Transcripts
1. Welcome to this Class: Hi there. It's Thomas George, and welcome to this logic Pro 10 make music today class. In this last, I'm going to show you the basics of writing a song we're going to look at creating a drum parts, a bass, part keyboard parts water, going to look at Apple loops, the drama arpeggio data side showing compression, the sculptor synth and a few more things as well. So if you're lunch or pro user and you want to learn how to make music today to make sure you check out this class.
2. The Drums: Hi. This next section is all about creating a beat in logic pro attempt. So have gone through Howard. Watch this settled logic pro and also what the different things do. Now we're going to have a look at creating our own music. There's loads of different ways you can actually create a beat on. What I recommend is just experiment of loaded, different ways. But the way I'm going to show you is basically starts off of a drumbeat and then slowly build from there. So the way I like to do it, start over drumbeats and then have a baseline and then add keyboard parts and their melodies on top of that. But a lot of it is just going for experimenting, arranging, discarding what doesn't work and keeping what does work. I know one. Coldplay made their fared album. They basically went through and just discarded anything that they fought wasn't amazing. They just kept stuff that very thought was amazing. Whether or not you like Coldplay or not, you can't disagree that there aren't successful or at least popular. So in this way I'm gonna show you. I just say you the technique I use other techniques have used is building from a core progression. So building from different chords or actually building from visual scores. So visual schools is way, actually draw. Write what you want to happen, not them like notation that the notes but more like different visual things, like big explosions or different. It's a quite a weird thing to explain vigil schools, different things you want to happen so it could be like a big section allows section quiet section of busy section, a simple section. You just right, and you draw what you enter what you want to happen. So you just kind of explore your ideas based on this visual pattern. But like I said, I'm going to show you how I do it from building from a drum kit. So let's open up logic pro and then add a new instrument. Let's choose software instrument. So the way I'm going to do it is with a midi control. Also, I'm going to type in some of these notes. This is the MIDI control of that. I use people ask me all the time which Midi controllers should get. This is the M audio. Oxygen 25 is a newer version of this that has pads on here as well. I just like the auction Siri's, but I think it's really well made. I like the 25 key version myself just because it's always on the desk. So whenever I want to write somethin or record something, it's there. Straightaway. I've experimented off all different size keyboard, even the full size 88 key MIDI controller with weighted keys, which I thought was just too big. You're just going the way had to proper on the side in the corner on then when the once that had to set up Look at her, I unplug it in. By the time it came to record, a lot of ideas have kind of floated away. But this one, I know it's there all the time. So when I want to record something, I could just batter in really quickly. It really is that simple. Okay, so the default one is this vintage electric piano, but we want to start with drums or I want to start with drums. So let's go on. Electronic drum kit. Drum machine got all these different drum sounds here. I like the beauty eight await this meant to simulate an old fashioned A to a drum machine. If you go through, we've got a different drum hits on here. We change the active we confined brigade, the kick. There's a few different ways we can do this so we can do a kind of finger drum style where we just kind of jam it in life. But this does take a lot of practice, and if you're not naturally a very rhythmical person, you might find this quite difficult. So you can if you can pick this up quite quickly. I'd recommend this way because it is the quickest way you could just play the beats Him, I would recommend Starting off is just play the separate drums in so you could start up with a kick. This is actually kick drum rhythm, Formby, my baby and then just record this end so he enter to go to the start, our to record turn on the Metro name. Here, you realize that we are trying to record. You can actually turn the next name on or off. So Husby pause you contender on the rough, so make sure it's paused. Turned actually, Mom, unless you're playing a kind of freestyle music or you've got really strong pulse in your head. I would definitely recommend using the Metrodome. So it's hit record and just gonna play in the kick drum. Okay, pulls this and then I'm just going to double click. This I'm just quite is pretty much in time, but I'm just going to Kwan ties it with command and a that we have to. Do you think you and now, as long as I played it to the closest Quantas measure, it should be in time. We can trim this light, say, and drag it over. I like to you stuff in two or four bar measures. So 248 16 32 64 1 to 8. Unless you do more experimental measures, you might want to use freeze or odd numbers. But keeping to force and twos is really the easiest way to do it. So now we should have the kick drum. I make unjust duplicate this by hitting this button, and now we can just add in the snare. One thing you should do. It's years and years I didn't actually do this is label everything, so that's labor this one. Kick the book click. Let's label this one snare because it had projects before there's been tons of different tracks on there, not labeled all on Another. Good Thing is the color of different instruments as well. So I'm gonna color the kick in red, and that's just adding a snap up. So this now links up to the day here. Then we can just jam it in. If you make a mistake, it doesn't matter. The thing about digital audio workstations is if you make a mistake, you can just press command Z and do, and you can just go in an experiment. If we were both born 30 40 years ago, we're trying to get into music. Production would be cut in tape and moving stuff around, hiring really expensive studio to do this, buying all this external synths. But now we get logic. Pro attempts has all these since built in, which is absolutely fantastic. I can go for experiment and really, do you have so many different options? It really is fantastic. So let's record in this now I'm just gaze thes two bars. You'll notice I actually played this bit a bit harder in this bit bit softer, we can change. The velocity is here so you could make the softer or harder I'm actually going toe copies over by holding Olt on. Then Kwan tires thes Well, you could just manually go in and drag if you know where you want it to go. That's a this back, Okay, They're going to copy is over by holding that bolt like so I'm going to color the snares in a different color. Let's choose deli. So we've got the kick and the snare So far. Now we're going to add in some hats, of course, label this label and can save you a lot of time on headaches. And that's record the hats. And I didn't actually play them very well. I thought so. We can always go in. Another great thing about logic. Pro 10 is this piano roll editor. So I didn't play that that straight. I'm gonna go through and actually edit this on when you play by Hands on. When you actually edit stuff in with the piano roll editor, you can get completely different sounds of what you normally used to. So let's just put this a bit straighter. I'm just going to copy and paste. Like I said earlier, a lot of this is about experimentation. You might not always get this right the first time. If you're going experiments, you try new ideas and you're very open minded. You eventually will come up with something that you do you really like and hopefully other people like Also it is the date like it, though it is great to make music just for yourself. A lot of music. I'm Mike. I just make it from my own personal pleasure, cause I enjoy the process of making music, which is what I think it's really about. I don't think it's about trying to make music, to make you a superstar or the next of each year, Martin Garics, because realistically, that probably where it happened, and you might just get annoyed or depressed with yourself just to try and get that final lane. But these big artists or Big D's Angel, big producers they didn't do it because they want to be famous. I'm sure I think they just it because they love making music, which is really what should be about. Okay, so I've almost finished copping this over because basically, being making music quite a few years, I know that this is gonna work. But when I first started, it was all about just messing around and hopefully come up with something. Eventually, we're gonna add in a few more open hi hats as well. Okay, and that's just drag this back because I really want to put this in two bar phrases. And that's basically how we make a drumbeat. We can add in other stuff as well. That's just Hi, Tom. That's very kind of eighties 808 oo eight sounding. So let's just let these and hit queue that should Kwan ties it. I can just drag over. I'm just going to color these different sections as well. One thing we can do is make a on a one section, which basically means one section is going to be slightly different. So what I'm going to do, it's just derived the kick drum a bit more. So the first section has been a problem on the 2nd 1 went, adding a bit more kicks just so it sounds a bit more driven because a lot of electronic music and a lot of dance music. It's just about adding layers and making slight, subtle changes. That listener might not necessarily know that you've changed something, but they feel like the mood of the peace has changed on. One thing I like to do as well is when I have a new section. I like to color it if it's similar to the old section, something similar. So if it's red, our color orange. So I know straight away all this is Ah, a one section. That's basically how I would make a drumbeat and logic pro TEM from here. I relaxed the carry on and create a baseline. So yes, start off with the drum B I recommend on, then build up to the baseline. After this, we'll have a look at adding on cords and different things for our beat. But really, it's about experimentation. Sometimes you might try and follow exactly what I'm doing. It might not quite sound the same to you have to use your own intuition and just slowly adapt. Yeah, there isn't one solid way of making music. I can't say. Just follow these or draw draw the dots together than you're making amazing piece of music It's really about experimentation, using your ear and also listening to over artists. Of course, you don't want to copy anyone or plagiarize anyone but haven't listen. Artists you like all songs that you like in trying to break down allies what they're doing . So try and listen to separate sections off the song, so have a listen to the kick drum. Snare the different snare velocities, the hi hats, the high heart rhythms, that kind of thing just to build up your own drum beats. And it will really help you develop an ear for sound synthesis and also creating your own beats. And thank you for watching this lecture. I'll see you in the next one, where we be adding a baseline.
