How to Optimize Your Workflow Using Logic Pro X | Eddie Grey | Skillshare

How to Optimize Your Workflow Using Logic Pro X

Eddie Grey,

How to Optimize Your Workflow Using Logic Pro X

Eddie Grey,

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19 Lessons (2h 20m)
    • 1. Intro

    • 2. House Keeping 101

    • 3. House Keeping 201

    • 4. House Keeping 201 (Part II)

    • 5. House Keeping 301 (Part I)

    • 6. House Keeping 301 - Part II (Tool Bar)

    • 7. Project Templates

    • 8. Screen Sets

    • 9. Go To Plug-Ins

    • 10. Go To Plug-Ins (Part II)

    • 11. Sends & FX

    • 12. AQA

    • 13. Key Commands

    • 14. Editing Etiquette

    • 15. Strategies for Scrolling & Zooming

    • 16. A Note on Latency

    • 17. Final Words

    • 18. In Closing

    • 19. Bonus: Default Mastering Chain

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About This Class

How To Optimize Your Workflow Using Logic is for Logic beginners, novice, and experts alike. It streamlines the process of making music on Logic and condenses it in a 3 part course. The first section covers the engine of Logic. It is called "Under The hood". Here he goes in depth with the Preferences, Project Settings, Control Bar, and Tool Bar. He then goes into the 2nd section called "Preparing Preliminary Functions" in which he shows you how to set up your session, audio treatment, default mastering chains, and more. The course wraps up with the 3rd and 4th sections "Optimizing The Tracks Area in Logic" & "Organizing Files to Experience Clarity". This is where all the magic happens. Eddie cover's editing and scrolling techniques and the "Best Method for Organizing Your Session Files".

Here's Eddie Grey, in his own words describing the course...

"I wish I had a course like this when I first started. I used Logic and tried to teach myself for 2 years but it was not until I got certified (literally from the guy who write the Apple endorsed book), that I began to elevate my music productions. The worst thing that happen to a talented Producer/Composer/Beat Maker is to have the tools, the talent, and the motivation to succeed but to not have the "KNOW-HOW". This is my attempt at giving back to my community and giving them the proper direction so they too can achieve success".

How To Improve Your Workflow Using Logic provides a comprehensive understanding of Logic that will allow students, producers, artists and composers to be more efficient and well rounded. The intention is to give them the tools and resources so they too can become “Power” users.

