Getting Started with Logic Live Loops in Logic Pro X | Ben Rowlands | Skillshare

Getting Started with Logic Live Loops in Logic Pro X

Ben Rowlands, Professional Musician and YouTuber

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20 Lessons (1h 36m) View My Notes
    • 1. Welcome to the Class!

      0:36
    • 2. Basic Overview of Live Loops

      8:23
    • 3. Live Loops Grid Layout

      2:53
    • 4. Creating and Importing Cells

      6:38
    • 5. Arranging a Performance

      4:16
    • 6. Quantise Start

      4:18
    • 7. Cell Playback Modes

      5:55
    • 8. Play From - Start Postion

      3:21
    • 9. Cell and Loop Lengths

      3:03
    • 10. Scene Trigger and Cell Queue

      3:03
    • 11. Pattern Cells

      2:47
    • 12. Step Sequencer Explained Brand New feature from Logic 10

      13:10
    • 13. MIDI Cells and Automation

      6:40
    • 14. Record Quantize

      1:50
    • 15. Drummer Cells

      4:14
    • 16. Logic Remote Setup and Introduction

      8:33
    • 17. Logic Remote - Remix FX

      9:26
    • 18. Recording Performance to Track View

      5:46
    • 19. Enabling Playback

      0:35
    • 20. Thank You!

      0:56

About This Class

Logic Pro X has been redefined in the latest Logic 10.5 Update! A lot has changed!! The brand new Live Loops Feature has changed how you can produce and perform music inside of Logic Pro X! Gone are the days of music recording being boring! Logic Live Loops allows you to get hands on with your Logic Project. From sketching ideas in the studio, to building a comprehensive live performance! Logic has been brought into the modern day! 

Right now Logic Live Loops is underrated, too many people are stuck in the old way of working inside of Logic Pro X that they have been using for years! If you want to move forward with your music production, and get the most out of the latest features inside of Logic Pro X. Then learning and using Logic Live Loops is the answer!

In this course, I will take you through the various features inside of Logic Live Loops! We will even take a look at the other really cool Logic 10.5 update features! Such as exploring the brand new Step Sequencer, Remix FX and the recently update Logic Remote! Which allows you to control Logic Pro X with your iPhone or iPad!! YES it's as cool as it sounds!! 

