I Didn't Know You Could Do That in Logic Pro | Eddie Grey | Skillshare

I Didn't Know You Could Do That in Logic Pro

Eddie Grey, http://vimeo.com/eddiegreymusic

I Didn't Know You Could Do That in Logic Pro

Eddie Grey, http://vimeo.com/eddiegreymusic

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20 Lessons (1h 17m)
    • 1. Intro

      1:00
    • 2. Interrupt a Bounce

      1:44
    • 3. Importing Projects/Exporting Key Commands

      3:24
    • 4. Bigger Mouse Cursor

      2:08
    • 5. Zooming Secrets

      7:13
    • 6. Proximity Icons

      2:29
    • 7. Smart Quantize

      5:47
    • 8. Audio to Midi

      6:31
    • 9. Drawing Waveforms

      3:22
    • 10. Pre-Fader v.s Post Fader

      5:41
    • 11. Tempo Sets

      4:33
    • 12. Learn About Files

      3:48
    • 13. Plug-In Manager Tips

      5:30
    • 14. AAC Simulation

      2:15
    • 15. Accessing Legacy Plug-Ins

      3:16
    • 16. Never Play a Wrong Note Again

      2:22
    • 17. Pre-Quantize a Scale

      5:04
    • 18. Quick Swipe Splice Editing

      6:51
    • 19. Custom Images for Your Sessions/Templates

      2:14
    • 20. Playing Games

      1:36
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About This Class

Most of the Logic Pro content on the internet, you can learn if you are willing. This, on the other hand, is Top Secret stuff. Learn the secrets that not even the pros know from Apple Certified T3 Trainer "Eddie Grey".Whether you are a beginner or expert, this class will definitely make you question your reality.

