Logic X 10.5 - New Features | Ben Dudding | Skillshare

Logic X 10.5 - New Features

Ben Dudding, Music Producer

Logic X 10.5 - New Features

Ben Dudding, Music Producer

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23 Lessons (2h 22m)
    • 1. Intro

    • 2. Live Loops Intro

    • 3. Adding Live Loops

    • 4. Recording Live Loops

    • 5. Tracks V.S. Live Loops Grid

    • 6. Playback Properties

    • 7. Recording an Arrangement

    • 8. Intro to the Step Sequencer

    • 9. Editing in the Step Sequencer

    • 10. Melodic patterns

    • 11. Intro to the Quick Sampler

    • 12. Slicing Loops in Quick Sampler

    • 13. Intro to Sampler

    • 14. Mapping in Sampler

    • 15. Synthesis and Modulation

    • 16. Auto Sampler

    • 17. Drum Machine Designer Intro

    • 18. Creating a Drum Machine Designer Kit

    • 19. Slicing Loops to a DMD Kit

    • 20. Drum Synth Intro

    • 21. Remix FX

    • 22. Logic Remote

    • 23. Thanks and bye

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About This Class

In this course  we explore the exciting new features in the Logic Pro X 10.5 update.
Topics include:

  • The Live Loops Grid

  • The Step Sequencer

  • The Sampler, Quick Sampler and Auto Sampler instruments

  • The Drum Machine Designer Update

  • The new Drum Synth Instrument

  • The New Remix FX

  • The New Logic Remote App fro iPhone and iPad

    This course is for Logic Pro X users who want to get up to speed with the new features.
    A basic understanding of the core tools and basic workflow in Logic Pro X are a prerequisite

Meet Your Teacher

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Ben Dudding

Music Producer


Ben Dudding is a music producer, multi instrumentalist, motion graphics designer, video editor and professional trainer based in Melbourne Australia.

As a musician/producer I have over ten years experience composing, recording, engineering, producing and performing music and have many releases on local and international record labels in the groups "Deep Fried Dub" and "Alpha Channel".

My 'Sonic Safari' brand is dedicated to music production tutorial videos. In addition to my courses on Skillshare and Udemy I have a Sonic Safari youtube channel where I host a lot of free content.

Currently I am working for City Desktop Training in a part time capacity teaching accredited Adobe and Apple video, audio and motion graphics courses. I also work as a freelance moti... See full profile

