An Absolute Beginners Guide to Logic Pro X | Eddie Grey | Skillshare

An Absolute Beginners Guide to Logic Pro X

Eddie Grey

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9 Lessons (54m)
    • 1. Intro

      2:03
    • 2. Inputs and Outputs

      9:42
    • 3. Key Focus

      5:14
    • 4. Musical Time, Nudge Value, and Snap Mode

      5:40
    • 5. Latency

      3:06
    • 6. Underneath The Hood

      2:31
    • 7. Basic Workflow

      17:16
    • 8. Summing It Up

      3:20
    • 9. BONUS VIDEO - Using Tools

      5:25

About This Class

Do you think you know Logic Pro X? Think again. Watch Eddie Grey (Apple Certified T3 Trainer) dissect this program from the inside out. We guarantee that beginners and novices alike will learn a tremendous amount from this series. Enjoy!!!

Transcripts

1. Intro: Very proud to present an absolute beginners guide to Logic Pro. My name is Eddie Gray. I'm an award winning composer, producer, song writer, and educator out here in LA. And this program has allowed me the opportunity to compose for Emmy award winning shows. I've done films, trailers, all sorts of very, very cool stuff that I would not have been able to do had I not thoroughly learned the program. Also Apple certified. I'm only one of a very few select T3 certified trainers, which means that I can help you really want to help you understand the program in and out. Lots of covers. So I just want to get right into it. The first thing I want to talk about are the five core tenants of the program. So I want you to understand these tenants so that you can operate with efficiency and with clarity. But before we do, it's very important that we set up your preferences so that the program is working at its optimum level. So do me a favor. Go up to Logic Pro Preferences, and go all the way down here to where it says advanced tools. I want to make sure that this is enabled because if it's not check out, what happens? Logic, which you just paid $200 for, is now acting like GarageBand, which was a free app. So make sure this is enabled. So you can take that Lamborghini and instead of driving it all around the parking lot, you can drive it all over the freeway and go crazy. Just a side note, the reason I don't have surround and score enable is because I'm not using those features. So feel free to set this up how you want, but definitely have audio, midi, control surfaces and advanced editing setup for yourself. 2. Inputs and Outputs: Here are the five tenets of this program. Here's what you have to understand. If you want to understand the core of Logic Pro number one, setting up your inputs and your outputs. Number two, key focus, number three, the musical time ruler. And in regards to that, we're talking about bars, beads, divisions and ticks will get into that. After that, we wanna learn the two ways to move regions or events. And that has to do with something called snap mode and nudging. And then finally, we want to get into latency and how to understand it as it's the one setting that you will change the most often. So in terms of setting up your inputs and outputs, this can be found in logic preferences audio. Let me show you the key command to get there a little bit quicker. So go ahead and hit Command comma, and you'll open up your preferences. You wanna go to Audio. And this is where you can find your output and input devices. Now I currently have a different setup because I'm capturing this. But the way you want to do it is set it up so that if you have an interface, it's connected. So I rarely ever turn on input devices unless I'm actually recording something. So if I'm not recording, let's say a microphone for, for a singer or maybe like an acoustic guitar with a microphone or two. This is off. And the reason is this takes energy from your DW And also you can save yourself the headache of like trying to find what's feed backing and yeah, do yourself a favor and just turn that off unless you're actually recording something externally. So that being said, where are you playing this? Are you playing this out of, you know, a scarlet? Are you playing this out of a UAV interface or is it just you and your laptop? So if that's the case, then you wanna set that up to built in output. Ok, so that's the very first thing we like in this, like putting the keys in the ignition of a car, right? You get in the car and every single time, eternal logic, I want you to do the same thing. Command comma, output device, set yourself up depending on where you are, which Studio, your urine, you know, whatever your setup is. Again, that's in the main menu bar, logic, preferences, and audio. Okay, before we get to number two, we have to discuss the, what you're looking at. This is called logics Single Window interface. And it's made up of various parts. At the very top we have what's called the control bar. This has to do with all things transport, play, rewind record. You can see I don't have those here. That's because I customized my control bar and LCD display. So you can set this up however you want to. I just want to explain to you. How I got here. So we've got the control bar which shows me various menus by clicking on various icons. Again, we can remove these icons if we wanted to. I'm on the right side here. We have the apple loop browser. We've got project nodes. Track notes can be very useful. Here we have what's called the list editors and the browsers are a little bit more advance for the scope of this class. But everything is very kind