IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I am Dot Bustelo and welcome to Logic
Production Techniques: Making Beats.
| | 00:09 | I'll start off with the basics of
choosing a drum kit and making it your own,
| | 00:14 | with channel strip settings.
| | 00:15 | Then, I'll show you how to rehearse,
record, and quantize a basic beat and how to
| | 00:20 | avoid losing your spontaneous
creative ideas using capture recording.
| | 00:25 | Then I get into how to create
stutter effects using Ultrabeat's Step
| | 00:29 | Sequencer and side chain.
(music playing)
| | 00:33 | From there, I'll show you how to
customize Apple Loops so they're locked to your
| | 00:37 | groove in both feel and pitch.
(music playing)
| | 00:41 | Next are the tools to manipulate timing
and tempo by time stretching, slicing,
| | 00:46 | and mapping to an EXS24 instrument.
| | 00:50 | Then I break down how to use Flex Audio
to quantize, regroove, and change feel and
| | 00:56 | song tempo with the different flex modes.
| | 00:58 | And finally, I'll show you how to side
chain Logic's compressor and Vocoder plugins.
| | 01:05 | So if you're ready, I'm ready to
get started with Logic Production
| | 01:09 | Techniques: Making Beats.
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| What you should know before watching this course| 00:00 | In this course on Making Beats,
I'll be assuming that you have a decent
| | 00:04 | understanding of Logic's workflow.
| | 00:07 | In the beginning of the course, I do
point out some of the basic tools and areas
| | 00:11 | of the Logic interface.
| | 00:13 | If you need a refresher on any of this,
you might want to check out the Logic
| | 00:17 | Pro Essential Training Course on lynda.com.
| | 00:20 | I'll be sharing with you production
techniques that are essential to how I make
| | 00:25 | beats that you should be able
to apply to any genre of music.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com online training library or if
| | 00:06 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:11 | files used throughout this title.
| | 00:14 | The exercise files have been provided
as a DNG file so the audio files that
| | 00:19 | Logic needs to access for each
project will link up properly.
| | 00:23 | Simply download the Exercise Files DNG
and double-click it to mount the disk
| | 00:29 | image on your desktop.
| | 00:30 | You'll see a folder for each chapter
inside the Exercise Files volume, and inside
| | 00:37 | each chapter folder will be
a subfolder for each movie.
| | 00:41 | Inside there, you'll find the
Logic project file for the movie.
| | 00:45 | Launch it, and you can follow along
with me as we work through the course.
| | 00:50 | Occasionally, I'll be using one of my
full sessions for the demonstration, and
| | 00:55 | I've provided you with
only a portion of the project.
| | 00:58 | They should still be enough for you to
work along with me and practice the technique.
| | 01:03 | If you are a monthly member or an
annual member of lynda.com, you don't have
| | 01:08 | access to the exercise files, but you
can still follow along from scratch
| | 01:12 | with your own assets.
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|
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1. Getting the Beat Started: Basic Drum ProgrammingChoosing the drum kit| 00:00 | This will be a good exercise in
learning to navigate through Logic's software
| | 00:05 | instruments and how to prepare to
record a beat with an 808 drum kit.
| | 00:09 | We'll take a look at the channel strip
settings and how to customize them to
| | 00:12 | make the beat sound good.
| | 00:14 | When I launch Logic, the main Arrange
window is in view with the last song I was
| | 00:19 | working on since I set this startup
action in the General Preferences to load
| | 00:25 | the project I most recently worked on.
| | 00:27 | Here are the other options.
| | 00:29 | I want to start something
new. From the File menu,
| | 00:34 | I'll select New. Then in the
Templates dialog, I will select Empty Project
| | 00:43 | template, and Logic will ask
how many tracks to start with.
| | 00:48 | I can always add more. I'll select
to create three software instruments.
| | 00:54 | Now, I like to keep this checkbox enabled to
open the library, right here in the lower left.
| | 00:59 | Select Create, the three tracks are
created, and Logic defaulted to an electric piano.
| | 01:08 | (music playing)
| | 01:13 | I'll click on the first track,
| | 01:16 | this instrument number one, and I'm
going to click in the Library to the Drums
| | 01:21 | and Percussion folder, and I want to
select the Electronic Drum Kits and work
| | 01:26 | with this Roland 808 Kit.
| | 01:30 | And I'm going to close this Region
Parameter box in the upper-left so you can
| | 01:33 | see the whole channel strip,
and here's our 808 kit that loaded.
| | 01:37 | (music playing)
| | 01:40 | So, it sounds great right-away because
Logic loaded, in addition to the EXS24
| | 01:48 | sampler with the 808 kit,
| | 01:50 | it loaded a compressor and an EQ.
| | 01:53 | This configuration of an instrument
already sweetened with effects plugins is
| | 01:58 | called a channel strip setting.
| | 02:00 | The label is right here on the top pane
of the channel strip and still in view
| | 02:06 | on the right in the library.
| | 02:08 | Roland 808 kit. If I click on this top
pane of the channel strip setting, you
| | 02:13 | can see the name as well on top.
| | 02:16 | Now, the Library is dynamic.
| | 02:20 | It updates the view depending on
what I select on the channel strip.
| | 02:25 | Single-clicking on a plugin--watch
the library on the right, as I click into
| | 02:30 | the Compressor--the view updated in the
library, and now it's showing me all of
| | 02:36 | the presets of the compressor.
| | 02:37 | I'll go back to the channel strip,
double-click on the compressor, and now it's
| | 02:42 | opened the interface of the plug-in.
And as I select different presets, you can
| | 02:48 | see it changing inside the interface.
| | 02:52 | By the way, when we're looking at, for
example these compressor presets, we're
| | 02:57 | seeing, on top, all of the
settings that I've saved.
| | 03:00 | At the bottom, is what you might see, are
the factory presets for the Compressor
| | 03:07 | where the numbers start: 01, 02.
| | 03:12 | I'll double-click here for a
moment and open up the EXS24.
| | 03:15 | We're seeing the presets inside the EXS.
| | 03:19 | The EXS24 is the most essential
instrument in Logic, even if you use third-party
| | 03:24 | samplers and drum instruments.
| | 03:26 | I'll get into this later in the course.
| | 03:31 | So, single-clicking opens up the
presets in the Library. Double-clicking opens
| | 03:37 | up the interface of the plug-in.
| | 03:39 | This Library view can be a bit
confusing if you don't grasp that it's
| | 03:43 | contextual, meaning the context changes
with what you select on the channel strip.
| | 03:49 | Making your own channel strip settings
and saving them from this menu at the top
| | 03:54 | of the channel strip, Save Channel Strip
Setting, this is part of how you become
| | 03:59 | a power Logic user and ultimately
create your own sound when making beats.
| | 04:04 | Add plugins, adjust them, save, and then
that setting will live in the library forever.
| | 04:10 | I do already like this 808 kit, but
I'll add Bitcrusher from the Distortion
| | 04:18 | folder, and maybe I'll
adjust the Channel EQ setting.
| | 04:25 | I'll double-click to open it for our
view, and let's go in and I'll change that
| | 04:30 | to a punchy kick sound.
| | 04:33 | And now I am going to save this
channel strip setting by clicking on that top
| | 04:39 | pane, select Save Channel Strip setting as.
| | 04:41 | I can put it into my Drums folder or
my special Property of D.O.T. folder, and
| | 04:47 | I'll call this 808 Crushed. Or of course
I could have created a whole new folder
| | 04:54 | that I want to put this in.
| | 04:55 | But, let's keep going, 808 Crushed.
| | 04:57 | I already used that name. Maybe I'll change
that, and I'll call this XtraCrushed. Save.
| | 05:06 | Now the beautiful thing is that if I
create a new channel strip setting, I
| | 05:12 | can go into the Property of D.O.T.
and load instantly the 808 XtraCrushed
| | 05:20 | preset with my Bitcrusher.
| | 05:22 | I can even start a new project,
and guess what? It will be here in my
| | 05:32 | Property of D.O.T. folder.
| | 05:35 | Collapsing that Region Parameter
box so you can see, here it is.
| | 05:38 | (Music playing) All right, so let's go back to our
classic 808 kit from the factory, and let's
| | 05:46 | get started making a beat.
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| Rehearsing the beat, cycling in Logic, and recording the kick and snare| 00:00 | I'd like to show you a really easy
way to start a simple beat using one of
| | 00:04 | Logic's 808 drum kits in the EXS24 sampler.
| | 00:08 | With my factory 808 kit loaded from
the Electronic Drum Kits folder in the
| | 00:13 | Settings Library, I'm almost ready to
start playing around to find a beat to record.
| | 00:19 | Here's my kit.
(music playing)
| | 00:22 | Now, in the Bar Ruler at the top of
the Arrange window, you can see that the
| | 00:26 | first four bars are shaded, indicating
the area that's been defined to cycle.
| | 00:32 | I'll click into the shaded
area to enable the cycle.
| | 00:35 | You can see the area turned green.
| | 00:38 | I'll hit the spacebar and the playhead,
the vertical indicator of my position,
| | 00:42 | and the song starts cycling those four bars.
| | 00:45 | Logic refers to repeating a section as
cycling though some music applications
| | 00:51 | refer to this as looping.
| | 00:53 | To adjust the cycle length, hover
over the right or left side of the shaded
| | 01:00 | cycle selection in the Bar Ruler.
| | 01:03 | The Pointer tool changes into this
bracket-shaped tool, and I use this to
| | 01:07 | adjust the cycle length.
| | 01:09 | I'll drag it to the left to shorten
the two bars, and I want to zoom in by
| | 01:17 | holding Ctrl+Option while I select the area
with my Pointer tool that I'd like to focus on.
| | 01:24 | You can see that the pointer turns into
a magnifying-glass-shaped tool, the Zoom
| | 01:29 | tool, when I hold Ctrl+Option.
| | 01:32 | Let's do that again, zoom in a little bit more.
| | 01:36 | If I want to go back a zoom level, just hold
the Ctrl+Option and click in the empty space.
| | 01:43 | Starting playback, I want to enable the
metronome, so I'll hit this button in the
| | 01:48 | lower-right of the transport area with
the icon of the metronome labeled Click,
| | 01:54 | when I hover over it, and the button turns blue.
| | 01:58 | The tempo in Logic always
defaults to 120 BPM in a new song.
| | 02:04 | I'll double-click here in the center of
the Transport Bar, and let's slow it down
| | 02:10 | to 90 BPM since I'm hearing a
slower laid-back kind of beat in my head.
| | 02:17 | Now, I can rehearse an
exchange of kick and snare.
| | 02:20 | I'll keep it very simple.
(music playing)
| | 02:31 | Before I start recording, I'm
going to bring this level down.
| | 02:35 | I notice that it's clipping a bit.
| | 02:39 | The Record button is here on the left
side of the transport. The letter R is the
| | 02:44 | default shortcut for record, or as
Logic calls the shortcut key commands.
| | 02:49 | We're now in Record mode.
| | 02:53 | Before I do start recording, I want
to mention that the metronome provides
| | 02:57 | a one-bar count-off.
| | 02:59 | This can be adjusted in the Record
settings if I click-hold on the Record button
| | 03:06 | and select Record Settings.
| | 03:08 | You can make that adjustment right here.
| | 03:10 | Now let's record this beat.
| | 03:12 | (music playing)
| | 03:23 | I'll hit the spacebar to stop
recording, then again to play back.
| | 03:26 | (music playing)
| | 03:35 | I've started my beat. Next, I'll clean it up
with Logic quantizing and get a little busier with the beat.
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| Understanding Logic regions and quantizing effectively| 00:00 | In this video, the beat will get
tighter with quantizing and we'll take a look
| | 00:04 | at regions, the most basic element
of making and editing a beat in Logic.
| | 00:11 | The region is the fundamental
building block of all you're writing.
| | 00:15 | It can contain audio or MIDI data,
and you'll have different editing
| | 00:20 | parameters available in the Region
Parameter box depending whether it's an
| | 00:26 | audio or MIDI region.
| | 00:28 | If it's a MIDI region, like this one on top--
let me open up the Region Parameter box--
| | 00:34 | you can see we have all the quantizing
parameters to adjust the timing and swing.
| | 00:40 | If it's an audio region, like this
one here that I have muted, the Region
| | 00:45 | Parameter box changes, and you see that
you can do things like adjust the fades
| | 00:51 | on the region or the gain.
| | 00:53 | So let's select the region with our
kick and snare, and I want to quantize it.
| | 01:01 | I can quantize all the MIDI data in
this region at once in this parameter box
| | 01:07 | right here on top where it says Quantize.
| | 01:10 | Let me open up the Piano
Roll Editor at the bottom.
| | 01:13 | Now, watch the note events move onto
the grid when I select the 16th note
| | 01:19 | Quantize here in the parameter box.
| | 01:24 | It just got tidied up.
| | 01:25 | (music playing)
| | 01:31 | Now, I can quantize individual
note events in the Piano Roll Editor
| | 01:36 | by highlighting them.
| | 01:37 | I'll grab these last three hits, and
selecting from this menu the value for
| | 01:44 | them, maybe I'll try an 8th note swing,
just to be dramatic about it, and now
| | 01:51 | I've moved those last note events.
| | 01:53 | (music playing)
Now let's actually put it back.
| | 01:58 | I'll hit my Command+Z to undo the moves.
| | 02:00 | So, again, the Region Parameter box
is active for the regions selected.
| | 02:08 | Let's close out our Library so we
have more of a view of the Arrange space.
| | 02:12 | I can even have two regions next to
each other with different quantize values.
| | 02:17 | Let me Option+Drag to copy this region
over, and I'll extend out the cycle area.
| | 02:24 | And I could set the Quantize on this
second region to a different value.
| | 02:31 | This will give the kick-snare exchange
a little bit of a human feel, as if the
| | 02:38 | band was tastefully building the groove.
| | 02:41 | (music playing)
Here are our straight 16th notes.
| | 02:45 | (music playing)
| | 02:52 | Pretty subtle changes there.
| | 02:54 | Logic's Quantizing tools are really
phenomenal for adjusting every nuance of
| | 03:00 | the swing and groove with these
advanced quantization values under this
| | 03:05 | disclosure triangle that might be
collapsed when you look at the parameter
| | 03:10 | box; you can just open it up.
| | 03:12 | We'll get into this later.
| | 03:13 | I'm just pointing it out to you.
| | 03:16 | It's a phenomenal place to experiment.
| | 03:18 | One more detail about the regions.
| | 03:21 | I can loop a region indefinitely--
let's get rid of this second one--
| | 03:26 | By highlighting the region and right
here in the parameter box, selecting Loop,
| | 03:32 | and now it's just going to
play until the end of the song.
| | 03:35 | I'll undo that. Or I can cycle in
the Bar Ruler around these two bars by
| | 03:43 | highlighting the region and grabbing
this Set Locators tool, and now I've moved
| | 03:49 | the cycle around the area of just this region.
| | 03:54 | The cycle can also be enabled
and disabled in the transport area.
| | 04:00 | This button here on the right that
says Cycle, when you hover over it, it has
| | 04:05 | the two-curved arrows pointing, and
you can see that that turned cycle off.
| | 04:10 | You can also just click into the
Bar Ruler to turn it on and off.
| | 04:15 | Last option is that you can make a
specific number of region copies using the
| | 04:21 | Repeat Region key command that
defaults to Command+R. And now I could select
| | 04:27 | that I want exactly three region copies.
| | 04:30 | Let's just get that view a little tighter so
you can see we've made three region copies.
| | 04:37 | This is very handy when I'm starting
to block out a full song arrangement.
| | 04:42 | Command+Z, undo, and let's go back
to just keeping that loop enabled.
| | 04:48 | Now, when this Loop Regions is enabled, the
region doesn't have true copies, but aliases.
| | 04:55 | Real copies are independent
regions that can be edited and quantized
| | 04:59 | independently in the Region
Parameter box like we just did.
| | 05:05 | Aliases are quick copies that follow
all the behavior of the original region
| | 05:10 | that's set in the Region Parameter box.
| | 05:13 | This is very handy if, say, I know I
want them all to be straight sixteenths or
| | 05:19 | maybe swing eighth notes.
| | 05:20 | Let's close out of our Piano Roll just
to get a little bit more screen space.
| | 05:26 | Above track one are two plus signs for
different types of new track creation.
| | 05:33 | The one on the left opens up the
same Create Track dialog that launched
| | 05:38 | automatically when you
open an empty song template.
| | 05:41 | If I click the one on
the right--I love this one--
| | 05:44 | this opens up a new track with
the same channel strip settings
| | 05:49 | as the track that's highlighted.
| | 05:51 | Let's collapse the Region Parameter
box so you can see our 808 kit with the
| | 05:56 | Compressor, EQ, and the EXS24.
| | 05:58 | When I select this, it duplicates it
and opens it up on the track below.
| | 06:04 | Now let's program hi-hats with a simple
steady eighth-note pattern for two bars.
| | 06:10 | (music playing)
| | 06:20 | Definitely want to clean that up, go in
and quantize that to straight 8th notes.
| | 06:26 | I might have to go into our Piano Roll
and check that we've got what we wanted,
| | 06:33 | because you can always just go in here
and manually move hits around as well.
| | 06:41 | All right, let's add some keys to this beat.
| | 06:45 | I'll select Instrument 2 in the track list.
| | 06:48 | Now before I start recording a synth, I
like to give myself time to shop for sound.
| | 06:53 | I'll go into the Library, and let's
look at some of the channel strip settings
| | 06:59 | for electric pianos.
| | 07:00 | I'll go to Keyboards >
Electric Pianos and just select one.
| | 07:05 | Even though I can replace the sound
after I record, having the right character
| | 07:09 | sound can really inspire the right part.
| | 07:12 | (music playing)
| | 07:16 | I can use my up, down
arrows to move through the list.
| | 07:21 | (music playing)
| | 07:24 | You can see all the different plugins
that have loaded on the left side on the
| | 07:28 | channel strip as I move
through these different presets.
| | 07:31 | (music playing)
| | 07:35 | Maybe we'll go with this one.
| | 07:37 | Now, I want to record a four-bar
progression, so I'll extend the cycle out to
| | 07:42 | four bars, and I'm going to open up the score.
| | 07:47 | Now you can watch the
notation right while I'm recording.
| | 07:51 | You can even edit your note events in the
Score Editor just like in the Piano Roll.
| | 07:55 | Actually, let's move up our view just a
little bit and shrink this down a little.
| | 08:02 | I'm just using this slider here in
the right-side of the screen so we can
| | 08:06 | see all of our instruments, and I notice I
never turned on the Enable Loop on our hi-hats.
| | 08:14 | Here we go.
