Transcripts
1. Intro: 80 miles of going. Welcome to an absolute
beginners guide to Logic Pro. This is the 2022 version. But if you watched
my previous course, took all of the information
that was brought to me by all of our users and I have
improved this tenfold. My name is Eddie gray, composer, producer in LA, been able to do so many great
things with Logic Pro. You want to check
out my resume and real go ahead and scan
the following QR code. As an educator, I worked with a company called Learn quest, and I trained various companies in Logic Pro all over the world. This is a great program. I love to show people how to use the program and make
the best of it. This is the roadmap
that we will be following in the next
couple of videos, I want to make sure
that you understand that I believe this is
the path that will bring the most certainty and confidence when it
comes to your workflow. Want you to be able to
step into the arena of this digital audio
workstation and feel completely at home. Eventually, as you
become more skilled, you will become
what I like to call a Logic Pro power-user. This is someone who has experienced mastery
within Logic Pro. This is somebody who
feels comfortable, who feels at home when
they sit with logic. What are the
characteristics that are found within a Logic
Pro power user? I believe that one
of them is speed. The next is efficiency, which differs from speed. And finally, at the
end of the road, we experienced a
pro level music, pro level productions and
conduct that is professional. So when clients meet you, when you go speak to other respected
engineer's producers, they know that you
are all about it. Take your time when
learning this program. A couple of recommendations. I highly, highly advise you to actually take physical notes
while you're in class. It's not enough
just to type it on a phone or on a laptop. You need that connection between
your hand and your head. And actually writing out and working out those
notions on paper. I want you to spend a
minimum of one hour outside of class
time practicing. You don't want to apply
what we teach here. All of this would
have been in vain. Let's make sure that
we make the most of our time together
and that we apply, apply y. Alright,
we'll look, I'm ready. I hope you're ready. Let's get into this program. You're really going to
love it when a tissue, everything from the bottom up. So if you're feeling
up to it, let's do it. I'll see you in class.
2. Download Logic Pro (Essential Sound Library): Okay, let's go
ahead and download Logic Pro in the App Store. Usual asking price for
this program is 199. I've bought this in the past, so I'm gonna download this now. This may take a
little bit of time depending on your
Internet speed. I'll tell you what though. Let's go to the very top here. We're going to go
into the finder menu, go into preferences, and I want you to enable
your hard disk. I have two on my screen, as you can see, they'll
pay attention to that. Yours is going to have just one. This is important because this
is going to help you find your files in a much
more efficient way. The second thing I
want you to do is hover over the dock
here at the bottom. Now I want you to control click. When you do that, you'll see
a small menu that will allow you to hide this when
you hover over it. Those of you that have
a smaller laptop, this is going to provide
more screen real estate. Let's go ahead and
open the program. You will then be met
with this message, simplified mode,
or complete mode. I want you to select
Complete mode. Otherwise you're
essentially just using a version of GarageBand. You will then be
prompted to download your Essential Sounds
list depends on you. You have the time to do it. Go ahead and download it now. If you just want to download
it later because you're in a rush to just get it over with and let's
just keep moving on. Give Logic Pro access
to your microphone. You're all the new
features within 10.7. For logic, bro, you can see that the essential sounds are being downloaded in the background. This is the project
dialog window. Here's another pro tip. Open up the Details tab. So make sure you can see
everything in front of you. And control-click Logic Pro icon in the dock and keep
it in the dock. So that when you
want to access it, all you have to do is hover
your mouse over the doc. All right, so these are all of the preferences
within the session. We're going to check that
out a little bit later. Every time you
open up Logic Pro, you will be met with the
new Tracks dialogue window. Just to start things off, let's select an audio track. You may see this window. If you're a first-time
downloader, just put your password, open up the Details tab just to make sure that you
can see everything. And here we go. Logic Pro. You see
a blue bar at the very top indicating that we're still downloading the
Essential Sound Library now not downloading everything, bear in mind, how much space do I need to actually
download Logic Pro? Believe it or not, you
need over 70 gigabytes. If we go into storage
managed within the Mac, you will see that on the surface it
looks like I really haven't downloaded much. There's almost two gigs there. Another two gigs there. Where is all the
information found? Like where is the rest of it? Walt might tell you in a second, but let me explain
something first. When you first open
up Logic Pro and you open up the Apple Loops
browser hit Command O, and also hit the icon
at the top right. Everything will be
indexed depending on if you downloaded the
available sounds or not. A few have titles that are
a bit dimmed like this. It just means that you haven't
downloaded everything yet. If you have a shortage of space, you can download individual
loops if you want to. But again, it's probably a
best practice to go into the sound library
manager here and just to download all the available
sounds all at once. You can also download per pack if you would
like, or per library. So this is a very personal
choice based on space, but this is up to you, but I do highly recommend you download
everything if possible. Now for most people, that's where we're gonna stop. But if you're a little
bit more advanced, if you have an
external hard drive, you may want to relocate
your sound library manager. You can move all of
these 70 gigabytes necessary to fully function Logic Pro into an
external hard drive. You would do that
just like this, okay, so regardless whether you have downloaded all of
those sounds or not, you are ready to go. But to see you in
the next video, we're gonna talk about the
five tenets in Logic Pro.
3. An Overview of Logic Pro: Alrighty. Md5, tenets of logic grow. This is what I believe to be the foundation of his program. After working with
thousands upon thousands of different individuals
from different countries, I've been able to
notate a couple of different impediments
that befall any Logic user that
just gets started. Now the way we're
gonna do this is we're just going to
create an overview. So think of this like looking
from a macro point of view at Logic Pro are just going to quickly touch on
certain subjects. And then we're going
to dedicate a video, The each one of these topics
so that you thoroughly understand and have
the basics on lock. That's my goal. I want you to feel comfortable
using this program, but in order to understand it, we have to understand what's underneath the hood to
let's start from the top. Okay. So I want you to think about something with me, okay? We're walking down the street, robots to get in your car. The very first thing you
do is you open the car, you sit down, grab your keys, and you put the keys
in the ignition. Or if you have a push star, you push the button there and
your car is up and running, you are ready to ride. Very same thing applies
with Logic Pro. Every single time you enter the digital audio
workstation or DAW, you want to go into
the preferences here and you want to enable
your inputs and outputs. Let's say I was trying to record my microphone or a guitar. You can see my inputs
are currently off, so there's nothing that
I would be able to do to rectify this problem. In order to get this
up and running, I have to enable my audio
interface in this case, in order to turn
on the ignition. So let me go ahead and do that. And now I am officially
ready to record. This gets hard, or this hypothetical vocal
wanted number two, there's a concept
in logic and again, we'll talk about more of
this stuff in detail, but it's called key focus
and it's really fascinating. I'm gonna go ahead and open
up the mixer and lodge. Something to think about here is the fact that track number one is basically being mirrored by the channel strip inspector on the left-hand side here, which I'll highlight, and
also within the mixer. So at the very top
you see a blue track. This is an audio track. More on that later. And if I hit the down arrow key, I am now focusing on
track number two, and that is a
software instrument. I want you to understand. This relationship
is mirroring that occurs when we click on, in this case, a channel strip, a track that is being reflected in
three different places. The track itself, the left
channel strip inspector, and then within the mixer. So there's something
called key focus. And this goes not just
for channel strips, but let's say we are starting to record and you can see we have different regions
on the screen. I can focus on this region. If I click on it, I
can focus on that one. If I click on that. And so there's this
concept with logic where it basically is
obeying your commands. So in this case, I'm going to click
on the green region. Now that one's in focus and OK, click on this one. And now this blue
region is in focus. So keep this in the back of
your mind more on this later. Let's move to number three. Number three has to do with
the laws of musical time. In other words, rhythm. They don't have a basic
understanding of rhythm. This is gonna be really,
really, really challenging. So I urge you to
learn a little bit more about rhythm in
correspondence with his class, I will talk about it a bit, but it really is outside the scope of what
we're doing here. When we work with music, we're working with musical time. They work together. And so when we move these
regions or midi events, as we'll talk about later again, you'll see that there's a very specific
relationship in how we move all of this
information that has to do with musical time. So if there's one
takeaway from this video, I really need you to
learn musical time. This is something that you
can learn in an afternoon, in an evening if you just
find the right material. So tied to that, is how we move regions. We move regions according
to musical time. So this is why you
have to understand concepts such as bars, beats, divisions, and ticks. And when you conquer that, an entirely new world
opens up with Logic Pro, okay, And then the last
thing that we will cover is something
called latency. What ends up happening
if your latency is off, essentially, you will
have a massive delay. So you'll try and record, let's say a guitar or a singer, and they'll say the word, Hey, but you won't actually
hear it back until like ten seconds later or five seconds
later, it's Oracle. But I'm also going
to teach you how to work with latency so that regardless of how good or how simple your
computer setup is, we can have a nice workflow. So latency is critical, it is super important. We're going to cover
everything in depth, but I need to clarify
just a couple of things. What are we looking at exactly? Well, this is logics,
multi-way window workflow. Very front here we have what's
called the tracks area. Some people referred to it
as the arrangement window. This is the canvas that
we paint on, so to speak. Very top. We have
the control bar. On the control bar basically
handles all transport. Play, rewind. You can use the icons
to click on that. You can activate
certain features or you can simply hit
E commands as well. One of the things
that I'd like for you to do just to get started, is take your mouse
trackpad and just start to click on all the
various icons up here. And I just want you
to get familiar with where everything is, even if you don't know
what it does yet, if you're the kind
of person that really likes hands-on
information, I highly recommend you click
on the Quick Help button here so that every time
you hover over something, you get a bit more data on
what it is, what it does. So that could be very helpful. Now this is gonna be on
the screen the whole time. You actually could hide
it if you would like. I don't recommend it, but if you hover over the control bar, you can just click and
drag up and hide it. Again, don't recommend it. The second part of
the program which is helpful is
called the toolbar. And if you click on that icon there or you
hit the key Command, Control Option Command T. Often tell my students
three fingers t. Then you get logics most
often used key commands. You're brand new to the program. Maybe you're already doing a
lot outside of this context. You don't want to
remember a lot of stuff. Well, you don't have to,
because logic will remember the key commands that are most pertinent to your workflow. But we're not going to
talk about these now. We're not even going to talk
about customizing them now, just know that this is a very valuable part
of the program. Okay, so from the top
control bar, toolbar, tracks area to the left
of the tracks area, we have the track header, and here we contain all
of the various tracks. Now there's different
track formats which we will cover later. But for now, just
understand that this is where they
are contained. And as I open up the mixer, we get more relevant information to helpless with our workflow. And if I hit the key command I or the eye up here The
stands for the inspector. This is your right hand
when it comes to Logic Pro, it's kinda help
you climb a lot of different mountains and
handle all sorts of different problems in
the world of audio. These are key
subjects to look at. Troll bar, toolbar,
the Inspector, and then one more thing
to cover, key command O. That's going to give you
the apple loop browser a little bit more on that later. So for your first assignment, I just want you to
open up the program. I want you to visually
look at the control bar, identify the toolbar, click
on the various icons. I want you to open up the inspector by hitting
the key command. I want you to open up the apple loop browser
by clicking on o or hitting that icon there. Open up the mixer by hitting X and identify the icon which
back it corresponds with. That will be great
if our screens look a little bit different. Don't worry about that. It's just because we were
on different systems and I have this setup a
little bit differently. Let's sum this video up. There are five
tenants to Logic Pro. Learning. These tenants, keeping them
close at hand will really help you understand and
dominate the program. Let's look at the layout. It's not that complicated
once you break something down to its
basic constituents. These diagrams are by my
mentor, editor, author Mitch, and as we've stated
before at the top we have the control bar right below
that we have the toolbar. On the left, we
have the inspector. On the right, we have
the absolute browser, along with a couple of
other features, not yet. And then at the very bottom we have the mixer key command X. There's also a window on the left-hand side
called the library. We'll cover that on a
later video as well. This is it my friends when
we populate the main window, this is what we have. So my intention is just
to show you the programs. You can locate and
identify every part of it. And then we will go from there. So one step at a time, make sure you're taking
physical notes and I will catch you on the
next one. All right.
