Logic Pro in Depth: Fundamentals (2022)

1. Class Trailer: Welcome to the Logic Pro in depth Fundamentals course. If you want to learn how to produce music with Logic Pro and all of its robust processes, menu options, key command, shortcuts, functions and features. Then this class is for you. I've created this class in such a way where each concept builds upon one another. And I take you from installation to navigation. And we build our way up through learning how to use every function in feature that is essential to mastering the fundamentals of Logic Pro to make great music, I've also provided a handy keyboard shortcuts for every concept that I show inside of this class. So that you not only understand the workflow of using logic, but also become masterfully efficient while making your own music. This course isn't genre specific, so you can really make any kind of track or sound that you want in this class. My goal is just to take few hours and really show you how powerful logic really is and how you can use it to your own creative advantage. I've packed everything into this class that I wanted to know when I first started using logic. And I believe this class will stand out from the rest because I've created it entirely from that perspective. If you're ready, let's dive into Apple's professional digital audio workstation. 2. Install Logic Pro: In this video, we're gonna cover how to install Logic Pro if you haven't already, and how to read, download it, or download it for the first time to install Logic Pro, open the app store on your Mac. Next, navigate to the sign-in button depending on which App Store version you're using. Click on it and then you're gonna use the same Apple ID and password that you use to download apps. Once you've logged into the app store using your Apple ID and password, click into the search field and search for Logic Pro. The Apsara has a special featured story page for Logic Pro that you can click on. It gives you a great little synopsis of all the plugins, features, and immense sound library that comes with logic. Okay, So now if you take a look, if you've already purchased logic before, you can click on the Cloud icon with the arrow to redownload it. Otherwise, if you haven't purchased Logic Pro already, you're gonna wanna do that before you continue on in the course. Once it's finished downloading, click Open. This is the welcome page when you first open Logic Pro. The very first thing that it asks you to do is to choose between two modes, a simplified mode and complete mode. Simplified mode streams, tools and menus across Logic Pro for brand new users. While complete mode enables logic pros, full set of music production tools. For the purposes of this course, you want to choose complete mode if you have Logic Pro installed already and you need to change it to complete mode or check what mode you're in. You can always go to System Preferences then advanced to enable complete mode if it isn't already. If you want to learn more about the two options, you can click on Learn More and logic brings up the official user guide and explains each mode in depth. Logic will also prompt you to install the essential instruments, loops, and sound content that comes with Logic Pro. Type in your Mac passwords and saw otherwise logical bother you every time you open a new session until you install the essential sounds. Next, logic prompts you to allow access your max microphone depending on which Mac operating system you're using. In order to record audio into Logic Pro allow access by clicking OK. Next logic welcomes you by telling you the most recent updates and additions to the version of Logic Pro you've installed. You can click on Complete featureless, and it will take you to Apple's website where you can learn more about all the new things they've added to logic in more detail. And now I'll close out of the complete feature list. Lastly, logic opens the choose a project window. Here you have several options. You can start a new project, see your recent projects choose from a set of Live Loops, starter grids. Also you can choose from tutorials, demo projects, project templates, and any custom templates you've created yourself. For. Now click on the one that says Empty Project. Then click Choose. Next. The logic workspace opens and you're prompted to choose attract type. To start with a completely blank slate. Click the disclosure arrow underneath details, then click on the dropdown that says default patch. And from the menu that pops up select empty channel strip. Then uncheck the Open Library button and click Create. Logic adds an empty track to your project titled inst one, along with folding up the windows within the inspector after this logic is fully set up and ready to use. In the next video, I'm gonna take you through navigation inside Logic Pro and show you all the different menus, windows and even all the keyboard shortcuts so that you can access these different windows and navigate things really quickly inside Logic Pro. So let's jump in. 3. Navigating Logic Pro: In this video, I'll show you how to navigate logic pros windows within Logic and each of their designated shortcuts to quickly access them at any point in time during your project. Jumping into the first window pane on the left hand corner of logic is the library. And if you press Y and our keyboard, we can quickly access all the stock sounds, presets, and patches that come with Logic Pro. A second window is the inspector window. Press I on your keyboard to quickly access essential region in track controls such as gain, plug-in inserts, midi Effects, Audio Effects, Sends pan, volume mutants solo. The third window is the Help window press Shift plus the question mark on your keyboard to reveal a little window and inspector that tells you the function of different things inside logic when you hover your cursor over it. The fourth window is the toolbar window. You can press Control Option Command T to quickly access buttons that you can click to perform key functions inside Logic Pro functions like Note, Repeat, spot, erase, split by play head, join, bounce regions, Zoom and track colors. The fifth window is the Smart Controls window. If you press B on your keyboard, you can quickly access and modify the sound of your selected track without ever going into your tracks plugin window within the Smart Controls window, there's also a handy EQ for your track and an optional EQ for your master. The sixth window is the mixer window. By pressing X on your keyboard, you can quickly access the mixer for your entire song where you can adjust the volume faders, adjust painting, mute, solo, sends buses, you can rename tracks and more. Next is the accountant button. By pressing this button or pressing Shift key on your keyboard, you can toggle on and off a pre count that logic plays before it starts recording your midi or audio performances. The button next to this is the metronome button. Press K on your keyboard to activate a timed clicking sound in sync with your projects BPM to help you keep time while recording median audio performances. The next window is a list editors window press D on your keyboard to quickly access media events, markers, tempo changes and signature events. The eighth window on the right is the notepad window press Option plus command P to quickly access a window where you can store notes and lyrics on your project for both your project and your individual tracks. This is a great way to document what you did for each track and keep track of details on your project or reference at a later time. The ninth window is a loop browser window. Press O on your keyboard to quickly access pre-recorded apple loops that come with Logic Pro. Here you can sort loops by scale, signature, instrument, type, genre, and description. The last window is the file browser. Press F on your keyboard to quickly access audio and media files to import inside your project also access other data and settings from other projects too. Lastly, there's a couple of things that I want to mention that you can access that aren't just right in front of you inside of Logic, one of those specifically is the piano roll, or you can edit midi regions by pressing P on your keyboard. And this one, you can also access the step sequencer. And then there's a live loops grid. If you press the little icon that has a three-by-three grid inside of your project. It'll take you to a window Rican create and produce music ideas and a nonlinear workflow. Lastly, logic comes with built-in tutorials that you can access by going to the menu, click on Help, and then click on Logic Pro tutorials also, you can access the built-in Logic Pro manual by pressing Logic Pro help. This is everything you need to know in order to get started with Logic Pro and navigate and access to the most important windows inside of Logic. Refer back to this video anytime you need a quick refresher on where and what everything is. So that is how to navigate inside of logic. In the next video, I'm gonna show you how to access the key commands window and map custom keyboard shortcuts key functions inside of logic. So let's jump in. 4. Key Commands: Throughout this course, I'll be using a lot of key commands. One of the things I love about logic pro is that it comes with a great set of default key commands mapped to the most useful functions within logics workflow, I've provided a list of commonly used key commands in the download section that should be highly useful for you as you learn how to use Logic Pro. But right now I want to show you how to create your own key commands and map them to different functions inside of logic, the first key command will make is one for opening your instrument plug-in went out on any currently selected track. To make sense of this visually, I'm gonna start by adding a couple of different plugins char track with ONE logic using the inspector window, which is I on your keyboard. First in the Insert section titled midi effects, I'll click on it and from the menu that pops up, I'll choose arpeggiator the next in the instrument section, I'll click on it and in the many that pops up, I'll scroll down and choose Retro cent below this and the Audio Effects insert section, I'll click on it, scroll down to utility and in the sub menu choose gain. Gain is generally the first audio effect I always put on each track because it's where I can gain stage and control how much gain is going through my plugins. Then below the gain plug-in button, I'll hover beneath it and click on the dark highlighted the area to add another audio effect by clicking it, I'll then scroll down to reverb and an a sub menu choose ChromaVerb. Now we have some plugins loaded and I'll show you how to map some custom key commands to them. Now to access the key commands went down inside of Logic, press Option key on your keyboard, and you'll see an entire list of key commands that come with Logic Pro by default, in order to map our first custom key command, we need a type into the search field open. Then if you scroll down, you'll see the key command titled Open slash close instrument plug-in window of focused track. Then to map the key command of our choosing, we're going to type into the search field that's titled Key. And for the key command, we're going to type in command one logic may pop up a warning, but click Replace. Anyways, you can always delete