(music playing)
| | 08:34 | A little soft there. I could go into
our Piano Roll, and you can see with the
| | 08:39 | color of the note events, the velocity,
the loudness of them. And that second
| | 08:45 | cord I played a little quietly, so I'm
just going to select those notes and hit
| | 08:50 | the Escape key and grab my Velocity tool.
| | 08:53 | Instead of playing it again, I'll just
drag those up, and you can see the color
| | 08:57 | changes as it gets a little louder.
| | 08:59 | (music playing)
Definitely need to quantize.
| | 09:05 | Okay. That's fine. So let's start
with some straight 16th notes. Good.
| | 09:09 | That moved that over to the down beat.
| | 09:12 | (music playing)
| | 09:13 | And I'd like to do a quick
modification to the sound of the electric piano.
| | 09:21 | I'll keep this preset, but we'll just go
in and maybe I'll add in the Modulation,
| | 09:27 | a little bit of tremolo.
| | 09:29 | (music playing)
| | 09:33 | Way too much. I want
something a little more subtle.
| | 09:38 | (music playing)
I'm going to go with that subtler sound.
| | 09:46 | Let's just save that.
| | 09:48 | Save Channel Strip setting, and I
will put this in Electric Pianos.
| | 09:53 | I'm going to call this Hard StageLilTrem.
| | 10:01 | Okay, I've programmed a beat.
| | 10:03 | In the next video I'll get busier
with that beat with a few favorite
| | 10:06 | Logic programing tricks.
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| Fast, easy arranging tricks for drums| 00:00 | Here's a few easy tricks to help your
creative process while programming a beat,
| | 00:05 | making drum fills by MIDI time
compressing, separating out the drum voices, and
| | 00:11 | capture-recording to never
lose your creative ideas.
| | 00:16 | Let me tighten up my view with this Zoom
slider so I can see a few more tracks,
| | 00:20 | and I'm going to collapse the Media view.
| | 00:23 | All right, this is how I make the
easiest drum fills by time-compressing MIDI.
| | 00:30 | Let's listen to the track for
a minute, what we have so far.
| | 00:33 | (music playing)
| | 00:34 | All right, I'll grab these hi-hats,
following the region with my S key.
| | 00:39 | (music playing)
| | 00:41 | These hi-hats, and I'm going to Option+Drag the
region to make a copy here at bar three and four.
| | 00:49 | Now, while I hover over the lower-
right corner of the region, in bar four, you
| | 00:56 | can see that the pointer turns
into this bracket-shaped tool.
| | 01:01 | Holding the Option key, I'm going to
drag to the left one bar, and you can see
| | 01:07 | in the Info Bar that it's now a two-bar
length region, and I'm pulling it in to
| | 01:12 | be a one-bar length region, but
because of the Option key being held, you can
| | 01:17 | see the word Stretch.
| | 01:19 | That's the key of what's happening now.
| | 01:22 | Let's listen to what I did.
(music playing)
| | 01:23 | I'm going to pull this out to bar four and
let the first region alias. Here we go.
| | 01:30 | (music playing)
| | 01:34 | Turn up those hi-hats a little bit.
| | 01:36 | Now, that's one of the oldest tricks in
the Logic books for time-compressing MIDI.
| | 01:45 | In this case, we were able to make it
sound like the drummer got busy at bar
| | 01:49 | four and played a drum fill.
| | 01:52 | Now, it made sense to program the
kick and snare at the same time.
| | 01:57 | I was feeling that exchange
between the two drum voices.
| | 02:01 | But now, I want to separate
them out to work on my arrangement.
| | 02:04 | I've highlighted track one with the Kick
and Snare, heading us to solo, this track.
| | 02:11 | What I want to do is go to the
local MIDI menu and select Separate MIDI
| | 02:17 | Events > By Note Pitch.
| | 02:19 | Our Kick and Snare are obviously on
two different notes of the keyboard.
| | 02:25 | So when we select this,
we've separated them out.
| | 02:28 | I'm just going to delete this extra track now.
| | 02:32 | I'll turn on the Loop for the Kick.
| | 02:34 | I'll turn on the Loop for the Snare.
| | 02:36 | And now, drop out of solo.
| | 02:39 | I can take my Snare Track and slide
it over so it makes its own entrance.
| | 02:44 | (music playing)
| | 02:47 | They have been isolated on separate
tracks and our independent regions.
| | 02:53 | Keep in mind the kick and snare are still
coming out of the same software instrument,
| | 02:57 | the same instance of the EXS24 so
their volume will be controlled together.
| | 03:05 | For quick arrangement purposes like
this, the isolation is extremely helpful.
| | 03:11 | If I want to adjust their volume or
the plugins on them individually, I'd
| | 03:16 | create a duplicate track and move the
snare's MIDI data onto that duplicate track.
| | 03:24 | The next feature is one of the coolest
tools for the creative writing process.
| | 03:31 | I'd like to record a bass line.
| | 03:33 | So I'm going to select this instrument
here, and let's go into our Library, and I
| | 03:41 | want to select the ES M,
this little monophonic synth.
| | 03:45 | That's one of my favorites for bass
sounds. And I'm going to grab a preset that I
| | 03:50 | made myself, the smooth, low-end.
| | 03:53 | Now, I'm not sure what part I want to
play yet, so I'm not going to enable record.
| | 03:58 | I just want to do a little experimenting.
| | 04:01 | I'm going to take my
Electric Piano part and loop that.
| | 04:07 | I'm going to take the cycle off
because I don't know when I'm going to play
| | 04:10 | something that I like.
| | 04:11 | (music playing)
| | 04:33 | I love that bass line.
| | 04:34 | I played it just the way I want to
put into the track, and I might not ever
| | 04:39 | play it again with that feel. But no worries;
I won't need to recreate my performance.
| | 04:45 | I will just select this button here
in the transport capture recording.
| | 04:50 | It looks like a bull's eye, just to the
right of the Record button, and my MIDI
| | 04:56 | data has appeared on the
screen for what I just played.
| | 04:59 | Let's listen to it. There it is.
(music playing)
| | 05:02 | So what happened was, Logic is
actually holding in a buffer.
| | 05:07 | everything that you play as
MIDI until you stop playback.
| | 05:11 | When you start playback again,
it loses the previous buffer.
| | 05:15 | I'll just move this over to bar
one, put our loop on for that.
| | 05:20 | You actually don't have to stop
the track to grab your performance.
| | 05:25 | I'm going to just copy this Electric
Piano track and demonstrate what I mean.
| | 05:30 | I can just hit that Capture Record
button and keep going. Let's see.
| | 05:34 | I'll just start playback anywhere.
(music playing)
| | 05:47 | If I want that little piece, what I
played on the electric piano, hit the
| | 05:51 | button, keep going, bring up the level.
| | 05:53 | (music playing)
| | 05:59 | Grab that and that's it.
| | 06:05 | Know this does not work for audio recording or
else no one would use any other music application.
| | 06:10 | Now, if you don't see the capture as
recording button in the Transport, just
| | 06:15 | Ctrl+Click into the Transport area and
the dialog opens to customize to Transport.
| | 06:23 | Select to add a button, which I
already had selected. Here it is.
| | 06:27 | When I deselect it, you can see the
button is no longer in the Transport.
| | 06:31 | We'll add that back in and hit OK.
| | 06:35 | So again, capture's recording can be
used in real-time while the Transport is
| | 06:40 | still running, for as long as it
remains running or once playback has stopped,
| | 06:45 | before you resume playback.
| | 06:47 | Let me just do a little quick
arranging with what we have so far.
| | 06:54 | I will move my bass part over to bar five.
| | 06:59 | I'm going to take this beat that I have
muted that we're going to work with later and
| | 07:05 | drop it in at bar five, and loop that.
| | 07:10 | I'm using the repeat region's key command.
| | 07:13 | (music playing)
And let's just quickly color our track.
| | 07:18 | So I'm going to open up the Color palette,
which you can do right here in the toolbar.
| | 07:26 | Make this look a little
prettier. We all do this.
| | 07:30 | I like to color my tracks.
| | 07:32 | It really helps me focus while I'm
working. So I'll just going here and
| | 07:39 | change these up a bit.
| | 07:43 | You can do the same thing with
coloring your tracks in the Mixer with the
| | 07:50 | same color palette.
| | 07:51 | You could just grab all of these
and turn them blue. Grab these.
| | 07:59 | Adjust them as well.
| | 08:01 | Making my drums want color,
my keys another color.
| | 08:06 | If you're curious what I did with this
little beat idea, here's how the track
| | 08:10 | turned out with a few more Logic
instruments, and notice in bars three and
| | 08:15 | four I've sliced up this beat.
| | 08:17 | We're going to look at how to
do this later in the course.
| | 08:20 | (music playing)
I'm zooming on it.
| | 08:26 | These little slices here coming up.
(music playing)
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|
|
2. Retro, Hip-Hop, and EDM Beats in UltrabeatLearning the basics of the drum machine| 00:00 | Let's look at the basics of the
Ultrabeat interface: loading Ultrabeat kits,
| | 00:05 | loading EXS24 kits into
Ultrabeat, and the Step Grid patterns--
| | 00:10 | all the things you'll need to
program a beat with the killer drum sounds.
| | 00:14 | Now, Ultrabeat is sometimes
described as electronic kits for dance music--
| | 00:19 | (music playing)
| | 00:24 | --when in fact, there are amazing sampled
natural kits, like in this studio brush kit.
| | 00:32 | (music playing)
Let's hear this one.
| | 00:46 | Ultrabeat is a drum module that
generates sounds in many ways, from virtual
| | 00:52 | oscillators like in a synthesizer,
modelled instruments like in Sculpture, to
| | 00:57 | also being a sample player, like the
EXS24, which of course this studio brush
| | 01:03 | kit would be using samples.
| | 01:06 | I'm playing a few of the built-in
patterns in the step sequencer, here in the
| | 01:14 | bottom of the interface.
| | 01:15 | This step grid has some seriously
creative dance-floor tricks and stutter
| | 01:25 | effects that we'll get into later on.
| | 01:29 | Let's go back to the Hip Hop Heavy
Kit for a tour of the drum module. (music playing)
| | 01:39 | Each of these 25 drums sounds in a kit
could be independently adjusted in the
| | 01:45 | drum synthesizer section in
the center of the interface.
| | 01:51 | This is what makes Ultrabeat
such a powerful drum module
| | 01:54 | is 25 separate instruments in one kit.
| | 01:59 | As I play each drum sound, (music playing) watch
Ultrabeat's interface update to display the
| | 02:07 | parameters of that selected drum sound.
| | 02:11 | (music playing)
That can be independently adjusted.
| | 02:15 | As soon I change the snare from feeding
through distortion to the Bit Crusher.
| | 02:27 | Maybe it'll adjust the Cutoff and
Resonance. The kick hasn't changed at all.
| | 02:34 | Here's our kick again.
| | 02:35 | I'll make adjustments to the snare, put it
back to distortion, change to cutoff setting.
| | 02:41 | There's our kick, just the way we left it.
| | 02:44 | Be sure to enable this voice auto
select button near the top of the interface.
| | 02:50 | When it's off, I'll disable it.
| | 02:52 | We still hear the different sounds, but
we won't see under the hood and be able
| | 02:58 | to edit each of them.
| | 03:00 | The interface isn't updating.
Let's turn it back on. Now, this is cool.
| | 03:06 | This Import menu opens a menu to all of
the Ultrabeat kits, which I can select
| | 03:13 | as my alternate kit. Let's select it.
And I'm going to hit the Hip-Hop 90's kit and
| | 03:20 | open that up because I like the Hip-Hop kit.
| | 03:23 | That's the main kit I want to work with,
but I remember there was a snare from
| | 03:28 | the Hip-Hop 90's kit that I want to use.
| | 03:34 | I'm just going to drag it over an
instrument from our hip-hop heavy kit that I
| | 03:39 | don't care so much about.
| | 03:41 | I don't need this Crunk Snare.
| | 03:44 | So I'll take that snare and just drag
it right on top of the Crunk Snare and
| | 03:50 | replace it, and maybe I'll rename it
just to remind myself that this came from
| | 03:56 | the Hip-Hop 90's kit.
| | 03:57 | I love this subsonic sound.
| | 04:03 | (music playing)
I don't need the wood snare.
| | 04:05 | Let's grab that one as well. Perfect!
| | 04:10 | This really rocks.
| | 04:11 | I can use the same Import menu to
navigate to my whole EXS24 library of drum
| | 04:19 | kits and import those as alternate kits.
| | 04:22 | This Import menu defaults to showing
you the Ultrabeat kits, but I can navigate
| | 04:29 | to EXS kits in the user library,
| | 04:32 | not just your EXS kits from the
factory but ones I built myself.
| | 04:37 | Now, beginning with Lion, the User
Library folder has hidden from view.
| | 04:42 | Once we're in the Import dialog, I
can press Shift+Command+G and enter the
| | 04:50 | path to the library, which is "~/Library."
| | 04:54 | I've gone here before, so it's already there.
| | 04:59 | Now, I hit Enter or go to see
the contents of my user library.
| | 05:06 | Now, in my Library folder, I select
Application Support/Logic--in fact, this
| | 05:13 | is everything that I've created
myself, from Channel Strip Settings to Key
| | 05:18 | Commands, to Sampler Instruments from the EXS24.
| | 05:24 | I'll select this, and here we see
all of the EXS instruments I've made.
| | 05:29 | If you haven't made any, you will not see any
here yourself. But I'm going to go into a folder.
| | 05:38 | I believe it's in my drum kits. There it is.
| | 05:41 | I want to snare from this ASR kit that
I built. Open it and now, here it is,
| | 05:50 | the EXS kit, just like opening up
an Ultrabeat kit as an alternate. (music playing)
| | 05:59 | I want this snare right here and
let's see what we will replace.
| | 06:03 | I don't need that snare. (music playing)
| | 06:09 | Drag it over and there it is. Great!
| | 06:15 | I have everything I need.
With these simple techniques,
| | 06:19 | it was easy to find a drum kit to
program a fresh beat, swapping out any sounds
| | 06:23 | from other kits, even ones
saved in the EXS24 sampler format.
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| Sound designing your kits| 00:00 | Let's see how to make quick edits to
the sound of the drum kits using this drum
| | 00:04 | synthesizer in Ultrabeat.
| | 00:07 | The individual drum sounds and mixer section
are all here on the left side of the interface.
| | 00:14 | With the Voice Auto Select enabled on
top, click on the small music keyboard to
| | 00:22 | the far left of the drum sounds to
preview (music playing) and of course, you can also trigger
| | 00:30 | from your MIDI controller keyboard.
(music playing)
| | 00:36 | Dragging the blue bar further to the
right on a drum sound will increase
| | 00:42 | that sound's volume.
| | 00:43 | I'll adjust the snare.
| | 00:45 | (music playing)
Dragging to the left brings down the volume.
| | 00:52 | Over here is the Mute, the Solo,
the Panning Assignment, and these are
| | 01:01 | your output assignments.
| | 01:03 | Click on that and we can switch from the
main stereo outs to outs 3-4, 5-6, et cetera.
| | 01:07 | All of this to the right is the
massive drum synthesizer section that will
| | 01:15 | make sense in a minute.
| | 01:17 | First, let's focus on the three
circular sound generators: Oscillator 1, the
| | 01:24 | Noise Generator, and Oscillator 2.
| | 01:26 | To enable or disable, click on the
small circle to the left of each sound
| | 01:35 | generator, playing the snare sound.
| | 01:37 | I'll deselect the noise generator (music playing)
and we're just hearing Oscillator 2.
| | 01:44 | If I deselect that, we don't hear anything.
| | 01:49 | That was all that was coming
out of the noise generator.
| | 01:52 | (music playing)
We'll add back Oscillator 2.
| | 01:55 | You notice that the sound generator
button turns red when it's enabled.
| | 02:00 | All of the sound generators feed to the
filter in the center of the interface,
| | 02:07 | this large circular section.
| | 02:10 | The filter section also includes Logic's
very popular Bit Crusher and Distortion
| | 02:16 | effects to give your sounds that edge.
| | 02:19 | Enable this link from each sound
generator individually to the filter.
| | 02:24 | Right now, Oscillator 2 is going to
the filter; the noise generator is not.
| | 02:29 | That link is disabled.
| | 02:33 | We can switch between going to the
Distortion to the Bit Crusher and play with
| | 02:39 | the amount of the cutoff
or resonance of the sound.
| | 02:44 | Let's add in the noise generator to
the filter (music playing) and make a few adjustments.
| | 02:52 | When you're adjusting the level on any
of these knobs--right now, I'm adjusting
| | 02:59 | the volume of the sound
generator of the noise generator--
| | 03:03 | you see the red semicircle increasing
and that's indicating the amount in DB. (music playing)
| | 03:13 | And that's the same for the
amount of the cutoff or the resonance.
| | 03:17 | The red is your indication.
| | 03:19 | The last detail about the sound
generators is that with Oscillator 2, you can
| | 03:27 | actually tune it, which is fantastic.
| | 03:29 | Let's listen to the kick. So, it will always
default to C3, but we'll adjust it right here. (music playing)
| | 03:40 | And again we're not changing our
snare sound when we do this because we're
| | 03:45 | only tuning the kick.
| | 03:47 | So just by playing with this mix of
sound generators and the routing to the
| | 03:52 | filter, tweaking the cutoff and
resonance and the drive, distortion, Bit
| | 03:57 | Crusher, you will very quickly make very
useful adjustments to your drum sounds.
| | 04:02 | If you want to dig even deeper into
sound designing with the Ultrabeat
| | 04:07 | interface, check out the Virtual
Instruments in Logic Pro Course on lynda.com.
| | 04:12 | In the next video, we'll take a look
at the step sequencer, an easy way to
| | 04:17 | make a beat.