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Eddie Grey

http://vimeo.com/eddiegreymusic

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Transcripts

1. Intro: Hey siri, open-up Logic Pro. Well, normally I'd take a very serious approach to creating music, creating content, and sometimes just life in general, this course right here is credit to just have a good time. I want to show you some of the often overlooked aspects of logic. So go ahead and take a seat, let your hair down. And I proudly present to you. The first part, we're going to be talking about basic but necessary functions at the average logic user may not know about after that and we'll get into necessary functions that pertain to workflow. Lastly, we are going to cover some of the more quirky and fun features in logic, like inserting custom images or your templates. There's a lots of cover. Thank you for watching. I'll see you on the next video. 2. Interrupt a Bounce: How to interrupt a bounce. Have you ever bounced to file only to realize that you needed to make a change midway through. At that point, you needlessly have to wait around for a few minutes for your fall. It'll bounce from start to finish. The days of having to wait for a file to fully bounce are over by hitting the key command, command, period, logical interrupt, and stop a bounce. Let's try this out. Hit Command B to open up the dialog window. I'm going to hit return. And then as it's rendering command, period. Now why this is particularly useful is let's say you're rendering a couple of files and maybe you forgot to mute some thing or turn something else on. Now you don't have to wait the entire duration of that bounce. You can just say command period and interrupt a bounce. Just like that. Now this feature not only applies to creating a stereo bounced file like we just did now, but it also applies to bouncing a region and freezing a file. So what I mean by that is right here, if I hit Control B and I'm rendering a file, you can do it here. And then also when you freeze a track and that's inside of the track header, breeze, command period. Adding. Now you could do that in logic. Okay, thank you for watching. I'll see you on the next video. 3. Importing Projects/Exporting Key Commands: You just finished the song. You love the choices you made, the instruments, the bus and sends. You want to bring all of that into a new session so you don't have to repeat the same actions over and over. Or perhaps you're working on a song right now and used a vocal on a session that you did a month ago. And you'd like to bring in those channel strip settings in order to move your current song forward. There's a way to do that. You want to go into the browser's, appear on the right-hand side in the All Files tab. Go ahead and find your song wherever it is, could be on your desktop or your hard drive. Here's mine, I'm at a double-click it. Now what I particularly love about this is that not only can I drag in the content itself, meaning the regions, audio regions or midi regions. But I can also bring the plugins. Automation affects, et cetera, et cetera. So what I'm gonna do now is I'm going to hit command a. And I'm going to enable each and every one of these boxes. Now by doing so, I'm going to bring in the other session into my current session. But just be aware you don't have to select everything. You can just select one thing if you'd like to. And then also side note right here in the bottom. If you'd like. You can import project settings. So that's settings that are specific to that other session. Let's say you change the bit depth or you had specific smart tempo settings. You can do that. There were not doing that. Right now. We're going to add we're gonna say yes, we'd like to drag in everything including the file tempo. And I'm just going to add all of the bus incense. All. This may take some time depending on how large your other session was. But the reason I like this is that if I wanted to create a sound alike, or perhaps it's get a head start on the song. I can use my back catalog to just give me a little bit of a, of an advantage and I could start using the song as a starting point. So that's the first thing. The next thing that we have to talk about our key commands. So what do we do? If we'd like to take our key commands with us, perhaps to another studio. Maybe we're traveling and we're trying to mix vocals while we're inside of an Uber. Or if that's the case, then you wanna go ahead and export your key commands. Hit Option key to bring up that key command window. And then you want to go into the action item menu. Go to Save As. Go ahead and type it an appropriate name. And I just want to be clear where you're going to find. This is users music, audio, music apps, key commands. 4. Bigger Mouse Cursor: You're having trouble looking at the screen. You don't know where your mouses, you have two screens perhaps, and you're completely lost in the middle. What do you do? Option number one, you can increase the cursor size. This is inside of the System Preferences under Accessibility, display. And here we can increase the size of that particular cursor tool. Now this is one option. Something else you might want to enable is right below that shake mouse pointer to locate. Now if you enable that, if I shake my mouse, you see that it gets really big just for that one moment in time. And then when I stop performing that action goes back to its regular size. So this is a really nice way for you to find your mouse and then get back to work. Now something else that I highly recommend is that you learn how to create key commands within the operating software. So you want to go into keyboard in System Preferences, app shortcuts. And you can see here I've got export is PDF as command P moved to trash, something. I do a lot, so I set that up under Option Command T. So let's say there's a file per se. And I want to go ahead and throw that away. I option command T, and then I can go ahead and throw that away if I wish. And this case I'm not gonna do that. But these are custom key commands inside of the operating software. So if I go up to the Finder appear and I go to, let's say, for example, renaming something. This is something I do often. If I wanted to go ahead and create a key command for this, or would have to do is go here, hit the plus symbol type in a name. And this applies to all applications, not just logic. I go ahead and enter the appropriate key command, hit Add. And there you go. Hope you enjoy. I'll see you in the next video. The gang magic. 