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Eddie Grey


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1. Intro: Welcome to the course. Hot optimizer workflow Using Logic X. My name is Eddie Gray, and I am a composer producer in the L. A area. I've been fortunate enough to write music for hundreds of television shows and also be the head composer for shows on a Any and TLC. I've had my music on main title themes, international ads and movie trailers as well. I am a logic certified trainer. I've been studying and using the program now for over four years, and I am still learning so much. This program is deep. My intention here is to give you the tools, and the resource is so you, too, can become a logic power user. This course is about working smarter, not harder. It is designed to be watched chronologically from beginning to end, especially if you're a beginner. I invite you to watch the next video in the series, in which I'll be covering some housekeeping rules. Thank you for watching 2. House Keeping 101: Welcome to Housekeeping 101 Throughout the course, we're going to address a variety of workflow killers, one of the common causes of logic starting to behave in a weird way or have bugs are corrupted preference files. If this is the case, you were going to have to toss that file in the trash. So always make sure you have a backups. You can retrieve an earlier preference file. Workflow killer number one, A corrupted preference file. There is nothing worse than being forced to stop your work and having to reconfigure your settings after taking the time to set them up, which we were about to do in this course. This can take up to an hour two of your day. We definitely do not want this to happen. So as a precautionary measure, let's go ahead and back up that file. Go to this section here Go go to folder, which is the key command shift Command G. You want to type in the tilde key which is the squiggly line right below the escape key. So type in shift. Tilda, forward slash library forward slash preferences it return. And there it is, right there. Calm dot apple dot logic 10 dot p list. Save that file somewhere safe and I'll see you on the next video. Thank you for watching. 3. House Keeping 201: welcome the housekeeping to a one here. We're going to set up and modify your preference and project settings to optimize your workflow. Most people do not take the time to examine and research these configurations, and it is to their detriment. Let me clear up one thing. The logic, pro preference settings and project settings are different from one another. Here's how logic pro preference settings define and modify preferences that apply to all projects, including future projects. Project settings apply to the one individual project. Although these settings are project specific, you can always summon them. Using the import project settings function in logic. You will come to find that there is more than one way to skin a cat. You can access the import project settings by going to the main menu file import logic projects. Of course, you can always hit the Key Command, which is currently unassigned, and lastly, you can hit the browser, which is key command F or this little icon right appear. Find a suitable project. Click that on okay and then insert any and all functions that you would like for your project and then click out now that we have cleared that up. Let's go under the hood and build your engine from the ground up. I'm only going to cover some of the more relevant topics here. You can examine everything else with a fine tooth comb at a later date. I want to make sure we're on the same page. We're talking the same language. What? We're looking at the same things on our screens. In order to do that, please follow along. As I select the advanced tool settings in preferences, you can hit, command comma or go toe logic pro preferences in the far right in the advanced icon. Make sure all of these air clicked on Accepts around. Okay, let's get started. Let's go to general in the project handling tab here would says, Startup action. I want you to keep it on. Ask. I want you to have the option to create a new empty project or select the template or what have you here and editing where it says right mouse button. I want you to keep it on open tools and shortcut menu. That way you can select tools and also have shortcuts all right here, where it says pointer tool in track provides fade tool click zones. That's what you want really good for a fast workflow. See what happens here I go to the end of a region. I could just create feed automatically without having to go to the tool first. Really good workflow. I tend to not like the marquee tool Click Zone, and that's simply because, for one, it just feels a little bit cumbersome. Like when I'm trying to make specific edits. And the fact that I already used my marquee tool as my secondary tool really renders it, Ah, useless feature for me here, word says. Limit dragging toe one direction. I like these both on reason is is if I'm dragging this fall all the way up to this file, I don't want it to move left, right or diagonal in any weird way. I want a precise edit, so we just go straight up just like that, moving on to the catch tab. If you read these words here, it says defaults for newly opened views. So what that means is, the settings and preferences will only apply two new windows. Let's just say I open this up for another screen. These settings will not affect the main tracks window or the piano roll here. If you read below it says control, click or right click on a views catch button to change these settings individually. So here is where we change the settings for tracks, and here is where we change the settings for the piano rule. So what does this do exactly? Well, let's take a look here. Look at that one when the catch play head is off and I play. When the play head gets to the edge of the screen, the screen will stay here, so we continue to see the one. Now look at the same behavior with the catch. Play head on. You see how it's moving here. The visible workspace is being moved to the right when the play had reaches the right edge of the visible workspace. Okay, let's go to the audio icon here in the devices Tam here, where it says processing threads. The default setting is automatic. It's provides a good balance between performance and reliability for your computer. For best functionality, I recommend that you choose the highest amount, of course, available to you, and while you are making music it is imperative that you only use logic and run no other programs or functions. This would include WiFi Bluetooth. If you choose to run any other programs, you should turn them off immediately after using here where it says sample accurate automation. We want volume pan sands and plug in parameters. This will allow us to use automation in a much more precise manner with all of these different features, not just volume pan sends or off. You definitely don't want that. Keep it here. Here, word says automatic bus assignment uses. I like to keep that above 64 or 96. What does this do? Well, if we go on loden instrument that has a lot of plug ins and buses like drum machine designer per se, you'll notice that all the effects are now loaded above Bus 64. So here all the effects, it just keeps your ah, your interface and your tracks window looking very clean. So we'll leave that there and p three tab. Make sure all these are on the highest quality possible in the recording icon. We're gonna leave the midi functions both on Emerge and audio, both on Crete. Take folder. So this is contingent on your cycle mode. Key command See being offer on. Um so, you know, having these settings makes it easy to remember. So when my cycle is on and I record a midi part now logic has created one region. They've all merged together. The same thing happens with the cycle Modoff. And the same thing happens with audio. Just give you a quick example. So now you've created a take folder of all the different takes. Really good plan. Really good strategy makes for a good workflow. Okay, let's move on to the display icon. I like the large inspector feature here Clicked on C l small It is when it's off, you click that baby on all of a sudden gets a lot bigger. So I dig that. Like having the play head a little bit wider than usual with the personal preference. Ah, this actually will save you some CPU power thes two here. You wanna have them off? Especially this one show animation. I've also figured out that if you use the zero as spaces feature that you can get a much more cleaner looking LCD, So go ahead and take a look right appear. All of a sudden, it becomes very clear what you're looking at on the mixer tab. This one is critical. Open plug in window on insertion. Essentially, when you open a plug in, it will open automatically. If you open a bus. Same thing opens automatically makes for a good workflow. Let's keep it there. Show recent plug in list in plug and menu. You definitely want that. Let me highlight that here. Here, you can see what are the previous plug ins that you've been using again. All the information is there. You can retrieve it quickly. Really good workflow tip. And here where it says, Editors, I love this feature. Love to have a bright background. It's a nice contrast to the dark background in the tracks window. Okay, let's go to the automation tab here, word says, Move track automation with regions I like for to say, Ask again, just puts the power back into your hands. Here it says, Snap offset. This one's a little bit tricky, but it's good to know. See how it says negative five ticks. What this means is that your automation doesn't really begin where you are are suggesting it does. It actually begins five ticks before some people like to live. Leave this on zero. This is the default setting. So this is where I leave it. But just be aware that if your automation one day is is not working precisely, you may want to move it a little bit to the left. A little bit to the right. Hope that helps. Now we're going to get projects specific, and we're gonna work on the project settings. I'll see you on the next video. Thank you for watching. 4. House Keeping 201 (Part II): Let's dig into the project settings, go to file project settings or we can get the key command all to pee in the general icon. He word says. Project type that's click the use musical grid on. I do want you to be aware if you turn it off, this ruler now becomes a time based ruler. Could be a good tool, although you could manufacture that same result by going to the menu bar view and hitting secondary ruler or hit the key command control all commander getting into track automation here, it says Region automation takes priority over track automation. I like to leave my volumes channel strip free throughout the entire session so I can make big decisions over the course of an entire session. Region automation is good because I could make instantaneous, small decisions that do not affect the overall volume of my track. We're gonna go into Metrodome. Simple mode is really where it's at. He allows the Metrodome to be turned on automatically every time you record. If you want to increase the volume of your Metrodome, do so here. If you have a hefty mix and you want the Metrodome toe cut through the mix a bit better as you're listening through your headphones. You want to use the tone ality slider here. Okay, Smart tempo. This warrants a course in and of itself, but to keep it simple, we're going to leave it on keep, which basically is just the old behavior of logic. But to take advantage of the new smart tempo feature here where it says set imported audiophiles, too. We're going to turn this on. So let me give you an example when it's off and I dragged in a file, it won't mold to the session Temple, Listen to this, Okay, if we take the same course of action with the smart tempo, rather the set imported audio files to on here's what happens. Shifting into the recording icon, he word says countin, go ahead and click one bar. Good to have accounting. When you record going into audio here, where it says sample rate, I think it's very important that you put 48 kilohertz. I know that people say 44 killer heard saves space, and it does. But remember, you can never up sample, but you can certainly down sample a session. So 48 K's playing it safe. Of course, if you have a music supervisor or a gig that requires 44 and you know that's that's what they want, then of course that's acceptable. But I think 48 kilohertz is a good place to be. He word says Apple Loops definitely click that on in the Channel Strips Tab. You definitely want both of these features on Logic will do a lot of the naming and management of channel strips throughout the session, so you definitely want that on in the MIDI icon. If you go to the Chase tab. This is a really important feature. If I play a note, but not in the beginning. Somewhere in the middle of the Midi notes, you will not hear sound. And that's because this Chase note feature is off. Of course, if I play from the beginning, it'll behave as they normally would. I have this section on. You can get a sound mid. No, listen, game changer. I love this feature. Lastly, let's go to the Assets icon and make sure everything is on. This is a security measure so you never lose or misplace of file. There are a myriad of ways that you can set up. Your system we have worked on today is the most efficient and safest way to set up your preference and project settings. I'll see you on the next video, where we will customize the control bar and the toolbar to fit your workflow needs. Thank you for watching. 