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| Old-school step sequencing| 00:00 | Ultrabeat is not just a killer drum
synth, but a full fledged drum machine with a
| | 00:04 | 32-step sequencer at the
bottom of the interface.
| | 00:08 | This step grid allows you to program
Ultrabeat like a vintage drum machine.
| | 00:12 | It's very easy and fun.
| | 00:14 | There are 24 patterns you can program
per drum kit selected right here in the
| | 00:20 | bottom left of the interface.
| | 00:22 | The letters S-Q--sequence--
mean the pattern has data.
| | 00:28 | If I go to this pattern, number 12,
it doesn't have the letters SQ when I
| | 00:32 | select it, no data in the step grid.
| | 00:35 | The factory patterns are
really amazing to get you started.
| | 00:39 | Let's select one that does
have data, have a listen. (music playing)
| | 00:46 | There are some great bass
sounds in Ultrabeat as well.
| | 00:50 | Now, as I choose each drum voice above,
you see the steps that have been entered in.
| | 00:56 | We're looking at the kick pattern.
| | 00:58 | Here's our closed Hi-Hat
pattern, the open Hi-Hat pattern.
| | 01:04 | And again, just like with the pattern
selection below, next to each drum voice
| | 01:10 | that has data programmed in,
you see the letters SQ.
| | 01:13 | If I select the High Tom, no
SQ and no steps in the grid.
| | 01:21 | Let's go back to the default pattern of
this kit C-1 and enter in some steps ourselves. (music playing)
| | 01:31 | I'll select the snare sound. And you
can enter the steps by either clicking
| | 01:38 | right into the step grid, like this,
| | 01:41 | or right on the numbers above each step.
What you notice is as I enter a step either way,
| | 01:50 | in the step grid or above, these numbers turn
blue, letting you know that they're where the steps are.
| | 02:02 | Now I'm going to use the drum
synthesizer for a quick adjustment to the
| | 02:06 | KICK steps in the grid.
| | 02:07 | Let me select the KICK. When you look
over here in the lower right of the drum
| | 02:13 | synthesizer section, you can see
there are four different envelopes.
| | 02:19 | By default, you'll see envelope
four, which is assigned to amplitude.
| | 02:25 | Now, I'll start by extending out the
gate time on this first step of our KICK,
| | 02:33 | maybe to about step five.
It's already sounding a little deeper.
| | 02:38 | But listen to this, when we go back
to the amplitude envelope, I'm going to
| | 02:45 | grab on to this node,
| | 02:46 | this little blue dot here, and grab the attack
on the envelope, and pull it out to about 4000 ms.
| | 02:54 | We can see the shape of the envelope turns
into a curve, and listen now to our KICK. Deep.
| | 03:09 | This next step grid technique
is really instant gratification.
| | 03:13 | I'll select the Closed Hi-Hats, no data here.
| | 03:17 | Let's turn the pattern back on. And I'll
just drag across the numbers in the grid,
| | 03:23 | to quickly enter in straight 16 notes
steps. Let's bring up the volume just a
| | 03:29 | little bit on the Hi-Hat, pulling on
that blue bar, moving it to the right.
| | 03:37 | Now, I'm going to Ctrl+
Click into the step grid area.
| | 03:41 | This menu pops up, and I'm going
to select Randomized Velocity.
| | 03:47 | Now, the velocity is displayed by
the height of each of the steps.
| | 03:51 | It's already sounding a little bit more
like a human drummer playing the hi-hats.
| | 03:57 | I'm Ctrl+Clicking again and
will randomize the gate time;
| | 04:04 | this is the width of each step again.
| | 04:07 | And now let's add a few accents.
| | 04:13 | Right here, above the numbers, are these
little blue dots, and I'll add one on
| | 04:19 | step 25, step 24, and 31.
| | 04:27 | And I'm going to bring up
the amount of the accent.
| | 04:34 | Maybe I'll deselect that last step and
bring up the swing. (music playing) That sounds great.
| | 04:55 | This next step is key to Ultrabeat
being a practical beat-making tool.
| | 05:02 | After I finished this old-school drum
programming in the steps sequencer, I can
| | 05:07 | drag the MIDI data to the Arrange window.
| | 05:11 | I'll select this very small button to
the right of the word "pattern." When I hover
| | 05:17 | over it, it says "Drag to arrangement,"
which is exactly what I'm going to do.
| | 05:21 | And I'll drag it right onto the
track in the Arrange of the Ultrabeat.
| | 05:28 | Let's move the interface out of the
way so you can see what's happened.
| | 05:32 | We now have all of the MIDI data that was
entered into Ultrabeat in our Arrange window.
| | 05:39 | Here's what it sounded like in
Ultrabeat, (music playing) and now let's listen to it in the
| | 05:45 | Arrange window when I hit Play, inside of Logic.
| | 05:49 | Exact the same thing.
| | 05:50 | (music playing)
Let's just loop that so it keeps playing for us.
| | 05:56 | Select it and I'll turn on the
Loop in the Region parameter box. (music playing)
| | 06:05 | Now I have all of Logic's MIDI options
to manipulate the data. We can split the
| | 06:11 | pattern apart into regions based on
the individual drum voice. From the MIDI
| | 06:16 | menu, separate MIDI Events by Note
pitch, and I can build the track by
| | 06:22 | quantizing each element of the kit separately.
| | 06:26 | Now be careful: Ultrabeat can be playing
with its own transport even when Logic is not.
| | 06:32 | So if I had this playing here, and I
shut the interface and you're looking at
| | 06:37 | Logic, and you are not seeing the
transport move in Logic, it can throw you off,
| | 06:43 | and you won't be sure
where the beat is coming from.
| | 06:47 | Let's stop that. So once you drag a
pattern out, make sure you shut off not
| | 06:53 | just the play button, but the actual
step grid enable button as well, and that
| | 06:59 | way it won't play anymore.
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| Making stutter vocal effects using the Step Grid in Ultrabeat| 00:00 | Loading samples in Ultrabeat can be the
first step in making stutter effects for
| | 00:04 | vocals or other samples inside the step grid.
| | 00:08 | Let's open up the interface. So the second
oscillator is where samples are triggered.
| | 00:15 | I can switch the sound source type of
oscillator to from Phase oscillator to Sample.
| | 00:21 | Now, I see the view of Ultrabeat sample
editor. Click into the top of the sample
| | 00:26 | editor to load a sample.
| | 00:28 | That will work, but the safer way to
prep for loading a sample is to clear out a
| | 00:34 | single drum voice by
Ctrl+Clicking right on the drum voice.
| | 00:39 | You get this menu, init, initialize.
Then we'll go all the way down to the
| | 00:44 | bottom and select Sample.
| | 00:46 | Oscillator 2's sample window will
be visible just like before, with no
| | 00:52 | sample loaded on top.
| | 00:55 | The advantage with initializing the
drum voice is that one, the tuning will
| | 01:00 | default to C3, which you
can then adjust as needed.
| | 01:04 | Also, the other sound generators,
oscillator 1 and the noise generator, are disabled.
| | 01:10 | So I'm going to drag in one of my secret snares.
| | 01:14 | I'm just moving over the interface so
we could get into the media section, and
| | 01:20 | here in the browser, I'll navigate to my snare.
| | 01:25 | If you have the exercise files, you
can go into the 02_04 folder and grab it
| | 01:30 | from the Snare folder. Let's do that now.
| | 01:33 | This is the snare.
(music playing)
| | 01:35 | And I'm just going to drag and drop.
| | 01:37 | You can do this with any
samples on your hard drive.
| | 01:40 | Drag and drop right in and
here it is, simple enough.
| | 01:45 | But what if we drag in a vocal sample?
| | 01:48 | Let's go for now to our Apple
Loops (vocals) and any of these will work.
| | 01:55 | I'll just drag it in, (vocals) and (vocals) we could
reverse it right here with this red circle
| | 02:12 | pointing to the right.
| | 02:13 | (vocals)
But let's not do that yet.
| | 02:17 | Let's turn on the step sequencer and
enable a few steps in the step grid
| | 02:21 | to trigger the sample.
| | 02:22 | Switch to another pattern here, (music playing) )and here we go.
| | 02:34 | (music playing) And just like that,
we could reverse it now. (music playing) Okay, let's go back.
| | 03:03 | Now, here's where it really gets interesting.
| | 03:05 | You notice when I started moving around
this control element that's labelled Max,
| | 03:11 | that is an abbreviation for maximum
velocity, and what this is going to do is it's
| | 03:18 | going to change where in the sample
it's triggered when the step is played
| | 03:23 | at maximum velocity.
| | 03:25 | So playng around with adjusting the
height of each step in the grid, the
| | 03:30 | velocity, and moving around this little
slider will trigger this sample somewhere
| | 03:37 | earlier or later in the file.
| | 03:39 | So I'm going to experiment with dropping in
steps and varying the velocity and length.
| | 03:44 | (music playing) Extend out the gait time,
(music playing) change this one. (music playing)
| | 04:12 | Really, endless variations here.
| | 04:13 | Now let's try one more step grid technique
that's a lot of fun for the right situation.
| | 04:20 | I'm going to stagger a sample on
different drum voices to create stutter effects
| | 04:27 | that have a trippy, spatial imaging.
| | 04:29 | Let's switch out the sample to one
of these Donna samples. Let's see. (music playing) That's nice. (music playing)
| | 04:43 | Let's go with this one.
Again, I'll just drag it in.
| | 04:47 | Let's see where this sounds now. Shut it
off in the Apple Loop browser and let's
| | 04:53 | listen to our pattern. (music playing)
| | 04:55 | Okay, we're not hearing anything
because we need to move over the control
| | 05:00 | element of maximum velocity. Here we go. (music playing)
| | 05:05 | Not bad already.
| | 05:07 | (music playing)
But this is what we're going to do.
| | 05:11 | Let me label this in fact,
so we don't get confused.
| | 05:14 | This is now Donna. And I'm going to
Ctrl+Click right on this drum voice and
| | 05:19 | select Copy Voice & Sequence.
| | 05:22 | And now I'm going to select this Side Stick
that doesn't have any sequence data on it.
| | 05:27 | It's a good choice. And Ctrl+Click
again and select Paste Voice, and we will
| | 05:34 | paste the sequence data.
| | 05:36 | And let's change the name of
this, so this one is Donna2.
| | 05:41 | And maybe we'll reverse this second
one and pan them hard left, hard right. (music playing)
| | 05:56 | One last trick: I'm going to take
Donna2 and Ctrl+Click right on the numbers,
| | 06:02 | not in the step grid, right on the
numbers, and select Shift+Left--let's go a
| | 06:08 | Shift+Right one step.
| | 06:09 | Then you see each one of
those steps has moved over. (music playing)
| | 06:23 | And that's what I meant by staggering
the samples and creating a spatial imaging
| | 06:30 | to the stutter effects.
| | 06:32 | If you want to create a stutter vocal
with a side chain, you can also do that in
| | 06:36 | Ultrabeat, and I'll show you how to do that next.
| | Collapse this transcript |
| Making stutter vocal effects with a sidechain| 00:00 | Another great way to make vocal stutter
effects in Ultrabeat is with the Sidechain.
| | 00:05 | Like with any Sidechain, you're using
one sound as a control source to affect
| | 00:10 | the rhythm of another sound.
| | 00:12 | In this case, I'm using drums in
Ultrabeat to control the rhythm of this Carlo
| | 00:18 | vocal in my Logic project.
| | 00:20 | Let's hear the results. (music playing)
| | 00:29 | Here is what the original vocal
sounded like, not going through the
| | 00:34 | Ultrabeat Sidechain.
| | 00:36 | I've selected the Carlo track, and I'm
going to switch the output from Bus 1 to
| | 00:42 | the Main output so we can hear it.
(music playing) It's pretty. (music playing)
| | 00:58 | Let's look at how we set up the stutter effect.
| | 01:02 | So I set the output of the vocal track
to Bus 1, and this Bus is feeding Aux
| | 01:11 | 1 that has no output.
| | 01:13 | So if we solo the vocal
track, we don't hear anything.
| | 01:22 | The Bus, however, is feeding the Sidechain of
Ultrabeat (music playing) right over here, in the upper right.
| | 01:35 | But let me show you how I have Ultrabeat set up.
| | 01:40 | So I'm going to delete this instance
of Ultrabeat and re-create the effect.
| | 01:48 | Starting again, we will load UltraBeat,
and I'm going to go to the library and
| | 01:57 | select one of these factory kits, the
Sidechain processor that's ready to roll
| | 02:03 | to create that effect.
| | 02:05 | Let's move up the interface here.
| | 02:09 | Now, all we need to do--in fact,
I can move it all the way over.
| | 02:14 | All we need to do is set the Sidechain
input to Bus 1, what our vocal is sending
| | 02:20 | to, and turn on the
sequencer inside of Ultrabeat.
| | 02:25 | Now, we start Logic'ss Transport
and we should hear the effect. (music playing)
| | 02:32 | Exactly, so what's going on in here?
| | 02:37 | Oscillator 1 inside of Ultrabeat is
where individual drum sounds can be
| | 02:43 | assigned to the SideChain.
| | 02:45 | I'll solo a few of the drums that I have
set to the SideChain, so you can really
| | 02:50 | hear the rhythm effect
it's creating on the vocal.
| | 02:53 | I'll start with soloing the Kick. (music playing)
| | 02:55 | Not very exciting. Let's add in the Hi-Hat, (music playing)
which you can see is also going to the SideChain.
| | 03:11 | (music playing) Let's go back to the Kick, and I'll
take that one out of solo so we're only
| | 03:20 | hearing the Hi-Hat feeding the vocal. (music playing)
| | 03:26 | Now, always make sure to select play in
Logic's Transport, not the Ultrabeat play button.
| | 03:34 | If I just hit play in the Ultrabeat
step grid with Logic stopped, you won't
| | 03:40 | hear the vocal effect.
| | 03:41 | (music playing) And take that out of solo, and we're
just hearing the Ultrabeat pattern. (music playing)
| | 03:53 | For an even more dramatic effect, I'll
add tape delay on Ultrabeat with one of
| | 03:59 | the presets that's called Ultradub.
| | 04:01 | (music playing) Ultrabeat can definitely add that
special element to a beat using vocals or
| | 04:25 | other types of sampled sounds in its SideChain.
| | 04:28 | Later in this course, I'm going to
show you how to use the SideChain in the
| | 04:31 | Logic Compressor and in
Logic's vocoder, in the Evoc 20.
| | Collapse this transcript |
|
|
3. Creative Stuff to Do with Apple LoopsRocking out with Apple Loops| 00:00 | I'd like to share with you the basics
of what Apple Loops are and how to use
| | 00:04 | them to quickly make a
really cool professional beat.
| | 00:07 | So, what are Apple Loops anyway?
| | 00:10 | Apple Loops are audio or MIDI files
with metadata that allow them to lock
| | 00:15 | in real time immediately to the tempo and
key of your project and can repeat seamlessly.
| | 00:20 | They're available here on the right,
under the Loop's tab of the Media area.
| | 00:27 | Let me drag a few in.
| | 00:33 | (music playing)
| | 00:47 | Now, this is important. They have metadata with key
words, called tags, used by the Loop Browser to filter
| | 00:54 | searches by instrument, genre, and mood.
| | 00:58 | So, I'm going to reset the tags and
select Percussion > Processed, and I'll
| | 01:04 | scroll down to a couple that I liked.
Let's preview, listening against the track.
| | 01:15 | (music playing)
I'll drag this one in, and this Indian Tabla.
| | 01:30 | You notice it takes a minute to actually
hear the loop preview, and we just drag
| | 01:35 | it right into the project. (music playing)
| | 01:40 | So, the tempo sync is automatic.
| | 01:46 | I can change the tempo from 100 to
90 or 20, no problem. Let's check.
| | 01:52 | (music playing)
I'll bring that down to 90.
| | 01:59 | All the loops conform to the tempo,
or we could speed this up, no problem.
| | 02:06 | (music playing) They do lock in pitch, but it
requires a few steps in the global tracks,
| | 02:15 | which I'll cover later.
| | 02:18 | There are two types of
Apple Loops identified by color.
| | 02:22 | The blue Apple Loops are audio-only,
the green ones contain the original MIDI
| | 02:28 | performance plus
software instrument and effects.
| | 02:32 | Green MIDI loops have
this icon of the music note.
| | 02:36 | Blue Apple Loops have
the icon of an audio waveform.
| | 02:42 | I like to say the green
Apple Loops go both ways.
| | 02:46 | Let me grab one from the synths.
| | 02:49 | Let's just scroll down here.
| | 02:52 | (music playing)
Let's try that one in the track.
| | 02:58 | Now, if I drag it on to an audio track, it
builds an audio Apple Loop. Let's take a look.
| | 03:07 | (music playing) There it is. However, if I drag it
onto a software instrument track or an empty track, it
| | 03:24 | loads the actual software instrument
and effects used to create that Apple Loop,
| | 03:29 | as well as the MIDI file.
| | 03:31 | Let's try that now.
| | 03:32 | I'm dragging adjacent to the empty
space and it built out the instrument that
| | 03:38 | was used to create it,
and there is the MIDI file.
| | 03:40 | (music playing)
| | 03:42 | It sounds exactly the same, but we have
some advantages with it on an instrument track.
| | 03:53 | I could easily change the
instrument playing back the pattern.
| | 03:57 | Let's go to the library, and maybe I'll
try, in the keyboard folder, some of these
| | 04:04 | warped electric pianos.
Let's see what it comes up with.
| | 04:08 | (music playing)
| | 04:13 | Just by changing the Channel Strip
Setting, it might lay into our track better.
| | 04:18 | Let's try one more.
(music playing)
| | 04:28 | I think I like that first one.
| | 04:29 | I'll take it back up to the Analog
Flange Stage and bring down the volume a bit.
| | 04:35 | Now, the reverse is not true.
| | 04:41 | Blue Apple Loops cannot load on software
instrument tracks, only on audio tracks.
| | 04:48 | And you know what?
Let's put our tempo back to 100.
| | 04:51 | (music playing)
| | 04:56 | This little track idea is an example of
a time where the Apple Loops themselves
| | 05:01 | inspired me to play a bunch of
other parts and make the beat my own.
| | 05:05 | Here is how the track ended up, with
some other parts I played and the vocals.
| | 05:12 | (music playing)
| | 05:30 | A few more Apple Loops dragged in, programmed
that bass line, added some other beats,
| | 05:36 | and here come the vocals.
| | 05:40 | (music playing)
| | 05:51 | A little breakdown with a
quite a few Apple Loops again. (music playing)
| | 06:01 | While commercially released songs use
Apple Loops, few became quite as viral
| | 06:09 | as Rihanna's Umbrella.
| | 06:10 | The main drum track is basically a standard
Apple Loop found in GarageBand as well as Logic.
| | 06:17 | Let's type it into the
Search field: Vintage Funk Kit.
| | 06:23 | I'll go down and maybe you recognize this beat.
| | 06:26 | (music playing)
| | 06:34 | That song earned Rihanna a Grammy
and a nomination for Song of the Year,
| | 06:39 | so don't hold back on using Apple
Loops yourselves in your compositions.
| | 06:43 | There's an art to making Apple Loops
really work in fresh creative ways, with any
| | 06:50 | number of Logic's techniques for slicing,
adding effects, and re-grooving audio
| | 06:56 | or MIDI, which is what we'll talk about next.
| | Collapse this transcript |
| Changing the pitch of Apple Loops| 00:00 | In this video, I'll show you how to
make Apple Loops a really creative beat-
| | 00:04 | making, tool by changing their pitch to
conform to or complement the key of your track.
| | 00:11 | Now, all Apple Loops automatically
conform to the tempo of your project.
| | 00:16 | This project is at 75BPM.
