Logic Pro for iPad - Music Production in Logic Pro

1. Welcome to this Class: Hi there and welcome to this Logic Pro for iPad course. This course will teach you the essentials and more of how to create music in this app. So if you're an iPad user and you want to learn how to make music, then they recommend taking this course. This course is perfect for you if you're beginning at Using Logic Pro, or even if you've already used the Mac version of the software, and you want to learn how to make music on your iPad. So let me quickly tell you now what you're going to learn in this course with me. We'll start off by looking at how to create a new project and then explore Apple loops and patches which you can use in your songs. Then we'll look at recording and editing Midi and also how to use play surfaces and virtual instruments. After this, we'll look at recording audio and some essential audio editing techniques such as Coming. Then we'll look at how to compose music with live loops, and also how to use a step sequencer for programming drum beats. Then we'll look at some more advanced editing, including editing velocity, quantizing, and automation. After this, we'll look at effects processing and grouping, including EQ, compression, reverb, delay and distortion. Then we'll look at mastering and exporting so you can share your songs and get them out of the world. So join me in this course. If you want to learn how to use logic pro for iPad today. 2. Downloading and Installing Logic Pro for iPad: Let's kick things off by ensuring you have logic P for iPad properly installed on your iPad. If you haven't already head over to the app store and download the app. You will need to check here to see if your iPad is capable of running this app. But once you've installed the app, open it, and let's explore the setup process. When opening Logic Pro for iPad for the first time, we'll ask you to download three essential Studio packs. The Studio instrument Essentials pack, the electronic essentials pack and the hip hop essentials pack. Each pack has over 250 apple loops, over 450 instrument and audio patches, over 80 plugins, and more than 50 samples. In total, they take up around 2 gigabytes of storage on your iPad, but we recommend downloading these to make full use out of Logic Pro for iPad. 3. Interface Overview: Interface overview. Now that we have a logic pro for iPad installed, let's familiarize ourselves with the interface. The arrangement window is your musical canvas. It's where your project comes to life. Think of it like a timeline where you can arrange and organize your musical ideas. Here you can see your tracks laid out and the region on those tracks. You'll spend a lot of time here shaping your song by dragging and dropping different elements. The playback marks the current playback position within the timeline or arrangement window. It appears as a vertical line that moves horizontally across the timeline as a project plays back. The playhead provides a reference point for navigating through the project, allowing users to locate specific parts of the composition, edit regions, add musical elements, and monitor the playback progress in real time. You can scroll to different sections of the arrangement window by tapping, holding, and dragging on a blank space. To zoom in and out, pinch the screen of your finger on thumb and move them closer and further apart. A track refers to a container that holds audio or medi data, representing a single channel of audio or a medi instrument. We'll look at this in detail later do. Tracks are organized within the project to manage and manipulate different elements of a composition. You can see the tracks listed on the left side of the arrangement window. These can be re arranged by tapping, holding, and dragging the tracks up or down. A region refers to a specific portion of audio or midi data within a track. Regions can be edited, moved, duplicated, or deleted independently of the track they belong to, allowing for precise manipulation and arrangement of musical elements within a project. An alternative to the arrangement window is the live loops window, which can be accessed from the top left of the arrangement window. This creative space helps you visualize the interaction between sections of your track in a more loop based way. We'll dive into the live loop section later in this course. To switch back to the arrangement window, you need to tap the icon with a three broken lines immediately to the right of the live loops button. Located at the top of the arrangement window is the transport area. This is your control center for playback and recording. It's like the play, pause and record buttons of a music player with a lot more power. Press play to listen, pause to stop, and record to capture your musical ideas. So we can tap here to play and pause, and we can press this button to record. This will loop anything inside the yellow cycle region. However, we can turn off the cycle region by pressing the cycle region button in the transport, and now this won't loop anymore. Okay, so now let's shift our focus to the track view, which is located in the middle at the bottom of the screen. Each track in your project has its own space here. It's like having a separate stage for each instrument or sound. You can see and edit the details of your tracks in the tracks view. Notice how the controls in the track view change when I select a different track. This reflects how different tracks can generate sounds differently. In conjunction with the tracks view is a single channel strip located at the bottom on the right side of the left most function. Here you can adjust the volume, panning, solo and mute functions of the selected track. Let's now set the volume and panning back to default by double tapping. Let's now close the track view by tapping the track view button again and let's continue looking at the interface. Next, we have the mixer located at the bottom on the right of the middle section of windows. This is your sound engineers control room. It's where you balance the volume of each instrument, add effects and give your song that professional polish. Each track has its own channel strip in the mixer, and here you can fine tune how everything sounds together. Let's now click and drag down to hide the mixer and continue looking at this interface. Another window you'll be spending a lot of time in is the piano roll. You can access this with a small pencil on the left of the middle section of windows. You must select a middy region before opening this window. The piano role in Logic Pro for iPad is a powerful tool used for editing and fine tuning midi data, which represents musical notes and the attributes. It provides a visual representation of a musical score in a grid format with each row corresponding to a different pitch and each column representing a specific point in time. You can add notes, change the pitch and duration of notes, change the velocity of notes, and many more things that will be covered later on in this course. Again, let's drag this down to hide this. Let's now navigate to the inspector by tapping the eye on the left section of windows at the bottom of the screen. And you can see the settings in the inspector change when I select the midi region. The inspector is used to fine tune individual track and region settings and parameters. For now, though, let's close the inspector by pressing the small eye button in the bottom left of the screen. Again, let's select the audio region by tapping on it. At the top of the arrangement window are four key tools for navigating the arrangement of your music. By default, the trim tool will be selected. Let me just zoom in a bit so we can see more of the region. Remember, we can zoom in by pinching with your finger and thumb and moving them further apart. To trim a region, tap and hold on either end of the region until the trim handles appear. Drag the trim handles inwards or outwards to adjust the start and end points of a region, trimming away unwanted portions of audio or midi data. Let's now look at the next tool, which is a loop tool. So let's select this. To loop a region, tap on the middle of the region, and notice the loop handles appear. Drag the loop handles outwards to extend the region and create a loop section. This allows the region to repeat continuously