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1. Intro: Logic produces fan from Sonic safari here. Logic 10.5 is here, and it's a huge update, so big that Apple could have called it logical live in. There's a ton of new features that will go into in this course. We've got live loops, which is a way to perform in a non-linear fashion so that we don't need to be jealous of Ableton Live anymore. We've got not one, but three new sample is quick sample, sampler and auto sample. There's an amazing new step sequencer for writing Bates and melodies. There's a new drum synth instrument. An updated drum machine designed to plug-in is also the new re-mix it fates. And there's an update to the logic Remote app so that you can control logic with your iPad or iPhone. This a ton of features to unpack here. So let's dive right in. 2. Live Loops Intro: Probably the biggest update in logic tin 0.5 is live loops. Now live loops is almost certainly inspired by Ableton Live Session View, which is a non-linear way to trigger different clips, which means that you don't simply have to play in your regular timeline from left to right. Instead, you have a pattern grid full of different cells that can be triggered in any order that you want. So to get started with live loops, logic actually does have a bunch of templates. So if we come up here to the file menu and say New from template. So you can see under started grids here, a bunch of template specifically for live loops. I'm gonna choose the very first one here called Boom bet Mesha. So choose that and that'll open up. Ok. And as you can see, we are presented with this grid view, that is the Live loops view. Now, if some reason you're not seeing this, you can actually open this view up with this button right here. Normally of course you'd be seeing the tracks view, which is this button right next to it. And you can turn on the tracks view or the live loops view and had them side-by-side like so. Alright, so you can choose which one you want to see. Now there are some handy keyboard shortcuts for this, we could use option L to show live loops. Option v To show the regular Tracks area, and option B to show both. Okay, so I'll just go option L to show just the live loops area. So you can see here we've still got our regular tracks running down these rows here horizontally, just as you would in the regular tracks for you. And we can see that instead of having different regions on the timeline, we've got these different cells, okay? And you can trigger these in any order that you want. Now when you mouse over one of these, you can see a little play button and you can simply click to play. So I could stop playing, say this piano. And I could bring in some drums. And if I want to stop, click it again to stop. Now you'll notice that when I started and stopped, it didn't play immediately or it didn't stop immediately. And that's because it automatically quantizes the playback so that everything stays in time. Now by default, this is controlled with the quantized start up here and that sit to one bar. But as you can see from the drop down menu, you could choose some different options like to buyers or even note divisions, like a quarter note. But I find the one but generally pretty good. I'll just stop there. Okay. Now, as well as triggering individual clips here, you can also trigger a whole column. And a column here is called the scene, and this is how you would start building up an arrangement. So you notice here down the bottom we've got these different scenes and they are numbered, in this case one to 23. So if I wanted to trigger this whole column here on number one, I would simply click the arrow next to number one. And if I know Play Number two, I click number two. Now you notice that when I stop by tapping the Spacebar, it stops the playback of the cells, as you would imagine. But if I hit the space bar again, it's going to just resume the playback. So that's one way to start and stop is by using the spacebar. Now, notice that it's actually not stopping the cells and that they are still sort of queued up if I wanted to actually stop all of these cells so that none of them are playing back. I could come down here and click the global scene stop button. And notice that now none of the cells are actually playing. So that is a quick introduction to the live loops grid. In the next video, we'll get more in-depth into how this all works. 3. Adding Live Loops: In this video, we're going to look at various different ways to add regions to the live loops grid. So you can see here, I've got the Tracks area here on the right and the loop grid here on the left. And again, we can open those up with these buttons up the top here. So the simplest way to add a loop is to simply drag a loop from the Tracks area. So you can see here I've got various different regions. And these are old trimmed to four or two bars. That notice also that these are different types of regions. So I've got some standard audio regions like this electric piano and this focal. I've got some standard midi regions like this, upright bass and this UP. And I've also even got a step sequence, a region, which is one of the new sort of features that we'll look at later on, which is basically another type of midi region. So I can simply drag and drop any of these regions straight into one of these cells in the loop grid. So maybe I'll grab the electric piano. Let me just have a listen to this. Okay. I'll un-solo that. And I'll just drag that into one of these cells like so. Okay. And we could also drag these other ones in here too, like this vocal, that's also an audio region. I've got this base here, which is a midi region. So I'll drag that in. And this op. And then the beat here, which is actually a step sequence, a beat which is triggering a drum machine designer, which we'll also look at later on. So just drag that in and you'll notice that any standard region can be drag straight into the loops area. Okay? And of course we can now trigger these separately. Now one thing you might have noticed there is that when I started to play this back, that this is actually playing back from the Tracks area. And that's because at the moment, this little arrow here pointing to the right. Now if I wanted to play back to be here in the live loops grade, I would click this arrow here that's pointing to the left. And now everything's great out in the Tracks area. And we're just playing stuff here in loops grid. So again, I could trigger, for example, just this bait. Okay, cool, so that's fun. Now, another way that we could drag loops in would be from the actual loop browser. So if I open up the loop browser here and the cable chocolate is o, we can see that here we can browse for all different types of loops. And again, these could be standard apple loops. They could be audio loops, or they could be midi, or they could be step sequence loops, or even drum kit designer loops. So in this case, I've got this loop here, which is this trip hop loop. And again, I can drag this either straight into the Tracks area or I could drag it straight into a live. Look good. Now if I play this back, this is actually flooding back at double the speed that I want. So one thing that we could do is right-click on one of these clips. So I can right-click on this loop we've added. And I can go to the playback settings and I can change the speed to say half speed, which is what I want. So now we can hear this is playing back more slowly. I'll play that with a beta o. So we can simply browse loops here in the browser and dregs and straight into the grid. Now, you could even drag loops in directly from a Finder window. So if I make logic a little bit smaller here, you can see I've got this loop here. And I could just drag this strike into either an existing cell or I could create a whole new track by dragging it below these existing treks to make a new track. So this is just an audio file. And there we go. We can see that that's now pull that in and occupy this bag. Ok, so as you can see, many different ways to add loops, two loops, grid. 4. Recording Live Loops: In this video, we're going to learn how to record audio and midi directly into the live loops grid. So here I've already got some loops going on from the last video. And you'll notice that here I've got this op instrument, which is just a synthesized at the S2 synthesizer. And I want to record apart. Now it's actually exactly the same as recording into the Tracks area. Except rather than recording onto an empty track, we're going to record into one of these empty clip cells. So you notice here on this APP track, I've got an empty cell in this first scene. And anytime you hover over an empty cell, you'll get a little red recording button. So I've already got some of these other clips queued up here, like the bait and the electric piano and the base. And I just want to go ahead and play this recording. And I can do that simply by clicking the record button. It'll give me accountant. And then I can just start to play some notes and on my midi keyboard. So here goes. Okay, and then I'll stop. So you can see here is my recording and here are these naught. So when you double-click on any one of these clips, you'll see that it brings up either the midi or the audio for that particular clip. And you can still do all the basic editing stuff that you do normally. So for example, I could select all of these midi notes here, and I could quantize them to a 16th note. Maybe I'll even move them over a bit. Okay, so I think we go And also I could change the loop length. Now this is one place that we can change the loop length is here inside the clip. You can see just like we have got the loop Bryce, four tracks area. We can change the loop area here inside the actual cell. So I'm going to make this eight bars long, so it will just loop when it gets around to ICT boss. So let's have lists now when I play this back. Cool. Now we can also record audio. So what I might do is to create a new audio track. So I'll click up here, making your audio track. And I'm going to record a guitar which is plugged into input number six of my interface. So I'm going to create a new audio track with input number six selected. And I'll call this trick gap for guitar. They would go and just make sure there is record enabled. And I should be ready to record. Okay, so I've got my track ready to record on, and I've got this empty cell here. So I'm just gonna click record and start playing. He goes. Okay, so now for record, this guitar, I can double-click on this clip here in the cell. And I can open it up to do some editing. So I can decide which, but I want to actually use if I play this back. Okay, and maybe I'll just use that first iPads. In fact, if I wanted to, I could trim diaphragm on this last bit, trim that down and I can just look to us for iPads like so. So now I get this. Okay, cool. So as you can see, you can record directly into a cell it a midi or audio. 5. Tracks V.S. Live Loops Grid: In this video, I want to talk about the relationship between the live loops grid and the Tracks area. So as you can see, I've got both of these areas open at the moment. And you can toggle this on and off with these buttons up top here. Now you'll notice that I've got some regions hit and the Tracks area. And at the moment the play back by default is actually sit to the Tracks area. So if I just hit play or tap the spacebar, will actually see it's gonna play in the Tracks area. But what if I wanted to play in the live loops grid? Well, we can actually change the playback here with these two little errors. So you can see this arrow at the moment is pointing to the right, which means that the playback isn't the trek Syria. If I want to play it in the live loops grid, I can click on the arrow to the left. Okay, so now if I go ahead and hit the spacebar, you'll notice that the play head is moving in the TREC Syria, but everything is grayed out and nothing is playing here inside the live loops grid until I click either on a single cell or trigger a whole saints. If I click here and trigger cytosine one by clicking the error, and I'll stop by tapping the spice bought. Now you notice that when you start and stop with the spice boy, not only does it stop in the live loops grid, it also stops the play head here inside the Tracks area. Now, it doesn't actually stop these clips from playing. Notice that there's still QED, which means that they're flashing here, which means that if I hit the space bar again, that will resume playback. Okay, what if I wanted to stop all of these clips? Well, you can actually come down here and click this button here, which will stop all of the sales playing in the wife loops grid. However, there is a candy keyboard shortcut for this. So instead of clicking the button, I'm gonna use the keyboard shortcut Command Return. And you can see what that does is it stops all of these clips playing. Now of course, you can click on clips to trigger them. And you can also click on a whole scene or a whole column, and click on the arrow to trigger that whole scene. However, there is a much easier way to trigger either an individual clip or a whole scene, and that is simply to hit returns. So if I've got this scene selected, he has seen number one. You can see it's lighter gray, so it's selected. If I just hit return, we can see it's going to trigger this whole scene. Okay, and I'll go Command Return to stop the playback. Now, while this is happening, you can also use your left and right arrow keys to skip between different scenes. So this way you can quickly trigger one thing after the other. So if I select scene one, hit returned to play it, and then I'll use the arrow keys to go to the saints and trigger them by hitting return. And I'll stop by going commander tune. Okay, now you'll notice that that's also playing here in the Tracks area if I stop this. Now one potentially confusing thing here is that you could actually have some things playing in the Tracks area and some things playing here in the live loops grid. So if I come here and click on this arrow to the right to toggle to the Tracks area. Now it's going to be playing back in the Tracks area. However, while that's playing, if I click on one of these other clips here in the live loops grid, it's actually going to be playing the clip that I click on from the live loops grid and everything else would be playing in the Tracks area. So you can actually have stuff playing both Windows. Let's try that out. So hit Spacebar, it's playing from the Tracks area. And I'll trigger this page. Now you'll notice that we've got to stop button here for each one of these rows. If I wanted to stop the playback, I can click the little stop button that'll stop that whole row. Same thing here. This can be potentially confusing. Now you notice that for each row, you can choose whether it's playing back from the Tracks area or from the live loops grid. So if for example, I could have just this first row here, which is the bait. And this is now going to be playing back from the live loops grid, whereas the Tracks area is grayed out. So now if I play this back, there's no debate playing until I trigger a clip. Okay. So as you can see, that can get a bit confusing when you got some stuff playing in the live loops grid and some stuff playing here in the Tracks area. Again, if you want to make sure that everything's playing in the live loops grid, you can simply click this global button up top here. That's left error. Now, that stops all the playback in the Tracks area. And we're just playing back from the live loops grid. Okay, so we learned that we can use the Return key to trigger a whole sane. And that actually not only does it trigger a sane, but it also cuz the same as it triggers. Now you can also use the return button to trigger individual clips. So you notice that at the moment, I've got this whole scene selected, say number three, and if I hit return, it'll play that whole sane. Okay? However, if I click on one of these clips to select it, maybe I'll change the bait here. I'm not playing debate, I'm just selecting it. And you'll notice that I can actually now use my left and right arrow keys to select different clips. And you can also use the up and down arrow keys to jump to another track. So this way you can quickly navigate through the grid with your hierarchies. And again, if I want to launch a single clip, all I would need to do is hit the return key. So when eclipses selected the return key is triggering that particular clip. Whereas if a saner selected it's triggering the scene. So let me try that out. Notice that the return key toggles for stop and stop for slipped Eclipse will seen. So this is a nice way to navigate through the different Eclipse and different scenes using the arrow keys and retuned to actually trigger the clip oldest ST. Now, one thing that caught me out is you notice that again, if a clip is selected is going to trigger that clip if onus like the scene, notice that I need to click the number down here. So number three, notice that now this whole scene is selected. Now if I hit return, that's going to trigger that whole scene. Okay? So as you can see, that is how these two views work together. 