Transcripts

1. Welcome to the Class!: Hey, what's up? Hope you having a fantastic day or Welcome to my logic live loops, cause now in this course we are going to take a look at them. Brand new logic, live loops create inside of the logic 10.5 up. Say now I'm really excited by this brand new feature inside of Logic Pro website for the last few years, I've actually been primarily using Ableton Live because of the loops and the Session View in the eclipse that you can use for live performance. But recently, obviously, logic added basically all of the features of Ableton into the logic programming software. So I'm really excited to deep dive further into this with you and show you how to use it. 2. Basic Overview of Live Loops: Right, so let's first kick things off with a sort of getting started intro into logic live lives. I'm gonna give you a basic overview of the software, explained how it's laid out and how it works. Now, logic live loops is a brand new workspace inside of Logic, 10.5 updates. So make sure you have definitely updated your logic probe software to version 10.5 or even higher. So you definitely have all of these features I am talking about in this course. So this is the logic live loops grid, and it's a very, very colorful experience. This is a preset that is provided by logic themselves in the way we access the presets is super symbols. So I'll just close this out. Now I won't save it in a preset only save anything. What I'll do is just click File New from template. And then here we have new project, recent, anything that you've done, any user sort of template projects down here. And what we're actually going to access is the Started greets. Now the startup grids are a bunch of pre provided lively project templates that have been given to us by logic. And all of them are pretty awesome. They all sound cool and they all give you a great understanding of what you could actually do inside of this workspace. Now the one I have downloaded and I'm going to use throughout these course is the skyline heat. I can just download whichever ones you want to use if you want to experiment with any of the other ones. But this is the one I will be demonstrating throughout this course. So we just simply double-tap on it and it will boots up. And then we will see the template. So now we have blew it up, the logic live loops template. Let me explain how it works. So the weight logic livelihoods works is and it's slightly different, kinda similar to able to live. So if you've ever used a with some life, you will have a little bit of familiarity with how this operates. So inside of Logic live loops, we have these little colorful squares and these are called cells. Now, each cell can contain either midi or audio information. So this means we can midi tracks in place. I'm in on a midi keyboard. We can import audio samples that we've made beforehand, apple loops. Or we could even record audio such as like a guitar vocal part live into the cells. Now on each of these cells, like I just said, we can drag and drop prerecorded samples or create them on the fly with media audio inside of Logic live loops in the way we create a cell on the fly is just by record. I'm in the track. So I'll go to a midi tracks or record on this track down here. And you can see the blank cells suddenly have a little record light on them. Then we can just click on that and it will generate a brand new cell that we can record some information into. So once we have imported or create a cell, you can see finished cell has a little sort of play button on it so we can stop and start each of these cells during our performance just by simply hovering over it with the mouse or even using the logic remote to trigger the scenes. So what we're gonna do is I'm just going to click Play and you can see it launches our snare drum. And then I can hover over again. And then I can stop the cell if I want to. Now the way these cells are laid out is they're laid out in sort of horizontal scenes. Now, each scene is basically a song structure. So for example, seeing one could be a verse, seem to be a pre-chorus in S3. Be the actual chorus. And instead of individually just lodging all the clips like this, clicking on all of them and hoping that they will start at the exact same time. What we can actually do is we can launch a scene. So the way we do a scene launch is really, really simple. We head down to the bottom of our logic projects, right down to the bottom here. And you can see we have these numbers from one through 211. Now, each of these numbers is a scene. So you can see when I hover over, seeing three sorted casts a little bit of a shadow over all of the cells inside of the scenes. That means I can launch all of these cells when I click on seeing three. So let's check this out. So you just saw there that I did a scene launch which basically played all of the cells at the exact same time, essentially like a play button. And we can do this in switch between scenes throughout our performance. So we could dive over from three to one, so one to five, and so on and so forth. Now one of my favorite features about logic live loops is how we can use logic live loops workspace in conjunction with the more traditional logic timeline. So as you can see right now inside of my logic produce software or we can see is our live loops now we can no longer see the traditional workspace for the trucks view inside of Logic, which he might be panicking. You know, everything you have they deleted it. Is it gone forever? Well, it has not. We can actually use both of them together. And the way we do that is you can see up here we have our live loops grid view, and then we also have our trucks view. Now what we could do is we can just click on it, it show and hide. And you can see both of them are next to each other parallel. You see we've got this one here and we have this one over here so we can close out the live loops if we don't want to do any live looping and we just want to do more traditional workflow inside of logic can do that perfectly fine, or we can work with both of them simultaneously, which is pretty, pretty cool. Now one thing you need to establish a knowledge of when you're working in live loops is using the cycle mode. So if you've ever worked inside of Logic products before, inside of the track view, you may have a little bit of understanding of the cycle mode over here. So if we just close out the live loop scripts by clicking the Show Hide button and we zoom in. Let's just zoom in. You can see we have this sort of loop back features. So this little yellow box basically indicates anything that place inside of this part of our tracks is going to loop. So play through and then they go back to this downplay three, I'll just demonstrate this quickly. So if I just build up Apple loops, for example, I'll just drag something in, something random. And I just put that on this audio channel here and we can just, but our loop cycle alum. And what'll happen is you'll see that this little sort of 12-bar blues bass part will loop. So playthrough. I just demonstrated the cycle mode inside of the traditional trunks view inside of logic. But you everything in band. What is the relevance of what you're telling me right now is it's the Cycle tool. I've used that before. I'm not what's the relevance? Well, the relevance is how this relates to the way the live loops grid corresponds to the track view. So if I just delete out this apple loops thing that we just didn't just close out the browser. And if I opened up our live loops, if I just click alive loop, just anything, I'll just launch this transition. You can see it launches straight away. The playback head went back to the start. And this launch straight away, I'll do that again. I'll stop it and will stop playback of our playhead. Now launch this scene over here. You can see it launches straight away. There's no delay since I click on it. Playback head goes back to the star and the cell launches. However, if we turn loop cycle off, so let me zoom right in. So you can see right now I'm on 2.3129 of a beat, so i'm not on an indefinite beat. I'm not on a full B. If I turn, it looks like a lof. So if I click playback on our just sort of play appears, I'll just click Spacebar and then I launch a cell. It's going to wait until it passes this point here, as I just said, to check this out. So we're playing back latina cells. And then it plays when we surpass this third, let me demonstrate that again. So we'll click playback. Then I'll launch a cell. And you can see I'm waiting and many plays when it's a passage, The whole beat, however, cycle mode, which I just demonstrated before, obviously our cell playback with starting straight away when we were in psychomotor would go back to the start if the play head of our timeline, and then it would just start playing straightaway Harvard. Now, it's kind of ticking along the timeline and it's waiting until it gets the start of a full B to launch our loop cells. 3. Live Loops Grid Layout: So right now I want to talk about how we can customize the layout of our grid inside of the live looping view. So in sight of the logic pro software, obviously we can manipulate how these grid is laid out right now. Now, by default, when you boot up a provided preset from logic themselves, the layout is pretty, pretty good. It usually everything is scaled to the screen, okay, but let's say you may be working on a really small screen. You maybe working on like a 13 inch Mac laptop, MacBook Pro laptop might put air, something like that. You may run into a problem where not everything is fitting on the screen that might be too big the cell. So you have to scroll around a lot to navigate your livelihood being performance or the cells might be too small if we look on my computer right now, these cells are way too small. So the way we can fix this issue is we have three ways to go about doing it. And they are all located in the top right corner over here. So let's first talk about the vertical layout. So right now you can see our cells are really zoomed out and quite small. Now right here, we have this vertical auto zoom so we can actually just click on this and it will automatically snap our cells to fit the real estate on our screen. So I'm gonna do that now and you can see it has sort of laid out the zoom to as wide as it can go. And now what I'm going to actually do is I'm going to close this group over here. And now you can see it's made the cells a lot bigger. And now the grid really does fill the entirety of our screen. Now the next option has just automatically turned itself on. But if this one is over here, you can see this is the horizontal grids zooms. So if I switch this off, it takes you back to the sorted default. This is how it usually looks when you boot this up as default. That's the sort of layout that come standard. So now we can actually click on this and it will automatically stretch the cells out to sort of be a little bit wider so we can see the content a little bit better. Now we can actually go one step further and click and hold with the left mouse button until we can control this level bys c, We can zoom it right out or we can zoom it writes in. Now me personally, I don't like the cells being super elongated like this. I don't think they look very good. So let's go for like a happy medium sort of there. And now we can go to this third option, which is just a dead bug standard sort of slider for adjusting the vertical height. And we can just sort of zoom in or zoom out. Now, I really like using this one for zooming right into the cell. And then it's just sort of scrolling across so I can see the content inside that cell. This gives me a great visual representation of how complicated this loop salaries. So you can see this one's super simple. And if we scroll down a little bit further, you can see this one's super complicated because the peaks of the waveform are clearly indicate and highlight what is happening inside of this cell. So this is one awesome way of using the grid layout to really zoom in to see what's inside of your loops. 