during playback. The length of the loop will be the entire length of the region you have selected, including any blank space in the region. To split a region, select the split tool, and tap where you'd like to split a region. You will see a scissors icon appear in the region you have selected. Drag this down to cut and split your region at the desired location. Let's now look at the stretch tool. To stretch or compress a region, tap the middle of the region, and select the stretch region. Drag the stretch handle to stretch the region, increasing its length, and slowing down the playback speed. Conversely, drag the stretch region inward to compress the region, decreasing its length, and speeding up the playback speed. For now, though, let's drag this back to where it was. These functions are allowed to precisely edit and arrange audio or midi regions within the arrangement window, facilitating corrective exploration and customization of your musical compositions in Logic Pro for iPad. Okay, so in this lesson, we've covered the fundamental aspects of getting started with Logic Pro on your iPad. For from installation and setup to exploring key components on the interface, you're now equipped to navigate the app confidently. In the next lesson, we'll delve into the exciting world of creating a new project. Thanks for watching, and I'll see you there. 4. Creating a New Project: Welcome to Lesson free of our Logic Pro for iPad course, where we'll explore the exciting process of starting a new project. This lesson covers everything from setting up your project to choosing the right track types. So let's get started. Let's begin by creating a new musical canvas. Let's open up Logic Pro on your iPad. And if you're not prompted to start a new project, head to the plus symbol or Press new project to initiate a fresh creative space. Now, let's talk about the two main types of tracks in Logic Pro, which are audio and midi tracks. Audio tracks in Logic Pro are used for recording and processing real world sounds such as vocals or instruments. They capture and playback audio waveforms. Applications for this on Logic Pro for iPad include recording your vocals using the built in mic on the iPad or connecting external devices like an audio interface to the iPad to record instruments like an electric guitar or electric bass. We'll discuss this in more detail, though, later on in the course. MIDI tracks deal with musical instruments rather than actual audio. They control virtual instruments or software instruments. Instead of recording sound, MD tracks record data about which notes are played, their duration, and other musical attributes. This allows for flexible editing and manipulation of the performance, making it an excellent choice for electronic music or using virtual instruments. In essence, audio tracks handle recorded audio, while med tracks handle musical instructions for virtual instruments. Okay, so let's click on where it says audio here, to create a new audio track. And let's also create another track by pressing this plus button here, and this time, let's choose a MD track. Let's just drag this piano keyboard off the screen by tapping and dragging down. Let's also create a bit more space on the screen by closing the browser window by tapping on this folder icon in the bottom left. Okay, so now, let's look at setting the tempo and the time signature. Okay. Before we jump in, it's crucial to choose the right settings for your project. Think of this as setting the stage for your music. Tempo refers to the speed or pace of your music measured in beats per minute or BPM. It sets the overall rhythm and energy of your composition, and we can select the tempo or beats per minute of the project by clicking on this number in the transport window at the top of the arrangement window. A higher BPM means a faster tempo while a lower BPM indicates a slower pace. The time signature defines the number of beats in a measure and the type of note that receives one beat. For example, in a four four time, there are four beats in the measure, and a quarter note gets one beat. And we can adjust the time signature by pressing on these numbers here next to the tempo or BPM in a transport window. These choices significantly impact your creative journey by establishing the mood and structure of your composition. A faster tempo might suit energetic dramas, or a slow one may enhance the ballad. The time signature changes the rhythmic feel. Early attention to tempo and time signature makes for a cohesive foundation for your project, guiding the creative choices you make as you bring your musical ideas to life. Both of these can be changed in the transport window at the top of the arrangement window. The browser can be accessed with the left most button at the bottom on the far left of the screen. This is your creative hub, offering quick access to a variety of musical elements. Apple loops are pre made royalty free audio and midi files covering various genres. They are great for instant inspiration. Just drag and drop them onto your project, to add loops, beats, or melodies. When using Apple loops, you must drag the mid loops, which are in green to a midi track and audio loops, which are in blue to an audio track. For this example, let's drag over the first audio loop, which is a drum loop called 60 shuffle drum set. Loops that are a different tempo to your project will automatically change tempo to snap to the grid. However, when adding audio loops, you may get this pop up box appear, which says that added audio file contains tempo information. Do you want to import it into this project. Press, don't import. If you don't want to change the projects tempo and you want to warp the audio loop to match your project's tempo. Or press Import, if you want to change your projects tempo to match the tempo or BPM that the audio loop was recorded at. For this example, though, I don't want to change the projects tempo. So press, don't import. Let's now find another loop. This time, I'm going to do a search in the loop search bar or peer at the top of the Appleop window. Let's search for a base loop, so I'm going to type in base. We can also press these filters to filter the search. For this, I want to find a middy loop. So in the filter, let's choose Middy loop for the loop type. There's also filters we can choose such as instrument, gra, and descriptors. But for now, I'm going to press done in the top right for all filters window, and you can see we've filtered it down to just the middy base loops in the search. Let's choose this one called dog Toth base free, and let's drag this over to the Middy track. If you're following along with me and you don't have this exact loop, I recommend just choosing another base mid loop. Let's just zoom out a bit now, which we can do by pinching with our finger and thumb and moving them further apart. Let's now hit the play button in the transport window and listen back to the audio and mid loop. Okay, so that's how to drag over Apple loops. These are royalty free loops, which you can use in your song, or you can use them as a starting point for your music or even as inspiration for certain musical parts. Let's just quickly talk about audio patches which we can access in the browser. We can go back to the browser's homepage by pressing this back arrow in the top left of the loops page. Audio patches on the other hand are pre made audio settings and effects. You can browse through a collection of audio patches and apply them to your audio tracks. This allows you to experiment with different sound textures and enhance your project. Let's now talk about saving your project. This happens automatically when you leave the application. It saves it to your Cloud. However, you might want to save your project to your local storage as a backup, or in case you have no Internet connection to retrieve data from the iCloud. To do this, tap the blue facing arrow at the top left of your project. Tap and hold in your project, select move and navigate to the folder, you want to store your project. At the top right of the window, select copy. You now have a version of the project, save to your desired location. Okay, so that's the basics of the browser, and that's how you start a new project in a Logic Pro for iPad. From choosing project settings to understanding different track types, you're now ready to unleash your creativity. In the next lesson, we'll delve into the world of recording and editing audio. So thanks for watching and I'll see you there. 