4. Inputs and Outputs: Let's cover connectivity. Doesn't matter which
audio interface you have. Do you want to connect
it from the back of the unit into your
laptop, your desktop. And when you do that, you should get a message
from your computer. And we'll look a little
something like this. Now, if you get it or not, don't worry about it. Because we can find
the unit within Logic. Because I automatically assign the interface to Logic Pro. You can see that it is there inside of the logic
project dialog window. This is also corroborated in the New Tracks dialogue window. You can see the
complete audio six. This is the interface
that I am using. And so here we are. I'm using an audio
track because this is how we access our inputs. Now bear in mind inside
of your preferences. We certainly do have to turn on and enable the interface for me, the complete audio six, using an audio track, I go over to the channel
strip and you can see that I have six inputs. This corresponds with the amount of inputs that my audio
interface has available. So yours may only have one, yours may only have four. It all depends. But either way, if
you're using a guitar, you connect the line input
into input number one. And then you should be able
to get that connectivity. Same thing with the microphone. When he differences, you're
not using a line input, you're using an XLR cable. If you're using the wrong input, then nothing's going to happen. In other words, if I connect my guitar into input number one, but I have input number two, it's, nothing's going to work. So the next step is to go to the actual track and record
enable an input monitor. This basically turns
everything on it. Let's logic know that
you're ready to record audio and I'll be doing
a demo here in a second. But those are the steps
I need you to be able to copy this procedure
each and every time, whether you're recording
a vocal or a guitar. And it's good to be
systematic about this. Like always recorded, It's
hard on input number one and always record your vocals on input number two or
something like that. In order to create good habits, you start creating those habits. Now believe me, it will
pay off in dividends. So I've opened up a new
session and Logic Pro, and as I've told
you, we always get the new track dialog window. I'm gonna create an audio track. On the left-hand side, we get to decide, whereas the input coming from. For this video, I've changed
up my audio interface. And so I'm going
to choose input 33 because this is where I have
my microphone connected. As far as my output goes, I'm going to input monitor
and record enable. You can also do this manually. Alright, so I'm gonna go ahead and create one audio track, and now I'm gonna start
recording a shaker. Here we go. Okay, so let's go
ahead and listen back. Some things to think about. Had I not had the
input set correctly, that would not have worked. Had I not had my preferences input device setup correctly, that also would not have worked. There has to be a
connection between the audio interface and
between the channel strip and the input that you select from the top makes sure your inputs and
outputs are setup, put back key in the ignition. Create an audio track, makes sure that the
input is set correctly. And then from there you're
going to want to input, monitor and record enable to
get this show on the road. Now there is one
feature I want you to turn on inside of
your preferences. It's called
independent monitoring level for record
enabled channel strips. Now when you enable this, what's going to
happen is that every single time you
record enabled track, you can have a
unique volume level. This is super important
because you want to make sure that you don't have any feedback
coming in to the signal. But you can see that when
I disabled recording, it goes back to
its default mode. So just think of this
like a sure fire way of protecting your ears, are protecting your client's
ears when the time comes. Thank you guys so much. Makes sure that you do this, that you have a protocol set. The thing to do here is
to constantly rehearse this and almost like a performance you just want
to repeat, repeat, repeats. You can learn this to
the best of your ability and ingrained into
your muscle memory. Our guys, I'll catch
you on the next one.
5. Key Focus: Welcome back. Let's talk about key focus. Key focus is perhaps one of the least understood
subjects in the program. And that's mostly
because it's tied in to a lot of other concepts. I'm gonna really keep
this basic digestible. Let's simplify key focus. There's different levels
to this game, right? The very first level, say we open up the loop
browser key command. Oh, let me turn your attention towards the loop browser and you can see that right around it. I'm gonna go ahead
and highlighted here, there is quite
literally a blue frame. Now I'm drawing one with
one of my tools here. But if you look a
little bit closer, you can see that there is an actual blue frame around
the Apple Loops library. Now, if I hit the tab command, you can see that now
that blue frame has shifted from the
Apple Loops browser over to the tracks area. What is this phenomenon
is called key focus. When I intentionally
hit a key command or I intend to do something
within the program. What determines the outcome. Key focus, though, let me
give you another example. When hit the key command X. Now, the mixers open. If I may, I'm going
to just resize this. You had to guess
where is key focus, whereas the blue frame
censored around. Is it the mixer? Is it the Apple Loops browser
or is it the tracks area? Yes, you are absolutely right. You can see that that focus
is currently in the mixture. Now why is this important? If I start hitting key commands, in this case right arrow key, what's receiving the command or the action is that
which isn't key focus. So if I hit Tab and I hit the
down arrow key, of course, now the tracks area is dialed in and so it is waiting
to receive the command. Same thing with the
Apple Loop browser. If I start hitting
the up arrow key, you'll start seeing that focus
is around certain loops. We're going to talk a lot
more about this later. Your first task is to get used
to this idea of key focus. I want you to open up
the mixer key command X, loop browser key command O. I simply want you to hit Tab and understand that now from part
of the program is in focus. All right, and then I also
want you to hit Shift Tab. And that same course of action will move
counterclockwise. Alright, let's go a
little bit deeper. Now. We're no longer referring to the various multipath
windows AND logic. We're gonna talk
about the track and the regions contained therein. If I click on track number two, now that one's in focus right? Now what's interesting
is there are two regions within
this selection. I mean, think about, I've
got this one that's on the left and this one
that's on the right. Now if I mute one of them, you can see distinctly that I have one region
and then the other. We look above that. We have an audio track with
four different region. I've got this one here. That one there. Little sloppy bud, You got it. But for four different regions. And if I wanted to
delete one of them, I would have to make sure
just that one is selected. Now how is this determined? Let me show you. Go in here. You can see that the region that is in focuses is the one
that's highlighted. Let's read the quote here. It says key focus. Windows and regions must be selected in order to a function. As you tell them to
one in that region, that specific one
right there to mute, or to delete or to
move or to nudge. All of a sudden, we know
that it has to be in focus. The same goes for Windows. To give you a
couple of examples. But you can see
here that there are some contingencies that
we have to look at. So let's look at those now. Top left, you can see that
this main window is in focus. If I see a highlighted
red, yellow, and green, if for whatever
reason that wasn't. So what I currently did was they dropped the window and I
clicked outside of it. This window, this logic
windows no longer in focus. But if I click on it one time, now back and focus. Conversely, you could also
hit Command tab and you can get the program back
and focus in that way. That's one level. The second level are the
plug-ins themselves. Now, I don't want to talk
too much about the plugins. Let's just talk about
their behavior. By click on that plugin, there's a white rim is
revolved around the plug-in. That one is in focus, like click on the EQ
right next to it. Now the frame is
around this plugin. There's a lot to uncover here. We're gonna get it all down. I just need you to understand that something is
always in focuses, either a plugin window. It's either attract
an individual region or a text entry box. Notice track one looks normal. Track number two, as a text entry box waiting
to receive a command. In this case, we'll just type the word test. And
then I'll hit Return. Now you can access
the text entry box by double-clicking or in the
key command Shift Return, that allows you to
type in some data. Now if you want to switch
to the next track, all you have to do is hit Tab
and type in something else. That is the goal I want you to play with all the various
aspects of the program. Started with the windows. Maybe pull up a couple
of plug-ins if you don't know how to do that
yet, don't worry about it. And then after that, focus on the text entry box and hitting Shift Return
or double-clicking, typing, hitting tab,
typing something else. And getting used to that workflow that's going
to help tremendously. As time goes along. Hope this helps. This is just building on
top of the last thing. So make sure you're
taking notes and make sure you're really
getting this information. We're fortifying a different
part of your brain here. This is a new language and I'm happy that
you're on board. Go ahead and continue on, solidify the good habits. I'll catch you on the next one.
