Logic Pro 10.4 Updates (Logic Pro X Update Class) | Tomas George | Skillshare

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Logic Pro 10.4 Updates (Logic Pro X Update Class)

teacher avatar Tomas George, Music + Audio Production Instructor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 41m)
    • 1. Welcome to this Class

    • 2. De-Esser 2

    • 3. Vintage Console EQ

    • 4. Vintage Graphic EQ

    • 5. Vintage Tube EQ

    • 6. Studio Strings

    • 7. Studio Horns

    • 8. Vintage Mellotron

    • 9. Phat FX

    • 10. Step FX

    • 11. ChromaVerb - Part 1: Main Window

    • 12. ChromaVerb - Part 2: Room Types

    • 13. ChromaVerb - Part 3 Details Window

    • 14. Smart Tempo - Part 1: Overview

    • 15. Smart Tempo - Part 2: The Editor and Recording Audio

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About This Class

In this class, I talk about the major updates to Logic Pro 10.4, including the new Vintage EQ plugins, Smart tempo, and Phat and Step FX plugins.

This is a class for anyone that has Logic Pro X and has updated to 10.4 and wants to know what's next and how to use it!

Meet Your Teacher

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Tomas George

Music + Audio Production Instructor


Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.


See full profile

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1. Welcome to this Class: Hi and welcome to this logic. Pro 10 10.4 Updates class to this classes for anyone that has logic Pro. 10 and I've updated to 10.4. There's new features and 10.4 that we're going to cover in this class, including the DS, or to the new vintage console. Accuse studio strings, studio horns, the vintage Mellat, Iran. Also the fat effects step effects chroma verb on smart tempo. So if you've updated to logic pro template for and be sure to check out this class so you know how to use some of the new features in logic. Pro temp. So join me in this class on Let's have a look at some of these new updates. 2. De-Esser 2: Hello and welcome to this lecture all about the DSR to plug in. So De esa is actually a fast acting compressor, the only compresses at high frequencies or certain band of high frequencies. A. De Esser is primarily used to reduce sibilant in vocal recordings. A de ESA can also be used to smooth at high frequencies in other instruments, such as high hats or symbols. Like I said, the A. D S. It is primarily used on vocals for reducing the semblance of any harsh SS EFS, or tea sounds. So essentially a de eso reduces that high end hiss produce from S F or T sounds. Civilians also depends on the voice itself. It also depends on the position off the microphone. So if you're the side of the microphones slightly, it will sound less messy than if you're directly in front of the microphone. So Mike placement can help with civil INTs as well. The distance will make a difference with Sibilant, said the vocalist is right up close to the microphone thin. There may be more sibilant than if the vocalist is further away from the microphone. However, you may not want the vocalist, too far away from the microphone because you may capture Mawr Room sound, which you may not want for you recording. But, yes, I can help reduce siblings in your recording. Be careful, though, when you're guessing, because if you have too much of this that it may sound like the vocalist has got a bit of a lisp. But the correct amount can make a vocal recording. Sarah, unless harsh. I generally like to use a de Esser before the compressor, so I'm not compressing the unwanted sibilant sound. But sometimes if it's really SC recording, I also use a de ESA after the compressor as well as before the compressor. So let's have a look at the DSE to plug in Logic Pro TEM. So it's open this up. We need to go down to dynamics and then yesterday, too, in this plug and we have a few different dials and controls on. We also have thes visual meter displays. We also have a few different presets we can choose. I'm going to go to recall default on work from the default. Okay, let's have a look at the different settings now on the left Here, you'll notice we have the detection meter slider. So this allows us to drag couple down The fresh hold and game reduction will only be applied to signals above this number. Let's just so the vocals on play this back. Ah, push against the, uh We also have a detection meter. So this shows is the input signal level on the level is in yellow. When it goes above the threshold, I push against the, uh, on the maximum number is displayed at the top, and you can click to reset this number. Okay. Going along. We have the reduction meter slider. This allows you to drag to set the maximum reduction level. And we also have a reduction meter. So this shows the amount of gain reduction that's being applied. Ah, push against the, uh But all I see is that in me, every lie a say on the maximum number is shown in the number above which you can also click to reset. Okay, Going along. We have some more controls. 1st 1 is the threshold. This style does the same as a slider over here. So a fresh hold, it basically only applies the reduction to signals above this number So if you have this at zero db, for example, it won't apply any reduction to the signal because the signal won't be above zero db. So let's just love this and going along. We have max reduction, and this also does the same as the slider over here. So this is the maximum reduction that will be applied when their signal passes past the threshold. So the higher the number, the more gain reduction will be applied to your signal. Ah, push against the, uh, every lover this we have less game reduction applied to the signal. Ah, push against the and we can see the amount of reduction with this blue bar in the reduction meter. Ah, push against the, uh But all I see is the okay going along. We have frequency. So this is the center frequency that you're going to reduce. So it's the frequency where the sibilant is detected at generally, I'd have this between five and 10,000 hurts. It really does depend on the voice that mixing for female vocals, for example, the frequency maybe a little higher and going down. We also have the filter solo button. So this is really useful. So this solar is the frequency that you've selected. This allows you to just listen to the frequency that you want to attenuate. I push against the, uh but all I see is that in me I push against the, uh, in this vocal here I push against the earth. It's the against that I want to reduce. I push against the, uh I push against the, uh I push against the, uh Theo. The frequency that I want to attenuate is around about 7800 hertz. I push against the, uh I push against the So do you recommend having this filter solo button selected? Finding the frequency that you wish to attenuate and also recommend going through and setting the right fresh hold view recording on finding the max amount of reduction. Like I said, though, if you have too much ds and going on, it may sound like your singer has a bit of a lisp. You do want some s sounds, though. You don't want to cut out too much, but you may want to cut out. Some said the recording doesn't sound too harsh. Okay, you're going along. We can choose filter type. Here we have a band pass filter, and we also have a high shelf filter. The band pass filter mode is useful for isolating and reducing a specific band of high frequencies. So if you just want to reduce the band around a certain frequency than I recommend using the band setting the high shell filter mode, though, could be useful for reducing a full range of S E sounds that are above the frequency that you've selected. So if you want to reduce the frequency and also all of the high frequencies above it, then they're recommend using the high shelf. But if you just want to reduce a specific band that I recommend using banned mode okay, going along, we have the rain setting, So here we have split or we have wide. So these both affect the filter frequency range, so split effects the signal tightly around the center, frequency off the frequency value that you select, so this could give you or more narrow. Reduction on wide mode will affect a broader range around the frequency value. We also have two different modes. We have relative and absolute, so an absolute mode. If you have a very quiet signal at certain points. This can only be processed if the fresh hold is set very low value because the audio needs to go above this fresh hold for it to be filtered or reduced at a frequency that you select and then we have relative mode. We're relative mode. The signal level can actually be higher or lower than where we have the fresh hold set. So in this mode we can adjust the fresh hold so it's just trigger in the de ESA on the fresh hold will be adjusted for a quieter or louder Aesop, but this mode we just set the fresh hold. So is triggering the de ESA on the fresh hold will be adjusted automatically, but the de esa for quieter or louder essence, we still need to set the threshold here. However, if the level goes up, then it will automatically raise the threshold level so that any sibilant sounds that are quieter or louder in the audio. The threshold will be adjusted in this relative mode, so this mode can actually give a more consistent effect and sounds smoother than the absolute mode. So do you recommend going through and listening to audio, reducing some of those harsh sibilant sounds. But maybe not too much or you may get a bit of a lisp sound. Okay, so that is the D S. A. To plug in in logic Pro 10. It's a kind of multi band compressor that only operates at a single frequency band. The DSS is mainly used for vocals to tame some