Music Production Template in Logic Pro X | Mikael Baggström | Skillshare
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16 Lessons (41m)
    • 1. Welcome & Introduction

    • 2. Instrument Groups

    • 3. Send Effects

    • 4. Insert Effects

    • 5. Master Effects

    • 6. Color Theme

    • 7. Naming System

    • 8. Track Headers

    • 9. Control Bar Setup

    • 10. Project Settings

    • 11. Power Tip 1 - Create Screensets

    • 12. Power Tip 2 - Create MIDI Transform Sets

    • 13. Power Tip 3 - Track Templates

    • 14. Power Tip 4 - Chord Track

    • 15. Power Tip 5 - Story Folder

    • 16. Congratulations + Your Project

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About This Class

Hello Logic users, Mike here. In the following guide I will share with you my complete process of setting up your own Master Project Template for Music Composition, Songwriting and Production in Logic Pro X.

If you have a well crafted project template in Logic Pro X, you will have an amazing way to speed up the start of a new track, and your workflow when composing, producing, mixing, mastering etc.

What you will learn:

  1. The Foundations of Creating a Project Template
  2. Practical Tips & Tricks based on my Master Template
  3. My Power Tips for an Epic Project Template

My name is Mike, music composer and sound designer since 1998, and a passionate teacher. I truly love to inspire, motivate and educate creative people like you.

Now it is time for you, to learn how to create your own master project template in Logic Pro X. Let's get started, right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of