5. MIDI Basics: Welcome to Lesson four of our Logic Pro for iPad course, where we'll delve into the exciting world of Midi. Mid or musical instrument digital interface is a powerful tool for creating and shaping musical ideas. So let's now explores key aspects. MIDI is the language that allows electronic musical instruments, including virtual instruments in Logic Pro to communicate with each other. It consists of messages that convey information about notes, dynamics, and other musical elements. Midi is the backbone of electronic music production. Creating and editing MIDI regions in the arrangement window. To edit a middy region, tap on it to select it. Once selected, you can move the entire region by dragging it left or right on the timeline. Adjust the duration of the Middy region by dragging its edges. This changes the length of the musical phrase. The trim tool must be selected for this to work, though. We can also show the med editor for more detailed note editing. We can do this by double tapping on the medi region and then go to edit and show an editor. We'll look at this in more depth in a moment, though. And we can drag the piano roll up or down to view more or less of it on the screen. For now, let's drag this all the way down to hide the piano roll, and now let's have a look at looping. Looping allows you to repeat a specific region on the track. You can do this by using the loop tool and dragging how far you want the region to loop. To use a copy and paste function, double tap a region and tap copy. Then tap a blank space and select paste to playhead. The duplication tool is just to the right of the copy tool. This allows you to duplicate regions by tapping and dragging them. So you can use these tools for a quicker workflow when arranging your regions. Workflow of the piano roll. To enter the piano roll, double tap on a midi region in the arrangement window, go to edit and select show in editor. You can also press the pencil at the bottom of the arrangement window. This opens a grid where you can visualize and edit individual midi notes. The piano roll grid represents time horizontally and pitch vertically. Each grid point is a potential placement for a Mdy note. The piano role allows precise control over note parameters. Tap a note to select it, then manipulates properties. However, we'll look at the piano role in more detail later on in this course. Virtual instrument to the heart of MD production, allowing you to play a vast array of sounds using your iPad. After selecting a MD track, you can select your virtual instrument from a browser under instrument patches. Use the filter to narrow down your choices or help you explore new sounds. Okay, so let's go back to the browser's main window by pressing this back arrow here. So there's a lot of different sounds and patches available to us in the browser. But now let's close the browser by pressing the browser button in the bottom left and continue looking at software instruments. You can change the parameters of your software instrument from the mixer or the track view. For example, we can select this drum snp instrument in the mixer and then select show details to see the different parameters for this instrument. Let's now drag the mixer out of the way so we have more space so we can see the parameters for the drum synth. The parameters here will depend on which software instrument you have chosen. For example, if we choose an electronic kick sound, we get options like tone and saturation. Again, let's drag this down, so it's out of the way, and let's have a look at another example. Now let's select the other midi track, which is an electric piano sound. We'll get options that you would expect to see on an electric piano like EQ and Drive. 6. Play Surfaces: Play surfaces. Logic Pro iPad play surfaces adds an exciting aspect to midi control. Play surfaces are interfaces are real instruments that can be played in time. To use the play surface, go to the keyboard icon at the bottom right of the arrangement window, and let's drag this up to make more space, and you can see that we have two rows of keyboards when we drag this up. The instrument will default to the one that best suits the chosen virtual instrument. But you can change this by tapping the keyboard drop down on the left side of the play surface window. You can see here we have different play surfaces to choose from, such as drum pads, a guitar fret board, chord strips, and guitar strips. But let's go back to the piano keyboard and have a look at some more controls by pressing the side control button. The velocity range determines the range of velocities assigned to the pads or keys on your play surface. It's essentially the difference between the loudest and quietest note the surface can play. Tapping the screen harder will increase the velocity. There will be more info on velocity control later on in this course, though. For now, let's close the sy controls by pressing the sy controls button again. When the piano surface is selected, the scrolling button lets you scroll horizontally along the keyboard, allowing you to play higher or lower notes. The play button freezes the position and settings of the play surface, allowing you to play freely. Let's now change to another play surface by pressing the play surface button. The edit function can be used on the fret board, guitar strip, and core strip surfaces, and lets you change the way the instrument is set up. So let's press the edit button now. For example, the strings on the fretboard can be retuned to different pitches and you can change the chore that the strip plays. You can then record in real time from the play surface by first making sure that the correct track you want to record on is selected and pressing the red button in the transport. It's worth noting that having the metronome on will help you stay in time. The metronome is located on the right of the transport. The numbers next to the metronome button indicate turning on a counting of usually four beats before the recording starts. Let's now drag up the control surface and let's press record and record something. And let's play this back now by pressing the play button to hear what we recorded in. I also turned off the metronome drawing playback by pressing the metronome button again, so it's not lit up as it can get a little grating here in the metronome sound all of the time. Okay, so just in this lesson, we've covered the essentials of MD in Logic Pro for iPad. From creating and editing midi regions to the creative water play surfaces, you now have the tools to infuse your projects with creative expression. In our next lesson, we'll explore recording and editing audio. Until then, keep experimenting and enjoy the creative possibilities of MD in Logic Pro for iPad. 7. Recording and Editing Audio: Welcome to the next lesson of our Logic Pro for iPad course, where we'll explore the essential aspects of recording and editing audio. This lesson covers everything from capturing your audio to mastering the editing tools at your disposal. So let's dive in. So let's now add a new audio track, which we can do by pressing this plus button on the left. Now, let's choose a new audio track from this pop up menu. Let's now close the browser by pressing the browser button in the bottom left. Now, let's rename this audio track. We can do this by tapping on the track icon and selecting rename. I'm going to name this track guitar and then tap enter. Okay. So now let's talk about setting up to record on this audio track. To start recording an audio track, select an empty audio track, and tap the red record button in a transport bar. Logic Pro will now record audio through the built in microphone on your iPad. Let's now tap record and record in a few chords on an acoustic guitar. Okay, so that wasn't played perfect, but we will record in another take soon, and I'll show you how to choose the best takes. Let's now have a look at the splitting and joining tools. In Logic Pro for iPad, splitting and joining tools are fundamental for refining your audio regions and creating a seamless arrangement. Let's now explore these tools in a concise overview. Okay, so now let's have