of the sibilant sounds, but we can use it for over instruments such as symbols or hi hats just to smooth out the sound on attenuate some of those pierce and frequencies. So investing vocals a de recommend going through and finding the right frequency who wish to DS the filter solo button can really help with this, then setting the correct fresh hold, choosing your mode and then adding the max reduction. Make sure you don't reduce too much because you still want some of those sounds. And if you reduce too much, it may sound like the vocalist has got a bit of a lisp. However a DS, it can be really great just for reducing some sibilant sounds that you get from S is efs antes that thanks watching his lecture. I hope you found it useful and I'll see you in the next one 3. Vintage Console EQ: Okay, let's have a look at the vintage console youku. So let's go over to audio effects on, then go down to seek you. And here go down to vintage e que collection. And here we have vintage console youku. That's two stereo, and here it is, so it's based on a classic vintage Kiku console. So on the left here we have low cut. You can turn on the band here, this button going along. We have low shelf content on a raft with this button to then we have mid range. So this is a parametric eq you, which allows us to choose a specific part of the frequency range for us to actually alter. And then we have high shelf. Then we have I puts then volume. We also have this button here, which will turn on or off the UK So this is a engage switch which will bypass or turn on this week. That's just a quick overview off the vintage console youku. I'm just going to dive and now a little bit deeper and play a track just to give an example of what this vintage console you. Q. Actually sounds like you can hear. Obviously, it's cut out a lot of the lows. You can bring them back by just dragging this time. So this does actually add a lot of color if you want to. More transparent e que. I do recommend using the standard channel eq you The thing about the vintage e que collection is it will add color The vintage consulate accused of interest graphic eq you on the vintage tube e que well, add color, but that's kind of why people use it. Like I said, if you do want a more transparent e que something that will not add color, I do recommend going over and using the Channel Wiki. So let's have a look at the low shell for you just going to bypass the low pass so we can attenuate or we can boost the frequencies. We can choose the frequencies we want to boost here as well. Just be careful. You don't actually clip your track when doing this by I'm using some quite extreme examples here. Just that you can hear what the low shelf actually sounds like on the different youku settings. Okay, let's just bypass this one on. Let's have a look at this. Parametric eq you here so you can choose a specific frequency we want to actually attenuate or b want to boost? So just get to base this frequency here on with me. Increase this Here you're here. It's the higher frequencies that being boosted on when we decrease this your hits the lower frequencies that are being visited. So there's a specific frequency. Want to boost or attenuate? You can use your here. I'm find it here. There's no analyzer on these vintage accuse. It's all about using your ear and just adding a bit of color to your mix. You could use this for individual tracks. It doesn't have to be for the entire mixed like this, but just for this example, I'm using this on this mix. This is good fun. It does have a bit of color if you want a different kind of sound to a channel. EQ you. I do recommend having the look at this vintage consort Youku on. Now let's have a look at the high shelf. Obviously, you can hear the highs of being boosted or we can attenuate or cut the highest. Let's just turn them all on now. Obviously, it's a bit of a mess like this. I would use this quite sparingly on. The most important thing is to use your ears when using the Seiki. We do have a drive mode as well, a free, different dr setting. Silky, crunchy and smooth. Now we contend off or select a drive mode here and here we can choose the amount of Dr or Saturation going down with have phase mode. It's a natural mode is the most common one to use, but linear mode can be used for mustering. So linear phase mode can preserve phase relationships between frequencies. However, it can introduce Layton See, and it can hurt transients, Dude, in effect called pre ringing. Generally, I would use natural but natural can change phase relationships between frequencies, and it can make something seem a bit more distance than before in the mix. This could be a good thing or bad thing. It's only really an issue on single channels as it's changing the phase frequencies in that channel. Generally minimum or natural phase is used most often, but people can use linear phase mode when mustering. But normally I would just leave this on natural, Okay? And then we have put volume. I would normally try and get similar output level with the plug in, turned on or turned off. Just so when you bypass the plug in your not being biased due to even be in louder or quieter just because when you turn on the plug in sometimes if it's louder, it can sound better. So we're trying keep the output level off this plug in the same level as it bypassed. Obviously, this is quite extreme settings for a master track. However, for this example, I just wanted to show you how you can use this vintage console, youku and logic pro temp. So thank you for watching this lecture, and I'll see you in the next one. 4. Vintage Graphic EQ: Okay. Next in this vintage e que collection is the vintage graphic EQ you So it's quite straightforward. E que It basically gives you individual frequency bands and you can boost or attenuate these frequency batons so you can turn on a raft CQ here with this engage button. And here we can choose the individual frequency batons on. When we move this tune doll here, you noticed that the frequencies all move proportionately. So this allows you to scale the frequencies off the band. This could be used to tune the bands in your Project key and then going along, we have I puts same as before. We have different output modes, silky punch and smooth. We do have recommended drive modes for the different vintage accuse here and then we have faced natural or linear natural is the most commonly used one, but linear can be useful for mastering work at times, and then we have the volume outputs. This week you can add color, and like I said, if you do want a more transparency Q. I d recommend having a look at the channel eq you. However, that's really why people use this Ikea or these vintage style accuses to add a bit of color to add a little bit of sound to the tracks or to the mix. I would say, if you're going to use this on the master track, use it sparingly. However, experiment unusual air. Have fun with this UK. So thank you, fortune This lecture all about the vintage graphic eq you. 5. Vintage Tube EQ: Okay, Now let's have a look at the vintage to be few. So this is really to accuse Combined into one interface on weaken. Turn them on the rough or engage them here of these switches. We also have a drive mode which will affect both off the separate accuse on we have phase mode on the volume outputs. So looking at the top left here, we have boost on attenuate. So this allows us to actually boost on attenuate the same frequency. You might think that's a little bit pointless. If it's the exact same frequency, why would you want to boost it on attenuate tip? This allows us to create scoops so we can boost the frequency and then attenuated slightly after. So let's just try that now that's boost this frequency here for on attenuated slightly after. So you can experiment of this and create some scoops when you're queuing and here we can change the frequency going along. We have high boost. We can choose the bandwidth here and then the frequency. So this Bamut fear this allows us to change the Q. If you want to narrow or broaden the range of the frequency, Theo recommends going through on experimenting with this. Obviously, these are quite extreme settings for a master track. But this is just for this example seeking here. What? This vintage tube que actually sounds like this will add color to your mix. This will affect the overall sound with color. This is not a transparent eq you if you want to transparent e que, I do recommend using the channel eq you. But for these vintage style accused, the whole point of it really is the add color and to slightly change the sound. And then we can change the high here and here we can change the higher rain shelving frequencies to even 5 10 or 20 or anyway, in between and here we can change how much we want to attenuate. Okay, let's just bypass this one for now. And we also have this other eu que down here. So this first section here we can boost the frequencies. We can choose the frequencies. Want to boost Bassem with this doll here next step so we can choose the frequency we want to attenuate. So here we condemn or attenuate this frequency, then we have high frequency. We can choose the frequency here we want to actually boost. So I would use this quite sparingly if you're going to use this on a master track. However, for this lecture, I thought I'd do some quite extreme examples just taken here. What this different knobs and dials actually do their output. We have drive mode. We have free different drive modes. Silky, punchy, smooth and then we have phased natural or linear linear can be useful for mastering as it can preserve phase relationships between frequencies. However, it can introduce more. Layton see, a natural