Transcripts
1. Preview & Trailer: Would you like to know
logic like the back of your hand and make great
radio ready mixes. Perhaps you've gone
to YouTube and watch this million videos by
a bunch of folks who want to teach you each
and every feature, every single feature of
this award-winning door. But what if I told you in fact that you're going
about it the wrong way. Have you ever heard of
the Pareto principle? Maybe you've heard it
explained as the 80 20 rule. It states that you can
get 80 per cent of the benefits by anything, by using only 20% of the effort. And I'm here to tell
you that 100 per cent the honest truth, the manual for logic, is over 1,200 pages. That's enough to make
anyone's head spin. But I'm here to tell
you that if you knew the 20 per cent of logics features that really
make the difference, you could revolutionize the
way you make your music. My name is David worlds, and I know how to make records. I've worked with the
biggest names in the industry including
Michael Jackson, Whitney, Houston, Phil Collins. If we're in fire and Chicago, I know the best
practices used it in the biggest studios in LA
and New York, and Nashville. And here's the kicker. They are all available in your favorite door
logic right here. Imagine being taken on a
tour of logic that was not, I repeat, not just a boring reading of
the owner's manual, BUT IT professionals
guided tour of the features you need
to know in order to make great music and not
get bogged down into the millions of
features that frankly, I mean, you never
did go on to use. If you need someone to show
you how to interpolate your exponential velocity in the midi transform
function menu. And yes, that is a
page from fluctuate, then maybe I'm not your guy. But if you want to learn
from someone who's produced over 70 courses for all the major brands
in music production and also worked for the
biggest artists in the world. And just hang out together as we transform your
understanding and above all, your ability to make radio ready mixes in your
own home or projects. Go, come join me, because after all,
we're making music. This is the coolest
hobby in the world.
2. Introduction: Okay, here is logic. Good luck. There's a lot of things
going on this screen. I mean, if you've
used DAWs before, you may not be that intimidated, but if you just
started out with DAWs, there's a lot going
on this screen and the worst thing for
me to start off with, there would be something
like a under Options. Let's create a new VCA for selected channel strips are not gonna do that with you. We're going to
strip this down to the smallest amount of
pains in this window. We're gonna do that with
this cluster of buttons on the left-hand side and on
the right-hand side here. If anything, is in dark gray, that means that in that
case this Toolbar selected, I can click that and that
toolbar would go away. Same thing with these ones here. I'm going to take everything away until we get down to this. And this is the
most basic part of logic we have at tracks on
our left-hand side here, and then we have our timeline on the right-hand side here so that when ever we record
any of these tracks, there'll be populated here. And then if we
double-click them, will be able to get into some editors and
things like that. But basically let's just
start out with these tracks. And the way I made these
five tracks is underneath track and new tracks now hit all of these have
keyboard shortcuts. You'll never be able
to remember them all. But if you could remember this keyboard shortcut
straight away, because you're gonna be
making a lot of new tracks. It's a real quick way. So you can either do
it underneath tracks, new tracks, or use that
keyboard shortcut right there. So let's go ahead
and hit new tracks. And you can see that there are five different tracks in here. A software instrument would be using various sounds
that are inside logic. Virtual instruments, things
like keyboards, horns, all of those good stuff
that are inside logic, and they're recorded
as midi tracks. Then the audio is any
audio that you're going to be recording directly
in through your IO box. Any microphone you're gonna
be plugging into your IO box. It can be recorded
into an audio track. There is a drama which I'll
get into specifics later on, but let me just
teach you on this. It's amazing There's
so many drum kits and certainly drum performances. You're really, really love
that they're external. Midi is very much like
software instrument, but in, in other words, you'll be recording midi tracks, but it won't be routed to
any of the internal sounds. It'll be going externally out of the midi interface that you have plugged
into your computer. And finally, guitar and bass, which is very much
like the audio, but there's lots of goodies
if you're a guitarist, boy, it's like a virtual
music store of stomp boxes and effects
and all that kinda stuff. I'm gonna go ahead and
cancel that because I've already added these right here. So this is the most basic setup with everything de-select on the left and the
right hand side. And we have our tracks
on the left-hand side. This is where our
tracks are going to be. Basically you just select
any of these tracks. And if I was to hit Record here, then if I hit my
keyboard controller, then I'll be playing some
notes in the midi notes. And then when we
play those back, they will play that software
instrument right there. If I was to select
this and hit record, then I'll be recording the
audio input of my IO box. Here. It's a little different. The drama tracks are
quite different, but suffice to say, really quick way to get some very professional
drum tracks behind you. This one here is very much like the software track up here, but it just records midi notes. And then that will play out
to external midi devices. So if you have any external, since samplers or synth
modules or anything like that, that's the way to
do it right there. And then the Brit and clean
up a guitar and bass track. You just plug your guitar into your audio interface and then
you have all of these very, very cool effects
that can be recorded. So that's the most basic
way you can look at logic. Instead of me just overwhelming with all those windows again, let's just go through
them one by one. On the top left hand corner, we have our library. Now. It's a single pane on
the left-hand side here, but it does change depending
on what track you select, what type of track you select. Over here. I've done it going
ahead and just hit record a quick
electric piano track. Here we go. Now, for
some of you guys, I know some of you guys
might have been coming from hardware record as like the test cam or the bustle,
the Zoom recorders. You might think this is an audio recording of
an electric piano. It was not, it was
a midi recording. So this is almost like sheet music that instructs
this track when you play it to spit out these
notes that will play what every instrument
you have selected over here. So if we go over here
to toy Glaucon speed, then that will play instruments. If we wanted to hit piano. Now we're playing a grand piano. So you can see in
the library here, when you are selecting
a software instrument, it's all about bringing up a particular sound
that you want to record. And as you've seen,
you don't have to get too picky about
this beforehand. You can record the
entire midi recording and then decide
which instrument. I mean, you want to
stay in the same kind of genre. If you
know what I mean. If you're doing a piano part, I would record that
using a piano, but then if you decided, I'd think it should have been done with a
piano and strings, then it's that easy. Okay, so down to the next one, which is our audio track. Now, because this is audio, I haven't recorded
anything here. We wouldn't be
selecting instruments. Over here. We're actually
selecting treatments. In other words, things like EQs, compressors, gates,
although audio processing. So if you've recorded,
say, a vocal, you just plug the microphone
in, record a vocal. And then you could
go through and EQ that you could do a whole bunch of
things from scratch, but why not use the
library in here? It's the same library
that we looked at before, but because we're
underneath the audio here, these are all treatments. So I'll go and hit and
voice and hit classic vocal that will drop
in apart from it, changing the little icon here, it will drop in all of these effects that will just
be perfect for a vocal. Of course, you can
tweak them later, but it's a really
great way to just bring up things
very, very quickly. The next one is add drama. I'll get into a drama later. Later on, there is
a dedicated area, but here you can decide
which drama you want to do, which drum kit you wanna do. Again, all this is
under the same library, but it's different depending on what sort of tracks
you have here. Now if you go to
enter midi here, all it's going to say is, you know, where do you
want this performance? Let's imagine we recorded
something, a midi track here. Where do you want
to spit that out? Do you want to
take it out of you or your IO boxes midi out, and which channels do
you want to send it? It's pretty simple. In other words, for me tracks here,
there's no processing, there's no selecting sounds, and it's just which really challenge you want
to send that out. And then finally,
add guitar amp here. Wow, you have so
many effects yet. Select the dark, died
and gone to heaven. There's so many really
amazing patches here that will be perfect
for your guitar tracks. Now let's move over
to the next one, which is our inspector. I'm going to close the
library and look at this one. Very much like what we
just saw in the library. What you see down here. We'll change the underpinning
on what tracks you have. Let's go ahead and grab
a guitar right here. For instance, we can
look at our EQ here, and we could change the EQ here. We could change the width. We could save and load various EQ presets and then
you can go down in here, things like your pedal board. I'm thinking, how cool is this? You can drag any
of these down to your pedal board and make
your adjustments right here. I'll just go ahead
and close that out. So the inspector is where you really tweak the selected track. And like I said, it'll change depending
on like e.g. this. If you go down to
your midi track, there's a lot less going
on into your midi track. Then there are say in
New York guitar track. Next we have our quick help. Once you click that, then this will come
down here and anything you hover over like we've
looked at this before. But if you weren't short, the squiggly line is
this hover over it. You can see that's
the EQ display. If we click that, we can get back to exactly
where we were there. But once you become very familiar with the program, you'll probably turn this off. But when you're getting started, put this on that way, you can just hover
over anything. And really it's a very, very quick way of getting help. Let me disclose that out there. Then the next one is
at toolbar setting, and that gives you some
additional toolbar settings underneath your main toolbar. Another way to do that
is that if you hover down here and you drag it down, you'll get this as well. Gets another keyboard
shortcuts for these as well. Then we have as smart controls. And what Smart Controls? If you don't want to, let me just turn this off. If you don't want
to go through e.g. this guitar track and go
into all of these settings. I mean, every single one of them has all of these various
different settings. There's Apple has
really put together the smart controls that give you the most
bang for the buck. And if you click on that, then down here you can see this will be your again
your tone drive, squeeze it man of
compression and reverb. It. Amalgamates all the most. I'm kinda pertinent
or useful controls rather than digging through all of these controls over here. And then also it's a
quick access to your EQ. It's the same EQ that you
would find underneath here. But it's just a very quick
way just to bring up the most commonly used controls
and also your EQ there. Now, if you go further
and hit the mixer here, this will get into logics mixer, and we will get into this
when we get into mixing. But basically, if you've
used mixes before, you might expect to see some EQ, expect to see a lot
more knobs up here. Or most of processing
done in logic, as well as a lot
of other doors for that matter is that there's
your EQ setting up there, but everything else is
used by various effects. And then if you wanted
to drop in a new effect, then you could say you don't
want to add an echo in here and a stereo echo to
my first track here. Then, of course, when
you click on that, then all the controls
come up underneath there. But this is all of
the mixer Settings. You'll notice that there are mixed the channels
for everything we've done and also some
other channels as well. We'll get into all this stuff, but this is a quick way of
getting into your mixer. And then finally, on the left-hand side
we have our editors. And again, this will change
depending on what you, which type of track
you have here. If you selected your
grand piano and strings, then these are all
midi notes and you can grab and move it around in time and then also do a whole bunch
of various things. You could even look
at your score there. But all of this is because
we have a midi track there. If we had some
audio tracks there, then we'd have some editing within the audio in the drama. We would bring up, actually we haven't
made up a track yet, but you'd see various ways
to bring up drama tracks. If Midea, It will be the same sort of thing
that we saw before. But remember, this
will be playing externally outside of logic, this replaying internally, and then go underneath
Brit and clean. This again is, it's basically an audio track just with
our whole bunch of effects. Okay, now let's look at
this button cluster on the right hand side
and the first one is our list editors. Now, we've seen before, if we go over here to our editor on this
particular track, then you can see in
a graphical way, all of the notes and
you can drag and drop them and do all
that kind of stuff. If you want to get
very granular, you can go underneath the event editor here
and you can decide, I don't want even
look at my notes. I just want to look at,
say, the controller data. So when my sustain pedal was, I just want to tweak that and they're really granular way. The next tab along
here as markers. So you can drop in Mark as
if you say recording a song. You could go at the
very beginning of the song and drop in a
market named that to your, your intro, then
you're averse than your pre-course and new
course and bridge and so on. And that way you can get to those particular points
very, very quickly. And whatever you name them here, they'll come up here on
the timeline as well. So you can see exactly
where your pre-chorus is and where your courses
and all that good stuff. You can then go ahead and change your tempo at any
particular position. So if you want to
do tempo changes or even time signature changes, you can do them right there. Now, if you want to drop in
notes in either your project, the entire project, or a track, you can do it right here. So imagine if you had a bunch
of tracks down here and you really needed to have your passing this off
to another producer. And you could go
ahead and select that track and drop in some
notes here and saying, I really want to clean
up the timing of this. But then underneath the project, you could say something like, Hey, what do you think
about the tempo? Should we slow it down,
speeded up, whatever. So this is across
the entire project or this is per
track right there. The next one are the loops. And boy, you have a ton
of loops down here, which are another type of track. Again, don't get freaked out that I'm going to
fasten this when we get to, when we get to the
area when we're using loops or go
through everything here. But just for the moment, you can decide what type of tracks here. You can see these are
midi tracks in green and these are audio
tracks in green. And you can basically
drag them over to the timeline and build up the basis of your
song very, very quickly. And then the last one here, it will show all of
your audio files. Everything you record. All of those will come up underneath this
particular tab here. Smack dab in the middle of
the screen here we have our transport section and various other
displays along here. Now, if you want to drop this
down and customize that, look at all the things
you could have. A very, very busy
display here are very, very sparse display here. So that is kind of
the lay of the land of all the pains that
you'll come across. In terms of logic. There are a lot
more to get into, but we'll kinda deal with
them as they come up. So basically the
workflow is this. You create new tracks
underneath tracks here. Decide what types
of tracks they are. Let's imagine we're going to lay another audio track here. We can just create that. We can then move those
tracks up and down here. And then once you
select those tracks, then you can see how much or how little do you want to see on the left and the
right-hand screens? And like we said before, it will change depending on
what type of tracks you have. Like we saw before, where the library
for a software, it's going to bring up
sounds for an audio. It will bring up a
channel settings and EQs and audio processing. So that gives you
a quick overview of what logic is all about. But please don't freak
out if you don't understand some of the
jargon that I dropped. If you don't know a plug-in
from an orexin, don't worry, it will slow down
and expand on these, on these concepts and
principles as we go along. In fact, we were actually
going to break out into a section of this
course called doors one, I want it breaks
down exactly what doors or digital audio
workstations do, what all the parts are. And some of the tech talk
that will need to move, need to know moving forward. Now, if you've been
using doors for years, you might want to skim
through this section. But if you knew
these, especially some of you who are making the leap safe from the hardware
recorders to software. Listen up.