5. House Keeping 301 (Part I): Welcome to Housekeeping 301 Now let's talk about logics. Main window. This is logic single window interface. You can do almost everything in this window. Let's talk about its makeup. On the left. You will find the library and the inspector on the right. You will find the list editors, no pads, apple loops and browsers in the bottom window. Live the mixer. Some are controls, and the editors showing one window will hide Thea other. The center portion contains the tracks window, which cannot be hidden, and at the very top are two window panes. We've got the control bar, and below that we have the toolbar stock about the control bar. This does what it says it does. It allows you to control and navigate logics interface. In order to access it, you will have to control click the bar itself or hit the key command, which is currently in the side. So control Click up here or right click customize control bar display and the L. C D drop down menu. And of course, there is the key command. As I said, currently, unassigned, let's talk about all the views. So on the left here got the library, Inspector toolbar All the necessary views to navigate logic. If you're new, you should leave this on the safe. Bet. It's good to have all these icons highly recommend you learn all the key commands. Library is why Inspector is I mixers ex editors e smart controls be You'll get used to it here and transport. I usually don't like to leave any of these on except go to selection. Start and capture recording simply because I already know all the key commands. Please experiment. Find your workflow. Let me show you Go to selection. Started capture recording. I'm gonna create an empty region. Just say, Ah, the play. It was over here somewhere and I hit. Go to selection Start. And that will go to the selection of the region that is currently selected Capture Recording another great feature. Let's just say I was jamming without having the record mode on and I forgot to record it. Well, this is a backup. You hit shift our and there's all the information there. I think it's absolutely necessary to use the customized feature here on the LCD. This doesn't limit you. It all gives you all the information you need. I love having the position of my play head the sample rate. So you're clear from the get go tempo time signature midi activity. Not sure if you know, but if you hit a chord on a midi controller, you can see the cord right up there. Love that feature. And then, of course, load meters CPU. Good to know what state they're currently in. Let's get into modes and functions. I do think that there are a superfluous amount of features here, so I want to break them down to their least common denominators. Fundamental ones Air low, late and see mode swap left and right. Locators move locators by cycle length tuner, countin click and master volume. By the way, this master volume here is inextricably linked with this master volume here. So when you drop this one, this one automatically goes down and vice versa. And a quick workflow tip. If you want to reset your channel strips volume, where you have to do is hit Ault and click on your channel strip. Same thing applies for panning. All right, low, late and see mode. We're gonna cover in depth in a later tutorial this feature. Your swap left and right locaters will cover it in the second. I just want to show you the move locators backwards by cycle length. So if I have this selected isn't my cycle and I hit that key command. This makes for a really good workflow tuner. Really good. Four guitar players based players, etcetera, etcetera definitely want the counted in the Metrodome in there. Uh, key Command K. Before we finish off, we do need to cover the editors on the right. So here in views got the list editor the no pad apple loops and browser. And by the way, one of the reasons I like to even have these options available on the screen is just to service visual cues. They almost remind you as you're working, that they're there if you need them. So while we don't all need the Apple Loops function there, it's just good to have its out of the way. There's no reason to take it off. Let's finish off with swap left and right locators. I feel this is a phenomenal arrangement tool if used properly. So if you create a cycle region and you want to hear what this sounds like without this particulate her section. Of course, you could use your marquis, cut this out and then group the region together. Well, there's a faster way. If you just hit that button or right, click and click swap left and right locators. You can listen to what this sounds like without that particular section. Take a listen. Okay. Thank you for watching. I'll see you on the next tutorial where we're going to cover the toolbar chairs. 6. House Keeping 301 - Part II (Tool Bar): Welcome to the video Part two. Let's cover the toolbar. In order to access it, we're gonna have to control Click somewhere in the toolbar region or right click and here all your features. It's quite a bit of them. Let's go ahead and and covers many as you possibly can. This bounce feature. It's a bit redundant, as the key command is really easy to remember. Command be. I'm gonna go ahead and remove that from our toolbar. I don't think it Ah, it's necessary. This next one, though, is it's called Groups. It is critical when we talk about being more efficient and having a better workflow. You definitely need tools in your arsenal to do so. This is one of them. Go to the mixer and individually select the tracks that you want in your group by hitting command and clicking. Or you can create on entire group by holding, shift and grouping your tracks together. Click in this lot here and create a group. You can actually hide this group by clicking on this age Really good workflow tip, especially when you start having sessions that are in the 50 track range or 60 track range and above. And the key here is when you want to start editing, you click this, but in here, settings and you click this on editing. This feature here is for multi track drums and different audio functions. We'll skip that we want to click automation mode on and volume on. You could experiment with all of these later, but let's check out this volume and automation mode. So we're in the middle of working on a track and we have a big group and we don't want toe individually go through each one. What do we do? We create a group and were able to automate like this. And this is ah, just a fantastic feature for logic so highly advise you to start implementing it right away . All right, this next one is groups active again. I feel like this is redundant. Is taking up space. All I have to do is click up here, so we're going to kick this one off the island group clutch. This next one is a Q A, also known as automation. Quick access. We don't need that. We're gonna cover that in depth. In a later video, he switches is a universe unto itself. So for now, we're going to just leave it on there, but we're not going to cover it. The learned function is another easy key command, so we're not gonna cover that either. Track Zoom. I think this one is an easy key command. If you go to a track and hit Control Z, that about does it. I think it's a useful tool, but since it's easy to remember, we're gonna move on. No repeated spot, a race. Yeah, this is. This is crucial, especially when recording drums and recording modern drums at that. So if I hit a note, it plays back. If I want to hit a sequence of notes, sometimes you can play that in some would constructed and organized way. But sometimes it's very sloppy, right? No Repeat provides a an infrastructure and a tool that can help us stay on point and clear with what we're doing. So we're gonna put it on 1/16 Note. If you click the modulation well, you can actually effect the minimum and maximum values of what you're hitting. So take a listen to this fantastic creative tool. Let's leave it up there. This will definitely become useful in your sessions. Spot a race works in conjunction with the note. Repeat. So we're gonna leave these two together. Go ahead and look at this region up here. Or I guess this group of regions the key command command T literally cuts that region. You can also use that button right there because it's an easy key. Command command T I'm going to take it off. Split by locators does a similar thing, except it's going to cut the region at two different points. Make sure the region's air selected split by locators. And there you go. 12 Try that again. I like to believe that when there is, I don't use it that much and it just reminds me to use it. Crop is really cool function. It literally just cuts out everything else. But what's inside of the locators? Great feature to use Great for arranging. Great tool stretched the locators. This one might be of interest to you. Just suppose that we're working on a song and you want to insert a one shot. But the actual one shot is not long enough to meet the current criteria. You can use the stretch toe locators function, so create your locator length. Hit the region that you want to stretch out and then it stretched toe locators. It's gonna ask if you want to process it. Yes, you do. And there it is, right there. Take a listen. Another thing that you could have done is you could have time stretched by holding Ault and stretching the region all the way out. Just giving you guys some options. Okay? Remove silence. I do not like this one in the toolbar as it takes up space. The key command is really easy and simple to remember. It's just control X, and it literally removes this silence in different regions. Moving on join will allow you to merge audio region seamlessly think it's Ah fantastic feature Will leave it there on the other hand, bounce regions again, taking up space. Key commanders just control be We should all know this one. So we're taking this one off And why are we taking it off? We're taking it off for for organisational reasons. I want to be able to look at the toolbar and know exactly what's on there. And I like to shift back and forth between using different tools again to remind myself that there, there and so my brain starts to remember them Move to track. This is one of my favorite features of all time. I wanted to move this region all the way up to this track. The way I do so is I clicked the track, I click the region and then I had moved to track key command. I believe his shift command T I'm sorry. Shift control T There we go. I love it. I use it all the time. Highly recommended nudge needs to be here. This is the prime indicator of how you move your you're regions. So right now I have it set the bar If I hit Ault, right Arrow key. I could move this in such a nisi way if I switch to beat the time division changes and you know you can change it to division or ticks or what have you need to leave it here? I would study this and take my time learning all the different parameters and then just set up your key commands in whatever fashion works for you. Move to play Head is one of those commands that you find yourself using all the time. If I'm on Bar nine and I want to move this region over the bar night and I hit semi Colon, it happens instantaneously. For whatever reason, I want to bring it back to the beginning, moves to the play head by hitting semicolon. Highly recommended because it's an easy key command. We're gonna move it out of the island again. These next four key commands are critical for your workflow. When we talk about repeating a section, we're going to create a cycle region. Hit that button right there, and all of a sudden you've got an instant duplicate. If for whatever reason we wanted to cut a section off, it would hit that right there. And all of a sudden you've got an instant edit that would have taken you a few clicks and perhaps a few minutes. Insert section is pretty cool. That's to say we create a cycle region. We cut the section. You want to audition as an intro just to try it. See if it sounds good. You hit insert section, and there it goes right there. Insert Silence is a great feature when you create a cycle region. Just so you wanted to create a drop worry at a reverberated snare. You can insert the silence by clicking on that, and all of a sudden you've got the space to work shuffle. We're going to remove a little bit of an advanced feature. Previous next marker we're also gonna move is that's an easy key command. If you have marker set up and on your new Mary keypad, he press the numbers. 