Logic Pro X - Master your Music Production Workflow | Mikael Baggström | Skillshare

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Logic Pro X - Master your Music Production Workflow

teacher avatar Mikael Baggström, Music Composer | Sound Designer | Video Producer

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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

31 Lessons (2h 22m)
    • 1. Your Professional Journey in Logic

    • 2. How you will Master Logic Pro X

    • 3. Mike's Best Workflow Tips

    • 4. Master your Workflow in Logic

    • 5. Audio to MIDI

    • 6. Drag MIDI to Sequencer

    • 7. The Power of The Library

    • 8. Logic Remote App

    • 9. MIDI Controllers

    • 10. The Quick Step Input Mode

    • 11. The Amazing Varispeed

    • 12. The Marvelous Marker Track

    • 13. The Arrangement Track

    • 14. Duplication Master

    • 15. Custom Screensets

    • 16. Snapping Settings

    • 17. Link Plugin Windows

    • 18. Click Zones

    • 19. Stretch Clips

    • 20. Articulation ID

    • 21. Customize the Track Headers

    • 22. MIDI Chase

    • 23. Custom Look

    • 24. Create your own Track Icons

    • 25. Change Click Sound

    • 26. Master Navigation in Logic

    • 27. Main Navigation in Logic Pro X

    • 28. Zooming in Logic

    • 29. Play, Stop and Cycle

    • 30. Sequencer Navigation

    • 31. Action Test your Knowledge

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About This Class

Professional Music Production in Logic Pro X 
Welcome to this course, and congratulations for choosing to master your workflow for Music Production in Logic Pro X. You will learn how to speed up your productivity and efficiency, and as a result give more room and energy to your creativity, your music...which is what is most important after all.

Become a Professional Music Producer in Logic Pro X 
This is not a course for beginners of Logic Pro X. And this is not a course for beginners of music production. No, this is is a course for you, the experienced Logic user, with music production skills and experience. It is for you, who want to level up your workflow speed in Logic, to a professional standard. For Composers and Producers that want to be able to go from an idea, to a finished music production, faster and with more creative flow.

Examples of things you will Learn 

  • Become efficient with Music Production in Logic Pro X
  • Powerful Workflow Tricks in Logic Pro X
  • Navigate in Rocket Speed

Level up Your Music Production Speed in Logic Today

  • Enroll Now and Gain Knowledge from taking the Complete Course
  • Learn all the Concepts, Methods, Techniques and Tips etc.
  • Take Action to Advance Faster

Friendly regards,   
Mikael "Mike" Baggström   
Music Composer | Sound Designer | Artist

