Performing with Live Loops in Logic Pro | Eddie Grey | Skillshare

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Performing with Live Loops in Logic Pro

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

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

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

Lessons in This Class

9 Lessons (1h 23m)
    • 1. + MASTER + PERFORMING WITH LIVE LOOPS INTRO

      1:42
    • 2. Arranging in Live Loops - Lecture

      28:09
    • 3. Importing Live Loops

      5:25
    • 4. Pre Production (Copy to Live Loops)

      9:38
    • 5. Bouncing Auxiliary Tracks Into Audio

      8:41
    • 6. Assign a Controller to Live Loops Scenes

      4:16
    • 7. Recording Defaults

      5:30
    • 8. Quick Tips

      7:23
    • 9. Live Loops

      11:49
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About This Class

This is the only course in the marketplace today that takes a deep look at using Logic Pro as a performance tool. As pre-requisite, you would greatly benefit from Learning Live Loops in Logic Pro.

If you have ever felt like taking your production work flow in Logic to the next level, Live Loops might be what you've been looking for. Live Loops is a new Logic feature which allows you to arrange and play with musical ideas in real time in a grid of cells. Let award winning composer and T3 Logic Trainer, Eddie Grey guide you into integrating Live Loops into your production workflow.

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Eddie Grey

http://vimeo.com/eddiegreymusic

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Transcripts

1. + MASTER + PERFORMING WITH LIVE LOOPS INTRO: Hey, what's up seeing this is Eddie grade. We welcome you to performing with live loops. In Logic Pro, this is cutting edge information that has yet to be seen in the marketplace. We're going to teach you how to perform within logic. We're going to teach you how to import live. Loop's going to show you a lot of trade secrets allowing you to save CPU, assigning a mini assignment to a controller, all sorts of great stuff. So if you want to learn to perform with this incredible DAW, I suggest you sign up because we are going to go on a wild ride. You already are. I guys. I'll see you there. Okay. 2. Arranging in Live Loops - Lecture: I call very well, Happy Monday. Let's get right into it. Here is a continuation performing in live loops. So as you may have remembered last time around basically it took ideas from the Live Loops area we generated inside there, and then we transitioned over into the tracks area. And so that was encouraging you to use the space, you know, see what it can do for you. For me personally, I think when you record audio, it's kind of frustrating. So I'm going to show you my technique for whether it's vocals or whatever, and how I shift over from the tracks area into Live Loops. Take a quick screenshot. This is from the Logic Pro user manual. And basically what we're gonna do here is we're going to utilize this technology to be able to get her ideas over. So let me bring you into logic now and let me just do this from scratch. I mean, if you, you know, you can fabricate these ideas, you can watch YouTube. But unless you're really doing it in the flesh, you're not going to really garner a lot of valleys. So let me have been running a lot of blues and rock and stuff for a brief. So I'll just kind of run with this idea. And so I'm going to hit Record. And I'm just going to track a couple of concepts. Now it's always best to do this within a cycle range if you really want to be as efficient as humanly possible. So let me just get a sense of how long this is. I'll turn on the click 678. I don't know. Maybe that long, maybe twice that long. I'll just yell, say that. Why am I doing it this way? If I mess up, I'm good. Everything is accounted for. So I'm going to play, even if I dropped the ball, we just kinda keep going. We'll create a quick comp and then we shifted everything over into the Live Loops grid. So I will do some like that. All right, Good. So by this point I should have gotten one of them, at least somewhat in the pocket. So we're gonna go ahead and play with the tail of this truck is muted. And so I'll just, you know, I'm not gonna do all this. You guys know how to do this by now, but it's kinda loud. Let me bring it down. Maybe this little. So I like the second half except by botched it right there. So let's see if this works a little better. All right, so let's pretend this is perfect, it's not. And I'll show you why I'm going to flatten this. And when I go to the end of this region, you can see that despite my holding the sustain, it basically just trimmed off the performance. It was a hard cut for some reason. Usually you can extend the range and you can see the rest of your performance. But this is kind of like a technological flaw. Let me show you how to fix this as if this ever happens to you. It's only pertains to audio, but does it ever happens to you with a vocal or something? You turn on flextime, make sure that you you go to your flex mode and you're choosing the appropriate mode. This is either going to be monophonic because it's a guitar, or rhythmic. Polyphonic is for complex material. This is obviously not a drum, so we're not going to utilize slicing mode, which is a dedicated slicing flex time algorithm. Basically going to select the S2 monophonic for now. And now this has been analyzed and really been prepared for this kind of scientific editing. And so there's a lot of ways to think about this. And this is not a class on flex time, but basically, if I hover the mouse over on the top portion of the region, I get one flex marker. And if I hover over the bottom, I get three flex markers, right? And so if I utilize just the one flex marker, I'm going to move the entire thing, the entire performance. We don't want that. I basically want to stretch this out. So it sounds like. A good edit, right? So I'm going to go ahead and select these three flex markers. And what that does is it creates a flex marker basically before and after the location where you said it. Why is this important? Because now when I pull this, when I move this over to create a fake ending, it's going to sound natural. In other words, nothing is going to be kind of split apart or anything like that. So I'm going to grab this now. And that's okay. We'll leave that there. I'm going to pull one more at the very edge. And I'm going to basically put the flex tool right over the waveform like the body. And I'm just going to stretch that out like that. Let's see if we can swing that. So I was pretty decent. One more thing I'll do is I because I stretch it, it increased the size of the region. So I'm gonna utilize the marquee tool, that secondary tool, whole command. And I'm just going to basically delete the end, right? So it's hopefully a nice clean edit. There may be a clicker pop, which, in which case we'll create a nice little fade. I'm just going to do that