3. The Bass: in this lecture, we're going to continue looking at creating a beat. Now we're going to have a look at adding a baseline or a bass part. So when adding a bass part to our drumbeats, I think the main thing is just locking in with the river. You do get a lot of virtuoso basis, like Jaco Pastorius or Victor Wooten, who play a lot more melodically. But do you think a lot of electronic music is just locking in solid with the drums? Really? Im sure jacket past or it on Victor Route and started off just being a solid bass player on , then continuing their bass playing and experimenting with Morville virtuoso melodic lines that on that kind of thing. So I would recommend just listening to your drums on realizing where the spaces on what can lock in a lot of rock drummers around basis. What they do is they lock in the kick drum on the baseline of each other. So if the kick is going bum bum bum, the base will begin bum bum bum as well. It's the same a dance music's about locking in and creating agrees. If you're making dance music The reason is called Dance Music is to dance to, so you want to have a camera, river, McCall, Dancy, Baseline and Drumbeat. But for different styles music it really does depend. But it's all about having a solid foundation of solid beat. So let's open up a bass part. So let's create a new software instrument. And for this I actually want tohave a synth bass, so I'm going to go on synthesizers here on base. The good thing to do is to actually go free, play the drums and just jam along until you find our baseline or bass sound that you like, could always go in after and tweak the sounds. But I think it's good to have a similar sounding based synthesizer before you actually go in and edit it too much, which you can do later on. The great thing about logic pros local. These symptoms that come with the stock base Simpson absolutely amazing. The stock instruments were incredible. You don't necessarily need to get any more simply if you've got logic. As long as you download the additional content, you can get away. If not getting any third party. Simple, like mass civil serum. So much stuff available in logic. So let's just go through and just jams on this site here, this one, this one to be fine. Danger based sounds good as well. Okay. And also, when you're playing a bass part, you want to think about the cords. You want to think about what notes fit well together. But good things do is just jammer out and just see what happens. Because it could sound amazing. Even if you're not thinking about the notes and harmony. Sometimes when you're over analyzing overthink, your plane has become a bit rigid. So many things like seduces. Play the drum part and just jam. Listen to the kick drum. Try and find. Find seven. It locks in. So for this, I'm gonna boost the kick drum up in volume, put the base down, and actually just so low the base on the kick, something like this. I'm just gonna recorded him. So what happened? There is I played around a C minus seven chord, which means has to be flat, which is the seventh, which I think makes it sound a bit more interesting. A bit more jazzy, a bit more going on a locked in with the kick drum. And then when the kick drum in the A one section had a bit more movement, I did a bit more movement in the base, so I didn't have a Metro in there. But a lot of time. I like to play just with the kick, which can give you a pulse as well. So let's just quantas this and have a listen back. You can always go in and change the kick drum to the baseline quite like that baseline. So what I might do is just add it. Edit bit off the kick drum I I never based from there. So it's all about experimentation and just seeing what feels right when writing beats, I believe, Oh, you can always go through in different velocities. If you can hear that the end is not quite. Larry is a start because of Lost E is a lot lower. If you look here velocities and 88 here, it's 97 so we can go for and change these ones degree ones, even Lower 82. But we can do this with your mix. What I like to do is when I'm writing I just like to write. I like to write as much music as possible and go through and kind of pinpoint the golden Nuggets, the good parts and just rewrite around that. And then later on, I'll go in Atomic or the fine tunes or the edits. But for now, I just like to write, Really, that's here. This with the rest off the drum kit. Well, I'm going to do now is actually chop the spice line with this is it'll and just drag this over. The great thing about logic pretends if you make a mistake or you have to do is hit commanders that the reason I want to do this is a cut because I actually wanted to change the notes off the baseline changes to a different chord. I strongly recommend having a look, look at bit of music theory, just knowing the different notes that fit in the different scales in different keys, because I want to change this to on a flat no, no, a flat fits in the key of C minor C minor natural scale and this e flat, which is 1/3 above some of the changes to receive and this here is the F. It doesn't really fit in the sea scale but candy. So it's 1/4. So in their fourth of Evan, A would be a day that's here. There's a J, which is 1/5. So is that de Sharp or the flat? So this is slightly different. So I'm going to color this differently by hit in option and see. And the color is similar to Green. Not quite. Just so you know, it's a little bit different. Let's just hear this section. Okay, let's hear what we've got so far. Three. I personally don't think that that's a flap work, so I can just delete it. That's why I was doing the right. Just experiment on what works. Keep what doesn't work, just get rid off. There's no point having stuff for the sake of it is no point having emotional attachment towards a bit of music. I've played in bands before on one of the band members. Been really mostly attached, are part of their plane just because it's something that played reality. Just find what works and discard what doesn't what I would say. So this one, I'm going to try on the flat Try different note. So on do so. All the seas. I'm just going to move up to an E flat. Will these be flats? It's amazing. Teoh a day. So it does sound a little strange with that day in E flat. It doesn't clash a bet something try are on. The good thing about piano roll is you can just go in and move stuff around. You can actually hear the notes. Similar river, but the notes quite different. And this hasn't actually been quantities, so we can just go in a little hick you. Now it's in time. Go back to the everyone's. I can tell this is Quan ties, but let's just do it for argument's sake. And here been quanta ized. Oh, okay, love. It's to do of training your air and just finding what works from what doesn't work. Love. It's just going through confined at its fine tweaks and just experimenting, finding new ideas. To be honest, there is no kind of golden rule for writing music. A lot of it's just experimenting on doing a small amount of music. Theory can help a lot have said this a lot, but it does really help. You won't have a combination of two different things. Want a hearing notes that fit well together and to visually knowing the notes that fit well together. I know dead most doesn't necessarily have a strong music food background, but he writes music from his ear, which is why you hear some of his songs. We got some incredible cords just cause he's trained his ears year after year after year. That's really what I have to do. You have to train years to realize what notes fit well together. Or what notes do you want to fit well together so it doesn't necessarily have to be too regional, too perfect, or it might not have a bit edge that you might want to give you a music. This is this. The basics of creating a beating, much of pretend with the drums on the bass drum. So I like to have the drum kit on the base from just look in together, and that's basically how I create a bass drum or baseline in logic. Pretend it does, of course, depend on what John Rio creating. For example, if you want to create something more funky you might want to have a look octaves. If you want to create more rock music, you want to make one to make the base a lot straighter. Maybe user. A real base robin. The same face, but yeah, experimentation. Go in. Have a look at some of the ideas of show. Do you have a look at some music theory? Just keep writing the next lecture. We're going to have a look at Adam's from cause to this and have add in a keyboard part.
4. The Keyboards or Synths: Okay, now we're going to have a look at adding a keyboard part toe are beat in logic. Pro TEM. So many thing about adding a keyboard part, I would say be adding harmonies. We've got the rhythm from the drums and the bass. We've also got a bit of a harmony, lower harmony from the base and the rest of what I would say be adding from or harmonic spectrum with the keyboard. So if got C, we could change into a C minor, we could change it into, say, a C major See starts fourth a C minus seven. All these different chords, all these different things we have available If you're not too confident with music theory , I'd recommend studying some jazz theory or some popular music theory because this could really help you, for example, right different cause that it might not necessarily do buy. A lot of people say music theory isn't that important. It's all back training. You're here, which is completely true, but the same time learning music for you. Just give you different options here might hear one thing, but your brain might know there is several different options. You could choose if you knew that music very. For example, if you're hearing a C minor, your brain might go. There's a C minor or am I go. There's a C minor, but your brain might realize if you know about music theory, you could have a C minor nine a. C minus seven C minus four a. C minor Add six is all these different variations you could have. And then you could play the notes on, then saying great by here, too, so it just gives you loads of different options. So one thing is, if you don't know any music, very just pauses, video and just have a look at some basics that difference doing a major and a minor called the different types of Cause the different notes in the scale, the different ways of working at scale. But that's for ah, whole of her different video, Siri's. But for now, let's just have a look at some cause. So that's create some new cause by his in this plus button here to open up the software instrument logic, pros got so many different chord options as well. Let's just start off with a default one, which is the classic electric piano, and then we have a look at the base before. That's just like on this. We can see here. This is built around basically a C minor seven, which means it's a city with a B flat. As I'm not playing any. Even though it's just those two notes, it just give us a lot of options. It doesn't necessarily have to be a C minus seven. It could be a C dominant seven, which means it's a major chord. So the triads of C A G on them with a minus seven on top, which makes a dominant chord. So it loads of different options we can do so you could play this card, which is the seed dominant. So much is quite jazzy. Way could play C minus seven way Could play a different chord altogether could play it. Maybe it be flat with it. There's loads of different options, but learned some basic music theory. If you don't know already and then just go in jam, mess around training and find what works Experimentation, experimentation, experimentation is really what it's about. I would say two things need to know we're making a beat is experimenting on arrangement. That's what it's really about, because if you're just going over writing for the sake of it, you'll have lows, music and love. It might not be too good, but if you go through experiment and then you arranging, just pick the really good big cherry pick go through, find the best bets on discard, delete what doesn't sound amazing, and then you have some great music. It took me ages to realize just delete it. If it's not so good, don't keep it. Just only keep the good stuff. Really, Let's just play this and I know this. This called here just similar. But stunts on the flat also has a G and the F. This is kind of an e flat of a second cold as well of a G. But let's just play and see what happens. Change from these levels of welcome really here to Cuba, there is just playing other stuff as well. I'm not necessarily just called the river more next as well. Some more fails more runs just to make it a little bit more interested in just It does, of course, depend on what you're trying to create with the song Always be questioned. Why you're doing this song. What's the purpose? So if you wanna make dance music need to remember, it needs to be quite Dancy or people are gonna dance officious shrink courts. But if you want to make more mood music, more ambient music, you might want some big maybe even R and B big extended court rather than just straight easy dance courts. Let's just play this in. That's the one thing I've got about this cable that I don't really like. Is it so small and portable, which is fantastic. But when you're playing big, juicy cause like minor nines or suss force, it's quite hard to fit lore active and as well. That's one thing you might have to type in after or play in after there's always positives and negatives for any keyboard. This one is It's so small, it's great portable, but it's so small that you can't really play big cause, which can be a problem if you're more of a keyboard player than there, a piano roll editor. So let's just record this in, see what happens, Something that that there was some good things and then there was some stuff. It wasn't as good. So call was go through an ad in the piano roll editor. Once we play to end, if you want to make more live sounding music, you might not necessarily want to Kwan ties. Or you can swing Kwan ties. But for this demonstration, I'm just going to con title that no, I really want is a flat. Some might even move this. Ah, just see, that's a lot fairer than the over cause and have done that would go through and type and just do it by ear. Thats kind of thing, really. It's all about knowing what now It's fit well together, knowing what chords what scales the right in the different chords on experimenting and realizing what style of music you want. 11 thing we can do, which is very popular in electronic music is something that I let's do a lot. It's also add on arpeggios, so basically play the separate notes off the court or adding different notes that don't necessarily fit in the court, but play through them just very popular and electronic dance music. Let's go on synthesizer lead just kind of that was quite well, actually, festival lead. Just gonna change the active okay and make a lot quieter because it's very lies at the moment. So it's basically C minor e flat major. That's what got on this way middle of mistakes there. But the kind of basics is that one writing quickly and just coming off the stuff on the fly . You will make a lot of mistakes that won't be played and perfectly believe May. But you can do is go for in the way and just go through. And it's different. For example, there I wanted that to repeat so I could just hit that it was from I should play them estate there, but I quite like that kind of porta mentally gliding, sounding the keyboard. Nothing we can do is add on elite part. You could, of course, use a vocal line, awesome