timing a little.
| | 03:19 | (Guitar playing)
| | 03:38 | Spring Box is actually a little bit of
cheat here since it's not strictly a delay.
| | 03:43 | It's a spring reverb based on the
old reverb units that actually had
| | 03:46 | vibrating springs in them.
| | 03:52 | Filters are pure funk.
| | 03:54 | You'll find here to Wah pedals and an Auto Wah.
| | 03:58 | Wah pedals are actually variable pedals.
| | 04:01 | You can move them up and down
with your foot or the mouse.
| | 04:04 | (Guitar playing)
| | 04:11 | The more you push the pedal, the
more the tone filter opens up creating
| | 04:15 | that classic 'Wah' sound.
| | 04:18 | By the way, in a later lesson we'll look at
hooking up a Midi Expression pedal to drive the Wah.
| | 04:23 | Now over the years people have tried all
different kinds of methods for creating
| | 04:28 | the Wah sound, the classic Wah
emulates the most famous historical Wah sound.
| | 04:33 | But the modern Wah is actually five
pedals in one, accessed by the mode control.
| | 04:38 | You get Retro Wah, Modern Wah, two Opto
Wahs based on photocell Wah pedals and
| | 04:47 | a Volume pedal.
| | 04:49 | That Volume pedal may not seem like a
big deal, but it's actually important.
| | 04:54 | You can put the Wah pedal set to
Volume at the start of your Pedalboard to
| | 04:57 | create swell effects and turn off of the
signal from your guitar, when you are not playing.
| | 05:04 | Now when it comes to the Auto
Funk pedal, think hands-free Wah.
| | 05:08 | The Auto Funk uses an envelope
follower in place of the foot pedal.
| | 05:13 | What's an envelope follower, you ask?
| | 05:14 | Well basically the louder you play,
the more the Wah filter opens up.
| | 05:18 | (Guitar playing)
| | 05:30 | You can get some great effects from
this without ever having to move your
| | 05:33 | foot on a foot pedal.
| | 05:37 | It can also give you some really
smooth understated lead guitar sounds.
| | 05:45 | (Guitar playing)
| | 05:55 | The Dynamics category holds
a single pedal, a Compressor.
| | 05:59 | At least, that's what the rest
of the audio world calls it.
| | 06:02 | Guitarists often call these sustained
pedals. They actually work by reducing
| | 06:07 | the loud attack portion of a guitar
note or chord, and then slowly increasing
| | 06:12 | the volume back up.
| | 06:13 | (Guitar playing)
| | 06:19 | The result is that the note seems
to sound more even and last longer,
| | 06:23 | hence the sustained concept.
| | 06:27 | Finally, there are two Utility pedals.
| | 06:31 | You don't always need to add these to the board.
| | 06:33 | They're often added automatically.
| | 06:35 | And we'll get to those in the
following lesson. That's it for now.
| | 06:38 | So feel free to start exploring the
cornucopia of actuating boxes and then watch
| | 06:43 | the following lessons for more
information on how to pick presets, adjust
| | 06:46 | controls, and tweak the signal chain.
| | Collapse this transcript |
| Working with pedalboard presets| 00:01 | There are actually two methods
for accessing presets in Pedalboard.
| | 00:05 | The standard Logic Preset menu
appears at the top of Pedalboard.
| | 00:11 | Here you can choose single pedal
presets like Fine Grind, or you can choose and
| | 00:17 | save complete Pedalboard
combinations, like old-school, R&B for example.
| | 00:26 | Now let's look at the second way to
access presets, which has a subtle, but
| | 00:30 | important difference.
| | 00:32 | Let's say we wanted to add a distortion
to this lineup, but we want to use the
| | 00:36 | Fine Grind setting we saw earlier.
| | 00:38 | If you choose Distortion > Fine Grind,
it will replace the entire Pedalboard
| | 00:47 | combination with the single grinder pedal.
| | 00:50 | Not what we wanted.
| | 00:54 | Let's select old-school R&B again.
| | 00:57 | This time, click the Import mode button.
| | 01:00 | Our file browser appears,
pointing to the presets.
| | 01:04 | Here we'll select Distortion > Fine Grind
and click Open.
| | 01:13 | Now you'll see the grinder
pedal with a Fine Grind Settings.
| | 01:16 | Just drag it into the
Pedalboard to add it to the lineup.
| | 01:21 | You can even do this with
complete Pedalboard presets.
| | 01:24 | Click Select Settings, navigate to
Complete Pedalboards, and choose say
| | 01:33 | Eighties Pop-Rock.
| | 01:36 | You'll now see the entire set of
pedals belonging to that preset and you can
| | 01:40 | selectively drag in only the one you want.
| | 01:45 | One last thing. You can also recall
channels strip presets from the main
| | 01:48 | interface that contain
combinations of Amp Designer amps and fully
| | 01:52 | populated Pedalboards.
| | 01:54 | Check out the lesson on working
with guitar amps for more information.
| | Collapse this transcript |
| Working with stompbox controls| 00:01 | In this lesson, we'll take a look at
stompbox controls and then look at hooking
| | 00:05 | up midi hardware, like foot
controllers, to Pedalboard.
| | 00:11 | Here, we'll select Seventies Stadium so
that we have plenty of pedals to work with.
| | 00:17 | A slider below the pedals can pan across
extended Pedalboards like this one, and
| | 00:23 | you can show or hide the Pedal
Selection menu with this Disclosure triangle.
| | 00:27 | Now most of the controls are probably
pretty obvious and let's take a look.
