How To Edit Podcast Audio In Logic Pro X

1. How To Edit Podcast Audio In Logic Pro X Intro: Which clips sounds better to you. This one, my ducks swans, welcome to the pond. Or this one, my ducks swans, welcome to the Python. Instead, a second one. And you want your audio to sound like that. You need to take this class. If you said the first one, your ears, any writing you definitely needed there. Hi, class. My name is Dorian from group EDI to university.com. And I must show you how to make professional sounding podcast audio and Logic Pro ten. I am someone that had no idea how to do any of these. I didn't know how to make these sub I didn't know what logic was. I didn't know what a compressor was, what EQ was, what semblance was. I didn't know where he stays. There was overwhelming yields intimidate and it was crazy. But I watched a bunch of courses to myself. I took courses myself. I stayed a bunch of videos and now I have learned how to do all this and I made it my goal to be able to translate these concepts as someone who was just like me starting off. I wanted to make the course that I needed when I first started, and that is this course. So if you make any sort of audio, you got any sort of podcasts, you have anything that's going to be doing where you are needing to mix and edit audio or highly suggest you watch this entire course and do the course project because this is an invaluable skill has gone bulge. You will pretty much until the end of time because we're always going to need to be able to edit audio. So I'm a CEO and other sections of the course, I'm out DuPont. Yeah, stay true. 2. Logic Pro X Course Project: This course project out there some a little bit different. I made sure that I made the master from this course. Very, very loud. Ducks, swans, welcome to the pond. And a reason I wanted to make it louder so you can see how loud you can make your Master wants to get done and how to edit your audio inside this course. But B, I want you to see the settings and the plugins and everything that are used. So you can go back there and you can edit that master to what you think sounds good, because that's the only way you're going to learn how to do this. You can watch me do this over and over and over and over again, which you need to do. If you want to become really good at this, you have to be able to adjust any type of audio and then file that's going to be attached below with all the settings are inside this course. I want you to go in there, and I want you to adjust it yourself. I want you to see what you think you would do or what would make a little bit of difference for you. So it takes the audio file in there, the raw audio file, and build it from scratch and then put it below so that way we can hear that. Or if you don't want to use my audio, but audio from your own podcast, we will love to hear that as well. I look forward to listening to all your clips. I'm not DuPont. Yeah. True. 3. A Beginner's Guide To Logic Pro X: My swans, welcome to the pond. I'm going to show you-all how to navigate, Navigate, navigate, navigate logic protein. So when you come into Logic Pro, first thing you'll do hit File New. And this should pop up this screen because we're gonna be doing podcasts audio to make sure we have it on my audio, audio input. This is whatever you're speaking into this reading from logics, I'm speaking into the mic that's connected to this interface, Scarlett two or two USB interface. It's just whatever it's connected to, my USB or you directly to your laptop, you might have something here that says that. And then this is where it's coming out of it since I am recording on OBS for this course, I have the audio going through OBS and that's where all the logic audio is coming from. Your number of tracks I want to create, really want to create one because we only have one tried to bring an a because it's podcast audio. There we're going to hit Create. Now that we're inside of logic. What we wanna do or what to click off this are, we want to take your route logic is show you what some of the defaults are, some of the things that you might want to look out for before you really started going and adding your music. The editing, your podcast audio saves safe. They pretty much what we're gonna do is obviously up here, this is the basic menu that you'll see in any sort of document or anything. This right here is your is your toolbar right here. If you hold your cursor over, it is going to let you know what disease, this is a library. Now elaborate is where you can bring in drugs sounds, voice sounds. If you have some presets for your vocals, you can do that inside of the library. This is your inspector. That is how you control everything that's over here. We're going to be talking about that a little bit lighter. This is a Help box. If you need quick help while you're inside of Logic, don't have too much pride not to use this or Google. I don't have this on, but I do Google a lot of things when I'm inside of logic. This is to expand as toolbar, bringing things down here that couldn't fit in this toolbar up here. So we're going to talk about this a little bit later to some of these things I do use. This is the controls for editing, smart controls. This is a mixer. So what you have over here for East track, this is a mixer for every if I add it, Let's say I had like my vocals and I had another podcast, guests vocals. And then I might have had like a live band or some sound effects or something. Each of them would have their own track. Then we will have a master that all those tracks feed into. The mixer is something that you're going to want to keep an eye out for, is going to be your best friend. Really cool. Actually, it's actually fun like mixing, stuffing it all together. This is the editor editing menu. So if you really want to fine tune some sort of cuts because you want to get on the waveform specifically, we'll talk about that. Here you have your typical VCR or DVD, Blu-ray have reall watch stuff now, remote control menus. This is your display. Cow should bars and beats. Hello Anna Song years for you. You can actually changes if you want to, you can change it to have a display, whatever you want. I got mine on beat some time large. If you're gonna be doing anything inside of logic, you're doing any audio need to make sure you have pre-fader metering on. And if you want to make sure that you have that on or if you don't see this option is Avi logic. What you can do is you can right-click and go to customize control bar and display. And it's going to bring up everything that can show in this toolbar up here. You want to make sure we have pre-fader metering on. I'm not going to go into how important it is and what it does, but just make sure you have it on so you can know that everything that you're hearing is actually at the level as you'd think that it is over here. This is your metronome County and metronomes settings and overhears, if for anybody really wants to start doing music, will probably have future courses in about music, how to mix with music as well. So that's the first thing I do with logic. I come in here and make sure all my stuff good. Another thing I do is I go to record and I go to my metronomes settings. And I make sure this is clicked only count only click while recording only during County. Now, some of you all, if you ever want to record, you