Meet Your Teacher

Teacher Profile Image

Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

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


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

Friendly regards,
Mike from Sweden
Compose | Artist | Educator

See full profile

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1. Your Professional Journey in Logic: Welcome to this course, and congratulations for choosing to master your workflow in logic pro X. You will learn how to speed up your productivity and efficiency in logic, and as a result, give more room and energy to your creativity, your music and, as a result, give more room and energy to your creativity, your music, which is what is most important. After all, when you have completed this entire course, you will have a huge range off powerful workflow tips, tricks and hidden gems. In logic, you willen, look all these secrets and be able to implement any of them. When you compose and produce your music in logic, these is a course for you. The experience logic user For those of you who wants to level up your workflow in logic to a professional standard for composers and producers that want to be able to go from an idea to a finished track faster and with more creative flow. My name is Mike and I have been using loaded as my main d a W for several years. I did use Cuba's for many years before that, but I switched to make in 2000 and 13 moved over to logic, and I simply fell in love with his DEA W It is inspiring to use easy to learn, essential. So and there are so many incredible features, and he didn't gems inside it. So take action now and in role in this course. If you really want to master your workflow in logic, taking action is the only way to move forward in any journey. My name is Mike, and I wish he welcome as a student in my course enroll right now and go from an experienced logic user to mastering your professional work, though. 2. How you will Master Logic Pro X: to learn anything in life, you need multiple sources off knowledge, practice and insight. That is why I will now give you a quick guide on the things that have meant the most to me personally, for learning, advancing and mastering logic. Pro X. And to be honest, I still learn new things every day because that is your goal to always keep learning and improving. So my quick guide on how you will master Low Dick Pro X Here we go. One use quick help to let logic guide you. Logic has a great built in function up here in the control board. So every time you simply want to quickly learn what a button setting or featured us, click this quick health. But in here and then you hover your mouse over the feature. You want to learn, you will get a brief explanation. And not only that, if you want to dive deeper, you simply click command plus backslash, and you will get directed to the exact location in the Houston Emanuel to learn more to search the manual for deeper knowledge. I know it might sound boring, but I promise you that I have personally spent many hours in total, actually going into the manual to learn how things work. It is well written, well organized, and you will find sections for pretty much every feature in logic. Simply go up to the help menu and either search directly here or open up logic. Pro help click on show topics, and you will get access to all sections and can dive deeper into anything you want to learn more about. For example, let's say you want to learn more about the amazing synthesizer called Alchemy. Simply go to the instrument section here, choose alchemy and then dive as deep as you want. Three. How to Google is your friend now to learn very specific things you want to do, change things, find solutions to problems or learn how to implement anything in logic. Google is your friend. I recommend beginning with the words how to and then follow with your question. Most often you will find someone who had the same problem and hopefully an answer to help you out. Four. Learned something new. Apply it instantly. One thing I strongly recommend is that every time you learn something new, which can be from a course like this. Reading in the manual a book about logic and article A block post, a YouTube video or wherever you gain new knowledge on a specific thing in logic, apply it instantly. It is, by four the best way to remember it. Compare these two learning a language. It is pretty hole to learn a language by simply listening to people speaking the language or by only reading it to truly learn. You need to apply to speak the language and to write the language so again, everything you learnt apply it instantly to learn it by heart. Five. Make your own cheat sheet. I recommend that you create your own cheat sheet for logic. Pro X, where you save all your favorite features. Sittings how twos, key commands and workflow tricks. Simply a list to help you remember your favorite things in logic until they become almost a reflex or an instinct so that you don't have to think twice when you apply them. Bonus tip. Practice makes perfect. The best way to learn is always going to be by practicing the craft, so make sure that you work in logic every day. If you can, it's better to do a short session every day, then a long session every weekend. Learning and mastering any field is always dependent on consistency in practice, repetition and application. So remember these tips. Write them down and, more importantly, take action on each and every one of them. My name is Mike, and I wish you good luck on your journey off. Mastering Lordy Pro X. Now let's continue in the next video. 3. Mike's Best Workflow Tips: in this video, I am going to share my absolute top workflow tips in logic. I really recommend you to focus and pay attention now because these tapes I will give you have made a huge difference for me when composing and producing music in logic pro X Here we go, you one master The key commands. Learn as many off the default key commands that you can and then also create your own key commands for the things you use again and again. Your goal is to minimize the time you use the mouse and clicking in menus. By learning and applying your muscle memory off as many key commands as you can to save organized and reuse. Don't reinvent the wheel. Instead, take advantage of project templates. Build your own sound banks with the categorized folders for each sound type. Make yusor patch banks both for instrument patches, effects and even for entire channel strips. Your goal here is to stop doing the same things over and over again when you can in fact save patches, presets and sounds for quick and easy access. In any project you work on. Three. Organize to optimize having a really well organized project with the script to track names , icons, colors, track stacks and so warm is incredibly important for your workflow. This also includes taking advantage off the marker track as well as the arrangement track. Your goal in this case is to have crystal clear overview of your entire project all the time. Four. Customise the settings. There are a lot of settings you can customize both in the main preferences as well as the individual project settings. Make sure to find out how you prefer your own settings and save those as your default starting point in your project templates. Your goal is to have everything set up in logic with settings and preferences in a way that suits your workflow. Five. Customized the interface. You can actually customize things in the look off the interface of logic, like what you want present in the control board as well as the optional to bore. But you can also customize the greed, the background in the sequencer, the background in the piano roll and so on. Your goal is to change the look off the logic interface so that it is set up the way you like it to be great. Now write these things down so that you can go through each and every one of them. After you have completed this course, one master the key commands to save, organized and reuse. Three organized to optimize four customise the settings and five customized the interface. These are the main things I recommend you to focus on to truly master your work for in logic pro X. But you will learn a lot more work for tips, tricks and hidden gems in logic as you go through this entire course. So keep watching and be sure to have logic open in the background if you can, because then he can try out everything you learnt straight away, which is the best way to learn in my opinion. Now let's continue your learning journey in the next video. 4. Master your Workflow in Logic: all the special workflow tricks, tools and techniques you confined that will boost your speed when composing and producing in logic, learn them, apply them and finally master them. Because if you can work quickly and efficiently in logic, you will open up your true creating powers of music because music is about heart and soul looked bottoms and settings. I have been making music since 1998 and over the years I have learned, developed and found all kinds of workflow tricks that I like to use. And in this model I will share these work full secrets with you, but you don't have to use all of them. However, I would recommend that you at least try them all out and then pique your favorites. And finally add those workflow tricks into your daily music making process. Now remember my mantra. Take action and learn by doing so at any time during these module and video lectures, please post the video to try out all these work full tricks, tools and techniques yourself because taking action is the only way to move forward on your journey. All right, so go ahead and grab another cup of coffee or your beverage of choice Startup logic and get ready to learn, apply and master my workflow tricks to boost your music creation. Speed in logic. Pro X. My name is Mike and I will see you in the next video. 5. Audio to MIDI: first of all, cat alert. And now I'm going to show you how you can go from this. A Ah a ah! Into this. So how is this magic possible by converting audio into midi in logic Pro X. So step one is to record your voice, guitar or any instrument to all you track like this. Step two is to select this audio clip press E to get into the editor and you want to be in the track view here. Now, how do you get the media information off all these notes I harmed in you use the flicks pitch feature in logic, which you will find up here. So Step three is to activate flex pitch by clicking on this button. Make sure it is set on flex pitch up here and now you get the meaty notes for the audio track. As you can see, they align perfectly with the notes I hummed in. Usually use flex pitch to correct intonation issues and timing issues for, let's say, a vocal performance. But now I simply want these meaty notes converted into a new media track. How do you do that? So step for is to go to edit here, and then you will find create media track from flex pitch data. So when I click, that logic will add a new media track and the default a classic electric piano patch with the notes that it took from the flex pitch data from this audio region. So Step Five is to compare your audio track with the new media track to see if there are any mistakes in the translation from audio to MIDI. So let's check this the ah, see if it sounds the same here, right? I heard a mistake here. Simply go into the editor and correct the note. So this one is room Uh huh. I think this is correct. Now you can listen to both at the same time. Now the ah, right. So that is the correct meeting notes. And then the final step is, of course, your creative decisions. What are you going to do with these media data? So you can, for example, go in and edit the velocity values, the length of the notes, the timing and so on. And once you have a complete media performance that you're happy with, you can simply copy and paste this region to any track in your composition. Use the power of your voice to record audio and convert to media because playing an instrument and recording a good performance without doing mistakes is hard. But using the instrument you were born with and that you have practiced your entire life to hum melodies, riffs and hooks that is easy. An incredibly powerful for your work phone as a composer. So go ahead and try this technique out, and I will be waiting for you in the next video. 6. Drag MIDI to Sequencer: did you know that you can actually drag and drop meaty right into the logic sequencer? This is an amazing workflow trick that I use all the time when composing music, and you should try it out to let me show you how method one importing a media file. So there are many ways to drag and drop media into your sequencer. But let's start with the classic one actually importing a MIDI file into your sequencer. You can, of course, import a media file from the main menu here in logic here. But did you know that you can actually drag and drop media files straight from your finder window into your sequencer? Many composers use MIDI files off complete songs as a starting point to make a cover or remix or simply to analyze the composition. So I have downloaded this conquest of Paradise Media file. I just went to Google and searched for media files four songs and found this site downloaded the meaty, and then I can drag and drop it into my project. So if I do, that logic will automatically create all these tracks for me, and then I can use them to analyze what's going on here. We'll use some reports for remixing or making a cover of this song, but I have a much more creative way to use the import media file method. Let me show you. I have actually developed a really cool thing that I'm going to give to you as a bonus. In this course, which I call a meaty court bank, I basically created lots of different folders with media files for each court type and ah, kee. So, for example, let's say you want a major C chord. Well, you seem to take this MIDI file and drag and drop it into a track in logic. So now we have is here and all these recourse that I made, or exactly one bore in length and ah, the media velocity on all nodes or 80 to start with. So this can be a great starting point if you simply want to add a court progression into your project, and then you can go into the piano roll to edit the velocity, the length off the courts and so method to importing MIDI from a plug in or instrument in logic. Now, this is really interesting because more and more plug ins, sample libraries and so for instruments actually support media dragon rope right from their interface into the logic sequencer. So the first instrument I'm going to show you that supports media Dragon Drop is this acoustic guitar plug in called ample guitar, too. It has a strumming engine. Here on Dhere is where you select the cord and type and key. And if you can, of course, program your own court pattern here. But let's say you find something you like E minor with this court pattern. What if you simply want to get all of this into your sequencer? Well, what you are going to look out for is this. I can hear four arrows pointing in all directions. It means meaty to host or drag to host. So if I left, click this with my mouth. I can simply drag it right onto my track over here. So now I have it plays from here, not from the instrument here, so you can use this to create an entire record progression with this plug in. If you want to, let's say, from an E minor, we go to a G major with another strumming pattern drag and drop that in on Let's say we go to see Major with yet another stunning pattern. This is probably going to sound very strange, but it's just for demonstration purposes. Let's listen to how this sounds, right, So that's how we use it from this specific plug in. Now I'm also going to show you how you can use another instrument. It's a sample library called or apology from sample logic. So this is a rhythmic generator. Basically, if I hold down the Seiki here, there's all kinds off automation and things going on here. But basically you can see this little icon up here and again. It's four arrows pointing in every direction. So in most cases you need to hold down the key when your dragon drop and now I get it onto the sequencer. But of course, this is lots of effects and lots of other sound designing stuff going on. But let's say you want to have thesis and double it with a piano or strings or whatever. So now we have on the piano track, and if you listen carefully, it is the same sound off the rhythm from, or apology here. Method three. Importing from the or page aviator Roddick's built in ORP Aviator is part off the MIDI effects, which I am sure you have used a lot. But have you tried using the drag and drop feature from the ORP aviator into the sequencer ? So to demonstrate this, I have added the or page aviator from the media effects onto these electric piano tracker. So I have gone into the grid view and programmed this little pattern in 16th notes like So and they are paid. Viator works a bit different with the media dragon drop feature compared to the other plug ins I showed you. They're snow four arrows like the other icons I showed you. Instead, they have this arrow here and this one here. These are actually two different options. Either import or dragon drop the media before the or pay Geo is added or after. So let me show you if I hold down If major on my media keyboard with this pattern and I click this and drag it to the track above, let's listen to that. That's actually the court without in or Paju simply seem to this. But if I hold down if major again on Dragon Drop from this books, I I actually get the arpeggio hated version of it. You conclude, please, if you want to to full bore. And I find that this is much better than to be tied to the ORP aviator. Because now I can use this and copy and paste and arrange it to other instruments in my production. Amazing. Now you have learned how to use the power off drag and drop meaty into your sequencer. So go ahead and try it out. Check if any of your plug ins and libraries support this feature and I will see you in the next video. 