Producing Music with Logic Pro X | Solo Ray | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Producing Music with Logic Pro X

teacher avatar Solo Ray, Music Producer + MD

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

16 Lessons (2h 17m)
    • 1. Introduction

      0:58
    • 2. Templates

      4:46
    • 3. Demo Stems to Build Your Track

      1:45
    • 4. Getting a Groove Going

      13:03
    • 5. Chords and Arps

      9:04
    • 6. Adding Bass

      8:26
    • 7. Adding Leads

      11:28
    • 8. Layering

      12:01
    • 9. Saving User Patches

      3:42
    • 10. Percussion

      14:34
    • 11. Textures

      11:49
    • 12. Automation

      13:05
    • 13. Mixing

      9:24
    • 14. Drum Mixing

      10:33
    • 15. Exporting and Mastering

      9:10
    • 16. Next Steps

      3:30
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

121

Students

--

Projects

About This Class

Have you ever wanted to make music but had no idea where to begin? 

Hi! My name is Solo and I'm a music producer and music director based out of Montana.

I want to share some of my secrets about how to produce music in Logic Pro X so that you can build up your skills and create your first track in Logic. I'll be providing the full stems from One More Time, a song I produced for the indie pop artist Clo Sur!

This course is a great introduction for total beginners, but is laced with TONS of advanced techniques that even the most advanced Logic Pro X users will find helpful. 

If you've ever wanted to dive into making music, then I hope you'll give it a shot with this course! I can't wait to hear what you create!

Meet Your Teacher

Teacher Profile Image

Solo Ray

Music Producer + MD

Teacher

Hi! I am a music producer and music director based out of Montana. I predominantly produce, mix, and master in Logic Pro X, but I also enjoy using Ableton and Pro Tools.

 

I started playing piano when I was a little kid (hated practicing then, but now I'm so thankful my parents made me do it anyway), got my feet wet in GarageBand around 12, and produced my first album in Logic at 16. I can't wait to help you progress to the next step of your musical journey!