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1. Welcome & Introduction: Hello Logic users Mike here In the following guide, I will share with you my complete process or setting up your own master product template for music, composition, songwriting and production in Loaded Pro X. If you have a well crafted project template in lordy Pro X, you will have an amazing way to speed up the start off a new track and your workflow when composing, producing, mixing, mastering etcetera. My name is Mike, founder or professional composers dot com music composer and sound designers since 1998 and a passionate teacher, I truly love to inspire, motivate and educate creative people like you. Now it is time for you to learn how to create your own master product template in logic. Pro X Let's get started right now. 2. Instrument Groups: instrument groups. The first thing I recommend you to do is to create the fundamental instrument groups in your master project template. Why? Well, for several reasons, but mainly because you will have an organized sequencer with all tracks in the respective group folder, and also because it will help you in the mixing. Prose is where mixing groups is essential both to speed up the mixing work foe as well as get better separation and clarity in your final mix. So what instrument groups should you create? Well, of course, this is completely up to you. But ask yourself this. Do you want to base your groups around specific instrument categories, such as a group for strings, another four breasts, another four pianos and so on? Or do you want to group instruments based on their specific purpose in the composition, For example, one group for rhythmic in driving instruments, another for the main theme and melodies, perhaps a group for transition effects and so on. Here are the main groups I have chosen for my master project template drums and percussion base and low and driving rhythms, backing instruments, main theme and militaries, and effects and details. Now let me give you a quick overview off the what? Why and how over these groups. Drums and percussion. The first group I have created is called Perk, which is short for drums and percussion, both drum kits and individual percussion instruments and sounds, which can range anywhere from acoustic drum kits to Elektronik drum kits to orchestral percussion and basically any type off percussive sounds, including synthesized percussion and sound design hits base and low end. The next group I have is called lows, which is short for base and low end. The instruments and sounds I have in here, or all focused on the low end frequency range, for example, electric acoustic and synth basis, as well as orchestral instruments in the low range like double basis two Bus Contra pursued and sometimes even Lo chih lows. The point is that I do this to help in the mixing process and the composition process, because I will have all the O and focused instruments and sounds in this group driving rhythms. Then I have a group called Drive, which is short for driving rhythms. These are all the instruments that add dr pals and energy to the composition but or not purely percussion based meaning. These can play notes, harmonies or even cords. For example, speak couple strings, staccato breasts, stabs and accents, comping guitars, palaces, rhythmically gated sounds and so warm backing instruments. Next, I have a group called Back with the short for backing instruments, basically every instrument that is backing the main themes melodies, reefs, hooks and so on. This means instruments playing ports like courts, harmonies or pidio is and so warm that supports the main theme off the music, composition, main theme and melodies. Next, I have a group called Front, which is the most important group off all in my personal opinion, because in this group I will have all the tracks imports, playing the main themes, leading melodies, motifs, hooks, reefs and so on. The things you have along to when you hear the music effects and details. Finally, I have a group called Extra, which takes care awful, the effects and details in the music composition, this congee, transition effects or sound design elements. For example, it can be sounds that add atmosphere and ambience, basically all the extra details that will spice up the final music composition. Now you have learned what groups I currently have in my master pro dick template off loaded Pro X and my reasoning behind them. So now it is your turn. Take action and start your new master template in logic Pro X by creating the main instrument groups that makes sense for your way off composing and producing music. 3. Send Effects: send effects. After you have created your instrument groups in well named folders, I recommend setting up all the main send effect buses you will views. Personally. I only have reverb and delays as send effects, but I do have several versions of each of these effects, so I can choose the proper one for any track in my mix. Here, all the main send effects I have set up cathedral reverb, concert hall, reverb, scoring stage, reverb plate reverb, small rumor, reverb eight, no delay, quarter note delay and eighth note triplet delay. Now let me give you a quick overview of the what, why and how off these send effects. My first send effect is a huge reverb that I usually based on a cathedral type river priest it or similar with a very long decay time, anywhere from around 7 to 15 seconds long. I mainly use it for background ambience, sound effects, pads, any type of sound. I really want to push four into the background of the Knicks. The next sen effect is a concert hall reverb, which I used when I want to get a deep and lush room sound. I usually choose the decay of the whole, preset around 3.5 to 4 seconds. Next, I have a scoring stage reverb with the room tone decay around 1.822 point two seconds or so . This is very important for more focused cinematic instruments and sounds in the mix. For example, the low end orchestral sounds as well as the main theme. Then I have a plate reverb with a warm setting, which is great on vocals, big drums, guitars or any instrument. I want to add some warmth and depth to for this specific plate reverb. I have a preset with around two seconds decay time, and I also heavily filter out the high end to make the reverb very warm and lush. The final reverb send effect I have is a smaller room. I often use a studio river preset with a decay time between syrup on five and one seconds long, sometimes even lower. This is mainly to add some depth and space to a sound without drenching it in reverb. Then comes my first delay effect, which is a straight eighth note delay with a ping pong stereos setting for extra depth. This is my go to delay. Since I personally find eighth notes to be the perfect delay time in most situations, then I have a straight quarter note to delay effect on a warm tape. Sitting with heavy though, and high post filtering I mainly used is, as an effect type echo. Finally, I have a triplet eighth no delay on a diffusion setting, which I mainly use this kind of a substitute to reverb, basically adding depth without smearing the sound as much as reverb. Gus Power Tip Name your Send Effect Bust channels. You can also name all your send effect buses with short names in the eye over labels off the mixer menu. I have done this so that I will clearly see what type of sound effects I send to in all the sense off all my shells in the mixer. You