of neat and exactly where it needs to be. Right below the control bar. We have what's called the toolbar. And if you want to access that, you can just click on this icon or you can hit the key command control option command t. These are logics most often used key commands. This is also customizable. Let's say I never really use this split by playhead feature. I can just control, click, customize a toolbar, and create the settings that I want to see on a day-to-day basis. Something that you should know is that you can also save defaults, so you never have to make these decisions again. You can always have this setup and ready to go. Okay, so in the middle here we have the Tracks area. This is where all the tracks live. This is the one window that can't really change. I can kind of get rid of this. I can also get rid of the control bar, but I can't really get rid of the tracks area. This is, this is the most important part of the program. This is where your midi tracks, you're going to live, your audio tracks, your drummer tracks to the left of that we have what's called the track header. And these houses, all of those tracks. So if I open up an audio track, let's say I bring in five tracks, you can see that they exists right here on this side panel. Okay. So the left of that we have what's called the inspector. On the left is the left channel strip inspector, and this corresponds with whichever track is currently highlighted in the track header. So if track number four is highlighted in the track header, you can see that on the left channel strip inspector, that that shows up accordingly. On the right side we have the stereo out or the master channel, so to speak. Above that we have the region Inspector, which is crucial to understanding this program, and then here the track inspector. And there's a couple of other features that can pop in and out as well. If I hit this icon up here, or the key command y, I opened up the library. Now this has to do with instruments and presets, and this is a very deep subject. We can get into that later at some point. And you can close and open up these windows, right? So this is a mole tie window pane interface. I can close both the library by hitting Y and the inspector by hitting I. That gives you a lot more screen real estate. So just be aware of that behavior. Okay, let's move on to the bottom here we have three distinct windows, the mixer key command x. We also have something called smart controls key command B. And this has to do with think of them like preconfigured preset parameters to allow you to control your instruments and your plugins with ys. And then we also have the editors. Now we've got editors for both midi and audio for Mitty, we hit p, which is the piano roll. And then for audio we hit ie. And you can see that it's not showing up on my screen. That's because I currently have a midi track highlighted. Okay? And this has to do with the next component, which we're gonna talk about in a second here. But if I highlight an audio track, you can see that now I've got the audio track editor, the audio file editor, and then Smart Temple, which is an incredible new feature. The logic just released. Let's move on to the right side here we have four different windows. On the far left we have the list editors, key command D. This is where you can find your tempo. You can change key signatures, things of that nature. To the right of that we have the project notes and track notes. So you can write notes specific to the project and note specific to each and every individual track to the right of that key command. O is the Apple loop browser. So here you can look for loops. And we're talking midi loops, audio loops and a drummer loops. We can talk a little bit more about that later. And then finally, the media browsers. Key command F, you have the Project Browser, the Media Browser, and the all files browser. So when we break up the program and we dissected, it's really not that complicated. Again, at the very top control bar handles all your play features and it brings up different windows and it takes away different windows. Below that the toolbar logics most often used Key command. On the far left you've got the library key command y. To the right of that, the inspector, both of these can be closed. At the very bottom, the mixer smart controls the piano roll editor or the audio track editor. And then finally to the right, the loop browser, the media browsers know pads, the list editors. So when we popularly logic, it looks like this. This is what we're used to seeing. And I love that you can resize the various windows to your liking. Once I learned how to look at the program, it completely changed my workflow. So I just wanted to introduce you to how to view the program, how to really see it. So you can have the clarity that you need to move forward. 