this key command in the future whenever you decide to change your own key commands, That's it for the first key command, we now have one key command that is custom map to open our plugin window on our focus track. This is probably my most used custom key command because I'm constantly popping in and out of my plug-in window and going back to the track arrangement within Logic, next we're going to scroll down to the one that says open slash close Audio Insert to plug-in window focused track in the key field will type in command to. We'll do the same thing for audio, insert 345, and give them a same pattern of key commands using Command three, command for, and command five. Next, scroll down to Open slash close midi, insert one plugin window of focus track in the key field gives us the command Option one, though ascii command I'll show you in this video, is how to map the sequencer to accustom key command because we'll be using the step sequencer throughout this course in the search field type step sequencer. In a second listing that says show slash, hide step sequencer, click on it. And in the key field type Control Tilda, It's that little squiggly line that's next to the one on your keyboard. And that's pretty much it for key commands to start off with. It's worth noting that if you want to learn any of the key commands inside logic, you can type in any word or function you want to know. The key command for it will show up within its designated listing to the right of it. For example, if I wanted to know the command for splitting a region where the play head is, I can type the word split into the search field. And I find that split regions slash events at play head position is mapped to command T. Now I can use Command T. My project is split any region or event on my track. Now we can close the key commands window. All of our plugins are still up, but we can open and close each of them using the key commands we just set up. I'll press Option one to close my arpeggiator. Then I'll press Command, wanted to close my retro Synth. Next I'll press command to close the ChromaVerb. The only plugin left open now is our game plugin, which I rarely open and close because I set it at the beginning of each and every project for each track. And then after I said at a usually don't open it up after that point. So we'll just go ahead and close this manually for now. Now that everything's closed, we can actually go ahead and see what this all sounds like now by pressing Command K on our keyboard to open the musical typing window. This allows us to use our max keyboard to type in and start playing our instrument. And you'll hear it starts to play back with our arpeggiator controlling and arpeggiating our retro Synth. Now that we have our key command setup and our retrosynthesis sounding great, Let's go ahead and move on to the next video. 5. Musical Typing Window: Before we record into logic, let's first take a look at the musical typing window. The musical typing window is logics built-in interface for recording midi and instrument performances using your computer's keyboard. We already know that we can bring up the musical typing window by pressing Command K. I want to show you a few key things about the musical typing window before we start recording. In order to demonstrate the functions of the musical typing window, I'm going to click the plus button in the top-left of logics tracks view. Next in the choose attract type window, I'm going to click on the Instrument button and scroll down until I see vintage electric piano. Then click Create. This is logics built in electric piano, which sounds really good, but it will also help us demonstrate the functions of the musical typing window. We already know if we press the keys on our keyboard, we can hear the electric piano playback as long as their record enable button is selected and highlighted in red on our track, we can always hear instrument play through the musical typing window. But as you can see, ticketing a glance over the musical typing window, you can see there's some other features that we need to explore. Starting from the top-left, we see there's a pitch bend function. If I play a note on my keyboard and at the same time press the numbers one or two on my keyboard, the musical typing window or pitch bend the incoming notes as I play on my keyboard. This helps for really expressive performances where you want to pitch between notes and really just give a nice flair to your incoming performance as you play. Moving to the right, you'll see that the numbers four through eight control modulation of our electric piano, in this case, numbers 438, control the intensity of the tremolo effect on our electric piano. Playing a note on the electric piano while holding the number four will give us a slight tremolo effect where we start hearing the stereo back and forth between left and right inside of our earphones or on our speakers. And then as I progress through the numbers four through 88 gets even more obvious as a tremolo effect increases in intensity. If we don't like the effect of the modulation, we can always press the number three to turn off modulation and the tremolo effect stops. It's also worth noting that the modulation is going to affect different parameters depending on what instrument or plugin use. And it's not always gonna be tremolo, it can be something else, but this is just another way to get more performance and flare out of your playing when you're using the musical typing window. Going back to the left, there's also a sustained button using the Tab key on our keyboard. This works great with piano and key bass instruments. If we play a note on our computer's keyboard and hold the tab and at the same time, it tells Logic to sustain and hold our notes much like the sustained pedal on a real piano. It down below you'll see that the letter Z and X control which octave our piano plays at. While z decreases the piano by one octave every time you press it, x will increase a piano by one octave every time you press it. Lastly, the letters C and V on your keyboard control the velocity of the notes being played by increments of five pressing V mixture instruments sound louder and pressing C makes your instruments sound quieter. Now that we've covered the musical typing window will record the first performance into logic in the next video. 6. Recording in Logic: Now let's dive into recording and logic. Now that we understand how to use all the functions in the musical typing window, we can record them more expressive performance in Logic Pro using sustained pitch bend and modulation if we choose to. To keep things simple to start though, I'm gonna record a simple note progression into logic using retro Synth. I'll turn off the ARP midi effect by hovering over the art button and clicking the power button that appears on the left side. When I hover my cursor over it. Next, I'll delete the vintage electric piano for now and make sure that my record enable button is selected and highlighted in red on my retro Synth track. To rename our track, we can double-click on inst one and rename it to read your synth. Now that we're ready to record, you can decide to use logics, handy count and feature that gives you time to prepare before playing your performance in the logic to enable content and press Shift key on your keyboard while the musical typing windows closed or click on the accountant buttons so that it's highlighted in blue. You can also right-click on the accountant button to get more options and change the duration of the cotton that plays before logic starts recording. I generally like to leave mine set to one bar, so I'll just leave everything as it is for now. If you want, you can also enable the metronome button to the right and get a timed clicking Santa play and hope you keep time while you're recording. The metronome also has different playback options you can access by right-clicking on it. That's pretty much all the things that I said before I start recording. So let's go ahead and record our first performance. To record press R on your keyboard and Logic immediately starts counting in and after accounting, one bar starts recording. Now that I've played a simple idea in, I see that logic created a midi region and green that stores all of my midi data. If I want to undo this performance that I just played in, I can press Command Z to undo it and then press R again to re-record. But I want to keep it for now. So I'll redo my midi recording by pressing Shift Command Z on my keyboard. Now that I have my midi recording, Let's take a look at a few basic things that you can do with midi regions. I can extend the length of this midi region by hovering my cursor over the lower right until I see a bracket with two arrows appear. And then I can click and drag on the midi region to be as long as I want. If I want to loop the midi region, I can hover my cursor over the top right until I see a bracket with a loop symbol appear. Then click and drag on the midi region to loop it as long as I want. You can also repeat a midi region by pressing Command R. Now let's take a look at playback. After you record something in logic by default will continue to play where it was last stopped. But I find it much more useful for logic to return the play head back to where it was last located. So that when I'm looping or playing back my midi performance, I can actually hear it without having to drag the play head back. You can change this playback behavior by right-clicking on the play button and choosing play from last locate position. If you ever need to jump the play head back to the start position. And certainly all you have to do is press Enter on your keyboard. Going back to the things that you can do with midi regions, another very useful thing you can do is change the semitones and octaves on the fly to test out different keys and test out different octaves. Whenever you want. To test different keys, all you have to do is hold down the Option and use the up and down arrow key to change the entire midi region by one semitone at a time. To change the entire midi region by octaves, all you have to do is add the Shift key while holding the option key, and then press the up and down arrows on your keyboard to split a region and put the play head over the region that you want to split and then press Command T. Then if there's notes that cross the point, we are splitting Logic Apps. If you want to keep, shorten or split those notes. In the next video, we're gonna open this midi region and take a look at the piano roll where we can edit our performance. 