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: You want to produce a song like this. Member who made this doest is so amazing and named brings peace and serenity delays. Then all you need is this a laptop and a copy of Logic Pro. Hi, my name is solar array and I'm a music producer here in Montana. And together in the skill share course, we're going to create a track from top to bottom. We're gonna go over drums, bass, synth leads towards an arpeggiator is percussion sampling and some mixing and mastering. When you're finished, you should have a basic group that then you can either write to or send to somebody else to collaborate with, whether you're brand new to any type of music production at all. And you want to hit the ground running with some great usable sounds that are unique to you. Or you're inexperienced pro, looking to expand your arsenal and pick up some tips and tricks that I've learned over the years. This class is going to be incredibly useful to you. I can't wait to see what you come up with. Let's get started. 2. Templates: So pretty much every time I start making a song from scratch, I pretty much always going to be using a template. I really like to use templates in my workflow, mainly just because I find myself using similar routing, similar samples, similar patches frequently. And it's nice to have a jumping off point, so I don't have to go and recreate all of that stuff. I kind of have my environment laid out for me already. So I'll show you how to do that. In this video. You can save as many templates as you want. I'll update my template all the time with new stuff. I find new patches, new ways of routing stuff. So it's a very fluid thing. But it's nice to just have a little bit extra to get off the ground running. So let's go ahead and we will start with creating an empty project. And logic. You does not allow you to have a literally empty project. It needs to have something to do. So we can either create an audio track or an Instrument track. I'm going to create an Instrument track just empty with nothing there. So this is as literally empty as you can make a project. So I'm just going to kind of customize the interface a little bit to see the stuff that I find helpful and kind of get rid of some stuff that is not helpful to me. So I'm going to go up to this display mode here and go to custom. And it shows me a whole bunch of stuff here. And I just want to turn off some things that are not relevant to me. So midi activity in and out, I don't really, I don't really want to see that. I don't care about that. I do want to see low-latency mode. That'll be important and we'll, we'll talk about that more later. Pre-fader metering is cool, like there's all these specific things that you're going to develop opinions on about what you'd like to see and what not to see. It's completely subjective. There's no right or wrong way to set up your template. It's just personal preference. I like to see this stuff. These are the options that I go to often and it's nice to have. So let's set up some more stuff. Got instrument track. I'm just gonna create like a to these bad boys because I'm going to use them at some point. Audio wise, Yes. Just created those suckers to I'm sure we'll use them at some point. So I'm probably going to want a piano at some point. So I'm gonna hit option L to open my library of patches and sounds. And I'm just going to go find a piano. So I'm going to go to piano and all right, wow, these all look and sound nice. Let's do a Bosendorfer. That sounds cool. Let's see, what else will I want? I'm probably going to want some drums at some point. Let's do drum kit and fall on the floor. Yeah, obviously for on the floor of the best drumbeat of all time. What else are we going to want? We're going to want yeah, maybe some, maybe some horns. That sounds fun. Let's do a seven piece Mississippi joint section of horns. Okay, cool. Whatever you kinda get the idea once you kind of have your basic setup of sounds that okay, cool, I like this. We can say that as a template. So we go File, Save As Template. And then we can name it whatever we want and it will put it in our project templates folder. So I'll just call this my super great template that I love. And let's save that. And now I have my super great template that I love. And when I open a new project, I can start it from that template and I'm ready to get going. If you save, saving stuff as templates is really powerful in that. It saves it everything going on in the project to that template. So if you have loops going on, if you have markers going on, Tempo Information like all of that stuff, is saved inside of the template, which is create. The problem is let's say you produce a song and you have this fully finished song. And you really like a lot of the sound choices that you made and that song and you want to go back to them later. You can save that song as a template. But it will also save all, like everything that you played into that template, which is not totally relevant. If you're creating a new song, you don't really care about having the vocal from another song in there, you know? So what I would do is just before you save that project as a template, just save it as a copy first and then delete everything, all the files in there of your audio and your midi and everything. Make sure it's a copy though, not the original. But if you just save it as a copy first, then you save it as a template, you just get all your nice sounds that you made and none of that other baggage of extra files and stuff, which is a nice sort of workflow. Alright, so now that we kinda know how to make a template, let's actually start making some music and start putting sounds in that template. 3. Demo Stems to Build Your Track: We're about to dive in and get started. But before we do just a quick note on some clarification on what you actually received as part of these assets. So these are all the stems for a song that I produced called One more time. Now, a stem is basically a group of audio tracks. So if I were to open up a session in the olden days, it beyond a giant desk. And there would be, for each track of audio, a channel, and it'd be this huge, massive thing. If I open up a Logic session of multi tracks for a session, it's going to be like a 100 plus a ton, a ton of stuff that can be kind of overwhelming when we start to like, you know, remixed things or send stuff to mixers or whatever. It's just kinda cumbersome to have all those tracks. So a stem is where we'll take a couple based things and sum them together in a base stem will take a lot of drum stuff and sum them together as a drum stem. So these stems are 29 different stems. So those are some down from the original project, which was a lot bigger. So I'll kinda like group stuff together with vocal delay throw. So you know, a lot of that kind of layer of sound. I kinda summed a lot of that stuff together to have that one thing, same thing with some of the pianos and other stuff like that. I'm going to bring in the vocal, but that's, I think all all bring in. You can use this stuff to make whatever you want. So don't feel like you can only use this vocal If you want to bring in some drums or if you want to bring in some base, go for it. I have added this stuff is here for you to use it and to make cool stuff. Just let me know what you do with it. I would love to see it. So that said, let's go ahead and get started. 4. Getting a Groove Going: So now that you've got your template up and running, let's start actually making some music. So if you want to follow along, you can download the, my actual template that I use every day in the exercise files. That's what I'll be using. So, alright, we got our template here. Let's start working. I'm going to just first save this. So in case I don't know, in case something happens or whatever logic will save me. I'm just going to save this as one more time, 20-20. Alright, like I talked about in the intro, we're going to be working from this one more time song that I produced for closer. She go check them out. And we're going to bring in that file now. I think we're just going to grab the vocal. The other stuff is cool, but I kind of just want to maybe see if we can kind of go in a different direction and just see what happens. I don't know. I think that could be fun. So I'm gonna go in the exercise files. I'm going to go into the stems and I'm just going to grab the vocal lead and drop it right in here. Logic is telling me that, hey, this has Tempo Information. Do you want to use that? Yeah, that sounds awesome. I'm gonna import that. Oh, it has markers in there too. Sure. Let's throw those in there. Oh, nice. It tells me where it starts. Cool. So looking at this vocal, let's give it a listen, a blessing to you and just so you can use me. Yeah. Then come and nasty lie. Don't come around much anymore. It's called David's got a great voice. Alright, so we got a verse, chorus. A little bit, kinda like a hook section and bridge sort of like those little like groups of different of the arrangement. So I think I like to start by just getting some sort of groove going to me. I feel like drums really define the feel of a song. Drums or lack thereof. So I think what I'm going to start with right now is just adding some sort of rhythm in there, some sort of drums Just to give us a semblance of what's going on. So let's press option L to open our Library for sounds. And I'm going to go to, let's see, let's do electronic drum kit. And you'll know some of these sounds have this little arrow by them. And that just means that you haven't downloaded sound yet. Logic has an insane sounds that it comes with. It's really, really incredible. So yeah. And they're constantly adding stuff too. Like, I can't even keep up with the content they're adding. It's awesome anyways. So we got our cinematic funk kit. And let's give this a listen. So if you don't have a midi keyboard or any, any way to actually play the sounds. That's not a problem at all. You can use your computer keyboard, actually do that really, really often there are days where I'm just at a coffee shop working, making beats and I'll just use my computer keyboard. I don't need anything else. It's got everything I needed. So the way you can do that, you can go window. And then there is this show musical typing, this little option right here. If you click that, it turns your keyboard into a keyboard. Just trace it. So we can go in and hear some stuff. Okay, so let me just try. And that is Wild. I think I'm only really going to worry about kick and snare right now. And we'll kinda add some other stuff on top of it. But I'm just going to loop kind of the verse. And I'm just gonna play around and see if I can find some sort of interesting rhythm. Oh, how to loop a section. This little yellow bar up here is called the cycle. If you drag anywhere from left to right up at the top of the project where these little measure numbers are. It will start looping that section. So if let's say I want to loop from 35 bar three, bar five. It'll create a loop there if I want to drag from here to here, whatever. So I'll loop for maybe the length of the verse and which is probably 16 bars I would imagine. Which is see you, that sounds like a blessing. You and for y, we'll just so you can use me. Yeah. I'm going to turn on the click with keyboard shortcut k for click. A blessing to you and just so you can use me yeah. Then come in as Nuwa, don't come around much anymore. You do something like that. A blessing for you and for Y. Just so you can use me yeah. Then come in as you come around much anymore. The truth is, keep it simple. Just do a four on the floor with all snare. A blessing you for Y. Just so you believe me. Then come and ask me why I don't. Cool. So I played that in oh, yeah, r is recorded. Sorry, I didn't say that. So we got our little beat here. Now, this is a groove on its own view. Click off with K. A blessing. You started to see this is a groove in and of its own. If we really want it tight. Which is very subjective word and music, but we can quantize it so that all those hits in those samples are occurring right on the grid. So this is what it sounds like, fully quantized without my sloppy. Like everything has just completely locked in. I quantize stuff a lot. I think it's cool, but not all the time. I think the stuff that's really important to quantize is like very foundational things that kick drum. I'm not an amazing player that can really get a ton of feel out of like, especially on my computer keyboard, playing in a kick drum, it's not going to sound that great. So I'll just lock it. And especially for the style of music, of dance music or anything, anything else that's like supposed to kinda be synthetic. That's okay. So I don't know the whole idea of like quantizing. We are not quantizing stuff. There's no rules quantize it. If it's not feeling right to you, cool. If it's feeling pretty good, you don't, you don't need to quantize it. I mean, I think it's like try it without it. Tried it with it just to see what it sounds like. Just don't ever just make sure you're deciding what to do and it's not just a default of oh, I played it in, so I have to do this or no, that's always bad. And every situation is different, every part is different. Just try it and see what it sounds like. In this case, I like how it sounds quantized, but I'm gonna take the snare. And I'm going to just shift the center back little bit on some grabbing the actual midi note and just moving it to the right, which is later. If you want to be really precise with the movements, you can hold down Control as you're moving, and then it'll be in super, super fine increments C. So I can just like barely nudge it back. And let's see if I it's telling me that number there, how many samples? I'm actually moving it back. So let's see, like 25. You can kind of hear that flam. That would be a little too much. Let me just bring it back a little bit. Cool. I think it sounds good. So that's like a basic grief of cool fall on the floor with a snare with a little bit of delay on it. Yeah, that sounds good. So now let's kind of get some, some hat's going, some sort of additional movement. So what I'm gonna do is I'm actually going to use logics and drummer track for this, which I really like using for sort of percussion things or just other sort of auxiliary parts of the kit. Drummer is basically all these different midi patterns that based on the stuff that you tell it to do, it will kind of generate jump patterns for you. So I'm going to create a drummer track. And the genre is, yeah, I guess Hip Hop genre doesn't whatever genre as a whole fish. But we're going to, yeah, we'll do say hip hop for now. And here's where we can turn on or off different parts of the kit. So I don't want it to generate a kick drum because I played into kick