3. Key Focus: Now I want to talk about key focus. Windows and regions must be selected in order to function as you tell them too. So you can see two different audio regions here. The one on the left is currently not highlighted, which means it's not in key focus. How can you tell? Well, if you look at the region to the right, it has a brighter hue. It looks like it's actually highlighted. So this is the indicator that it's selected. In other words, when something is highlighted by either a blue frame, a white frame, or a colored button, you know that it's in key focus. Let me explain further. At the moment. If you look all along the top of the tracks area, right below the toolbar, you'll see a blue rim that's highlighting the Tracks area. If I open up the mixer key command x, you can now see that same blue frame is around the mixer. Let me open up the loop browser. Same behavior. Every time I hit tab, you can see that the key focus goes from the mixer to the Tracks area. And so the loop browser, on and on and on. Why is this important? Well, let's say I want to make a selection right now. Key focuses currently on the mixer. And normally if key focus was on the tracks area, and I used my arrow keys, I can go up and down. Now, if I mistakenly hit left and right, nothing is going to happen because key focus is around the tracks area. So if I hit tab and then go to the mixer, now if I hit the left and the right arrow's, I get the expected behavior. Now what if I wanted to select a different loop? Again? Move the key focused over to the loop, and then use your Up and Down Arrow menu to preview which ever loop you wanna preview. So key focus works with Windows, and it also works with regions and Midi events. Let me show you. If I want to move this specific region, I have to select it first and then move it accordingly. There functions that allow me to move regions just by using key commands. So same thing if I wanted to move this one. And let's say I'm doing something over here. All I have to do is hit the corresponding key command. And I can do that because it's a key focus of a wanted these to, to move together, I would create a selection and hit that same key command to move those regions. And I'll be showing you that a little bit later. So the thing that you have to understand is that if you want to do anything, the selection has to be highlighted and you have to be intentional with what it is you're trying to do. So let's say we wanted to split this audio region in half. I move the play head over. And then again, I make sure it's in key focus and I hit Command T. And you can see that this audio region has now been split into. Lastly, if I go to an actual midi region and I double-click, this opens up the piano roll key command is P. And same thing here. If I wanted to move this region over to the left or right, I can do so if it's currently selected. In other words, it's in key focus. Same thing here. If I click on the compressor, you'll see that there is a wide rim around the plug-in which indicates scrutiny key focus. If I somehow move, click on something else, you'll see that that changes. Here's another issue. Let's say you have multiple windows open. Maybe I have the mixer open. Here on the side. You can see that these buttons are highlighted and our brightly lit, whereas the ones over here are dimmed out. So hopefully that gives you more clarity and a deeper insight into how the program works. Just remember that Windows and regions must be selected in order to function as you tell them to. This is called key focus. And I believe that it's the heartbeat of this program. I'll see you on the next video. 4. Musical Time, Nudge Value, and Snap Mode: Let's cover musical time. This is absolutely essential to your understanding of any DAW. You have to know the difference between bars, beats, divisions, and ticks. When I first started, I use the acronym BB, DT in order to remember them. Bars, beads, divisions, and takes. Look how easy this is to understand. Within every single bar, there are four beats. So look at bar one and between bar one and B2, you can see there are four lines. The beginning of one, then the second line, that's B2 and B3 and B4. So we have our bars and in our individual beats within those bars. Now what's interesting is within every individual beads, there are 16 divisions. So between b1, b2, there's 16 divisions, b2 and b3, 16, et cetera, et cetera. The last thing you have to conquer is that within every single one of those divisions that are 240 tics. Now the reason this is so important is because when you do master these numbers, you will be a logic ninja. A big part of the game is just editing and learning how to place things together so everything is on time. This is particularly useful because when you do start editing moving regions quantizing, you're going have to rely on to ways to move regions and or Midi events. The first way is called Nudge. This is one of the ways to move regions in the Tracks area. You can find it easily on the toolbar. Okay, and you can just set which value do you want? Bars, beats, divisions, or ticks. The key command so that you're not always mousing around is to hold Option and hit the left and right arrow key. So select the desired nudge value and then use the key command. You can also just use your mouse and click the little arrows up there as well. Okay, the second way to move regions, this is another way to move regions in the Tracks area. Use snap mode when attempting to move regions with precision. So the difference between nudge and snap is that with some mode, you actually use your mouse to grab onto a region or an event and then use the corresponding snap mode. Whereas with nudge, I'm just using the key command. So that's the difference between those two. Let me show you an action. Okay, so simply put, if I click on this region and it's in key focus, might nudge value sets a bar and I hit the key command option right arrow key. You can see I'm moving every single bar. Here's a bar, one bar two bar three, bar four. If I do the same thing and I click on the little arrow up here, we get the same behavior. So that's nudge. Here