7. Piano Roll Editor: Now let's explore the piano roll. To open the piano roll, press the letter P on your keyboard. A window at the bottom of logic pops up with all the details of our midi data. The piano roll editor shows the notes and a midi region as colored bars in a time grid, horizontal lines. So the time position while vertical lines indicate pitch. A keyboard along the left edge of the piano roll editor provides a reference for the pitches of notes. There's also a tiny little info display after the tool pop-up menu in the piano roll editor that shows the note name and type position under the pointer. In the piano roll editor, you can shift notes around, split them, stretch them, quantize them, zoom into your notes selections as well as change the velocity, expression, automation articulations and node data for your midi performances. Let's take a look the major features of the piano roll. First, to get a better view of our midi notes, we can click the horizontal auto zoom button to the right side. This automatically zooms in. So the entire midi performance fills the horizontal scope. To the side of this, There's also vertical and horizontal zoom sliders to the right that let us adjust the view of our midi notes. Another convenient way to fit all of our midi notes and the window is suppressed Command a to select all the notes then press Z on our keyboard. This will automatically zoom in fit all are many notes within the entire piano roll window. An additional view option in the piano roll is the collapsed mode button. Clicking this only shows a leans in the piano roll editor that are used by notes in the midi regions you've selected. Also, if you want to see the individual notes of each mini note, you can go to the View menu and select note labels. This will show the note value and velocity value for each note in your midi region. And when you click the collapse mode button again to go back to the normal view, the note data's still shows as long as you're zoomed in enough. Moving to the right and this button opens automation sub window inside the piano roll where you can automate different parameters for your midi region. By default, it only brings up the note velocity parameter because the only automation data that currently is recorded within the midi region is the note velocity. You can press a on your keyboard anytime to toggle the automation view on and off. The next button is the median button. This button allows you to record new midi notes within the currently selected midi region. If I press Command K to bring up our musical typing window, then press artery chord. I can record a new midi notes into this midi region. The next button is the midi out button, which turns off the sound preview of selected midi notes by default, when I click on a midi note AND logic, it gives me a sound preview of that note. Same thing with a series of selected notes. Turning this button off, disables the sound preview. The next button is the catch button. This keeps the play head visible as a project plays. The last button is the link button. With this button turned off. The midi region you've pulled up will stay up no matter what other midi region II selecting the tracks view. So for example, if I create another midi region in the tracks View and click on it, the previous midi regions stay selected. No matter if I click on the new one. With a link button selected, the Piano Roll will automatically open the midi region I select on the tracks view. Next we have the left-click tool menu and the command click tool menu. Clicking on either of these will give you a list of tools to choose from. Clicking on any other tool from the default tool will change the tool that comes up respective of your left-click in your command click. For example, if I wanted to change my command click tool to the scissors tool instead of the pencil tool, I just click on the command click menu, and select the scissors tool. Now when I press the command key on my keyboard, I can access the scissors tool and I can cut and split any midi note in the piano roll. Feel free to really customize this tool to be whatever you want, whatever you use most because it's gonna be super useful and make your workflow so much more efficient. The last many on the right is called the snap pop-up menu. This controls a snap value inside the piano roll independent of the snap value for the tracks area. The snap pop-up menu settings applied to moving, copying, cutting and resizing note events, moving, adding and resizing markers and setting the cycle area. You can snap notes and other items using relative or absolute positioning and contemporarily override the snap grid, allowing for finer edits and adjustments by pressing and holding the Control key while performing edits. In the next video, we're gonna start digging into our midi data and dive deeper with the piano roll by taking a look at how to quantize midi. So let's jump into the next video. 8. Quantize MIDI: Let's take a look at quantizing midi and start editing our midi performance inside the piano roll. Taking a look at my performance, you can see my timing wasn't perfect. You can see that the midi notes are kind of off-grid and they're not perfectly in time if we want to quantize them so that they adhere to the time grid and perfectly snap to the nearest 16th note. All we have to do is press Command a on the keyboard to select all the notes. Then I'll press Q on my keyboard and Logic automatically snaps my midi notes to the time quantized values set on the left-hand side. With a note still selected. You can actually click this menu and change the value and logical automatically quantize your midi notes to the new time quantize value you've selected. But because you want to be to the nearest 16th note, I'll click the Menu and choose 1 16th to go back. Now my midi performance is perfectly quantized to the time grid. The great thing about the way logic handles quantization is that time quantized controls Quantize notes and other items non-destructively for playback only, what this means is that the original timing is never truly lost. And you can actually recall the timing by setting the value to off in the time of quantized value. But if you prefer to give your performance more of a humanized feel and so quantize it a little bit. You can utilize the strength slider. Below that, the strength slider will set the degree of quantization on your midi notes, giving your note playback a slightly more human field that's not rigidly quantized to the time grid. Clicking and dragging to the left on the strength slider moves your midi notes gradually off-grid as you pull it to the left. You can even add swing to your midi performance by using the swing slider below it. Dragging the swing slider to the right will increase the amount of swing that is applied to your midi performance. Now that we've quantized or notes, you'll also see that I have a lot of overlapping notes. We can easily fix this by using logics at a command called force legato with all the notes selected, you can do this quickly by pressing Shift and backslash on your keyboard while the musical typing window is closed. Or you can also use a piano rolls Edit menu, and in the sub menu, choose Trim, and then choose know and to following notes which is forced legato. What this does is it cleans up your midi notes and trims the end of each midi note to stop where the other ones starts. It's worth noting that the piano roll has a lot of useful at a commands worth exploring in the sub-menu. Getting familiar with these etic commands will help you save time and increase the efficiency of your workflow as you gain more experience with music production. In fact, in the next video, I'm gonna show you a lot of useful midi editing tricks that utilize these edit commands and will help you navigate and move so much more quickly as you control an edit your midi data. But before we move on to the midi editing tricks video, I want to go ahead and talk about scale quantized because that's the last major function that's inside the piano roll. So let's jump into that in the next video. 9. Scale Quantize: Let's explore logics handy scale quantize feature inside the piano, roll, underneath a time quantize controls is the scale quantize controls. Here you can quantize a pitch of notes in the midi region to a particular scale or key. This is especially useful when you want to reuse a repeating pattern of notes, but transpose them to a different key in the piano roll editor, we'll start by selecting the notes who want to quantize. So I'll select all my notes by pressing Command a. Next I'll choose the scale and key from the scale quantized pop-up menus. I'll start by changing the key to see with a scale sets of the major by default, you'll see that logic updates my midi notes instantly and snaps my notes to see major pressing the space bar, we can hear what the midi performance and C Major sounds like. If I change the scale to the major pentatonic logic updates and midi notes again, and then pressing the space bar again, we can hear what that sounds like. You can use this feature to quickly test out different keys and scales while developing your ideas and your music production. To go back to our original performance while the midi notes are still selected, click the key button and set it to off. Logic then returns or midi notes to their original pitch. Okay, now that we've covered all the main functions of the piano roll and the next video, I want to show you some useful tricks and essential commands that will make selecting, controlling, and editing your midi data is so much faster. So let's go and move on to the next video. 10. MIDI Editing Tricks: Let's dive into these really useful midi editing tricks utilizing Logic pros key commands. Let's start by taking a look at this EDM chord progression I've created on the second track titled EDM chords. Press the space bar so you can hear the playback and hear what it sounds like. Now if I open the piano roll, we can see it's a fairly straightforward chord progression with a nice enjoyable rhythm. I've already quantized it and all my midi is locked to the time grid. But I want to explore what my synth on this track with sunlight. If I extracted the bass notes in my chord progression and use them for a baseline, you can do this really fast using logics, built-in key commands specifically for selecting Midi. The first one I'll show you is how to select all the bass notes AND logic calls this, select lowest notes to do this, all you have to do is make sure your piano rolls and focus, meaning there's a blue highlight around the piano roll that you get by clicking on the piano roll, then press the Shift and the down arrow and Logic automatically selects the lowest notes, Oliver bass notes, that select lowest notes. The next key command is select inverse. Since I only want the bass notes from my chord progression, will select all the inverse notes and mute them, is select the inverse notes, press Shift and I on your keyboard. With all the other notes now selected, I'll use the mute key command, and that's Control M on your keyboard. Now all that's left is my bass notes. If I play this back, we can hear what it sounds like now. That's what it sounds like with just the bass notes left behind. But I still want the bass notes to play back at a lower octave. For this, I'll use the transpose octave key command. With my bass notes selected. I'll press the Shift option and down arrow keys all the same time to transpose my bass notes down one octave. Now let's hear what that sounds like when I play it back. So that's a quick key command process for isolating notes and essentially transposing them so that you can extract them and do what you want with them. The nice thing is, is that we made a non-destructive edit and essentially muted all the extra notes outside of our baseline. So we can actually get it back to the original state if we wanted to get our bass notes back to the original octave, will press Shift option in the up arrow key. And now we're back to where we started. If I decide I don't actually want to use this synth as a baseline, and I want to quickly select all