for cautionary reasons. Let's go. Okay, so that's pretty good except the beginning now has a pop. So we could go back and try and find the right Take, but I'm prompted going to do this for right now. Let's see if we can get a nice, I don't like when this happens, you try and create something, but because it's in the beginning. So let's see if we can find a quick hack. I'm going to move this over. Create a fade. There we go. And, okay, and then we'll move back. Okay, so that's kind of the beginning of it. Say you're happy with this command J bone, which just puts it all together. We know that this is a perfect contiguous region because we're checking. And then this is when we go back to this list right here. And we think to ourselves, how do we want to move regions to live loops? You could do it in any which way there's no right or wrong. He's the marquee selection. So I'll show you a hack for that. I'm going to use the cycle range for right now. So let's do that and then I'll show you something with the Marquee selection. So let me bring you back. All right, so Cycle Range, I click and we copy cycle to live loops. All right, and then based on that, everything's looking good. So I'm going to press Play. So that works. And then let's, let me go ahead and click on this divider column right here, this guy. And what that's gonna do is take the attention back to the tracks area. You see any single time that I hit either a cycle, a live cell, should I say so many different terms? And then a scene. If I do that, all the attention goes to live loops. So basically logic has a limitation where it's looking right, the concept of key focus. And so then now I'm taking my attention back to the tracks here. I hit Tab. And so that's all looking good, That's all look unfair. And now rather than just thinking traditionally with the way that everybody thinks about music, Let's see if we can hack the system. So let me go ahead and try and see if I could do something interesting now. Okay, let me, let me listen to this and see if maybe I can come up with a cool part or something like that. That the right Just off the top. That may be something interesting that could work. So let me create a marquee selection. In fact, to do this, I'm just going to create a dummy track here. And I'm just going to bring this down, okay? And let me think about this. I want this to be I don't know if that's like beets. I don't know. Let me just start it now. It's definitely not beats. Maybe I want something like know, maybe even tighter. Yeah, something like this. So this is just now getting creative. Let me try a couple things out. Yeah. Yeah. So I'll take those two and I'll double up. Missy. Okay. I'm pretty sure I'm going to use that, but I also just wanna see what would it sound like if I had trim it? I don't know. We'll see. We shall see right, there's music is the dictator, right? We're just kinda putting the thoughts on paper. So I'm gonna go ahead and create a marquee selection that's going to be too big because I don't want to take that space with me. So let me go ahead and switch my snap. Okay, I think that's it. So I'm going to Control click that. And we will copy. Copy marquee selection would live loops. And I think that's Command home. Could be wrong about that icon there. But cool. Flip that over. All right, so here's our song. And I'm going to hit Option L to bring me in here now. And there's a key command me see if I can remember it. No, I forgot what it is, but oh yeah. If you hold control rather than replacing, you can swap, right? So I'm just swapping one for the other. I'm sure you saw that green icon thing. Okay, so here's my song theoretically. And click on either the cell or the scene. It doesn't matter at this point. We just have one anyway. Okay, so that's my intro. And then, alright, so you can see how this can be fun. But it's like, I feel like, you know, you're you're, you're looking at a new vehicle. By it is worth it. It costs this much. And by cost, we mean time, energy, frustration, right? Do I really want to do this is as captivating enough. If you know the tracks area well enough, the answer is yes, a resounding yes. And if you don't, then the answer is no. You're not, you're not ready for it. It could be a great performance tools nonetheless. But if you're going to generate ideas like this, It's probably not a good idea once the song is done, which I'm going to show you here in a second, then we can do this. But if you're not ready to generate inside here yet, then don't do it. But still you can still perform with it. And I'm gonna show you that in a second. Okay, So then we could do this for two hours and I can just go back and forth. But that's, that's the, you would see me do the same thing with another guitar, with another bass guitar, with the drums. And so just for quick purposes here, I'm going to call up a drummer. It's one of the reasons I love Logic Pro to such a smart dw. And I'm so grateful that I dedicated my life to it seven years ago. Check it out. All right, cool. So in fact, I don't want anything on that intro. I want to go from this scene on the left-hand side, option L to give me the light blue script. Good. And then let's say we wanted to change the idea. I would probably do this manually, but again, I'm moving fast here. I'm going to transpose this up by three. So let's make sure that this actually happened. Okay, It's going to sound bogus, but I think you get my idea here and let me go ahead and move this drummer cell. I'm going to click on that and then just change the performance. We get some variety. So from the top this I'm going to use my, my, my hand to trigger the left right arrow key, and then to make sure that I am clicking on the scene performance rather, I'm going to hit return hole. I need to make sure that that is in focus. Okay, good. Here we go. So return now. Okay, so you get the point right. So that's pretty much it. This is very experimental at this point in the game. You're not going to find a lot of information on this really is kinda like you're on this field or this adventure, this odyssey on your own. But of course I got your back. So if you want to start doing this cool, I just wanted to give you a quick example of what it looks like. And if I could take your attention to one more time, right over here, we can select the Marquee selection as I showed you the cycle range. We can quite literally just copy, paste the way we have done in the past. We can use markers and then the arrange of markers as well. We're not going to be doing all of those, but just wanted to throw that out there. All right, so then now this is the truth. This is, now we wrote a song and now we want to bring it over, right? So the song is done. And so the very first thing you should do is bounce everything to audio. If you try and use middy with live loops, I find it to be very, just not dependable. So we would bounce and replace all tracks. Okay. And so I've already done that. Let's go over to committing