might want to have your metronome playing the entire time. I only needs for the county and so I always click that on so that way when I'm recording, I'm not getting distracted by the metronome. Next, we're going to talk about the inspector. Now, this is going to be very, very important. This is where you get busy. This is where you do. Everything is highlighted. This is where you are having all your fun. I'll never touch setting up here, but I do touch this big box right here. This is EQ, that stands for equalization. That's the number one plug-in for anybody does anything in any sort of audio editing. A whole section of this course dedicated just to EQ. So make sure you watch that. This is to see if we are recording in mono or stereo and we're recording the left, or if we're recording in the left and the right. So you want to make sure that this is correct because you do not want to start recording or doing it. You know what? I'll just show you. I'll just show you. You do not want to just start recording or doing anything. Is that a logic? He didn't only play in the left headphone. So to record, all idea was press R. It started recording. To stop recording, I'll press space bar and they go back to the beginning, I press Enter, so I've got to press space bar getting into play again. You do not want to just start recording or doing anything. It's not a logic gate if all the plague in the left headphone. Yeah, I played in the left channel. So you want to make sure that you have this on stereo, which is the one circle. So to erase what we would do, we would just click on that section. It looks like it's blue sword or good or hit Delete that. You want to delete this? Yes, I will delete it. Then we're going to record again when it hit R to record. Now you can see since we hit the circle and we're recording and stereo is playing in both of our headphones. Now you can see since we hit the circle and we're recording and stereo is playing in both of our headphones. So always make sure that you're recording a stereo so that way you don't get jammed up like this. So I always wished that to the single circle, inputs should be automatic based on how you set up your logic can get and everything sort of what your computer, this right here is plugins. And this is how you get anything to sound like anything that's worth anything, everything you listen to has a plugin do not let anybody believed that they are here with the raw chicken vocals. They are adding plugins to everything. So much so that Apple comps, I'm sorry, logic comes with a lot of Apple stock plug-ins for every single thing that you could possibly want to do in addition to third party plugins that you can buy it and saw, which I have done as well. I've entire section of this course dedicated to stock Apple plugins and external plugin. So make sure you watch that. We're going to go into detail about that. This is a send and what, uh, Cindy is less say that one of these plug-ins like, let's go to Audio Units and tares I Otto too, right? Auto-tune is something that is going to take up a lot of processing power and even like took you, took a little bit for it to load, it takes up a lot of processing power. So let's say that I want to use auto tune on a bunch of different channels, are a bunch of different tracks. Instead of me applying auto tune to every single one of those tracks inspectors and taking up so much CPU power and my computer will slow down. I can add auto tune to just one track. And that way, anything that wants to use auto tune, I can send it to that track using this knob. I'll do a future course now break all that down. But that is a very cool feature. If you want to know more about it, just go look up. Since how to use sins inside of Logic Pro, it'll probably help a lot, ya'll. So let me get rid of adults and plug in to remove a plug-in or you gotta do is click right there and move no plug-in, and then it comes off. I'll touch any of these things. Down here is your meters and this is how loud that you were speaking into. The logic, into the DAW is letting you know at what level that you're at. But we'd get done. We want to make sure that we're probably at negative three. But right now we're sitting at negative 24 or whatnot. And that's just because we have this one audio track we started mixing or anything. This is the stereo output. This is the one that you really need to be paying attention to, this number right here to see where you are. Because as you can see, as I'm speaking, I'm in the green. But as I started getting a little bit louder, sorry for both Yahoo hearing. You saw that came all the way up here and he got to the yellow. When you start getting into the yellow and red over here, that means you're going to start peaking. And we started peaking, the audio sounds really distorted. It can be very difficult for people to want to listen to you. So you want to make sure that you're paying attention to the stereo output the entire time. And a serial output is also on your mixer. If you all want to bring up your mixer, I can do is just hit X on your keyboard. Sarah output is here as well. That's how important it is and the master, whatever tracks you add is going to add more here, is going to have your stereo outputs go have your master. Now over here, as you saw when I was recording earlier, this is where whenever you decide to record a cytologic, anything's going to populate anything from the pop-up. So I'm going to start recording again and I will just talk through like this button right here is if I want to just mute my track right here, this is if I had multiple tracks on what just solo. This is to record and this is to mess with the input in this knob right here to turn the volume up and turn the volume down. This is maybe me to pin it to the left or to the right if I want to do that based on what I wanted to do with this audio. So when you are recording, knowing all these things and getting familiar with these things is really, really going to help you. Now, if you want to zoom in or you got to do is zoom in or your trackpad. If you have like two fingers or wildlife, you have two figures you'd use to figure out your trackpad. It Zubaida shows you everything up here. If you are editing, are you wanna start clicking on this. Your keys on your mouse are going to correspond to this up here. So as you can see right here, this is the left-click tool. I have it as an arrow. There's all these other tools that I can have it on, but this one I have on as an arrow, the right-click tool I have is the marquee tool. And the marquee tool is the one that I use because it cuts audio or whatnot like, I'll show you what to do like a brief one. So let's say I wanted to cut this audio from here to this too. So I want to cut his first bar. So all I would do is I would hit Command and watch my arrow. Grab it, take it to, to hit delete, boom, and now it's gone. And active side and Solver and all that space has gone off from the marquee tool. The scissor tool does the exact same thing. But I do like to mark the marquee tool also inside of this just for navigational purposes. Let's say that I want to just play the first bar right here, and I will just put it on a loop over and over and over again. I could do what I just did. I could click right here. It's not a cycle ranges. Yellow bar will come up and what it will do it, It's just