the notes I've unmuted. I can automatically isolate and select all the mutant notes using Shift M. Now that all the Muda notes are selected, I can press Control M to unmute them. And now I have my original chord progression back. Just to recap, what we did is we selected all our bass notes, isolated them, and then we selected the inverse notes, imputed all the inverse notes. And then after that, what we did is select the bass notes again and transpose them down one octave. Then we just went full circle and brought the bass notes. Backup unmuted are muted notes. And we got our original chord progression back. This is a great example of how you can quickly edit large quantities of complex midi data in a really fast manner. It's worth mentioning too, that you can also select your highest notes using the key command shift and the up arrow if you ever need to isolate those notes. Just so you know, all of these key commands are listed in the Edit menu of the piano roll where you can always reference if you forget what they are. For example, if I go to the Edit menu and then select will see the select key commands we just used for highest note and lowest note with their key command shift up and shift down arrow listed next to them. Okay, let's move on to the next key commands for selecting midi. If you want to jump to the next note forward or backwards from your currently selected midi note. You can press the left and right arrow on your keyboard. For example, with my first note and my core progression selected, if I press the right arrow on my keyboard, do you see that logic cycles through every note and every chord going from left to right. I can do the same thing going backwards too. I'll click back on my first note. And now I'll show you how you can add to your current selection. If you have a single midi notes selected, you can hold down the Shift button and then press the right arrow on your keyboard. You'll see that logical actually add to your current selection step-by-step with each and every note adding to your selection one note at a time. If I continue to hold the Shift button and press on the right arrow, it's gonna go through the entire chord and then jump to the next chord after that. Start adding notes one-by-one. The next selection key command is called select. All following how this works is if I want to select all the notes following a certain spot within my core progression, I can do that by pressing Shift and F. And then logic selects all the following notes from the note that was currently selected. Now let's move on to how to select pitches. For this example, if I select the second note of my first chord and I want to select all the notes that have the same pitch as the currently selected note. I can press Shift E, AND logic does that. But if I want logic to only select the notes that have the same pitch after a specific point where I select, I can press Shift Control F, and only the notes with the same pitch after my currently selected notes are selected. Lastly, if I want to select all the notes that have the same sub position, I can press shift and P, Since this one is a little bit harder to explain, I'll show you what I mean. If I select the first note of my first chord in my progression and press Shift P. Logic selects all the first chords of all my different chords in my progression. This one might not be as much ESU, but it's still super specific and can help in some scenarios. This next example, I want to show you a trick how you can actually use the playhead to trim midi notes. This is highly useful midi editing trick that not only works from midi, but also on trimming midi regions themselves. If I double-click this midi region titled chill chords, I have this really nice chill chord progression. It sounds pretty good, but there's one chord change that doesn't sound right. One chord slightly overlaps and other chord creating a funky sound in the transition and not in a good way. And if I select the part where this happens, then press Z on my keyboard to zoom into the selection, you can actually see where some of the notes of the first chord overlap the second chord. So what I'll do is I'll click and drag to select only the notes of the first chord. Then I'll move the play head to the point on the time grid where the first chord should end. Then I'll press the command and the right bracket on my keyboard and Logic automatically trims all the notes in that chord to end right where the next chord just start. Now if I play my child chord progression back, everything sounds right and there's no funky transition between those two chords. Logic, this key command is called no end to play head. And if you use the left bracket while pressing the Command button, this will do the opposite and trim the midi notes. So start where the play head is positioned, which for the opposite is called notes start to play head. Like I said, this works for midi regions to, for example, if I click into the tracks area and I want to make my chill chords midi region longer. All I have to do is click in the Tracks area and move my play head down the timeline and then press Command and the right brackets automatically stretch my midi region to where the play head is at on the timeline. While we're talking about midi regions. Another highly useful bonus tip is that you can automatically move any midi note or midi region to where the play head is located on the timeline by using a simple key, all you have to do is press the semicolon key on the keyboard and logic jumps any selected mini region or midi note toward the play head is located. This is such a useful trick and definitely one that you need to commit to memory. Because when you're moving around midi regions or even groups of midi regions, this is the best way to move things around in your arrangement. Then like I said, you can do the same thing in the piano roll with individual notes or even groups of notes. If I select this chord here and I want to move it over to here, all I do is press the semicolon and the court immediately jumps to that position. This is the quickest way to move things around with instant control over where something goes. Okay, moving on to the next midi editing trick. This one actually helps make all of your midi notes uniformly become the same link. For example, at the end of my chill chords progression, I have a very choppy and to my progression, I want the sustain of my four final chords to play out a little bit longer. What I'll do is I'll select the last four chords. And then holding the Shift and Option key, I'll drag on the end of one of the notes and all the other notes snap to a conform link and I can drag them all to the nearest 16th note. Now when I played my chord progression back, all the final chords don't sound as choppy and they have a nice sustained to them. There's a couple more things I want to show you to complete this midi editing tricks video. You can also nudge your midi notes. So just clicking and dragging midi notes or groups of midi notes. This is called moving and then note will move by the Snap Value you've set in a snap pop-up menu. Since my snap value is set to 16th notes, if I drag a midi note, it's going to snap to the nearest 16th note when I move it. Moving notes in this fashion is distinctly different than nudging. Nudging is where you actually use your keyboard arrows to move things around. Conversely, for nudging, if you want to nudge midi notes around, you have to hold your Option key and use your keyboards left and right arrows. To set the nudge value. You just have to right-click on any midi region, gotta move, and then click on Set value two. And then for the purposes of my current midi performance, I'll set my nudge value to 116th. Now when I select the first instance of a third chord and my progression and press the Option key while pressing the right arrow, my court automatically nudges and jumps to the next 16th note. Okay, and lastly, there's this neat little core detection feature built into logic while you're editing your midi that you can use to figure out what your cords actually are under piano roll if you don't know what they are. For example, when I select my very first chord in this progression, logic detects this chord as having six notes and the court is identified as a C-sharp minor seven slash nine chord. I love this little feature and it should help you along well while you're editing midi and crafting your midi performances. That covers the major midi editing tricks that I wanted to show you in this video. I use these tricks all the time and overtime as you commit these to memory, you'll see the editing speed increase in your workflow. Refer back to this video at any point in time when you need a refresher on these little midi editing tricks that you can use. Like I said, it's well worth your time to commit these to memory because it's gonna give you the best experience while you're making music. Okay, Let's go and move on to the next video. 11. Logic Tools: All right, Let's talk about the tools inside of logic. It's safe to say there's a lot you can do using just the pointer tool inside of logic. But logic also comes with a handful of other tools that will help you while you're editing and making your music. I really want to show you the key things you can do with these tools and some of the essential tricks that are obvious when you start using logic. I've got this simple commercial sink song I've started on that. I think it'll be great to demonstrate some of these tools. So I'm gonna let you hear what I got so far for the song before we start diving into the tools. Now that you know what the track sounds like, let's start diving into some of these tools. Just a side note, many of these tools show up in both the tracks area and the piano roll. I'll go over a few minor different tools that we actually see in the piano roll at the end. The first thing I should mention is that the tool menu is accessible by pressing the letter T at anytime on your keyboard. Then to access one of the tools and the menu, just press the corresponding keystroke to activate your desired tool. For example, when I press the letter T, I get the pop-up menu and I can select from any of these tools. Or I can even press the command listed on the right. If I wanted to activate the pencil tool after pressing T, I just press the letter P. If I wanted to activate the eraser tool, I press the letter E. Okay, so now you know how to access it. Let's go through these tools one-by-one. Let's start with the first and arguably most used tool of all. And that's the pointer tool, like we've discussed in other videos. With the pointer tool, we can select events, regions, and other items by clicking them. You can also select multiple items by holding Shift and click selecting or dragging with the pointer tool, you can move items, copy items, change in length of items, and even loop regions. The pointer tool overall is very straightforward but also very useful at the same time. The next tool is the pencil tool that can be activated by pressing T and then P on your keyboard. Use the pencil tool to add new regions or events. You can also select drag loop and alter the length of regions or events using the pencil tool. And in the score editor, you can use the pencil tool to add dynamic markings, accents, and other symbols to notes. One of the key things I like to use the