electric saxophone. But when recording the lead part in you to think of the different notes off the court, but a lot of time I just think of something in my head and just try and transcribing play that but easier said than done to do that. A lot of it is just think of the notes. We've got C minor and then kind of e flat major. Then just go through and just play through the notes of the chord and try and find something that fits. Melodies really want something that people can sing along with something that's memorable. So a lot of repetition can be good but not too repetitive. What can be a little too door for the listener? It's going to emphasizes on. And that's right, plucked in the hybrid attacker. That sounds pretty cool. Okay, Thing is, this can clash with your arpeggios, so you might have to e que these differently or even just pump the octave up. - Something like this could work. It's Kwan ties us again Monday. Key synthesis and sound design is very important for lead instrument as well. But for this we're just doing it for the right and this will be covered in the mix and section. Good. Thank you. Also to So Theo Arpeggios. Well, because a lot of those notes are clashing. So good thing is to go through separately. You don't necessarily need arpeggio commute. This that was quite repetitive but also had a few different variations. So it wasn't too boring. But like I said, it did kind of clash with the arpeggio, so I would probably actually mute the arpeggio. Maybe it could have a section with a lead drops out, and then the arpeggio comes in. That's always an interruption, but that is to do of arrangement. Let's go in. Arrange, arrange in range, find what works to scar. What doesn't great to be sacred beat, I really see is creating a bit is really the starting point of a song that develops into more ideas, more ideas, more ideas arrange, arrange, arrange. Eventually you're creating music from that. But this is a technique I know, ready for protein. My own music is this kind of style here. One thing you should also do is save. Commanded s at all times. Logic does have a backup save system. It just save every five minutes or so. But I much prefer to just manually save all the time because you never know it could go wrong just up. Just a have a backup, really, just to be safe and secure that you know your music, it's say there's not a worse is going for a great piece of music and then accidentally delete nearly computer crashing. I've done it before in the past. It's absolutely horrible. So, yeah, make sure you save. So thank you for watching this section all about creating a beating logic. Pretend I hope it's been useful. But the main takeaways, I would say, is trying. Lock the drums and the bass together. Think of chords, melodies and try and get a bit harmony. But don't rely just on the ear. Have a look at some music theory, So try and build up the harmony from the courts. Build up a ref from the harmony as well, or a melody line or arpeggio. So you want something that listeners could hook onto that's quite repetitive. Also has a bit of variation, which can be a melody line or arpeggio or maybe even a vocal. I'm so thank you for watching this lecture. I'll see you seem
5. Apple Loops: Hello and welcome to this section. This section is all about the apple loops we have available to us in logic. Pro TEM Apple Loops are basically small bits of information or small bits of audio that go round and round and round in a continuous loop. The all rules of free and logic, which basically means we can use them in any way, shape or form and our projects, which is really, really handy and useful after news. Apple loops as a building block for my song writing. So I use the Apple Loops just to think of some ideas. And then I completely take Apple Loops out on, then make their own music from there. So let's just have a look at the Apple Loops in logic Pro TEM. So if we go over to this button here, this will open up apple loot library all these different boxes here. I've got a list of all the different loops I have over 20,000 loops. Remember to download the additional contents if you don't actually have that. So go our logic Pro X and Click Sound Library and then download essential sounds, download all available sounds and this will download all available sounds. So here it says, Click, continue to download the complete set of sounds for logic. Pro temp. You can pause or cancel download by clicking on the Progress Bar built in the LCD progress indicator. So if you don't have that many loops, go in. Click on Logic Pro X, Go to sign library and just download some all sounds. It's really that simple, But to be fair, I'm quite happy with the 20,000 odd loops of God. I believe that s'more than enough for me to get started with says tons of different stuff. What I recommend if you're Brian you to logic pro 10 and you haven't actually explored their pollute. Just go through and just test more. Have a listen to the different ones just to hear what the sound like. Got loads of different stuff. Got stuff like guitar go down. We've got shuffled drum sets, electric piano and going up here. We can actually narrow the search down because, yeah, over 20,000 loops is quite a lot. So we could just click on, for example, all drums, and this will show all the drums and then we also have sub genres on different styles of drums so we could have urban. Then we have distorted. So if you go on all drums urban on distorted, we look down here, it's narrowed the search down to 44 items, So if you have an idea in your head and you want urban drums that are distorted, you know you can click on these search boxes here and it will narrow. The search is down. If we hit reset, it will reset. We also have this here so kind of a list format rather in the box for, but I personally prefer the box formats. I just think it's a bit easier just to click on, Find the Loops, but let's just go on the less format. And here we have stuff like genre. We could have country on acoustic bass, and this will show the 20 free acoustic basis that are in the genre of country. Looking at the loops, we have other stuff as well. We have beats. This is basically how long the loop is, so it's four beats long or one bar. If we're in for for then we have the tempo and then we have the key. So say we drag their sleep over 12 project here and drag it below Amity instruments. This will come up. It says The added file with the added audio file contains tempo information so we can use the tempo from the loop, which is 120. Or we can just use the temper of our project, which is still 120. But for now, let's click on dote imports. So let's just change this to say, 1 70 I'm going to drag in another they believe, And you look, the tempo is still 170 if we play this back will be 170 beats per minute. And the reason it's called the loop is it because it can continually loop round and round like so? Okay, so this loads of stuff as well. We have the key. This actually will play in the Project Key, which is in C major. But the key it was intended for the kid was written in is actually a We could go down to this box here and we can choose original que, and this will play the loop in its original key If we click on that here, we can actually hear the original que notice. This will sound different if we go on some key and then we have a load of stuff as well. We have all the different key, so we could choose C C. Sharp D D shop. Etcetera can also increase the volume or decrease the volume for the playback. So if we're going to scale up here, there's another section that says Scale on Signature so you can choose a different types of scale. So if we have a song that's in a minor key, we might only want to search minor loops. So I'm going to hit this on Click Down here. We've got 7000 that are in minor loops, and if we click any, it goes back to the 20,000. And if we go to a major, we can see here it's 4162. You're you might not have as many loops is may because I've had logic pro for many years, and I've kept a lot of the loops, but you might have even more if you download the additional contents we have never, which basically means it doesn't fit major or minor. So it's stuff like, Yeah, Oriental, um loops or Asian loops or sound effects. So these are come things that don't fit in a traditional Western major or minor key. Then we have good for wife, which basically means conf it major or minor. So there's so many different loops. Just go through and scroll through test. If you have a listen to the different loops, because there's just so many can be really useful just for small jingles on that kind of thing. So say, for example, you're doing a voice over and you want a small bit off intro music you could just go on Logic. Pro 10 hit Jingle It resets. You could have, say, relaxed. You could do something like that as an instrumental for Voice of four Voice voice over. So this laser stuff that you do have available for you in Apple loops going up here as well . We have loops. We have all John Rhys, so you can actually select the different jobs we wish as well, so you can get hip hop, let your house. I don't actually have any of the hip hop drum loops. Electro House Jam packs a lot of a lot of these stuff for the ones that come with marriage band. If you have courage band remix tools, my life sound effects, these air quite cool. It is currently selected on Good for both. So if you go back to any here we go here on my eye Life sound effects. Go back to hip hop here, there. So now I have my hip hop loops was a bit worried that I thought I lost my hip hop blues. So remember, if you do do something like that and you lose some of your loops, just quickly have a look at this Libra navigation window here and just realize what wasn't or what. Selected a lot of the time. You just need to hit the reset or just select some of these back to any or the key signature as well. The time signature. So the time signature we have here we've got loads of stuff. Obviously, the most common one is 44 which is four crotch. It's or quarter notes to a bar, which is your finding at least 90% of music, especially electric dance music. But you might have a song that's in 54 and you might want to find, say, a hip hop loop in 54 The's more sound effects. So let's just go back to all genres. 54 and you'll notice there are 820 loops can also select all drums because a lot of these are sound effects. If you want drums, remember to selected rooms. This actually plays five beats instead of four. Obviously, there are over time signatures as well, and that's basically a quick overview of the Loop library. There's one of the thing that can be quite useful if we have, say, a loop and four for you can drag this over and we can actually play. I looked in our project whilst just listening to some of the loops in the Loop library so we don't have to drag them over. We can just listen to loop and just hear what they sound like. So let's just do that. So you've got this drumbeat playing now, and I might want to find a baseline for this, but not too sure what the based loops are going to sound like. So let's hit, Reset then go on base. Let's go on, Urban. We can just play just to check what this actually sounds like. So we have to do is play our loop click and it come in on the turnaround contract. This Ivan I as it's a loop, we can just drag over like, say, you'll notice this will turn into a loop sign that we can just drag on. This will live over to say, now we want odds Keeble part weaken, Go on those two Simpson and then urban as well. Also, the blue signs with a little wiggle through our audio loops. So this is the audio information. So if we drag it your notice, it will make an audio track on the ones with green. Just find one. Here we have a little Nate fruit or to cuevas are midi information the middle Oops, I personally prefer because you do have a lot more flexibility. You can click on the middle loops and you can go and actually edit the middle. Oops. So say, for example, I don't want the kick drum on the beat. One beat, too. I could just change this now on the kick will appear on beat, too. Say, I don't want this symbol, get rid of this or even move this to something else. I really can't go through and customize it loops. And like I said before, we can listen to some of the loops before we drag them over so we could drag this loop over . Also, you'll notice we have these small arrows here on the loop. This will give us a different loop family. So these are similar sounding loops, but they're all different. So, for example, this was old school funk line six. We could copy this over while holding that bolt, and then I'm going to choose number seven and then have this one again, and then I'm gonna have a different one. So the similar sounding loops because the rural part of the same loop family, but they're actually different leaps left. Choose nine. This'd how you can quickly get Make a song of apple loops. It's really, really straightforward and really easy. All you have to do is search. Find the kind of loop you want on, then preview that over loops in the Loop library and drag them over. Like I said, we also have the different loop families we can go through and have a lesson on put select differently families. If you don't like these lit families, you can always click and select the of one or the original back again. So it really is so simple to make music of Apple loops on. Yeah, we can go through and you can edit the Apple Loops. I don't have to be exactly the same because I personally don't like using the exact Apple Loops and my songs because I'm always paranoid. Someone might hear that loop and realize it's Apple Lupin. That's not part of my music. So what you can do is have something like this and then go in and just change the upper loops to kind of make it your own. So you've got the ideas from the apocalypse but can go through. Let's say we put this on here, just change it and customized Apple loops to really make it our own. Kwan ties them any information as these are all middle oops, actually create a new Midi instruments. So I just hit that plus, but in their software instrument and so we can have the same loop sounds on different instruments. Let's just choose who gave me a rember, okay? And select all these and drag these over. So be the same elite information and even a loop customized on edited but be on a different sound of the drum sounds. We can choose a different drum instrument, so that's just set up two new instruments software instrument, drum kits. And this would be a more acoustic sounding drum kit so actually can hear. I've quickly changed the sound of the loop, and this was just all built from just quickly Dragon hit in Urban and just seeing what urban drums were. Urban base. Evan SANZAR You can cross over Germany don't just have to stick to one genre. There's experimental button here, which has some really cool sounds as well. I also like thes up ellipse, adding sound effects on washes on that kind of thing for your trucks as well, so we can actually type in here in the Loop library wash. Well, this riser has trees. All these different rises here use this as a riser drug over and they would quickly added a riser into our project. Don't know, as this is many information we can move in any way, shape or form. Obviously, we do have audio loops as well. We can still manipulate and move the audio, but is not quite as easy as the middle. Oops, Theo. This is basically how we can use the loop library in logic. Pro temp. I hope you found this. That's useful, and I'll see you in the next one.