to audio. All right, option B. So I want to look at these screens simultaneously and we need to think about the song. And kind of, you know, what's the most important part? I mean, if you wanted to, you can hit Command a and just drag everything into one cell, but that's not going to help any right? We need to be strategic. And so I've closed the ball of my track stacks. If you don't know, there's a really wonderful key command. I don't remember if it's by default, are but open, close all track stacks, right? And so if I just hit my key command, Shift, Command O, I can open them all and close them all at the same time is really nice. So. This song is separated already, which I've done a lot of the work and I'm so grateful because now I can just enjoy this process. So I'm just gonna take these and then just drag them into C Number 1. So we will go ahead and double-click and call that intro. So it looks like we have to have everything opened up in order to pull this off. All right, so everything selected, you may see click here, copies cycle to live loops. I wonder if it's going to do it individually. Let's check. Alright, so we're using the cycle locators. Everything's being analyzed sort of thing plays at the right time. Okay, there it is, right there. Let's listen to corroborate. So it's pretty cool, right? I mean, I think I'm an artist's preparing my songs and ready for live performance. It's kind of a cool concept. Obviously. Once I did, I'm not gonna do all this in front of you. I will do some of it. But once we got it so that everything was working, you should delete all of the plug-ins, buses. If you're not going to be doing all that stuff in real time. So let's go back to this verse. And again, control click, Copy cycle to live loops. Okay? And that's it. So if you've set yourself up for success, It's a beautiful thing. You can drink some tea, some coffee for my coffee lovers. Wireless us into this. This is really just more or less the same except there's a sub drop. So I'm going to go ahead and delete this because it's kinda just mimics what just happened. So again, we'll call this intro and then let me move over here. And we'll call this. Okay, so let's go to the verse now I'm going hit, I'm gonna make sure focuses on the tracks area and then hit Shift Command, period that moves the cycle region over. And so then now this is the verse. Let's go here. Copies cycle to live loops. It looks like there's still some median there. All right. That's okay. It still works. I'm just saying if you have a lot of Midea, It has trouble like cycling, whereas with audio, because there's no processing, it just happens naturally. Here's my intro from the top. I love this song. All right, shift Command, period, right, we're back in the Tracks area, and so on and so forth. I'll I'll do another one or two here. Okay, So tab, breezy, back to the Live loops, right key focus. Let's listen to this. Okay, so we can hear the song develop, so that just repeats. And so same thing. We'll just do one more. This is more of a pre-chorus. All right, and last of all, my friends again, Shift Command, period. And I believe by it the divider column one more time right up there, takes the tension back, lets us into this. Okay, now, if I'm thinking like a live musician, rap artists would have you touring manager. I'm thinking that if you wanted to repeat that you could. And so we're gonna do the same thing. But then if I take this over here, this gives a single room to breathe, have a glass of water or nowadays a whole host of other things. So then, now I can let this loop over and over again as a, as a place of rest, check it out. And then when they CAN bring me back in. Then. So like let's say they wanted just to, you know, for more bars or a more bars than you would let them rest. And then when it's time to bring them in and they say, yeah, Now it's time. Then you can move to this next section, which Right, So it's nice to have that room, especially if you're an extemporaneous player that can really jam. That's a whole nother skill, but to have that room. So basically we would take this, we would separate this if you want, call it a bridge or something, right? And we won't wait for the rest of it. But then basically you would take the break and separate the break. So of course, how you think about this as very, very, very important and you start to develop a kind of intuition after a while. I'm the, I'm by no means no expert. I just love this work and I'm a student and I know that this is going to help me become a better as a whole. So That's pretty much it in terms of getting the ideas on paper, you can see how clean the workflow is if you have an updated at 10.6.3 and you are having bugs, please do because it's going to solve most of those issues. If you're not, if you don't have any bugs, don't update, right? There's no new features that are going to help you. So only update if you're having bugs. I was having bugs I updated and I am Primo. So question actually. So right now you only been playing different scenes, right? So if you wanted to play a scene, but have like maybe take the base in from the intro or whatever. How do you make that happen? That's beautiful. That's beautiful. Okay. So let's say we were ready. This is it. Okay, so first I would delete all this stuff in here too, just to be clear. So I would go like buses because we don't need any of that, right? We already have the sounds that we want, but once you have it the way you want it, okay. And do you want to get experimental? You don't want it to be cut and dry. Scene one, scene to scene three, then you basically either by means of your hands and using the keyboard, which I can show you now. Or if you have a controller, then you can use that. But let me show you what the hands, because that's what we got right now. Next week I'll be using a controller. So I'm going to click on scene one. And you can distinguish when the scene is selected because the entire frame is highlighted. Let me show you what I mean. Believe you see how right here, only the arrow is highlighted, but not, not the entire word verse. And so that's how you know that there's a difference between having the cell look up here, right here you see this guy having the cell in key focus and having the scene in key focuses are two different things. So if you're using your hands, in other words, you're going to have to use the arrow keys to distinguish between all the various cells. You see what I'm doing. I'm just kinda going back and forth between all the various cells. But if you want to select scenes, you have to hold option. So if I'm using my hands Alina option left arrow key, and then I hit Return, and that's going to trigger the scene. But there's a difference between selecting the scene and the cell. So right now I'm gonna do a very simple little exercise where I select C Number 1, and then I'm going to start selecting other drums. Now we could do with our hands, but I would imagine that you might be singing