IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
High, I'm Dot Bustelo and welcome to
Logic Pro X New Features.
| | 00:09 |
This course features a redesigned
interface of Logic Pro X with a powerful
| | 00:13 |
collection of modern creative tools and
sounds for musicians.
| | 00:19 |
I'll show you how to get your tracks
started in Logic Pro X with a detailed
| | 00:23 |
tour of the deeply streamlined and modern
interface.
| | 00:28 |
We'll get into Drummer, one of the most
exciting new features for building
| | 00:31 |
sophisticated drum parts.
And I'll show you Logic Remote, a great
| | 00:36 |
way to control Logic remotely and play
the touch instruments.
| | 00:42 |
Then I'll show you how to develop your
track with some fantastic new tools for
| | 00:46 |
responding to creative situations with
Alternatives, Arrangement Markers and
| | 00:50 |
Scale Quantize to instantly create new
melodies that work with your project.
| | 00:58 |
Next, I'll get into the new architecture
of the Sound Library for shaping your
| | 01:02 |
sound in ways that were never before
possible with Layered Patches, Smart
| | 01:06 |
Controls, Track Stacks and Complete Mixer
Routings.
| | 01:11 |
We'll look at the Groove Track that
further evolves one of Logic's greatest strengths.
| | 01:16 |
Controlling the timing and feel of your
music.
| | 01:19 |
And finally, I'll show you Flex Pitch for
creating and correcting vocal melodies,
| | 01:23 |
and the brand new audio track editor, for
detail and grid based editing.
| | 01:28 |
(MUSIC).
Pay close attention to this next button.
| | 01:34 |
This one opens up a brand new type of
control called Smart Controls.
| | 01:43 |
Let's change our synth patch to this
Resonant Patterns.
| | 01:49 |
(MUSIC).
Let's listen to this as I adjust a few of
| | 01:58 |
the controls.
(MUSIC).
| | 02:04 |
Just moving the cutoff control.
(MUSIC).
| | 02:13 |
Go in and change filter residence.
(MUSIC).
| | 02:20 |
The middle section with the XY pad and
the right side of the editor have
| | 02:24 |
settings that can be adjusted for each
region individually.
| | 02:30 |
I'll start adjusting the puck in the XY
pad.
| | 02:33 |
I'll move it down to the lower left so
that the first region will be
| | 02:36 |
dramatically softer and a simple pattern.
Let's hear this.
| | 02:44 |
(MUSIC).
So, it gets very interesting when you
| | 02:53 |
have two adjacent regions with different
settings.
| | 02:56 |
The artificial intelligence engine kicks
in and creates a human performance
| | 03:01 |
connecting the performances of the two
regions.
| | 03:05 |
Sort of a region to region awareness.
Let's bring it all the way up, so this
| | 03:11 |
will be a real dramatic transition.
Let's listen to the second one.
| | 03:15 |
(MUSIC).
| | 03:17 |
And our first one again.
(MUSIC).
| | 03:25 |
Logic Remote is a brand new iPad app for
controlling many of the primary
| | 03:31 |
activities you do in Logic.
And that includes playing and modifying
| | 03:38 |
all the amazing new sounds.
The app has Logic's main transport
| | 03:43 |
controls with a great mix review.
Handy for jumping into the vocal booth
| | 03:48 |
with full screen customizable key
commands to operate and navigate Logic.
| | 03:55 |
There's a whole new way of playing with
Logic Remotes touch instruments.
| | 03:59 |
The keyboard, the drum pads, and the fret
board.
| | 04:03 |
Combined would be Smart Controls, these
touch instruments are brilliant new
| | 04:07 |
controllers inside Logic.
(MUSIC).
| | 04:11 |
Let's go back to the first patch called
Sea Beams Glittering that has an Arpeggiator.
| | 04:22 |
I found the patch in the Sound Library
over here on the left in the category of
| | 04:27 |
synthesizers, sound scapes.
You can see at the top of the Library View.
| | 04:33 |
I'll click the disclosure triangle in the
track name, in the track list, to reveal
| | 04:41 |
all of the channel strip layers and
auxiliary routings to effects in this
| | 04:49 |
patch creating that richly layered
evolving sound.
| | 04:59 |
I'd like to create a patch now within our
Arpeggiator.
| | 05:03 |
I'll select from the EDM chord category
in the Library, Chime Swell.
| | 05:08 |
Let's hear it.
(MUSIC).
| | 05:11 |
Sort of an edgy 80s sound.
I'll click on the MIDI Plugin pane, which
| | 05:16 |
is right above the Instrument pane on the
channel strip.
| | 05:21 |
These are all awesome, let's start with
the Arpeggiator.
| | 05:24 |
Turn on Logics Transport, hear the drum
track.
| | 05:28 |
And now, when I play the patch for the
Arpeggiator, it's immediately locked in
| | 05:33 |
time, I'll make a couple adjustments.
Change the note order out, try one of
| | 05:39 |
these variations.
(MUSIC).
| | 05:42 |
Let's go back in bar five where she
reaches for the words on my mind, she's
| | 05:49 |
slightly sharp.
I'll play it for you, it would be right
| | 05:54 |
over here.
>> Something's been on my mind.
| | 05:57 |
>> It's subtle.
To set those notes to perfect pitch I can
| | 06:01 |
Ctrl click on an individual bar and
choose set to perfect pitch from the
| | 06:06 |
shortcut menu.
So, I'll Ctrl+click and choose Set to
| | 06:11 |
Perfect Pitch from the shortcut menu.
>> Something's been on my mind.
| | 06:17 |
(MUSIC).
>> You can now edit the pitch, time
| | 06:21 |
position, and length of notes as you
would in the piano world.
| | 06:30 |
To change the pitch, drag a note
vertically in the editor.
| | 06:35 |
In this Audio Track Editor, this allows
you to make all of your edits without
| | 06:39 |
even having to switch tools.
So, if you're ready, I'm ready to get
| | 06:45 |
started with Logic Pro X New Features.
| | 06:47 |
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| What you should know before watching this course| 00:00 |
In this course, we'll be covering many of
the new features of Logic Pro X.
| | 00:05 |
While this course is suitable for anyone
getting into using Logic for the first
| | 00:09 |
time, I do recommend having some basic
working knowledge of a digital audio workstation.
| | 00:15 |
Whether that be an earlier version of
Logic or another DA like Pro Tools,
| | 00:20 |
GarageBand, or Ableton Live.
If you'd like a refresher on the basics
| | 00:26 |
of digital audio recording, mixing,
signal routing, or music production, you
| | 00:30 |
may want to check out the essential
training course appropriate for your
| | 00:33 |
digital audio workstation on lynda.com.
Other than that, all you need is a desire
| | 00:40 |
to learn about Logic Pro X, whether for
music, sound design, composition, or
| | 00:44 |
production projects.
| | 00:46 |
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| Using the exercise files| 00:00 |
If you're a premium member of lynda.com,
you have access to the exercise files you
| | 00:04 |
used throughout this course.
The exercise files have been provided as
| | 00:10 |
a DMG file, so the audio files that Logic
needs to access for each project file
| | 00:14 |
will link up properly.
Simply download the exercise files DMG
| | 00:20 |
from this course's page on the website
and double-click it to mount the disk
| | 00:23 |
image on your desktop.
Inside the exercise files volume, you'll
| | 00:29 |
see a folder for each video.
Inside each videos folder will be the
| | 00:34 |
Logic Project file as well as its
associated audio files.
| | 00:39 |
You can open the project file and follow
along with me as we work through the course.
| | 00:43 |
If you're a monthly member or annual
member of lynda.com, you don't have
| | 00:48 |
access to the exercise files but you can
still follow along using your own assets.
| | 00:54 |
| | Collapse this transcript |
|
|
1. Getting Your Track StartedNavigating quickly in the Main Window featuring Smart Controls| 00:00 |
I'd like to show you the redesigned
interface of this exciting new release of
| | 00:04 |
Logic Pro X.
I'll use the Control bar across the top
| | 00:08 |
of the main window to access everything
you'll need for your project including
| | 00:12 |
the brand new Smart Controls.
When you launch Logic the main window is
| | 00:19 |
in view, this used to be referred to as
the Arrange Window.
| | 00:23 |
Here in the Tracks area, formerly known
as the Arrange area, are a few MIDI
| | 00:27 |
chords I played with this layered synth
called Traveling Without Moving.
| | 00:33 |
I'll start playback with a transport
button which is top left center in the
| | 00:38 |
Control bar.
(MUSIC).
| | 00:43 |
I'll click this disclosure triangle to
reveal the synth, which happens to be a
| | 00:49 |
new synth, named Retro Synth, is using a
new way in Logic to enhance you keyboard
| | 00:55 |
parts, an incredibly sophisticated
Arpeggiator.
| | 01:08 |
(MUSIC).
Let me grab a loop in the Apple Loops
| | 01:10 |
browser that's been reorganized with tons
of new loops.
| | 01:14 |
I'll click the Beats tag and type in
Pastel and grab this Pastel Colors Beats loop.
| | 01:23 |
Drag it in, close out the Apple Loops
browser.
| | 01:27 |
And we'll drag this out.
And there is the start of our groove.
| | 01:36 |
When you poke around in the menus on top
here, you'll notice that they are
| | 01:40 |
reorganized and streamlined to where the
features make sense to be grouped.
| | 01:46 |
I'll use the Control bar across the top
of the interface to check out the other
| | 01:49 |
sections of the main window.
Starting here on the left.
| | 01:55 |
Far left is the control to open and close
the Library which contains all of your
| | 02:00 |
sounds using the awesome new sound
management system called Patches.
| | 02:07 |
Let's try one of the other new
Arpeggiator patches in this Synth layer subcategory.
| | 02:18 |
(MUSIC).
Anticipation is nice.
| | 02:22 |
(MUSIC).
Let's try these blippy waves.
| | 02:26 |
(MUSIC).
You know what, I like that.
| | 02:30 |
We'll stay there for a minute.
Now, this library for all your sounds
| | 02:37 |
much easier to access being on the left
side of the window next to the Inspector
| | 02:42 |
Channel strip for the selected track.
The next control in the Control bar is
| | 02:49 |
for the inspector to open and close the
dual channel strip view.
| | 02:54 |
On the left is the selected track.
And to the right is, by default, your
| | 03:00 |
main outputs.
I'm going to open out view of this
| | 03:04 |
layered track stack, again, by clicking
this disclosure triangle.
| | 03:08 |
One significant change on the channel
strip is that the input field for your
| | 03:13 |
software instrument is near the top of
the channel strip.
| | 03:17 |
To choose a different instrument click to
the right of the instrument name like this.
| | 03:24 |
And here are all your instruments.
Next control to open and close the
| | 03:30 |
Toolbar, ton of handy tools for
navigating in Logic.
| | 03:35 |
To the right is Quick Help.
This button will show and hide help on
| | 03:40 |
whatever feature you drag across with the
pointer.
| | 03:44 |
No need to click or select it, just mouse
over the area.
| | 03:49 |
Here I am, mousing over in the Library
area and the Quick Help updates to
| | 03:54 |
explain selecting patches.