1234 I think it will help you out a lot. Let's finish up here. Set locators. No need for that. Highly recommend you learn key command, command you, among others. We don't need Zoom as we will use our key commands on our track pad, as I will show you later. And colors key command is easy. We're gonna take that off its ault c. All right, guys were one step closer to setting up your system so you too can have an optimum workflow . Thank you for watching 7. Project Templates: Welcome to the video. Let's talk a bit about project templates. I am so excited to share the specific installment with you. I do a lot of consultation work in time and time again, I see composers and artists starting off their sessions with a blank slate. In other words, when they begin a new project, they always start from square one. This may not sound like a big deal to you, but when you composed hundreds of songs a year, you start to see a few correlations and themes. The first is that, more often than not, the modern day producer usually makes the same decisions over and over again within any given session. If you were to count the number of decisions you make in a session, it would be in the thousands, if not tens of thousands. Of course, this is a generality, but there is a lot of truth to it. For example, the likelihood of you using an e que or a compressor on a track is pretty high. You may not always use them, but what I am proposing is that we set up your session in such a way so as to eliminate as many decisions as possible so we can get to the heart of the matter, which is being creative. Here are some things that you should set up for a project template screen sets, plug ins, default chains, sends effects automation, quick access, key commands, default mastering chains. I am going to help you set up your screen sets. This is especially good if you need more screen space but don't have multiple monitors. I'm also gonna help you decide what plug ins and effects were best to use for your template to add to this. Also, want to configure automation quick access so you can quickly adjust automation parameters on the fly. Lastly, you will be defining a default mastering chain so you can pump out tracts quickly and take the guesswork out of the quote unquote mythical art of mastering. I do want to point out one more thing. You can create project templates to serve you in one of two ways. The first way is that it works as a default. The idea here is that most of the guests work has already been done, so you can just get in and right. The second way is project specific. If you are working on a certain show or brief, and the deadlines are pressing than it is absolutely necessary that you adopt this when creating project specific templates, I urge you to take a few hours to get the right source material and samples. That way you can work freely and with no worries In closing, be sure to update your templates as you at stuff and refine them over time. Best to always back them up. Using an external hard drive, you can find your project templates and users music, audio music, APS, project templates. I like to tag mine just so I remember where it is. Thank you for watching. 8. Screen Sets: Welcome to the video. Let's make good use of your screen real estate by creating screen sets. My absolute favorite thing about setting up screen sets is you can set them up just the way you like them. You can store the position, the size, zoom level and the cursor tools of every screen set. What I like to do is set up a specific window in this case, the piano roll. Then I set up the cursor tools that I like to use within that window. Here I like to use thesis is er, tool and the select tool. This way, every time I revisit the piano roll, the page and the cursor tools are already set up to meet my specific workflow needs. There are 81 memory locations available for screen sets within logic. I'll show you the way I set it up, and you can customize yours according to your taste on screen Set one. I like the tracks window to I like to set up a mixer window. Three. Piano roll. Four. I kind of made this up. This is an automation window. Five Step Editor six Smart Controls seven Audio editor event list Editors. on number eight, and that's that. So how do we create the screen sets? Well, if you hit the number one, you're always gonna have this main window here. Okay, See this number one up here? It's directly connected to this to the screen set. So if we hit number two, well, all of a sudden we get a new window. OK, but let's just say we don't want the tracks. When we want a mixer, you got a window? The key command for open mixer is command too. Let's hit that. We're gonna cancel the other window. And re size is to our liking. So every time you hit one, it's connected to the tracks window to and now to the mixer to make sure that this stays in place. You want to go back to the number here and hit lock. This will ensure that this screen stays here and there aren't any mishaps. So every time you hit one, there's the tracks window to the mixer. If you wanted the piano roll, same thing you hit number three, you get another window. What is the key command for piano Roll Command four. Let's hit that. Cancel the old window out resize this to your liking. And now we have the piano roll. Have you got one to and three? Well, let's just say every time we went back to the tracks window, we wanted a special feature, like in this case, transport float. Let's just say I'm working in the piano roll doing my thing. And then, all of a sudden I need to go back to screen Set number one. The transport float will be here from now on. A way to secure that again is toe lock. It bear in mind that we can recall screen sets. We can lock them duplicate, rename and even delete them in this window. Here. Good luck setting up your own screen sets. I'm super excited about sharing the next module in which we will get into plug ins. Thank you for watching 9. Go To Plug-Ins: Welcome to the video. Go to plug ins. And now I present to you workflow killer number two always looking for the right sound sample or plugging. I know you know what I'm talking about. You're in the mood to write and you have the idea in your head, but you're unable to find the right sound. You go through your loop library, which has about 50,000 loops and nothing. You sift through your many sample libraries and you cannot find the right tone to match your song. Maybe you know a little bit about synthesis, so you play with the settings. And while you may have improved the sound, it's not quite what you're looking for. This is workflow. Killer number two way to combat this sore spot is by not worrying about it at all. There has been a ton of research done on productivity's and creativity, and a lot of it suggests that when you eliminate choices, you are then free to be creative. I call it the 80 20 rule. The idea is to use your moments of inspiration wisely and just focus on creating. So when you first start up a session and your amped up, ready to go. Then you draft out 80% of the song right there, and then you should not concern yourself with the tones or the mix or anything technical. At this point, you are strictly just getting the ideas from inside of your head onto your D. W. This is the very reason I want you to set up your session templates, so you no longer have to make these choices. If you want a guitar, it's right there. If you want strings there, right there, if you want an acoustic guitar setting or drums or loops, that's one of my favorite things to do is you know, sometimes I'll just have a loop in there that may just serve as a filler. And while it may not be the right loop, I've got something that will remind me of what it is I ultimately want to accomplish. Sonically, here's some suggestions that can help now that you set up your template default and project specific, you're free to create. Once you finish your 80 20 sketch, you can focus on nailing the right sound later suggestion number to go through your software instruments and presets so you confined your favorite sounds. This will eliminate a lot of wasted time searching through your plug ins. Suggestion. Number three Savior. Favorite material as user channel strip settings and save track stack patches. You can see my User Channel strip settings here of God bases, strings down effects down sweeps risers up lifters, brass favorite percussion, the ideas that you've got these these tools available to you when you need them. Suggestion. Number four Something that I've been doing lately is going through the loop library and marking my favorites. While this is time consuming initially, ultimately it will save you time as you narrow the spectrum from over 23,000 loops contained in logic to just your selected favorites. I hope these help I'll see you in the next video, in which we'll talk about setting up your tracks with proper audio treatment. Thank you for watching 10. Go To Plug-Ins (Part II): go to plug ins, Part two. The previous video looked the selection of sounds you use, meaning the plug ins that use loop libraries, etcetera, etcetera. This video will deal with your choice of audio treatment. In other words, how you choose to manipulate your sounds. I think we can all agree there are plug ins and functions that we use more often than not during our productions. These air like our go to plug ins. We use them because they are easy to use and because we know them, here is the default chain that I use on most of my tracks. I like to use a gain plug in, right on top Channel E que compressor what I call a utility plug in and then some type of saturate, er, analog summing emulator. Obviously, the point here is to get to the root of it. It's about using all the important tools to get everything ready for the mixing production stage. This part here is not about creativity. This is about getting back to the basics. So once you've drafted your idea, once you've sketched out your idea. Now you've got all the plug ins ready that are necessary to complete your project. Some people ask why I like to have a gain plug in at the top of my menu. Well, the reason goes back toe workflow. If I take up my track automation and I use it well throughout the session, I can no longer use my channel instruments volume. So that limits me. That basically means that I have to go back inside of the track automation view, and every time I would need to make a change. You know, I have to make another adjustment. Well, I don't want that. What I want is I want to be able to make fast changes using region automation, as we've talked about, right? So let's just say you want to lower that section raises section lower this section That was quick. I go back to track automation. This is free to do whatever I want with it. I started asking myself, How can I work faster? And I realized if I used this game plug in and I used it to automate rather than the track automation, then I was going to start making a lot more headway because every time I went back to my main channel strip. I no longer had any impediments since there wasn't any automation ridin on it. I hope that helps nexus E que used more often than not nine out of 10 times, eight out of 10 times if even just to create a lower high pass filter this is necessary on a channel strip. I would just put it on every single one, not even think about it. You could perform surgically. Q. You can perform creative e que. It's up to you definitely have that on your channel strip moving on to compressor. This is a must. Even if you don't use it. The total character that will give your track will be warm and and a great compliment to what you're doing. So here I'm using it creatively on this on this beach. Check it out. I'm gonna bypass it first. That's the fun. Be. I wanted to get some more grid out of it. Song is a dance kind of hype song, so I wanted to give him or energy listen nice. Okay, moving on. This is what I call a utility plug in great company called killer Hurts. And this is their premier snap heap. Cool thing about snap heap is that you've got all of these great features chorus bit crusher, foreman, filter frequency shifter, things that we use in our everyday sessions that could be quickly recalled by the touch of a button or two. So this is why I, like toe, have this plug in here very useful. Very quick. If you just need to make a couple of, you know, slide e que adjustments, you can do that in an instant. It's ah, it really does a lot. It has a tape stop effect. Transient shaper reverse er, actually reverse her sound really cool, highly recommended. And the idea with the utility plug in is you can quickly translate what you hear in your head. All the plug ins you could possibly need are already there. This eliminates having the search for the quote unquote right sound and get your ideas down on paper quickly and then to top it all off, I usually end with the saturate er or analog emulator, which is right here. I like the color that it gives to my tracks, and I like what it does to my mixes. It's mostly for warmth and grit. Really cool stuff. Please remember that these choices are based on having the most seamless workflow. It is almost as if you are wearing different hats for the writing sketching portion of your session, You're wearing the creed of hat. When you wear this hat, you wanna work and you want to work fast. Once you get the idea down, then you can take your time sculpting the sound until you realize your entire musical vision. Thank you for watching. I'll see you on the next video. 