3. DAWs 101: Okay, there's gonna
be a short video called doors one-on-one. This is basically a primer on exactly what a door dies
inside your computer, whether that be logic, CO1, reason, Pro Tools, Cubase, FL Studio or Ableton and of course
others as well. But basically, what
happens when you load up one of these doors inside your computer for just
a few hundred dollars, you get to do what
we used to do with an entire recording studio that caused lots
and lots of box. Let me prove it to you. So with your favorite door
installed on your computer, you are replacing all of this equipment
back in the old day, we would start off
with a mixer and a multi-track recorder and all the cables that would
go in between that and that was not an insignificant
cost, by the way. But I'm not, I'm not talking
about the specific models, but any particular mix
it back in the day, the least you'd spend is probably a few
thousand dollars and then a few thousand dollars for the multi-track on the
right hand side there. So you'd be in for probably six grand probably on the
five-hundred bucks and cables. And then you could record a track over onto the multi-track recorder
and that's about it. You wouldn't have any effects, you wouldn't have any
other instruments. Let's start adding
up all the effects. Then you have a rack of
all of these effects. And then a rack of, say, all of your guitar amps and you stomp boxes
and all that stuff, as well as your
associated cabinets. If you're going to
start recording some the task and bases as well. So right now, we have
the ability to record basin and guitars with some effects onto a
multi-track recorder. If you then wanted
to add some sense, well then we need to
add those to bring in some sounds like your pianos or your organs or horns or any
other kind of synth sound. And then you'd be
adding things like samplers and a drum machines. So I could conservatively say that everything you see on the right-hand side of
this screen was the, that was the stuff that
I grew up recording on. This little setup
here with one of each would probably be 20
grand. I would imagine. When I say one of each, that's because in
a typical door, you don't just have everything you see on
the right-hand side. It has an inbuilt mix, it has an inbuilt recorded, it has effects, it has
guitar simulators. It has since it has some
Plus as drum machines, has all of this
Incorporated and adore, but it doesn't have just one. You could have as many
instances as you like. In terms of this, like on the right-hand side, you've got to Jupiter
Synth over there. I would save up and
have a one sense. And then if I got bored with that and
wanted another sense, then I'd sell that and I'd
get another set In a door. You can have as many instances
of these as you like. In your typical door, you're going to be recording two different types of tracks. There are other things
like loops and drum, drum tracks and glad that, but basically we have our midi tracks and
our audio tracks. If we think of the midi tracks, they're almost like sheet music. In other words, when
I give you a piece of sheet music,
there's no sound. It's just a flimsy
piece of paper. It's just instructions
to play back. I say a piano. But if you gave it to
someone who was sitting in front of a electric
piano like a roads. Then that performance would be played by the sound of a roads
or the sound of an organ. That's because midi tracks
are just instructions. There's no intrinsic
audio in there. But you compare that
over on the audio side, this is real audience, things like when you plug
your bass guitar and, or your guitar or your microphone
to record some vocals. These are audio tracks. Now let's actually
demonstrate the difference between these midi
tracks and audio tracks. I'm gonna be using
logic in this case, don't get hung up on that
because these subset, this very basic features of midi and audio tracks
will be equally applicable to anything else in your particular whatever
door you're using here. So you can see that
this is a midi track. And I can see that really visit, there's a stark difference
between this and this. This is an audio waveform,
the sexual sound. This is a vocal I recorded. This is a midi track. And if we go back
to the top and we tend to cycle off and plant, you may have everything. Okay, so a very simple song. We have a midi track over here. And when I select that, these are midi notes, the middle note events. So you can move
them up and down. You can move them left and
right, change your velocity. I said before, that's
almost like sheet music. And in fact, in logic, there is a score over here. You can see you can change all these notes just
around any way you like. These are just instructions. They will play back whatever
is selected over here. So e.g. if I went
over here and went to piano and brought
this one up here. Now those same sets
of instructions here, all those midi notes will
now play back this piano. You might have everything. So obviously, midi tracks
are very, very flexible. They're not married to
any particular sound. They just note events that play back whatever
you set up there and they're very
malleable and there's no artifacts when you
move notes around. It, just like changing
the notes on sheet music. Now compare that when we
go over to a vocal here, and we can do various
things over here as well. It's not quite as malleable as a midi note numbers,
midi note event. So let's imagine,
I believe this is. So let's imagine that I
wanted to move this here. That glad Pat, I can slide that across and analysis
of us in that. So glad you're Vin. And conversely, if I
recorded that way, you can hear that That's
a little bit late. I can bring that back, so it's right on the money. So glad that's a little bit
early, but you get the idea. You want to scooch that around until you get the
perfect timing. Now, it's not unlimited here. If you were to drag
this over here, you'll get some artifacts. Have a listen to that. So it's not as infinitely
malleable as midi tracks. But however, if you have, if you're phrasing is a little
late or a little early, you can mess with it
in audio tracks here. And then you can also
go into pitch here. Actually, let me just undo
that movement that I just did. Now when we go into
this flex pitch. Now we can move notes. Now. So now the further you get
away from the original pitch, you will start getting
some of those artifacts. But if you, most
of the time you're not gonna be transposing
things as me just undo that. But a lot of time. Finally, nudging x number of
cents to get that in pitch. So that's our track side here. But I said before that your typical door also
replaces your mixer. So down the bottom here, we have a mixer and it may
not look exactly like some of the mixes you've
been used to if you're using typical analog mixes, but you'll certainly recognize the bottom part
here where you have your levels and also you have your parents so we
can adjust them. I have everything. And obviously adjust
the master as well. And you have your typical mutes. And so as there now, on a typical mixer,
you normally have EQ knobs on most doors. When you click on E key, you will get
something coming up. A look, looks a
little bit like this, and this is where you can
actually curve your EQ. You can either do that
graphically or down here, narrow and widen the queue and there's typically some
factory defaults down here. So in this case we're
keyboards here. Let's go to a refresh roads. And you can see that's bumped up some low end and then taken
out some of the low mids. And it's actually a
pretty aggressively EQ. But let's have a listen to that. You might have. So that's how you set up EQ. You can also set up
compression as well. But we talked about effects. Normally you'd have a
rack full of effects. And typically on most doors you have these little
blocks right here where you can drop in any particular type
of effects you like. So let's imagine we're going
through here and reverb. And we're gonna go
with this one here. So now that Rhodes
is going to be going through this reverse merger when actually I'm going
to loop that around. So let's have a listen. Again. You can have some presets here. So all of your effects
anomaly placed in line. They're almost like
insert effects in the old days when you are, you're dealing with
an analog mixer. Now, if you wanna do set up your effects
in a different way, then we can use loops. Now, affects loops are
normally used in mixes and there should be
something like an ox and you'll normally see a
bunch of knobs up here. Well, in most doors that
you'll go through here, and then you'll just actually
click through and say, I want to send out
on bus number one. Now, look what happens
down in the mixer. As soon as I select this, it's made up a new auxiliary
channel that is being fed from that bus one and then
going out that Stereo Out. Let me name missile
something a little bit more meaningful
than just Orcs one, we're going to name that reverb. Now, right now, as
we tweak this knob, this is gonna be sending
a varying amount of this Rhodes part
out through here, which then goes out to
the stereo out here. Do you see you see
the flow here. This is a varying amount
feeding out bus one. And then this auxiliary channel here is being fed by bus one. So this is going up here, through here then to the stereo out and the wave got us up. Now, it's actually
doing nothing, would actually need to add
some effects on this order. So I'll go down here and I'll go reverb and we'll
go steroids here. Great. So let me
just close that out. So do you see the flown out bus? This first channel, which
is my electric piano, is going through bus one, which is feeding this. We have some reverb here. And so now when we
tweak this up and down, we'll be sending a
variable portions of this roads out to this and we should be
hearing some reverb. Let's have a listen. You might have within me, so I'm so glad I could do the
same thing with my vocal. Notice that that's been
conveniently labeled. Bus one is going out to revert. And then now if I
un-solo that you might have been my line. Now you can also, if you set up your door in
a particular way, you can automate almost
anything in your door. So if I go back to the top here, Let's write this book, my hair and I'm so glad. And we can play that back. You may have. I'm so glad. And that's not just restricted to just
automating the volume. You can automate the bus and you could automate
almost anything. Then once you have all
of your tracks in here, we have midi tracks, audio
tracks, even drum loops. And we've set up a mixer
exactly the way we want it. Maybe we've added some
automation then we did. All we need to do is just
go to the top of the song, play that back and
check our mix. Easy to take life for granted. So this project lives
inside of your computer. No one's going to hear
it unless they come over and you press play
here on your computer. You want to get this out
into the wild, right? And the way you do that on most DAWs is you will
bounce that out. In logic. It's just a Command D. And then what that
will do is make you a stereo file either
in a PCM format, like a high-quality
WAV or AIFF file, or an MP3 file. And then you can share
that with a world that's a lightning round in terms of understanding how doors work. And if you want to get up to
speed on your favorite door, then go ahead and check out our training at
proteome exp.com.
4. Setting Up: Okay. So now that we've
got up to speed with what your typical door does, Let's go ahead and get set
up here with logic now, like any door, you're going
to need a couple of things. And i 0 box or an audio interface which gets your sound into and
out of your computer. In my example, I have this
IO or audio interface here, which connects via
USB and gives me audio inputs right on the
front panel right here. And then in. So you can record straight
into audio tracks and the logic or any other audio application
for that matter. And then on the rear panel
we have audio outputs that feed these audio
monitors up here. I also have a
keyboard controller here that also
hooks up via a USB. And it does a couple of things. Obviously it's a keyboard, so I can play my piano or any of my synth
parts right here. But it also allows
me to start and stop and record from
the front panel. Instead of mousing
around the screen. We then also have some
mix of faders up here to mix and remotely mute parts
and things like that. They're really great.
Special thing about this nectar T6 is it has really tight integration with logic so that you
can switch tracks, select patches, and do
some very in-depth editing all the virtual instruments
with feedback of what those parameters names
right there up on the screen. Once you get used to
this kind of workflow, I find myself barely even
reaching for the mouse. So in most circumstances
you'll have to peripherals and
IO interface here, and then a keyboard
controller to setup. Let's start from
the top and set up your copy of logic preferences. We have audio. And underneath this tab, Here's where you select
your audio interface. This long name is the name
of my audio interface. You would just click on that
and then decide what you're going to be using as your
input device. Output device. Typically it would
be both the same. Unless you had something
like a USB microphone, you might want to select
that as your input device. Now the next one here is at
input, output buffer size. And this is a very important
parameter right here. If I was to set this
to the maximum here, then we would have a buffer
size of 1,024 samples. We have a big buffer. Basically. What that allows you to do is if you have a very busy mixed with 1 million
tracks in 1 million plugins, that means your computer will be able to kinda buff
or a stream that out. So it doesn't have to tax the computer's processing
speed so much. If you are mixing, you want to have this set
to its highest level here. That way you computer
won't choke on all of that stuff that's coming out of those tracks and
through those plugins and so on and so forth. However, when you're recording, you don't want to have it
set this way because that large buffer will mean that when you are recording a vocal, your vocal is going to
go through the computer, through this big buffer here. And you can see there's a
resulting latency here, which is 52 milliseconds, doesn't seem like a whole lot. But if you are monitoring
through some headphones, you'll be hearing your vocal later and it's
going to kill you a groove and nothing will be in time and it will be
very frustrating. And certainly if you're
producing somebody else, they're gonna put
the headphones on and you're going to have
a horrible performance. So you don't want
to have this sit up here at a large number
when you're recording, I would suggest that around 128. Now we're down to
the 12 milliseconds, which is about the torrents
that most people will have. A lot of people don't hear those minute delays when
you hearing somebody else, but when you're hearing
yourself through headphones, It's really
disconcerting if it's more than around ten
to 12 milliseconds. So that should be
fairly appropriate. So I'm gonna go ahead
and hit Apply there. Now there's one other
thing we can do. If we connect the output of your interface and connect it to the input of
your interface. We would just have a mic
cable that might seem a very strange way
to set this up, but we're doing this
because we're about to drop in a plugin here. Now, I haven't shown you
what plugins are yet. We'll deal with this
later, but later. But if we go down
to utility and i 0 and select Mono there, we're going to see a
little screen like this. This is not a plugin that will make things sound
good and that it's a utility plugin to be
able to set your output. And said send a ping, were about to send a
ping into the inputs. So you just select the outputs
and inputs that you have. I'm connected up together
and we'll hit ping and we will get a number here and you can just
remember that number. It's -13 samples. So then what we will wanna
do here is we want to offset that by the
exact same amount. So with that set up, then you should have no problems with your latency at all. I wanna go over control
surfaces here and set up. And underneath here I want to do automatic installation
and boom, just like that. All three parts of my panorama
T6 have been installed. This really tight integration
in here with a mixer, then the instruments, and
also the plug-ins as well. It's very, very quick. I mean, I use a lot of
different controllers, but boy, this panorama T6 is just so quick and has such tight
integration with logic. It's that quick to setup. Now, I also, if you download the logic remote, then you can. If you bring this up, you'll notice that that iPad wants to connect to Logic Pro. If you're on the same network, then all you need to do
is hit Connect there. And then if I was
to close this out, now, check out what happens. I can start and stop. Here. You can see I can also change
the mix of settings there. And also on the iPad, I can start and stop from here. There's lots of control from both of these types
of controllers. Now, if you're gonna
be using logic a lot, I would definitely
invest in an iPad, even a cheap prior generation when it's an
incredible controller, I've always made up a
custom keyboard shortcuts and use dynamo labels up here. But with an iPad,
you can make up a whole slew of custom buttons. You can color-code them. And all the labels are
right there on the screen. Now, obviously, there are
many controllers out there, including mixing
and transport ones. Apart from the typical keyboard
controllers like this, each, each of them have their
own way of setting them up. Some need special drivers sum, you can just plug and play. I encourage you to look
at the instructions that come with your peripherals. As you might be missing out on some really great features
if you just plug it in without exploring all the
features that you pay for, e.g. this T6 here has a bunch of features like super
deep integration where all the parameters that you're
editing on the screen come up right here on the
screen on the keyboard. There's so much to be done
without even touching a mouse. Another peripheral i'd,
I'd suggest you picking up is a contour designs
makes this shuttle Pro. This thing is amazing. You can start scrolling around here and then you
could zoom in and out, go and change tracks. You have 15 buttons here, and it's just as easy just
to set up on the screen. You just decide what's
this button gonna do. And you can assign any
keyboard shortcut. And that way you can just
be messing around here, zooming around your timeline, zooming in and out. It's a really, really
great peripheral. Okay, so now let's
set up logic itself. Now before we do anything,
let's make sure we're both on the same page and
the preferences. We're going to go down
to Advanced Tools and makes sure that everything
is enabled here. I mean, you might be a,
taking a couple of these off, but if you actually
de-select or these and you'll note that there's a
lot of things that go away. So just to make sure
we're on the same page, Let's go ahead and
show advanced tools. And that way every
screen that I look at, you'll be able to find two. Now let's move underneath
here and underneath customized control
bar and display. Here's where you can
start changing the way, the toolbar here and the
various displays along here. First thing I'll focus your attention to other
views right here. You notice that
all the things on the left and all the things in the right that I've
shown you up to here, check marks here. So let's imagine
you just never use the list editors and the
browsers and all you want. And the right hand side is just the apple loops and the
notes on the left-hand side. I don't know. Maybe you just don't
want to deal with the toolbar and you're
good with the quick help. So that will clean
up the display. I'm not a very wide screen here, but if you had like a smaller like a small MacBook Pro Era, my dad, 13 inch. Then maybe you want to have a little bit more
of a sparse display here. You can do the same thing
here with the transport. I want to go through
every one of these, but I'll tell you a couple of
things that I like to use. Have a go to the beginning. So that way you can go bang straight up to the
beginning there at it, or even go to the left and
the right locator points. There's a lots of things in here that you can you can change there that the few that I
would normally change here. Also the master volume. Almost never use that because every time I
bring up the volume, I'm doing that, I
see on my IO box. I'd much rather just
not have that there. If you want, you can bring
it back to the default, or you could save
this as your default. I'll go ahead and click. Okay. Now let me show you
some keyboard shortcuts. I mean, there's 1 million
of them inside logic, but really get to know these because they make a lot quicker. I mean, either you
can mouse up here to open up the inspector and
these various controls here, but here are a few that
really of used to them. And the first one I
would bring up is x. X will bring up the mixer. You're gonna be doing a
lot of stuff in the mixer. So just get to know that. Then we have B, which
is Smart Controls. E for editor, why for Librarian, and I for inspector. Then also we have
as Zoom controls, which are command up and
down to do a track height. And then Command left
and right to zoom in and out on the timeline. Okay, now let's
look at workspaces. And a workspace is basically
which windows you have open, what zoom levels
you have set up. And the great thing about
workspaces is you can set them up for different types of workflows that you have. Like let's say e.g.