7. The Power of The Library: I'm sure you are already using the instrument library in logic because, well, it is one of the main features. But if you're like me, I'm also sure that you love using third party instruments and sample libraries. And the library in logic is only for stock sounds and instruments. Right? Wrong. I find this kind of strange, actually, because I rarely see other composers and producers using these amazing feature in logic. Perhaps it is because it is quite hidden. If you really want to use the true power of it. Here is the trick. You can actually save any instrument track. You have lorded into your project as a user patch in the library. This means you will have quick and easy access to it from any project you're working. It is quite amazing. And I have to be honest, I didn't find out about this feature for quite a while. Here's how you do this. Step one Set up your instrument track first. You, of course, need to set up your instrument track in your project with all the things you want to add to it. You can, for example, at media effects, audio effects and even the track I come you want to use for these track. So let's say you have loaded contact on this track and let's say you have added this cinematic strings library on that. You have chosen the full insolvable patch right here. All right. Next, let's change the track. I come to represent these string library and named the track as well. Step two Savior Instrument track As a user patch in the library. Make sure your track is selected in the sequencer. Open up the library review and down here you have a save bottom. Click on it and you will be taken to a special folder for your user patches in the library . In logic now, I also recommend that you organize your user presets into folders. So let's create a folder called Strings Here. Onda. Then name your patch. And as you can see, it took the name from the track itself. So if you're happy with that, you can simply click save step three. Load your own usurp actress from the library. Now let me show you how powerful this is. I will first delete this track. Next, I will create a new empty instrument track then open up the library. And what's this Appear? Use through patches. Let's click on that one. Now I get a folder here called strings because I created that one earlier. So click on that one. And here we have this cinematic strings full consomme, ble patch. Let's load it into the project and we are done. I wish I had found out about this feature long ago. Now here's a bonus tip. If you want to change the name of a user patch or change how you organize your patches and folders, you need to find the correct load IQ folder, where your user patches or stored it is quite hidden, So let me show you how to find it. First, go to your main disc in the finder window, then to users. Then choose your user account, then go to music audio music. Epps, patches, instruments and here the your. Now you can add a new folder. If you wish. Changed the patch names drag and drop the patrons to another folder or whatever you want to do, and it will be updated in logics library. Now take a look at this. I have created a track stack from these four individual tracks, and as you can see, they are a string quartet basis. Chelios, violence and violence. If I go into the contact window here, you can see that I have the symphony essentials string insolvable loaded up here on the individual fax the basis The chill owes the violas and the violence, and I have already named these tracks properly and added the proper track icon on each, including the track stack. Now let's open up the library here and make sure you select the track stack and then once more go to save. And this time I want to create in your folder because I want to categorize my track stacks into their own section. So I will first name this track stacks and then below that I want to sub folder called Strings that would use this name strings Symphony Essentials because then I know what library is included, innit? Thang Click on Save and let's try it out by deleting this creating in you track here, going into user Petrus track Stacks, Strings and Walla. The String Symphony Essentials Track stack. Let's click on it. It takes a while to load, but here It is all four individual tracks named properly and routed and everything, so I can instantly use it in a new project. Now, take action and implement these new knowledge. Make it a habit to add and organize your own user patrons for the library in logic both for individual tracks as well as complete tracks. Tax. I want you to start right now by going into that specific instrument folder on your computer and stored by creating an organized folder system categorized the way you want it to be and when you're dumb, I am waiting for you in the next video. 8. Logic Remote App: There are more ways to control logic Pro X and speed up your workflow than simply using the key commands on your computer keyboard. I personally love using the U. S. App called logic remote, which is available for your iPhone or iPad. So let me show you how to set it up on did use it in practice. Step one. Install the logic remote app on your IOS device Chick that you have the latest IOS version installed. Go into the APP store and install logic remote step to sit the wireless network settings. Make sure that your Mac computer and your IRS devise or on the same shared wireless network Step three in stool logic Remote In logic, Pro X logic has a place where you add all controllers, which is up here. Main menu control surfaces. Sit up here. You can see your midi keyboards and all other controllers that you can use to control mode . It protects if you see this exclamation mark. It means loaded. Can't see the devices right now. Now, if I turn on my media keyboard, the exclamation mark goes away. So to connect low dick remote, you simply start up the app on your IOS device. And if they are on the same wireless network, logic should now show you this screen. Simply click connect and lo dick Remote is added as a control surface. I like to drag it up here to the main road. Then on your IOS device. You should get a connect window. Click on your computer name to pair logic remote with logic pro X on your computer. That's it. You are now connected and can use the power off logic remote to speed up your work phone. Now let's take a look at what you can do with this great app. There is a lot, actually, and it is divided into different views. This is the mixer view here. You can change between the different parts off the mixer like send effects in certificates , volume and pen etcetera. At the top, you have the transport controls, and on the top left you have a button to change the view mode. You can access this smart controls for the selected track in logic, the court strips, which are laid out like in garish band if you're familiar with that up. But now here is my favorite feature Key Commons. Here, you can scroll through many pages with the key commands to control logic. You have the transport controls on the bottom row, and as you can see, there are lots and lots of key command buttons for many off the most used features in logic . Now let's get even more fancy. I will scroll to the very last page, which is empty, and here I am going to show you how you can add your very own key commands in logic remote . And this is by four my favorite feature in these up. Basically, I used the custom key command feature practically all the time in logic remote. So if the button in law Dick remote is empty like this, you simply click it and you will open up the key command search box. Here, you can access all assign herbal commands in logic. I recommend that you use the search books when you know what command you want. A map. Let's say I want to add a key command to turn on or off the Metrodome in logic. Well, then I simply click in the search books and search for Metrodome, and here I choose meaty monitor Metrodome. Click. Then at the bottom, you can choose a background color for these button. I recommend that you use different colors to organize your key commands in logic Remote. Let's go with blue for this one. Now you can click anywhere outside this window to close it. Awesome. We have just added a new custom key command in logic remote. Now let's try it out. I'm here in logic again. And look what happens when I click on my new custom button. In logic remote. It turns on the Metrodome, and if I click it again, it turns it off, and you can see if it is on or off by the cooler in logic remote on that button. Now, if you want to edit or delete a button in logic remote, you simply click on this to in the top right and choose edit key commands. Then click on the bottom you want to edit and he recon. Choose to delete it to start fresh, all assigning you command to it. I will delete it For now, Remove key command. Now let me show you a page of key Commons I have already set up here all these key commands help me work super fast with this step Input recording feature in logic. The final tip I have for you is to organize not only with colors but with how you plays your buttons, and you can edit that by once again opening up the edit key commands mode. Then press and hold on the bottom and drag it into a new place. You can even change out these Bolton Row of buttons if you prefer to use your computer, keyboard or any other two for transport controls. Congratulations. You have now learned how to install and set up logic remote, which is a great time saver and workflow booster in logic. And you have even learned how to create your own custom buttons map to a key command in logic. Now I recommend that you add all of your favorite key commands. Ask custom buttons in logic remote and as he start using these at daily in your music making process, you will feel how incredibly great it is for your workflow. Have funds setting up and using logic and mold, and I will see you in the next video 9. MIDI Controllers: Now let's talk about how many controllers can boost your workflow. And what do I mean by MIDI controllers? Well, the most obvious example is a midi keyboard, and I am pretty sure you already have one of those. But there are also external MIDI controllers, dedicated D W controllers and so on. They all share the same purpose, though. Speed up your workflow by taking your hand off your mouth and to an actual physical controller, which could be a button fader or a no. Let's go through the most common midi controllers one by 11 Midi keyboard. The media keyboard is, in my opinion, essential for a fast workflow when composing music. Most media keyboards today have many assign herbal knobs, favors and buttons on them. Some even have transport controls like the one I currently used as my Master Midi Keyboard , a midi keyboard. Also have pitch bend and modulation controllers, and especially the modulation wheel is great for automating expression filters etcetera in your instrument much faster than manually adding it with your mouth in the automation lane to external medical tours. These come in all shapes, forms and sizes, but basically it is an Adam to your master media keyboard to give you tactile control over bottles, Fader Zad knobs that you can then map to whatever you like. You can, for example, control filters e que effects and sometimes even changed presets on instruments or synthesizers. Some of them even have pads for better control when recording your drums, beats and percussion elements. Three dedicated D aaw controllers These are more advanced media controllers that are already mapped to control your DW with. Personally, I have been using the Mackie Control Universal Pro, which gives me control over all tracks in the mixer for levels panning sound effects, eq you and so on. And it even has automated failures, meaning that if I have recorded automation on the tracks, the failures will move with it. Of course, a DW controller have the standard transport controls but also lots of bottles and features to take control over logic four pedals and foot switches. You can get even more control over logic by using, for example, a sustained pedal on expression pedal or if you record guitar, there are dedicated pedals and food switches to control your amp settings with. I personally use the sustain pedal in every production. Five breath controllers, These kind of device. You blow into this piece and that then sends me the data over this cable into the USB port on into logic, so I can control, for example, expression or the breath, the amount of air when I play brass wind instruments and so on. Basically, Midi controllers can give you the advantage off tactile control over buttons, favors and knobs, and quick and easy access to features and settings. That is why I personally love using MIDI controllers, then customizing the map ings to my needs and use them to record automation control filters , add expression and basically take control of the settings and features in logic without having to reach for the mouse as much. Now, if you also have a midi keyboard, you should start by experimenting with the failures, knobs and buttons you have on it already. But I also highly recommend that you research and invest in an external MIDI controller to use as an extension to your media keyboard. So take action now and start using external buttons, knobs and failures to take control over logic, your instruments and your workflow, and I will see you in the next video 10. The Quick Step Input Mode: recording a performance on a software