Logic Pro X Quick Start: Producing with Logic Pro X | Jason Allen | Skillshare

Logic Pro X Quick Start: Producing with Logic Pro X

Jason Allen, PhD, Ableton Certified Trainer

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40 Lessons (2h 46m)
    • 1. Welcome and Overview

    • 2. What Is Logic?

    • 3. What Separates Logic?

    • 4. Purchasing Logic

    • 5. Installing Logic Pro X

    • 6. Creating A Project

    • 7. The Logic Interface

    • 8. The Arrange Area

    • 9. Editing Area

    • 10. Toolbar

    • 11. The Transport Bar

    • 12. The Inspector Area

    • 13. Media And Event Lists

    • 14. The Mixer

    • 15. What Are Apple Loops?

    • 16. Beat Sync With Apple Loops

    • 17. Adding A Bass Line

    • 18. Adding Synths And Finishing Our Arrangement

    • 19. Navigation Overview

    • 20. Navigation Key

    • 21. Setting A Loop Area

    • 22. Setting Markers

    • 23. More Tools

    • 24. Cut, Copy, Paste

    • 25. Preparing For Mixing

    • 26. Adjusting Levels

    • 27. Audio Effects

    • 28. The Built In EQ

    • 29. Copying Plugins

    • 30. Audio Recording Settings

    • 31. Setting Up Inputs

    • 32. Monitoring

    • 33. Recording Audio

    • 34. MIDI Recording

    • 35. Recording MIDI

    • 36. What Is Exporting?

    • 37. Exporting Options

    • 38. Normalizing

    • 39. Thanks and Bye!

    • 40. SkillshareFinalLectureV2

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About This Class

For years I've been teaching Music Production in the college classroom. These classes I'm making for Skillshare use the same syllabus I've used in my college classes for years, at a fraction of the cost. I believe anyone can learn Music Production - and cost shouldn't be a barrier.

Recently I was named as a semi-finalist for the Grammy Foundation's Music Educator of the Year award because of my in-person university classes. Now I'm taking those classes to Skillshare in an online format in order to reach more students.

In this class, we will focus on the newest Logic Pro X software. Some people like to think of this as "Garage Band Pro", and it many ways it is. But there is a lot more to it than that. Logic Pro X is a full-featured program, but it isn't without its limitations. I'll walk you through what those are, some ways you can deal with them, and how to use the program to produce and/or record your music.

In this class, we will cover:

  • Differences between Logic Pro X versions
  • Purchasing Logic Pro X - The Cheap way!
  • Installing and Setting up Logic Pro X
  • Creating a Project
  • The Arrange Area
  • The Editing Area
  • The Transport Bar
  • The Inspector Area
  • Media and Event Lists
  • The Mixer
  • Using Apple Loops
  • Beat Sync with Apple Loops
  • Adding a Bass Line
  • Adding Synth Tracks
  • Preparing for Mixing
  • Audio Effects
  • Built-in EQ
  • Audio Recording Setup
  • Recording Instruments
  • Monitoring
  • MIDI Recording Setup
  • Recording MIDI Tracks
  • SoundCloud and uploading elsewhere
  • ...and much, much more! 

Dr. Jason Allen is an Ableton Certified Trainer and a Ph.D. in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater. His 2015 album, Aniscorcia, reaching the CMJ Top200 Charts and radio broadcasts nationwide. In 2014 he was named a semi-finalist for the Grammy Music Educator Award.

He currently is a professor at Augsburg University and the CEO of Slam Academy in Minneapolis.

Praise for classes by Dr. Jason Allen:

  • "Without a doubt the best explanation and east of use that one can get. It leaves you enough room to go explore. The classes go by quickly, so you can be on your way to being proficient. What are you waiting for!"

  • "Amazing - Seriously Loved It! I took all his courses and have to say I'm so happy! Learned loads! Jason is an awesome teacher!"

  • "I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me."

  • "I like these courses because you can get up and running quickly without having to spend hours of time wading through TMI (too much information!). Jason hits the high points but shows you what you need to know. Thanks!"

  • "I've watched many other videos on scales and chords before, however, this one has been the best. I now understand minor scales and chords and even how to analyze songs. It really gave me the confidence to start producing music because I feel like I have some structure and guidelines to follow. AWESOME!"

  • "Clear and Informative - Jason has a clear uncluttered style (with the important dashes of humor) of presentation that is focused on the important key aspects of this course. Recommended for those starting out!"

  • "Dr. Allen does it again with his music theory series. This course really opened up everything I learned from the 1st section, and now I understand more about the composition side of things for music. I highly highly recommend this course to anyone!!! Really opened my eyes to many things I wasn't aware of."

  • "The Best Teacher Ever, who makes you understand the ins & outs of Music Theory by all means without giving what you don't want to know."