put on repeat. There's a lot of dead air here, but she'll be able to hear something here is if I want to just mute my ears, if I want to just mute my ears, if I wanted to just leap. If you're working on a specific section that you want to cycle it as something that's gonna be really, really good at someone's gonna be your best friend. Also, when you are inside of logic, one thing you want to make sure it's this arrow right here. Wherever you have it, Das ware is going to end the so if you have it all the way down there and even though your audio stops here, when you export is going to have it all the way export over here. So make sure that you are grabbing this and putting this over here. And you'll be able to double-check at the eNB hours where I always start off my logic sessions by making sure that this arrow all the way over to the least to the audio or at least some space. And I know that my audio is going to need. So that's a quick navigation and a larger protein washes over and over and over again to get all these things memorized. Also, like I said, not be afraid to use the help and definitely Google. I still Google stuff all the time because stuffs always changing and there's always things are being updated. So make sure you stay abreast and on that information by using Google using the help feature. So yeah, the next section of the course about the pod, I'll stay true. 4. How To Import Audio In Logic Pro X: We're gonna do is we're going to import audio into logic. So let's say you have an external audio file, you wouldn't break it in your podcasts, e.g. is that you do is very, very easy. You didn't grow up here. You're going to go into file. And I come down here and go to export and import my bad import and export, import, import, import. Click it. Afford to go to audio file. You're going to go to the desktop, just reminders saved, click on it. It's called My future. You want to click open it? Boom, there it is. And if you want to zoom out, you can see it goes all the way to the end, this arrow at the end. That's where the end marker, that's where your file is actually going to end. So when you do export it to Ian is going to stop right there. If you haven't extended beyond net, it will be a lot of disk space, so make sure you don't do that. Another thing I do, I always play it to make sure as good. My ducks, my swans, welcome to the pond. It is good. And you know, one thing with these wave forms that you can do is you can zoom in. So I always click do this. I click this right here where it says View. And I go to Zoom focus tract so I can really see what's going on. And the way waveforms work or like dislike. The zoom in a little bit more. The bigger the wave form is, the louder it is. The skinnier it is to flatline. That's usually is dead space is deadly silence. So let's zoom in just a little bit more so you can see like the lines and the actual waves. So look at where you hear sound versus where it's quiet. My dogs, my swans, welcome to the pond. So it's very evident that you can see where to silences. And this is what you're gonna be working with is waveforms. And that's why I say, you know, however you want to do it wherever you want to use a cut, you want to use the Marquee tool, you will use a scissor tool. Whatever You gotta have to give me a wave forms are what they mean and what they do. Also, when you have these big wave forms like those are clearly like claps or Knox or something like that. And so I'm going to show you how to take all that out inside of the next section. I will show you how to do it. You could take it out manually or you could do it automated and cytologic. So, um, so yeah, the next section about the POD. Yeah, stay true. 5. How To Remove Silence In Logic Pro X: So now that we have the waveform zoomed in, it's all implemented this all in here. We want to get rid of the stuff that we don't want. So there's an easy way to do it. So the first way that you can do this is you can actually zoom in and just manually remove it. At this point in the course to, you should be having headphones on. If you don't have headphones on. I know you might be watching your phone or somewhere else, falls on them to give you what you really need. Audio was zoomed in. And I know that this right here is some big like clap or let's listen to it. Yeah. Alright. So let me clear my throat. I know I don't want that in there. So it's very easy to remove this REI do is drag the play head to wherever I want. To start the removal. I'm going to have my marquee tool clicked. I'm going to click Command and drag over, take all this out at a stoplight right there. Boom. So this is now a separate section inside of this entire track. So anything I do in the inspector will still affect the entire track. You will still affect is. But let's say now zoom out. And let's say that I do something to the first half over here. Now, as you can see that's highlighted in this, in this is not so now I just separated this, this entire section. So you gotta be conscious of that when you're doing, if you start messing with little tiny things, yeah, look at where your segments are. But since I know I don't want this or I'll do is click that, delete, boom, and articles bring the solver. It will close that out. Does that simple. Now when you bring this over, if you want to be really smooth, you can add cross-fade. There are so many other things you could do it and we're not going to get to in this course, but I just want to show you how to remove silos manually so you could go through here, just move all the sounds that you want. Now, let's say that I don't have time to do that. So I'm going to bring this back into do it and to undo anything as I allowed you to do is go here, go to Edit, Undo, undo, all the way back to split regions. And now that's back to where it was. Let's say that I want to remove the silence without me actually having to do it manually. Because I just don't care about cutting as precisely. Don't get me started. A little bit of a digital purist. With this, what you can do is go here, expand toolbar, click that. It makes sure that you are highlighted on the track that you want, the section that you want. Since we brought everything back together, it's all highlighted. And we're going to go up here when I click this removes silence. Now what this does is this analyzes all the way lives. And it looks at the threshold, which is the volume over here in anything that is below that is going to cut. So right now this is at negative 30 threshold. So any value that's below negative 30 is going to cut. So as you hear me start talking like insoluble salt on one side of trade, they'll probably get it wasn't my voice got a little bit higher over here as you can see, since I've now above 30, not going to get cut. So you could adjust this tavern that you wanna do it. You can take it all the way up where he cuts pretty much everything or you can bring it all the way down, whereas only go cut under a certain threshold. And then you can go in here to change the time it'll do that. You can have some pre attack time, pulse release time. You want to do all that. I'm just telling you this right now. I don't do this. Okay. I don't do it. I feel like podcasts. People liked the pauses. I feel like when there's something big need to cut out, you just do it manually. In doing this, I don't know if it's going to