pencil tool for is actually in the piano roll for SOC, create a new midi region on my kick track and the track Sarah, using the pencil tool. Then I'll double-click on the kick midi region. Now that we're in the piano roll, you can see my tool switches back to the pointer tool. But if you look at the command tool pop-up menu, you'll see that the pencil tools already selected by default. I can press the command key on my keyboard and use the pencil tool and the piano roll. And it stays active as long as I hold the Command key. The main thing the pencil tool is good for is creating new midi notes of your desired length by clicking, holding on the time grid and then dragging the pencil tool across until you get the length that you want. Once you have a mini note on the time grid, as long as you want, you just release it. Now any press Command R to repeat a note. It'll repeat according to the length of the midi note you just created. You can still resize media notes after you release the pencil tool by using the pointer tool to drag on the edge. And then once you get the length that you want, you just release it. The next tool is the Eraser tool that can be activated by pressing T and then E on your keyboard. Use the eraser tool to delete selected regions are events. And when it comes to having a lot of midi notes and immediate region that you're bobbing and weaving through. It's easier to use the eraser tool to just click and have it delete automatically instead of selecting it and pressing Delete on your keyboard, it really just simplifies the normal select and delete process down to one click. Ok. The next tool is the text tool that can be activated by pressing T and shift T on your keyboard. Use the text tool to rename regions and other items or add text to a score and the score editor. I have this midi region right here that I'll click on and change to ride to match the track name of this percussion track. The next tool is the scissors tool that can be activated by pressing T and then I on your keyboard. You can use the Scissors tool to split regions and events, allowing individual sections to be copied, moved, or deleted. When you use the Scissors tool, it cuts in accordance with a snap value you have set in the stat pop-up menu. Right now my snap value set to smart. So if I cut it, It's gonna cut wherever I click. But if I have it set to bar, It's gonna cut to the nearest bar. One trick I'd like to show you using the scissors tool is for when you have a long midi note, you can actually cut a midi note into equidistant pieces. For instance, I have this one long midi note I left on my kick track. Using this long midi note, I can actually cut it using the scissors tool and create a four on the floor kick pattern instantly. How this works is I'll hover the scissors tool over the end of the first downbeat. And then while holding Shift and Option, I'll cut the midi note and you'll see that it created equidistant notes all the way through the entire midi region. And I want to play it back. You can hear my kick play a classic four on the floor beat. The next tool is the glue tool that can be activated by pressing T and then the letter G on your keyboard. Use the glue tool to join selected regions or events into a single region or event. The glue tool only works on midi regions and midi notes. How it works is that you simply select one region with a glue tool and then hold shift and click the region you want to join up with. In most cases you can use the keyboard shortcut Command J to combine midi regions and events. It's not super useful, but we're in the piano roll and you want to join individual notes. It can come in handy. The same thing works with midi notes. You can select a midi note and then while pressing Shift, you can select another midi note and I'll glue them together. Next is a solo tool that can be activated by pressing T and then S on your keyboard. How it works is you can click and hold a region with a solo tool. And here just that reason playback apart from the rest of the project, also moving the solo tool horizontally will actually scrub through the material within your regions and give you a note by note playback. While it's true that you can just use the pointer tool and select a track and then press asked to solo that selected track. I like that you can actually get into a specific midi region instantly. Next is the mute tool that can be activated by pressing T and then M on your keyboard. To use the mute tool, click an event or region with the mute tool and then it silences it. Then you can unmute the region or event by clicking it a second time. This one's really straightforward. You just click any region with a mute tool and it's muted and then he click it again and it's unmuted. The next tool is the zoom tool that can be activated by pressing T and then Y on your keyboard. Use the zoom tool to zoom in by dragging over reads ins and attracts area to revert to the normal zoom level. After you've zoomed in, you can just click the window in the background and then it zooms back to where you were. Or you can just hold Control and Option and then click with the zoom tool and it zooms you right back out. You can also access the Zoom function by pressing and holding Control option. Or if you're currently on the pointer, you can press and hold the Option key to get to the zoom tool. I rarely use the zoom tool because I prefer to select a clip with the pointer tool and then press Z to auto zoom into my selected region. Then when I'm done, I can press Z again to pop back out of that zoomed view. And I've really just found this to be the fastest way to zoom in and out inside of logic when I'm in the tracks view. Same thing with piano roll two. When you select a group of midi notes, you can press Z to zoom in really quick, and then he can pop back out by pressing Z again. Next tool is the fade tool that can be activated by pressing T and then a on your keyboard, use the fade tool to create an edit fades or change the shape of fade curves. This tool is great for creating fades on audio region edges to prevent clicks and pops on live audio regions and material. You just quickly press T and then a, and then he can click on an audio regions edge and drag to create a fade. Really useful while you're editing vocals. The next tool is the automation select tool that can be activated by pressing T and then you under keyboard, use the automation tool to select automation data. If I press a to open the automation view, you'll see I have a filter on my base and the intro. I can use the automation Select tool to select my automation points and then you can even move them. Next is the automation curve tool that can be activated by pressing T and then W on your keyboard. Use the automation curve tool to bend or reshape the curve between two automation points, creating a nonlinear transition between the points. Looking at the same automation on my base, we can see that there's two separate automation points between where the filter is closed down at 12% and then when it opens backup at a 100% at the end of the intro. If I want to curve the automation to create a nonlinear transition between my automation points, I can use automation curve tool to do so. It just click on the middle area and then drag down to create a curve. Then if you want, can click on the curve again to return the automation to its original shape. The next tool that we have is the marquee tool that can be activated by pressing T and then R on your keyboard. But you really don't even need to do that because it's set as the command tool by default. If you press and hold the Command key while you're in the Tracks area, you can activate the marquee tool. I find the marquee tool to be one of the most useful tools in the bunch. I use it all the time to click and drag to select an empty area in the Tracks area. And then I can right-click on the marquee selection itself and then create a new midi region or even a pattern region. It's the same thing as using the pencil tool to create a midi region, except you don't have to resize the region after you've created it. Because you Mark II, the selection in the tracks View Logic automatically will create a new midi region. The size that you selected. Another use for the marquee tool is for quickly splitting sections of midi and audio regions. While holding the command key, you can click and drag to select the part you want to split. Then pull down on that region to instantly create cuts on both sides and split your clips. The other thing I use the marquee tool for all the time is creating stepped automation logic. To create stepped automation, it takes forever if you use your pointer tool. When using the pointer tool to create stepped automation, you have to double-click several times to create four different automation points. And then finally racist step of the automation. Going back to the automation on my base, I'll press Command Y on my bass track to cycle through my automation and look for the mute automation I also have on my base. I want to go ahead and create another step, just as an example on this automation. If I wanted to create another step, I would have to double-click here and then here, and then do two more. And then finally erase the step. And it's just a long process to do with the Marquee Tool. You can take several double-clicked and turn it into two regular clicks total. With the Marquee Tool active, I'll just select the area I want to create the step. Then drag down in the middle to create that step, and that's it. This is one of the most useful uses for the Marquee Tool, makes things so much faster. Okay, and then finally our last tool is the flex tool that can be activated by pressing T and then X on your keyboard. Use the flex tool for quick access to fundamental flex editing functionality without having to turn on flex view in the Tracks area. To show you what I mean, I'll drag an Apple Loop by pressing O on my keyboard and then dragging this 60s shuffled drum set one loop to my tracks area. Then with the flex tool active, I'll click on the audio region. This immediately puts the drum loop into flex mode. Now when I double-click the audio region, I can use the flex tool in the audio editor to create flex markers. Flex markers help you adjust timing of audio loops by detecting the transients and placing markers on and around so that you can adjust the timing of those individual hits. Even though this audio loop is imperfect time I want to show you a key thing about this flex tool for later use when you find the timing off, maybe in some of your audio. If you place the flex tool in the upper half of an audio region waveform, you'll create one flex marker. This allows you to drag and adjust the individual transient of just that one flex marker. And as you see if I pull it, it actually starts to pool the other material around it, pulling it out of time. This is not the effect we want. Instead of you place the flex tool in the lower half of the audio region waveform, you'll create three flex markers. It creates one flux marker on the transient itself and then two more surrounding it. So that when you click and drag the timing of the middle flex marker, it doesn't pull everything else out of sync. It doesn't affect the other surrounding transients by pulling them out of time. This can be very useful for drum beats and hits that need to stay