1. Welcome and Overview: way. - The main thing we have here is the MIDI editor, or sometimes called the piano roll editor. There's a couple other different ways to look at that, which is up here. So the piano roll shows us and we'll talk more about this later. This is just kind of an overview of what this is. We'll talk in detail about how this works, but this lets us move individual notes around. Where's up here? We're moving everything. We played in one big chunk here. We can move our individual notes, so let's record it and then we'll see what it sounds like. Thing is actually a good example. So we've got high hat, loop and kick snare. So what if I want the same effect on both of these? Right? There's actually a couple different ways. You can do this. You can use these return tracks, which we'll talk about later. But for now, um, what you could do is queue up the same effect here on the other track. But then you'd have to dial it in the same. You'd have to set all the settings the same and go back for so check this out option click drag will put the same effect on to the other channel with the same settings, settings and everything come across with it. So if I just said I want the same channel que Hey, everyone. Welcome Teoh Logic Pro Tax. Or as I will call it frequently and somewhat marginally incorrectly just launched. Uh, this is an overview class. So what we're gonna do in this class is we're gonna learn how to use logic to produce music quickly. We're gonna dive in, we're gonna make some stuff. And while we're making stuff, we're gonna learn how the program works, how to get around the program, how to mix in the program, how to use some of the effects on the program and how to use some of the building content in the program. We're gonna do all of that in this class. This isn't gonna be a class where you're going to, like super duper master, every nook and cranny of logic. It's more designed for if you're a relatively new to logic and want to check it out or if you're into garageband or something like that, you want to see what logic is all about? Um, it's actually really similar to garage surprised or if you're into one of the other dog programs, one of the other audio editors and just want to check out logic. This would be a great program for that. A great class for that, I should say so. Um had a lot of fun making this class. There's a lot of great content in it, I think and way make a fun little track in the class. And I'm gonna give you that track at the end. Be kind of almost very last video in this, I give you download link for that track that we made and you can take it, play around with it. Even my stellar violin recording is in there so you can chop that up and play around with it if you want. So I hope you decide to join us to fund class. It's a great way to learn logic and get started just producing music really fast. I would say within an hour of starting, this class will be making some of your own music. So please jump in and check it out and we'll see you on the inside. Oh, 2. What Is Logic?: Okay, So what is logic, Pro X? First of all, let's address this name logic, Pro X. Um, because I am probably going to start calling it logic. Um, this is a program that was called logic for years and years and years and years. Um And then eventually, there was a light version of it called like it might have been called logic, light or logic intro or something like that. So then they had to separate it and have one called logic light and one called logic pro, I think logic studio. Maybe that's what it waas anyway. Doesn't matter. It's gone now. Um, so we have logic pro. Ah. And then a couple of years ago, there was a big kind of reboot of it where they kind of redid, Ah, lot of how it works. And then it got the X. So logic pro X logic started off, um, as a program owned by another company that Apple bought. So it wasn't a Mac only program back then? I don't think, um, but once Apple bought it, they of course, made it apple only, so it would only run on the mac. Um, so it's owned by Apple, and it's maintained by Apple, and they maintain it pretty well. Um, if you've worked with GarageBand before, that's kind of what the logic studio or logic light became, Um, so you'll find a lot of similarities between GarageBand and logic because, um, really, the way it works now is Logic. Pro is an advanced version of GarageBand. It's GarageBand Pro is what it kind of should be called, Um, but because it was inherited from this other company, it's called Logic Pro. Um, so, um, I am probably gonna call it logic, so let's just get used to calling it logic. Now. What is it? It is a professional Daw application that's D A W that stands for digital audio workstation . What that means is that it is a platform for us to our range and manipulate audio sound. Let's just say sound, because audio is bit of a confusing term, because there's two different kinds of sound that we can work with in logic. And in just about any of the dog applications, there are others. Ah, and that is audio and midi Midi gets converted into sound. We'll talk about how many works shortly. Don't worry. We'll cover it in this class. But what it means is so I've just loaded up here one of the default Elektronik tracks in, um, logic. So they start you off with the beat, and then you can create stuff. So this is what it sounds like right out of the box. Thief. Okay, so what we're seeing here are wave forms, and you can kind of hear what they're doing, right? You can hear the use. Little ticks here are quiet. Views are louder, these bigger ones, Right? Right. So I can move stuff around. I can put a gap here. There's gonna be a space there. If I do that, I can overlap these That happen at the same time. Although that turns it into a midi track, which is something we'll talk about soon. Um, I can add effects to this. I can change the way it sounds. I can make it slower. I could make it faster. Um, I could make it sound like it's in a cave. I can do all kinds of different stuff. And that's what any of the dog programs do. The digital audio workstation programs. They let you move things around in time, our range and manipulate sound. So logic is used for ah, lot of applications. I see. Um ah, lot of film people working with logic, and there's a good reason for that. Um, I see people that work in gaming working and logic a little bit. Um, and I see ah, lot of just Elektronik producers working in logic a bit, um, it kind of goes across the board. So in the next video, I want to talk quickly about some of the other dog applications and what kind of sets logic apart. So let's jump to that now. 3. What Separates Logic?: so there are a number of different professional Daw applications. Digital audio workstation applications. Logic is one Pro Tools is another. One is probably one of the most popular ones. Able to live is another one. Um, fl Studio is one that's becoming more and more popular. Ah, you could say reason is becoming one. Um, there are a lot of different applications that do this, and each of those applications kind of sort of have their niche. But as they get developed more and more, they're all becoming equally good at doing different things. I work a lot in a Bolton. I work a lot of logic, and I work a lot of pro tools. I haven't spent a lot of time NFL studio, but I know that people that do a lot of dance music Ah, lot of trap dubstep that kind of stuff love fl studio. I don't know why. One of the things, though, that I like to go toe Logic four. That's probably its biggest strong point is a virtual instruments. Here's what that means. That means See all of these that come up in these template the's air sounds that I can I'm just playing on my midi keyboard here. Uh, let's see. What? And remember, this is just the default Elektronik patch it's gonna fund. So these are all virtual instruments. Um, here's what they look like. Let's open one up. Here's one. It's crazy one that we're hearing now so we can adjust this and there's presets that we can load up and there's a lot of control over this logic has a lot of virtual instruments. They have a lot of really good sounding virtual instruments and logic as a program can handle running tons of virtual instruments at a time. Which is why, ah, lot of people in the film scoring world like logic because you can cue up, Ah, virtual orchestra. Um, and you can get a really good orchestra sound through virtual instruments, um, and some careful manipulation of the sounds and what you play and all that good stuff, but it can handle playing, you know, like a lot of these, each one of these is reasonably taxing on your computer. So depending on how faster computer is, you can play, you can load up. You know, more and more and more of these I'm on a really fast computer, so I could probably have over 100 virtual instruments going. Um, and I would be okay. Um, if you're on a slower computer, you won't be able to have that many. But one of the advantages of logic is that you can have a lot more on logic than you can in the other programs. It's just designed to handle virtual instruments. Really well. So So for generating sounds all of these different sounds. I mean, there's hundreds of things here, you know. Let's just load up. One hears FM module on There's also I mean, I'm what you're only really hearing right now is goofy stuff. But let's like, let's see, strings. Authentic strings. Um, yeah, I like that. Uh, okay, that's a pretty good string sound. Here's a solo cello. So some pretty realistic sounding instruments are in here as well as some Ah, awesome, goofy stuff, like probably this one, right? There's a lot of different stuff, so that's one of the strengths of logic. Um, all these virtual instruments, it has other strengths to, but that's my favorite one. Um, and that's worth pointing out because we're gonna be doing a lot of virtual instruments Stuff in this class as we progress. So, um, that being said, Let's move on. Ah, and let's talk about getting you all set up with logic now that we know kind of what it is and how it works. Well, not really how it works yet. We'll get toe more details about how it works, but we know what it is. Um, I want to walk you through how to get logic, Um, some tricks for getting it cheaper. And ah, and then we'll do a quick walk through on installation if you ah haven't installed it yet. Onward to those. 4. Purchasing Logic: Okay, So in order to get logic Pro X, uh, here's what you can do. So this is a Mac thing? Um, there's basically two ways that you can buy it. You can buy it this through the app store. So, um, go to this icon on your, um, Matt computer or just searched your applications folder for app store. Ah, and you'll find APP store. Or you could go through the apple store online. The price is gonna be the same. Except, um, let me tell you a couple different options. First, let's look at it here. So in the app store, if I just search for logic Pro X here it is. Um, this is what we want. It's 200 bucks, right? Um, so I could buy it here for 200 bucks for you could go to the apple store online and try. This is something that won't work for everyone. But you can try going to the Apple store for education, which is apple dot com slash education. Ah, and you might be able to get a different price on it. Um, if you have to prove that you are either an educator or a student student of kind of anywhere. Um, and you can get it for cheaper. Um, and I think that our prices change right now. I was just looking at what? Their prices. So for higher education institutions, Meaning you're a student in college or a faculty or something. Um, these are the prices, and this is interesting. Let's zoom in a little bit here because check this out. Logic pro X ah, single unit, which is what we'd want is 1 99 So no discount between just buying it normally. So in that case, just do it through the APP store because, ah, there's no point in going through all the steps to prove you're a student if you're not going to save any money. But they also have this pro APS bundle for education. This gets you final cut Pro acts, which is video editing software Logic Pro X, which is when we're looking at Motion five, which is animation compressor four, which is kind of ah, video tool and main stage three, which is kind of an audio tool, kind of, um, all of those for the same price. So that is a benefit. If you have any interest in video editing. Then this is the way to go because you're gonna get logic and final cut and all this other stuff final cut pro itself is to 99. Logic is 1 99 so that's 500 bucks. But they're giving it to offer 1 99 through the education store. So get that, Um, So in order to do it, you have to go through here and you're gonna have to do this shot for your school log in to your school. It's weird, Um, how you have to do it. So there's some extra hoops you have to jump through, but it will save you some money, if that's what you want to do. Um, there's also a separate price list for K 12 students. So if you're in high school junior high, something like that. Um, let's look at what the prices on that, um, it's going to search this document for logic. Ah, same deal on the pro APS bundle for 1 99 logic proact single unit. Yeah, Same same cost on these when I need it. So that's something to consider. Okay. So, um, I am I don't need a copy of Final Cut. So I'm just going to do it right through the APP store. Okay, so I'm gonna buy it. And I actually haven't bought it for this computer yet. So I'm gonna do this, like, legit while you watch. Uh, okay. So I need to log in to my APP store account. So this is your apple account that you might have if you don't have, you can set one up. Um, okay, so I just bought it. Now it used my credit card that was on file with my apple account. So if you're setting up an apple account from scratch, you need to put a credit card in there, Um, so that you can buy stuff if you like having iPhone and are buying stuff from, Ah, the app store on your iPhone. It's the same account. So it just charged 200 bucks to my account coach. But, um, I need logic pro on this computer. So, um, I'm gonna do it. And now it's downloading and installing. So those are your options for getting logic Pro X? Um, it is You can use the app store, or you can go through the Apple store through their website to try to get the education price, which is on Lee really useful right now. If you want to get that pro APS bundle for education, it's called. And then, of course, um, if your thieving type of a person there are other ways to get logic Pro X for free If you search the Internet, I'm not going to talk to you about how to do those but, um, just search for it. It's not hard to find, and it's not hard to do. I'm sorry to say, um or I'm glad to say I don't know. I don't know how I feel about that. Um, I I will not encourage or discourage. Do what you gotta do, Let's get the program and let's start making some music. So in the next video, let's walk through how we, ah, install this and get it set up 5. Installing Logic Pro X: Okay, So once logic has done downloading, you can find it in your applications folder. So what we can do is we can either, Ah, go to open a finder window, go to applications, and it will show up at the top if you have it sorted. As date added, we have it sorted by name, like most people do. We'll show up under l for logic pro. Or if you want a slightly faster way to do that, you could just go into the launch pad app that shows you all of your applications and just search for logic. Or, um, see if it shows up and it's right here, so but I'll do it anyway. There it is. So let's launch it. So this is the first time launching it on this computer. And ah, it's gotta download a couple more things. And in order to do that, it needs access to my computer. So this now, this password is not my apple. I d. This is my computer password. Okay, So some info about it, Yes, they continue. Okay. It's right now I'm getting an error. You probably won't get this one unless you do a lot of other audio stuff. Is it telling me that some plug ins that I have already installed on my computer Ah, aren't gonna work with logic? That's fine. Okay, so now it's loading a default patch. Okay, so this is interesting what it did for me. Is it loaded? I have an old version of logic on this computer from, like, a long time ago. And this is the last project I did is a film score that I did in that old version of logic . And so when I launched it the first time, it found this old version of logic and this old project. Ah, and it loaded that up, which is interesting. Um, this was a fun project. Me. Um, So, uh, for you, you probably got something that looks more like this. Okay, so if you got to this, it means you're in. Um, everything's working, and everything's all set. You may have also got this window where, um, it's prompting you to set up a new project based on one of these templates. And we're gonna talk about these, uh, coming up very soon. These different templates. But for now, I'm going to start with an empty project. All right, so if you could get here, you are all set. You are up and running and we can start making some music. So let's go into the next section. 