or do. So. It's up to you. You could, you could use the mouse or you can use your hands. And you're going to know I'm using my hands because basically these this is going to be like moving around like this. That's how you'll know I'm selecting this one or that one. So let's say I wanted to select this drum part right here, right? That one, or let's do something more obvious like that one. If I go ahead and hit Return now, it's going to play just that for my understanding. Now the focus is entirely on the Live Loops grid. I hit return and hit Return again. So that was just one. I'm going to run an experiment right now where we do that while something else is playing, right? So let me just play this one right here. Okay, so you get my point, right? Alright, so here we go. Option left arrow key moves my scenes. So now focus key, focus is on the scene. I'm going to hit return. That's going to be working for me playing. And then I'm going to start using the arrow keys or my hands if I get some difficulty to trigger other various scenes. Cool. Here we go. Hello everyone and welcome back. Today we're going to be 10, 11, 12. Awesome. Thank you. I'm telling you right now that people are going to benefit from this. I don't know what the timeline is, but they're probably already started a crush it and I just don't know about it, but it's going to happen. And it's just a matter of time before this becomes a mainstay. So at least learn the fundamentals. You don't have to have a whole session like this. But, but get somewhat familiar with what this is and how to utilize it. I don't care if you just use your hands and hover over the scene, click on the scene or it doesn't have to be, right. There's no pride in this. I just wanna make sure you get the information and if it's helpful, then you use it. Of course. Any other questions? Cool guys, Thank you so much. Really appreciate your commitment to the craft. I mean, I was still here and I will keep fighting until the job is done so much love, much respect to you. Thank you so much for your commitment. Your love for me is the world's me. Loving Getty. 3. Importing Live Loops: All right, So after careful consideration and much testing, I've decided to do this in a custom way where I'm either using the cycle region or the markers and I'm using copy to live loops. And so this took a little bit of time. But as you can see, my session is very clean, right? Nothing within the mixer. I'm going to go ahead and delete all of these tracks now is I don't need them and I want to simplify the process. Something to consider in the background is within your browser project audio bin. You have a lot of audio that's kinda heavily wing down on this session. So I'm going to go ahead And we're gonna go into Edit, and we're going to select on used. And we're going to go ahead and delete all of that information. All right. So I have removed any and all audio tracks that I do not need. And I'm going to propose something else for those of you that are getting crashes, this actually may be very helpful. So I'm gonna go ahead and create another track. You can see that this track is already very busy, lot of files. And so what I'm going to propose here is that we create a new Logic session from scratch. And what this is going to do is it's going to afford us the opportunity to make sure that we have a very clean session, right? Just build it from the bottom up. So I'm going to go ahead and create a new project. Now if you want to check the BPM of the previous track of, let's say you don't know it off the top of your head. All you have to do here is go into this session itself. Click on the project file and then hit Spacebar, and then you can just zoom in and find out. Okay, So this was at 130. So I'm going to set this up in advance within my logic session in the New Tracks dialogue window. So go ahead and set that up that way or everything else is looking good. So I'm going to go ahead and open up a live loop session. You can open up an empty project or live loops. These are one and the same thing. So one of the things that you can do is you can go to file and you can import just a Live Loops grid. Now normally do this, but because I created bus tracks and I had this really kind of interesting routing, what I'm gonna do is go into the All files browser on the top right. I'm gonna go ahead and find my session that's contained within my desktop. And I have this in my alias folder, this one here. And I'm going to the session that we created. And rather than inheriting all of that old stuff with all the old files, goodness knows all the stuff that happens within any and all sessions. I'm gonna go ahead and hit Command a to select everything and then hit the right arrow key. Bear in mind, you might want to control. Click the column appear and de-select, keep bus number. If you didn't bounce the audio of your buses and sends, but that's just something I've seen. And so I'm gonna go ahead and add this bpm is 130. So let's just set that up in advance. And here we go. All right, so the benefit of doing it this way is that I get to keep all of the interesting routing that I did. Not sure if you remember, but I kept bouncing stuff in a kinda crazy way in the last session. And you may be asking why some of these are hollowed out. And that's simply because I have the track stacks closed. Now this is looking like a great session and I'm going to go ahead and save this and call it live loop per formats. All right, So I just wanted to give you that suggestion. I thought it could help for those of you experiencing crashes or instability. Now one more thing before we go here, I'm going to close the browser, hit Option B. There should be nothing on the right-hand side here, right? Everything is clean. The last thing to do before we start performing is to create a cycle region. Make sure your snap to grid is set to bar so that every time you perform, the clock is reading at a perfect interval of time. For example, if you have this setup in such a way where it's not perfectly in time, it's going to have an awful a time just trying to get everything to sync up properly. So create a cycle region. I recommend eight bars so that when the playhead is doing its thing, it's moving in a perfect fraction. And you can just perform at ease knowing that everything is working the way that you should. So go ahead and consider creating a separate session for these purposes. Remember my bus effects are burn to audio. I have very simple processing just on the stereo output. And so this really makes for a nice clean workflow. Okay, I'll see you in the next video. 