5. Zooming Secrets: Okay, let's get right into it. So we're going to be talking about zooming. Something that we should think about before going into this is that the zoom center is defined by the play head position, by selected regions or the marquee selection. So there's a kind of hierarchy when it comes to zooming. Let me show you what I mean. As it stands right now, the playhead is currently a bar one. If I start the zooming gesture, which is the pinch gesture on the trackpad, then you'll notice that the Xun begins to center around bar one. Now, this doesn't always apply if I have a region per se, let's say bar 27. And then now the region itself could be a drummer. Midi Lu, body or loop is in key focus, which means you've selected it, it's highlighted. Then as soon as I start to zoom, you now see that the zooming begins on the beginning of that particular region. Same applies to midi events. At the top of the chain, you have the marquee selection. So if I have the marquee tool selected as my secondary tool, and I create a selection at bar 47 or so. Even though the same structure applies, I have the play had a bar one. I have the region of B27. As soon as I create a selection, when I press Play, the playhead will begin at bar 45. Now the reason that happens is because the marquee tool is the most powerful tool in logic. I often refer to it as the Swiss Army knife in logic. So just be aware of that behavior and how that works. Because I see a lot of people struggling with their zooming capabilities. And it's really just the quick fix, as long as you understand the how behind it. Now when we look at the same thing applies here. If I have these two event legion selected and I start to zoom, you'll notice that the zoom begins at bar 31. If nothing is selected and I started zooming, let's say a bar 28, because the playhead is there, then the same zooming behavior applies. Okay, well, let me show you a couple of other things that are quite interesting. If you just want to scroll up and down. Let's say you have a lot of trucks intercession. And you just want to scroll up and down, just use the two-finger gesture up and down. That makes it really easy if I wanted to enlarge the tracks, if I hold all perform that same action, I can now expand the tracks and the track header on the left-hand side, or I can compress them as such. And one of my favorite things to do is called Zoom to selection. Whatever's in key focus. Again, it could be a midi event region or an audio region or drummer, and I hit z. Now that entire region is completely in-focus. Let me show you track zoom. This is an interesting feature that you can find in the toolbar control option command t. We can hit that little icon right there. And we'll track Zoom does, is it enlarges the particular truck that's in key focus in the sidetrack header. And it just gives you a better perspective on that tracks. All right, on track number one, let's say grow to track number 26. I can actually look at every single track, see the name a little bit better. And of course, if you have regions on there, you can see those better as well. So that's tracks zoom. Let's go into vertical and horizontal auto zoom. Let's see, you're tired of zooming in and zooming out and going back and forth. Maybe you're going into the mixer and performing some actions. If you turn on vertical auto zoom in this case and I hit x, you'll see that the Tracks area kind of arranges itself to fit my viewing pleasure. And then if I hit x again, it goes back to the original default view. So this is kind of nice if you go back and forth and you don't want to constantly adjust your screen. This is a nice feature as well, and this of course applies. I'm vertically and horizontally, so you can have these on the whole time and logical. Just continuously adjust your session based on the windows that you currently have open and closed. Something else that should be mentioned to the right of that are the zoom sliders. And, you know, this is just kinda like old school behavior, but you should know where they are just in case, if you want to trigger these manually, you can just hit command up arrow key, command left and right arrow key as well. Well, my favorite things to utilize is the Zoom tool. And of course you can select it by opening up the tool menu. But I suggest you use keyboard modifiers. So if you hit control an option, you can create a selection and start to look at what it is you want to look at. Let's say you want it to go in further, okay, create another selection and then another selection. And you can be exactly where you want to be. And the best thing about it is I then you can go back. So the noon kinda call this a navigation snapshot. So I'm gonna control option. I'm going to click the mouse once, twice, three times, and the noun back to the original view before I started zooming. So when you talk about enhancing your workflow, that right there is a must. Let me show you one more that I find to be useful. Sometimes you know, you're, you're mixing something and kind of in the woods and it's hard to get out of a certain view. The trick I want to show you now involves you being able to kind of get back and find your view again. Now in this case, it's hard because my entire screen is, isn't goal through, right? It's completely filled up. But if I find anything that is free, in other words, if I find the Tracks area and I find that part of the screen that is open. If I click the background of the workspace and I hit z automatically, I'm gonna get a kind of macro view phi at z again, I'll go back to the other view. But if you ever find yourself in a bind and you can't get out, I usually just find the background of the workspace like click, I hit Z back to normal. And then I, you know, if I want to go back, I hit z again. But bear in mind if you have like a 100 tracks and you can't find yourself out of this. You can go back to auto, vertical and horizontal zoom. Or you can just create a selection. You can delete it. Click the background of this workspace where it here hit Z. And now you're back home free. 6. Proximity Icons: Okay, now I want to get into proximity icons. Let's explore this really cool trick. Here. We can quickly access files, we can create project aliases, and then on top of that we can also create project copies. So let me show you how to access it. Have you ever been working on a session and you quickly want to access perhaps something that you render so you can import back in. But you don't want to get away from the desktop, right? This is a major workflow killer is somehow getting away from this screen and jumping into another screen and maybe an opening up another desktop or what have you. We don't want to do that. We want to stay in this window right here. So if I go to the very top of my project and I hold Command and I click on this little icon here. This right here is called a proximity icon. So now I can access the session file. I can locate the folder itself, go back into the hard drive or my computer. So I'm going to go click here. That's going to directly back into the session file. And I can just grab my marimba bounce or, you know, any files that I may need and just drag them right back in. So that's one specific way to use this and other ways you can just grab the icon if you want to just create a copy and then drag it onto your desktop. And you can see on the right-hand side here I've created some aliases. That's because I have a dual monitor set up. And so sometimes I don't want to have to move back to the other monitor. And so if I create aliases, It's a quick way for me to access those specific files that I need. These can be folders or hard drives. And the way you do that is you click on the proximity icon. You hold Option and command as you drag out, you just want to let that go. And then you'll see here it says the name of the file and then alias. Now, that's not necessarily a copy, it's just a folder that's kinda pointing in the direction of where the other folders originally stored. So just know this is a quick way for you to access files if you need them right away. Highly recommended for samples, your favorite samples, or files that you access. A lot, really useful. So anyhow, next time you're in a session, go ahead and try it out. Go to the very top of the screen, hold command. And here you'll find proximity icons. Last, cached Did, I didn't know you could do that in logic. 