| | 00:33 | Enable Bypass Switches for each
effect are pretty easy to spot.
| | 00:37 | They either take the form of an
old-school Solid Metal toggle switch, or a more
| | 00:42 | modern Momentary button.
| | 00:46 | An accompanying LED indicates
whether the pedal is active or bypassed.
| | 00:52 | Anything that looks like
a knob probably is a knob.
| | 00:56 | Drag up or down to adjust it.
| | 01:00 | If something looks like a toggle
switch, click it to toggle it's state.
| | 01:07 | For the Wah pedals, an LED ramp gives
you a visual indication of the position of
| | 01:13 | the pedal as you drag up or down.
| | 01:17 | We'll show you how to hook up a
physical pedal to it in a moment.
| | 01:21 | On some of the pedals you'll see a Sync button.
| | 01:25 | This doesn't really exist on a real
world pedal, but it's a great feature.
| | 01:30 | When active, pedals that support it,
delays in modulation pedal specifically,
| | 01:35 | will automatically sync to
the tempo of the project.
| | 01:38 | And in main stage you can use it in
combination with the tap tempo feature to
| | 01:42 | have all your pedals perfectly
aligned with the tempo that your drum is
| | 01:46 | currently playing at.
| | 01:48 | Now that pretty much covers the controls.
| | 01:50 | But guitarists typically find it hard
to hold the mouse in hand while shredding
| | 01:54 | a glam rock guitar solo.
| | 01:56 | Instead of creating an entirely new
accessories market for plectrum-equipped
| | 02:00 | mice, Logic's actually made it very
easy to link the Pedalboard controls to
| | 02:05 | useful hardware devices.
| | 02:07 | Now for starters be sure and check
out Apogee's Geo Guitar interface and
| | 02:11 | controller, which is specifically
designed for use with Pedalboard in either
| | 02:15 | Logic or Main Stage.
| | 02:18 | But linking to any midi hardware
controls is pretty simple. Let's take a look.
| | 02:23 | Click the lower left Disclosure
triangle to reveal the Macro section.
| | 02:27 | Macros make it easy to pair
midi messages with the Pedalboard.
| | 02:32 | Now we want to control the Wah pedal with a
Midi foot controller connected to our Mac.
| | 02:36 | So in the Macro A target pop up,
select Classic Wah pedal position.
| | 02:45 | Now go to Logic Pro > Preferences > Control Surfaces,
| | 02:50 | and choose Learn Assignment for "Macro A Target."
| | 02:55 | Logic recognized that the macro target
we just set was Macro A and it assumes
| | 03:00 | that that's the control you want to link.
| | 03:02 | Once you have selected the option,
simply move your foot pedal, keyboard slider,
| | 03:08 | control knob, whatever, and as long as
it's a midi hardware device connected to
| | 03:13 | your Mac, it'll map to the Macro A Target.
That's it. You're done.
| | 03:18 | You now have hardware control of the Wah pedal.
| | 03:23 | Close out the Controller Assignments window.
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| Configuring the signal chain| 00:01 | To close out this section on pedal
board, let's take a quick look at signal
| | 00:05 | chain, in other words, the
order of pedals in your Pedalboard.
| | 00:08 | Pedals play from left to
right, which is important.
| | 00:11 | A delay feeding into a distortion will
sound subtly different to a distortion
| | 00:15 | feeding into a delay.
| | 00:16 | Like all things,
experiment for the sound that works.
| | 00:21 | First of all, as you've probably
guessed, you simply drag pedals left or
| | 00:25 | right to reorder them.
| | 00:30 | That's pretty much all there is to it,
at least if you're working like you would
| | 00:34 | a standard real world pedal board.
| | 00:37 | But there's another cool
feature hidden away here.
| | 00:40 | What if you wanted to do
something a little more complex?
| | 00:43 | Let's say you wanted to have your
regular distorted guitar sound, but one of the
| | 00:47 | echoes to sound a little
dreamy with some added chorus.
| | 00:52 | To create the effect,
you'd need to split the signal.
| | 00:54 | Let's do just that.
| | 00:56 | Move your mouse just above the
pedals to reveal the hidden routing area.
| | 01:02 | Click the chorus name, and it instantly
jumps to an alternate bus in the router.
| | 01:08 | Logic also adds a utility mixer pedal
to the end of the board's signal chain.
| | 01:13 | You can mix between the two buses
using the slider or select just the signal
| | 01:18 | passing through the A bus or the B bus.
| | 01:22 | Now we want to add chorus to the delayed signal.
| | 01:26 | So click the delay to switch it to the
second bus as well, and then drag the
| | 01:31 | Pedalbefore the chorus.
| | 01:34 | That way the chorus is applied to the
echoes coming off the delay pedal, and not
| | 01:39 | the other way around.
| | 01:40 | Let's record enable the track and take a listen.
| | 01:43 | (Guitar playing)
| | 01:54 | If you look carefully, you'll see that
the delay currently branches just before
| | 02:00 | the distortion pedal, so
the echoes have no distortion.
| | 02:03 | We actually want the distorted
signal to feed into the delay.
| | 02:08 | So click the small circle
just after the fuzz machine.
| | 02:14 | This rewires the delay
to the distortion's output.
| | 02:18 | (Guitar playing)
| | 02:31 | Finally, the Delay pedal is still
mixing some of the original signal in,
| | 02:36 | which we don't want.
| | 02:37 | Remember we only want to hear the chorus
on the echoes, not the original signal.