6. Playback Properties: In this video, I want to talk about the quantized settings and the clip playback settings. So you notice that if I was to play either a single clip or a whole scene, it's not necessarily going to start until it reaches the first beat of the bar. So to hear this little bit better, I'm going to turn on my metronome up here. And you'll notice that first of all, if I had just hit the space bar here, the click track, and if I was to trigger a scene or a single clip, it's not going to start playing back until it reaches the one. Okay. So you can hear there that waited for a second or two until it reached the start of the bar. Okay? And this is determined by the global quantized value here up the top right-hand corner. By default, this is set to one bar, but if you click the drop-down menu, you can set this to two bars or four bars, or half, or a quarter note, whatever you want. I generally find one bar is pretty good. Okay? So that is the global contests start and by default, all of these clips are set to this global quantized star. Now if you right-click on a clip, if I come here to say this beat and I right-click, you'll notice that we've got various different options here, and I want to talk about the playback options. So for example, you can actually change the quantized start for an individual clip instead of using the global settings here you can see it in individual clip to half a bar or something different from the global settings. Now, another thing you might notice is that by default, these are set to loop, which means that it's just going to keep repeating when it reaches the end of that loop. So if I play this back, okay, so you could hear that looping. If you wanted to, you could actually turn looping off. So if I come to play back and uncheck loop, now you notice that there is a keyboard shortcut for this, which is l. So if I select the clip and hit l, you can see it's actually now square. It's not round. And that indicates that this is not gonna loop. If I play this back, well here it only plays once. Okay, very good for one shot sounds. So I'll select this and hit elegant to make that loop. Now, a lot of these settings here we can find in the inspector. So if I want to open up the inspector, I can click the little iFrame spiked up or use the keyboard shortcut, I open up the inspector window and again with a cell selected, you'll notice that we've got a lot of the same options here in the inspector window. So for example, we could turn loop on and off from here with the check box. And we can also change all of the other things here too, like the quantized settings. Now, another useful thing here is that if we come to the playback settings, we can also change the speed. So notice that if I want to play this back at double speed, I could change the speed to two and let's have a listen. Okay, I'll set that back to normal speed. Okay, it's another fun things we can do here is we can reverse the playback here. Now you notice that there is a keyboard shortcut for this, which is control shift. So as this is playing back, I can actually reverse this. So I'll play it back. Maybe we'll choose a busy abate. And now I can go control shift. And again control shifts to play forwards. Ok, so as you can see, and that is a fun little thing you can do is reverse your bait. You can also unmute the playback, which is InfoNewt. So if I wanted to play back a whole scene and I decided I wanted to mute the drums. Let me placing four here. I'll select the drums and just go InfoNewt. Now that actually stops the playback as well. So there are various different options you've got there for the playback. 7. Recording an Arrangement: In this video, we're going to discuss recording and arrangement from the live loops grid into the Tracks area. Now the live loops grid is great for live performances obviously. But it's also great as a sort of Sketchpad when you're composing, writing music, and coming up with ideas. But you gotta reach a point when you want to actually finish a track, you want to create a proper arrangement here in the Tracks area. And that's what we're going to talk about. So I've got this project loaded up, and this is one that I've made myself. And you can actually download this from the lesson files if you want to follow along. Or you could use any other project with a bunch of cells and seems. So you'll notice that I've already arrange things into different scenes which are different parts of my arrangement. And you can see here I've got ten different scenes. So here's my intro, the first column, then there's my next section, there's my next section. Okay? Now, if you want to move things around to trade and arrangement, of course you can just drag cells around the grid to move them. You could also, if you wanted to copy a cell, hold down the option key and drag, and that will create a copy of the cell. So you can easily stop building up arrangement by dragging these different cells into these different scenes or columns for different sections of your song. Now another thing that you can do is you can also record automation into cells. So I'm not gonna go over the step-by-step, but if I open up this particular cell by either double-clicking or using the keyboard shortcut E for editor. You can see that I've already got some automation here. And in this case, this is automating the cutoff filter in the ES to synthesizer. So what I want to do now is basically get my arrangement from the live loops grid into the Tracks area. Now, you can't actually simply drag and drop cells from the grid straight into track Syria like so. Or you could even select a bunch of clips. So I'm holding down the Shift key and selecting all the clips in the scene. And I can drag a whole scene or a whole column into the Tracks area. And you'll notice that these will loop X number of times based on what you've set up in the live loops grid. But I'll just remove these because there is a much more fun interactive way to record your arrangement. And that is to basically gem out and arrangement here on the live loops cred and record everything you do into the arrange view. Now, to turn this on, you need to turn on the enable performance recording button up here. Okay? And the keyboard shortcut for that is controlled P. And now, if I hit the record button, what's going to happen as any of these cells will saints that I launch will be recorded into the Tracks area. So let's give this a go. I can make sure that I've got a bit of Accounting here. Now what I could do is I could actually Q the scenes up by just selecting this whole scene, option R to Q. So now when I hit record, it will start playing them. So let's give it a go on record and oscillate. The next thing that I want, maybe same strain. Now we cannot forget our for loop. And in effect, the exchange, which will be the filtering local rock on corporate finance, copper factoring. The content approach both for both. And then I'll hit stop. So you can see that everything I triggered here was recorded into the Tracks area. Now this is grayed out. So what I need to do is go up here and switch the focus to the Tracks area by clicking this arrow here. And now I can play back my arrangement. Now of course this is just a starting point for an arrangement. I can come in here and edit things. I could do some fills, I could add some more automation. Maybe just change the arrangement of it if I need to hear in the Tracks area as you would normally do. Ok. So as you can see, it's really great workflow for getting an arrangement from the live loops grid into the cracks area. 8. Intro to the Step Sequencer: Probably my favorite new feature in the 10.5 update is the new step sequencer. This gives us a classic step sequence, a bit like an old drum machine or the fruity loops or FL Studio step sequencer. So this can work either with drum patterns or with melodic patterns, as we'll see later on. And it can also work in the live loops grid or in the Tracks area. For now, I'm going to be working in the Tracks area. It's probably going to be easiest to start off creating a drum pattern here. So I'm going to come to my library, select an electronic kit, and I'm going to choose this kit called Atlanta. I'm going to double-click on that to create this new drum machine designer. And I'll close the library. So we'll talk more about the drum machine designer plug-in later on as it's had a major update as well. Okay, so how do we create a step sequencer pattern? So step sequencer is not an instrument. It's basically a different way to edit our midi. So the easy way to create a pattern is to right-click anywhere on a track or in a cell. And instead of saying create midi region, we wanna say create Pattern region. And that will create a four-bar pattern by default. Okay? And what I might do is turn on my cycle locators here. So it's just going to loop these four bars. And you can see it's already opened up the editor window. And you can see that we're actually have this new step sequencer had an editor. And you can see here that if you're using the drum machine designer, all of our different drum sounds are these different rows here. And we've got this grid of steps. By default, there's 16 steps here. And we can simply input steps by clicking in the grid. So what I'll do is maybe add a kick drum here on the first beat. And you can hear that as I a trigger that we can hear the sound. And maybe I'll add a snare drum here, maybe right about here. Now, if I want to play this back, I can actually do this as it's playing, which is fun. So if I just hit the space bar to play this back, maybe we'll change the snare drum there. Now, by the way forward to remove a step, I'll simply click on it again to remove that step. You'll also notice that as I click on a step, it's triggering that sound. Now as it's playing back, this can get a little bit annoying. So to stop that from happening, we can actually turn off this midi out button here. And that way, when we add a step, we won't trigger that sound. We want hear the sound. Okay, so I'll play this back. Okay, so maybe I'll add some hi-hats in here. So I've got some basic white hats. Now, if I hold down the Shift key, I can just drag to create a row pi hits, like so. And if I maybe want to remove some of these, I can click on them. I can also add an open high hat here, maybe. Joe. Now let's say I want to add a little bit of variation. You can see that this is the step length is set to 16 steps. If I wanted to change this, I could actually change the pattern step right here and make this eighth notes, or even quarter notes or 3000 notes, but only that on 16 for now. And let's say I wanted to make this whole thing longer. Now you'll notice that even though this is one bar here and the step editor, the region here and the Tracks area is actually four bars long. And you can see what it's doing is it's actually just repeating that one bar four times. Now if I wanted to make this whole sequence twice as long, I can come here and just change the number of steps from 16 steps to 32 steps. And you'll notice that it got twice as long. And if I wanted to add some more variation, I could come in here and add small note. So as you can see, very easy to into steps and remove steps. Now, hi hat, so sounding a bit mechanical. And for some sort of genres, that's what you want to, things like maybe techno, you want very mechanical sending beat. But to add a bit of variation, what we could do is add some velocity to the high hats. So some of these steps are a bit louder than others. Now you notice that by default, we are editing the step on off button, but we can switch over the edit mode to the velocity or value. And now you can see that I've got these thin little lines here. And I could change the velocity for each one of these steps. So if I come to the hat, so I'm just going to come in here and edit a variation on just gonna bring this down a little bit randomly. So let's have a listen to this, and we should hear that this is a lot less robotic sounding. So there we go. We can add some velocity and create a more organic sounding pattern. So in the next video, we'll edit this step sequence even further. 9. Editing in the Step Sequencer: Following on from the last video, we're going to edit this pattern to add a little bit more interest and variation. So we just added some velocity to our hi-hat. I've actually also added some other little snare fills here on sneer number two. And I'll just play that back. Another thing that we could do to add a bit more variation and interest is we can add something called a note repeat. And this is basically a way to divide notes into smaller divisions, a little bit like the beat repeat on a classic acai MPC sampler. So I'm gonna come up here and change this from velocity to not repeat. And now you can see that we can create these note repeats for each step. I'm gonna do this to the high hats. As I click and drag up and down on a step, you can see we can divide this. I can go up to 16 steps. So that would be a 16th of a 16th note. You do the math. Now, I'm gonna make this one and let's say three. Let's have a listen. It sounds cool. And maybe I'll come in here and maybe make this 13 and maybe this one for let's just have a listen. Maybe I'll make this one for CO. Now I might do that same thing with my snare drum here. So if I come to the snare drum, maybe I want to make this one here, say four. And I'll make this one, let's say for actually might this 13. And I'll make the second one for Joe. So you can see we've created some interesting little fills there with the note repeat. Now if I wanted to see more than one property here, what I could do is twirl open this little arrow next to the icon for a particular sound. So if I come here to my snare toilet open, you can see that now I'm seeing the velocity and not repeat. And if I wanted to, I could adjust these here, so I've got these different rows. And if I wanted to, I could add something called charts. Now this is a fun way that we could create a little bit more interest is to have things playing only some of the time. So if I come to this, not repeat row and from the drop-down menu, change this to chance. Now you can see that I've got the probability of repeating or not. So what am I do is maybe does bring us one down a bit to like 60%, might be this one down to about 60% or something like that. And maybe I'll do the same thing with the hi-hat Sci-Fi 12 and the high hats here. And maybe I want these open high hats to not happen all the time. Actually, I'll change that to the chance, sorry. And I'll bring