phase mode is the most common one, so I would recommend using this. But like I said, linear phase mode can be useful for mastering. And then we have I provide him. So this is vintage tube Beaky. Help you find it useful. It's good fun. Just remember to use your ears, and it will add color to your truck when you have this plug in on. So thank you for watching this lecture and I'll see you in the next one 6. Studio Strings: Okay, Now let's have a look at the studio strings software instruments. So let's create a new software instruments by hitting the new track button up here, this little plus bottom going over to software instrument and then selecting studio strings on stereo. That's it. Great. And here is the studio strings. So I'm just going to open up musical typing by hitting commanding K instantly. We can tell that these sounds actually sound pretty good for strings samples they have sampled in and recorded riel string players to get these sons on. If we click on violins one. Here, we get all these different instruments. So we get small section disco strings singer, songwriter, string and stumble. Or we could have single instruments. Violin violent to Viola's, Tello's and double bass is you notice when you play different operatives on here, it will actually be the same as the Rangers on these instruments. So, for example, play a note down in this operative range. We won't be able to hear this violin because violence can't physically go that low. However, If I change this to double bass, there's a double bass here. Double bases play in this range. Click on violence. Andi, My favorite thing about this instrument is the articulation on. One thing we can actually do is set different articulations for different MIDI notes, which I think is absolutely amazing, which will look at very shortly. But here we have the different articulation, so we have sustained. Let's just put the active up who have sustained Jakarta a short of sound speak Otto for long school idea to go through all of these, Just have a listen to the sound fall short scoop fast. That's quite an interesting one. Scoops slow. Like I said, you can have different MIDI notes playing this so it doesn't have to be, say, scoop slow all the way through. It could just be a one little section that has scoop slow. Then we have assented sustain. Then we have Chris Tendo, fast percent, those slow and if you have ones as well. Forte. Piano Fast Forte. Piano slow. Some of these terms are the classical terms or the Italian terms. The Sunday single idea. If you're not used to these terms just to physically listen to them or you don't really need to memorize all of these terms, pizzicato, which is one of my favorites, Trill, which is also one of my favorites Trill, semi troll hole and tremolo It is really great sound on this instrument. Dramatic music introductions, buildups You're making film score anything like that tremolo Then we have cut off because ever filter can feel to write some of the higher sounds Bring it back in Its gonna be automated as well. Residents said you can have a boost before we cut off. However, if the residence is too high at a certain cause, us one might create a ringing sound which isn't always the nicest power output volume. We have the attack if one come in slower off fast Attack two and a straight away Sometimes the strings slow attack coming Nice. So gradually builds him We can have a fast release. So when I let go off the night nine the sun will stop If I increase his release like they're the note Let go there it will still ringing out, which is quite nice for string sounds I do like to add reverb to my string sounds as well. So do you recommend maybe added some reverb on going down here. We also have this little drop down arrow, which will show more controls. We have money, phonic as well. So if this is switched on and see him playing two nights a week early here, one is just gonna play mano phonic modes. So just one note at a time. If I have it switched off, it would get to Polyphonic playing two nights at the same time here in their decreases release on the attack. Okay. And if we go to say, Tello's you notice we have the articulation mode as well. So for these different single instruments, of course. Also for the sections, we will have the articulation modes. I think this is absolutely amazing. We've got all these different articulation modes that included with logic pro before you might have to use something like contact, which is 1/3 party plug in. Now you could do a lows of really interesting string sounds just in logic, pro. Okay, then we have auto voice split. So when we play in the section like this, it will actually have different notes for different instruments. So, for example, the high ones will be the violins, the low ones, maybe the cello. So the double bass, depending on what section you have. So it's just going to split the samples on the keyboard, depending how high or low you are. So I recommend having to play with that on if you want to have more authentic sounding section changes to, say violence and noticed that buttons disappeared. We only get this on the sections because in the sections we have different string instruments and it's a good idea, really, because you don't want the double basis in the cello is to play lower the violence to play mid range and the violins to play higher. If you want to make your string sound more authentic, okay and going down, we have dynamics via CC, so this allows us to have dynamic expression controlled by MIDI so we can use the modulation wheel on a medic able to control the dynamic expression. So if I play now and then I turn this on notice, it sounds quite different. And when I move my mud well upwards, not this on decrease, the dynamics will change, okay, and let's have a look down at the advanced settings. Just remember, we need to hit this little arrow to see the advanced settings. So we have some controls for librato dynamics. Weaken. Turn on a rough Lagarde. So between transitions and going over, we have some voice split sentence. You can also extend the key range, which will mean we can play the samples out of the range. It should be played on the instruments. This may sound a bit artificial. Onda bit fake. However, if you're just writing in parts quickly or just sketch a gamut ideas, this could be useful. So let's just change this to say violin. Okay, I have extended key range selected, and that's just for example. Say it. Just go really low on change, pizzicato to sustain, and you can hear some violence times here the same quite artificial. We might be quite fun for soundscape or san design, However, if you want it to sound realistic. I don't recommend having this checked, but it can be useful, like I said just for sketching out some ideas. And it also say down here last played articulation. Right now it's tremolo. If we change is to say that staccato, it's not going to say pizzicato, but then when I play, it will say. But Sakata. Now let's go into this track here. Just going to play this little section on this piano part here. This electric piano part I want this played on strings as well. I'm just going to hold on. Hold on. Drug list down Now let's so low this Let's just open up the media information in the piano roll And here we could actually say Let these notes that's first chord And now you can right click on Then we can go down to articulation. You can choose what articulation want just for this bit of media information, which I think is amazing So I'm going to choose tremolo you notice because Lo Gatto again this bit I could have tremolo again. Let's go down to articulation. But this time trill hole in the juice the last time indirectly, just for examples sake and go to full long. Let's hear this Now. Maybe this note here, I'm gonna change this one. Just the example. Teoh, Full short. Okay, let's hear this night. Okay. This might not be the best thing for the sun, but for this example, I can show you how can change these articulations for each individual media note. I've just selected the more now, just by driving over. And if I right click again, Aiken slept. Articulation on Let's change it back to sustain e. Normally add some kind of reverb on to this as well. So I'm just going to go down to river and then cheese. Criminal verb. It just sounds a bit Luscher. We could choose, say, a whole sound a bit lusher with a bit of reverb on the strings. Let's hear this in the mix. With this track now, added some strengths here, The strings way strings there was go back into the strings that might change this to, say, string ensemble. Let's hear what this sounds like. A swell. You can really hear that low double bass now. I think that might be a bit too much for this track, so I'm going to go back on just change this to small section because I do think that low double bass is a bit too much, and there's just too many frequencies at that range for this track. But I think for this son using a small section that can really work, So that's how you can use this studio. Strings suffer instrument in logic. Pray I hope you find this useful and I'll see you in the next lecture 7. Studio Horns: Okay, now let's have a look at studio horns, so let's go over to the instruments, go down to studio horns, and I'm going to choose stereo. This is very similar to the studio strings. We have a few different options here. Have the articulation, so you can choose the articulation for the horns. This is one of my favorite things about these new studio session instruments is you can choose the articulation, and these can be selected for the MIDI notes separately as well. So for out section, you can have different articulation. Let's just open up musical typing