7. Smart Quantize: To smart quantize or not. That is the question. I want to talk to you about this amazing feature that not a lot of people know about. But before I do, did you know that you can do something called input quantize? Now, most people, when they work in their DW, They record and then they stop the playback, the double-click the region. They go into the piano roll and then they quantize. Well, I'm suggesting that we do it another way. So let me show you the original way of doing this. Alright, I'm gonna record to the click. And because that was performed so badly, I would double-click it command a cue to quantize everything and make sure everything is on time. Check it out. Originally. It looked with no quantize like this. So you can see pretty bad, not on the grid at all. Another way you can approach it, which is way more efficient, is to set the quantized setting beforehand. This is called input quantize. And now, regardless of my performance, logics, media events will lock to the grid. There'll be quantized so that I don't have to do it thereafter. So let me show you what I mean. I'm such a 16, I'm gonna play the same part. And ever claim to via drummer. So I double-click. And everything has already been quantize for me. Check it up. Now, you heard there that it kinda stumbled on itself. That's because I played it too early. So there are times where you're gonna have to move the midi event regions to the appropriate place. So either here or just nudge these over to the right. Same here, same here, think. Okay, so you get the point. Now, some would argue that because everything is on the grid, that it's not human, it loses groove or feel. So I'm gonna give you the tool that can best be used to find that middle ground between something being perfectly quantized then machine-like, and something being sloppy and just not really working. And it's called smart quantized. So what I'm gonna do is I'm gonna play that same part. Except this time I'm going to Control click up here in the region inspector and select Smart quantize. The quantisation value is the same. And now I'm going to play that same part. Here we go. So when we look a little bit further, you'll find that while it is quantized, it's not perfectly on the grid. So think of smart quantized as a way to perform the quantized function, but make it sound more like a human. Like the performance is more liable to error. So these are the kinds of small changes and tempo decisions that would happen naturally when a drummer would perform a part of this nature, check it out. I take that same part and I use the regular quantize feature looking at what happens to the notes. So I'm gonna control click, go back to the classic quantize feature and then now everything is back to the grid. So if you want some, Then the sun more humanlike, you wanted to have that variability that you want to use smart quantize. Now bear in mind, I would still go over it with a fine-toothed comb just to make sure sounds just the way I wanted to. But I love this feature and I think it's amazing that they've now implemented in, into logic. And I just want to spread the good works that don't hear enough about it. And so, anyhow, I hope you enjoy. Thank you very much. I'll see you on the next video. Oh, wow, I didn't know you could do that in logic, bro. 8. Audio to Midi: Let's talk about audio to midi. This is one of my favorite techniques to repurpose audio tracks, samples, and convert them to midi. It's a really cool technique because number one, you can work fast and you can also be creative. So let me play you what I've drawn up. Let's say this was a full fledged out production. And I was trying to take that Melody. And perhaps I'm on a deadline or I can't figure it out. So I'm going to use the audio to midi function and logic in order to find another purpose, perhaps layer. So how do we do that? What we want to open up flex time, you can do so by hitting the icon appear or just go ahead and hit Command F. And then you wanna make sure that that's enabled. Now in order to get to the actual audio to midi function, you have to open up the audio track editor. And then under Edit, this is where you'll find create midi tracks from Flex pitch data. Bear in mind. You will not be able to access this data unless you are in flux pitch. If you are in any of the other flex time algorithms, this will not work. So once again, I'll go back to Edit midi tracks from Flex pitch data, logical, then go ahead and analyze the file. And here is what we got as a result of. Let's check it out. So well, you can see it's somewhat on Definitely low-end information that does not need to be there. If you want to select a note that's on a given lane, if you just select that particular pitch in the piano roll, you can see that you will select them all at the same time. Hit delete. Let's see what we have here. So that's okay too, but obviously it's not great. Me show you another way that is flawless. If I take that same information from track number 26 and I run Melodyne through it. You'll find that this program is superior when it comes to editing, tuning pitch. It's an incredible, incredible program, suggested transfer here, and I run that same part. Okay, So you can see that it's all just one note. So in this particular case, because this is very percussive, Melodyne got confused. And so it thinks this is a drum part. Or perhaps a percussion part. So I'm going to change the algorithm from percussive, two melodic. So then Melodyne will read detect. It'll find the proper notes, and then we have this. Now what's great about this is you can start playing with the nodes to fit your song or just creatively express herself. But for now I'm gonna go to settings and I'm going to save as midi. And we'll call this r sinth. I'll send it to the desktop so I can pull it right back in. When you drag an a midi note logic, she's going to use a stock plug-in, a piano in order to show you what you're playing. So let's check out what I have. So this is pretty great. The only thing that's missing is just the velocities are a bit off, so I can hit command a and then command nine, go to functions midi transform. And now I want to fix the velocity so they're all more or less the same. Let's start at a 100. Since they're all selected, I'm only gonna hit operate. So it seems like B2's perfect and bar three as well. You get the idea, I'm not gonna go in here and edit it, but it's pretty much there. So then rather than choosing the piano, it's find something a little bit more interesting. Here's some of my favorite plug-ins for hip hop. And let me look for some walks. Start at the top here. Okay, these are sounding pretty nice. Check it up. I'm gonna move this up an octave. Just be aware that Melodyne could do a whole lot more than that. But I just wanted to show you this amazing technique to repurpose loops that you may have. This is a world of possibilities here. I do hope you take advantage of it. Thank you so much for watching. I'll see you on the next video. I didn't know you could do that and logic. 