| | 02:42 | Only problem is the blue
echoe's mix control only goes to 50%.
| | 02:52 | What we want is 100% delay,
and no original signal.
| | 02:58 | Solution - use the Tape Delay Pedal instead.
| | 03:03 | We'll just drag it over the
top of blue echo to replace.
| | 03:10 | Again, we'll adjust the time.
| | 03:13 | And this time, set the mix all the way to 100%.
| | 03:17 | Let's now take a listen.
| | 03:20 | (Guitar playing)
| | 03:36 | Now, to really have some fun, try
adding a splitter from the Utility section.
| | 03:45 | With the Splitter set to Frequency,
you can actually divide up frequencies
| | 03:52 | between the two buses.
| | 03:53 | So you could send the low end to a
delay and a high end to a nice crunchy
| | 03:57 | distortion, for example.
| | 03:59 | That pretty much wraps things up for
the Pedalboard, all the fun of a real one
| | 04:03 | without the ugliness of patch cables.
| | 04:06 | And remember, since Pedalboard is just
an insert in a Logic Channel strip, you
| | 04:10 | can always combine it with all the
logic effects including stereo ones, and use
| | 04:15 | the Tuner Insert to tune your guitar.
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|
|
3. MainStagePlaying back tracks in MainStage| 00:00 | Let's face it, not everyone has the budget
to bring a 20-piece orchestra to every gig.
| | 00:05 | At some point, most performing
musicians wish they had access to backing
| | 00:09 | tracks, whether it's a subtle
string pan in the background or an entire
| | 00:13 | canned arrangement.
| | 00:14 | That's where the new Playback plug-in, in
MainStage 2 comes in. Let's take a look.
| | 00:20 | From the Choose Template window, choose
Guitar Rigs > Single Amp & One Backing Track.
| | 00:28 | Connect the guitar. Make sure the input
on your instrument channel strip matches
| | 00:32 | that of your interface.
| | 00:35 | And then raise the master
slider ready for output.
| | 00:40 | The Playback plug-in is
actually an instrument plug-in.
| | 00:43 | You can add it to any
software instrument channel strip.
| | 00:46 | Double-click the Playback plug-in
and the Playback channel strip.
| | 00:50 | Right now, things look pretty blank.
| | 00:52 | Click in the File field to load
the audio you want to play back.
| | 00:56 | Here we'll load Beautiful Wings backing track.
| | 00:59 | It's an AIF file, but you
can use other formats as well.
| | 01:03 | Now it's important to note that
this file is a bounced Logic file.
| | 01:08 | Because it was bounced in Logic, it
includes metadata informing MainStage of
| | 01:12 | things like its native tempo and the
location of markers in the source project.
| | 01:17 | In this case we have created markers
for intro, verse one, chorus one, intro
| | 01:22 | two, verse two, chorus two and outro.
| | 01:25 | Click the Return to Start button.
| | 01:27 | And then press Play.
| | 01:29 | (Music playing)
| | 01:32 | Click the Next and Previous marker
buttons to jump between sections.
| | 01:37 | (Music playing)
| | 01:51 | Press Play again to pause playback.
| | 01:53 | Forgot to add an important section marker?
| | 01:56 | No problem, just right-click the Waveform.
| | 01:58 | From here, you can easily Add,
Remove, and Rename markers.
| | 02:03 | When you select Perform mode, the
workspace fills the entire MainStage window.
| | 02:11 | Now, if you look at the tempo of the
backing track, it's set at 110 beats per minute.
| | 02:16 | But if you look at the MainStage
interface, the Concert tempo is set to 120.
| | 02:22 | Set Sync to on, and take a listen.
| | 02:25 | (Music playing)
| | 02:27 | The song is now playing at 120 beats
per minute, instead of its native 110.
| | 02:33 | Use the Tap Tempo to change the Concert tempo.
| | 02:37 | This is a really powerful feature.
| | 02:39 | It means that if your drummer speeds
up or slows down, you can tap the tempo
| | 02:42 | back to match before triggering a backing track.
| | 02:46 | You can also click the Fade Out button
at any time during a performance, which
| | 02:50 | creates a two second fadeout.
| | 02:53 | You can change the fade duration simply
by dragging up or down in the LED display.
| | 02:58 | Now let's take a listen to the new fade.
| | 03:00 | (Music playing)
| | 03:12 | The Metronome activates or
deactivates the MainStage metronome.
| | 03:16 | And the Count In button creates a one bar
count-in before the track begins to play.
| | 03:21 | (Music playing)
| | 03:28 | In addition to transport controls,
you can manually drag the Waveform while
| | 03:32 | playback is stopped.
| | 03:37 | Finally, the Cycle button loops playback
for the current marker, jumping back to
| | 03:42 | the start when it reaches the next marker.
| | 03:46 | (Music playing)
| | 03:50 | As you've probably guessed, any and
all of these controls can be mapped to
| | 03:54 | hardware buttons in MainStage to give
you complete on-the-fly arranging of
| | 03:58 | your song.