on time and not affect the other hits around them. Okay, so this concludes all the tools and the tracks area. Quickly I want to cover the minor differences and the toolset for the piano roll. Inside the piano roll, you'll see there are a couple of additional tool options. There's a finger tool, Quantize tool, velocity tool, and a brush tool. The finger tool allows you to edit, change the length, and move notes. I really don't use the finger tool much and it's just not something that shows up in my workflow, but it's there. The Quantize tool lets you quantize individual notes and selections of notes. The velocity tool allows you to select and change the velocity for individual midi notes. Real quick, I want to demonstrate the brush tool because I think this tool is useful in the piano roll itself and will help you in your workflow by pressing T and then B on my keyboard while I'm in the piano roll, it activates the brush tool. With the brush tool, you can quickly brush and multiple midi notes by first changing what note value you want and the time quantize menu. Then once you've selected what value you want in the menu, you can click and drag in the piano roll to create perfectly quantizing midi notes of your choice along the time grid. Clicking and dragging with a value, I've said I have perfect 16th notes. They could drag across the time grid. Then if I change this to 1 fourth notes and I drag, I get that instead. You can drag up and down and get different pitches. But if you want to constrain the pitches, simply hold Shift while dragging with the brush tool and all the notes you brush will stay within the same note lane. Last but not least, you can change the command click tool at anytime by pressing on the command click tool pop-up menu and selecting another tool. That way when you press and hold Command on your keyboard, you can activate that tool temporarily. Also, logic has a unique right-click tool option that you can access by going to logic, preferences, general, and then editing. Then within this money, you can see that there's a right mouse button option. You just click on the pop-up menu and you choose is assignable to a tool. And you can use your right-click and access this tool anytime. Typically, I like to leave my right-click available for other menu options that I can quickly access. So I don't usually use this third tool in my workflow, but feel free to customize it however you want. It's just another option to customize and you can always change it back. And anytime now that we have a strong foundational understanding of how to use logic and its separate tools and workflows and views. We're gonna start diving into some more of these deeper production options that are available inside logic. And the following videos we're gonna be diving into things like the drum sequencer and live loops grid and really start diving into creating a song of our own. 12. Step Sequencer & Drum Machine Designer: Now let's dive into logic step sequencer. This is one of the most powerful addition. So Logic Pro, since Logic Pro even began, the step sequencer inside of Logic is inspired by classic hardware step sequencers that have rows of configurable switches and knobs to generate repeating musical patterns. Okay, to take a look at the subsequence, or I have this empty project with an empty track here. And in order to create a instance of the step sequencer, all I have to do is right-click on the tracks area and the empty part of it. And then create pattern region is what I'll click on. Now you can also see here that you can create a midi region. That's another option above it. But for the sub-sequence are specifically we want to choose Create Pattern region. Once I do that, it populates pattern region in the Tracks area. And then I have this grid down here, which is the step sequencer. Now taking a look, the main controls, we have this vertical auto zoom button that automatically maximize the spacing between the cells inside of our step sequencer fits with inside this entire panel down here so that we can maximize and CR steps. Also, taking a look at these other controls, we have the ability to change the length of the subsequent answer to twenty four, thirty two, thirty six, forty eight, all the way up to 64 steps, first step sequencer. And you notice when I change this to 64, we now have two panes that we can toggle back and forth between in order to create different steps within our pattern. These buttons up here will consolidate or expand how many pages there are available for our step sequencer stuff. I click on this one. You'll see that it immediately divides all 64 steps between four pages, four separate pages that we can click on that then if I click back on this consolidated view, it consolidated all of those 64 steps between two pages. It's just a different way of being able to look at your patterns and see more or less depending on what you want. You'll notice right here that we have the ability to choose our patterns key if we want to set it to any one of these keys and then set it to major, minor or whatever scale you really want to set it to or mode. You can do that here. This button right here will actually preview what we have inside of the step sequencer. If we click on it, it'll start playing automatically. But because we don't have anything programmed yet, it's not playing anything. Then this button right here is the live Record button. And what this does is it allows us to use our midi keyboard or a keyboard itself on our computer and play notes in live so that it records your note input on the fly. And that's pretty much it for the controls on the right-hand side here. What I'm gonna do now though, is I'm going to actually create a drum kit and start using the drum sequencer to their own Trump pattern. So what I'm gonna do is I'm just going to delete this for right now. Then close the piano roll, just press P, and then I'm gonna go over to the instrument Insert and choose. At the bottom here, drum machine designer. Now you'll see on the left-hand side that it actually opens up the library by default. And you can see that there's all these different kit pieces that we can choose from between kicks, snares, hi-hats, symbols. And depending on what instruments and sounds we have downloaded, we can actually select these and you'll hear a preview. You can place that sample within the drum machine designers cells. I'm going to use, I'll just undo that. What I want to do is look for a kick here, see what we have. For kit pieces. Like that kick. This one sounds like it's nice. I like that when you're previewing it, it automatically drops that sound into the cell for the drum machine designer. That kick right there. So I'll just do that and then I'll move over to the next cell. I'll click on it, select it, and then choose a snare here. Let's see what we got. We've got a rim shots. That first rim shot. I'll select it so it drops it in the cell, but I want to actually put it on the next one so I can just click and drag on the cell, and then it moves it over to the next one. Let's go to the snares here and see what we have. I'll select this cell first so that it doesn't replace my room shot. I want to start to hear what the sound like in context. So what I'll do is I'll just put the musical typing window by pressing Command K, and then make sure I'm on the right octave here. I want to be on C1, and then I'll start playing. Yeah, like that. Alright, so now let's find a hi-hat. I'll select self four over here. Let's go to hi-hats. Sound here. Okay, Let's see what other ones we have. I like the beat machines hi-hat. And then we'll go to sell five and add a crash here. Let's see where we got for crashes. Symbols. Symbols. Not too big of a deal because we're just creating a pattern to get an idea of how to use the drum step sequencer all set on that crash for now. And then what we'll do is we'll just close out of the musical typing window for now. And then pressing Why am I keyword? I'll be able to close a library and we can press Command one to close the drum machine designers. So now that we have a couple kit pieces set into your drum machine designer, we can actually use the step sequencer to start creating a beat from scratch. Now we already saw how to create a pattern regions, so we'll do that again. The nice thing about it you'll see is because we're using the drum machine designer, we actually have Oliver different kit pieces notated on the left-hand side. And it even gives us a little handy icon to visually be able to distinguish what is the different parts of our drum machine designer and start sequencing a beat from scratch. Okay, So as far as programming your beat goes, you can actually do it one of two ways, actually three ways, because you can randomize the values for your current row or for all the rows if you want to. But as far as activating the cells and putting drum hits into your pattern, you can just simply click on the drum sequencer and you get a little song preview that you hear there. And then he can hear what your beat sounds like as you program it. Gonna put some kick, hits down and then a snare hit. And if we press the Preview button, we stop it. We have an idea of what it sounds like. Now, like I said, you can actually randomize the values for your current row. And you can do that by pressing Option Command R. So I have this high hat row here selected. I'm gonna press Command Option R. And you can see that automatically randomize the values just for that row. And if we play it back, not bad, That's a pretty decent groove that it's set up right there, but we can do it again. Just press Option Command R. Let's do sparse. Let's do it again. Option Command R. Little too sparse Again. Let's see what this one sounds like. A really good way to really just randomize something on the fly. Now the other way to program these cells is that you can actually, depending on where it's clicked on, you can use your up and down arrow to change kit pieces. And then the left and right arrow to program different parts. And then once you've landed on a cell that you want to activate, you can simply just press the quotation key on our keyboard and it activates that sell. Really, there's three ways you can just click to activate a cell and you can use your Up and Down Arrow, your left and right arrow, and then use the quotation symbol on your keyboard to activate that cell. And then the same thing to deactivate it. You just press the quotation symbol one more time and then deactivates it. Then you can do this for any part. Let's add another kick here. Maybe add some more high hats. It's just an easy way to kind of navigate and move around using your arrows on your keyboard. Let's see. Crash maybe at the beginning. See what that sounds like. Okay, that's a little, little while there, so let's deactivate that cell C. Then you'll notice too that once it reached the end of the tracks area here, it stopped playing. What I'll do is I'll just press my Enter key on my keyboard and then using the Command key and the Yuki, I will automatically loop that section so we can just play back. I like that groove a little bit better there. 