4. Pre Production (Copy to Live Loops): Hey, What's up team Eddie gray, back at it. And I just really want to emphasize this part of the process. I want you to overlook it. We need to pay attention to copy to live loops. This is a key command. You can find inside of the key command window. Option K will bring up this dialog window. You can also go to Logic Pro key commands and find it here. Copy to live loops. Not sure what this is set as the default command, but I set it to command home. And so this key command is going to directly dictate what the information on this document says. So this is part of the logic user guide. And not only can we bring Mark keyset like shins, one or more regions, cycle ranges, markers, or the orange markers into the Live Loops grid. We can do it all automatically. I've shown a couple in the lectures, but let's go ahead and look at each and every one. All right, When it comes to a marquee selection, Let's say that I want to move everything over to scene number 8. I'm going to go ahead and click on it. Now don't click on the arrow is that's going to trigger a scene. And so I'm going to click on the bottom where the number is. And when I create a marquee selection, Let's just do something simple right now. All right, you can see that I've created a marquee selection there by utilizing my secondary tool, the mark key. Then I hit Command home. And that's going to bring that over based on your scene selection. In this case, I was selecting see number eight. What if I shifted my attention, so I'm gonna hit tab, move the focus over to live loops, and I go to C9. Alright, I'll hit Tab again. I'm back in side the tracks area. And this time I want to select, let's say a big chunk like from there to there. Or if you really want to get into it, we can go into View, opened up the mark key ruler. And this may be a little hard to find. But if we look very closely right above this section, you can see something dubbed the marquee ruler. And that allows me to select the portions without necessarily having to overly scrutinize and area. And so if I want to bring the marquee selection again command home, and that's going to bring all of that information over. Please take your time when doing this, make sure you're not busy. Or under slab. You want to make sure that this is all approximate, so that all is very important. We also have the cycle range shovel-ready showed you. Let's do one or more regions. So I'll select this region by holding Shift, I'll create a contiguous selection just like that. And then also that guy. All right, command home. And you can see that everything transferred over. I'm gonna hit Command Z to get rid of those last two. So again, Option K is very important to assign copy to live loops to whatever you're going to remember. It doesn't really matter what the key command is. Okay? All right, so we've gotten markers. If I select this marker here, I'll hit G. So we've got one selected again command home, and that's going to bring all of that information over. Let's go ahead and take a listen. And it did it in such a clean way. It's amazing how accurate that was. All right. This last one is pretty impressive if the cycle mode is off. So make sure you turn off the cycle mode and nothing is selected, but the project contains a range markers, not to be confused with actual markers. And something really special happens. Let me go ahead and control click and get rid of the markers and highlight the arrangement lane here. We can take all of those arranged markers and add them to new scenes. It says here, this is a good way to quickly create a live loop scene for each section. Now I've already started beginning fleshing this out because I really want to make sure that this plays out for me, but you can try that as well. Now I want my attention now go back into the tracks area. I'm going to hit the divider column. This is global and that's going to take our attention over to the tracks area. All right? And so I'm gonna go ahead and hit Option N. To put all my focus here before you get into the process of transferring this information, I really want to make sure that you don't have any plugins on your tracks as a lot of them take up a lot of processing. See you in the case of my strings here, I'm instantiated contact and I'm also using a convolution reverb. And so that can really suck the system dry. And so I'm gonna go ahead and bounce that to audio. All right, I'm going to keep on bouncing and one really make sure that all of this translates, its balance, these so on and so forth. I really want to make sure that you take your time with this and that you get it just right the first time. If you get it right the first time, of course you don't have to revisit it. And always, always, always use your project alternatives to stay organized when you're doing this effect. Once I bounce all of this the way that I want it to sound, then essentially going to create a new session that just has the Live Loops active and has nothing in the Tracks area. And so I'll show you that here in a second. So when I bounce, I am essentially getting rid of any of the plug-ins that I am instantiating whether it's an instrument or an effect on the audio inserts. All right. So we're just cleaning up, making sure that everything is as clean as it can be. Now, some of you may be asking, well, what about the bus? What about the buses? How do I deal with that? That's a little bit more complicated simply because logic processes these on a separate track. And so that may take some time. But to be honest, if most of your tracks don't have effects on them, then you should be good. Here's a good example. Here I have a sound effect, wind blowing with a whole bunch of plugins. There is no need for that. So we're going to bounce these and alleviates the CPU resources. And other than that, I think the Track Stacks have very little processing in them to begin with. So we are good to go and hit Shift Command O. For me, that key command is open, close track stacks, and you can find that in a key command window, but everything is ready to go. I don't need this temp track that I was originally using. Remember ongoing for creating my Live Loops session, where we're under the assumption that we're playing live. Something else that needs to be discussed is the fact that we have processing on the mastering channel to give things more punch. And so if you don't need any of these plug-ins, you're going to want to get rid of them. I don't need the multimeter right now. I will leave a compressor on the channel strip just to get some bounce and some power from the music. But other than that, we are going to just insert a limiter, hopefully one that has very, very low latency. And our song should be able to sound full during the live process. Now of course, you could bounce it already mastered, but that gets a little bit more complicated. And so my suggestion is that you just create the solid mix that you want and then just apply very basic processing on the mastering channel. In other words, you don't want to have CPU heavy plug-ins like Gulf OS master or anything like that to hinder the performance that you're about to put on right now. So we're pretty much ready to go here. I'm going to close the global markers. I don't really need that. I'm going to go ahead and finish up the transfer from the tracks area into the Live Loops