a look at a split tool, which we can access by tapping this button here. So, the split tool allows us to divide audio regions into separate sections, providing flexibility and editing. You can see that when I tap the split tool, the scissor icon appears, and we can drag down on the region to split it. Now we can tap on the split audio region and drag it to another location if we wish. Let's now have a look at some of the uses for the split tool. So now we can isolate a specific part of the recording for further processing. With the split tool, we can trim any unwanted sections of an audio region, and we can also create space between two audio regions for more accurate arrangements. The join function seamlessly merges adjacent audio regions into a single continuous region, maintaining a smooth transition between them. To join two audio regions together, tap and hold one audio region while taping another. This will select both regions. Then tap on one of the selected regions to open the menu and go to bounce and join, and then join. The uses of the joint tool include combining multiple takes or sections into one cohesive performance, creating a continuous audio flow without audible gaps between regions. Let's now talk about comping. Coping short for compiling allows you to piece together the best performances from multiple takes to create seamless performance. In the iPad version of Logic Pro, this verse requires creating a takes folder on an audio region. You can do this by recording over an already existing audio region. So let me show you how to do this now. So let's now record the guitar part again. This time, over the audio recording that we recorded previously. Then select the region and go to takes and folders. So you can see here the two guitar takes that we recorded. Let's now select tate one. However, for this example, let's select tate two, as I think this will play better than take one. So let's select the region again and select takes some folders and choose take two. To cot multiple takes together, use the split tool to establish a section of the take you like. So for example, let's make a split after the second chord. The third and fourth chord from take one. The first part of the recording is take two, and the second part is take one. So let's move the playhead ruler to after we play chord two. And now let's use the split tool to split here. Now let's tap on the second split audio region and go to take some folders and choose take one. Repeat this process until you have a full comp of your performance. So let's play this back now by pressing the play button to hear our comp. For a faster workflow and coping, you can move this project to Mac and use Logic Pro for Mac to comp. This allows for quick swipe coping, which is a more efficient way to comp takes. You can also import audio into Logic Pro for iPad, allowing you to incorporate existing audio files into your project. So let me show you how to do this now. One way to do this is to simply drag and drop an audio file onto an audio track in Logic Pro. First, you need to have files open on your iPad, as well as Logic Pro. Then double tap on the home button and drag logic P to the files tab. This will split the screen allowing you to drag audio files from the files tab to your logic pro project. Logic Pro for iPad supports MP freeze, waves, and AIFF file types. Let's just drag the Logic Pro screen over now so we can only see this. Okay, let's solar this track and now let's press play so we can hear this imported audio file back. Building. Okay, so let's now unsolo this track, and let's now talk about some tips for recording audio. Use headphones to reduce bleed. Wearing headphones while recording minimizes sound leakage into the microphone. Connect to an audio interface for better quality recordings. External devices that are used to connect audio inputs like microphones or instrument cables to digital devices are called audio interfaces. This opens up a range of options for recording, including various microphones, guitars, bass, electric piano, and hardware symps. And there you have it recording and editing audio in Logic Pro for iPad. From capturing the perfect take to using advanced editing tools, you're equipped with the skills to elevate your audio production. In our next lesson, we'll explore MD recordings and advanced techniques for bringing your musical ideas to life. So thanks for watching and I'll see you in the next one. 8. Using the Live Loops Window: Welcome to this next lesson. In this lesson, we'll dive into the exciting realm of the Live Loops window and sequences. This feature brings a dynamic grid based approach to music creation, providing a visually intuitive way to build and perform your compositions. You can access the Live loops window by pressing the grid icon at the top left of the arrangement window. The live loops window offers a grid base interface where you can trigger and arrange musical ideas. Cells are the square space where you would usually see regions in the arrangement window. They represent individual musical elements such as audio loops, one shots, or midi patterns. Sens are the columns of cells represented by the numbers at the bottom of the live loops window. They group together multiple cells for a structured composition. Live loop supports Midi, allowing you to trigger virtual instruments and software instruments. Audio cells, let you record in audio or trigger pre recorded audio snippets, loops, or samples. Before starting in live loops, create a cycle using the yellow bar on the ruler at the top of the arrangement window. Let's return to the arrangement window by pressing the arrangement icon in the top left. The cycle will prevent the playhead from moving away from your arrangement or you spend time in live loops. And we can turn the cycle on and off with the cycle button up here. Let's return to the live loops window by pressing the icon in the top left. In live loops, various tools are enabled to enhance your creative workflow and control the playback and arrangement of musical elements. Let's explore the key tools and their functions. The trigger tool is fundamental for launching cells in real time drawing playback. When selected tapping on the cell or scene triggers the playback of the musical element assigned to that cell or scene. The key tool is useful for preparing cells to play at the next scene transition without triggering them immediately. This is valuable for senless transitions between different musical elements. The record tool allows you to record your performance in real time. More on this in a moment, though. The edit tool provides access to additional editing options within the live Loops grid. It allows you to select and move cells or scenes. For example, let's move this cell here. In Live Loops quanti start, which is located at the top right of the window refers to the process of automatically adjusting the start point of cells to the nearest musical grid points. Draw and playback if it's set to 1 bar, it will take this long for the cell or scene to play after pressing the trigger button. If I increase quanti start to 4 bars, you'll notice the cells won't play back until after 4 bars. This allows you to plan where your arrangement changes, giving you more creative freedom to perform using logic pro for iPad. Recording in live loops is a fairly simple process. And let me show you how to do this now. Assign an instrument to the selected midi track just like you would in the arrangement window. If you want to record onto a midi track. We can create a new track by pressing the plus button in the top left. Let's choose a My software instrument track. Now, let's choose a drum preset sound and move this over to the new track. Make sure your iPad is set up for recording, and the metronome is enabled if needed. And we can enable and disable the metronome by pressing this icon up here. Adjust the tempo and any other settings as desired in the transport. Select the record tool in the live loops toolbar. This tool looks like a red circle and is used for initiating recording. If you want a counting before recording starts, enable the counting feature in the transport settings, which is this button up here. Tap on the cell to start recording. Play your medi instrument or input notes using an external midi controller if connected. Let's now