we wanted to mix. So what I would do is probably take all of
these out of here. So I just view this, but I do want to see my mixer. And I'm going to bring the
mixer up as big as it gets. That would be a great
way to work with mixing. This would be my
workflow for mixing. So underneath the workset here, what I can do is rename that and let me just
call that mixing. Okay, so now what I'd want
to do is duplicate that. And now we have a number to set up a different
workspace here. And in this situation, maybe we're more into editing. So I'd get rid of my mixer. And then maybe I would zoom
into one of these tracks. Always mainly looking
at the top one here. And I wanted to get
into my editor. And I also want to drag this up. Does that drag up any further? That's right here. So let's imagine we're
dragging all the way up there. So now we have a completely
different workspace. And what we could
do is just rename that and let's
call that editing. So now I can switch between those two work spaces by either selecting right here or you can see there's a keyboard
shortcut of here, just, just hit number one and that gets shredded and mixing number to get straight
into editing. So get to know those workspaces depending on how many
different things you tend to be doing within. Let's, let's imagine
you are setting up per let me duplicate
another one. And this one, let me just make sure that
we're set up on three. In this one, you are
busy setting up say, markers or something like that. So if there's a
particular part of your workflow where you tend to be dropping
a lot of markers. And instead of clicking
that on and then maybe taking them mixer
away and all that stuff. Just set up the way you like. Notice that I don't have
to set up a workspace. I just need to create a new one. And then however the
screen is set up, that'll be the way
it will be set up. So let me just rename this one and maybe we'll
call this markers. Now, I'll just hit 123. Boom, I'm straight
back into mixing that. I'm into editing and then
I'm setting up markers. And notice that that will come right down to
that one there. If I was to change
that to tempo, then the next time I go to mixing and then go back to that, it'll automatically go
straight back to tempo. So there's no need to
save these workspaces. You just select them and set up anything the
way you want it to be. And then your one keystroke
away from that set up underneath preferences
and recording, you can decide what type of file type you want to
do that AIFF or, or WAV files and so on. Also the bit depth
of the recording. Unless you have really
limited disk space, you could check that
off if you like that, we'll tape it down to 16 bit, but normally leave it
on 24 bit recording. That will really help
with your dynamic range and give you a whole lot more kinda leniency in terms of your setting levels. It's a much better
just think of that. Like in the, if you are
dealing with cameras, you'd want a higher bit
rate as your recording. And typically wherever you're
going to save your project, That's where all of these
files are going to be. If I was to click
out of here and then go over to our browser, you can see here are
all of our files. And if you were to
select anyone here, you can see here's actually
where that project is. This is within that
project on my, on my desktop here. Now, if you wanted to record
it in a different faster hard drive or something that
you could do that and leave the project settings and set a different audio
recording path here. I would normally just
leave that to the same, so just don't worry about it. But if you have a
slower system drive and you would much rather record
onto a faster hard drive, then just save that
project on that faster harddrive and you
should be good to go. Now before we get into
the recording section, I'm going to bring
your attention to File project alternatives. Now, right now there
is no alternative. We have a project
called when you rank. And let's imagine we
have a mixed like this. And this is the
mix that we love. This is just a
ridiculous example. But this is the
mix that we love. But we want to have an
alternate mics and try different plugins and we'll learn all about these
things in a second. But this is just something to think about as
we start recording. So we have it set
up just like this, but we want to have an
alternate project right here. So we'll go to project alternatives and we'll
do a new alternative. And we'll call this zero dB. Let's just call it that.
So now what I'm gonna do is hold down option and I'll
click all these failures. The option will get them back
to the neutral settings. We'll see that as we
get into editing. But just for the moment, I'm just going to click
all of these guys. And now you notice this
mix is far different. Then the mix we had before. And by the way, I could
delete some of these tracks. I could put different plugins, I can make a completely
different mix, but within this same project, now we have two
different alternatives. You can see where the zero dB, but if I was to select that, looked down on the
faders and then boom, we want to say that yes. Then we're back to
the way we were. So project alternatives are
a great way to keep a mix. You've been working with and arrangement you've
been working with. But just try
something completely different within
that same project.
5. Recording: Cool. We are all set
up and ready to go. We've got some great musical
ideas that we're going to capture them within Logic. Now, you can record a vocals through a
connected microphone, either through an
audio interface like this or you could even use a USB microphone plug
straight into your computer. You can record guitars and bases with a ton
of internal stomp, stomp boxes and effects is all
of that stuff is built-in. You can record
software instruments which are basically
midi tracks where you record your performances from a connected keyboard like this. And then you have absolute ton of internal sounds here you can even record
external midi tracks. So the record performances
play an external synth, which need to come back in
via the audio interface. There's even a drummer track
here where you can lay down professionally recorded drum
pads really, really quickly. Let's take a look.
Okay, from a logic, we can go File and New, and we can make a
new empty project or we can go New from template. Let's just select that
from now and look at some of the
options we have here. An empty project. We can do live loops. We'll have that in its own
section because that's really quite a different way
producing a project. We can look at our recent ones. We can look at as data grids, which are some of
these live loops. We can look at some tutorials, demo projects as well. If you haven't had a
chance to open this up, if you're into vocal
production, boy, there's a ton of
great stuff in this, in this particular
project called Ocean Eyes by Billie Eilish. And then you can have
project templates depending on what kind of song
you're going to produce. And then you can also save
your own templates as well. So let's just go ahead and
just do a new empty project. We'll select that
and hit Choose. Okay, now we know where on
the timeline and we have an overview of all the tracks that are available when
we create a new track, which by the way, should be your first keyboard
shortcut to memorize. And that is Option
Command N. Memorize that one there gets not
because that's the one. That's probably one of the most common things that
you'll be doing. So let's start by creating
a new audio track. Okay, so let's
record some audio. And if you're not seeing
the details down here, just go ahead and click on
that triangle to open it up. So here's where you
decide what input you're gonna be using on
your audio interface. My audio interface has
just four inputs here. But if yours had more, obviously you would
see them right here. I'll direct your attention
to this ascending. This is a very cool setup. If you select that, then what's going to
happen is that if you set up a number
of tracks imaginary, if you're recording
a live drum kit and you had 88 microphones, now you'd need to have
an audio interface that had eight inputs. But if you did that,
then you just hit, hit that and hit Create. That would automatically
set up 8-tracks, each with the input
already being preset. I have eight, I just
have four here. So let's just do it here. So it's going to ascend
from this audio input. So with that checked, you can see that I've
made four tracks, but more importantly, audio. Track one over here
is getting its input from input number 12
is getting it from 23, from 3.4, from four, and so on. There's a real timesaver if
you're recording a bunch of a multi microphone
instruments. So let's just go ahead
and delete these and just get down to Audio one here. Now, the main thing you're
going to want to do when you start recording is
obviously set your levels. This will be taken care of
on your audio interface. I'm going to grab
this microphone. I have something plugged into number one and I'm
going to speak at the level that I think
I'm gonna be singing at. And what we want to look
at in a 24-bit system is around -18 to
average around -18. And you can see there's
the peak up there. If I was to ramp up
that the input gain, you can see that I'm picking, you can hear that distortion. We don't want that
we want to be around -18 now once I've picked on, need to reset that
and then be able to see where my peak is. So if I'm going around, that's still a little hot. Right about now. That's around -18. That
looks about right. So you can see that you have 18 dB headroom
above your average. This is because in
a digital system, if you are used to dBs
in an analog system, then you'll be thinking, normally we want to be
around the zero dB Mac. Well, that was against
a reference voltage. In a digital system, it's called dBFS or full scale. That means that at zero you
have run out of bits to describe that wave form and
you will get distortion. Now it won't be that
yummy distortion. You got when you
slightly over and over. Overdrive, a, an analog console, analog piece of gear. So that looks about right. Let's go ahead and
we'll record something. And I'll just do a
dopey recording here, but it'll just give
you an idea of how quick we can we can record. I do want to have a count off, so you can add a
click that in or out. If you hold it down, then you can decide how many
bars you want that to be. One measure is fine. So let's just record something. This is my lead vocal. This is my lead vocal. Okay. And then just go back to
the top and play that back. This is my lead vocal. This is my lead vocal. Okay, so that is
will play back fine. You can record audio tracks
all day long or you need to do is just Option Command N, hit a new one. You could make up another
bunch, bunch of tracks. You can record analog tracks or audio tracks all day
long, very quickly. But here's something and
I'll show you in terms of of loop recording
or phrase recording. What we're gonna be doing
later on it will be comping, doing vocal comps. Here's how to do it,
and it all has to do with this region up
here, this cycle. And you can decide, let me just delete this. And we'll delete it. And we'll go here. I'm going to set this to
just two measures long. And I'm going to zoom
in a little bit more. Okay? With this set
to cycle on and off. And you can see that we
can do that from here. And there's also a
keyboard shortcut day if we hover over that, yeah, See if you had C, then that will tend
cycle on and off. So now what will
happen is that as we record and we keep recording, it will just drop down
tracks below this. So let's get started and
I'll lay down a few tracks. This is my a, this is my sap can say. This is my third take. This is math for today. So now you can see that
we have four takes here. And then up here is which take we're gonna
be dealing with. We'll look at how to
edit these later on. But right now let's
just select them. So now here's the
first tech here. Let's just play that
back from the top. This is my a second take here. This is my second grade one. This is my third. Say, this is my forte. So with that done, all we need to do is
close that down and we know that we do
have various takes, their end, but they're all hidden until we
just click them up there and then just
decide which one of those takes we're
gonna be using. Okay, and let's go to ragged. Our base is going
to be very similar, except there's gonna be a
bunch of Greece over here. So here's where I'm
going to come in. I'm going to come in on
input number two here. I want to default
the default patch and also open up the library. So let's go ahead
and create that. And here's all these goodies.