instrument. Live with your Mickey board. It's not an easy task. In fact, even if you have decent playing skills on piano or keyboard, it is tricky to get the timing right, not making any mistakes with wrong notes and so on. I have a solution for these, which I personally used a lot for recording courts or pidio owes Austin totals and someone let me show you how so. Step one is to select the track you're going to record with Step input home and then he right click to create a new, empty media region because you are actually going to be inside the piano roll for this technique to work so you can double click this or select it and click P to get into the piano roll. And now you're going to bring up the Step Input keyboard, which is here in the window menu, and I have mapped it to the key command F two because I use it quite a lot. Next, you need to tell logic to listen to the median put from your media keyboard. Otherwise it won't start recording, and you do that from this little button up here so quick that and now the final thing is to make sure that play head is at the start because it is actually going to start recording the steps. As soon as you press a key now on your MIDI keyboard, you also need to make sure that the track it has the record enable button home. So now if I press a note on my MIDI keyboard, we will get a step recorded input here. So I pressed Ah, the middle C on my medic keyboard, and we got a note that is a full bore in length. So let me do control said to go back, and I will explain why it was one bar long. It's because of this feature. Here you tell logic what the length is for each step, from a full bar to a 64th note, and you can also say that you're going to record chords and then you benefit from having the chord mode activated. So let's say I'm going to record a cold progression now. Well, I'll simply start with a whole bore. First, let me play an F major. Then let's say for the next one. I want to use 1/2 bore for the next chord, and now you have a great shortcut to actually change these note values without having to click with your mouse. You seem to use the numbers on your computer keyboard, either on the standard keyboard part or on your nom pad. So one is the whole notes Press two for the half notes, 3 4/4 roles and so on. So let's go with two for 1/2 bar and let's do a C major. Let's do an G major next, and let's go up to a F major again. But we are going to use a full board for that one. So press one on your keyboard and then you simply stopped by clicking this button again so logic will no longer listen to the media input. So let's close this and listen to how these sounds now. Now let me show you how you can use the same technique, the step in front method to record or pidio owes or ostinato AUVs, which I personally think it is super great for, because those kinds of fast patterns or super hard to record live on your Medicaid board with good timing. So let's recalled some fast patterns. So let's delete this. Go back to the beginning and let's bring up the step input keyboard again. Turn on the median put. But this time turned off the court mode because we are going to record one note at the time . And for this I think I'm going to go with 16th notes. So let's click on five on the keyboard. And now let's start to record something on. By the way, I am going to show you a mistake on purpose now because I want to teach you a lesson on using these step input keyboard. Even if you have the cord Modoff like to show you, why did it add them as courts, even though I had not cold mode activated? Well, let me show you if I pressed all the denote. If I hold it while I oppress another note, it adds as accord. If I release it, it goes to the next step. So if you're going to record a single note at the time, press one note. Release it, them presidents next note and so one. So with that, no religion in mind. I can simply delete this. Go back to the beginning and try to record something using the step input method. Let's go with 16th notes, release and continue way can close this and close days. And it sounds like this really fast pattern, which is basically, well, not impossible, but really hard to play alive to get this kind of timing. And as you can see, you get the velocity values from the notes depressed on your media keyboard. And, of course, you can further edit this with logics. Advanced media transform functions to add variation in timing and length if you want to as well. Congratulations. You have just learned how you can record many ports super quick and easy. Using this step input method in logic, I personally use this feature all the time for recording core progressions or pigeonholes, fast Austin autos and rhythmic patterns on strings breasts. Since etcetera, it is simply amazing how much time you save as a composer using this method. That is why I strongly recommend you to take action and try out the step input method. Right now, to create some ports with your goal is to make this part of your daily work for as a composer. So once you tried using these step input method a couple of times, I will be waiting for you in the next video. 11. The Amazing Varispeed: Do you want the power to record your ports in less taste? Yes, so do I. So let's face the truth. The faster the tempo, the more difficult it is to play and record your MIDI and audio parts with great timing. Sure, you can spend lots of time to edit meeting notes afterwards, but wouldn't you rather have a close to perfect take to begin with? That's why I started using the very speed feature in logic for recording my ports. Let me show you how so The very speed feature is quite hidden in logic. It doesn't even have a default key command. So Step one is to add it to your control bar. Right click. Customized control bore on here you choose of every speed step to choose your very speed sitting. So very speed is basically a temporary readjustment to the BPM of your track. So you conducive to listen back to your song in a slower tempo and then quickly changed back to the normal temple in one click. However, I don't use it for listening. I use very speed to temporarily have a slower BPM when I record Newport's, but when you turn it all for the first time. It doesn't do anything. That's because it is set on zero. So if you click on this percentage to sign, you can choose how to change the tempo. So for this technique, you can choose either a percentage or a resulting bpm. I prefer to use percentage here. Then I go ahead and set the percentage amount. Very speed will slow down the tempo with by left clicking here on the numbers, holding down the mouse button and dragging down Let's go with minus 25%. Then you can also adjust what very speed effects by clicking up here. I have it on speed only because I don't want it to change the pitch on Lee the Temple. So to sum it up, speed on Lee minus 25 percent. Step three. Activate very speed when recording Newport's. Finally, it's time to put very speed into action mode. So let's say I want to record a new partner. Let's go with a piano. And as you can see, this project has a temple now off 120 bpm. But when trying to record at that temple, let's say that I stumble, make mistakes and lose the timing a lot. Enter very speed, Donta Activate and now the tempo is 25% slower. Just listen to the quick before and after. Now let's try to record a piano track with very speed on. So for this example, I have chosen to solo this piano track, and I have turned on the very speed setting here, and it's set on minus 25%. You can, of course, Havel the other tracks playing if you want to, and the whole project with the foot will follow the new various be tempo. So let's try to record something now. So it was not a perfect take, but much easier than when I tried to record without the very speed at 120 bpm. So now let's go into the piano roll and take a look at what we have here. Select the clip P for piano roll aunt. Here we have it, and as soon as you have finished recording and take, you're happy with simply turn off very speed and you are all done so I can see a few bad notes in here, which I can just remove, like so these ones over here on. The timing is not that bad, actually, Slightly off here and well, we can start with the Commander to select all intern on Qantas ing. Let's go with 16 North's let's see, looks good. It actually seemed to be quite a good take in these lost notes for the second phrasing. So let's delete those. And now let's listen back to this without very speed. Perfect. Now, I also have a bonus tip. If you all to record fast rhythmic patterns like Austin Auto Strings, for example, you might benefit from turning the very speed setting even lower, perhaps to minus 50%. And you will find that this really helps you get the timing of your performance much better . So let's check out what we ended up with here. Select the clip, turn off very speed and go into the piano roll commander to select all. And since I played pretty fast notes, even if I did it in very speed note. I can go for 32nd notes this time. And, of course, you might need to delete a few bad notes, adjust some velocities, but it looks pretty good. So let's listen to how these cells now without various bid on, try playing and recording that at full speed. Congratulations. Now you have learned one of my big secrets for recording in Liss takes in logic Pro X, very speed. So take action now and try this out for yourself. It is such a powerful feature. Go ahead and take control of your timing when recording by using very speed and I will see you in the next video. 12. The Marvelous Marker Track: Now let me teach you about markers in logic pro X how to create them, how to use them for navigation project overview and basically boosting your workflow when recording and working in the sequencer. The Morgan track is also a very good reason for why I so strongly recommend you to have a keyboard with a Nam pat. So if you don't have a nam pad on your keyboard, I would even go so far as to invest in an external numb pat. Add to your studio set up because that is how much you will be using it when producing music in logic pro vex. All right, so the market track is part of logics amazing feature called Global Tracks, which basically our master tracks that are present throughout all of your project from the start to the end. But you choose if and how you use them to access the global tracks. You simply press G on your keyboard and they will pop up here in the top off the sequencer . Then, if you right click on any of these tracks up here, you get this window where you choose which global fax you are going to use in your project . For example, let's say you score to picture. Well, then a movie global track will be needed. The Temple track If you want to automate the temple throughout your project, and of course, we have the more contract and arrangement. Fact. Let's focus on the market track for now, as you can see there or no markers yet in this project, so we will create some. But first, let's go through the key commands for the markers. So let's first start by closing the global tracks area by clicking G and next, you simply position your play head where you want to create any marker. Let's say here on board 17. Let's zoom in a bit, and then you have the key command, old or option and quotation mark. Old quotation mark is create marker. Then if you want to rename it because it will simply say more Kiwanis, you can see here you hold down shift and quotation mark. Let's rename it into build, and then, if you want to delete it, you hold down old and press the backspace key, which will delete the marker. So again create marker, old quotation mark rename shift quotation mark and delete old backspace. And finally, if you have the bombs from markers, let's create one here. Let's move on to the next. Create one there and another one there. Now those are marker 12 and three and all markers to get to the position with the play head , you use the num pad on your keyboard. So if I press one, the play had will go to the first marker. If I pressed to, it will go to the second marker and three and someone. And it doesn't matter what these are named. Just this sequence off the markers. Of course, you can have more than nine markers in your project. And if you want to go to the markers 10 to 19 you simply hold down control when you press the numbers on your nom pad. So control plus number 0 to 9 or the markers 10 to 19 now to customize and work with markers, I recommend that you go into the global tracks section because that is much easier. So press G on your keyboard and you will open up the global tracks, and here you can select the markers and let's move this to the start of the track. And let's say I want to shorten it to be 16 bars, and you can always see if I hold down here Length 16 000 meaning that is exactly 16 bars long. Then he can move this Bacchus. Well, now, I made this eight boards in length. Then I can move these here and so on. Then I also recommend you to Kohler your marker regions for better structure an overview of your project. And you seem to do this by opening up the colder picker old. See, select one of these markers and then select a color. Let's go with green for the first marker and yellow for the next one and read for this one . Next closely color picker Old C closed the global tracks G and when you use markers, even if you close the global tracks, you can always see them up here. And when you also use coolers for every marker, you get a great perspective and overview of your entire project. I also strongly recommend that you name all your markers. As I've done here, core is one, and I find the easiest way to do. This is to seem to g to get to the global tracks. Double click on the name and let's say this is diverse. Let's say this is the intro, and if you want to create another marker, you can also do it from the global fax. By going with your play, head to the position where you want to add a marker and clicking here on the plus sign, double Click that and say that is a bridge or something like that used to colder picker to add a new colder for it. And also finally, if you close this, you can always see an overview of all your markers and their position and length. Simply click D to open up your released editors go into markers, and here you will have list off all your markers in your project with their beginning, position their name as well as their length. So once you have set up, polarized named and organized your markers with the beginning and end position like this, it is super great to navigate in the sequences quickly and efficiently simply by using the nom pat like I do now so you can use markers to quickly. Listen back to a section in your track. For example, The chorus press three on your non pad to get to the chorus, his space for to play that that support or you can use it to record something new. Let's say I want to add something in the verse. Click on the track I want to record and then total record and record from here. You can use it for editing and much more. But basically navigating quickly in your project using markers is a great way to boost your workflow, the marvelous market track. Go ahead now and start using it in your daily music production, workflow in logic and make sure to customize your markers with proper names and colors. So try it out now and then Let's continue in the next video. 