13. Global Edit Modes: Okay, the next thing I want to take a look at in the subsequence is step rate and using the global edit modes, which are really two very powerful ways of crafting your beats and creating different pattern regions. As you can see on the left-hand side at the top here, there is a 16th note indication, meaning that all of our cells globally are playing back at a 16th note rate. But you can actually individually change the step rate for individual rows. So for instance, with a hi-hat pattern, if I wanted to make it a little bit faster, I could change this to 32nd notes. And then if we play it back, you can hear that it's actually going back at a more rapid pace. I want to go ahead and see what it sounds like on an eighth note. Step rate. Then if I want to fill out the rest of these cells here, what I can do is just hold Shift on my keyboard and then press interact across that row and a constraints all the hits to just that row. Let's go in. Here's what that sounds like. Pretty steady, pretty groovy. Okay, the next thing we want to take a look at is global edit modes. And you can see right now by default we have step on and offset as our default mode. And we can actually use this menu over here to change it to a different mode. So we have velocity and value that I just clicked on here, where we can change the velocity of the individual drum hits on each of these cells within the sub sequencer. Now that's not the only global edit mode available. If we click this drop-down, we see that there are tons of different things that you can change m, modify within the steps. Let's go and take a look at some of these. One of the modes that I like to use a lot is the note mode. What's nice is in the most recent or most updated version of logic, you can actually change the pitches of different notes on your drum hits in individual percussive elements. Now if I wanted to change the note value for, let's say the high hats for instance, I could just click. Then I get a little sound preview of how that changes. And this is really popular with like trap music in different types of music that tonally will change the percussive elements of a drumbeat. And you can do this for each and every drum hit. Now this is pretty randomized here, but let's hear what that sounds like. Then if we put it back at a 16th note, let's hear what that sounds like. So it adds some flair. And this is a super powerful way to really totally shift what your hits are sounding like inside of your drum pattern. Now the other thing that we can do is we can actually change this to note repeat. And we can add some more hits. First snare here, press our quotation key there. And then you'll notice that once it's activated or even before it's activate it, you can see that there's little dividing lines that happen within the cell that show that you can create a step rate effect. So let's do this with two of these hit on each of these cells. And let's just hear what that sounds like. Like an effect creates like a drum roll and then don't forget, you can pitch these two if you really want to. So if we go back to note value, we can, that sounds kind of funky. But just to show you that you can combine these different global edit modes and really get some unique sounding drum patterns. You'll have to really go through and experiment with these different ones. You can even change the octave of different cells. You can tie notes together. If I wanted to tie this snare hit here and make it a little bit longer. I can do that. Just going to press undo Command Z. And yeah, you can just, there's so much within these global edit modes and really combining these different cell values within the edit modes is what's going to really create some cool drum beats. So let's just go back to velocity value and then go back to step on and off. And actually I'm going to go ahead and deactivate that one snare hit there. And I think this, if I go back to note value I, this is still a G2. Okay, so that's good. Now let's say for instance, you aren't satisfied with the values on one of your rows. You can actually quickly delete the current values for any row just by selecting the road itself and then pressing Option Command Delete. And that immediately wipes out that row and set you back to deactivated status for your drum pattern on that row. Just going to undo that because I want to keep that. Now you'll notice on the rows for each of these drum hits, we have this disclosure triangle. And if we click here, we can see all the different global edit modes that I've used so far for this specific pattern on my hi-hats. And you can see that I've changed the notes here. This Global Edit mode, and then a couple other global edit modes that are available to change too. If I wanted to change, for instance, maybe the octave on these first few hits. Can do that. If I wanted to add maybe just a random note repeat here, I can do that. Just a random little way to spice up the beat. Then you can also change any of these global edit modes under here to any other global edit mode that you may want. And go to chance, for instance, and change the probability of having this hi-hat role here to maybe like 44%. Then you can also do this for the other rows to disclose the global edit modes under here. And then let's maybe go to chance for the snare hit and just take it down to 50% almost. That sounds like it's skipped that time because it's at a 50% probability. Then I hit that time. Set that back to a 100 for now. For these global edit modes, this is what's available you for by default. But if you wanted to add another note ln, because maybe you want to see five different global edit lanes at the same time. You could just add it by hitting that plus button and then change the Global Edit Mode to wherever you want for that, just by using this little drop-down menu. I'll go in and delete this one for now though. Let's go ahead and wind these backup. Now the other controls for these individual note lanes or pattern lanes, whatever you want to call them. They have the mute function here. Need our hi-hat. You can solo. We can also set the direction of which way we want our pattern to place. If you wanted to play this in reverse, we just click this one. Now our pattern is playing in reverse to the rest of our pattern. If we wanted to go forwards and backwards and do that, then the second time around and comes back the other way. Let's do this to our kick drum just to see what that directional variation sounds like. Then you can even randomize so that it hits at different parts of the pattern randomly. That's just yet another unique way to get a unique Trump pattern using a step sequencer will go and set this at Ford for now. Now taking a look at these other buttons here we have these rotate buttons. And what this does is it actually shifts the entire pattern left and right. Then if I go back the other way, right where we started, so it's just shifting it left and right. Then these other buttons to the right here, the increase step value button will unwind the high hat pattern here. To demonstrate this, if you click the increase step value button on the note ln, it actually shifts all the notes by one semitone. Then it can do this again. If we play it back, Let's hear what it sounds like. In a pitches are high heads, even higher. Go unwind that backup. So that is all the major functions, buttons and features including the Global Edit Mode and all of the controls on the individual note lanes. Now the other thing we want to take a look at is that you can actually access all of this using the inspector for the step sequence or just by pressing this button right here. And you can see that we have pattern length available to us. Step rate, the playback mode for the direction that it goes. We can even add swing within this inspector here, and then even change our key in scale quantized values. So all of these controls are really in two places. We have it within the inspector here and then outside, inside of the step sequencer here. All right. Well let's go and close that for now. And then taking a look at this panel right here we have the pattern Browser, which is a highly useful part of the step sequencer because it means that logic provides us with patterns that are baked in by default. So you can see if I click on patterns here and then base, we have all these different base patterns. And then if we select on drum patterns, you have all these certain drum patterns to choose from what's going click one just to see what it sounds like. Let's do roll with it. See what that sounds like. Depending on where your drum hits are, the drumbeat is going to sound different. But if I wanted to take the values from this stacked up pattern, I can just go ahead and right-click and copy row and then paste it to my hi-hat pattern wrote and see what that sounds like. That's not bad, sounds actually really good. And then if we disclose the triangle here, we can see all the global edit modes that this specific pattern utilizes. For this pattern or really is heavy on using the note repeat function in the first part here, where it triples the first note hit for the high hats. And then we have the velocity changes that are happening very drastically to give it a nice grew as well. So those are the two parameters that really make this hi-hat pattern what it is. Let's go and close that up. The last thing I want to mention to you is that we have the edit and functions menu that gives you a really quick access to doing different things within your drum pattern. If we click on the Edit menu here we can see we have copy row, paste row paste steps, paste row settings. So a lot of different functions that are powerful while crafting your beats in the step sequencer. And then same thing with the functions menu. We can transpose everything by one semitone, transpose everything by one octave in clear steps in rows, clear all the row values, depending on what you want to clear, you can go through and individually clear the values for different global edit modes. So yeah, just a lot of things that you want to dig into and really start to get acquainted with as you use a step sequencer, that is the sub-sequence or in a nutshell. In the next video, we're gonna wrap up this fundamentals course, partaking a look at the live loops grid and the overview of using the Live Loops grid as an additional workflow inside of Logic. 