Look at all of this. We're already coming
on input two, and let's have a listen on the
middle pickup. Here we go. Sounds really nice. Then we go through here
too distorted guitar. And we can go on and I say, this guy here, awesome. Spend some time
going through there. There's just so many very, very cool sounds for guitar
in terms of recording, we're going to be doing
exactly the same thing that we've just done before. We're just selecting that
track and hitting record. And of course you can
do comps if you like. If you want to try out
different guitar parts, you could just set up a
cycle and this led its cycle and record all those
different styles of playing. Okay, now let's look at
the software instrument. You can bring up a default
patch or any particular patch that you want or just an empty patch if you prefer as well. Also, I would like to open the
library so I can get stuck into all the various sounds
that are available there. Now if you want to record things in multi timber or parts, maybe you wanted to do. If I set this up to two, you could record your left hand first and then your right
hand on a different Track I'm going go ahead, go ahead and turn
that off right now. So this setup, we can
go ahead and create. And the first thing
that will come up is the classic
electric piano. And you can hear that it's here. And that's because over on
the left-hand side here, we, this is the default
patch right here. If you wanted something
else to be a default patch, then all you'd need to do
is select this one here, go down underneath
this gear icon, and you can define
that as default, but normally it would be this classic
electric piano here. Now you can go
through all of these. You can search the
sounds as well. But say if you want
some bass sounds, you can go straight
through there and then here are your bass sound. There's so many sounds
to come, to come up. And not only are they
just the synth sounds, but also there's a bunch of plug-ins that
are set up as well. Let's go back to keyboards here. I'm sorry, where were we? We were in a vintage
electric piano and at classic
electric piano here. Now, so you can
scroll around there. What I really love
about the nectar here is that if you go down
to instrument mode here, that will bring that straight
up here on the screen. Instead of mousing
around on the screen, you can just go through all these different
patches straightaway. As well as adjusting all
of these parameters here, bringing in the bass boost. And of course you can automate all of this later on as we'll learn
about automation. But I disliked the fact that
instead of mousing around, you can just go from
patch to patch, right here from the keyboard. Of course then you
can just record using the same things we did before when we were recording
or I just hit record and then everything
will be recorded here. One thing to keep in mind, these will all be
midi performances, so therefore, you
don't have to be married to this
particular sound. You could record it using this electric piano
and then later on, as all those midi note numbers adjust within a midi track. If you then select a
different sound down here, those midi notes will play back whatever you have
selected in here. One more thing, which
is really interesting. Imagine the you, you
kinda noodling around your keyboard and your thinking. Just be, be great
to capture some of the things you've just
been messing around with. That is underneath
customized control, but in display and
capture recording. Now you'll notice that a second record button comes up here. We'll click on Okay here. So let's imagine
you're just kinda noodling around and going, thinking of something
for a bridge. And you'd get distracted with something else
and you're like, gosh, well I display a
Wishart recorded that, well, we'd capture
record set up here. All you need to do is
click on that. Guess what? Everything has been
recorded, hit that. So that may not be in time. I mean, you may want
to go through and edit all those notes,
but more than anything, it's probably just
a great way just to hear some of the things
you've been noodling on end so that they're not lost when you just kinda play
around on your keyboard. Another way never to lose your midi recordings is
underneath preferences. We're gonna go
down to recording. And you can see that in
cycle off and cycle on, you can have various
settings here. We're going to select
Create, Take folder. In both of these, no matter where the
cycle is on or off. When we do new recordings, it's going to create
a take folder and let's see what
that looks like. So we'll go to the top and
then we'll hit record. And then here's our first take. I will stop that, go back. And then I'll hit Record again. Now go. So now actually let me think of another way to record this. Okay, So now you notice that
there is a take folder here. This is just like when
we're doing comps before, that you can see
everything is here. And there's absolutely
no reason not to do this because it's closed up. The lightest take is displayed
here and played back here. But in case you've been trying a whole bunch of
different takes here, just, you just have them record. And again, all this is done underneath recording
preferences, then recording. And make sure you have
to create take folders. The first thing I do when I get set up for a mini session, what we're talking about
recording midi tracks. Here's a quick way to erase some of the notes
you've played on the fly. And this will happen more
in drums and anything. I've just brought
up a drum kit here. And I've looped around
a pattern here. Now imagine, I want to get
rid of some of those hi-hats. Here's how you do
it with spotter. Race will go and expose
the sub menu down here. Click on spot arrest and
be careful with this because as soon as
you start playing, if I go back to the top here, as soon as I start playing, you don't even need to
be in Record mode here. Any keys that I play will be erased for however
long I hold them. So the high hats are right here. So let's go ahead and play that. Understand that. I mean,
you could use that for any type of midi performance, but it really lends itself to when you're
doing drum tracks, when you have a whole
bunch of things. And let's imagine this is
percussion right across here. And you have a shaker
part that you're like. I don't think that needs to
be in that particular part. Just make sure that
this sub menu, the sub toolbar here, spot erase is on. And then as you're
playing anything you hold down for the period
of time that holding down, we'll just get spotter raised. I'll turn that back off. Speaking of recording
midi tracks, I've recorded just four
sets of codes here. We'll go back to the
beginning and play that. So you can hear they
are for sparse chords. And if we were to
go back here and expect to be on a play that then when I hit
Play and I'm like, what gives, I thought I played
something that you did. You played some midi notes. And if you, if the play head is just pass those note arms, then you won't hit
anything until it hits its next set of notes on. So let's have a listen. And from that point
on then you're fine. There is a setting
underneath and it's not, the preference is actually underneath the project settings. And we'll go down
to synchronize it. I'm sorry, down to middy. Here's where we're going to set things up underneath chase. If you put notes on here, then what's gonna
go on is that even if you start here
and I hit play, it's gonna actually logic
is going to go back and say Where was the
corresponding note on from that? I'll go back and
they'll find that and chase back to this point. So now with that setting, set, now if I start in the
middle of a chord, I can't mess it up now. Anyway, you like, it'll go
back and chase those nodes on. Really, really useful if you
have sparse piano parts. Did you know you have a really powerful midi effects processor inside a logic. I've just brought up my
classic electric piano. You can hear it right here. Now underneath midi Effects, look at all these
goodies you have. Let's just start off
with the arpeggiate. If you've never
used when a lot of older sense have these
built-in and you do a lot of, lot of fun stuff with it. Basically, if you'd never
use an arpeggiator, it'll take aesthetic cord. Let me just turn that off. Take a static code like that, but now it will play those, all those notes in various orders and
various octave ranges. Now there's a ton here
that I won't get into. Rosco had no, no time for anything else
but definitely get into some of these factory
settings here like this. This is really useful if, maybe if keyboard is not
your first instrument, it's just a great
way to get to take static cords and make something
really rhythmic with it. A favorite of mine
is the code tree. This is amazing. Look at all these courts. So if you just wanted to get
some ideas from some songs, you got some great presets here, the guitar chords a huge. Then there are even
some that are split across the keyboard set
of blues right hand. So you do some quotes
here with ten. Bayesian. Really, really helpful. So I'll leave you to get into all the other various
midi effects. But here's one thing I
really want to show you. It's a lot of fun and
Matt is note repeat. If you don't see. The toolbar down here, just go ahead and click here so that you
can see that again, you can either do it
that way or you can just lay it down to see that. Now if we hit Note, repeat, what I've done is brought
up a drum kit here. And sometimes you want to use the note repeat to be able
to put in drum parts. So I'll hit Note Repeat here, and this screen will come up if you don't see
the entire thing just dropped down that triangle so you can see exactly
what's going on there. One thing I would suggest is not put in the
velocity as played, but put it in like this with aftertouch checked
that way you can. Right now, we are going
in a note triplet. Let me just change
that to eighth notes. So already you can imagine
you could record some really, really great to
drum patterns here. But if you use the
modulation wheel, you can set a
maximum and minimum. And that way when you
move the mod wheel, look, you're changing
the rate here. So double that up
with the velocity. Now you can get some really
amazing hi-hat parts. Very, very cool. Okay, so let's move
on to the drama. I got to say that this part
of logic has made it super easy to produce
killer drum tracks as someone who's worked with
Phil Collins for years. I'm all too familiar at how long it takes to
make up all the drums, how to do all the
EQ and processing to get really great drum sounds. Then you've got to have
a world-class player to play all your parts, or you can just use the
drummer in logic right here. Let's see how you ready. This is the same new track
that we've seen before. Instead of doing an audio
or a guitar and bass, we're going to select drama. I'm going to select rock. You can select any of
these genres here. And I also like to
open up the library, so we'll go ahead
and create that. And just like that,
we have drums. Now you'll notice on the
left-hand side here we have two panes within a library. We have the drama, who is providing
the drum patterns. And then down here
we have the sounds. And these are kinda
locked together. In other words, if
you select Kyle, who's a pop rock kind of guy, he is playing a drum kit here, which is a SoCal drum kit. And you could change
that if you like, just by selecting any
one, these ones here. But if you go over to electronic and select any of these guys, look down here on
the sounds area, that as soon as you select that, now we're playing a different, kind of a different player here, but the sounds have
been changed down here. So you can see this dude here, Magnus is more of
a 808 kinda guy. Then back here who? Kyle, he loves to play
Southern California kit. Like I said, you don't have to. It's handy when they're
linked together because those dramas styles tend to
go with a particular sound, but you're free to change
that as, as much as you like. So you might be clicking
on here and thinking, Is this an audio file
or is this a midi file? Well, it's kind of a different kind of
thoughts or drama file. And everything you change
is done down here. So if I was to just loop
this around and play, first thing I can do is
just bring up the preset. Let's go to a more of
a standard one here, like the half-pipe here. Now we have an XY pad here where we can
go from very soft. And notice that that
didn't just lower the volume, the
instruments changed. He's playing a snare, hit snare up here, and now he's using
a side stick here. So this is very,
very interactive. This is not just a
typical midi file or certainly not an audio file. And then as you go down
the left-hand side, it's more of a
simple kind of beat. And then this is a more of
a complex kind of beat. And you can go anywhere on
the x-y axis that you want. Then you can decide whether
you going to include various other things like symbols or they're
going to bring in tons. And then you can
bring in variations of each thing that you bring in. Those Tom's off. Hi hat. What kind of hi-hat
pattern would you like? Even add things like tambourine
shaker and hand claps. So now we had collapsed
on the two and the four. And then if you do a
different variation of that, listened to how sloppy
those claps have, become. Much more loose in their timing. You can adjust more or less. Sylvie can swing that to get more of a kind of
a triplet feel. Good. If you go into details, there's a bunch of
other things in here. If you want to have
more ghost notes, less vigorous nights,
adjust your hi-hat as well. More open, more closed or automatic that'll go between the open and the close hi-hat. So we have a bunch of variations here on just this one
particular preset. Let's now, let's change this up. And what we're gonna do
is drag this across. So it's only two measures long. So now with that to
measure long thing, if you click to the n here, you can add another one here. And I'm gonna do the same thing. I'm going to make this
12 measures long. So now we have two
instances of the drama. And as you could expect, you can change everything
on each one of them. Let's go to the very
first one here, and I'm going to take
off that hand clap here. On the second one, we
do have hand clap, but let's make that kind of
loosey-goosey hand clap peer. Now, when we play this through, you'll be able to
hear that changing the straight one
and then it should come out with a hand claps now. So you can see, you can just add drum tracks
there if you like. You can command click in here. Sorry, not command click. You can control click in here. And you can populate
with drummer regions. And that will populate your
entire tracks out with that. And then you can go
ahead and slice them up, make any changes
you want down here. And you should be good to go. By the way, there is a
let me just undo that. If we were to go back here, you'll notice that right now I'm selecting
the first instance, and that was the one
without the hand claps. And then I hit the
second one and that's the one with
the hand claps. But when I move the
cursor over there, you know what I'd like to do? I'd like to automatically
wherever I dropped this, I'd like that region to
be represented down here. And I can do that just by
clicking on down here. Now, when wherever that
play head is going to be, you'll notice that it's going to automatically
select that. You'll notice here's the
percussion, their hand claps. If I scroll over here, it's gone back to
the first instance. And then here's the
second instance. All those changes, you
can build up a drunk, a drum track so quickly. Now you might have noticed a little thing down
here called follow. What I've done is recorded a bass track here and I've muted my drums is
what it sounds like. You can imagine the drums
going along with that. It'd be something like it's
kind of a shuffle on there. If you let me go ahead and
unmute this drum pattern here. And right now, they have really nothing in
common with each other. I just record this in and then I dropped
in this drama here. So this drama really has no idea that he's kind of at the
wrong gig. Have a listen. I mean, they're in time
on the two and the four, but everything in between is
colored not in sync there. They both kind of at
a different gate. So with this selected down here, I'm going to click on Follow and listen to how
it gets in line. Decide which track that's
going to be in there. Listen those drums now. So quick, obviously, a much better way to go
would be to bring up the drum track that
you want first and then lay a baseline and
everything around that. But if you ever finding the drums are not yelling perfectly with the
various other tracks, just go ahead and select follow. Now there's only one track here. If there were a
number of tracks, you could select
through them there. But this is a great
way for this drama to follow the tracks that
you've already been recording. Okay, now let's look at
the more traditional way of recording drum tracks and that's underneath the
software instrument here, you can either bring
up the default patch, which would bring up
that electric piano. Then go start fishing through the library here
for drum sounds. Or an easy way to do that is
to go underneath it and hit the drum kit designer
and I'll go ahead and hit stereo if you like, you can set it up as
being multi-output. If you wanna do
signal processing for each of the components
that drum kit, Let's just leave it
as a stereo there. And I'll hit Create. And then boom, we have drums. If you want to click here, you've got a gorgeous
graphical representation of exactly what's going on. And as you can see here, when you hover over a
drum and click that. You'll be able to
extract shopping for all these different kick drums, like having this ultimate
music store where you can just change each part of your drum kit if you
want a different snare, just select that and
you can have a like a, almost like a piccolo
snare, their deepest snare. You can add, dampening the tuning again,
everything you like. But a lot of this work has been done for you if you go through the various factory defaults and you can see them
up and down here. You can either do
it from here or actually on the T6
here. It's very easy. I can just hit patch up and down and audition these as I go. That's a nice kit right there. So once you've
selected your kit, this is no different
than recording your mini track or
you would need to do, is, let's imagine you're just gonna do a four-bar loop here. You just hit record. Putting your kick drum, snare drum loops around. Then you add your
high hats to that. And then if you want to do
any spot erasing member, how we did that before you go up underneath here and
you hit spot erase. And then while it's
looping around, you just hold down the
instrument that you want to erase for the length of time
that you want to erase that, turn that off, and then you
can lay your high hats, for instance, with that as well. So recording drums
is very, very easy. It's just like if you are lucky enough
to have some pads on your keyboard controller, you can do it from here as well, either from the
keyboard or the pads. Just loop it around and around. And you can record these
drum tracks as midi tracks. And then whatever
kit you have set up, up here will be the kit that is playing back whatever
performance is your record. Now if you want
more synth drums, we can go ahead and
hit a new track here and go down
to our drum synth, either in mono or stereo here. So let's just select
that and create that. Now what happens is if you see
what is making that sound, It's one sound per track. So if you wanted to have
dislike a really low-end kick that you just wanted to put on the beginning
of each measure. You could do it right here. You can go through the
kicks, the snares and claps, percussion, and the
hats and symbols. Okay, we're gonna look
over here in our loops. And holy moly, if there
are 1 million loops here, you'd never get through them. Fortunately, up top, we have a really good tagging
system here you can go via various instruments or via the genre or various
descriptives here, Let's go back to
interests, sorry, instruments here, and we'll
select all drum kits. And you'll notice that there's
a bunch of loops here. And they all have little
icons next to them. And some of them might
be familiar to you. This kind of looks
like the drama icon. And so these are
all drama patterns. Then down here, this
is step sequence of patterns we haven't looked
at step sequencer yet. These are audio loops, and these are many loops. What I'm gonna do is bring
each of them out here. And by the way, you
can filter by that. Right now we have all loops. And, or else we could have
just audit, just audio loops, unit cell or the blue ones are just the software
instrument loops that basically the patterns and then the pattern loops and
then the drummer loops here. So what I'm gonna do is
with all of those selected, I'm going to bring
over a few of them. Let's bring over this
one here and you just drag them onto the
onto a new track. And then we'll go
down to the next one, which is a step sequencer. We'll drag that
onto a new track, will drag one of
our audios over to a new track, audio loops. And then we'll grab
one of these Mindy and move that down to
a new track as well. So we have four
different types of, in fact, let me just get rid
of the first audio here. So now we have these four here. They all behave fairly predictably in terms if you want to extend them,
you can loop them. You can see the
indent coming up, that's the beginning and
the end of those loops. I could do the same
thing with this. And you can see this
is a shorter loop. And this one here could do
the same thing out here. And then I'll do the
same thing out here. Now, when I double-click
on each of these, you'll see the kind of editor, but we have down
the bottom here. So the one at the top here, that's a drama dislike we saw before and we know how
to deal with that. We can go through
different beat presets. We can mess around
with that x, y. We can make some
changes over there. This one here is the step sequencer and
let me just sorry, solar that and have a listen. We'll look at step sequencing in its own section
a little while, but let's go down
to this one here. You can see that
these are waveforms. This is an actual audio loop. So let's play that. So let me solo that. And then the last one, when we select that, that is a mini be. So you can beat because you can grab
that and you can change any of those instruments and moving around
the screen there. So to get the idea, there are a ton of
loops across here. And depending on what
you drag across, you will be able to edit them in different, different ways. If you don't really need
to worry about this stuff, then just drag things
over and then just drag things out to
make it a longer loop. But you can then follow
that natural drum kit by. Where was that? That
was natural, yes. So that was number five. How about we described
number six here? And of course you can audition right from
when the browser here, and then just grab that and then just pop that up on the end. If you drag loops onto
the wrong type of track, they'll warn you it's not an
audio track, dread green. Apple loops here,
drag blue notes to an audio track so I
could drag them here. So this is a really quick way of just building up
a bunch of loops. Not just with drums and drum
kits and things like that. You can go to any genre. Let me go back out of that. If you wanted to get some
percussion or some tambourine, or looking at completely
different genre. If you wanted to bring up
a country songs like that, then you can go to
country and then drums. And then you'd be looking at all the country drums,
things like this. So this is really mixed. Max, you just grab, you, filter your results down here, and you can do
that by signature, a time signature, and
also a scale and also tags and even favorite some
of your particular loops. And then just drag
them over here. And you can build it up. Dislike a construction set. While we're looking at
the loops over here, we'll use them as an example
to look at alternate tracks. Now, if you right-click
on any particular track, you can track header components. Here's where you
can turn on and off all the various things
that are seen there. I want to go down here
to track alternatives. And so now once that's selected, you notice there's a up and
down arrow right there. And if we click on that,
we can click on New. And so instead of me using this rock beat and maybe I
wanted to use this rock beat. And I'm just not sure which
one I'm going to use. So let me do another new one. And I'll do say
this one down here. So now we have a
single track that goes to mix it with all the same plugins
and everything else. But we can select between a, b, c. This will work with
any type of track. So if you've been
recording for a while, you'd be familiar with
the idea of punching in, which is basically re-recording a portion of a track and
the way you would do it, and it wouldn't matter if it was an audio track of what
was a midi track. All you need to do is hit play. And then wherever you want
to punch in your record, to record your notepad in and then hit Play to get
back out of that. And then anything you are, in this case is a midi track. Anything you are playing on
your keyboard controller. While this was being
recorded or patched in on, then that would be
recorded on that track. If it was an audio track than anything you are singing
into a microphone away, whatever would be recorded
or punched in on that track. So if you have an entire
performance, that's great, except one part, then punching
him as the way to go. If you want a little
bit more precision, then we would go up underneath here to customize control bar. And we would select auto
punch and set auto IN and OUT located by
playhead will hit. Okay, and now we've seen a couple of new
things come up here. And all we do,
imagine we wanted to punch in red at the
top of measure three. Sit, that is my end point. And then I could
set the out point wherever I want by doing that. Or you could just
grab it directly and let's just do it for
say, one measure here. So now if I go back to the
top here and I hit record, you will notice a couple
of things happening. This record will blink, saying that it is
about to punch in. But right now we'll let, let me actually
just show you this. So you can see it's flashing, nothing's getting recorded, but as soon as it gets this area. It's solid and then it
goes back to flashing. So if we had a keyboard controller of
playing some new parts in, there would get recorded
on top of here. If it was an audio track, then that would get recorded
between these parts as well. And you can turn that
on and off just by this button on the toolbar. Okay, with everything
we've learned, we can produce
really great audio, midi and drum tracks
within Logic, but that's not the only
way to produce tracks. We also have a few other
tricks up our sleeve, including the loop library, the insanely
powerful live loops, and the step sequencer. Let's take a look. Okay,
we've seen before we have our loops across here
and we've seen how we can drag them across
the various tracks. I'm not talking about that.