13. The Arrangement Track: Now we will learn how to take advantage of the arrangement tracking logic, which is a great way to get a clear overview off your entire composition, your song structure and even arrange your music with. So what is the arrangement track? Well, it's one off the global tracks in logic, like the marker track, and it is quite similar to the market track in the sense that it gives you an overview of your project. But markers are often used more freely and not always tied into the song structure, whereas the arrangement track is just that. Your song structure laid out clearly for you. You can even use it to arrange your building blocks and sections with hence, the name arrangement track, Let me show you. So to use the arrangement tracking logic, you need to click on G on your keyboard to open up your global tracks. Let me increase the height of these, and if it's not present here, it's because you haven't chills in to have the arrangement track port of your global tracks . You simply right click with your mouse and hear all the options you can choose from. So up here you can see arrangement. Click that, and you will see the arrangement track up here. So now, when adding marker, you remember you simply go to the section in your song. You want to add a marker, and you can use the shortcut old quotation marks at the new marker. But for the arrangement track, it works a bit different. You simply use this plus sign to add a new section in your song, and then logic has default names that you can choose. Four. Structuring your zone intra verse chorus, bridge and out. True, and you can also click rename. If none of these works out for your song, then you choose how long each section ist. So let's say you have an intro for 16 bores. Drag it out like so click the plus sign to add another one, and it automatically it chooses the next section as diverse. Let's say that is for another 16 bores Onda. Then you have, let's say, a pre core. So let me rename this into pre chorus, and that goes on for let's say, 12 bores. And then, yeah, the chorus and you do this for your entire composition so that you will get a complete overview. Basically, you name each different section of your track, and now I'm going to show you a really cool technique of using the arrangement track, which is to actually arrange your composition with because all these and sections that you have just added or tied to what is below them everything here, the content era is tied to each of these books. Now you can rearrange your sections. Let's say you don't want your core is starting here. You wanted to start right after the intro can simply left. Click with your mouse and drag it over here, and logic will now rearrange everything below it to follow what you do in the arrangement track. Watch this then. Now the entire chorus is over here, and let's say you are not happy with that. You can simply click here, arrange that over here, and this can be a great way to try out various song structures for your composition until you are satisfied. But if you don't want loaded to do this and you only want to use the arrangement track for a great overview and perspective of your composition, you need to go here left click with your mouse and click on Suspend Content Connection, which breaks the connection off these blocks with the content below it. So now I can click on this verse. Dragged this over here right after the first verse, and none of the content followed because I have the arrangement content connection suspended. The only drawback I feel from using the arrangement track is that if I close the global tracks, I will ciel the markers. But I won't see the arrangement track because I need to have the global facts visible to see this. But other than that, this is a great way to get a good overview of your composition. And if you want to rearranged your track, simply go back to content connection on Move it Around as you wish. Finally, I want to show you really cool bonus tip of using the drama track as an extension off the arrangement track. So even if you are not using the drama track for your final composition, I find that this can be great for adding the foundation of your fact. Ah, from the drama track, and then you can use the Mead e or performance as you wish when programming the real drums . So let me delete these first and now I have added the arrangement track in all the blocks here. Intra verse, verse, chorus, pre chorus altro. What I want to show you now is that if I adhere in you drama track, look what happens. It actually added the books here named after the arrangement track. And not only that, it is even trying to add the variation in the drumming performance to follow what the sections are named. So the intersection is simpler and software the verse is going up in a both loudness and complexity. The chorus even more so and so on. And I find these really great because now I have the core foundation for the entire drum and percussion section off my track. So even if you are not going to use the drama track as the final sound for your drums and percussion in your music, you can use it as a starting point because it actually helps you and speeds up your workflow. So you commute this and actually use these. If I hold down alter option key to copy these, I actually get the media data to these other media track where you can add your real drum plug into. But what you get is the velocity values and the drumming, simplicity or complexity that actually mimics what is going on in the arrangement track up here. That is a truly great feature, but I would recommend you to try out as well. Nice. You have just learned how to take advantage of the arrangement. Track in logic. I recommend that you try it out right now, and if you enjoy the feeling off good structure and great overview of your composition, start using the arrangement track in your composing and production work, though my name is Mike and I will see you in the next video. 14. Duplication Master: There is one thing you will do in logic over and over again 1000 times in every project you work on, and that is duplicating notes, regions, tracks and even entire sections. So in this video you are going to learn how to become a duplication master. Now, there are so many ways to duplicate things in your project, so let's go through them one by one one The classic copy paste method. Simply select a region like this and press command C Command V and you get a duplicate off the region, and it can also do this with notes. Let's say these notes and you duplicate them here. And if you want to duplicate several things at the same time, simply hold down the shift key while you select everything you want to duplicate. So let's say these things. Then command C Command V, and you get a duplicate awful those regions to duplicate track with same settings. Let's say you want to have another track with this piano to play the Milady. Since this is playing the harmony, then you simply select the track and then press command D. And now you have a duplicate track of this with the exact same settings. As you can see from the inspector here, three duplicate ports with the replicate command simply select the party. Want to duplicate? Let's say this part here and then press command all on your keyboard, and it will be a duplicate right off to this one, and you compress it as many times as you want to make several duplicates over this region here, four duplicates section between locators. So first you need to find out rich section of your track you want to duplicate. So let's say I want to repeat these through to radiance again here and push everything to decide. Then you need to adjust the locator. So let's click. See to bring up the cycle markers so that the lift locator is a distort off the region you want to duplicate. And the right is, of course, to the right of it, and now you simply press control command or and that entire section between the left and right, a locator is added to the right of it, and everything else in the song is pushed to the right five. Duplicate with drag and drop This you can do with either the ports and regions or with individual knows, and it is extremely powerful. You simply hold down the old or option key after you have selected a note, for example, and then you simply left. Click with your mouse and drag it to another place, and this is now a duplicate off this note, and if we go out from the piano roll, you can do this with a region as well. Hold down old left quick drag, and that is now a duplicate of this region. Six. Duplicate to an alias or mirrored part. So instead, off holding down the altar option key left quaking and dragging out, which creates a cookie, you can hold down the shift key as well. So shift old left, click and drag, and now it says, make alias. So if I drag these over here now, this is now mirrored copy off this one, which means that if I change anything in this port, which is the master port, everything will be mirrored in this region because this is an alias, and this can be a great way to layer sounds and instruments to create a bigger sound while still having an east way to edit the original notes on all the mirrors will follow. Seven. Duplicate with a loop. So if you select a region in your project and click L on your keyboard, that region will be looped for the entire project, which you can see if you go into the track inspector. And here it says loop, and sometimes you can accidentally have used it. So simply go into the inspector and de select this and the looping will be gone. Most often. You want to control how long this part will be looked for. You do this by hovering your mouse in the upper right corner until you see these little loop icon. Then you simply left click and drag with your mouths for as long as you want the loop to be . For example, this is an entire looped section, and you can do it for another section. But you can also use port off the section as aloof. For example, only the 1st 2 bars off this section is now looped. Eight Duplicates section read the arrangement track. So for this, you need to bring up the global tracks by pressing G on your keyboard. And then, of course, you need Teoh addle the blocks of your arrangement like this. I have already done so. The intro is from 1 to 5 here and from 5 to 9. This is diverse. This is the chorus. So let's say you want to repeat the verse once more. Well, then you simply hold down the old or option key and left, click and drag out like this. And now when I release my mouse button, watch what happens The entire verse section Everything between the locator and this locator was copied on the verses Now repeated ones here and everything was pushed to the right. As I told you, becoming a duplication master will really speed up your workflow in logic. So try out all these methods off duplication and I will see you in the next video. 15. Custom Screensets: Now we are going to turn one off the most powerful work. Full secrets in logic. Pro X. Once you learn these techniques, you will never go back. I am talking about screen sets. Question what or screen sets in loaded pro X. The short answer is saved window configurations. Let me explain in logic. There are many windows you can switch between, like the sequencer, the mixer, the file browser and so And when you're composing, and especially when producing music, you will find yourself switching between these. Use a lot of times. Well, of course, you can do these demand you away by using key commands to open up these windows. But then you will often find yourself adjusting the size and placement of these windows, which quickly adds up in time spent and breaks your workflow. And another thing in logic. You can actually open many windows as floating windows, which means you can adjust their size as well as position. For example, placing your mixer window in full screen on your sick and computer display all perhaps a full screen piano roll for better overview when editing your many parts. This makes the screen sets feature even more powerful. Imagine that you could simply press a single button and call up a complete configuration off different windows. With the placement and size you have decided beforehand, well, you can. And that is what screen sits or four. So let's dive right in, and I will show you how you use this feature. So all screen sets in logic or saved up here in the menu where you can see number one now and you will always have at least one screen set. For now, that is the default screen set that you start with now all screen sets or saved and called up using the numbers on your keyboard, not the num pad, but the actual number case. So to create a new screen set, you simply press a number on your keyboard that is not already used. If it is used, that is the way to switch to that screen set. In this case, I can simply press the number two on my keyboard, and this is what happens. Lo Dick opens up and you window here, which is the sequencer, because, of course, you always need at least one window for a new screen set. Now you can see that the screen set is saved here, but let's say you don't want to see the sequencer, but instead want to have a full screen off the mixer. Well, then first opened up the mixer in the floating window. Then you can close this one. Then perhaps you want to have the transport Boris Well, so open up the transport float and then you simply ah, place them on your screen on DA just. They're sizing like this, and as soon as you are done, you can look these screens that here congratulations. You have created your first screen set in logic. Now you can quickly switch between these two screen sets by pressing the number one and two on your keyboard. Let me show you if I press one now. It called up the screen set number one, which is only the sequencer. If I press two, I get the full screen mixer and the transport float above. And let's say you do a lot of media editing. Well, then let's create 1/3 screen set by clicking the number three on the keyboard, because if I click number two, it simply calls up that screen set. When I click number three, it creates a new one because that was not assigned before. Now let's bring up the piano roll Ah, which we have here. Then we can close this one on. Let's do the transport bore again because I always want to have that on top so I can always see where I am. Awesome. Now we have made a full sized PM rolled screen set so you can edit meaty a lot faster by having a better overview off everything that is going on. And once you're done, remember to look this screen set, and now we can switch between number one, which is the tracks number two, which is the mixer view, and number three, which is the piano roll. So if I go back to bomb, select one off these clips and press three, I get a full sized piano roll with notes in the port already selected. So now I can simply hit said assuming and begin the editing. Now here's an important thing to remember. If you want to make any changes to one of your screen sets, you need to first on look the status here because If I have, for example, let's say the note pad here and then I switched to number two and back to one is gone. You need to unlock first, then make the change and then look it again. Now, if I press to to get to the mixer and back to number one, I have the note pad open here because I saved it into my screen set. Awesome. Now you know how to use screen sets in logic. This is a truly powerful feature to boost your work for with and once you have started using it, you will find yourself using it a lot to quickly switch between custom configurations you have saved. So go ahead and try sitting up your own custom screen sets right now, and I will see you in the next video. 