that down to about 70%. And same thing here for our closed hi-hats. I'm going to switch this to the chance. And let's just say that some of these steps here don't happen all the time. All right, so let's say about 60% of the time. Okay, so let's have a listen and we'll hear that those snare drums and some of these hi-hat fills only happens some of the time. So graduate ed more variation. Now some other things we could do here is we could play around with the note division. So you notice there at the top here, we've got the overall sequence dip, right? And this is set to 16 by default, but I could change this to something like eight. And now everything's gonna play back at half speed. So let's play this back. Or I could sit that to say 32. And everything's gonna play back double speed. That frantic. I'll set that back to 16. Now, we can also do this for the individual rows. So if I came here to my hi-hat, you'll notice that I've got a dropdown menu here for just that row step, right? So if I change my high heads to say eighth notes, now at the heights are gonna be at half the speed. Different feel. I'll set that back to 16. Now at some other fun things here, we can do is we could change the direction of either the entire sequence or for an individual row, although it here for the row, and I'm going to come here, this little arrow allows us to play forwards or backwards. So if I set my hi-hats to backwards, now it's basically plane as whole row backwards. If we have listened. You can see that the high hats going backwards. Or we can choose some other things here, forwards and backwards. Or we could even say random. So now the high hats are gonna play randomly and profound. Let's do this. The same thing with the seconds near ground for us near fills, there'll be playing randomly, possibly a bit to randomly. So I'll set these Beck two forwards, ql. Okay, now if we wanted to add some, a little bit of swing or play with some more settings. We can actually come here to the inspector window. If I click the little iFrame spectre, I can show and hide the local inspector for the step editor. And you can see here, we've got a bunch of other settings now we can change settings for the whole pattern, the whole sequence, an individual row or even individual steps. So I'm going to come to the pattern here. And let's say I just want to add some swing. You can see that the swing is it to 50% at the moment, which basically means no swing. And I can choose from an eighth note swing or 16th note swing. I'm gonna go for 16th notes because my hi-hat supply in 16th notes. And what I wanna do is to increase the amount of swing. I'll increase this a lot to say 70 and we can really hear that swing. All right, that's a bit too much. So let me bring that down to, let's try 60. Okay, it depends on the field you are going for. I might make this a little bit more subtle and say 55. Cool. So there's various other things you can do in here, but we might look at some of these other options in another video. So as you can see, plenty of options here for editing your notes, your steps. And we can create a lot more interest in variation. 10. Melodic patterns: In this video, we're going to look at using the step sequencer to create melodic patterns. And in particular, I'm going to create a classic acid techno track. So first things first I've got a blank instrument here and what I'll do is I'll go to my library and I'm gonna go to the electronic drum kits because we need some drums. And I'm going to choose from the list here. The classic Roland TRA 909. Now I think this is new content. If you don't have this content, you can always go and download it. So I'll load that up on this one track. And what I might do is to create a new track. Okay, I'll make another track here with an API channel strip. And what I'm looking for is a classic Roland TB 3.0.3 by sounds. So I'm just gonna type in a search for acid. And you can see here I've got a couple of patches for asset, and I'm gonna choose this one here called classic acid. Ok, and now we've got our bass sound. Go. So now that I've got that set up, what I will do is create a new pet and for the drums, I'm going to right-click and create a patent region. And we can see that it's opened up a step sequence of you or makes a little bit taller. And you can see that there's quite a few kit pieces here. Now, we could programs this from scratch, but I just want to point out that there are a lot of patterns that already come with the step sequencer. And this could be great as a starting point. Or if you don't want to be bothered programming your own patterns, you can click this button here, which will show or hide the patent browser. And you can see here that we've got patterns and we've got these other things called templates, which are just starting points. So I'm gonna come to patterns and go to drums. And you can see that there's all these different drum patterns here and we can just click on them to load them in. And I think I like this one here called machine code. Let's have a listen. Alright, sounds like a classic sort of techno drum patents. So I'm gonna go with that. Okay, great, so that's our beat sorted now on a credit baseline. So I'm gonna come to my acid-base track, right-click and say create pattern region to make a new empty pattern. And of course, if I didn't want to program my own patterns, I could actually come here under the melodic patterns and there's a bunch of preset patterns here as well, but I wanna make my one from scratch. Now, you'll notice that there's already a bunch of different notes here. And these are just the default notes that it gives. You. Don't necessarily want these notes. So what I can do is just delete them by selecting a note and hitting delete will remove all these notes. Now unfortunately, you can't remove all of the notes, so it is going to leave one of these nodes here. Okay? Now, if I wanted to add some more notes, is various different ways of doing this. I could come to templates and you can see here that there's a bunch of different scales. Ok, so there's all sorts of different scales. You've got things like a minor pentatonic scale, which is great for everything from blues to rock to dance to pop music, used in just about everything and all these other scales. So if I was to click on, say, a minor pentatonic, it'll give me these notes, and it happens to be in the key of C. Now you can actually transpose that into a different key. But what I'm actually gonna do here is removed these notes because they're not actually on notes that I want. So I'm going to delete all of these notes. And I'm gonna be left with this note here at the top. Now, instead of picking a template scale, what I actually want to do is to add my own notes. And what we can do is come to the little plus button to add some new rows. Now if this was a drum pattern from here instead of adding notes, so I could add some different drum kit pieces, some different drum sounds. But in this case, I've got different notes and I could manually come in here and add all these notes, OK. Notice that these are different octaves. However, that's gonna be a ton of work. So instead, what I'm gonna do is actually learn the notes that I want. So if I come here, click learn. And what I'm gonna do is just play this on my midi keyboard. So I'll bring up the keyboard so you can see what I'm doing here. And I'm just going to play in the notes that I want. So and then I'll turn offline. Now. I think we've got an extra one there that need. So I'll click that. And I don't need this top one. That was the one that was originally there. Go. So there we go. There's the notes I want. And now I can close the patent browser. Excellent, okay, so now I can start inputting some notes, and this is in the key of C. So I'm going to start off with a scene out. And I'm going to add a few steps here. And then I want to go to a C sharp. And then I'm going to put a few more season. And they go up to D-sharp. Let's just have a listen. Okay, so a little bit boring. So what I'll do is set this to 32 steps so I can essentially double the pattern here. And I'm going to add a little bit of variation here. So at the end, I'll get rid of this top note. And I want to have a low note at the end. And I want to have another c here on this note here. Okay, so we've got a little bit of a variation here at the end. Now, the problem with the step sequencer grid is that it's all just 16th notes. So if you stick with the grid, then you're just going to have all the notes will be the same length. And what I wanna do here to create a more authentic sounding acid pattern is have some long notes and some short notes. So we can actually do that by tying notes together. If I come to the velocity value and change this to ty, what it will do is if we click on a note, it'll tie it to the adjacent note, or simply lengthen it. So if I click on this third note here, we'll see that it's going to lengthen that to 2 16th notes. And I'll do that with this C-sharp as well. And this C here, and the D sharp, and the C here, C Sharp. And this one, and also this one at the end. In fact, this one at the end, I'm going to add two ties to make it 3 16th notes long and slow. G. I am going to make two notes long. Okay, so now we've got some longer notes. I think I need another note here as well. So in this case, I actually want a C-sharp here, I believe. And again, I want to tie that to be a longer note. So let's have a listen. Joe. Now, I want these pitch slides to be a lot more dramatic. So I want them to jump up much higher in pitch. So if I change my value here from Ty to octave, we can actually come here and make some of these notes higher or lower in pitch. So this high D-sharp, what I might do is bring this up an octave. Notice it's at octave three at the moment. If I drag that up, now it's on Octa for, so that's going to be an octave higher. And this c at the end, I'm going to bring this up to 4K dibs to be on octave number five. So let's have a listen to that now. So here we're starting to sound more like a classic 3.0.3. Okay, great. So there's our little bass line now with a classic Trio three, what you would spend most your time doing it would be tweaking the filter cutoff and maybe the resonance to create some interesting evolving sort of patterns. And we can actually automate plug-in values here inside the step sequencer. So if I wanted to add another row, I can click the plus button here. And notice that under automation, we've got all the different instruments and affects all met channel strip. And I'm going to come to the ESM and choose the filter cutoff. Okay, and you notice that it's edited another row. What all those don't drag it down to the bottom here. What I need to do is first of all, add some steps here. So I'm gonna go to the step on off and add a bunch of steps. And then I need to go back to this velocity value. And you can see here these different automation amounts. So I could manually input these by dragging some, upgrading some down, but that would take quite a lot of time. So another fun thing we can do here is we can actually randomize values by right-clicking and saying randomized automation value. Now if this was a note, I could right-click and I could actually say, if I am on the step button, I could randomize the step on off, so it would randomly add more notes. Okay, so I want to come here, click back on the octave button in this case, so that we can see our values. And I'm going to right-click and say Randomize automation value. Okay? And you can see it's come up with some random values. Let's have a listen. If you don't like that, you can always randomize it again. And of course, if we wanted to, we could come in here and manually adjust some of these. Okay, now, let's say I like this, but overall, the filter cutoff is too high. Well, what I can actually do here is come to these errors, the downward pointing error and the upward-pointing arrow. And I could offset the automation. So I could bring all of these values down or all of these values out. So I'll bring all these down a little bit and let's have a listen tools. And there you can see I've got this interesting filtered pattern going on. Just to finish off, I want to point out that we can always add these patterns to live loops grid. So if I ramp the live loop to grid here, and I can simply drag these patterns straight into a cell here and the grid, alright, and you could create some different variations. Now, I need to switch my focus to the live loops grid and I can just start jamming out. So as you can see, there's a lot of options there for creating melodic patterns. 11. Intro to the Quick Sampler: In the 10.5 update, logic of really bought sampling to the full front. Now, previously we had the venerable EX AS 24, which is getting a little bit long in the tooth. And Apple have added not one, but three new samplers. Sampler, quicksand, and auto sampler. So we're going to be exploring this in the next few videos. And I want to start off looking at quick sampling. As the name suggests, this is a sort of easy kinda sampler that's very intuitive and quick to get going. The main limitation with quicksand, or if a sampler is that you can only load one sample at a time. But I find that most of the time that's actually what I want to do. Now, you could load up quick sampler as an instrument on an instrument trek, like you normally would by coming here and choosing quicksand. However, another great feature of the new update is the ability to drag and drop files to create new sample instruments. So I want to demonstrate that here. Now, you could drag and drop either from the loop browser. If I have something in loop browser like this pad, I could simply drag and drop this into an empty area in the Tracks area. And you can see I've got various different options here. We'll talk about some of these other options like drum machine design, a lighter. But notice that I've actually got two options here for quicksand PLA. And we've got quicksand original, which will leave the sample edits original pitch and original volume, or we've got optimized and this will create an optimized version, will logical actually attempt to work out the pitch, and it will also trim any silence Off the status of the file. So Kimberly, I choose optimized. Yeah. So we could drag this in from the Loops browser. Or if we have files in Finder, we can simply drag from the Finder window again straight into the empty Tracks area. And we've got the same options. Now, another way you could do this is to drag a piece of audio from an actual track. And that's what I'm gonna do. I'm gonna drag this quiet here and drag it onto a new track and choose quick sampler optimized. And you can see straight away that's going to load this up into this new quick sampler instrument. And the first thing you'll notice is this new interface, which is nice and easy to read and in the new style of all the logic plug-ins. Now, there are some different modes here. So you'll notice that by default it's loaded up here in the classic mode, which is how Jim Hurley, a standard sample works. And where it maps a sample or a number of samples across the keyboard. And you can play that sample up and down the keyboard at various pitches. Alright, and that's works how you would expect. We've got a one-shot mode which simply plays the whole sample right through regardless of how long you're holding your finger on the march. And we've got slicing where we could slice up the sample into various different slices or chunks. And this is great for rhythmic things like drum loops. And you can even record directly into the sampler. So that's interesting, but I'm going to leave it on classic for now. And at this point it's already worked out the pitch. So if I play this on S3, it should be playing back at the normal pitch. Okay, and I can play it up and down the keyboard. Now, if I was to hold my finger down, we'll notice that the sample does actually individually. And what I wanna do is make this into a continuous sound so we can actually turn on looping here. So if we come to this loop section here, I could sit this to say a forward loop where it's gonna loop forwards. Or I could have it going reverse, so it'll play forwards thin reverse. Or I could alternate between forwards and backwards. So I'm going to use alternate here. And I can change the loop points with the loop stops here and the loop end by dragging these handles. Logic to actually pretty smart here in that if I right-click on the wave form, I can actually say auto loop within the loop area, and it will try and find the best loop area for me. Okay, and you can see that it's sit this middle section to loop. So let's have a listen to that. It's done a pretty good job. Now you can't actually hear it looping and little bit there. So one way to, this little bit less obvious is we can grab this little x here and we can create a crossfade. So if I drag this to autonomic 2.5th also, we can Jia that we've got a smoother sort of fade as it loops. Okay, actually, I think I'd like to without the crossfade, depending on your sample that you might find that handy. So now I can play this up and down the keyboard. And I can have this continuously looping. So really easy to get started with quicksand. And in the next few videos, we'll take a closer look at some of these other controls. 