9. Drawing Waveforms: Let me teach you about drawing your waveforms to remove clicks or pumps. This is a great technique to utilize if you want to potentially remove any clicks or pops from your audio files. Here, we're going to look for a clicker pop. Usually happens if you do a lot of editing, splicing, things like that. Most often a general crossfade will do the job, but in this case, it's not check it up. Okay. You can hear right there. So what I'm gonna do is I'm going to cycle myself around this region. I can double-click or hit the key command E to get into the audio editors. Inside of the editors, there are three that track file and smart temple. Right now we just want to access the audio file editor. Now from here, I'm gonna go ahead and make the pencil tool, my primary tool. And then I'm going to listen again. So somewhere in there I'm getting a pop. How do I find it? I'm gonna go ahead and zoom in as tight as I can. That may be a right there. Hold on. Me. Put the play head right there. Okay. You can see it's right here. So all you have to do is bridge that gap, click and hold, drag over. And then create a proper wave form. Sometimes it takes a second to really get that to work. Let's do that on the other channel. Hmm? Alright, let's see what we have now. Now that's a lot better. Check this out. This was before that it's very prevalent. Luck cleaner, learnt, smoother, mature to contexts. Who concrete. So there ends up there, like I said a minute, some cross fades. We should check it out. So a much preferred to create fade in fade outs are used cross fades in order to solve this issue, they also have great de clickers in the market. Isotope has a great one act. You, Sonia's has a nice one as well. But sometimes if you want to get into the details, I suggest you go to the audio file editor, use that pencil and try and do that work yourself. I hope you enjoy. I'll see you next time. 10. Pre-Fader v.s Post Fader: Okay, let's talk about the difference between pre-fader, post-fader and post pan, which is default to logic. I'm sure the other detail V's have their own versions of this, but this definitely needs to be clarified now. So what is the difference between these? Well, when we talk about pre-fader, this, the way I like to remember is it's good to get more of the effects. And then when it comes to post-fader, it's good for separating the source sound and affect send. Well, if that's the case, then why is post pan the default? Let me show you. What I've done here is I setup a bus two and AUX track to essentially a delay. This is an echo. It's at the time of 1 eighth and lift the feedback so it's sustained for a long time and then I colored or filtered it. So you can really hear the difference between the original signal, which in this case is bras, a trumpet, and the delayed version as well. Okay, so I'm going to hit the note and we'll hear the difference between the dry version and the delay. So originally we get that first attack and then after we get the delay, so without the delay, we have this. As soon as we put that delay in there, you'll hear the feedback come in thereafter. So as stated, logics default is post pan. What does that mean? If I pan the current channel strip to the left, this effect on the right-hand side is coming with it. So you'll hear that both the initial attack of the trumpet and the delay are playing simultaneously. So if we pan over to the right, you're going to hear this on the right channel now, check it out. Okay. I don't have control over where the effects goes. Now, if this was in the middle and I wanted to pan to the left, let's see what happens. You do have control in this case because the channel strip here as it is in the middle. So that's the only time where you'll have control because for example, if I was panned far left and then I try moving this to the right, it's going to cancel out. So there's no delay because all of the delay has now been reserved just for the left channel, as you can see right here. So the beauty here is that when you choose post-fader, Now, as you can see on the right-hand side of the post-fader is not affected by pan. You can have the original source audio coming in fully, still have control of where the effects and sits in the panoramic field. Volumes still determines its outcome. So again, if this is on the left and I wanted to move this to the right, check it out. So this is a great technique for widening an image. Now bear in mind if the volume drops, nothing happens because this is happening post-fader but before the mute and Solo button. So just be aware of that behavior. Alright, so the now we're going to look at pre-fader. Now. I believe pre-fader is really good to give more of the effects the way I like to explain it as the pre-fader ox is sent out before the volume fader. So any volume changes made on the fader are not reflected on the scent. And let's say you want to do something really spacey, celestial, majestic. And I wanted to play the note, but have it sound like it was way far off. I can drop the volume fader and then keep this on pre-fader. And we get this kind of sound. And just getting the signal of the delay itself and not the initial dry track, if you will. Now of course, if I wanted to blend that any cam, She's something really spaced out like this. Look what happens. So I'm only getting this washed-out reverb sound. I love using this technique to separate instruments to allow depth to be heard. So if I want something to be in the front and I want something to be wait far out in the back. This is something that I implement on a consistent basis in order to achieve that level of front-to-back imaging to exist within my mix. So next time you're mixing, next time you're producing, go-ahead and implement pre-fader and post-fader to create more definition and have more control of your imagery. Thank you guys so much for watching. I will see you next time. 11. Tempo Sets: So you can see the song right here. I've gone ahead and changed the tempo of the song as it goes along. So what's interesting about this is that it creates a much more dynamic song, especially for the orchestra. Now, Let's say you try this. You were experimenting and it wasn't working. Then fine. You can just go right back up here. Go to tempo sets and either create a new one or just go back to the originally Untitled one as well. And of course I can rename that if need be. So just be aware that you can do all of this. But there is one contingency. If you're using midi, it's all good. But if you're using audio, you have to have flex time turned on. Now this truck is not turned on because I had it turned on previously and I rendered it with all of the audio treatment, the plugins with the tempo map. So this is just going to play the way it would normally play, but just be aware that flex time has to be on. If you're using audio that you haven't rendered to the specific tempo map. So let's take a listen to some of these changes here. And while this is only a small bump US gulf from 120 to 124, and then there's climbs up to 135 slowly, but surely it starts to add an element of tension and suspense that you can't really achieve just with instrumentation alone. Now the way to do this is to basically just grab one of these sections. Click. And then you can just move the temple map up or down. To create a tempo curve, you would need to create two different automation settings like that. So there's a node here, one here, and then you want to click and drag to the left to increase the tempo. And if you wanted to decrease the temple, you would create something, let's say down here. And if you wanted to smooth that curve or you could just click, move to the left. Just like that. Now the way I like to do it is I like to use something called the tempo. Operations is a really great tool because you can tell the temple operations dialog window to kind of perform certain actions 40. So in this case, what I did was I had this on bar 11. So I said, hey, I want the tempo to go from one to 20 to 124. And it'll create that perfect curve for E. So let me show you that now. So from bar five to seven will create that same curve. So thats bar number five. And let's go to bar number ten. So you can see it did so in a kind of step fashion, right? And that's good. But what if you wanted it to be smooth where you would use the same exact thing except on the density setting you wanna go to 1 16th are 1.3.2 and that'll smooth that out nicely. So I like to use both selects a manually, make my adjustments, especially if I, if I just want kinda like Abroad setting where I don't want to be specific. But if I do want to use a microscope and get in there, and I definitely use tempo operations. All right, so next time your experiment and go ahead and play with the tempo sets. And I will see you on the next one. Chairs. 