Pay close attention to this next button.
| | 04:01 |
This one opens up a brand new type of
control called Smart Controls.
| | 04:07 |
They provide an easy, really cool view
for adjusting the sound of the patch.
| | 04:13 |
Each of the factory patches already loads
with Smart Controls for shaping that
| | 04:18 |
particular sound.
Let's change our synth patch to this
| | 04:23 |
Resonant Patterns.
(MUSIC).
| | 04:26 |
And these controls now may be mapped to
either one or multiple parameters, across
| | 04:35 |
even multiple plugins.
Let's listen to this as I adjust a few of
| | 04:42 |
the controls.
(MUSIC).
| | 04:44 |
Just moving the cutoff control go and
change filter residence.
| | 04:56 |
(MUSIC).
Little bit more with the cutoff.
| | 05:05 |
And I can hit Compare and we'll hear the
original patch.
| | 05:09 |
(MUSIC).
And again, the changes that I've made
| | 05:14 |
with the Smart Controls.
(MUSIC).
| | 05:20 |
Let's take a look at some Smart Controls
on the Drum Loop.
| | 05:24 |
By default, this was just an Apple Loop I
dragged in.
| | 05:27 |
There is no Smart Controls.
So, we'll go into the channel strip.
| | 05:31 |
And even though the drums already sounded
great, let's load a compressor, watch the
| | 05:36 |
smart control opens below.
I can close out of the plugin window and
| | 05:42 |
let's load another plugin.
Maybe we'll add some distortion, the
| | 05:48 |
phase distortion, watch this Smart
Control view update to now show both
| | 05:53 |
plugins at the same time.
Again, clean up my workspace, close the
| | 05:59 |
plugin window, and we can make adjustment
to the sound.
| | 06:05 |
(MUSIC).
Listen to the drums, and I can change the cutoff.
| | 06:08 |
(MUSIC).
Resonance.
| | 06:10 |
Don't really want to touch the
compressor, but we could adjust like that.
| | 06:18 |
Back to our controls on top, this button
is to the mixer.
| | 06:22 |
Here is the editors.
We have an audio track selected.
| | 06:28 |
So, we're now seeing the new Track Editor
that is very slick track based editing,
| | 06:33 |
right next to it is the File Editor which
is basically the old sample editor.
| | 06:41 |
If I select on a software instrument
track, we see the Piano Roll, Score, and
| | 06:45 |
Step Editor.
Next up are the Transport controls.
| | 06:51 |
To get back to the beginning, play,
record, click hold on any of these
| | 06:56 |
buttons to customize which transport
buttons are going to be in view.
| | 07:02 |
What's nice about having these Transport
buttons on the top of the window, there's
| | 07:06 |
no chance of accidentally bumping into
the dock.
| | 07:10 |
Right in the center of the Control bar is
the LCD display.
| | 07:16 |
And then, to the right are the controls
for cycle, guitar tuner, and again, you
| | 07:21 |
can simply control click into this area
to further customize the Control bar and display.
| | 07:30 |
On the far right are buttons to access
the List Editors, Notes, Apple Loops and
| | 07:37 |
the Project, Media, and File Browsers.
Double-click on any of them to close out
| | 07:45 |
of those windows.
Beneath is Automation, right here.
| | 07:50 |
And next to that is Flex Time and yes,
Flex Pitch.
| | 07:56 |
This middle area beneath the LCD is your
Tools menu to assign your main tool, and
| | 08:02 |
Command Click tool.
Over here, the snap and drag options
| | 08:07 |
adjusting the size of tracks for the
vertical and horizontal zoom.
| | 08:13 |
One important change to the zoom keys,
the default is now Cmd+left, right for
| | 08:18 |
horizontal zoom and Cmd+up, down for
vertical zoom.
| | 08:24 |
Let's make a few quick edits to get our
feet wet in Logic Pro X.
| | 08:28 |
Let's go back to the top here and let's
slide our drums over to bar five.
| | 08:35 |
We'll extend out the synth line and our
cycle area.
| | 08:39 |
And I'll create a new software instrument
track by clicking on this plus sign on
| | 08:44 |
the left for the new tracks dialogue.
Some cool new stuff in here.
| | 08:50 |
There is the new Drummer track type,
which I'll cover later.
| | 08:54 |
Let's create our softer instrument.
And in the Library that opens, I'll
| | 08:59 |
scroll up to synths and let's go to
experimental and I'll grab this laser
| | 09:06 |
brain patch.
Let's close out of the inspector so I can
| | 09:12 |
see all of the tracks area.
And to record a part in, I'm going to go
| | 09:18 |
to the Window menu and select Musical
Typing.
| | 09:23 |
Let's move it out of the way and I'll
just drop in an F.
| | 09:29 |
Here we go.
I'll hit record in the control bar.
| | 09:33 |
(MUSIC).
There is my introduction, let's hear this back.
| | 09:48 |
(MUSIC).
Then our beat drops at bar five.
| | 09:52 |
(MUSIC).
And we have successfully navigated Logics
| | 09:55 |
main window to quickly work on some music
using Logics redesigned interface.
| | 10:02 |
Get to know it yourself.
I hope you'll find it as ergonomically
| | 10:05 |
redesigned as I have and much more
conducive to a fast, creative work flow.
| | 10:11 |
| | Collapse this transcript |
| Adding a Drummer track| 00:00 |
Let's explore the new feature called
Drummer, that can help you create
| | 00:04 |
realistic, sophisticated drum parts using
a unique engine that can generate,
| | 00:09 |
literally, millions of drum variations.
In the New Tracks dialogue, I'll select
| | 00:17 |
Drummer > Create.
Now, a new track is added to the tracks
| | 00:23 |
area with two special drummer regions
that look a bit like audio regions but
| | 00:27 |
have a lot more going on behind the
scenes.
| | 00:32 |
The Drummer Editor opens below when you
select a Drummer track.
| | 00:35 |
Let's hear what we've got to start with.
(MUSIC).
| | 00:38 |
I'll temporarily mute the (UNKNOWN) Loop
pastel colors so we can hear what I'm
| | 00:44 |
doing with the Drummer track.
On the left side of the Drummer Editor
| | 00:51 |
there's a menu where you can select your
drummer from within four genres.
| | 00:59 |
Rock, Alternative, Songwriter, R&B.
I'll select Alternative.
| | 01:05 |
There are a total of 15 drummers between
all the categories, each offering a huge
| | 01:09 |
variety of possible drum performances.
Within Alternative, I'll select Nikki.
| | 01:16 |
Let's hear her default style.
(MUSIC).
| | 01:19 |
Its a preset, Strobe Lights.
(MUSIC).
| | 01:22 |
Not bad.
(MUSIC).
| | 01:23 |
Let's try this preset, Drop the Beat.
| | 01:26 |
(MUSIC).
| | 01:29 |
I like this one.
(MUSIC).
| | 01:35 |
So the middle section with the XY pad and
the right side of the editor have
| | 01:38 |
settings that can be adjusted for each
region individually.
| | 01:43 |
And this is where it gets really cool as
far as introducing complexity and loudness.
| | 01:49 |
I'll start adjusting the puck in the XY
pad.
| | 01:53 |
I'll move it down to the lower left so
that the first region will be
| | 01:57 |
dramatically softer and a simple pattern.
Let's hear this.
| | 02:02 |
(MUSIC).
So, it gets very interesting when you
| | 02:08 |
have two adjacent regions with different
settings.
| | 02:17 |
The artificial intelligence engine kicks
in and creates a human performance
| | 02:22 |
connecting the performances of the two
regions, sort of a region to region awareness.
| | 02:29 |
I'll keep the region on the left real
simple and soft in volume.
| | 02:33 |
Then, the second region more complex and
louder.
| | 02:37 |
Let's bring it all the way up, so this
will be a real dramatic transition.
| | 02:41 |
Let's listen to the second one.
| | 02:43 |
(MUSIC).
| | 02:47 |
And our first one again.
| | 02:48 |
(MUSIC).
| | 02:53 |
Now, listen to what happens as we near
the intersection of the two regions.
| | 02:57 |
I'll start right around bar eight.
(MUSIC).
| | 02:59 |
So, fills and accents are being generated
when adjusting the XY pad or the fills
| | 03:08 |
knob all the way here on the right side
of the Drummer Editor.
| | 03:17 |
The region itself is actually
regenerated.
| | 03:22 |
Think of Drummer, or more specifically
the Drummer Editor, as a tool that
| | 03:26 |
creates it's own drum parts, based on the
circumstances at hand.
| | 03:31 |
Some of those circumstances are what
you've chosen in the Genre, Drummer and
| | 03:35 |
Presents area.
But also, the context of what you do in
| | 03:40 |
adjacent drummer regions.
This region to region awareness and whole
| | 03:44 |
palette of parameters that you can keep
tweaking until the track feels just right
| | 03:49 |
to your song.
For pattern variation, you can also drag
| | 03:55 |
this slider, here to the right, for each
of the drum types.
| | 04:01 |
Why don't we just cycle on one of the
regions and we'll try different variations.
| | 04:08 |
(MUSIC).
| | 04:11 |
Start it over.
(MUSIC).
| | 04:16 |
We can do the same thing with the high
hats, which of course, right here you can
| | 04:20 |
turn the High Hats off.
(MUSIC).
| | 04:23 |
No high hats, add them back in.
I'm just clicking on the drum in the graphic.
| | 04:31 |
(MUSIC).
And changing the variation on the high hats.
| | 04:34 |
(MUSIC).
Move the fills knob on the right,
| | 04:38 |
changing the variation of complexity and
frequency of the fills.
| | 04:47 |
The length and style of the fills are
different for each drummer.
| | 04:54 |
And each drummer comes with between 200
and 250 fills unique to them.
| | 05:00 |
So, this combination of all the settings
results in nearly a million different
| | 05:04 |
possible performances per drummer.
You are not likely to hear the same
| | 05:09 |
variation twice.
I can change the sound of the drums over
| | 05:14 |
here on the lower left in Drum Kit
Designer, just by clicking.
| | 05:18 |
This is the new drum software instrument
providing all the sounds from drummer.
| | 05:25 |
The drum samples were meticulously
recorded by a world class recording engineer.
| | 05:30 |
Then, top mix engineers in the industry
were brought in to create custom drum mixes.
| | 05:35 |
There are 15 kits in total, one for each
drummer character.
| | 05:41 |
Now that we've opened the drum kit, I can
start customizing.
| | 05:45 |
I can adjust things when I click on the
Kick Drum.
| | 05:48 |
You can see on the right side, we can
adjust the tuning, the dampening and gain
| | 05:53 |
for the kick or for any of the individual
pieces in the kit.
| | 05:59 |
Or, on the left side, swap them out for a
new kit piece.
| | 06:03 |
I have the kick highlighted.
Maybe I'll switch it from the four on the
| | 06:08 |
floor to this four on the floor three.
Let's select the snare.
| | 06:15 |
Again, that's on the four on the floor
and I'll switch it to the four on the
| | 06:18 |
floor two.
(MUSIC).
| | 06:21 |
Right now, we're using the Stereo Kit
that is initially loaded for each drummer.
| | 06:35 |
The kit is professionally mixed, so it
sounds great.
| | 06:38 |
But if you do want to access more drum
piece options and the ability to mix each
| | 06:41 |
drum on discrete mix channels, no need to
switch to what's called a Producer Kit,
| | 06:45 |
which is found in the Library.