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| Using the Snap feature with playback| 00:00 | Now unless you have got the reflexes
of a samurai, you might find it a challenge to
| | 00:04 | trigger sounds in a Playback plug in at
exactly the right time. That's where the
| | 00:08 | Snap To feature comes in.
| | 00:11 | Set this to Bar and now when you click
Next Marker or Previous Marker, MainStage
| | 00:17 | will delay the jump until it reaches
the end of the Bar it's currently playing.
| | 00:21 | (Music playing)
| | 00:32 | The other options are Beat, which
jumps at Beat-end and Wait for Marker, which
| | 00:38 | jumps at the end of a marker section.
| | 00:40 | We will quickly touch on two other options.
| | 00:44 | Play From determines where Playback
begins when the play button is clicked, the
| | 00:49 | Relative Position option will lock
the track to the Master MainStage clock.
| | 00:55 | The Group menu is used in conjunction
with multiple instances of the Playback
| | 00:59 | plug in on separate channel strips.
| | 01:04 | By assigning different playback
plug-ins to various group, you can then trigger
| | 01:08 | alternate versions of
your song, verse or chorus.
| | 01:12 | Now we've covered a lot here, but
there is one more hidden menu of options
| | 01:15 | that's absolutely worth knowing about,
and that's the Playback Action menu.
| | 01:20 | As in Logic Pro 9, you can choose
an Alternate Flex mode to be used
| | 01:24 | when changing tempo.
| | 01:25 | For example, select Speed and your track will
change pitch according to a tempo change.
| | 01:30 | (Music playing)
| | 01:37 | You will definitely want to try
different algorithms here to see which works
| | 01:41 | best for your current backing track.
| | 01:43 | You also have a couple of
very cool trigger options.
| | 01:46 | Start on Patch Change will begin
playback as soon as you select the patch
| | 01:50 | containing the current playback plug-
in instance, and Start with Play Action
| | 01:55 | will trigger the playback
with the Master MainStage clock.
| | 01:59 | So whether you just want a subtle
angelic backup during your chorus performances,
| | 02:04 | or want an entire brass section behind you,
the new Playback plug-in will easily
| | 02:08 | fill up the stage behind you.
| | 02:10 | (Music playing)
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| Using the live Loopback recorder| 00:00 | Unlike the playback plug-in, which
is a software instrument, the Loopback
| | 00:04 | plug-in is an effect and gets added to
an effects insert slot in your channel
| | 00:08 | strip or auxiliary bus.
| | 00:10 | You can think of it as a ridiculously
long delay pedal, allowing you to build
| | 00:14 | several parts on top of each other.
| | 00:17 | Let's dive right in by choosing
Guitar Rigs > Single Amp & Looper.
| | 00:26 | Make sure you set your channel strip
input to match that of your interface and
| | 00:34 | raise the Master slider while
we are here to get some output.
| | 00:40 | Now, while the Loopback controls have
been mapped to controls in the MainStage
| | 00:44 | workspace, let's take a look at the
main Loopback interface window, by
| | 00:48 | double-clicking it's insert
slot in the Loopback auxiliary.
| | 00:54 | The Loopback plug-in has a lot in
common with the Playback plug-in.
| | 00:57 | The Play, Fade Out, Count In,
Metronome, Sync and Snap To options are
| | 01:02 | identical, so we won't go over them again here.
| | 01:05 | Be sure to watch the lessons on the
Playback plug-in for more information on these.
| | 01:09 | It's always a good idea before
recording anything to first turn on the Count In
| | 01:14 | button and the metronome.
| | 01:15 | You can always turn them off,
after recording the first dub.
| | 01:21 | Set Sync to on if you want to
synchronize with the MainStage tempo and clock.
| | 01:28 | You can also select Beat, Bar, or Loop
to determine where your loop will start
| | 01:33 | and stop as well as the length of the loop.
| | 01:36 | Here we will select 4 bars by
double-clicking and typing 4.
| | 01:43 | You can start recording simply by
clicking the Record button once.
| | 01:51 | Here we will lay down a simple rhythmic part.
| | 01:56 | And because we have set the loop to
sync at 4 bars, we can keep adding
| | 02:00 | additional overdubbed parts.
| | 02:02 | In other words, MainStage is adding each new
performance to the previous looped recording.
| | 02:07 | (Music playing)
| | 02:20 | When you want to stop
overdubbing, press Record again.
| | 02:25 | Now you can play over the top of the
recorded loop, but your new performance
| | 02:29 | won't be added to the existing loop.
| | 02:31 | This allows you to improvise
continually over the top of the loop you initially
| | 02:35 | recorded and overdubbed.
| | 02:37 | This is a great way for a soloist
performer to build up a complex piece by
| | 02:42 | simply layering arranged parts.
| | 02:47 | To erase the last overdub,
just click the Undo button.
| | 02:52 | Click it again to erase the
next overdub and so on.
| | 02:55 | And if you need to clear all your
overdubs and start over, go to the Action
| | 02:59 | menu, and select Clear Tape Loop.
| | 03:04 |
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| Recording your performance| 00:01 | Recording your entire MainStage
performance is actually incredibly simple.
| | 00:05 | Start by choosing MainStage > Preferences > Audio.
| | 00:13 | Now choose your hardware inputs and
outputs, your preferred Sample Rate, and
| | 00:22 | then click Set to choose a
destination folder for your recording.
| | 00:35 | Finally, select a file format.
| | 00:37 | Unless you plan to go straight to
another application for web or CD delivery, use
| | 00:42 | the default, CAF format.
| | 00:43 | CAF files can be potentially unlimited
in size, while AIFF and Wave files have a
| | 00:49 | 2 Gigabyte and 4 Gigabyte
size limit, respectively.
| | 00:54 | Select Apply Changes and close the window.
| | 01:01 | Now, either click the Record button or
press Ctrl+R to record your live performance.
| | 01:07 | (Music playing)
| | 01:14 | Click the Record button again when
you're done, and you will find the recorded
| | 01:19 | file in the directory specified in Preferences.