6. How We Move Regions and Events: Welcome back. So how do we measure music? What system do we use in order to measure and make
sense of our world? Well, we use bars, beats, divisions, and ticks, horses, the most fundamental,
basic stuff. But I do want to break it
down and do think it's important to get it done now, strongly, strongly encourage
you to keep working on this. All right, so there are four
beats inside of one bar, 16 divisions inside of one bar, and 240 individual
ticks in one division. Now I'm gonna prove
all this too, but to all my visual
learners out there, I just want to make sure that,
you know, I got your back. This is what it looks like. Very top. We've got one bar, two bar, three bar, four bar. And when we look
at the triangles, these are the beats. So the bars are the circles. Beats are the triangles
inside of one bar, we have four beats and we have 16 divisions inside of one bar. Keep this in the back your head, It's all just basic math. If you weren't good at
math, I wasn't either. So don't worry about
all the details. Alright, so let's look at
this region that I have here. Well, at the moment
it is one bar long, or how do I know this? Here is its beginning point
and here is its endpoints. So it starts one, it ends at to. The other reason I know this is because when I hover below any region could be the bottom
right or the bottom left. This tool will convert
to another tool called, called the Resize tool. When I click and hold, you can see that the length
of the region is noted. It's one bar, 0 beats 0
divisions and 0 ticks. In order to access this, you have to click and
hold people to see that. Alright, so this gives me
very, very valuable data. The first claim was that there
are four beats in a bar B. First beat is here, the second beat is
their third is there, and the fourth is here. You have to be able to see
this and to understand it. If you don't. It's gonna be like
walking inside of a dark room and trying
to do something. Barry important like neuro
surgery, it's not gonna work. Alright? At some point, you have to get specific and you have to
understand the formulas. I also said that there are 16 divisions inside of one bar. Let's see if this is true. Now I'm doing a lot of
stuff in the background. I don't necessarily want you to overly concern
yourself with that. I just want you to
come along with me as I'm fabricating this story. So look at this and click
and hold God's 0 bars. 0 beats one division, 0 ticks. And if you're not really
sure what I'm looking at, that's what I'm
looking at there. Okay. Alright. So one division, 23 or four
divisions make one beat, but still 45678910111213141516 divisions quakes to one bar. And then finally,
at the end I said the 240 ticks equates
to one division. So let's see if that's true. That right there
is one division. Approve a two zeros, 010, if I shift over to that number, now you can see that
I have two divisions. In order for me to get back. It's going to take 240 ticks. Well, we're gonna go ahead
and test out the waters. I am going to utilize what's
called my snap to grid mode. And I'll talk a bit more
about this in a second here. I'm going to move
back in time so I can access it just one division
right now I have two. So the first thing that
you'll see is that ope we're at 239 ticks. So it's one division with 239 ticks and then I'll
move all the way back. You can see that is now
down in the 70 60s. And finally, when I get to 0, we will be back there. Bless one division. I move a little
over to the left. You can see I'm at
2386239, sorry about that. And 240 equates to one division. Alright, you need
to start learning. How to do this? Now the way I'm able
to pull this off, how am I able to
move the regions? There are two ways,
snap and nudge. The way I've been
demoing this for you is by utilizing snap. These two features are
absolutely critical. If you want to learn how to move regions or events
in the program. I have a region that's
one bar long, right? There's two ways
to actually move. This region. First way is called Snap mode,
and it's right here. I only want you to work with barbie division and tick for
now you have other values. It's true. But utilizing
this system will give you the greatest amount
of acceleration and progress as quickly as possible. So if utilizing Snap to Grid, and I am in bar mode, if I just click and
drag over to the right, I don't even have
to think about it. This is going to move this specific region
using mathematics, using science over to b2. Not even thinking about it. But if you want to be precise, which I know you do, then we
need to utilize the system, but a command Z that if I
want to move this per beat, I click and drag using
a mouse or a trackpad. It doesn't matter.
That's B2, B3, B4, and then this all just
cycles over and over again. All right, so if you want to
move per beats, use that. Let's move over to divisions. And again, we can move this over 16 times and that'll
take us over to B2. That's drag it back. Or I can simply hit Command Z. If I move something, I can hit Command Z and then I have tics. Now, why would I use bars
beats divisions or tics? Obviously, you would
want to use bars beats divisions when you want
to be a bit more precise. Now, that could be a long throw along movement or it could
be a short movement. Ticks is best utilized when you want to get
off of the grid. There are times,
believe it or not, where you're not
going to want some of this start directly on the one. We'll have to talk about that
later because there's just so much on the plate right now. That's the first thing
I need you to do is understand how to utilize snap. Use bars, beats
divisions, ticks, get a firm, firm comprehension
on these concepts. Then you shift over your
attention to nudge. Now that's up here
in the toolbar. Nudge is similar. It's related in that
we're moving a region, but we're not going to be using our hands to touch the
mouse or track pad. In this case, we
utilize a key command. What is that key command? Option right arrow key or
Option left arrow key. You're not a key command
kind of dude or a girl. Go ahead and use this small icon here that will perform
that. The command for you. I can click there,
that'll move one bar. The value is determined
by clicking here and say, actually I'd like
to move one beat, or I'd like to
move one division. Again, there are other valleys, but I'm going to ask you
to stay away from them. And to be honest, if you're a pure beginner, I only want you to stay
between bar beat and division. That is it. Learn musical time, learn how to move regions via snap mode, snap to grid mode. And that means I'm clicking and holding on a mouse
or a trackpad, and I am moving this over. Then the last thing
is to utilize nudge and shift regions
by a way of key command. Or of course, like I said, just clicking on the
toolbar to get you going. All right, keep your
head in the game. Let's stay happy to stay
focused on what we want. I'll catch you on the next one. Keep working on it.
7. What is Latency?: Let's talk about latency. Have you ever
recorded your vocal or you playing the
guitar or the piano? And you strike the cord, but you don't hear it until like three seconds
later, server Avenue. While this is called latency and there is
a way to combat it. Now I'm gonna give you
this simplified version of what this is. And believe me, there's
a lot more to unpack, but that will come with time. So the thing about latency that you need
to remember is this. You want to keep it low and recording and high when mixing. Now, you could stop the
video here if you wanted to. That is really it. Keep your latency settings low and recording
high when mixing. Now the question is why some of you are eager for knowledge? And so we have to
talk about why if you look at your preferences
within Logic Pro, you will see your input device
keys in the ignition i. Below that you'll catch
your buffer size. This is what is
determining the latency or the recording delay of your
system. How does it work? What is latency? Essentially, it's the
signal being sent to the audio interface back through the computer and out
through the speakers. So if you're not hearing
everything in real time, That's because your latency
is affecting playback. Let's look at some numbers. If I click on the up
and down arrow menu of the buffer size pop-up menu here you can see that
when I set it to 256, the output is going to be 21.3 milliseconds when
I set it to 32, you can see it's
drastically being affected by 16.7 milliseconds. Why is that? Well, there
is a trade-off when it comes to your buffer
size and latency. You're either going to set
it low so that you can get real-time playback
upon recording. Or you're gonna set
it high so that your computer isn't
dealing with all of the CPU resources that it has to use when you are utilizing
a low buffer size. This is why I'm giving you the maximum low and
recording high when mixing is when you set this
to 1024 high when mixing, it basically relieves In your CPU resources and
your computer gets the kind of chill a bit while you perform all mixing actions, listening actions, things
like that, though. To sum it up low and
recording high when mixing. If I set this really
high and see that my output is 37.3 milliseconds. So what's an ideal number? Well, there's a
lot of controversy about this. Outer recommend. A value of ten milliseconds to 20 milliseconds and
you should be okay, somewhere in that vicinity. I think anything past
2530 milliseconds, you're gonna start hearing
that recording delay. So let's sum this up low and recording in a high wind mixing. Now I'm gonna give
you one more tip. We're going to keep
it really simple for now because we do have
a lot more to cover. If I shift my attention
over to the next tab, hover all the way down to the
bottom of the preferences. There's a little button
there that could be of assistance when you need backup. So if you ever find
yourself in a pickle, I want you to click
on low latency mode, and this should be
a good resource for you when you need a little
bit of recording assistance. Okay, so that's good for now. Again, this subject is a bit more intricate
and complicated, but that will come. Or now I want you to go into Logic Pro Preferences, Audio, and I just want you to see how your buffer size affects
your resulting latency. Our guys, thank you so much, I'll catch you in the next one.