6. Creating A Project: okay, before we start exploring the interface, just want to go over really quick how to open an empty project, cause we're gonna be doing that a bunch in this class. So whenever you first launch logic, you'll see the same thing. I see if I go to this new ah, tab up here in the file menu. So new. Ah, do I want to say what I was working on here? I'm going to say no, don't say that. You don't say so. This is what comes up in logic a lot. Sometimes it comes up. Ah, where you just It automatically goes to empty project sometimes. But, um, these are the templates. We talked about these a little bit already, but ah, in practice, What I'm going to do is most of the time, I'm going to start with an empty project. So I'm gonna choose Empty Project and choose. Okay, Now I get this menu, so I want to define what I'm going to set up. So how maney software instruments and how many audio tracks etcetera set up. Ah, let's set up to software instruments. Okay. And now we're going to go. Remember, software instruments mean midi stuff. Things that ah make sound audio is means we're gonna import audio a meeting. We're gonna bring in some audiophiles stuff. It's already recorded or attract or something like that, or we're gonna record something new. Both those would go on to an audio track if it's ah, midi or something. We want to control with the keyboard. That's a MIDI track. The other ones are kind of weird. The drummer one is weird. Well, look at that later. Um, that's kind of a logic thing. You can do the same thing with the MIDI track, but they like to make it nice and easy. That's what the drummer one is. Well, look at that later. Um, so that's how I'm gonna go about starting a new session. Just about any time I'm going to click that empty project, and then I'm gonna create the tracks that I need. You don't want to create a bunch of stuff that you don't need, Which is why some of those templates are a little goofy, empty projects away to go. Okay, That being said, let's explore the interface 7. The Logic Interface: Okay, so let's go over the main parts of the interface. Now you can see in the logic interface we've got a lot of big rectangles happening all over the place. Got a big window here. But when you hear a big window here, kind of multiple windows here window here and there's actually even some more over here, and we can get some other things to pop up also. So let's examine each one of these in turn, um, the main windows or the main areas. I should say that we have, um well, let's talk about windows first. So the main kind of windows we have are the arrange window in the mixed window. So we're looking at the arrange window now, which is pretty similar to the mixed window. Except for this one down here. Now, this is kind of new in logic. Pro X. If I go to mix, it changes to the mixer down here, so let's hold off on the mixer for now. Go back to the editor and deal with all of these components. Um, so two main windows, mixed window and edit window. Let's focus on the edit window for now. In the edit window we have in a range area and editing area toolbar, transport, bar inspector and media lists. OK, so let's spend a little bit of time with each one of those and just kind of explore what is in each one and why we would use it. 8. The Arrange Area: Okay, let's start with the arrange area. That's this one. Okay, Now, first thing I want to point out is that we can make it. Ah, this area bigger by putting our mouths right over the bottom bar till we get this symbol. Then click and drag down. Ah, it works over here also. Ah, we can hide stuff by dragging it to be too small. Basically so And that's kind of true of any box. We can kind of resize it by dragging it around with that symbol. So the arrange area. So this is our main place that we arrange our track. So let's get a little something on the arrange area here. So remember, I have to midi tracks here to instrument tracks. Kind of the same thing in this context. So I'm just gonna play something in. Okay. Now, I have a block of audio that we can call a clip. So in the arrange area, I can move this around in time, and I can arrange it. Right? So this is where I'm gonna actually be arranging my song. I can copy and paste so all of your copy and paste functions work the same as they do in any kind of word. Editor, Text editor. So, command, see for copy Command V for paste, That kind of stuff. I can put this down on the next track. Um, I could do whatever I want, so I could move stuff around in time. Okay. Also important to note here is that this is where we also see our timeline and what this is showing us is ah, are musical metrics here. So we're seeing bars. So bar one bar to bar three and bar four. Each of the smaller ticks here is a beat. Okay, so that's beat. Four of the third bar is right there. We also have our tracks laid out here. Ah, horizontally. So everything that happens Ah, up here in this line is on this track. Everything that happens on this line is in this track, and we'll get into more detail on that. How to get inside these tracks in just a minute. Um, a couple other things to point out here were doing kind of high level view stuff, but zooming in and out, Um, these controls over here, So if you want to make something bigger, we can do that. If we want to make something longer, we can do that and notice what we're doing here. With the time we're actually just kind of pulling it out. We're not slowing anything down or speeding anything up. We're just zooming in. Ah, and this. Making stuff big and smaller will be useful at some point. Trust me on that. Um, okay, one last thing I want to point out about the arrange window is the snap tool. So snapping means you can see if I drag this around. You can see it kind of clicking into different spots as I describe forward. And if you look up here in see that what it's clicking on, what it's snapping to is beats right. I can't move it anywhere. In between beats, Snap is set to smart. Smart means that it's related to my zoom level, and that's that kind of clicking through thing is the amount that it's gonna snap to the grit. Okay, so I could say Snap to the bar now I can Onley move it in chunks of a bar, right and I started on beat, too, so it's always going to go on beat to here, I can say Snap to the beat, which is where at what I was doing before, or any other division that I want. If I'm on smart, which is the easiest place to leave it, then it depends on how much I'm zoomed in. So if I zoom in a lot farther now, I'm going to be able to get in between those beats. Now I can get to 1/16 note, right? That's where I'm snapping to. That's where I'm snapping to. If I don't want any snap, I could just hit this little power thing and says, Snap is off now Aiken, slide around totally fluidly. But caution when you're doing that. Ah, there's a big difference between being like right here, right on the beat and being right here. Not quite on the beat. Your whole track can fall apart if you're doing something that's rigidly in a tempo like it's gotta beat and stuff and you're not perfectly on that. So, um, you're better off to sticking to the smart grid. Okay? So watch out for that. Let's zoom back out. Also in our arrange area, we can control some basic mixer options, so this is our volume of the track. This is our panning. Talk more about that later mute. So don't play this track, but play everything else. Solo play on Lee, this track and nothing else and armed to record. We'll talk about that when we get into recording. Cool. Okay. So kind of big level view here. Um, we'll be dealing ah, lot more with that shortly. But next, let's talk about the editing area down here. 9. Editing Area: Okay, let's talk about the editing area. That's this box down here. So what we have here? The main thing we have here is the MIDI editor, or sometimes called the piano roll editor. There's a couple other different ways to look at that, which is up here. So the piano roll shows us, and we'll talk more about this later. This is just kind of an overview of what this is. We'll talk in detail about how this works, but this lets us move individual notes around, whereas up here we're moving everything we played in one big chunk here we can move our individual notes in a MIDI clip. We can look at it as a musical score, which, frankly, sucks. Don't do that. Um, even if you are really comfortable with music notation, this is just, ah, really clunky way to look at this kind of information. Um, and then the step editor, which is you know, we're kind of seeing each note, and when it happens again, I think this is pretty clunky. The really standard way of looking at Midi information is this piano roll. Every program has this, and they pretty much all work the same. So we'll talk more about how that works later. Um, now, if we were looking at an audio track, we would have an audio wave form down here. In fact, let's do it. Let me just grab um, an audio track. Okay, so I just drug a an audio loop. Is it just a little drum loop into this area and that made a new audio track for it? So now, down in my editing area, I can see the audio track. I can zoom in, and I can do some functions related to the individual audio track. If I double click on it, that window goes away. So you're only going to see this wave form view if you're looking at an audio track. If you're looking at a midi track, you're going to see the piano roll editor and you'll see a couple more options related to Midi here that you won't see in the audio. So that's kind of the main functions of this area. Let's move on and talk about the toolbar, how we get stuff done 10. Toolbar: Okay. The toolbar. That's this area up here minus this stuff. These things right here, we call the transport, which we'll talk about next. The toolbar is this stuff, this blank area, which is important for a reason. I'll say in a second and this stuff over here. And I guess this stuff over here. Ah, and this. Sure. So let's talk about this is our master volume. Uh, turn it up or turn it down easy. Right? Um, what we have up here and the reason I called out this blank area here Is that what we basically have quickly usable buttons. So this gets us to our editing window. This gets us to our mixer. This gets us to what we call a smart controls, which we'll talk about later. Ah, and a couple other things. But what's exciting about this is that is totally customizable. So if I control click on this area customized control bar so I can add or take away things to the control bar. Let's say I don't need to see this Quick help, right? That's this little question mark thing. Let's take that away. Maybe I don't need to see the option for list editor. That's this thing over here. I can take that away, you know, so you can take away things. You can add things you can add to the transport, which we'll talk about in a second you can add Go to the beginning. Is that button go to a certain position, All kinds of extra stuff. Ah, auto punch software monitoring. That might be something useful to have a quick button for, um, the tuner. You can take away or add click track and the master volume so you can add more stuff or take it away. If you want to simplify things, which is really nice. Some would say, Okay, I don't think I changed anything actually, which is the way I want because I wanted to match what you're seeing. Eso customized that, and that might be something that you want to do later. Once you find that you're doing certain things, a whole bunch Ah, you probably don't need You know this quick help button and you get rid of it and you can add something else there. You can take up all this space by adding stuff and the space by adding customizable controls. so they're just kind of buttons that will get you places fast. That's kind of the way we think about it. Um, cool. So not a whole lot to say. They're, um, by default. These are the three I use the most. So the mixer, the editor and then the smart controls here, which will talk more about later. Like I said. So let's go back to the editor, and that leaves the transport. So let's go. Let's go to a new video and let's talk about the transport. 11. The Transport Bar: Okay, so the transport you'll find something called transport on just about any audio program. It's basically this stuff and this stuff. So let's look at this stuff first. These are controls. So if you've ever used ah CD player or any audio software, you know what this stuff is? Play Stop. Go back to the beginning, Forward backwards. This in this case, we jump forward depending on how many times I hit it or jump backwards. I want to go back to the beginning. I hit that. You can also click and hold down to get some other behaviors of it if I want and then record. Um, we'll talk more about how recording works later, But basically, if I want to record something, I hit record. It starts recording so basic stuff. And again we can control Click To customize this and add some things we can add a button for a go to the beginning Always which we already have sort of go to a certain spot Go do the left locator with right locator placed in beginning, you know, etcetera. I'm not gonna change that right now. Okay, Now we have our timing stuff. So what we're seeing right now is where the cursor is. This is the cursor, this thing, this vertical thing that says where we're playing. So right now I'm on the seventh bar, the first beat and the first division of the beat. So it's the beginning of the seventh. Far if I zoom in will see that I'm right at the beginning of the seventh. Bar and tick is this kind of weird division of time. I think there's 200 some ticks per bar. 200 I forget. Ah, ticks in terms of writing music are not the most useful thing. But if you're into film scoring and stuff and you have to be extremely precise, ticks can be really valuable. I mostly focused on bars, beats and division of the beat. So if I want to go to beat four of Sorry, the 4th 16th note of the third beat of the first bar, that's where I am. I like to read this backwards 4/16 note of the third beat of the first bar through him. Uh, tempo, This is our tempo. We can click and drag to change it, or we can just double click and then type in and hit return the key. The key is a little bit funny here. This is gonna be the key signature. It's not really going to change anything. It's not gonna change our notes. It's not gonna transpose stuff to a certain key. Just gonna kind of show us. Ah, it's gonna lay out our notes slightly different, but it's not gonna change anything. Ah, same thing with the time we can change the meter. But, um, it's just gonna change the way this looks up here. It's not gonna actually change our music at all. Now, if we want to look at this in a different way, we can click here and we could say Show time. That's the most common other one for me is to say time. This says how long this sucker is. So far So we are one second are sorry. We are two seconds and 16 milliseconds in this is always one. For some reason, it's number on zero. So here we're 012345 6.1 seconds in 6.1 seconds in is how long this is. This is always the one. So time we can also look at beats and time. So here we're seeing beats and here we're seeing time. It's kind of a nice way to look at it. I'm not sure why Don't do that. But I do. I like to toggle between beats. Ah, and the whole the beats and project they call it. And time. Um, it's some. It's nice just to have a big time window. Um and you can also do this for time. If you're working on a film, score some like that where the time is the most important thing. You can do this and you have a big floating time bar that stays in front of everything so you can always see time. And then I think you can switch this back. Yeah, So now we can see bars, beats and divisions of the beat and see time in this big floating time bar. So we're always keeping track of our time. So if you want to see everything you can pop open that window, you just go here. Uh, open giant time display is what I did. And then you can customize it like the other stuff. There's a couple of customization options related to the time. We're not gonna change those right now, so that becomes really important. Because if if we want to get to a certain spot, make sure we're right on the beat, Um, this is a very good way to do it. Okay, let's move on to the inspector. 