(music playing)
| | 00:24 | I can just go into the transport
and switch this to 100BPM. (music playing)
| | 00:35 | No problem at all. Let's put it back to 75.
| | 00:38 | The Apple Loops will conform in pitch as
well, but it requires a few easy steps.
| | 00:47 | Let's start with the green Apple Loops,
and I will just go into--let's look
| | 00:55 | at the Pianos > Grooving, and I'll scroll
down and grab one of these green Apple Loops.
| | 01:02 | I like these Emotional Pianos.
| | 01:04 | Let's take this one.
| | 01:07 | I'll drag it in, loop it.
| | 01:12 | Let's have a listen.
(music playing)
| | 01:19 | So, if I want to change its pitch, I
can just go into the Region Parameter Box
| | 01:24 | where we see Transposition, and looking
at these values, these values next to
| | 01:30 | Transposition, between 1 and 12,
represent the 12 semitones of an octave.
| | 01:36 | So, if for example, I want to lower
the key an octave, I'll just select -12.
| | 01:41 | (music playing)
| | 01:49 | Easy enough. If I wanted
to bring it down a fourth,
| | 01:53 | that would be -5 steps.
(music playing)
| | 02:02 | I like the first half of the loop.
(music playing)
| | 02:07 | Maybe I'll keep that in there and add a little
Fuzz Wah so it blends into the track better.
| | 02:16 | (music playing) So, that's how easy it works
with the green Apple Loops.
| | 02:26 | Now, the blue Apple Loops, the audio
loops, will conform to the key of your
| | 02:31 | project, but it takes a few more steps.
| | 02:35 | Let's see what really happened
with these guitar Apple Loops.
| | 02:38 | Let me solo them for you first.
| | 02:41 | (music playing) They're really nice, and they work
perfectly with the piano. But that was not the
| | 02:52 | original key of the Apple Loops.
And by the way, in the Apple Loop browser, in
| | 02:59 | this column here, you see the
original key of the Apple Loops.
| | 03:04 | So, I'm going to rebuild this
project and let you hear how we really
| | 03:10 | adjusted these Apple Loops.
| | 03:13 | Create a new project with three
software instruments, and we'll go to the loop
| | 03:19 | browser, and I'm going to grab this beat.
| | 03:24 | I believe it was called Trip Hop Tribal.
| | 03:26 | (music playing)
| | 03:32 | Drag it in, and we better
slow the Tempo back down to 75.
| | 03:40 | Now, I'm going to play in the piano part
that was actually how this whole groove started.
| | 03:45 | Let's loop this out, and I'll
load a piano from the library.
| | 03:50 | Let's go to the Acoustic Pianos
and grab the Yamaha Piano Hall.
| | 03:55 | So I can avoid issues with
accidentally starting before the 1 if I anticipate
| | 04:03 | it. I'm going to drag this over and
start here at Bar 2 and play in the part. (music playing)
| | 04:41 | Okay, let's have a listen.
| | 04:43 | I'll quantize that (music playing). And I don't need
this anymore, and I don't need this either.
| | 04:55 | (music playing) I'll drag this over.
| | 05:07 | I'm going to use the Marquee tool to
select and delete these extra pieces
| | 05:13 | from the piano part. Great!
| | 05:15 | Now let's drag in those guitar Apple Loops.
| | 05:20 | Let's grab the Laid Back Classic 03.
| | 05:24 | I could scroll down in the guitars and
find it here, or I could have typed it
| | 05:28 | in above. Either way.
| | 05:32 | Laid Back. There, I could
see it right at the top. (music playing)
| | 05:36 | Now, you can already hear, that sounds
a little different and how the guitar
| | 05:42 | sounded in the project before, and you
can see that it's actually playing in the
| | 05:47 | key of A Major, and that simple
piano part I played was in F minor.
| | 05:53 | So, I'm going to drag it in.
| | 05:55 | It's going to sound okay, but it's
not really going to be in the pocket.
| | 06:01 | (music playing)
| | 06:09 | And you know what, while we're here, I'll
drag in the other guitar part that also was
| | 06:15 | in the key of A, not in F minor like my piano.
| | 06:19 | And again, it's going to sound
okay, but just not in the pocket.
| | 06:22 | (music playing)
| | 06:23 | And I had that way low in the mix.
| | 06:29 | We'll bring it way down here,
just for a little texture.
| | 06:32 | (music playing)
| | 06:37 | To adjust the music key globally for
your Logic project so that these blue
| | 06:43 | Apple Loops play in the right key, I'm
going to open up this Signature track
| | 06:48 | inside the Global tracks.
| | 06:50 | So I'm going to click on this disclosure
triangle, and here is the Signature track.
| | 06:57 | Let's pull it open so we
can see everything here.
| | 07:00 | Now, the Signature track always
defaults to the key of C, which naturally may
| | 07:06 | not be the real key of the song that
you're playing in, just like a new Logic
| | 07:11 | song defaults to the Tempo of 120.
| | 07:13 | By the way, if this Signature track was
not in view in the Global Tracks, I'd just
| | 07:20 | Ctrl+Click into any of the Global Tracks
and I could add in the Signature track.
| | 07:27 | But it was in view in our case.
| | 07:29 | I'm going to double-click on the
default key signature of C, visible right here
| | 07:36 | on the Signature track.
| | 07:38 | And I'll change the key to the key that
I actually played in, which was F minor.
| | 07:47 | Hit OK and now listen to those guitar parts.
| | 07:50 | (music playing)
| | 07:56 | You can hear it conform to the right
key, much sweeter, more in the pocket.
| | 08:01 | (music playing) So, here is the question: How do
you know the key of your project?
| | 08:12 | How did I know to change the key to F minor?
| | 08:15 | Well, this will require that you, or
someone in the room, be a bit of a musician
| | 08:20 | and use your ears to figure out
the key of the music you've written.
| | 08:24 | If you read notation, it might help
to open up the Score Editor, and you can
| | 08:31 | actually see the notation of the MIDI tracks.
| | 08:36 | And if you scroll over here to the left,
you can see the four flats, which also
| | 08:43 | could help with your
indication of what key you're in.
| | 08:47 | One last detail about the key of Apple
Loops: when you're auditioning loops, is
| | 08:52 | you can tell Logic to preview in a
song key or in another key by selecting in
| | 08:59 | the menu at the bottom right
where it's labeled Play In.
| | 09:02 | Now, this is only affecting the Apple
Loop's pitch while it's being previewed.
| | 09:09 | Once you drag it into the Arrange
window, it conforms to the key set in the
| | 09:13 | Signature track of the Global Tracks.
| | 09:16 | By learning how to change the pitch of
blue and green Apple Loops, you liberate
| | 09:21 | your entire Apple Loops library to
be accessible to really any project.
| | 09:27 | The only limitation is your own
personal taste of what sounds good together.
| | Collapse this transcript |
| Changing the feel of Apple Loops| 00:00 | In this video, I'll show you how you
can make green Apple Loops a really
| | 00:04 | creative tool for making beats, by
changing the instrument, playing them back, and
| | 00:09 | the feel: re-grooving them.
| | 00:11 | You have so many easy ways to create
your own variations with the green Apple
| | 00:16 | Loops, simply by quantizing
them to a different swing.
| | 00:19 | Let's drag these two in.
| | 00:22 | Here is one and two.
| | 00:24 | I'll turn on the Cycle, loop
this one, and we'll just go into the
| | 00:29 | Region Parameter Box.
| | 00:30 | Let's listen to them now.
(music playing)
| | 00:35 | I can grab them both.
| | 00:38 | Change them to a 16th-
note swing. Grab them both.
| | 00:45 | change them to an 8th-note feel.
(music playing)
| | 00:46 | It's like a totally different groove.
(music playing)
| | 00:57 | Now, if a green Apple Loop is a
drum kit, which these both are, you can
| | 01:02 | separate out all of the elements of the kit
to individual tracks from this local MIDI menu,
| | 01:10 | Separate MIDI Events by Note Pitch, because
every drum voice is playing on a different pitch.
| | 01:19 | Now, the advantage of doing this is if
there is one clanging triangle in that
| | 01:25 | Apple Loop driving you nuts, you
can easily delete it. Let's find it.
| | 01:29 | Let's solo each of these drum
voices from the Apple Loop one at a one.
| | 01:37 | (music playing)
Okay. That one is fine. There's our kick.
| | 01:40 | I'm just hitting the S key to solo.
| | 01:42 | (music playing)
That's the one I didn't like.
| | 01:48 | (music playing) So, I'm just going to hit the M key to
mute it for now and take it out of solo
| | 01:58 | by hitting the S key again.
| | 02:00 | (music playing)
It's much better to me.
| | 02:02 | So I'm going to go all the way, commit
to getting rid of that triangle, and hit
| | 02:07 | the Delete key to get rid of it, and
now I'll just tidy up my workspace by
| | 02:13 | Shift+Selecting all of these elements from
that Apple Loop and gluing them back together.
| | 02:19 | I'm going to hit the Escape key and
select the Glue tool and delete all of these
| | 02:28 | extra tracks that had
been created in the process.
| | 02:33 | When you're shopping for an instrument
riff in the Apple loop library, keep in
| | 02:37 | mind that any green Apple Loop may lay
in the groove even better by changing the
| | 02:42 | instrument to one that blends with your track.
| | 02:45 | The possibilities are endless.
| | 02:48 | In the Apple Loop browser, I'll
select the tabs. Let's reset this.
| | 02:54 | I'll select the tabs Piano and Urban,
and let's just take this first one,
| | 03:03 | real simple piano part.
(music playing)
| | 03:05 | We'll drag it in and
listen to it against the track. (music playing)
| | 03:17 | I'm deciding whether I want to change
back the swing on those Apple Loops.
| | 03:21 | I might leave them on that
8th-note swing for the moment.
| | 03:24 | (music playing)
| | 03:25 | So, our piano Apple Loop is
playing through this grand piano.
| | 03:30 | I'm going to switch the view here in the
Media section by selecting the Library tab.
| | 03:36 | And now let's just do a little experiment.
| | 03:39 | Let's go to the Keyboard folder > the
Warped Electric Pianos. Be sure to explore
| | 03:47 | this warped subfolders in the
Settings library and a lot of the folders, the
| | 03:52 | Keyboards, the Synths and the Drum Folder,
some very creative use of plugins on
| | 03:57 | these sounds. So let's give this a try.
| | 03:59 | (music playing) Not bad, bring it down a little bit,
on the channel strip. Interesting!
| | 04:17 | Try one more. (music playing) This is really all
personal taste, but I kind of like this one.
| | 04:26 | Let's bring it down a little bit
more so it lays into the groove.
| | 04:31 | I'm going to create a duplicate of
this particular track here by using the
| | 04:39 | Duplicate Track menu.
| | 04:42 | And I'm going to Option+Drag the
piano part down to another track. Snd I
| | 04:48 | actually liked one of those
other Channel Strip Settings.
| | 04:51 | Look at all those plugins that were
creating that mechanized wind chimes:
| | 04:56 | the Vocoder, the Ring
Shifter, Tape Delay, Compressor.
| | 05:03 | But on the second one, let's go back
to one of those other Channel Strip
| | 05:08 | Settings that we had listened to before,
and maybe I will drag in the Late Suitcase.
| | 05:15 | (music playing)
| | 05:16 | So now I'm basically layering the sound
that's creating that piano Apple Loop,
| | 05:26 | and I'm going to take the second one.
| | 05:31 | Maybe we'll transpose this down
an octave. (music playing) And you know what?
| | 05:38 | let's get the swing better
on those first Apple Loop.
| | 05:46 | Let's take it to a 16tt=h-note feel.
| | 05:47 | (music playing) And that's it! Not bad for just
some standard factory Apple Loops.
| | 05:59 | We've definitely made some interesting changes.
| | 06:03 | Later in this course, in the Flex
videos, I'll show you how to access this
| | 06:07 | whole Region Parameter box with
Quantize and Transposition for audio by
| | 06:13 | flexing it, which means you'll be able
to lock up the blue audio Apple Loops
| | 06:18 | in the same way.
| | Collapse this transcript |
| Making, tagging, and indexing your own Apple Loops| 00:00 | I'd like to show you how to make your
own Apple Loops, tag, and index them so you
| | 00:05 | can find them easily.
| | 00:06 | Turning your own beats into Apple Loops means
easy access in any project you're working on.
| | 00:12 | Let's listen to this track.
(music playing)
| | 00:17 | I can quickly create my own
Apple Loops, green or blue.
| | 00:25 | This is the one I want to make into an Apple
Loop. Take this one right here and solo it.
| | 00:30 | (music playing)
| | 00:34 | Now, I can quickly turn this into
an Apple Loop from the Region menu,
| | 00:40 | add to Apple Loop's Library, and
I'll just adjust the name here.
| | 00:45 | And we need to give it some tags so
we'll be able to find it in the loop browser.
| | 00:50 | So, drums, it's definitely drums.
It's a beat and let's set some tags here.
| | 00:56 | I'm going to go with Processed >
Electric. I don't know about Relaxed or
| | 01:02 | Single. We will keep the
grooving. Okay, here we go.
| | 01:06 | Create and now it's adding that loop to the
Loop Browser and we'll be able to search for it.
| | 01:13 | So we want to type the name
in exactly how we created it.
| | 01:17 | Be aware of whether you use the upper-
or lowercase letters. I used uppercase.
| | 01:23 | We'll call this Beat 3 and
search for it, and there it is.
| | 01:30 | And when I bring this into any
project I'm working on, it's going to
| | 01:34 | automatically conform to the tempo.
| | 01:36 | This Add Region menu also works
for any MIDI that I programmed.
| | 01:41 | I'll solo so you can hear the bass line
that I'm going to turn into an Apple Loop.
| | 01:46 | (music playing) So why would I want my bass
line in the Apple Loop library?
| | 01:54 | For easy access. Maybe I plan to use it
in a few tracks. Obviously, this would
| | 02:00 | be more versatile for a MIDI drum
part I play, but hey, with the ability to
| | 02:05 | change the feel, the swing, the
instrument, who knows how I could mutate my own
| | 02:10 | bass line in another track.
| | 02:12 | So again, same process, highlight the
Region. It doesn't need to be in solo, just
| | 02:17 | have it highlighted, go to the Region
menu, add to Apple Loops library, and maybe
| | 02:23 | I'll keep that name ES1 Bass, Synth
Bass, and what should we do with this?
| | 02:31 | Grooving, don't know about Processed >
Electric > Grooving > Create, and that's
| | 02:36 | going to go right into the
Apple Loop library as well.
| | 02:41 | A popular request of Logic users is to
be able to create your own descriptor
| | 02:46 | tags and replace these
factory ones in the Loop Browser.
| | 02:51 | Say, for example, I know I'll never need the
factory category of Cheerful or Arrhythmic.
| | 02:59 | Unfortunately, it's not an
option to create custom tags.
| | 03:04 | A workaround is to put my initials in every
loop name I create as the first characters.
| | 03:12 | That way I could easily search for
my loop names in the Loop Browser.
| | 03:16 | So for example, I'll make an Apple
loop again. And I could call this--
| | 03:23 | let's change the name.
| | 03:24 | I'll call this DB for my initials BD.
| | 03:29 | You don't need--all the caps BDBass1, or
I could have kept it as ES1BASS--whatever
| | 03:35 | you want to call that Apple loop.
| | 03:38 | What this allows me to do is search
through the Apple Loop library for all the
| | 03:44 | Apple Loops I've created by just
typing in the letters DB for my initials, and
| | 03:50 | they'll all show up in a search.
| | 03:53 | One last housekeeping detail: newly
added Apple Loops may need to be indexed
| | 04:00 | before they'll be visibile in the
Loop Browser in another project.
| | 04:04 | To index them, let me navigate to the
Finder. And now I'm going to type in
| | 04:12 | Command+Shift+G. And I've already gone
to this file path of my user library, so
| | 04:19 | it's already showing up here in the field.
And I can now navigate in here to the Audio folder.
| | 04:28 | This is where the Apple Loops that
you create actually live in the Finder.
| | 04:34 | And I'll navigate here and find that loop.
| | 04:41 | Here are all the ones we just made.
And all I have to do to index them is select
| | 04:47 | it and drag it right over the loop tags.
| | 04:51 | Here we see that it's adding to the Loop
Browser, and now, when I open up another
| | 04:57 | project, it will always be there.
| | 04:59 | You should now be able to expand the
factory Apple Loop library with your own
| | 05:04 | signature Apple Loops to have easier
access to the beats you create or collect
| | 05:10 | in any Logic project you're working on.
| | Collapse this transcript |
|
|
4. Making Tight BeatsFinding your tempo| 00:00 | Locking Audio files with your project tempo
is key to any production or remixing work.
| | 00:06 | Logic's BPM plug-in takes all the work out
of finding the tempo of a long audio file:
| | 00:11 | for example, a full track someone sends
you or a song you drag in from iTunes.
| | 00:17 | Here's a track I'd like to find the tempo for.
| | 00:19 | Let's have a listen.
(music playing) Wait for the beat to drop.
| | 00:30 | (music playing)
| | 00:51 | Okay. So all we have to do is insert the BPM
plugin on the channel strip for this track.
| | 00:59 | It's located in the Metering
folder of plugins right on top.
| | 01:04 | I'll select it and let
the plugin do all the work.
| | 01:07 | Maybe we'll start playback a little
later in the track this time where the
| | 01:12 | beat is nice and steady.
| | 01:13 | (music playing)
All right, let's check our results.
| | 01:32 | It's finding 150 BPM.
| | 01:34 | I'll switch Logics tempo to that BPM.