| | 01:29 | (Music playing)
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|
|
4. Interface and Workflow EnhancementsUsing Drum Replacer| 00:00 | Logic Pro 9 now allows you to replace
or double drum sounds on an audio track
| | 00:05 | without having to re-record the entire track.
| | 00:09 | You can use an audio track that
contains a single drum sound, like kick or snare
| | 00:13 | for example, to create a software
instrument track with matching trigger notes,
| | 00:17 | which is then played by the EXS24.
| | 00:20 | Select the track you want to modify,
and in the Arrange window,
| | 00:25 | choose Track > Drum Replacement/Doubling.
| | 00:31 | Once the audio track has been
analyzed for transients, the transients are
| | 00:34 | displayed as yellow lines.
| | 00:38 | A software instrument is automatically
created below the selected audio track
| | 00:42 | with an EXS24 in the instrument slot.
| | 00:46 | In the Media area, the Library tab
opens, highlighting the EXS24 and a wide
| | 00:51 | selection of sounds to use in your project.
| | 00:55 | In the software instrument track, a
midi region is created containing trigger
| | 00:58 | notes based on the detected transients.
| | 01:02 | When the dialog opens, choose
the instrument you want to process.
| | 01:08 | In this example, we'll select Kick.
| | 01:12 | You can choose either
Replace mode or Double mode.
| | 01:15 | In Replace mode, the new sound replaces
the original sound and all the regions
| | 01:20 | on the original track are muted.
| | 01:22 | In Doubling, the new sound is
added to the original sound.
| | 01:26 | The Relative Threshold slider defines
the threshold for generating transients.
| | 01:33 | You should experiment with these
parameters to find the sound that best
| | 01:35 | suits your project.
| | 01:37 | Click the Prelisten button, to solo
both tracks, and press Play to listen.
| | 01:42 | (Drum sounds)
| | 01:44 | You can also set the pitch of the
Trigger Notes that are created on the
| | 01:47 | software instrument.
| | 01:48 | (Drum sounds)
| | 01:59 | Use the Timing Offset slider to
shift the position of the Trigger Notes
| | 02:02 | either earlier or later.
| | 02:06 | You can also Set average attack
time of all regions on the audio track.
| | 02:13 | When you're done, click OK to confirm.
| | 02:17 | Now let's take a listen.
| | 02:18 | (Music playing)
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| Importing and exporting tempo information| 00:00 | In Logic Pro 9, you can now import and
export tempo information when you record
| | 00:05 | or bounce an audio file.
| | 00:07 | For example, you could import tempo
information from one audio file that was
| | 00:11 | recorded in a different project and
use that tempo information to replace
| | 00:15 | that of another project.
| | 00:17 | Note that here we have a
project with a tempo at 117.
| | 00:22 | When we import the tempo information
from this audio file, the project tempo
| | 00:27 | between the borders, or the start and
end points of the region, changes to that
| | 00:32 | of the imported audio file.
| | 00:33 | To import tempo information from an
audio file, choose Options > Tempo > Import
| | 00:41 | Tempo Information from
Audio File in the main menu.
| | 00:46 | Now, watch as the project tempo changes
with the introduction of this audio file.
| | 00:51 | And then once it passes its end
point it returns to the original tempo.
| | 00:58 | (Music playing)
| | 01:12 | To export tempo information to an
audio file, choose Options > Tempo > Export
| | 01:19 | Tempo Information to Audio
File in the main menu bar.
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| Expanded take folder editing| 00:00 | In Logic Pro 9, you can now Cut, Copy, or
perform other Edits inside a Take folder.
| | 00:06 | First disable Quick Swipe Comping
either by deselecting it in the menu, or by
| | 00:14 | clicking on the toggle in the top
right-hand corner of the Take folder.
| | 00:19 | To separate and move a section of the
take to a new position, just highlight the
| | 00:23 | section with the Marquee
tool and drag it into place.
| | 00:32 | If the track is in flex mode, you can use
the Flex tool to stretch a beat or phrase.
| | 00:38 | Here, we will first highlight and then
listen to the phrase before we edit it.
| | 00:42 | (Music playing)
| | 00:50 | Now just select the Flex tool, hover
the tool at either the beginning or
| | 00:57 | end, and drag.
| | 01:06 | (Music playing)
| | 01:16 | You can now export an active take, or
comp, from a Take folder to a new track
| | 01:20 | leaving the original Take folder intact.
| | 01:24 | First click the arrow in the top right-hand
corner of the Take folder to open up
| | 01:28 | the pop-up menu, and then choose
the take or comp you want to export.
| | 01:32 | Here we will select Best Comp, and
choose Export active Comp to New Track.
| | 01:38 | This copies the active comp to a
new track below and the original Take
| | 01:41 | folder remains intact.
| | 01:43 | You can also move a take
or comp from a Take folder.
| | 01:46 | This will actually delete the take or comp
from the original Take folder when it's moved.
| | 01:51 | Click the arrow in the top right-hand
corner of the Take folder and then select
| | 01:55 | the take or comp you want to remove.
| | 01:57 | Now, select Move active Take to New
Track from the pop-up menu, and watch as the
| | 02:01 | comp is moved to a new
track below the Take folder.
| | 02:04 | This comp is no longer
available in the original Take folder.