I'm talking about the brand new Live Loops that
came out in 10.5. And you can see right here in this button Show Hide
live loops grid. You may or may not
have seen that. But as soon as you
click that open, I've actually brought
up a template that has all of these
loops built in. But let me give you an idea
of how this is all set up. We have our tracks on the
left-hand side, just as normal. And if we were to hide this, then if I was to grab this track or
this track or whatever and we hit record would be recording in the
tracks view here. If I go and open these loops. Now, you can play back loops. And you can see that
there will loop around. And you can queue other parts, other loops here, and you'll
6. Editing: Okay, we have all of
our tracks recorded. Now we have a full suite of editing tools to
mess around with. You'll have different
tools depending on what tracks you're working on. Let's look at the basics first. Okay, so here's a
song I recorded. I have a B3 organ. These are all midi tracks. Then add drama
track, have a bass, guitar tracks, vocal and
backing vocals here. Before we get into editing, instead of mousing around here, Let's get to understand
some shortcuts. If you want to zoom around, you can use these
ones over here, but a far better way to
get around this is hold down command and you can go
up and down to do zooming, either vertically or
horizontally there. Now, if you want to make the
most of your real estate, your screen real estate here, just make sure that there's
no region selected. So I'm just going to
click outside here, just hit one button here, which is the Z button. And then that will just
drop you into a zoom level, both vertically and horizontally
to give you the most, the best overview of your song. And of course, to
start playing a song, you can just play around me. And if you want to get back
to your top view song, you can either click up
here far quicker way to go and a very intuitive
way is returned. That'll get you
right at the top. And then that way you can
start right at the beginning. Now, you can use these buttons, the comma and the period, to go left and right. And you can see the upper part there is an error this way, an arrow that way, that's
kind of intuitive to go just one measure at a time. But I don't tend
to think of songs in terms of where
they are measures. We don't say, Hey, let's
take it from, you know, about 37, you'd normally say let's take
it to the bridge, right? So we can do that underneath
these global tracks. Now you can either click
here or hit G for global. And here's where you
can lay markers. So what I would do is
start from the top. I would drop a marker there. There's four measures there. Makes sure that your snap to bar here so
that you know that every time you
place the playhead, you're right at the
top of a measure. And so I'm going to
drop another marker there that is where my first versus this is
where my pre-chorus is. This is where my courses
and so on and so forth. So now I've dropped
them all in here. And by the way, if you go up
underneath here and if Mark, as you can see here,
all the markers here, you could name them from here, it's a little bit tedious. You have to select here, hit Edit, and then change
the markers down there. A far more intuitive way, if let me just close
that out is to go along here and I'll
name all of these. So the first one is intro. Next one is a verse one. Now that we've got these
all named and you can see that reflects over here. But it's a much
more intuitive way, is to bring them up here. Now you can use those keyboard shortcuts
I showed you before. But if you introduce option
with that, then boom, you can go straight to any
particular part you want. So if you just want to go
straight to the bridge, you can go straight there. But there's a little bit of a
problem if you starting to, if there's any part
of your performance that leads into that part. So listen to my vocal here. Okay, So while bridge technically
starts at measure 53, There's a vocal that leads in there and you can
see it right here. Well, I thought there
were a lot and then bang, that's the downbeat here. So if I was going
to be punching in on any of these performances or, or I'm getting ready to add a new keyboard performance
or anything like that. Normally what I
like to do is just drag these just a measure early. So I'll grab that piece and bring it to
some measure early. That way, when I hold down option and cruise
around my timeline. Then when I hit record, then I'll have a measured
just before that part. Well, Okay. So that's a lot quicker
way around there. You might have thought, well, I could just add a pre count, but you won't be recording
a measure before that part and you really
should be recording a measure part that I
may measure before that, that particular part
of the song comes up. So let me just
slide all of these, just the left one. And then I'll show you how to bring this up on a
keyboard controller. Now that I've set up all
of our markers here, and I've just had that
one measure pre-roll. I would like to use my
keyboard control here, my panorama T6, and use these transport
buttons which normally default just to go in
one measure at a time. I don't want to inch around
one measure of time. I just want to
immediately get to all of the markers that
I've already set up. So all I would need to do
is go up underneath here. And I'm gonna go to key commands and I'm going to hit Edit. And you can see
that I've already set this to search for markers. Here is my previous market
and my next market, what I'm gonna do is go to previous market and I'm
gonna learn new assignment. And you can see that there's
no message received yet. Then I just press the
Control on the T6. You can see that it's
registered up there. Then I'll go to the
next marker and I'm going to learn new
assignment that for that one. Oh, do the, the
navigation to the right. That's learned both that. And then now, without even touching a mouse or
mousing around the screen, I can just immediately
go to all of the various sections
that I've set up. We'll look at all the
micro editing in a moment. But for now let's just look
at the macro editing we use copy and pasting and moving around
all of these chucks. Now in logic speak these
are called regions. In other words, this
was a midi track here, and this is where I hit record and this is where I hit Stop. That created a region here. That's a midi region. And this is an
audio region here. And they basically can be moved around the timeline
in the same fashion. So let's imagine we're just grabbing this first region here. And what we wanna do is
make sure the snap is on. And in this case we're going
to set it to bar so that way we can move things around and there'll be lot to within a bar so you really
can't get out of time. So I could select this particular region and hit Command C, That's copy that. And then as long as that
same track is selected, we can go to where we want
that to be pasted and you're hit V and that will
drop that straight in there. Course you can move that around. And because that Snap is set on up here than we really
can't get out of time. And of course, your old
friend Command Z will undo anything that you've done. Also, if you want to just make a real quick
copy of something, just hold down option, Option, drag that out. And that way you can make a
really quick copy of that. Imagine if this was, say, a guitar lead that
comes here at the, say, the beginning of verse
two or something like that. Or you need to do is hold down Option and then
just drag that out and then drop that right at the beginning of
verse number two. So that's the kind
of way to get around your timeline and
make a broad edits. Will, will look at, like I said, we'll look at the
macro edits where we get into each region and
kind of mess with them. But let's have a quick look up here into the global tracks. Now, the global
tracks here you can either show and
hide them there or very quick way to get
around that is just hit G. And you can see we
have an arrangement, marker, signature and tempo. Now we can set up these. You notice that
these are kind of chunks or part of an
arrangement of a song. We can do this very similar
thing up here in arrangement. In other words, you just set up your playhead where
you want this to be and then hit an arrangement. You can see this, this
is an intro here. And then if we were
to hit another one, then that would bring up
verse and chorus and so on. Let me just undo those and we'll go back
to the first one here. So you could grab this intro and then you could
bring it back to here, and then add averse. And that defaults to
being eight measures, which is exactly what my, my one was in here. So you could use arrangement
to get around your song. I find it's a lot
better to get around my song using these markers, that there is a really good
use of these arrangements. And let me just actually
make a couple more. And then of course, you can
actually go down here and you can change what that
is or rename that. I could rename that
to say pre-chorus. Now, once I've set that up, and I'm going to set
that one to chorus. Once I've set that up. The interesting thing about arrangements versus
marker's map. Markers are just kind of
a dumb point in the song. If you want to get to verse one, Then you just go straight,
straight to that. But the Vs here, sorry, the arrangement up here is
very interesting because this is connected to
everything below it. So in other words, if you wanted your pre-chorus to come before the verse for no reason why
you would want to do that. In fact, what I'll do
is I'll line that up. You notice that I had set the markers to one
measure before. So I would grab this and put
that right at measure 13. And I'll put this one
right at measure five. And this one right
at measure 21. So now when you can
grab any of these, check out what happens if I
grabbed this verse and put it after the pre-chorus and
look at everything below. If I grab this and put after
the pre-chorus than paying, it's moved everything
below that. Now, once you've recorded
a bunch of vocals, it may be a little difficult
to see the value in this because some of
these vocals you'll be seeing across these sections. So if you are going to be
using this arrangement, it's probably best to do this if you haven't recorded
any of your vocals yet, does this to make the
bones of your arrangement? Here's how I would
use arrangement in a brand new logic
project, I would hit G. And underneath
arrangement here we can click on the plus and that
will bring out an intro. Let's imagine this intro was
not eight measures long, but it was 4 m long. So I'll just change that. And then I'll hit Yes, and that will drop in
eight measures of averse. I could change the
length of that if I like, but that's fine. A verse of eight measures, then a chorus, then a
bridge than an outro. This is the kind of the
bare bones of my song, but I would like it to go verse, chorus, verse, chorus and so on. So all he needs to do
is hold down option and is drag this first
behind the chorus. And then I'll do the same
thing with the course. I'll put that behind there. And then so it goes intro verse, chorus, verse, chorus bridge. And then maybe out
to a chorus there. And then that's the bare
bones of my, of my song. Like we said later on, as we start to populate
our tracks down here, we can play with this
as much as you like. Let's imagine if you
want an extra chorus, say you wanted to courses
before you bridge. If you go ahead and
option drag your course out that weren't just
kind of duplicate that, that, that block, that,
that arrangement blog, but anything that you recorded underneath there would
be copied across. And it's just a great way to
make up your arrangement. Let me just Control Z that
another big benefit of this, if we go ahead and
hit Option Command N and then drop in the
drama and create. Guess what happens? I dissent wanted to
delete that one there. Here's what happened. You'll notice that these all follow that arrangement up here. And if you
double-click in these, then you'll notice
that at the intro, it is about this
complex and this loud, where if you go over
to the verse here. So let me get out of that. If you go to the verse, you can see it
becomes more or less complex depending on what
part of the song is. In other words, the
chorus is going to be a little more complex, a little bit louder than
the verse right next to it. It may not be the exact way you want to have
your drum set up. But if you set up these
arrangement blocks up here, and then just, you just select and just make
a new drummer track. Half-year work is done for you. Now all we have our
Global Tracks open. We've looked at
arrangement and markers. You can set a different
time singing. She'd be like, let's
imagine if you wanted to change that from
going from 44234, then you just click
on the plus and you can change that time
sinks are there. Doesn't happen a
whole lot in songs. Probably more common than that would be changing
the tempo in your song. Now, if you can
just grab this bar, you can change the tempo of your song at any
particular time. If you just grab it like this, you do it for the entire
length of the song. If you wanted to
say change it and bump up the tempo
here at the chorus, you just need to select that
and then just pass that. You can just bump
that a couple there. And let's imagine you wanted
to then drop that back down. Now you notice up here on the transport bar,
this is a cycle. And there's a keyboard
shortcut for that, which is C, which is
pretty self-explanatory. And that will allow you to cycle through a range
of your timeline. And then you can just grab that. And let's say I'm measuring
that is just gonna be 1-3 as long as your play
head is within that range. And that is set up here, either from here or with
the C on your keyboard, then that will loop around. So this is really
useful if you're practicing a soul or
something like that. But there's actually
another use of that. If we were to drag this out and place this across a pre-chorus. Now, that's a measure
13 to 21, right there. If you Command click that, you'll notice it looks
quite different. And so if you place your
playhead just before that, it's going to skip
over that section. So instead of it's cycling
through just command and that. So if you wanted to hear your
song and just wonder how, what would it like the song be like without the pre-chorus? Then just make that selection. Hold down Command click
down, and we'll skip it. Giving you. Here's another example. I'll go ahead and command click this to get back
to the way it was. Let's imagine you wonder
a pre, pre-chorus. You wanted to add just a space in-between here
so that you could maybe add some,
some other tracks. If you set up. In this case, this
is an eight by range here and
right-click that you can insert silence between
those locators and that will drop you in eight fresh measures for you to place any
of your tracks in. One other shortcut from this kind of overview
of your song. As you are selecting
any particular region, let's imagine you're listening to these background vocals,
something like that. If you select any region and then hold down
Shift and space bar, it will play directly from
the beginning of that region. So if I wanted to hear, say, the beginning
of this organ, you just select the organ
and shift and playback. If you ever want to
split up any files and deselect that file and
add that play head. If you hold down
command and tea, that will split that at that point of the way
that play head is. And you can do that as
many times as you like. Let's imagine we went over
here and we split that again. Now, if you want
to join these up, then all you need to
do is hit Shift and then select those
and hit Command J. And that will join them
back together again. Now that will work for most
of these audio tracks. So if we got both these and
we could join them together. That's because they actually
were a copy of each other. If you try to get
non-contiguous, um, that have no relation
to each other, if you try and join them, it will say non-contiguous
audio injuries. Audio regions require the
creation of a new audio file. And if you wanted to do
that, That'd be fine. And then that will
just bounce that in place and put that altogether. Now if you want to do that
with any of your drums here, let's imagine you
said, you know what? I don't like all those
creases in-between these. Let me just grab all of these and I'm going to
join them together. Well, here's the problem. When you double-click them, then you only really
have one set. You really have one region. So therefore only
one setting of how simple or complex or
loud and soft that is, you'll lose all those
nuances that you had before. So I'll go ahead and
click Command Z. And that way, when
you select this one, actually let me
select out of it. You can select that
one and you can see that's fairly soft. And then this one has a
bunch of fills in it. As long as they are separate, you can have different
settings for each of those. So these are ones that I
would not join together. Now, if you remember in the recording section
on while ago, we're able to record
a series of tasks which then were able to slice and dice that into
the perfect take. It's called comping and it's
amazingly powerful feature. Let's see how. Okay,
If you remembered, the way we actually do a
vocal comping or company of any track is all
you need to do is set up a cycle, turn that on, and then any record
enabled track, we'll just loop around and make new takes within
that same track. This looks like it's just
one track here, right? But you can see there's
a little indicator here, and they're also a