That's close out of Drum Kit Designer and
| | 06:52 |
open up the Library view.
And now, at the bottom of the list of the
| | 06:57 |
Drum Kits are these Producer Kits that
will gives you a mind blowing control
| | 07:01 |
over the sound and mix of your drums.
You become not only the music director
| | 07:09 |
and producer, directing drummer, but the
record and mix engineer with the power to
| | 07:13 |
mic, mix and process each individually
recording drum.
| | 07:19 |
Be aware that the processing requirements
are significantly higher than with the
| | 07:23 |
Stereo Kits.
So, you might choose to use the Stereo
| | 07:26 |
Kits during the writing phase of your
process.
| | 07:29 |
While you're working here in the XY pad
and with the variations on the drums.
| | 07:34 |
And then, switch to the Producer Kit
version only once you get into final production.
| | 07:40 |
I'm going to close out of the Drummer
Editor.
| | 07:44 |
I want to make a copy of the drummer
region to a softer instrument track, so
| | 07:48 |
I'll create a new software instrument
track below.
| | 07:54 |
And just option drag the pattern down and
it immediately created regular MIDI data
| | 08:00 |
on this new track.
And in the Library, I'm going to select
| | 08:05 |
one of the patches from the drum machine
category.
| | 08:10 |
These are actually all coming out of
Ultra Beat.
| | 08:15 |
Let's try the first one.
(MUSIC).
| | 08:18 |
I'll mute the original drummer track and
you can hear the pattern coming out of an
| | 08:22 |
Electronic Drum Kit.
(MUSIC).
| | 08:25 |
Now, with the drummer performance
converted to MIDI data, you can now edit
| | 08:30 |
the notes in the conventional way you're
used to with MIDI regions.
| | 08:36 |
Let's bring Drummer back in, listen to
both of them at the same time.
| | 08:39 |
(MUSIC).
I've successfully added a very human
| | 08:44 |
sounding drum track to my project with
Drummer.
| | 08:51 |
| | Collapse this transcript |
| Introducing Logic Remote for iPad| 00:01 |
Logic Remote is a brand new iPad app for
controlling many of the primary
| | 00:04 |
activities you do in Logic, and that
includes playing and modifying all the
| | 00:08 |
amazing new sounds.
The app has Logic's main transport
| | 00:13 |
controls with a great mix review handy
for jumping into the vocal booth with
| | 00:18 |
full screen customizable key commands to
operate and navigate logic.
| | 00:24 |
There's a whole new way of playing with
Logic remotes touch instruments.
| | 00:28 |
The keyboard, the drum pads and the
fretboard, combined with the smart
| | 00:33 |
controls, these touch instruments are
brilliant new controllers inside Logic.
| | 00:40 |
Let me show you Logic remote in action.
(MUSIC) First off, Logic Remote will only
| | 01:02 |
open if you're on the same Wifi network
as the computer running Logic.
| | 01:20 |
And, of course Logic has to be up and
running, since Logic Remote is a
| | 01:24 |
controller for Logic.
When you launch Logic Remote, you'll see
| | 01:29 |
this control bar along the top of the
screen to access any parts of Logic
| | 01:33 |
Remote you want to get started with,
whether picking a sound to play or
| | 01:36 |
getting set up to record.
I can use the control bar to open the
| | 01:43 |
sound library, controlled playback and
recording, even navigate channel strips
| | 01:48 |
with these left-right arrows.
Jump to any bar with this bar ruler by
| | 01:57 |
tapping the LCD display.
There are two essential buttons on the
| | 02:04 |
left side of the control bar at the top
of this screen.
| | 02:07 |
The View button to switch views so that
you can play touch instruments.
| | 02:14 |
Use the mixer, work with logic remotes
key commands.
| | 02:20 |
And Smart Help, in the View menu, which
brings the entire logic manual into view
| | 02:24 |
with the focus on whatever feature you're
using, just like the new quick help in logic.
| | 02:32 |
This Library button opens the library to
browse your full sound library from logic
| | 02:36 |
that you can select and play on logic
remote with the touch instruments.
| | 02:41 |
I love this full screen view of the
Library.
| | 02:45 |
Here are the controls for playing,
recording, navigating.
| | 02:49 |
I'll hit Play.
(MUSIC) Now with the project playing, if
| | 02:52 |
I hit stop, the Stop button reverts to
the Go To Beginning button.
| | 02:57 |
Here's record, the upper line in the LCD
display shows the play head position in
| | 03:02 |
bars and beats etcetera, the lower line
shows that selected track.
| | 03:09 |
Back to our Control bar at the top of
this screen.
| | 03:12 |
The View button to switch views so that
you can play touch instruments.
| | 03:18 |
These left right arrows scroll up and
down my track list in Logic to select a
| | 03:21 |
different track.
If I tap on the LCD, I get the bar ruler
| | 03:26 |
beneath, where I can swipe to locate two
different parts of the song.
| | 03:36 |
Here is the cycle mode, the cycle area
appearing below as this yellow strip in
| | 03:40 |
the bar ruler.
Tap again to hide the bar ruler.
| | 03:45 |
Metronome turns on with a simple tap.
Let me show you these two helpful buttons
| | 03:51 |
at the right end of the control bar.
The one that looks like a wrench is the
| | 03:56 |
Settings button to open a menu to Undo,
or Redo, Edit, Create, or Duplicate a
| | 04:00 |
track, or open Logic Remote Help.
I'll create a new software instrument
| | 04:07 |
track, just like this.
You can see it popped up in Logic.
| | 04:12 |
The info button with the question mark
icon displays coaching tips for whatever
| | 04:16 |
is in view.
You can almost learn your way around
| | 04:19 |
Logic Remote entirely from these coaching
tips.
| | 04:23 |
You can also tap to open the particular
topic in the Help files.
| | 04:28 |
Let's go back to the View button to
change our view and play the touch instruments.
| | 04:34 |
To switch to a difference style of touch
instrument, tap Smart Controls and
| | 04:38 |
Keyboards, then select the keyboard, fred
board or drum pads at the bottom of the
| | 04:42 |
View menu just like this.
Here are just a few examples of the
| | 04:48 |
amazing performance features for the
touch instruments.
| | 04:52 |
Let me grab a sound in the library, in my
user patches.
| | 04:57 |
I'll select this lead sound I made using
retro synth called vintage lead in my new
| | 05:02 |
cool leads subfolder.
And I'll switch on pitch bend on the
| | 05:07 |
keyboard, where it defaulted to
glissando.
| | 05:18 |
(SOUND) I'll select a scale, probably the
minor scale.
| | 05:23 |
Now I don't have to worry about the
notes, just the feel.
| | 05:26 |
(MUSIC)
| | 05:28 |
A switch to a piano in a library, this
grand piano and pad.
| | 05:48 |
And then tap the View button to select
the touch instrument chord strips.
| | 05:52 |
(MUSIC)
| | 05:55 |
Pretty cool let's look at the drum pads.
I'll arrow back a track here in the LCD
| | 06:17 |
display, and I'll switch on Drum Pads at
the bottom of the View menu, just like this.
| | 06:27 |
Here is a two finger drum pad trick.
If I change the distance between my
| | 06:32 |
fingers I can make the repeats faster or
slower, and they will always be in sync
| | 06:36 |
with the project tempo.
Move my fingers up or down makes the
| | 06:42 |
repeats louder or softer.
(MUSIC) Let's go back to the library and
| | 06:53 |
select a guitar so I can show you the
fret board touch instrument of the library.
| | 07:13 |
And I'll create a new software instrument
track.
| | 07:16 |
I can use the Control bar to open the
sound library, select Amped Synth Lead.
| | 07:25 |
I'll drop this into the minor scale as
well and now all the notes will be in key
| | 07:29 |
since I'm not a guitarist.
The lightly shaded note blocks are the
| | 07:35 |
routes in octaves, so I especially can't
go wrong laying into those.
| | 07:40 |
(SOUND) I'll drag and bend the notes a
little too.
| | 07:46 |
(SOUND) And of course I have my smart
controls above.
| | 07:53 |
Maybe I'll add a little bit of this filth
control for an edgier sound.
| | 07:59 |
(SOUND) Here's a mixer.
Pretty straight forward.
| | 08:07 |
(MUSIC) Solo tracks.
Remove all solos or mutes here on the right.
| | 08:14 |
(MUSIC)
| | 08:17 |
Adjust volume.
Hand, transport controls still on top.
| | 08:28 |
Tap the LCD display to see the bar ruler
like in touch instrument view.
| | 08:38 |
Switch view from faders to sends like
this to make adjustments and to view the
| | 08:42 |
next or previous bank of eight faders
swipe across the bottom of the track names.
| | 08:49 |
This is cool.
Select your automation mode right here
| | 08:52 |
next to the record arm button on each
channel strip.
| | 08:57 |
I will automate volume on the strings and
drums all at once.
| | 09:01 |
That's three tracks with my three
fingers.
| | 09:04 |
(MUSIC) Last main section of logic remode
I want to show is the key command display
| | 09:15 |
access from the View button.
These are logic remode shortcuts you can
| | 09:26 |
customize right from your iPad.
Swipe to move between pages of key commands.
| | 09:32 |
These six key commands at the bottom
remain visible when you move between pages.
| | 09:38 |
You can replace these yourself and
organize by color, which is awesome.
| | 09:44 |
To assign, tap an empty space with two
fingers, then tap the search field to
| | 09:48 |
enter the function you'd like to create a
key command for, or just browse and
| | 09:51 |
select from the list.
You can change color by tapping one of
| | 09:57 |
these color blocks at the bottom of the
pop up menu.
| | 10:00 |
kind of handy, you can share or import
key command sets via the Itunes app synching.
| | 10:08 |
Double tap the View button to switch
between your current and previous view.
| | 10:13 |
Logic Remote is so versatile, there is
likely to be at least one feature that
| | 10:17 |
really speaks to your way of working
creatively and quickly.
| | 10:22 |
Whether the ability to record away from
your computer, open the smart help, play
| | 10:26 |
the touch instruments, do a little mixing
use the full screen key commands to
| | 10:30 |
navigate, etcetera.
It's all about having easy options when
| | 10:35 |
you're making music.
| | 10:37 |
| | Collapse this transcript |
|
|
2. Developing Your TrackGetting creative melodically with Scale Quantize| 00:00 |
The tools for melodic development are now
pretty amazing, utilizing musical scales
| | 00:06 |
in new and powerful ways in Logic.
I'd like to show you the Scale Quantize
| | 00:11 |
option and the Piano Roll Editor that
allows you to quickly experiment with
| | 00:15 |
musical variations of your performance.
I'll record a simple melody over my chord
| | 00:22 |
progression which is F minor to B flat
minor.
| | 00:26 |
Let's have a listen to it real quickly
before I play.
| | 00:28 |
(MUSIC).
There's my F minor to B minor.
| | 00:33 |
And I'll play a melody with these strings
that I have selected in the track list.
| | 00:44 |
(MUSIC).
| | 00:51 |
Okay, not bad.
A few imperfect notes.
| | 01:04 |
Let's see where I could take that part.
I'll open up the Piano Roll Editor to
| | 01:09 |
edit my MIDI performance with the Editor
button and the Control bar on top here.
| | 01:15 |
Looks like the scissors.
