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Logic Pro 9 Essential Training

Working with takes recording and comping


From:

Logic Pro 9 Essential Training

with Scott Hirsch

Video: Working with takes recording and comping

When you record, it's very common to record more than one try or take of a performance. Each time you record over a region on a track Logic saves the information and later lets you edit the best of all the takes into one final composite or comp. It's like a "best of" all the recordings. This process is known in the audio world is comping takes. This video we will go over how to master Quick Swipe comping in Logic Pro. In this project we see the vocal track looks a little different than what we're used to. It has a disclosure triangle on the left, another pulldown menu on the right, and a toggle button next to that.
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  1. 1m 55s
    1. Welcome
      50s
    2. Using the exercise files
      1m 5s
  2. 17m 39s
    1. Installing the software
      3m 19s
    2. Launching Logic for the first time, using the templates
      5m 15s
    3. Understanding audio interfaces
      3m 35s
    4. Understanding MIDI interfaces
      5m 30s
  3. 32m 15s
    1. Getting to know the Arrange window
      5m 15s
    2. Using the many windows of Logic
      4m 13s
    3. Creating your own screensets
      2m 23s
    4. Using the Transport window and controlling playback
      4m 54s
    5. Using the Toolbox
      2m 37s
    6. Naming tracks and regions
      3m 27s
    7. Learning useful and custom key commands
      5m 18s
    8. Saving and going mobile with your project
      4m 8s
  4. 41m 41s
    1. Setting up for recording
      5m 43s
    2. Understanding Metronome settings or the click track
      4m 7s
    3. Understanding tempo
      4m 37s
    4. Recording live instruments and vocals using multitrack recording
      3m 56s
    5. Playing with guitar madness: Amp design
      5m 13s
    6. Playing with guitar madness: Pedal board
      4m 5s
    7. Working with takes recording and comping
      4m 51s
    8. Punching in to replace bad audio
      4m 51s
    9. Using Varispeed to create an old tape machine sound
      4m 18s
  5. 1h 8m
    1. Understanding MIDI
      4m 41s
    2. Using the Logic synth instruments
      7m 4s
    3. Working with the emulator instruments
      5m 23s
    4. Using the EXS24 sampler
      3m 7s
    5. Building tracks with Ultrabeat
      5m 31s
    6. Using channel strips to select a virtual sound
      5m 29s
    7. Understanding the basics of MIDI recording
      4m 38s
    8. Learning how to use MIDI with Cycle Record
      4m 9s
    9. Using Logic's step input
      4m 3s
    10. Mastering quantization
      6m 18s
    11. Working in the Piano Scroll window
      5m 33s
    12. Editing controller messages with Hyper View
      4m 8s
    13. Working with the Hyper Editor
      5m 29s
    14. Working with the Events List
      3m 20s
  6. 29m 49s
    1. Importing prerecorded audio into Logic
      4m 5s
    2. Exploring Apple Loops
      4m 40s
    3. Creating your own Apple Loop
      4m 21s
    4. Conforming tempo, region to session, or session to region
      3m 51s
    5. Using the new Flex Time feature
      5m 17s
    6. Beat mapping your project
      4m 41s
    7. Importing elements from project to project
      2m 54s
  7. 24m 15s
    1. Understanding the basic editing techniques in the Arrange window
      7m 5s
    2. Tips for editing and arranging
      3m 21s
    3. Editing and merging regions in the Arrange window
      3m 45s
    4. Mastering fades for audio region arranging
      4m 58s
    5. Fixing and morphing sound with the Sample Editor
      5m 6s
  8. 11m 12s
    1. Working with notes and composing in the Score Editor
      4m 26s
    2. Editing notes, keys, and time signatures
      3m 35s
    3. Creating scores and lead sheets for musicians
      3m 11s
  9. 9m 8s
    1. Setting up for a sync video project
      4m 50s
    2. Scoring music to video
      4m 18s
  10. 56m 32s
    1. Mixing philosophies and five tools for mixing
      3m 37s
    2. Setting up for a mix
      5m 11s
    3. Directing audio traffic with fader levels
      5m 7s
    4. Exploring Logic's panning features
      4m 37s
    5. Exploring inserts: Using EQ as a mix tool
      6m 51s
    6. Exploring inserts: Using compression as a mix tool
      5m 38s
    7. Using advanced signal flow with aux and send tracks
      3m 12s
    8. Using advanced signal flow with time-based FX to create space in your mix
      3m 44s
    9. Using automation to create dynamic mixes
      6m 22s
    10. Giving your mix life with automation
      2m 45s
    11. Optimizing performance with freeze tracks
      4m 42s
    12. Using channel strips for audio processing
      4m 46s
  11. 16m 7s
    1. Understanding surround hardware requirements
      4m 5s
    2. Building surround mixing workflows
      6m 17s
    3. Using the surround panner
      5m 45s
  12. 15m 48s
    1. Bouncing down your song
      5m 31s
    2. Understanding why alt mixes are a good idea
      2m 22s
    3. Exploring Logic's export options
      3m 37s
    4. Mastering your own Logic project
      4m 18s
  13. 37s
    1. Goodbye
      37s

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Logic Pro 9 Essential Training
5h 25m Beginner Mar 09, 2010

Viewers: in countries Watching now:

In Logic Pro 9 Essential Training, Scott Hirsch explains how to harness the power and flexibility of Logic Pro, Apple’s popular songwriting software, to record, edit, and mix music. The course includes instruction on how to compose in Logic Pro, and spend more time being creative and less time dealing with technical uncertainties. Scott focuses on setting up a workspace, recording with both live performers and digital instruments, editing and arranging, and mixing and mastering a composition. Exercise files accompany the course.