16. Snapping Settings: logic Pro X quick tip. Change the snapping settings to suit you in all situations. Let's check it out right now, so the snapping and current greed settings or appear on the default is smart. Where Logic basically tries to guess what you're trying to snap to, it works okay, but as you can see, if I drag this, it is more difficult to set it to, for example, on exact quarter note or, let's say, 1/2 bar more care. It's too easy to make a small error this way. So I advise that you make a habit of changing the snap division setting every now and then into what is most suitable at the moment. For example, I find myself using the beat division a lot nowadays because I rarely line clips in smaller increments than quarter notes anyway, then my next step is to be aware of what the snapping mode is set to absolute or relative. Let me show you. So let's say you have moved this clip without snapping on or that it is for some reason, out of time, and then you want to move it to a line to this port here. Well, If this setting is on relative, it means that it will move the port for the length off the snapping division value from its actual position. So if I try to drag these to align now, it will not work. I need to change the snapping mode to absolute, which will make the port snap to the absolute quarter. Note. In this case, since I have the snapping division set on beat right now, so when would you want to use relative mode? Well, let's say you have an audio clip that starts before the bar line. It might be a reverse sound going into a bush or something like that, and then you want to cook with these to repeat a couple of bars later, but you want to keep the same timing. Well, if you have absolute setting on, snap on and if I now hold down the option key to make a copy as I drag this, it will snap to the absolute value off the current greed setting on snap. So let's say I have it set on board here. It will snap the starting point to the exact bore lines. Well, that is not what I wanted. So let's go and changed the setting up here to relative on now again, if I duplicate this and dragged the copy to the right, you see how it remains the relative timing as it snaps to each bar. So I can now drop it here and let's say bar 10 and you can see that it has an equal amount off the clip before the bar line here, as it had on the first clip. That's what the relatives snapping mode is for. Finally, I also recommend shaking the alignment guides option because sometimes you think you lying to quips together. But if you sue mean there is a small alignment ever. So if I assume in here now, look at these tiny Gap and that is all it takes to mess things up with timing. But if you have the diamond guide option activated as you Draghi clip close to another, you will see these line turning yellow when logic senses that to quips or perfectly aligned , all right, so make sure to stay in control off the greed and the snapping sittings, and I will see you in the next video 17. Link Plugin Windows: logic. Pro X quick tip link Plug in Windows. What is this about? Well, you know, when you compose music in logic, you constantly need to open and close your instrument plug ins to make adjustments, change settings and someone. I used to do this by double clicking on the plug in window in the track. Inspector Rome. That is actually the bad way of doing this. And I will tell you why. It means a lot of wasted time going to this tiny button in the track, inspector, every time double clicking on it. And then you might also want to close the track inspector afterwards every time because it takes up screen estate, Multiply these actions 1000 times when working on a project, and I'm sure you can see how annoying it can become Now for the solution. Activate linked plugging windows. Let me show you how so you might already know that there is a key command for bringing up your plug in windows, and that is the Then I get a little plug ins I had opened, and I can click V again to close them. But that is not usually what you want. Usually you just want to work with one plug in at a time here in the sequencer. So how do you set it up? Super easy. You just click on the plug in, and then you quick on this little button in the upper right corner. This is the link plug in windows feature. So I make sure to activate this and on this track as well. So now, as you can see, I have closed the track inspector. And now I can simply select this track and press V, and it will bring up these plug in window for that specific track. And then if I go up to this track, it will switch to this plug in instead because I have activated the link plug in windows to the sequencer. The only minor drawback is that if I close this now and press this and then bring up the windows with the that doesn't work, I need to first bring out the plug in with the and then select the track. So you might need some practice to get into the flow of how this works. But once you have started using this technique for opening up the plug in window, you will find yourself rarely. Go into the tracking specter and double clicking this button here. Amazing. Now make sure that you make this into a habit on instinct, even for always reaching for that key command V on your keyboard to open or close your party in Windows. Then you will only need to select the track in your sequencer to bring up this specific plug in on screen. My name is Mike, and I will see you in the next video. 18. Click Zones: logic Pro X quick tip used Clicks owns for quick access to extra tools without having to switch tools manually. So logic has two main tools for your pointer. One primary and one secondary when you hold down the command key. But did you know that logic actually can give you automatic access to extra tools? In a very smart way, Depending on where your mouse pointer is located, let me show you how so to access the click song settings, you go to main menu preferences, general and editing. And down here, you can read, pointed to in facts provides. And I personally have checked all these options. Let me show you what each setting thus one fade to click cells. So before you check this, let me show you what happens if I hover my mouse over the upper right corner. Often audio clip. I get the icon for looping, and if I move my pointed down to the bottom right corner, I get the icon for adjusting the length off the clip. Now what? What happens when I activate the fade too quick songs. Once again I hover my mouse cursor here at the top, right corner and look a new kind of icon appears Now. I can click and drag to the lift and create a fade, but the looping option is still there. It just moved to the middle of the clip. So now I have three tools, depending on where I place my mouse, cursor fade. Luke and length. Two more key to quick songs. Let's see what happens when I hover my mouse cursor over report. Without these options activated, you see on Lee, the main tool is shown. Now watch what happens when I activate the more key to quick songs. Now, as I have in my mouth in the upper part of a clip, I still get the main to. But as I move the cursor down to the lower part of the clip, I now get the more key to, and I can select a range here and, for example, quick on it to split it. If you activate this, you might want to change out the secondary to which is now the more key to as it is, somewhat redundant. Three. Quick swipe and take editing clicks owns Finally, when working with audio, you often have several takes as you want to use parts for each to make a final polish result? Well, that is what comping is for. And I have already recorded three takes here to show you how to use this feature. Without this feature activated, we can still double. Quick to act is to take folder. Then you get this cursor to choose the take like this and also select ports from takes like this. And you can then click and drag to move them around inside the clip and also adjust the starting and end position. Now watch what happens as I check these books Now, I have added yet another click zone. So as you can see here, if I have a selected take these blue ones here, If I hover my mouse at the bottom part, I can still drag it around like this. If I go over to the middle part, I can select a range of it. And at the top port I get the main point or two. And as I move my mouse to the gray area on un selected, sewn in the lower part, I could select the new zone to be used in the comping. The pointed true is very handed to have here because then you can double click to go into the specific part and then edit the audio for just that section. Personally, I have all the click souls activated because I love the workflow boost they give me. So I recommend you to try out all these settings for yourself now and I will see you in the next video. 19. Stretch Clips: Vodicka Pro X quick tip. Stretch your clips. Yep, I use these all the time and it works both on audio clips as well as many ports. Let me show you how so In logic, you can stretch mid eclipse, which will extend the note inside or reduced the notes in length and for audio it time stretches the clip, which, if you do it too much, does not sound that good. But in small doses it can be great, and it is super simple. You use the mighty option cave, also called Old K. I call it mighty because it seems that I use it so incredibly much when working in logic, you simply hover your mouse in the bottom right corner of a clip, then press the option key or old key. Then you see these stretch icon appearing, and now you simply left. Click with your mouse and hold down the button as you drag, either to the right to extend the clip or to the left to make it shorter. So why would you want to do this? Well, I love using it, for example, for making adjustments to cool progressions like making a one bore cord into 1/2 board called, for example, like Up here, you can see four chords, each one bore in length. Now I can firsts allies these up into four parts. Then I can get creative and used the stretch clip method to make these progression a bit more interesting. Time wise than Onley, having all cords exactly one more in length, so I can start by selecting this cold here. Hold down the old key or option key and hover my mouse here and let's make that half a bar . Let's make the third chord half a bar. Then I can use the old key again, holding it down and using the mouse to replicate this. So we have this court now and have part of this cord. Then I might want to extend this to two boars. So again, hover your mouse here, hold down the option key and drag out. Now this court is two bars long, and let's say we want to make this 1 1.5 bore, then finish with half a bore off this cord. So now this is a completely different core progression than we started out with, and it works the same way with audio clips as well. But you want to be careful with how much you stretch audio clips because off the art effects. So let's listen to this silly little recording I made. This is a test recording, right? So now if I want to extend it, simply hold on the option key while you hover your mouse down here. Drag it out. Let's just overdo it just so you can hear how bad it sounds. This is a test recording and undo that. And let's do the opposite way. Hold down the option key again. Make it short. This is a test recording, and most often you want to do minor adjustments like, let's say a bit like that. This is a test recording, then the artifact off audio time Stretching will not be as a parent. Super, not Friday's out for yourself on both media clips and audio clips, and I will see you in the next video 20. Articulation ID: Hey, hold accusers, check this out thing. Changing articulations without using keys. Which is What's this magic? Better? It is the new articulation i D. Feature in logic Pro X 10.4. Let's check it out. Sochi switches have basically bean the standard for changing articulations on instruments going from sustain to staccato to tremolo. Answer one. But there are several problems with this one. Accidental articulation changes. I'm sure you have experienced these many times, especially if you play and record on a meaty keyboard to wrong articulation on playback. When you start playing in the middle of a medically, the instrument will only play the lost keys, which that was activated. Three. The coping notes. Confusion. When you compose and arrange music, you do a lot off CO P and pasting off media nodes. Well, most often, you don't want to copy those key switches to other tracks in your project. So this part is also time consuming and confusing. And now the solution. Articulation. I ds. This is brand new in logic. Basically, instead of using keys, which notes, logic has integrated a feature, which gives you the ability to assign an articulation per note in your media recording, Let me show you how it's actually really genius and simple at the same time. So most, especially orchestral instruments, have lots of different articulations that you want to switch to in the middle of the performance to add some expression to it. So if we go into this little media recording I made, I have already added those articulation changes. But there's no key switches anywhere to be seen inside the medically. Instead, you simply select any note in your performance on then apply an articulation to it, using this list here with all the articulations available for the specific instrument and for the new studio strings and studio holes. These are already mapped out for you, so you seem to go through your many performance notified note and add the specific articulation that you want for each note. How do you map your own articulation ideas to your software instruments and sample libraries? It's actually pretty easy when you learn the flow of it. Step one is, of course, to Lord up your instrument that you want a map keys, which is to I will show these using this string insolvable symphony essentials that I got with the Native Instruments Complete package. After you have loaded your instrument, you go into the track inspector up here or by using the shortcut I on your keyboard, then go down to where it says articulation. Here you can see that studio horns and studio strings already have mapped presets. So you click on new and here is where you write the names off. All articulations off your specific instrument. So let's see what we have here. Sustains sardine. Oh, tremolo trills, Harmonics, staccato, Speak Otto and pizzicato. So you simply click this plus sign here to add each of them and right in the corresponding name like this. So the first case which was sustains So you simply double click here and right sustains and then you do the same for all these keys, which is here. Then you go over to the output tab and this is where you will map those keys which names to actual keys, which notes. But first you need to select note on here in the type column. This basically tells logic that the trigger is a note. Once you have chosen note home, you get a least for all notes here in the selector tab. And then you simply met all the articulations to the correct notes. One by one like this, you simply go back to the instrument to check the individual key switches, starting with sustains, which is F six and then sustains here, go down to F six. This is the boring port, by the way. So you do this for everyone until you get a full list like this. So now when the mapping off the key switches is complete, you can close this window. And if you go into this middle part on this instrument now, you can see that we, in fact, have all the articulations mapped out. So the final thing is to save this articulation mapping and you need to remember the name off the instrument that you have mapped string in samba wall symphony essentials so you can click Go back here, click on save s and then articulation settings string in some herbal symphony. It's sin chills, click save and that's it. Now your own custom articulation present is available right here whenever you need it fully mapped for this particular instrument. That's it. Articulation. I d in logic pro X, super easy and super powerful 21. Customize the Track Headers: loaded, pro X quick tip customize the track headers. There are plenty of things to choose from here, and I will show you them right now. You start by going to one of your tracks here, and then you right, click on an area outside off the track icon, and here you'll find the option Configure track header. Now these are the default settings, which you can always go back to buy going down here and revert to factory defaults. So what things can you customize in the track? Headers? First buttons, for example. I personally like having the freeze button available because it is a great way to optimize performance in your project by freezing tracks, which essentially turns them into audio only and then unfreeze them. If you need to make edits. Two controls here he can choose if you want a volume slider available, as well as a noble to control panning or one off the sense if you switch over here. Three. Additional name column. If you check this, you can get an extra naming feature on each track, and you can switch between a couple of different alternatives. Hair. Four of the review options here you can add extra options like, for example, if you want to color your tracks, you need to check this option and you get a cooler bore for each track. And I also like to have the track alternatives option active. Then I can record a different version of a track and be able to go here and switch between them quickly and easily. Awesome. So go ahead and customize your track headers and logic to have everything you personally want available and I will see you in the next video. 