And let's just drag up on the top of the
| | 01:20 |
Piano Roll window so we have it full
screen.
| | 01:24 |
A few more adjustments to get everything
in view.
| | 01:28 |
There is my performance.
You're probably familiar with time quantizing.
| | 01:34 |
I could clean up the timing of my
performance maybe with a straight 16th
| | 01:38 |
note quantize.
I'll select all the notes and let's
| | 01:42 |
strength is up to 100%, so that should be
tight.
| | 01:48 |
Now, I can actually quantize the pitch of
selected notes by choosing a desired
| | 01:53 |
scale and key from the scale quantize pop
up menu right below.
| | 01:59 |
So, scales are basically patterns of
notes that follow at specific intervals
| | 02:03 |
above a root note.
The most familiar western scales fall
| | 02:08 |
into the categories of major and minor.
Though, there are some beautiful scales
| | 02:13 |
from all over the world that introduce
different intervals between the notes.
| | 02:18 |
Let's try out a few scales.
The F Natural Minor scale should work well.
| | 02:24 |
Select the Natural Minor, you can already
see how the notes jumped when I did that.
| | 02:30 |
Let's listen.
| | 02:37 |
(MUSIC).
| | 02:40 |
>> You can hear what really doesn't work if
I select one of the major keys.
| | 02:49 |
Listening now.
(MUSIC).
| | 02:57 |
That's not what we want.
Let's try the South East Asian.
| | 03:01 |
It's pretty fun to hear these different
variations, it's surprising sometimes
| | 03:05 |
what you come up with.
It really sounds musical.
| | 03:09 |
(MUSIC).
Interesting, that can almost become a
| | 03:15 |
melody for another section of the
project.
| | 03:23 |
Let me try one more, the Minor
Pentatonic.
| | 03:27 |
Watch the note events jumping in the
window.
| | 03:30 |
(MUSIC).
Subtle but definitely significant to the
| | 03:36 |
melodic component of the music and giving
me ideas of how to further orchestrate.
| | 03:49 |
Scale Quantize is really a great tool to
develop your musical sensitivity to these
| | 03:54 |
different scale and melodic
possibilities.
| | 03:58 |
It's a feature that we'll look at later
when we explore Flex Pitch.
| | 04:03 |
Here's a quick peek at one of the new
MIDI plugins called Transposer.
| | 04:09 |
Let me close out of the Piano Roll Editor
and I'm going to select the next track in
| | 04:14 |
my track list that has another synth
loaded.
| | 04:19 |
(MUSIC).
And what I'm going to do with this is
| | 04:22 |
select on of the new MIDI plugins called
Transposer that I mentioned.
| | 04:29 |
That also let's you manipulate your MIDI
performance according to specific scales.
| | 04:36 |
In this case, it allows you to transpose
all notes to a particular scale in real
| | 04:41 |
time, right as I'm playing.
Right above the insert for the
| | 04:47 |
instrument, we're using the ES 2, is this
new insert for your MIDI plugins, the
| | 04:52 |
Arpeggiator rocks.
But I am going to select Transposer, open
| | 04:58 |
it up.
And let's go with that last scale that I
| | 05:02 |
was liking, F Minor Pentatonic.
I'm going to bypass it for just a minute
| | 05:08 |
and play some notes that are not going to
sound very good.
| | 05:13 |
And I'm going to open up in the Window
menu the Musical Typing so you can see
| | 05:18 |
which notes I'm playing.
And maybe we''ll mute my strings melody
| | 05:24 |
just so you can really hear what's going
on.
| | 05:29 |
You can watch in the Musical Typing
keyboard here, what notes that I'm playing.
| | 05:34 |
I'm just going to play chromatic half
steps, and it's not going to sound very good.
| | 05:38 |
(MUSIC).
So now, I'm going to go over to the
| | 05:43 |
Transposer plugin, take it out of bypass
and enable it, and I'm going to play
| | 05:52 |
those same notes.
And listen to how they fall into place melodically.
| | 06:07 |
(MUSIC).
Scale Quantize is clearly an amazing
| | 06:11 |
addition to the set of amazing tools in
Logic Pro X for working with pitch and
| | 06:19 |
melody in your music to inspire new
directions in your project.
| | 06:29 |
| | Collapse this transcript |
| Adapting to musical situations with Project Alternatives| 00:00 |
Many creative situations we find
ourselves in, demand different versions
| | 00:04 |
of a project and saving these files
efficiently, quickly, and safely is
| | 00:08 |
always critical.
Logic has some great new ways to address
| | 00:13 |
these challenges.
I like this string melody that I have
| | 00:18 |
played in the F natural minor scale that
I selected here in the piano role with
| | 00:24 |
the Scale Quantize menu, right here.
Have a listen.
| | 00:35 |
(MUSIC).
But I actually also like it in the Minor
| | 00:41 |
Pentatonic scale, and I'm wondering how
it would sound with different strings,
| | 00:51 |
maybe these cellos.
(MUSIC).
| | 00:58 |
I like that as well and I'm also thinking
that I'd like to hear it without the
| | 01:04 |
drums for more of an ethereal mix.
(MUSIC).
| | 01:10 |
Wouldn't it be nice to be able to keep
both of these versions in the same
| | 01:19 |
project folder?
Now you can.
| | 01:25 |
You can save what are called project
alternatives which is basically your
| | 01:30 |
project in different states, different
cuts, different sounds, your mixes, all
| | 01:36 |
saved as part of your project.
I have the original mix that I had played
| | 01:43 |
you, saved down here with the cinema
strings.
| | 01:47 |
And what I'll do now is, save another
alternative with this cello patch for the
| | 01:52 |
melody and the drums muted.
So, I'll select New Alternative.
| | 01:58 |
And let's call this Cellos No Drums.
Just like that.
| | 02:05 |
It has a unique name you can see at the
top of the window.
| | 02:09 |
Cellos No Drums, right above the LCD.
And now it has different settings.
| | 02:15 |
It's an entirely different version of the
project, even with it's own auto stored
| | 02:21 |
set of backup versions.
But it shares the same assets as the main mix.
| | 02:28 |
If you want to delete or rename an
alternative, just go back into this menu
| | 02:34 |
and select Edit.
And here you see all of the alternatives,
| | 02:40 |
I've made some others previously.
I could rename this, and I'll call it
| | 02:46 |
maybe Cellos Ethereal.
While we're talking about saving
| | 02:53 |
projects, the new auto save feature is
fantastic.
| | 02:57 |
It will save your work if the application
quits unexpectedly.
| | 03:01 |
Next time you re-open Logic, a dialog
appears where you can choose to open the
| | 03:05 |
auto save version or the last manually
saved version.
| | 03:11 |
Another useful addition to Logic's
project saving options, is to save a
| | 03:16 |
consolidated version of your project
folder called a Package.
| | 03:22 |
Right inside the Save dialogue, I could
swap this out from folder to package.
| | 03:30 |
And what this will do is all the assets
you choose to store with the project will
| | 03:34 |
be kept together in the same file with
the project.
| | 03:38 |
This gives you the convenience of just
having to manage one folder of other
| | 03:43 |
folders and files, even if the project
has a bunch of alternatives.
| | 03:51 |
(MUSIC).
Why don't we go back to our original
| | 03:57 |
version just by going to Alternatives and
I'll re-select the Main Mix.
| | 04:12 |
(MUSIC).
Project Alternatives are great for saving
| | 04:15 |
different versions and mixes of your
project very efficiently, all in one
| | 04:19 |
place, whether into your project folder
or the new project package.
| | 04:25 |
| | Collapse this transcript |
| Building arrangements with Arrangement Markers| 00:00 |
Arrangement Markers are and invaluable
new tool for quickly building or making
| | 00:05 |
changes to your project's arrangement.
These arrangement markers are a new type
| | 00:12 |
of global track found at the top of the
tracks list.
| | 00:17 |
Accessed with this hide, show global
tracks button.
| | 00:21 |
I'll Ctrl+click into the area this just
showing us markers, and I'll select show
| | 00:27 |
arrangement, and here are the arrangement
markers.
| | 00:34 |
I'll click the plus sign, to add the
first arrangement marker.
| | 00:38 |
They default to being eight bars in
length, but I can just drag the right
| | 00:43 |
edge, so that it matches the length of
the section, which is only four bars.
| | 00:52 |
And then, I'll click the plus sign again,
and it introduces another arrangement marker.
| | 00:57 |
There's a little menu here, where I could
rename it.
| | 01:02 |
Click right on the name of the
arrangement marker, to switch to a
| | 01:06 |
different default title.
Or, double-click, if you want to insert a
| | 01:11 |
custom name.
I'll just call this A Section.
| | 01:16 |
Here is the cool part.
When you select an arrangement marker to
| | 01:22 |
move it, you move all the regions and
tracks contained within.
| | 01:27 |
I'm going to grab the intrasection, and
Option+drag it, because I want to keep it
| | 01:31 |
at the top.
But I want to move it over, after the A
| | 01:35 |
section for breakdown, just like that,
everything has moved over.
| | 01:40 |
I'll type in and I'll call this Break.
And maybe now, I'll do the same thing of
| | 01:48 |
taking the A section and Option+dragging
that over to place it at bar 17,
| | 01:52 |
everything moves over.
And here's our new arrangement that quickly.
| | 01:59 |
Incidentally for any audio tracks in your
arrangement marker regions, the edit snap
| | 02:04 |
edits to zero cross points option.
Should protect against any bad zero
| | 02:10 |
crossing clicks.
(MUSIC).
| | 02:13 |
These arrangement markers are a great
addition to the workflow of building out
| | 02:28 |
the structure of your project quickly.
| | 02:39 |
| | Collapse this transcript |
|
|
3. The Architecture of Your Sound: The Patch and Track StacksLearning the essentials of the Patch and the Sound Library| 00:00 |
I'd like to introduce you to a very
modern and powerful new feature for
| | 00:04 |
shaping your sound and Logic Pro X called
the Patch.
| | 00:08 |
This is a brand new format in Logic for
saving instruments or audio configurations.
| | 00:15 |
It takes the concept of the Channel Strip
Settings from previous versions of Logic
| | 00:18 |
to the next level.
As far as designing, saving and having
| | 00:23 |
easy access to multi-layered sounds in
the Sound Library often combining
| | 00:27 |
multiple instruments and all of their
mixer routing including the Auxes, their
| | 00:32 |
Smart Controls, any MIDI plugins, even
multi-channels drum configurations.
| | 00:40 |
Everything you need to reproduce your
sound.
| | 00:43 |
Let's take a look.
(MUSIC).
| | 00:45 |
I have a bunch of cool patches, I loaded
into this Logic project from the Sound Library.
| | 00:52 |
(MUSIC).
I'm just going to tweak a few of their
| | 00:55 |
Smart Controls down here at the bottom of
the window.
| | 00:59 |
(MUSIC).
Just turning this control for the filter.
| | 01:05 |
And the Glitter Layer.
Try the next patch, Echoverse.
| | 01:14 |
New set of Smart Controls.
Just adjusting this first control, Metallic.
| | 01:25 |
(MUSIC).
| | 01:30 |
Change the delay.
(MUSIC).
| | 01:42 |
I made a quick drummer performance with
one of my current favorite drummers,
| | 01:46 |
Nikki, just to hold down a little groove
while we explore the patches.
| | 01:50 |
Let's hear one more.
