An Absolute Beginners Guide to Logic Pro X (Updated for 2023) | Eddie Grey | Skillshare
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An Absolute Beginners Guide to Logic Pro X (Updated for 2023)

teacher avatar Eddie Grey, http://vimeo.com/eddiegreymusic

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro

      3:05

    • 2.

      Download Logic Pro (Essential Sound Library)

      4:47

    • 3.

      An Overview of Logic Pro

      10:47

    • 4.

      Inputs and Outputs

      5:08

    • 5.

      Key Focus

      7:41

    • 6.

      How We Move Regions and Events

      9:58

    • 7.

      What is Latency?

      4:09

    • 8.

      Logic Menus

      7:09

    • 9.

      Workflow Basics

      9:45

    • 10.

      Recording a Track

      18:56

    • 11.

      Midi Details

      6:05

    • 12.

      Saving a Track

      3:29

    • 13.

      Bouncing a Track

      14:52

    • 14.

      Logic Pro Troubleshooting Checklist

      9:39

    • 15.

      BONUS - Built In Mic & Built In Speakers

      2:08

    • 16.

      BONUS - No Keyboard, No Problem!

      7:59

    • 17.

      BONUS - Technical Specifications and OS Compatibility

      3:06

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About This Class

Do you think you know Logic Pro X? Think again. Watch Eddie Grey (Apple Certified T3 Trainer) dissect this program from the inside out. We guarantee that beginners and novices alike will learn a tremendous amount from this series.

We highly recommend that all users first watch "An Absolute Beginners Guide to Logic Pro" to get comfortable with Logic Pro. We then recommend you to study and immerse yourself in Logic Pro 101 which is a more hands-on approach with many exercises to help you with your learning. After this, we highly recommend you graduate to watching  "Become a Logic Pro Power User" which is a 10 Part series found here on Skillshare.

Logic Pro X is the most advanced version of Logic ever. Sophisticated creative tools for professional songwriting, beat making, editing, and mixing are built around a modern interface that’s designed to get results quickly and also deliver more power whenever it’s needed. Logic Pro X includes a massive collection of instruments, effects, loops and samples, providing a complete toolkit to create amazing-sounding music.

Technical Specs:

  • macOS 11 or later
  • 6GB of available storage space for minimum installation or 72GB of storage space for full Sound Library installation

Update Jan 2022:

We have just updated this course to meet all current guidelines. We also took valuable input and feedback from our Logic community to improve the overall quality as well. As a Thank you, I have included an additional PDF called "Logic Pro Introduction" to supplement your learning. Thank you team.

For new users, here is a trial version of Logic Pro free for 90 days:

https://www.google.com/aclk?sa=l&ai=DChcSEwidvLiHyrn1AhVEA-cKHWRtBdAYABAAGgJwdg&ae=2&sig=AOD64_3c4jGFlNKfRUGNIfO1VX7hjDja6A&q&adurl&ved=2ahUKEwjbtaiHyrn1AhXHJ0QIHYhrBVYQ0Qx6BAgCEAE

Meet Your Teacher

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Eddie Grey

http://vimeo.com/eddiegreymusic

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Level: Beginner

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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.