11. Sends & FX: welcome to the video sends and effects. There is the practical side of engineering producing, and there is the more creative side as well. The last video looked at some of the standard tools that one uses when shaping their sound . Now we're going to have some fun in this video. We're going to take out the paint brushes and starts. Develop are masterpieces with the use of effects. This is when things get interesting. It is my favorite part of the production process. This is when you get to make those big choices and put your mark on the music effects and how we use them are part of what separates our sound. It makes a sound distinct. It really is about narrowing down your choices and committing toe a certain creative direction. Because there are so many. I have created this chart to make sense of the sonic landscape that is effects. I want to get to the heart of it and start setting up preliminary effects. By this, I mean effects that you will most likely use in any given session. Most often, you'll be using reverb delay, parallel compression, sometimes called New York compression and course So let me give you some examples here. Here's my piano sound and here's my go to river that I usually use as you can see here at the bottom, I use all kinds of different river herbs, halls, plates, rooms, gated reverb, etcetera, etcetera, different kinds of delays. Uh, quarter. No delays, half no triplets. Here's some parallel compression options, and then here's a kind of low five big crusher option as well. On. Then, here's my chorus. So let's go over the river without the verb. A piano sounds pretty good. Okay, so now we add the magic of reverb, and here's what we get creates an ambience. You definitely want to have a reverb on your templates, just to make sure you can get to it right away. Of course, if you want to customize it thereafter, totally acceptable. This is what I like to do with my choruses. I like to get them in the channel strip, be a bus, right, and then I like to create a low pass filter here at 300 hertz, so let's hear what it sounds like without it. All right, let's turn that on, - or so you can hear the difference. You can see why have that set up? It's kind of a go to sound, and I know I can trusted in the heat of the moment when you need these effects to perform, they will. And if you need to make slight modifications, that's okay, as we've talked about. Okay, delay, logics delays. Pretty cool and easy to understand. You can also use the trick where you create a high or low pass filter just to give it a different sound in this case will leave it off so you can see that on the left side. I've got the delay set to, ah, half note and on the right side, I've got the delay set to 1/4 note. So when I hit this, you're gonna hear the left side of the speaker playing 1/2 note and the right side playing 1/4. Listen, we'll play the same thing, and now I'll remove the left side so you can hear that the right side is in fact, just 1/4. No, let's bring this down. And you hear that the left side is a have no, uh, by combining both, you get a nice, magical and fun sound. And this is the beautiful thing. With delay, you can play with it. You can have triplet on the side or a dotted quarter would have you. I highly recommend you start to play with these sounds. I would personally set up, you know, a delay. Two or three. Have 1/4 note. I'd have 1/2. No. And I would have an eighth triplet here. Let's go over. What? That sounds like eighth triplet. Right? Okay. I recommend you set up your effects in your project template. Here's a list of only 12 effects. Feel free to find your own rhythm, your own workflow. But the's 12 seem to work just fine for me. By setting up your go to creative mixing plug ins in advance, your workflow will become more efficient than ever before. Try setting up these effects on your next session or your project template. Thank you for watching 12. AQA: Welcome to the video brick by brick. We have been building such an epic template. Let's keep this going by delving into automation quick access, you can find this feature and logics preferences. Command comma. Go to the automation tab and right here in the bottom is where you'll find it. The way this works is as soon as you click this button automation Quick access turns on. This can also be found on the toolbar and toggled with the key command control all to command a Do you remember we took it off earlier. It's right here to set it up. You're going to need an external controller. This could be a midi keyboard with knobs on it, like the Complete Control keyboard or anything that gives CC information. I personally use the circuit controller by Novation. So here is how we're going to set up Step one. Assign a single controller by clicking, learn, go ahead and turn the knob that you wish to assign automation quick access all the way up and all the way down. By the way, this can also be done with a model wheel click done when you're finished, and that's that so Now, if you look at my channel strip, you can see that my volume is being controlled by the knob on my circuit controller from the automation parameter menu of the selected track. Choose what you wish to control. So let's get some space here. We're gonna open this up. So at the moment we are controlling volume. Check out this slider. If we wanted to control, let's say Pan, for example. Same thing. We have four control over pan. If you wanted to automate this information in, you would go down here, use touch or latch, and I'll teach you the difference here in a second. You don't even have to hit record. Just play going back to the controller and automating my information. So the hardware controller controls whatever the currently selected automation parameter is . So if you have all been selected, you'll be controlling volume. And if you have a bus with delay, then that will be with controlled, for example here. If I choose high cut frequency and we choose to write that in, you'll notice that I'm creating a filter. If you wanted to do that with volume could be done with anything, okay and the difference between latch mode and touch mode. Here goes. When you're writing the knob in latch mood, the automation parameter, we'll stay in the same place that you left. For example, here. If I stopped at the very bottom in latch, it stays there. When we do the same exact thing using touch, check out what happens. Get to the very bottom and it shifts to the original volume. So how do we started at? Let's just say zero. Check it out. Hope that helps. This is yet another great addition to your workflow. Thank you for watching. 13. Key Commands: Welcome to the video workflow Killer number three. Spending too much time mousing around. Strictly using the mouse is a massive waste of time. I think of all the energy and time you spend just looking for stuff and logic. Key commands play a significant role in speeding up your workflow. It's way faster to strike a key combination than to reach for the mouse. Shake it to find the cursor or reach for the corresponding menu sub menu. And, of course, the buttons Logic has more than 12,000 key commands Bear in mind. These commands are also available in various menus through buttons. There are also a variety of commands that are Onley. Available is key commands these air marked with a dot in front of their name. Like so for each command, there are two types of triggers. The first is key one key or key combination to trigger a command. So Command Z or all commands ear would have you. And then there's assignment, which is one or multiple messages sent from an external control surface. This is how you assigned key commands. You could do it in one of three ways you can use the learned by key label. Feature This records on Lee The label of the key meaning If you're using an extended keyboard or not, the number one on the numeric pad will mirror the actions of the number one of a standard keyboard. Then there's learned by key position records the position of the key, the advantages that you have more programmable keys when working with an extended keyboard , so you've got more to work with. Then there's learn touch bar. Here you can record commands using Apple's new Touch bar feature further expanding your region options. And lastly, there's learn new assignment. Use any message sent from an external control surface to trigger a key command. So if you wanted to change your zoom position or go from read automation to latch automation, you can do that and let me go ahead and show you how to do that so you can see here. We're on read, and I'm going to use my cord man. Oh, control to toggle latch automation on enough. So how do I do that? Click the track. I click. Learn new assignment on this toggle current track automation latch read. I click this on. I hit the button on my nana control that I want to assign. And there it is, right there. A recorded message. Now, every time I hit that corresponding button, check it out here on the left. It reads it and it's automatic. I advise you to create your own personalized set of key commands. Start with the commands that are part of your daily routine. Simple stuff. Cutting, repeating. Ah, for example, if you have on audio Region here, you just drag in a loop. That's a fantastic feature. I've got my key command under command D. That's repeat regions events. I also have repeat regions events multiple times. If I wanted 20 of these while instead of using the command D feature, I would use command are and I would just put 20 right up there, and I would make these copies rather than alliances or clones. And there it is highly advise you to just start small, start to build your repertoire key commands, and this will help out so much as an option. You can even delete the ones you don't use, so you avoid triggering something by accident. The truth is, there are so many key commands that you only really need to learn the ones that are essential to your workflow. The one key command you should know by heart is Option K, which opens up the key command menu. You can search for key commands here by typing in actions. So let's just say where we want to do something with automation, we type in the word automation here all the pertinent key commands. This is a great way to learn new key commands. You can also test out certain key combinations in this portion to see if those specific combinations already taken if you wanted to use all command G here. Logic is telling us that all command G is being used for alignment guides on and off. Which, by the way, we confined right here. Alignment guides, all command G. This is yet another strategy to accelerate your speed and maximize her time while working on logic. I appreciate you guys. Thank you for watching. I'll see you on the next video 14. Editing Etiquette: Welcome to the video. Now that we have prepared logics engine for optimal performance, I want to show you a couple of things pertaining to editing in the context of workflow. Let's go over some of the basics that every producer slash