grit and I will be right back. 5. Bouncing Auxiliary Tracks Into Audio: For those of you using bus processing, okay? You are using effects and you want to be able to delete the effects plugin so that you're not draining your system from precious resources. Here's how we're going to do that. Okay? You're gonna take all of the ox taxes. In my case, they start basically from right here on. And so I'm going to hold Shift and create a selection. And then you wanna go ahead and control click and create track. What that's gonna do is it's going to basically bring these over to make them visible within the tracks area. So here they are. And what I did was I created a track stack for the purposes of just organization and potential workflow optimization. And now the hack here is I'm going to Control click and create a midi region. That's right. We're creating a fake dummy region here. So we can essentially bounce all of our bus processing and we can delete all of the various ox tracks. So I'm going to go ahead and Control B and just call this a bus effects just like that. Just like that. Okay, we're going to delete the original. All right, once this renders, this now will become a part of my performance. And so when we go into the next section, I'm going to utilize all arranged markers feature in order to do this in the quickest way possible. My aim here is to give you as many options as possible. So regardless of where you're starting from, you can get to the finish line. So you see what's happening here is we're saving our system a lot of energy. And so I'm going to delete those from the tracks area. I'm going to delete all of the buses starting from here. All right. Now I don't want to delete these on the right-hand side because these are Track Stacks with a little bit of processing. In all fairness, I could probably get rid of these and it would still sound pretty good. Let's check if that's true for the strings and the piano. So that's something to consider as well. You could also run the same idea where quite literally you create another midi region. If you're interested in that kind of thing, you can take the sum of all these that go into this specific group. And you can go ahead and render that. The important thing to remember here is that no matter which route you choose, you want everything to sound top-notch. So there's no need for this guy anymore, right? Because I already processed that separately. And so I'm going to delete the strings group and here's what we have now. Now without that, we get this. That's a pretty big difference. I'm gonna do the same thing for the pianos. Now remember, will control click and create a dummy midi region. And let's go ahead and bounce that. We're doing this because we want to alleviate or system. We want to make sure that there's no crashes whatsoever. This is fairly new to the logic space and we want to make sure that we just simplify this as much as possible. So same thing here. We're going to pull out the nested tracks out of the track stack, right? We bounced the auxiliary or the kind of parent track. And here are the pianos this associated those without the ox bounced. So that's a lot more power. All right, so let's scan this one last time from the very top. The only plugins that you should have if you utilize this technique are the plugins on the Stereo Out. In my case, I just have a compressor and a limiter, so everything looks good. The only thing left to do is to remove all sense because if you're sending them somewhere, then it could be affecting your audio. So Shift-click and no sand for the first bus, no sense for the second. And for the third. I still have. This one, so we'll remove that. All right. Everything is looking pretty good. Cleaned up my session so that it is absolutely pristine from top to bottom. Let me go ahead and save that. And I will go into File project alternative and create a live loops session where I will show you another way of going about this. And so I'm gonna go ahead and hit the key command G. Now remember my arrangement markers have already done the brunt of the work. Set yourself up properly to be really advantageous just as a whole. So nothing is selected. The cycle ranges off. I will hit the key command Copy to copy to live loops. All right, so let's take our attention to the live loop scripts. I'm going to Option L. And there is the session. It looks pretty clean. When I created my session looks like I created a little bit of space in the beginning. Let's delete this. I don't think we need that. Here is the introduction. I'm gonna hit Command S before I play this. Now remember, our session is fully cleaned out, have minimal processing. Let's see how this goes. Hi. So there will have to be some fine tuning based on your session Vig, no matter which way you choose, really just about organizing everything in its appropriate place. Regardless. Want to make sure that we're providing the very best content possible. So just take your time and fine tune, fine tuned 52. Okay guys, go ahead and prepare the sessions. And next we will perform. Here we go. 6. Assign a Controller to Live Loops Scenes: This video is dedicated to assigning a controller so that you can control Live loops by means of, let's say the Launch Control XL. Any midi keyboard that you're not using. It takes a note on and off message to be able to trigger these cells and scenes. So we're going to follow this, but before we do just a heads up, if you didn't know about the starter grids. Within Logic, they are really helpful. So you want to make sure that you open up a new session from template, that's Command N. One of the best things you can do is utilize these to learn live loop. So I'm gonna go ahead and open up. It essentially has a bunch of buttons that are not being utilized in these buttons. Our just midi message, let's say S3 or C Sharp 3 or whatever the case may be. And so right now, I don't have anything assigned. And so if I want to get this to operate after click on the individual cell or the scene. Now one of the most magical things that we can do is connected sale launch pad controller, something like the Novation Launchpad. They have the MK three model. Now you can get the M k2. They work wonderfully and they automatically fit with Logic Pro, no customization needed. But if you have something else, it's third party Still works well, but just hasn't been program. That's what we're gonna do right now. So we're going to click on a cell or a scene trigger. In this case, I want to hit the entire scene. All right, and so then what we're gonna do here is open up the controller assignment window. Or you can just open that up by hitting Command L. So I'm gonna do that right now. Click right here. One time I hit Command L. So that's going to bring up a dialog window. You can see that this controller assignment window is already in learn mode and it's ready to receive a message. Okay, So I'm going to click on that one more time. Okay? All right. Once you click on the