drum. I know I want it for on the floor, so I'm going to turn that off. Snare. I mean, I got a snare going, so I don't think I want snare either. Claps. Yeah, clades are cool. Symbols and hi-hat. Yeah, sure, that's cool. Fills, fills. We'll use all parts of the kit. So even though I don't have snare drum or kick drum selected, if I do a fill, it probably will add some snares in. But that's okay. I think like in the fill, as long as it's not part of the pattern, I'm okay if there's like a little flaming at some certain section, we can see what it sounds like. The reason fills is an amount and not like an on-off thing is because it's like how often do you want fills, you know, do you want them all the time or do you want them, you know, just a little bit and you can kind of see the pattern change as I bring this knob down so that it looks like, you know, every sort of four bars, it's doing one. And this is like barely won and okay. Yeah, let's see how that sounds like. Yeah, awesome. Just some incident vibe. That's great. So let's see. We want this to last eight bars. That's cool. And how long's is lasting? Three. Let me drag respect too. So that way this is looping at a nice even rate. Alright, now let's bring back the vocal in for y. And we can just start to go through and build out an arrangement of like, okay, we're gonna want drums here and we're not going to want drums here. We're going to want like more drums here. And these are going to be little, you know, whatever. And just by using these sort of two patterns that we have, that kick and snare and the high hat and claps and stuff. We can kinda start to build out an arrangement. So in the verses probably just kick and snare. And that's kinda what we did originally. And I like that group just so you can use the free course here. But a due into had to confess. So chorus right there. Maybe call fit, broke down there. I think that's nice. Seeing Lamont time undressing one more time. And then the again one more time. One more time. We'll change things. Will my time in, then the again, one more time, more time. Berman, that's like kinda hook. So let's have another section right there. When my time in then the second verse there. Cool. Okay, yes, so that's kinda the ideas we'll kinda just go through very, very quickly through each part of the song and make sure that there's some sort of rhythmic element happening. Or if it's not happening, that it's, we know that we are intentionally not having something happened there. Just to kinda start with a skeleton of the song that we can add stuff on and have it make sense. So that's the basics of getting a groove going. And in the next video we'll kinda talk about starting to get some actual cord's going and how to frame the harmony of our song. 5. Chords and Arps: So hopefully by now you have a beat that you like. And you've downloaded the exercise files And you're following Long. Now we're going to start adding in some actual chords. So let me start with getting little RP going and arpeggiator, I think that could just have a cool sort of movement to it in my head. Well, we'll see how that turns out. So I'm going to grab one of these empty instrument tracks that we have. And I'm going to just add in a synth that I like that's built into logic called AS2. And I'll open up the keyboard by pressing Command T to play it. Okay, cool. So I want it to kind of arpeggiate, which is like but, but, but, but, but, but, but, but play through the notes in a chord. So I'm going to go to the midi effects little menu right here. I'm going to click arpeggiator. So now when I play a couple notes, it will kinda step through them, which is cool. So I can give it a chord. And it will go through it, which is nice. And then, you know, there's all sorts of options for how you want it to do that, either picking the nodes randomly or whatever. I'm just gonna kinda leave it as it is. And I'm just going to play in one chord. And I'm just gonna kinda put it in there. And then adjust the parameters on the synth. And as it's playing, all kinda be listening to it and try and just kind of get it to move in a way that is pleasing to me. So and we'll hit record and we'll drop this Corbin. Okay, cool. So now I got that chord in there. I'm going to open up that midi file by double clicking it. And we can see the notes here, get out of the way. He S2. So I can see that this is obviously it kinda sloppy because I'm just kind of throwing it in there on my computer keyboard. This is something where I do think and be nice to quantize this. Because if I'm going to be, whoops, if I'm going to be looping it, I kind of wanted to fire at the same point. So in this instance I am going to quantize it. And then a cool trick you can do so that it always goes to the very midi notes. Go to the end of the bar exactly is hitting Command F. So we're going to hit command a for all of them in the notes. And then Command F, which is for follow. And so it'll say, oh, there's notes overlapping, you know, what do you wanna do with the ones at the end? And I want to shorten them so that it'll stretch them all out. And then anything that's longer than the bar length, it'll shorten back to the end of the parcel, hit shorten. And now we've got this midi note that is exactly two bars long. Which means that when we loop it, it'll constantly loop. There won't be any gaps in it or it won't be too long and they might not reach trigger anything weird like that. Anything that's like a nice, sustained sort of texture. It's nice to have used that follow features. You really want it to be nice and seamless. So let's listen to our arpeggiator. So I kinda want this to be a little bit more plucky and have kind of a, a very distinct start. So when I'm going to do is mess with the envelopes. And envelopes are the change to a synth over time. So, and every time that note fires, every time I say C or D or any node, whatever, it will follow the envelope, it will have an attack of something going up. It will have a decay going down. There's all sorts of different parameters, so I'm just going to kind of fiddle with them and try and get it plucky, which means probably short decay, short sustain, and longer release. Let's go see what that sounds like. The truth is Zack and Mozi. But it's exit previously. And had to confess to you. Just so you can come in as a lad. Coming around much anymore. Okay, cool. That sounds pretty good. Now let's maybe add some delay to it, something that can kinda just widen it out and I don't know, give it a different texture. So I'm going to use this tape delay plugin, which is built into logic o, which by the way, if you didn't see it, when I said that, you can go to Select a plugin and this plugin menu to get onto delay. And then tape delay. It'll be right there. You'll you'll notice I have probably the same plug-ins, but I'm going to try and use only stuff that you will have available if you're following along in the exercise files And at the end of the course to, I'll go through all these free plugins and free samples that I think are really great that I use all the time. But what we'll get to that in a second. So tape delay, let's just see what it sounds like right out the gate for you. Just so you can use an Yeah. It's at a quarter note, which is exactly the same rhythm as what we're doing, which is not super helpful. So what I'm gonna do is I'm going to do this at a dotted quarter note so we can get kind of some really chaotic stuff for you and for Y. Just so you can use me. Yeah. And so to not make that super Samy, I'm going to add some deviation, which is basically just going to make it so that it's not quite a dotted quarter note, it's slightly off which you'll, you'll have kinda, he's like, Cool, that'll Flannery sort of characteristics. I bled for you and for me to see you come in as you lead. The truth is second node xj modulation these hoping maybe you played it takes its roof caves and had to confess. Blend for you for just so you gave me come in as a ladder. That's pretty cool. It is still like pretty everything's very like down the center. So I think let's add a little bit of reverb just to kind of spread it so that it's not all right in your face because the vocals All right in your face. So let's go to space designer, which is my favorite reverbs. Let's go just a simple room ambiance and let's see what that sounds like. Just so you can use the Comaneci let Yeah, that sounds great. Now, Let's maybe add it's helped widen it, but now it feels like a little distant. I kinda want to bring it bring it back a little bit to tighten it up. So I'm going to add a compressor after everything. So after that delay and that reverb, I want to compress the signal, which is just going to kind of squash it and make it a little bit louder and less dynamic. So it got the compressor on there. Let's just see if that sounds like out of the gate. It's barely doing anything. So I'm gonna take this threshold and just bring it down. And you'll see on the graph, it start to take more and more of it down. Google helps tighten it up a little bit. Okay, so that's some basic sort of harmony of like, okay, this is the key of the song. These gives me more of an environment to play with. So go ahead and follow along, dropping, so harmony to your tracks. Try and find some sort of shape that you think is cool, whether that's an arpeggiator like I've done, or you're laying down some more chords. Whatever you wanna do is try and get something to where you're building the track a little bit more. It's becoming a little bit more of an environment for you to play in. And then we'll start adding in some base, which is just going to further define those chords. 6. Adding Bass: So if you're following along, we have a groove going. We've got some chords going, or in my case, literally one chord. But you can get away with that. If you use the base to kind of really defined the chords and define the different sections and stuff. So that's kinda my approach right now is I, I like that art that we came up with. I think it's pretty cool. And I'm just going to kind of loop it for awhile and I might mess with it later, but the base is really what is going to define the chords of the song. So let's get some base go and I'm going to use that same synth. I'm going to use AS2 again. And this time I'm going to jump through some presets a little bit and try and find something that is maybe close to what I want. So if we have the AARP kind of plucking along, we, there's a couple different approaches. We could have the base also plug along in kinda the same way to where it's, it kind of becomes hard to tell what's what it just kinda feels like this, you know, everything kind of flashing together. That's cool. Or you can separate them further to where like, okay, if the art is really going to be very steady, then let's have the base be very sustained so that it kind of separates itself apart. That seems to me a little bit easier to do as far as like that. That just seems like it'll be easier to digest when listening to. So I'm going to try that first and we'll kind of see what that sounds like. Divine base. That sounds like it should be good. I'm gonna see what this sounds like. It kind of does. So what I'm gonna do is that, that has a very aggressive envelope when it starts like air all thing. Cool. But for I want this to be something that just sustains throughout that AARP because and really have that kinda be the thing that's rhythmically driving it. So I'm just going to turn down that envelope. You can see in this this middle area of the synth, there's all these scary-looking sort of parameters. It's just kinda saying what is affecting what. So in this case we can see envelope to is affecting cutoff, which is the target. That's the filter, which is actually like making that sound of narrow that thing. So if I bring this down, that envelope will affect it, the filter less. So let's yeah, like that's not at all affecting it. And you can hear that kinda like click when it starts right away. That's because the attack is set to 0. So it's literally snapping ON instantly. I'm going to add just like the tiniest bit of time to that attack so that instead of just like snapping on, it kind of like gradually turns on, but so, so slowly that we're not really able to perceive it, it just doesn't sound like a click anymore. So instead of 0, I'm gonna do like 0.01. and then same thing on this one. A little bit more. Yeah, that sounds good. And you'll notice when this isn't legato mode. So legato means that if another note plays while the first one is still playing, it won't reach trigger all those envelopes. Although settings, it'll just kind of move the pitch up. So that can be cool if you're kinda doing like the, you know, the sort of shapes that kinda glide up there. You know, for me, I kinda wanna play in mono mode, which is where every note will reach trigger the envelope regardless of what happened before it. And only one note will play at a time. I think that seems a little more playable to me with this sort of sound where it has kinda that decays like that. I just like it. So let's go to the start of our groove here. And let's fish force notes for you. Just so you can use the truth. The second house even knew him let it be 3B. And in fact, that's kind of cool vibe, I like that. So I'm gonna go ahead and plug that in art or chord three for that view. To see the monastic life. Even human, that'd be really cool. So that, but at the very end there, we'll resolve back to that first note button. But it takes a proof. And same with this. I think I do want to quantize this. I just want this to be like absolutely locked in and to hit at, right kinda with the kick. It's kinda turning into an 808 thing, which is cool. So what I'm gonna do is I'm actually going to take our original kick and have it follow that new pattern because I think that, that actually just hits harder. So let me open that back up real quick. So I'll just move that kick back. Yeah, cool. Let's listen to that and maintain that base down a little bit. Just so you know, that is not through the medulla. I want this that and because we're having that there, I think would be nice to turn off these kicks, their firing with the snare so that you really are only getting kick on those, that rhythm of that base. So a shift clicks, all those kicks underneath the snare and I was hit n to meet them. Let me just so you can use the commonality lived. The Chief Executive Officer giving you hope, really channelled. That's nice. Ok, I'm going to skip forward to this drop section here with these hats and sounds like my head, it should sound. But will say, yeah, that sounds awesome. Okay, cool. So that's the base. I mean, sure. We can refine it more and refine the tone of it more. But as far as like finding a groove and a vibe that's solid to me, that's feels great. So yeah, that'll only get more and more refined as, as it goes on. But baselines are so subjective and they can totally change the feeling of the song depending on how hard they hit, how aggressive they are, how smooth they are. I would love to hear what you guys come up with. So if a couple of videos we will go through the process of actually exporting a song. But man, if you have a baseline that you think is cool, I would love to check it out. So Post-It, tag me on social media, share it with the class, whatever I would, I would love to hear your guys baselines. I think I'd be cool. Coming up next, we'll talk about creating lead lines and hooks and everything like that, which is really, really fun. So, yeah, hopefully you're following along, share your baseline with the class. Let's go to Hooks. 