12. The Inspector Area: Okay. The inspector is this stuff over here and against this stuff too. It's basically this big column. So what we're seeing here down here were essentially seeing the selected mixer strip. So what that means is whichever I've selected up here. So let's select our classic electric piano. Our 1st 1 That's what we're seeing here. We're seeing the mixer strip for that. So if I like, let's turn the volume of this audio track all the way down. Now, I go over and select this audio track. You'll see the volumes all the way down. Right. So this is the mixer strip for whatever I have selected This one on the left. On the right is our master output. Okay, so this is gonna be the same if I move this all the way down. And then I cycled through a whole bunch of these. This one isn't gonna change. This is our master. Okay, so this one, you largely want to leave alone. Oh, it's just kind of good practice. Leave it right at unity, which is right about there, and then focus on your selected track. So this has more than the mixer has in it. If we go over and look at our mixer, you can see this. And this are pretty much the same. Right? I move one, the other one moves. Okay, this stuff reads the same stereo out. Syria out bus one bus, too. That's one plus two e piano. If I scroll up, I probably get that e piano and then a couple setting things here. But I don't get all this stuff. This gives me more information so I can close these two things if I want to just clean everything up. But this gives me a bunch of information about the track that I've selected and the region that I'm in. We'll talk more about that later, but that's basically these big chunks so you can hide those if you want. They're not hugely useful information, because this isn't the best place to edit it. If you are going to, um, if you do want to change any of that stuff, it's better to do it over in the editing areas, one of the editing areas or the arrange area. But the most important thing to remember here is that this is the selected track information, and this is our master information, for example, let me scroll back down, see our master stereo out. That's what we're looking at. I guess they call master something slightly different. Um, but for all practical purposes, your stereo out in your master are effectively the same in this case. And this is our first track. Because that's what I have selected. It's gonna my third track, my third track. Still my stereo out. Okay, so that's what you're looking at with these two channels right here. Correct one last area, and then we'll get onto something more fun. Um, we should talk about the ah media list area. 13. Media And Event Lists: okay. And this chunk I want to talk about, um are in this video. I want to talk about two different little areas. Both are important. First, let's talk about just our event list and then we'll talk about our media list. So the event list is this button appear. This pops open a new window, and this shows us all our events that happens sequentially in time. And there are four types of events. So these events are midi events. This is every midi note that gets hit so we can. If we play this midi file, you'll see us just like scrolling through that list. Here it comes. Hey, there's my events cruising by. So this is not a particularly useful way to look at your midi information. If you really want to get down Ah, in the weeds with your midi information, you might come through here and you can edit this, but much easier to edit down here, right? But you can hear, and there are some cases where you might want to do that if you're doing some fairly complex MIDI stuff Now, up here, we see marker. We don't have any markers if we had markers. They will be showing up here. You might put a marker for like, this is the chorus. This is the verse. This is the bridge. Those would be markers you could set. And then they would show up here as where and when and what they're called. Ah, and then you could jump to them or see them scrolling past a list of stuff. List of tempo changes. We only have one tempo that I've set. If we wanted to add a tempo change, we could do it here. So that's our current position, is what that is. And then we could say at that point switched to 100. And now our tempo. If we looked up here at our tempo, when I get to that spot, it's going to switch to 100. Let's see if it worked. It's in the fourth bar right about here. There it is. We switched to 100 and then start over. Um, so you can add a tempo change that way if you want to delete that just by hitting the delete key and our signature. So we added this C major for four. We can change time and meter if we want thing to remember, All of this stuff is lists in time where time is passing vertically. So it's going by like what we saw here this happens and then this and then this and then this and then this etcetera. So the list to stuff. I don't spend a lot of time in this window, to be perfectly honest with you. Um, but it's here, and I guess it's important to know about more useful to me is this browser This shows our list of stuff. Like, if the if this list is our list of events, this is our list of stuff. So ah, project. I have one audio file in here. So this is gonna tell me where that audio file is, what it is and bunch of edits that I've made to it. So every time you import some audio into your project, it's gonna listed here. So if you have a problem with one every out of audio files, this is where you would go to it because you might Ah, problem you might encounter is that you load up a session and it can no longer find an audio file that you put in here, In which case you would go up here and you reset it to be where you wanted it to be. Um, this is functioning more like a browser so we can go through our entire hard drive and find ah, audio files that we want to import. So this is not stuff that's in our project. But we might want in our project, um, so audio. And then we can look for movies. All files would be This is looking at just everything in my, um, Sounds folder. I think in my user library is what this is pulling up. But the most useful thing to me is this project. See, make sure that it's found all of our audio files. We'll talk more about that later when we get to it. Um, when we get to building a whole track and if we have missing audiophiles how to resolve that problem, it happens every now and then, especially when you're moving sessions around like if you're working on a session, it's great than you. Save that to a portable driver something and put it into another computer and open it up. You might have some audio files that didn't come along on the ride with you. And you've got to kind of re sync them to your project. It can happen if you're moving between computers a lot or if you're collaborating with people a lot. Okay, let's really quick talk about the editor. Our sorry, the mixer. Ah, and then we'll be done with our main kind of interface stuff. 14. The Mixer: Okay, let's look at the mixer. So remember to get there. I'm gonna go here. And now I have my mixer first thing I'm gonna dio when I'm working with my mixer is open it up a little bit. So I'm gonna grab this little bar here and just push it up so I can see my whole mixer, and that's everything. So, um, you can see over here what we're looking at in line. So down here, this is volume are panning. Settings are across here. What automation is doing. What group were on what our output is set to What our sends are any audio effects we have on each track? What are input is midi effects e que gain reduction and settings. So Ah, this is a mixer that, like most pieces of software audio software. So the mixture that emulates kind of an old analog mixer, you know? So we have volume. We can adjust volume by clicking and dragging on it. Ah, we'll see our volume coming in here If I hit play. Okay, There's or volume. We can adjust it. We can just panning, which is are left to right balance. Um, so this is gonna put the sound all the way in the left speaker. This is gonna put it all the way on the right speaker. This is gonna put it equally in both If it's right in the center, if we want to add effects, this is where we would do it. So we can go here, click on an empty slot here and say, Yeah, I want distortion on this. How about a bit crusher? It's gonna pop open a new window. I can set this toe how I want make it nice and gnarly, super gnarly. And then it's there, and I can add another one. This will. This box will expand so you can add more than 123 You can add more than three. Soon as you have three. A new spot will open up, and then another one, Another one. Another one So could have as many as you want. Let's hear that what that bit crusher did? No, not terribly obvious here, but that's OK. Um, so, uh, also here, we can select what we're seeing right now. We're looking at everything, but let's say, um I don't need to look at my inputs I don't need to look at my buses or oxes or instruments. I only want to see audio tracks. That's what I'm showing and my output. That's what I'm seeing here because I only have one audio track and then I have the stereo out and the master, it's I only want to see instrument tracks. That's these two, right? Ah, I don't want to see those outputs. Why not? Still going to see my master Unless I turn that off separately so you can adjust what you're seeing and this is useful. For once. You work on a big track and you've got, you know, 40 different tracks going. You can, uh, focus on only your instrument tracks for a minute and all that kind of stuff. So this list will expand with tracks going to the right as we add them up here. So my general rule here is Ah, we don't need to get into the mixer until we're fairly in the weeds with our track because we're gonna work on a track. We're gonna add content, we're gonna play with it. We're gonna get it sounding pretty good. We can adjust volume right here. Right? So We don't need to go to our mixer. Just for that, we can add affects right here. There's my bit crusher that I already added to this track so I could add effects right here if I want. So there's not a ton of need to go to the mixer until our track is getting close to being in its final form. Then we might go here and really start fine tuning and doing the final mixing work. That's my workflow. That's not how everyone does it. A lot of people keep this open the whole time. Ah, you can bounce this out into a separate window if you want. Um, if you have, like multiple screens, keep this up on a separate screen if you want, so you can always see the mixer and work with the mixer. Um, but I like to work up here and then go down to the mixer. Once I'm ready to kind of really get down and dirty with my mix and really start fine tuning everything. So with that, let's move on 15. What Are Apple Loops?: Okay, so the next thing I want to look at is apple loops on the apple loops are ah, whole bunch of loops that should have come with your installation of logic. If they didn't, that's kind of okay, because you can still get them. So that's what we're going to do up here with this little loop de loop. Ah, icon, right? Like, get it? It's Ah, it's a loop, the loop. And so it's Ah, loop. Anyway, click on it that's gonna open another window. Like what we saw in the media lists and the event lists. This one is our Loop library. Now here's here's what's cool about this. So we're gonna walk through how to use some of these loops, but just kind of in general. What they are is a whole bunch of audio files, and there's some MIDI files in there, too, and they're indexed in catalogue so that they're easily searchable. I can kind of narrow down what I want by using these, um, these selection points. So let's let's actually do that. First, let's say beats. I want something that's a beat, and then I can then narrow down further by selecting one of these. I can say dark. Okay. I can still select more stuff if I want to narrow the list down even more. Ah, grooving. Okay, that's got me still a pretty long list. Distorted. Um, electric relaxed, processed. There we go. Now I've got a smaller list. So, um, now, what's happening? This is jumping back to what I was saying before, so these should not be great out like this. The reason these are great out is that these particular loops have not been downloaded yet . That's why we have this little icon here. So when you downloaded and installed logic, it didn't install all the loops in the apple loop library. And you don't need him. Maybe you won't use them. Um, you don't have to use apple loops. Um, but I want to show you that they're here because it's a lot of content that you can play around with. So I'm gonna go for this dark clap topper, so I'm going to download it, and you only have to do this once, and it looks like that's actually downloading this whole set of these toppers so you can look up here. You can see it's downloading. It's giving me a notice saying It's downloading. It's got to run a little indexing thing, so just take a second there. Now it's back. But it lost my thing, so I need to go back to where I waas Dark Elektronik distorted start clap topper. There it is. So I click on it and it auditions it. Okay, it's pretty cool. I can click on and again to stop the audition. That tells me how many beats it is. Ah, what tempo it is, what key it's in. This is a drumbeat, so it's not in any key, and I can kind of favorite it. And then it shows up in my favorites list. So once you have, like you know, hundreds and hundreds of these, it's nice to do that. But then if I want to use it, I could just drag it right on over, and it's going to sink to my tempo. Ah, that's probably the most important part of this is that it's sink to the tempo. So let's go to a new video and talk about that process and what's actually happening there 16. Beat Sync With Apple Loops: Okay, so when you're working with the beats are actually really anything with rhythm. We'll look at something else in a minute. Um, using Apple loops. What's happening here is that it's it's actually like, really kind of complicated. But ah, lot of programs now conduce this kind of thing where they adjust the tempo of an audio file without really degrading the quality of it. This is actually a relatively new technology that we've had. It's only been easy to do in the last, I don't know, five or six years. So the fancy word for it is is called Phase Vaux coating. Or there's a couple other words for it, too. But basically what we're gonna do is we're gonna change the time of the audio file without adjusting the pitch or the quality of the audio file. It's, you know, kind of new. So check this out. Let's do this dark clap topper. It's for something different. Okay, so there it is. The tempo of this loop is 1 20 What's the tempo? We're actually hearing it at right now. It's not 1 2090 It's playing it at my song tempo. How do I know that watch this. Let's change my song tempo. Take the second for to click in. There it is. So it's always gonna audition in this window at our song tempo. Let's go back to 90. So now if I drag it in, it's obviously going to be at our selling tempo. And we know it's at our song tempo because check it out that zoom in, look right at it. It perfectly aligns on two bars, right? So that means it must be eight beats because we're in for four. So there's four beats to a measure. If this is getting to music theory for you, don't worry. Um, it doesn't really matter. Here's what matters. There's four beats to a measure. Each one of these is a measure. This must be a Pedes long, and it says down here it is. Eight beats along, so it is perfectly in time. Ah, with our tempo, right so I can play it in here now. And you know what? Here's something I like to do. Let's look at another one that's a little too dirty. Let's do a less dirty one. Let's dio electronic not dark. Okay, let's do that. Um, so this is recorded at 1 20 also, but let's drag that in to my 90. I'm just gonna drag it into the open area here, and that's gonna make a new track, new audio track. I'm gonna put it at the same time. Now check this out. Both of these are perfectly in sync with my tempo, which means I should be able to play them at the third time at the same time and make something kind of interesting, right? I can see that this one is quite a bit louder. And the other one, So we turn it down and let's just see what we got, right? Cool. Awesome. So not everything you drag in to logic will automatically sync the beats like that. This really only works on apple loops. Now, there is a way to manually do it. Um, in logic, we'll talk about that later. For now, Um, the apple loops are designed to just do it automatically. Any audiophile that you drag in like this one that we drug in here. Not perfectly in sync. Um, see, it doesn't take up a perfect number of bars. There's a space at the end. It's not perfectly in sync because it's not set up like an apple loop. Thes Apple Loops are designed to do this exact thing, So let's play around with this a little bit. Let's get rid of this just hitting the delete key. Let's get rid of my weird many stuff behind. DELETES. Let's get rid of that. Also, let's take these two and let's drag him all the way back to the beginning because we're gonna make a little track out of Apple Loops here. Oops, let go too soon. Here we go. Okay, Now, at the beginning of my track with this, I can extend this out by grabbing all the way on the right corner. If I hover my mouse over the top right corner of a loop, it gives me that and I condone drag it out. And remember, this is by that sink her that snap amount that we saw earlier. So it's only gonna let me do a whole beat and you can see where the loop starts over by that little groove. So I'm just gonna drag this out. It's that we're hearing this whole bunch I don't know. Let's leave it right there and then let's do the same thing with this one. But watch this. I'm gonna drag it. Let's leave two bars without this other one, and then we'll have this one come in for same on a time or less. I'm just kind of eyeball in that. Okay? So let's hear what we have so far. Go. Okay, let's use some more apple loops and let's just build a whole little track out of this. So next, let's go on to I don't know, a base. What's at a base? 17. Adding A Bass Line: Okay, let's find a baseline in here. So first thing I'm gonna do is use my browser here. Gonna go back and hit, reset, and let's select base. What other options do we have here? Let's see, Do we want urban Jazz World Electronic Rock Blues? That's the grooving. Um, let's try dark. Since our beats kind of dark, see what we have here. A little death. Let's turn off dark. Let's go to try electric So we're getting electric bass stuff so I could download all these other ones, but that's a little too much for me. Let's try downloading a few of these, um, to give us some more options. Remember, once you download these, you'll never have to download them again. Um, there's gonna be on your computer, which is a reason to not download them also because, um, they could take up a lot of space on your computer. So that's up to you to decide whether or not you want to download these. How many? One or download. Maybe you want to just go through and download him. Also you have. Maybe you're not going to use them very much, so don't download him. Okay? so I have some more options now. Kind of a blues thing. I got some drum. Oh, it reset my stuff. Okay, so base, let's do dry grooving Melodic. It's at electronic. That's weird over there. That's kind of fun. Yeah, let's get weird. Let's do it. Okay, so here's what's cool about this. So our tempo same deal applies. This was done at 1 20 are tempos 90. It's playing it at 90 so it's gonna sink with everything we've got. That's just fine. But there's another thing that's happening here to this was recorded in the key of D. We've told our temp are our session that were in the key of C. Now, remember when we talked about setting the key? I said, This doesn't change any of your audio files or anything weird like that. Ah, if