little triangle here. And you can either hit
the triangle or if you double-click the
track, either way, you will come into
seeing that this lead vocal and particularly this region here, not
these ones here, these are all just
one take, but these, this one part at the beginning, I tried a few different
ways recording this vocal. So I'm just going to zoom
in with Command, right? And you can see now, even though let me just
close that back up, this looks like just one region. If you open it up, it's actually comprised
of parts of these texts, and right now it's just
playing, Take one. So you can see this
is highlighted, this is highlighted and these
are kind of grayed out. That means that this track
is playing back this take. So let's have a listen to this. Let me just turn off the
cycle and then have a listen. Easy to take. For granted. It's good to get
a second chance. Sticky it all in. It's cool. When I weirdness all the beauty that she builds around me. I'm so glad you found me that Larry and I shared our
ultimate lyric there. Instead of that light inside. I think this slide inside. If I select this, this ladder inside, I think
this one did it as well. This Aladdin's side. I think this takes, is a
little bit better there. So you can either decide. You know what, I'm
going to take, take two or take one or take three, or you can grab portions
of it and you know what? I think take one is great. I just would like that. The last pit here, instead of it saying
this slide inside or we need to do is just
highlight across here. And then now you can see there's already been crossbow
heads put in here. So all we did was just select
a portion of tape two. And so now if we were
to close this up, we should be able to have
a good take of everything. Easy to take for granted. Gets second chance. When I'm waiting to solve the beauty is gonna
be right around me. I'm so glad you found me. This Ladin. Perfect. Kind of a cousin to comping
tracks is alternate tracks. And again, that will
right-click on a track. And we'll go down here to
configure track header, which is option t. So if you're gonna
be doing this a lot, then just remember
that option t, but it gets you to this
screen right here. These are the things
that you can bring up in the track header here. Now you can revert
or you can bring up the factory default. So the factory defaults
or volume pan, mute, solo, record enable
all that kinda stuff here. But there's one that's not normally brought up and
that's track alternatives. Click on that. And now say
imagine I play this on a tele. Let's imagine that
I have a 335 dot, which is a semi
acoustic EPA phone, more of a jazz kind of tone. I could leave this recording in here, but underneath here, you can see that if
I click down here, I can have a new one
and it looks like Dang at tract has got deleted. It's not deleted. It is back there underneath a, so now that I have
selected here, you could record a
completely new guitar. Maybe you want it to be non string or something like that. Any kind of alternate track
that you want to record, just set up a new
alternate track for that, and then you can
switch between them back from the new track
that you recorded, back to the track that I originally recorded
with my telly. Okay, Let's look at another
kind of unadvertised way to deal with alternate text. And we can do that
through the loops. I don't think it's
designed to do this. I mean, if you're a rock and
roller and you've never done a dance tune your
life and you're never going to do a dance
tune in your life. You might just overlook this loop's area
here and just say, Look, I'm just never
going to use it. Well, you can actually use it
in a very sneaky way here. Just grab, let's imagine this
is the intro to your song, and I liked the sound this, but maybe I want
to try a more of a distorted tone with
a different guitars. I bet you could just drag that across here and then
you can just delete it. It's safe over here. I think I've shown
you before that the area between
the regions over here and the loops over here, I completely
interchangeable. Once I've deleted it
out there, you know, it's still over here
and I can drag it back straight into my
regions and it's safe there. So you can imagine
if I deleted that, I brought out my Les Paul
do a completely different, very busy intro isn't my dad. And I wasn't sure what that was. The right one. Then I can drag
that across here and then record another one maybe with a nylon string or
something like that. Then drag that over
here. That way. When you close this up, it looks like it's
an empty track. You what it technically
is on this side. But you have all of
these alternate takes. You could have a
whole bunch of them here and then just
decide, you know what, I really enjoyed that
the original one, and then just drag it back here. And you can have all of your choice if you're
alternate tracks, just living over
here and kind of hidden in the loop area. Okay, let's get stuck
into some editing and everything is done with these
tools that are up here. Now you notice that this defaults to
being a pointer tool, but there's another duplicate
set of tools down here. And what happens here is
that if you hold down command instead of the
primary tool coming up, the secondary tool will come up. In this case, this
is a marquee tool. In other words, if I'm
just clicking around them, this is the selection tool, but I'll just hold down
command and you see that tool change to a
marquee tool so that you can grab a range
of regions and so on. I normally, actually
for this example, I'm just going to bring up the scissors tool as
being my secondary tool. And what I'm gonna do is
zoom in on this part. By the way, you can
have a third tool here. It's up underneath
preferences, general, and underneath editing
here, the right mount, but at right mouse button, care is assignable to a tool. Now you notice that that
slipped into three tools now. So I could have the first one
has been a selection tool, the second one as the
command click tool, and then the right-click tool. Let's imagine I wanted
that to be the erase tool. So now I could go along
here to my guitar intro. I'm going to select
that and hit Z. And that will zoom
right in on that. Let me just zoom horizontally. Go right at the beginning, maybe one more and I'm just
hitting Command right, to get all this. So now with these
three tools here, I can select this, I can command, and then
I can snip things. So imagine I want to
snip it right there. Now, you notice that I snipped it here and it's
snipped it over there. Why the heck did it do that? That's because the
snap is set up here. We want to turn that off. I'm going to Control Z. And now if I hold down command, I can snip it exactly
where I want it to be. Then when I let go
of the command, then I can drag that in time. So I think let's just listen
to this wound beginning. Cell phone is just
the timing of that. I could just move
that back in time or else look at here with the third one being
the right-click tool, I could just right-click this
and then boom, it's gone. Now if you want to
know what all of these tools up, of course, we have our friend over here, we just hit to help, and then we just
drag the server. So now you can see exactly what each tool does and a description of what's
going on there. I won't go through
them right now. We're going to be I'll
be showing them to you as we're, as
we're using them. So right now I'm gonna put my secondary tool here
as the marquee tool. So that means that if
I hold down command, then this will turn
into a marquee tool. So we have regions down here. Again, we have midi regions, we have drummer regions
and have audio regions. Let's look at how
we can slice and dice our audio regions here. So all I would need to do
is just select this region. And if I was to hit, I click up here, you can see that
underneath this region, I can mute this loop. It transpose, it, adjusts
its gain or whatever. But everything I do is pertains
to this chunk of audio. If I wanted to get more
granular with this, then I could select this
and I'm going to hit Z. And that way I can zoom right
in exactly on this vocal. Let's have a listen to it. I've been on living
man pushing you away. So if I wanted to change
anything within this region, then I would need
to chop it up and that's where the region
tool would be useful. For hold down command. I can move across here, but you notice that I'm
trying to get in here, but I'm kinda snapping to a place that I
don't want that to be. That's because the
snap is on here. Let's just turn that off. And now let me just
click outside of that and then hold down command. And let's imagine that
I just want to grab this piece of audio right here. Now, if I wanted to affect that, independent of all
the other ones, I'd really need to
separate that out. So what we do is go
underneath edit and split and split regions
at marquee selection. So now you can see I now have
three different regions. Then you can make any
changes you want. From that. You could move them around, you could do whatever you want. You could change anything
over here in the inspector. Let me just undo
that with Control Z. And so we're back to
the way we, we, we are. There is a lot of phrases within this one
region and there's a really great thing
that we can do. And the functions here, we will remove silence
from audio region. And now look what happens. We come up with a
screen like this. This is as same single region, but you can see that
it has automatically, since the silence between each of these phrases
and chopped it up into a bunch of
different regions here, if you raise the threshold, you want to get more regions. If you load that back down. I think at some stage it's
just going to not see. There you go. You won't see a region at all. I'm
going to pop it back. I think there's a folded
-28 is about right. And you make sure you have your searched zero
crossings on there. And that way there's
no clicks and pops between these various points. So now look in the background, you see this was one region. If I hit OK, boom, all of a sudden, they're now all of these
different regions. Let me just deselect them and then now they're
fully malleable. You can move them
around in time. You can adjust anything you like up here in the inspector. It's almost like the
ultimate noise gate because if you are recording at home and there's some air conditioning noise
and things like that. There's just a little
bit of noise there. This is really clean this up. But the big benefit for this, for me, at least, is that now everything
is independent region. And then you can see that
this one here I think, is just pushing us
around, pushing your way. So let me just zoom in on that. So you can see there's just
just pushing you away. So let's imagine I was like, Oh, you know that, that just
needs to be bumped up. A go over here to the game, double-click on that and
let's bump that up by six dB. So now that leading
word and that happens, I find I do that some of them, My leadings are a
little bit lazy. Um, if, if you like, you can bump them up there, you can also move
them around in time, just make sure that
the snap is off. But this gives you a lot
of editing if you really want to get into
the minutiae and really finally tweak
your audio regions. Okay, Now let's move
on to pitch editing. If you have been
recording some vocals, there may be parts that are
a little pitch you haven't, let's have a listen to this. This wrong and true. So that's a little flat. Well I need to do is just
select that region and hit E. And then you'll come
to a screen like this. Make sure you're on
the track tab here. And what we'll do
is turn flex on. And then that will
go through and analyze all of that track. And we don't want time, we'll look at that in a second. We want to look at pitch. Now. Right now nothing
seems to be selected. It looks like
there's two reasons. Select here, I don't want that. Let me select this, this region right here and now you can see here is my vocal. And each of these, It's been looking at the pitch of each part of my
inflection, of my vocals. So let's have a listen. Strong and true, like that
one there that is too low so you can either you
could drop it up here, which would be highly horrible. Okay, let's undo that. We typically you're
not going to be moving notes and less
for some dopey reasons, someone was singing
in a major key and you needed it to flatten that failed or
something like that. But most of the time you'll be grabbing this top part here, which is the fine pitch. Let's have a listen to that.
This is wrong and true. Stress. Maybe it's
wrong and true. Maybe a time. So you can see you
can really get a minutiae here and just fix just any little
particular phrase. Either just grabbing the middle
and shifting it by notes, but more than anything, you'll be shifting it this way. Now, down below you can change the vibrato as well so you
can flatten out a note it, there's a lot of
vibrato on there. You can just pull that
out right there as well. This wrong and shrew
the cap. I love. You always knew. The rest of this part
here is pretty good, but there was a couple
of notes, fix them up, just use Flex Pitch and you
can set really, really nice. Okay, we've tweaked our
pitch now let's tweak. At time. I've got my lead vocal here
and we're right at the top. Of course one lets us
pre-roll one measure. I'll direct your
attention to the lead vocal in comparison to the the timing and also the backing vocals listened to the lead vocal is
just a little late. You brought me loving you. It kinda slides into there
where the backing vocals up right there at the
top of measure 21. So I'll go right to that
point and we'll hit E. And you'll notice that, gosh, I'm in measure number 33. I'm not looking at
the piece of audio that I want to that's because the catch playhead
is not set up here. Once you set that up.
Now I can go right here. And you can see that that's where I'll be loving
you, right there. Doesn't look that light, but if I was to
select it down here, hit command to the right. You can see I'm just
a little late here. So let me just zoom
out a little bit there and I'll scroll over. Okay, so how are we going to fix that same thing
we did before. We'll turn on flex for
the lead vocal here. And what it's done is it's found all the transients and
placed a line right there. And all I gotta do it as x is going to grab
that and then this boom and drop it right in
the top of measure 22. So let's have a listen.
Perfect, just like butter. You notice that the region
just to the left of this has been squashed in if for any reason
you didn't want that, let me just undo that. You could make up a
line there if you like. And that way when you
move things around, it'll only compress this part
and not the path before. Okay, now let's look
at the groove track. If you do a lot of quantizing, we'll look at midi
editing in just a moment. But if you want to get a much more human
vibe to your songs, then what we can do is
set any particular track. And it needs to be a track that has not been
quantized to death. I mean, if you select a track that's already
been quantized, you will not be able to
derive any grew from it, but it can be immediate
or an audio track. Let's go ahead and
select the bass track. My main instrument is based, so my timing tends
to be a lot better in base than, than
other instruments. But all we need to do
is right-click here and we'll figure out
the track header. And we will click groove track. You'll notice nothing
really changes over here. It's actually what happens
when you hover over here. If you don't have
groove track there, then these are just
dumb track numbers. But with the groove track there, some magical stuff
starts to happen. So the first one is
you want to make one of these tracks, the star. In other words, this
is going to be, everything is going
to be deriving its groove from this
particular one. And then you just select whatever track you wanted
to follow that group. Look at the timing of
this drummer track. As I click on this
to see them move. So they're moving in
time and intensity. So that will lock with
that bass guitar. If I was to select the
organ here and hit E, you can see all these
notes right there. If I drop that in, you can see that the timing of those notes change as well. Let me just close it out. So again, all you
need to do is just go underneath configure
track header, make sure that it's set there. Set the one that is going
to make the groove, and then decide which ones are going to be following
that groove. Okay, so you can see how
flexible editing is in logic and you can
do quite a bit of manipulation on
your audio tracks. One word of caution is
that sometimes you need to weigh the costs and benefits
of spending all day. Finally, tweaking
your audio tracks when you might just
be better served by re-recording those
parts or even just punching in the lease. However, when you
get too many tracks, you have an insane amount of non-destructive editing
at your fingertips. And it really, it never comes at a cost to the audio
integrity of your track. Because midi tracks are
kind of like sheet music, just a set of
instructions to play back whatever sound source you
have assigned to play them. If you wanted to say
flatten the third, to move according
to a minor key, you can just change that note. It's just like scratching out on a piece of
sheet music and making a change there on that piece of sheet
music and changing it. You can't do that with a piece of polyphonic
recorded audio. And besides all of this, mediated saying,
it's just plain fun. Okay, I've made up a song here. It's the timings horrible. There's some pitch mistakes.