is snap. On the right-hand side. I set this over. Let's do beat this time. You can see that it's no longer going to move all the way over to the two. It's gonna move to the individual beads inside between bar 12. So I'm going to click and hold it's currently selected. I'm gonna drag to the right. And there's no guesswork. It's doing the math for me. And now I'm on B1, B2, B3, and B4, right? And then that cycle starts over. Now on B2, I'm sorry, B2, B1, B2, B3, B4, et cetera, et cetera. If you learn how to conquer this, how to use it, it's going to absolutely revolutionize your workflow and you will never experience headaches again when it comes to editing and things of that nature. Let's go inside the piano roll, key command P. My piano roll has a snap mode that's independent of the tracks area. Snap mode. So I'm going to set this one to division. And now grab this drag to the right or to the left. You'll notice that the sound is, you can hear the sound every time I select a note. And the reason is, is because I have this midi out selected. So I'm going to hit this note, right? So if you don't like what that feels like or sounds like, you could just turn that off and make your selections and not worry about that. And again, I can use nudge here as well. The nudge value is set to bar. So if I shoot this over to the right, you can see it's moving per bar. Let me move this per division. And then let's say you didn't want to be on the grid. Maybe you just wanted to be a little bit off kilter. Great. Set that the ticks. And let me zoom in and you can see that now are moving ever so slightly. So I'm telling you now this is the most important thing to learn. When you learn this, it will forever change and revolutionize your workflow. 5. Latency: So let's go over latency. This is the one setting that you will be changing in the most off and so really want to get this down and heavy deep rooted understanding. So essentially it's a trade off between two extremes. If I have the buffer size low, then this is a good thing because I'm not gonna have any latency. What is latency mean? If I say the word Hey, and you hear it again, it's like an echo, right? It's almost impossible to record music like this. Ask any vocalist or piano player would have the guitar player, you know, you need real time recording in order to be proficient. So as I was saying, if the number's low, you get no or low latency, which is a good thing. Now the only thing is it comes at a cost. It's a very high demand on your CPU. And so that's a bad thing. We go to the other extreme. If I set the buffer size high, let's say 1024, then what happens is I get a lot of latency. Now this is a bad thing, but what's good about it is that one of the repercussions is that it's, it's very easy on the computer, so it's a good technique to use when you're mixing. So the way that I always remember this was keep it low when recording and keep it high when mixing. So by low I mean 3264256, somewhere in that range. And then high 10-24. And in some other database, you can go a little bit higher. So just be aware the latency can happen at the mixing stage, but it can also happen at the recording stage. Now this is completely out of the scope of this beginner class, but I just wanted to make you aware of the numbers and where you can find this. So if we go back to logic, we go up to the main menu bar, Logic Pro, preferences, audio. This is where you can find your IO buffer size. Now look at what happens at the resulting Lee and see as I change it, you can see I'm currently at my highest setting, which is 1024. When I drop this to say 32, my latency went down significantly, all the way down to 80.7 milliseconds. Now that's a pretty drastic difference compared to the a hundred and nine hundred and thirty three that I just had. So this is really the kind of thing that you're just going to have to play with. As time goes on. The formula is keep it low and recording and high when mixing. Again, keep it low and recording and high when you're mixing. So if you're not recording anything, microphones, guitars, keep it high. But if you are actually going to start recording and go ahead and put it on a low setting. 6. Underneath The Hood: Now you understand the core of the programme. We've got setting up inputs and outputs. Key focus, musical time, ruler, BB, DT. And that relates to how we move regions inside of Logic, snap mode and nudge, and finally, latency. In order to address latency, we have to set our buffer size, among other things. So now that we have that out of the way, we need to cover the important menus. Inside of Logic. There's only two. You've got the preferences, and then you've got the project settings on the right. If I want to access the preferences, I have to go to the main menu bar, logic preferences. And their right here. The project settings, on the other hand, are in File Project Settings here. Now what's the difference? The difference is the menu on the left. Preferences key command, command comma is that this menu has to do with settings that are universal. In other words, from today onward and forever. So any settings that you configure it here will be long-lasting. Whereas Project Settings key command, Option P, have to do with this specific session, the one that I'm working on right now. So here we can do things like play with these smart tempo settings. Have varied metronome if you wish, you can change your sample rate in here and then make a decision if you want everything in your session to be self-contained. So I would definitely always have this enabled so that I don't ever lose a file with one of my logic sessions. The difference between preferences is that this is a global setting and Project Settings is project specific. I highly recommend you go through the Preferences, go through all the project settings and learn as much as you can see, you can better handle your dw and every single session that you are working on. I will see you on the next video. 