simply open up the mixer, then go to options. Then I owe labels, and here you can add a name on any channel bus. Now it is time for you to take action and create all your main send. If ICS in your master's logic pro X template, be sure to name them well, order them in the send effect chain and wisely choose and shape the priests. It off each send effect 4. Insert Effects: insert effects. Now, when it comes to insert effects, I recommend going easy. You can always add more later, but this is the starting template e or creating after rule. Personally, I Onley add in certificates on the channel groups in my project template, not the individual fax. Think about what insert effects you will always use because that is the purpose of your master project template. Having everything added, organized and connected that he will always have for every new track you compose and produce, here are the main inserted fates. I created input gain for creating nice headroom for the mixing stage equalizer. Choosing the focus range in the EQ you spectrum for each group compressor to glue the instruments in the channel Group together saturation, adding warmth, character and push the sound forward in the mix. Stereo imager, creative use of the stereo space for better separation and depth. Personally, I like to use mostly native logic effect plug ins in the master template and then switch some of them out in the mixing stage. However, the effects that come with loaded pro X are actually very high quality, so I don't need to change them unless I want a different tone and character in the final mix. Now it is time for you to take action and add all the main insert effects in your master template. Make sure to only add the most essential effects, and I recommend focusing on the channel groups for your main insert effects. 5. Master Effects: master effects. I personally do the mastering inside the same project as I compose and produce by tracks. That is why I want to have the mastering chain already set up with the main effects added, or the master stereo output, what effects you adhere and in what order is very individual. However, the fundamental purpose of mastering is to shape the tone and character off the final sound . Polish the EQ, arrange transients, etcetera and finally shape the dynamics and loudest little to give you some ideas for creating your own mastering chain. I will now share how I currently have mind set up in my master project Template Master Bus compressor, Very light compression simply to glue the mix together. Equaliser To shape the tone and sound of the final makes multi band compressor. For more detailed balancing prayer frequency range me decide processing for separation between the mid and the stereo sounds. Stereo imager. Increasing the stereo field for better separation and depth saturation, adding some extra analog roof maximize er increasing the loudness level off the final master roofs. Monitor monitoring the final loves level Face correlation Steri a field etcetera power tip . Compose without master effects. Now, as a final tip, I recommend keeping all the pro gins on the master chain turned off when he composed and produced your track and Onley turned them on while you are actually in the mastering stage , because these begins with otherwise steel CPU power and even more importantly, steal your focus on the actual composition. Now it is time for you to take action and create your final mastering chain with ALS the effects on the master stereo output. 6. Color Theme: Kohler's theme. Adding coolers to your tracks and regions is a great way to keep things organized and give you a clear overview of your composition. I personally like to have a system for my color theme, meaning I use the same kind of colors for the same kinds of tracks. This way I can open up any project that I worked on and instantly see all the base sports percussion ports. Melo deports, etcetera. What you choose as your cholera theme is, of course, completely up to you. But I recommend using your groups as the starting point, and I also recommend going with your intuition. For example, let's say one of your groups is drums and percussion. What color do you intuitively associate with drums? Use that colder, and then you do this for each group in your master project template. Here is my personal color theme for all my channel groups. Drums and percussion, dark blue base and low and red driving rhythms, green backing instruments, light blue main theme and melodious yellow and effects and details. Magenta Power Tip. You can also add variations off the main group color for the individual it fax inside each group now take action and create your own color theme with a systematic approach and use it in your master logic. Pro X temperate. 7. Naming System: naming system. Naming your tracks and regions in a clear way and using your own personal system for it is also very important for a clear overview in any project you work on personally, I always use capital letters for the track names because I want to be able to see them clearly or my high resolution screen. I find the most essential things to include in the track. Name is the instrument type, plus a short description off the sound and its main purpose in the composition example, one shallows ends short means the instrument type is jello in an insomnia all on the main purpose is to play short notes, for example, staccato and speak out of articulations. Example to violin solo theme. The instrument type is a violin in solo, and the main purpose is to play the main melodic theme. For example, sustains and leg auto articulations. Example. Three Breasts ends. Accents means the instrument type is a full breast section in a nen samba wall, and the main purpose is to play accents, which means short note articulations with emphasis on the start. Like Mark, Otto stabs etcetera, the main point in creating your own naming system is to come up with a way to describe any track in any project, briefly and clearly to yourself, so that you instantly can understand what each track is in your composition. Power tip. If you want to get really fancy, you can even name the individual regions on a track. Personally, I mostly leave the regions with the same name as the track that your own. But sometimes I add a region name to show something more specific about that particular performance. Now it is time for you to take action and create your own naming system in a way that sews your way of describing the tracks and regions in your project. 