Let's have a listen. Shuffle like an
eighth note triplet. So there's embed stuff there. I just played this in by hand is this drum, this
with one take. And timing is bad
in the piano here. Also this embalmed notes and maybe some timings
bed in there as well. So first things first hit E, or you can hit up
here either way, whatever track you
have selected, you'll be able to see exactly
what's going on here. And you can see, here's my left hand is going
up the keyboard. You can audition notes up
here to be able to see, you can click on any note and you can adjust its velocity, adjust its pitch by
sliding up and down or adjusting its
timing back and forth. If you want to turn
your snap off, then you can really finally move things around
the left and right. But if you want to just be
able to change pitches of things and not particularly
get them ou
7. Mixing: Okay, We've now
record that tracks. We've edited them to perfection. Now the song is really
starting to take shape. Up until now we've been messing with the
arrangement of the song, but now it's time to mess
sonically with the overall mix. Now, in the olden days, we will run all
the tracks through a huge mixer and racks and racks of outboard
signal processes and effects like
your compressors, EQs, reverbs and delays. You have an entire music
store of gear inside, inside your mixer, inside logic. And unlike the olden days when you saved up
for just one effect, like a revered dig
around to use once my first reverb was
a roll-on SIV 2000s, it was $2,000 back
in the late '80s, which is probably four
or five grand today. But with logic in any
door for that matter, you have unlimited processes and effects within logic here. So our job is to
massage each track to make it radio ray sound. But before that, let's
just set up to mix. Actually. Before I do that, I'm going to show you the
most basic logic mix of that. I can make them at a
very basic one here, which is three different tracks. Oldest playing one instrument. And these are all
playing the drum synth. So if you click on that, This all the, this is just
playing just a kick drum. This chat, this channel and track is just playing
just the snare drum. This one is just doing
the hi-hat right here. So now when I click on the
mixer or I can hit the X, you can see the world's
most basic mixer here. And the reason I did
it this way is that if you go underneath
here to the library and you start milling
around through this library and start
bringing up some software, since this is a
very clever thing, and I love that logic does this. But what it does is it
pre-populates a bunch of effects, sends and returns effects loops over here and make some boxes, pre-populates them with effects. I don't wanna do
that. I want to start out with the most
boring mixer I can, so that we can
build up together. And so you can understand exactly what this
mixer is doing. So you can see a kick snare hat, Stereo Out and master.
You know what? I never use the master, so I click out the master there and then let me just
widen that out a little bit. So we have at three tracks and
we also have a stereo out. And if I was to play that,
this is what it sounds like. Okay, so the first
thing is first, how do you adjust the
level is pretty obvious. You can do it down
here or up here. They are both linked together. And then you can adjust your pan of anything
to the left and right. If you hold down option
while you click anything, it'll go back to its
default settings. So this will snap
back to zero dB. These are pretty loud drum, so I'm gonna bring them
down here and let me just reset that and play that again. Okay. That looks about
where it should be. Now, the next thing up
here in terms of routing, well, this is not
so much routing, but grouping of
failures together. If you click on Group and
you make a new group here, then anything else you
assigned to that group? In the case of these three, will now be linked together and you can drag them up and down. You can see the relative volumes stay intact in that way as well. This would be really
useful if you have a whole bunch of say, horn section or
something like that. If you just want to
ride them altogether, you can do it there
with the subgroups. Let's start up the top here and look at the gain
reduction, any q. So this is kind of
nondescript here there's kind of a short rectangle and a
little larger rectangle. But all that is, is as soon as you click on
it that will drop a compressor onto that
particular track. So in that case, this would
be the kick drum here. And then you can see we've got some nice gain reduction
going on there. Then the next one is EQ. And you can grab any
of these bands here. And then just, you know, either doing graphically up here or you can do them
up and down here. You can adjust the width and
also exactly where that is. And there's also some
factory presets up here. So that's the gang
reduction, any queue. Then down here we
have audio effects. Now you notice that since
I clicked on these, these both populate down here. And this is where you drop
in all of your effects on each channel or on the master
Stereo Out bus if you like. And if you want to
add another one, just hover over here. And then let's actually, let's do this over here
on the snare drum. And I'm gonna put in
a, say, a reverb. Okay, we'll do a reverb here. So now that snare
drum is gonna be, or the other way
of saying this is, this reverb is
going to be placed directly across this snare. And of course you can go through the factory presets here. And just the amount of dry and wet and all the other goodies
that are set up right here. So that's how you insert an effect on a
particular channel. And you can do as many
as you like on there. Just go to whatever
channel you want, and then just insert
whatever effect you want. If you want to turn any of
these effects on and off, you can just select
them right here. Or what we can do is just select no plug-in if we want
to take that out. In fact, I'm going to take
that out so that we can learn how to set
up effects loops. And the way we do that on, if you are using hardware mixes, you'd have x number
of effects sends. Here you can do as
many as you like. All I do is I'll go down here. We'll go on a bus and we
will select bus number one. Now, look what
happens down here. Automatically. This center is going to
go out to this orcs, and then that Orcs is going
out to the stereo out. So why would we do that? Well now we can place
an effect on here. Let's imagine we're going to
put the reverb over here. So that means that anything
that is sent to that orcs, and in fact, I could rename that to something
a little bit more. If I could just
spell here or type. Now that that is set to reverb. Now I can adjust how much of that kick drum I want to
send into this Orcs bus, which has this reverb on there. So let's have a listen. Let's do the same thing. We're actually going
to do a new one here. And let's call this one delay. And what we're gonna do
is add a delay to that. So now bus one is going
out here to reverb, and this is going out to delay. And if you wanted to add these buses to these
other channels as well, or you need to do is I'll select that and then
hold down Shift. While I select the other one, then I can set up, I want to set that
to a bus number one, which is going to reverb, and then bus number two, which is going to delay. So now when I play this, I can add some reverb to the snare and a
little bit of delay. Why are we not
hearing that delay? Let me change that a little bit. Now we're hearing it right. Now. If you come from a
live mixing background, you'll notice that a lot of modern digital mixes
have sends on faders. So when we click this on, what happens is
that these faders, I change color for a start
to give us an idea that they are no longer
your left and right. Let me turn that off. Then. This is how loud
they are going to be when being sent out
to the stereo out, this is how you're making
your left and right mix. But when you click this on, now, these are your sense for either the reverb
or for the delay. So over here, here's our revert. See that's not bringing up
the level of the kick drum, It's bringing up the level
of reverb on that kick drum. And that delay is
making me see sick. I mean, kind of
cross here to add delay and we can pull that down. So that's kind of a
quick overview of the most basic part of
your your logic mixer. Now, we're going to
be, I'm going to be demonstrating how to
mix with a full song, but this is kind of
gives you an idea of a stripped down version
so you can really get it, get it locked in that
these are tracks. And you can obviously do
the level and pan here, but all of the effects are up here in terms of you
compress it, then your EQ. Then what type of insert
effects that you want to, I mean, in the analog world, these would have
been on inserts. If you came from
an analog mixer. These would be like a tip brings slave to a insert effect here. Or else you can go out through buses here
which feed these, these Orcs channels
which you then in turn place effects on there. So if you want to
share an effect across a number of
channels, user bus, but if you want to affect
just a single channel, just go ahead and click through here and decide what you want to place inserted across that,
that particular channel. Then in terms of what
you want to see on here, you can select and deselect
various things here. Like if you want to see
all tracks that will lead to include the
click, click down here. Or if you just want
to hit single, and that will just show just the track that
you've selected. Here. I normally
set it to tracks. And then if you've set up your, your Orcs channels over
here and set them up with their effects just the way you want them and you just don't want to
see them anymore. Just go ahead over here and hit orcs and just
de-select that. And that way you'll still
be able to send to them, but that way it just
won't clutter up as you start to get
a very busy mixer. Okay, So now we're
gonna do it for reals. And this is the song that
we've been working on. And as we said before, we've got some meaty stuff here. We have drums and then
all the rest down here are our live recordings
that base some guitars, lead vocal, and a bunch
of backing vocals. So when you are
setting up for mixing, we were talking about
when we were recording, we wanted to make sure
that we didn't have too much latency in setup. So we're going to under
preferences and under audio. And we set this to
about 128 buffer size. So that would give
us the amount of round-trip latency in this
in this range right here. So now that we've
recorded everything, I want to give my computer as much breathing
space as I can. So I will max this out 2024 and makes sure that if you have a computer with any
multi processing, then just set that to automatic and we can
go ahead and apply. Now that will absolutely
give a computer a lot of breathing room and then we will be
able to play it. But these tracks now this is a pretty simple song
and there are not a lot of plug-ins that we have, so I don't think this is going
to choke on this at all. However, if you were
doing a project that had 1 million tracks and
a whole bunch of plugins, then you may want to do something what
is called freezing. And the way we'll look at that is we right-click underneath here and we go down
configure Track Header, and we'll select Freeze. And you can see this
little icon of a snowflake sets up here. So let's imagine some of these tracks had a
lot of plugins in them. And in fact, if I hit i, then you can see
what this base is. Got a few plug-ins here. It says a little bit more.
There's not a whole lot there. But however, if
there really was, Then what we can do
is freeze tracks. You don't really need
to do this unless when you hit play it says that your computer is choking and please increase the buffer
size, which we've done. But then also you can
freeze tracks as well. So let's imagine
that these two have just a ton of effects
on them and they were the source of everything
choking what we can do is hit Freeze and nothing
really happens is just getting
set up to freeze. You might be asking
yourself, well, what the heck it is freezing
Actually before that, let's just go down here and underneath that track we're
going to open that up here. The freeze mode can
either be pre-fader or source only if you
have a bunch of effects, then set up the pre-fader. And that will be lit up here
with this snowflake here. So let's imagine just for kicks, we're going to
freeze all of these. And now what's going to
happen in our backing vocals? We'd actually need to
open them all up and then we'd select them as well. So as soon as you select everything that you
want to freeze, then all we do is hit Play, go back to the top and hit Play. You can see we're going through the timeline and
what logic is doing. It's actually rendering
out a copy of these, all of these tracks in the state that they
are in at the moment. In other words, with the way the plugins have been set
up and all that stuff. It's basically render them
out into kind of proxy files, which then allow us
very smooth playback. Now, I've gone ahead
and taken freezing off because of a very
simple song here. There's not a lot of
plugins going on and I have the latest generation. Macbook Pro here, so I don't
have any problems with that. But if you have an
older computer, definitely get to know that track freezing it
can really help you out. So other things to consider in terms of kind of getting
ready for a mix is just organizing your tracks
so you can grab any track just by the header here and
you can move up and down. Let me just put that back there. You can also color coordinate things underneath
underneath view, I believe yep. Show colors. And then you can select
any particular region. Let's say we're going to
select these ones here and we're going to make this yellow if for whatever reason, then if you selected this track, we could make that
red or whatever. So you can either select
regions or an entire track. I'm just going to
undo both of those. Control Z. But whatever
colors you want, I mean, some people for religious about
this stuff as well. Drums are boys go to the blue and then guitars always going to
be green or whatever. Whatever floats your boat about whatever gets
you organized is the, is the way you should do this. Also in terms of organization. If you just select any, any track and hit the H key, you'll notice that now we
have an H up here for hide, and then also these
buttons down here. So imagine you had a bunch of unused guitar tracks
or something like that. You could go ahead and
just select all of them. And that way when you hit Hide, then that will just go away. They'll, they'll still be there. But it's just a great
way to kinda clean up if you have a ton of tracks. Let me just turn that back. On an off day. Actually, another
thing to think of is if we right-click here and go underneath configure
track header, we can have out on and off. And what that allows us to do is just completely
turned off tracks. And that should turn everything off
including the plugins, which will save a lot
of processing power. So if you've done a bunch of ultimate takes and you
don't use them in your mix. Just go ahead and configure the track header
to have these on and off. And you can turn on
and off and turn off any unused tracks that you just want to
be using a new mix. Now let's see how we can group some of these
tracks together. Again, this is only
eight tracks here, but if you had dozens
and dozens attract, a great way to kind of organize them is only track folders. And so to do that, just select a couple of tracks. I'm going to hold down Shift, so I'm going to select
drums and bass. And as you can see that
different types of tracks here. This is a drummer track, this is an audio
track that we've recorded an electric
bass in here. And all we need to do
is go underneath track here and Create Track Stack. And there are two different
types of track stacks here. A folder stack just kinda
neatly organized this. You can see a
description down here, but a folder stack if we
would have to create that. Now, we could call that, say bass and drums, right? And then when we open them up, we have everything there, but it just kinda
tidies everything up here on the screen. And if I was to
show you the mixer, be careful when we
hit the mixing, you'd be like, Well, I thought we just
said 8-tracks, we do. But then there's a bunch of these effects sends that
were automatically set up when we selected our instruments over
there in the library. And the thing is, if you want to chase
down exactly why though it was set up like this
B3 organ had a bus three. And then over here on
Bus three that had a chorus space delay
and also a channel EQ. So the whole idea of this
being created over here, sorry, bus a3 being created
over here was because we selected a preset
in the library. So some people open
up a mixer and want to know exactly how all the routing works and
other people would just go, I just don't need
one. Look at it. And then you just
hide all the boxes. And that way you
just have a look at just your particular
tracks here. Now, this one down here, we're going to call
that drums and bass. Drums and bass. So that's drums and bass. You'll notice there's a
little triangle down there. If you open that up, you can see that here are our
drums and here's our base. And you can see
that there's all of the effects and everything
else is preserved there. But when we close it up, we just now have a very handy, just a volume fader that will ride both the bass
and the drums. So if I bring it down
here and we opened it up, you can see that that is
going to be affecting that. It doesn't move the faders, but it, what it does. Let me just play that. So it's a very quick way of just
not looking at the. Tracks that you just mentioned, you just don't even want
to see how I don't want to know how the presets came up
with all this cool stuff. I just want to be
able to ride the bass and the drums just from