7. Basic Workflow: What kind of tracks can we use in Logic Pro? We've got blue, green, and yellow, blue tracks or audio tracks. These are either going to be prerecorded loops, samples, one shots, et cetera, or you're actually the one doing the recording. So it was either pre-recorded or you're actually recording on the spot. A vocalist, guitar player, base player, et cetera. We also have midi loops. Now, these two can be prerecorded, but it's not exactly the same. The difference between an audio and midi loop is that miti loops are much more malleable. I can change the nodes, I can change the spacing between the nodes. I can't really do that with audio. There are some exceptions, but generally speaking, audio stays fixed. You're committed to the part and midi. It's still kind of open-ended and you can still change things around. I can change the instrument sounds if I wanted to. And I'll give you some examples. And then at the very end of who we have drummer loops. And this is kind of a category in and of itself. But you'll come to find that these are actually just midi as well. So let me show you these in action. If I open up the loop browser key command, oh, I'll start dragging in various loops. Make sure this is not too loud. Okay, I'll dragon these high hats. And maybe I think this is too fast. So why change the tempo? So I go right up here, and there's two ways to change a numerical value and logic. I can double-click or I can just click and drag down. And I could change the tempo like that. Take a listen. Okay, let me just bump it up a bit. Some of the things we can do, we can actually start to reverse on the spot. So if I wanted to, let's say reverse this little section right here. I'm going to cut that, cut that. And I'll go into the region inspector. And I'll hit reverse. Some other phenomenal things you can do inside of the region spectrum is you can actually take a region and play in half-time, rideable time. Let me show you what I mean. I'm gonna take this year and I'm going to go to where it says speedup and I'm going to say can you play it in half the time? This one? All right. Let's take a listen to this. All right, if I want to repeat this region, so a duplicates, I hit command R. All right, take less. So just within seconds, I'm already up and running. We need drag in a synthesizer. I will repeat this pattern manner to create a cycle region around a selection hit Command, a command you, or just make sure anything isn't key focus, and then it command you. Alright, check it out. Okay, if I wanted to add a slow down effect, I create a fade here. I control click. And I select slowdown. Take a listen. Okay, let's say I wanted to transpose a section. So I want to go higher in pitch while this one is now in key focus. So I'm gonna go to the region inspector and raises up three semitones. Probably not a bad idea to select the fade tool and CRE and appropriate crossfade. You'll notice that it's currently orange. That means that it thinks it's that I want the slowdown effect, but I don't want that. I actually just want a feed. So go ahead and tell it what to do. And so there's a lot of fun things you can do just right out of the gate when working with this program. So this is audio, right? If I wanted to actually record something, I would go to track, create new tracks. And it says appear, Do you want to create a software instrument which is a midi track? Do you want to create an audio track or a drummer track? It's not pay attention to these two for now. So I'm just gonna say audio. I'm going to select the appropriate input. I've got one. And then I'll hit create. Okay, so now I'm ready to record. I just hit our record. Or if you've got your control bar setup appropriately, then you would just record and hit the button from up there. I just try and challenge myself to remember the key commands. So I usually just leave these off site. So that's all the basics of audio. Let's get into midi now. Again, I'm left with a choice to a want to create a green software instrument, blue audio or virtual drummer, yellow. In this case, I'm just gonna go with a software instrument and the meat, just choose something native to logic. I'll choose alchemy. Alright, and mixture the midi controllers, RCA. Yeah. So I'm getting a little bit of latency at this point. And so I'm going to use something called low latency mode. So what's happening is I'm pressing my keyboard and I'm not actually hearing it's like a second or two later. So I'm gonna go up here into the control bar, control-click customized control bar display. And I want to enable low-latency mode. And this is the icon that represents that. Now I click it. And I've got no latency whatsoever. Alright, here's something that I need you to learn today. It's called the quantized mini workflow. All the professionals know it. It's very basic. So I'm ready to record. And I'm going to go through a sequence of events. I'm going to hit our record, play the part in, stop the playback. I'm gonna double-click the