7. Adding Leads: So in this video, we're going to talk about creating lead lines or hooks. Basically the thing that is going to make it a hit or not. This is the catchy as part of the song or it should be anyway. So what we're gonna do is kind of listen to the song right now there's this spot right after the chorus that just is very obviously o, here's where a thing goes. One more time. Just so clear that there's something suppose to be there. So what I'm gonna do is I'm just going to a loop this section. And then let's come up with a, some sort of hook or a lead on. Let's do this. You know what? Let's grab a bit of the vocal. Let's chop that up. So let's listen through here. So I'm thinking on that downbeat. I kinda want something to hit to like really send us into that next section. And I was trying to like, listen through the vocal one more time, one more time. Like the downbeat kinda comes in the middle of that phrase. So it'd be cool if like one more time and more. And we literally like punch in right there and like cut it out. And I don't know, that could be like cooling aggressive. Let's see. So I'm going to take that time portion of what he's saying. And if you are using the marquee tool, by the way, which is if you hold command, it will go to whatever your secondary Tool is here in your toolbar, which most of the time is the marquee tool. Just seemed I have it's otherwise just seems to be the most useful. So I'll do command. And then because I want this to be very specific and like kind of I don't want logic to help me make the selection. I'm going to also do control. So that can really get nice and specific. And I'm just going to select that and click it. And it'll automatically chop it up, which is great. I don't have to go to my scissors tools. I can just what I want in an old grab it. So let's take this little snippet here. Let's listen to that goal. So I want that to be like a huge distortion wash. That just is like almost like a cymbal hit or something. And then maybe we'll make it a lead out of that. I don't know. Let's see what that sounds like. So let's start with yeah, let's start with some distortion. So I'm just going to go to distortion to just built in to the logic. I really like this drive. Already a little bit crunchy and a little more. Yeah. So you can see as we distort something, we're going to bring up the noise floor. So all the other stuff that was going on that was quieter as we're distorting it. That stuff is kind of getting louder too. You can hear like at the end some of that like nasty, noisy. It's really, really subtle in there. But so because that's coming up, what I'm gonna do is shave some of that stuff off with an EQ. So where it says EQ right here, I'm just going to double-click it and boom, it's created an EQ plugin for us. I'm going to use what's called a high pass filter, which lets everything above it. Pass-through everything higher than the filter point passes through high pass. So I'll click the high-pass and just kinda bring this up. You can see this is where the bulk of the information is. So we can just bring everything up right under there. And I kind of want this to be a steeper shelf. So I'm gonna make this a little bit steeper. Goal. Now, let's add in a kinda wanna hire element to it. Be cool if like time, but there was also like an octave above that. So I'm gonna go into pitch. I'm going to go to vocal transformer. And we have pitch and form it controls. So I'll pitch is pretty simple. I mean, that's pretty self explanatory. It's like the pitch, but formats is a little bit different. I'll I'll just play it for you. It's a little bit easier to hear it than to explain it that affect that sort of effect or kind of the chip monkey sort of sound. So both are useful. I think kind of my go-to is I really like pitching something up and then dragging the form it down is just very obviously synthetic. And it just, I don't know, it just has kind of a cool character to it. Yet. See that? And then let's maybe instead of a 100% Wet, let's maybe bring the mix down a little bit so that it's kind of both of them and we'll kind of play with that balance. Okay, cool. I'm gonna try it. Let's see if this sounds like before the distortion. I think it sounds a little better. Let's add some reverb to this now. And I'm going to use space designer again and wouldn't make sure to use the stereo version of the reverb because this signal is mono, logic gives the option, hey, do you want to keep this a mono signal or do you want to make it stereo if you're adding a delay or reverb or something like that. So I'm going to, I'm just going to pick something huge. Let's go like a hall. Yeah, ancient church, huge. Nice, awesome. And now it's at a compressor to that too, just to smash it back down. Sweet. And now, so we have all those effects on that original time. So if we turn all these effects off, well here what we started with, which that's still the, the file. So if I want to turn this into a lead into like a playable thing, I need to turn all this stuff on an actually render this out as audio so that I can then do stuff with it. So logic is, makes it really, really easy to do that. All you do is right-click on the file and click bounce in place. And what that'll do is it'll say, hey, would you want to call it whatever. And now this new chunk of audio that it gave me has no plug-ins on it. It's completely drive, but it sounds like the stuff we've been working on. Super cool. So we can take this. Oh, I didn't print the tail. Okay. You can have it print where it's just the selected region that you have. Or you can have it print the entirety, the entire length of the effect. So in this case, actually do want that tail because I want if I'm holding out a note, I want that note to last, so I'm going to bounce it and place again. But this time I want it to leave the source and I wanted to include the audio tail in the file and the region two, just so I can see it. There we go. Now it's nice and long. So this file, check this out. If I want to just turn this into a patch that I can play, convert to new sampler track. And it's gonna ask me, hey, okay, you have a region. Do you want it like one of them or do you want to us to analyze it and chop it up or whatever? In this case, I do want a region, so I'm just going to click that. And it gave me an instrument where I can play it. But in this case, it's like I can play that one note, right? But I want to play all the notes. So what I can do is I can take that file that we have. And just by having this sampler window open, if I click that file and drag it, I can drag it onto the plugin window and I can have it map it for me. So I'm going to drag it into optimized and I want a zone per file. And now it automatically spreads it across the keyboard. So anytime I play it created that whole we can even play chords with it. That's dope. That's a synth patch that nobody else in the world has. Because you made it from picking out the sound and adding stuff to it and creating a patch with it. Nobody else in the world has this exact same sound, even if you're following along with the exercise files And you're literally following step-by-step what I'm doing. It's not gonna sound exactly the same because you're parameters that you adjust to is gonna be slightly different. And it's always going to sound different. It's always going to have a slightly different edge to it, which is super, super cool. So this is a super useful approach for creating lead lines and stuff that are entirely your own. And that also sound different every time two at the same time, it's really, really cool. So now that we have this, let's play it. And let's see if we can make something pretty cool. No, I never choose to walk in there. And make sure that it's nice and legit. And let's see, that sounds like this. Put it where it should go. Yeah, cool. That's a cool for bars for that. Um, yeah, I want to quantize that to just have that be nice. Yeah, cool. So I still think it'd be cool if we had that initial hits. And so we'll kind of go over that and adding textures and stuff in, in later videos. But as far as creating a lead, that's how you create a lead. That's super cool. 8. Layering: So if you're following along, you just made the dopants synth lead of your life. And now we're going to start layering some other sounds and other stuff. In that section. I think I'm just gonna kinda focus on this sort of this post chorus section, this sort of hook. I just think that feels the most inspiring to me right now. So I'm going to zoom in. Let's set our loop section here is drag for bars. And now let's here we go. So we need that burst of something happening at the beginning. So let's open up our lesson, grab one of our instrument tracks. And let's open up our library. And let's go into me. It'd be cool if there was like some sort of like timpani thing that we could mess with and process like some sort of big rolled. I don't know, I'm kinda hearing something like that in my head that could be cool. I have no idea if that's even possible, but let's see what we got. Okay. Tiffany's see if we can find a role. I could've sworn there was a role in here. Let me see. My OK. I'm going to open up that sampler and go to picked on a preset here. And this is a different sort of preset then the patches that the patches preset it like when you hit option L and C, all that stuff. That's a full chain of plugins and your instrument and all that sort of stuff. This, what I'm looking at right now is these are the presets within the actual plugin itself. So in Logics case in this sampler, I'm literally looking at just banks of sounds. Banks have samples that are only within this sampler plug-in. But in my case, that's okay because I'm looking aha, for this timpani tremolo crescendo, timpani, single strokes. Yeah, crescendo would be cool if that's like a sort of thing. Let's see. We got yeah. Yes, we okay. So I'm gonna record that in and then we'll kinda chop it up and make some cool hits. Okay, what's quantize that? And because I'm just going to be chopping this up, I really don't care about anything else right now. I'm just going to maybe the velocity I might want it to hit harder. Let's see. Like yeah, let's go. So I'm going to take that and bounce that down, right-click bounce in place. That will render that out as an audio file. So now even just looking at the waveform, you can see there's that huge sort of rush and then boom that day kit. So I kinda want to make something cool with that. So I'm just going to delete this original thing. And let's use this. To start us off. So this will kind of say, hey, something's going to happen, look, kinda come in. But then it actually hits. We're going to meet it. So it's just kind of the rise and then we'll have some sort of yes. So maybe for the start of it will grab it and like yeah. And then we'll add a bunch of stuff to it. So we'll take this octave up one and lets us get crazy. I'm just gonna add a couple of facts without even listening to him, and then we'll kinda tweak it from there. So let's add our distortion to, you're messing with earlier. Let's add, let's see, definitely want reverb. You Went reverb all the time. That was sarcasm By the way, you definitely don't want reverb syntax. Okay, I'm gonna do, let's do large hall. Yeah, church tower, cool. That sounds good. And then I know we're going to need to chop off some Lohan. So I'll just preemptively do that. And then let's compress it back down. And ridiculous, irresponsible amount of compression. And let's OK, cool. Let's maybe add some delay. So let's get our we could do taped delay again. Yeah, let's do that. And we said be an eighth note. I'm pretty sure. Let's go all the way down to sixteenths. We get our deviation. Quite as much more feedback. And let's just kinda mess this up a little bit. So it's not super clean. Nice and stereo. Okay. Let's see. I can't even hear that pump that compressible kinda bring up some of those repeats. Let me make these filters not quite as aggressive, very subtle, but just kind of makes it one more time. Going into this verse, what's maybe we'll still have that coming up, but we won't have the initial hit. And everything. So when it goes in there, I don't want reverb, so it looks like it's yeah, it created a bus for us for some reverb cell. Just turn that off so that everything goes away. Same thing with this, okay, with this ARP. Let's also, if we want to layer this so that, that feels very abruptly ends. I'm going to bounce this whole section down to audio. And I'll just call it art so that I can cut off the tail at the end. So see how on it's own right now. You get some of those delays and the reverb and everything that kinda carries off normally, that's cool. We like that. But for this, I literally wanted to just stop. I don't know, into the verse. I think it's cool. And then what we can do with that thing that we cut off, we'll use it as an effect earlier on. So we'll loops, we'll open it up. And first have it not be muted. So we can go, when we double-click on an audio file, we can mess with it a little bit. When we double-click on a midi file, we can edit the notes on an audio file. We can do a couple different functions, one of which is reversing it. So if we click this file, sudden menu, we can go functions reverse. And so it will reverse it based off of the length of the region. So I'm just gonna make sure that this is a nice like even length. So I'll make sure this region is two bars long. And then when I reverse it, it will be, boom, we have R2 bar, reverse sort of effect. Let's make another audio track so we can move this around. Let's kinda play with this with make that sure that stereo. That'd be cool to having something there on that snare hit. So which is right there. So we move that so that everything kind of crescendos up to that. And then I'll add some sort of, you know what, let's just copy and paste the effects we did on this copy. Channel strip setting. Third is, and then we'll paste channel strip setting. And that will take all those same plug-ins that we had on the other channel and move them over to this one. Bump that up here, that yes, so that's way more than what we want. Let's turn that stuff off. Let's cut off more low end. Cool. So I want to kind of even more drastic of a rise. So I'm going to, let's trim this back a little bit more. And then I'm going to add a little bit of a fade to sum is going to go to the corner and it automatically turns into a fade tool. Yeah, cool. And then you notice that click at the very same click from earlier when we were making our synth pad and stuff, right? So what we can do is just add a tiny, tiny fade at the end there, just so that it's not 0. So if we move it to one or to whatever, then it won't happen. Because it's just a fade enough that it's not going to click. Then we can use that and we have some more texture in there. Yeah, cool. And it's just like keeping on doing stuff like that, finding little moments of kinda ear candy and just interest stuff that there's never a dull moment, something is always happening. And that makes it groove harder, you know, when there's just stuff that makes sense, it's not just a randomly placed, well like it's swelling into that sneer hit, which makes that snare field louder. It's finding ways for everything to kind of flow and move together. And that's kind of my philosophy on unlearning synth sounds. I just kinda want everything to have its own little spot and constantly be handing off to the next little thing. And yeah, it's super fun to do and it's easy to get lost in and just have it extend on forever and ever. But it's super, super fun. So we kinda got some pretty cool sounds. We should save these to use later on. So that's what we'll talk about next video is how to actually build your own library of sounds moving forward. 