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| Importing data from other projects| 00:00 | In Logic Pro 9, you can now move
tracks and/or settings between projects.
| | 00:05 | This is ideal when you want to revert
to data from a previous version of a
| | 00:08 | project and/or go back to your
original channel strip settings, edits,
| | 00:13 | automation, et cetera.
| | 00:15 | To import data from another project,
click the Browser tab in the Media area.
| | 00:23 | Now select the other project file, and click
Import at the bottom right of the Media area.
| | 00:30 | Now the Browser tab updates
to show a track import view.
| | 00:33 | Select the data you want to import
by selecting any relevant checkbox.
| | 00:39 | You can also click drag over any of
the checkboxes, and then click once to
| | 00:44 | select more than one at a time.
| | 00:45 | You can either click Replace, which
replaces the data of the currently selected
| | 00:51 | track with that of the selected data
from the other track, or you can select
| | 00:55 | Add, to add the selected
data to the current project.
| | 00:59 | When you select Add, the tracks
are added below the selected track in
| | 01:02 | the Arrange window.
| | 01:04 | Now you can also import
settings from another project.
| | 01:08 | Click the Settings button in the Arrange
toolbar, then select Import Project Settings.
| | 01:15 | In the File Browser, select the project
file, and then click the Import button.
| | 01:23 | In the Import Settings window, choose
the setting that you want to import by
| | 01:27 | selecting the appropriate checkboxes.
| | 01:36 | And now when you click the Import
button, the settings are imported into
| | 01:40 | the active project.
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| Creating guitar tablature| 00:00 | In Logic Pro 9, you can now create
detailed guitar tablature scores using a
| | 00:04 | library of more than 4,000 chord
grids and new ornaments for hammer-ons,
| | 00:08 | bends, and many more.
| | 00:11 | In Tablature, the horizontal lines
represent the strings of the instrument.
| | 00:15 | Notes are always written on the
string line and the fret numbers are shown
| | 00:20 | instead of regular musical notation.
| | 00:23 | In Logic Pro, you can automatically
convert a MIDI track or region into tablature.
| | 00:29 | Select the region, and then, to get a
better view of the score, click Command+3 to
| | 00:35 | open the Score window.
| | 00:39 | Now go to Style in the
Parameter box and select Guitar.
| | 00:44 | To see both tablature and
notation, select Guitar Mix.
| | 00:51 | When you select chord grid and
tablature symbols in the Part box, you can add a
| | 00:55 | wide range of tablature markings to your score.
| | 01:00 | When you drag a chord grid on to your
score, the Chord Grid Library assists you
| | 01:04 | to find the right chord shape.
| | 01:06 | Select the Root Note of a chord and/or
the Bass Note, then the Chord type, and
| | 01:17 | the difficulty of the shape.
| | 01:21 | Scroll down the Chord Grid Library and
select a chord shape. Then click OK.
| | 01:33 | You can reposition the chord grid on
the score by dragging it into position.
| | 01:39 | You can also create your own chord grids.
| | 01:42 | Drag another grid onto your score,
and select the Chord Grid Editor.
| | 01:47 | You can select Capo, give the chord a name,
| | 01:54 | and define the parameters to the grid.
| | 02:08 | You can adjust the fret position by
clicking and holding and then selecting.
| | 02:14 | Now click on the string and the
fret position to build a new chord.
| | 02:21 | To create a bar, just click on a
note and drag it across the strings.
| | 02:26 | You can mute a string by clicking the
position above the string or where the nut on
| | 02:30 | a guitar it would be.
| | 02:32 | When you're finished, select Add and
your new chord grid is added to the library.
| | 02:37 | Then select OK to insert your
new chord grid into your score.
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| Using the Marquee tool| 00:01 | In Logic Pro 9, the Marquee tool can
be used in a variety of new ways to
| | 00:05 | enhance your production.
| | 00:06 | In Flex mode, the Marquee tool allows
you to time-stretch before and after a
| | 00:11 | selection of audio within the same region.
| | 00:14 | Using the Marquee tool, drag a
selection in an audio region.
| | 00:22 | Return to the Flex tool, and while this
section is highlighted, a Hand tool will appear.
| | 00:27 | Click in the upper-half of the selection and
drag the highlighted area in either direction.
| | 00:35 | This allows you to compress and/or
expand the audio selection between the first
| | 00:39 | and second flex markers and/or
between the third and fourth flex markers.
| | 00:44 | No time stretching occurs within the
selected area between the second and
| | 00:48 | third flex markers.
| | 00:51 | If you move the Marquee selection
either to the left or the right and the first
| | 00:54 | flex marker crosses a previous flex
marker, then the previous flex marker jumps
| | 00:59 | back to the next transient marker and so on.
| | 01:03 | This allows you extend the flex
time editing range in either direction.
| | 01:08 | When a region is in Flex mode you
can use the Marquee tool to move a
| | 01:11 | phrase within the region.
| | 01:13 | De-select the Flex button on the Arrange menu
and make sure that the track is flex-enabled.
| | 01:21 | Now, using the Marquee tool, highlight
a phrase within a region, and then grab
| | 01:27 | the phrase and move it in either direction.
| | 01:32 | Using Flex mode and the Marquee tool
together makes editing audio a whole
| | 01:35 | lot easier.