you change the key, however, for these Apple Loops ones Ah, it will. And this is where that matters. So this is the key of D. We're gonna pull it in here, and it's gonna put it in the key of C because we're in the key of C. But that's cool. It's to it. Here we go. Let's extend that out for a couple bars. Let's hear what we've got. Keep going. That's it. Have a code that actually, I take that back just for an arrangement thing. Let's take that. Let's have it stopped there for a few bars, and then I'm gonna pull it back in right there, so we'll give ourselves a little break from it, and then we'll bring it back there. Right? All right. Um, so remember the key matches and the tempo matches. This is, like, really simple stuff. This is, like, really related to GarageBand. Like we talked about this being kind of like super garage band. Um, there is a way. There are most of the time when you're working with logic, you're going to be doing more pro stuff in this, not just grabbing loops out of the box and putting it in here. You're gonna want to be recording some of your own stuff and not be locked into these loops that Apple gives you. But it's actually a great way just to learn this program is to goof around with these apple loops. Um, and you know, you can make a lot of interesting music this way if you don't want to get to that like Super Pro Ah, producer level with logic, you could just have fun doing this. So let's finish out this track just as a way to explore more of the program. So let's add a little synth line or something to it next. 18. Adding Synths And Finishing Our Arrangement: Okay, let's see what we confined for. Some kind of synth lines. I'm gonna click on synth and I guess we can say grooving again. I'm gonna go dark. That led me down a weird path last time. Yeah, I dub step siren. I don't think that's gonna fit real well. Melodic. Um, let's try Kind of needs, Okay, Who creepy? You can actually also just use the arrow keys here and just scrub. See, that looked through that in. And let's throw this creepy one, that one. I don't know if that was gonna work, but we'll see. So remember, it's putting them all in to see Major, But that doesn't mean all the notes are gonna line up perfectly every time. So let's just eyeball it. Let's put that there. Let's put this one all the way back here. It looks like that's starting in a weird spot. Not sure why this one doesn't start right on the downbeat. I have to push it over to make that audio starting the downbeat. But, um, let's do that anyway. And then instead of making this loop, I'm just gonna ah, copy and paste it every two bars. Let's get it right on the bar. And then we'll duplicate this. Where did that put it? Oops. I think I duplicated the track. Yeah. So a copy this paste it here. But I wanted to paste it in the right track. I should have selected this track and then pasted it. So let's put that right there. So I'm just kind of goofing around here, But let's see what we made with my two new sent lines. - Okay , so this is me. Ah, back here. It didn't start on the downbeat that now maybe it would be right there, but it was on the offbeat, which was kind of neat. Be now that went off. Okay, you know what? Let's let's see if we can jazz itself. Let's just scroll scroll way down here. That's kind of neat. Let's throw that right here just randomly. What the heck, and we'll just keep that into the end. It is kind of a long way. I guess I made this track really long are I don't think I really made it that long. Let's just take it to about there. Bring this back a couple more times and we'll let that ring out one more time. Okay, let's hear our track. So I added this other little synth line. I did a tiny, tiny bit of arranging. Let's just see what happens. It's free up a little more space here by getting rid of our loops for a minute, going back to the beginning and let's hear what we've got. Okay, not bad, you know, for spending, what, 10 minutes, Just throwing stuff together. So the thing to remember is, with these loops, everything sinks to fit both in time and in key. So if you're just looking for something to work Ah, really fast. Something in here will always work. So if you want to go the easy route, that's how you do it. If you want to go the hard route, you gotta make your own stuff. And for that, um, we need to learn how to do more stuff 19. Navigation Overview: okay, In this next section, we're going to start talking about navigation, and what that means is kind of like how to get around inside this program. So we're gonna look at a couple more tools. Ah, and some tips for using everything and then how to do some of the basic things like obviously, play pause, stop. Ah, setting up a loop, things like that. We'll also talk in the section about key commands and kind of my philosophy on key command . Eso I'll leave you in suspense for that until the next video actually is when we'll talk about key commands. But, um, just to kick us off, I wanted to point out one special thing about logic that will make your life a lot easier. Um, if you pay attention to this, if you don't know what something does and just about anything this is true for put your mouse over it. Let's just pick something that we haven't looked at yet. How about this that we're gonna look at in a second? Put your mouse over it, let go over the mouse and just leave it there for a second. Ah, and it will pop up and tell you what it does. Okay? So just keep in mind that you can put your mouth over something and then just wait, Um and it will show you what it does. And sometimes you have to let go with the mouse because it's looking for, like, absolutely no movement. So if you're on a track pad, um, you have to lift your finger up to know what it's for it toe pop up with its thing to tell you what it is before you do it. So what this is telling us in this case, this is the record button and it's saying record, that's what it is. Ah, and then are are is the key command. Um, we'll talk more about key commands a second, but here we see the name of the thing and the key command. This doesn't have a key command. This does. And all this other stuff does. So watch out for those. So especially on our our play pause, stop controls. These are things you're gonna be using probably the most out of anything else. So knowing how to just hit play ah is going to be super important. Um, one thing that This doesn't say Here is the kind of universal play command. Ah, and this is true in almost every piece of audio software. I think Q Base is the exception, if I remember right. But in just about any piece of audio software, the space bar is going to start playing space bar. Gonna play. If you're playing with your space bar again, it's gonna stop. Um, that's not what this says. This says. I think it's a shift something because there are a couple different ways we could play like space Bar means play from the cursor like wherever this is just started laying right there . But you can also say I want to start playing from the beginning. I want to start playing from the middle. I want to play, you know, backwards from the end, back to the beginning. I don't think you can do that, But, um, there are a lot of different ways that you could play, and that's where these key commands come in. So basic navigation stuff. Don't forget. Whenever you're in doubt on what something is, put your mouse over it. Let go and see. Oh, that's the library. Ah, This is the quick help guide. Ah, this is We just looked at this one. This is called, They call it cycle. But really, that's our loop setting. Um, so with that, let's move on and talk about some key commands. Main key commands for navigation in particular, are play stop pause rewind type commands. 20. Navigation Key: Okay, So my philosophy Yankee Command is that I don't like stressing that we need Teoh memorize a whole bunch key commands. I know some teachers do this and, you know, they give, like, quizzes and tests on key commands. That's just not my style. I don't think you need to memorize every key command. Um, I think most of it is. Well, a lot of it is a waste, some of them memorizing a good handful of them. Ah will make you work in the program more efficiently, so it's good to do it. But ah, I never. When I dive into a new program, I never sit down and study the key commands like I don't do it. I'll learn the key commands that I need to know from using something a lot, you know, like you'll just kind of get it in your head. So don't stress about memorizing every key command. But when you're working in this software and you're finding that man, I keep doing this one thing over and over. I'm doing this a lot like there's got to be a key command for it. Ah, there probably is. But find that key command and memorize it. So let's talk about some of the super basics when it comes to our main controls. Okay? I already talked about the space bar is arm L. A. And R. Stop. Right. Um, there are other things we can do with playing for one. When we're stopped, we can hit the return key, and we can go back to the beginning. Return always means send me back to the beginning, right? No matter where you are in the track, even while we're playing, I can keep hitting the return key and get thrown back to the beginning. No matter what. Is this button here? Go to the beginning now. Ah, forward and reverse. So what that means is, um, moving the play head or the cursor this forward? So I could do that with the greater than or equal or greater than or less than signs. So, um, on my keyboards, the one above the period or the one with the period they share the same thing. So if I just hit the greater than symbol, I go forward by one bar. If I had the less than symbol, I go backwards by one bar. I noticed I'm not playing. This is just kind of putting my cursor where I want it. Right. And once I get it, where I want thinking headspace to start, Okay? Remember, you don't have to memorize these if you don't want to, but these particular ones are awfully handy to have. So I could say, OK, I want to go up here. I could also click right by this right where I wanted to go and hit play there. But sometimes it's just more spend a little easier just to keep your fingers on the keyboard keypad. Um, so you're not going back and forth between your mouse, But it's all about how you work. Ah, shift greater than and less than is going to bump you forward by eight bars. So this is greater than going forward and back by one bar shift jumping me up by eight bars and shift less than and seven me back by eight bars. So if you're like, OK, I need to find the chorus, you go get edited out of the, uh and there it is, right. I need to go somewhere else, right? So you go shift less than is gonna push you back by eight bars. Now, what I did was kind of silly, right? Like if I was at the beginning, and so we need to find the chorus. I could go like this. Say, that's the chorus. That's great. Now, if I wanted to go backwards, I could do shift less than and hit that five times and they were giving back to the beginning. Or I could just hit return, right, cause that's gonna get him back to the beginning. Justice fast, actually faster because it's only one key hit. And I saved myself, like, about a second right there, which, you know, whatever, but, ah, when you're doing this millions of times and you're working on a big track that that one second is gonna be next. Okay. Ah, Lasky, Command on this is our the letter R means record. Eso if I press are right now, it's actually gonna pop up with little error. It's going to say I don't have an input selected because I'm getting ready to record something. I need to say what track I'm recording on. But it did do it. So it's recording to nowhere right now. So we'll talk about setting up a track to record onto it shortly. But once we have that, I'll set up. You are, and you're going to start recording no matter where you are. Um, and that starts playing also at the same time. So I've been talking about key commands that are on a desktop computer. Sometimes key commands are a little different on a laptop. Actually, um, this used to be true, and it's getting less and less true. Um, but laptops often have a more minimized keyboard, so they don't have all the keys that a desktop has. So sometimes the key commands might be slightly different. I don't think any of the ones I just went over our different, um, on a laptop. But if you encounter a key command and it doesn't do what you expect, check that you're either looking at the laptop. Check to see if there's a difference between the laptop and the desktop Key command. Sometimes there are. It's getting pretty rare, though 21. Setting A Loop Area: All right, up next. Let's talk about setting up a loop. Now, this is different than the use of the word loop that we've been using earlier when we were talking about apple loops, Apple loops are audiophiles or sometimes midi files. But ah, what we looked at was audio files that are designed to loop really well, weaken. Drag these out, and they're gonna loop. They're going to sink to our tempo. Really? Well, um, and they're just really easy to use when I'm talking about now as a loop in the arrangement like this, right? So now I've got it. I'm looping a section. That's what we're doing here. So we're just listening to one bar over and over wherever that yellow bar is is loop that we're looking at. So this isn't something that you would do in your track. This is something that you would do while you're working on your track. Because if I exported this as my as my finished track right now, it's gonna ignore this loop. This is only for while you're working on something, let's say, um, this part right here I was like, OK, this needs something. I'm just gonna listen to this over and over over and try to figure out what it's missing. Admin stuff. Experiment with values. More of this less of this planet. So this is where you know we're working on something. We're, uh, navigating. So the way you set up this loop as you go up to this this bar right here and you can just click and drag somewhere to make a loop. So now I have a three bar loop. Once you've made a loop, you can hover over the right end of it until you get this symbol, click and drag. It's gonna make it longer or shorter. If you hover over the left corner of it, you're gonna move the whole thing, Okay, so we could move it out to right there. Doesn't have to start on a bar, but it does have to start on where were snapping to remember where doing the smart snap thing. I can turn that off and have it start like somewhere Super Bazaar. So it's not even like on a beat, but I'm gonna turn it back up. So the control for this is actually right here that we just looked at what logic called cycle. Um, I call it a loop and most people college loop. What I can do is, um, turn it on and off right here. But if you just make a loop, it automatically turned on by clicking and dragging in these yellow bar thing, it's going to turn on automatically. So how do you get rid of it? You can just click right on it again and it goes away and click on it again, and it comes back where you last left it or when it's on. You can just turn it off up here. I hardly ever go up here. What I like to do is this and then say OK, I'm working on this section. There we go. I do that a whole bunch, move my loop, work on the next section, move my loop, work on the next section and then when I don't need it anymore, I just click on it and have it go away. Um, I barely ever go up here in turn it on or off using this, but you're welcome to do that. If you want. It's all about how you do it. There is, ah 100 different ways to do everything in logic, and all of them are correct. So however you want to do it and whatever your particular workflow is, go with it. I'm sure it's great. Okay, so while we're on the topic of this bar up here, let's talk about setting some markers. 