take away the character and I might add some more work for me, but for some ya'll might not be like that. So I'm going to cancel it. I like doing my manually. We'll go in here and clean all this up, but we're not gonna do that because this is for this course. I want to show you all how to remove silence inside of Logic protein. Now we've got to get to that sauce, wheat bad to get to the plugins and how you get stuff really sit and grade. So make sure you have some good headphones. Mating sections of this. Next section, I'm after part. Yeah, stay true. 6. How To Use Stock Plug-Ins: EQ: Now it's time to get to the good stuff. Let's take this Zoom focus track of time to get to the good stuff, has time to get to these plugins that exists inside of logic. So what we're gonna do is we're gonna go over here to our inspector, want to make sure you inspect it was clicked. Don't want to click this button right here. And inside of here we're going to mess with our plugins, the first plugin, and we're going to mess with this. Eq stands for equalizer. Eq is how you do anything in any sort of audio editing. Anyone who was involved with audio editing is a weak something with the EQ, the learner power VQ of all love with EQ, super cool. This is how EQ works. You will pull to start logic EQ. We can do it one or two ways. You can go down here to the Audio Effects. You can come down to EQ. You can pull it up right here, or you can just click the box, which is what I do. And as you can see now that box is full with the flat line because it doesn't have any sort of signal coming in and I haven't moved this yet. But what you can see, this is the EQ menu. And you can see there's two numbers. What you pay attention to this number 20 and it's number 20, K 20. This is the lowest, softness, most quietest sound that the human ear can hear, 20 K. This is the highest sound that the human ear can hear. They measure the sounds, these numbers, 2,210 K, 20 K as hertz. So this is 20 hz, this is 20 k hertz. Kinda look at it like this. 20 h is $20,000. Now, that will mean that this is worth $20,000 up in this area, but that's just a measurement is called hertz. So if you ever hear somebody say 300 hz, 400 hz, 1,000 hz to the three k hertz range. That's what they talk about. These, these numbers right here. And I want you to look at it just like that. Low numbers, too high, the low numbers, these are low frequencies. What is a low-frequency? You're listening to a low-frequency right now, which is my voice. Baritone voice is any sort of issue, may you think makes a deep sound is going to be in this area. In the middle, you have the middle. So these are made of frequencies. So any sort of voice or instrument you think makes a mid-frequency is going to sit here. And over here, you have the high, these are the high frequencies. So when he bites voice, very few voices are up here, but definitely a lot of instruments sit in this area. But no matter what sound we produce or what we hear, it has a little bit of lows. A guy a little bit of meets a guy a little bit of highs. And what's you're doing with EQ is you want whatever sound you have to sit or is supposed to sit. If I have a low sound like me, I have a low speaking voice. Anything that I have this mirrors or highest probably can get shocked. Same for something that might be on the high-end, any loads it had, he probably get shot because you want to create space. That's why you're doing all this, is the create space. So let's create space with my vocals now, watch out to see visually what EQ shows you. My ducks, swans, welcome to the pond. So as you can see, that wave formed as my vocals. So you can see it was really big down here and it kinda just scrolled off. Let's see what happens when I started messing with these filters. This is called a low-pass filter because you're going to the past some of the lows off. This is called a high pass filter, can pass on the highs off. So let's see what happens when I worked as low-pass and high-pass filter on my vocals. And today we're going to talk about my future and what I've been doing here at Google Betty two and what I have in the plans for me for those yet I had been following me for awhile, man, I've been so midas made music. I've been some items may content. I've been some ideas. As you heard when I grabbed his low-pass filter or a car, took a lot of base off when I got to about 150 hz. So I brought it back and went as high pass filter has started to make it kinda cycle was underground once I got here. But I'll know how well, yeah, I heard it. So I'm gonna show you how two things, number one, eddie, pretty much any plug-in you use is going to have his own valuable feature. And that's going to be called gain. Gain. And audio editing means volume. So what I do sometimes when I'm EQ and just so I can make sure I hear things pretty well, I might just boost again on this just right now. Our only boost again for this signal inside of EQ, but it will raise your stereo output. And I'll do this just to make sure that I have everything. So I'm gonna do this again. Notice a little bit louder. Just a yeah, I can hear what happens when we do this low-pass and high-pass filters when live a lot. That's why it's had a podcast. I've been somebody who's been in the business space, entrepreneurs, bass, music marketing space, content creator space, crypto space. I've done all these things over the past four or five years that God has blessed me with. But that's what those do right there. To bring this gain back down. Just like this while I mess with it. And that's not something you want to mess with too much because you don't want to mess with the gain and all your plug-ins because you can always make things louder later. But I do do that just when I EQ. Also what I do with EQ, it can take things away. It can also boost things that you'd like as well. So all these other little shapes and filters are so you can raise the specific frequency rate is right there. But some of these are kinda wide. So what I'm gonna do is I'm going to shrink them. So this green one right here as raises range. I know if I'm a mess of something in this range, well, what you would do, you just click in the middle of a ball, in the middle of my mouse. And that allows me to just shrink that a little bit. So if I do decide to bring this, it's bringing it like that as opposed to making it a little bit wider. But I'll often erase that, but let me start playing and see what I'm arrays and take away. But that was not the initial goal when I started my career, when I was in college, taking it all the way back down or even when I was a child, my initial goal when I was a child was to be an MBA. Alright, so what I did is I raised the highest, the highest, add like a little bit of that semblance and add that crispiness that you kinda hear on it. And the reason being that is because I'm moving around so much and we'll be able to control those S sounds. And then I raise a little bit of the me is the one k range, a little bit of 25 range 25. Okay. Let me actually let me 2,500. Let me see. Any MBA was something that I was able to use a social lives with other kids and they worth it. Just boosted that, took that down. But as we do with EQ is, so this is the vocals without EQ in other states and other cities, other vocals with EQ like countries. And it was something that I saw sound more