Of course it was at 120, the default of a new project.
| | 01:41 | Type in 150 and I'll turn on the
Click in the Transport so we can listen
| | 01:47 | against the metronome and see if it's in time.
| | 01:50 | (music playing) Let's bring down the level on our track
so we can hear the click a little better.
| | 02:00 | (music playing)
| | 02:05 | Perfect! (music playing)
Here's a little tip.
| | 02:08 | If you're not able to hear the
metronome loud enough, you can make adjustments
| | 02:13 | in the metronome settings by click-
holding on the metronome in the transport.
| | 02:22 | What I like to do is go into the mixer
and actually bring up the gain on the
| | 02:30 | instrument that the click is playing
through, which is called the Klopfgeist.
| | 02:35 | If you don't see that in your mixer,
switch the view from Arrange, which is
| | 02:40 | showing you all the tracks in your
project, to All, and now you'll the Klopfgeist,
| | 02:45 | generally on instrument 256.
| | 02:47 | I already have it cranked here, but I'll
just go in and insert the Gain plugin,
| | 02:55 | and do whatever is necessary.
| | 02:57 | Bring it up a tad and have a listen now.
| | 03:00 | (music playing)
| | 03:07 | Now, we're really hearing our click track.
| | 03:12 | And that's how you find the tempo of
a complete song that you bringin to a
| | 03:17 | Logic project, by using the BPM plugin.
| | Collapse this transcript |
| Time stretching audio| 00:00 | In this video, I'll adjust Logic's tempo
to my beat, and then I'll do the reverse;
| | 00:05 | I'll time stretch a beat to Logic's tempo.
| | 00:08 | So, say you want to conform
Logic's tempo to an audio sample.
| | 00:13 | You have the slamming sample, you
love the feel, and want to work with it
| | 00:16 | at exactly that tempo.
| | 00:18 | We'll use this beat I have, called Beat 2.
| | 00:22 | The first thing you want to do is make
sure it's perfectly looping, whether two,
| | 00:27 | four, or eight bars, and
placed on the downbeat in Logic.
| | 00:31 | So we'll highlight the audio file and
I'll use this tool up in the toolbar, Set
| | 00:37 | Locators. And now we're not going to
be cycling around two bars in Logic, but
| | 00:44 | exactly around the beat itself.
| | 00:47 | And we're going to listen to make sure
when it comes back around, there are no
| | 00:51 | hiccups, the kicks aren't flamming,
and it's perfectly seamlessly cycling.
| | 00:55 | (music playing)
| | 01:03 | Good! It is a perfect loop, so I want to
set the bar ruler now to the cycle length
| | 01:10 | that's the same number of bars of the loop.
| | 01:14 | So let's see how many bars
this loop is. We'll count.
| | 01:18 | One, two, three, four, two,
two, three, four. Okay.
| | 01:25 | It's two bars.
| | 01:27 | So up in the bar ruler, I'll select two
bars, and now, from the Options menu, I'll
| | 01:35 | go to Tempo > Adjust Tempo
using Region Lengths and Locators,
| | 01:41 | the locators being
what we said in a bar ruler.
| | 01:44 | Now, watch in the transport when I
release this. Logic's Tempo will update to
| | 01:49 | conform to the tempo of the audio loop.
| | 01:52 | Say Yes to this globally, and there it is.
| | 01:56 | The tempo is 86.0005. We'll check it.
| | 02:02 | I'll turn on the metronome and be sure of that.
(music playing)
| | 02:09 | Bring this down just a little bit
so we can hear our click. That's it.
| | 02:15 | I changed Logic's tempo to
conform to the tempo of my audio file.
| | 02:21 | All I had to do is let logic know how
many bars the drum loop is, then select
| | 02:26 | that number of bars in the bar ruler, and
go to the Options menu here, the one on top.
| | 02:33 | Now, more often, the goal is the reverse,
| | 02:36 | to lock in our audio file's tempo to
Logic's tempo, whether it's from a record, a
| | 02:42 | sample library, or some
audio you recorded yourself.
| | 02:47 | The goal is to change the tempo of that
audio file and its length but not its pitch.
| | 02:53 | One again, it starts with a
trimmed audio file perfectly looping.
| | 02:56 | Logic allows you to time stretch or
compress an audio region right here in the
| | 03:02 | Arranged window the same way you do with MIDI.
| | 03:05 | Let's listen to these two beats to
hear that they are indeed out of time.
| | 03:12 | I'm going to take this first beat out of
the mute, and we'll play them back together.
| | 03:17 | (music playing)
That sounds terrible.
| | 03:24 | All I need to do is drag in the lower
right-hand corner, holding the Option key,
| | 03:32 | and this will time stretch to
the tempo that we're working at.
| | 03:37 | Let's listen to them now.
(music playing)
| | 03:48 | Perfect! We can do this whole
thing in reverse with the other beat.
| | 03:53 | So I'm going to undo that move,
Command+Z, and I'm going to take this first
| | 03:58 | beat. And I happen to know that its tempo was
90bpm, so I'll set that tempo in the Transport.
| | 04:04 | And now that first beat is in time
with Logic and the second beat isn't.
| | 04:08 | All I have to do again is
Option+Drag the lower hand corner.
| | 04:12 | I'll let you hear this first.
They are now out of time.
| | 04:15 | (music playing)
| | 04:17 | If I option dragged the lower right-hand
corner of this beat, it will fall right into time.
| | 04:24 | I'm just dragging it to line right
up with being a two-bar loop in Logic.
| | 04:30 | And there they are, in time, just like that.
| | 04:37 | Keep in mind that these techniques are
referred to as destructive audio editing/
| | 04:42 | Unlike Logic's Flex Audio,
| | 04:44 | here you are physically changing
the tempo of these audio files.
| | 04:49 | We're not just adjusting a playback parameter.
| | Collapse this transcript |
| Slicing up your samples| 00:00 | In this video, we'll slice up a drum
loop to create variations that might make
| | 00:05 | that perfect breakdown or B section
of your track whatever style of music.
| | 00:10 | This is an all-time favorite
technique for building a drum groove and
| | 00:14 | introducing that sense of
the drummer getting busy.
| | 00:18 | On track 1, I have an audio file called Beat 1.
| | 00:21 | Let's listen to it with everything else,
then soloed, so you can really hear, at
| | 00:26 | the end of Bar 4, how I
sliced it up. Let's listen.
| | 00:29 | Let me zoom in a little bit, (music playing) right here.
| | 00:43 | And now let's listen to just that beat soloed.
| | 00:45 | I'll start at Bar 3.
| | 00:46 | (music playing)
That's the steady beat.
| | 00:50 | So I have isolated this beat in an
exercise file for you to experiment with, but
| | 00:59 | I'm going to continue
working in the full project now.
| | 01:02 | I'll copy Beat 1 to another
track and rebuild what we've done.
| | 01:07 | I'm just going to Option+Drag down, and
let's make three copies of that with the
| | 01:13 | repeat Regions key command. The default
is Command+R. And let's zoom in right on--
| | 01:23 | and I'm going to cycle around Bar 3 and 4.
| | 01:29 | I could have done it by highlighting
the regions and selecting to the set
| | 01:33 | locators up here, but I just went down
into the transport and typed in the left
| | 01:39 | and the right locator here. Okay.
| | 01:43 | So here is our copy, and I'm going to
grab my Scissors tool from the floating
| | 01:50 | toolbox by hitting this Escape
key, and here is the Scissors tool.
| | 01:56 | If I cut into the beat with the
Scissors tool, it will simply cut the region
| | 02:01 | wherever I make the incision, just like that.
| | 02:04 | However, I'm going to cut
with the Option key held down.
| | 02:09 | Let's do it with this beat before.
| | 02:12 | So again, we have the Scissors
tool and holding the Option key,
| | 02:17 | I'm going to make a slice right over here.
| | 02:20 | When I hover over the region,
that info bar pops up, letting me know that I'm
| | 02:26 | slicing at the second beat of Bar 3.
| | 02:30 | I also use the bar ruler as a guide.
| | 02:33 | Now again, holding the Option
key, this is the difference.
| | 02:36 | We've made equal slices of that region.
| | 02:40 | So what I'm going to do now
is go back to my Pointer tool.
| | 02:43 | I hit the Escape key, and I'm going to switch
this drag mode here from Overlap to No-overlap.
| | 02:50 | And now I'm taking that fourth slice and
I'm going to Option+Drag to place it on
| | 02:56 | top of the first beat of Bar 4.
| | 02:59 | The reason why I replaced that No-
overlap is so that we wouldn't have
| | 03:04 | the region underneath.
| | 03:06 | Let's delete this, and I'll take
this new region that I've placed on the
| | 03:10 | downbeat of Bar 4, and now I'm
going to slide this over to alias that
| | 03:16 | first beat, just like above.
| | 03:18 | And now I want to get these kicks
that lined up for the last beat of Bar 4.
| | 03:23 | So what I'm going to do here, we need
one kick, I'm going to take this beat
| | 03:29 | right here, which is its own region, and
again, grabbing the Scissors tool in my
| | 03:34 | Option key, make a slice.
| | 03:37 | And again, I'm looking at the
Info Bar as a guide, and there it is.
| | 03:40 | I've got my kit isolated.
| | 03:42 | I'll go back to the pointer tool,
and I'm going to color this for you.
| | 03:45 | I'm holding Option+C to get the color
palette. It will be more visible what
| | 03:49 | we've done. And I'll take this slice.
| | 03:53 | I'm going to Option+Click+Drag it
to make a copy of that kick, use my
| | 03:58 | Repeat Region key command, and this
time we want three copies of it, and
| | 04:03 | let's have a listen.
| | 04:04 | I'll mute the original, and here we go.
| | 04:06 | (music playing)
There it is.
| | 04:10 | (music playing)
| | 04:10 | So we've now created a very
simple stutter kick effect.
| | 04:18 | The more you do this, the more
you'll get a feel from just looking at an
| | 04:22 | audio file whether to cut into
quarter-note slices, 8th-note slices or even
| | 04:27 | tighter and make 16th-note slices,
and how to make re-arrangements of the
| | 04:32 | beat that sound good.
| | 04:33 | Let's see how I use this technique in
another track that's a little bit more complex.
| | 04:38 | There is an abridged version of this in
your exercise file, with this Trip Hop
| | 04:49 | Bounce Audio File to slice up.
| | 04:52 | So, let's listen to these bars that I
have cycled, and again, it's the track on top.
| | 04:57 | This one is the Trip Hop Bounce
audio file that's been sliced up.
| | 05:03 | (music playing)
| | 05:12 | A little bit of slicing
there, and more over here. (music playing)
| | 05:24 | So what happened was, not only was I
able to make those stutter repeated kicks,
| | 05:29 | but I actually rearranged some of
the slices of this beat from the way the
| | 05:35 | beat originally played that just created an
interesting variation, as if the drummer got busy.
| | 05:43 | Let's see if we can rebuild this
and reverse-engineer that beat.
| | 05:49 | I'll copy it down, make a new track,
Option+Drag the beat, and let's just cycle
| | 05:55 | around the four bars. And we'll use our
Repeat Regions key command, make a copy of that.
| | 06:03 | Let's zoom in a little bit more, and with
my Scissors tool, holding the Option key,
| | 06:09 | I'm going to place the first slice a
little tighter than in the last example,
| | 06:14 | at 51 1 31, which is going to give us not
quarter-note, but 8th-note slices per bar.
| | 06:21 | Here we go.
| | 06:22 | Now, what I did, I don't
remember. It was hear in the moment.
| | 06:26 | I just started rearranging some of the slices.
| | 06:28 | It's amazing the creative results you
get from just experimenting like that.
| | 06:34 | So let's just cycle these two bars.
(music playing)
| | 06:43 | Clearly, what I did was, I have--
let's take that slice out, and this one I
| | 06:50 | repeated. I'll color it
again so it's easier to see.
| | 06:53 | And I copied it over, like that.
This slice got changed out, get rid of that and
| | 07:01 | I pulled this one from the end.
| | 07:02 | Let's color that quickly.
| | 07:05 | Option+Drag to bring that over.
| | 07:07 | Let's see how it sounds so far.
(music playing)
| | 07:14 | And then with this tight stutter kicks
over here--let's zoom in again and I'll
| | 07:20 | grab my Scissors tool and I'll just cut
this in half. No need to use the Option
| | 07:24 | key because I'm just cutting it once.
| | 07:27 | And now we'll get rid of that hit and
take this kick, slide it over, get rid of
| | 07:34 | that, slide it over here, and now we've
got something pretty close to how that
| | 07:42 | beat had been rearranged.
(music playing)
| | 07:52 | Now I can see one more that I
have rearranged these two slices.
| | 07:56 | Let's pull this one over and slide that here.
| | 07:58 | To be perfectly honest, sometimes
I just have lucky accidents from
| | 08:03 | experimenting with these slices.
| | 08:05 | It's really hard to do something
that's not going to sound good, because the
| | 08:08 | slices are all on the beat.
| | 08:10 | And that is how you quickly slice
up a beat and make useful variations,
| | 08:15 | muting, copying, or rearranging the slices.
| | Collapse this transcript |
| Building a useful EXS instrument from a drum loop| 00:00 | I'd like to show you how to quickly
create a useful EXS 24 instrument out of a
| | 00:06 | drum loop or other audio file.
| | 00:09 | The EXS 24 was one of the first
virtual samplers on the market.
| | 00:14 | To this day, it is your most
essential instrument in Logic.
| | 00:20 | Here is just a few of the reasons why.
| | 00:22 | One, it's extremely CPU-efficient and stable.
| | 00:26 | You can use literally dozens at a
time without creating system overloads,
| | 00:30 | partly because the EXS 24 is using the
same sample editor as Logic's own audio
| | 00:39 | editor. It's not a separate
engine, so integration is tight.
| | 00:42 | Also, EXS 24 instruments and their
samples automatically save to your Logic
| | 00:51 | project folder, with a third-party
sampler with a battery contact or
| | 00:56 | otherwise, so you need to manually
remember to bring your folders of the
| | 01:01 | associated samples.
| | 01:02 | This include Asset Sub Folder must
be checked when you save your project.
| | 01:09 | Be sure the EXS sampler instruments
and the sample assets are checked in
| | 01:15 | the project folder.
| | 01:16 | Now, this is awesome:
| | 01:18 | you can turn any beat into
any EXS 24 sampler instrument.
| | 01:24 | Here is the way to do that.
| | 01:26 | I'll select this 2-bar drum loop called Beat 1.
| | 01:29 | Let's have a listen.
(music playing)
| | 01:36 | With the region highlighted, I go to
the Local Audio menu and select Convert
| | 01:42 | Region to New Sampler Track.
| | 01:47 | Create the zones from transients.
| | 01:49 | You can adjust the name if you'd like.
I'll just leave it what it is defaulted
| | 01:52 | to, which is mirroring the
name of the region itself.
| | 01:56 | Select OK, and now Logic muted the
original region and we're going to hear the
| | 02:02 | same beat playing back
through the EXS 24. (music playing) There it is.
| | 02:10 | (music playing)
| | 02:13 | Done, that was one move, and now I can
trigger this from my keyboard controller.
| | 02:20 | (music playing) And I have all the slices mapped
out chromatically to my keyboard.
| | 02:28 | But there is a slight problem.
| | 02:30 | I'll play each of these drum notes
chromatically on my keyboard, starting at C1.
| | 02:36 | (music playing)
| | 02:37 | That's the C1 kick.
| | 02:39 | Here is a C sharp (music playing) D. We're getting
some notes that are basically useless.
| | 02:51 | What has happened is Logic takes all
detected transients and turns the area
| | 02:56 | between them into EXS 24 zones.
| | 02:57 | There is no musical
intelligence to the selection process,
| | 03:03 | so any tiny little noise in the audio
may get assigned to a zone in your drum kick.
| | 03:09 | Maybe the kick was hit twice in a row.
Both kicks will become zones, and I'll
| | 03:13 | have the same drum zone
assigned to two consecutive notes.
| | 03:17 | Here is an easy fix.
| | 03:18 | Let's go back to our original audio
file. In fact, let's delete this EXS 24
| | 03:25 | instrument that was created,
because we can make a better one.
| | 03:28 | We'll go back to the original loop,
and we're going to go into the sample editor
| | 03:34 | and clean up which
transients are being detected.
| | 03:37 | I'll double-click on the
audio file, and here it is, below.
| | 03:41 | I'm just going to increase our view by
dragging right between the windows, and we
| | 03:47 | can close out of the media
section and get a better look.
| | 03:50 | So here we are, looking in
the sample editor at the beat.
| | 03:54 | Under the Local Audio File menu, I'll
select Detect Transients and watch, you'll
| | 04:02 | see them appear on the audio file. There we go.
| | 04:06 | Now, the first thing I can do is thin
out the number of transients that have
| | 04:12 | been detected, and that might
clean up the problem quite a bit.
| | 04:16 | Because as I solo each of these between
the transients--we'll just double-click
| | 04:22 | and play with the speaker icon--you can hear,
| | 04:26 | I definitely don't need that assigned to a key.
| | 04:29 | So just thinning out with this plus and
minus symbols, the minus, you can watch
| | 04:34 | some of the transients detected are
starting to disappear or we're going to
| | 04:40 | manually go in and clean up the detection.
| | 04:43 | Even though I can preview by double-
clicking between two transients and
| | 04:47 | hitting the speaker icon, the way that
I like to do this is in the Local tool
| | 04:52 | menu to the Sample Editor,
| | 04:54 | I change my Command+Click tool to solo,
and now holding down my Command key, I
| | 05:01 | can just play between transients.
| | 05:05 | So, now I'm going to clean this up.
| | 05:08 | I can drag on a transient just clicking
on it and move it around or double-click
| | 05:15 | on it to remove it entirely.
| | 05:18 | So, listening again to this area, if
I don't need that, I'm just going to
| | 05:24 | double-click on that transient.
| | 05:25 | It's gone away, and now this is what that
slice would be that would get mapped to a key.
| | 05:30 | (music playing)
| | 05:32 | I don't need that either.
| | 05:33 | I'll double-click, get rid of it.
| | 05:35 | Now, we'll listen between these
transient and that transient.
| | 05:37 | (music playing)
| | 05:38 | There is my snare. I do want that,
and so on, cleaning up the detection.
| | 05:44 | When you're done with this clean up,
close out the Sample Editor, go back to
| | 05:48 | your original region, and now go to
the Local Audio menu, Convert Regions to
| | 05:54 | a new Sampler Track, and it will be much
tighter, what gets mapped out to your keyboard.
| | 06:00 | Hopefully now you appreciate the ease
of creating a killer drum kit from any
| | 06:05 | of your drum loops.
| | Collapse this transcript |
|
|
5. Flex Like a ProFlexing vocals| 00:00 | Have you ever wanted to adjust
the phrasing of a vocal performance?
| | 00:04 | Logic has a powerful tool for this.
| | 00:07 | Flex Audio is Logic's interpretation of
Elastic Audio in Pro tools and Ableton
| | 00:12 | Live, which makes it painless to adjust
the timing of a beat, the rhythm of any
| | 00:19 | audio tracks, and even the
phrasing and inflection of a vocal.
| | 00:23 | I'm using two vocals to demonstrate
from the Apple Loop Library, but not for
| | 00:29 | their Apple Loop attributes,
just to demonstrate flexing vocals.
| | 00:33 | Let's have a listen.
| | 00:34 | (music playing)
| | 00:39 | The phrasing and rhythm is great!