12. Learn About Files: Let's learn about your files. Something really amazing about this program that I really love. And it's called edit, undo history that say meet all sorts of changes in the Tracks area like deleted files, move the volume faders around, pan knobs, et cetera, et cetera. If I go to edit undo history, logic is recording each and every decision that you're making. So let's say you want to go back to the beginning. Before I deleted that first midi region, then you are completely covered. In that sense just makes sure that you enable the mixer and plug-in feature right up here. Something else I really like is that the program is constantly backing up your projects. So if you go to File, Revert to, you can see that every couple of minutes or so, it's backing up. Okay, so the way that this works every time I hit Command S, logic is saving a backup. So you can see that my last backup was at 1153 with 21 seconds, let me go and save it again. Amanda's callback to file revert. And now the latest backup is 1153 with 32 seconds. And you can go back to these as need be. Now let's say you didn't have access to the file itself. Maybe something crashed. You're not able to access the actual session. Well, if I close this window command M, and I go to the actual project file, and I hit spacebar. I can now see the backups in real-time. So here's the first one. And I can load that. Ok. Here's the second back-up and the third backup. The actual sessions here or the project alternatives that I've saved within logic itself. So if you don't know about project alternatives, let me show you really fast. If we go to File Project alternative, think of this like a session with an assertion that say you make any big changes that say you're about to completely reinterpret the base or change the sonics of your horns or what have you. You can now save this session in case you want to backtrack and go to a previous session, sometimes I'll make a mistake and I'll lose midi information or audio information. And I can import the necessary info from one of these project backups. Okay, so hang tight Before you go. The last thing I want to talk to use about overriding files, let's say you're done with the song. You don't wanna touch it anymore. It's and it's final phase. Postmaster during if you hit Command i while selecting an actual project, you'll notice that there is a little button right up here that you can lock. And then now, Let's say I don't know you have studio mates or maybe you do something by mistake. You're not able to actually overwrite that file. So this is a protective measure that you can use when finalizing your songs. So there's a lot of different ways of logic covers you. Go ahead and try project alternatives. The edit, undo history, the project back-ups. They're all going to be necessary at some point or another. Just so happy that we have these tools available to us. And the more you use them, the more you're, you learn about them, the better off you'll be. Hope you enjoyed. See you next time. 13. Plug-In Manager Tips: Soccer ball plug-ins. First thing I want to address is the Plugin Manager. Now the way I like to do it is I like to assign a key command for this. So important. I'm always going back to it. I'm always refining it for you right now. Go into logic. Preferences, Plug-in manager right there. So let's say you want to customize setup so that all your compressors are in one place. Or maybe you have go to plug-ins that you use all the time. This is the hierarchy. The very top left, you've got the Shoal all category. So this allows you to kinda peep everything that you have. Now right below that you've got something called top-level. This is when it gets interesting. If I'm using audio or midi, this changes. For example, if I'm using the software instrument, this is when the top-level plug-ins will show up as a software instrument. But if I'm using an audio channel, then that behavior is going to change a little bit. And I'll give you an example in a second. When we look at category, this is where we actually can create folders. You can see I've created a system for myself that works for me. You need to create something that works for you and your workflow. My recommendation, any of the choices that you seem to be making every 5-10 minutes, create a category for them. Now, down here you can see all the manufacturers. And so let's just say you're looking for a specific plugin. You want to click and find all the necessary plug-ins here. For whatever reason something was invalidated and you need to play with the compatibility. You can click that on and off and hit that reset and rescan selection. And then you should be good to go. So let me give you an example how this is working. As of now, I have both a audio and midi track. So on the midi track of phi click right there, you can see that I've already set up my main instruments, instruments that I loved to use, or perhaps I want to get them into my workflow, but I haven't done the habit of that yet. So this is a great way of just kinda reminding yourself in getting into it. Now for audio channels a little bit different. The way I like to look at it is, you know, these are your your favorite plug-ins now as of now, I only have one because I want to show you now how to insert these top-level plug-ins. But these here are the category plug-ins that I showed you earlier. So let's go back into the Plugin Manager. Okay, great. And then you can see here I have a default category. These are plug-ins that I use all the time. And so in this case, what I'm gonna do is I'm going to select them. And then I'm going to drag them over the top-level. Okay. I'm going to hold option because I want to have them both in the category folder and also as a top-level plugin. So I'll let go. And you can see that now there are right down here. I'll hit done. Logic will configure it. And then as soon as I click the audio inserts, you'll see them right there. So let's go over the hierarchy right here. 1 second. At the very top, we've got the plug-in that you're currently using. You also have this no plug-in option in case you want to reset the channel strip or, or at least the instrument itself. And then here you've got the, the most recent plugins that you've used. Below here are the top level plug-ins. Here, my categories. And then kind of everything else right down here. So if you have if you can't find a plug-in when we're recommendations is that you go through these folders down here and then at the end of the day, go into the Plugin Manager, makes sure show all isn't key focus, and then type in the name of the plugin here and you should be able to find it. Okay, let me warn you when I first started and I didn't understand the hierarchy of the structure, I would actually lose plug-ins because I didn't know where I put them. So if you need to troubleshoot, just go back in here and show all and just search for the plugin and you should be okay. All right, so just to reiterate, if you need to reauthorize a plug-in or or validated. Again, there's only one of a couple of places you can look. You can go to the plug-in folder that's under the Macintosh HD system library Audio plug-ins used the AU folder and you could delete or added there. Another place you can look is when you want to rescan everything, go into the audio unit cache. And that's under user's library caches. So what you're going to want to do is take this file and move it to the desktop and then restart your computer, restart logic. And then everything should kinda start working the way it needs to. You can also look at the Plugin Manager and make sure everything is communicating. And those are my tips. I hope you enjoyed them. I'll see you next time. Chairs. 