12. Slicing Loops in Quick Sampler: In this video, I want to look at slicing up loops in the quick sampler instrument. So notice I've got this break beat here. However, this would work with any rhythmic sort of material, such as a baseline or a synth loop. Okay? And you'll notice that the original tempo of this break is at 92 BPM. And with the metronome turned on, will hear that this is in time. Joe. So nice classic break there. Now this is just a standard WAV file. So if I was to play with the tempo and increase the tempo to say a 120 bpm. We'll notice that. And it's no longer two bars long, so it's actually going to be out of time with the metronome and the rest of the project. Okay, so I'll set that back to 92 bpm. Now one way to deal with this would be to slice it up. Of course, there's other ways like time stretching it, but we're going to put this into a sampler and slice it. So I'm just going to drag this audio region straight into the empty Tracks area and choose quick sampler optimized. And we can see here that it's loaded this up into a quick sample. What I might do is just mute the original break. And you can see here that it's recognized that this is rhythmic material and it's already switched it to slice mode, which is pretty smart. And you'll notice that it's also added all these slice markers for each individual transient or drum hit. And it looks like it's done a really good job. So it let's just have a listen. What I'll do is I'll bring up the keyboard here. And you can see it's actually mapped it up the keyboard. If I play from C1, each slices met up the keyboard chromatically. And it seems like it's done a great job. Now, if you decided that it wasn't very accurate, you could use the sensitivity slider here to remove slices or two more slices. But in this case I don't really need to. Now you could also click to manually create a slice. And you could also right-click and delete a slice marker if you wanted to. Alright, but in this case, there is looking just fine. Now of course I could play this on the keyboard and gem at my own rhythm. However, I can actually extract the original data from the file. So if I drag down the bottom of the waveform view here, notice I get this little blue bar and this will allow me to drag out a midi region and place it on my sampler track. And you'll notice here we've got this midi region. And if I open that up, you can see that there are all these midi notes that relate to the original drum patterns. If I play this back, OK, it sounds pretty much exactly like the original break. Okay? So what this means now is that if I was to change the tempo, so if I come here, I could up the tempo. And I'm going to make this into more of a drum and bass break. I'm going to crank the tiempo y up to like a 160 BPM or a 170 bpm. And you'll notice that it stays in time with the metronome Joule. Alright, now there's various things we could do to the midi notes here. For example, we could quantize these midi notes. Alright, so if I come in here, I could quantize these two. For example, 16th notes. Have this little bit tighter. And I could start re-sequencing these notes. Okay, cool. So now I've got a different drum pattern. Now, if I was to open up the quick sampler, there's all sorts of other things we can now do with this. For example, we could pitch the whole sampler up and we could even start shaping it. So if you wanted it to be a little bit tighter, I could come to the amplitude envelope and bring down the sustain and play with it decayed to have it much tighter sounding. Now if these controls like envelopes, not familiar to you, these are the sort of synthesis parameters that you'll find on most synthesizers and samplers. And I'm not gonna go into all of these settings here in this course. That will be whole course in itself. Okay, so just to have Listen, we've gone from this to this. Ok. So as you can see, there's a lot you can do there by slicing up rhythmic samples and making them your own. And it's super easy in quick sampling. 13. Intro to Sampler: Now I'd be waiting for ages for Apple to update the IIT access 24 sampler. And that finally done it with the new sample. Now the 0x is 24, was pretty old and dated looking. And the main difference with the old version is the interface. The 0x is 24, had a very dated and slightly clunky looking interface that was a bit hard to navigate. And one of the main problems was that to actually get in there and map and edit your samples, you would need to go to a different window by clicking the Edit button. And this was a bit unintuitive, especially for new users. So they've now got a nice new clean interface and everything is much easier to use. So let's have a look at the new sampler. We can actually open this up like any other instrument, either from the library or simply by coming to a channel strip here, a software instrument and loading up an instrument. And we'll see here that we have Sant blog multi-sample. And I'll just open up a stereo incidence. And you can see that here it is. And we've got a lot of controls here. Now, first of all, you can't open up a bunch of the factory presets. So you notice that there are all these presets here that come with sampler. And if you go into factory, you can see that here, all the ones that come with logic. So you've got things like acoustic pianos, drum kits, synthesisers, world music ensembles, orchestras, all sorts of good stuff. And you could simply load up something like an acoustic piano and start playing. Okay? Now, you'll notice that this is a very, very complicated instrument, and we don't have time to cover every single section here. So I'm gonna give a bit of an overview and talk about the main new features. Now the first thing to say about the interface is that you can see at the top here we've got these buttons that show different sections of the interface. And this is really useful because, you know, you don't necessarily want to see everything all at once. It can be a little bit overwhelming. So you can see that we've got the synthesis parameters. And that's what these things like filters and stuff like that. We've got a modulation matrix here, which is where you would assign all your filters and envelopes and stuff to various different modulators. And we've got the modulators, which we're also seeing here, which are things like envelopes and LFOs. Now, we won't really get heavily into this. Again, if you want to learn more about synthesis, I recommend my synthesis 101 course. We've also got the main parts here for actually sampling is the mapping zones here. So if I click this little yellow button and you'll see that it will bring up the mapping here. And we can see this virtual keyboard where we can map different notes. In this case, we've got various different samples of piano notes going up and down the keyboard. And we've also got a zone editor where we can edit the individual audio files here that, uh, met two zones across the keyboard. So these are the main areas that you want to see. And for example, if I'm not dealing with the synthesizer or the modulation matrix or the modulator sections. I can just turn those off and then I don't need to see them. So that's really, really handy. I also want to mention the difference between the sampler and the quick sampler. And the main difference is that with the quick sampler, you can really only load up one audio file at a time. So if I was to open up quick sample here and open up, say one of these patches, like I don't know, a Keys patch. You'll notice that it's just a single sample that's been mapped across the keyboard. Ok. Where as with the new sampler, you can see, for example, with this piano, that there's multiple different piano samples at different pitches mapped across the keyboard. So this is capable of multi sampling, which simply means you can assign different audio files to different keys on your midi keyboard or control. This can get rather complex. But luckily, Apple have got some great new automatic ways to map your samples across the keyboard into different zones. And we'll look at that in the next video. 14. Mapping in Sampler: In this video, I want to talk about mapping samples in the sampler instrument. And this is when you're creating your own sample instruments, you want to map different audio files or samples, two different zones across your midi keyboard. So let's have a look at that now. So we've already seen that you can open up a new sample instrument on a channel strip by coming down here and choosing sampler. And when you do that by default, you get an empty sample instrument that actually does make a sound, but it's just a simple sine wave. So you can play a simple tone up and down the keyboard. However, you can actually drag in your own samples or sounds. So if I simply move this down a little bit, and here I've got some different samples or effects here on an audio track. I can just drag them anywhere into the sample interface. And you can see here that we've got two different ways that we can map them. So by default, we have got chromatic, which basically means it's going to map the notes starting from c2 up to the keyboard. So each different audio file will be assigned to a different note on the keyboard or optimized, which will try and analyze your audio files and work out the pitch so everything plays at the right pitch on your midi keyboard. And it'll do things like crop silence and find loop points and stuff what you, I would normally use optimized here. However, I'm actually not gonna do it this way because there's an even easier way. Let's actually get rid of this affects trait. We don't really need it. So we've seen that we can drag files from an audio track. You can also drag files from the loop browser or the media browser. So if I had a bunch of these kick drums here, for example, I could drag them into the south for instrument, but there's an even faster way and that is to simply drag and drop files straight to this empty area of the tracks area, so anywhere underneath an existing track and this empty area. And notice that we've got a couple of options here to create a sampler instrument. And again, we've got these two options to create a chromatically mapped instrument or an optimized met. Again, Normally I would pick optimized, however, are not gonna do it with these. So you can grab things from your Loops browser. You can also drag in audio files from your Finder. So if I was to make logic a little bit narrower here, and you can see here that I've got some different folders with some different samples here. So these are my own samples. So here's an example where I've got this kitchen sink kit, where I went around my kitchen with the audio recorder and I banged on various kitchen implements to make my own sort of drum kit. So in here I've got these different sounds. And what it can do is select all these individual samples and simply drag them again underneath an existing track here. And I'm going to choose, in this case, sampler chromatic map because I want each one of these samples to be on a different note. And it might just take a moment to analyze. And there we go. Now we can see that it's mapped these different samples up the keyboard starting on C1. Cool. Now, by the way, if you do create your own shit like this, what you could do is save it, of course. To load up and save instruments, we can do it from this drop down menu here. And notice that here we can say Save As. And here I can choose where to save this. You'll notice that it's actually going to be saving it to the sampler instruments folder. And that is under your users music folder and audio music apps and sample instruments. So I'm gonna give this name. I'll call it the kitchen sink kit. Okay. And I might save it under my drums and I might even make another folder here, four kits. So you can organize this however you want. And I'm gonna save it near. Now you'll notice that there's this very important check box here that says safe with audio data. And I recommend that you do check this on because what that means is that it's going to copy the files from whatever the folder there in into a new folder in your audio music apps folder. And that way you're less likely to get missing files because otherwise, if the files in that particular folder got moved, then next time you open up the sample instrument, those samples will be missing and that can be a real pain. So I'm going to save with audio data, let say Save. Ok. And you can see that when it hidden, saved it. Now if I was to look on my drive, yeah, I'll just open up Macintosh hard drive and go to music. And you notice that we've got audio music apps. Here. We can see that we've got our sampler instruments. Ok. And I put, put this instrument in drums and under kits, and there's my kitchen sink. Notice that the still has the old dot EXE file extension here. And the good news here is that old sampler instruments in the access format still backwards compatible. So you can still open up any of your old sample libraries in the new sampler. Now, this E access file does not actually contain the audio data or the samples. Notice that this is only about 26 kilobytes. And the actual sample data we'll actually find here in a folder, again, under music, audio music apps, under samples. Okay, and here we can see that there's our kitchen sink kit and it's copied across all those samples. So very, very important to understand where it's putting your files. Okay, so that's one example. Let's have a look at another example. Here I've got some samples of the Curia mini brute synthesizer. And if I was to open this up, you can see what I've done is I went through and I play different notes on the synthesizer and recorded them as different audio files. So if I was to select all of these and drag them again to this empty area underneath at the existing tracks, I can choose sampler. Now this time I'm going to choose optimized map. And what optimized does is it tries to work out the actual pitch of any individual sample. If it has a pitch, and it's going to then try and map it to the right note on your keyboard. So when I play a C on my keyboard, I know that's actually playing a C on the actual sample. Okay, so I'm gonna do that. This might take a minute because it has to analyze all the data. There we go. It's mapped all those different samples across the keyboard. You can see here in this mapping Zone Editor, we can see that all of those different samples of being mapped across the keyboard, and they should be hopefully playing the right key. So let me play this up the keyboard. Okay, it sounds like they're all playing traumatically the right notes. Now if I wanted to check this, I could open up an audio effect. And here, under metering, we will find that we actually have a tuna, a bit like a guitar tuner. And if I wanted to maybe play a certain note, I'll be able to see if this is the correct note, so I'll play a C. Okay. And you can see that says that's a C. I'll play a G. O player, B flat or an a sharp. And there we go. It seems like these are all in june. Now this is actually great because on the original keyboard, it was monophonic, meaning I could only play one note at a time. But now that I've put it into a multi-sample, I can actually play chords. Now if we zoom out here, we'll notice that because we map this as an optimized instrument and these are playing long notes. It's automatically loot the samples. So if I hold down a note, you'll see that normally it would stop. But now it's looping this middle section. So I can play this sample as long as I want. And it's done a pretty good job of looping that seamlessly. So there you have it. A couple of different ways to map your samples automatically across the keyboard in the new sample instrument. 