full, sound more Chris, are more in your face, but with that also creates a little bit more problems. So what we're gonna do, We're gonna start solving some of those problems and push the vocal is a little bit further out. We want to make sure that the volume is even throughout the entire track as well. So what I'm going to show you next is how I use external plugins to make sure that my volume is equal throughout the entire track. So I'll see you in the next section. I'm asked to pond. Yeah, stay true. 7. How To Use External Plug-Ins: Vocal Rider: Now we're going to use external plugins. So what we're gonna do, let's get to play it back over here. That's also changed the name to get a good habit of that, they'll have things just named audio one, change the name, so make sure this is aligned. My future. You see a change down here as well. So we're gonna go here and we're gonna go to the plugin effects menu right here. When I scroll past all of the stock plug-ins, when we go down to Audio Units, waves and we're going to go to vocal riders stereo. And this is how ultimately get our vocal balanced. Now, while we won't want to keep this in the middle, that's a target, like keeps it essentially mono, so it doesn't go to the right or to the left. All this stuff is cool. All this is cool. What I really do, I just mess with this. I just take the threshold up, probably about 7.9, and I drag this up so it's not as loud. Now, it's quiet illiteracy. My ducks, swans. Welcome to the pond. Today we're going to talk about my future and what I've been doing here at Google betty took, so you should be able to hear that the volume is consistent at the same level throughout. Let me take this off and then you listen to my ducks, my swans, welcome to the pond. Today we're going to talk about my future and what I've been doing here at group betty took. So as you can see when I turn the button all right, in the middle of it, it didn't make it sound a little bit better. They get a little bit louder. So now we want to start paying attention to our stereo output. Now that we're adding these external plugins. But once you start adding plugins, you start noticing problems and other parts of the track. So now in this track, when I'm starting to hear is a lot of high piercing frequencies, like on the s sound. So what I have in the plans for me, for those yada, I've been following me for awhile, man. I've been some ideas. Make them it's, it's like Pearson the ears like crazy and that's called siblings. There's a way to get rid of that. And I'm going to show you that in next section, ICR layer, I'm out to part. Yeah, stay true. 8. How To Remove "S" Sounds: Sibilance: Now that we have an EQ and we have our vocal balanced, we wanna do now is we want to actually get rid of these sounds. But before we do that, I want to show you how something some you-all probably would ask, like, why would we balance our vocals before we EQ? This is a very, very good question. The great thing about logic is that if you have some sort of effect that you do later, but you want to switch to order because you would rather that affected me before something else oh, yeah. Do is just grab it and just take it up. And now it switches. This is called a chain. So when you hear people talk about like their vocal chain, this is what it is. It's a chain of plug-ins that they use to get the effects in what order, with what settings. So I almost wish that vocal writer up there. We got the Channel EQ, and now we're gonna get rid of these sharp S sounds that siblings that we keep hearing. My ducks, my swallow, my God, that sounds awful. Alright, so what we're gonna do is we're going to zoom in. We're going to loop this first 2 bar. As far as bar, I'm sorry, with the cycle. In a way this cycle works, all you gotta do is just find it in your bar up here or just click and it should pop up. And what this does, you can drag it to whatever part of the track that you want to. You can have it on repeat so it is complete, so it just keeps looping as you're working on a certain section of the track. My ducks, my swan, my dogs, my swan. My ducks, swans, my dogs. I answer you a little bit longer because this is where it starts when you are editing audio, I like it. I like your mouse over pizza over and over because I'm really trying to fine tune it. But this is when you have people around you that don't know what you're doing or if you're working on monitors and not with headphones and I highly suggest working it had fall, especially when you're first starting off and listen to this course and headphones, make sure you do that. But if you're listening with outside speakers, this is what I'm going to start being annoyed because you just put stuff on repeat over and over and over and over a year. My ducks, my swans, welcome to the pond, my dogs. So those SL sound crazy. So there's two ways to get rid of this, these S cells. The first way is by using what's called a DSR. Dsr is exactly what it sounds like. It DSs, the tracks. So the way that you could do this as you can go over here and you're gonna go click, will we add plugins? We're gonna go down to dynamics. And this is the stock ds or that comes with cytologic. And we're going to click stereo. Now. I will keep it real with Shall. I don't like this the answer. But I do want to show you how to stock version because what we're trying to do is just get rid of the stock sounds. Now when you see this, the first time I pulled this up, I was like, What, what what is this? Detection reduction threshold? Max reduction frequency mold range filter filter so low, I don't know what's going on. And you don't need to know all that. What you need to do is you need to be using your ears to get the effect done that you want to get done. We know that we want to get rid of that. My dogs, that stats sharp sound. So let's just start turn a knob until we get there. Once you start turning knobs, you start learning what says, what settings do what? Then that's when you really start learning gotta terminology because somebody's plugins can have so many things which isn't necessarily a learning. We just needed to do a specific thing. So let's start mess with these knobs and see if we can get those S sounds down. My ducks, my swans. Welcome to the pond. My ducks. Swans. Welcome to the pond. My ducks, my swans. Well, my ducks, my swans. Welcome to the pond. My ducks. Swans. Welcome to the pond. My ducks swans. Welcome to the pond. My ducks, my swans. Welcome to the pond. My ducks, swans. Welcome to the pond. My ducks, my swans. Welcome to the pond. My ducks, swans, welcome to the pond. So as you see, this is what a satellite before my ducks muscle cells like now. My ducks, swans, welcome to the world of difference. World difference. But all idea was just her. I'd started a threshold turtlenecks. It doesn't target frequency and I was using my ears and see what I want it now in the future, if I use this ds or I can save these settings are I could just know that these are the numbers that I want to use whenever I use a DNS or to edit. Yes, my podcasts vocals. But I don't like this the ester and the reason why does the hazard because I feel like it adds like this, smothering this cloud to the vocal. My ducks, swans, welcome to the pond. This is what that please excuse the Pearson's, but here are more open to ideas with it. My ducks, my swans, welcome