9. Saving User Patches: In this video, we're gonna talk about how to build your own library of sounds unique to you in user patches or user instruments or whatever you want to call them, your own bank of sounds. So basically, let's go ahead and do that. Now we got this lead line that we made earlier in the video about creating leads and hooks and stuff. I really like how it turned out. That's cool. I want to save that and we'll use it again and something. So what I'm gonna do is I'm gonna open my library with optional. And there's this little button here that says Save. You guessed it, it saves. So we're gonna click Save. And now we can put it somewhere. So I kinda have my library. I've sounds that have kind of already been, been building. This feels like a lead to me even though it could really kind of be a lot of things, you could turn it into pretty much anything. But for now I'll I'll throw it into leads. And I'll call this I'll just call this yet. Vocal chop. Lead. Sounds blue to me, I'm just gonna call it blue. Okay. So now I have vocal trap bleed blue in there. If I wanted to make another sound. And let's say, Oh, I'm all I know, vocal chop, lead blew. That thing was so cool. I want to use that again. I'll go into user patches. Leads, boom, I have vocal chop, lead blew, all ready to go. Great, awesome. This is just a really quick way of working in the future. You know, a lot of times what I'll do is at the end of a project on everything is sending Gray, I love it. It's pretty much done. All go through and just kind of look at the stuff that is useful that I would want to use later for something. And I'll just save it as a sound. And, you know, most of the time it's going to be kind of a jumping off point. Like, let's say if I come back to this sounds I might want to turn this into a pad and so I'll, you know, I'll add some filtering on it to make it softer. And then maybe I'll add some delay. And then, you know, some reverb. And now I have a completely different sound. Like functionally is very different. But I'm not starting from square one. I'm kinda starting from something that excited me at some point. So it's just easier to, I think, to make creative decisions when it's like, I don't have to worry about messing up the specific sound or what if I lose it? It's like I, I, I know I like it. I've saved it, it's in my library. I can call it back at any time. So it makes me feel free to I don't know, mess with it and break it and just see if I can make it sound cool. Anyways, that's something that I've really only started doing in the last year too. And it's been so, so helpful for me. Just save everything, save all your sounds. It's all cool. Even if something where it's like this is a cool sound, but I don't understand how he could ever be used in a different song. It's like the US is so specific. Still save it. You know, it could be a cool sample to use later on or you use it and process it in a different way or whatever. And if you have a sound that you think is great, share it with the class both a Dropbox link or something that I'd love to check out your sounds. 10. Percussion: Alright, so if you've been following along in this video, we've got a pretty good solid foundation of a groove and some cool textural synth layers and stuff. Now we're going to try and make the percussion a little more exciting. We still just basically have our original kick and snare and a logic drummer track. So there's really not much going on in the way of percussion. So I think that could use a little bit of a facelift. So I'm going to loop that same section that we've been working on for a bit. And let's listen to the drums and see, see what we can, see what we can think of. It's cool. I feel like something needs to drive it. It's, it's a little floaty and with all the kind of swelling synth reverse stuff which is cool, then there needs to be something that is like carrying the main beat forward so that those accents to the snare art are a little bit more predictable. So what I'm going to do is let's start by just meeting that. And let's start just programming in some like a shaker or tambourine or something. You know, this is a good opportunity to take a look at apple loops. So the built-in loops that come with logic are fantastic. Some of them, there is an insane amount of loops and insane amount of content more than you need. And honestly, if more than is helpful sometimes because there is maybe about 50% of it that is just, just, just not going to be relevant. But, you know, it's there and it's helpful to like, everything is fuel for some sort of sample or some sort of whatever so you can get use out of everything. But for now, I kinda want some sort of percussion thing that's going to be steady. Some sort of steady percussion that's going to help drive the beat forward, our main kick and snare rhythm. So I'm going to go percussion and I'm going to go, let's see. I have no idea what celestial percussion ensemble sounds like and the fact that there's a key to it. Yeah, that's not what I want. I need something that's going to be very, very chill and something that is going to be very, very simple. Ok, so this is a drummer pattern that looks like triangles. Interesting. Yeah. I don't know. Let's see. Oh, not a drummer track. Okay. Let me make a drummer track for you. Get got a drummer track. Let's drag this back up too. The rest of our instruments. So I'm gonna make sure that starting on a downbeat, right? Yeah, well, we'll even in there from now. I'm not crazy about it. I'm going to mute it. And then we'll keep looking for some other options and see what we can find. A good example of something where using a loop for, you know, not a loop, I don't wanna loop. Take this piece of audio and just loop it. I feel like that would get pretty annoying pretty quickly. But there's a little flam in there that would be really great to have as like an accent or something like halfway through a measure. Soil apart to get out of debt, debt. That would be really cool to have, especially if we like have it sent to some verb halfway through or something that feels like that should be a snare hit. Yeah. So let's go and find that. That is the snare. For sure. See what sounds like. Yeah, and then we'll have that be the repeating thing. But only once a bar, we don't need it happening as often as that was doing. And so maybe on these times, we don't have the kind of the trill leading up to it. We'll just have it start with the extra layer. So I'll zoom in and kinda just add a little fade here. So in these first two we get the full kinda movement of it. And on the other two, it's just slightly different. Will cut off that first little bit. Nice and cool. Let's go. Now lets get, we still haven't gotten the thing we were originally setting out to do, which is just that some normal i hats. So okay. Shaker. Oh, okay. So like okay, this is a good example. I like the sound of the shaker, but it's swung a little bit right? Rhythmically. It just kind of is a little bit more relaxed. Instead of the debt that everything else is pretty straight like with arpeggiator and everything like that. So what we're gonna do is we're going to have logic slice up that loop and quantize it for us. Normally you can only quantize midi, but logic has done some pretty cool stuff to where it will analyze your audio and chop it up for you based on detecting the transients. It does a pretty good job most of the time. Sometimes it needs a little massaging. We'll kind of see how it does with the shaker, which doesn't really have super like defined transient. So I'm a little curious to see how it does will open up that logic of that process of logic, editing audio like that. Called flex in logic speak. So we'll open our flex menu. It looks like this little DNA thing here. And then we kind of get to pick what algorithm it's going to use. So we kinda tell it a little bit about what the audio is and it will use that to determine what it's gonna do. So I'm gonna click slicing, which is where it's actually going to cut it up. I don't want it to stretch it. I want it to like chop it. So it kind of found some points here. And let's quantize that now. And let's see what that sounds like. Trying to click on for reference. K kinda sounds the same to me. So what I'm gonna do is I'm going to help it out by moving stuff around. So yes, C, that is the other thing which is a little bit late. Just going to drag that a little bit closer. Same thing here. Drag it a little closer. Let's maybe do. How far is that? You only really need like two bars or beats rather. Yeah. Let's make sure this guy is nice. Then might be on all ready. Let's see what that sounds like. I think that sounds better. I mean, there's still a little bit artifact thing going on in there. But I'm not too concerned about that. Especially in this style thing that's kind of okay. Okay, cool. So we've got that shaker and append that to one side. So I don't want it like, I don't want it to happen and be like, whoa, that's a cool shaker. It's just kinda meant to add a little bit of extra excitement in width. So we'll put that one shaker on one side. Let's copy the track. And on this other one, it'd be nice if I could find some sort of either different shaker or a tambourine or something. Oh look at this timber means. So this tempo here is like the tempo that the loop was recorded at. Logic. We'll match it to your current project tempo. But it's still nice to try and find something that's, it doesn't have to warp it too far. You know, It's powerful, but if you can find something that's close to the tempo, it's gonna sound, you know, clearer and more transparent, which most of the time you want to go for it not always. I mean, sometimes it's cool to get like an obviously synthetically warped sound. That's cool. But for now it's kinda wanna clean thing. Hits. Okay, so that's a nice little pattern. It looks like just by looking at this, the majority of the sound is kind of on the left. You can see those two bars there. We listened to it and straight up and down. Yes. Kinda mainly on the left. So I'll kind of lean into that and be like, OK, if you want to be left, cool, go for it. I'll put my shaker over to the right, which is a mono signal anyway. So it doesn't matter that way we kinda have a tambourine or a left and a shaker a little bit in the right. Kind of adding some width. Nice, cool. Click off and loop that with L. Turned the flux menu off so I can see what I'm doing. Cool. I still haven't gotten to our hats, which was the original thing that I was going to do. Will added some hats very quickly here. Okay, so let's add a new instrument track. Let's open our library. Let's go, let's do some acoustic cats and then we'll just like mess them up a little bit. Sound cool. Alright, let's are for record. Okay, so we kinda got basic sort of rhythm there. And I'm just kinda like playing around, just try and stuff. I have no idea if that'll work. One quick, the way that you can add some life to your hi-hats. As I played that, I was just tapping them in all the exact same time, exact same velocity. On your computer keyboard. Can't tell how hard you're hitting it. It just if you're hitting it or not, right? So one thing we can do to bring some life into it is to emulate the feeling of a real person playing a hi hat. When they play a hi hat, if you're drummer, you'll hit the down beats a little bit harder than you will. The off one's right to your kind of naturally going on and off. So what we can do is mimic that. So i'm playing all the same. I'm going to select all of them and copy them forward one beat. So now we have twice as many. But by me doing that, all the ones that I've selected now are the offbeats. So I can just grab my velocity tool, hit escape, and then click the velocity tool, and I'll bring those second notes down. Now what we have is debt, debt, debt that instead of dot, dot, dot. And now we can make it a little more exaggerated. It's bringing down even more cool and see what that sounds like in the next. I don't know who as you play. So c or how the, those hats kinda bleed into that verse. But I want the verse to all down to nothing. So what we'll do is we'll just L for loop. But I only want it to loop one note. I just want one note at the very end. So I will hold down control, which allows me to be very precise. And I'm just gonna loop it so that one note, fires. Don't go. Alright, so that's a bit more exciting. That feels like a bit more of a vibe. Kind of adding some percussion stuff to keep something steady. And just maybe deciding to take some of the Looped elements that we were given from logic drummer and giving our own sort of spin on them, kinda doing the same sort of thing. And then we can always bring those elements back into on maybe the last chorus and everything's just very exciting. There's tons of options. So I'd love to hear your sort of stuff of what you think about high hats. And there's so many different ways to do this. But yeah, that's just a couple sort of ideas for making your percussion breathe a