region, hit Command a Enqueue for quantize Michelle, you. And then I will repeat the steps. Okay? And notice that my metronome is off, so let me just hit k to enable that the metronome is right here. Also, if you don't want to count in, you can disable that here. Or if you want to get more Settings, Control, click it and you will see a contextual menu that will give you some more options. In fact, that's just not a bad idea to go through the entire interface and control-click everywhere so you can learn more about the program. Alright, back to recording. Okay, so stop the playback. Double-click. Look for the midi events. You can see I played pretty bad, are off the grid. Okay, now this last chord I intentionally played it so was lambda. So it's a little bit kind of, you know, in sequence almost like a strumming a guitar. So the problem is, is if I hit Command a and then q, it will quantize everything including this chord that it was intentionally created to, to flam or to strum. Well, I don't want that. I'm just going to select. And then I'll hit the cue right here, or just the key command queue. Bear in mind my quantization value is currently at 16th notes. This is a great default. So I'm in a queue. And then now you can see everything has been quantized right to the grid. But just because it's quantized to the grid doesn't mean it's right. For example, this one here. It's quantize, but it's not on the actual right. No. So I'm going to use my nurse value and I'm going to click this over to the right. And now it's playing exactly where it needs to play. Let's see what this was. This was playing, right? This one's good too. And what looks good. And then finally my strummed chord. Alright, let's take a listen again. Okay? So the difference between recording it yourself and dragging in a loop looks something like this. We find a beat. So this was already pretty configured ready for me, right? I just dragged it in. All of a sudden, I've got a drum kit with a compressor and an EQ. I can go in here, double-click and start to create my own beat. Starts. Add my own ideas on top of what was already given. So let me just add, maybe let's do some extra snares. Let's see. Like here, maybe I'll add a double. And you get the idea is you have a lot more room to play with. So audio has its merit, midi has its merits. They're kind of all interesting in their own way, and they each have their place in the world of music production. Let me show you a virtual drummer key command, option command N. So I'm going to click on that. You can choose a genre, I'll choose alternative with c. What happens create and logic will create a part for me. Check it out. Now what's great about this is I can take this a step further by double-clicking. I get the drummer settings. And now I'm going to tell this drummer, Maybe can you lay back off the complexity and play this little simpler? So I'm gonna move this to the left of this x, y pad. And I'll say just as loud but just not as complex. And let's see what adjustments this drummer makes. Well, that sounds pretty cool. So here are just some of the things that you can do. And believe me, there's a lot more, but I just kinda want to get you started today. So now we're going to start decorating the Christmas tree. So we've got this great drummer. But I want him to sound more intense and just more interesting. So I'm gonna take this plug-in. It's called a multiprocessor, and it already came inside of the virtual drummer. So I'm just going to go ahead and find a preset that really works. Try this one. So listen to the difference between this and this. So starts to add effects in order to decorate that Christmas tree and create something bigger than what was originally provided like for example, here on track number one, I'm going to add a little bit of distortion. This is one of my favorite things to get something to cut through the mics. So I just had an overdrive. Check it out. On top of that. In the left channel strip Inspector, right underneath. You'll notice that it kinda gets a little bit highlighted and I'm going to click there, and I will add a delay. The logic stereo delay is pretty great, really easy to control. See what this sounds like. So this institute before and here's after. Okay? So hopefully now you're feeling a little bit better about creating your own material. You can use loops that have been prerecorded. You can record your own stuff live in the flesh. You can use many loops that had been pre-recorded or you can play your own parts. And then of course you can use the virtual drummer. And something I didn't mention about these drummers is that they have a lot of great genres and they also have an electronic drummer and a hip hop drummer that are pretty great as well. Okay, I'll see you on the next video. 