6. Space Desinger FX: Hi and welcome to this lecture. This lecture is all about using the space designer reverb and logic. Pro TEM has actually an effect and kind of a synthesizer. This is something really interesting that I've been using over the last few years that haven't really seen anyone teach this so before. I show this little tip because I do think it's really exciting. So let's open the logic Pro. Let's go file on new. And then, for now, let's start off with a software instrument. Leave these as they are. Let's hit Crate. So you're here by me playing my MIDI controller here that we've got Yeah, a software engineer in which is the default classic electric piano. Let's turn on the Metro known by hitting this button here. I'm just going to record anything in, really, Just for this demonstration. So all we have to do is hit this red button record. We can use a short cut our okay, just something really simple and basic that Then I'm going to turn on the loop by hitting this great bar here, and it will turn orange, which means it's going to loop and go around around around then All we do is go down to the sidebar here and just add on audio effect. Alternatively, we can open the mixer by hitting this button here, and then we can add on the only effect up here also. So let's click on where it says audio FX and then go down to river. Then we're going to go down to space designer, and that's to stereo. Okay, so for this, we actually want the dry all the way off. So no dry. It'll let's put the reverb up high. And now what we do, which I think it's super fun, is click on here and then go down toe warped effects. Walked effects isn't isn't a reverberated s'more off natural effect. It can turn your sound into completely different sound, not just as a river, which I think is super excited. Okay, so let's first of all, go on drone tones. Drone tones is my favorite for doing this, Andi there to select any of them, click on them and just experiment and see which ones you like. So remember the dry has to be off on the reverb up high. I also remember to turn off the Metro because it can get a bit annoying on lose the ambiance of the effect we're trying to create. Here you can see straightaway or here straightaway. That sounds completely different than I think this. So if we hit these arrows here, this will go through the different walked effect. Drone presets. Remember, the dry has to be off, or this effect weren't really worth as well because we just hear the original signal. Uh, then what we can do is actually record just this sound into an audio instrument well into an audio track. And then we can do load the stuff of the audio, such as? Put it into a sampler a minute later even more if you want to know how to do that. Make sure you fast forward to the lecture, which is all about the X s 24 which is a sampler logic pro TEM. But for now, let's just create a new instrument by hitting this button here. Let's select audio. Let's have a look in here. We want to have em put on boss who's default. It will come as input one input one and two, depending on your audio interface. Let's go on bus. I'm going to choose Bus four on output. I'm gonna leave it as it is. So this basically means bus four. So anything we did, we change on these buses here, or Bus four will get sent to this audio track. So let's click other Hamiti instruments on If we hit this button here or alternatively on the mixer we opened up, you can hit this button here as well. Go on, bus on. Let's choose bus four and it says there audio one, which basically means the bus will get sent, but it kind of sends the signal to whatever you choose. So we've chosen that signal to be sent toe audio one. So that's close the mixer. And now whenever we put this up, this will actually send our track to bus or bus are track to audio one to record or arm the audio or we have to do is hit this record. Enable button on this input monitoring. If you want to hear it back and make sure the bus has pumped up, then all we have to do is hit record and this will record just our space designer effect as long as we've got this set up properly where the dries all the way down on the river is up high. So let's record this, um of our Also make sure that our isn't selected on the MIDI instrument or will re record the midi as well. We make a mistake we can always undo. That's when the great things about digital audio workstations like Logic Pro You just hit command Z on its back to where it waas. If we were doing this 10 2030 40 years ago, we might be recording on tape making up 10 years ago but a while ago recording on tape. So if you made a mistake and you wanted to redo it and edit something in, you might have to physically cut the table with a blade a Stanley knife and glue it all together now. So easy. So one mistake we have there waas actually picked it got too loud. So what we need to do is send less off the signal so we just have to put the bus down. This will send less of the signal so it won't actually peak. A peak in effect, could work if you want a big, distorted, kind of nine inch nails style sound. But for this I'm just going to put the bus down a little bit. Also, it did actually record the MIDI information there as I wasn't hitting any keys on my midi keyboard. It didn't actually record anything then. So don't worry too much if it does recalled the MIDI. So I'm just going to delete this with backspace on it says here, delete recorded audio file. Yes. Okay. And that's try this again. Hopefully it won't peak. Okay, great. If we zoom in these buttons here, we can see the dead peaks lightly. So I'd recommend going through and just fine tune in or fine editing this so it doesn't peak. But for this example, let's just leave it as it is. Remember, toe on on the tracks. And now you can go back to our original Midi Instruments. I mean, can actually click off Spaces idea by hovering over this effect, and you'll see this kind of circle with a line for it. We select that that will turn off the effect on. Now, if we listen back, we have just the effect from the audio instrument for the audio track on. We have the original signal or the original instrument from the MIDI classic electric piano sound. So let's just so low the classic electric piano. So I'm just to hear the original interest. Mental original sound is back again. Okay, now let's solo audio one. We can actually rename this by double clicking on where it says Order one. I'm just going to call it on that trick effects. Now I know the electric is from the classic electric piano and effects because it's obviously an effect, are really like this kind of effect, any kind of background textures. You want to build a pure sound and intros and intros on bridge sections way. Want to build up new, interesting elements of lot of people, will listen to this and not really recognize the sound. If I had this straight away, that is the default classic electric piano on Logic Pro 10. But I heard this might not know what this sound isn't. It gives it a lot more of a unique texture and a unique sound. There is, of course, although of a different sounds we can choose. That's 10 on the spaces. I know again So if we click on our median Schmidt, the classic electric piano turn on the space designer by hitting that circle with a line for up to 10 and can choose all different effects. So let's go back toe walked effects, and there is really cool things, like ghosts, rhythms. Let's turn to drive all the way down. That gives it a completely different sound. A lot of people think Spaces. I really it's just a river just to add kind of a bigger reverberated sound. But there's so many different things that we can explore in the space Designer. It doesn't just work for Midi Instruments. It can also work for audio. So let's just delete this truck for now. I'm going to open up a new audio instrument at this time. You can't have the input from input one. It doesn't matter too much for this as we're just going to use an apple loop so it's open up apple loops or we have to do is hit this circle here or this loop signal, and this will open up. The Appaloosa slows the stuff we can do about the apple loops after a whole lecture or based on the Apple Loops. But it's basically lows of role to free information, or MIDI or sounds or audio that we can use for our projects, which is absolutely fantastic. So now I'm going to type in vocals. See, That's true voice. Okay, she's on. Let's put on a space designer for this as well, because this will work for audio information. Not just me. The information. So if you go on this audio track here, which is African Miss Voice one, go down to audio effects here, Let's go on spaces. I know we have the recent as well, which is really interesting, so we can just go straight onto recent because we just used it. Let's put the dry all the way down on the reverb up. Of course. Let's find the preset first. Who wants them? Or about the space designer? Make sure you check out the lecture, which is all dedicated to the spaces, either. But this is more for the interest in effect sounds, which I've been experimenting with over the years, and I've created some really cool sounds, especially from or experimental music or big breakdowns or introductions or out trays, which I think can really really help. So let's try ghost rhythms. I did like the ghost rhythms. Let's just try this one for demonstrations sake. That's the that's meat, this classic electric piano. I'm going to go back to the drone textures because this is my favorite one. The river is too high. Sometimes it will distort Orpik like that, so just keep an eye on your level. You don't really want to go into the red. Going into the orange isn't really a problem, but the red really is. Unless, like I said, you really want that big distorted effect. I would just recommend yet not going into the red ever if you can. If it's not loud enough, you can always pump up the volume in master in So recommends. Haven't looked at the mastering lecture if you want to know about mastering. But for now, let's just go through and make sure the levels aren't too loud and definitely don't go into the red. That sounds pretty cool, so we can send this to bus for as well on DWI can send their mid attract the classic electric piano with the reverb sound to bust for also, so we can send them both the bus four and create a new intra interesting, sounder effect just from their space designer. Let's click on this and remember, is both for so down to bus here on bus four. We contest this out to make sure levels aren't too loud about there, I would say, because we're going to add this interest mint also a muted here. Now you can see a bit of yellow, but it doesn't go into the red and actually want to change this back to a walked instrument . So let's go on the presets here. Well, effects drone tones. Let's just use this one for this demonstration, okay? And now all we have to do is make sure this electric effects or our audio track, which is receiving the information from Bus four, is armed by these buttons here. And that's just hit record. I'm going to extend this a little bit longer, so we get the tail or the end of the reverb or the effect that's recalled this in. Okay, great. And now I'm going toe unarmed. This by hitting these buttons again and just so low this by hitting the s bottom on. When we listen back, we hear this new interesting effect or sand that we created just from sending or busing this information to a new audio track and recording it. So a lot of the music I make has little mini sections in between the tracks or into lose in between the tracks. I think this could work perfectly by creating an interlude in between your two tracks so you can have part of the first track. Andi, part of the second track, weaving in together with these effects. I don't think this is a fantastic effect you can mess around with and create some really cool, interesting sounds that I don't really see many people talking about the drone effects or the walk defects in the spaces, Ida. And yet you could make some really interesting sound. Just make sure you go through experiment on just play of it until you find something that you might like or might want to use. So thank you for watching this lecture. I hope you found it useful, and I'll see you in the next one