We don't need to fix anything.
| | 00:42 | (music playing)
| | 00:48 | Maybe we can make some
cool variations of her vocal.
| | 00:54 | I'll enable the Flex view in the toolbar;
| | 00:58 | this is the first step for Flexing.
| | 01:00 | Just by selecting this icon, a white
halo appears around the icon, and on
| | 01:08 | the track headers, a menu appears with all
of the possible Flex modes that we can use.
| | 01:16 | If I disable Flex mode, that menu
goes away, but we want it open now.
| | 01:23 | So, if we are working with a beat, I
might select Rhythmic or Slicing, but
| | 01:28 | because this is a vocal file,
I'm going to go with Monophonic.
| | 01:31 | As soon as I select the Flex mode,
you'll see the transients being detected on
| | 01:37 | the audio file, and we'll do this vocal as well.
| | 01:42 | The transients are those thin white lines.
| | 01:44 | Let's zoom in on this second audio
file, highlight it, and set the locators
| | 01:51 | around it so we can cycle easily
and have a listen one more time to the
| | 01:56 | original performance.
(music playing)
| | 02:01 | I'll stop right there. I have an idea.
| | 02:04 | I want to change the
phrasing of the word "baby."
| | 02:08 | I'll walk you through all
of the steps in a minute,
| | 02:11 | but for now, I just want
you to see what's possible.
| | 02:14 | So, I'm going to drop in a few Flex
markers around the word "baby," these
| | 02:19 | vertical orange lines
that will be my edit points.
| | 02:23 | I'm just placing one at the
beginning of the word "baby" and at the end.
| | 02:28 | Now, I can drag forward and backward
to expand or compress the audio and
| | 02:35 | change the phrasing.
| | 02:36 | Listening one more time.
| | 02:37 | (music playing)
| | 02:40 | So, if I pull on this Flex marker
and stretch it to the right, listen to
| | 02:46 | the word "baby" now.
| | 02:47 | (music playing)
Pull it back just a little bit.
| | 02:57 | (music playing)
You can see how endless those possibilities are.
| | 03:03 | Now, moving a Flex marker to the left,
again, it compresses the preceding
| | 03:10 | audio. And you have this great visual
indication of what's happening by the color coding.
| | 03:20 | When it's compressed, it turns green and
when it's expanded, you see it turn orange.
| | 03:28 | Let's leave it right about here.
| | 03:30 | Now, there is one more
concept you need to understand.
| | 03:34 | The flexing is going to extend up into
the boundary of the next Flex marker.
| | 03:41 | So, let me drop one in here, at the
beginning of our next phrase that I don't
| | 03:46 | want to be affecting.
| | 03:48 | I want that to stay natural.
| | 03:50 | So, now you notice as I pull on this,
I'm not changing her second phrase at all,
| | 03:57 | though we did move it a little bit before.
| | 03:59 | So, that's the key.
| | 04:02 | You look at what part of the audio you
want to change and then put in a stake on
| | 04:07 | the other side so that the
preceding audio won't be affected.
| | 04:12 | If I pull this in now, nothing over
here is getting affected, just between
| | 04:20 | the two Flex markers.
| | 04:23 | Flex editing is nondestructive.
| | 04:25 | I can enable and disable it for an
individual region at any time, in the
| | 04:32 | Region Parameter box.
| | 04:34 | We've made a little bit of
a mess of this audio file.
| | 04:37 | I'm just going to delete this Flex marker
by double-clicking on it, and that one too.
| | 04:43 | All I really want to hear is that flexed "baby."
| | 04:47 | So, right over here is where we can
disable playback of the flexed audio. When I
| | 04:55 | deselect that, we are going to
hear the original performance.
| | 04:57 | (music playing)
Enable it, and now we hear our changes.
| | 05:05 | (music playing)
| | 05:09 | And that's the basic techniques for
flexing to manipulate the timing of a vocal.
| | 05:16 | We'll take a look at flexing a beat
to adjust its quantized feel and swing
| | 05:21 | in the next video.
| | Collapse this transcript |
| Quantizing audio| 00:00 | Logic was always famous for how flexible
it is when quantizing MIDI performances.
| | 00:06 | Flex Audio is an amazing tool for
quantizing your audio with just the same swing
| | 00:11 | and feel as with MIDI.
| | 00:13 | And after you've flexed a beat, you can get
really creative with slicing on the transients.
| | 00:19 | When you highlight an audio region that
hasn't been flexed, the Region Parameter
| | 00:25 | box does not show Quantize, so obviously
| | 00:30 | I can't quantize the beat or tighten up
the feel by giving them the same swing value.
| | 00:36 | When we listen to these two beats,
they're in time, but they're just not
| | 00:42 | that tight together.
| | 00:43 | Let's have a listen.
(music playing)
| | 00:50 | They sound good, but I think we
could make them sound even better.
| | 00:54 | I'll enable Flex in the toolbar so that
the Flex modes are visible on the track
| | 01:01 | header of both of the
tracks, and select a Flex mode.
| | 01:05 | Slicing is really great for drums.
| | 01:09 | I'll put that on both of them and
now we've detected the transients.
| | 01:13 | Once the transients are detected,
now when you look in the Region Parameter box,
| | 01:19 | look at that: the Quantize is in view.
| | 01:23 | So, we have them on
16th-note Swing, the E setting.
| | 01:26 | Let's listen to that.
(music playing)
| | 01:32 | We can hear that they're swinging together.
| | 01:35 | Let's actually throw them quickly
into a group so that I can adjust the
| | 01:40 | Quantize at the same time.
| | 01:42 | Group 1, I've set up to be flexing beats,
and they're both now in that same group.
| | 01:49 | So, let's give it a try
with maybe an 8th-note Swing.
| | 01:55 | My mistake, but this is good to take a look at.
| | 01:58 | When you go into the Group Settings,
you want to make sure that the Parameter
| | 02:04 | Editing is checked, if you want to be
able to do things like quantize at the same
| | 02:10 | time on all the tracks that are in the group.
| | 02:13 | Let's try this now.
| | 02:15 | Put this into 8th note swing.
| | 02:17 | (music playing)
| | 02:23 | Interesting. And we'll try one more.
| | 02:25 | Maybe we'll try the 8th note E Swing, and you
can see that changed them both together.
| | 02:31 | (music playing)
| | 02:37 | The two loops almost
sound like they're one beat.
| | 02:40 | Now, once you've flexed audio--
I'm going to open up another project.
| | 02:44 | Let me show you one more trick for
being creative with your beat by slicing on
| | 02:50 | transients that only works
after you've flexed the audio.
| | 02:54 | Let's listen first to the raw loop,
AMG, that has drums and synths.
| | 03:00 | Let me highlight this region, set
the locators around it, and solo.
| | 03:04 | (music playing)
| | 03:11 | What I did for the Verse section was I
sliced on all the transients, muted some
| | 03:16 | of the parts out, some of the synthed
parts so we're hearing more of a stripped-
| | 03:20 | down groove of just bass and drums.
| | 03:23 | Let's have a listen.
| | 03:24 | (music playing)
And I'll play a little into the chorus.
| | 03:36 | (music playing)
That's a whole fuller groove.
| | 03:42 | Let me do the slicing now with
the audio during the Chorus section.
| | 03:46 | I'll go back to cycling around that.
| | 03:51 | I'll double-check that Flex had been
enabled so that the transients were
| | 03:55 | detected, click on Flex. Yes, you can see
the thin white lines in the audio file.
| | 04:02 | We've done that step.
| | 04:03 | We used the Rhythmic mode, great for
a complex track with drums, and I'll
| | 04:11 | just disable the view.
| | 04:12 | The transients aren't detected, and now
when I Ctrl+Click on the region header,
| | 04:18 | we see the first item in the
list: Slice at Transient Marker.
| | 04:22 | There are all the slices, and now I can
just get in there, and I went in and I
| | 04:29 | pulled out the slices that had that extra chord.
| | 04:31 | (music playing)
| | 04:34 | I'll demonstrate by muting the slices I
don't want to hear by just hitting the M,
| | 04:40 | for mute, key command.
| | 04:46 | That's how you flex your audio to
quantize, tighten up the feel of your beat, and
| | 04:52 | with the slice-on transients,
make some cool variations.
| | Collapse this transcript |
| Flexing to change project tempo| 00:00 | There is another really
cool aspect of Flex Audio.
| | 00:04 | I can change Logic's tempo in the
transport and have that tempo change
| | 00:08 | automatically applied to all my
audio tracks just by flexing them first.
| | 00:14 | Let's listen to a little of this
track that has a tempo of 86 BPM.
| | 00:19 | (music playing)
| | 00:33 | Okay, that's enough. I have not
provided an exercise file here.
| | 00:37 | I think it will be more fun for you to
open any of your own Logic projects and
| | 00:41 | experience changing that project tempo.
| | 00:43 | Now, if I just change the tempo in the
transport, everything will be out of time.
| | 00:49 | Let's bring it up to a much
faster tempo, like 120 BPM.
| | 00:53 | You can really hear the vocals
will be way off from the beat.
| | 00:56 | I'll start from bar 9.
(music playing)
| | 01:02 | Completely out of time.
| | 01:03 | Let's bring that back to 86 BPM and--
(music playing)
| | 01:10 | Vocals are fine. So, to effectively change
the tempo, all you have to do is flex all your
| | 01:18 | audio tracks first.
| | 01:20 | You can flex all the tracks at once by
throwing them into a group and selecting
| | 01:26 | Flex on any one of them and it will
be applied to all the other tracks.
| | 01:31 | I'll do that quickly now in the mixer
by dragging across all the faders of the
| | 01:36 | audio tracks, up to, there
is where the audio ends.
| | 01:44 | Now they're highlighted
to place them into a group.
| | 01:47 | I'll just click into this pane right
above the Fader and select Group 1.
| | 01:53 | Let's check our group settings, and
why don't I give this group a name?
| | 01:58 | I'll call this ALL, since it's our audio tracks.
| | 02:01 | And I want to make sure this Editing
parameter is enabled. And let's go back out
| | 02:09 | to the Arrange window.
| | 02:11 | And now all I have to do is select
Flex on in individual track and they'll all
| | 02:16 | be placed into that Flex mode, and now
the transients will be detected on all my
| | 02:23 | audio files, just like that.
| | 02:26 | And now, all we have to do is change
the tempo in Logic's transport and the
| | 02:32 | track will play back in time,
including our vocals, at any tempo.
| | 02:36 | Let's try 120. From where we
were listening before, at bar 9.
| | 02:41 | (music playing)
| | 02:47 | Let's really push Logic and try at 130.
| | 02:50 | (music playing)
| | 03:00 | Does anyone else want to
hear it at 160? Here we go.
| | 03:04 | (music playing)
Nah, maybe that's too fast.
| | 03:11 | In any event, that's how easy and quick
it is to change your project tempo after
| | 03:15 | flexing all your tracks.
| | Collapse this transcript |
| Making beats with the different flex modes| 00:00 | Let's look at the unique attributes
of the different Flex modes and their
| | 00:04 | especially cool effects on your beat using
the Slicing, Tempophone, and Speed Flex modes.
| | 00:11 | All of the flex algorithms have subtle but
distinct uses, and my best advice is to experiment.
| | 00:18 | Now, they can be selected either on the
track header in the track list when Flex
| | 00:24 | is enabled, or in the Instrument
Parameter box, which is right below the Region
| | 00:30 | Parameter box, you can
select the Flex mode here as well.
| | 00:36 | In the Instrument Parameter box are a
few really cool parameters with some of
| | 00:42 | the Flex modes that we'll be looking at.
| | 00:45 | Let's start with the Slicing mode.
| | 00:47 | This one allows you to perform flex
editing without any time compression or
| | 00:53 | expansion to the original audio.
| | 00:56 | It's perfect for drum tracks or any
other track where you want to preserve the
| | 01:01 | original attack, release, and
length of the performances.
| | 01:05 | Just like the name suggests,
this mode slices the audio without any time
| | 01:10 | stretching, just moving
the slices around as needed.
| | 01:14 | Let's listen to this, first unflexed,
and then we will play with them.
| | 01:19 | (music playing)
| | 01:25 | And now I will re-enable the Flex in
the Region Parameter box. Both of these
| | 01:30 | tracks are in a group,
| | 01:32 | so when I make an adjustment on
one, it's changing the other one.
| | 01:36 | (music playing)
So, I haven't really done anything yet.
| | 01:40 | I'm going to go into the Instrument
Parameter box, and since we're working with
| | 01:44 | the Slicing mode, we see this
parameter here, Slice Length.
| | 01:50 | Let me bring this down to about
50% and you'll hear what it's doing.
| | 01:55 | (music playing)
| | 02:02 | We're shortening each slice, the length
of it, by a percentage value which can
| | 02:09 | eliminate any pre-attack sounds from
the following slice, or what we are hearing
| | 02:14 | now, is create a very dramatic gated effect.
| | 02:17 | (music playing)
Pinch it a little more, or a little less.
| | 02:30 | This really could create a whole other
section of a track or maybe a whole new song.
| | 02:31 | (music playing)
| | 02:35 | The Rhythmic and Monophonic Flex modes,
I'm going to spend a lot of time with.
| | 02:41 | They are pretty straightforward.
| | 02:42 | Rhythmic is great for rhythm
guitars, keyboard rifts, Apple Loops.
| | 02:48 | Monophonic is great for any solo
vocals or monophonic instruments, playing
| | 02:53 | bass or melody lines.
| | 02:55 | Polyphonic, this is recommended if
you have a full mix, maybe an MP3 or WAV
| | 03:02 | file of a song that you want to flex, then
change your project tempo with, which we did earlier.
| | 03:08 | This time stretches the material
and requires a lot of processing power
| | 03:13 | compared to the others, but it is a very
high sonic quality for complex material
| | 03:20 | like detailed mixes.
| | 03:21 | All right, let's open up another project
and look at the results with Tempophone mode.
| | 03:28 | Let me play this back for you.
| | 03:31 | (music playing)
| | 03:36 | This is Flex with Tempophone, and I will
disable the Flex temporarily so you can
| | 03:42 | hear what it originally sounded like.
| | 03:44 | (music playing)
| | 03:49 | So, the Tempophone mode is creating
this mechanical sound and introducing
| | 03:55 | artifacts when you stretch on the
audio, and anywhere that you are seeing the
| | 04:01 | orange I have pulled
apart with the flex markers.
| | 04:05 | It's really designed to create
these creative, rhythmic special effects.
| | 04:10 | Again, the original beat.
(music playing)
| | 04:15 | Looking at the flex. And anywhere that
you really stretch a lot, you're going to
| | 04:21 | hear the pitched artifacts. Pull that back in.
(music playing)
| | 04:31 | You can have a lot of fun with that mode.
| | 04:35 | It almost sounds like drum and bass
music, but even a little glitchier.
| | 04:40 | There is one more Flex mode
to look at, called Speed Flex.
| | 04:46 | This one actually is time stretching
the material and playing the source
| | 04:50 | material either faster or slower.
| | 04:53 | Because of the pitch shifting involved,
this Flex mode is primarily useful
| | 04:57 | for percussive material, but it can be used on
other material for interesting creative effects.
| | 05:04 | This is just an Apple Loop.
| | 05:06 | Let's have a listen to it without the flex.
| | 05:09 | (music playing)
| | 05:15 | Okay, I'm going to turn on the Speed Flex,
and now, I'm going to Option+Drag the
| | 05:20 | lower right-hand corner and pull
this all the way out to bar 33.
| | 05:25 | (music playing)
| | 05:36 | You remember how it originally sounded.
| | 05:37 | I'll temporarily disable the Flex playback.
| | 05:41 | (music playing)
| | 05:53 | If we didn't have the Speed Flex on,
you could still Option+Drag the lower
| | 05:59 | right-hand corner to be slowing it
down or speeding it up, but it wouldn't be
| | 06:03 | changing pitch, and
probably wouldn't be as smooth.
| | 06:06 | Let's try it again with a different Apple Loop.
| | 06:09 | (music playing)
| | 06:15 | Same thing. I'm going to take this
out of cycle so we can continue on with
| | 06:20 | our playback from this point.
| | 06:21 | Enable speed, and let's drag this
out, holding my Option key in the
| | 06:26 | lower right-hand corner.
| | 06:27 | We've got the bracket-shaped tool, and
let's pull this out to maybe about bar 13.
| | 06:32 | (music playing)
Some really cool possibilities.
| | 06:43 | These different Flex algorithms,
or modes as they're called, are worth
| | 06:49 | experimenting with, for both
practical and very creative effects.
| | Collapse this transcript |
|
|
6. How Logic SwingsMaking groove templates| 00:00 | Groove templates are as classic a tool
in Logic as it gets and at the core of
| | 00:05 | why early die-hard Logic
users became such believers.
| | 00:08 | Logic allows you to take any audio or
MIDI file and create a groove template for
| | 00:15 | quantizing other tracks.
| | 00:16 | I'll make a few groove templates first
from one of my MIDI performances and then
| | 00:22 | from a beat in the project.
| | 00:25 | To create a groove template from, say,
this electric piano part--maybe I thought
| | 00:30 | the feel was just awesome--
| | 00:33 | I highlight the region, then in the Region
Parameter box, right from the Quantize menu,
| | 00:40 | it will be at the bottom of
the list: Make Groove Template.
| | 00:44 | Select that, and now when you look
in the menu, here it is, dotpiano.
| | 00:50 | It's named for the region,
| | 00:52 | so make sure you edit the region
name first if want it to show up a
| | 00:56 | different way on the list.
| | 00:58 | Now, I can quantize any of my other parts
to the exact feel of this piano performance.
| | 01:04 | (music playing)
| | 01:11 | If you have an audio file, of course
when you go to the Region Parameter box,
| | 01:17 | you are not going to see that Quantize
menu until you select Flex, select a Flex
| | 01:23 | mode, your transients get detected, and
now, same process: go to the Quantize
| | 01:29 | menu and make a groove template.
| | 01:33 | There it is, named for Beat 1.