8. Summing It Up: Ok, let's wrap this up. I'm gonna save this now and go up to File. Save As I'll call this, whatever the project is. And then I'll save it in the appropriate folder. Okay. All right. And then you can access this at any time. I recommend you back up your files as well. And then when we're ready to bounce of files, we can listen back, maybe hear it in our cars or what have you. Then you wanna go to File, Bounce the project. So you'll notice you have a new dialog window and just for now, we're going to bounce an MP3. Make sure you do it at the highest quality. Again, I'll hit OK. I'll send this to my desktop. Just hit bounce. Okay, great. And then when I go to my actual desktop, you can see that it's right here. So looking ahead and thinking about what are some potential issues or problems that can come up as you're learning the program and Azure mastering the intricacies. First and foremost, I'm just gonna say that eight out of ten times Beginners, they just don't have their inputs and output sets. So if you just kind of stick to the details of the program, then I feel like that's a really strong basis to stand on. Some other things that can come up that you may not think about. Channels can be muted. Like if you had M C that mutes things. You can see that the drummer track is now dimmed. And there are some other kinda strange situations that can come up like that. My recommendation is that you take this master volume off. I think it's kind of confusing and almost contradictory. I don't want to get into the details, but essentially, this is a master volume that corresponds with the master volume here and it should really never be touched anyway, as it will affect our levels if we ever bounced anything so far you oh, just customized control bar display and remove that just to avoid any confusion. What else? What other kinds of things can come up? I bet latency is going to be an issue. So please set your low-latency mode on your control bar so you can fight that and also just be aware of the buffer size. Low when recording and high when mixing. I currently have a course I'll call maximize your desktop and laptop CPU performance, and that is free. And I believe that that also can help you dramatically. Thank you so much for your time. Thank you for the opportunity to serve you and show you this amazing program that is giving me so much. I wish you the best anything you need, please reach out. Have a great day, have a great week, a great month, and a great year. Thank you so much. 9. BONUS VIDEO - Using Tools: Here's another quote. Music production is a lot like building a house. You need the right tool for the right job. Let's start talking about the various cursor tools and something called the tool menu, which is going to help you be more efficient. Let's drag something in. I'm gonna grab this here, drag it into bar seven. If I wanted to create a fade, I would have to drag my mouse hover over the cursor menu, click and then find the appropriate tool to create a fade. Once I click that, you'll notice that what is now the pointer tool becomes the feed tool. And now I can perform that action. So how do I create a fade while you can just create a selection. So click and hold drag to the left. Or you can hover your mouse the very top of any region, left or right side and create a fade like that. Related to that is a crossfade. How do I create a cross fade? If I duplicate this region? Command R, and I use that same tool. So go up here, select fade tool, and then you hover your mouse. In between both those audio regions. You get that symbol and you click and hold and move left. And so you might be asking, what's the little symbol on the right? Well, believe it or not, you have to tools available to you at all times. So think of this like your left and your right arm. On the right side. This is called your command click tool, secondary tool. So let's say we wanted to access the scissor tool along with the pointer tool. So every time I'm in my default behavior of gut the pointer tool, and as soon as I hold command, now I can click and start splicing aware. To undo any actions to say Command Z. One of my favorite behaviors is, let's say I have the zoom tool selected and I make a selection. Maybe make another one. Let's say create an edit. And then I use that same zoom tool to go back, right? Think of it like a navigation snapshot. I took 12, did the work, and then I just click and click. And now back to the original presentation. Will I still have the zoom tool selected? So if I want to go back to my default behavior to sit Tt, and what happens is that zoom tool converts back to the pointer tool. Let's make something clear that you don't always have to drag over here and click and change your tools. You can hit tea and bring the tool menu to you. So that's something else that's available to you. And what's interesting about this is that the tool menu contains key commands. So if I hit em, for example, now I have the MMU tool available to me. So if I wanted a mu, let's say this section right here, just click and you can see that it's dimmed out. Again. Want to go back to the usual pointer tool, TT. So we've got the primary cursor tool, and then we have the secondary cursor tool called the command click tool. Think of them like your left and your right hand. We won't be going over key commands, but something that is interesting is menu commands, let's say wanted to perform an action to this audio region here. Well, for wasn't sure where to look where to go. I can most likely count on the menu bar, go into edit. And let's say I wanted to move this to the recorded position to the play head. You can start getting an idea of some of the things you can do inside of the Edit menu. And also, if I control click this. I now have some more options. Just remember there are three ways to edit. You can use the cursor tools and or the tool menu under the key command for that is T. And the tool menu comes to you. You can use the menu commands which are up at the top, or you can use key commands. I highly recommend you take the time to learn at least ten to 20 of these, as it'll greatly expedite the process of making music. Thank you so much, chairs.