This one Pulsating Driver.
| | 01:53 |
(MUSIC).
It's turning one of the Smart Controls, Hyper.
| | 02:01 |
A little bit of the Chaotic.
(MUSIC).
| | 02:03 |
Let's go back to the first patch called
C-Beams Glittering that has an Arpeggiator.
| | 02:16 |
(MUSIC).
I found a patch in the Sound Library over
| | 02:20 |
here on the left.
And the category of Synthesizers
| | 02:24 |
Soundscapes, you can see at the top of
the Library view.
| | 02:29 |
When I click Synthesizers category, it
shows the root level categories.
| | 02:35 |
These Synthesizer Soundscapes and the
Arpeggiator category in the Library are
| | 02:40 |
two of my personal favorites.
Back in the track list, I'll click the
| | 02:45 |
disclosure triangle on the track name in
the track list to reveal all of the
| | 02:50 |
channel strip layers and auxiliary
routings to effects in this patch.
| | 02:56 |
Creating that richly layered evolving
sound.
| | 02:59 |
(SOUND).
I'll come back to all of this in a minute.
| | 03:06 |
Let's look at this patch
Spectacularities.
| | 03:09 |
Comparatively speaking, it's a much
simpler design.
| | 03:15 |
It's a one channel strip setting with a
softer instrument.
| | 03:18 |
I'll just click on it and then open it
up.
| | 03:22 |
This is the new Retro synth.
(SOUND).
| | 03:25 |
There's two effects, Channel EQ and
Phaser, in the inserts.
| | 03:30 |
Beneath are two synths.
This bus going to a space designer in
| | 03:34 |
Channel EQ, the next bus is also going to
Space Designer and EQ.
| | 03:41 |
All of this routing is elegantly stored
with a patch.
| | 03:46 |
Notice that the insert for the software
instrument has been moved up on the
| | 03:49 |
Channel Strip, above the effects plugins.
With the output assignment in the bottom
| | 03:55 |
most insert, as it was in Logic IX.
Let's go back to the Arpeggiator patch, C-Beams.
| | 04:03 |
Which shows more of the complete
possibilities for what the architecture
| | 04:06 |
of a patch can include.
Again, opening this disclosure triangle,
| | 04:11 |
in the track header of the patch.
That disclosure triangle is your
| | 04:15 |
indication that it is the special kind of
patch called a Summing Stack.
| | 04:21 |
That combines multiple Channel Strip
settings, including a few software instruments.
| | 04:27 |
Three synths, Pad Layer, Glitter Layer,
Pulse Effects, can play each one.
| | 04:33 |
There's a Pad layer, Glitter Layer, etc.
Also inside this patch that's a Summing
| | 04:39 |
Stack are the two synths routed to two
auxiliary tracks.
| | 04:44 |
This factory patch C-Beams also contains
the new smart controls that I've been
| | 04:48 |
having fun tweaking to adjust the sound.
I can open and close the view of the
| | 04:54 |
Smart Controls by clicking up in the
Control bar with the Smart Control icon.
| | 04:59 |
Just a toggle, or you can double-click on
the graphic of the instrument right on
| | 05:05 |
the track list.
That opens and closes it as well.
| | 05:12 |
All of these Smart Controls for the sound
are stored with a patch in the Library.
| | 05:18 |
They're extremely powerful, they allow me
to quickly make adjustments to the sound
| | 05:22 |
without opening up all the plug in
windows that always covered up too much
| | 05:25 |
of your workspace.
It's just so easy and clean with this new
| | 05:31 |
interface of adjusting the sound from the
Smart Controls.
| | 05:37 |
(MUSIC).
Let's go to another patch.
| | 05:45 |
This one Adept Machine, lower down in the
track list.
| | 05:49 |
This is in the patch category of Drum
machines.
| | 05:51 |
It's a multi-output instrument from ultra
beat.
| | 05:56 |
In the Smart Control, I can turn the
sequencer on, hit Play, boom.
| | 06:01 |
Back to the Library where all of the
patches are organized.
| | 06:07 |
The Library is brought into and out of
view up in the control bar with this
| | 06:10 |
button on the far left.
I'll switch to a different patch category
| | 06:16 |
by clicking right on the heading at the
top of the Library.
| | 06:22 |
And now, we're at the main level.
I can just select any of these and go
| | 06:26 |
back and forth through the levels of the
Library.
| | 06:32 |
I have the Pulsating Driver patch
selected in the track list.
| | 06:37 |
Now, in the Library, I'm in the category
of Soundscapes.
| | 06:40 |
You can see it near the top of the
Library.
| | 06:43 |
To switch Library focus from patches to
presets within an instrument or effects
| | 06:47 |
plugin, click on the triangle on the left
side of a plugin on the Channel Strip.
| | 06:54 |
You won't see that triangle until you
hover your mouse in the area.
| | 06:58 |
It's not there.
I move up near the Compressor, the
| | 07:02 |
triangle appears.
I click it and now the Library focus
| | 07:06 |
switches and I'm looking at all of the
presets inside of Compressor.
| | 07:12 |
To return to viewing patches in the
Library, click on the left side of the
| | 07:16 |
setting pane on the top of the Channel
Strip.
| | 07:20 |
Again, you don't see that triangle until
you hover your mouse.
| | 07:24 |
Clicking now, the Library focus as
updated and we're seeing the patches.
| | 07:32 |
It should be pretty clear now that the
Sound Library's file management is no
| | 07:36 |
longer about the .cst channel strip
setting file saving to your user folder
| | 07:41 |
but patch files.
If you have your own custom counter strip
| | 07:46 |
settings on your computer they will show
up automatically let's go to the root
| | 07:51 |
level of the library if patches.
Your custom Channel Strip settings will
| | 07:57 |
show up in this folder User Channel Strip
settings, here are mine.
| | 08:03 |
Going back out to the root level down
here at the bottom of the Library in this
| | 08:07 |
folder called Legacy are Factory Channel
Strip settings.
| | 08:12 |
If earlier version of Logic Pro had been
on your computer as well as factory
| | 08:17 |
instruments from Garage Band and the Jam
Packs.
| | 08:21 |
So, if you are upgrading and you choose
to install the Legacy Content Package
| | 08:25 |
during the install, this is where they'll
show up.
| | 08:31 |
One last important detail about file
management.
| | 08:34 |
When you're looking in the Finder view in
the patches you create, they will be in a
| | 08:38 |
new place in your home folder that Logic
Creates called Audio Music Apps inside
| | 08:42 |
the Music folder.
I'll select it.
| | 08:48 |
They're no longer in the Library
application support folder they used to
| | 08:51 |
live in.
Here are the Channel Strip Settings, Key
| | 08:54 |
Commands, Patches, Plug-In Settings,
Project Templates, and your Sampler Instruments.
| | 09:00 |
To copy your user Channel Strip Settings
from another computer if you didn't use
| | 09:04 |
the Migration option, drag them to this
Audio Music Apps folder and replace the
| | 09:08 |
Channel Strips Settings folder here with
your own content.
| | 09:17 |
It's now all about patches which are even
cooler than Channel Strip settings
| | 09:20 |
because they can store more attributes of
your sound than Channel Strip settings
| | 09:24 |
ever could.
Definitely give yourself some time to do
| | 09:29 |
some digging into the categories in the
Library you find appealing.
| | 09:34 |
Check out the routings to get an idea of
what's possible as far as building
| | 09:38 |
unique, very modern sounds in creating
your personal sound in Logic.
| | 09:44 |
| | Collapse this transcript |
| Designing your own Patches with Smart Controls, Arpeggiator, and other MIDI plugins| 00:00 |
I'd like to introduce you now to some of
the powerful design features available
| | 00:04 |
for building your own patches, using
channel strip settings, mixer routings to
| | 00:08 |
auxiliaries, smart controls, and midi
controls.
| | 00:13 |
I'll show you more ways, than ever before
available, to make your own sound and logic.
| | 00:18 |
(MUSIC) A patch, may at first seem simply
the new name for channel strip settings
| | 00:28 |
from Logic 9, but not so at all.
You can save so many more attributes and
| | 00:38 |
routings to the patch.
Let's start with saving a simple patch first.
| | 00:43 |
I'll take this amped Synth lead, (NOISE)
and I'm going to go into the pedal board
| | 00:50 |
and add a few of the new stomp boxes.
Scroll down and grab this Flange Factory
| | 00:59 |
I like.
| | 01:00 |
(MUSIC)
| | 01:02 |
And this TieDye Delay.
(MUSIC) Let's go back out, and I'm going
| | 01:17 |
to swap out the amp designer.
I'm clicking on the right side of the
| | 01:25 |
plug-in to get the menu.
I'm going to grab the new Bass Amp Designer.
| | 01:31 |
(MUSIC) So, to save my work to the user
patches folder, I select Save at the
| | 01:37 |
bottom of the library, right here.
And it immediately opens a dialogue to
| | 01:45 |
name and place it in the user patches
folder.
| | 01:51 |
That certainly can go in trippy sounds.
Let's create a new folder, Distorted
| | 01:57 |
Sounds,create and we'll place that right
in here Amped Synth Lead TiedyedBass.
| | 02:07 |
There it is.
You can do a bit of housekeeping with
| | 02:09 |
your patches in this same area of the
library at the bottom here.
| | 02:14 |
If you want to delete a patch just have
it selected in the song library above and
| | 02:18 |
then you can click Delete, right here at
the bottom.
| | 02:23 |
I'd like to create a patch now within our
page here..
| | 02:26 |
I'll select from the EDM chord category
in the library Chime Swell.
| | 02:32 |
Let's hear it.
(SOUND) It's sort of an edgy 80s sound.
| | 02:38 |
I'll click on the midi plugin pane which
is right above the instrument pane on the
| | 02:43 |
channel strip.
These are all awesome.
| | 02:47 |
Lets start with the Arpeggiator.
Turn on logics transport, hear the drum track.
| | 02:53 |
And now, when I play the patch for the
Arpeggiator its immediately locked
| | 02:57 |
(MUSIC) in time.
I'll make a couple adjustments, change
| | 03:01 |
the note order out.
Try one of these variations.
| | 03:06 |
(MUSIC) Go with that.
Go back to my smart controls.
| | 03:12 |
Make a couple adjustments to tweak the
sound.
| | 03:17 |
(MUSIC) There it is.
All of these will settings will store it
| | 03:24 |
with a patch.
My smart controls, my midi plug-ins, like
| | 03:28 |
the Arpeggiators, these effects on the
tracks, the buses, the routings and the inserts.
| | 03:34 |
But what I'd like to do now, is hear this
specific Arpeggiator setting I made on
| | 03:38 |
another sapphire instrument.
Logic has a very slick new feature to
| | 03:44 |
achieve this, while designing patches
called Merge Patch Settings.
| | 03:50 |
The enabled patch merging is in this
action pop-up at the bottom of the
| | 03:55 |
library, lower left.
I'll click on this, and select Enable
| | 04:00 |
Patch Merging.
This option makes it possible to load
| | 04:03 |
certain components of a patch, just the
effects, for example, into the current one.
| | 04:10 |
When you enable patch merging, all
components are enabled by default, so if
| | 04:15 |
I don't click anything Patch loading will
behave as it always does.
| | 04:20 |
Clicking a button will disable it.