little bit more. 11. Textures: All right, so we're gonna pretty good spot right now. Our groove is established. We got some nice percussion. We have some cool lead sounds and some cool textures and stuff like that. Now, we, what I kinda like to do at this point in the process, I don't want to add anything at part. I just don't want to clutter too much up on, uh, keep it nice and clean and digestible. But at the same time, there's kind of some space that I don't want. It's not like intentional open space. It's just kinda feels a little bit like underdeveloped. So I really like to take something that is organic, something that is real, and make some sort of texture out of it that I can really spread around and keep it like way out on the sides and way up in the high end just to kind of like put it in a, in a space. And that can be a lot of different things. And with some strings, samples or something. Sometimes with like room tone. Or if you have an iPhone, you can just record places. And that is great fuel for samples. Just places of stuff, places that you then and like a coffee shop that you like to the vibe of it, whatever, just such a foreign phone down and record 30 seconds or whatever. And then you can use that to kind of like, you know, and then you throw a bunch of reverb on it and the side chain and make some sort of stuff out of it or whatever. And it's a cool way just to add some sort of texture and vibe to your tracks. So that's kinda what I'm gonna do here is I want to take something that I can just throw way out to the sides and just have it move with the kick. So what I think I'm gonna try and do is do that with some strings. I think that could sound cool. We'll see how, we'll see how it sounds. So I'm gonna do a new track, an instrument. I'm going to go to my instrument and this one, I don't want logic to help me. I kind of know what I wanna do. So I'm gonna go studio strings, stereo. And I'm going to go with the string ensemble. And Let's see how that sounds. Just route the box. So let's get something high. Something nice and open. Yeah, let's start with that. And then I'll kind of just make a sample out of that. It's quantized that and bounce it and place called strings. Okay? So now I've got this one. So to string court. And I want it to move with the kick, like the kick happens. I kind of wanted to duck. That effect is called a side chain. So the way that we do that is we take a compressor, but instead of the compressor being triggered off of the sound that the compressor is actually on. We're going to have it listened to a different sound. And it will affect our string sound based on what we pointed to. So we're going to, for our side chains signal, we're going to try and select our kick. So we go instrument. And then we have all this stuff from cinematic func, which was the kit that we chose for our drums way back when in the beginning. So we'll choose the kick from that. And now, if we watch our strings, the compressor should only duck in and actually engage when the kick happens. Just barely wiggles. So what we're gonna do is make this a really aggressive sort of sound. So I'm going to crank the threshold way down. I'm going to bring the ratio wake up. There's means the compressor will engage faster and more often. And when it does, it'll be stronger. That's what the ratio one is. Auto gain is basically saying, when I turn that threshold down, it's going to be turning the signal down. So auto gain basically turns it back up based on how much the compressor is pulling it down. Most of the time. That's kinda the helpful thing. Sometimes it kinda gets in the way. In this instance, I want to turn that off because I'm kind of using it as an effect. I'm not really compressing as atone shaping thing. I'm literally wanting it to be very, very obvious with it. So I want auto gain off. And let's hear where we're at. That's a little obvious. I mean, it is it is very aggressive, but I think I might want somewhere in the middle something that just groups a little bit more with the kick and doesn't feel quite as random. So I'm just gonna kind of play with the attack and release of the compressor. The attack is how fast it's going to turn it down. And the release is how long it takes to let it back up to the original signal. So I'll just kind of play with that and see if we can get it to kind of speak in a musical way. Okay, cool. I like that movement. I think that's cool. So now any extra effects that I add to this string layer to kind of like either widen it or cut stuff away from it or whenever I want to add that stuff before that compressor because I want that stuff to also be part of that side chain effect. So if I'm, if you kinda go to add a plugin, but you go slightly above the compressor, you'll see that tiny little blue line above where it says compressor. That will allow you to actually put a plug-in before that in the chain, which in this case is what we want. So I'm going to go, I'm going to use that same tape delay that we've kind of been using a lot of. And I'm just going to crank up the spread. And I don't know, just kinda pick some sort of shorter division and just add some modulation to it. So it's gonna kinda warped the pitch and stuff a little bit. And then let's filter out a lot of that low mmm. So we're really just getting the high stuff and on the repeats. Okay, it's just adding a little bit of stuff up there. Now let's add some var distortion to dirty. And we'll add some that EQ. Trim out. That distortion is going to bring up a bunch of that like low end and kinda undefined, like just random low-end. So I want to turn that back because I got plenty low end from the base. I want this to just be stuff on the highs. So I've been talking a lot about like having this be something that's like really wide and off to the sides. One way that you can do that inside of logics, stock EQ plugin, which is an amazing tool, is this idea of processing stuff in mid-side. So processing something in stereo or in mono is kinda self-explanatory, right? Mano is like, it's right here in the middle. And stereo is, there are two signals at it. Mid side is a little bit different in that it's still technically speaking two channels of audio. But NID refers to just the signals that are identical in the left and right channel. Inside refers to anything that is different between them. So if I go and this processing right now is on stereo, so it is applying this high-pass filter equally to the left and right channels. If I switch the processing to mid only or side only. Now you can do stuff just to those respective channels, which is actually really cool. What this allows us to do is if we want to widen the sound, we can go to mid only and then just turn it down. And what it'll do is just the stuff that is identical in the left and the left and right channels. It will turn that down, but anything that's different, it will stay the same in the left and right. So it will just all of a sudden get wider here. Watch, you'll see what I mean. It sounds kind of strange, right? It sounds like, oh, it's wider then it almost sudden comes back in the middle again as it gets really pronounced. It's very bizarre. But when you have a lot of stuff going on, a lot of times, especially in the low-end stuff just kinda gathers in the middle. And so it's nice to kind of try and when there's competing frequencies and just a lot of stuff in the same space. Just to kind of get rid of it and just kind of push it off to the sides, you know, or just pan it completely to the side. You know, if it's really getting crowded and you don't have room on both sides. While you might have room just on the writer, just on the left or whatever, you can come to get something out of the way. Anyways, switching what channels something is processing on is a really easy way to kind of just like give each thing its own sort of spot. So what I'm, but I still want that high cut or I still want that high-pass filter rather to apply to everything. And I also want to turn down just the mids. So I'm just going to use two different channels to do this cleanly. There's probably an easier way to do that are more elegant way. I just think this is easy. Like I have one EQ for the sides and I have one EQ for everything. Just make sense to me. So I'm going to have this be my mid EQ. So I'll turn this off. And the only adjustment of this is doing is just taking the mids down. Let's do four dB, just like a medium amount. And then I will do another EQ. This one will be on everything. So the stereo and this is where we'll put our high-pass filter. And so we'll listen to that. Cool. So now if we just pull this volume back a little bit, and let's maybe on this one too. Let's just bump up the highest a little bit on everything. Upright. So yeah, it's really subtle, you know, like it should be something that you don't really notice. It just kinda add some extra energy and just add some extra like scope. You know, when, when the chorus hits or the hook hits or whatever the section ends up being. Anyways, that's, that's kind of a little bit about the approach of adding textures and things that just add a little bit of life to the track that just kinda subtly move with it and help kind of bring it into a place a little bit more. On. Next, we're going to be talking about adding automation to things. So really getting things to flow in and out of from one section to the next. So stay tuned for that. 12. Automation: All right, so if you've been following this far and you're following along in the exercise files And you're making your own beads and you're making your own synth and everything. Everything should be sounding pretty good. This step of automating things I feel like is so under utilized. Automating really is what gives things life and what takes things from a loop and takes things from just a beat that you made to a song. And that's really, I, I feel like this is by far the biggest thing that really takes attract to the finished level. And it's, it's the automation because it's such a marriage of musical also engineering sides of the brain. It's really, really cool. So let's start and let's listen to what we have. And let's try and identify the things that feel a little too static or that feel a little bit like. Okay, I appreciate what that does in the Knicks as far as like filling a frequency spot. But it just doesn't, it just not exciting. It doesn't do it for me, you know, whatever. Try and try and find the pain points. And this is again, pretty subjective. Everyone's going to have a little bit different sort of opinions on this. I'll just kinda go through and just kind of listen and I'll kind of just say what I'm hearing. So I like the Lead Belly's cool, but it's too similar for too long. The sounds, for my opinion, I feel like the sound is cool, but it needs to move and have like different textures or something. The strings are cool, but same sort of thing. I feel like they don't really breathe enough. The arpeggiator is cool, but I feel like it's kinda Samy a little bit, right? That's that sameness is kind of what I like to use automation to kind of combat. So let's, let's start with the arpeggiator because it's got that delay on it. I think like this change will be pretty obvious and drastic with it. So what I'm gonna do is I'm going to use my marquee tool to select this arpeggiated section. And that will just make this its own region so that anything I, if I attach any automation to this region, whatever, I still have that other region in the verse that is just completely straight. So I can always go back to that. If you can open up the automation lanes by pressing a, you just press a. All of a sudden, whoa, everything got dark. That's because now we are looking at all these lanes of automation. By default, it's just volume. And automating just volume is a really useful tool. I mean, You will never work on a project where you're not automating volume, you're going to automate volume. So let's say if we wanted to automate the volume going into the chorus, well, we just put a node right there. Put a node there, a couple of ones there, and just drag this here. Now we kind of got this little duck section going into or pre-chorus. Oh, this isn't, this isn't even the art. This is z. What is this? This is the midi for r, which I'm not even using. Okay. Let's use, you know, actually, yeah, let's do that on the media because that way. That change will be reflected throughout the throughout the delays, which actually will be pretty dope. Sc yeah, let's do that. So if I want to automate the volume, it is pungent, some nodes, whatever. And you can draw in some cool shapes and stuff that way. Totally valid thing to do. And actually I'll do that for the for the stop at the end before it kinda had it bounce to audio and I chopped off the tail. That's one way to do it. Another way is you could literally just have logic, just turn the volume down at that point. So I'll just go to that downbeat and zoom in really far. Just to make this nice and precise, you can snap the nodes two to certain divisions and stuff. I just like to do it by hands. I feel like it is easier. I know exactly where it is and I'm, I'm not having to like worry about logic snapping to the right point or anything. It's just easy this way. So let's add in some more creative automation. So if I click this little drop-down menu, this will show all the different things that I can automate. So this is every parameter inside of any midi effects that you have in there, the instrument itself, any plugin that is on that track. So that's a, and those can all be independently modulated by automation. So that's a huge amount of flexibility. What I'm gonna do is go to yes, to our synth. I'm going to go to the mics and filter. And I'm going to go to this cutoff here, this LPF cutoff that stands for low-pass filter cutoff. So that's that sound of that like doop, doop, doop, doop thing. When that's higher and that's letting more of that brightness come through. That's a higher filter. The filter is filtering less of the signal. And then when it's, you know, lower, it's filtering more the signal so it sounds darker. So what I wanna do is just kind of maybe play around with automating that, opening that up, closing it, that sort of thing and kind of see if that adds some sort of life to it. And maybe we'll kinda do that in response to the drums. So maybe like do, do, do, do, do, and kinda going up that first snare hits, that can be kinda cool. Let's see if that works. This is not the filter we are missing with the wrong filter. Okay, so let's go to the other filter. Because we don't care about that one. We want this one. Alright, that's the one we're using. Yes, indeed. Alright. So we'll put a note there. Just kind of have it go up to that first snare hit, which is belief here. And we kinda got all those delays