with Commanding Que and have a listen to some of thes trumpet sounds. Remember, you will need the right active for this to be played. However, if you go to the event section on, do you actually check? Extend a key range? It will play the whole key range. However, this is not the range for the instrument. For example, a trumpet can physically not play this low. But if we have extended key range selected in the event section, this might be useful for quickly adding in ideas or sound design. I'm actually going to uncheck this and just have the ranges that's meant to play. You can hear right now it's playing one note when they played, too, because Mona Phonic is selected, which means it would just play one note at a time. Now, if I play both of these notes, here is another minutes for those free. Next on my full notes, we can go through and have a look at some of the other horns We have sections, rnb section, soul section, jazz section also have saxophones, trumpets and trombones. Let's click trombone. Ah, you notice we have articulations for this as well. Let's try growl trusting one. Try escape. Let's try full long so you can get some quite fun ones. I d recommend going through these and just experimenting for short shake. Okay, so we can get some fun ones. And for horns that do stand quite realistic, I'm going to choose John section and depending what active you are, it will play certain notes, so if you're in a lower active, it will play the lower instruments like the baritone sax on the bass trombone. If you hire, it will play the high instruments, such as the auto sex on the trumpets going down. We have dynamics by Sisi so we can use the model on a MIDI controller to control some dynamics. We also tellers the last played articulation which really a shake. If we change us to say fall short, it will still say for shot play again. It would change the full shorts. Then we have auto vibrato. So if we increase this, let's just change this back to sustain thing, just add a little bit more. We have humanized as well. Theo will set the amount of random variation to make it sound a bit more human. Obviously, if it's exactly the same every single time, that will not sound like a human Because of human, we'll have different breath. Amount of human won't be able to play exactly the same every single time. So if you want some random variations, just increased this And of course that the volume we have the attacks. So if you want the next to come in a bit slower, gradually enter of attack up. If we have 0% on release as soon as I let go of the keys, the sign will pretty much stop. If I increase this, we will gradually fade away. So I'm going to let go of the keys Now We could hit gradually goes down. We can have key clicks as well. So sometimes on saxophone, for example, or trumpets you might hear some of the key clicks. You can increase this if you want to hear more key clicks. Okay, Going down. We have more of a bratty controls in the advanced section. Just hit this arrow To open this, we can have dynamic controls. Lo Gatto, if you want the garter transitions, have this selected You can also change the pitch band range for your MIDI controller and you can change some of the voicings here. Eva is octave above for some of the voicings. We have a few more voicing controls here as well. We also have split mode. But like I said, you can actually have different articulations for different midi notes. So if you just go into this midi information here, I can slept this first called here right click goingto articulation. And it could changes to say for long The second call. I could change this by right clicking to say shake Now let's hear this court where we have for long. And then we have shake less just so low their horns here. And then it goes back to, I believe, Lo Gatto or sustain. Okay, so let's just go back into the horns going to increase the Volume 20 db on Let's hear this in the mix of the song, so it really depends on what you want for your song. I probably wouldn't use horns for this personally. However, if using the track and you can't physically a trumpet player or a sax player or even a horn section together, you can just go on to studio horns. Andi use this as a software instrument. What love people do as well is they will mix software instruments with riel instruments. We've actually recorded instruments in the studio, just a bulk it out just to make it sound even bigger. So if you do have access to, say, a trumpet player, a saxophone player, a trombone player, you could also mix this horn section with a riel life instrument as well, just to make it signed bigger. And you also get some real sounds in there as well. But for a software instrument for horn signs, that sounds pretty good Normally. Horn sounds don't really sound, um, but realistic. This one's pretty nice, Andi. It's very useful to have all these different articulations that you can actually assign to different midi notes. So thank you for watching this lecture all about the studio haunts. 8. Vintage Mellotron: Okay, let's have a look at the vintage military on instruments. So if you go to instruments, then go down to vintage Mel Atran, you'll notice we only have mono. It's a very basic instrument. Be basically have Sunday, so beyond weaken, blend between them. We can transpose them double down on active, even one of these as well that we have the tone on the tape speed. So that's just have a play. This is meant to emulate a vintage military on, which is why we have tape speed. So the tape speed emulates the mechanism of actually physically playing the tape. Slower or faster. It is simple, but we do have some cool zones. We've got violins, cello owes flutes, and it has got a very retro sound to it as well. So we do have a few presets we can click on here, or we can just click here and select the instruments and blend them together. Okay, lets just so low this and hear what this sounds like. Here we have the violence from blend with the boys choir. Choose a never sound Let's say flutes. So we got that retro sent flute sound. Ah, let's put the violins Say down one active change this to string section. But this a productive way. Get that really vintage sound. Let's have a play around now with the tape speed way. Ah, now that's so obviously we got a brighter tone. If it moved this style to the rights on, then a darker tone if it moves over to the left. Okay, so going down, If we hit the arrow here, we have attacked release pitch, Ben range and fix velocity. So we have attack. So this will obviously creates a longer attack time. You can hear it takes longer for the instrument to enter. Let me have release. Obviously I showed no. So stop now on the release tail is still continuing on. If we have a faster release, it will basically stop playing instruments. Or we stopped hearing the instrument. As soon as I pulls up, Then we have pitch bend range If you're using a midi keyboard, Anyone? Teoh had some pitch bends that we have fixed for us too. So instead of having any control over the velocity, you can select fix velocity. I normally leave this unchecked. That is the vintage military. That's how you use it can create some cool interest in vintage sounds, and I like it. It's simple. Do you think it's quite effective if you want to correct this old vintage military style sound? So thank you for watching this lecture and I'll see you in the next one. 9. Phat FX: Hello and welcome to this lecture where we're going to be looking at fat effects. So on the mixer here just going to add and you plug in, go down to multi effects and choose fat effects, then stereo. You can hear it. Iss So down at the bottom, Vess is actually the signal flow. So goes from left to right. You can even change the signal flow. I just dragging these around. So say, for example, we want the compressor to be first. You could drive this over to the left and now the compressor will be first in this signal chain. So I've just actually added this onto a pad sound solo. This part sound and we can actually bypass will turn on separate effects here with the little bypass button in the top left. If we just let this notice is great out and so has banned reject of the bottom here. Same of distortion. So you can see in real time but is active and what's being bypassed. So it's kind of like a big multi effects of all these different effects here. I do quite like using this fat effects for synthesizers. I like it When the working of audio, for example, a lot of Simpson will have a telephone or low frequency oscillator. However, when you're working with audio, it's not that easy toe. Add on some LFO. But with this fat effects plug in, you can just add on some elephant really quickly. I'm just going to go through each of these separate effects now, so the 1st 1 is ban Pass, So I could just drag this around here, and this will basically allow any of the frequencies in here and anything that either side will be cut out. You can hear the highest. Some of the highs of Qatar and some of the lows of Qatar drag it to the left. Some of the lows or enter that cuts out. Some of these highs on the highs will come back in. If I drag over, you'll notice the lows of attack we can have reject Mix of. This will actually mix in what we've cut out. What? That's a resonance lo residents on high residence. We have different types, filters as well. Classics move edgy, rich shop and gritty. Let's try gritty. You can hear that. Great. Now. Okay, let's let's do select the Bumpus Now let's go down. Have a look at distortion. The moment down here, says Big Crush, because we have bit krisha we can actually choose free, different types of distortion. Let's just put this one down to 0%. We can choose one of