I'm going to click on Media Effects.
| | 04:25 |
It's now disabled, effectively removing
it from the components, that will load
| | 04:30 |
with a new patch.
Retaining the settings from the previous patch.
| | 04:35 |
Clicking on Midi Effects, for example, is
like saying, preserve the midi effects
| | 04:39 |
I'm currently using, but change out
everything else.
| | 04:44 |
This is perfect for my situation.
I like the Arpeggiator we set up, and I
| | 04:48 |
want to use that on another patch.
Lets try out a few more of the EDM chords
| | 04:57 |
and we're going to hear that same
Arpeggiation.
| | 05:07 |
(MUSIC) Different patch, same
Arpeggiation.
| | 05:15 |
(MUSIC) Pretty cool.
Turn my smart controls a little bit,
| | 05:18 |
adjust the resonance.
And now, I can save this as a new patch,
| | 05:24 |
and we'll call this Dark Chords Arpeg.
Remember, all the metadata of the smart
| | 05:31 |
controls, every time I make those tweaks
down here, will store with my patch.
| | 05:39 |
I just love how I have this instant
access to the most important parameters
| | 05:43 |
of the sound without opening up the
plugin windows.
| | 05:47 |
Each of the controls on the smart
control, might actually be adjusting more
| | 05:51 |
than one channel strip or plugin
parameter, which you can easily assign.
| | 05:57 |
Let me open up the inspector for the
smart controls.
| | 06:02 |
Here is where you see all the actual
mapping, and in fact, when I select one
| | 06:06 |
of the controls on the smart control I
can control click.
| | 06:11 |
And open up the plug-in window, to make
any more assignments.
| | 06:17 |
I could just hit Learn and reassign what
is currently mapped to that resonance
| | 06:22 |
knob, just by touching another control on
the plug-in window.
| | 06:28 |
Or click on this pop-up menu and add a
mapping.
| | 06:33 |
That way I can have two different
parameters being adjusted by this one control.
| | 06:39 |
Pretty slick.
Close out the inspector.
| | 06:44 |
I could close the smart control view.
But I found myself liking this smart
| | 06:50 |
control view on while I'm working.
They're cool looking, and give me that
| | 06:55 |
immediate access to making a quick
adjustment and feeling like my sound is
| | 06:59 |
laying more perfectly in the pocket of my
track.
| | 07:05 |
(SOUND) And that's how easy it is to
design your own unique patches in Logic.
| | 07:14 |
| | Collapse this transcript |
| Layering and routing with Track Stacks| 00:00 |
I'd like to introduce you to Track
Stacks.
| | 00:03 |
A brilliant new way to manage audio and
instrument subgroups of tracks, in ways
| | 00:07 |
that make musical sense.
There are two types of Track Stacks,
| | 00:12 |
Summing Stacks, and Folder Stacks.
Let's start by looking at the powerful
| | 00:17 |
architecture of Summing Stacks by using a
few from the factory in a project.
| | 00:24 |
I'll show you what Folder Stacks are all
about in a later video.
| | 00:28 |
I started this simple track with two
audio file beats called NYC Beat and NYC
| | 00:34 |
Hi-Hat, an R&B drummer track, with the
drummer Rose, playing the Slow Jam Kit preset.
| | 00:46 |
And I played a simple bassline using the
ESM synth and a simple melody on top,
| | 00:52 |
using one of my own channel strip
settings I made back in Logic IX.
| | 00:59 |
(MUSIC).
>> The sound is nice.
| | 01:02 |
But I'd like to hear it a lot more
layered.
| | 01:04 |
I'll pick out a few patches in the
Library that I know happen to be Summing Stacks.
| | 01:10 |
There are quite a few beautifully layered
ones available from the factory.
| | 01:16 |
Select the next available track, and I'll
go to this Synthesizer category.
| | 01:21 |
Soundscapes, grab this Parallel Universe.
(MUSIC).
| | 01:29 |
You can tell right away that I've
selected a Summing Stack and not a single
| | 01:34 |
software instrument by the disclosure
triangle, next to the name on the track list.
| | 01:43 |
Open up, there it is all is.
Let's load one more.
| | 01:47 |
Let's go to the Arpeggiator category
Layers and I'll load this Blippy Waives.
| | 01:57 |
(MUSIC).
And again, the disclosure triangle
| | 02:00 |
revealing that it is a Summing Stack.
Let's look inside the stack.
| | 02:07 |
I'll click on the disclosure triangle.
You can see that there is a main track on top.
| | 02:13 |
That's the one with the disclosure
triangle that allows you to show or hide
| | 02:17 |
the sub-tracks.
Now, you can see everything inside of
| | 02:21 |
this Summing Stack.
You can always solo an individual track
| | 02:25 |
inside the Summing Stack.
Let's option drag over the MIDI data from
| | 02:31 |
my melody.
And I'll solo this R player.
| | 02:39 |
(MUSIC).
This would be listening to the entire
| | 02:43 |
Summing Stack.
Make sure, in fact, that the main track,
| | 02:48 |
in the tracks area is selected, if you do
want to hear the entire stack.
| | 02:53 |
So, you can see that this Summing Stack
is combining multiple tracks, and routing
| | 02:58 |
them all to a bus.
Down here, you can see the Auxiliary
| | 03:03 |
track that is inside the stack with a few
different plug-ins.
| | 03:08 |
The Delay Designer is on top and that's
what the track gets named inside the
| | 03:13 |
Summing Stack, beneath that is an Aux
track that has reverb.
| | 03:20 |
These Summing Stacks can even include
external MIDI from a hardware synth or a
| | 03:25 |
sound module.
Now, any MIDI region that you record on
| | 03:29 |
the main track will be played by all the
software instruments in the track.
| | 03:34 |
Alternately, you can play MIDI regions on
an individual instrument sub-track just
| | 03:39 |
by selecting it.
Let's select this Arp Layer, hit Solo, go
| | 03:45 |
into record.
(MUSIC).
| | 03:48 |
And now, I'm just playing this high C
note on that one layer inside the Summing Stack.
| | 03:58 |
(MUSIC).
When I select the main track, you can see
| | 04:02 |
that all the tracks are shaded, just like
this, so you can easily identify what's
| | 04:09 |
inside of the Summing Stacks.
Both the main track of a Summing Stack,
| | 04:18 |
as well as its sub-tracks, can have Smart
Controls.
| | 04:22 |
Giving you that quick and easy access to
individual or multiple parameters of the
| | 04:27 |
sound you want to adjust.
Summing Stacks are also a convenient way
| | 04:33 |
to work with multi-output software
instruments and their outputs as a single unit.
| | 04:39 |
Like any of the Drum Machine patches in
the Library using Ultra Beat Drum Kits.
| | 04:46 |
I've just selected the Drummer Kit and I
am going to create a software instrument track.
| | 04:53 |
And we'll load one of the Drum Machines.
One limitation worth mentioning, Track
| | 04:58 |
Stacks within a Track Stack are not
possible.
| | 05:02 |
So, no multi-output instruments within a
Summing Stack.
| | 05:06 |
But with this software instrument track I
created, I'm going to load one of the
| | 05:10 |
Drum Machines.
I'll grab this Retro Machine and I'm
| | 05:16 |
going to option drag down the Drummer
Performance.
| | 05:21 |
One cool thing is that when I extend out
the Track Header area you can see the
| | 05:26 |
individual volumes file of these drum
voices and set them inside of the Drum Machine.
| | 05:35 |
(MUSIC).
Right here.
| | 05:37 |
Bring down the Snare and the Hi-Hats.
(MUSIC).
| | 05:40 |
Just leave the kick up, just like that.
So, that's only half the story on stacks.
| | 05:51 |
I mentioned that there were also Folder
Stacks.
| | 05:54 |
In the next video in this chapter, I'll
go into what they are all about.
| | 05:58 |
And show you how to make and save your
own Summing Stacks and Folder Stacks.
| | 06:03 |
| | Collapse this transcript |
| Designing your own Track Stacks| 00:00 |
I'd like to take you through how to
create both types of track stacks for
| | 00:04 |
layering and routing your sound.
The summing track stacks and folder track stacks.
| | 00:12 |
In order to create and edit track stacks,
be sure that Show Advanced Tools, is
| | 00:16 |
selected here in the Advanced Tools
preference pane.
| | 00:22 |
The default setting will be off, for
Logic Ten users who don't have any
| | 00:25 |
previous version of Logic on their
computer, to keep the interface streamlined.
| | 00:31 |
I'll play a little melody with this
(UNKNOWN) patch (UNKNOWN) to demonstrate
| | 00:36 |
the simple steps of building (UNKNOWN)
stack.
| | 00:40 |
(MUSIC)
| | 00:43 |
It's nice, a little boring.
I want to layer it, so I'll add a few
| | 00:57 |
software instrument tracks in the new
tracks dialog.
| | 01:07 |
Let's go for 4 of them.
I'll copy the midi data by option dragging.
| | 01:14 |
Maybe one of the redesigned vintage
keyboards, like the vintage organ, and
| | 01:20 |
I'll try this classic rock organ.
Beautiful new interface.
| | 01:32 |
(MUSIC) Just love this whole control
panel on top that just is easy to get
| | 01:35 |
around to all your main controls.
But, back to our track stack, here it is
| | 01:40 |
let's add another layer.
I need some edge, how about one more
| | 01:45 |
layer from retro synth.
The new awesome synth in Logic Pro Ten.
| | 01:50 |
I select it on the next available
instrument, just on the right side of the
| | 01:55 |
instrument insert.
Grab a retro synth.
| | 02:00 |
Beautiful interface.
Why don't we grab one of these warp synths.
| | 02:07 |
I like this one, pulsing ear.
(NOISE) be just a cool layer to the sound.
| | 02:15 |
Once again, option-drag.
I think we've got enough layers in here
| | 02:19 |
for me to start creating the actual
summing stack.
| | 02:25 |
I'll select the first track that I want
to be in the stack, and control-click on
| | 02:29 |
this ambient lead.
And about halfway down, Create Track Stack.
| | 02:37 |
I want the Summing Stack now.
I'll select, create.
| | 02:42 |
Now all I need to do, is drag these other
patches inside the stack.
| | 02:45 |
So I'll just drag up on the Classic
Organ.
| | 02:52 |
Drag up on the pulsing air.
Logic sets up the routing automatically,
| | 02:58 |
placing these tracks inside a stack,
where the output being bused to the next
| | 03:02 |
available ox, which routes to the main
outputs.
| | 03:07 |
We can see all of that, over here, on the
channel strip, that they're now routing
| | 03:11 |
to bus a.
Bus a, we can see on the channel strip on
| | 03:16 |
the right, is routing to the main
outputs.
| | 03:20 |
I'll select the outer track in the stack,
the main track, that has no real name
| | 03:25 |
right now besides, Sum.
And, let's save it as a patch, that it
| | 03:31 |
can live in the library, right here in
the lower left of the main window.
| | 03:37 |
I'll select save.
Let's save this in to, cool leads.
| | 03:44 |
And I think one of those was ambient lead
dark.
| | 03:50 |
Let's hear what we've got so far (MUSIC).
I can select any of these channel strips
| | 04:00 |
inside of the summing stack and adjust
the volume just like that.
| | 04:11 |
Bring down any of these layers.