14. AAC Simulation: You've spent a ton of money on your monitors, your interface plugins. You spend hours learning the program. You spend eons on tutorials, et cetera, et cetera. And people are listening through ear buds and listening through lo-fi speakers. The good news is that Logic Pro as a plugin that essentially lets you simulate what your song will sound like in iTunes. If you want to find it. Go into the plugin menu, go into Apple. And it's called the AU round-trip AAC. Let me show you what it does. You want to set up an encoded format. In this case, let's see what this is gonna sound like in iTunes. This plugin is going to show you what the iTunes compression is going to do to your song. So make sure on the monitor section you have encoded selected. Then hit play. So this is really important, so you can see how your song sounds after the audio compression that iTunes applies. Go ahead and check it out. It's a really neat plug-in. And if you want to have a customized encoded format, you can do that right here as well. Just another great feature of this amazing program. Hope you enjoyed it. You could do that in magic well. 15. Accessing Legacy Plug-Ins: Hey, once a secret, tional logic has some secret plugins, Yeah, they're called legacy plugins. Let me show you. If we go into either an audio track or midi track, you can actually access some old native plug-ins to logic just by holding option. So I'm gonna go over here. Hold option. Scroll down. And here we have an interesting little lane call, legacy. And you can access all sorts of cool plug-ins. Let me demo some for you right now. So here's some old reverbs. Actually, that was a compressor up there, and this is a gate plug-in. Here we have a guitar amplifier which sounds really lo-fi. Let's try the bass out. Definitely see myself implementing that kinda thing. All right, here are the reverb. I came in when Logic ten was just surfacing. So I know a lot of people love these plugins. I personally don't use them, but, you know, it's interesting to check out what's kind of come before. I'm sure they're all amazing in their own way. If you wanna go ahead and do the research, check them all out and see if something is in your wheelhouse than enjoy that. Here's a de-noise her which I thought was kinda cool and cytologic. Let's see yours bypass. It's kind of neat effect right there I can see myself using that. Those are legacy plug-ins for audio tracks. Let me show you the legacy plug-ins for instruments are going to hold option. Scroll down. Legacy. There you go. Okay, here, all my options right here. I'll just choose one for now and I'll let you enjoy the rest of this. This one's called digital stuff. I didn't know. 16. Never Play a Wrong Note Again: I've got some serious chops. Check it out. Believe it or not, there's a way to hack the system so that you never play a wrong note or a wrong chord again. Alright, so the way I did that was I went into the inspector. And under midi effects, I chose transpose or there's a fantastic feature under the preset menu called can't go wrong. Once you selected, you must select the key. In this case the E minor blues scale. I could chosen just the minor. But given that this is a kind of rock southern track, may a lot of sense to go down the minor blues realm. So in fact, what happens now is, regardless of what note I play, I'm always going to land within the scale. Because for guys like neither creative, we love to get the zone. We love to lose ourselves in sound. Sometimes the inhibition comes from the lack of experience or not really knowing the instrument, understanding the, the timbre and the expressive nature of it. So this here gives everyone a fair playing ground in some ways. And more than anything is absolutely exciting. Checkout this track that I was able to pull off using transpose or China. 17. Pre-Quantize a Scale: I'm gonna venture to say that I really think you also need to know this next technique, Cynon, the last video was just riffing and playing everything right. With the use of the transpose or will. You can also create chords this way. Really, really useful to show you two ways. It's got the transpose or setup. This song is in the key of E. So let's go ahead and set that up. E. And like I said, this is a minor blues song. So throw that in there and then I just start drawing. So this is c, this is E. C drag that. Alright, let's keep that going. Maybe I'll just move this over, makes more choppy. Right? So that's one methodology. You just start playing, drawing, having fun going with your intuition, going with the flow. And here's another way that I really like. I think the workflows pretty fantastic. Let me undo all that command Z, go back to the top. And then this time, rather than using the transpose, are going to use a technique called pre quantizing a scale. So the way this works is right here in the scale quantize feature, you do the same exact thing, E, right? You set yourself up natural minor. Now usually this isn't the kind of thing that you could do until after the fact and lowers, I would have to play the notes and then I would select them. Then I would skill quantized. In this case, we're going to change it up. If you select the brush tool. You now have this feature at your disposal. So there's no need for the transpose or year right to work. So again, the brush tool selected c here is E will select that. And what's really cool about this is you can use this in conjunction with the time quantize. In other words, how long do you want that know to actually be in this case? Let's go full on half notes. Alright, here we go. And if you haven't played with the brush tool is amazing. If you just hover over the note that you don't want converts into the Eraser tool. You can just get rid of it just like that. So let's say you want a tough notes here and then we'll go over here. Let's go in here. And you get the idea. It's just another way for you to be able to come up with harmonies. Maybe some like triad chords, or just some interesting intervals. Major thirds, perfect fourths, perfect fifths, things like that, are a cool. So hope you enjoyed. Start experimenting. Look, we need all the tools that we can get. We need all the help that we can get when producing music. Let's say u component instrument that you've never played before, like a harp or something, that now you can access the tools to help you. For