8. Logic Menus: Hey, What's up team? Let's talk about Logics, Preferences, and
project settings. We want to talk about
these specific menus because they are
going to be pivotal, how you move within the program. So let's take a look. Logic preferences
and project settings are different in two ways. Number one, the preferences
are global in nature. And so when he changes
you make within the preferences are going
to essentially work. From today, from here on out, they are global, they
are eternal if you will. And so the goal is to use these
and to set and forget it. The project settings, on the other hand, are
project-specific. So if there's something you want to modify for this
specific project, you're going to want
to deal with that within the project settings. Now, I'm gonna go over some basics that are
going to help you out, but stick along the journey. Stay with me and we're gonna
cover a lot more overtime. All right, let's get
into it. Just for kicks. I'm gonna get rid of
the project settings. And we will censor our attention
around the preferences. Where can we find this? You want to go to Logic Pro and the Main Menu bar hover down or preferences and click here top, the preferences are
all the various icons. I can click on these and we can select different features and functions within the program. Let's go to the first
icon called General. And we want to make sure that the project handling
tab is selected. That's the first one. What I want you to change
here is the startup action. And where it is by default, maybe it says do nothing
but I want you to set it. So it says Ask and here's why. I'm going to close
logic by hovering over the dock and
quitting the program once I open it up within the spotlight search
system logic both through its usual scan and then you will get little window. This window is going to ask you, what do you want to do? This is why I think this
is the best choice. Or new users. I want you to have full
control of the program. Again, I'm trying to
build good habits now so that you can apply over time. This is the startup window here. So you want to open up
the most recent project. Do you want to open
another project? Like to open up a template. Let's go ahead and
create a new project. All right, So besides
the startup action, the only thing to change up
is the display features. I personally like
the dark theme. Now your computer may look
like this. Whatever you want. It's good for you. This is just my cup of tea here, down here where it says Windows. Here's a couple of things that you might want to consider. Look at the playhead
right at bars three. When I click on
this and enable it, you can see that it's a bit more visually available though. You like things to
be front and center. Go ahead and enable that. I also highly recommend
utilize help tags. You may have
remembered from one of the previous videos I was
clicking and holding on a region and I could
see it's laying its position, so enable that. And then I'm going to ask you to disable the last to show
icons and New Tracks, dialogue and show animations. This is going to save a
little bit by way of CPU, but I want you to see what
it actually looks like if I open up the New Tracks
dialogue window, look at these graphics. Though personally, I
don't like this Look, I feel it's very GarageBand. I'm gonna go ahead
and disable that so that when I open up the tracks, New Tracks, dialogue window, it gets something nice,
clean, It's smooth. That's my thing. In terms of your
project settings, there really isn't
much to look at. I just want to make sure
that we look at one thing. Again, you can find this
under File project Settings. Now I want you to
enable the Audio tab. This is where you can
find your sample rate. Now, this is underneath
the hood at the moment. And if we wanted
to change a week, could those of you that don't have an audio background,
don't worry about it. This basically just means the
fidelity of our recording. You know how in the world
of television we have like five K and six k and
for k and ten ADP. And alike that the
sample rate is not just available under the hood within the project settings. If you want to access it within the control
bar, you actually can. If you're looking at my LCD
display at the very top, you can see that I have
my sample rate up here. In fact, I have a lot
of things appear. I have my BPM, I have
my time signature, the key of the song. And so I'm gonna encourage
you right now to hit on the Down Arrow menu
for the LCD display. And I want you to go
ahead and enable custom. So let's turn this
on and we'll click on the up and down arrow
menu and enable custom. The only thing I think you
really don't need from this menu or the locators
and varus speed, that's for another day, but we want to know the
position of the playhead. We want to know the sample rate, the tempo, time
signature, key signature. Let's talk about project
and project and is really interesting because
if I hover back, you can see at the far
right of the screen that there is an end to the project. Now if you want to
move that so it's closer or farther away. If you just click and drag here, you can determine that
within your session. We can also double-click and
enter a numerical value. They'll want to make sure
you know about that. The other thing to the right of that is your midi display. So if I have a midi controller and I want to know if
it's working well, if I simply click
on the controller, you can see that I am
getting visual feedback. So this is a good
way to troubleshoot. If a midi controller
is not working, you want to know is that the
cable? Is it the hardware? Is it a software? And this is one true
way to find out, okay, so from the top, change up your preferences, your startup action, play
with the display settings, make sure you like what you see. And then finally within
Project Settings, make sure to understand
where your sample rate is because it will become relevant
very soon, believed me. And then go ahead and customize your control
bar and display. Alrighty, Thank you so much.
Catch you on the next one.
9. Workflow Basics: So what kind of tracks
can we use in Logic Pro? What are the formats
we have for audio? Midi, drummer and the
new pattern format. So every single one of these formats we can
use within Logic Pro. Now thus far we've covered
two audio in blue, software instrument,
aka midi in green. There's another format. It's called drummer.
Let's check it out. Now we're not going to go over all of the
details just now, but I want you to
see how it works. The top we have an audio track. Here we have a midi track. And the other format is inside of the New
Tracks dialogue window. I'm gonna hit the right arrow
key and click on drummer. Now, if you don't know the
key Command Option Command N, or you'd only key commands. You go up to the tracks window at the menu bar
and you hover down to new drummer track I have
that setup as shift nine. And now we can see that a
new format as appeared, along with the editor at
the bottom of the screen. I've gotten my audio
track, audio format. We have software instrument
with midi regions. Then we have the drummer track, and this is how we make music
in Logic Pro and other is another format that's a little bit more advanced,
but let's wait for that. What I want you to do is understand how
these formats work. I'm working under the
assumption that you know absolutely nothing about
Logic Pro and production. I understand that's not
the case for everybody. But let's think about this.
What is an audio format? Well, with audio, you're
either physically recording in an analog signals
such as the voice of bass, guitar, saxophone by
means of a microphone. Anything that's real,
essentially you can hook up to line inputs to an
actual synthesizer and hook that up to
your audio interface. That would be playing back
and record it into the DAW. You're either recording
an audio format in or you're going into the loop browser
and you're dragging a pre-existing
recording onto the DAW. In other words, I didn't
record this acoustic guitar, but even though I
didn't record it, I get to take advantage of it and use it in
a creative manner. So audio, you recorded
in yourself or you use existing samples and loops
to enhance your recording. A software instrument. It's the same thing.
You're either going to play in the notes yourself. You're either going to
record that or you're gonna take preexisting midi loops. And you will use them to
build up your sessions. There's no right or
wrong way to do this. You could be somebody
that's heavily into samples and modify
them and chop them up. And that could be one workflow. You could be somebody that
takes existing ideas, such as the one that
you'll hear now. Now instead of using the
steel string acoustic guitar, you can use a staccato string. That's one of the
distinct advantages of using midi over audio. Each one of these formats is going to give you something new. It's going to give you an edge. One of the benefits of audio is how you
can manipulate it. One of the benefits
of midi is how flexible and malleable.
If you didn't catch it. I want to show you how I did that by going into
the audio track. I can't necessarily
change these notes, like these nodes
are what they are. But what's interesting about midi is that if I double-click, I enter what's called
the piano roll editor. And inside of this editor, I now have the option of
changing things around. But let's drag the
original loop. I think it was this one. I'm gonna drag it
into the tracks area. And this is what it sounds like. When it came in. Again, pre-recorded,
preconfigured by the engineers. On the left-hand side,
on the channel strip, you can see a came embedded with a guitar and a
couple of other plug-ins. Won't talk about those now. But you don't have
to use that guitar. He see with an audio track, I'm stuck with this sounds. It is, it is I can
apply plug-ins on it to change the overall
presentation. But it's really amazing
with software instruments, you have so much
more to work with. I don't think that there is one format that is
better than the others, but you do have to know
how and when to use them to be able to maximize
on your productivity. What I did is rather than
choosing the guitar. On the right-hand side, I hovered over this tab and I saw the little Up and
Down Arrow menu click. And all of a sudden now I can access all of logics plugins. And so there's Synthesisers hear
that sound great. I chose the studio strings
to get that last sound. But let's just say
we chose the ES T2, which is a synthesizer, and I don't know we
choose a Synth Lead. Let's choose the Miami
lead. Listen to this. Midi gives you a lot
by way of flexibility. Skies limit. This is all about creativity. It's about tapping in to the music that you
hear in your head, in your heart and
making it come to life. Audio pre-recorded. Or you record it in yourself. Software instrument,
midi pre-recorded. Or you drag it in again. And finally, drummer. What is drummer? This is an AI
patented technology that will generate
ideas for you. So in the case of this beat that you're about
to hear, I didn't make it. It is listening to my session and it's
considering the BPM. And this is the product. For those of you that don't
know how to sequence beads or create patterns
in a step sequencer. This is great because
all of a sudden now it gets you to a place where you can generate an idea and
then work off of that idea. The argument obviously becomes, isn't really making music
if all I do is drag in something from
the loop browser. Well, that depends. If all you're doing is
dragging stuff for min here, then of course yes, there is an argument for you
should not be doing that. But you can see from
my vantage point how I believe you can do
anything you want to do. The main thing is that we
get you up and running. I don't want you to
overthink it if you are very heavily based on samples
right now, that's fine. Eventually you might start recording your own piano lines. That's how I started. I relied a lot more on the loops and the samples
was a lot easier. Rather than me having to record this tambourine,
for example. It already sounded good. I didn't see a need for Me too. A recreate the wheel will
drop that discussion for now. My main interests in
this video is that you simply learn to drag in
loops that are blue, also loops that are green. And then third, I want you to either create a
new drummer track. I much prefer you go into the new Tracks dialogue
window and select drummer because then you have the ability to choose
genre as well. So I had hip-hop previously, or what if we've wanted
like singer-songwriter? Then now I'm a little bit closer to the genre that I want. So let's take a listen to this. If you could just replicate
the simple exercise, it'll go such a long way to repeat it one more
time, dragon some loops. Recorded audio
information yourself, you don't know how to
record, will be covering that next software instrument. Again, play in the
parts are self. If you don't know
how to record midi, we will be covering that soon. And then finally, opening up the New Tracks
dialogue window, selecting drummer and then selecting the appropriate genre. This is something that
I want to work into your muscle memory
and may seem strange to be talking about repetitive movements in the
context of technical work. But believe me, it is
very important you have to know where to go, how to get there, and
do it efficiently. If you're really to
master this program, we're about to go a
little bit deeper. We're going to learn how
to record audio tracks. We're gonna learn how
to record midi tracks. And then I'll teach
you a little bit about manipulating drummer. Alright, catch on the next one.