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| Recording in Replace mode| 00:00 | In Logic Pro 9, you can use the Replace
mode so that a new recording replaces an
| | 00:05 | original recording or a portion of it.
| | 00:08 | Using Replace mode, any existing audio
on the track between the punch-in and
| | 00:11 | punch-out points is cut.
| | 00:14 | This action also deletes the
original audio data between these points.
| | 00:18 | To record in Replace mode, first turn on
the Replace button in the Transport Bar.
| | 00:24 | Click the Record Enable button on the
Arrange track that you want to record to.
| | 00:28 | And then set the playback to the
point where you want to start recording.
| | 00:32 | Now click the Record button in the
Transport Bar, or use the default key command.
| | 00:37 | (Music playing)
| | 00:49 | Stop recording by clicking the Stop
button in the Transport Bar, or simply
| | 00:52 | press the Spacebar.
| | 00:55 | (Music playing)
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| New Pointer tool behavior| 00:00 | The Pointer tool in Logic Pro 9 now
provides multiple options for editing audio
| | 00:05 | regions in the Arrange Window.
| | 00:07 | To set the behavior of the Pointer
tool in the Arrange Window, select the
| | 00:10 | Preferences button in the Arrange toolbar
and then choose General from the pop-up menu.
| | 00:18 | When you click the Editing Tab,
notice Pointer tool in Arrange Provides.
| | 00:22 | Here you can select or de-select two new
Logic Pro settings for the Pointer tool.
| | 00:27 | Here we'll select Fade tool Click Zones and
Marquee tool Click Zones, and take a look.
| | 00:35 | By selecting the Fade tool Click Zone
box, the pointer, when placed over the
| | 00:39 | upper-left or upper-right edges of
the region, activates the fade cursor.
| | 00:44 | To fade in, simply place the pointer
at the top-left corner and watch as the
| | 00:48 | tool morphs into a crossfade tool.
| | 00:51 | Now we just drag to draw the fade.
| | 00:54 | To fade out, drag from right to
left on the upper right-hand corner.
| | 00:58 | Once you've created your fade, you
can also adjust the Fade Curve shape
| | 01:02 | using the same tool.
| | 01:03 | Just place the tool at the
beginning of the fade and experiment by
| | 01:07 | dragging across the fade.
| | 01:10 | (Music playing)
| | 01:21 | The Loop cursor can still be
activated in this Click Zone, simply by holding
| | 01:25 | down the Option key.
| | 01:32 | Now, when the Marquee tool Click Zone
is active, remember, we selected it
| | 01:36 | previously, the mouse pointer turns
into the Marquee tool when it's over the
| | 01:40 | lower half of a region.
| | 01:46 | This enables you to move back and
forwards with ease between both the Marquee
| | 01:50 | tool and the Pointer as you edit your regions.
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| Bouncing a region in place| 00:00 | In Logic Pro 9, you can now
bounce a region or track in place.
| | 00:05 | That means you can select either a
region or a track and bounce it, and it will
| | 00:09 | be placed in its original position
on either a new or an existing track.
| | 00:14 | To bounce a region in place, first
select one or more regions on either an audio
| | 00:18 | or software instrument track.
| | 00:22 | Then choose Region > Bounce Regions in Place.
| | 00:27 | Now the Bounce Regions in Place
dialog appears and you can define the
| | 00:31 | parameters of the new bounce.
| | 00:39 | To bounce a track in place, select
either an audio or software instrument track.
| | 00:44 | Choose Track > Bounce Track in Place.
| | 00:48 | The Bounce Track in Place dialog
will appear allowing you to define the
| | 00:52 | parameters for the new bounce.
| | 00:54 | To save space on your hard drive
you may want to select Replace.
| | 01:04 | You can also perform an in-place bounce
for all audio and software instruments
| | 01:07 | in the Arrange Window.
| | 01:10 | For this choose Track > Bounce-Replace All Tracks.
| | 01:16 | You're then prompted to save your project.
| | 01:18 | Once you've clicked Yes or No, the
Bounce Replace All Tracks dialog appears and
| | 01:22 | you can define the
parameters of the project bounce.
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| Varispeed| 00:01 | Varispeed mode enables you to speed up
or slow down a project between 50% and
| | 00:06 | 200% of the original tempo.
| | 00:10 | To enable Varispeed, Ctrl or
Right-click on the Record button on the Transport
| | 00:14 | Bar and select Customize Transport Bar.
| | 00:21 | Now select Varispeed, and a new button
with a minus and plus sign will appear on
| | 00:25 | the right side of the Transport Bar.
| | 00:27 | To turn Varispeed mode on and off, simply
click the Varispeed button in the Transport Bar.
| | 00:35 | When on, the button will glow orange.
| | 00:38 | Click-and-hold the Varispeed display
in the center of the Transport Bar and a
| | 00:42 | pop-up menu appears offering three
Varispeed modes and four options for the unit
| | 00:47 | of measurement used to
display the change in speed.
| | 00:50 | When you choose a mode, it
appears in the top part of the display.
| | 00:59 | And likewise, when you choose the unit of
measurement, it appears in the bottom half.
| | 01:03 | To change the speed, simply drag op or
down on the lower half of the display.
| | 01:15 | Here we'll play a few bars of this track
so you can hear the original tempo and key.
| | 01:21 | (Music Playing)
| | 01:29 | Now using Speed Only we can alter
the speed or tempo of the project
| | 01:34 | without altering the pitch.
| | 01:35 | (Music playing)
| | 01:46 | And using Varispeed (Speed and Pitch),
the pitch will change to reflect
| | 01:51 | the change in speed.
| | 01:54 | (Music playing)
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| Creating groove templates| 00:00 | In Logic Pro 9, you can now create
your own quantization grids, or groove
| | 00:05 | templates, that are based on the
rhythms of other audio or MIDI regions.