| | 01:37 | What's nice about that is I could take
this other audio loop and quantize it so
| | 01:42 | it will be really tight.
| | 01:45 | The two loops will sound like one, not
because I've quantize them to the same
| | 01:49 | 16th-note swing, but because I have
quantized them to the feel of one beat.
| | 01:56 | Should we give it a try?
| | 01:58 | Go in. I'll have to flex this one
first of course, turn this on, put it to
| | 02:05 | Slicing, and now I can go in
and quantize this one to the beat.
| | 02:09 | Let's hear them first
together before I do that quantize.
| | 02:12 | (music playing)
| | 02:16 | Mute the piano so it's a little easy to
hear the two beats. Actually, let's solo these.
| | 02:22 | (music playing)
| | 02:23 | And now, I will take that second loop
and quantize it to the feel of the first.
| | 02:29 | (music playing) These templates must live
as MIDI files within a song.
| | 02:41 | There is unfortunately no other
physical location on your hard drive where you
| | 02:46 | can point to a folder of,
say, your groove templates.
| | 02:50 | They don't save into your Logic
application support folder like your plugin
| | 02:56 | settings or key commands.
| | 02:59 | What you can do is save the song
containing the groove templates as your default
| | 03:06 | song from this main File menu,
Save As Template. Give it a name.
| | 03:13 | Let's call it Dot's Template.
| | 03:19 | And now, when I'm starting a new
project and I select File > New, I can go to My
| | 03:26 | Templates, and there it is.
| | 03:28 | In that song template, you will have
all of these audio files and MIDI files
| | 03:35 | that were used to create the Groove
templates to tidy up that project, pack the
| | 03:41 | MIDI and audio files into a folder,
maybe use the Hide menu to hide those tracks
| | 03:48 | so that they won't be in view.
| | 03:51 | There are MPC groove templates for
Logic floating around the Internet, but it's
| | 03:56 | easy enough to make your own from
any hardware drum machine as well.
| | 04:00 | Just import those MPC sequences in the
MPC.seq format. They'll appear as MIDI
| | 04:07 | tracks in Logic that you can
highlight and make a Groove template from.
| | 04:11 | And that's how you create your own
Quantize templates called groove templates
| | 04:16 | out of any of your own performances,
hardware drum machine, samples software
| | 04:21 | record, or any other sources of your beat.
| | Collapse this transcript |
| Advanced quantizing| 00:00 | The Region Parameter box is one of
the most powerful collections of tools
| | 00:05 | for modifying MIDI.
| | 00:07 | The Advanced Quantize Parameters are
phenomenal for modifying every nuance of
| | 00:13 | your groove or any groove templates.
| | 00:17 | So, these Swing letters on top in the
main Quantize menu are just different
| | 00:22 | swing options to experiment with.
| | 00:24 | They were actually taken from
the Akai MPC60 drum machine.
| | 00:29 | If you've quantized a track with one
of these swing feels and you like the
| | 00:34 | basic groove of it, you could still affect
that swing further with the Delay parameter.
| | 00:40 | It's kind of like telling your
drummer or your keyboard player, "I love what
| | 00:45 | you're doing, but can you play a little
bit behind the beat, a little sloppier?"
| | 00:50 | In the lower half of the Region
Parameter box, these Advanced Quantize
| | 00:55 | parameters are not visible, again,
unless this disclosure triangle is opened.
| | 01:03 | Be sure to explore the Q-Strength and
Q-Range in particular by setting their
| | 01:09 | levels to the extreme and
seeing how it affects your groove.
| | 01:14 | Q-Strength softens the quantizing,
| | 01:17 | adjusting the amount of quantizing
so it's a little less machine-like.
| | 01:22 | At the default of 99%, quantized notes
are moved to the exact corrected timing.
| | 01:30 | With a 50%, recorded notes are moved
halfway to the corrected position.
| | 01:37 | So, to tighten up the timing of a
performance without losing the groove, you
| | 01:42 | might want to try 90% for a subtle
laid-back feel to your quantizing.
| | 01:47 | Q-Range, this is great for
recordings that have the right groove in a few
| | 01:56 | places, rush, or are too laid back.
| | 01:58 | It will keep the groove and just fix
the problem areas with sloppy notes.
| | 02:04 | So, it's choosing a boundary
for which notes get quantized.
| | 02:07 | The Q-Range value is your timing
threshold. Anything inside or outside the
| | 02:14 | threshold is quantized,
leaving other notes untouched.
| | 02:18 | These positive values quantize
anything inside the range, a negative value
| | 02:23 | quantizing anything outside the threshold.
| | 02:26 | Now Q-Flam, this can be very
creative more than fixing timing.
| | 02:33 | It spreads out notes that fall on the same
timing like a chord, creating a flam effect.
| | 02:39 | I'll take these simple
chords and introduce the Q-Flam.
| | 02:42 | You need to have some value in the
Quantize menu for this to work, which is true
| | 02:48 | for all of the Advanced Quantization parameters.
| | 02:51 | So, here are our chords.
(music playing)
| | 02:56 | That I'm going to introduce the Flam.
Let's take it up to 16th note Flam.
| | 03:01 | (music playing)
| | 03:07 | It's kind of pretty. A positive Q-Flam value
offsets the notes from bottom to top; a negative
| | 03:13 | value goes in the reverse direction.
| | 03:17 | Take it down to the -1/16.
(music playing)
| | 03:25 | It's going from top to bottom now.
| | 03:27 | The last ones to mention are
the Q-Velocity and Q-Length.
| | 03:32 | These are great if you're creating a
groove template from one MIDI performance
| | 03:38 | in the rhythm section maybe, and you
want the other instruments to lock tightly.
| | 03:43 | The 100% Q-Velocity and Q-Length means
your other MIDI performances will follow
| | 03:49 | the exact velocity and note
lengths of the groove template region.
| | 03:55 | The Region Parameter box in Logic
really is the secret of subtle fine-tuning
| | 04:00 | of your groove.
| | Collapse this transcript |
| Beatmapping a live performance| 00:00 | Beat mapping is a great technique
for creating a tempo map when you're
| | 00:05 | working with live musicians who sound
fantastic but maybe didn't play to a click track.
| | 00:11 | It also can help with samples off
a record that might drift in time.
| | 00:15 | While you can always quantize the audio,
there are situations where it's better
| | 00:20 | to have the bar and beat
grid conformed to the audio.
| | 00:25 | So, if you're working with audio
recorded free-form without a click track, like
| | 00:30 | these drums, you may want to
maintain the original human feel.
| | 00:34 | Let's listen to them.
(music playing)
| | 00:43 | So, I'm going to create a tempo map
of the multiple subtle nuance of tempo
| | 00:50 | change that happen because these live
musicians didn't play at one consistent tempo.
| | 00:56 | I'm going to open up the Global Tracks
by clicking on this disclosure triangle.
| | 01:02 | And if the beat mapping track wasn't
in view, just Ctrl+Click on any of the
| | 01:08 | global tracks and add it back in.
| | 01:11 | I'm actually going to pull at the
bottom of the track to make it a little bit
| | 01:15 | bigger, and we can see all of the
parameters within the beat mapping track.
| | 01:20 | Another thing I can do is Ctrl+Click and
take out of view the ones we don't need
| | 01:23 | to be looking at, like the
Signature track and the Marker track.
| | 01:28 | We will need a Tempo, so I will
leave that one, and in fact, I'll make it
| | 01:33 | a little bit bigger.
| | 01:35 | So, with the kick track highlighted,
I could use any of the drums, but the kick
| | 01:40 | is usually the steadiest, and other
drums are pretty well aligned to it.
| | 01:44 | Let's see it a little bigger.
| | 01:47 | Now, I've already detected the
transients, these white lines visible at the
| | 01:53 | bottom of the beat mapping track.
| | 01:55 | But if you don't see those in your
view, select Detect, and we can actually
| | 02:00 | overwrite the ones that are here, and
that will detect the transients for you.
| | 02:05 | It's now analyzing the entire kick track. Done.
| | 02:10 | So, the bottom half of the beat
mapping track is showing you the detected
| | 02:16 | transients, which you can see are
matching the main hits of our kick track.
| | 02:21 | It's also catching some of the
little noises between the kicks.
| | 02:26 | We could thin out the transient
detection to make it easier to view.
| | 02:33 | Now, the top half of the beat mapping
track is mirroring the bar ruler in Logic.
| | 02:41 | This is displaying Logic's time.
| | 02:43 | So, you can see the four beats of the bar.
| | 02:47 | Let's zoom in just a little bit
more on the beat mapping track.
| | 02:52 | Okay, we are ready to beat map.
| | 02:58 | As I listen to the kick--
I can also just do this by eye--
| | 03:02 | I drag the down beat of each of
these bar markings to the actual kick
| | 03:09 | performance that I know
should be on the downbeat.
| | 03:13 | So, I'll just drag that, and this one
should be a downbeat. Being this far
| | 03:21 | zoomed in, if I play back the track,
we're going to quickly go out of view on
| | 03:26 | the screen. And you can see that the tempo in
the Tempo Global track is very subtly changing.
| | 03:34 | You wouldn't even hear it.
| | 03:36 | It's still staying at 115, but these
fractions of the tempo have changed.
| | 03:43 | You just go along and you drag again
from the top half of the beat mapping track
| | 03:50 | to the point in the bottom half of
the beat mapping track that reflects the
| | 03:54 | actual kick performance.
| | 03:56 | You don't necessarily have to do this
for every bar, but you just kind of get
| | 04:03 | enough in there that enough
tempo adjustments will be made.
| | 04:07 | Let's have a listen again.
| | 04:11 | It's not going to sound any different.
(music playing)
| | 04:14 | Go back to the top.
(music playing)
| | 04:21 | See, it's not sounding any
different than when I first played this.
| | 04:24 | We have not done anything
to the kick performance.
| | 04:27 | We're just changing Logic's tempo
to conform to the drum performance.
| | 04:33 | So, we've maintained the
feel of the live drummer.
| | 04:36 | I didn't flex the tracks.
| | 04:38 | I didn't quantize any of them, and
now I can play in additional parts and
| | 04:45 | quantize them, and
they'll locked with the drums.
| | Collapse this transcript |
| Experimenting with your tempo using Varispeed| 00:00 | Varispeed is a great technique for
experimenting with the tempo of your project
| | 00:04 | in literally one step.
| | 00:07 | It lets you quickly try out your
whole project in another tempo.
| | 00:11 | This is a fun opportunity for you to
open any of your own projects and very
| | 00:15 | quickly hear it at another tempo,
so I didn't provide an exercise file.
| | 00:20 | Let's listen to this track at
its original tempo of 88 BPM.
| | 00:24 | (music playing)
| | 00:34 | I'd like to hear it maybe
faster, at 100, even 120 BPM.
| | 00:39 | Here are the steps to using Varispeed.
| | 00:42 | I click-hold into the empty space of
the transport area, so I see the Customized
| | 00:48 | Transport bar and a sheet of
transport menus is now in view.
| | 00:55 | We need to select Varispeed right here
in the middle column, and now it is being
| | 01:01 | added to the Transport bar.
| | 01:03 | Actually, I might save that as my default.
| | 01:06 | Okay. And here are the Varispeed options.
| | 01:12 | I want to click into this view and switch it
so I can see the resulting tempo. There it is.
| | 01:20 | It's right now at 88. Okay, here we go.
| | 01:23 | Let's speed it up to 100 and have a listen.
| | 01:28 | We haven't changed Logic's real tempo, just what
we're going to listen back with the Varispeed on.
| | 01:33 | (music playing)
It's getting a little faster.
| | 01:44 | (music playing)
| | 01:46 | Take the cycle off and let's bump it up to 120.
(music playing)
| | 01:57 | Just like that. The Transport bar area
has turned orange, and Logic's tempo is
| | 02:02 | temporarily updated.
| | 02:04 | Over here on the far right of the
Transport, I can toggle the Varispeed on and
| | 02:09 | off with this button. Just click it, now.
(music playing)
| | 02:12 | We're listening at the original
tempo of 88 BPM. Put it back on.
| | 02:21 | We'll be listening at 120.
(music playing)
| | 02:30 | You can even do this in real time.
(music playing)
| | 02:43 | You can adjust that Range between
50% to 200% of the original tempo.
| | 02:51 | There are a few limits to Varispeed.
| | 02:53 | You cannot bounce a project while in
Varispeed mode, and you really don't want
| | 03:00 | to work for hours with Varispeed enabled,
because it's very taxing on the CPU.
| | 03:06 | That said, it's a great tool for
quickly experimenting with another tempo
| | 03:11 | or maybe the reverse of hearing it faster,
| | 03:14 | maybe you want to rehearse a
difficult passage at a slower tempo.
| | 03:20 | If you decide you prefer the new tempo,
making the permanent tempo change to all
| | 03:25 | your tracks should be performed with
Flex Audio, covered earlier in the course.
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| Fattening your sound with drum replacement/doubling| 00:00 | Let's take a look at how to fatten your
drum sound in Logic with drum replacement.
| | 00:05 | The technique was available for years
in Logic as the Audio to Score feature in
| | 00:10 | the sample editor, which creates
MIDI notes from a selected audio file.
| | 00:14 | The Drum Replacement feature now
does this in potentially one move.
| | 00:19 | Let's listen to these drum
stems from a live drummer.
| | 00:23 | (music playing)
| | 00:28 | It's not the best sonic recording of the
drummer's kick, but I like the part he played.
| | 00:34 | (music playing)
| | 00:36 | The rhythm, timing, feel,
and velocity of the drum hits.
| | 00:39 | (music playing)
| | 00:41 | What I'd like to do is double the
live drummer's sound to fatten it up.
| | 00:47 | Drum Replacement fixes this up pretty fast.
| | 00:50 | I'll highlight the kick. Now from the
Local Track menu, select Drum Replacement.
| | 00:59 | Actually, it's called Drum
Replacement Doublin, and we'll see why.
| | 01:04 | Right now it's analyzing all the
transients of the kick performance and
| | 01:09 | preparing to take us to
our Kicks in the library.
| | 01:14 | So in the dialog, I can choose to
replace the kicks or double them.
| | 01:21 | Maybe I'll actually choose to replace, which
means the live kick recording will be muted.
| | 01:28 | We'll go for it, and what's
happened is Logic did all of this.
| | 01:34 | It created an EXS24 track right
beneath my kick, with all of the hits from the
| | 01:43 | audio performance as MIDI notes, and
the library has opened to a set of kicks
| | 01:51 | that I can now choose from.
| | 01:53 | It's basically opened up any excess
instrument that has kicks on every note.
| | 01:59 | (music playing)
| | 02:00 | Let's play this a little and we can
just try out different kick sounds.
| | 02:03 | (music playing)
I'll solo this.
| | 02:09 | (music playing)
And when I like one, we'll just stay with that.
| | 02:19 | Let's go back into the Drum
Replacement window and take a look at the other
| | 02:25 | parameters I could have adjusted.
| | 02:27 | I'll select the Kick track, unmute it, take
this out of Solo, and select Drum Replacement.
| | 02:37 | The Threshold will determine how
sensitive Logic should be when deciding which
| | 02:44 | hits in the audio file
to create note triggers for.
| | 02:47 | If you need it to be more sensitive, slide it
to the left and more kicks will be detected.
| | 02:55 | This setting will really depend on the
relative level of the recorded drum and
| | 03:00 | how well it's isolated from other
signal sources, and whether it's experiencing
| | 03:05 | any bleed from other
instruments. And that's it.
| | 03:09 | Drum Replacement in Logic is an amazing
creative tool and can be a lifesaver for
| | 03:14 | live drum performances that are
keepers, as far as the feel and swing, that may
| | 03:19 | need a little help with the sound of the drums.
| | Collapse this transcript |
| Using the Transform window for a human drummer feel| 00:00 | The Transform Editor is a classic MIDI
editor in Logic to humanize the feel of your beat.
| | 00:07 | It's one of the most creative tools in
Logic, and is as old school as Logic gets.
| | 00:12 | There is so much you can do here to improve
the feel of your music and solve problems.
| | 00:18 | So I've grabbed our Apple Loop
exercise and added in some straight 8th notes
| | 00:24 | hi-hats to explore the Transform Editor.
| | 00:27 | Let's just bring down the synth part so we
can hear what's going to happen with the hi-hats.
| | 00:32 | (music playing)
| | 00:43 | And those hi-hats are intentionally quite loud.
| | 00:45 | So I'll select Window > Transform,
keep this over here on the side.
| | 00:53 | Once you focus your eye,
this editor really is very easy to use.
| | 00:57 | From the list of presets,
let's start with Humanize.
| | 01:02 | So there are two main sections to
the Transform window, indicated by these
| | 01:10 | shaded rectangle areas.
| | 01:13 | This one on top is the Select Events rectangle.
| | 01:18 | This is where you choose what
type of events you want to affect.
| | 01:23 | In the Humanize preset,
we are adjusting note events.
| | 01:28 | There's Controller Events,
Pitchbend Events, etcetera.
| | 01:33 | We're going to work with the Note Events,
which is what you will be using quite a bit here.
| | 01:37 | In the rectangle below, you can see
that there are three operations selected.
| | 01:44 | This is the area where you select
what you're going to do to the events.
| | 01:49 | So we have to randomize to note position,
the note velocity, and the note length.
| | 01:57 | If you think about it, that's the
scientific experience of how any good
| | 02:01 | musician will create feel in their
performance, whether a drummer or a keyboard
| | 02:06 | player, what have you.
| | 02:08 | So let's Select and Operate,
because we haven't done anything yet.
| | 02:12 | We've just set it up. Not until I hit
Select and Operate will see the results.
| | 02:17 | Look in the piano roll over here to
see how the Note Events move around.
| | 02:24 | And each time I click it,
they're moving a little bit more.
| | 02:27 | So let's do this again, and I'll play it.
| | 02:30 | It's a little subtle to listen to.
| | 02:32 | That's why I brought down the other parts.
| | 02:34 | (music playing)
| | 02:42 | I'll solo it for you.