these soft saturation Daio tube scream Very Dr and a few other ones as well. So let's just choose down. Sample of just for a bit of fun Notice. This is quite an extreme sound. You can use this for sound designers. Well, if you want to have been a bit more extreme, a bit more experimental, that soft saturation is a nice one to work with. So you can get that nice, warm saturation could be really useful for sense by sounds, maybe even kick drums. Have you ever distortion as well? It's just that Russia was the 1st 1 on. You can bypass this or turn on with this button here. I was going to choose self saturation. Have about here. Okay, going across. We have mod effects modulation effects. Here we can create kind of a coarse sand or even a flanges sound. Increase the right. Get more Flander type sound. Mix it in as well. We have different types here. Classic soft, double heavy heavy creates more of a Flander type sound. Way back to classic. Decrease the mix, right? Get more of a for a sign. Bypasses on the run. Maybe about here, this sound then going along. We have based enhancer. I'm just going to turn off Mother Fact. You can choose the chain and hurts. You have headphones on or large speakers to be able to hear this. Now you're just listening on the phone or laptop. This might be quite hard to hear. Increase that's higher. Base enhancer. Have different types that's warm. You can choose classic as well, but Cecil may have clipped as well the easiest ahead. And if we bypass, it just enhances the base. Really, As it says here, this could be useful for kick drums come useful for sense. Obviously, bass sounds. Let me have compressor. We can choose the amount on the release, and if we click on type here, this is actually the same compressor types we have on the logic. Pro compressor can't really do quite as much as this is not so much on the compressor. This only amounts of release, but it's quite called. We can use these different compressor types going up. We have filter. This is the main filter we have cut off resonance. We have dr for saturation. Then we have mix as well so we can mix unfiltered signed with the filter sound on. We have all these different types of filters low pass, band pass, high pass cone filters and some more kind of experimental filters as well. So let's just try low pass 12 db Edgy. Be increased residents too much on that. Just that will be a bit of a ringing sound. So just sees that sparingly. Dr as well. You can hear it's allowing the low frequencies to pass, cutting out the higher frequencies this come useful automation come useful for Simpson. The's sounds could be automated as well. Going across. We have X y pat so we can actually choose to different settings for the X two different settings for the why we can choose the depth and positive or negative values. So right now we have banned past low cut off and band pass high cut off. Let's change this to filter cuts off and you notice now that this blue line has appeared and wherever this little dot in the X y powders this will the change in real time this white dot over here as well so you can change the negative values Noticed This blue line has gone over to the left for the filter cut off. And when we move it around will move this little white up that's changed the white part two distortion soft saturate er case when we move this up conceive, this little white line is moving is going backwards when we moved up because we haven't negative value. If we put it to positive value, I notice it means that, But this way, that way it would go up when we move this up. Let's just move the filter cut off here and the claims she changed this It does involve quite a bit of tweaking, and playing with this could be really useful for live automation. As you can automate this X y pad as well, it's freezing. Okay, I'm just going to add this on the drum bus now so you could hear how this might be used for drums. Have a drug bust set up here. So all the drums going to this channel subsequently DeRogatis over two drums. Now let's unsold at the cords. And here the track just turned off the distortion built in drums You I would normally uses for sent Sammons more electronic sounds but could use it for drums. Could be useful for a kick drum, the bass and handsy. Could that distortion onto the kick as well? Maybe the snare says a lot of different possibilities. Let's just drag this back over to the synthesizer. Just this one here cords. I'm just going to show you their envelope. Follow the low frequency oscillators and then the master as well. So I'm just going to turn off this X Y pad on, turn on enveloped follow, say this wife jumping up and down on the filter. That's because we have the target set to filter cut off. Here we can slap the attack release on the depth way. Also select negative values you can see here. The filter is going to the left night. You can choose different targets. For example, I could choose filter resonance. You can see this white dot moving here just that releases so just this. It's a lot more noticeable that were filled to cut off. I also have two identical telephones or low frequency oscillators. Let's turn on the 1st 1 We can choose a different wave. Type up here sine triangle, ramp up random square, random Hold on random glide. Whatever you want is the target. I'm going to choose filled to cut off again and just turn off their envelope. Follower just so we don't get confused. And then we could have rates so it sinks to the clock of our tempo. So of course, notes. 68 nights pops. I think so. This is one of the main things I like about this fat effects. If working with audio like I'm here is quite hard to set up in L. F. O. Obviously, if you're working with a synthesizer, a lot since will have a telephone but an audio. It's a lot more difficult Teoh set upon LFO. But with this fat effects, we could just quickly set up of LFO, which I think is really useful. So here we have daughters. 16th notes you can mix. The Senate doesn't have to be all the way in. I like to get land like this. You can change. This toe hurts as well. We don't have to sink it to the clock so this could be useful for a build up. This could be automated as well. She's a different way of time. Type less trees triangle never. LF on top of that, thats one I'm going to sink as triplets Quarter notes blend going on. Have this as filter drive. Change this Teoh square wave a bit more obvious You're gonna hit a drive LFO two on and filter for tougher on l f 01 thess bypassed office is a huge difference going along. We have master have a limiter hard clipping, soft limiting or off Have a mix so you can have bypassed effect if it's on zero and then mix in effect here, which I think is really useful. So have input as well so can decrease in decibels or increase in decibels and the input. And down here we can also choose output level so it can decrease or increase output level. So thank you for this lecture. All about fat effects. I like using this on Simpson's for electronic sounds. I think it's really good fun, and it can be quite useful. So thank you for watching. And I'll see you in the next lecture. 10. Step FX: Okay, Now we're going to have a look at the step effect. So if you go down to multi effects and then step effects and at this onto this pad sound so the step effect can be used to create step modulation effects. Notice. Down here we have all these different blocks. They are the different steps, and we can drive them out to say two steps away, up to 100 on 28 steps. So you can really customize this step effect. I'm just going to choose 16. We can actually turn on off step effects here, Andi, if reflect them, we can also click a line here which will tie these and create more of a lagarde toast times . Let's just here. This is going to bypass this plug in just to hear what this sounds like originally a completely different also increase or decrease each of these at the moment. This is actually controlling the filter cut off. We can actually use the step effect to control free different parameters the moment it's filter cut off. If we click down here, we could change it to say master right puts left open the filter cause we actually have closed the filter that will just bypass a filter. Here you notice is not really doing much. We will have to change the depth to negative values and you'll notice this blue line will appear. And then this white dot is where the steps are turned down. I always find this motions for four filters. So I'm going to change us back to filter sung and turn them filled to again. And now you're noticed. Filter will appear when it's turned on on the side. So I'm going to choose filter cut off. We can go through. We can customize these steps. We can actually select LFO the different wave types of sine wave. This will recreate a sine wave. You know, a sine wave looks like it's this pattern here changes to say, trying the wife three crates trying a wave which can be quite interested as well. I also have factory default so we could have alternate because also have se rolling. They could also go through and customize is presets as well so you could go for in change. These may be turned some on the rough tie. Some of them change the amounts here way. Also, get an envelope for each of these step effects as well. I'm just increasing the attack fast. Track your slower attack, okay. And the release. And if you click on another one as well, you contend the sun. We can have free different step effects, which is pretty interesting all going at the same time to in different steps that we can really make something crazy if you wish. Enrique Internal these different ones here. So it's gonna turn on distortion. So we have excited and