assignment, which I did, all of a sudden, now this is programmed, I'm going to click on that midi message now. So that's pretty great. If you don't know a lot about Live loops in general, the way that the scenes work, they have a playback mode and they're either going to re-trigger every single time you click on that media assignment, or they're going to play as you hold that specific midi note. And the default function is it just start and stop as to be expected. So here's start and stop function. Do you really have to understand how Live Loops works in order to really get into the performance aspect of it. And this is how we essentially assign every single scene. Okay? Now remember, we can select the scenes themselves just by using the arrow keys. But if we want to actually trigger them, then we're going to have to click on the small triangle there. So it says here on your control surface, press the button or other control you want to assign. And then if you want to make another assignment, continue on with the prompt here. This information is taken from the Logic user guide to go ahead and set up your controller the way you want it. And when you are first learning this, please use the starter grids are so easy to work with and they really help you understand all of the various functions inside of Live loops. Okay, go ahead and get that controller setup. And I will catch you on the next video. 7. Recording Defaults: In this video, we're going to be talking about defaults, recording default audio defaults, Midea defaults. Let's get into it. I just want to make sure that you understand that if your system is not able to handle all of this processing, you could potentially use low-latency mode in the control bar to combat this. So this is without lowly and see, I'm going to play here. And I guess I'll turn on the clip just to give you a pointer reference. Let's see if we can get this going here. I'll just solo this. So it's kinda hard for me to play along a little bit of a stutter, right? So if I turn that on, now I have the ability to really hear this on the spot. Word to the wise. If you want your mixer to cut through the mics, go into the All mixer, not the single tracks, but the all mixer. Open up the click track and don't necessarily lift up the volume, but lift up the tonality to have it cut through a little bit better. All right, Let's give this a go. So not only can I hear the click a little bit better, but that performance is on point, lowly NC mode on, and of course my buffer size is right where it needs to be. If you can go any lower, please do that. Okay, let's talk about a concept here. We have logic as a whole, the tracks area, which is the traditional left to right workflow. And then we have live loops grid. And live loops grid essentially adheres to the timetable of the playhead. So it's like this clock that's constantly going on in the background, right? Okay. So that being said, there are natural behaviors that you can assign to an audio track and a midi track. Let me go ahead and open up a midi track. I don't necessarily need to play this in. So I'll just select an empty channel strip. Now notice nothing is particularly selected. There's no cell. I, for example, I'm not selecting this empty cell or this populated cell, right? None of them are selected. And so when I select a software instrument track, you can see on the top left it says midi defaults. And what this is telling your system is hate. When I record a midi track, by default, can you merge the midi recordings or can you replace? So depending on what you're doing, this is really going to come into play. For example, if you're building a drum sound or a drum kit Starting with the kick, then you add the high hats, then you add the snares. You're going to want to merge. But if you know that there's a possibility of you messing up and you probably you're going to want to utilize, takes or replace. So go ahead and get to know those. Well. You can set up a quantized values. So when you record, you can input quantized. So I know for sure that when I record, I wanted to always improve quantized for me. I'm not necessarily going to play on time, but I more or less have a sense of what I want to hear. And so I also want a cell length of four bars. And we're, we're telling logic in advance what is going to happen so that when it's time to perform, it knows what to do. So this is a midi default and I'm going to say, Hey, when I record the sale length, I want you to dictate that this is going to be four bars. At the end of that process, I want you to either continue recording or just start playing. And for most of us performers were going to just play. If you keep recording, guess what's going to happen? You're going to keep doing whatever it says to do here. So really just depends on what you're doing now why this is exciting is because I can tell a software instrument track what to do. I can tell an audio track what to do in advance. But the best part about this is that I can tell this one individual cell what I wanted to do as opposed to this one as opposed to that one. So if I want this one to record two bars, I can do that, but I want this one to record for, for, but also replace itself. Should I mess up the part, then that can keep going until I deemed fit or I hit the Next Key command. And if I want this last one to record just for one bar, but then at the end of the recording, I wanted to just played, we can do that too. So sky's the limit here. Just depends on your pre determined defaults to get to know the audio defaults, the many defaults. And then the individual empty audio sell default for one cell. And in the same goes for empty midi cells as well. All right, I'll give you a quick example on the next video. And we will go from there. Cheers. 8. Quick Tips: Hey, what's going on? Alright, so here we are going to give you a couple of tips before we start. I want to warm you up to the idea of how this is going to work. And so I really like no repeat. And when it comes to using midi, if you're on point, you've got great time. You can just input quantized and that should work out well. But for me, I'm going to go utilize this technology because I know basically when it comes down to it, I'll be able to use it during crunch time. I know that's going to play it a value of 16th notes. And I know that's going to be 16th notes, regardless of what it is I'm playing and it's going to record perfectly. I may not play it in perfectly, but it will record perfectly. So let's check out the audio defaults. Can see that I have the recording length to be set to sell length. And so I'll just do two bars to start, just in general. But when I get to this third specific audio cell, I want the behavior here to change. I want the recording length to be the cell length, which is four bars. And so we're going to go back and forth between this one and that one. And so let's see, this first time around. We're going to have it play at the record length and a second time just