10. Recording a Track: Okay, so let's open up logic. I'm going to hit Command N, brings up the project
dialog window. I'm going to tap a tempo. I want something in the vein of you don't necessarily have to know the temple
that you're after, but it's a good place
to start by default, it is set to 120 BPM. It has mentioned
every time logic opens at the New
Track dialog window, I want to open up a piano track. So I'm going to go down to
the bottom here, go to logic. I'm looking for a Logic Piano now you'll see there's not
really a dedicated Piano. I'll enter the sampler here. This is one way to do it. And I can find a piano in there. I'll hover over the
plug-in itself. And if you look really
closely left-hand side, I could turn it off or
bypass middle here. I could open up the
plug-in and then to the right I can search
for something else. Or essentially I
could Say no plugin, but again, I do want to plug in. Let's click here in
the preset menu and let's see if we can find piano. And we'll just say
grand piano for, okay, so that's one way to do
it. Another way to do it. And New Tracks, dialogue
window and you say, I want an empty channel strip. And then from there
you would just type in piano inside of the library. And I know we haven't
talked a lot about this, but it really is outside the scope of what
we're doing here. And I'm gonna go with
grand piano here. Two different ways
to go about it. Now, I want to hear
the click as I recall, so I'm gonna hit the key
command K. You can also set that up here.
Right-hand side. If you want a count in, you can go ahead and set
this so that you get a 1234 before we actually
start recording. As of now, I can hear the click and we need to
record enable our tracks. So I'm gonna go ahead
and do that now. Me delete this old track just
by simply hitting Delete. And let's check the
sound record enable. We're gonna click on that are. So we're arming the track, getting prepared to record. Everybody's gonna
record a little bit different based on
their experience. I usually record in parts, but I'm gonna go
here and record. Alright, once you
have that on paper, you're gonna want
to double-click and just look at
the performance. You can see that everything is recorded but not
necessarily on the grid. So the workflow that
I'm gonna teach you today is to click in the
piano roll editor hit Command a to encompass all your selections and then
simply hit Q for quantize. You could also click
on this Q right here. But if I click on
that, the performance, if played more or
less to the grid, is right where it needs
to be. Let's listen back. If you wanted to, you could
create another track again. This all depends.
Can you play piano? Can you play with two
hands, that kind of thing? So I'm going to create a melodic line on top
of it. Here we go. At the moment, I'm actually
experiencing latency. So this is actually a very
timely less than as I play. You can see that I'll
strike the keyboard. Then we'll hear the
sound little bit later. And so this is a perfect
opportunity to take advantage of latency mode and go into the preferences all
the way to the bottom. Audio icon, general tab. And go ahead and click
on lowly and C mode. And now, you should
be a lot better off. Now bear in mind
something else I can do is work with my preferences. So let's go down to 256. Now. Same problem that we were experiencing is
all taken care of. All right, so let's go ahead
and record this melody. Alright, so the same
thing will apply here. Pending in the how. Good, you got it. You can go ahead and make
this a lot better. Now, something that
should be said is we should probably turn
off low-latency mode. Now that we're not using it, it's the kind of thing
that you have to set to default every time. So here's the
previous performance. You've got the left-hand
playing the chords, and here we have the melody
not quite on the grid, so I'll hit Q for quantize. Now everything is right
where it needs to be. Now, if for whatever reason
these are not selected, you could click and hold with your mouse and simply just select all of the
notes so I'll hit Q. Let's listen to
this performance. You're hearing the
intensity of the notes. What if you wanted a
little bit more attack? Not the first time around, maybe the beginning is intimate, but from bar five on we
select all of these notes. We set the velocity
to go up by 53. When I say velocity, I'm talking about the intensity of the node that has
been a recorded here. Let's listen to that
transition now. Now only started bar three, but you're going to
hear more emotion coming out of the right
hand, the melody. Alright, so I played notes
kind of off the cuff. Now I want to create
some kind of ending. Now, I really have to
show you the difference between playing in the
notes and programming them. And there's a lot of very competent producers
that all they do is just plug in
the information I watched the dead
mouse masterclass. And he doesn't play anything in. I mean, he's literally
just figuring out, most like a
mathematical scientist how to make his songs work. So you don't need music
theory experience. I obviously encourage
you to do it, but you don't need it
is what I'm saying. We're gonna go ahead and
figure out an ending for this. Tall take these two
notes over here. I'm simply going to
either Command C, set the play at and hit Command V. That's
one way to do it. But you can also just
option drag them over to duplicate those notes. Now I do want to lengthen them, so I will hover to the
right of these midi events and will increase the length. And then from there I'm going to reduce them by one octave. So I want to set them at
a different range of an, a control-click and say, Hey, can you transpose these events down an octave or 12 semitones? And something else I'll do is I'll duplicate that
note right there. So again, different
ways to do it for now. I'll hit Command C. I'll set the play head of
bar nine and I'll hit Command V. And then I will
increase the overall length. Okay, Let's listen
to our ending. I'll take off that
note. Here we go. Let's listen to our ending. You have a lot of advantages. I can move stuff around. A lot of flexibility with midi. Let's choose an audio track. So keys in the ignition turn on the
appropriate interface, in this case my Universal Audio. And now we have to select
the appropriate input. I've got this guitar
connected via a high Z or line input
into input number two. I'll click here.
Input number two. Now it probably
hasn't been tuned. The one of the
things that you can do is click on the up
and down arrow menu. Go to metering and
open up the tuner. Now, we can make sure that
this instrument is in tune. Now you're noticing no
signal is coming in. And that's simply because I have two input monitor the signal. If you don't input monitor won't be able
to hear the signal. But let's go ahead
and tune this guitar. Or I will bypass the tuner. And let's go ahead and start to record so the
input is set correctly. Seeing the signal, want to make sure it's not too
hot or too strong. But also that's not too quiet. Yes, So that sounds pretty
good. Art and start recording. All right. So the issue here was I missed the ending right. So everything else was okay. No, If I have to play
with it that much, but there's a distinct spot here that really lost momentum. So what are we going to do? Well, we're going to
utilize a couple of tools. So I'm gonna click in
this section right here, got your left cursor tool and
you're right cursor tool. And for now I just
want to keep things simple and we're going to click here on the left click tool. We're going to select
the scissors. All right? We're gonna tell
logic that we want to make some decisions. Now we talked about
Snap mode earlier, as you may have remembered. Now Snap mode doesn't
just move regions. It also dictates how the
program works just in general. So I'm gonna go ahead
and for example, create an edit and
you can see that it's creating the incision with a scissor tool
right at bar nine. But while this is
good in this context, when I want to edit on
the other side of that, it's cutting at bartender. Now, this is when the magic of logic
really starts to work. I don't want to use
a bar measurement. I want to use either
divisions or ticks, a smaller unit of measurement, if you will. I'll click here. And I will delete my
misstep with a guitar. And now it's drag this over. Alright, let's go ahead
and listen to this. That's a little
bit better right? Now, remember my snap mode is
currently set to division, so if I drag this over, that may be too much. Now, I did say
earlier there will be times when you want to
get off of the grid. This is a perfect example. We use our snap to grid
tick setting and we just drag over ever so slightly
so that we can be in unison. And something else that's really important is to
utilize a fade tool. I'm going to click from
this region over to this one and create what
we call a crossfade. And this will create
a seamless transition between one region and another. We can also create
fades at the end of a signal to achieve similar
results in terms of balance. But here I want to go from
this region of that region. Let us listen to everything from the top and always set your
settings back to default. So if the original tool
is the pointer tool, Let's go back to
that. And let's go. You can start to see and hear the beginning of music,
music production. This may be a climb, but you will get there. Now we're not done.
We have to make this guitar sound a
little bit better. Now this isn't a mixing class, but I'm gonna give you some tips on how to get there a
little bit quicker. Tip number one, click on the
channel strip settings on the left channel strip
inspector and go to Legacy Logic electric guitar. And here perhaps you can find something that really
sounds special, that really compliments
which are up to. So we're not gonna spend
a lot of time here, but let's just pretend
that clean echos is really working for this user
case. Let's take a listen. Promise this was not plants actually sounds pretty decent. Yeah, that sounds pretty rad. For our last trick, what we're going to
do is we're going to sum in the drummer. So let's go ahead. Go
to the drummer track. Obviously we're not gonna
utilize hip hop right now unless you're doing
some insane re-mix, I just want something
in the world of singer songwriter
percussion stuff, so I'll hit Create. Let's see what
logic came up with. You could go for that. I'm gonna go ahead and
skip on that and let's go back here. I'll
go with percussion. Here we go. This is a good time to just
touch on the drummer. Let's say you get
something and it's probably a little bit outside of what you were looking for. You can remove the Congress, for example, by clicking
on those graphics. So let's see what we have now. Let me get less cow bell here and maybe just throw
in the cab ASA. So we're omitting, we're adding, let's see what works. It's this specific setting came with a little
bit of reverb. Now we can't go into
all the details now, but I'm just going
to add some reverb to the percussion. Let's
see what that sounds like. That is your task and
no, you can do it. I got faith in you. Go ahead and record audio, midi. Insert a drummer. You can drag loops in. You can record the
material in yourself. I recommend you learn
how to do both after doing this for eight years now, the value is tremendous, trust me, so I didn't
get this done. I'd love to hear your ideas
if you want to go ahead and send them over,
that would be amazing. Anyway, you've got work to
do. I'll see you next time.