7. Audio Interface: Hello. This lecture is all about audio interfaces and audio interface is basically a box or a device that allows you to import audio and then output this audio into a Mac PC or computer . So, for example, you could plug in a microphone or line out from a guitar, AMP or even stuff like output of an external synthesizer into audio interface. And then you can record this in a d a W. A digital audio workstation such as logic pro temp, the other uses for audio interfaces. For example, I'm recording this with some screen capture software right now, music or audio interface to recall my microphone, which is just under here. The microphone amusing is an electro voice, Ari 20 and the audio interface amusing is a focus right to I to also, if a Skype, I use an audio interface so I can plug in my microphone so I get a better quality audio for my Skype conversations. But I do get asked all the time, which or do you interface to you recommend? My answer is always the same. What you trying to achieve if you just sat at home right in, say, electric dance music, and you have no intention of actually recording any of your own audio. I wouldn't recommend getting audio interface right now. If you recording, say, your voice and the guitar at the same time. Maybe have a look at a two channel audio interface. And if you want to record, say, abandoned orchestra or choir, maybe have a look on audio interface that allows you to input, say, 8 16 maybe even 24 channels. It really does depend on what you want. I personally like the company. Focus, right? Have no affiliation with focus, right? I just really like them. I think they're well made and they're quite reasonably priced. You do get funded bolt in the audio interfaces as well, if you wanted to be slightly quicker. But the moment I'm just using USB, but I might switch in the near future. That's basically what the audio interface does on to set one up in Logic Pro 10. It's really, really simple. All you do is hit logic Pro X in the top left, go down to preferences, then go to audio and here you'll have output device on input device on. Then, if you want to monitor through your audio interface. Selected here on input device. Make sure you select your audio interface. That's it. If you make any changes, make sure you hit apply changes. You notice now when I speak, you can see the levels down here. The reason is coming out of one channel is My microphone is plugged into Channel one on day . I've got these two circles here, which means it's stereo, so its input one and two, we just click this. It will be mono and it's just coming out off and put one. So that's really how we set up an audio interface and logic. Pro 10 is really simple, really straightforward. If you do run toe record any audio on the fly, I would recommend having a look at handy recorders. For example, the last album are recorded skylights. I had a lot of fans sounds. I had people walking around, had water. Sounds had like kitchen noises. The way I did that is I record this. We have a zoom hate five. I just walked around all day just recording random things and try to turn this into music or try to make an effect out of it. You could do this with audio interface and a laptop in the microphone. But handy recorder is a lot easier. Handy recorders sometimes allow you to use them as audio interfaces, but my experience I find it a lot easier, a lot simpler just to have a stand alone audio interface at your workstation, you can just plug a mike or a guitar or any of the earlier in at any point. So it's basically what audio interfaces, how he you can use one in logic Pro 10. It's really simple to do on. Like I said, only use one if you really need to. I wouldn't just by an audio interface. If you have no intention of recording any audio, you might just be wasting your time and holding equipment just for the sake of it. So thank you for watching this lecture. I hope you found it useful, and I'll see you in the next one
8. Drummer: Hello. This lecture is all about the drama instrument in logic Pro temp. So this drummer instrument is brand new to logic Pro TEM. We didn't have this in logic Pro nine. On what logic or Apple have actually done this. They've recorded lows, a different drummers of all different styles, techniques, velocities We can go. And it would confuse this in their own music. We can actually go in and edit and manipulate this. I'll show you this later in the lecture to So when we create a new project, a different options here audio software instrument, external midi guitar, a bass and here UK drummer So we can choose a different dramas beforehand. But we can also do this in the instrument. For now. Let's just keep on rock that's open up this. So here is the Drum Instruments. It's actually really, really simple to use. We have the different genres here, so I've got rock alternative, whatever that really means. Songwriter R and B Elektronik hip hop. And then we've got these names here. I'm not really a fan of the cheesy names like Kyle and Logan and Max, but I guess apple or logic want to give it Bittner of a personal touch rather than a robotic field. So we could choose any of these. For example, Anders. And if we look up here, let's choose Logan. Notice the waves actually change. This is because it creates different rhythms and different beats. Each drummer, they have different styles and have actually been recorded in with different drummers on we get this kind of X y pad here, and if we have a look, we've got loud, complex, soft and simple. So obviously, if you put it up there is gonna be loud complex. You can see the waves change and we put that bottom left and see the waves change. There is going to be soft and simple, so we can just play through a few of these just to hear what is can actually sound like So this should be soft and simple. What Chip obviously is right, loud and complex. Bottom right is soft and complex. On top left. It's loud and simple. I recommend going through all these different styles. We've got electronic as well, which is pretty cool. And it says up here changing the drummer will replace the changes you have made to the region settings on this track. So basically, if you create something you like and then you change the drummer, it will actually replace this. So just be careful when actually doing that. So this is Elektronik. Pretty cool. Not that deep sounding kick. We get stuff like percussion here as well. So 1 to 4 1 to 4 is actually different patterns. So you have three different patterns to choose from. Same of the shaker symbols and hi hats. And then we get the amount of Phil's here. So obviously, Mawr, we have fills more fills we're gonna have. So this should have quite a few different pills could actually swing this as well. And we can choose eighth notes or 16th notes to swing. And if we slept these, it will play with these instruments. If we don't have them selected, it's not going to play with any of thes. So this is going to be really bad. This could be good for one shot hits. If you actually want a drum kit, I'd recommend turning a few of these on. I'm just going to drag in apple loot now for this next demonstration. Let's just choose this one jazzy drum set. Just going to look this over by doing this. Remember to leave. You have toe go here on the lead on this little loop sign will come. And this means you can drag Eva, go back to the drum instruments. We have this little section here that says Follow this basically means the drums will actually follow whatever instrument you select. So I've got follows selected here, and then it will follow the 12 8 Drowsy drum set. 10. So let's listen back to this. So if you have your own drums and you want to add on some electronic drums, this is one way you could do this. Let's find a different loop, something that isn't drums. Let's try base. You can also change the beats per minute of the project. Let's change just the 1 40 I've just dragged over this on Loop this over as well, going to go back to the drum investment and change this to Let's go to Alternative and Change. The drummer Andi follow is actually already selected on now. When we play this, it should follow this baseline percussion hit way. Have different high happens to choose from even swing. He was still adapt. Even when we move it in this X by pad so we could make this say soft and complex and still be following this baseline, you'll notice here. Actually, says Portland, this is because it's being played on the Portland drum kits. So if we select this plus button here on, we create a new software investment, you can actually go down Drum kit, designer and hit stereo. Remember that was called Portland. Let's hit, select or great. And now if we go down here, we confined Portland Kit. This is absolutely fantastic thing. I love about the drum instrument. We can just get this information and just drag it onto the Portland medic. It married got all the media information. So this means we can actually go through and change all of this, which I think is absolutely amazing. So say, for example, we don't want this crash here. We don't want the kick on beat one just go through and change stuff around so can really customize this. You can't, however, drive this back to the drum instrument. What we have to do is create a new instrument. So you can create new drama instruments. On top of this, if we wish, so I like to do is create a kind of organic sounding drum kits on, then have a net. Let Elektronik drum Kit on top of this as well, so I can go on genre Elektronik. Let's choose Jester her believers, and that's choose soft and simple. I'm going to follow the baseline, so let's hear this. We also have this button here that says details. This would give us a few more options to really customize our sound. We've got stuff like complexity range who can change a complex. The range of a different drum hits the phrase variation and also the human eyes to make it sound more human so you can really go through and customize the different drum sounds. We also have settings here, so we could save this as a preset. You can name this whatever you want. I can click on this now, and this is my Thomas Brace Precept. This is called pile driver, so let's create a new instrument software instrument. I'm just going toe leave this on an empty channel strip and that's find pile driver so we could just do a search here. If you go boom pile driver, clap pile driver. I want power drive A kit should be this one here. Let's drag this over to pile driver. Actually, four forget it gives us two different sections. If we have a look here, got sexual one and section two. It just give us two different variations. So just remember that, but that's my favorite thing to do in drama. Fine. Kind of a basic beat in the drummer and then go through and customize it yourself. That way you get the basic idea from drama, but still, we all sound so I could just make this really simple, maybe even get rid of these high hats. So really, just go through and change and manipulate all this information that we got from the German instrument says it all here. I'm just going to chop this copy this over like the first half of the second section can do is just chop this. I just grabbed the first half of the second section and just copy this over and I just want the second part off the second section. I just want the second section off the organic sounding drums. Now we've just quickly frantic ever loop just from using the apple loops on the drama investment in Logic Pro TEM. Like I said, you don't actually have to use the exact drum sounds we could find a different a different drum kit to play the sun. So go new instruments, software instruments. Let's get rid of pile driver here, and I'm going to go on electrolyte Drum Kit Drum Machine on boutique 808 to drag this over and just so low this it played the same media information, but on a different sounding drum kit. The experiment of punning have this drum kit on Left Channel on this one in the right channel, so the drum in judgment really is a quick way to just throw some loops together, get some ideas for your songs and then go for him. Manipulate and edit them exactly how you want. There's no reason why you can't just use the exact drummer sounds, but I personally like to customize the sounds and go through edit stuff. Now just use the loops on the different samples as a building block on go fruit, edit and manipulate. From there So this is basically how you can use, edit and manipulate and change and adapt the drum investment in logic. Pro TEM. So thank you for watching this lecture on. I'll see you in the next one.