debts. Quite simple distortion. You click on this now go to say, distortion dirt. I'm just going to choose a presets. Let's choose syncopated one. You can see here that envelopes chains click on the 1st 1 So we have separate envelopes for separate step effects as well. A little bit loud, a little crazy. So just because when you're using this, especially the distortion can a little bit out of control decrease that that fear you can see when I decrease the depth, this blue line will go down. There's not as much debt as it feels on 100% negative values way. The rate goes through the steps that could get a slow step here. You can see through here this white dot Going through for the notes thick cut off. It's actually going through 1/16 notes. You can have different rates for each one of these step effects as well, Which is pretty crazy weekend. I'm gonna choose pan of 100% right? I'm gonna choose 32nd. Okay, I'm gonna add a bit swing as well. If you have speaker set up or if you went head phones, you should be able to hear this panning from the left and to the right way to customize this as well. I want to make it a little bit more crazy. Dio at the moment Turn off pan a little bit out of control for that won't go back to filter cut off and just gonna choose a sine wave and just added their slightly again. I say, Ah, a few of the things we have in here which we can add and not used. The step is mother facts. So you can create kind of ah chorus or even the Flander effect. Speed up, spilt the rate within, create more of a Flander feedback feed it back in. She is the mix of zero. Obviously, there is no mother fact. If you have 100% there's another factor. Ah, smooth close to set up a X Y pad so that the excess a river mix you can see when I move this this little circle in the X Y pod. It's actually matching up to this circle here on the rebound. Mix through getting resonance and filter resonance because the Y pad is set up to a filter residence, so this can be quite useful for automation. You can use live automation as well. Ultimate This in the arrangement waken. Add another parameter below for the X Y pads. You also have a delay. We also have a filter for the delay low pass, band pass, high pass, low pass and low cut increase. The mix. Another filter here had some feedback. Have a separate time for the delay for left on the right channel. Beat sickness or we can choose milliseconds way. Increase the mix. Nice balance way. Turn on a rough You separate facts here X y pad model facts distortion waken Also mix the effect with the dry signal. With this mix here. Zero. We're just getting the dry signal 100% again. The wet signal. We can adjust the height, but also the impact way get. Nice mix. So maybe here I find this quite useful for synthesizers. For bass sounds. I've been ready, but you want some step effects or step modulation, Just for example. Sake. I'm gonna drag this over to a drum bus so you can hear the drums with this effect as well. Just for a bit fun. Let's hear what this sounds like. A swell. You wouldn't normally use this on drums. But if you have to, something quite experimental. If you create ings, Sam design sounds something a bit more unusual. Maybe you could use this on some of audio. That isn't just Simpson. Thank you for this lecture. All about the step effects. Plug in in logic, Protect 11. ChromaVerb - Part 1: Main Window: Hello and welcome to this lecture. We're going to be looking at the crime a verb. So I'd say the most unique thing about the Chroma Verb river is actually this spectrum display. If you're not using a retina display, they it might not be able to get the visual Isar toe work. If you are using, say, in that book pro with a rest inner display, you can view this visualize er is pretty unique. It's a spectrum visualize er or analyzer on. Let's have a quick listen to this. Just going to play piano software instruments on Let's have a look at this spectrum analyzer. You can actually turn off here because it can use additional CPU power with this analyzer. So if you just hit this button down here, it will turn off the analyzer, to be honest, the visualize It looks quite fun, but it's not really necessary. So on this crime, a verb, we actually have different room types here have room, chamber concert hall, theatre, simple vocal hall, smooth space, dense dark room, digital reflective, whole strange room, airy on bloomy. So I go over the different room types later on. But I'm just going to quickly explain this interface and then have a look at the details or advanced tab here. And then we'll have a look at the different room types. So the first thing you'll notice is this equalizer, this is a dumping e que on what it does is it dampens the reflections off the West signal. It does look like a regular E que, however, is quite different, So the horizontal access so from left to right, this allows us to actually choose the frequency in the frequency spectrum just like a regular e que. But on the vertical access. It allows us to choose the amount of decay in that certain position off the frequency spectrum. So with their stamping Ikuo Weaken really choose the amount of decay time at specific points in the frequency spectrum. So this could be quite useful, really, if you want to emulate different room types, for example, if we have some finna material in the room, this will generally absorb higher frequencies. However, if there's some thicker material hung up in this room, were trying to emulate. This will also absorb some lower frequencies so we can model different room types with this damping e que So this week you will only affect the wet signal, not the dry signal. So it's only going to affect the reverberate Sound, not the original dry signal, so you could bring up some of the highest on bring down some of the lows. So if I bring the drive signal down there on the wet signal up, you should be able to hear some of the lows have been scooped out on the highs of being boosted. You could put it in every way going to hear some more lows in the river. So this allows you to create, say, a brighter reverb or a doctor. Eva. So we can just drive these points here, but we can go down. It says Frequency ratio and Q ratio here actually controls the reflection. Delay. Timing on cue will control the bandwidth and also the resonance and slopes off the shelves . So if you just bring this down number Sisi, the slopes change here. So, on these different room types, your notice, some of them will have four different points on this damping e coup, and others will have to Okay, going down. We have a tax size, density, decay, distance and, of course, dry and wet attack will set the attack off the reverb. A low percentage will actually give us Ah, high buildup of reflections, and the higher percentage will give his reflections building up slower over time. We can also set their pre delay amount in milliseconds Way can actually sink this to a musical timing, so this will allow us to create some musical effects with our river. The pretty delay controls the time between the start off the original dry signal on when we first hear our first reflections, when we first hear the sound bouncing off the walls and coming back to us basically. So that's the pre delay time. When we first hear these early reflections going along, we have size, so this is the size off the room. Obviously, a larger percentage will give us a larger room size. On a smaller percentage will give us a smaller room size. You may notice small clicking or popping sounds when you change some of these settings whilst your audio where your software instruments are playing. But these clicking and popping sounds will stop when you stop adjusting. That's just increase the size. Let's just put dances, every percent good idea as well To go through some of these different room types, let's choose concert hall or just for this example, I'm going to decrease the size. So emulates a larger room when you have it the size on 100% obviously compared to a smaller value. Okay, going along, we have density. So this is how dense the reflections are so lower values Well, actually, it was a less dent to reverb and higher values will give us a more dense reverb. Okay, going along, we have decay. So decay is the decay time for the end of the reverb or the reverb tail. So obviously, if we increase this where have a longer river tail So if I pause now, you can hear reverb is still going. The tail is still continuing on. Let's just decrease this you can hear soon as I pause the river pretty much stop. So if you want a longer to k tail obviously increased this and you can choose musical values as well so you can have their sync up with your project a bit more musically. If you choose musical notations rather than time. It really depends on what you're after, and then we have freeze, so freeze will actually freeze the reverb. Such circulates around around continuously on indefinitely until you D select Freeze freeze can be useful if you want to create some reverb ambience in between chords, you could click and re freeze in between chord changes or even use this in automation. Freeze again. Just add a little ambiance. Be careful or freeze. It can get a little bit out of control. But for sound design or big soundscape work, freeze can be good. Fun could be useful as well. Going across. We have distance. So this is the distance from the source of how far away you Often the reverb really obviously large assistance for a higher percentage on and smaller distance for a smaller percentage. That's 5% distance for the up to 100%. Obviously, the high percentage will create a larger perceived distance. Ongoing cross. We have dry, so this is the original signal. The nun reverberated, signal and then wet is obviously the reverberated soup. We can create a blend between the two, using this as a send a de recommend having wet on 100% and dry on 0%. But if you're using this river on individual instruments, I do recommend going through and finding a blend that works for your track or for your song . 