Topics include:
  • Navigating the Logic Pro interface
  • Setting up for recording
  • Enabling multiple inputs for a live performance
  • Exploring Logic's arsenal of virtual instruments
  • Working with powerful MIDI editors and sequencers
  • Beatmapping, varispeed, and tempo adjustment in the timeline
  • Creating and re-using Apple loops
  • Editing music: Moving and snapping regions, cutting and looping
  • Transcribing a score and creating lead sheets in the Score Editor
  • Syncing with video
  • Mixing audio and creating dynamic mixes
  • Understanding surround sound requirements
  • Exporting a song from Logic Pro
Subjects:
Audio + Music DAWs
Software:
Logic Pro
Author:
Scott Hirsch

Working with takes recording and comping

When you record, it's very common to record more than one try or take of a performance. Each time you record over a region on a track Logic saves the information and later lets you edit the best of all the takes into one final composite or comp. It's like a "best of" all the recordings. This process is known in the audio world is comping takes. This video we will go over how to master Quick Swipe comping in Logic Pro. In this project we see the vocal track looks a little different than what we're used to. It has a disclosure triangle on the left, another pulldown menu on the right, and a toggle button next to that.

All of these icons tell us that this is a region that includes multiple takes or to be more technical, it is a packed take folder. You can see the contents of the packed take folder by opening the disclosure triangle on the left. You can see here that it's made up of three takes. At the very top, this region is the current comp. It's what we hear when we hit Play. The second highest is the most recent full take. Then we have the one before that, and finally we have first take we did when we started recording.

To simplify our life, let's color- code these using the Color palette. Go up to the Color palette and let's color code the first take as red, the second take as green, and the first take as yellow. This will help us later as we comp these takes together. Let's make sure Quick Swipe Comping is on by clicking the button on the top right of the region. When the button is filled in, it's on. Once you are in Quick Swipe, you'll see a special tool as you go down into the regions.

It looks like an I-beam. This is our Quick Swipe tool. So we'll use this to choose the parts of the takes we like. It turns out we like the red take all the way up into the chorus, which is this area here. At that point we want to switchover to the green take. So click into the green region up until about half the chorus. At that point we decided that we like the yellow take. Let me go down to the yellow take and take it from there on out to the end of the chorus. Notice as I am doing this, the top region reveals the different takes that we've decided on.

So we're going to hear red up until the chorus, green at the beginning of the chorus, and yellow after that point and then we'll go back to red. Using Quick Swipe like this is an easy way to make comps without a lot of cutting and pasting and worrying about accidentally moving your takes out of sync. We don't have to make any edits to these regions. We just simply dragged with the I-beam cursor and choose the areas of each take that we wanted and Logic automatically made a comp on the top region for us. Let's listen to our changes. (Music playing.) (Man singing: Just lay me down in the old churchyard?) We are first hearing the red take.

(Music playing.) And then it switches over to the green take. (Man singing: ?rain on you. Like you're too wet to be dreaming?) (Man singing: Drink their blood and when they call on you?) Then at the end of the chorus we get the yellow take. (Man singing: Rise up like the moon, like the moon, like the moon?) If you listen carefully you might have heard that between the green and yellow comps we split the word "moon." We can always go back in and trim this with our Quick Swipe tool.

Let's listen to that. (Music playing.) (Man singing: Like the moon, like the moon, like the moon?) Perfect! When we are done comping, we can go down to the pulldown menu on the right to see a list of options here. We may want to choose Export Active Comp to New Track. This will take the comp we've made, leave it here, and put on a new track. When I do this, you can go down and see the comp has been put on a new audio track for us. Logic also includes crossfade between all the takes. You alternatively choose Move Active Comp to New Track from this pulldown menu.

This removes our current comp from this track and puts it on another track. Now it's gone from here, but the whole thing is moved down here to a new track. Let's hit Command+Z to undo this. If you're really ready to commit the work you've done with comping and would rather not have any option to redo your comp later, you can go up to this menu again and choose Flatten and Merge. This takes the comp work you've done and creates a new composite file on your hard drive, but you lose access to your original edits. You should really be sure you want to do this.

Finally, it's also possible at anytime to unpack all of your takes to their own tracks. Choose Unpack to New Tracks to do this. This takes all three takes and puts them on their own separate tracks without any comps. This might be useful if you decide that you want to use the takes to double or triple a part instead of making a comp out of them. Quick Swipe Comping is yet another reason why working on Logic is quick efficient and very powerful. Now that you understand how it works you're ready to comp like a pro.

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