4. Creating and Importing Cells: So I now want to show you how we can go about creating an importing cells inside of the logic live loops grid. Now there's a variety of different ways we can actually go about setting these up. So I'm going to break some of them down in this video. So here we are inside of Logic live loops and you can see I have got my preset template grid over here. Now if we wanted to add more cells to this performance, maybe we want to record one of our own sort of riffs on the guitar. Maybe want to record our own piano part or even switch up the drum beats that we are hearing. We can actually add and Import Audio, midi clips, whatever into these cells over here. So one we could record into these cells live. So while we're live looping, we could play some brand new parts that will automatically recorded loop in the cell we select, but we can also drag and drop in prerecorded midi clips and audio clips. So let's take a look at it. So if you actually just want to record something into the logic live loops grid, or you gotta do is illiterate, just head on over to the audio track with a midi track you wants to perform on, and you just simply record down the track. And you can now see that this cell here has got the sort of little record logo. So simply, all you do is you just simply press into this little grid and you can see it will start looping the audio inside of it. Now, right now it's recording my voice with the internal microphone on the computer. But this just gives you an example of what you could actually do. And then you can click play back. And it will look back, looping the audio inside of it. Now, right now it's recording my voice where the internal microphone on the computer. But this just gives you an example of what you could actually do. And then you can click playback. And you can see it will start looping the audio inside of it. Now, right now it's recording my voice where the so what I've just demonstrated that was how you can record into a cell. So if you were performing with the live loops grid, this is how you could record a brand new idea on the fly. But I now want to show you the various different ways we can go about importing clips into the live loops grid. So when the logic live loops grid weekend headed over to a blank cell, click on it and click Control. Click to appear with the additional options. This is essentially right-click. So you've got to like a Windows mouse plugged in like I do. You can just right-click on the cell and you will see this menu. So you can see we have the option here to just add an audio file. Now if I do this, it's going to take me into my Find a browser. And you can see I have all my different files in here that I could actually choose from. So right now this is showing all of my logic files that I have on this computer. But we could deep dive into my Finder and look for some audio samples that I have that we could actually import into the project. But what I actually want to do is I now actually want to show you how we can drag and drop samples into the logic live leaps that we already have inside of our logic projects. So inside of Logic, obviously we have the pre provided logic live loops, which you can open up over here by clicking the little sort of live loop browser, the Apple Loops browser. So inside of the Apple Loops browser, we have various different packs we can choose from. But what we can do is we can obviously click on these sorted demo them. Sounds cool. And then what we can do is we can just drag and drop it into a cell. Now you can see this audio file. Is available for me to use inside of my livelihood being grid. And I can use these in conjunction with my other cells. I have already loaded a looping the audience inside of it. And we can start taking the song now in a different direction. Now in logic, we can also obviously record things into the timeline view, which is obviously the tracks view. So if we head into that view right now, you can see here, obviously I could record something in here like you normally would in logic. But what I'll actually do is for demonstration purposes, I will just sort of drag and drop a drumbeat in. So let's find a drumbeat sounds. All right, so I'll just drag and drop the same like as if I've just recorded it inside of Logic. So let's say I just recorded this right here. What we can also do is we can boot up our live loops grid, head on over to a blank cell and you can drag and drop audio that you have recorded. Let me get rid of the marquee tool for some reason it's selected the marquee tool. So we can now just drag and drop stuff we recorded onto an audio track. And now we can use this insight, our live loop script as well. Now if you want to take a specific length of the audio that's inside of the timeline view. Because obviously let say for example, you've recorded like a huge vocal section or something like that. You're not necessarily going to want to drag and drop the whole vocal loop into your life loops grid. You may actually want to maybe just take a couple of words from that that you can loop around like maybe a key phrase. So what you can actually do is just a demonstration purposes. I will maybe drag this kick pattern just into the live loops grid. And if I zoom in, I'll zoom in here. What I can do is I can take my marquee tool. I have mine set up so it automatically selects it when it goes down to the lower side of logic. But if you don't have that, you can simply just click command in an unusual Mouseion can see it changes the little icon to the Marquee Tool. Alternatively, you could just come down to your little cursor selected here and choose the marquee tool in the options. Down here you see it's just down there. But what we're going to do is we can actually sort of take our marquee tool and go right. I just want to take, actually no, sorry, I just want to take this section here. So I want the complicated part of the drumbeat. So then I can drag this specific part into my live lives grids. You can see we've just sort of this audio up. And now I have the complicated isolation if I just stop everything else. So Scott will stop these loops. In here. We have that specific part of that audio sample looping around. And we can combine is obviously with all the other loops inside our project. 5. Arranging a Performance: So one of the first things we need to do when we set up our logic live loop grid is we kind of need to arrange it in, optimize it for our performances. And there's a variety of ways we can actually go about doing this. So if we take a look at the logic live loops grid, you can see we have our scenes down at the bottom here. So these are our scene launches. So this will launch the clips in the specific seen. So these cells will launch when I launch this scene, and the cells will also launch when I click on this, see. Now right now these scenes are just simply named 123456, et cetera, which could be quite confusing, especially if you have quite a huge performance. You know that it's very difficult to figure out exactly what part of the song scene number two is. So what we can actually do is we can double-click on the scene and then we can rename it. So for example, we'll call this one verse, will maybe call this pre-chorus. And then we'll name this one over here, the cores for example. So then what we can do is we can now reorganize these cells to make it a little bit more sense because it doesn't make sense having our verse after our pre-chorus and the law chorus all the way over here. So what we can do is we can click and drag the scene over to a more convenient position. And we'll put the verse here as well. And at least could be variance of diverse. So for example, we could double tap and call this the first one, and then verse two, and finally verse three. And now what we can do is we can launch our first verse. Go to maybe our second part of the verse, and then pre-chorus. And then finally we can launch into our chorus. Now the next part I've actually organizing our lives loops grid is we're actually setting up additional scenes. So as you can see right now, we have 11 scenes in this live loops projects. So we have ten that have got cells on them. And then we have the 11th one over here, which is blank so we could record new cells into this, so copy and paste new cells into this, et cetera. Now what we can actually do is we can add up multiple new scenes. So as you can see, me automatically generated a brand new scene when I drag that clip in that cell onto the scene. But if you just delete that and get rid of it, what I'll show you is how we can actually manually setup scene. So this is perfect if you are creating a project from scratch and you want to basically go write, this song has got 15 sections. So let's set up 15 scenes. So the way we would do this is we would right click down here on the little solid Scene button. And then we would just simply select, insert empty scene, and as you can see, it generates a new scene. And we can just repeat this until we have the amount of scenes that we actually want. So for example, we can create 15. Now a certain point in your livelihood projects, you might actually want to duplicate a scene. So you may, for example, wanted to make a variant of a specific scene, but you don't want to create that scene from scratch. So you can see here on scene ten, we have got three individual cells. So let's say for example, we want to make an additional version of seen ten that only has maybe two of the cells on it, or maybe different solid characteristics within the cell. What we can do is instead of just clicking on each of them and copying and pasting them, which could take a long time if you have more than three cells, what we can actually do is we can collect on the scene holding Alt and then just drag, drag and drop it and it will duplicate the scenes. You can now see we have a duplicate of seeing ten. Now we can make our amendment. So let's say we don't want this symbol here so we can click on it deleted. We maybe don't want the sample to loop so we can head on into the sort of Playback options and switch loop off and just make it sort of a one-shot loop. Different sort of things like that. 6. Quantise Start: So now we're gonna take a look at the cell consumerization modes on the logic, live loops and mode. So basically the way containerization works is, let's say for example, I launch a cell. By default, this cell is not going to launch straight away. It's going to wait until it passes a certain point in the measure before it triggers. So this just makes sure all of our cells are in time with each other. Because if you were clicking to launch this cell and click into launch that cell and plugging into launch this cell over here. What's going to happen is all of the cells are gonna have c star at different times and they're all going to play out of phase and out of sync with one another. So quantization means I can click play over here, play over here, and then play over here. And all of the cells are going to join in with one another in time. So the consumerization menu is located over here. As you can see, it says concise start. Now by default this is set to one bar. So this means if I click play and then I click play over here, it's going to wait one bar before it starts and then it will kick in. If I put the metronome on here that clicking away 341234 and I'll click play and a flash two to one and many are kicking. Now what we can actually do is we can actually shorten and increase this concise start time. So if I just click on the drop-down menu, you can see it's set to one Bob. We can increase this to something like four bars. So that's going to be four measures. It's going 123412341234 and finally 1234 and then is going to launch itself. So that's a very long time to wait for the concise start to actually initiate. I prefer, I like one bar, the default on I really like that, but I actually prefer at times a much shorter lunchtime, Not even is sometimes a 16th note. By 16th note is basically to mean it's going to be instantaneous from when you click it, but there will be a slight delay just to make sure it's locked in to the grid because obviously it's working on the 16th notes at a 10x and a 20x under of the beat. So it's just going to make sure it's as fast as possible. The start of the cell from when you click, but it's still going to enjoy it in time when it launches. So I'll demonstrate this. Let's kick off this scene here. And when I click the symptoms, you can see it's changed straight away. So if I just zoom in a little bit, just to make that a little bit more obvious. We'll do this here. So will basically start straight away. Start straight away. Or we can draw down to a bar and you'll see it flashes for a bond then kicks in. Now although we have the global colonization start, which we just explored that in the top right-hand corner of our logic live loops grid, we also have specific cell loop quantisation so we can actually dive in. And what we can do is we can right-click to access the additional options. Or we can obviously control click to access the additional options. And we're going to head down to the playback option down here. And you can see there's a variety different things we can do here. We can deactivate it from being a loop, so it's just a one shot. We can reverse. We can do all these different things, but we're interested in the concise star. So you can see when we get to the concise start, you can see it's set to global. So this means it will set the concise start to whatever is happening in the right-hand corner over here. But we can actually set an individual parameter for this specific clip. So let's say, let's switch this out to a eighth note. So if we now launch ourselves and then I switch over to our eighth note cell, what's going to happen is it's going to be a much quicker concise start then obviously the global parameter of one bus. So let me demonstrate this. So you can see we're playing this one here which is set to the global. And then I'll switch to this one here. And you can see it changes almost straightaway because the 18th note is so fast and we go back to the global stop cell. You can see it takes a lot longer to transition over to the playback. 