12. ChromaVerb - Part 2: Room Types: Okay, let's just quickly go through some of these room types before we have a look at details, so room. So room is a more natural sounding room, then going along. We have chamber, so this actually emulates or mimics a medium sized chamber or medium size hall, so this actually has less color than some of the other ones. So these different types, these different rooms, will have different colors of their own, so there will create a bit of color variation for each one of these. Going across. We have Concert hall, so this obviously emulates a concert hall. And of course, we are theater, so this is a large space, but it's not as big as a concert hole, but it will be larger than a chamber across. We have simple, so this is quite open sounding hall. So have few reflections because it's not closed, so it's not a very dense reverb sound, but it will give you quite a wide sound. Then we have digital, so this is kind of a medium size William I noticed. When we increase the size creates kind of a chorus sound of digital going across. We have dark room So this is kind of a small or medium room. Have slightly less high ends. Create a darker, reverberated sound. Okay, Going across, we have dance. So this is a very reflective small room if you want more reflective sound. Next, we have smooth space. So it's not a stance on DSA, Never medium size room. Then we have vocal Hall. This is one of my favorites. So it's quite a well balanced medium to large space vocals. You want a few reflections, but not too many. So do you recommend experimenting with this? If you want to add river, obviously to vocals, then we have reflective hall, which is a medium to large hole, and it's going to be very reflective. You can hear there straightaway, how reflective this hall actually is. OK, then we have strange room. This is kind of a lot of time for special effects. So has a bit of ah springy sound to it. Well, can sound quite strange, as the name suggests. And then we have airy. So this is quite an open sounding room as well. Of a few reflections as a room is quite open sounding. And then we have blue me so Bloomie's quite a large blooming river of, ah blooming decay. So do you recommend going through these and just experimenting on issues will ever smoked, suitable for the music you're trying to create? So that's just a quick overview of these different room types. Use the one that's most suitable for your song or for your track. 13. ChromaVerb - Part 3 Details Window: Okay, let's now have a look at the details tab here for the advanced section, and we have a few more things going on as well. So notice we have another UK. So this is the at barbecue. It's similar to the channel EQ. You you get in logic, pretend as well. So we have different bands here, but shelves on. We have two different filters. We can turn them on or off at the top. So this week you will only affect the wet signal. So it's not going to affect the drive signal only the wet reverberated signal so you can just drive these around here. Like I said, you could turn on their after different bounds or shelves or filters at the top here. So I want to filter out some of the lows you got. You feels that some of the lice filter out some of the highs. It's no actually affecting the dry signal. We can still hear the sound just the reverberate sound. It's up to the filtering, so I go through here and select their frequency for his filter the filter type 60 b 12 db and also the queue. So this will affect the residents here. The residence is where we create a boost before the filter cut off. So you can affect this and it also will help us create the shape like so. So I could use this on the filter shelf. You can choose the frequency 12 shelf the gain the amount of D baby 12 actually shelf and then the queue. So this will allow us to control the shape of the shelf and then we can choose a band here . This will give us the frequency Be want to select. So it's a parametric EQ. You can choose the exact frequency gain amounts and also the queue here so you can hone in exact frequency if you wish to do that or we can distract these around, which can be easier. If you want to be a bit more precise, you can use the settings below as well. Okay, then we have free, different quality, low, high on ultra. Obviously low is the lowest quality. So this could give you a bit of a grainy sound and then high would give you a higher quality. So this will give you a cleaner river on ultra will give you the cleanest, the most precise sound. Also on the Crow River we have a LFO or low frequency oscillator Weaken Slept the speed of LFO here in hurts And then we can choose the mod debt. So this controls the depth or how much lfo you're actually hearing and then going along we have three different waves Sign random annoys Let's just choose sine wave with the mud death And here you can obviously hear this LFO That should increase the speed. You can hear her faster lfo there and just decrease it. Then we have a slower LFO speed. Let's try random since week, right of the sea, random waves on the noise. Let's just decrease this for now for the random on the same way for actually add a bit of saturation but will basically just smooth and this lfo out a bit way. Decrease this sound. Let's move going along we have early on late. So this is the blend between the early on the light reflections. So the blend off early reflections when the reverb comes back to you soon So when it bounced off a wall, the early ones the first reflections and the later ones say the reverb actors off a wall far behind. It might take a bit later to come back to you. So that's the blend between the early on late reflections. So if we drag it down, it will be all early reflections so you can hear it sounds a lot smaller. If we increase, this would be able to late reflections. So it's gonna sound a lot bigger. Body recommend having a blend. Then, of course, we have whipped going along. So this allows you to actually add stereo with to the wet signal. We can even reduce the stereo with You can hear. Now, if you've got headphones, aren't we have speakers set up? It went. Sound is wide. We also have mono maker here. This is quite useful for basis. So if I set this at, say, 190 hurts anything below a lower than 190 hats will be made mono. This is quite useful for bass sounds if you also want the reverb to be made money. This is generally what moneymakers for is for any bass sounds to the reverb in money as well. So there you go. There's crime over is quite an interesting reverb is quite straightforward to use a de recommend going through and having the look at the different room types. Do you recommend it? Just having a look at some of the settings and going through and creating a suitable reverb for your track or your song. So thank you for watching and I'll see you in the next lecture. 14. Smart Tempo - Part 1: Overview: hi and welcome to this lecture will be going to be looking at the smart tempo feature in Logic Pro 10.4 and above. So the smart tempo really changes the way that logic Pro works with tempo and smart Tempo actually analyzes audio and allows us to have new capabilities in logic. Pro. There's a few ways we could do this. We can have logic pro. Follow our tempo so we can have the project BPM change and adapt to our audio or the other way around. We can have the audio adapt and change to the tempo off the project, so this can be quite useful. If you've recorded audio, that's not to a metre. Name or click. The smart tempo allows us to record a performance without click and then have logic pro adapt its tempo to this recording. So this could be very useful. If you're recording, say, a rock bands that's not to a click or any kind of audio that isn't to a metre. Name or click. We can also do the opposites. We can keep the project tempo, and then we can actually flex or change the recording to match the project. tempo. So this new feature in 10.4 on above consejo you a lot of time when editing audio smart tempo can also be useful when creating remixes. So let's say you get a cappella so you just get an audio track. The smart tempo feature allows you to quickly changes Acapella toe match the project tempo . Okay, so there are a few different ways we can access smart tempo. The first way is in this LCD display here, just under the BPM. The tempo, it will say keep if we click on this. We have three different settings we have keep, which keeps the project tempo. So this is probably what he used to. If you've used older versions of logic pro so what Keepmoat Durst's. It maintains that project tempo. So when you record audio or you bring in any of our audio files, it will keep the project tempo toe whatever it says on this LCD display. And then we have adapt, so adapt project tempo. So this adapt mode will alter the project tempo, and it will match the tempo off any recorded audio or any audio that we bring into logic pro. So this is that mode come in useful if you want to quickly play in some audio, but you don't necessarily want to play it to the click, you just want to play in freely. And then you can adapt the project tempo to this audio that you've just recorded in. So it allows you to be a lot more free. And then afterwards, you can adapt the project to this audio that you just recorded them. So after you've recorded in some audio freely on, you have selected