open the play surface. As we have the drum instrument selected, we can see it shows a different drums and percussion instruments. If recorded onto an audio cell, then perform into the iPads microphone or microphone or instrument that's attached to an audio interface connected to your iPad. When you're done recording, tap the stop button. Okay, so let's record something in now by pressing record on the cell. So this will give us a 1 bar counting, and then we'll record in a drum part by pressing these play surface drums on the iPad. Okay, so let's hear back what we just recorded. Your recorded middy performance will now be captured in the selected cell. Note that the length of the cell you're recording on defaults to the length of the first recording that cell recorded. Recording over the same cell, again, is restricted to the same length. This length can be further edited in the piano roll for My cells and the file editor for audio cells. Simply open the editor with the pencil tool at the bottom of the window and drag the cell length from the top right of the ruler. Another way to use live loops is to import loops from the browser. So let's open the browser with the browser button in the bottom left. Within the live loops window, locate a loop section in the browser. This is where you can browser and select loops to integrate into your project. Before importing the loop, you can preview it by tapping on the left icon of the loop. This allows you to audition the loop and decide if it fits in your composition. For this example, let's audition some guitar loops. So let's select guitar up here in a loop browser. So let's play this back and then audition these guitar loops with the drums and bass loop you've added. Okay, I think this one called Silver Sky guitar picking sounds quite good. So let's use this one. We can use this loop in our project by tapping and dragging the loop onto an empty cell. Middle loops must be dragged onto a midi track, and audio loops must be dragged onto an audio track. You can edit the notes and performance of the Middle loops in green, but not the audio loops in blue. Let's open the editor window by pressing the pencil icon down here. You can adjust the length of the cell by grabbing the top right of the ruler and dragging to your desired length from the editor window. Let's close the editor window by pressing this pencil icon again. A rranging in scenes. Scenes are a group of cells organized in a row within the live loops grid. Each column represents a different scene, and the cells within that column correspond to various musical elements such as loops, one shots, or media patterns. To create a scene, dragon drop cells into adjacent cells within the same column. These cells can represent different musical elements that you want to trigger simultaneously. Scenes can be triggered in real time drawing performance. Tapping a scene launches all of the cells within that column simultaneously, creating a cohesive and coordinated musical section. Let me show you how to do this now. So we need to press this button down here to launch this scene. Scenes provide a flexible way to arrange your composition dynamically. You can trigger different scenes at different points in your arrangement, allowing for spontaneous changes and improvisation. You can customize scenes by adding or removing cells, adjusting their content, or rearranging their order. This flexibility allows for on the fly customization drawing live performances. So let's just move some of these cells around and play back these two scenes. Also, drawing playback will be triggering some of the individual cells at different times. So let me show you this now, and let's start off by triggering the first scene. Okay. Transferring live loop cells and scenes to the arrangement window allows you to integrate your loop based compositions into the traditional timeline. Choose whether you want to transfer the entire live loop grid or specific sections. You can do this by first selecting the edit tool and then tap and hold on the cell and then tap on the other cells to select these as well. Once the cells are selected, use the copy function. This can typically be done by tapping and holding the selected cells and choosing the copy option from the menu. Alternatively, you can tap the copy button at the top of the window. Exit the Live Loops window and switch to the main window of Logic Pro iPad. You can do this by tapping on the arrangement icon usually located in the top left corner. On the main window, find the location where you want to pace the live loops arrangement. Tap and hold in the desired location, then choose the pace option from the menu. Another option is to select the regions you want moving over and tap copy scenes to playhead. This will copy and paste those cells to wherever you are in the arrangement window. After pasting, you may need to adjust the arrangement in the main window. Drag and drop the pasted cells to align them with the existing tracks or sections in your project. Once the live loop arrangement is in the main window, standard editing tools to fine tune your composition. On the left side of the arrangement window and the right side of the live loops window has two arrows facing opposite sides horizontally. The highlighted arrow indicates whether the live loops window on the left or the arrangement window on the right is active. This allows you to work fluidly between both windows. Okay, so now let's play back our current arrangement from the arrangement window. Okay, so that's an overview of the Live Loops window. Next, we'll have a look at sequences and the step editor, which we'll look at in the next video. So thanks for watching and I'll see you there. 9. Sequencers and the Step Editor: Sequences and the step editor. Sequences can be used to arrange the rhythms of an instrument. In the past, hardware sequences had been used to program drums, bass, symps and other instruments. Nowadays, though, it's very quick and easy to program these sequences in a digital audio workstation, such as Logic Pro. To access Logic Pro sequencer called the step sequencer, create a pattern region instead of a midi region from either the arrangement window or the live loops window. So let's do this now. Let's create a new track by pressing a plus button in the top left, and then let's choose a pattern track. Creating a new pattern or midi track, we'll open the instrument patches window in the browser. Let's choose this instrument patch here called a Gogo funk. Let's now drag this over to the track header, and this will replace a Deluxe classic instrument with the Gogo funk drum instrument. Let's solar this instrument, and now let's add a blank loop so we can type in our own pattern. We can do this by tapping and holding on a blank space in the arrangement and then select Create Pattern region. Then tap on the pattern region. Tap edit and select showing editor or simply open the editor window at the bottom of the window. So now we have the sequencer open. Let's have a look at some of the tools in the sequencer. The length on the right indicates the number of steps the sequencer uses. Steps is a unit used in sequences that break the pattern into equal measurements. Usually, it's rhythmic value is a 16th note. You can add musical elements such as notes, chords, or drum hits. Use the grid to align elements to the desired beats or bars. So let's type in some steps now. Horizontally, we have the steps. And vertically, for this instrument, we have the different instruments. So the kick, snare, clap, and high hats, for example. Different instruments may have notes vertically, but for this drum kit, we have drums. I've just added a simple kick and snare pattern, and let's hear this back now. Sequencers can be used for any instrument plugging in logic pro, but traditionally used for drums. Let's now have a look at a few of these functions for the step sequencer, starting with the ti function. We can access the ti function by pressing this button up here. So when we tap on a step now, it will tie the steps together rather than adding or removing steps like we had previously. The ti function allows you to extend the duration of a note beyond a single step. For instruments with no sustain like drums, this will have little impact, other than making your interface simpler to look at. For sustained