7. Cell Playback Modes: So when I want to take a look at the various different play modes we have for each of the cells. So in the last lesson, we took a look at the concise starts. So basically how the cell reacts to the way we launch it and when we actually start playing in relation to the quantization menu. But this time, I actually want to show you how we can change each of the cells start mode. And also we'll take a look at the stop modes. So I'm just going to take this synth part over here. Now to deactivate all the clips, I'm just gonna click Command Enter. So I've now de-selected all of the cells. So this now means nothing's flashing, nothings in some form of a launch q, we have no activated loops. So what we're going to do is we're just going to select this pressure drone over here. You can see it's called presage Rome chord two. So I've clicked on this and we are going to click in the top left corner, this information button. So this is the inspected. A shortcut is just I, so you can click i and it will open and close this menu. So here you can see we have play mode, play from start and down here of z, we have all the different other options inside the cell. But the two we want to explore in this lesson is the play mode and also the play from. So by default, a cell operates like this. You hover over it, it displays the play icon, even play when we click on it, and many will display stop icon, and it will stop when we click on it. Now what we can actually do is we can actually change out how the cell responds to the click. So the way we do this is in the play mode. So obviously by default, we just looked at the stats like stop. But we have these two extra modes called momentary and read triggered. So let's first take a look at momentary. Momentary basically means the cell will only play for the moment that we hold the Play button info, hence the name momentary. So it means basically it's a press and hold playback. So instead of clicking play an a playing and then as clicking stop and then it stopping, We have to click and hold. And then the cell will play for the duration that we hold the info. So in order to demonstrate this accurately, I'm actually going to head on over to the concise star. And I'm just going to switch this off. And what's going to happen here is, as you can see, how as the play button, and when I click the left click button, you can see I'm holding this N by get the mouse and the short. I'm holding this burn-in in order for the cell to play. Back then when I release the button, you can see the cell playback stops. So the only way for the cell to continue to play is if I click and hold once again. Now the next option, instead of moment, she is actually re-trigger. So this basically is going to give us a one-shot command inside of Logic live loop. So this means we click Play. It will play for its loop, and then it will stop to check these out. Now what you may have noticed there was that my loop did not do the one-shot, Like I said, inward. So I said it was going to be like a one shot and it would play through and then he would stop. However, it just continuously looped and there was no way for me to stop it over then, basically diesel, ethanol, eclipse with Command Enter or stopping the playback of our project inside of the transport controls. So That's because inside of the cell we have selected. So if I switch loop of this will then make it a one-shot command. So I'll show you what I mean by one-shot ones be deactivated. Leap. So if we right-click, scroll down to playback. You can see here we have loop and right now, loop is selected. So that switch loop off and you can see it gets rid of the spinny luck, the circular look of the waveform, and it just makes it straight because now it's just going to play it through. It's not gonna loop is not going round, just going straight. So now this will be a one-shot command, but the beauty of re-trigger, hence its name. It allows us to reach trigger it multiple times so I can just continuously click. And you can see it just goes straight back to the start, straight back to the start, straight back to the stuff. And then it'll do the one-shot play through until the cell has finished its loop cycle. As you just said there it stopped. So if you want to do a one-shot command, make sure you turn a loop off on your cell. This will allow you to then turn it into re-trigger, where you can continuously re-trigger it by just tapping it multiple times to do a one-shot style effect. And then it will stop playing. Once it is completed, it sells duration. Now if you were taking notice of what I just did earlier, when I right-clicked and headed into the Playback menu, you may have noticed obviously we turned off loop. But you may have noticed that we had all these other options like play mode as well. Now these are exactly the same as the play mode parameters that we were accessing inside of a v little inspector panel over here. No AMI Open With the IEEE shortcut and we open and close that with the Ashoka. So if you just wanna do it super fast, you could just right-click add into your Playback options and you have everything in one place and you can just select them all in here. And you can also turn off while you there or turn loop on while you're there. You may notice underneath loop as well. Obviously we have reverse, so this is just going to allow us to the loop backwards, which is a pretty cool effect. Now, in the logic remote module, we will actually show you how we can trigger reverse style commands on the flight. So you don't actually need to do this inside of the menu. You can actually kind of dB on the fly if that's something you're interested in. 8. Play From - Start Postion: So just below the play mode options are the plate from options. Now the play from basically is going to allow us to determine which position the cell will play back from. So if you've noticed in some of the demonstrations throughout this course that I've shown you when we've been switching between cells and things like that on the fly, you may have noticed that certain cells always start from the very beginning. So let's say for example, we trigger this cell here. So we've got this cell plane back. But then I want to launch this cell over here. What's going to happen is this cell is not going to join in and a halfway point, like when this one gets to here, this one is actually going to just start from the very beginning when we click Place. So wait for this to cycle around the halfway point. And then when I click Start, you can see it just sort of starts right from the very beginning, which isn't much use, especially if you're maybe switching between sort of sections. You might not necessarily want that cell to be start from the beginning. You might just want it to join in. So the playing at the same point in time. Now the way we can do this is inside of the play from Menu, right? So if we head over to this cell here and we change its play from staff physician to the play head position. Now what's going to happen here is when I launch this little synth part, this cell here will join in at the sort of same playback position. Now obviously it's going to be slightly different because this loop is a much shorter measure, the Nissl OOP. But you will notice that the actual play head sort of joins in at a point that's at a similar completion rate of this cell. So our kickoff, this little synth part. And then when I click play on this one here, it's not going to start. The very beginning is here to kick off around this sort of area here. So check this out. And you can see it's sort of ticking away and it's similar completion rate to this one. I'll demonstrate this with this one a bit further on. And you can see this one's a little bit further on now obviously they're both ticking away at different rates because this one's a longer measure. There's a longer loop, this loop here. But you can see that this is now tracking the sort of playback position of this loop. Now the next mode that I quite like is the stop position. Now let me explain it. So if we head over to this cell here and head on over to our play fraud, and we switched it out from start to stop position. Now, on the surface, you may not notice the difference. I'll kick off our synth loop like last time. And I'll just then kick off this loop here. And you'll see, just start from the beginning you may think then that's no different to last time. However, if we stop the loop, we can see it freezes at this moment in time instead of it stopping and resetting the start of the loop. Then when we click play, it's going to continue from the stock position and we can stop it again and it freezes it in this moment in time. And then it picks back up from the exact same position from where we paused it. Whereas with a normal loop, when we stop it, it just resets it, whereas this one freezes it at its position of completion. 9. Cell and Loop Lengths: Now one thing that's really important when we're actually setting up our logic, livelihoods performance is pre-configured in each of the cells to have a specific length. Now if we take a look at my logic project, we'll just close out the tracks view. So we're looking at the live loops here. If we were to build this up from scratch. So for example, let's say we want to build a brand new scene. Now what we would want to do is in order to make our performance experience so much easier, we'd want to actually predetermine the length of the loops because one of the major problems is, let's say I record on this track for example. And then if I record a loop, you can see it does the counting. I know it starts looping round perfectly fine. But then when I click playback, kind of concise is itself in order to play back. And you might make a mistake because you might click LoopBack a little bit too late. So it might extend the length of the loop longer than you want it to be, or you might click it a little bit too early. So it means it my concise sooner than you wanted it to. Just the might be a chance of error depending on how you have your concise starts sets up. So the way I actually like to do it is I like to just use delete this out. What I prefer to do is I like to actually just create a blank committee cell. And then right-click on that midi cell. And then down here in the record options, we can go down to record length. And then we can set whether we want it to be Buzz or beats, or as we want it to be the cell length. So I'm going to set this to be the cell length. And then we're gonna click I to open up our inspected to make sure we have the cell selected that we want to edit. And then in the inspector panel, you will see we have these options here. You can see we have loops, that loop length and cell length. So that cell length, if we change the value of this parameter, that's going to change the cell's length because that's what we just set up in the record settings. So I'm going to change this cell and for example, to eight bar. So we'll type in eight in there just by clicking, double-clicking on the box type in the value you want, then clicking Enter. And now you can see it's changed the loop length as well. So if we record something like this on the record, and we'll just click playback to demonstrate this. So you can see it's taking away, taking away eight bars measures. And then what we'll do is I'll switch out the cell length to something like four, just to show you the speed. You can now see it's ticking away a much faster rate because the loop and the cell is so much smaller. Demonstrate this again, switching back to eight. And you can see obviously it's only half complete, that is four plus four equals eight. So saddened at the cell length is a really good way to sort of streamline your live leaps project. Make sure everything setup how you want it to. So then when you click record to actually perform into a cell, it's going to record for this specific length you want it to. This really does help with speeding up how fast you get a song put together. 10. Scene Trigger and Cell Queue: So now I want to show you how we can Q Cells and scenes inside of the logic live loops. Or previously, obviously we've looked at how to start and stop the cells inside of logic, but now I want to show you how we can actually sort of prepare them to self launch when they sort of get to a certain point. So let's take a look at that right now. So right now we are inside of my logic live loops project. And what we're gonna do is we are going to queue a scene to basically start playing when I click play on the transport controls. Now, yes, obviously we could just click play on our scene and it will automatically launch our transport controls. But you might not necessarily want to do this all the time. You might actually want to sort of prep it, click record, then click play or whatever. So what I'm gonna do is I'm gonna go down to seen seven over here. And I'm going to right-click. So I've just got a normal mouse plugged in so I can right-click. But if you don't, if you've gotten those magic mice, just click Control click, and it will bring up the sort of right-click options over here. Now you can see right at the top we have Q seen. So if I select this, you can now see all of these cells begin to flash. Now when I click play inside of Logic, seen seven just automatically started to play. And now we can continue with our performance just like you would head over here, head over there. So now I want to show you a really cool way how we can queue different cells from different scenes to launch. So what we're going to actually do is here, there's two ways we can do it. So let's take this kick drum over here, for example. And a dead easy way we could do this is we could literally just right-click and click Q cell Playback. Then we could had an over two this hi-hat on S3. And we could do the same right-click and Q cell playback. So you can see two different cells from different scenes are now QD, but there's actually a shortcut we can do on our keyboard. And that is, let's take this, for example. Let's take this little base part over here and we are going to click alt and soon, so check this out. So all return is basically option return. So we're gonna click option return or Option Enter depending whether you call this return key or an enter key. So what we're gonna do now is we're going to click Option Enter. And you can see it's now prepped this loop to be queued over here. And then we don't even need to touch the mouse. We can actually just use our arrow keys on our keyboard to scroll to the right, scroll down. And let's now prep old answer. That's optional to answer. Let's prep this vocal melody now. And what we'll do is we'll put our keyboard down. And now we'll launch our logic live loops project. And you can see feet as a launched all of these different cells from all of these different scenes. 