9. Arpeggiator: in this lecture, We're going to be looking at the arpeggio or the arpeggio later. Plug him in. Logic pro TEM. At the moment I've just got this synthesizer, which is yes, to let's just hear this. Obviously, I've got many cable just down here. Now we're just going to add on a midi effect you'll see here actually says midi effect. So if you click on this and choose the arpeggio data here, we can actually, on our page eight of a few different options. So now I'm gonna play a court. Notice is obviously playing more than one day. If we turned off here just good. If you're new to using, the arpeggios are recommends just going through the presets to start with. So if you click down here with all these different presets, let's choose gravy cycle one. You can click the arrow button left and rights to choose next one. Quite a few different ones. Let's try 12 feet lightly swung. You hear that swing that I couldn't say hit clear. Well, we could just go back to the start and just go to recall default. So if you go to recall defaults, this would just bring up a blank wall. So a few different options. Here we have the play button turned on the rough. This will turn on or off their head gator. So if you have a 10 done, you can hear the r P J. Now. Nothing that we have. Latch this person here, which is similar to a sustained pedal. So basically holds the notes time. Let's turn this on now let go. It's still playing way. Have mode transposed, which basically means it shifts the pattern to the note you're playing. The only problem with this is if you're playing, say, a minor chord. If you play another notes, will play a minor court or another note, a minor chord. So if you want to have a chord sequence of majors and minor chords, transposed won't really work. But I'll show you how that works. Let's just turn this song just clear. I'm now just gonna play in a note. Now we're gonna hit one day. It's just using pattern, but just moving down for hit clear. It will clear the pattern you see down there. We have a few different, most for latch you have reset, which will reset return on page over this big this big bay orange yellow bus in here way complain notes on Reset wheeler. Reset the patterns. You'll notice these down here will change every time. The's actually our velocity. So depending how hard we hits is how large this gray box will go. We can hit delete last, which will delete the last night. You'll see these go here or we can hit clear, which would clear the whole area. Okay, let's go down. We also have gated transpose, which means when I think is a press down, it will play when we let go. It won't it will be gated, so let's just try this. Let go went, lengthen. But I can play one their time here way. Use the same battles before. Like I said, if you play a minor called, it'll keep playing minor cause you play a major Kordic Lee playing major chords. Try this now with major cool to see. Major Major can limit your bit, but depends what you want to do it. Okay, we also have add, so let's just clear this. So this would basically replay our court, our Page eight and add parts there you'll see down here? Well, actually add notes so it starts off being added. 56 even lower. Different notes. Okay, let's clear that. And then we have our temporarily just go for this. So this only adds what is held down way, way. It's clear that and then we have fruit. So free will play the first note. The first chord and then everything else will not actually be up educated. So I show you know. So this is the 1st 1 turned on then Now this'll will not be apologetic. Okay, so that's this section up here. Let's go down. Next we have a rate. So this will actually sink up to the the mid oclock of our tempo. So if we go in really fascinates, we go faster. Depends on the tempo. Are so now let's just turn to soothe you hear Good, faster decreases. Basically, it just syncs up with admitting luck. And we can choose different rates that 16th notes we could choose triplets Second way have notes order. So this will start low and go up. And there's just no, let's just reset this. We play a chord. Let's just first want to be like Stop, get up second the opposite. But then we got out. So depending on how many nights we out here, well, actually start the outer notes and then gradually go ends. Let's just play a big chord Night change this to transpose. So let's transpose okay, and that's just turn this on three different types of nice smooth because then we have, as played, which basically allows us to actually play in the notes. So let's just clear this. Andi, This was quite well with this option. Down here it was called silent capture. So if we slept with some, actually, just draw in one and it won't trigger it straight away. You'll see up here the play buttons. Flash him. Let's go hit, play booth. Okay, then we have variation each one of these patterns. So down, up, up and down, etcetera Out. Gonen was random as played has four different variations. So let's just go to this one four different ranges as well. Also, if we acquit productive range, this will turn into inversion. So, therefore, different versions, and each one of these has four different variations For eat one of these patterns. There's literally lows and lows we can actually use. It's Let's try and version two variation free on. Let's try going down. Let's try this experiment. Find different patterns. Wait. This video already is close at lows. Different passes. We can cheese. Okay, going down. We have these buttons here. Pattern option. The keyboard control. At the moment we're on pattern. These here. So this allows this kind of similar to step sequence. So if we choose grid, so great allows us the kind of type in the way. This'll way like a step sequences really holding different notes velocity with these gray boxes here. Okay, so that's basically the grid and the life option. I normally just use a live option, but you can use the greatest one to create more of a on a step sequence thing going on. And then we've custom where we actually have custom patterns here. So you noticed this. So this doesn't change the default patterns. Here is the default. A pair changes everything. These patterns down here only change this section here. So change is kind of the steps sequenced the arpeggio later. Let's just play this Shane. Some of these way don't have this live have some. Great. So if you want more because step sequence survive. Go on granted to choose from these patterns or you can talk to him yourself. That's quite cool for a bass part. Okay, then we have options so you can change the note length. We can randomize that command the most in that length. So the night left What more tha Carter feel We have a lower note left more than leather garter feel increase The note left. We have random so randomised between these, we have velocity. So from grit basically means is as it's played on, Then we can go down says less fixed velocity. Choose a fix for lost it once is all the same Philosophy waken randomize this as well we can swing this so 66 is actually trip that swing waken ad More swing or less Swing also change the cycle left. So how many notes when the left changed one sound different Every animal add more notes to our cycle. EMP basically changed the left pattern. Okay, Next we have keyboard. So this is useful if we want to use latch on transpose mode. So if you want to change the notes and change the cord. It will actually allow us to choose the key, which is really useful. Otherwise, we might just have major or major or minor chords. And here we can actually scale quantities. The notes. It's what we can do is we can actually select the notes we want, so it fits in the key. So when we moved, the arpeggio removed the note in Last transposed, it will fit in key, such to see minor. It's gotten that's reminder down here. And then let's turn on, which isn't in cake notices. Moved to know that isn't realizes what notes are in key. For example, man F Sharp. It's not playing in that shop. This just allows this kind of Kwan ties the notes. Okay, now let's move on to controller on here. We can actually sign our MIDI controller to do certain things in this. Plug him. Let's choose Moderwell. Just this one here. I'm going to get that to change the note length. Okay, so let's go. Never I playing that turned on the A P J that night lamp pretty smooth. Let's choose and have one. Let's try lusty range. That was not easy to hear. We can base it. Just assign this or we can't. You go to here and choose. Learn midi. Now for me, this dial here, you'll see that this is actually 17 GP two. We can get that to control the note length Gonna play tonight's short nights. You can use this kind of map a midi keyboards. So this is basically a quick overview off the arpeggio to plug in and logic Pro TEM. Thank you for watching on the hope you found this useful.
10. How to Mix a Voiceover: Hello. In this lecture I'm going to show you how I edit my voice overs in logic pro temp. So before we start, you have to remember that your voice will sound different to mine. You might have a different microphone, a different interface and of course, the size and the sound of your room that you're recording in sound different to mind. So you have to think about all these factors before you edit your voice over. So I wouldn't copy my presets. Exactly. I go through and newsies is kind of a starting point and add it to your voice, your microphone, your interface and your size and sound of your room. But this is basically a technique I used all my voice overs on. The great thing about logic Pro TEM is you can just save your own presets. So if we go over here, you just click up here this button on go and save Channel strip setting us This will save your preset. Then you can just go through and find your presets. So these are my voice over presets. It's called foot Focus, right Voiceover, because of my interface is called a focus right then I also have a mastering a preset. So if you go down to here using channel strip settings and then focus right mastering because it's the preset for my focus right interface. So I have my presets on my channel strip of the presets on the Master Channel. That's just how I like to do it. I'm gonna show you now the before and the after, so you can hear the difference. So I'm just going to turn off all these plug ins and just scroll down and turn them all off like, say, heights. Thomas, George and welcome to my YouTube page to this page is for anyone who's interested in music production and also songwriting and composition. It's always a really strange feeling here and get our own voice. Obviously, it sounds so much different, your head and even now off them hundreds of videos still not used to the sound of my own voice. So that's before there's a love hiss. Sounds OK. It's not bad that there is a lot has to side of the room. Maybe it's the same from the interface. I'm festival. I just noticed that his son, So I need to get rid of that hiss sound on this is after it's Thomas George. And welcome to my YouTube page. To this page is for anyone who's interested in music production and also songwriting and composition. Sorry, you're much better. The main way I do this is from this little plug in over here called a Waves and s one. Unfortunately, this does not come of logic. Pro 10 you have to buy this from waves is about $150. But you want to take voiceover work seriously. If you want to edit voiceovers, I recommend getting it so good for just getting any hiss background sound. Well, Santa isn't really your own voice, So let's just here before and after with just the N S Well, Heights, Thomas, George and welcome to my YouTube page to this page is for anyone who's interested in music , production, losses, songwriting and composition. So I've got loaded tutorials about logic, pro 10 ableto live music. It blows me away. Still, every time I hear how good this plug in them. So this is without it that history it away. And this is with it. Hi, it's Hench. The Hess's gone don't have this too high because it will ruin the sound of your voice. But you have to find your sweet spot. It depends on what room you're in. Has had your voice interface microphone. But I like about between about 20 and 30 I find a sweet spot for me in the room. I record them. And after this we have a de esa What ds it does basically gets rid of some of the harsh s sounds. I use the way of the ESA for sure the exact method I use. But there is a logic. Prodi s er the pretty pretty similar, But I personally just prefer the waves one. Like I said, you do have to buy this as well. It doesn't come of logic, pro 10 which is a bit annoying, but just get rid of the hearts as sounds. You will go through on find the sweet spot also. All right. Hi, It's Thomas George, and welcome to my YouTube page to this page. So on that this there's a harsh s well, those s pages for anyone. Page is for anyone who's in pages for anyone. It just softens the s sounds quite subtle. I I like it, especially if you're using lots of words of a lot of SS. It can soften the sound. Okay, next is the channel leaky? So the main reason I've got this is to roll off some of the low frequencies because this low, we can't really hear it. It's not the sound of our voice. It's just background sound. It's rumbles. If we hit the analyzer, you can see where I'm actually speaking in the frequencies off my voice. Anyone who's interested in music production and also songwriting and composition. So I've got closer to talk more voices around here, really, and this is just music flow rumbles that isn't really needed. So I get rid of that. I just got rid of a bit the the mid lower because my voice is quite low, just boosted a little bit of the high. Then I use a compressor. Like I said, don't copy my proof sets go through Andi, just modify it to your own voice or the voice your mix them. So the compressor, basically some of my music industry friends so feel just gets rid of some of the well. It just makes the low, the quieter, a bit louder and louder, a bit quieter. Fuel music producer. And so just do this by air. Do this and find your own sweet spot. Don't copy mine on de on the master