(music playing)
| | 02:47 | And you can start to hear that the
loudness of certain hits is changing and the
| | 02:54 | actual length of hits, which
you can see visually, is changing.
| | 02:58 | By the way, if you're not so familiar
with the piano roll editor, the color is
| | 03:04 | giving you an indication of the
velocity, which you'll experience is the
| | 03:08 | loudness of the note.
| | 03:10 | Blue is really quiet, and when it gets
loud, it turns into the orange or red range.
| | 03:16 | So you can experiment with all of the
presets, and many of them are self-explanatory.
| | 03:26 | We can reverse what we've done, as far
as randomizing the hi-hat performance, by
| | 03:32 | fixing the velocity.
| | 03:33 | This is really helpful
for maybe a synth bass line.
| | 03:39 | Here we'll do that right now.
| | 03:41 | Select Fixed Velocity, and you can see
for Note Events we're fixing the velocity.
| | 03:46 | Select and Operate, and look now;
they're all the same color, which is of
| | 03:52 | course of the velocity.
| | 03:53 | The same thing with Fixed Note Length, right
here, and Select and Operate cleans right up.
| | 04:04 | Just for fun, we'll try the Double Speed.
Nothing has happened yet until again
| | 04:12 | we Select and Operate.
| | 04:13 | (music playing)
| | 04:17 | We'd have to change in our Arrange window,
I'm just going to shorten that region event
| | 04:22 | so we won't have silence between them.
| | 04:24 | (music playing)
| | 04:27 | And you can knock yourself out and
do that again, et cetera, et cetera.
| | 04:34 | Now you can create your own Transform
Setting at the bottom of the list, with
| | 04:40 | Create Initialized User Set. This is a
little daunting, what it looks like when I
| | 04:45 | first do this, because we're
seeing all possibilities at once.
| | 04:51 | Now, you have to select what
operations you want to do, and again, if I just
| | 04:58 | select Note Events, we'll just take
one that actually already is a
| | 05:04 | Preset, Randomize, set the amount
that you want to randomize the velocity.
| | 05:09 | Play around with this. Maybe there's a
Preset you want to make a few adjustments to.
| | 05:14 | And once you've set up what you want to
do over here in the lower-left, Hide the
| | 05:19 | unused parameters, and now
it's not so scary looking.
| | 05:24 | And now you can just name it whatever
you'd like. Compared to what the
| | 05:29 | preset that was already there,
maybe this is less of a velocity
| | 05:33 | randomization, so I could
call it Random Velocity Less.
| | 05:40 | The Transform Editor is really an
endless creative problem-solving resource in
| | 05:45 | Logic for rhythm, feel, and swing
of your MIDI programming of a beat.
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|
|
7. Dance/Electronic Beat MakingWarping your beat with Space Designer| 00:00 | Let's look at how to warp your beat and
make a pulsing groove with cool rhythmic
| | 00:06 | variations with the Warp
settings in Space Designer.
| | 00:10 | This track is using literally one drum
loop that I copied and transformed with
| | 00:17 | different factory presets in Space Designer.
| | 00:20 | Let's hear that one loop right here.
| | 00:23 | I'll solo the track on top.
| | 00:25 | (music playing)
That's the original beat.
| | 00:30 | So I'll insert Space
Designer from the Reverb folder.
| | 00:38 | And let's go into the Library, and I
will scroll down to the bottom of the
| | 00:45 | presets and go into this folder of
warped effects, all extremely creative.
| | 00:53 | One of the most instantly powerful is
this folder on top, the Drone Tones.
| | 00:58 | Let's keep soloing that one beat, and
I'm just going to switch which presets
| | 01:04 | we're listening to it through.
| | 01:06 | (music playing)
| | 01:22 | I will just bypass Space Designer
to prove all of these musical pitched
| | 01:28 | overtones that are coming out of Space Designer.
| | 01:31 | Right here in the plugin I'm
bypassing it. Here is our beat.
| | 01:35 | Take it out of Bypass. Absolutely amazing.
| | 01:43 | Here's what's happening. The normal
use of the convolution reverb like Space
| | 01:48 | Designer is to provide a wide variety
of reverbs from different room spaces--
| | 01:54 | outdoors, indoors, cathedrals, concert
halls--by making a recording of a room
| | 02:03 | space called an Impulse Response, then
applying that to the track you want to alter.
| | 02:09 | Obviously, I'm simplifying the
process a bit, but that's the general idea.
| | 02:14 | What's happening with the Warp Settings is
that they're using recordings from a synthesizer.
| | 02:21 | Actual AIF files you can view and
listen to from the Finder, or by opening up
| | 02:28 | Space Designer and right here from
this drop down window, Show in Finder.
| | 02:32 | You can see the actual tones that are
being used with these Warp settings.
| | 02:39 | So, what I did to create this
track that we haven't heard yet--
| | 02:44 | let me take that first loop out of solo--
was again, I took that one drum loop
| | 02:49 | and I copied it four or five times.
| | 02:52 | And on each one of the copies, I
added Space Designer and put it through a
| | 02:57 | different one of those presets.
| | 03:00 | So this is what happened to the track
when I did that, and it helped build the
| | 03:05 | foundation of a groove.
| | 03:07 | Let's have a listen.
(music playing)
| | 03:08 | When we get to burrow five, and I
introduce the same drum loop, but it's going
| | 03:20 | through another drone tone
inside of Space Designer. (music playing)
| | 03:24 | We'll just play it through one more.
| | 03:31 | (music playing)
| | 03:40 | Space Designer is way more than a reverb.
| | 03:43 | These Warped plugin settings can
create extremely musical variations of your
| | 03:48 | beat that evolve and complete the
arrangement of a dance track or maybe a
| | 03:54 | suspenseful cinematic interlude.
| | Collapse this transcript |
| Creating turntable and tape-machine-style speed fades| 00:00 | Let's look at how to use Logic
Speed Fades to add hype to your beats.
| | 00:05 | Speed Fades introduce a ramp-up or
down in tempo within an audio region, and the
| | 00:13 | swooshing artifacts of turntable or
tape-machine tricks to accent the build up
| | 00:19 | of a section of your arrangement.
| | 00:21 | Speed Fades are drawn onto the corner of
an audio region just like a tradition fade.
| | 00:29 | Let's have a listen to these
drawn on to these Apple Loops here.
| | 00:34 | Obviously, you can do this on any audio file.
| | 00:37 | (music playing)
| | 00:40 | Right here, coming up, and let's listen
through these ones here at the end of bar 7.
| | 00:49 | They create a nice
transition into the next section. (music playing)
| | 00:54 | (music playing) Oh, let's hear one more,
coming up, slow down, speed up.
| | 01:03 | (music playing) So, I'll copy this first Apple Loop,
the affected drum kit, and we can re-create
| | 01:16 | the effect. I'll just make another track,
and we'll copy this region that doesn't
| | 01:21 | have any fades on it.
| | 01:23 | Drag it over and use our repeat
region, Command+R key command to make
| | 01:29 | a couple of copies.
| | 01:30 | Grab your Fade tool.
| | 01:34 | I hit the Escape key to get my toolbox.
Fade tool right there at the bottom.
| | 01:39 | So, without changing the setting in the
Region Parameter box, let's zoom in a little bit.
| | 01:46 | If I draw on the corner, we're just
going to create a volume fade on that region.
| | 01:52 | But if we come over to the Region
Parameter box and right where it says Fade,
| | 01:59 | click on this, and you can select Slow Down.
| | 02:02 | So we have a couple of other
parameters that we can play with.
| | 02:07 | Right over here is where I can adjust
the numerical value for the amount.
| | 02:14 | As I increase the value, there's an even more
dramatic slope to the fade visible in orange.
| | 02:22 | Then adjust the Fade
Curve beneath, just like that.
| | 02:29 | Let's put one on this next audio file, first
just draw it in. Right now, it's just a fade.
| | 02:36 | If I can over here to the Fade In,
switch that to Speed Up, adjust the amount of
| | 02:43 | it, and adjust the Curve on it.
| | 02:46 | Let's meet the first one.
| | 02:49 | This is going to sound a little bit different.
| | 02:51 | It might sound just as good or better.
| | 02:53 | (music playing)
| | 03:00 | And that's it. While you can't
make Speed Fades on MIDI tracks--the
| | 03:06 | parameter doesn't show.
| | 03:08 | Here's a MIDI track and we
don't see any fade option obviously.
| | 03:14 | The easy fix is to bounce in place the
MIDI file, and then you have an audio file
| | 03:19 | that you can create your
fades on that speed or otherwise.
| | 03:26 | And now, with that bounce, we have our Fade
Options and our Speed Up, Slow Down options.
| | 03:33 | That's how easy it is to make Speed
Fades for cool transitions in your track
| | 03:39 | that build the vibe.
| | Collapse this transcript |
| Packing drum loops into a take folder| 00:00 | The idea of comping--compiling a master
track from the best parts of different
| | 00:05 | live performances--is familiar to any
recording engineer; what may not be so
| | 00:11 | familiar is applying this technique to beats.
| | 00:14 | A Take folder is automatically
created in Logic when you record over an
| | 00:19 | existing audio track.
| | 00:21 | Multiple takes get combined into the
composite track, so you can select the best
| | 00:27 | parts from all the takes.
| | 00:28 | So, if the multiple performances are
recorded, but not into a Take folder, you
| | 00:36 | can pack them afterwards. And when this
gets creative is that we can pack drum
| | 00:42 | loops into a Take folder and cut
between them for a cool break-beat effect.
| | 00:47 | Here are a few drum loops.
| | 00:49 | They are a little busy
playing back all at the same time.
| | 00:52 | Let's hear them quickly.
(music playing)
| | 00:55 | So, let's pack them up. I'll highlight all of
them and from the Region menu, I will scroll down to
| | 01:06 | Folder--but this isn't a
regular folder we're making.
| | 01:09 | We are packing a Take folder.
| | 01:12 | Let's clean up our Arrange window and
I'll just delete those extra tracks we
| | 01:16 | don't need anymore. And now from this
disclosure triangle in the upper left, I'm
| | 01:21 | going to open up, and now we see our
view of the different individual loops
| | 01:26 | packed into a Take folder.
| | 01:28 | (music playing) I'm going to color them so it'll
be easier to see what's going on.
| | 01:35 | This is the other loop, and then
here's the next loop and that loop.
| | 01:44 | So we had four loops. The top track is
going to be our composite track. Watch it
| | 01:52 | update as I swipe between the
different takes. Here we go.
| | 01:56 | (music playing) It's just really endless variations.
A great trick is to click into the take above or
| | 02:25 | below a selection and you can
quickly replace that part of the composite.
| | 02:31 | So, when I click right below, it keeps
that area and selects from another take.
| | 02:36 | (music playing) And that's just about all
you need to know about it.
| | 02:52 | One more detail: extend a take region
selection by dragging the start point to
| | 02:59 | the left or the end point
to the right, just like this.
| | 03:02 | Just dragging on, and you can see, as I
drag out on this particular take, it
| | 03:09 | shortens the take above.
| | 03:14 | Let's meet our work here,
and I'm going to collapse the folder.
| | 03:17 | What I have muted here, I was playing
with the same loops before, and this is
| | 03:22 | what I ended up with.
| | 03:23 | (music playing)
| | 03:35 | When the Take folder is closed--let me
zoom in a little bit for you--you can
| | 03:41 | actually still be selecting between the
different takes by Ctrl+Clicking, just like that.
| | 03:53 | Let's see what I just did.
(music playing)
| | 04:03 | So next time you want to make a break
beat, try packing up a bunch of drum loops
| | 04:08 | and comping between them.
| | Collapse this transcript |
| Sidechaining the compressor with your kick| 00:00 | Side Chaining with the Logic Compressor
and any of your kicks is a cool way to
| | 00:05 | reinforce a pulsing dance track.
| | 00:07 | The Logic Compressor is reliable
plugin for Logic users. A light handed touch
| | 00:13 | on the compression works well, unless
you're going for the effective crushing
| | 00:17 | sound or what we're about to do.
| | 00:20 | Using a side chain inside of
Compressor is based on a simple concept.
| | 00:26 | The level changes of one channel--a
drum groove for example--are applied as a
| | 00:31 | control source to rhythmically trigger
the compressor to affect the sounds of
| | 00:37 | other instruments like Synths or Pads.
| | 00:40 | You can apply this to the whole mix and
put it on your main outs or one keyboard
| | 00:46 | track or subgroups of instruments.
| | 00:49 | It can be too much in the whole mix, so it's
often better to pick a group of instruments.
| | 00:54 | In this example, I'm just
going to use it on a pad.
| | 00:57 | Let's hear the results
first on this Electro-Drift Pad.
| | 01:01 | (music playing) I'll Bypass the compression, just
here in the pad, let's bring it back in.
| | 01:13 | (music playing)
| | 01:18 | So let's rebuild this. What I have
here is the exact same project, but no
| | 01:25 | compressor on the pad. Have a listen.
| | 01:29 | (music playing)
| | 01:33 | The first thing that I'll do is
create a four-on-the-floor kick.
| | 01:37 | Let's open up Ultrabeat for this.
And I'm just going to use the default kit that
| | 01:47 | opens. And in the default pattern here,
we already have a four-on-the-floor kick.
| | 01:55 | (music playing)
| | 01:57 | Then one little adjustment I'm going
to make is I'm going to Ctrl+Click into
| | 02:02 | these numbers and shift it over so that
the kick is actually playing on the and,
| | 02:10 | not the downbeat, to result it in
even more dramatic, rhythmic experience.
| | 02:16 | Closing Ultrabeat.
| | 02:17 | One more step on Ultrabeat.
| | 02:20 | We actually don't want to hear that
kick, especially since it's on the and
| | 02:24 | and not the downbeat.
| | 02:26 | So I'm going to send it to
Bus 1, which has no output.
| | 02:31 | Okay, let's go to our pad and insert
the compressor, and I'll just use the
| | 02:40 | default setting in the compressor
to make the correct adjustments.
| | 02:45 | The definitive parameters to achieve
the pulsing effect we are after is to
| | 02:51 | crank the ratio, and you want to
have a low attack. Anything under 10
| | 02:56 | milliseconds will create the effect.
| | 02:58 | I'm going to bring it all
the way down to 1 millisecond.
| | 03:03 | In the side chain, we want to be
sending that kick coming out of Ultrabeat, so
| | 03:08 | I'm going to select Bus 1.
| | 03:11 | Maybe we'll bring down the Gain so we
don't hear this too much, and as we're
| | 03:16 | listening back, I'll experiment with
the compressor threshold. Here we go.
| | 03:21 | (music playing)
We're already hearing it, bypassing it, back in.
| | 03:37 | If you're wondering about those
bubbling drums on this drum loop, I have added
| | 03:42 | the ring shifter, which can be
a lot of fun. But that's it.
| | 03:46 | The Logic Compressor is a perfect tool
to create this high-energy pulsing dance
| | 03:51 | beat by Side Chaining with a dance kick.
| | 03:55 | (music playing)
| | Collapse this transcript |
| Vocoding in Logic| 00:00 | Let me show you how to Side Chain in
the Logic Evoc-20 Vocoder to reinforce the
| | 00:06 | rhythm and pulse of your beat.
| | 00:09 | There are two vocoders in Logic: the Evoc
20 Polysynth and the Evoc 20 Track Oscillator.
| | 00:18 | Here's the plugin that you can insert
on another synth track, the Evoc 20 Track
| | 00:24 | Oscillator, and what I have muted
for now is the Evoc Synthesizer.
| | 00:31 | This is the Evoc 20 Polysynth.
| | 00:33 | They have a very similar interface.
| | 00:38 | The distinction is that the Evoc 20
Polysynth has oscillators to generate sound
| | 00:45 | and the Evoc 20 Track oscillator is an
effects plugin that you can insert on a
| | 00:50 | software instrument.
| | 00:51 | You'll hear that they have a
very similar sonic quality.
| | 00:55 | Let's use the Evoc 20 Track Oscillator
first, this one that I have inserted on
| | 01:01 | the EXS24 String Pad, and
let's have a listen to the results.
| | 01:08 | (music playing)
| | 01:16 | I'll bypass the vocoder and add it back in.
(music playing)
| | 01:27 | So here's what I have set up.
| | 01:29 | On audio track 1, I have this
beat. Solo it by hitting the S key.
| | 01:34 | (music playing)
| | 01:39 | On the track with the vocoder are EXS24
Strings, I have the Side Chain set to track 1.
| | 01:48 | So when I play it back, you're
listening to the chords chopped and rhythmically
| | 01:53 | playing exactly the same
rhythm as the drumbeat.
| | 01:57 | (music playing)
| | 02:01 | I have a few other beats
loaded on Audio 1, but muted.
| | 02:04 | I'll mute this Trip Hop
beat and bring up another one.
| | 02:09 | (music playing)
| | 02:13 | Here's that beat by itself.
(music playing)
| | 02:17 | And now you can hear it
triggering the same rhythm on our pad.
| | 02:23 | (music playing)
| | 02:25 | Let's hear it going through one more beat.
| | 02:27 | I'll mute this one and
bring up this jungle beat.
| | 02:30 | (music playing)
| | 02:37 | So let's experiment a little bit with
some of these settings inside the vocoder.
| | 02:42 | We'll go back to a simpler-sounding
beat. And the ones that are most dramatic
| | 02:49 | are the Formant Shift, the Formant
Stretch, and extending out this bar, you can
| | 02:54 | watch the display here. Let's have a listen.
| | 02:56 | (music playing)
| | 03:10 | And of course, all of this could be automated.
(music playing)
| | 03:23 | And that's it. What I have muted here is the
Evoc Synthesizer, so let's mute the strings coming
| | 03:32 | out of the EXS24, and hear the same
effect coming out of the Evoc PS Polysynth.
| | 03:39 | (music playing)
Same thing, play with the Formant Stretch.
| | 03:45 | (music playing)
| | 03:50 | Again, the difference here is that
we're using synth sounds generated by the
| | 03:55 | internal oscillators of this synthesizer.
| | 03:58 | (music playing) I'll switch the beat that's
triggering it in the Side Chain.
| | 04:09 | (music playing) And that's how the Logic Vocoder
reinforces the pulse of a beat for a dance
| | 04:20 | track, pop song, or maybe a movie soundtrack.
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ConclusionWhat's next?| 00:00 | Thanks for watching the course.
| | 00:02 | I really enjoyed making it.
| | 00:03 | If you're interested in any of my
other instructional material on Logic,
| | 00:08 | check out my monthly column in Sound
On Sound Magazine and my Hal Leonard
| | 00:14 | Books, The Power in Logic Pro:
| | 00:16 | Songwriting, Composing,
Remixing and Making Beats.
| | 00:19 | The other book is Logic Pro for
Recording Engineers and Producers.
| | 00:25 | Be sure to check out also some of
the other audio courses on lynda.com,
| | 00:30 | including the Foundations of Audio
Series and the iPad Music Production Series.
| | 00:40 | And I hope you will have as much
fun as I do, making beats in Logic.
| | 00:45 |
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