22. Setting Markers: Okay, so markers are little Post it notes that we can leave all over our track. That's the way I like to think of them. Um, I used markers a lot just to leave a note to myself about what I was going to do, especially when I have to stop working on something for the night. So I work on a track and I get to the point where I just can't stay awake anymore. But I'm on a roll, so I'll leave a marker that says, You know, here's what you were in the middle of doing and that will help me get started on the next day. But, um, that's the way I used markers. But more commonly we use him just to be able to scan our track or our session quickly and know what's what. So let's put one in. So let's just look at our song that we've got going here. So we've got this kind of intro. Um, everything's in kind of right here. That's where that enters. So let's put a marker here and let's call this. Let's pretend this is a pop song. So let's, er like a full flushed out song. Let's call this the verse. Okay. Like if someone was gonna wrap on this, they might start here. So let's add a marker here. So I'm going to go up here to my event lists. And this is where we were before the shows, all our events. But I'm gonna go appear to marker, and I'm gonna hit this. Plus, that's gonna put a marker right where the cursor is blue. There it is. And it just says marker right there. I can double click on that and go down here and say first or I can say verse one. How about that? Okay, so then we owe. Okay, this is some kind of break. So let's put a marker here and let's just call. Let's call a bridge. Oops. I renamed my verse. So Verse one, I got to click here. We're gonna call it bridge. Okay, so that's how markers work. Um, we can move where a marker is by adjusting it with this, which is a little cumbersome, but this one's confusing cause it's bar 11 beat 1/16 1 So if I wanted to move it forward a bar, I could change it to bar 12 that moves it up to here. So let's move back to 11. If you want to get rid of a marker, weaken. Just click on it in this list and press the delete key and it's gone. I can undo that by command z to get it back. Okay, so that's how you add markers there. Really useful. Um, we use them just to kind of annotate a track while we're working on it so we can see where we are. And then, like I said, I might do this. This this is my style. Here. Pro tip marker at a marker. Marker three is going to say, um, build cords here, too. Next bridge, then change key up 1/4 then chorus again, Then out. So that's what I do with markers. So it's super cumbersome to read, but, um, that's going to tell me what my plan waas so that when I start working on it again tomorrow , like Oh, yeah, that's what I was going to do. Ah, Then I can keep working. Ah, and then I can go back and delete the marker when I'm done with it. So you could do that if you want. Um, What do you want to or not? Now you know how to do it. Um, go markers 23. More Tools: now, there are a few hidden tools in here that we haven't looked at yet. I want to point out kind of to kind of big things about the tools. Ah, the first is these two. So what we have here is two different types of cursors, right? Like right now, I just have an arrow cursor. That's the point. Your tool, it's called. But I have a lot of different types of cursors I could use. I could set it to the pencil tool and that'll let me do certain things. Eraser tool. Let me do certain things. Text, scissors, glue, solo mute. Ah, zoom fade, automation, etcetera. Um, all these have different functions. Now. You don't need to bounce between what cursor tool your using all that much? Because you can get around it almost all the time. If you have the pointer, you can get to what you need to get to, because the pointer is kind of a jack of all trades. Um, but for example, let's say I wanted to make a cut in this audiophile and cut off this stuff at the beginning where there's no sound a quick way to do that would be to grab the scissors tool, put my mouse over right where I wanted to cut it and click. And that's all I have to do. I'm gonna go back to the pointer tool and delete that, Um, that's one good use of the tools. I use the scissor to a little bit. The fade tool sometimes. Also, Um, now, what is this other one? If I click here, you'll see it's the same tools, right? Why, that is because you can always have to tools at a time. You've got one, and then you've got the command tool. So this is my main tool. But if I hold down the command key, my tool becomes this one. So what? I end up doing a lot. If I'm in editing mode, find, like, editing a project, I'll set this one to scissors. So that way I'm working on something. I'm arranging and moving stuff around and playing with it. I don't want to cut here. I just hold down command. I've got scissors. Then I let go of command. I'm back to the pointer tool. I make the ad it I need to make so I can alternate quickly between the point or two on the scissors tool because those are the two that I use a lot. So that's what this one does is it's What tool do you have when you're holding down the command key? Okay, Another thing I wanted to show you is if you go over here, there's a whole bunch of other tools hidden. Okay? These are kind of, ah, little time saving tools. We like to think of them as, um, split at play heads a good one. So if I went like here instead of using the scissor tool to cut through these three, if I wanted to separate all these, I could just do this split at play head after I select them. There we go. And now I've split all of these right where the play head is or the cursor everyone to call it. I'm gonna undo that. So a couple of little time saving tools you have here can insert silence and search something else into the selection. Cut. Repeat a section. Things like that. So should you need to get kind of deeper into the weeds and do some fun stuff. This is how you can get access to some time saving tools, and it's in this subtle menu right here. It's called the Toolbar, and you could leave it open all the time if you want, but I like to keep it hidden because I don't use it all that often. So, um, it just kind of takes up space. 24. Cut, Copy, Paste: Okay. Last thing about navigation. For now, this is something that we touch down when we're putting our loops together. But I just want to be really clear about this, because, um, I do this a lot. And in other classes I've taught because I haven't made a special point of saying there's a lot of questions I've gotten have been. How did I do this thing? When I started moving fast, I just wanted explicitly show you what I'm doing. So, um, let's say I want to take this and do it again out here somewhere, and I don't want a loop it necessarily. Ah, what I'm gonna do is copy and paste it. So all the copy and paste functions that you've ever used in, like Microsoft Word or anything like that still work. So I'm gonna, uh, select something command. See? To copy, put the cursor somewhere. Select the track that it's gonna paste onto and command V Command V is for paste. Why isn't paste command p with that? Make more sense. Ah, think about it. There's a good answer. Command P is print. Um, and we do print sometimes. Ah, in audio programs. Not in this one. But sometimes we do need P to print, so I don't know. It's kind of reserved for that. I guess eso command see is copy and command V is paste. So if I wanted to have a repeating thing like this, but not looped, uh, with a gap in between them, I would have to copy and paste the bunch. Ah, and that's okay. We copy and paste all the time. Um, also the delete key to just get rid of something. So copy paste, Delete all the stuff that you'll find up in this edit menu. Cut, copy, paste, paste and replace paste that original position. Delete, delete, move, and select for select. You can just click. Or if you want to select a whole bunch of stuff, drag a box around it like this. So just click above it somewhere and dragged down to grab all that stuff. And then we could copy all that stuff command. See, put my cursor somewhere, command V and put it all in there again. So here it all is starting over. So don't forget about those tools. Will be your best best friends while you're working on a track in logic 25. Preparing For Mixing: Okay, let's talk about mixing and effects in this next section. We're gonna do both at once. So we're gonna spend some time in that mixer which we can get up here clicking this button and our mixer pops up a couple quick things before we get into mixing in logic. What you're gonna want to do is two things just to kind of get ready. Ah, the first is pay attention to the size of your window. There's other stuff up above this that we want. So let's open this all the way up. That's all the way because I can't go any farther. So I want to open that all the way up, or I want to open it in a new window, which I can do by going to window open mixer that pops it out and do a new window. And then it's gonna be all the way. Actually, it's not all the way up. I gotta drag it to be a little bit bigger. Ah, and I prefer to work with this in a separate window because I have multiple screens hooked up to my computer so I can put this one over here, which you can't see, but I can put it over on my other screen and still work. Ah, on the arrangement. But if you're on one screen or you're on a laptop or something like that, it's easier to keep it in one window. Um, but you're gonna need to drag it up. Okay? The next thing I want to do Ah, before I start mixing is I want a name. My tracks. Something a little bit better than classic electric piano, Classic electric piano, indica la 6803 Whatever. Um, I want to name them something a little more meaningful because this is going to get really confusing if I don't. So this top track, I don't think I'm using it. All right? I'm not, so I'm gonna delete it. This hit the delete key, this next track also not using. So I'm gonna select it and hit the delete key. I want to clean some things up. Okay, So what is this? This is my drum loop, right? I want my drum lose. So let's call this eso I just double click on the name right here. I'm gonna call this hi hat loop. It's a little more than high hats, but that's a fine way to describe it. Now for this one. Let's solo that. That's the S. Let's just call this kick. Snare is primarily what it is. Okay, this one solo, this one turned that one off. Okay, this is my baseline. This one is Yeah, that arpeggio. Let's just call it. I don't know, dreamy since just give it a name that you'll recognize. This one here is that plucky little since let's call this melody and this Are we using this ? We are. What is that? Oh, yeah. Let's call this with Nixon. OK, so now I've named everything appropriately, I'm gonna turn that solo off so I don't forget about it. So everything has a name, and you'll notice that down in our mixer, those names updated in the same time. So my mixer names and my arrangement names appear are the same. They stay in sync. This is good. This is what we want. So that while we're mixing, we kind of know what we're doing, right? Um, you'll save yourself a lot of headaches. Just name your tracks. Something nice. Something that you'll recognize and don't stress out about. it too much. Just make it something that you know. It doesn't have to be something than anyone else needs to recognize, like, dreamy, since I don't know what a what a dreamy synth is. But I know what a dreamy synth is, so that's all that really matters. So name of Jack's okay with that, let's move on and let's get into the meat and potatoes of mixing, which is adjusting our levels, and then we'll start talking about some effects and things we can add in as well. 26. Adjusting Levels: Okay, so now we're over in our mixer on what I want to do is focus in on just one channel strip here, each one of these we would call a channel strip so and let's go through the kind of main elements we have here. Let's just go top to bottom. What the heck? So Ah, and so I'm going from here, down this stuff above we're gonna look at later. So first of all, we have this little icon here. What this is telling us is what kind of track it is. This is kind of a silly little logic thing. It doesn't bear a whole lot of, Ah, wait on your track. So this symbol is telling me it's an audio track. This is telling me it's a midi track of some kind, all of these air basically saying it's a MIDI tracker and instrument track. This is telling me it's a return track. These are audio tracks. So these different symbols here don't mean a lot. I mean, they kind of mean these air both drum tracks because they show a little drum machine and these air synthesizers because they show a little synthesizer. But ah Really, What I see is audio track, midi tracks here, return tracks and more audio tracks. That's kind of what I'm seeing. So that's what that symbol is panting. Panting is our right and left balance. So let me solo that if you're wearing headphones, this should be effective for you. So here's our I'm just gonna set a loop up here, which we know how to do. Now, let's do that. Okay, So if you're wearing headphones, you'll notice that now the drums should be all the way in the left here and not in the right year at all. And I could do the opposite, putting them all in the right year and you shouldn't hear anything in your left ear. I put it just in the center because of the default. Then you should hear in both ears. So that's what panning does. We can adjust where somebody hears it. So once you get into, like, really minutia of mixing, that might be something that you want to do is start experimenting with the panning. It's like we've already done a little bit right there. OK, moving on to this next row, we have to decibel levels here. Here's what that is telling us that's giving this top. This 1st 1 is giving us a number readout of where this volume slider is set. So unity is this zero. We also call that unity and audio terms, and that should set it to zero. If we get it dead on unity, there we go. So if I push it up, this means were a 2.9 decibels above unity. So we're boosting the signal a little bit. Okay, so that's kind of just a numerical readout of this slider, whether or not we're boosting it. What this number is is a numerical readout of this level meter, which tells us where the audio actually is in volume. So if I start playing again, okay, so we can see this is pretty high. This is at 0.1 negative 0.1. So I want to pull that down a little bit, so I'm gonna pull it down here and now Notice this didn't change, because what this is actually doing is showing us the peak. This is showing us the loudest point that happened since we've started playing it. I can clear that out by clicking on it, and now it's gonna say, Are loudest pointed standpoint. Three. And it turned green. Green is good. Uh, you want these to be in the green? You don't want anything to be read. Fits red. Well, it turns orange, I guess. Honest here. But if it's a positive number, it means you're too loud. That's kind of how logic is set up in general. There are some exceptions to that, but so that's too loud. So we can see and hear my levels gone all the way to the top. We don't want that. We want it right in the yellow on this meter or the top of the green is kind of the best spot to be. Lets reset that where we are still a little high. Okay, we're peaking at 32 That's pretty good. So let's leave that there. That looks pretty good. Okay, so that's how how this works. This is just going to show you the highest thing you hit so you can play through your whole track. See if any of these ah, when above unity and got distorted because it will distort. If you get too hot. That's the problem. OK, moving on. Ah, these two buttons down here are kind of focused on recording. This one is for input monitoring. What that means is that when we were recording, are we also hearing the track that this kind of has to do with how you're recording situation is set up Whether or not you're going through headphones are going through speakers. Um, if there's a click track, things like that. So we'll talk about that later. When we talk about recording. This is just armed to record and it's gonna tell me again I have no input selected. So if I click this though, we're gonna be recording onto that track. And then down here we have our mute and solo buttons. Mute means Ah, don't play this track, play everything. But this track solo means play on Lee. This track. That's what I was just doing. So everything else is muted. You can see up here. This track is blue. Everything else turns gray because this one is so load for you. The opposite commute This one turns gray. Everything else stays blue. We only hear the blue stuff and then it's very bottom. We have our track name, right? So that's kind of our general mixer strip. Um and then we just have a whole bunch of them, One for each track. Okay, up next. Let's go up to this box and talk about some audio effects. 27. Audio Effects: okay. Still in our mixer, if we go up to this box, it says audio effects and what we can do here is put in effects. So let's add something. Let's add something obvious like a delay. So let's go over to delay designer stereo, new windows gonna pop up. And this is where we set our controls for the effect. So all effects have a different window like this. Ah, you can pull up some presets by just going up here and down here. So let's dio maybe a simple one. I want something really kind of crazy so that we can hear it really Well, okay, so I said it as infinite. Repeat, half bar. So now you can close this window. It's still going if it's closed. So there's that effect right there. So let's solo this track and here that Okay, we can open it back up by clicking on it and something even more obvious here. It's fun. Okay, that's pretty obvious. Okay, The thing to look forward whenever you're working with effects is somewhere. We have a dry, wet mix and just about every effect there's going to be something called the dry in a wet mix. Sometimes it's one slider that has dry on one side and went on the other side. Sometimes it's two sliders, one for dry and one for wet. In my case, it's right here. So what that means is dry is the amount of the unknown affected sound that we're gonna let through and wet is the amount of Onley affected that we're going to come through. So if I want to hear nothing but the effect, I'm gonna do this if I want to hear none of the effects. But on Lee, the dry, so to speak, effectively turned off the effect. In most cases, you want something in between the two on a little of the dry little of the wet. So this is how you can adjust kind of the amount of the effect you're using. This is true on all effects. Maybe I just want to hear this goofy sound in there just a little bit, you know, I don't know. Well, let's keep it kind of obvious for now. Another thing to point out about thes plug in windows thes effect windows that they all have big power button right here. You can click it and just turn it off. That's gonna bypass this effect. And in fact, we can get that power button down here right there So we can toggle these honor off down there. Okay, so let's say we want to add more effects. Whose? Grab another one. Just put your mouse over an empty slot here and let's dio, um distortion overdrive You, uh uh, Now we're talking, so let's close. That's had another one modulation that's out of Flander. Okay, now I've got a Flander. Let's set a preset, And now you'll notice I've used up all three of my slots. Right? But there's more. If I put my mouth right there, I can get another one. Um, I might start to need a limiter here. Sure. Its gonna be subtle. Who cares? And now you'll notice this box got a little bigger. And I can add another one here and keep doing this forever. So I'm gonna make craziest effect ever. So you'll always be able to add one more with this little box down here, um, you can add as many facts as you can handle. Let's listen to what monstrosity we just created. That's pretty sweet, actually like that. Um, anyway, so that's how effects work in logic. Uh, remember, we can also get access to our effects up here in the Channel strip over here. Right. We looked at that earlier, so now all my effects show up there as well. So back to the mixer. And here we are, with all our effects. Okay, Now, there's one effect that's built into every track already. Um, there is an e que built into everything. So let's take a quick look at the built in e que That's already on your track. 