and channel. This is the Massing Channel are used for most of my voice overs. First of all, I have a directional mixer. This isn't actually doing anything, but for one, to spread the voice quickly. Do you want to improve or you want some inspirational videos? Make sure you check out some of my videos below. I can do that, but I wouldn't really use that for voice overs. And then I have a multi meter. I just have this Sercan quickly see what's actually going on in the frequency. So if there's a huge peak, I know I could go for an edit. That or the left and the right channel isn't quite the same. I go for in that it that also heights Thomas, George and welcome to my YouTube page to this page. It's for anyone who's interested in music production and also songwriting and composition. We can see that looks quite healthy, so I'm going to leave it as it is, then 1/2 a linear IKI. This is just in case I forget to roll off the base, so I've just rolling off the base even more just so I can get rid of those low rumble sounds. It's Thomas George, and welcome to my YouTube page to this page is for anyone. Then I have a limiter. Let's just turn all the other plug ins on on the limiter basically makes it as loud as it can go without pecan and getting too loud, because music on voiceover works and advertisements. If you go new, trouble the TV. It's just getting louder and louder and louder, and you have to keep up you want. You don't want to be too quiet because people will ignore you, so you have to keep up. Have really loud recordings now really loud voice overs, because that's just the way it scaring. Everyone wants to push louder and louder and louder. So what I've done is increased again, taking the existing ceiling down a little bit. That's basically it, and now we can see the input and then the output and the reduction is where it reduces passed the peak so it won't actually peak. It's Thomas George and welcome to my YouTube page. You can see straightaway that outputs just a lot louder, and I use this Master Ingram limiter foot all off my songs on the voiceovers just to make it louder. Really, I think it's better to make sure tracks not too loud. You can always boost up of ah, limiter in mastering. So let's just have a look again the ball four on after Hi, it's Thomas George and welcome to my YouTube page to this page. It's for anyone who's interested. So this is before once again, Hi, it's Thomas George, and welcome to my YouTube page to this page is, for anyone who's interested in music product on this is the after it's Thomas George, and welcome to my YouTube page. To this page is for anyone who's interested in music production. That's basically how I edit my voice overs in logic pro temp. There is other things you could do as well if you really wants to go through on a fine pick . I do this full recording vocals, but I don't do this for my voice overs because I want my voice overs to sound quite natural . I want you to feel like I'm actually there, speaking to not too highly edited. So what you could do if you really want to be quite Beneke iniquity is, ah, take out some of the breath sounds or lower the breath sounds or any sounds that aren't really your voice or maybe on the mouth noises. So you could just go through and automate some of these sounds. For example, here could just say it's a kind of breath sound, so I've got so you could just in position. So I've got loaded tutorial so you could go through and take out some of the breaths unless it's a really loud bang or really horrible sound. I just leave it in because I think it sounds more natural. And if you doing for example, say a one hour voice over, it's gonna take a long time, comb through and changing some of the volumes off the voice on the breath sounds. So yeah, I like to just leave it like this. This is basically the preset that I save every single time. Logic pretends fantastic for this or you have to do is hover up here. Click on the Save Channel, Strip setting as and then the channel Strip settings will appear here of my focus, white voiceover and same of the Mastering Channel, then go down to use the channel ship settings and focus right. Mastering all the do is important. Different voice overs as long as I'm using same microphone, same interface in the same room and it's me speaking. I just put them in logic, then just put on my channel strip settings, my presets and then just exports. And that's basically how I did it. It is quite straightforward. Once you have gone through, found your own presets, found your own sound, and you keep on recording in the same place. If yeah, it's quite straightforward on and can make a big difference. I know a lot of people, especially on YouTube. That ain't been clean. The audio there just pull on straightaway. Same and online courses. They just put the audio on them. Yeah, just a few more minutes of just go through stiffness. Logic. Put on your priest. That's an export income make. It sounds so much better because audio is super important. I think for any kind of voice over work because I just automatically think if the audio is bad, what they're teaching me is not gonna be very good because they can't even get good quality sound of their voice or whatever they're trying to teach me. Probably won't be that good, Eva. That's just my opinion as a sound engineer. Yeah, that's what I do. That's how I let my voice is at the moment. I'm always going through and tweaking and changing at it, adding and changing stuff. So don't always just have the same sound. If you think you can improve it, go through and just tweak it slightly. So thank you. Watch this lecture. I hope you found it useful. And remember, don't copy my presets for this because your voice on the rear end is probably going to be quite different. What I use in my voice. So thank you for watching. And I'll see you in the next one
11. Touch Bar: Hello. In this lecture, we're going to have a look at the touch bar functionalities in Logic Pro 10.3. So if you don't have a map, it pro 2016 or above. Probably just skip this lecture because we're just going to have a look at the touch bar functionality, which is for the map but pros? The 2016 models on above. This could be really handy if you're making music on the go. If you can't take a MIDI controller review or you just want to quickly bashing a few keys this touch bar from really help you of this, I'll show you how you can basically start using it right now. So a default electric piano here, then all we have to do is select some of these buttons. Of course, we have the same as the other applications for Apple, like the volume on the brightness and the Serie and then all we have to his hit one of these buttons, and we have different selections so we can going and customize each one for different, different instruments. So we have the level volume of the bell, the drive trouble based decay, stereo then we could scroll. Long stirs even more If we create, say, an alchemy Instruments, let's go Software instrument on alchemy stereo. You notice it has different ones here. So it really is different for each instrument. Let's go back to the classic electric piano default instrument. And if we hit this button on the left next to escape if we hit escape, the screen will just go. What if last like that? But if you hit this bottom and here we can see scroll through our project, which is pretty useful. So come quickly, Just scroll through. Then we have the controls like play record loop. I mean, actually move the loop by hitting these buttons here Just quite useful. Then we have our favorite thing about the touch bar at many keyboard. So if you can't actually take committee cabled rivers with me traveling, we could just use this. Of course you do. You have ah musical typing by him. Command K clothes and get back in command K also. But do you think is Milic use could be quite useful. Just a passion in some drum hits or some other keys on. You can also choose the scale, which is really useful. This is quite similar to the push to which is able to live controller, which allows you to choose the different scales for the keys. And this allows you to do a similar kind of thing. So if you hit scale, have all these different scales at mixed Lydian Dorian, it's all these different modes. Manger Blues, Minor pentatonic. Yes, is really useful. So whatever you play, it will be in scale. Then we have this button here you will turn on the arpeggio data and then, of course, these arrows here we'll move the Octavo pull down. You can turn on the are punching our pejeta and turn it off just by hitting this button again. And that's basically how we can use the touch bar. This slightly different for audio course. We have the input so we can choose the input when we have record monitor. So this will turn on the monitor and record unable a level just, of course, the level off the audio. Then we have, of course, to play the stop the loop this way form here, which is the same as before the monitor. You can choose the input. Yeah, and that's basically it really weaken. Go through and scroll through the project. Also this button. And that's basically how you can use the touch bar in logic Pro TEM. I don't normally use too often, but when I'm traveling or I'm out and about, it can be quite handy, just bashing few keys just to scroll through on. I'm starting to get used to touch Bath of applications like Final Cut, Pro Movie EDS and software. I do use it. So it does have a lot of transferrable skills between the different applications. The different Apple products. Yeah, the best institutes go through experiments, see if you might use it if you do have a 2016 or above that but pro of the touch bar functionality if you don't, this probably won't be useful. But I'm presuming soon that might bring out wireless keyboard like this. That has the touch bar. I think that'd be pretty cool that the monument, these wireless touch bars as I'm recording this just blue tooth and I don't have the touch bar, but I think if you're pretty useful, if they include the one on the wireless keyboard, so if you've got this hooked into an external monitor. For example, your laptop on you've actually got closed or it's far away and you're using a wireless keyboard. You can't really use the touch bars quite far away. Hopefully include this on the wires keyboard in the future. Anyway, that's basically how you can use the touch bar in logic. Pro 10 2016 or above MacBook Pro. So thank you for watching this lecture. I hope you find it useful and I'll see you in the next one.
12. Panning: Hello. In this lecture, we're going to be looking at panning in logic pro 10 point free on above. If you haven't already done so, I recommend getting a pair of headphones and putting them on because it was quite difficult to hear this on the phone or tablet or a laptop. You really want the speakers to be separate. If you've got two monitors that quite spread out, that will also be fine. But headphones to be the easiest way to listen to this. So what have donors have dragged in? A few loops from the Apple Loop Library? Now show you a few ways we can pan in logic. Pray. So the easiest way is we just pan up here on the channel and also on the Channel strip. You can double click on either of these, actually choose where we want the pan, and if we hit zero, it will go back to center. We also go on to the mixer on panel here also, who wants a more precise plan. We can go on the automation tool here and change this volume to pan, and then we can go in and kind of find shoes in the pan. So that's just hear this back. So you can obviously hear that going from the left to the right channels really, really straightforward. It's so easy. Studio and logic pro. 10. We can even do life planning so we can go through and change asserting planning's life. So let's just change this. If you change, read to touch and then we're just going to play this, I'm going to move this Pondel that saved in the plan Information I just recorded in with the live automation is really straightforward. You've got Remember to change this back to read, though, or it will change every single time. Okay, if we hit control and click, it gives us different panning options. We have stereo pan. This will give us a kind of a stereo feel so you can choose the direction and it can spread at the pan. This could be really useful for big leads, emphasizes or vocals. This is very similar to the directional metering released at the directional mixer we used to have in Logic pro 10.2, which you still have. It's a lot easier to access now. No, so let's put this on a different channel because the automation is writing over all the stuff we're trying to do. So just remember that if you have automation there, it will read the automation. So let's go down to imaging, then direction mixer. Thats allows us to spread the signed also. So if you haven't got logic pro 10 point free, have a look at the direction the mixer, which is under imaging on the last one if we hit control and click is the bio neural Pam. So this is really meant to represent someone's actually there with their ears is quite strange. If we double click on that, they're going for double clicking. It will open that this so people actually do record in studios where they pretend this a person standing there so that put the microphones where he is also quite strange. On you can get dummy microphones, which is the same size as a person with built in mikes, where the ears are to pick up as if a person was listening. So this just gives us a more precise sound so you can choose where we want the sound on the size. So if you want a more precise sounding Pan, you really want to go in and fine Tune recommends. Having to play a round of this could also change the vertical offsets. So if it's sounded like the sounds coming in from above, you can change the size. Also change the tilt, amount the tilt direction and create a kind of Doppler effect. I recommend going in and experimenting. You don't necessarily need this kind of precise planning for all your instruments, but maybe now and again, if you want to create something more atmospheric or experimental, going, have a player with this.