14. Live Loops: Now let's check out live loops. And this is another great feature the Apple added to Logic Pro and is really just a great alternative workflow to the linear workflow that you're used to making music. It's so easy to get caught and just working in a left to right workflow and laying your tracks out and recording things in. But if you really want to go to a nonlinear perspective and start experimenting with different sounds in different regions and not have to lay them out left to right on a track. The Live Loops grid is the perfect solution for this. The quickest way to get to the Live Loops grid is press Option V on your keyboard and then it toggles the entire view to the Live Loops grid. Now you can see it's the same track as we used in the last video that we created our drum sequence with using the step sequencer. And if I press Option V again, we can toggle back to get to the tracks area. That's the quickest way to really toggle between Live Loops grid and the track is area. Now if you want to pull them up simultaneously, this is a very useful keyboard shortcuts as well. All you have to do is press Option B, and then you get both the tracks area and the Live Loops grid side-by-side. Now if I press play on my keyboard, it's going to play inside of the track Syria, because that's the area that's currently activate this. If I press play, we'll hear our drumbeat. Then we have this little activation button that really toggles the playback for both of these areas. So if I click it once, it's going to switch over to the live loops grid, and now the tracks area becomes gray. When I press play, we don't hear anything because the Live Loops grid is currently activated. If I press it again, it'll go back to the tracks area. Now to move your current regions or midi clips to the Live Loops credit, It's super simple. You can just simply click and drag. That will do the trick. Or if we press undo Command Z, we can also use the keyboard shortcut function command left arrow, and the immediately pops are selected regions into the first column of our Live Loops grid now have a live loop skirt works is that you can simply click on the Play button within the cell of the loops midi region and it'll start playing back based on the quantize start value. So it'll start on the nearest bar. And then we have our drumbeat playback. But what I really want to do is I want to experiment with some different Apple Loops in the Apple Loops library alongside of our drumbeat. So what I'm gonna do is I'm going to press O on my keyboard. And then this brings up the apple loops Library. And I'm going to sift through here and look for some more electronic based loops. So I'm just gonna click genre and then electronic, and then just start scrolling through to see what I can find inside of the library. Let's see what this contemplate of synth 14 sounds like. That doesn't really go with a vibe that I'm looking for. Okay, that might work. It's drag this in. Then you'll notice if I click on the Play button for this cell, it'll automatically start playing alongside the drumbeat because it was already activated the last time I press Play. Okay, so that's one idea. Let's just kind of scroll through these other things. Strike this Euro heroes. And we notice that an immediate problem right there, because the two previous cells were playing and I added this one in, they all start playing together. So what I'm gonna do is when I press the space bar, I'll just deactivate this individual cell by pressing the stop button. Then you'll notice it stopped at the nearest bar, which is our quantize start value. That's another idea. I'll just press the stop button here. Then let's look at some other ideas. Okay, That's another idea. All right, Let's look at some other stuff. Let's try a different genre. Let's try dubstep. We can try that. Now I want to show you another key command that is gonna be super useful while you're trying out different ideas. Now if you want to open up a free column so that you can put the active playing cells or loops into their own column. All you have to do is press Function command down, and then we get a fresh new column that's empty. And now everything's playing back. What we can do is we can press function command up arrow and it'll automatically put the actively playing clips into that new column. Function command up arrow. Now we have a brand new column with those actively playing clips, so that if we click this columns trigger button, we have a new idea there. You can do this over and over again. So we'll do is we'll press Function command down arrow. Just add a couple more columns. Let's just toggle off of the tracks area knocks. You don't really need that right now. So I'll press Option V and get back to the Live Loops grid. Okay, so now what I'm gonna do is I'm going to simply press this grid stop button, which will immediately stop all the clips. Now when we press Play, we don't hear anything playback. So now we can do is we can experiment with some of these other sounds and put them in their own column. I want to put this in its own column. So I'm going to press function command and then up arrow. Then you'll see that it stopped those clips playing in those individual columns and put them in a brand new column. This is just a super easy way to combine different ideas and put them in their own column so that you can play them back on the fly. Super easy. It's non-linear and you can really get out of that left to right mindset and start experimenting with different sonic motifs and ideas. Now another thing I want to mention is that you can actually take any of these instruments and record directly into these live loops cells with our drum kit that we created. What we can do is we can click any one of these cells that's empty. Click on the Record button and then immediately start playing a new drum beat into that cell. So what I'm gonna do is I'm just gonna press Command K and bring up our musical typing window. Make sure I'm on C1, which I am computer it, play it back. So let's just go ahead and record in a new idea. I'm gonna press this grid stop button here. Let's click into some of these cells and see which one we want to play with. Maybe let's change the, the quantized start value to 116th. Note that way it starts playing back right away. It stops almost instantly to see Dawn. And it can be to this. I want to try something else and see if we can find something more interesting. Let's try that one. I like that one. So I'll press the grid stop button here. Just drag in this loop to this empty column here. Then we'll record an idea into the same column with the drumbeat. So first I just want to play it back and start to get a feel of where I want to go with it. The volume here. Actually I have an idea. What I want to do is create two different sections with this idea. So I'm going to just delete the cells, just Shift-click everything. Then what I can do is just delete all these tracks. I will click on this one and press Alt and drag. So we have two instances of that. What we can do is we can start to build up a progression or an intro part for this little motif that we have here. So let's go and start to build a sequence. I'm gonna pull up the musical typing widow Command K, Then mixture on C1, hips on C1. Then for this first part, I just want to establish the beat of this motif with just the kick drum. I can click on this little record button and start to record in my kick pattern. Because this cell is deactivated, I'm just gonna press play here. So if you hear it back, we're gonna do is click on this cell Bobby in our drum kit and then start recording and kick pattern. Okay, so that's our first pattern and I'm gonna close the musical typing window. We can actually click into this loop by double-clicking. And it's treated exactly like midi. So we can go in here and start editing as we normally would and press Command a and then Q to quantize our current time quantized value. Then it snaps those into place. This little midi note right here is hanging off the edge, so I'll just select it in the press shift backslash. And that shortens it. Now everything seems like it's perfectly in time. We'll play it back with the spacebar again. Now we can start to record a new idea into the cell. Press P on my keyboard to get out of the piano roll. And then if you ever noticed that when you're trying to record into a cell, you don't get that little record button available. I have to do is press Option and are and then he can start recording into it. And I'm not sure exactly why this happens, but it's just a way to get into recording mode for each cell. So all you do is press Option R and then Command K to bring up the musical typing window and you can start recording in your drum part. Then I got my part here. I can close out of the musical typing window. I'm going to double-click in here and just take a look at my performance. Okay, So I'm gonna press Command a and then CUDA quantize. Then it'll just this one at the end shift backslash to force legato that then P to get out of there. Now we have two different parts that are distinctly separate. They have like this first part would just the kick starting in. And then we have the second part where our hi-hat and our snare jumps in. If I press this first column here, we can hear the first column play with just the kick. Then when I click on the second column, move straight into that second part. This is a super easy way to really get a song ideas started and in the flow. And then what we can do is we can actually transition all this back to the tracks area for further control. And how we'll do that as well. Just press O to close our loops library first and then we'll press Option and then B, you get both track simultaneously. And then what we can do is we can just activate the performance recording button right here. Now when we play these columns back, it'll actually record directly into our tracks area for further control. What I'm gonna do is I'm just going to move this midi clip out of the way so we don't overwrite that. Move it down the track here a little bit. Turn off the loop locators. And then now what we can do is start the track from the beginning. Press Enter on our keyboard to get the play head back to bar one. And then one other thing I want to do is I want to switch the Quantize, start back to bar so we get locked right on the next bar when we start recording. Now when I press R on my keyboard and trigger the first column, then trigger the next one. Now you can see and then if I press the track activation button, we have both of those parts now perfectly aligned within our tracks area. That's how you use a live loops grid in a nutshell. Then there's another thing you can do with the templates that logic comes with. You can actually start a new track from a new template. Click don't close. And then you'll see that there's all of these embedded templates for the live loops grid under starter grids here that you can click and choose from and test out and see how other producers use a live loop skirt in their workflow to create different tracks. It's very useful to kind of dig through these and reverse engineer how they go about track flow and how they create their own track using the Live Loops grid. I'm going to cancel out of this for now. But yeah, this is a super easy way to start juggling ideas with different loops and really bust out of that linear workflow and really infuse your tracks with something that kind of unexpected because you're working on the fly with these different ideas simultaneously. 15. Conclusion: Congratulations, you have finished the Logic Pro in-depth Fundamentals course at this point, after going through all the content within this class, you should have a solid understanding of how logic works within its workflows and processes, and even have a masterful efficiency using key commands to accomplish things quickly. Logic Pro, in my opinion, is the best digital audio workstation available in the market today. Not only is it one of the biggest industry standards, it has just such control over every little aspect of your music production process. Now that you've got the hang of the basics, you can really dive into logic. Feel free to customize things exactly how you want them, and really just ingrained these processes into your memory. Refer back to these videos anytime you need a refresher on the fundamentals of logic and also feel free to check out my other courses on music production. That's pretty much it. And I just want to say thanks for taking this class and I'll see you in the next one.