11. Pattern Cells: Now if you want to do something really exciting when it comes to programming midi drums inside of the live loops grid in logic 10.5, they actually update it and implement it is brand new sequences ii can work inside of. It's really fun and quite exciting to us. And we can actually integrate this with the logic remote as well. So you can like altering all inside of your iPad or your iPhone to make it even more hands-on with the performance experienced. But we'll talk about the logic remote later on in the course. But for now, I just want to show you how we can access this brand new sequence a feature. So if we had two, a midi track, so this is a midi track over here. If we just put this on the record. But if we just click the right-click button to present this little menu here. And we had down two. You can see we have the option to create mini cell. So it's just going to import a blank cell that we can double-click on. And then we could start editing the parameters inside of the piano roll like you normally would inside of the timeline view over here. But we don't wanna do that because that's pretty boring, you know, kicking down with your mouse enjoin in all the midi notes. You know, that's, that's not really fun. That's not what the live loop screed is designed for. So we'll, we'll just delete this clip. We're not interested in doing that. And what will actually do is we'll right-click and we shall create a pattern cell. Now this time you can see it's orange, it's a slightly different color, gives you that visual representation that is a different type of cell. And now we can double-click on this cell and you can see we're presented with this very exciting looking menu. This is pretty cool. This is that new sequence of you that I was just talking about earlier. So inside here we can just take our mouse and we can start sort of printing in a pattern. So that's how I kick patent over here. Maybe add some little sub kicks here. Our hi-hat. Sound pretty cool. Maybe just do some sort of offbeat things here. And let's see how this sounds. So let's head down to the clip. Let's launch it. So you can see inside of that pattern cell, we can start doing some really creative things inside of the sort of sequence of view. It makes it much more fun and a visual representation of what the drum patterns are actually doing. Way more entertaining and interesting than headed into the piano roll and sort of drawing in all of the notes with a little sort of pen tool that can be quite time-consuming, tedious. So this just gives you a more fun way to get beats down quickly. 12. Step Sequencer Explained Brand New feature from Logic 10: So we just took a look at the patents cell. And inside of that patents cell, we were presented with the step sequencer, which is a brand new feature inside of Logic 10.5, along with the live links grid as well. So what we're going to do is now I'm actually going to explain the step sequencer in extra detail so you can get the most out of this new feature. So what we're gonna do is we're gonna go over to our drum track that I have over here. And let's create a patent cell like we did last time. So here is the patent sell, double-click speeded up. Here we are. This is the step sequencer. Now one of the critical things about the step sequencer is it is color-coded. So if we take a look, you can see all of the kick drum sorta sample triggers are purple. All of this order snares and claps sort of hits Orange, and then also all of the high hats, the rides, shakers, crashes, olam types of elements are a blue color. So this makes it really simple to sort of see what type of category is available, the sort of program inside of the step sequencer. Now in order to create a pattern in the step sequencer, we just simply click on the parameter, you sort of what a map. So you can see I've just mapped if you kick drums, we can then mapped some snares, kits however you want, just by drawing in the notes, which I really, really do like makes it quite visual. Now, we don't have to click all of the time. You know, you have to click IDs. You can actually just click and drag to fill in multiple paths at the same time. And likewise, you can click on the cell again and drag to remove a C. So we're clicking and dragging to remove the things we no longer wants. Now once you happy with the sort of pattern that you have filled in, you can go to the top right over here and you can sort of preview the pattern. So you can see we can preview the pattern that we have just sort of drawn in, inside of the step sequence. And now a lot of people are seen online. They preview their patent by just clicking Play up here. But that's not the correct way to preview the patented you can see in using that transport control playback at initiates all of our lives at the same time. So if you just want to listen to the step sequencer in isolation just to make sure your patent sounds correct, just use the simple Preview button over here. So what we are currently working with is quite a limited region inside of the step sequencer. You know, we can only solve it program a very minimal amount of drum phrases. Now we can actually expand this and even reduce it if this is a little bit too big. So if you take a look in the top right corner, you can see right now we are working with 16 steps. So you can see it's split up into groups of force of 4812 and then finally 16. So what we can do is we can go in the drop-down menu and we can make the smallest. So we can work with 12 steps, so we can really simplify our drum pattern. Or we can go all the way up to 64 steps. So you can see we can have a huge drum pattern over here. So you can see that each of the sort of steps inside of the sequence or have gotten a lot smaller than l, which can make it quite difficult. Program, especially if you're on a smaller screen now right now, I could program these perfectly fine on my desktop computer, but if I was working on my laptop behind me, this might be a little bit too small of a release date to work with. So what we can actually do is we can adjust the layout of the step sequences. So right now, you can see it's, you can see all 64 steps. But what we can actually do is in the top right corner, we have this sort of step width option. So we can click in here to sort of make them wider. So you can see it's now split our step sequencer into two separate divisions and regions. And then we can click again, split it up into four, and then we can switch between them all like this. You can see we have all of our different steps sections. If you want it to go wider again, you can click on the step width to the left and you can see it makes it a lot, lot more wider. Now some of the coolest features that are inside of the step. So you can say, or actually some of the more advanced features. But the awesome thing is logic has made them super accessible is so easy and they take you from sounding like a step sequence, a beginner, to literally a step sequence, a pro in just a couple of clicks. So I'm going to demonstrate these really cool settings on the high hat over here. So you can see we have this dead basic sort of hi-hat pattern and it sounds pretty rigid, you know, sounds very, very robotic at the moment. But what we can do is you can go on down here. See we have this little drop-down arrow. So you can see we're now presented with a lot of, a lot of different options. So we've got the velocity. So obviously this is going to change how hard the sample is being hit. So right now the all on 100%, which is why they sound so Robotic because there is no dynamics to our actual performance. So we can just take our mouse and we can just click and drag to switch out the velocity to make it sound a little bit more humanist during the performance. Because now when we perform as humans, we don't hit everything identical every time. There's always that margin error, that human error. So we can adjust this now inside of the step sequencer so you can hear when we play this back. And our high has now have a sense of dynamic. Now I'm just going to drop my steps down to something like maybe 24, so I'm a little bit easier for me to manage. So let's programming a half decent pattern. Will actually programmed something useful in over here or get rid of so many of the hits, let's get rid of it. So we sort of hit none of the sort of vibe, instead of everything being a 100% on the beat that are sorted to do just to give you an idea and split it up. So now let's have a listen. Let's mess about with our dynamics again, just to see how the velocity make it sound a little bit nicer. And now have a listen. So that's selling pretty cool. Now the next setting is the note repeat. Now the note rupee is actually a really advanced features. So what we can do is we can basically click and drag to adjust the amount of repeats per step. So you can see this value to 456, whatever is increasing as I'm clicking and dragging up WordNet is decreasing as I drag down. So what we can do is if I just put like a note repeated five on this one, take this back down to 0 and then put this one down to, I don't know, sir. Like seven, you'll be able to hear that it'll do a single hit because it's set at one. And then I'll do a hit F5, 1.1.1, and then 70, wherever we just said that one to you. So have a listen, see if you can hear that note repeats. So as you can hear that note, rupee is adding quite a lot to our hi-hat pilots make it sound a lot more complicated than it actually is by adding in just a few more nodes, it gives it a bit more groove. Now, underneath these two sort of patents that we have here, velocity and no repeat. You can see we have the expert and also a plus button so we can actually delete the perimeter if we want to just by clicking on the X button, but I don't wanna do that right now. I actually want to add parameters, so I'll just simply click on the plus arrow and then I'll demonstrate you can delete it just by clicking the X, but this one has just set it up to K. Now, I'm not interested in doing a gate that that's awesome that I wanted to demonstrate. I just want to demonstrate that if we click the drop down menu, there are a lot more options that we can actually choose from. One of the coolest options is this loop start and the end. So let's open right now. So what we can do here is with the loop slash end inside of the step sequencer is, let's say for example, we have a huge step sequence like 64 steps, like we were playing around with earlier. It can take a lot of time programming in everything for 64 steps. So let say for example, the hi-hat pattern is exactly the same for 64 steps, but it's only this order kick and snare that's changing out. What we can actually do is instead of sigma with the mouse in typing and clicking in the hi-hat pine for the whole 64 steps, we can just do it for a limited region, like for example, 24 steps or even less. And then we can loop it with the other steps. So I'll demonstrate what I mean by this. So you can see we have a 24 step credit here. So we've got our main patent, our kicks, our snares and everything. But let's say we want our step sequencer hi-hat pattern to only be 12-step, so half the length of the actual step sequences. So what we can do is we can set up a loop starts slash n, And we can sort of draw in the amount of this loop we want to play. So let's only play half of it. Now when I preview this step sequence, as you can see that it is looping this section. So I'll just turn this no-repeat off just to make it a little bit more apparent. So you only hear the note or p at the end there. So you can see it's looping by this little sort of blue box here, looping and it's playing with the main step, then it's looping. So that's pretty, pretty cool. So inside of the step sequencer is also the option to boot up a lot of pre-made patterns, which is awesome for just sparking creativity straight away and getting things up and running. So the way we access these is this menu here. You can see we