11. Midi Details: Hey, What's up team? Maybe gray here wanted to think, one of our viewers, she's giving feedback
about the course that could improve
the user experience. And even though we
just updated it, my commitment to you, my commitment to the community is to make you the
very best you can. So if there's something
missing that can make this course better, we're going to listen. Here. She is requesting a little bit more
information on midi. Now you have to understand
my side of things. A teacher has to
know what to say, when to say it, but then also, they have to know
what not to say. So if you follow the
curriculum that I am building, this will give you the
ultimate foundation. But for now, I'm gonna
take you back to one of the previous videos where I
was talking about the BDT, bars, beats, divisions,
ticks. With audio. It's fairly simple. If we want to drag
the information. Either we set ourselves up by
either RB divisions ticks. There are other
options available, but again, we're going to
follow this framework for now. If I want to move a region, we know that we can either move it by clicking and holding. Same goes for several regions, doesn't have to be just one. But we also have the
option of nudging. And that's inside of the
toolbar, three fingers, teeth. And so you can see the value
I have said here is a bar. If I click on this
specific audio region and I click on that one time, that moves over a bar, I click on track number two. It selects both of those
regions and I hit Option right arrow key because the
nudge value was sets of bar, it will move in that way. It gets a little bit
trickier when we start talking about midi. So let me double-click here inside of the
electoral drift pad. And you can see that
within the region we have midi events that
exists that we can edit. Quick example by wanted
to shorten these. Alright, I will either hit
Command a or select them all. Now after that, you
want to hover over the selected midi events
and then drag to the left. Now, look at what's
happening here. You can see that our snap
mode is set to smart. This is logics kinda
default behavior based on your zoom level. It's going to make a decision if it's using
bar B division or tick. You can see why I
don't want you to use this because
what I'm interested in here is a foundational
understanding that's rock solid. So no matter what you encounter, you know how to deal with it. If you wanted to
shorten these notes, you set your snap mode to be or to division
whatever the value is. And you have bar, which is the highest value. And any, every time
you need something lower tribe eat first and then division ticks is ultimately
going to be off of the grid. So let's try and
stay away from that unless it's
absolutely necessary. But now we've resized. Let's say we want to make
it a little bit shorter. Again, they have to be in focus. If they're not
hover over OneNote, it's simply going to reduce the size of just one
of those midi events. Let me hit Command Z. The same would go for extending. When he hit Command a, I'm going to hover over one
of these nodes, attract over to the right. I think that's probably the best way of going about it for now in terms of
relating, re-sizing. Well, what if we wanted
to do it another way? For example, we
want to duplicate, Alright, well, we've
selected all of these notes. I'm gonna hold Option. And depending on which unit of measurement you
have selected. I'm going to drag this
over to the right. Now I've duplicated this. In essence, this is a
really nice workflow. The same goes not just
in the piano roll, but up here in the Tracks
area by wanted to move this midi region over to bar
nine, click hold option. You look at the cursor tool, there's a plus menu. I drag over to the right. I let go of the
mouse first or the trackpad and then option. And so that's how you can
duplicate or regional. I'll do the same for the regions on track
one or five to nine. Hold Option. Click drag over. And now I've
duplicated those two. If I go back into
the Piano Roll, want to drag these
over? Option Drag. Now what happens if
I have a unit of measurement that's either too big or too small,
Check this out. You're not gonna land where
you're trying to land. So if bar isn't working, try B might get too close. And if not, you can get
there by choosing division. Got the largest
measurement, medium, small, and then basically
off of the grid. And what do I mean when
I say off of the grid? Well, I'll tell you what. By move this via beats, I'm gonna click and drag. You can see that
I'm always kind of lining up according to the grid. If there's ever a time you
want to get off of the grid, again, go to ticks and
you can nudge as well. Same thing. And if I really, really zone in here, I'm going to get off the grid. You see that there are purposes why you would want to do that. We will cover that
in the future. But for now, bars,
beats, divisions, and if you ever need to
get off of the grid, you can choose ticks. This applies to snap to
grid and your nudge value. All right, we've got
a lot of work to do. You have any other questions, feature requests, hit me up. I'll see you
on the next one.
12. Saving a Track: Talk about saving a session. Here's our project. We have performed
a cardinal sin. We haven't saved it
yet by hit Command S. Or if I go into File Save As I will be prompted
to save the project. Now by default, it's always
goes to the same place. That file path is. Your computer. Users, wherever your name is, music and then logic. Oh, I actually want to show
you what this looks like. I save this before
jumping on here. This is the file path. And under music logic, this is where files are saved. If you don't necessarily dictate where you
want them to move, they'll want to
show you a trick. I'm gonna save this file
as a dot logic exe file. And I'll just call this Test just for all intensive purposes. I'm gonna hit Command D. I can also click on
this up and down arrow menu and designate
where I want this to go. And so again, I'll hit command D and I want to
send this to my desktop. We'll call this session test. And I'm gonna ask you
for a personal favor. We've bonded over the
course of these videos and I need you to save
this as a folder file. If you don't, things might
get a little bit complicated. So not only am I going to
save it as a folder file, but I want you to include all of the potential assets
even if you're not using, let's say, an ultra
beat plug-in. If you don't know what
that is, don't worry about it, but believe me, it's better to
include the assets and potentially not
lose any files. So we're sending
this to the desktop. I'm hitting Save. And now let's go
over to the desktop. And if I close out
these windows, here is our test folder. Now let's look at this. Not only are we including the audio file and I recorded
my guitar, Take a listen. We also have impulse responses and the samples
you may have remembered. We used a piano software
instrument, wealth. That instrument is comprised of various samples
and same goes for the Latin percussion
that we were using. But this is why I
want you to utilize a folder as opposed
to a package. I go to File Save As, and I save this next. We'll call this test number
two as a package file. And again, I'll send this
over to the desktop. Look at the difference. Now we have this. This is just the actual session. If I double-click, I
don't see any data. In order to retrieve that, I will have to control click and go to show package contents. And then we have to start
looking around in here. No, I don't want to
make things confusing, want to keep things simple. That's what I'm all
about. Simplicity. To me. This is just a means to an end. This is just a means to creating
the music that you know, you need to create, to be the engineer that
you are destined to be, to create podcasts, to
do all sorts of stuff. I just want you to be in a creative mode and not worry about all the technicalities. You can leave that to me. Alright, so there it is. Let's go ahead and save our first file and I'll
catch you on the next one.
13. Bouncing a Track: We wrote the track. We have saved the track. Now it's time to bounce it. You can let your friends here, you can post it on all
your media outlets. But before we do, I want
to show you something. I have a session,
It's called test. Not sure that's the best thing. We don't want to have
like 50 sessions called test1 and test2. I'm gonna hover to the top
of the menu bar, go to file. And under project management, we can actually
rename this session. So I'll call this piano beauty
for lack of a better name. We'll hit. Okay, this will
then rename this session. And if I go over to my desktop, you can see that
the folder is here. So here is our song
and all its splendor. Let's check it out. I'm gonna hit the key command B. Also go up here into the control bar and
click on this icon. And you can see that I have what are called smart
controls available to me. Now for me, the IV
in the percussion, It's sounding a little bit loud. So I'm gonna go ahead and use this parameter and just bring it down a little
bit. Here we go. I'm just bringing
down the volume of that specific
instrument relative to not only the rest
of the percussion kit, but the rest of the song. Now, how did they show up here? Remember, we selected a drummer and under genre we
selected percussion. This came preconfigured,
pre-made with a lot of great stuff,
plugins, smart controls. You can actually customize this. But again, that's
for another day. So if you're ever looking
for another solution, go into smart controls, especially when using logic, stock options, and you really should have a lot of
stuff to play with. But let's go ahead and
listen to our song now. All right, I'll click on East
software instrument track, so it's in focus and I'll hit B. And we have smart
controls available here. And I want to bring up the
ambiance of the piano. But not only that,
I actually want to bring up the tonality. In other words, the
balance of the piano. Right now I would say it has a medium color to it and
I want to brighten it up. So let's go ahead and lift
this up a little bit. You can see it's a
different color when I set that back to
default, check it out. Now I feel like it got
a little bit too loud. As a result Huff, so I'm just gonna take
the overall volume of the channel strip on the left-hand side and balance
it out so everything fits, secure or weaving a tapestry
and it all needs to be one cohesive sound. I'll make one final
choice for this song. I like the sound of the guitar, and yet I want to add
some character to it. I'm going to hover over
the channel strip. You can see that
there's a bunch of plug-ins inserted here already. I'm going to hover
over the last slot. I'm going to click one time. I will hover all the way down
to the logic section here. And I'm going to go
into modulation. There is a great
plug-in called chorus, which will add a lot
of color to a signal. Listen to a preset. You can go ahead and play with the parameters if you want. But I'm going to click on
the factory presets here. And I will use probably my favorite preset
called Guitar summer. Let's check this out.