composer should know to avoid too much mouse use. I want to talk about the key commands of here and the ones appear and even some of these in here. So if we're working on a region and every other minute you have to drag your mouth, all will be here in order to open the toolbar or open the mixer. Well, that's very inefficient. We're gonna learn the key commands right now for library. It's why, Inspector, I I usually just have this one on the whole time. I never really turn it off unless, for some reason, I actually need the tracks region here, the tracks window. I'm sorry. Then, um I will turn off, but usually it's on quick help. That is, ault each not a bad idea to just leave this on to and and learn about logic and all its different features. If we shift over to this next icon, you can see that the toolbar button key commanders control all to command T and I usually leave that one on as well. The mixer necks smart controls be and the editors e and just a quick note about the mixer. You see the Phil icon hear it has three columns, and this one has to. Well, by default, it's normally right here, and the channel strips are a little bit skinnier. You can open that up by hitting that second icon there, and now the channel strips were just a bit easier to see. But to my point here you've got different features. Within the mixer, you can look at a single track, Ah, couple of tracks or just everything that's in there, including buses, oxes, etcetera, etcetera. Well, you don't have to click the's in order to maneuver. You can hit the key command shift X, which will help you navigate easily. Okay, as faras rewind forward, you should know comma period. If you want Teoh move a little bit faster, you just hold shift, and that will take you a little bit farther to return to the beginning. You don't have toe click on the number one you can just hit the back to beginning button. Of course, play space bar record are and cycle C. I'm just bringing up these specific ones because they are fundamental to a easy workflow toe. Inefficient workflow. I think these air Okay, you don't have to know the key commands. Uh, although you should know Metrodome pretty easy. Okay? I am of the mind that you should always leave the countin icon on at all times. Just makes for a faster workflow. OK, moving on to the right side of the screen. The list editors D and rumor that includes your marker tempo signature. So definitely good to know Next one is no pad, and that's all to command p. This one's good. I got some really good features, which I'll get into in a second and then, of course, loops. Oh, and lastly, your media browser f talk about project notes for a second. I want to take a minute to talk about the no pad. It is paramount that you begin using the no pad key command. All command p. This is a space for you to organize your ideas, type out chord charts, set up reminders for yourself and maybe even draft up lyrics for a song. I don't see enough people used these functions, and I wanted to highlight them. So, for example, if I have a project, no, uh, add base e que drums etcetera. Right? But if I had a specific track note like here, if I wanted to slice up drums on play with Groove, sometimes you have to remind yourself, You know, you've been up for a long time, where you've got a lot of different things going on in your life. This is a good way to remind yourself, right? I'm supposed to spice of drums and play with the groove. This is in the track section, so when we go to the track here, you'll see spice of drums and play with. I played with group. I don't see enough people use these functions, and I just wanted to highlight them. In my opinion, you should always have the marquee tool set up as your secondary cursor tool. This allows for a quick workflow, since the marquee tool has multiple uses, including cutting, copying, pasting, looping, citing the play head. And on that note, if you hits, shift and and click anywhere outside of a region. You can move that play head anywhere you want. If you do have a regional you have to do is bring up the marquee tool. Click your mouse and pit play and you'll have the play head play from that spot. You can also create loop regions to listen to, like if you're trying to make a detailed at it. Or maybe you're trying to fix a certain click, which there isn't a click here, but we'll just play with. You can also scan your transients easily by clicking on the region with the marquee tool and then using the left and right arrows to check this out Marquee tool. And I'm now just hitting the right and left arrows. You can add to the selection by holding shift and then using the left and right arrow keys , a great editing tool, very good for editing loops or fine tuning apart. This is also very cool when automating and trimming or raising volume, for example, we wanted to take that section and just raise it up. One db If you are fun of using another tool other than the Marquis, remember that you can set up 1/3 cursor tool via the preferences. The main tool then becomes free to use specific tools that you can summon using the T button. Once utilize a tool, you can go back to the pointer tool by pressing T twice. Let's cover that here, Word says. Right mouse button will put is assign herbal toe a tool. All of a sudden, you can see that we have a new Icahn appear. I like to use the scissor tool, so command brings with secondary cursor tool and the right click will bring up my third tool. So ah, this is cool. You know, we could just cut however we deem fit just like that. And by the way, if you don't know this trick, it's pretty great. You hold down Ault as you click with the Scissor tool, and it'll create different cuts all along You're loop. This is a time based feature. If I make an edit, let's say make it one bar long so that would be from here to here. OK, I hold on and I click the scissor button this and it will create a bunch of different bars . Essentially, if I go in a little bit tighter. And let's say I hit division. So from here, that's one division, right? So if I hit on this first division holds in all clicking the scissor button, all of a sudden I'll get divisions all the way around. One of my most often used key commands is applied default cross grade. This has become so quintessential in my workflow some of the benefits, or that it gets rid of any potential clicks and pops and audio regions and also just saves you loads of time. So it's this easy command A and I've got mine set up toe F four since I use it so often. So use that in your arsenal. Trust me, Batch fades really good as well. Let me load up some loops so we can talk about this a little bit. So if I wanted to make simultaneous fades to these three regions because I have my set up here in the pointer tool on tracks provides fate tool click zones. All I have to do is go over any one of the selected regions, create my fade, and there it is, right there. My personal favorite new feature of 10.4 is the new feature. Open Close Instrument Plug in Window of Focus Track This has been a feature that logic users have been bagging for a long time. This is currently an unassigned key command. I highly recommend you start to use his command along with all of these other ones to open and close instrument plug ins and audio inserts. So I've assigned the actual instrument plug in. For example, if I have a MIDI instrument right, massive or signal by output, you would hit shift Q. Now to open the actual plug ins like here, you can see my gain on insert one China Lee Kyu answer to SSL. Plug in three. All I have to do is that the corresponding key command. So the workflow go something like you're working you want Open up that gain, Drop it down by two db okay up and then you want to open up the Q two create a filter. You know you want to squash the drums a little bit more and that's it. This is a fantastic new feature. I am so excited about it. I know I've been waiting for it for a long time. So stoked about it on a side note. If you ever have multiple plug in windows open like this rather than having to go in and close each one you can hold shift Exile. One of them and the law go away right away. Last tip. I also like to use the alignment guides. Makes my editing a lot easier when I could see the vertical line positions. So if you go here to snap all the way at the bottom alignment guides, Key command Ault, Command G. All of a sudden, when you start to move regions to different locations, you can see those two vertical yellow lines that will allow you to perfectly lineup regions wherever you want to put them personally. Love this feature. I have it on all the time. And I just wanted to share that with you. Well, that about covers It I know was a lot of information. But the more you work in logic, the easier will become and the more information you will retain. Thank you for watching. I'll see you on the next video 15. Strategies for Scrolling & Zooming: welcome to the video strategies for zooming and scrolling, zooming and scrolling or very deep subjects and logic. I want to keep this concise so I will only cover what is important. Let's start with quick tips. Go to position. This is great. This is a way of navigating the tracks area without having to use the mouse, but wanted to go to Bar 36. You had Ford slash 36 there it is right there. I know we covered this a little bit. I just want to reiterate, as this is a very important feature. Another one is stopped or play from last location by default. It's unassigned. I like to use all in space bar, So let's go ahead and program this learned by key label Hit all space bar, and you should be already. This will allow you to play back from your previous play position. I highly dislike having to play something and then moving back to the same position to play . What I just heard. While you can use go to position to move back, play from last location is more conducive to a better workflow as it is only once that process and go to position would be a three step process. So what does this look like? Exactly? Stop or play from last location? Let's just say we were on Bar three. Here we were playing the song theme, and I wanted to go all the way back to three. What if I could just hit old again? I don't have to move the mouse. I don't have to go to position. I just have to click all space. But things can also be achieved, obviously with the marquee tool. But stop or play from last location just gives a little bit more freedom. Some things we should all be aware about in regards to zooming Quick zoom. This toggles between your current zoom level and the maximum level of the selected objects , or all the objects of if nothing is currently selected. So, for example, here I have this track selected and I had Z. I'll see all the track and then I'll just see um, or condensed version of that. If you click the track and hit Control Z well, that enlarges that specific track and you can see the track zoom button toggle ing here. So be aware of Z, seeing all of your tracks closely and then control Z zooming in on one track. Vertical horizontal auto zoom. This automatically displays all tracks in your projects. Super helpful, very easy to use. That would be these two buttons here. Vertical auto zoom and horizontal auto zoom zoom sliders. Because I already used my track pad for zooming and the key commands resuming. I really don't use these these arm or a reference. For example, when I hit the vertical auto zoom, I can see that this shifted a bit, and when I hit horizontal autism, I could see that this shifted a bit, so I don't necessarily use those, but I just want you to be aware of what they do and where they are. Zoom tool, Drag a selection to zoom in, click again. A zoom back out. Our zoom tool by default is Ault. So if we wanted to just isolate a specific region, let's say from here to here. And by the way, when you're on an actual audio region like I am here, you're gonna have to hold control Ault in order to get it when you're outside of a region, you could just hit all and located. That way we can see the transit. We can make any and all at its. And if you want to zoom back out, you just hit control all and click. So you're either gonna lasso around a specific area, right? Or you're just going to keep the zoom tool where it is. Just click. Now that could be sequential. For example, I consume in once, twice and three times. And if I want to go back, I just click. 