happening after these filter moves, right? So as it goes, doo, doo de, de, if it gets brighter, those tails after that will be brighter. So it just kinda like further, I don't know, just like smears together and I think at this point in the stage, that's kinda what I'm looking for it to do. Maybe. Maybe another one there or you don't know keeping it. Let's see. Right there. Yeah. Okay. So we have that i like that move. I think that's cool. Right now, that automation is on the track as opposed to the region, right? So I can have it on the track. And that way, if I have this loop going, you know, wherever it is, that loop is independent of the automation that is on the track level. I can actually put that automation on the region itself. So however many times I loop that, that little art, that automation move will always happen at the same point. Sometimes you want to and attract level, sometimes you want it on the region level. It depends on the part for this because I kinda like envision this as part of the, you know, the whole way that the song is flowing in grooving. I kinda want this on the region level. So what I'm going to do is I'm going to take this automation, copy it, command c for copy. And I'm going to swap over to region. I'm going to place my play head there and paste it. And then it will show me the lane there. And now I can do my move that I wanna do. There's ways to convert your track automation to reach an automation simpler. I just kinda, I don't know. I like to draw it in just to be sure. And then let's maybe do one more move at the interior. Is taking maybe create a little room for it or something for other stuff at the end of the, end of the measure. Alright, let's see how, oops, got rid of r. There we go. Okay, so that's a good example of track region versus, or a track automation versus region automation or volume like cutoff at the end. That should be a track automation, right? Because I don't want it to do that at the end of every time that loop plays, I only want the volume to turn down at the end of the section. So you'll be using both. And that's kind of part of the vibe. Okay, cool. So let's address that lead now. It'd be cool if it was like Did did it just like some stuffed to kinda help spread it around. So what we're gonna do is, uh, send for that. So that's basically where I'm going to take on part of the signal and send it to a different channel for processing. And I can turn that send on an off so that I can have a dry version of that signal going while the reverb for this other thing is going that unaffected. That'll make more sense in a second. So I'm just going to send this to a brand new bus. I'm gonna go down here to one that's not being used. And on this bus, let's throw some reverb, let's throw our space designer on there. And then a compressor after the fact, just to make it nice and low fi and smashed. Okay, so now I'll take on this automation thing. I can go down to Main and I have this send one right here. And we can even make that more clear by if we label this bus as like, you know, lead affects. So now this has essentially turned into a Reverb amount. You know, as we turn this up, it's sending more to that reverb, which actually I should make sure that the drives all the way off on here. Yeah. Okay, good. So now listen to the lead and will choose some points for it to throw to that reverb. Like on that one, it'd be cool. Just have like this burst of sound. Like and that one did it to, let's say that sounds like that first one too. Just to like really intro it. Did it did it. On both of those that can kind of stay on delight or lesser extent. Cool. Sounds good. Let's listen to all those things together. Those couple little automation things. And let's just see if, let's see if we made it better. Not nice. I think that flows a lot more. I think that just like breeds more. And obviously this is still pre-mixed and everything. So all those kind of varying levels and stuff will all get tightened up in the mix. And actually, you know what, let's talk about mixing all that stuff in the next video, let's get this thing tightened up. 13. Mixing: Alright, so now our songs at a pretty good spot to where we can start mixing it. Now, mixing, honestly, this should be it's own, if not its own course, its own series of courses, or its own website with courses about courses about mixing. There is so much that could be said about mixing. So I'll try and I'll try and keep it brief. But basically, there's kind of a lot of crossover between like producing, mixing, mastering, right? This kind of, a lot of these terms kind of get thrown around. It's important to remember. Producing is what we've been doing so far. So everything we've been doing so far about creating sounds and creating beats and all that stuff. All of that is producing. Mixing is where we're taking that stuff that is produced those all those different parts and making it fit together so that we're, the confusion happens is a lot of times producers will mix their own stuff. You know, I'll, I'll mix my own stuff very often because it's easy. I have the project and have everything open. I'll just mix it myself, right? But they're definitely, I still think it's helpful to kind of think of producing and mixing in separate stages. Because it's like it's really easy to get lost in the weeds of tweaking a synth sound. But when you just commit to, okay, this is the sound. Now I'm going to mix it and I'm going to just get it to play nice with this other sound. I'm not going to open it up and try and mess with the synth parameters anymore, would it like, okay, this is the sound. Let me try and make it fit. You know, like those sort of limitations about like treating mixing as a process is really helpful and it just kind of, I don't know, makes it more, you get to more creative spots and make more creative decisions when you're kinda focused on only mixing and then only producing or whatever, you know. I mean, I'm saying that now there's tonnes across over all the time it totally happens and it's totally okay. But I don't know with all that said, let's take a listen to the mix of this section that we've kind of been working on. And let's kinda try and identify some problems with it. Okay. So right off the bat, I feel like I liked the automation we did to the synth with like those, those reverb sends and stuff. But when we're doing that, the level of that lead line kinda isn't as consistent anymore because you kind of have these like fluctuating reverb things. So be nice to kinda like level that stuff out so that it's more consistent. The other thing is the relationship between the kick and the base. I feel like could be stronger. That could almost be said of every mix ever. And the relationship between the kicking the base could be stronger. That's just kinda always true. But I think it's something worth looking at. And then what else? Yeah, I feel like the snare could use a little bit more life as well. I like how choppy and in short it is, but I kind of just wanting the drums in general, I guess to does feel a little bit bigger kinda all the, all these sinful layers and stuff that we're adding are like very spacious and big. And the drums feel like they don't totally match either. Not kind of punching through all that stuff enough. So, okay, so let's try and solve some of that stuff. The simple one is going to be easy. What will do is we will take these. You'll notice also in this template, all this other stuff down here, right? All these other channels that just like aren't doing anything. I have these setup to act as subgroups. So to basically take all of my synths and kind of bus those together into like a synth group. I'll take all my drums and bus them to a drum group. I'll take all of my base and bus those to a base group, so on and so forth. The reason for doing that is because in the mix stage, it's really helpful to kind of treat things together. So if I add a little bit distortion to all the base equally, it kinda glues them together because it's that same effect kinda being applied to the base across the board and just kind of makes it feel like one sort of thing. You know, same thing with the sense, I don't want when someone listens to this to identify there's that scent and that scent and that sinth. And that's enough. Like it should just feel like, oh, I don't know, I just kinda feels like layers. And it's kinda hard to tell the difference. Treating things. It same thing with drums. I don't want to be like, oh wow, look at those three different layers on the snare. Like no, it's, it just sound like one huge snare. So those sort of things when you substitute together in groups, stuff together kinda helps achieve that effect where it just feels more cohesive, that feels more like a mix, you know. So that's kind of sort of what we'll do with this. Synth line will take the output of this and we will bus it to the same group. So I'm going to send, and actually we can keep all this even visible on the arrange window. If we create a track stack with something, which I'll just grab this other guy. If you right-click on a group attracts, there's this create track stack option. If we click that, it'll ask us if we want it to be a folder stack, which is just literally a folder of different things. There's no like plugins or routing or anything that's doing its litigious and organizational tool, very helpful. There's also summing stack, which will actually create a bus and some things to that bus. And then we can apply effects to that and turn up and down and automate it and all sorts of stuff. So that's what I'll hit. I'll hit summing stack. And now it created this bus for us. I'll call this synth lead. And I want to take the reverb of that sinth and the synth itself and compress them both together. So what I'll do is I'll take this send and I'll put its output. I can even click read. And it will put it on the arrangement window, which is organizationally makes it easy. I just like to see kind of what I'm working on will change this output to be bus 37, which is where are some O bus 35 is where it's going. Ok. We'll put it and thus 35. There you go. So now r sinth lead is sending signal to that reverb track, which is then sending it to the synth bus. So now if we solo, this will hear them both together. Which is cool, and we can adjust the level of the reverb after it's being sent to it. Really, really helpful stuff. So I'm gonna turn this down a little bit and I'm just going to add some compression to the whole thing. And these are just kinda different flavors of the compressor. This studio, VCA studio FET. They just kinda work a little bit different and a little bit different sort of distortion to, uh, use play around and find the ones you like. And there's different situations for different ones. Cuomo take the attack down a little bit. So it lets a little bit less of that data. It's kind of punching a little bit hard. It's cool, I like it, but I just want to control it a little bit. Yeah, cool, nice. It's good. And then since I have this opportunity, since I'm here, I'll just also again cut off some low end just in case there's anything that's being added by that compressor or the reverb or anything. I don't want any of that extra, like super, super low stuff to be getting in the way the base of the cake or anything. So I'll just around a 100 hertz. Just cut all that stuff out. I'm gonna meet the vocal for now and just kinda focus on the mix of the instruments itself. Vocals are kind of another beast. Let's talk about these drums. So I don't like that kick anymore. So this is one thing that I'll do. Even if I'm just mixing something. A lot of times, mixers, we'll sample, replace things or add samples to something. So if you have like a drumbeat and I'll add in a sample just for the kick or something like that. And so actually, you know what? Let's make its own video. This has been sort of an introductory to mixing and adding some sort of compression and grouping things together. In the next video, we will talk about drum mixing and making things just hit really hard but still control them. And yeah, let's do that. 14. Drum Mixing: So in this video we're gonna talk about mixing our drums specifically getting them to hit really hard, still control them and make sure they play nice with the base and the other instruments. So one thing that's really common in mixing is swapping out a sample maint mainly that kick and snare samples. Because as the mixed develops and instruments get added and effects get added and other stuff, something may have sounded great in the beginning with nothing else around, but when other stuff gets added to, it can't cut through anymore. And so you kind of need to find a different approach or something super common. So in this case, I'm just going to try and find a different kick, sound, different kicks on for sure. And then depending on what we find on a night, swap out the snare also. So I'm just going to create a new instrument track. I'm going to, I'm not going to use the sampler. I'm going to press option L to get our library open. And I'm going to look for electronic drum kit. And I want something that's just going to hit a little bit harder. Let's do this. Let's do big room. And as long as this isn't to EDM, bro step, we should be good yet and that's what I was afraid of. Okay, cool. So let's, let's adjust this. So this is logics drum machine designer, which is basically just a bunch of different plugins all working together and it kind of like hides it and puts it under the hood and just gives you some controls. That as I turn this drive, for example, It's actually, there's like a different plug-in that's running that drive control. It's pretty cool. So I can use this to kind of shape what I want the sound to be. So Let's turn on that drive. Okay, so that's like ridiculously huge. It might show much by, I think let's see how it sounds. So I'll take, I'll copy this down and just our snare channel. Cool, nice. I think our snare could actually work pretty well with that, but it needs to just be a little bit more. I don't know. It's not like snappy enough. So I'm going to use a compressor, not because I want to turn it down necessarily, but I'll use a compressor because I want to try and shape the sound. I want to use it too. Add more click to the start of it. So I'm going to have a really long attack, but I'm going to compress it a lot, so it's going to add some of that sound to it. Yeah, cool. So now it's turned up mixture that's closer to the other stuff. Nice. Let's bring our original other stuff back. I liked this logic drummer stuff and I'm getting, but I'm going to turn the fills down. Now that we have that other section. Let's just do that. Okay? Okay, cool. So we kind of got a good kick sound. Gotta get snare sound. Now we're gonna just send all those drums to one