just have this little box, show and hide the patent browsers. So we'll just click on that to open up the patents. And in here you can see we have bass, drums and even melodic. So with the step sequencer, we aren't restricted to only using it as a drum pattern. Generates a, we can actually use it for melodic. So what I'll do is demonstrate them in logic feature. I'll leave this drum pattern that we just created earlier. So you've got this basic drum pattern, but what we'll do is we'll add a new tracking. So let's add a track that just uses software instrument and we'll just use a default. Let's do use the default sound, right? So I've now created a brand new patch, just a default patches did classic piano roads or the sound that comes inside of Logic by default. And what we're gonna do is this time we're going to create a patent sell on a sort of melodic instrument. And how we'll do this is exactly the same create patents cell. And then we'll double-click. And you can see now we have the different nodes we can choose from. So we can just pencil something in that sound awful because, you know, it's, the incorrect nodes are just all joined together. And you can see now we create a melodic line, but we can actually go one step further instead of drawing in ourselves and not really having much of an idea of what we want, we can actually start off with a pattern. So what I'm gonna do is I'm just going to delete all of this stuff here because we don't have, we don't really want this. And let's go into the patterns. So just by opening up this little browser, if you haven't got it. And you can see, let's open up the melodic. Let's go for something like deep insight. So you can see we've got quite a cool pattern plane away. But what you may notice that it's really interesting is all of these squares are going around in their own direction. These ones are going this way. This one's going right. Some are going backwards, forwards, back and forth around. Now we can actually program this ourself. So if we go back to our drumbeat that we were playing around with earlier, and we take a look back at these little parameter z. And let's close our, our pattern grid. And you can see we have these arrows. Now these arrows allow us to decide the playback, which direction the playbacks going in. So if we just break this down and opened up this menu, you can see we have forward, back, forwards and back, and then just sort of random, it sort of makes its own mind up. So let's do this on our hi-hat pattern. So let's go down and expand our Loop End Outlet. Let's just remove it. We don't need it anymore. And then we'll just sort of get rid of some of these notes so we can demonstrate this in action. So what's going to happen is by default, it's going to play forward. Secrecy is going forward. We can actually switch this out to play backwards. So you can see now playing backwards. And then we also have the option to have it played backwards. And forward search is going to cycle back, and then it's going to cycle forwards. The final auction just does it by random. So we can do this by random. You can see it's just playing any noted ones in any particular pattern. Now I really hope this video has helped you understand the step sequencer a little bit more inside of Logic Pro X, the pretty cool feature that they added inside of Logic 10.5. And it's definitely one that I am going to be using a lot more in the future. 13. MIDI Cells and Automation: So now that I have a default instrument, blew it up inside of our logic projects, I actually want to dive in a little bit deeper into some of the settings we can do with the midi cells. So as you can see inside of the logic project, we have our classic allergic piano, which is the default piano sound. And I have this currently record arm. So there's a couple of ways we can obviously create MED cell. One way is to right-click and then just create a blank midi cell, which you can then double-click on an m with the piano roll, we can start drawing in some information. But what I actually want to do is let's close this out. I want to actually record on the track. Will delete this blank cell. And then I'm going to click Command K on our keyboard. And you can see we are presented with musical typing. So this is going to allow me to use my computer keyboard to actually play some notes in with now obviously, yes, you could just do this with a USB midi keyboard plugged into your computer. But I haven't got that set up just at this moment. So what I'm gonna do now is because I have musical typing, I can play some notes on my keyboard. And what I'm gonna do is I'm just going to record into this region and then I'll play some notes. So now we've played some stuff into our logic projects. Can see it playing back correctly. Now there's a few really cool things we can actually do inside of these cells. And one of them is automation. So what I'm going to do is I'm actually going to add in a, an effect. So I'm just gonna click I to open up the inspector. And we're gonna go down to Audio Effects. And now just going to add a tape delay. I've just got this in my recents over here. You could go down into delay, down here, where it is down here, then take delay, but I'm just going to click it because I frequently use this one. Now you can see I just have the default stock template over here of a tape delay inside of logic. Nothing fancy. So I can now be what? Musical typing. And now here we have a delay on the back of our electric piano. So if I just copy this loop just by clicking and clicking and dragging it to a new SIM. We compute this up and we can go into our piano rolls. So I'm just going to close out the delay for a moment. And what we can do now is inside of each cell, like each amides out, we can actually change the automation inside of it. So obviously now we have a delay on this keyboard channel that we are playing on. This is a classic roads sort of electric keyboard sound. And what we're gonna do is in each of the cells, we can actually change how much delay is being applied for that in this works for all the other effects as well which are on, in here. All the other things you can automate basically inside of Logic. So for example, inside of all of the midi cells on a single sound. So this one here, this one here, and the other ones you may recall in the future, we can actually open them up. Double-click, expanded a little bit, and then click a, and you will see it has the needy automation or the effects automation option parameters. Over here. So obviously, we just dial it down a little bit. Here we have our classical piano and we have a tape delay. So inside of this little drop-down menu, if we just scroll around until we find our tape delay, you can see right here, we have all of the different parameters that we can automate. You know, the duration, the dry, the threshold, all them sorta stuff that we'd normally edit inside of this menu here. So what we actually want to do is for simplicity, I just want to show you the sort of master effectively. So that's usually the wet. So how much of it are we going to hear as opposed to the individual parameters. Now, to actually automate this, we could just draw stuffing kind of like this. But we want to make sure that we switch out the reed to touch. Because if we have it in touch mode, it means we can actually record this automation while we're actually recording our performance. So if you want to use your live looping grid to perform with, and then you want to record all of the amendments you make while you are performing, then you're going to want to make sure that this is set to touch. So it means it records what you are actually doing now by default will be set to read. So just usually reads whatever is drawn in, overhears. If we just draw something by hardening command and then left mouse, we draw something in. This just means logic is going to read, we have done, but the other options that we are presented with, stuff like right, touch and lunch. So what right in touch does especially touch, it basically means when you are performing. So let's say your performing inside a lively excreted and your recording this to your like Arrangement view, you recording this to the normal tracks view over here. So what will happen is when you're in these other modes, it will record the automation of adjustments that you're making. So then it means when you play back your performance, it will have recorded all of those micro adjustments you made to the delay, to the automation, and then it will automatically sort of writing for you. So it's HE, we're doing what we're about to do right now. So what we are going to do is we're just going to expand this. We'll just leave it on read for now. We're happy with that. But what we're going to do is we're just going to draw in a little bit of delay just to show how this works. So some in dead random like that. And then we can open up our other cell, double-click, double-click on that cell, and then we shall expand it out. And you can see the automation is different. So now we will just draw a basic line like that. So between both of the cells, you can see they both have different automations. And if I play this back, see the delay increases. Whereas if we play this one, you can see the delays much more sporadic like we have drawn over here. So that's just a demonstration of how you can use automation inside of your cells. It's really, really useful for if you want a certain effect on a certain track, but you don't want all of the cells inside of that track to have that effect applied to it. You may want maybe 80% of the effect on 20% of the vector, or even 0% of the effect on, on certain cells when you're triggering them. So this is allows you to set this up beforehand for when you initiate the playback. 14. Record Quantize: So when we're actually recording the immediate information into the cell, we have various options that we can choose from when it comes to how that cell will be quantized. So if we take a look at the cell we just performed and I click on it here, you will see inside the inspector panel, if you haven't got this, just click I to open it up, you will see it says consolidation is set you off. So if we then double-click on this cell, we'll zoom in a little bit just to make this really clear what I'm talking about. But you will notice that this isn't exactly in time. So if we wanted to make this in time and snappy to the grid, we'd have to sort of select everything, click Q, and then it will snappy to the grid like that. So you can now see this is bang on in time with the logic performance. So what we can actually do is instead, we can actually set up a logic to automatically concise Fourier's law we perform into the cell, which basically saves us from going back to it later and concise near manually. So the way we would do this is we would just simply click on the cell we want to record into. So we're going to record into this cell on s2. And we can set the quantization to all of these different options over here. One of my favorites just usually is to set it to a 16th notes. It's good to snappy to the nearest grid that usually works pretty, pretty well. So what we're going to do here is we are now going to just open up the keyboard and we'll click record. And I'll play something to do. And what you'll notice is I just stopped that will open up the cell. You'll see. And all of those codes that I just played are concise to the grid. 15. Drummer Cells: One more thing that I want to share with you, which is the logic Drummond. Ok, this is one of my favorite features inside of Logic. Overall, when I'm writing songs, songwriting, all that sort of stuff. I love to boot in a logic drummer program some real quick drums with the sort of like the drummer that just does the drums automatically and just start writing some ribs. But we can also utilize the logic drummer inside of Logic live loops. So this means we can utilize the fact that logic can provide us with spontaneous drum beats that we can write two, but then we can also record our parts inside of the live loop grid to actually start creating songs on the flight. So let's create a logic drama patch. So I'm gonna click the little plus icon, head on over to drama. And let's click the genre rock because he asked my genre like a little bit of rock. And it's asking to download some extra stuff, but I'm not going to do that. Today's tutorial. I've got enough samples on my computer already. So let's close out the timeline view over here also close out the apple loops because we don't need those anymore. So let's take a look at Kyle on our drummer track of here. So we've got kale booted in and he's a modern rock drumming, you know, it gives us a profile. You can switch him out for login or whatever for different styles, but we're happy with Kyle for now. So you can see here, unlike in the previous cells, when I hover over the mouse, you can see these are just grey cells. They're not sort of really offering me anything to do. However, on the drummer cell you can see it offers me this little yellow plus icon. Now this is going to allow me to add a drummer region. Now inside a drummer region, it's basically going to provide us with a load of preset drum beats that we can choose between. I'll show you what I mean. So I'll