123 zoom presets. Zoom presets are similar to navigation snapshots. They store and recall your most you zoom levels. Zoom presets are stored in the preference file and are available on any project. So let's look for this. So here are your zoom presets. When you're ready to save a zoom preset, here's the key Command control Ault, Shift Command one. So let's demo that. Let's say I used this specific zoom level often. Minute shift control, all command and one. All right, we're gonna zoom in a little bit tighter for to. And now when I hit Recall Zoom one and recalls him to which is control all command, you know, it's control command. One. There's at first zoom level, and here's the 2nd 1 back and forth to use this wisely as you only get three zoom positions and you can go back and forth between them. Love that feature vertical wave form zoom. This increases the size of the way form. It doesn't necessarily affect volume or gain. So let's just say this was really small on your screen. For whatever reason, where you would go up to this button, click and hold, and then you can raise up the actual way form regions again. This is not gonna affect volume, so they could be small like that or they could be big. But this is helpful for editing and just overall navigation. All right, so we know we can zoom in, hitting command and using the arrow keys. This is left and right, and this would be a vertical zoom, right, horizontal vertical. But it is much faster to scroll with a track pad while holding all. So while it takes me, you know, a few clicks to get all the way toe that zoom level when using altar and the track pad, I can literally get there in milliseconds So this is all about practicing good habits now, so they become second nature have covered scrolling. I imagine that at least 50 to 60% of our time is spent just scrolling. If you were using a traditional mouse, this is a nightmare. As you have tow, use the scroll bars to get around. You don't know where the scroll bars are. Ah, you can see it down here. You would have to hold that new for yourself all the way to the end of the session. This becomes especially relevant with bigger sessions. If you have a Mac laptop, dysfunction is available through your built in track pad. If you're on a desktop and are working with the conventional mouths, you will not have this. Unfortunately, you must own a track pad to enjoy these workflow benefits. A magic mouse is good, too, but its uses are limited. I happen to own a track pad to and its two finger gesture. Scrolling behavior is an absolute must have. This has changed my life and made music making a much more enjoyable process as well. In terms of navigating rather than using the mouse to get to a destination I can now use the track path to just scroll anywhere in a speedy manner. This in combination with key commands will make you an unstoppable workflow ninja. I honestly cannot say enough good things about it. One last hack that I was lucky enough to find was toe actually zoom in to a plug in. So, for example, even though I have a, ah, large display, sometimes I want to kind of get into the nitty gritty of a plug in. But because of the size I'm unable, most plug ins do have a feature where you can increase the size, the view of the plug in, and that's super helpful. But the truth is, is that not all plug ins doing some of them are literally that small. I love the logic interface, but sometimes I do wish certain things were bigger. And while I can sometimes increase the size of a plug in, sometimes this feature is an available. Here is how you find ah, hack. You go to system preferences, accessibility zoom and I like to use the control, as my modifier says here, used scroll gesture with modifier keys. So now when I'm holding control and I scrolled in using the track pad I consume in all the way. Okay, ladies and gents, enjoy. I hope that helps. Thank you for watching. We'll see you on the next video. 16. A Note on Latency: Welcome to the video. A note on late and see. We have built the engine from the ground up. We've set up your session and tools just the way you like them. This course would not be complete without bringing up late Insee as it could be a major impediment if not dealt with properly. Workflow Killer number four Not knowing your d W, also known as troubleshooting. We've all been there spending hours troubleshooting and being frustrated because we cannot get an audio signal. This one subject took me years to sort out not sure why it was so foreign to me. But I am here to simplify it for you. What you need to know about Layton see, is this. There are three kinds of late NC's I. Oh, wait and see processor late and see and plug in late and see the Iot late and see is a delay caused by the size of the buffer. This buffer reads and writes the audio to and from your hard drive. This affects the entire system. Processor late and see is caused by process, Buffer, range and plug in late and see is caused by individual channel strips with plug ins that air CPU heavy. This only affects the individual channel strip. Keep this setting on all. The main thing you need to know about laying See is this. Keep your eye. Oh, buffer size lo and recording and high wind mixing. That's it. Keep it lo and recording and high when mixing. It's that simple. What's setting specifically you ask? How do I know if it's right? If you do not hear any clicks or pops on the playback? A smooth and seamless it is right. Let me point out the fact that we are all very fortunate to be working on De W's at a time when they offer something like low, late and see mode right up here. This is a kind of late and see for dummies. Button makes life so much easier. This could be recalled on your control bar. I like to keep the icon there for easy access. Use it when you need to record on a track that has a lot of Layton see caused by CPU heavy plug ins. What logic will do when you turn on low late and see mode is turn off certain plug ins, causing them to turn orange color, leaving only those plug ins enabled. That will not Kaz late and see, based on the limit that you have set on this slider right here to reiterate the main thing you need to know about laden, see, is this. Keep your eye. Oh, buffer size Lohan recording and high wind mixing lo and recording. Hi. When mixing hope that contributes to your workflow Thank you for watching. I'll see you on the next video. 17. Final Words: welcome to the video to dovetail off the last video. I just want to give you an example of what laden see. Sounds like this is a perfect example. You could see my I'll buffer Size is set to 64. Well, when I play the track here, the quality of it and then somewhere in the middle here, I'll switch it over so that when I'm mixing, it's high, and when I'm recording, it's low. Take a listen. Wow! So that is what laden see is as far as the ill buffer size go when you get to Channel Strip late and see this is like when you hit your keyboard and it plays like a few seconds or even milliseconds after, and it just feels awkward, like you can't really perform. And so that would be plug in late and see. And you can combat that by using low, late and see mode here. Or, of course, lo li and see mode right appear. All right now let me play you this example, but let's change the buffer size all the way up to 10 24. I usually leave my settings my lowest setting at 1 28 And then that's when I'm recording, tracking guitars, etcetera, etcetera. And when I'm mixing, I usually go over with 10 24. All right, so let's go up to 10 24. Let that make its adjustments. All right, listen, how much smoother this is now that we've designed the perfect template, you can always import your settings toe any session, whether your home traveling or in another studio. When I create a project specific template, I usually start with an already existing template and customized. From there, we've talked about importing. Now let's talk about bouncing and exporting. We all know the standard way of bouncing, which is command be. Well, let's talk about other variations. Let's talk about other ways of bouncing bounce region. This is a great way to apply effects on a region while keeping the rest of the track unaffected. For example, if I wanted and we'll just do some random stuff here, this this song is still in demo form. Hope you're enjoying music for ah, for my new show that's coming up here. All right, well, let's just say we wanted to add an effect. Every other measure, okay? So rather than having to automate that in and having the, you know, goto automation. Either increase the mix or you know it. It's just it's a very complicated thing to go about it. That way we'll hear what we can do is we can just bounce the region. So, for example, I can separate that region. I can add the Flander plug in, which is right here, bounced the region by hitting this small icon or hitting control be. And at the very end, I'll just add Flander for reference. Here it says, source, we're gonna leave the original track muted or deleted. Here, we're just gonna mute it and ah, yeah, we'll include all the audio tales in the file, um, include the volume in pan automation. So it sounds the same essentially. So now it's bounced the region. With that effect, we can play back our song, and I'll just isolate Theo and you get my point. Another way you could have done that is you could have utilized selection based processing , So let me give that a spin. My key command is set to old command be. I'll just go with some of their effects. So we're delay if you want a preview, you can just hit this thing Sounds the same. Something else just ambience enhancer. We'll just do that. We can apply it. So this would be the second way of using the same technique. Of course, you could create another track by hitting the duplicate button up here. And by the way, if you didn't know if you hold command and hit that duplicate button, you can create a new track with the same content. You'll see now that these two are exactly the same. And so we could do is do something like that where this track here has no effect on this track as an extra delay. Flander distortion, of course, that the downside of that is that you've got all these effects that you're adding to the chain, making it harder for your computer to handle. These techniques are also good for doubling. For example, if I wanted to double my drums or or just a snare here with the drum groove here, let me hear this. Yes. So if I just wanted to do, you know, do a little bit of parallel compression, maybe add a little bit of death, I would hit command. Click on that bun and I would process this a little bit differently than I would this. So here. Maybe we can add app designer Ah, let's try. Yeah, that's good. And what we'll do is we'll just just slowly bring a little bit of that parallel compression . Listen. Another feature, which I find really interesting, is let's go up here, bounce and replace all tracks. So let's just say you got to the point where your computer is just being pushed to the limits being pushed to the max. You've already frozen a bunch of tracks and you've tried bouncing regions to offload plug ins. Well, this is a saving grace. Let's just do it together here so well, replace all tracks it says here, before bouncing and replacing all tracks. It is recommended that you save the project. Do you wish to do this? Yes, I'll save. Now look what happens here. I'm going to include all the volume and pan automation. I do not want to bypass the plug ins because I want to keep the sound that I have currently har vested and built. So we'll hit. Okay, Logic will then begin bouncing every single one of these tracks, and by the time it's all said and done, you'll have way more CPU Resource is available to you, and when this is done rendering, you will see the final outcome of file bounce and replace all tracks. And here it is, right here. All tracks been committed to audio frees up your session Fantastic feature. And then here are some functions for exporting. The difference between bouncing, which would be that bouncing within a region which would be this and then, of course, file export are that when you bounce, the audio is going through the stereo output, so it's going through this. It would go through the mastering chain and out as a stereo file. This includes plug ins default chains you may have inserted in your master output, and when you export, the track is being rendered on its own channel without the effects of the stereo output Master channel. Of course, when you're bouncing region, it's bouncing within the channel strip inside of the session without the use of the mastering chain. So, in other words, the only thing utilizing this master channel is the bouncing used when you hit the key command command to be. So when we talk about exporting command E, we're exporting files and using their plug ins. This is a good way to reprocess a file or use it as a sample and loop. You can export all tracks is audio