28. The Built In EQ: Okay, so if you notice this box right here, it says e Q. And then there's this this kind of little rectangle here that is an e que That's already on the track. So what is antique? You? I'm gonna click on it and it pulls up the each. You know, here's what any Q is we could do a whole separate class on just how to use an e que and all the parameters of Aneke you but essentially and it was a way to kind of sculpt your sound a little bit. Where if you imagine, this is a big grid and all of your low frequencies are over on this side and your high frequencies are on this side. So this is low stuff, like bases and, um, kick drums and things like that. And this is high stuff like screaming, loud guitars, screaming high guitars, not volume. Ah, pitch Sorry. Volume, on the other hand, is the vertical element. OK, so when we're right here on zero, that means we're un affecting it. Okay, so here's I put a dot here and what that saying is stuff in this range, so this is fairly low. So kind of low bass guitar area stuff I'm not gonna change. But if I do this, what that means is that from 200 Hertz going down, I'm going to start to pull the volume down of my low frequency stuff until we get all the way down here. I could do the opposite like that if I wanted. And now, as it gets lower, it's gonna get louder, right? If I go back to here, were not affecting it. Okay, so let's say we've got some big low rumble in our audio track that we want to get rid of. You might do, I don't know, something like that that's gonna pull out the low stuff as it goes down and hopefully pull out that rumble. Ah, maybe we have some high frequencies we want to get rid of. You have some mid stuff that we want to kind of boost. Um, so you can really kind of sculpt this sound this way by adjusting the volumes of individual frequency bands independently and band means like this group of this area, right? Like these vertical lines are the band and I could make it smaller or wider if we want, but that's the band. So you have one of these queues built into everything. There are some presets here for different instruments that you can experiment around with. And now you can see the e que. I've put on this right here. You could have Maury Cues if you go into e que. There's different types of accuse you might want to do multiple you queues. For some reason, they're all, uh, in there. This is just one that's already there, and in fact it's called Channel EQ you so we can pull it up and it shows up in this list. Also, once we start using it by default, it's off. You got a double click on it and then it comes up and it's on. I can turn it off by going here. Oops. So take advantage of that. It's a cool feature that I haven't seen really in any other Dawes toe. Have a built in e que on every track, because in when I'm working on something, there's an e que on every track anyway. So I always put one on there, so in logic, it's cool because it's already there 29. Copying Plugins: one. Ah, quick pro tip. Ah, that I want to give you before we leave plug ins for just a minute is, um you might find yourself a lot of the time that you've got like, Ah, you know. Oh, this is actually a good example. So we've got high hat, loop and kick snare. So what if I want the same effect on both of these, right? There's actually a couple different ways. You can do this. You can use these return tracks, which we'll talk about later. But for now, um, what you could do is cue up the same effect here on the other track, but then you'd have to dial it in the same. You'd have to set all the settings the same and go back and forth. So check this out. Option click drag will put the same effect on to the other channel with the same settings, settings and everything Come across with it. So if I just said I want the same channel eq you boom. I just did it right There it is. So now let's solo both of these and hear what we did. Let's copy everything. Okay, So now I'm gonna hear only my drum tracks back. Theo is just getting silly now. But you get the point, uh, option. Click and drag duplicate that plug in and all its settings in a new track. Cool. If you want to get rid of a plug in, click here, go to know, plug in and disappears Awesome. 30. Audio Recording Settings: All right, let's move on to recording audio and recording Media World. We're going to get to in this section also. So, uh, first thing I'm gonna do is I'm gonna leave my mixer a little bit cause we're gonna work on recording up here. But before I do, I'm going to get rid of all of these goofy plug ins because I kind of want this to sound a little normal. So I was gonna power these off. I could delete him, but can now make a call. It's a little faster to do it that way. Okay, So I'm going to close the mixer because I'm gonna need this area down here to look at the audio that I've recorded after I recorded, which I'm not doing quite yet because first, I need to go into my settings and do a couple things. Make sure that, um, I'm all set up to record, so I'm gonna go into logic menu preferences, and let's start with going to recording. There's not much here. Um recording file, Type A F wave CF. Not to be honest, I'm not sure what the CF is. I would recommend stick to a F or wave. Both of those are full quality audio and great CF is probably a full quality audio file if it's listed here. But I'm not really sure what it is. A F ing wave are the standard to audiotapes for recording. 24 bit recording is means you're gonna have a higher quality audio file. If you're not worried about disk space, then turn that on. Why not? Right now, there's a couple other settings to I'm going to go over to this audio tab here because this is where my input devices are. So let's before we look at this, let's talk about your hardware needs really quick. So you're gonna if you're gonna record, you're gonna need to plug a microphone or a guitar or whatever into your computer, and you probably don't have a jack on your computer. Ah, that'll let you do that. So typically, what we do is we have something called an audio interface. Mine is this one called Mo to ultra Light Mark three hybrid. Um, also in here, you'll see like this webcam that I use Ah will record audio. It's got a built in microphone, but this device is ah hardware box. It's a little box sitting on my desk, and it has inputs for microphones and guitars and things, instruments and microphones. So you're gonna need a box like this if you want to record. Ah, Well, um, and if you want to plug microphones directly into your computer, you need one of these boxes they can range from, you know, 100 bucks to thousands and thousands of dollars. You can get really, really, really high quality ones for $100,000 or you convey one for 100 bucks. But to really record correctly, you're going to need one of these kinds of boxes. So I need to set my input device to be that box, because that's what I'm gonna plug my microphone into when I record. Okay, my output device is set to built in output. Now, normally, I would have my output device set also to that same device because my speakers air plugged into this device. But now I have that set to built in output because of the way I have to set up in order for my screen capture software to work. But if I was really working, this would be set also to this device because that's what my speakers are plugged into. Um, the rest of these are settings related to how your audio is going to be running the one I want to point out here. Is this recording delay? This is gonna be, um, a lot of times when we're recording, we worry about Layton. See late and see means, ah, how fast the or the amount of delay I should say between, um, the acoustic sound happening and it getting captured into your computer. For example, let's say I'm hitting a cow bell. I hit that cow bell and it has to go through the computer and then get played back into my headphones for my speakers or something like that. If that doesn't happen simultaneously, it feels were really weird. So we want that to be as fast as possible. So right now it's saying, with my current system, the round trip meaning in through the microphone through the computer and back out the speakers is 12.1 milliseconds. That's kind of slow, so I might try to speed that up by moving this down. But when you do that, you're using more CPU, and you have to kind of do a balancing act. Um, long story short. If you're having a problem with Leighton. See? Meaning things are just happening to slow. Start experimenting with this. See if you can get that to be better. Ah, with this recording delay. Slider. Ah, I'm not gonna mess with it too much right now because I've got with my screen capture stuff . I'm doing a lot of stuff on this computer, and I don't crash it. So those are our main settings that we want to worry about. So I'm gonna close this window. I didn't really change anything, so I don't need to apply it. And let's make a new track. So I'm gonna go to track new tracks and audio. And when I create a new track here, I can make I can set my input. All ready. So my audio input device, My that hardware box I was just talking about has eight inputs. This is telling me it has 14 inputs. Not really sure why? I think it's got some extra inputs that do weird things. So this is saying I can by default, set it to be on a particular input. I'm gonna set it to input. One output is always kind of leave those to be, like your main outs, Which for me, is output 12 years might say, built in internal speaker or something like that. And then that's fine. Number of tracks one find. Great. Okay, So here's my new audio track. I'm going to drag this to the bottom, and I'm gonna record call this, Um what am I gonna dio? Let's call this violin in a label. Violent track down here. Okay. So Ah, now let's talk a little bit more about our inputs and outputs for the track, so let's check that out in a new video. 31. Setting Up Inputs: OK, so like, we just saw Weaken set our input when we set up our new track. But let's say we want to change it or we didn't set it up when we did it when we created the track and let's walk through how to do that. So I'm going to click on my track that we're gonna record, too. I'm gonna go over here to this Channel strip, and my input is right here so I can set it to be whichever input I want. I can say no input if I don't lunch record anything or I could do some busing stuff. We'll talk about busting stuff in a future class, so I'm gonna set it to Input one. And I can change it from mono to a stereo file by clicking the civil circle. See you. It's one circle. It's mano, it's two circles, it's stereo, and you kind of see that reflected down in the level meter. Here we see one level meter. If I switch it to stereo, we see, too. Now, why would you want to record in mono or stereo? Um, essentially, if you have one microphone plugged in you, you should probably record in motto. That means one track stereo means two tracks. So if you have two microphones plugged in, you could either record on two different tracks, both in mono. Or you could record on one track in stereo. Right? So check this out. Here's my inputs. Just one per right. Input one input to input. Three. If I switch over to stereo, I can dio in groups of two inputs so I can say input. One and two are going to go into this and they're gonna record a two track audio fa. So what's an example of when I would want to record in stereo? Let's say I was recording. Ah, a live show. A live concert. I had two microphones out in the audience. Then I might record it as a stereo audio file. But if I'm just recording a single instrument, I'm going to record it as a mono file. Okay, so for my violin track that I'm about to do, I don't play violin, by the way. So get ready for something. Um, not awesome. Um, I'm gonna set this tomato. Okay, Now you'll see I have this m blinking. That means that these tracks are all muted because something is so load were so load up here that's unsold or those and I have this are set to record. That mean this is armed to record is how we sometimes say that it's ready to record. If I just hit record right now, we're gonna record on that track. Now, the question is, when I do that, what are we going to hear? What are we gonna hear through the headphones or we're gonna hear all of these tracks? Are we going to hear this track coming back through? Or is this one gonna be muted? That all has to do with this little I hear called input monitoring. So let's go to a new video and talk about what our settings are there and how to set that up. 32. Monitoring: when it comes to input monitoring. It's all about what you want to hear while you're recording. So imagine we have headphones on and we want to hear Let's say we want to hear the whole track and we don't want to hear the violin that we're recording coming back through the speakers because you might have a little bit of late in C and often you don't want to hear that sometimes this is why a lot of times when you watch people recording, they have one headphone ear off. You've probably seen pictures of people doing that. It's because they don't want to hear the recorded sound coming back through the computer because it could be a little tiny bit behind. And that just really messes with your head so you don't play it through and you just pull one year off so you can hear your sound, actually, without hearing it through the computer. But, uh, you might want to hear it through. If you want to hear it, you turn on this little I. Ah, that means input monitoring. We're playing it through. Ah, for example, let's record something. I was gonna record my vice, my voice through the same mike I'm using right now to record this video. So for that, I need to actually set my input to input to because my this microphone is plugged into input to on my interface. So input to. And when I do that, you see my voice coming in here, right? And here. Okay, so I'm armed a record, and I'm gonna hit record. Now. One thing I want to point out is because I have a loop set I'm actually only gonna record in that loop. That's just like a feature. So if I start recording right here, it's not gonna actually start recording till here. Check it out. So nothing recording nothing recording. And now it starts recording. Right? So that loop started us recording. So now that I've pointed that out, let me actually try to record something. Okay, so I'm recording my voice not coming through the speakers, but when I go to play it back, it will. Okay, so I'm recording my voice. Not Okay. Meet. So let's delete that. Now. Let's set input monitoring on and whoa! Ah, My voice is coming through my speakers. You probably can't hear that, but this is a dangerous thing because, well, I'm gonna turn that off because it's messing with my head. Um, this is dangerous, because what's happening is I am very close to creating massive amounts of feedback. So if I turn on input monitoring and I'm playing everything through speakers, I could start to create a feedback loop really easily and you don't want to do that. So only turn on input monitoring if you've got headphones on, Um, because if you're wearing headphones, you're not gonna create a feedback situation. I'm gonna do it anyway and record this. Ah, prove my point. Here we go. All right, Now I'm recording and the monitoring is coming through my speakers and its message. All right. At the end of the day, who can turn that off? Okay, at the end of the day, what was recorded is the same either way. However, um, because of my potential for feedback there, this might sound a little tiny bit different because my microphone was also picking up my voice again, coming through the speakers So again, on Lee really do that if you're wearing headphones, all right. Now I'm recording, and the monitoring is coming through my spears and its message. So there you go. So that's input monitoring. Generally, I leave it off. Um, I don't want to hear myself playing through while I'm recording, and I'd rather just leave one headphone off while I'm doing it. Let's delete that. Okay, now that we're all set up and ready to go Ah, let's Let's try to add a little violin track. 