add this in. You can see it looks pretty similar to our patent sell. And what we're gonna do is we're just going to double-click on it. And you can see this is the drama view. So the drummer view allows us to basically sort of say, I want this style of drumbeat, so I want it to be complicated, but I don't want it to be too loud, so I want it to be sort of medium. And then we can choose high, high, high intensity or the Kick Snare patent intensity over here. So it allows us to create really quick drum loops just in a few slides is really awesome for getting ideas down on the fly fast. So if we just play Kyle over here and see what he's coffers will stop the other loops because that's, you know, we don't want to ruin Kyle's performance over here we came. And so we try and close out by which ones are playing. So we'll have on playing there. Those ones. So you've stopped them now. So this is what Kyle is brought to the table. Let's turn him up. Now inside of the drama, obviously, we can change Kyle's drum patterns on the fly. So you can see it's got a little bit loud and now we can make his high hotpot and more complex z plane sexually sixteenths. And we can even make his drum part and a bit more complicated. Residing locking fills in the missing vocabulary. So let's go back to M, where he kind of laws making less complicated so it's not too messy. And we can actually add in some more drama regions. So we'll right-click and click a drummer cell. This time you can see we have two separate options here now so we can maybe change is solid genre beat preset over here. And now we can switch between the two. So this could be more about chorus section with him playing on the ride notes. You sort of elevate the track. And now we can go back to our verse. And you can see we can use these with our leaps that we have on our livelihood spirit. So what we have just learned that the variety of different ways we can go about creating cells inside of the logic livelihoods grid, we can import apple loops. We can record audio in live, either audio or midi by clicking record on the cell and record I'm in the track. And we can even use the logic drama inside of the live loop. So you basically access infinite presets on the fly that we can manipulate while we perform with various different drama profiles. 16. Logic Remote Setup and Introduction: So this is the logic Remote app. Now what you wanna do is you wanna make sure that your iPad and your iMac or your Mac book on the exact same Wi-Fi network, otherwise, they're not going to be able to connect to each other. No, you can't do this via USB. If if you haven't got a Wi-Fi connection, you're maybe down or whatever. You can still use this feature, but I'm gonna do it across Wi-Fi because it's super easy to set up. So what you presented with as soon as you open up the app, this menu here, and it just tells you what devices are available on the network to connect to you. So we have Ben's MacBook Pro, which is the one behind me here. And we also have Benz. I'm OK. Now we're going to connect to my iMac today because that's the one that has got the latest version of logic template 5V. We didn't, and we want to try out the logic remote so we can do some live looping with it. So simply, we're just gonna connect to Ben's iMac. We're just going to select that in the menu. And then it's just going to attempt to connect to it. Now, on your computer, you'll be presented with this option. So it says Ben's iPad wants to connect to Logic Pro X. Now you have the option to say don't connect or connect. Now obviously, we wanna say connect. So that's what we're gonna do. Straight off the bat. We are presented with obviously the mixer. Now, this thing is so intuitive. This is my first time using the logic remote. Since it first came out years ago. Like I haven't really used it that much. But honestly, you can mix around your faders in Sydney, you can see how that is instantly responding inside of the software. Likewise, I can do but a panning straight away. It's, it's performing day. In fact, I might actually start using logic is my mixing software just to use this as the surface to actually control everything because it's just so easy to connect and so accurate. I'm really enjoying that, but you came here to learn about the live looping. So let's, Let's head on over to the live looping view. So in order to access the live looping View, we actually click this little drop-down menu over here. And you can see we have all these different workspaces that we can actually explore. Now, let's first take a look at smart controls. Now smart controls kinda gives you the features that are on this specific track patch. So right now we're on transitions and it's just got assorted dead basic compressive loaded in. And we can just sort of mess around with these sort of really basic compressor and effects that are built in. So you know, you can see we can adjust this sends over here. And we can also mess around with the sort of compressor that is on the patch. But we'll come back to this view just in a moment. But let's head into the live loops area. So as you can see with the live loops, it is identical to what is displaying on my imag. Everything about it is the same. The colors of the clips are identical. In other way, we can scroll down because obviously there's not as much real estate on my iPad compared to my big iMac. So we'll scroll down. You can see we have all of the clips available to launch. Now it's super intuitive to use. We can literally just click on the clip we want to launch. And then we go, we're performing with our logic remote. This works exactly like enabled some push, but you can just use your iPad with, you know. Around the house and whenever the you may be watching Amazon Prime honor something and Britain, you can now use it for your music production as well. So he's got double purpose. But the really, really cool thing is we can actually do some Meridian advanced settings and features on just the iPad alone that you would normally do on the iMac with like a mouse. So first one is loop concise. So if we take a look at the top right corner, obviously we can adjust the concise start inside of this menu. We can adjust the concise status. This is essentially how fast the loop is going to start playing from when we click it. Now we can adjust the inside of this menu here, but also on the iPad, we can click this little sort of square and it presents us with concise Start menu. Now what you'll notice is when I adjust this to four bars, for example, on the iMac, it instantly adjusted on the iPad 24 bars as well. Or likewise, if I switch it back to one, it changes straight away inside of logic on the computer. Now what I actually want to do is I want to add an instrument and show you what we can also do with the iPad when it comes to performing. Because not only can we launch our clips like this form with the iPad, really hands-on with the livelihood performance, but we could also play instruments with the iPad. So let me demonstrate this. So what we wanna do is I want to add just a dead basic piano sound. Now we have two ways we could do this. We could go to the library's icon over here and start diving in on some special sounds. But I'm just going to load in a default patch, so we'll just scroll all the way down to the bottom. And you can see we have this plus arrow here. So we can click on this and it says add audio software or a drummer. So we're just going to add a software instrument for today's examining easy, it just loads in the default package, normally does on logic, which is just a classic electric piano. Now where it gets really cool here with the logic remote, is we can actually play this piano with the iPad. Now you can see, obviously I can record this piano as well. So for example, if I had an actual midi keyboard or me, I could play on the midi keyboard and click record on my iPad. So it almost acts as your loop pedal. But if you want to actually use the iPad to play some instruments like I haven't got a midi controller AMI today. So we're actually just going to use an iPad. So what we're gonna do is we're gonna change workspaces and we're going to head on back to the smart controls. Now as you can see, the smart controls looks slightly different to last time. Last time it gave us the options for them, sorted compresses and they're sending return tracks on the specific audio track we will take a look at, but this time we are presented with the keyboard. Now I can actually play this keyboard like your normal midi keyboard, but with the iPad, to be fair, it's pretty responsive and it's quite comfortable to actually use. We can adjust how big the keys are down here. If you want some wider keys, smaller keys, normal size keys, what ever? Most importantly, logical provided us with the little record buttons because, you know, it wouldn't be much use if we could play the keyboard, but then we couldn't record the clips. So now we can actually play the chords while looping the Eclipse. So let's head on back to the live looping zone. And let's just launch scene one over here. Pieces in F minor, some blood. I don't know, I was playing around with it earlier, but let's hope we get some write notes. And then we can link this to chicken salad. Do some, get simple. Weird cause. So you can see we just recorded suddenly dead basic nothing, nothing revolutionary, but we did it with our iPad just by clicking record, playing it on the iPad, and then double tapping of the cell to initiate. Now, if you make a mistake, you can click this little sort of edit button here. And then you can see the cell sort of turns to a dark green. Now we can actually click on this cell and we kind of present it with the right-click options that we have inside of Logic. So if I went down to logic and I right-clicked on his salary, you can see we have pretty much similar options to what we have on the iPad. You've got playback, EDI, etc. So what we're actually at zoos are just going to delete this, so it'll delete. And now we have removed that sells at if we'd made any mistakes and we needed to rerecord it. Now what I wanted to demonstrate with this overview of the logical mode is how it makes your performance much more enjoyable and intuitive. Gone are the days of grabbing your mouse in Sydney surrounding clicking, launching clips and then doing this dive into these menus here we can actually just grab our iPad, start adjusting parameters inside of the software. And it takes these virtual instruments and it makes him physical in some form of Essentia, we can turn the dials up and down like you would on a real instrument that you would have at your fingertips. You can record playback stop loops just by clicking the actual cell you want to record into, instead of being disrupted by grabbing the mouse and dragging it over to the cell and clicking record. 17. Logic Remote - Remix FX: So in this module we are going to explore the logic remote. So I'm gonna show you how we can set this up and also how we can use it inside of the live loop script. But the first thing I want to do is actually want to sort of demonstrate it in process. And what we are going to take a look at in particular is the brand new feature, which is the remix effect that was added to logic in the 10.5 octane. So the first thing I actually want to do is inside of Logic Pro X on the computer. So we're gonna build up this mixer over here. And you can see on the master channel we have this effect called remixed. Perfect. So I'm going to boot this up. And you can see this is the layout. We've got these x and y sort of grid parameters that we can slide the mouse around to manipulate, for example, filter or beat repeat over here. Now we can boot up this exact menu, but on our iPad. So check this out inside the logic remote. You can see I have this effect option in the top right corner. This is going to boot up the exact same interface that you just saw on my iMac. And I can control all the exact same parameters with just a touch of my finger on the touch screen, you can see how responsive that is. Literally I am moving my finger very radically and I can't feel or see any latency you very well optimized in that regard. So on the app, we have a filter and the repeater. Now there's actually more that we can do with these x and y grids. But I get on to those in just a moment. So what I'm going to do is I'm just going to launch and some scenes. And you can see I can start manipulating the sensibility of the performance with the filter over here. High pass filter, low-pass filter, whatever you kinda want to replicate. And also on the other pad. I can do a beat repeat in various different zones for different speeds. Which is a pretty cool thing itself. So on the logic Remote app, we can actually switch out these two effects parameters over here. So all we gotta do is we just literally click on the name. So I just clicked on the filter name there. And you can see it presents us with six different options. So for example, let's switch up the filter for wobble. And then let's switch out the beat repeater for, let's say a delay. So now I can control the wobble, which is kind of like a phase effects. So if I launch my scene in C, I've kind of got like a phasor now that I can control on the remote AP. And same again, we