15. Synthesis and Modulation: In this video, I want to have a closer look at some of the synthesis and modulation capabilities of the new sampler instrument. So I'm gonna pick up from where I left off in the last video. If I open up the sounds or instrument, we already mapped these multi samples across the keyboard to different zones so we can play chords. Okay, but I'll close out the mapping area because I want to focus here on this synth mode matrix and the modulators area. Now, synthesis is a big topic, rather than covering every single control here, which would be a whole course in itself, I thought I would show you a practical example of how you might use some of these controls. So by the way, these controls aren't necessarily new. We did actually have some of these same controls on the edX is 24. But obviously there have been updated with the new interface. So what I want to do here is first of all, think about how the sound starts and stops at the moment, if I play a note, it starts and stops very abruptly. So what I want to do is I want the sound to fade. And if I come down here to the amplitude envelope, this is where we can control the volume over time. So what I wanna do here is first of all increased this attack. You'll notice that I've got this little a for attack. And if I bring this up, I'm going to bring this up to about 100 thousand milliseconds, which is about 1 second. You hear that now if I play a note, it will fight in. And by the same token, I wanted to take a while to fight out. So if I come to the release here and I can increase that and again, all this about 100 milliseconds. Okay, so now if I play a note, it'll fight and it'll fight out. And this is kind of nice if I play chords that these notes will overlap. Cool, so that's taken care of that. Now, while I'm here, I might bring down this velocity slider so that it will be the same volume no matter how hard I hit the note. Okay, now to add a little bit more interest to the sound, I want to use a filter. So I'm going to come up to the top here where we've got this filter control. And you'll notice that we've actually got two different filters here. This is a new feature we're used to only have one filter on the 0x is 24. And at the moment these are turned off. So I'm going to come to filter one, turn that on with this little button. And in fact, I'll just stick with one filled here for now. You'll notice that we can use these in parallel or in series. So I'll just leave this here in series. So it's gonna go filter one is feeding into Filter2. Now again, the main thing about filters is it's a sort of tone shaping controls. So if I was to bring down this cutoff here, which is gonna filter out some frequencies. You can see that at the moment this is set to a lowpass filter. That's what this LP 12 db lush stands for, low-pass. And that's gonna take out the high frequencies and let the low frequencies pass. So you can hear there as I bring down the filter, we're filtering out some of those frequencies. Now, we've got other types filters here too. We've got things like high-pass filters that would take out the low frequencies and the high frequencies pass. So I could do something like a high pass filter. And you can hear that it's just letting the high frequencies pass. And we've got a bandpass filter, which is a bit of both that takes out the lows and the highs and just leaves these middle bands. And you can hear that around the cutoff frequency as I move the cutoff frequency. Now, these different filter types are actually new and they borrowed from the alchemy synthesizer. Now I'm gonna set this to the default, which was, I believe, low-pass 12 lush. And by the way, you notice that some of these say fat, and that just means there's more base in the filter. So I'm gonna choose this one here, maybe low-pass, lush fat. And another thing we could do is add a little bit of resonance. So what we'll hear is if we increase the resonance here too much on its own. But now if I was to move the cutoff frequency, we can hear that's really emphasizing the cutoff frequency. And we get this sort of quiet squelches, sort of a sound. Now I'll bring that down to about 30 or so. I don't want to fall on. Now of course we don't want to have to move the filter up and down manually with our mouse. We want to control that and have it automatically moving. And that's where some of these other modulators come in. Now, I could use an LFO, which basically is going to just add some movement here. But I'm going to, in this case, use an envelope and I'm going to use a separate envelope from my amplitude envelope, which is controlling the volume. So I'm going to use an envelope to which at the moment is not used. Now the way that we assign modulators to various parameters is with the modulation matrix here in the middle. Now, most of the sizes will have some form of modulation matrix. And it can look quite daunting at first because it's this big sort of table with heaps of controls, but we just need to break it down to do what we want. Now you notice that here we've got a column for source. And the source. Basically all these Modulators, things like and envelope or an LFO that don't make a sound on themselves. They simply control these other targets like the filter cutoff or the pitch. So this is actually already set up to be, to do what I want. I've got envelope to controlling filter one cutoff. But of course I could use something else like an LFO controlling something else, but I'll leave that on an envelope to controlling the cutoff. Now you notice that it's not really doing anything at the moment because the amount here needs to be turned up at the moment that set to 0. And as I increased that, you'll see this little orange circle around the filter cutoff. And I'll bring this up to about plus 50 or so. Maybe I'll bring the filter cutoff down little bit. We'll be able to hear as I play a note, that filter is going to filter up. Now it's actually happening very quickly here. That's because I need to look at my envelope t2. So what I'll do is I'll first of all bring up the sustain is for sustained. I'll bring it all the way up to 100. And what I want to do a little bit like my amp envelope is I want the attack to fight in. So again, I'm going to bring this in about one hundred, ten hundred milliseconds or so. And while I'm at it, I might also do the same thing with the really, so it's pretty much the same as the amplitude envelope. Okay? So if I play this back, we should share that filter going up. Now, if we wanted to, we could also use this LFO to do something. So you're gonna come to telephone number one. Instead of assigning that to the pitch, I'm going to set this to maybe to the panning. Okay? And I'll just increase this a little bit. So I'll actually come here and bring this up to, let's just try this out. 25 or so. Now if we look at LFO one, an LFO stands for a low-frequency oscillator. And it's basically creating continuous cycling movement. Now we've got a right here. So I'm going to bring that right down. So it's a bit slower. Down to about 0.5 or so. Okay, and you can see that is panning left and right. Now, just to finish this off, I'm going to come to this section here that sees details. And I'm going to add something called Unison. So unison is a way to basically thicken up the sound by adding more detuned voices. Great for parents and stuff. So if I come here and say this is something like three voices, I'm going to then increase the de-tune amount by about $0.20. And just to finish it off, if I apply a little bit of reverb, I've got some reverb here on bus one or increase that. And now we've got a nice lush paired sound. Now that's possibly if it loud. So what I'll do is I'll just come here and to the overall volume down by about negative 12 or so. Okay, and you can see we've gone from a very simple sound, too much, nicer, lush pad sound. This is just one of the things you can do with the synthesis and modulation settings in the sample instrument. Now there's a lot more to the sound per instrument than we can cover here. I'll hopefully that's enough to get you going for now. 16. Auto Sampler: Another great edition to logic sampling tools is the auto sample plug-in. Now, unlike sampler or quick sampler, this is actually in a feet, more of a utility, not an instrument. So the idea here is that you can sample either hardware or software instruments and create your own sampler patches here in the sampler instrument. So I've got a couple of examples here. I'll start off with a software synthesizer. Now this could be either any logic instrument or any other plug-in instrument. In this case, I'm using stigma from full bucket music. This is freeware. Well, with chicken out, it's got some great vintage synthesizer sounds. And I'm even running some effects on the same channel. So I've got this tell chorus effect, which is another freeware F8. So I'll just play this and see what it sounds like. Ok, so we can hear, we've got this nice sort of string sound. Now let's say I don't want to have to use this plugin. I want to actually create a sampler instrument. So what I can do is come here and under a fix, you'll actually find it under utility. And here we've got auto sampler. Now in this case, I'm using a stereo instance because this is a stereo synthesizer. And you can see that brings up the auto sampler effect. Now in this case books, I'm applying it to a software instrument. The audio is already routed through the auto sampler. So if we have a look here, if I play a note, we should see some levels coming in. Okay, great. Now you'll notice that we've got a sample range here. So we could go from C1 here. So I can actually played on the keyboard up to C6. And that's probably fine Ford I'm doing here. I'll actually go up to C6 so we get that high C in there. So you can decide the range of notes that you want to sample. Now, there's a few settings in here. So you can either drag this handle here to adjust the range or you could sit the range start and arranging from here. Now, a big thing to think about is how many individual samples you want to create. So you'll notice that at the moment this is hit to sample every six semitones. And you can see these light-blue keys here on the keyboard. The actual notes that's going to be sampling. Let's say I want to sample more notes. I could set this to three semitones. Or if you were to sample every single note, you could sample, say, every one semitone, all I'm gonna say three here. Okay, now, we can choose how long we want the sound to sustain. I'm going to say maybe five seconds. And we've got a few other options here too. I won't really talk about all of them, but you can see that we've got velocity layers. If you had an instrument that responded to velocity betters, how hard you hit the note, then you could choose to record more than one velocity layer. In this case, this instrument is not velocity sensitive. So I'm just going to record the one velocity layer. Now you could also add this point, tell it to auto loop. And with this sound, because it's the sustained sound, I actually do want it to auto loop. So I'm gonna say search with crossbite. So it's gonna do, it's based when it creates the instrument to auto lupus and crossbite. So I'll get a nice smooth loop. Okay, I will just leave this on the default settings and we'll see how well it does. Now if you had a one-shot sound like a drum, if you're sampling psi a drum machine, you could put this in one short sound so that it doesn't loop and it just plays whole sample all the way through regardless of how long you hold your finger on the note. But I'm going to uncheck that because this is not a one-shot sound. Okay, so the, the main settings who got to sit up here, and we should simply be able to click sample. So it goes. It's gonna ask me where to save it. So you'll notice that it's putting it under music audio music apps, Salford instruments, which is where we'll find all the standard sampling instruments and it's putting it in a folder called Auto sampled. Now you could say The somewhere else if you wanted to, but I'm going to leave it in that order sampled photo for now. And I'm going to call this something like stigma strings. So I know what it is. Okay? And notice that this is going to be an E access instrument, just like a regular sampler instruments. So I'll click stop and he goes. Okay, so that's finished sampling. And let's have a listen to our new instrument. I'll close up the auto sampler and I'm going to buy a brand new instrument, software instrument, and I'm going to choose the sampling instrument. Poetry is a stereovision. So if we come to the drop-down menu to browse our patches, we can see at the top of the list here we've got order sampled and this stigmas strings. Okay, great. So of course, if we wanted to, we could play around with the settings here and we could add some more filtering or play around with the envelopes or whatever. So I could add, for example, a slow attack and a slow-release. So this is more like a pad sound. Okay, let's try this out with the hardware synthesiser. So here I've got a track, which is just a new software instrument. So I'm actually going to come here under utility and choose External instrument. Now, in this case, I'm going to choose a mono external instrument because I'm sampling a mono hardware synthesiser. And the synthesized that Rahm sampling hit is the coke Volcker keys. So I've actually got this plugged into my audio interface. And using this external instrument plug-in, we can see in midi from logic into the hardware synthesiser. And then we can see in the audio from the hardware synthesiser back to our SoundCloud or audio interface, and back into logic. So in this case, I'll choose the miti destination Here. I will choose my sound card, which is the personas foster Judea. And I'm going to say this to all channels. And the input is the audio input on my device. So in my case, I'm going to choose number two, which is where the sound is coming back in. So i should now be able to play it from the Keys. There we go. Okay, right, so I've got the sound of my hardware synth coming into logic. And now I'm going to load up an audio effect and I'm going to come onto utility. And here again I've got auto sampler. Okay, so I'm going to kick out the range. Might actually go a little bit lower with this one. Maybe down to eat. And I probably don't need it going so high. Maybe I'll go to y3. Okay? So in this case, I'm going to sample this may be every one semitone. And there's only one velocity layer here. And I'm going to sample this may be, again, every five seconds. I want to auto loop with the crossfire. And let's go ahead and click sample. Okay, that's finished. Bearing in mind that when you're using the auto sampler, it does take a few minutes because it has to actually record the samples in real time. Okay, so let's check this one out. I'm gonna make a new software instrument with the sampler. And from the drop-down menu, I'm going to choose order sampled. And there is my full cookies ring-based. Cool. So as you can see, it's really great that we've got this auto sampler perfect. Speed up the process of sampling. 