33. Recording Audio: Okay. So, like I said, I don't really play the violin, but I have one, so I'm actually playing a violin here. This is not like a, um, midi instrument or anything. Ah, and I'm just gonna leave one note over this eso that, Um ah, I'll play with it a little bit more later, but I'm just going to try to record one note. That sounds good in here. I think the pitch see up to be just fine, so I'm not gonna have him put monitoring on. So you're not going to hear the note that I'm playing other than through my microphone in my screen capturing software. So I guess you will hear it. Um, So let's record it. And then we'll see what it sounds like. Okay, so not very interesting, right? I just played one note over and over. Let's hear what it sounds like in the mix. Kind of weird and boring, but I recorded something. Looks like I recorded a bit quiet on double click on it. And look at it in here. That's an okay signal. It could be a little louder, so I could have played a little more directly into the mike I could boost. Ah, the signal a little bit in here. But that's kind of okay, actually, it's pretty good right around here. So let's see if we can jazz this up a little bit, actually, So I'm gonna go Teoh. Um, actually, you know what? I could dio gonna go back to my mixer. All these plug ins that I turned off. Let's put these onto my violin track, so I'm option clicking. Dragging. I just want to make this sound crazy, because, um, we'll fix my boring piano part. So it's turn all of these on or my boring violin part. What's so low? This violin track? Let's hear what we've got here. It's cool to give it a little more volume here in context. Gonna need. Right. Okay, so I recorded violin, and then I added a bunch of effects to it to make it all goofy and gnarly fun. All right, let's talk about recording midi stuff 34. MIDI Recording: okay. When it comes to recording Midi, we should start with going to our settings. There's not a lot there, though, so let's goto preferences and then Midi. And there it is, right, Like not a lot. Let's go to control Surface is also not a lot. The reason for that is that the Mideast settings here are going to use our system settings . I open up a little app on my computer called Audio MIDI set up. This is on every computer that shows my audio devices, but then I got a window up here and say, Show me the studio. This shows all my many things that are plugged into my computer, and this is what it's gonna use. So I have a keyboard plugged in to my computer. It's just us. Be like midi piano looking thing, and it shows up in here. It's, um it's this one here, Um, but I also have some other midi stuff plugged in. It doesn't really matter. You only really need to go to this window if things were going wrong. If things aren't working, best way to test is just plug in. If you get a midi keyboard. Um it's usually going to be USB, so I just plug it in to your computer and then play some notes. And you should see some stuff happening up here, right? Here's me playing notes and things are changing. So that means the MIDI is working, so we don't hear anything right? The reason is I'm on an audio track. If I switch over to a MIDI track that's also an audio track. I've converted all of these two audio tracks, So let's create a new track, new tracks and let's create software instrument track. And let's just say create. Okay, so here it is. Default is electric piano, so I hear it now. Right now, this window of this library window popped up here and this is going to show me a ton of stuff. This is showing me a bunch of electric pianos, but if I want to see more stuff, I can actually slide backwards. And then I can get even more things. So it's a orchestra strings. Ah, string ensemble. Let's load up a string ensemble, right? Pretty. So let's record that in. Um, I've got everything all set to go. This is really easy. All you need is a midi keyboard or some kind of MIDI controller. So some way to input notes with a keyboard and any of those that you can get in the last couple of years are gonna be USB. So you just plug the USB cable into your computer and you should be good to go. If you have problems, go to that, um, audio midi set up that I just showed you. But you shouldn't need to go there. It should just work. That's the kind of hope, anyway. Okay, let's go to a new video and let's record somebody stuff. 35. Recording MIDI: okay, Since I just played the pitch see through all of this, I'm just gonna play a C major chord on my keyboard. So, like that. Okay, So everything else still applies. I'm gonna arm to record make sure this track is selected. I'm gonna hit record now. I'm recording here, but I'm just holding down one chord. So you're not gonna see anything here. I let go. Okay, so, um, let's double click on that. And we see the piano roll editor. We saw this earlier so I can play with these If I want, I can select. Um, I could move when they start. I want I can change what notes they are by scrolling up and down upside is switched to enough different track so I can adjust my individual notes here because it's maybe you can't do that with audio, but you can with meeting. So let's hear what I did. And maybe I'll just the volume of it a little bit. What way? Now, I might want that to be Not at the same time as this audio tracks. I'm gonna move this to come in. Maybe right here. So that way I've got this happening this weird violin sound. And then this string ensemble comes in later. Let's hear what both those sound like in contact. Let's just hear our whole track one more time just to see what kind of craziness we've created. So we go back to the beginning and Hippolyte 36. What Is Exporting?: okay. It's time to export what we've made. Now what we mean by ex supporting is this is also sometimes called bouncing, um, or rendering or different applications. Call it different things. So look for the setting on whatever. If you're if you've used a different program in the past, you know, it might have been called render might have been called export. I think GarageBand calls it share. Um, but they're all a collective term for bouncing to disk. And what that means is we're going to take everything that we've made. We're going to smush it down to a single audio track. Ah, that we can then play. You know, you could burn it on a CD if you wanted to, but, you know, we can uploaded to Soundcloud. We can share it. We can put it on iTunes. We could sell it. We can. You know, no one can play this without a copy of logic. So we need to get it down to a single audio track that we can are single audiophile. I should say that anyone can play anywhere. So here's how we do that. The first thing we need to do is set a region. So logic has a couple different ways where we can set this region. But here is the easiest way. I'm gonna press command a select all. Oops. I gotta be on the right window. Select all. That's my region. Now, um, if I do that and then I go toe export than all my settings are going to be correct. If you don't want to export the whole thing, just select what you want to export. Like if I wanted to just export this stuff, I could do it. But this actually brings up a good question. Um, when we export most of the time, I believe what's gonna happen here is that we're still going to export everything. The only thing we're not going to export is this little bit right here, because the export setting is a matter of time. So what we're selecting here really only has to do with how much time it's going to get all the tracks in this case. So if we wanted to export just thes tracks, we would just mute the other ones Now if I exported it. This is all we're going to get is these things, but if I don't do that and I just select like if I just selected this, for example, what we're going to get when we export is from here to here. But all tracks, because the export setting doesn't care about what tracks you have selected, it only cares about time, so watch out for that. Ah, that's why usually when I finish a track, um, I've arranged it in this window so much so that it's easy for me to say Command a And now I've got the whole track, so I usually want to export everything is what I want. So once you've done that, once you've decided what you want to export and selected everything that you want to export , then we need to get to the export window. So let's go to a new video and go through the settings in the export window. 37. Exporting Options: Okay, so I've got everything selected. I am gonna go to file and export. Now, check this out. Logic is a little confusing in this way because there's a lot of different export things here, and I have a separate bounce and I've got a couple different options here 99% of the time. If you're doing what we're doing, this is what you want to dio bounce project. That's what you want. Um, so don't go to export because this is for exporting kind of more specialty things. Specific selections, different file types, getting two different programs, things like that. What we want is bounce, project or selection. So it's like that. Okay, now we have our window. So let's first start off with looking right here. Start and end. This should be what we've selected up here. And let's just confirm that it is. We want to start, right? It's beginning. So 11111 That's correct. And we wanted it to go all the way to here's Bar 21. Here's Bar 22. Here's Bar 23. So we wanted to go all the way up to Bar 23 which is correct 23. 111 Okay, if I wanted Teoh, I could nudge that a little bit higher here. I could say, Let's go up to bar 24 just to give me a little extra space. I could do that if I wanted. Or, um, I could just click this include audio tale by default. I always do this. That means if there's any, like, reverb or delay happening at the end here, it's not just going to stop, you know, it's gonna let that sound kind of keep going so it won't actually end at 20. Bar 23. It might keep going for another couple beats. Um, that's what we want. We don't want it just to chop it off. Okay, Real time. An offline, uh, select offline, if you don't know, um, off lines faster. Real time means it has to play through the entire track. This is a short track, so won't matter too much, but, um, I think offline is just fine. It it renders a little bit faster. Okay, Now, let's go to this stuff up here. We have two different areas that are easy to get confused. Let's start with over here These are the settings that were exporting to. Okay, so a f Now you'll notice we've seen these three options before, right? These are our options for full quality wave for him full quality audio file. So I'm gonna leave. It is a F 24 bit 44,100 sampling rate, file type inter leaved. That means that it's gonna be a stereo file, But in one file, not two separate audio tracks and dithering Let's leave at none. That's a whole other conversation that we could have. I could make a whole class just about dithering settings. So this is very good. High quality output add to project. If I click that, it means that once we're done exporting, it's going to make a new track at the bottom here and put it in there. I've never found that to be terribly useful. Add to iTunes means just gonna add it to your iTunes library. I've also not found that to be particularly useful. Okay, so over here we can have multiple export settings at once. This is actually pretty cool and something I haven't seen in any other program. So PCM is a full quality audio file and because it's selected, that's actually what we're looking at here. So you should always pick PCM because it's gonna be your highest quality file. But it's gonna be a big file, and you're not gonna want to send that in an email or upload that to Facebook or whatever, So make a smaller file also an MP three. So let's turn on MP three. Now we're gonna make two versions of the file. MP threes are small, so you can set some of your settings for your MP three here if you wanted them for a file. Also relatively small. You can add that if you want to burn to CD, this is gonna make a c D. D. A. File. I think these air done obsolete at this point, but you can still do it and logic because I think Apple owns C d D A. But you could do that if you want, so I'm gonna do PCM an MP three. So I'm gonna make two versions of this audio file right now. Before I export it. I have one other big setting here. Normalize on. Let's go to a new video and talk about what normalization does 38. Normalizing: okay, Normalization. Now, the long and short of this is if that if you don't know if you want normalization or not, leave it on. Trust me. That being said, let me tell you what it's actually doing. Let's get out of this for just a second, because I want to look at away form, Maybe my little violin track here. Okay, good. Okay, let's look at, like, this spot right here. So here's what normalization does. It boosts the volume. Ah, more or less. So what it does is it's going to take the loudest point of your audiophile. And in this case, since we're looking at export settings, what that means it's going to do is it's gonna export your audiophile. It's gonna look at your whole track. And then it's going to do this process called normalization to it. But here's what it does. So it's going to scan through the audio file, is gonna find the loudest point. OK, so let's say it's right here. Let's pretend we're looking at our bounced track here, and this is the loudest point right there. Okay, so I can go over here and say that's about 27. Okay, Let's just say that's 27 on the scale here. So what it's gonna do is it's going to set that point to be the loudest that it possibly can be. So let's say that's going to be about 100 here. These are kind of weird numbers that I'm using, but ah, they correspond to the scale. Okay, so it's gonna boost that to be 100. So 100 minus 27 is 73. So what that means is that it added 73 to get from here all the way to allowed his possible point that we can allow. Okay, so 73. So now what? It's gonna dio It's gonna go through every other point every other sample and add 73 to it . So our away form is gonna look the same. It's just gonna be much bigger. So it makes everything is allowed as it possibly can be before it's too loud. Right? Um, it doesn't change the relationship of quiet stuff toe loud stuff. The loud stuff is still going to be the loud stuff. The quiet stuff is still gonna be the quiet stuff. It's just that everything is gonna be a bit louder. So let me go back to our bounce settings. Should we still be on basically the same settings here? But But I lost my endpoint cause I un selected something. But so what That normalizing means in our case is in general, if you've spent a ton of time on the mix and making sure the balances are perfect and everything is mixed exactly to perfection, then turn that off if you didn't do that and you mixed just to get everything sounding good and you liked where it is, but you know a little polish on it isn't gonna hurt. Turn on normalizing. Um, so I'm gonna leave it out because we didn't really, really pay a lot of attention to the mix here so it could be on off or overload protection on Lee. That just means we're gonna make normalizing is just gonna make sure it doesn't clip, but it's not going to adjust Anything. Clip means distort because it's too loud, So I'm gonna leave it out, okay? I'm going to just step back really quick and select all again and then g o to my bounce settings. Okay? Everything selected bounces on PCM. Okay? Everything is right. So I'm gonna hit. Okay, Now it's gonna say, Where do you wanna put it? Okay, it wants to put it in our bounces folder. And this Bounces folder is in the logic folder on your computer. So this is actually in your home directory. Music, logic bounces. That's where this is gonna be. You can get in the habit of putting all your bounces in there if you want, or you could just move it to the desktop. Here's a fun. Ah, little handy trick. If you're in this window, command d gonna bounce you over to your desktop. Let's just put it on my desktop. Okay? There it goes. Quick pass through and I go to my desktop and there's my I i f And there's my MP three. Great. So we got it down on MP three and in a f so we can hold on to this day, I f if we're going to send something to mastering. If we want somebody to master it, you're gonna want to send him this file. If you want to upload it to the Internet on any kind of site, you're gonna want to use this file. Cool. Awesome. Okay, so So now that we've finished our track, uh, we've pretty much gone through all the basics of logic. Let's go to a new video and let's talk about a couple other things to wrap up. 39. Thanks and Bye!: Okay, that's it. We've finished the basics of how to use logic, Pro X. So I hope you had fun. I hope you stuck with it for the whole class. Now, just a reminder. There's a lot more toe logic. Ah, than what we just saw. Um, we just really kind of touched on the surface level of what you can do and how to make some music with logic. My goal here, um, was to make a class that would have you in just our to producing music with logic. Um, so I didn't go into detail on every little, um, option for everything you can dio. I may very well make more classes on logic, in which case, I I will go much, much, much deeper into it. But this was just a no overview. Um, getting you started using logic. I hope you had fun. Um, so while I've got your attention, I want you to know about this next thing that's coming up in the next video slot. So after this video is done, there's a little, uh, sheet with you can sign up for my mailing list, which would be awesome. You can also get a coupon that will get you super big discount Teoh any of my other classes . So all of my other classes are in either music theory. I have a tone of music theory classes, um, very accessible music theory. So if you're scared of music theory, but you're planning on producing music, you really ought to check those out. Um, they'll help you get a firm footing on what notes to use where I have a couple different kinds of music theory classes to in there. Um, I have a ton of classes unable to live, which is another program like logic, um, and then have a couple classes on sound design. Ah, producing drums, producing beats, deejaying, things like that. So, um, just download the pdf that's in the next video, and you'll get coupon codes to get into any of those for 10 bucks. Um, no matter what the class costs, that's $10. Everything goes. So download that Check out some of the other stuff. Thanks for spending some time with me in this class. I hope you enjoyed it. Ah, we only scratched the surface here of logic, but there is much more to come and Hopefully, I'll be making some more logic videos in the near future. Thanks for hanging out. See in the next class. Bye bye. 40. SkillshareFinalLectureV2: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.