| | 00:08 | These groove templates make it
possible for you to capture the human feel of
| | 00:12 | say a bass or drum part, and apply it to the
other MIDI and audio regions in the project.
| | 00:18 | It's important to note that when you
want to quantize an audio region you need
| | 00:22 | to first enable Flex mode.
| | 00:25 | To create your own groove template,
select an audio or MIDI region, open the
| | 00:29 | Quantize pop-up menu in the
Inspector, and choose Make Groove Template.
| | 00:35 | Now the groove template with a default
name of the selected region appears near
| | 00:40 | the bottom of the Quantize menu.
| | 00:43 | Next, select a region that you
want to quantize to this template.
| | 00:48 | Here we'll select the bass part so
that it aligns better with the kick
| | 00:51 | drum groove template.
| | 00:54 | Now open the Quantize menu in the
Inspector's parameter box and select the
| | 00:58 | new groove template.
| | 01:00 | The selected region is now
quantized to your groove template.
| | 01:04 | (Music playing)
| | 01:14 | You can also select multiple
regions to create a template.
| | 01:16 | For example, you may want to select
the regions in a four bar phrase of
| | 01:20 | an entire drum-kit.
| | 01:22 | Each region will contribute its
transients to the new groove template.
| | 01:26 | Using the same method as previously
shown for a single-region-based groove
| | 01:30 | template, select the regions, open the
Quantize pop-up menu in the Inspector,
| | 01:40 | and choose Make Groove Template.
| | 01:42 | Here, we'll select this Wurlitzer part
so that we can quantize the overall feel
| | 01:46 | of the drums to the keyboards, and
then select the new groove template.
| | 01:52 | We can also make adjustments to the
amount of quantization by changing the
| | 01:56 | parameters in the parameter box.
| | 02:02 | (Music playing)
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| Converting audio to an EXS instrument| 00:00 | In Logic 9, you can convert one or
multiple regions, or whole tracks into
| | 00:06 | one-note, one-sample zones
within a new EXS instrument.
| | 00:10 | The new EXS instrument becomes a new
software instrument track that contains
| | 00:14 | trigger notes that can play zones at
their original position in the song.
| | 00:19 | To convert a region to a new sample
track, first select a region or regions in
| | 00:24 | the Arrange area and then choose
Audio > Convert Regions to New Sample Track.
| | 00:34 | Now a dialog appears to help you create
zones from regions or transient markers.
| | 00:41 | Regions converts the entire selected
region into an EXS zone, which is ideal for
| | 00:46 | longer samples like a vocal phrase.
| | 00:49 | Transient markers converts only those
sections between transient markers into an
| | 00:54 | EXS zone, and is best suited
for rhythmic samples like drums.
| | 00:58 | Now enter the instrument
name in the text input field.
| | 01:04 | From the Trigger Note pop-up menus,
choose Trigger Note settings for the lowest
| | 01:08 | and highest notes for one note zones
in the EXS instrument, then click OK.
| | 01:17 | The new software instrument is created
below the selected region or regions or track.
| | 01:23 | If we open up the Piano Roll, we can
see the ascending trigger notes which can
| | 01:32 | now be triggered by playing the
corresponding notes on your midi-keyboard.
| | 01:39 | (Drums playing)
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| Mono and group options| 00:00 | In Logic Pro 9, you can now define a
channel strip's mono output directly from
| | 00:05 | the strips output slot.
| | 00:07 | Just open the Output slot of a channel
strip and choose Mono Output from the
| | 00:11 | Output Mono pop-up menu.
| | 00:16 | Logic 9 has also redesigned the Group
Settings window and, in the process,
| | 00:20 | added a whole bunch of new features to help
you better define the behavior of each group.
| | 00:30 | Click the Group Slot at any of the
channel strips in the group and then choose
| | 00:34 | Open Group Settings.
| | 00:36 | The Group Settings window now
contains the following settings:
| | 00:40 | Group active, select this to enable all groups.
| | 00:44 | The On select box enables each particular group.
| | 00:49 | Name field, double-click to
enter the name of the selected group.
| | 00:54 | The Hide check box, this hides all
tracks belonging to a particular group.
| | 00:59 | Editing (Selection), selecting a
region in the Arrange area selects the same
| | 01:04 | horizontal region of all
channel strips in the group.
| | 01:06 | Phase-Locked Audio, this defines
whether an edit group is phased locked or
| | 01:12 | independent when quantizing audio.
| | 01:16 | When selecting either the Automation
mode, Volume Mute, Input, Pan, Solo,
| | 01:21 | Record, Color, Zoom or Hide selection
boxes, any change made to any of these
| | 01:26 | modes in one channel strip will affect
the same amount of change in the other
| | 01:30 | channel strips in the group.
| | 01:33 | Finally, the Send 1 through 8
selection boxes will link the send knobs
| | 01:37 | individually for slots 1 through 8
while still maintaining the relative
| | 01:41 | positions between them.
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ConclusionGoodbye| 00:00 | Well that wraps up our
look at the new Logic Studio.
| | 00:03 | Hopefully you now have a good sense of
just what's in the box and how you can
| | 00:07 | make it work for you.
| | 00:08 | Even simple enhancements like the new
Pointer Behaviors will make a dramatic
| | 00:12 | change to the way you do business in Logic.
| | 00:14 | If you ever get a little fuzzy on
one of these techniques, just remember
| | 00:17 | that the lynda.com lessons are a
mere click away, and here's to looking
| | 00:21 | forward to what the Logic community
comes up with using these powerful and
| | 00:24 | diverse new features.
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