8. Track Headers: track headers. A great thing in logic. Pro X is that you can customize your track headers in the sequencer. There are many features to choose to add or exclude from the track headers. To customize the track headers, you can right click in the top part of a track header and shoes, customized track header or simply use the key command option plus T to open up the track header customization window. Next, you need to decide what you want to include. For example, do you really need a panning job and volume fader on the track enters? I personally use the tracking Spector and the mixer for making adjustments, so I have skipped those. However, I do use the freeze function a lot, so I want to have that button available in the track hitters. I also used track alternatives, so I have added that as well. Personally, I like to keep the project layout as clean and minimal as possible to avoid cluttering the workspace. I want to focus on the most important aspect off the music composition and the features I mainly use, but you have to make these choices for your personal burke full here is mine default settings for the track headers, mute solo freeze record enable Input monitoring track, Aiken's Track Alternatives and Groove Track, for example. Some of the things I have decided to skip or track hitters and track cooler bores because I simply think they take up screen estate and clattering my interface. By the way, coolers are still used on the tracks. But instead of showing them as bores in the track headers, you will get them. When he recalled N g Port on the track itself, power to when you have created a setting that you really like, you can actually save it as your default track headers sitting this way, you can cool it up in another project in case you did not start that project from your master project template. So go ahead now and set up your personal track headers customization, and I also recommend saving it as a default setting. When you're done, 9. Control Bar Setup: control boards set up what features and buttons you choose to include in the top control bore is very much dependent on your personal preference and workflow. That is why I strongly recommend you to set it up and save it with your master project template. Because this way, every time you start a new project, you will have a control board set up exactly as you want it. You simply right. Click somewhere in the control, bore and choose customize control bar and display. To give you some ideas, I will now share my own personal set up for the control bowl view modes. Personally, I want to have a live view mode buttons accessible from the control board, even though I mainly use key commands to open and close them. It makes it clear which view moments are open and active Transport section. I have a very minimal transport section in the control board with Onley, the essential buttons, the rest of the transport features I used key commands for, and I don't want to clutter the interface with them LCD display here. I have added everything in fact, these features in the display area, or probably most important for me as a composer and for my workflow, for example, to instantly see which notes and cools or being played live on my media keyboard. I want instant feedback on everything in my project, for example, the temple and key to be able to see the very speed setting and easily change it. The greed division, the CPU meter project, length in bars and silver modes and functions. This is a section that is very personal. How you sit up. I have chosen the following default settings for my workflow. Replace auto punch, though raters imode pumps in and pounds out section tuner so low mode count in and click meaning that room power tip. As with many sittings in Lorik Pro X, you can, in fact save your control boards set up as your default setting. I strongly recommend you to do so after you are satisfied with the layout you customized for your work. Though secondary tool bore, there is also a secondary too boring loaded Pro X that you can customize in the same way, but personally, I hardly ever use it. But if you do simply open up the view mode for the secondary tube or right, weak and choose customize to bore. Now go ahead and customized the control bar in your master product template as well as the second return bore if you use that. 10. Project Settings: project settings. There are hundreds of settings you can choose and customize in logic. Pro race. Many of them, you said, on a global level in logic, Pro X preferences. But some of them are set on a project level, which is why it is very important that you do this step properly and save it with your master project template. You simply go to the file menu, then project settings, and then you start with the general tab and go through all tabs one by one. Here are some of the main product settings I personally focus on Metrodome sittings, recording settings, audio settings and project assets. Power tape. There are also some things you might want to save with the project template that are not poured off the product sittings but rather saved with the sequencer. With your project, for example, the global tracks set up all the markers. You might want it to start with track inspector settings that you might want to have as your default and someone go ahead and sit your product settings. Now what specific settings you want to use is up to you. But the point is to save them with your master project template so that all products, settings or as you prefer, as soon as you start a new track using this template. 11. Power Tip 1 - Create Screensets: power tape. One creates screen sets, one off my personal favorite workflow boosting features. In logic, Pro X is to create custom screens. It's what all screens, as you may ask. Well, basically, they are pre defined view modes and window layouts in logic that you saved as a preset. For example, my main screens, that is, the sequencer in full screen mode on my main monitor on the piano, roll in full screen on my second monitor, my second screens that is focused on mixing with the mixer in full screen on the main monitor on the sequencer on the second monitor. What's even more amazing is that you can not only control which windows and view modes will show where they will be shown and in what size. But even some sittings are stored in the screen sets as well. For example, in my mixing screen set, I have made some customization in the mix of you to hide certain aspects, focus on others, etcetera. Those settings are stored in my customs green set. I also have a Step editor screen set for editing multiple cc automation lanes, which I have set up with the most common cc values I automate in my workflow, and this lane set will be loaded up the same way every time I switch to these particular screens that that I have saved after sitting this up to create a new screens that is very simple. Just used your numbers on your keyboard. The numbers above the main character's not the Nam pat, By the way, when you quick only number that is already a store screen set, logic will switch to that screen set, and when you click on a number that is not yet used, a new screens that is automatically created. Then you can open up windows, arrange them, recites them, designed the settings in those windows, just like I showed. And when you're done, you go to the screen, sets menu and click look power deep. You can even name your screen sets for better clarity. For example, my main three screen sets or composing mixing and C C editing. Because that's how I use them. Go ahead and create your own screens that's involved Ecru X now, and save them in your master project template. This way you will have your own perfect screens that workflow instantly available in every new project. You start using these master template 12. Power Tip 2 - Create MIDI Transform Sets: power tape to create media transform sets. Another amazing but almost hidden power feature in Loaded Pro X is the ability to create and save your own media transforms its in the piano roll editor. If you go to the Functions menu, you will find meaty transform. Here we confine default, transform presets like fixed velocity, fixed node length and humanize the purpose off media transforms its is to do automatic actions on notes that you select in your piano roll. For example, let's say you want to set the these notes to fix the velocity level. You can