to the pot. I'll need a combination of both. The S and the symbols mean you've taken down while it's still being open. And it's the difference between stock plug-ins and plug-ins that you actually pay for. So I'm going to close this out because I don't want you to plug in. We want to remove a plugin is come over here, click these arrows and click no plugin and it goes away. I'm going to use a plugin that's called semblance by waves because it removes semblance. So we're going to scroll all the way down. We'll go to the word my install plugins are waves called a semblance. The M is for mono or stereo to sit right here. And when I go to stereo, now, this plug-in does exact same thing as dS are, but I feel like it's still maintained original tonality of the track. So let's start messing with some of these and see what happens. My ducks swans, welcome to the pond. My ducks swans, welcome to the pond. My ducks swans. Welcome to the pond. My ducks swans, welcome to the pond. My dogs, my swans, welcome to the pump. So do you hear that like this? Still has the sharpness, but it took away the piercings. So the original vocal, how wide it is still there? My ducks, swans, welcome to the pond. So this is without it. My ducks, my swans, welcome to the pond, and this is worth it. My ducks, swans, welcome to the pond. Much more pleasant listened, and that's why I like this. And this is what happens when you have bought install third-party plugins versus Stark plug-in. So whichever you want to use do that, but that's how you get rid of them as sounds. And I feel like every single podcast or needs to have that in their arsenal because we all do it. We do it all the time, won't even notice it. Now, at this point, this vocal is done. You can just go back inside here now take you out to stuff you don't want to take out. But essentially, I mean, this vocal is at a, my ducks, my swans, welcome to the pond. Today we're going to talk about my future and what I've been doing. He did that because the loop was about to start and stop. But this is at a pretty good level. What we could do. We could take it to the mastering stage if we wanted to do that, but I do still want the vocals to pop. So if you are a podcast with that really wants your vocals to pop. Wash these next sections. If you're a podcast, it's like you know what, this is good enough for me. Just go to the mastering section, go to the export section, you'd be ready to go. I see them sections I'm act upon. Stay true. 9. Bonus Editing Tips For Podcasters: Alright, now we got the vocal rider, balance of vocals. We got to EQ. That took away all the stuff and gas clean. We got to symbolise to get rid of all those Ss. So now what we're gonna do, we're gonna get to what I call the bonus editing sections for those podcasts is I want to take their stuff above and beyond. So the first thing that I do when I really want my vocals to stand out as now I add what's called a compressor. And compressors are essentially a plugin that gives shelf vocals to really sit higher in a dynamic range without really having your stereo output go crazy. So what I mean, It's going to sound way louder and way more in your face. And this is going to go up, but it's not going to go as crazy as if I just raised some value or if I just add it like a game feature, what that or whatnot. So once again, logic has stock compressors that ain't bad, not bad. And the way you find them as you go, you click the plugin window. You gotta dynamics. You go to compressor, you go right here. We have stereo, and this is what your typical compressor. It looks like. They have all types of presets that you can come in here and change whatever you wanna do, whatever you might be compressing. But once again, with this stuff when it comes to their compressors, like I am just not a fan of the compressor that they use inside of Logic. I just don't like it, but every single compressor that you see is going to probably have a threshold or ratio. This one doesn't have a knee. There we go, a knee attack and release. This is the output to input. These are things that if you want to learn, I'll have future classes where I'll go over all this stuff. But basically, like I told you before, just when you add a compressor and you put it onto your track, you're gonna be looking at the stereo output, seeing how high is getting. See if you're getting to there 43 rays and making sure it's not turning red and you're gonna be using your ears. So all of these knobs or sub Norway, each of them do. It's not that big of a deal, but if you want to study that gives you a nerd, I completely get it. So I'm not using this compressor. I'm going to get rid of it. So no plugin. That compressor I use is another one about Waves. Hello Waves, audio units will go to waves and it is the CLA to a compressor. Now, this is stock. The stock settings. I haven't touched nothing. They ain't no presets. Now once I do this, I will try to listen to the vocals. Now. My ducks, swans, welcome to the pond. Now about ad is compressor just pressing the button. My ducks, swans, welcome to the pond. Insane. What this does for your vocals. So what I'm gonna do is I'm just zooming in and actually, you know what, I don't like this. Actually, I don't need to do all that. I would just play it. And I'm just playing around with the gain. So make sure it's not too crazy loud because we do have to do some other things, but it's crazy was already doing today and we're going to talk about my future and what I've been doing here at group Betty two and what I have in the plans for me for those yet, I've been following me for awhile, man. I've been somebody else made music, I've been somebody has made content. I've been some bias when live a lot. That's why it's had a podcast. I've been some buyers bid. Also what you doing, what a compressor is like. You've seen these wave forms right here. Let's use big wave form has this, this top and it has this bottom. What a compressor is actually doing is it's taking, is, you're telling it, Hey, let's make sure that the value doesn't go at this level. And let's make sure that the floor doesn't go below this level. And then in the process of data, however, this compressor was put together. Whatever algorithms they have is going to affect the sound based, based on your audio. And that's why every single compressor is different. So I adjusted these, I gotten to where I want them. I don't want to make it too loud because we're still going to add some more stuff. So now I had that compressor does good. Let's turn down the master volume a little bit in the business space, entrepreneurs space. All right, There we go. Alright, next thing that I do is I add an entire Virtual Mix Rack. Devolve vocals through a third party plugin called Slate Digital virtual mixed rags. So I'm going to go over here, I'm sorry. Let's go to Slate Digital. Let's go to Virtual Mix Rack, let's go to stereo. And actually that's closest. And what this is, this is to mimic essentially if you were inside of a studio and this has all these knobs and stuff can be really intimidating. You know what it means, It doesn't matter. That's the great thing about doing this stuff. You don't have to know these knobs mean it doesn't matter. Most of these plugins have some sort of presets. They have presets based on what people use logic for, like making vocals. So what I do