I can hide the sub tracks to save space
| | 04:17 |
in the tracks area, with this disclosure
triangle.
| | 04:21 |
Let's give it a name here.
It's cool, when you're inside of the
| | 04:25 |
summing stack, you can just drag any of
the channel strips around and place them
| | 04:30 |
in any order that you want just by
dragging on them.
| | 04:35 |
If you change your mind you can drag it
all the way out of the stack or bring it
| | 04:39 |
back in.
Let's add one more subtrack.
| | 04:44 |
I'm going to add one of the new vintage
clavs.
| | 04:48 |
From the experimental category, this
nasty clef.
| | 04:52 |
(MUSIC) That'll work nice, and what I
want to do with this layer, I'll option
| | 04:57 |
drag to bring the MIDI data to the cleft
sound, but it needs a few more MIDI plug-ins.
| | 05:06 |
Maybe an arpeggiator.
So right at the top of the channel strip,
| | 05:10 |
above the instrument insert, I'm going to
select the arpeggiator.
| | 05:15 |
Let's go with this in, out order, and
maybe variation two.
| | 05:23 |
Let's solo this, so I can hear what I've
created (MUSIC) I like this one.
| | 05:38 |
What I want to do is, add the trans-poser
and bring it up an octave.
| | 05:48 |
Just like this.
Perfect, let's listen to our layers.
| | 06:08 |
(MUSIC) Let's save this off again, I'm
going to put this in my Cool Leads now as
| | 06:15 |
Ambient Dark Lead Clav.
Just to remind myself that there's a clav
| | 06:22 |
layer in it.
So now that combination of patches, I'll
| | 06:27 |
always be able to load those up together
in any project that I'm working on.
| | 06:33 |
You can always flatten a track stack so
that the sub tracks become normal tracks
| | 06:38 |
again, again by Control clicking on the
Track Header of the main track, and
| | 06:43 |
select Flatten Stack.
But I'll just keep them together for now.
| | 06:52 |
Now, I'm going to build a folder stack
out of all of my drum tracks.
| | 06:57 |
Folder stacks are strictly
organizational, so you can control volume
| | 07:02 |
and automation, and combine multiple
tracks as a single track lane.
| | 07:09 |
They do not store as a patch in the
library.
| | 07:13 |
Here are my drum tracks that I want to
put into the folder stack, let's just
| | 07:17 |
solo them for a minute.
(MUSIC) Tin drum, SoCal, which is one of
| | 07:23 |
the drummer tracks (MUSIC).
(MUSIC) And transplastic v is coming out
| | 07:30 |
of ultra b (MUSIC) .
I'll show that you hear them individually
| | 07:36 |
(MUSIC).
(MUSIC) This is this audio loop I have
| | 07:39 |
(MUSIC).
This is the drummer track, (MUSIC) and
| | 07:45 |
this is ultra b
| | 07:47 |
(MUSIC).
| | 07:51 |
So, this is how easy it is to create the
folder stack.
| | 07:54 |
Just Ctrl-click on really any of these
tracks.
| | 07:58 |
I'll select the one on top, Jin Drum,
Ctrl-clicking, select create track stack,
| | 08:03 |
and select the folder stack, not the
summing stack.
| | 08:09 |
Select create.
And now, drag these other drum tracks
| | 08:15 |
inside, and this last one.
And now, when I click the disclosure
| | 08:21 |
triangle, it tucks all of the tracks
inside of that one track lane, taking up
| | 08:26 |
less screen real estate.
Just like that.
| | 08:32 |
These folder stacks let you combine
tracks and control them as one unit
| | 08:37 |
without changing any audio routing of the
sub-tracks.
| | 08:42 |
The main channel strip with the folder
stack is called the stack master.
| | 08:47 |
The name defaulted to sub-one.
With both types of stacks, the summing
| | 08:53 |
and the folder stacks, you can move the
stack around easily by dragging the track
| | 08:58 |
header of a sub track up or down, just
like we've done before, and now you're
| | 09:02 |
rearranging them in the tracklist.
You can see this light gray shading
| | 09:11 |
around the master track, and the
sub-tracks for easy identification of
| | 09:15 |
which tracks are inside the folders
stack.
| | 09:20 |
So again, there're no patches in the
library for folder stacks.
| | 09:25 |
And there are no regions on the main
track of a folder's stack, only on it's sub-tracks.
| | 09:32 |
When the folder stack is closed, the
master track displays an overview of the
| | 09:37 |
combined content of the sub-tracks.
But with the stack master channel strip,
| | 09:43 |
I can mute, and solo, and adjust volume
levels for the entire folder stack.
| | 09:49 |
(MUSIC) I can mute (MUSIC) solo (MUSIC)
and adjust volume levels for the entire
| | 09:57 |
folder stack, in this case, all of my
drums.
| | 10:10 |
(MUSIC) Hopefully I've given you a good
sense of the supreme power of combining
| | 10:13 |
tracks into stacks.
Whether folder stacks or summing stacks,
| | 10:17 |
to stay organized and think like a music
producer, a musician, and a recording
| | 10:21 |
engineer all at once.
| | 10:24 |
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| Tightening the feel with the Groove Track| 00:00 |
I'd like to show you the Groove Track.
Another cool track feature that adds to
| | 00:04 |
the picture of the new architecture of
sound and Logic.
| | 00:08 |
It evolves what has always been one of
Logic's greatest strengths.
| | 00:12 |
The control you have over the timing and
feel of your musical material.
| | 00:17 |
First, turn on Groove Track from the
track header configure sheet by
| | 00:21 |
Ctrl+clicking right on the track header.
Here's Groove Track, I'll select that.
| | 00:29 |
Now, you can enable the groove track
control.
| | 00:33 |
This groove track option is disabled in
the new empty project.
| | 00:37 |
I can set any track as the groove track
right here on the left side of the track header.
| | 00:43 |
It can an audio or MIDI track but I am
going to use this drummer track with the
| | 00:47 |
SoCal performance.
Because its got the groove I'd like to be
| | 00:52 |
the foundation of the guitar tracks.
Here is a bit of this groove first.
| | 01:06 |
(MUSIC).
I like the drummer performance with the
| | 01:08 |
fills creating a realistic live drummer
feel, though it would be killer to have
| | 01:11 |
the musicians lock into.
So I hover the mouse right over the track
| | 01:17 |
number on the left edge of the track
header and click on the star that appears.
| | 01:23 |
The star appears in this narrow rectangle
just to the right of the track number.
| | 01:29 |
Now I can match the timing of other
tracks int he project to this one.
| | 01:34 |
So I select which tracks in the project
to match the timing of the groove track.
| | 01:39 |
By checking the Match Groove Track
checkbox, also in that narrow rectangle
| | 01:44 |
that's now visible in the track header of
all the other tracks.
| | 01:50 |
I'll select this lead guitar track, Arena
Ready, and tighten up the feel of it
| | 01:54 |
against the drums since it'll be most
audible and actually visible.
| | 01:59 |
Let's zoom in, and I'll deselect it just
so you can see that again.
| | 02:09 |
There it is without having the groove
track applied.
| | 02:13 |
There it is selected.
Let's Solo the two of these.
| | 02:17 |
Let's hear the guitar by itself (MUSIC).
And let's hear it with the drummer track.
| | 02:25 |
(MUSIC).
| | 02:36 |
Just so you can really hear what affect
matching the groove of the guitar track
| | 02:40 |
to this drummer track is having.
Let me turn off the groove matching on
| | 02:45 |
the guitar track and lets listen again.
| | 02:49 |
(MUSIC).
| | 02:59 |
Not bad, but, let's turn it on again and
listen.
| | 03:01 |
When I enable the groove matching, you
can see it moving the audio hits around
| | 03:06 |
to conform their timing.
(MUSIC).
| | 03:23 |
Keep in mind that there can only be one
groove track per project.
| | 03:28 |
And, other time quantization using the
region parameter box or piano rule editor
| | 03:34 |
is unavailable for any track matched to
the groove track.
| | 03:39 |
I'll quickly enable Flex on the Arena
Guitars and choose a Flex Algorithm so,
| | 03:45 |
quantized is visible on the track.
Selecting Flex, let's go with this
| | 03:54 |
Rhythmic Flex algorithm, not the Flex
Pitch.
| | 04:00 |
And, when I open up the reach and
parameter box on top.
| | 04:05 |
You can see that the quanti setting int
eh popup menu defaults of the SoCal
| | 04:09 |
Groove Track right here.
This feature of the groove track
| | 04:15 |
resembles a long time favorite tool of
Logic users, the groove templates.
| | 04:21 |
With that feature, you could turn any
region into a groove template that lived
| | 04:26 |
in this region parameter box's quanti
popup menu.
| | 04:31 |
The new architecture of the groove track
offers even greater musical possibilities.
| | 04:36 |
In that the tracks in your project can
follow the subtle timing nuance of an
| | 04:40 |
entire performance within your song.
This lends itself really well to a live
| | 04:46 |
band or other live performers.
But with the sophistication of electronic
| | 04:51 |
musicians today, amazing groove
possibilities are also there for
| | 04:55 |
designating a digitally-created
performance as your groove track too.
| | 05:01 |
Adjusting the timing and feel of your
project just jumped to the next level
| | 05:05 |
with the introduction of the Groove
Track.
| | 05:08 |
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|
|
4. Flexing Pitch in the Tracks Area and in the Audio Track EditorChanging pitch quickly in the Main Window| 00:00 |
Logic's powerful flex time engine has
been expanded to include flex pitch and
| | 00:04 |
special interfaces for editing the pitch
of monophonic audio material, which we'll
| | 00:09 |
take a look at now.
Quick pitch corrections can be done right
| | 00:15 |
in the main window's track area, a great
convenience, no need to transfer or
| | 00:19 |
record it into a separate application or
plug-in.
| | 00:24 |
Let's hear this original vocal
performance.
| | 00:27 |
There is no pitch correction on it at
all, it's not way off, but there are a
| | 00:38 |
few notes that are a little off.
(MUSIC) (MUSIC) First thing we'll do is
| | 00:49 |
turn on flex view, by clicking on the
flex view button in the tracks area menu bar.
| | 00:56 |
The tool icon looks like a bow tie and
turns purple when flex view is active.
| | 01:02 |
Then, I'll click the flex button in the
track header of the audio track itself.
| | 01:09 |
In the pop up menu, I'll choose flex
pitch from the same menu as all the flex
| | 01:14 |
time algorithms, right here on top.
Unlike with flex time, where there are
| | 01:22 |
multiple algorithms to choose from, there
is only one flex pitch algorithm.
| | 01:29 |
You could hold the Shift key to assign
this same flex algorithm to all the audio tracks.
| | 01:37 |
When you choose the flex pitch algorithm
on the track, your audio file is analyzed
| | 01:42 |
with the pitch detection process.
And the results are plotted on a pitch curve.
| | 01:49 |
I'll zoom in on these first two bars.
I'll open up the toolbar so I can set my
| | 01:56 |
cycle locators around the first part of
the verse right here on the upper left,
| | 02:02 |
select these and set the locators.
And I'll extend this out.
| | 02:11 |
And I'll adjust the left locator as well.