13. Sidechain Compression: Although this lecture is all about side chaining and logic. Pro TEM side chaining is basically where you duck down or side chain an instrument or a group of instrument to another instrument. So whenever the one in Judgment place, which is generally a kick drum, the over investment or the group of insurance will ducked down in volume, which creates a pulsating sound, which is very popular in a lot of electronic dance music, it can also be used as a technique for other styles of music, like rock music, where you really want the kick drum to kind of shine out and have space to breathe. So you can side chain a little bit some of the instruments to make a bigger sounding kick. Okay, so this is just a loop. I quickly through together just a few parts of simple parts, a bass part on a drum part. This hasn't been side chain yet, but what I want to do this side chain the base on the simple up to the kick drum. That's just hear this look back became the first step is to actually create a side chain track. So the easiest way to do This is to duplicate the drums by hitting this button here and then drag over the drum part by holding bolt and then double click on, basically, just delete anything that isn't the kick drum. The easiest way to do that is to drag like so, or we can just select that individual drum hits on. Just delete these two normally side chaining, it's just four to the floor, so one Crutcher every beats. But you can experiment of different rhythms, different styles. But in this lecture, I'm just going to show you how to side chain to every quarter Note likes like I've got here . Now let's rename this side chain the great thing about side chaining and logic. Pro 10.3 or above is it can actually side chained to Midi information. If you're using logic pro 10.2 or anything below 10 point free, you can only side change audio, so you will have the bounces audio information on, then reimported back into your project. But the logic pro 10 point free and for all logic project in actually mute beside Chain and it was still play. But whatever the shy chain information is, it also plays. So if there's no side chain information here, even if it's muted, it will not play. But when you add the side showed information in or loop the side chain information, it will play. But for now, I'm just going toe a mute this so we can hear the difference. And now what I like to do is open up the mixer, Shocker X and then get options. Create new oxygen, the Channel strip. And this allows me to group the side chains together so I can send two or more instruments to the same side chain information. This allows you to get a consistent sound. So if you have a separate compressor on every single instrument, it will use up more CPU power, and it won't sound exactly the same if you tweak one of them. This way, you can send them all to the same side, chain compressor and sound very consistent. So I like to do is change the input off the axillary track to bust one that's just rename this by double clicking a safe full side chain and then changed out butts off the symphony . Let's change this to Bus one on the same. The bass parts output Bus One and that outputs to this channel. Okay, lets either compressor. Let's go down to dynamics, compressor and stereo. So if the ratio is on one toe one, there be no side chain. And if we bring this down, will get more side chain. That's just play this back. Also, you need to make sure side chain is selected on here. And like I said, if you using logic pro below 10 point free, you can only side chain to audio information on not committee. Let's go down here and select instrument for which was our side chain. As we raised the ratio, I see it side China to kick. You can also change the speed off the side chain of the attack on the release. It's all about finding the sweet spot. Really, we could make it louder of the makeup gain. It's also a good idea to put the limiter run so it doesn't actually clip. I would probably have about their. The ratio is on 98 to 1, and the fresh old is on minus 29 db. But it's all about going through and finding the sweet spot for your song, you might want a really big pulsating sound. Well, if you're doing different styles of music, you might want it to only side chain slightly. Like I said, you can actually meet the side chain Information. The side chain track. Let's hear this back now with side chained information, the drums, the base on the synth. So the symptom. The base has actually been side chained to this kick from and you can hear there's a lot more space now to hear the kick drum. So this is without the side chain compression on this is with. So it gives a lot more breathing room in our mix that we can really hear the kick drum a lot clearer.
14. Sculpture Synth: Hello. In this lecture, we're going to have a look at the sculptor synthesizer in logic. Pro temp. The sculptor sent is a physical modelling sent on. It's meant to represent riel string sounds. It looks quite different to most of the other synthesizers, as this sent really does revolve around this X Y pad here that has different string sounds . House still nylon, wood and glass most since normally revolved around oscillators and same waves. But this is more really about this physical modelling. So let's just have a play through this x y. So down at the bottom, we've got steel quote, a bright sounding sent. Let's actually go on. Add a default sand. So if we go down to tutorial, I can click on default, you'll notice. Here there are tons of different presets. But for this tutorial, I'm going to use the blank tutorial. So bottom left, we have steel, then going up. We have nylon going along. We have wood sounds a bit like remember and going down. We have glass, a lot more glassy sound. We have media loss which will add Dampen us so dampened the sound going down. It will open the sound up a bit way Have resolution So this will add harmonics. If we drop the resolution, it would sound more like a sine wave. If we increase, it will add even more harmonics way Have tension mud To add a bit off pitch drift waken go back to default by hitting option and click and then going down. We have thes free taps here. Hide key scale and release Sochi scale would give us a low on a high option. So the low is the green. On the high is the blue So basically this will work if it's on the low and on the heist. If you put all the way up. No, the way Dinos will give more larger dynamic off the low in the high for the media loss. So if I play high, if I play light so when they play low there is no dampening or when they play high, there is dampening. Let's do the same for the resolution. So when I play high, that's just put this back to where it was level the harmonics. When I play low and high, the harmonics when I play high, the same with their attention mud. Then we have release, which will just add ah, high to the media loss. So basically, when we play higher, just change the octaves on this keyboard. So when I play high, you can hear there is dumping on When I play low there is no dampening. Let's just go on hide. I'm gonna set this back to the default by hit an option, okay? And let's just sue nights. So this is basically what this simple revolves around this string samples string sound X y pad going along here We have thes different objects. We've got object 12 and free. And then we have this green line which is meant to represent the string sound. So we have object 12 free. So if you're used to playing the guitar, you might realize where you play the string will actually create a different sound. So if you're playing up on the bridge will create a different sound. And if you're playing on one of the pickups and then also we have this A and B and this is the pickup position, so they should just to give a different sound to make it actually sound like someone playing strings sound on. We can position ourselves just to get a bit of variety, and I sound so. If we do play up on the string all the way down the string, it will give a few different sounds. Of course, it does also matter where we are in this X Y pod. It just changed up. Give up. So if we play source, one died. It's quite hard to hear, but it will give a different sound and the same with the pickups. We also have the key pickup going along to the style here. This will basically create a stereo spread between the two pickups. So if you do want to create a biggest spread between these pickups, recommends, put them a bit wider on opening the spread outs. So we've got objects. One. Then we can go to this button hit where it says impulse, and this will basically just give us different ways that strings sound is being hit or plucked. So we have impulse, which is meant to sound like it's impulse well used to being shocked. And then we have strike. I just meant to sound like a homicide and gravity strike, which is meant to sound like a hammers being hit, and then the gravity of the hammer goes down. Let's just hear this. Then we have pick, which is meant to sound like a platform. You can also change the volume here. It's quite hard to hear some of these. Let's go to nylon, then by this one's a lot easier to notice, which is meant to sound obviously like it's been bowed and then bow wide, which is a why the sounding bow. Then we have noise, which basically has white noise injected into the sound. We do have different volume levels for each one of these. Do you really do have to go in just fine the right volume for each one, then blow. I just meant to sound like there's a mouthpiece, or maybe more like a flute sound, and then we have object Free Object Free won't actually do anything unless object one or two on unless you choose. Bouncing, Bouncing would choose a big we'll create a bit kind of vibrating sound. Let's just turn the volume down. We can see on the string here. It's a really large sound, so we have limiter run, go to change the limit to your wife. Let's go back down. So here. So let's turn on Object one. We turned the objects on by hitting the buttons on the side. 12 and free. Move the placement off Object one. The cat I'm coming to choose impulse. Turn it down a bit. Hand change backed bouncing to disturb disturbs meant to sound like there's an object next to the string on. Disturbed to side is meant to sound like this object on both sides. Off the string bound is meant to sound like it's wrapped around. It was bound. A mass is meant to sound like this. Kind of a weight or an anchor on the string, then damp. Obviously, it's like a dampener on object. Number two. We go down here. This has both. This has all the stuff from object number one on door. The stuff from Object number two going along. We have a filter, so this is very standard to any of a filter. We have the cut off resonance, so let's turn on the filter here. Then we have a low pass, which basically allows the lows and cuts the highs. Ah, high pass which allows the highs and cuts the lows. A peak which adds a peak. Andi Ku Band Pass, which allows a middle band and cuts out the lows in the highest Onda Notch, which does the opposite of a band pass. It cuts the middle, allows the lows and the highs. We also have velocity sensitive. It's let's just turn this on So when you play quietly well, actually make quite a difference. So if you play loud you can really hear the cut off opens up And if you play soft, cut off closes We also have case of determined away are on the keyboard The resonance basically adds feedback to the cut off point I would give quite a froggy or ringing sound thing is very standard. The vast majority of filters turn off the filter okay, And going down we have lfo, so we have some modulation effects. LFO is a low frequency oscillator on. We have to you have an LFO one and lfo two. We also have Jetta, just kind of a random sounding effect on then vibrato which is an l A foe, but just four pitch way. So this is the vibrato. If we increase the amount way also have the rate so we can help choose hurts or we can sink this to the mid oclock Things can all be automated as well. With live automation we can change the way form off this vibrato. So if you want it mawr obvious sounding We could choose rectangle waken smooth and this off with the curve You can see this wave actually changes when you change the curve Okay, put that down. Let's go to LFO one So low frequency oscillator This is very senator vibrato but you can actually choose the target so you don't have to only choose the pitch So if we turn on lfo one here you have two different Ella foes. We can choose the targets unknowingly that isn't actually volume but there is filter cut off way You can choose free or think I'm going to sing this turn on the filter changes the right We can have two different telephones and there's even a never lfo so we can have four different l a vote Allah foes all effect in different things. Then we've got a bit of information on velocity on the midi controller. Let's just leave that for now. Let's have a look at this envelope. So this is very standard to most envelopes. We basically have an attack decay sustained release. So if you want amore pad sound, you could increase the attack on the release. And if you want a sharper, maybe more of a lead sounding effect, you could decrease the attack in the release. But for this kind of string sound, I'd probably have a bit of attack and release. It really does depend on what kind of sound you're after. Then going up. We have the voices Polly Mono and lugged Alto Polly means we can play more than one note at the same time. Mono means we can only play one note at the same time. So if you want to create a lead symptom or a lead sound, I would probably choose mono and remember to change the voices down toe one. If you wish to do this and the guards allow you to create some Ben's between notes if they overlap, if the media information overlaps, if you play the notes one to another, if you can create some interesting effect, and for this I'm going to leave on Polly and add the voices to eight. Okay, that's basically the sculptor synthesizer. It's mainly revolving all around this modeling string signed the Nile on the word still on the glass, the glass. But we can do so much is quite a complex emphasize. Er, I have just gone over this quickly just so you can go in and you actually know what all this stuff basically does. So you don't get completely lost and confused. I remember the first time I actually saw sculptor synthesizer. It took me a while to get used to this. But there is one more thing we're going to look at on depth. Is this more part here? So let's just have a look at this more pad. So what we can do is anything that's got a red dot We can actually more a manipulate with this more pad. So this is a sound we have now. We have five different points the middle than a B, C and date that we can go to a change a few things around, go back to center. You can hear sound changes. Let's go to bay. So anything we're red dots of course this could be can be done with live automation. So to do live automation or we have to do is hits this automation button here, show automation, change, read toe latch and then just play it in or what we can do is actually record this in here. So if we change pad to envelope there we hit this are button here you can play a note, play this information in turn off the and you can see it's just played it all. Then it looks kind of wacky. But now if I play a note, you can see this red dot She assume in this red dot actually just moves around waken even sink this to the midi clock. We can go in, actually drag this information around. Let's move it here. Yeah, we can change the depth to make it really small or a lot bigger thing. This is basically how we can use the sculptor synthesizer and logic. Pro TEM is a really complex simply I have gone over quite quickly, but this could be an entire tutorial. Siri's just by itself because there's so much going on. Another thing I'd recommend is go through all these different presets and just try and work out how this sound has being creative, scaling and click and hear all the different sounds. There is some really wild Once you realize all the amazing stuff you can do with this synthesizer. So thank you for watching this lecture. Have you found it? Useful as the Senate has really given you a different eye of synthesis in logic Pro temp.
Tomas George, Music + Audio Production Instructor