is I add is Virtual Mix Rack. I come over here, click here. I go down to the vocals, and I go through all the factory preset starting with every vocal. What I'm gonna do, I'm gonna just have the audio play and I were going to listen to each one and see which one standout, see which ones we like, see which ones we want to have added to our vocals. Music marketing space, content creator space, crypto space. I've done all these things over the past four or five years that God has blessed me with. That was not the initial goal when I started my career, when I was in college, taking it all the way back then or even when I was a child. My initial goal when I was a child was to be an MBA. And the reason being that is because I'm moving around so much in the NBA was something that I was able to use the socialize with other kids and other states and other cities, other countries. And it was something that I saw my dad plays a lot of emphasis on. It was something I saw that my uncle puts a lot of emphasis on. It was something that inside of the black community hailed as high as the Church institution or basketball or something that brings families together and everybody in my neighborhood was playing everywhere I lived there. Someone suggests a way for me to express love. I have a great group of friends and all my friends who asked me to and group chats and the gas is going to be in my wedding day or teammates in mind. And one point. Alright. So sorry about the creaking noise. I think the one that I liked the best was vetted vocal. I think that gave me really what I wanted. So let me listen to it with the comparison of the one before that basketball introduced me to them. You know, my dad, our relationship for the longest was really predicated on Swartz talking about yes. Alright, I feel like it took a little bit of the crispiness, so it's not terrible. Nitpicking a little bit here. But let me go to exciting vocal. I like that one too. Basketball talk. When I really think about how we connected. And as I got older, it was re-articulated vocal. That was one of the few things that he and I saw that's doing your face. So I'm gonna go back with veterans vocal. I think it sits great. So now that I've added that. And then finally, there's one more plug-in that I add if I'm really like trying to get spicy with it, don't even know what that means. So let's click here. We're gonna go down to Audio uterus yard and where I'm going and I'm going to waste. We're gonna go to this GW, vocal voice or a voice citric in stereo. So I'm gonna click it. And what this is is a vocal plug in that kind of has like a bunch of, bunch of affects all in one. So it has a delay, which would be a repeat on a vocal. It has a doubler, which would be as if I said the vocal. Again, like if anyone who makes music, you know that when you do a hook, like you don't just record the hook with just like one line. Or would it take you have multiple tasks that you stack them? Because it adds this double effect that makes the vocal more fuller on the hook. This plugin has his own doublet, allows you to do that. It didn't reverb, which adds a little more space to the vocal. So what we're gonna do is go click it. You could just kinda hear i 0. And as we started going our separate paths, see how it's like you hear all the reverb and all that. We're not going to have all that bubble mess with the knobs. And so you can see, when my parents moved to Germany in 2008 and I was going out of my basketball career, you know, basketball was my covering are being ruled that would work done basketball or saw my passion and basketball. They aid in me and helped me along the way. So, you know, basketball or something as daring, true to me. So if you wanted to add autumn of faith, we would do that, but we're not going to. So let's just get rid of the delay and reverb either. But I do want to add a doubler to see how it, how it sounds as vocal. And it's something that has been in my soul for as long as I can remember. And God gave me a little bit of everything. So if I'm turning it on and off, It's very subtle, but it does give it a little bit more repulsion. So see if you all can hear. So I'm going to turn it off. So this is what it off and then watch when I turn it on, when I click the blue button, let me play a little bit and he let me coach a little bit, and he let me scale a little bit and let me do video a little bit. Hey, let me be a little bit of a trainer. He let me be a little bit of an ESPN writer. So at this point now being nitpicky, but I wanted you all to see this plugin and what it can do. If I wanted to adjust this more, I would, but because we're going to do one more step before we actually export, I think I'm good like this with this doubler. So now this is essentially mixed, which is great. Let's see where it is stereo outputs. It he led me lead clinics, you know, he he led me do practically everything. So it looks like I'm at 7.3. So we're going to go raise the value just a little bit around basketball, you let me working right now at around negative six, That's going to be good. We go to the next step. So when it go to the final step, which is mastering, once we mask the audio for streaming platforms, then we're going to export it and we're going to be ready to go. So I'll see you in the next section. I'm out upon you. I stay true. 10. How To Master Audio For Streaming Platforms: Now that this is mixer we're going to do, we're going to master. And what mastered audio means is that when you get it to the point where it can be ready for the streaming platforms. Because when you upload it to wherever you submit your podcast, that platform has requirements for the audio and it usually like smashes the audio, it compresses the audio like we talked about in the last section. And the compressors they use can really, really take to value them out in a character, out of your vocal and you don't want to do that. So mastering kinda protects you against us. So what you're gonna do if you want to master, this is the easiest way for anyone to master, is you're going to come over here. You will click on the stereo output, not on the track. When the stereo output you're going to click the Audio Effects tab on the stereo output. Click there. Than to add a plugin and you're going to go to a plugin. I have a third party plugin is not waves. It is Isotope, Isotope, ozonide elements. You're going to click stereo. Now, the great thing about this plugin is it tasted, it makes the mastering process is very simple because it has what's called a master assistant. So that's essentially their presets, which can be going to click that. And you can decide what kind of tissue going forward and click vars to medium. If this is going to be on streaming, which it is, then we're going to click Next. Now they say you wanted to try to put it on the, on the last portion of your track. I know, like I'm looking at the waveform so that gets pretty loud over here are the situations where these dues are right there is allows portion of the track. And we're gonna do, we're going to click Next. Now, when I do this and we get started, what I want you all to do it once I would be cautious of years, okay. Because it will get loud, it's going to get quiet is going to get weird. So be cautious of how loud that your headphones might be. I usually take mine off. So, oops. As I say all