a dat mode, your adapt the project tempo, and then you can always swap back to keep mode. So you have this new tempo in logic pro okay, and then we have auto mode. So if you have a musical tempo in your audio, if you have, say, a dreamer region, it will adapt this audio to the project tempo. However, if there's no musical tempo there, if there's no drama region, for example, it will adapt the project to this audio rather than the other way around. Or if there's no musical temper reference or there's no drama region, it will actually adapt the project to the audio that you record or the audio that you import into logic pro. When auto mode is selected and then below this, we have smart project tempo settings. So if you click on this, you'll notice we do actually have some settings for flex mode as well. So it's actually flex and follow region settings on above. Here we have project tempo mode. This is the same as it was in the LCD display and then going down. We have the flex and follow region settings, So if we turn the flex on follow on, this means that flex for the region is enabled on it follows any manual flex edits also follows any changes to the project tempo so we can set the new recording to on or we can have on and a line bars. So this will conform to the project tempo changes, but also to the smart tempo bars. I'm below this as well. Audio will conform to the project tempo changes, but also to the bars on the beats and also at the tempo beat markers. So the Darren beat of each bar we can do the same for imported audio with this dropbox below. So if we turn it on here. This means the Flex is enabled on. It follows any manual flex at its for any imported audio and also means this imported audio will follow any changes to the project. Tempo on below. If we choose a line bars as well, it will follow these changes to the project tempo, and it also conformed to the smart tempo bars and below this is, well, bars and beats on the downbeat. So let's turn this on for both of these. So that's a quick overview off the smart tempo in logic Pro. In the next lecture, we're actually going to record in some audio and have a look at the smart tempo in action. So thank you for watching this lecture, and I'll see you in the next one. 15. Smart Tempo - Part 2: The Editor and Recording Audio: Hello and welcome to this lecture where we're going to continue looking at smart tempo in logic pro 10.4 and above. So just a quick overview. We have three different tempo modes, and if we click on this drop down box below the tempo in their LCD display, we can open up smart temporal project settings on. Also, we have three different modes we have keep. So keep is where we record the audio on it will be recorded and played back in the timeline on Logic Pro exactly the same as how it was recorded. Then we have adapt. So this is when we record in freely without a click or a metre known on then the project off. This tempo will follow this audio, and then we have auto. So if there's a temper reference or click or say a drummer track, then it will behave the same as keep. However, if it's more free and there's no temper reference, it will behave as adapt. So, for this example, we're going to select adapt. I'm going to record in some audio freely there must see the project adapt to this audio. So I'm just going to slept Input one, which is this microphone I'm talking in now, going to turn off the Metrodome and I've got a little shaky here. Just gonna recording from Shaker. I'm actually going to change the BPM whilst downplaying it, so I'm going to hit after record. I'm just going to play in some shaker now, so that was recorded in very freely. I purposely didn't really play in time. I did increase in tempo and decrease in tempo. But now if we hit show is going to open up the file temper editor, where we could make a few more changes or if we hit, don't show it won't open up the editor. So if we hit, don't show notice it looks the same. However, if we open up their global settings here, you can see it's changed tempo, and then if we play it back, it should start off at 91.9 and then go to 87.8. Logic doesn't always get this completely right, so you can always go into the editor and make further changes. So just turned on the Metrodome. Let's see if this is in time. Logic doesn't always get this rights. Andi, To be honest, my timing was very much off. So we can always go into the foul temper editor, which is this is a bus now appear on. This actually allows us to create more changes on when we create these changes. It will show up in the temper. I can see already that some of these do not actually match up to the waves. But let's have a listen first. And then I'm going to go into this editor and then just quickly make some or corrections to the first bit here. It's not far off. You can see it's kind of matches, but there's a few bits here because it was a shaker, you could just see these spikes of audio weather beats are so it's not far off. However we can go in, we can go to set down beats. If you want to change this to dine beep so can always go into this temple, register here and go and move marker. And now, just by looking at this, I know this is going to be in time. You can always go onto actions and analyze again, and this will re analyze this again or we can go in manually and move the markers to where the beats actually are. You can see here it's not far off. Just move the markka, Correct some of this. And there you can see there's a lot more tempo changes, Okay, and now if we play this, it should hopefully be a lot more in time than it was previously. Because I played this so freely. Logic couldn't really analyze it. If there was more of a pulse for was, of course, a metro. I'm there. I'm sure logic could do a lot faster, but when that you play this freely in and there's this many tempo changes, sometimes you do need to go into this analyzer on just quickly, set the damn beats or move the markets. So there are female settings in this temper editor, So you notice we have the bright orange and orange bars that aren't as bright. The bright orange are the dime beats. However we can set of wants to dine. But if we wish, so you're notice on the orange bars that aren't as bright. There is a top dot here, which is set downbeat so we can set this to the dime beat. So I want this one here as the dime beat. So this very 1st 1 I'm just going to scroll over and set dime beats. And here we have 1234 and then it starts again. 1234 And then 1234 So it's just a free bar phrase. So we've got it in the right places. Now, don't be here. Don't be here. So there we go. We have the dime beat for each bar as the brighter orange ones and then going down, you have a few more settings. We can move the Marcus. So if logic hasn't quite analyzed it right, we can move it to the correct place, then going down. We have scale selection. So you can actually scale these selection here. And if we go through and drag a few more of them and go on scale selection weaken actually scale the ones that are highlighted, and then we can actually click on the bottom one, which is Movil. And if we slept a few, you notice we will have scowl left. We'll move rights. So we have a few more options with these dots here as well. So I do recommend going through here. I'm just correcting. Get if logic hasn't quite got it right. And also show us where we are in the bar on the beach division that we have the tempo. So for Dragon over, you can see the tempo is changing. We can actually double the speed or half the speed of these buttons here. So you can see when we double the speed. The tempo changes up here with doubles. If you half it will half again because sometimes logic will not always get this completely rights. It may half or double the speed. Then you can correct it. Here, let me have the signature so we can choose different time signatures for different parts as well. So you can actually recording audio in different time signatures, and then we can choose tempo, constant or variable. If, which is variable, it will actually trigger a new analysis. So sometimes this may fix some temper issues when we actually play back the audio. Also, we have a match known for the editor here on Beacon slept the volume amount, we can even slept cycle and then we can actually zoom just the editor, and we can actually scroll across with this box as well. If you click this little where Weinglass looking button, this will actually allow us to see what's playing well, scroll across in real time. Okay, so once we've set our tempo, we can always go back to keep mode or keep adapting the tempo when we record in or imports more audio. So that is theater at mode. Now we're going to have a look at the auto mode, So if I play something in now quite freely about BPM, it's actually going to default back to keep mode. However, if I do play something in or Dragon some audio of a pulse or some kind of musical timing, it will actually adapt the project to this musical timing. Remember, we can go back into the project settings here with the smart, temporary project settings, and here we can change the flex on follow region settings. So this does set the smart tempo behavior when we're recording the audio. Andi, This imported one sets the smart temper behavior when we're importing audio. So if I import some audio now, it's on automatic mode. If there's a pulse. It will go to keep project tempo so it will move the audio to match the tempo off the project. However, if there isn't a pulse, it was going to adopt the project to match the audio. So that's the smart tempo, and that's how you can use it in logic. Pro temp. So thank you for watching this lecture, and I'll see you in the next one.