bus, to one group and will process them more together just so that they breathe in and out a little bit together. It just has a really, really cool sound. Okay, let me close that. Let me grab all my drums here. Let's see, am I forgetting anybody? Yes, you the percussion. I'm going to leave out of that and I don't, I don't know if I want to smash all that to get it. I'm going to open my mixer window with x so I can see where all the stuff is going. And I'm going to send it to my drum bus. They already have created. And now what's nice about my template is I kinda have some stuff for this routed already. So I already have the drum bus itself. I have a copy of that in parallel. So if we wanted to add something in, blended in, we could do that. And then just some drum verb that's going on lightly. So let's add a little bit of compression to the drum bus as a whole. Let's do something that is nice and subtle and I want to do too. Okay, that's cool. Now, I'm going to add like a bunch of distortion on this parallel bus. And then we'll blend it in a little bit. So on its own, it's gonna sound complete ridiculous. Oh, hey my drummer check isn't going there. We gotta have that going. Yeah, it's just ridiculous that it sounds cool. So we have our like our clean drums and then we'll blend that in. Nice. Okay, cool. So that's really, really good to me. Last thing we'll do is we will add a little bit of that side chain that we did to the strings bold do that to the base. So we'll have the bass really follow along with the kick. Most of the time it's like an 808 style base. You wouldn't do that. You would just have them all hit at the same time. And you just have the kick like literally like ten dB louder than everything else. But for something where it's a little bit more kinda like EDM focused. I think it's nice to kind of create a little bit of room. So we'll do that in the same way that we side chain to the kick before. Only now it's not kick cinematic func. Now it is instrument 13. No, it's big room kick. Yeah, OK. So we'll do that. We'll go instrument. And we'll use our big room kick. Your ego. Sequencer. Yeah. Alright, nice. And now that, that's moving a little bit more, I want to make that a little clearer. So, and I know I said not to open up this int parameters when you're mixing, but I'm gonna open up this in parameters and annexing and just brighten up the filter because I need it in a little more. Nice. And one thing we could do to, man, this is going long. I'm sorry guys, but it sounded really good. Okay, I'm going to copy this base. And on this other layer, I'm gonna cut out all the low end. So the low end is coming from our first layer of the base. And then on this one, I'm going to add a chorus. I know you're not supposed to do that, but I think it sounds really cool, especially if I'm cutting all the low-end out, it's not going to face because the only phasing is going to be in the high end, which is like cool phasing. Going on. That's nice and cool it now when we add our normal base back in, that sounds pretty good to me. I mean, I'm pretty happy that Nick's So now that we got a cool mix that we like, let's finally master this puppy and export it and save it. And while we've been saving, but you know what I mean? Make it so that we can actually show people what we've been working on. So that's coming up in the next video. 15. Exporting and Mastering: All right, you've done it. You've created a cool dope beat. Now, we have to share that with people. So we're gonna go over just some quick, quick, quick mastering and exporting and are bouncing as logic calls it. And just yes and basic things like that. So basically, when we are listening to our music right now, inside of Logic, we don't really hear it clipping, even if we go above 0, right? If I play this, you'll, you'll see, it will actually go about, see, you're kinda, I went to one db above 0, but we didn't, I didn't hear any audible distortion. There's a lot of very complicated reasons why that is all that to say. It's really important that we make sure that the level of what we're sending out does not clip so that we don't like export something and then listen to it. And then it's either like way quieter, its way quieter than everything else that we listened to. Like what, you know, there's this is kinda why is because it has to be turned down until it doesn't clip. So there's things we can do to kinda help prevent that clipping and make sure that what we're sending is as loud as we intend it to be. So the most common one of those is just a limiter. And so we can go and go to this adaptive limiter in our dynamics section. And what this is gonna do is set a ceiling to where, OK, any volume that goes above this, we're just going to cap it off. It's not gonna go above that. And sometimes this can add a certain amount of distortion or what sounds like distortion because the wave is being smashed down. So there is kind of a limit to what you can do. It's not like you can just turn things up a million times. So we'll just kind of play with it and see how loud we can get it responsibly. I'm starting to hear the kick break up just a little bit, so I'll backoff a tiny bit and I think that's pretty good. I'm okay with it sounding pretty aggressive. I feel like that's pretty appropriate for just the sound of the song. It should feel kind of angry. So this output ceiling, it's at 0, right? And you think, Okay, yeah, I want this thing as loud as possible without clipping 0. Let's go. But there's something weird that happens when files get converted. So when you're exporting this and you're exporting it as an mp3. What happens when it is rendered to an mp3 file from a WAV file. Or, you know, you have this. It's not anything, it's just the project when it creates a file, that encoding actually adds a little bit of gain. So it actually makes it a little bit louder when it becomes an mp3. So we need to compensate for that loudness adjustment on our end. So we'll actually make this 0.1. So negative 0.1. when we export that, that way, when it becomes an MP3 and that tiny little bit of gain is added, it doesn't then all of a sudden turn into clipping. Or what would actually happen is. Tiny little bit of gain will be added and then it would turn it down so that it doesn't cliff, right? So it actually makes it quieter. So by having this negative 0.1. it's actually louder than 0 because it's allowing for that gain to happen. So it doesn't actually have to turn it down. You know, we're talking like minor, minor, minor, like tiny, tiny amounts of gain that are differences. But it can be the difference between something sounding professional or something sounding amateur. It's these tiny little differences, but like, you know, a 100 of them over time make something sound professional. So this is just one of those things that there's a lot of subjectivity in music. This is something that is objective, like you should be like you don't have to mastering your tracks. But you should be making sure that nothing is going above 0. Like they shouldn't be clipping. Because they're going to sound unintentionally quieter than what you mean for them to be. Or it worst-case, they're going to distort and they're gonna clip. And that just unless you're trying to do that as an effect, which is valid. But we want to be in control of how we're doing that. So anyways, that's very, very, very quick bread and butter thing of mastering, of just making sure that our signal is appropriately loud for what it should be. I'm gonna just gonna save this just because it's a force of habit. And now we're going to export our file. So the way we export is remember this cycle thing that we've been using. This also tells Logic what length of the file we want to send is. So logic will just go on forever that this project can extend as long as we drag these loops out for. So what I wanna do is, you know, I've been working on the song. I think it's cool. I want to send it to my buddy and maybe have him lay down a vocal on it. Okay. So what we're gonna do is I'm going to mute this vocal. And I'm gonna say, okay, I'm going to maybe give him, yeah, like this much Section. I want him to have this little bit of a base and this little verse section have this little hook and then this verse section will loop. Okay, cool. So I'll drag the bars to that length and then I'll go to File, Bounce, not export, bounce. And then we'll do that in a quick thing. Difference between bounce and export. Bouncing is telling logic, hey, I want you to print this as audio like just render this out as an audio file. Either this specific region or this specific section of the song or whatever. Export is taking certain resources in your song and sending them to either go into another project or go into another session or whatever. So for example, like export, I can take all the tracks and render them out. You know, I can take all these different like Final Cut Pro files like so. That's more kind of like the technical exporting of things. Bouncing is like, Yo my track is done. Let me print it. That's bounce. So most, pretty much every single time we're sending something out of logic, we're going to be bouncing. So I'm going to bounce this project or this section rather. And now we kinda get some file types. I always print a wave no matter what. And I will also always print an MP3. Because when sharing a mix with a client or somebody, nobody wants to reference from a WAV file, even if they think they do, they don't because it's way too big. An compared to an mp3 file which you can be in spotty serve as driving and you just load up your phone. And that way that mp3 file will start playing like instantly. These file sizes are so small and the quality size is, or the quality difference is just so, so negligible when you are talking about a 3-20.mp3. If you're talking this bit rate, if you go to like a tiny, tiny bit rate, yet that will sound like garbage. But make sure that you just have the highest bit rate as an MP3. And it will sound awesome. It'll sound indistinguishable from a WAV file. I'm sure some people can tell the difference. I can't. So I always just send MP3s and use those as references at the same time, I'll also have waves. So if I'm going to deliver that to a master or send that off to Spotify, iTunes or SoundCloud or whatever. I'll still use a WAV file for that. But just for referencing, sending stuff to people, I just started sees an MP3 and it's always plenty fine as long as it's 3-20. So we'll make sure. Okay. Yeah, we're doing 3-20 and we'll do an Offline Bounce, which basically means that it will just render it out instead of playing it back in real-time. So I'll hit OK. And now it's automatically put this in my bounces folder. So I'll just say one more time, 20-20. So low ray. And this is version one. Bounce. And then it'll think about it real quick and then put it in the bounces folder. Then you can take that file there or wherever you want, throw it on SoundCloud. Texted somewhere. If you have been following along with these Exercise Files, I would love to hear what you've come up with. Toss that sucker on SoundCloud and post a link. I would love to check it out or just reach out to me on social media, send me a message. I would love to hear what you come up with on yeah, so way to go, you guys we just have one more video talking about just some stuff that I think would be great for you guys to have as far as awesome plugins and samples and stuff. So go ahead and check that out. 16. Next Steps: At some point in your career as a producer, artists, musician, you're probably as amazing as logics, sounds are, and as many of them as there are, you're probably going to outgrow them at some point and want to find a way to distance yourself from the pack or just some more material to feed your sampling or whatever. There are some amazing plugins and instruments and stuff available online. And so I just want to tell you about a couple of my favorite that I think would be super, super helpful to have. Probably the number one most valuable, I think free plug-in that you could get is by spit fire audio. There whole labs range calling this a plugin is a little bit insane because it is gigs and gigs and gigs of free content that is so, so good. Everything from like atmospheric pads to like beautiful soft pianos. This is one of my favorite pianos. It's their free soft piano. I use it in almost everything. It's just giving this stuff away. It's amazing. There's tons and tons of stuff way more than your hard drive can handle. So go check it out and download everything that you can. It's really good for drum sounds. That sound is a fantastic drum company. They do different drum recordings and samples and stuff. They have a free, I think it's rotating every month. They do different sort of grabbed bags of a sampling of their different sample packs. Fantastic sounding samples. Honestly, I, I use that sound drums all the time. Go pick up their free stuff. It's awesome. The other thing is just splice. Splice is a marketplace for sounds where you pay a monthly subscription and you can just download them a drum sound as you want. They have a pretty generous free trial. And every sound that you download from there is yours to keep after the fact. So what you should do is even if you don't want to pay any money, you should still make an account, use up the Free Trial, and download as many sounds as you can. And then just keep those sounds and you have them to use forever. And just get a bunch of kids, get a bunch of snares, whatever just fill out your roster gets unlike dope sounds, and then you have them for life. There's a ton of great stuff too. Like Native Instruments is another really good company that has a ton of free plug-ins. Lots of great since loss of great and like leaves, bases and stuff. The last thing I think you should do is just sign up for a bunch of newsletters. Honestly, sign-up for like all the mailing stuff and your inbox will get flooded, which most of the time is annoying. But every once in a while, these companies giveaway plug-ins for free. It does happen. I've gotten several sound toys, plug-ins for free. I've gotten several waves plug-ins for free that they give the stuff out. So it's as annoying as it is sometimes to hear about this month summer sale. Again, you it does pay off. You will get a free plugins every once in awhile, so it helps just to stay subscribed to it. Thank you guys so much for watching this course. I hope you learned a little bit about producing and making sounds and putting your own sort of spin on, then I would love to hear the stuff that you guys come up with. So if you export it your track, go ahead and upload it to SoundCloud and shoot me link tagging social media. I would love to hear what you guys come up with. Stay tuned for more courses and can't wait to see you guys again soon.