By Larry Crane | Friday, September 25, 2015
From starting my first band 30 years ago to running a professional studio since 1997, I’ve spent a lot of days in recording studios. And I’ve learned that artists in the studio need a lot of support.
A great engineer or producer is always anticipating clients’ needs and helping to keep them productive. Sometimes you even need to think like a detective or archaeologist to find answers to difficult problems.
That’s what I did for one rock group that “lost” an important drum track for the album they’d recorded. With the recording tricks I share in my video series Music Production Secrets, I was able to help them—and produce a great, usable mix.
It just took a little studio magic …
By Starshine Roshell | Friday, March 6, 2015
A music producer based in California’s Bay Area, Brian Lee White does sound design for film, TV, and games—including Halo.
He’s taught more than a dozen courses at lynda.com, from the beginner-level Up and Running with Autotune 8 to the intermediate Producing Music for Advertisements to the advanced Mixing a Rock Song in Pro Tools.
By Scott Fegette | Wednesday, February 4, 2015
Logic Pro X 10.1 may be just an incremental upgrade for Apple’s flagship digital audio workstation, but underneath the hood it feels like a full release in itself.
Apple claims the Logic Pro X 10.1 update is focused on EDM (electronic dance music) and hip-hop productions, but the new beat-generation tools, updated sounds and instruments, and streamlined editing features have something to offer no matter what type of music you’re making.
Let’s take a look at the great new features in Logic Pro X.
By Garrick Chow | Sunday, November 23, 2014
There’s no more personal and heartfelt gift you can give someone than a song you wrote and recorded just for them.
I’ve shown you how to record a song in GarageBand. The next step is to make your recorded tracks sound good—both by themselves and when they’re all mixed together.
There are some really useful tools for cleaning up your less-than-perfect takes and mixing in GarageBand. Let me know you.
By Joe Randeen | Thursday, March 11, 2010
I first got to know Scott a number of months back when he and I started to work out the details of the Logic Pro 9 Essential Training course. Up until the time that he came out to our studios, we had never met in person. Phone, instant message, and email was it.
During this time, it quickly became apparent that Scott was not new to training. In fact, he’s been teaching on audio/DAW subjects for 10 years now. He’s extremely adept at conveying the essentials as well as putting them into practical applications.
By Joe Randeen | Wednesday, February 10, 2010
Scott Hirsch working on his upcoming title in a lynda.com recording booth.
Last week we had the pleasure of Scott Hirsch joining us in the lynda.com studio to record a Logic Pro 9 course. Scott is a sound designer, editor and mixer for film and video, musician, and audio engineer. His credits include audio post production work on films like the Sundance Film Festival 2010 short The Visitors, and recording, mixing, composing, and playing with bands such as The Family Band, Hiss Golden Messanger, and The Amateurs. In addition, he’s taught at audio engineering schools and is a certified Digidesign and Apple audio instructor and authored the book, Pro Tools 7 Session Secrets: Professional Recipes for High-Octane Results (Wiley), Scott truly has passion for audio/music and that clearly came across when I sat down and talked to him about his work.
Scott and I shared about that moment in our history when we knew first realized what we wanted to do in life.
“The moment I overdubbed my first track, I knew I was hooked,” said Scott. For me it was very similar: It was the first time I tracked in the studio. Scott and I both cut our teeth on tape. It’s wild to think how different it would have been, had we access to the power of tools like Logic, as we do today. Not only is Logic a powerful DAW (digital audio workstation) but it is an amazing song creation tool.
Scott is a very talented instructor and I anticipate that there will be quite a number of those moments from members watching this upcoming tutorial, in addition to a few potential ah-ha! moments from those already familiar with Logic. His nine-plus years of teaching digital audio have brought indispensable knowledge and boundless creativity to his students. I found his enthusiasm and knowledge infectious. When I got home after our talk, I couldn’t help but fire up Logic and take a look at some of topics he had been recording that day in the studio.
Keep an eye open for Scott’s new titles coming out soon.
Senior Training Producer Kirk Werner, Scott Hirsch, Acquisitions Manager/Audio Joe Randeen.
By Joe Randeen | Sunday, January 17, 2010
A common way for audio engineers to route effects is via the track’s send output into a common FX return channel. This send-return relationship allows the mixer to share a single effect with multiple tracks, especially ideal for time-based effects like reverb and delay. Plus, it saves on DSP by using fewer plug-ins and sharing effects. Historically, when people wanted to add reverb or echo effects to their mix, they would generally do so by having some sort of echo chamber or a room where they would play a track out of a speaker and then record it at the other end with a microphone.
Using Pro Tools 8 in the studio.
From the course Pro Tools 8: Mixing and Mastering, Brian White shows us how to use this send-return relationship in conjunction with FX in chapter 2, Working with the Pro Tools Mixer > Using sends and creating FX returns. This is a critical skill for Pro Tools users and Brian clearly explains how to master it, including how to best configure the effect plug-in, and how to listen to a preview to make sure the mix is what you want.
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