instruments like base, this allows you to sustain notes. Let's now add a base track and sequence a pattern so we can correctly demonstrate the tie feature. So let's create a new track by pressing the plus button. Let's choose a pattern software instrument again. Then in the browser, let's remove the drums tag and add the base tag. Let's now add this eight to weight base instrument to the new instruments track header to replace the instrument. Okay, let's now create a new pattern region. To do this, tap and hold on the arrangement for this track and select create Pattern region. Let's now tap and hold on this region and go to edit, showing editor. Let's now drag up the editor, so we have a bit more space. You'll notice now vertically, we don't have the different instruments. We have the different note pictures for the base. Let's just keep this simple, though, and I'll type in a note every four steps on the note C free. Okay, let's hear this back. Now let's go to the tie function and tie these notes by tapping and dragging. Okay, let's hear this back and you should be able to hear that the first notes are tied and held. Let's now have a look at the repeat tool. The repeat tool allows you to increase how many times a pattern is played when a note is triggered. This allows you to incorporate roles and interesting grooves into your sequence. So let's have a look at this on the drum pattern. So let's now close the base pattern editor by pressing the pencil icon. And now let's solo the drum track. Let's now select the drum pattern region and open up the pattern editor by pressing the pencil icon. Let's now tap on the repeat tool up here. And let's drag on the snare so it plays back three times rather than one. Okay, let's hit this back now. Okay, now let's have a look at the loop tool. The loop tool lets you change the amount of steps that are being repeated for different tracks independently from one another. For this example, let's have the high hat repeat every eight steps. And the kick and snare repeat every 16 steps. Let's change the loop on off up here, and now let's type in a high pattern. For this example, I'll just have the high play every step. But if you're following along, feel free to make your own pattern. This allows you to incorporate more complex rhythms into your sequence. For beginners, we recommend keeping the loop time the same for all tracks as poly rhythms are a complex aspect of music that can sound messy when not executed properly. Let's now have a look at the Chance Tool. The Chance tool allows you to change the percentage chance that the sample will trigger after the sequencer has played the note. This adds an element of randomness to the sequence, which can be interesting for something like Sys. For this example, though, let's change the chance for the high hat pattern. By the way, 100% means it will play every time and 0% means it will not play at all. So, 25% means there's a 25% chance of the note playing. And 44% means there's a 44% chance of the note playing. Okay, let's hear this back. So you can hear that by using the chance tool and lowering the chance, we add some randomization to the part. Let's put the chance back to 100%, so the notes will play every time. Let's now have a look at the offset tool. The offset tool adjust the timing slightly before or after the note is actually triggered by the sequencer. Let's select offset and apply it to the snare. This goes from 0%, so no offset up to 50%. This also goes down to -50%, so the note will play a little sooner. This lets you further manipulate your rhythms and is a useful tool for creating lazy grooves by making some of the notes slightly later than the grit. The snare part should play a little later and should give us a more laid back and lazy feeling for the drum part. Let's now hear this back and adjust the offset amount for the snare. Okay. Okay, so that's some of the different note functions in the step sequencer available to us. Let's now have a look at how we can arrange our patterns. In the arrangement window, you can duplicate the pattern to create repetitions. We will need to select the copy icon up here to duplicate the pattern or region. Each instance of the pattern region shares the same underlying pattern, making it easier to maintain consistency. You can change individual pattern regions for variation. You can also copy and paste pattern regions into live loop cells to trigger and arrange them from there. So we can do this by going over to the pattern view and then tap and hold on a cell and press paste. From understanding the interface to working with median audio, you now have the tools to create dynamic grid based compositions. In our next lesson, we'll explore advanced editing and automation techniques. 10. Advanced Editing and Velocity: Welcome to this next section. In this section, we'll dive into the world of advanced editing and automation. So let's get started. Okay so have made this new project, and let's select this epic pop piano midi region, which currently has no midi notes. We can open the media editor by selecting a MIDI track and pressing the pencil icon at the bottom. Okay, so now let's have a look at the tools at the top of the medi editor. In the piano role, the brush tool can be used to draw in continuous midi data. You can use it to draw multiple notes of equal length set to the snap value located on the top right of the piano role window. Let's now talk about velocity. Vlocity in music production refers to the intensity and note is played. Vlocity adds expression to performances, influencing the volume, tombra and character of individual notes, making it a crucial element for achieving real sounding performances and emotion in electronic and sampled instruments. You can alter the velocity of a note in real time from a play surface by tapping on the notes harder for a greater velocity just like a real instrument. You can also change the velocity of midi notes after they've been recorded or programmed in. Let me show quickly now how to do this. Let's open the editor for this piano MD region, which has some midi notes in it. Let's now adjust a velocity for these midi notes. Tap one note and hold it. Then with the first note held, tap the other notes you want to select. You can also tap and hold a blank space and then drag to create a box which will select all the notes inside. Finally, you can select all by tapping a blank space and tapping, select all. Once notes are selected, find the velocity tool at the top of the piano roll window. This lets you view and adjust the velocity for each note in the piano roll. As you drag vertically on individual notes, you'll hear the notes repeat at the adjusted velocity to help you gauge how loud the note will be. Let's zoom in so we can see this a bit clearer. We can drag the note velocity up to increase the velocity and we can drag the velocity down to decrease the velocity. With higher velocity amounts, it sounds like the note was played harder and with lower velocity amounts, it sounds like a note was played softer. Okay, let's zoom out, and now let's select the chord and adjust the velocity for this chord. Let's hear what this sounds like first, though. Okay, let's zoom in, and let's increase the velocity by dragging up. Now when I play this back, it should sound like this chord has been played louder than before. Okay, let me show you how to adjust a velocity for a pattern. Patterns are most commonly used for drums, but they can be used for other instruments as well. Let's now adjust a velocity for this drum pattern. So let's now unsolo the epic pop piano track. Let's solo the Ogg funk track and let's select the pattern region. Now let's open up the pattern editor by tapping this button down here and let's drag the pattern editor up so we can see the rest of the drums. Now in the pattern editor, make sure we select velocity value up here. That way we can adjust the velocity of the steps in a step sequencer. This will provide a similar view on individual notes as the piano role, where you can adjust the velocity of individual steps. Let's hear this back first, though before we adjust the velocity. Okay, so let's adjust the velocity for the high hat. Let's make some of these quieter, so some of the high hat hits sound like they're being played softer. Let's just zoom in a bit so we can see this a bit clearer. Okay, let's hear this back now. So we can create more of a human feel when we adjust the velocity. When a human plays an instrument, each note hit will be a different velocity, compared to a computer where you can program it, so the notes have the same velocity. So for a more human style sound, even in electronic music, I recommend adjusting some of the velocities if you've programmed in the notes. If you performed in the notes, then there will be a range of velocities which can help make your music sound less robotic or rigid. For a broader change, first open the inspector from the arrangement window. By adjusting the velocity parameter inside the inspector, you can change the velocity for all notes in the selected region or region simultaneously. So we can drag up or down to increase or decrease the velocity percentage for all of the midi notes in the region. We can do this with the velocity over here in the inspector. We can also type in the number if you tap on velocity here. By mastering velocity control in logic pro for iPad, you can breathe life into your med performances, creating expressive and dynamic music that resonates with realism and emotion. Okay, so that's velocity. Next, let's have a look at quantizing. 