17. Drum Machine Designer Intro: Another great new feature in the logic team 0.5 update is the new drum machine design and instrument. Now, drum machine design has been around for a while, but in 10.5 it's had a significant update. Drum machine design or used to be basically just a front-end for the ultra beat instrument, which again has been around for a lot of years. Now, the entrepreneur instrument, while it is very, very powerful, has this very busy interface. There is a little bit dated and very hard to use. So luckily, we don't need to use the ultra beat anymore because the drum machine designer actually by default uses the new quick sampler. So it works quite differently from how it used to. Now of course, we could load up the drum machine designer instrument, like we would any other instrument from a channel strip. And that will just load up an empty instance of the drum machine design a plugin. However, I'm gonna undo. And instead I'm going to start with new empty channel strip. And if we come over here to the library, if we look under electronic drum kits, we've got a bunch of drum machine designer kids. So I could load up any of these just by clicking on them. Let's try the first one here, Ada, white flecks. Okay, and you can see that's loaded up at kit. Right. Now you'll notice that if we have a look here at the channel strip, we can see here we've got the DMD or drum machine designer instrument. If I click on that, that's going to open this up and we can see a familiar paired based interface. Okay, so we can see different drum sounds on these different parents. There's the kick and you can preview them just by clicking on the little icon here. Great. Now the drum machine designer instrument is actually not an instrument per se, like a regular synthesizer or sampler. You notice that if we look here at the track header, there's a little arrow and that tells us this is actually what's called a track stack. And if I tell that open, you can see here are the individual drum sounds. Each one of these is actually its own track. And in this case, we can see that there's a lot of different tracks here. If you're unfamiliar with the idea of a trek stack, it's basically a sort of group track that can contain other tracks. Attracts debt can actually contain audio and instrument tracks. However, in this case, these are all software instrument tracks. Ok. So you can see here at the top level of the TREC stack, this is where the actual drum machine designer instrument lips. And the idea is that you can record midi or play midi here by selecting the track stack header. And you can trigger all of these different drum sounds. Now if we select one of these instrument tracks, like the kick track, you'll see that by default this is actually using a quick sampler plug-in. Okay, and you can actually see here if you select the pad, the drum machine designed to instrument that here, basically all the controls that you'll find from the quick sample instrument. Now, this is actually broken up into two pages. You've got the quick sampler main controls here where you can actually edit the audio waveforms. So if you wanted to trim a bit a silence there, for example, you could or add a crossfade. And we've got the quick sampler detail area where we've got all these sort of more synthesis things, where we've got things like our own envelopes. If you wanted to say, tighten up the release or decay of the kick drum, you could or change the pitch here. So you've got the course pitch and the fine pitch if you want to pitch that kick drum down or up. So by default, if you just drag an audio file onto a paired, as we'll do in the next video, it's going to create a quick sample instrument. However, you actually could use any instrument for any one of these pads. So for example, if I select my kick drum and change the instrument here from the quick sampler to any other sort of instrument here. You could even use third-party instruments, but I'm going to choose the drum synth that we'll actually look at in a following video. And here we've got a bunch of other kids. So now I've got this heavy kick. Great. So there is a quick look at the drum machine designer instrument. In the next video, we'll look at creating our own kits from scratch. 18. Creating a Drum Machine Designer Kit: In this video, we're going to learn to create our own drum machine design a kits from scratch. So I'm starting off here with an API channel strip. And as we've already seen, you could load up the drum machine designer as an instrument. And it sent its own category here because it's really more of a track stag. So you'll see that this has opened up a new empty drum machine design, a kit, and all these pads and empty. It also automatically opened up the library and you can see here that it's taken us straight to all these different drum samples for kicks, ni as high hats, et cetera. That with a pad selected, you could actually just select one of these drum hits, like the kick Autumn Leaves, and browse through the sounds here. Okay, and then you could select another pad and maybe choose, say, a snare. Ok. So as you can see, a quick way to go through and try out sounds. Now, you can also load and sounds from the Loops browser. If I was to open up the Loops browser here. And I've just done a search for kick. Here's a bunch of kicks. And I can simply drag and drop these strike onto an empty pad. So that's another way to load up your own sounds. And of course, you could drag and drop from a find a window. So if I was to just drag in the sample from my desktop, I could drag that stripe into an empty paired. Okay, so just like we would with the sampler instruments, and they quick sampler instruments. Okay. Now, what do I actually want to do here is load these up from a track. So if I unhide this trek, I've actually got these ears to drums. These are some drum samples that I created in the AS2 synthesizer. And of course, I could drag these sounds straight into an empty pad. Okay, so that's one way to do it. You can start with an empty kit and Dragon urine samples. However, I could do this all in one go. So I'm actually going to delete this whole drum machine design a track, and I'm just going to start with a bunch of samples. Now, you could drag this in straight from a Finder window. But I'm going to drag these straight in from this track. So just like we did with our sampler instrument, you can just drag a bunch of samples here into the empty area underneath and existing track. And again, you could either create a sampler instrument as we saw before, or you could create a drum machine designer instrument, which is what I'm gonna do. So that just takes a minute and it's analyzing all of those samples and you'd see it put them all into a new drum machine design, an instrument, so that it knows that the samples mapped to these different pads, but they're not in any particular order. And maybe I want these certain drum sounds to be on certain notes. In this case, I want these to conform to the general midi standard so that I know when I play a C1, that's gonna play a kick. When I player a, D, one that's gonna play a sneer, etcetera. Now you notice that if I look at some of these like this, Tom, hi, you'll notice that it's placed on A1 and you can tell because it says input a1. Now if I wanted to change that to a different note, one way I could do that would be to come to the drop down menu here and put this on a different note like B1. So now instead of playing on A1, it's playing on B1. So that's one way to do it. However, what I find is an easier way to get these playing on the correct note is to simply drag and drop them to swap the order of the samples. So you notice there at the moment this snare one is on C-sharp one. And I've got this closed hi-hat on D1, and I really want my snare to be on D1. So I can simply drag this whole snare pad on top of the hi-hat pad. And now you can see that my SNR is on D1. Great. So I'm gonna just rearrange these quickly. So I want my closed high hat here to be on F-sharp one. I've got another close tie hat here, which I want to be on G-sharp one. And I've got my open hi-hat that I want to be a sharp one. So now I can play these high hats. Cool. I've got another Snare here that I want to be on E1. And I want these Tom's to be played on a one. So I'm actually going to come here and change the input note. Now instead of picking a note from the drop-down menu, what I can do is actually just click on Learn note from this menu and play the note on my midi keyboard. So now there is going to be on A1. Okay, and I want this Tom here to be on G1, this low tone. Cool. And then I've got a couple of percussion sounds. So I want this Percussion sound here to be on B1. And I've got another Percussion sound here that I want to actually be on C2. Great, so there we go. Now I've got all my sounds mapped out exactly how I want. Now. What I wanna do now is to be able to save this whole kit. So I'm going to click on this gray bar at the top to select the whole drum machine design a kid, rather than selecting an individual pad. And what I want to do is open up the library here. It just moves out of the way. And here at the bottom of the library, I'm going to click Save. This is actually going to save it as what's called a patch, which is going to save the whole kit and all the settings, including any effects or anything that you might want to add to the individual kit pieces. And you'll notice that it's placing it here under music audio, music apps, patches, instrument. And I've actually got a folder here called Kit pieces. And I'm just going to call this one AS2 kit. I've actually got one called that I'm just going to save over it and replace it. Ok. And that's actually going to copy all of those samples into that particular folder. So if I look here on my hard drive, if I was to come to music, audio music apps. And I've got hatches, instrument kit pieces. There's my PS2 kit dot patch, that's the actual drum machine design, a patch. And if I look under the samples, you can see it's actually copied those samples into the samples folder and there's some other samples in there as well. So now if I was to create a new project, and this case, I'll just say delete this whole track and I'll make a new empty channel strip. And now if I was to just be browsing for a drum kit, I can come here to my electronic drum kits and I should see, hear that right down the bottom. I've got kit pieces, which are all my own kits. And from here I can come to use a kit, piece patches. And there's my AS2 kit. Alright, and I can just load that up again. Cool. So that's how you can drag and drop samples to create your own drum machine designer kit. In the next video, we'll talk about slicing up loops. 19. Slicing Loops to a DMD Kit: In this video, I want to look at slicing up loops to create our own custom drum machine design a kits. Now, I'm going to start off with a bright that I've made myself here. And you could drag this either from the loops area or from a trek. But I'm going to drag this from my desktop. Or it could be any other Finder window. And again, what I'm gonna do is simply drag and drop this to the empty area underneath any existing tracks. Now you'd see that I could actually straightaway slice this to a quick sample. Or an alchemy instrument or a drum machine design, a kit. If we choose drum machine designer here, let's see what it does. So it's analyzing the samples. And you can see straight away, it's tried to place these different slices of the sample on a different paired. So there's my kick is a hi-hat. There's snare drum, et cetera. And it's also added a midi region. So if I was to play this back, I should have pretty much exactly the same beat, except we've got all these midi notes. Cool AC is that I'll just delete this drum machine design a track here. Now if you already had this loop in a quick sample, what I'll do is I'll drag the same loop. And this time I'm going to create a quick sample optimized. And we'll see that it actually slices it up for us. So you can see that's put this into the slice mode and you can see that there's individual slice markers for each one of these transients. And you could come in here and edit this, as I mentioned in the quicksand plus slicing video. So this way, it's a little bit more accurate to prepare your loop before you put this into the drum machine designer instrument. So there's my different slices and they applied on different notes. Cool. I could change the length of this whole loop. So if I decide I only need the first few hits here, like maybe I've got a kick drum, hi-hat, snare, Something like that. Okay, and now if I wanted to put this into a new drum machine design instrument, what I could do is counter this rule Coke wheel here and say create drum machine, design a track. And you can see what it's gonna do is it's going to go ahead and slice that a lot for me. And it's put each slice into its own paired. So there's my kick, there's my hi-hat, is my snare. And there's another hi-hat, OK, it's also added this midi region here. And we can see there's all those same notes. So it's going to playback at least the first part of the loop there. Joe. And of course from here you can program your own loop. So couple of different ways of getting loops laid out onto pads in the drum machine designer instrument. Now, I just want to point out that you don't just have to work with samples with the drum machine designer. So you could work with synthesisers or any instrument that you want. So what I'm gonna do is. Delete these tracks and I'm gonna start off with a new empty channel strip. And I'm going to load up a new MD drum machine design, a kit tool. So we've already seen that we could load up samples from the library or from the Loops browser, or in URLs. However, we could also load up instruments on each one of these kits. So you notice that if I slipped this first paired instrument one and open up the tracks deck, here's instrument one, but at the moment there's no instrument loaded up. So if I go to the channel strip for this first instrument here you can see I could load up any instrument that I want. So again, this could be a drum synth or it could be a synthesized light, but AS2 or any other third party synthesizer that you want. So in this case, I'll just load up, say, drum synth. And the default is a kick drum. Will look at the Strom sent in more depth later on. But for now, I'll just choose, say, a hard kick. Alright, and then I could select this pad. And if I wanted to, by clicking that little plus button there, go ahead and add a new instrument track. And again, I could load up a new instrument onto that track so I could load up another Drum synth. And this time I could choose a snare. Alright, and now I've got a snare. And you could go through and you could load up any instrument you want on any pad. Now, let say, I want to have a whole drum kit that is just matter of thes drum. Since what I can do is start off with a new empty instrument. And we'll notice that if we go to the library Xia Under electronic drum kits, that actually is one here called Drum synth kit, which is already laid out for us. So we'll see that if I was to open up this track stack that we've got a different drum synth, every single pad. So there's my kick, and that's the drum synth. There's