for fun. I'll have it. Just continue recording. In which case, you can also quantize, which is pretty cool, that you could input quantize audio. And so we will go ahead and do that as well, just in case. So let's do 16th notes for that one. This one I'll let loose because I'm going to play a whole note. And then we also quantize this. Let's go ahead and set that up. Okay. So I've got two predetermined cells and then just the default for this last track. Let's go ahead and press play record audio and then record somebody as well. There we go. Record enable the track input monitor if you want to listen to the effects. And my case, I have a distorted guitar. All right, Let's get it option R, or you can hit the Record button here. All right, so I'm going to cue the scene. Every single cell is ready to play back. And as soon as I hit Record here, as I'm recording, this will then start to play back. And so of course we could record it in isolation if you wanted to. In fact, I don't know. Let's just try to kick out like that. So let's not Q the scene. And we'll click here. And let's get this. Kick to play. S2 straight quarter notes. This is now just the individual. Q, the scene. Our zone, the case of the second one here we're going to select one of the takes. All right, so you kinda see the back and forth that's going on here. On this final cell. We're telling it to continue recording. And we're going to record several takes, just like we did the last time. The only difference here is that we're going to quantize the input so as we playback it sounds a little bit tighter. And then on top of that, I only want the cell to be two bars. And so that makes it a lot more easy to work with. So let's go ahead and replace this time just for fun, so that each and every tick is being replaced until at some point we just decide that this is what we're gonna do. Okay? Let's give the scope. All right. So let's say you weren't happy with that. You can record over it and replace it based on your settings. All right, Cool. Go ahead and work with it. Get used to the system. I know may be a little bit jarring, a little bit off putting at first. But once you get acquainted and once you start to resonate with the software, you will definitely take it to that next level. Alright, I'll catch you on the next one. 9. Live Loops: Okay, So we are here, time has come. We're going to be performing with live loops. Just a little preface before we get started. I do want to encourage you to create take folders with some fear performances, for example, I already have preexisting material. Now what this is going to do is going to afford me the opportunity to be able to record, maybe make a mistake, and if I botch it, I can switch over to the right take. So if you need that kind of assistance, take folders are going to play a big part in your production. And you can set that within the cell inspector right here. When you go over your recording mode, you want to say, Hey, when I record, can I replace? Of course you can merge. And for Midea, that might that might be the applicable thing to do. And so it just depends what you're doing. In my case, if I botch it, I'm going to replace the very first take because that will be live the stakes will be on the line. But then from here on now you can see I've already prerecorded some of that material. Some stuff I'll be recording, some stuff will just be kind of thrown out there and we'll just have some fun. I'm creating a little bit of structure for myself that I may or may not follow. Perhaps I'll just want to reference back. You can see that in the tracks here I've created a cycle region that has a perfect, forget if it's 16 bars, but it's a perfect integers. So that is can loop perfectly. Know my quantize starters every one bar and that's global. So I should kind of be aware of that relationship. And so I'm going to start by playing the kick, but I'm not going to play it in the traditional way. I'm going to utilize no repeat because even if I mess up and the timing is off as I play, when playback comes into effect, it's going to sound perfect. So for this one here, when we're done recording, we are going to tell logic at record end, can you play? Right? And that length will be determined by the cell. So there's a lot of this kind of work where we have to set up not just the cell defaults for audio and midi, but their, their audio and midi defaults as a whole. For example, if I don't have any specific cell selected, you can see at the very top it says cell Midea default, I've moved to an audio track. We have audio defaults. So that is a little bit of what I'm going to do. I may try and drag and a couple of loops that I have not rehearsed. But essentially the idea is that we have parts waiting for us write the base is waiting from here just in case I botch it, the course is already being filled out. And so we're going to play with this and we'll see how it goes. Let me just my name is Mark. Radiotherapy. Hi, for this problem, for clustering, for this module. Okay, so that is more or less how it goes. You can see that I did a lot of little things. I was using re-mix effects on top of the stereo output. We could have done that on an individual track by track basis as well. The whole idea is to try and get this to all work. Bear in mind my buffer size is set to 128. And so unless you have a computer that can really handle all this is going to be quite tough and really have that many plugins instantiated. I've got a couple audio things, speaker, which is one my favorites of all time about ChromaVerb to so that when you beat box or you record a tambourine or something like that, that it sounds on beyond, it's not too dry. But that's really the idea. I think when you play stuff that is already pre-existing in some ways and you can kinda come into the fold. This really works, really loved the idea of utilizing no-repeat in order to put together patterns. For example, I've got a kick pattern right here on this track. Right? So we can record that. And then if you merge inside of the cell default, you can start adding, right? And maybe you could do like 16th notes for the high hats. And then if you utilize no-repeat and include things such as velocity, and I don't know, maybe utilize your mod wheel to kinda play with the velocity. So depending on how it's played, it's harder software that could add a lot of realism to that part. That's kinda the main idea is trying to make this as realistic and obviously as fun as possible. So much, sure, Gou, I am going to help inspire, promote. But thank you so much for watching this course really is about just having fun. You could also just drag in loops during the process. So imagine we're playing, and then we just start maybe even auditioning and then bringing loops. If this is again premeditated, it could be so much better in terms of presentation. So we'll play the intro here and we'll just try and find something that you so much for watching and we'll catch you next time. Hey. Okay.