22. MIDI Chase: logic. Pro X Quick tip. Meaty chase. What is it? Well, basically, when you work with your music, composition and production in the sequencer, you will play vac your track a thousands of times and from many different places inside your project. The problem is that meaty notes rely on a starting point, and if you start playback in the middle of, let's say, a long cord, you will not hear that chord. So everything works OK with media as long as you play before each meeting, notes starts. If I play from the beginning, Uh, that works. And if I play, let's say from here you can see these longer courts looking. Assuming of it, that works. Okay, The problem is, when I start playback, let's say from here nothing from here, Nothing. And when you have lots of tracks going on, you often want to start from various positions, and it's it can be a pain when you don't hear those courts, for example, Sometimes a note can go on for many bars, and you need to go back here to start triggering that note. To hear it. Solution, activate meaty chase. Let me show you how so the media chase feature is a project setting. So you need to go up to file project settings, then too meaty, then to chase the activate notes here, sustained and also down here, chase on cycle jump. I activate these as well. So notes. And here and then you can close this. And now if I try playing back from here again, So logic will now actually playback all of these notes. Even if I start playback in the middle of the media note, let me show you. I can now start playing back here in the middle of this court on you. Still hear it? Or here it will work from anywhere. Amazing. Now make sure that you try out this tape in logic for X yourself. Personally, I have these feature active at all times when I compose and produce music. My name is Mike and I will see you in the next video 23. Custom Look: logic. Pro X quick tip customize the look off the logic interface for your personal choice. I know Loaded doesn't give us much room for changing the look, but there are a couple of settings you can adjust, and I will show you them right now. One. Go to preferences display. General, I have checked all these three options here to basically make some ports off the interface a bit bigger because I work on a retina screen and I want things to be as clear as possible , as you can see. For example, here with the Track Inspector. Two preferences display tracks appearance here. Recon. Choose if you want new tracks to automatically get a color other than the default. You can also choose the background of the sequence there to be dark, bright or a custom value. If you don't check the automatic grid lines, you can also customize the look off the grid like this. And if you work with loops a lot, I like having them shaded to better see which pours or loops and which or the original clips. So if you drag out a loop here now, you can see that it is shaded then if you go to the editors tab here, you can also choose to have the background in the piano roll bright if you prefer that. All right. So those were some quick tips on customizing the look of logic. Go ahead and choose what you prefer and I will see you in the next video. 24. Create your own Track Icons: voted Pro X quick tip. Create your own custom track icons. This is actually super fun and a way for you to style your tracks in the sequencer. Let me show you right now. All right. So I hope you're using the track icons feature to organize your projects because it is a great way to get a visual overview off all your tracks and instruments in your sequencer. Logic actually comes with a really well organized, preset bank for track icons. But have you ever tried adding your own icons? It is super easy. Instead of using these icon folders, you simply go down here and choose the Custom Icons folder. So I have already created a couple of track icons of my own here. So let me explain my reasoning for creating these specific icons. This 1st 1 is an image off illness fear that I sometimes want to use for a track where all Miss Fear is lorded as the instrument. The next one is an image off contact, which I sometimes use as a default icon. For an empty instance of contact. I used that a lot in my D W project templates. The next one is a close up image off the buttons on my complete control keyboard so that I know that this track is a complete control track, which I then can use the browse button on to load up the Complete Control Instrument browser. And finally, I have my brand logo type, which I often use on track stacks for sketching, mockups, ideas and so on. All right now, to create your own custom icon, you simply need Teoh. Either download an image from the Internet, take a screenshot on, for example, a plug in or even create one using an image editing software. So let's say you have created an awesome custom patch that kind of sounds like the whole of Gondor from The Lord of the Rings. Well, let's search for whole off Gonder. Click on images and you probably want a cool sup image because the track icons are really small. So let's go with this one downloaded to your computer, then back in logic. You right, click on the track icon on the specific track juice custom icons down here and then you click this plus a sign. Now we need to remember where you downloaded the image on your computer. I have it in my downloads folder here, so you seem to choose the image Click open. And, Ben, you have yourself the whole off Gonder in your logic project. And the best part is that these track icons or global meaning that you can add any of your custom track icons in any project you work on great now create some inspiring, specific or perhaps even nerdy looking track icons that you can use in your logic projects , and I will see you in the next video. 25. Change Click Sound: verdict. Pro X quick tip customized the Metrodome sound. Also called click Track. It is actually more important than you might think. I mean, how many times will you hear that click track working on a project countless of times, So you want to make sure you find a click sound that is, well, as pleasing as a quick sound can get, and also that it is clear and distinct so you can hear every beat to help you keep the timing of your performances. Now the Metrodome settings or stored per project. So to adjust the metal home, you simply go up to the final menu project settings. And here you have the Metrodome. Or, if you have the Metrodome button in the control board, you can simply right click on it and choose metre norms sittings. First, I advise you to de activate simple mold, and then you can choose to only have the quick on recording and not on playback, because if you're like me, you usually forget to turn off the metal home after you have recorded something, and then you hear that annoying click on playback. Well, the solution is here. Click while playing on chick done. You can also choose to have polyphonic clicks, which means that two pitches off the click can be played on a particular beat. For example, the first beat of each bore can have both the Beat, click Sound and the bar click sound. Now the most important settings are down here. You can dial in the pitch off each bore, quick beat, click and even choose to have division clicks. So at the moment, this is how the Metrodome sounds like playback. Oh, no, Metta Rome. I need to turn on the recording mode for that now and then. I can adjust the pitch off the boar click. Let's make that lower. Let's make the beat clicks higher. And now we can also add the division quicks and have that high driving the background. And finally, you have the atonality slider going from a really short, percussive quick towards him or PCI Klay as well as the master volume off the Metro home, of course. So now go ahead and try this out for yourself, customize and choose your own favorite mitral home settings, and I will see you in the next video 26. Master Navigation in Logic: this module is all about mastering navigation in logic Pro X. If you can navigate quickly and efficiently in logic, you will truly speed up your workflow incredibly much. I encourage you to really start using a lot of the key commands you will learn in this course every time you're composing and producing music in logic because every time you read for your mouse you lose valuable time and more importantly, abrupt your flow. I will be teaching you the key commands using the U. S. Present. So check what your setting is first, by going into the main menu, Kika moans presets. And here you can see that I have the US precent active, even if you use another language Pres it. I believe most of the key commands all the same. But at least now you know the starting point personally, even though I in Swedish and have a Swedish keyboard, I still use the US pres it simply because that is the setting that is most used and that I have learned a lot the key commands from in videos PDFs and courses like this one. I also wanted to know all of the most important keys on the computer keyboard that I will refer to been teaching. Yukiko moans. 10 shift eat called option key moaned Space coma period backspace enter home end a role peas number. Now I have a very important for you because I truly wanted to learn with maximum result. And my tip is this I recommend you to pause the videos at any time during this course to apply what you just learned by instantly doing it yourself inside logic. So, in order for you to get the most out of this course, I believe it is best if you have logic opened up and ready as you are watching and learning . Why? Because the best way to learn is always by doing it yourself. All right, so go ahead and grab a cup of coffee Startup logic and get ready to learn, apply and master your workflow in logic. Pro X. My name is Mike and I will see you in the next video 27. Main Navigation in Logic Pro X: navigating quickly in logic is all about key commands. I will therefore now teach you all key commands for the main windows and sections. In logic, this video will go fast. So remember to pulls and apply each key commands. You have not yet used that much to truly learn them all by heart. Your go is to make every key command almost like an instinctive process without having to think about it. Here we go. Library. Why this opens up logics Stock instrument library Inspector I This is the track Inspector where you have an overview and settings for individual tracks to bore control Old command T These opens up a secondary optional toolbar below your control bar Smart controls be for quick access to important controls on individual tracks. Mixer X the full mixer view with all channels Editors. E opens up the editing view either for media tracks all audio tracks least editors D A. List off all events markers, temple and signature changes in your project. Note pads, old command p your notes for the entire project or on individual tracks. Luke Browser. Oh, quick exes to the Complete Loop Library Media browser. If your project audio files and external media files. Piano Role P opens up the piano roll editor for MIDI tracks. Score of U. N opens up these school mode for media tracks. Audio Editor W opens up the editing view for audio tracks. Colors Old See opens up the colder picker window. Step Input Keyboard. Old Command K opens up the step input keyboard to be used in the sequencer or piano roll. Plug in windows The Opens or closes Your Pugin Windows Select window tab chooses the active window in logic. Congratulations. You have now learned the key commands for all main sections in logic. I have also included a bonus for you in this course, a complete list with all my favorite key commands and logic so you can go through them whenever you need to make sure to use key commands as much as possible in every project you work on, because that is the professional workflow that will make you compose and produce music much faster and give more time and energy to your creativity and inspiration. Now let's continue in the next video 28. Zooming in Logic: How does logic handle the logic? Off zoom? It actually took me a while to understand how to use all soon commands and tools in logic in the correct way, because logic actually makes a difference on how assuming works, depending on various factors like is any region selected or is nothing selected, where is the play had located, and also the cycle selection? In order for you to truly understand the different behavior off, assuming in logic, you should try out all the methods I will teach you right now. Control plus Old gives you the soon to in logic. This is a very powerful tool that I use personally all the time. You simply hold down control plus Ault on your keyboard and then select a region by holding your left mouse button and dragging like this. And then it zooms in. And when you want, assume back out again. Use control. Old and left click one time with your mouse. The most used shortcut for zooming in logic is the key, Command said. Now, if a region is selected like this one here now and you press said on your keyboard, logic will soon into that selection clicking said again, and it goes back to the previous setting. But if nothing is selected in the sequencer and you press, it said, logic will soon to fit the entire project quick onset again, and it goes back to the previous setting. Sometimes you might just want assume the height, often individual track in the sequencer. Then you use control and said like this, and then controls it again to bring it back to the default setting. Instead of assuming into a selected region like this, you might want assume into your left and right locators, also called cycle area. Then you use control, Shift said. But when you want to go back, pressing control Shift said, doesn't work, so you need to use the soon to control old and then left click on your mouse. Another great shortcut for zooming in logic is holding down the command key on your keyboard and then using your aero case, using the up and down arrows assumes in the vertical direction like this, and using the left and right arrow assumes in the horizontal direction. I will now demonstrate the difference in soon behavior in logic, which is something you really need to learn, or else he will get frustrated like I was in the beginning. So if nothing is selected and we have the play had here, take a look at what happens, as I assume in logic, then assumes towards the play head. But if a region is selected like this, Lord Exum's towards that region. If you have a mouse with a scroll wheel, you can use the old key and use the scroll wheel to assume in the vertical direction and holding old plus command while you scroll to assume in the horizontal direction. Finally, if you have a track pad, this is great for assuming, since you can use two fingers to swipe out like this or in like this to assume in the horizontal direction. Or if you hold down the old button on your keyboard while you swipe with two fingers on your track pad, left and right assumes in the horizontal direction, and up and down assumes in the vertical direction. Finally, I have a bonus tip for you. If you mess around a lot with soon getting into all kinds of various you can always used assume to by holding control and Ault and then left click to go back to a previous setting . Even if you have used assume tool to assume ones soon twice. Assume three times using the controlled click once quick twice and click 1/3 time and you're back at the previous setting. Amazing. You have now developed Master Control to assume in logic the way you prefer and using various methods to do so. So let's continue in the next video. 