go to transform here. Fixed velocity set it to, for example, 70 and then selecting operate. All operate. I have already selected these notes. I press operate, and now all those notes are 70 in velocity. You can do this for note length, humanization on length, medium velocity and so one and a lot of other actions in here. But you can also create your own media, transform sets in here, go to the logic window menu and choose open, meaty transform or command plus nine. Then, if you check the presets in the upper left, you will see that on the bottom, there is an option to create a new transform set. Then you simply sit up. This transforms it as you want it. Finally, you can click in the present books to change the name right in the name of the priest that you created and click Enter. Logic will ask you if you want to rename the current preset or creating new on. Since you already have created this one, you can choose rename and that's it. It is saved automatically and will now be available in your master project template. When you open it up the next time you started you track. The only downside is that for some reason there is no option to delete an already created media transform set. So be careful that you actually create ones that you will use. You can add it and make changes to a transform set but not deleted. Now. Create your own media transform sets that makes sense for your workflow things that you do often, such as, for example, setting all the LA City levels off selected notes to 80 or perhaps setting all the note lengths to 16th notes. Whatever you want, take some time to experiment and try different, transforms its and then create and name them properly. They will be automatically saved with your project template. 13. Power Tip 3 - Track Templates: power tip three track templates, Since the purpose off a master product template is to be able to use it for any tractable, composed and produced, I personally don't like to fill it up with instruments. Not only will that take lots of time to load the project template every time, but I also like having a clean slate to start from. However, it also takes time to add track names and track icon sense of one for every single track you will use in your composition. The compromise I came up with is what I call track templates, basically empty tracks with the names and track icons already created, but no instrument or sample library loaded. Sometimes I might use an empty instance off contact, complete control atmosphere and so one, but with no actual sound loaded just to speed things up further when starting a new track, for example, in my base and low end group, I have added the fooling track templates saw the base electric bass, synth bass strings low brass low and pad low. I added names, track icons and track colors on these track templates. But again, you can also add an empty plug in instance, just to make another shortcut when you start in, you track, for example, on the pad low track. I have already added all miss fear, since I use it almost all the time for pads and that kind of sounds. So take action now and create your own track templates inside your master logic Pro X project. Of course, this is optional, as with all things in your project template, but it is something that works well for me as a compromise instead of having gigabyte off gigabyte of instruments and sample libraries in my product template, which takes forever to Lord. So if you like this approach of using track templates instead, go ahead and set them up as you prefer. 14. Power Tip 4 - Chord Track: power tip for court track. Creating a cool track is one of my favorite ways to keep track of my composition arrangement and basically the harmonic foundation for my entire track. It is also a great visual reference to have while recording Newport's, because I can see what cold comes next in the sequence for that section, I simply add a track at the top of the sequencer and cool it cords. Then I recalled all right in the court progression for each section as block chords, meaning no comping or rhythmic playing style, simply the chord progression in its pure form. However, I do make sure to shape the court voicings as I want them. So not every court is in its standard route position, because the cool voicings will change the harmonic progression incredibly much, I recommend at least trying this method out for yourself created track at the top of your project and call it cords. I personally use a piano layered with strings on this track. Then you can either right in the cords manually record them with your MIDI keyboard or Dragon group. Meaty parts from a plug in app or even external media files 15. Power Tip 5 - Story Folder: power deep five story folder, one off My personal work flow techniques as a composer is what I call the story folder. Basically, I have a folder in the sequencer with three layers off instruments, rhythm, harmony and melody because these all the very fundamentals of music, just like the three primary colors red, green and boom. However, I also added 1/4 layer, which is drums, even if it should go in the rhythm layer, I find that I personally like to separate known pitched rhythms from tonal rhythms. I have been assigned a couple of different instruments for each of these layers, which I switch out depending on the style of the composition. I am about to start, but the foundation is the following the drums layer where I have a drum kit and another track for percussion accents. The rhythm layer where I have a base, a piano, short strings and a rhythm guitar track the hormonally layer where I have a piano layered with a slow strings patch. Then the melody layer where I have a piano plus a fast strings patch and a vocal melody track. These individual layers can serve two purposes, one being sketching pads to come up with new ideas were either rhythms, harmonies in court, on even melodies, motives, rivets, etcetera. The other purpose is that I sometimes even used these layers in the story folder to compose the bare essentials off my composition. Having Onley one track per color off music is so efficient for my workflow. I can then use them as a guide when adding new parts or even coping and paste to other tracks to make changes, transpose notes, imports arranged them differently and someone take action and create your own story folder . I recommend starting with the essential colors off music that I have in my story folder, rhythm, harmony and melody. You might personally want to have base as its own track or even drums as one layer as I have. But the point off the story folder is to not have too many tracks, just the bare minimum to get your music story recorded and performed 16. Congratulations + Your Project: congratulations. You have now learned how to create design and set up your own master project template involving pro X. Now it is time for your project, which I strongly recommend you to do, because learning by doing is the most powerful way to become an expert or even a master in any field. And, of course, your product will be to start from an empty procreate and build it up step by step into your own master product template in Lorik Pro X. And remember, it does not have to be perfect because to be honest, you will update it a lot as time goes on. The point is to create a master product template that will save you lots of time. For every new project you work on, my name is Mike and I wish you great success on your journey in music.