cannot delay. So also on the AP US some additional parameters that we can adjust in the center of the Earth over here. Now this one to the left is called a gate slider. And essentially it just basically visa audio gay. It's just going to cut the audio out to create sort of like a stuttering effect. Similar to the beat repeat, but it's not going to stop. The track is just going to basically turn it up and down to create like a slicer effects. So check this out. If I launch scene, can see, cuts the audio Alex giving us soon January feel. And then if we switch out its effect or the repeater and combine the two, we're going to do something pretty cool right there. Now to the right hand side of our gate slider, we have this downsampling slider over here. Now a lot of people online have been referring to this as the big crusher, which is correct. This essentially is a big crusher, correct name for it is the down sampler sliders. So let's explore these parameters a little bit further. So what this downsample a slide is gonna do is it's essentially going to change the resolution of the audio coming into it. So it's going to drop the sample rate down so it sounds a little bit grittier. It doesn't sound as high-quality to give it a bit more characteristic inside of the mix. So I'll just launch this set of loops here and we can hear how it adds that creepy noise to the actual performance. Now we can actually manipulate how this sounds a little bit further. So if we click the little settings options here, you can see we have loads of different parameters. When I click on the different parameters, you can see up at the top bar it changes. And so if I click on our assembler, you can see we have the option for both classic or extreme. Now the difference between classical extreme is basically in extreme it's going to add this extra high-frequency inside of the sort of spectrum when you're playing on it. So it's just one, it's going to make it sound more extreme, but it's just going to add this sort of, it's kind of quite a harsh frequency adds into give it that more cutting feels. So see if you can hear it. Yes, that is actually pretty obviously. You can definitely hear that higher frequency making it sound a bit more aggressive in extreme. So the final three buttons on the remix effects are these ones here. So we've got the reverse button. So essentially just going to play everything backwards when you hold it down. Then we also have the scratch buttons. So like a classic DJ like Wilco book, a book of books sort of effect on the Lai vital DJ. We can do this on the app. And finally we have this tape stop button. So the take stock bought and is basically going to simulate like takes inside of his studio when you stop them, how they slowed down. It basically just basically slows the tempo of the check down. So I'll demonstrate these performance style. So I'll just launch a cell. Let's first try our rewind. Pretty cool. Scratch. And then finally our stopped. Now obviously my favorite on though is definitely the stop. But if the other two weren't really for your liking, we can actually refine these and reaching them to actually be a little bit more useful. So the way we do that is we're going to jump into the seconds again by clicking the Settings button. And this time what you'll notice is when I click on, for example, the Stop button, you can see it lights up pink on the left-hand side, but then it also lights up pink on the right-hand side too. So you know, it never lights up pink. The entirety of a has two different zones to each of these buttons. And when you'll notice when I switch between the zones in the top here, you'll see the value changes for its length through right now, this stop is a full Biao one over one. But on the right-hand side, it's a quarter note. Same again for the rewind this time it's an 18th and a quarter note. So let's actually switch this out for maybe a half a bar. And then over here on the reverse effect, let's make this half a bar as well. And yes, 16th, I'm happy with 16 from the other side. So I'll demonstrate now the two parameters that we've just changed. We have our our longer reverse and our shorter reverse on the other side. Now we have our Scratch, which is slightly longer than last time. Or we can use the shorter one on the other side. And saying again, we've got our stopped for our slightly shorter stop. Now one really cool thing that was added to the logic remote is it's actually pretty unique to b, then I'll be interested if anyone actually uses it, let me know in the comments section down below if you do, but this effect a basically allows us to pick up our iPad and sorted twist it round to actually control the parameters on logic remote. So let me demonstrate this right here. We have this sort of rectangle with a little 360 circle on it. So if we turn this on and I'll do it on both both pads just so you can see now when I pick up my iPad, you can see it starts to tilt these parameters to the left, to the right, forward, and also back. So I'll just turn off the beat repeats along for now. And let's see how this response. So basically what's happening here is the logic remote is utilizing the fact our iPad has that sorted geometric sort of sensor in it, whatever the word is, you know, I'm not a scientist, but you know, basically that sensor that tells you whether the iPads facing this way or whether it's facing that way. Logic remote is fully utilizing this feature inside of the iPad to allow us to twist it round, to perform with it. It's pretty unique. Personally, I can't really see myself doing it. It is very responsive. But namaste what assorted? Drag it around with your finger as opposed to twist around with the iPad. It seems pretty crazy. But again, let me know in the comment section down below, if you're actually going to use that setup. 18. Recording Performance to Track View: So in the final module of this course, I now want to show you how we can correctly record our live loops performance. Because the awesome thing about the logic live loops is one, we can use it as a live performance tool if that's what you want to do. But additionally, we can actually also use it to sort of map out and brainstorm our ideas for a professional studio track that we want to create in the future. This just sorta speeds up the workflow by using this brand new workspace. So the way we do this is let's speed up our tracks. So we've got both of the workspace is next to one another. What we're going to do is we're going to turn loop cycle off. Now throughout this course, I've pretty much been using loop cycle on in the background. And I'm going to explain the difference between having loop cycle on and loop cycle off. So as you can see, right now, we have looped cycle turned on and it's only on for about eight bars, about eight measures. It's sort of occupying quite a small region of our timeline. Now what did the obvious reasons is why you would want to use the loop feature is this one right here. So when we perform inside of our live loops grid, what happens is these cells are linked to the transport playback over here. So if I just launched this cell, you can see it kicks off the playback of our timeline. One of the major problems you might run into you is if you have the loop off, it's switched off. Your timeline, just gonna go on forever and ever and ever if you're spending a lot of time live looping and messing around. But that's not the main reason why you want to loop cycle on. You know, obviously you do want to try and keep your play head in one place so you can quickly find it. But the main reason you actually want to do with 0s, so your cells playback straight away. Now let me explain this. So what you'll notice here is when I click, just play on this loop, you can see it starts straight away from the beginning, the beginning of the cell, and also the beginning of our timeline. However, if we zoom in a little bit further, you'll see I have now stopped sort of in the middle of a B, you know, around 3.4.2 or whatever this specific value here may be. So what we'll do is we shall turn off cycle. And now when I launch a clip, it's not going to start from the very big getting is he's going to sort of and it's not going to start straight away. My point is it's going to basically wait until it gets to the next date. Definitive beat. So watch this. So I am now going to launch this cell here. And what you'll notice is it will flash until it gets to a proper beat, which you'll probably be before. So let's see what it does. And now it plays when it's actually a full measure, which is the four. So that's the difference between having loop cycle on and loop cycle off. Obviously, if you want to perform live with your logic Livelihoods Project, you definitely want to have loop cycle on so it responds straight away. However, if you're recording, we're probably going to want to switch loop cycle off because we're probably going to be sort of in tune with the metronome and the position that is in our sort of playback on our timeline. So I'm now going to switch off the loop thing. So we'll switch it off. And I'm just going to zoom out and I'm going to demonstrate now how we can actually record this performance. So what we're going to have to do is if I just click record like normal. And then I just start performing with my live loops project. You can see nothing's happening inside of our track view. Nothing's happening at all. No matter what I do. It's not recording anything on my live lives performance. And that's because we need to turn on the sort of performance record mode, which is over here. So if we take a look at the top left corner of our live loops, we have this option to enable performance recording. So if you just click on it or use the shortcut Control peak to toggle it on and toggle it off to speed up your workflow. Now what you'll notice is if I just set the playback head position when I click record, and then I launch a scene. We can now see it's recording all of the cells at the plane back in the C. Now we'll go to reverse and the pre-chorus. And then finally, we'll finish off our performance with the chorus. And then to finish this correctly, if I just click Spacebar, you can see what's happened is it's just the loops of mid play back. You know, it hasn't completed it sleep cycle. So this makes it really difficult for editing in the future because we basically just chopped the loop OK before actually finished. So what we actually want to do is in order to finish up performance correctly so the loops don't get cut off. So if we zoom in right now, you'll see that these loops are just sort of chopped off at the end. You can see this hasn't finished its playback cycle. So the way we do this correctly is we're going to use our Command Enter shocker. And I'm going to demonstrate this right now. So if I just delete that performance, we just did, and we just do a little performance again. So let's just record it's launched. The core is, for example. Now what I'm going to do is this time instead of pressing space bar just to stop the recording and the playback and encoding off the loops, middle loop. What we're actually going to do is we're going to click Command enter. And this is basically going to tell logic to stop the performance and the recording once the leaves have finished their sort of cycle. So check this out. I'm gonna click Command Enter. And you get to see it. Wait until the loops got to a point which was finished. And then it finished at a nice sort of full measure over here, which makes it a lot easier for editing in the future because you know, it hasn't been cut off and all the loops are different lengths. 19. Enabling Playback: So in order to play back our performance inside of the track view, we have to basically enable the clips because you can see right now the tracks that we've just recorded are all grayed out. So these are actually going to play back when we actually click play on our transport controls. So what we actually have to do is if you have a look up in the top right corner of the life loops grid, we have this sort of like a little arrow. And what we do is we just simply click this and you can see it dives off to the right hand side, which is the track views of it now means when we play, it's going to play back all of our recordings. 20. Thank You!: So I really hope this course has helped you understand how to use the brand new logic live loops mode in logic sand 0.5. I know I'm a huge fan of this feature and I'm definitely gonna be using it more and more to come in the future when I'm creating music inside of Logic pro bags. But if you found any value at all from this course, I would highly appreciate it if you were to drop it a review, dropping some stars, share your thoughts on your experience on the course. It helps me out so, so much when people review the course. But more importantly, if you wanna see more videos just like these ones here in this course, definitely headed over to my youtube channel then Romans music where I upload videos every single week. So if you want my latest tutorials, tips and tricks, Logic, Ableton, head on over there, dropping a like and subscribe. I would highly appreciate it, but as always, thank you so much for watching the videos and I will hopefully see you in the next one.