that, you play the audio, audio right there. Situations where these dues are playing an MBA and I don't even have shoe deals or they're playing in the NBA and they don't have a content machine behind them or they're playing the MBA and I don't even have a maid service at their home to bring peace and structure to their home. These are things that agencies are supposed to be doing. And so now we have a master. So this is the audio. Without it. Things that I wanted to do. What I loved about coaching was the fact that I had way more in your face. Let's see where's hit on the street. Because it really, really close relationships with the players. Like data is something that's 6.4 over here, but I think there might be a threshold of sum. So what we're gonna do come over here to this equalizer. So this is the equal areas inside of the mastering Assistant side of the Mastering plug-in. So what this does is like, I can decide where inside of the EQ, right? The EQ, like we used in the first section. If I want to boost up there, I want to take something away. So this has my logos really boosted high as my meds and it has my highest down. So I'll just say that from something else I did earlier. So I'm going to adjust this right at me from a lot of other coaches and it's something that I really, really loved about. It was I had close relationships with so many players, man hand. Having a close relationship with 101215 players can be daunting at times, but it's really fulfilling. But as an agent, you have your few select clients who not only are the equalizer there, this actually is a threshold, so that's what it's sitting at. Alright, I'll try to figure out why this was a goal that high. So this threshold is actually blocking the stereo output from going above 5.9. So once I start moving and adjusted, somebody else is gonna get a little bit louder or dedicated to the game of basketball, but they're dedicated to business, are dedicated to life. So I've been praying about it. I've been studying everything guys been showing me is to tell me to go into for this hardcore. So on studying for the test now, almost sign up for it in August and was taken in January next year. So that's the only one window you can take it. So for any young man, dad wishing my success or if you want me to win or even if you don't, if you just wanted to listen to this and just enjoy some of the main, I just ask that you send some positive energy my way as I really want to go after and do this because this is something that's so needed, is so, so needed and now it's time to bond yesterday, true? Alright, so now we have a mixed and mastered audio that's ready for export. Now, at this point is up to you. Some people like their audio master, I mean, yes, mixed and it sounds good. Some people like it master, they sound good. It's completely up to you, but I want to show you how the whole process. So now we're going to export it. So yada, next section of Math DuPont, stay true. 11. How To Export Audio In Logic Pro X: How to export audio or Logic Pro X. And yes, we are exporting this time. It's not important. Alright? So what we're going to do is I do two things. When I export, I make sure that the play head, the end marker is on the edge of my audio, which is exactly as I can see it right there. I also take our cycle and I make sure that I have it over the entire section. I wanna be export it. This is a force of habit I've had because I'd be used to lobby for a minute. And I feel like when I do that, it always gives me what I want and there's never any sort of foolishness. I always look at my mixer and make sure that everything's good on all this stuff is over here, but always double-check on the mixer, just just gives me a little different view. Right? Okay, I got everything on my track, I got my mat, everything on a stereo output. This is the master over here. I bet all my titles are good, All My name's good. Nothing crazy. So the next thing that I do is I go up here and I go to File, and I go to Export. And I go to Export. Actually know what, I'm sorry. I go to File and I go to bounce this. It makes it a lot easier. Go to File and go to bouts and hit project or section. Now what this is going to do, this go to bounce that entire yellow cycle, right? And that's what I liked doing as opposed to anything else. Always click on PCM. Because PCM allows me to export as a wave, wave files a little better than MP3 files, but they're not that big of a deal to the common. Ear. Hours include the audio tail, which is how to trackings always include tip over information. He normalized on our check to time to see how long I actually have highlighted. Because sometimes you might think you're exporting everything, but, you know, this track might be five-minutes for this my same, say three. That means, you know, something is off file format wave, you can have a go. There's something else I go wave always 24-bit, always 4041, all of these things, and then I just hit Okay. Once you do that, I decide where I want to save it. And I'm going to save it to the desktop. You have already exists. We're going to replace it. So replace it, bounces. And based on how many plugins you have, based on if you use sins, like we talked about, based on how many tracks you have, this could take awhile. But since we don't have a crazy amount of plugins, we didn't. It's not like we're putting out also on every single track or anything. This shouldn't take that long. And it's going to go to my desktop, which is extremely messy right now, but I want you all to see it. So we're gonna go into after this is done. Alright. So it'd be done. Minimize logic. Let's go to my future open with music, my dogs mass one, Welcome to the pond. Today we're going to talk about my future and what I've been doing. And there it is. So that's an extremely, extremely loud audio. So we could go back in here, we can adjust it, but now you know how to do that. That is how you can get your podcast audio, sounding, that loud sound and that crisp. And then once it gets taken to the streaming platforms is gonna get smashed a little bit. It's still going to sound good. But if you want to adjust it, you want to take the mastering down. If you want to take off some of these other plugins, do that like this is the point of view taking this course. Now you understand how to do all these things. So now a sound to apply. So I appreciate you all. I love. Y'all. I'm after pond. Yeah, I'll stay true. 12. How To Edit Podcast Audio In Logic Pro X - Outro: Why I'm across the pond, you have finished this course, so you should be able to make some very crisp, very great sounding audio. We had an extremely loud master at the end. So make sure if you want yours, dad's Wow, that's great, but adjust those settings to get it to wherever you want to be. We're going to put everything that we used in the description below. Make sure you do the course project because I want to hear what job done. I want to hear your podcasts, clips. I want to hear what shall I do with my audio and go check out all these other courses that we have. We have courses on music marketing, we have courses on YouTube, grow. We have courses on graphic design. We have courses on how to make sure vocals and all these other things that we're going to have coming down the line. So stay locked in and walk out with other courses. I'm after pod update rule.