example, what this Oregon I could just do like this glissando effect and it sounds incredible right here. Listen to this. Right? So that's an authentic expression that an instrument like that would actually perform. So next time you need some inspiration. Perhaps you just looking to learn something new. Trial pre quantizing a scale. And you won't regret it. Alright, see you next time. 18. Quick Swipe Splice Editing: Should we check yourself? Here we go. So we're going to do something weird, interesting, the Centric scope. It's called quick swipe splice editing. It's not an official thing. So they I kind of was influenced by, came up with and then reinterpreted. So the way I recommend you do this is that you select a loop pack any style works for right now I'm just gonna go with future bass. And then because logic is so awesome, You can go ahead and drag in multiple loops at the same time. So I'm going to do that. Now. A great way to implement this is to essentially use it as a construction kit. So like if you find, let's see, like daydreams are here. You can just drive all of these and start to kind of create some ideas or get inspired. So that's kind of the more pragmatic approach. But, you know, we're about do something random. So I'll take the Somme while this is loading just to remind you what an important skill editing is. If there's one skill that I would recommend you pick up, develop, it's most definitely editing. It's been the, the one thing is absolutely changed my approach to music-making, I feel like it, it will make you feel a lot more competent. And in all fairness, you just have a lot more fun. So let's get closer to fun. Alright, so you can see that I've dragged in all of this different stuff and it looks a bit kind of wacky right now. So what I'm gonna do is I'm gonna go ahead and edit this all at the same time. Hold option, compress the files. I wanna make sure that they all adhered to a certain time division. So I'm gonna go ahead and hit Command a. Notice the playback is at bar one, hit semi-colon, everything goes over to bar one. And then there's two ways to do this, but I'm just going to create a selection from bar one, bar three, okay? And then delete everything else that I don't need. Alright, so that's one way to go about this. See if I have enough information. Yeah, I guess that's okay. I mean, in some ways I probably cut off some of the more important information on the other end. Let's try another technique. For this one. I want everything from bar one to five. So then what I'll do is I'll go to Edit, trim and I'll say crop outside. The locators, bleed everything has to be a key focus. Cool, and we'll just delete all this. We're cool. So then I'm not going to play this cause it's gonna sound like absolute gibberish. But what we are gonna do is we're gonna take the files that are currently a little bit shorter and they just say command ours, we can kind of fill out the space holding shift selecting that and that command R. And then these appear. Alright, so then now that this has been. Together. Now I'm gonna go ahead and select the tracks and the track EDR makes sure it's in key focus and then I'm going to join them. There's a reason for this. You want to hit its command J and form a contiguous audio regions so that they're all together. C, This is also happening here. So it's a little bit of prep time, but it's worth it for that about this one command and yeah, that's cool. I'll join these together, right, so you can see everything has now been selected and I'm going to hit command a. So now we're gonna do something unorthodox. I'm going to hit control click, and then we're going to pack a take folder. Now, even though these are not takes that we've necessarily, you know, done ourselves, we can use this as a creative tool. So just as if I was recording, let's say a rap or vocals, I can go ahead and apply the quick swipe technique. So now I can start forming a composite of different parts. And the way I recommend you do is you go to snap mode. You go to snap quick swipe comping. And what that's going to allow you to do is when you make your edits, you make them with precision. So click on that. Snap mode is set to, let's go to beat. Alright, and then I'm just going to select different parts and we'll see what we come up with. Let's see here. Maybe I'll choose to vision, choose this. That is that. And and obviously there's massive element of surprise here. I don't know what these loops are. I haven't heard them, at least not in this context. And so if you have a particular construction kit, this can make a lot of sense. I love this FOR fills. I think it's a really interesting creative tool, not to mention. So anyway, select, create, some selections here and we're going to listen to what this sounds like Now, check it out. Come on. Do you really think I'd leave you like that? I went back in here and I started messing around. When to that dubstep loopback, check it out. It makes me want me, me, me, me, me, me run that. 19. Custom Images for Your Sessions/Templates: Well, let me provide different ways to save custom images. Cytologic. The first way you wanna go into the marker text right here. Under navigate, go ahead and increase the size of that. You can do so manually or just say Control Command F. Go ahead and name this the appropriate title. You know, probably the name of the song. Increase the size of this text. So that it's colossal. School 600. This point, go ahead and hit Command US. Alright, and you close this session. I'm going to reopen that session. Okay? So that's the first way. Obviously you need to put the name of the artist and the song title. This time I'm actually going to insert a custom image inside. So rather than looking at text, we're going to see an image. Now I've got a picture of my daughter right here. And I'm gonna go ahead and get her in there. Hold on. So the way you want to do this is to locate the session itself. Control-click gotta show package contents. Under the alternative section. You want to take this file, go and copy the text. Then you're going to delete that. Take another file, in this case, a picture of my daughter. And I'm just going to drag that in right there. So now let's go back to logic. Open up new from template. And what do you know there she is right there. Check it out. Alright, hope you enjoyed this installment. I'll see you for the last video. Cheers. 20. Playing Games: You're wondering how was playing video games earlier. There are some great plug-ins out there. Were they just decide to have a little bit more fun. This brand is called clave Grand K, L, E, B, GR, AND, and they've got some wonderful plugins. And that's where I got those from. This is one that just came out called center PLU, that's Chu Si. And if you just play midi notes, you get that animated feature. There's some other great plug-ins in the market that do other things like this one called intensity, which is basically like a reverb delay transition processor. And this is like a great parallel compressor called sausage founder. Anyway, I really hope you enjoyed the course. Really tried to just kind of let go and have fun. And so I thank you for the space and the opportunity to be here and to hang out with you and to really just learn together. So I'm looking forward to more content, more learning, evolution, growth, Power, healing, et cetera, et cetera. I will see you further down the road. Blessings to you. Cheers, man. Thank you. Yeah, I really appreciate it. Seriously. Say.