The pitched deviation of individual nodes
| | 02:18 |
from their perfect semi-tone, is shown as
the bars overlaying the audio wave form
| | 02:23 |
in the background.
Its really nice the way you still see the
| | 02:28 |
original waveform.
The zero horizontal line represents
| | 02:33 |
perfect pitch.
So, the upward bars represent sharp
| | 02:37 |
notes, downward bars represent any flat
notes.
| | 02:42 |
The vertical display range here is plus
or minus 50 cents in either direction,
| | 02:47 |
which is half a semi tone, a semi tone
being 100 cents.
| | 02:53 |
Let me show you what one semi tone
variance in pitch sounds like, I'll drag
| | 02:57 |
up and down on this first note.
(SOUND) The horizontal width of bars
| | 03:05 |
represents the length of notes.
Here you can see at bar six, that the
| | 03:15 |
singer is slightly flat.
Let's go back at bar five where she
| | 03:21 |
reaches for the words, on my mind, she's
slightly sharp.
| | 03:25 |
I'll play it for you, it will be right
over here.
| | 03:27 |
(MUSIC) It's subtle.
To set those notes to perfect pitch, I
| | 03:34 |
can Ctrl+click on an individual bar and
choose, Set to Perfect Pitch from the
| | 03:38 |
shortcut menu.
So, I'll Ctrl+click and choose set to
| | 03:43 |
perfect pitch from the shortcut menu.
(MUSIC) Or I could Ctrl+click on the
| | 03:50 |
audio region, and chose to set all to
perfect pitch from the shortcut menu, and
| | 03:59 |
listen to that.
(MUSIC) And Ctrl+click into the region
| | 04:07 |
again, to set to their original pitch.
In many situations you wouldn't want
| | 04:12 |
perfect pitch, but to maybe split
difference and drag the bar toward or
| | 04:16 |
away from the center line manually.
Again, you can adjust between plus or
| | 04:22 |
minus 50 cents.
If you click and hold on any of the pitch
| | 04:26 |
bars, no modifier keys you hear that note
and get a pop up display of that note
| | 04:31 |
position, target pitch and how far off
the note is in cents.
| | 04:37 |
In this case (SOUND), the note is E and
it's 44 cents sharp.
| | 04:46 |
So, I can make an educated adjustment as
to just how much I want to correct it.
| | 04:51 |
(SOUND) I'm just dragging down, again no
modifier keys necessary.
| | 05:00 |
Here's a tip, Shift+double-click a bar,
to select all the bars in that region.
| | 05:05 |
For example, if you did want to set them
all to perfect pitch.
| | 05:10 |
Flex pitch also has two parameters in the
track inspector, here on the left side of
| | 05:14 |
the main window.
The formant track and formant shift.
| | 05:23 |
Formant shift, determines how formants
adjusts to pitch shifts once set to off,
| | 05:28 |
formants are adjusted together with pitch
shifts.
| | 05:32 |
Formant track, determines the interval at
which formants are tracked along the signal.
| | 05:39 |
In case you were wondering, you can
perform flex pitch functions on an audio
| | 05:43 |
file, then perform flex time edits.
The flex pitch edits are suspended, while
| | 05:50 |
you are using a flex time algorithm.
It's probably best to do your time in
| | 05:55 |
pitch edits for mono material with a flex
pitch algorithm in the audio track
| | 05:59 |
editor, which we'll look at later.
That's how you quickly adjust the pitch
| | 06:05 |
of an audio file, in the main window.
| | 06:08 |
| | Collapse this transcript |
| Using Flex Pitch in the Audio Track Editor| 00:00 |
You can edit the timing and various pitch
related parameters of audio material in
| | 00:05 |
the new audio track editor.
While pitch correction can be done in the
| | 00:10 |
main windows track area with Flex Pitch,
more in depth pitch quantizing and
| | 00:14 |
editing can be done in the audio track
editor.
| | 00:19 |
Let's hear the vocal, I'm going to work
with the second half of this verse.
| | 00:23 |
(MUSIC) Enabling Flex, selecting it on
the track and here's the Flex Pitch.
| | 00:41 |
To perform the more detailed pitch
editing in the audio track editor, make
| | 00:46 |
sure Show Advanced Tools is enabled in
Preferences > Advanced Tools.
| | 00:53 |
This is turned off by default for new
logic users who don't have a previous
| | 00:56 |
version of Logic on their computer.
To open the audio track editor, click the
| | 01:02 |
Editor button in the Control bar right
here, it looks like the scissors, or
| | 01:07 |
double-click on the regions.
Now, enable Flex View inside the audio
| | 01:14 |
track editor with the same bow-tie shaped
icon, and select the Flex Pitch algorithm.
| | 01:23 |
I'm just going to adjust the height of
the audio editor by dragging up between
| | 01:27 |
the windows to give me a little more
elbow room.
| | 01:31 |
I love that it opens all the way up.
So, audio identified as individual notes
| | 01:37 |
are displayed likes notes in the Piano
Roll Editor.
| | 01:41 |
You can now edit the pitch, time
position, and length of notes as you
| | 01:45 |
would in the piano roll.
To change the pitch, drag a note
| | 01:50 |
vertically in the editor.
(NOISE) In this audio track editor, the
| | 01:56 |
notes identified by Flex Pitch have a
hotspots you can use to edit pitch
| | 01:59 |
flatten for (UNKNOWN), and adjust pitch,
drift, gain and other parameters.
| | 02:06 |
This allows you to make all of your edits
without even having to switch tools.
| | 02:12 |
Let's zoom in just a little bit more
using my Cmd+Arrow Keys to zoom in on that.
| | 02:19 |
I'll roll over a note and you'll be able
to see these control points that appear
| | 02:24 |
to see what each one does.
Dragging in the upper left hotspot
| | 02:31 |
vertically, we'll edit the pitch drift.
To edit the pitch drift at the end of the
| | 02:36 |
note, drag the upper right hotspot
vertically.
| | 02:40 |
(SOUND) To edit virbrato, drag the lower
middle hotspot vertically.
| | 02:51 |
The visual representation is pretty cool
of that one.
| | 02:53 |
To edit gain, drag the lower left hotspot
vertically and watch the wave form update
| | 02:59 |
in real time.
Below what I'm doing you can see the wave
| | 03:08 |
form size adjusting.
It's brilliant that you could just match
| | 03:12 |
the volume that easily visually.
Now, to edit the fine pitch, drag the top
| | 03:18 |
mid hotspot vertically.
(NOISE) And to edit the foreman shift,
| | 03:24 |
drag the lower right hotspot vertically.
I can click with the Scissors tool that I
| | 03:30 |
can grab right here on the Tools menu.
I'll grab my Scissors tool right here and
| | 03:36 |
make it my Cmd click tool.
And now, I've basically split that note
| | 03:41 |
into two to work on any of these
adjustments on just a portion of the
| | 03:45 |
original note.
You can quantize or automatically correct
| | 03:51 |
the pitch of notes here in the audio
track editor as well.
| | 03:56 |
This only works for single note
monophonic audio regions, not chords or
| | 04:00 |
unpitched sounds.
By default, notes are adjusted to the
| | 04:04 |
closest note on the chromatic twelve note
scale.
| | 04:08 |
Select the notes you want to pitch
quantize.
| | 04:10 |
I'll just grab these three.
Now, in the left side of the editor, I
| | 04:15 |
drag the pitch correction slider to the
right to increase the amount of tuning,
| | 04:21 |
drag to the left to decrease.
By the way, if you're not seeing these
| | 04:29 |
menu items Scale, Quantize, Pitch
Correction or Time Quantize, make sure in
| | 04:33 |
the View menu that you have this Local
Inspector selected.
| | 04:38 |
You can quantize to a particular scale,
just choose the scale from this Pop-up menu.
| | 04:45 |
Lots of experimenting in here we could
do.
| | 04:49 |
You can also change the gain of audio
regions when flex pitch is enabled from
| | 04:56 |
minus 30 to plus 30 db, right down here
at the bottom.
| | 05:05 |
That's going to be very loud, let's bring
it back down.
| | 05:09 |
When Flex Pitch is enabled, you can also
quantize the timing of audio regions with
| | 05:15 |
the drums, single note instruments even
chordal or polyphonic instruments.
| | 05:22 |
Choose Flex Pitch, then choose the note
value to use as the timing quantization
| | 05:27 |
from the Time Quantize menu, that's the
one here on top.
| | 05:33 |
Adjust the strength.
Put this on 16th notes, and then adjust
| | 05:37 |
the strength with the slider.
Left to decrease, right to increase the
| | 05:43 |
strength of the quantization.
A fun last creative feature while we're
| | 05:48 |
here in the audio track editor, of course
I should take the scale off before I do
| | 05:53 |
what I'm about to do, I want to go back
to the first part of her verse.
| | 06:01 |
It's on a separate track.
And let's open up the audio track editor
| | 06:06 |
for this part, and I want to go to the
Edit menu and select Create MIDI track
| | 06:11 |
from Flex Pitch data.
Closing out the editor.
| | 06:19 |
A fun creative feature with the audio
tracks editor in Flex Pitch is under the
| | 06:23 |
Edit menu, Create MIDI Tack for Flex
Pitch Data.
| | 06:28 |
I want to show it to you on the first
part of a verse which is on separate track.
| | 06:33 |
So, let me just come out here and cycle
this, and select this track.
| | 06:38 |
Go back into the audio track editor,
here, and once again enable Flex.
| | 06:45 |
Select Flex Pitch, and if you don't see
the menus here, add the local inspector.
| | 06:53 |
Under the Edit menu, select Create MIDI
Track From Flex Pitch data.
| | 06:59 |
There's her melody translator to MIDI
nude events.
| | 07:03 |
Closing out of the editor, coming back up
to the main window.
| | 07:09 |
And I don't like the notes mirroring the
beginning of her melodies, so I'll just
| | 07:13 |
cut them out.
And now, let's find a patch in the library.
| | 07:18 |
I'm going to go to the synthesizer's
lead, try this percussive square lead.
| | 07:25 |
Bring down the volume just a little bit.
Let's have a listen.
| | 07:29 |
Right at bar seven
| | 07:33 |
(MUSIC).
| | 07:36 |
A lot of possibilities there.
Flex Pitch in the audio track editor sure
| | 07:46 |
rounds out the suite of Flextime tools
pretty nicely.
| | 07:49 |
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|
|
ConclusionNext steps| 00:00 |
Thanks for watching this course.
I really enjoyed making it.
| | 00:04 |
If you're interested in any of my other
instructional material on Logic, check
| | 00:09 |
out my monthly column in Sound on Sound
Magazine.
| | 00:13 |
And my (UNKNOWN) books, The Power and
Logic Pro, Songwriting Composing,
| | 00:18 |
Remixing and Making Beats.
The other book is Logic Pro for Recording
| | 00:22 |
Engineers and Producers.
Also, be sure to check out some of the
| | 00:28 |
other audio courses on lynda.com,
including Audio Recording Techniques, the
| | 00:32 |
Foundations of Audio Series, the iPad
Music Production series, and my course on
| | 00:37 |
Logic Production Techniques, Making
Beats.
| | 00:42 |
I hope you're as excited about exploring
Logic Pro X as I have been.
| | 00:47 |
My best advice is don't delay jumping in.
| | 00:50 |
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|
|