Without it we get this, which is very bright. But for the purposes of
maybe just coloring it and putting the sound behind
the mix a little bit, if you will, kind of
covering it a bit. The sort of check it out. Alright, your song has done, you're ready to bounce. What I'm gonna do here is I'm
gonna click the key command C. Now in the background, you're always going to
have a cycle region now. All depends on where
you position it. But if I click on See, I'm disabling the locators, the left and the right locators, or we call the cycle region. If I hit C Again, I enable it. Now it has several purposes and we can talk more
about that later. But its primary purpose is to essentially just
cycle or region. If you're perhaps recording or editing subtle sounds,
something like this. That could actually make a
really good outro as well. I want to take this
cycle region and I want to lengthen it so that it essentially gets
the entire scope of the song from bar one all
the way to borrow 11. I'm gonna go ahead and move the play head
over to our eight or so and I'm going to
double-click on the ruler. What do I mean by the ruler? I'm gonna go ahead and
zoom all the way in here. And the reason I'm doing it this way is because I have
the cycle range on. And if I hit Spacebar, the playhead will
move back to bar one. I want to avoid that
because I'm trying to define an ending before
we bounce our songs. So again, I'll double-click with the cursor over the
ruler. Here we go. This sounds okay, but if
I were to bounce this, my song would abruptly cut-off. And so we don't want
that. We want to make sure that we are polished. Let's listen to this. I'm gonna go over to bar 12. Perfect. Now we hear
complete silence. It's an ending that satisfying. The last thing I'm going
to ask you to do is to apply a little
bit of mastering. Again, this is not
a mastering course, but I do want to help you. I want your music
to sound solid. It'll really help you build confidence as you
start this journey. Here's what we're gonna do. I want you to click on one of these tracks and
you will identify the stereo out and see the name of the channel
strip on the left. But on the right-hand side, you're going to see
the name Stereo Out. So then top the channel
under settings. I want you to hover
down to factory. You can also go to
Legacy if you want, but I'm gonna go to
factory and find an appropriate setting. For me. Obviously, this is a very
sentimental and simple song and so we're just going
to choose a basic. Let's see what that
would sound like. It looks like there's
a lot of processing, but let's give it a shot. If I bypass all
of these plugins, and when I say bypass, I mean, essentially turn off. I'm going to listen
to the signal before. Now we're inserting these
plugins on the stereo output. And so when we apply
these plug-ins, they process the signal and
they add character to it. If you listen closely, especially with good
headphones are good speakers. You'll hear what I mean
when I press Play. This is before what we would
consider to be a master. Now listen to the power and the excitement that
comes out after. Okay, now I'm gonna do this during playback.
Here we go. Four. You can hear that it's a bit
fuller, bit more polished. So I'm gonna go with
another setting. I'm going to try out. Let's go with classical. Want something subtle.
Let's give it a spin. Again before and after. One more time before and after. All right, my head and heart are content.
Ready to bounce this? I've set the cycle range so I can bounce the appropriate
length for the song. Otherwise, logic
will bounce using the start and project and time. And of course, I don't
want to bounce this at a 100 and whatever that is, 29, we don't want to do that. We could also bounce using
the project end feature here, but I'm not gonna do that. And so then we go into File. We go into a bounce. We're not going to
bounce age track. We're going to bounce
the project as a whole. That's Command B for
my key command folks. And here is the
pertinent window. We need to make some decisions. I do want to bounce a
high-quality file and an MP3. Why bounce too well, one is high-quality and
one is just basic quality. So this one can be to
deliver to clients, to deliver to publishers. This one can be just
for normal playback, delivering to friends to, so it doesn't take
up a bunch of space. So as far as the PCM file, I'm gonna ask that you bounce in the same sample rate that you recorded in how do you
determine your sample rate? Again, as I mentioned,
project settings. Into audio, you can see
the sample rate there. And also if you did the exercise for customizing your
control bar and display, you should see it in the LCD. We are up and running. We have a sample rate of 48, the resolution higher-quality 24 is what we're going to choose. You could also choose a
little bit higher than that. That's fine. Let's
go to the MP3. You could very
easily just choose the highest setting and
that would be fine. But based on my research, I find that these
settings are good enough. And so I'm gonna go
ahead and choose a bit rate setting of 84
mono and for stereo 160, definitely want to include a variable bit rate
encoder that's gonna make this sound
as good as it can essentially enable
these features here. And now you're ready
to go if you'd like to add this to your music Program, in other words, Apple Music, you could add it
directly to the library. I'm not gonna do that. I am going to hit Okay? This is going to ask
for a destination. So naturally, your folder will now include a bounces
folder with it. And this should
happen automatically. So I'm just gonna
call this render. Alright, go ahead
and hit bounce. And not only will I get a
wave high-quality file, I'm also going to get an MP3. So let's go there now. We'll
double-click on the folder, go into the bounces folder. And here's the MP3 and here's
the wave, a single lesson. Bear in mind, I have an ending. There's a sustained then
silence punctuated by the end. That's the important thing
you want this to be. Satisfying. It's like
having a meal and then at the end of the meal,
you feel contempt. That's how you bounce a file. Go ahead and get that done. And I'll catch you
on the next video.
14. Logic Pro Troubleshooting Checklist: Hey, thank you so much for
completing the course. I have provided some
bonus features for you, so go ahead and check those out. One of them being a document
for those of you that just want a little bit
more to work with and a little bit more to learn. Go ahead and check out that
logic introduction PDF. I've also provided a
troubleshooting checklist, which we're going to go
over now we're not going to go over every single one. But if Logic Pro is not working, I want you to come back
to this as a resource. Now at the end of this video, I'll provide a QR
code and all you have to do a scan it and you can bookmark that website so that you can access it
if you ever need it. But thank you so much for
being on the journey with me. Let's finish this off. First. I've just provided a couple of key commands for
those of you that want to start extending
beyond the mouse or trackpad. So play space-bar can also
use the icon at the top left. We have cycle, which
is key command C. And I want to teach you
a quick key command. It's really nice.
Let's say you wanted to create a cycle region around track number three
contains one region. So if you look at the very top, you can see a cycle
region as being created that perfectly
fits this region. Try it out and you'll
see what I mean. Recording Our to
open up the mixer, we have x, piano roll and
audio track editor are 0s. So these editors pertain to
their appropriate format. So the piano roll editor is essentially for a
software instrument. This is where we contain
all the midi data, all of these little notes
that you're looking at. Audio on the other hand, uses key command E,
audio track editor. Now we can also click on the icon up here,
little scissor icon. Conversely, you can
double-click on the regions and their respective editor will come up to the same for drummer. I'll click on the
drummer region, wants to make sure
it's in focus, and then I'll double-click. So I can see the editor loop browsers key command O. You're
going to need that one. That's a go-to. And the
library is key command Y. I don't want to use a piano, I want to look for a harp. We can do that. That's one way of
going about it. Alright, if you'd like
to hear the metronome, just sit the key Command K or click on the
appropriate icon. And now as we play back, we will be listening
to the click. Let me turn that off. Shift k will turn counting on and off. Now these next two
I really like, rather than using my hands
to move my mouse or track pad and move the
play head around. We have the ability to move the play head by just
hitting period and comma. That's a really nice workflow. Or I don't have to
necessarily use my mouse to place the play head, let's say on bar 21 or bar 13, that can be
repetitive in nature. And so just sometimes using common period
is a nice workflow. Now if you want to move
in larger increments, hold Shift now you're moving per eight bars. That's
a nice workflows. Well, the last thing I
want to teach you is the importance of
duplicating a region. So you see that I have a
performance here with drummer. I could hover over to the right of it and hit
that little plus symbol, which you see right there. But I can also simply
hit Command R, and that will
duplicate a region. Let's say I wanted to
take this performance of the piano and
duplicated over again command R will do
that in seconds flat. If you don't always have to re-record everything over again, like sometimes you can simply chop off the
ending as I've done here. Move that over to
B25 or what have you duplicate the regions and
then move forward with ease. But that's a really
nice feature. Learn how to implement
Command R into your workflow. All right, so let's get
into the troubleshooting. We've talked about inputs
and outputs extensively. If something goes wrong and you can't hear your
microphone or guitar, I'm willing to bet that
that may be an issue. Did you select the
correct input and are you input monitored,
Ru record enabled. So check out those things. If you're having
problems with latency, we want to check
our buffer size low and recording high when mixing. Something else
that you can do to armour yourself in the
world of production is used low-latency mode when you're having issues with
that recording delay. So check that out. Always record in the
appropriate sample rates. So if your interface
is set to 48 k, makes sure your session
is set to 48 K. If you're a client wants 44 K, go ahead and set your
session to 44 kids. Now I will just give
you a trade secret. You can always convert and change up the game so
you're never really stuck. For example, if you start at 44, but your clients asked for 48, you can simply start at 44, get to the end of the
process and then bounce at 48 K If it sounds like I'm
speaking another language now, start studying the basics of audio and it'll go a long way. Something else very surprising, but it comes up more
often than not. It is one of your tracks muted. You might come to find that you can't hear anything simply
because the track is muted. Or oftentimes, if you look
at the, the diagram here, we see that the mute function is on one of the channel strip. So just be careful, take your time and
really start to look at the program with depth. This is for those of you that aren't getting a midi signal. Maybe hard to believe, but
sometimes it's just the cable. The cable is not
connected properly, or it's simply isn't
connected at all. Or perhaps we have a dud and we need to be
replacing that cable. So one thing I like
to do is I like to utilize the midi
activity function. And that gives me a lot
by a way of visual cues. And it's telling me
this is working or it's not to go ahead and
play with that. That'll go a long way as well. One of the trickiest
things about this program, which I don't really like. But let me show you It's
really interesting. Like if I create a software instrument
empty channel strip, and I type in piano. Look at this, this
is so confusing. As a beginner, I would think to select the very first
acoustic piano. But when I do, what ends up happening
is I select what's called an external midi track. You may have noticed in the
New Tracks dialogue window that we have that function
here, external meeting. Now this is something
that we didn't cover. It's not necessary at this
time and juncture, in fact, it's not necessary for most
Logic users in general. So anyway, that could be
really confusing because you see that the midi
activities working in the LCD. But inside of this track,
nothing is happening. It's an external midi track. We need something outside
to bring in the sound. And so look, I can
start recording. And I'm getting the midi to show up on the program
on seeing activity. You can kind of see
where this could be overwhelming and
can bog you down. So just be careful that
you're never using an external midi track. Now push comes to shove. I want you to turn off logic, like literally quit the program. Or I want you to turn off the computer and then
start everything up again. Some people claim that
this doesn't help, but I will tell you firsthand experience
that it has helped. Sometimes interfaces don't clock in properly with the DAW. And so this is just
a good way to make sure that you've kind of
started from ground 0. So restart if you're ever
having any serious problems. And then the last thing here is use the Quick Help feature. I know I threw this
out there once, but it really is
extremely valuable. If you're new to the program, Let's say hover over
the left inspector. All of a sudden I'm getting data that I didn't have before. And if I hit the key
Command, Control Option, Command Shift H, you can see that logic provides
more information. So if there's really something
that I'm trying to grasp, this is a good place to go. All right, my good
friends while this is the time where we say goodbye, I have a lot of other
resources out there, so please check them out. You have just experienced
my first course. This is what I recommend for individuals that
just get started. Believe me, there's
much more to do, there's much more to
accomplish and to comprehend. But thank you for trusting
me on this journey. It means the world to me. This program give me
a second chance at life in navel to
fulfill my dreams. And so to be able
to give back like this just really means a lot. So this is Eddie,
great signing off. Thank you so much for
checking out the course. I'll catch you on the next one. Take care. See you later.