files by hitting shift command e Okay, and this is a great way to export stamps toe have others mix producer music. Also good to collaborate with others working on other D w such a Zabel Tanner Pro tools that you may not own or know how to operate. Well, remember to include the key of the song and the BPM in the session folder as well. So that may be something you want to do here you can on this custom tab Bright a minor 1 28 BPM. You would drag custom here. I also recommend you include a dry stem folder and a wet stem folder. You'll need to check the bypass effect. Plug in for the dry folder. Use the custom tab to stay organized, so this is what it looks like. Toe. Have your dry tracks in one folder and you're wet tracks in the other. Thank you guys for watching. I'll see you on the next video 18. In Closing: Welcome to the video that's cover backing up files. What I like to do is create to back of folders in two separate hard drives. This way, if one hard drive fails, I can rely on the other. A nice way of setting this up is to bring up a new tab by hitting Command T, which I've done here. You can see that this drive right here, called Samples, has a backup folder, and that desktop drive also has a backup folder. The way I was able to bring these folders up to this toolbar. Is it like this? Let's say I wanted to bring in my waves hard drive, which I also saved my P list and other things. But say, I wanted to bring this icon appear well. I would hold command, drag the icon all the way up. You see the little plus sign, let go of the mouth, and there it is right there. This allows you to access the folders that you want instantly. So here's one of my drives. Another drive. Here's my desktop, Dr Samples and my two backup folders. Okay, if you want to remove this all you have to do is again Hold command. Grab the icon, drag it outside and poof, it's gone. So one of the beautiful things about this workflow is all you have to do is drag your files to this folder and to this hard drives folder, I like to keep some of the more intricate folders organized. You can do so in several ways. Here's my system. Purple is for audio settings. This would include project templates, channel strip settings, plug in settings, etcetera, etcetera, orange. Our songs pending graze songs that I'm currently working on. Yellow songs. I'm ready to mix. Green is moved to master files. It's kind of like the final process. This transparent icon is when a song is approved by a client and then I'm ready to create deliverables. And here's how I back up my master files. I have two hard drives. Okay, I systematically save session folders based on the year and the dog that I'm using. So I am a logic guy. But from time to time I will go to the dark side. Just kidding. If you have songs available for exclusive licensing, I would tag them orange and have an extra folder in your master drive. So one of my master drives called archives and you can see here tracks available for exclusive usage again. I will attack them orange and have an extra folder in your master drives with all of the sub mix is ready. So when you do close the deal or make a new contact, all the work has already been done and you can send the final deliverables. I also recommend you designate certain folders on the sidebar of which is right here rather than always having open files and dig through folders. This sidebar will allow you to have everything in hand for an easy workflow. For example, I'm constantly going to my documents folder toe, find certain plug ins or update certain things downloads folders essential. I kind of have, you know, a working system here of of different programs, cheat sheets, if you will. So you want to use this here to stay organized? I'm constantly going to this logic folder toe update things. And so this is is crucial that you use this system that you use this infrastructure to stay organized. Now I want to recommend some software to keep your Mac running like a powerful locomotive. Just keep in mind that you still need to perform regular maintenance on your Mac. Here's some suggestions to help keep your Mac in tip Top shape Jim and I. This is a great program that detects duplicates, helps you stay organized and de clutter unwanted files. Clean My Mac, A staple of mine. I use this for daily weekly maintenance of all my computers, carbon copy, cloner or time machine. I try and back up my system once a month here to great programs that make this easy to do so. COMPOSER Catalog. This is my favorite method of organizing my catalog. I'm new to this system. It's especially great if you have a big catalogue and you need a way of knowing what songs Air nonexclusive in which our exclusive you can enter writers, info publishers in full and all sorts of other stuff. Check them out. Composer Catalogue. You might want to pick up beat gauges. Well, fantastic plug in that will instantly define your temple for you on your iTunes library Beat gauge, and you also may want to pick up expose by mastering the mix. This plug in will analyze your song and essentially give you all the the fundamentals in the details about your song. Highly recommend this program by mastering the mix. Remember the old saying clarity is king. In this day and age of information, it still rings true. Do your best to stay organized and experience the peace of mind that comes with it. Thank you for watching. 19. Bonus: Default Mastering Chain: welcome to the video default mastering chain. It's time to de mystify the mythical art of mastering. As a modern day producer composer, you were oftentimes required to wear every hat engineer, hat, producer, mastering, engineer hat. It just is what it is. This video was designed with you in mind. I want to help you simplify mastering what is mastering. According to my mentor, Gary Gray, a traditional definition of mastering is the final step of the production process used to increase the volume and quality of the mix. The modern definition is any adjustment made at any time during the process of mixing. That raises the volume, level and quality of your mix to commercial standards. Here's some suggestions for your default. Mastering chains Gain an E que to remove unwanted frequencies, compressor and or multi bank compressor. Another e que toe. Add subtle boost. This next one I call my secret sauce subtle cuts, saturate er slash exciter, limiter and, of course, the proverbial reference level. Meters. Why would you want gain as your first choice in the chain? Let's say you're mix was coming in too hot. Well, then you can use this as a safety measure to keep things in line. And as we've talked about before, I also like to automate my volume, using my game plug in and not the actual volume of the track. Take a look at my gain plug in its at negative four db. I want you to listen to the song. The reason I made this choice was because as I started adding more plug ins, the overall gain of the tracks started to increase, and so I was able to keep my song in check using the game plug in. I'll let you listen to the song for about 30 seconds or so, and then we'll break it down. - Now I'm going to remove the rest of the plug ins in the chain. And let's talk about E que. This is a trick that, if you learn properly, will make you better instantly. Here's what you do. You surgically remove any unwanted frequencies from your entire mix, but you do so in a very subtle fashion. These air very minor cuts and boost. I like using Fab Filter to do this, because I can isolate an audition specific frequency spectrums and perform surgical e que in a meticulous way. I'm going to isolate the frequency spectrum and you'll hear how it's negatively impacting the track. And then I'll bypass the entire plug in so you can see how it contributes in a positive way . Take a listen. This is a very Basie just was she sound and you won't be able to hear it unless you have good speakers. Thing is a very war, Billy sound. Same thing on this next one very horribly. And this is this an unwanted, very high frequency. The only positive booth in this song is right here. Way on. Really? The only reason I did that was because the guitars were in that space, so I wanted them to just jump out of the mix a little bit more. So now listen to the entire song with and without this technique here's with. It's almost like the song is just coming together a little bit more. The more you do this, the better you will get at it, and the more refined your ears will become. Remember, be subtle. You can see that most of these cuts are, you know, very small reductions. A 1.35 db 1.58. Um, this one is negative. 3 48 d B and this one's negative two db Let's move on to compression. The compressor can be used to elevate and control the mix, while the multi band compressor can be used to elevate or suppress the dynamic range of certain frequencies. Here I use the compressor to basically just just bring the song together and allow it to elevate a little bit more. So let's bypass it and let's listen. We're looking. It's almost like the song becomes more riel. It's like using special effects in the movies. You know that it just gives it up on authenticity. Moving on to e que subtle boost, you can look at my setting right here. Notching offered 48 hertz, increasing it a bit. Here at 85 it's bypass and turn it on. Listen, it's really does clean up the base. I would say the role of this specific e que is toe control the base and get it to where you want it to be. So the second e que and the mastering chain can be used for subtle boost, especially when it comes to the base department next is what I call my secret sauce I like to use to plug ins. One is called Tone looks tilt, buy you a D and there are other manufacturers that produce it. And the point is here that we just cut out a little bit of the high end. You can see that the adjustment that I have made is that 16 killer herds, so it's very slight. And then what we do here with soothe is we basically round out and polished the entire mix . So let's bypass and add both of these amazing plug ins. Check it out. So the tone Lexus hitting a bit of the higher end. Okay, and now this one is my secret sauce. Listen so much by way of making it sounds so much more professional and really bringing it up to commercial standards. My favorite things about this plug and as you see here, where it says wet, you can attenuate the level and just find that right spot that that works for your song. Highly recommend this plug in by O. E. K sound called soothe. From there, I like to add e saturate er or an exciter in this case, we're going to stick to the saturate. Er, let's listen bypassed. This'll could be used to bring some warmth, some grit to the mix. It almost feels like like the cherry on top of the mix. And lastly, we go to the limiter. You can use any limiter. They all have their own particulate features. Um, I love logic one, but for this song, I especially like the PSP Zien on. Listen to how rich and and how explosive this mix becomes. I'll bypass it first. Six. It really is the last polish of the mix. A couple of pointers. I like to use levels by mastering the mix and reference. Let's bring those up. And for TV standards, I like to have the dynamic range between 8 10 12 Let's see where it is right now. Not a bad idea. During the verses. It's around 12. And then during the hooks it could be around 10 or nine. Listen, eyes definitely working for this trip could probably even push it a little bit more on the limiter. Or you can increase the game. One of the things I like to do to increase the impact of a song is I like to automate the gain during the course is, or at least just the end like I've done here. So listen to when we get to this part of the song and how it elevates, See there that levels to 10. So that's a really good sweet spot. I wouldn't go past a unless it was very heavy. Song the songs bit more chill wave. So this is, ah, good place for it. Here the limiter acts as the final component in your chain. Its main purpose is to bring your tracks overall loudness to a competitive level. You don't want it tracks to be too quiet or too loud and too squashed. A rule of thumb is to bring out the ceiling down by about 0.3 so as to increase regain up until you get your songs dynamic range along this right where you want it to be, so it's easier to explain if I use this plug in. You want your out ceiling to be it around, Negative 0.3 and then use your reference plug ins to make sure this is between 8 10 12 l. U f s use this chain as a starter on. I'm sure you begin to build several mastering chains over time. These will serve you in your music making process. Thank you guys for watching. I'll see you on the next video.