here so you can do that. That's one type of track stack. Let me hit X on the mixer here, and I'm going to undo that. That should undo everything. And then we're back
to where we were. Okay. So the other type is if you hold down
drums and bass, and we're gonna go back
and only tracks here. And we're going to create
another track stack. And this time we're
gonna be doing a Summing Stack and create that. And then we're
going to call that, say D and B for drums and bass. Again, you can hide that if you don't want to see
what's, what's going on. But the great thing
about this one, if I hit X for the mixer, look at what the
other housekeeping that has happened here. You notice that I can again open that up so I can see
my drums and bass, or I can just close it up. But here's the interesting thing in the drums and the bass. The output of the drums and bass would normally be
going to the stereotype, but it's going to something
called a bus night. So where's bus nine? Well, actually, it's
automatically set this up and this is
being fed by bus nine. So do you see that the
drums and bass would normally just be going
out to the stereo out. But instead of that,
they kinda making the round-trip through bus nine. And guess what? This
is a real audio path. So in remember the folder
stack just a moment ago, this was completely blank. It was not an audio path. And the great thing about
this is that you can now set, I can add distortion dynamics, EQ, fault or whatever. So let's imagine if I was
setting up say, EQ, Channel EQ. Now I'll be E queuing
both the drums and bass because they're
actually coming through an audio path. Okay, let's go back to the way. This was an unjust
going to widen this up a little bit so you can
see exactly what's going on. Now, did I create any of these? I did not. I just went through here in the library
and I just brought up a bright vocal or whatever vocal that I brought up
on here on my lead vocal. And then all of these
things were, were preset. Now you can go
into any of these, like there's a pitch
corrector here instead of just doing pitch
correct in by hand. If you just want a quick
and dirty pitch corrector, you can put it right
here and obviously you can turn that on and
off right there. But all of this was just brought up when I
brought up that library. So when I'm mixing logic, I mean, I can go in and
tweak a few things, but unless something
really annoys me, I'll just go with
what is brought up. I mean, look at some of
these Guitar things. As soon as I brought up
some of these guitars, look at all these
pedal boards and tape delays and all that kind
of stuff. I'll go through. And if something is a little shrill or the delay
is not right, then you just go straight in here and you can make
your changes here. But other than that, if
you use a lot of these, if you use the library here, then your mixer is gonna be
pretty much prepopulated. And if it's a little
bit too busy, then like I said before, you can always hide the
Orcs passes out here. And that way you don't need to look at them and realize, okay, I just have these ones here, which is just eight tracks. It's more than eight
tracks though, because when you
click this out here, boom, that's a bunch of
background vocals there. And you can see that I've
bumped up the tenor. I typically do nine
tracks of vocals. And so three tenors
all in unison, and then three, so surrendered
the third and the fifth, and then the octave above
and things like that. And so I tend to, well depends on how good
that those high winds. But anyway you get the idea. I didn't not populate
all this stuff. All I did was just
duplicate this track one time and then just
make a whole bunch of Dukes of it and then
recording them all. I just pan them out
wide and adjusted the level and then place
them in a attract stack, which I can then close it out. And now I can just ride
the backing vocals, which probably about here. Let's just saw them up. I'm here to say, never take your luck. I'm so glad you brought me. So it's a quick way
to do your mixing. If you bring in things through. Through the library
because most of your work will be done for you. You can obviously
adjust anything you like going into any
particular channel, looking at the inserts. Or if you open up the ox is, let me close down
those backing vocals. If you open up the offices, if you wanted to have a master reverb bus or
something like that, then you could set that very easily and just go
across here and say, okay, I wanna do a new Send. And this, let's imagine
this one's ten. Now. Ten, where is that? Bus? Ten, okay, right here. So you could call
that reverb, reverb. And then you would just need
to add a reverb to that. And so now anything
you feed into this, which is bass ten here, let's imagine you want to take all the backing vocals so I could open up the backing
vocals, select them all. Let me just select
the first one, and then I'm going to Shift
click all of them here. And I can send them
out to bus ten. So now I have a shared reverb. It is over here. Where was it? A shared river over
here is bus ten. And then you can get
so granule in here. Imagine if you just
don't want a lot of reverb on your tenant parts, but you want it more
on your auto parts. You can set it up as
much as you like. And then remember that you can have the sound
on faders here. And so if I select that, and when I was my reverb, if I was to open it up, then I can adjust the
backing vocals and how much they want to be sent
out to that, to that bus. So with just a little
bit of change in the faders and then
going underneath the backing vocals and
pairing them out wide. Then I've got to mix. I'm pretty happy with. Of course, you can go in and you can make any adjustments here. And then if you
open up the oxygen, if you really want
to get cranially, you can you can
change from there, but I swear the workflow that I use more and
more often than not, it's just opening
up the library and populating with any
of these tracks. And that way, not only are all of these
insert effects set up, but also you all your
boxes are set up. And then you really just need
to make some adjustments in terms of your levels. And I'm pretty happy with this mix. Let's have
a listen to it. Easy to take life for granted. Gets second. Shan says, secured only. When I went and saw the beauty is that
she builds around me. I'm so glad you found me that Ladin been on living my life. Just pushing you away. Life out here on my friend. By the way, I listened
to this Hammond. And also that they wrote
a god is a mistake there. That's another thing, is
it goes through this and solar out because I noticed there's a
little mistake here. Yeah, Brett there. So if I select that hit
E on the piano roll. I've just that yeah, there's a couple of
bad parts there. Okay. I need to pull
them out a little bit. So when you mixing, don't forget to just get into
the habit of sewing some of these tracks because there
may be some mistakes there that you maybe didn't catch. But how nice is that sound? Check of that rhetoric? Gorgeous, loved me a Hamon. But to press this lab,
it's tracked down. And I'm here to say, never take your luck. I'm so glad you brought me. I'll be loving you. I'll be loving. So with everything
we've learned, we have a great static mix. That will sound great
when we export that and we played it in their car or
share it with their friends. But quite often you'll
want to tweak your mix in real-time to say pump up
the drums and the chorus, or fade back the horns
in the quiet parts. Let's look at automation. Now before we get
into automation, I'm going to quickly do a
shout out to the people at nectar because
the panorama T6, I just plug this in to logic. And I mean, apart from just going up underneath
here and leave control surfaces and
set up setting up here. It was pretty much
plug and play. And then once that's set
up with no further change, then you can go ahead and
change all of your tracks. Move around your timeline I showed you before
how you could go through the various
markers, very easily. Set that up here, hit record, then go to the next
track, hit record. But not only that, have you noticed that when
I select this track here, it automatically
knows that I'm in the B3 organ track and that all of these are automatically
mapped then not only just met, but you can actually see exactly what they are
here on the screen. So if e.g. if I hit view, that will bring up that
instrument and then I can adjust the draw bars here. I think this one down
here is rotor speed. So if I go over to
the cabinet here, you can see I can speed that up. Slow that down. Just having that
on the screen just makes things so much easier. Okay, now let's have some fun automating and all
we need to do is hit a on our keyboard or
show hide automation. You can click this
icon right here. Either way you'll get to a
screen that looks very much, I'm just hitting a here. It goes from this
to this where we can decide instead
of just reading, we're going to touch, right? Instead of volume,
what I'm gonna do is I'm going to automate. You can automate, draw budget, almost anything you can see on the screen
you can automate. But instead of me doing it here, I know that it's
down here because I see it on my screen
on the panorama T6. And so it's the
second knob here. And all I'm gonna do
is turn that around. And you'll notice that that distortion drive
has come up here. So let's go from the
top and just hit play. And then we'll maybe the rotor. Easy to take lab. So you can see that now we have two different things that
have been automated, the distortion drive and
then the rotor speed. And in fact, if you click
on this triangle down here, you can see both of them here. Let me just click this out. And what I'm gonna do is zoom in a little bit and
go back to the top. And so you can see that's
probably a little bit too much. That's probably
about right there. So you can see all of these
automation points have been written in and you can grab any of these and you
can move them around, do whatever you like with them. I mean, there are some people who were just
born tweak is right. And they just love to get in
here and do all that stuff. So you can either
do it in real time with the front panel,
a ViewController, or else you can go in and draw all these and don't forget, you also have automation select and curved tools as well here. So let's go ahead and
thin some of this out. Just for fun. If
I was to select, actually let me just do it on the first one, the eraser tool. Now look what you can do
as you go across that. That's erasing all of those all those minute changes
and kind of making it a little bit thinning
out that automation. So let me go back
into the pointer. Actually, you know
what I'm gonna do? I'm gonna go into
the curve tool here. And then when you grab this, then you can actually
kind of curve that, really shape that into
any way you like. Now let's go ahead and set
this back to read here. And I'm going to open up the
where is it? Right here. Now, let me just move that
out of the way and see what happens to these controls
as we play from the top. Easy to take. Then if I set up my T6
to mix a mode that will allow me to mix all of my tracks right here
from the front panel. As long as these are
set to touch in volume, then I can just grab
the first failure. You can see it
right there now I'm adjusting the level
of the second one. And if I was to hit
go from the top, I could just mix all of these. As you want and you
can see all of that. Okay, so let's prepare to bounce all of this stuff with all
its effects and other mixes, settings and all the
automations that we've done. And we're going to balance
that out to a stereo far. But before we do that, we
need to make sure that end of the song is tacked up right
to the end of our tracks. Because right now if
you bounce this out, there'd be all these measures of just sars at the
end of that track. So all we need to do is
just go here and just scoot that up to exactly where that needs to be and that should work out
filed civil listen here. Okay. So I'd like a fade
out here so that organ doesn't end abruptly. How would we do that? We
would need to set that up. If you guessed a for
automation that you'd be, you'd be right, we just hit a on your keyboard, we seal that. But I can automate
all these tracks. How do I automate all of them together or the
master output track? Well, let me just hit a again. All of that is found on the
track and show output track. And now you can see
down the bottom here, we have a master
output track here. And if we hit a again
and set this to volume, then you can see here's the
level that we've set up. And it looks like I just
bump that down just a little bit because it might
have been overloading. So all we need to
do is I'll go ahead and zoom in on the end here. And let's look at this
master track only needs to do is let's kind of listener
where they should fade out. Probably start right at
the end of this part here. So only do is click on
this to set a point. And then let me go
to the right here, and I'm going to
click another point and then I'm going
to drag that down. So now that should
give us a nice fade. That might be a little late. Maybe we wanted to
scooch that back there. And if you wanna do
a curve in there, you can go up underneath
here on the secondary tool, automation curve tool, and
then you can bend that curve, but I think a linear
one should be fine. Okay, that's fine.
I'm happy with that. So now that's taken
care of the fade-out. And by the way, if I
was to hit the, the, the extra mixer here, look at our master right here. If I was to bring the
play head back here, you can see that that is moving down because we've laid in
that, in that automation. So in just the same way that
we have brought in effects, if, what about sat right now, it would sound fine. But normally you'd wanna
do some mastering lice and mastering effects on
this master output here. And so you could drag them in. I mean, just go through
here and look at some, some, what would I
like to do in here? Certainly put, put
some dynamics there. Maybe the multiprocessor. And then also the limiter, read the end of the chain, maybe an EQ to roll off
some of the low end there. But why do all of that
when I can hit Y here. And as long as I have
this one selected, let me just go up here. Where is our master? If I select this one
here, check it out. We have a bunch of preset and you can see them
being populated across here. So if you're doing any
particular type of genre, I'm thinking this
is jazz sound like. So let me start from the top. Hit Return. Like Paul keeps it
a little bit low and I can get my first. It gets second chance. Q and strapped up in
the hospital to hear. When I'm waiting to solve, the beauty is that she builds around me looking
at this one here. Glad to be on because
the limits a lot inside. I've been living my life, just pushing you away. I live down here on my god. Maybe the compressor
and just drag down. I'm here to say, never take your luck. I'm so glad you brought me. Oh. So once you've got
everything done, we've added all that tracks. We've got our master track. With the fade-out, we
sit the end of our song, we're all ready to bounce
this out and always do is hit Command B and
I'll come up right here. You can decide what kind of
files you want to send out, unknowingly will send
out PCM and also an mp3. The PCM could be an AIFF file or a WAV
file, whatever you want. I'm only this bump out away far. And if you've got to
distribute this into a lot of the music distribution sites are probably want
that in a 16 bit. If you're gonna be doing that, certainly wouldn't want
that to be interleaved. So it's a single file, the left and right file there. And then you can go ahead and set that up with some dithering. So that just introduces some very low-level noise
that will just mass some of the artifacts from going down from 24
bit down to 16 bit. And then you can set up
your options here for your MP3 file away. Also. And I'll go ahead and do that
offline as soon as you hit. Okay. Then you'll be
given the opportunity of where you're going to
place that bounce and then render on out. We got through it all. That was a lot to go through, but this is a really serious music production application. When I first moved to Hollywood
back in the '80s and yes, I did have the obligatory
huge hit back then. I used to design and install projects studios for
some amazing artists. I actually put together a
personal recording studio for Whitney that she could
use in her hotel rooms. When we're out on the road. It was 8-tracks. Couple of effects might pre, and in a small rack mount. Mixer. In this little rack, probably four or five
grand in 1990s dollars. What you have in your hands for a couple of hundred bucks is a hundredfold what
the biggest star in the world had in her hands. Don't ever forget that. We really live in
an awesome times. Now, while I've taught you pretty much everything you
need to know within Logic, there are many other skills
and a training that you need to master if you wanna get really, really
great results, things like say Mike
selection and positioning, mixing tricks, proper use of compression and all the EQ
tricks that the pros use. I have a course that would be the best companion for you and it's called The Ultimate
home recording score. It is a solid six or
7 h of everything. You need to know how to
make radio ready mixes, along with many
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on our website. For that. I also have a bunch of masterclasses that delve
into EQ compression, mixing and producing
killer vocals and arranging vocals and
all those harmonies. These courses go super
deep into these subjects. I hope you can all check
them out to a website. And remember, we have
a money-back guarantee on all our courses. So you really can't go wrong. So in closing, thank you so
much for hanging out with me. I hope you've had fun. I certainly have. I look forward to seeing you on the next proteome EXP training
course shell for now.
David Wills