29. Play, Stop and Cycle: logic has many ways to control the play head. Depending on this settings you choose, and in this video you will learn how to master play stop and the cycle area in logic. So let's start with the place settings. When you press space on your keyboard, it means play. But from where? Well, that's what you can customize here by right clicking on the play button in the control more . Here, you can see that you have four different settings for the play button that you can activate or deactivate first. If none of these options is own, logic will always start playing from the current play head position. Now let me quickly show you each setting first play from marquee selection. So if I used the more key to and selected part like this and then I press the space bar to play, it starts playing from the beginning off that selection next play from cycle. So if I have a cycle like this one, if it is off, it doesn't matter. It starts playing from the play had position, but if I used the key, come on, see and activate the cycle area and press play anywhere I start, it starts to play from the beginning off the cycle area. Next is play from selected region. So if no region is selected, if I hit space bar, it starts playing from the play had position. But if I select for example, this region and press space bar, it will always start from that selected part and finally play from lost locate position. Then Logic will remember where the play had was at when I started playing. So now I am on three here. Remember that I press space bar to play space bar to stop. And now when I press space bar Logic remembers that I started from here, which was the lost locate position, and it will start from there so I can use it from wherever. If I start playing here, press space bar to stop, and then again it will go back to the lost locate position. Now, using space bore is basically toggling between play and pulls. You also have a dedicated stop command, the default key. Come on, for these is zero on your nom pad. So if you don't have a nam pat on your computer keyboard, you will need to assign another key command for this. All right, let me show you the three settings you can choose for this. Stop command. You simply right. Click on the stop button to choose between Stop, stop and go to left locator and stop and go to lost Locate position. And this is when the track is playing. So if I hit the space bar to play And now I'm going to use zero as this stop. Come on. It simply stops. So if I change this to stop and go to lift Locator The locator is over here, as you can see there. So if I hit ah Space to play and then hit zero it will go to the left part of the locator And finally we can use the stop and go to lost Locate positions. If I start playback from here and the then I press zero, it goes back to the lost located position. You can also set a jump behavior for the stop command that you use when the play head is already stopped. These means that you can switch quickly between two locations. Let me show you these as well. So first we have jumped between more key and products start if stopped. So all of these are if stopped. Which means when I press zero the stop command when the play head is already stopped. So for this, I need a marquee selections that were used in Marquis too. And select this. Now, if I press zero stop command, it will go to the beginning off the marquee selection Press stop again. And it is in the beginning, off the project. So if I use the Ciro on my NAM pad, I can switch quickly between these two positions. The next setting is jump between cycle and products start. We've stopped. So these only works when the cycle is owned. So I need to press see to turn on the cycle. If I press the CIA Rose, Stop. Come on. Now it will go to the beginning of the cycle area, press zero again, and I can switch between these two positions. The next setting is jump between selected region and products start if stopped. So if I selected reading like this and President zero stop command, I can jump between the product start and beginning off a selected region and finally we have the jump between lost, locate, position and product. Start if stopped. As you remember, logic. Can't remember the play had position as he started playing. Let's say now this is the lost locate position, so if I press zero now, we'll go back to their to the Prodi start. If I proceed through again and I can jump between these two positions now, finally, I want you to master these cycle area to really boost your workflow, because this is something you will use a lot when composing and producing your music for recording Newport's for listening back and analyzing for mixing and so on. So let me show you some important key commands to control these cycle area. To customize the cycle behavior in logic, you can either right click here on Lee locators or, as I prefer, go into customized control, bore and add these cycle button here, and if you right click here you have all the settings available. A very important choice you need to make is if you want or to set locators on or off. If you turn it home and I press see, I get this cycle selection here, but if I select a region. This cycle selection fulls the region I have selected. This can be good or bad. In some cases. This has made me frustrated, so I often use auto set locators off. And then if I want to move the cycle area, I simply used the manual command, which is command you. But if you prefer to use the auto set locators, you have three different options that you can use with it. First is by more key selection, which means that now the other choices are off. So I can't selective region to auto set the locators, but now instead, use the more key to. As you can see, the cycle area followed the marquis, too. You can add the video selection so you can use them both either Marquis two or the Selective Region, and also by notes elections. If I go into the piano roll and select these notes, as you can see, the selected through cycle selection is following the selected nose in the piano roll. All right, so now let's go through some key commands for this cycle area. The most important is, of course, see which turns on or off the cycle area selection. And the next one is if you want Teoh, add manually. The locators, which is the key command you. So if I select a region and praise you thes cycle selection is following that region instead off auto setting it which is like this. But you need to know that when you use the key command you to select the locators. For a reading like this, it will be a rounded number, which means full bars. See if I reduce this part here like so so it doesn't extend to the full bore line and I praise you. The locators are still set so that there are in full bars like so. So if you want to set the locators it you the exact region length you use command you instead. Like so well, let's say like so instead off you, which is rounded numbers in full bars. And sometimes you just want to move quickly either backwards or forwards in the project with the cycle area. Then you can use shift command comma to move backwards with a cycle area with the length off the cycle selection or shift command period to move forward like this. Now you can quickly move the cycle area, just holding down shift command and using the comma and period on your computer keyboard. Congratulations. You have now mastered the very important aspect off play stop and cycle in logic. This will definitely boost your work for by a lot, since he used these features thousands of times in every single product you work on. So go ahead now and apply along these settings and key commands to truly learn them by doing, and I will see you in the next video. 30. Sequencer Navigation: when composing introducing music, you will work in this sequence or a lot. So now let's learn how to master navigation in the sequencer offloaded pro X. So here we have the play head at Bore five. Now we can use the key commands comma or period on your keyboard, refined or full with the players by one bar, the coma going back, one bar going back, another bore all period going forward. One bar going forward, one bar, and if you hold down the shift key at the same time, you can go in eight bars, holding down shift pressing period holding down shift and pressing comma. If you want to go back to the beginning of your project, you can always press enter. And wherever you are in the project, the play head will go back to the beginning. Now, if you select a region like this, you can be wherever you want with your play head, and it can always go to the beginning off this election or the end by holding down control and pressing either the home key or the N key. So control home beginning off selection control. End is end of selection now to select different ports or tracks in your project, you can use the arrow keys going up or down to select different tracks. Or, if you have a reading selected like this, you can use the left and right arrow case even going down to another track. They can see the actual regions or ports selected, and you can even use the arrow keys to select notes if you go into the piano roll. So if you have this note selected, you simple use the left and right arrow keys to move through the notes like this. Next. If you want to select multiple parts, you seem to hold down the shift key. Why they left. Click with your mouth like this to select multiple parts in the sequencer or multiple notes in the piano roll works the same way. Hold down, shift and left. Click with your mouse. The most important selection command is probably select all, which is command A. As you can see, all regions are now selected here, but he will most often used is in the piano roll. So if I click here to go into the piano roll Command A and you can see all notes are selected and then you can edit them, for example, notching them to the left or right. Quant izing all knows and so on. And sometimes when you entity reports, you don't want to select all notes, but only the notes that you want to edit. So let's say you're happy with these two notes and you want to select all the notes. After these two, you simply select the first and then hold down shift impressed f which means select all following. And finally, if we go back to this one again because we have more notes here, you can select all off the same pitch. So if I select for example, this one and I want to select all the notes following this one that are of the same pitch, you hold down shift and control and press f, and you see that these knows are selected. Let's try that with this top one. So, like this one, shift control f and these ones are selected as well. And then let's say you have a very big project and you want to select everything within the left and right locators, which is here now, So this doesn't even have to be activated. You still have the left locator here and the right locator. Now, to select all of this, you hold down, shift impress ill and all the regions inside these locaters will be selected. Next is navigating with markers. Markers are so incredibly great for your workflow when quickly navigating through your project as you compose and produce your music. All right, So first, to create a new marker on the location where the play hideous, hold down Ault and press the quote key, which is this one? That's a new marker. If you want to delete a marker, hold down the old key and press backspace key, which is this one. All right. So let's create a new marker again, Ault and quote. And then, if you want to rename the marker, you hold down, shift and press the quote key again, and you can rename this into let's say intro. I recommend that you name every marker of you used in your project so that he will get a full overview and it can also go into the event list to the markers and you can see the marker names over here and now for the main benefit of using markers is navigating quickly in your project between different markers and you use your nom pad numbers for this. So number one will be the first marker number two, the second and so on throughout your entire product. So now if I press one on the number, the play had will go to the in true marker. If I pressed to, it will go to the verse and so one. Amazing. Now to truly become a master of navigation in the sequence of logic Pro X. Make sure to go into logic right now and use all the key commands you just learned to truly memorize them. And after you are done, let's continue in the next video. 31. Action Test your Knowledge: congratulations. You have learned so much now about navigating quickly and efficiently in logic. Navigation is key, the foundation for a professional workflow. And now it's time to test your newly gained knowledge. You will get a serious of questions on important navigation, Key Commons and techniques. There will be no grading because what matters is that you truly learn all these things yourself. I even encourage you to cheat. What? Why? Well, because the best way to learn is by doing so. What I hope that you will do now is open up logic and have it ready to try to implement the key commands and actions yourself for each of these questions. Here we go. What? Or the key commands for the main sections in the toolbar? Now pause this video as you go through all of these key commands and again please cheat by trying them all out in logic. Take your time and then resume these video again, All right. The next question is what all the key commands for the following main features in logic and again, pause this video as you answer this question by actually using these commands in logic yourself Now, test your knowledge off the soon features in logic. What key commands do you know? Try them a lout and answer these question. Of course you will need a track pad and a mouse with a scroll wheel to use those soon features. Now, this is not even a question, but an action for you to take. I wanted to try out all the settings for the play button, the stop button, the jump when already stopped setting for the stop command. And finally, all these cycle key commands. And this is yet another one tried out for yourself to truly learn by doing. Try out all these play head navigation, Kika moans. When you're done, follow with these selection key commands. Next, try to navigate with markers by using these marker key commands. Great. Now make sure you repeat these action lecture until you get all the key commands, right, so you truly develop an instinct for using them when you work in logic