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In this course, author Josh Harris demonstrates constructing a remix using only a pre-existing vocal track as a starting point. The course shows how to time-stretch vocals, offers suggestions for establishing a musical direction, and explains how to audition and layer Apple loops. The course also covers programming beats using synths, generating vocal samples, arranging the remix, and creating master-quality final mixes.
Okay, we're in the final stages of the mixing process and before we bounce down our final mix, let's take a moment to give everything an overview, Final Touches as I'd like to say. Take a look at your Arrange window and make sure that everything is in order from your vocal samples to your drums to your base to all of your keyboard parts. Make sure that nothing has been miss-copied or miss-pasted, make sure that nothing has been left out of your arrangement. And also this is a good time to talk about referencing your mix.
I like to listen to my final mixes on my studio monitors, I actually have two different sets to A, B back and forth. I also listen in headphones but I don't mix in headphones, I simply use headphones as the reference tool. Then I'll burn CDs and take them out to my car or if you have an iPod or MP3 player take that out to your car, plug that into the auxiliary in jack and take a listen in your car. Take your mix over to where your friend might be DJing and get a sense of what your mix sounds like in different listening environments, this is very important.
The vocals may sound a little bit louder at your friend's place and sound a little bit quieter in the car, it just depends. What we're looking to achieve in the final mix is a mix that will translate onto different systems. So I'd like to sit and listen to the remix from start to finish multiple times before bouncing down. Let's also take a moment to look at the mastering chain. Command+2 and here we have our mastering chain. We have a Multi Meter, these are visual displays of the frequencies within the Mix. (Music playing) And then we have our EQ which is an EQ that affects the overall mix.
Next we have a compressor and this is set very conservatively to only compress a few dB. (Music playing) Then we have the Adaptive Limiter, and I make sure that when I put this on, because this is a plug-in you have to be very careful with, you do not want the margin here over on the left side to slam into the red. I'd like to set the Input Scale low enough and the Gain low enough so that nothing slamming into the red, I also make sure that there is no audible distortion.
Limiting is a very delicate process so you have to use it conservatively. Finally we have the Multi Meter which gives us a graphic EQ type of an analysis of our mix. As we look at the Multi Meter I'd like to see an even spread of frequencies throughout the entire frequencies scale, but since this is a dance mix we look for little bit of a hump in the low-end. I'll play the track again and you'll see that there is a little bit of a hump around 60 to 80 to 100 hertz area. (Music playing) As we close this out, I will actually bypass all these plug-ins and let you here what the mix sounds like without any plug-ins on the Master Fader.
And I'll actually pull the Master Fader down because we know from previous movies that as we have all these elements in, the Master Fader will tend to hit the red. (Music playing) So you can hear what a difference it makes as I reengage the plug-ins and put the Master Fader back up at zero. This is simulated mastering.
If we were going to send our mix to a professional mastering engineer, I would simply bypass these plug-ins and pull this down to probably about -10 dB and bounce at 24-bit stereo Wave file of the mix in that fashion. Let's go ahead and reengage the plug- ins, and go back to our Arrange window. It's important to define your Bounce region prior to bouncing down your mix. I select the Bounce menu here and I have the ability to choose 24, 16, 8 Bit.
If I'm bouncing down to eventually burn to CD for myself, I'll choose 24-bit and typically I choose Wave file but you have a choice of Sound Designer ll, AIFF, Wave, or CAF. I usually leave this box Add to Audio Bin unchecked and Normalize is always off and I always bounce offline. I make sure that I'm naming my file, just like this. Call this simply falling_final 1 and I'll put it in the Bounces folder as Logic has prompted me to.
You simply click Bounce and Logic will write the file offline. If you have incorporated some 16-bit elements into your mix and you're bouncing down the mix for mastering the 24-bit, it's okay to bounce down at 24-bit. All of Logic's virtual synths, plug-ins, and reverbs are 24-bit, so I encourage you to bounce your files down at 24-bit. As you can see Logic is bouncing down the file, and in our next movie we'll import our final mix and place it side- by-side with the original version so we can take a listen to where we started and where we ended up.
There are currently no FAQs about Remixing a Song in Logic Pro.
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