15. BONUS - Built In Mic & Built In Speakers: Okay, so for those of you that
do not have an interface, Logic Pro works the
exact same way. Now I'm in need you
to do me a favor. If you are not
recording anything, really need you to turn
off your input devices. Now it's true you can
record your voice, but this can cause
a lot of problems. And I'll tell you more
about that in a second. Make sure your output devices
set to built-in outputs. You can hear the sound through your laptop speakers or
your built-in headphones. Other thing you can
do is basically just turn off the input. If you do enable an input, you're gonna see that
your voice is gonna be live and you can
record yourself. Now, bear in mind if you don't have a pair of
headphones connected, you're gonna be recording
sound on top of music. And so if you want
to isolate elements, you might want to plug
in your headphones and also record
at the same time. But again, it's very
important that you turn off the input as you can
create a feedback loop. And that can certainly
damage your hearing. I know we don't think
of the world of audio like a dangerous world, but one wrong move and you can certainly affect the
quality of your hearing. So make sure that you turn
off your input devices, or at the very least, make sure that there is nothing enabled within
the channel strip. So you have no input assigned
within the channel strip. And one more thing to
add to the conversation. The latest Macs have
been updated with microphones that actually
are pretty good quality. So if you do want to use them
for hand claps, snapping, recording vocals,
acoustic guitars, anything like that? Go on ahead. As a precautionary measure, just make sure you start
off with all the volume set low and then just slowly
work your way up. Anytime you're
dealing with audio, just know that there
is a potential risk or creating feedback and you really want to take
carrier hearing. Okay, I'll see you
on the next one.
16. BONUS - No Keyboard, No Problem!: Hi there. This video
is for anybody that doesn't have
a midi controller, may sound very
rudimentary for some. But the fact of the matter is
when you first get started, you really need your
hand-held in every which way. I want to introduce you
to a great feature. It's called the musical
typing keyboard. Go up to window and the main
menu hover down and go ahead and show Musical Typing key command is Command K. So you're going to want
to learn that one. Essentially what happens
here is that logic now uses your keyboard
or midi input. Let me go ahead and play
something for you. Now. I wasn't recording and so of course nothing is on the screen. But if I hit record first, right up here, and then
I play the same part. You can see that I can input
the data just a heads up. This musical typing
overlay is obviously going to supersede your
keyboard combinations. So when you are done with it, go ahead and either
hit Command K again, or simply hover over the window and click on that
red circle right there. And then now you can get back to using whatever key command
that you want to use. Let's pull that
back up once more. Lot of very interesting
things here. For example, if I click on
the keyboard icon here, you can see that
I can get rid of all the bells and whistles and
just look at the keyboard. This is good for
several reasons. Nice visual indicator
for some of you that want to know what
register you're in. But if I go back here
into this extended view, we get a lot more to work. If, for example, if
I hit a chord here, not only can I see
the visual feedback, but I can also utilize pitch
bend on the left-hand side, a modulation source if
the synth supports it. In other words, not
every instrument is going to support this. In this case, we're
using alchemy, which is a logic stock software, uh, definitely uses
modulation quite a bit. And then we have sustained by clicking and holding
on the tab button. And then finally at the
bottom we can change our velocity input and
also our register. Are we playing lower in
our register or higher? So let's start with Octave, because that's pretty
easy to understand. I'm going to hit the H key. And if you look at the midi
view at the very top here, you can see I'm hitting a three. Alright, so if I drop
this down one octave by hitting the key command Z, still in the key of a, but I've dropped an
entire register. Let's go up by three. That's now in the fifth register of a fat is something
that you can do. You could theoretically do it while you're playing,
something like this. Another way to utilize this
is to increase the velocity. Let's say you want this to
hit hard every single time. Or just maybe you want this
to be very soft and subtle. So I will drop the
velocity down to 62. Let's go down just a
little bit further. This is a very, very
small value of 17. This is very important to create dynamics and to make
your music feel alive. You never want your
music to just be one velocity value the
whole way through. Let's try and humanize it, its try and make it more live I playing with
our velocities. This is also great for drums. If you want that kick to
slap in that snare to hit, can have that set all
the way up to a 127. That's the highest
value that it can go at the bottom
of the spectrum. If you want this really quiet, I would go no less than six
somewhere around there. Let's checkout pitch
Baum and I hit a cord and then I'm going to press number 12 respectively, laying that cord, stretching the notes that
they reach up a whole step. But if I wanted
to, I don't know, maybe play a lead
that went something like I went up in pitch and also
went down in pitch. And remember this is going up a whole step or
down a whole step. Modulation is perhaps the most
interesting of the bunch, simply because it depends
what instrument you're using. Your results are going
to differ greatly. So again, I'll play a chord. You can see the modulations
gear is just allowing some vibrato to
come into effect. So let's hear that
again. That's very good for making
something come alive. Going back to that lead
I played a second ago, That's a very calculated
way to use it. You don't necessarily
have to perform all of this in live. For example, if you wanted
to apply modulation, let's say to this performance that I have here, Take a listen. Right now the reason we're
listening is because my modulation is set
to a max values. So if I turn that
off like that again. But let's say you can, you still want to implement it. You can key Command a and that brings you
into automation mode to something that we talk
extensively about in The become a Logic
Pro power series. But just to cover
it quickly here, we're going to want
to enter into not track automation but
region automation. Then we can access
all of our midi data. In this case, we want to
affect the modulation. Now why I liked this
is because I have a lot more control and
a lot more flexibility. The way I'll have this setup
now is that it won't have any abroad or modulation, and then it'll kick in
slowly, check it out. That's very important
when you're really trying to get your sound
to be complete. Really want to be authentic. You want to come across as somebody that knows
what they're doing. It's going to take a lot
of detail like this. So I highly recommend
you take your time, be very intentional
with what you're doing. But go ahead and
keep on learning, keep on growing step-by-step.
You will become better. You have a better
sense of what to do next and what to learn next, we'll apply everything
we've talked about. I'll catch you on
the next video.
17. BONUS - Technical Specifications and OS Compatibility: Alright, let's get into
technical specifications now, do you remember
earlier I asked you to set your hard drive
on your desktop? Well, there is a
reason for that. The reason is I want you to be able to locate it
and you can either control-click or just hit
Command I to get info. Now this is very
important because this gives you
pertinent information, the capacity of your storage
space and what is available. So depending on your
resources and if you have external hard drives like I have here on the
right-hand side, you are able to make very
deliberate decisions. So here's a couple
of things that we need to look at right? Now if you want to
download Logic Pro 10.7, there is a larger conversation
to be had if you have an M1 or if you're still
in the world of Intel, regardless of all that, we still need six gigabytes of available storage space
for minimum installation, or 72 gigabytes to
get it all the loops, all the sounds, all the
channel strips, etc. etc. Now right below
that you can see that we have the Logic Remote
minimum system requirements. This is an external app that you can use along with logic. We're not gonna be
covering that now, but I will be covering this later on one of my
future courses. So stay tuned for that. Let's move over to the Big
Sur compatibility chart. Now this is important because if you want
to download 10.7, you have to be at the
very least on Big Sur. Now we also have Monterey out. You might want to
stay one version behind on your
operating software every time just to kinda give manufacturers and
plug-in companies a chance to develop and find that stability that we're all looking
for with performance. So I'm gonna move over
to my desktop here and you could see that
I'm still on Big Sur. Here is the version
of my computer. I have an iMac late 2014. So on this video
I'm actually using my studio computer
and not my laptop. And so if we go over
to this screen, if I hover down at the bottom, you can see that my
computer is still in compatibility with current software and
hardware requirements. And I want you to look through this chart and make sure you can actually download the program and everything is
going to be kosher. But this is what you want to do every time you download
the new version of logic, you wanted to check the
technical specifications, make sure you have
enough storage space. And secondly, you want to check compatibility with
the operating software, whether you're on Big
Sur or whether you're on Monterey or whatever version
is to come at some point. So stay on the up and up and make sure
you take your notes. This is a protocol that
you run every single time. Or my good people, I hope this video
helped you out. I will catch you on the
next one. Take care.