11. Quantizing: Okay, let's now solo the drum track and talk about quantizing. Quantizing Midi in the piano role of Logic Pro for iPad is an important process for aligning musical notes to a specific grid, enhancing the timing and rhythm of your performances. Here's a step by step guide. Select the notes you want to quantize using any of the methods we discussed earlier. So for this example, I'll select all of the MIDI notes. Once the notes are selected, open the inspector with the icon at the bottom left of the screen and find time quantize at the top. In the quantized menu, you'll find various settings such as note value, and you can also find the strength setting here. The note value determines what degree your notes will be snapped to. For example, if you select one quarter notes, each note will be snapped to the nearest quarter note of the grid. For this example, though, let's change this to one 16th notes as the high hats were playing these note values. Okay, that sounds more suitable now. The strength parameter controls the degree to which notes are quantized. For this example, let's change it to 50% to see the difference. So we can keep some of the natural feeling of the part that was played, but still quantize it a bit to keep it more in time. This can help give your part a more natural feeling, while still keeping it in time. Let's listen back to this now and make sure the midi notes haven't been snapped to the wrong notes on the grid. The tighter to the original performances, the less likely quantization will make mistakes. All music lies on a spectrum of perfect timing, tight to the grid on one end and free flowing, expressive timing on the other. Gras like hip hop, pop, and electronic music generally exist closer to the perfect timing side of the spectrum. While gas like jazz, blues, and classic rock, operate closer to the other side of the spectrum. When making your music, be aware that you can operate along the spectrum. The strength function is one way to use quantizing in a way that lets you determine how far along the spectrum you want to be. Quantizing audio follows a similar process for audio regions as it does for MD regions. So let me show you how to do this now. Before we do this, let's close the inspector with the eye button and let's unsolar the drum parts and then solar the audio track. This audio region here is recordings of clap sounds. So let's quantize these. Select the region you want to quantize, open the inspector, scroll down to quantize, and change the quantize value and strength. Unlike quantizing Midi or quantizing audio and logic prof Mac, it is not possible to make further adjustments to the timing of an audio track on the iPad version. This makes it even more important to get the performance as close to the correct timings as possible before quantizing. The less tight you are in your performance, the more likely the iPad is going to make a mistake on quantizing, a mistake that can't be adjusted in audio. 12. Swing: Using timing tools creatively. Swing. The swing parameter adjusts the timing of offbeat notes relative to the grid. Increasing the swing value introduces a shuffle or swing feel by delaying offbeat notes slightly while decreasing the swing value reduces this effect. Using the swing function when quantizing adds groove and swing to your music, imparting a natural and human like feel to rigidly quantize rhythms. I'm going to add swing to just the high hat pattern in this groove, while keeping the kick and snare snap to the grid so you can hear the swing effect. First, I'll play the groove of slightly out of time high hats. Notice how extreme levels of swing can make the drums fill out of time. Subtle T is often the key when using timing tools creatively. Let's open the midi editor and then open the inspector. And now let's quantize this high hat part to one 16th swing A. Okay. Let's now change this to one eighth swing F. This time, it'll swing the notes and quantize them to the nearest one eighth feet division. Let's now increase the swing amount in the inspector, and you should be able to hear the difference. For now though, let's change the quantized setting to one 16th notes, and let's put the swing amount back down to 0%. Experiment with different swing values to find a groove that best suits your music. Subtle swing values add a gentle swing to the rhythm, while more pronounced swing values create a more pronounced shuffle feel. Experiment with combining swing with other creative techniques such as velocity adjustments, automation, and effects processing. These additional elements can further enhance rhythmic feel and depth of your music. Keep the musical context in mind when applyin swing. Different dramas and styles may benefit from varying degrees of swing. So tailor your approach to suit the specific needs of your project. 13. The Delay Function: Delay. Another creative way to adjust the timing of the music is using the delay function in the inspector. This differs from using a delay plug in, which will repeat the signal for effect. The delay function in the inspector delays regions by a matter of milliseconds. This offsets away from the grid and can make certain parts of your track feel more human. To use the delay tool in the inspector, first, select the region in the arrangement window. So for this example, let's select the midi region for this. Then open the inspector and find the delay section, which is under general. By reducing the number, you're making the region play earlier than the grid, providing a sense of urgency. You can do this for pattern regions, media regions, and audio regions. For pattern regions, you can also adjust the offset of specific steps in the loop by going to the offset tool and dragging a step up to make it later and down to make it earlier. This is a fantastic way to create interesting loops. So let's do this now for then. For now, though, let's set the delay settings back to the default of zero. Next, we'll have a look at automation, which will cover it in the next video. So thanks for watching, and I'll see you there. 