my snare, that's drum synth, et cetera. This gives us a lot of flexibility if we want to shape our own sounds. So just to show that you can use whatever instrument you want on every single pad. Now, you can even load up effects on each one of these pads. So let's say I want to put some reverb on the snare, no problem. I will just find that track here, that is the snare. Okay, so I can see here's my snare drum here. And if I wanted to, I could an effect, if I come here, let's say I just want to go to reverb and I just want to load up, say, a chroma verb or a spice designer. I'll go for a spice designer and maybe I will choose a medium space, rooms and percussion room. Ok, so now if I was to play that snare, we've got some reverb there. And of course I can play around with the settings. Cool. So this way, you can customize these kits and create whatever sounds you want. 20. Drum Synth Intro: Another great new instrument in the ten-point five update is the new drum synth. Now we've already alluded to this in the last few videos, but we're going to have a close look at it now. Now you can just load this up on an empty instrument track. So I'm gonna come down here to instrument and load up drum synth. I'll choose a stereo version. Now you can see that it's a very simple interface, but it's also a very powerful. So there's different sounds here. You can see that by default, we're loading up a kick. But there's also snares and claps, percussion, hats and symbols. And we'll go through some of these. Now under kicks by default, I've got this kick sound here, which is this very sort of subito eight kick, this heavy kick. Now there's different models of kick drums here. So I've got a hard kick, a punchy kick, an anarchic, and a tight kick. Now you'll notice that we've got some simple controls here. And these controls do differ based on the type of drum you've got. But most of them will have a pitch control. So we could pitch this up or down. We've got a tone control. So we could make this a bit more brighter or darker. In this case, we've got some body control, which we've set up a bit. And we've got a snap, which is sort of attack transient. Secretary, that more snappy and punchy. And we've got a decay, which is how long it lasts. Okay, we've also gotta sweep control. If I have a longer decay, we might get this better if we come to the sweep control. This is the pitch sweep at the start of the sound. Most percussion sounds have little pitch in down at the start and this is the sweep. So I'll increase this. Or I could decrease it. And I've got a shape. And finally, Simple Volume Control tool. Now, notice there's another couple of options here too. Now we've got the mode. So the mode at the moment is it tomorrow, meaning I can only play one note at a time if I try and play a chord. Suddenly playing one note because it's it to mono. And generally that's a good thing for kick drum. You don't really want to play more than one and kick drum overlapping, so usually I'll leave it on OneNote. Now you could change this to poly. It's probably not gonna sound very good with the kick drum. But if I maybe play this up higher here, that's actually playing a chord. Okay, and finally we've got gate, which will only play as I hold a note down. If I increase the decay, we hear this a bit better. Cool. I'll put that back on 10. Now, you'll notice that for some of these drums, since we've got kee tracking, so keep tracking means that we can play it up and down the keyboard. And this might be easier to here if I choose, say, a snare drum. So I'm gonna go for sneers and I'll just go with this default snappy sneer. You'll notice that key tracking is set to on, which means that I can play this up the keyboard. Okay? Now you can turn that off if you don't want that pitch to be going up and down the keyboard. So now, no matter what note I play is going to play the same pitch tool. Let's have a quick listen to some of these other snare sounds. So notice that I've got sneer snappy here. We've got AS near electronics, near mechanical clamp, synthetic sides, stick, gritty snare, silicon sides, Dick and human club. Go. And each of these hairs and different set of controls. We've also got percussion. Some Tom's. This metal machine Percussion sound. Ids, cowbell, bit like the Ada white cowbell. If we add a longer decay here. Okay, we've got membrane. Moreover, if m sort of sound could actually make a call bass sound. And we've got typed Tom and shakeup. And then we've got hi-hats and symbols. We've gotta crash symbol, a ride cymbal, smooth hi-hat, sharper head, and a bouncing ball. Okay, so you can hear that with all these different drum sounds and all these different controls, there is a whole lot of tone shaping ability here. Even though it's got a very simple interface, I just wanna give you an example of this in practice. So I've already got here a drum machine design, a kit. And we can see that this is actually being loaded up with drums synth kit, where every single one of these pads has got a different drum sinth on it. And I've already created a little beat here. Now, if I was to 12 this open, you noticed that I've got a region here where I've got a number of different instruments playing. But if I open this kit, you'll notice that I've actually got a region here on the snare drum. So if I just solo that we can hear just the snare drum. Now if I open up the snare drum instrument, you can see that the key tracking set to on now because this region is actually on the snare drum instrument itself rather than on the top of the drum machine design attract stack. We can actually pitch these nears up. Something like that. Let's have a listen. Let's hear that with a beat. Cool. So as you can see, there's a lot of fun to be had with this unassuming looking Johnson instrument. And I can see myself using this a lot in the future. 21. Remix FX: Another fun edition to the logic ten-point five update is the new remix effects. This gives you DJ style or fix with a really fun interface. So let's see how this works. First up, I'll bring up my mixer by using my keyboard shortcut x. And you can actually load up a re-mix effects on any channel you want. But generally the idea is to put it on your stereo output. So I'm gonna come here to my stereo output. Now, you'll actually find this under specialized. And there we've got re-mix effects. So I'm gonna add a stereo version. And you notice here's the plugin. Okay, so now I'll close the mixer. Now, you could use this in a floating window like any other effect. However, I'm actually going to bring this up as a smart control. So if I come up here and turn on my smart controls, keyboard shortcut b, now, I need to slay any track other than the stereo output for some reason. So I'll just click this vocal track here. And you'll notice that here I can either view the effects or settings on that track or I can view the settings on the master channel. So I'm actually going to choose the master channel here. Okay? And then what I want to do is change from controls to re-mix effects. Okay, and there's our remix fix. And now we've got it down the bottom here in its own little window, which is pretty handy. Great. So what does this do? Well, you can see that we've got different sections here. Over on the left-hand side, we've got an XY pad where we've got a filter. Then on the far right, we've got another XY pair, and by default that's set to repeat or there's some other effects here too as well. Notice that if I click on the top of these effects, I can choose All these other effects and we'll go through some of them in a moment. And then I've got these two sort of strips that are assigned to a gator effect and a bit crusher effect. And some other buttons here for reverse. And sort of scratching effect like a turntable and a type stop, like a tape slowing down. So what I've got here is the live loops project that we looked at before. And I will just play with some of these sounds. So I'll launch one of these scenes here. So here's the filter. So we've got a low-pass filter. Now when I let go of the mouse, we'll see that it tends to affect off pulsar go to high-pass filter here. If we go up to the top right corner. So you notice that on these XY pads, We've got one control mapped here on the y axis, the up and down axis, which is the resonance of the filter. And on the x or horizontal axis we've got the cutoff. Okay? So that is the filter. We've also got the repeater here. Now you'll notice that on the y-axis here we've got the mix control, which is how much of the original signal we've gotten, how much we're hearing, just the effect. Generally I find it sounds better, just having just the repeat. So I'm actually going to stay out the top here. And then we've got the right which is horizontal. So let's have a listen. There you could hear as I was moving it down, we were mixing in more of the original. Okay. Then we've got these two strip base to fix here. And the first one here is gator. Let's have a listen to that. So the right is getting faster as we go up. And they've got the spit crusher F8. It gets pretty, pretty noisy there. Okay, and then we've got the reverse effect. Now, there's actually two sides to these buttons here. So if you click on the left-hand side, it'll have one setting or one, right? And on the other side it'll have a different right. So let's have a listen. Okay, and then there's this scratching to enable effect doesn't really work with this trait very well. And we've got this type stop. So there the main settings yet now, of course, as we mentioned before, you can swap out different effects here on the X Y Pad. So if I come up here to the repeater, I could choose something else like the orbit effect, which is essentially a flanger or faked. So let's have a listen. Now, you'll notice that these XY pads have little padlock here. So by default, as soon as I let go of the mouse, it's gonna turn off the effect. But if I wanted to, I could lock the effect so that it stays on the last sitting that I clicked on with my mouse. And then I could unlock it and that'll turn it off. So that's the orbit effect, sort of a flanger effect. We've also got a simple reverb, which we have got Mix N time. And we've got a delay where we've got feedback and right. And finally we've got this wobble effect, which is basically a Auto Filter. So it's like a filter that's got an LFO controlling the cutoff. So let's have a listen to that. So I've got the right going left to right, and the depth up and down wash out. So that's all the different fates here. Now, if we wanted to customize some of the savings here, we've got this little settings button, but the slide is, so if I click on that, we can see that brings up some settings. So for example, over here on the left, Here's the filter. And there's a classic mode, which is what we just heard, and there's a fat mode with the pH, okay? And that basically gives me a steepest sounding filter. Let's have a listen to that. So the fetch filter is a little bit more extreme. Ok. And then we've got some different settings here. So for example here with this reverse effect, you notice that there's actually two buttons on either side. And I could choose, for example, here on the left-hand side. If I wanted that to be a bit slower, I could choose life, maybe half speed or quarter, quarter note. And here on the left, maybe an eighth note. And let's have a listen to that. Same thing here with the scratch effect. So if I wanted a faster or slower as Scratch effect Tia, I could select one of these and maybe make this 11 16th note. And finally the type stop it. So here I've got a quarter-note type stop. If I wanted that to be a bit slower, maybe I could choose half-note. Joe. We've also got here with the wobble or with the orbit of fate, whether we want this to be whole notes or triplet notes. So T for triplet or whole notes and triplet values. So this might be easier to hear with the repeater. So by default, this is set to whole notes, so let's have a listen. Okay? Or we can say that to triplets. Or we could choose hornets entropy. So that's a look at the remixes fix. And it's a really fun way to spice up your tracks by adding some DJ style, a fates. 22. Logic Remote: In this video, I want to have a look at the logic Remote app that goes with the new logic team 0.5 update. Now, logic remote AMP is not new. It's been around for several years now. However, its head again, a major update that goes with logic tin 0.5. So I'm not going to attempt to look at every single feature in the app. I'm just going to focus on the new features that are added. You can use this with an iPad or an iPhone. Now, if you do use it on an iPhone, the interface is a little bit smaller and you don't necessarily have all of the functionality that you do with the iPad app. So I'm going to be using the iPad app. Now obviously you need to download the app from the app store on your device. And I've already got a Logic session open here. So you do need to load logic out first on your computer. And I'm just using the boom bet live loops template. Now you can either connect your iPad via wifi. If your computer's on the same Wi-Fi network as your iPad or with the lightning cable that you use to charge your iPad, which is what I'm doing here. So I'm going to launch the logic Remote app. And you'll see that it automatically connects to logic. Now, there's a lot of different views here. You can see we've got some basic transport controls here where we can play and stop up the top and record. So that's pretty useful. And you notice that by default on looking at the mix of you, if I was to bring up the mixer in logic. You'll notice that if I was to just one of these fighters, that we can see the fight of moving here in logic. Okay, now we can also browse different sounds. If we were to go to the library icon here, we could load up different sounds on a track. If this is a midi track, you could load up different instruments. Or if it's an audio track, you can load up different audio fixed presets. Now, there's different views that we can control here. I'm not gonna go into great depth with all of them. But if we click that little down arrow here to the top left of the screen, you can see these are all the different views that we can control with the logic Remote app. So I'm on the mixer here, but we could view smart controls. So smart controls will be simple controls you can use to control various different effects or instruments on a track. I've got called strips, which can be handy to play instruments. I've got some key commands here, which is just handy if you wanted to just have these buttons on hand. There's also a very useful smart help view here. But I really wanna focus on the Live loops here because this is a new feature. So if we click on Live loops, you can see I've got my live loops grid, just like I've got here in logic. Now, you could also bring up the re-mix effects. If I click here on affects, up the top, you can see there's my remix effects. Now obviously you need the plug-in installed, in this case on the master track. And what I'm gonna do here is just little jam. And you can see just how fun it can be controlling all of this on the iPad using the logic Remote app. Right? So a lot of fun to be had there. Using the logic Remote app to control your life loops and remix the fates. 23. Thanks and bye: Congratulations, you've made it to the end of the course. Thanks for coming on this journey with me. I hope you've had as much fun as I've had. As you can see, Apple have done a great job with Came 0.5 update. And this is great new features here that I can see myself using a lot in the future. If you want to check out more My courses, check out the links down below. Also for more free tutorials, shake at my Sodexo if our YouTube channel. Well, that's it for me. So I go and have fun with new logic team 0.5 and go make some great tunes. Say yum.