14. Automation: Using automation in Logic Pro for iPad is a powerful way to add dynamics, spatial effects, and depth to your music. Automation allows you to control the volume and intensity of individual tracks or parameters over time. By adjusting automation curves, you can create dynamic shifts and volume panning effects and emphasize on certain sections of your music and adding emotional impact. In the automation window and piano roll, access automation lanes for each track by tapping the automation button located at the top left of their respective windows. Once selected, you can draw automation curves directly onto the tracks waveform or midi data. So we can tap to add automation nodes, and we can drag the nodes or pull down with our finger. This allows for precise control over volume panning, and other parameters. We can select what we want to automate with this drop down menu here. Use automation to create dynamic bills and fades, emphasizing climatic moments or transitioning between sections with varying intensity. Let's now play this back so you can hear the volume phase that I created with automation. Okay. Automate parameters such as reverb delay and spatial positioning to add depth and movement to your mix. For example, we can automate the reverb send for this track by tapping on the automation drop down and then going to main Sen one reverb. We'll be looking at sends and reverb later on in this course. We can also automate the send, which by default is delay. Again, we'll be looking at this in detail later on. Experiment with panning or automation, to create immersive stereo imaging. So we can automate the pan, so we can move the signal more to the left or right of the stereo field, or we can put it in the center. We can do this by tapping the automation dropdown and then going to main, pan and absolute. However, we'll be covering panning later on. Automating the effects will introduce evolving textures and movement in your music. This ad interest and dimension to your compositions. We'll look at automating the effects later on in this course, though. For now, though, let's choose volume for the automation, and let's now talk about automation modes. Automation modes allow you to write in automation in real time, providing a more human expression in your music. The automation mode can be changed for each track with the automation window open. You can find it on the left where each track title is. By default, this will be on the automation read mode. This mode is ideal for refining existing automation curves and drawing in automation manually. Let's now have a look at another one of these automation modes. Touch mode allows real time recording of automation changes while adjusting parameters using touch gestures. This mode enables dynamic and expressive automation control drawing playback. So let me show you this now. So I'm going to play this back again, and I'm going to adjust the vin fader by sliding my finger up and down, and you should see it recording the automation data. Okay, so let's just pinch vertically to zoom in and see what we recorded. Now let's look at the next automation recording mode. Latch mode, similar to the touch mode, but the automation mode will read what's already on the track after releasing the control. This mode is useful for making long term adjustments to parameters without needing to maintain continuous control. By using automation in logic P for iPad, you can sculpt the dynamics, spatial characteristics, and overall movement of your music with precision and creativity. Experimentation and practice will help you master this essential tool and unlock new levels of expressiveness in your compositions. We've explored the array of advanced editing and arrangement techniques. Practice and experimentation will further refine your skills. So let's dive into your projects and elevate your music to new heights. So that's the end of this lesson. Thanks for watching, and I'll see you in the next one. 15. The Mixer, Aux and Sends: Welcome to this next lesson. In this lesson, we'll explore effects processing and grouping, essential techniques for adding depth dimension and cohesion to your mixers. So let's dive in. The mixer. The mixer is a central hub for controlling and processing audio in Logic Pro. It provides a visual representation of all of the tracks in your project, allowing you to adjust volume, pan and apply effects to individual tracks or groups. You can access the mixer by tapping the right icon in the middle section of the windows at the bottom of the page. Let's now talk about the track controls. Track controls are located at the bottom of each channel strip. These controls include solo, mute, and record enable. The solo button mutes all channels except the channels you have soloed allowing you to isolate specific tracks. The mute button stops a track from playing back. Routing in the mixer of Logic Pro refers to how many audio signals are directed between tracks and buses within your project. Each track in your project has input and output routing options that determine where its audio signal originates from and where it's sent to. Let's scroll up in the mixer so we can see the top part of it. For beginners, understanding routing involves grasping a few key concepts. And let's talk about these now. Input routing. This determines where the audio signal for a track originates from. By default, audio track inputs are rooted from your iPads microphone and midi track inputs are your virtual instruments. So I'm going to tap on show details now so you can see the details for the drum kit designer, which is the instrument on the midi track here. You can also route the input of auxiliary tracks to buses in your project. An auxiliary track is one that doesn't contain any actual data like an audio or midi track. They are used for sending signals to, manipulating the audio, and outputting the process signals. This is useful for adding effects like reverb, delay or chorus to multiple tracks simultaneously. It also allows you to determine how much of the original signal you want to have and how much of the effect, as well as route multiple tracks to the same auxiliary. The input of the auxiliary track must also be sent to bus one. Let's now talk about output routing. This specifies whether audio signal from a track is sent to. By default, tracks are routed to the main output for playback. However, you can also route them to aux tracks, via buses for further processing or to create sub mixes. For instance, you might route multiple drum tracks to a single bus for collective processing. Let me show you how to do this now. So let's change the output of the high hat to a bus and let's choose a new bus. Now let's rename this drumc. Let's also do this for the snare. So let's change that output here to bus free. And let's also do this for the kick. Now, all of the drums will go to the same bush track so we can add effects such as compression onto this bush track, and it will apply all of the effects to the tracks that have been sent to this bus. Let's now solo bus free, which are renamed drums, and let's have a listen to this back. Understanding routing and logic P is essential for organizing your project, applying effects and processing, and achieving your desired mixed balance. Experimenting with different routing configurations will help you develop a deeper understanding of how audio signals flow within your projects and how to achieve the sonic results you're aiming for. The insert section in your mixer allows you to add audio effects and plugins directly onto individual tracks. Each insert slot provides a dedicated space for inserting and managing effects like EQ, compression, distortion, and more. This section enables precise control over the signal processing chain for each track, allow you to sculpt the sound and enhance the mix according to your creative vision. These inserts affect the entire signal of the track. The sense section of your mixer allows you to send a portion of the audio signal from your track to an auxiliary track. Placing reverb on as an insert will apply reverb to the whole signal, making it sound washy and lose clarity. Let's just solo the piano part and add a reverb effect to this track. So we can tap on audio effects. Here I have Chroma verb in the recent tab. We can also find this effect by scrolling down to reverb and finding Chroma verb from here. There are other reverb effects in Logic Pro for iPad, which I recommend checking out. But for this example, let's use Chroma verb. Okay, let's now hear what the piano part sounds like with a reverb effect. So, this does sound quite washy, whereas sending the track to an ace via a bus allows you to determine how much reverb is applied to the signal. So you can see that we can add effects to the send tracks as well, just like regular tracks in Logic Pro. Let's now remove the reverb effect we previously added to the piano. We can do this by tapping on the effect and then selecting. Each send has its own level control, letting you adjust the amount of signal being sent to the destination track, giving you control over the intensity of the effect applied to your music. And we can adjust the amount with this dial in the sense area. You can also send multiple tracks to the same auxiliary by using the same bus on each send. This means you could send all of your instruments to the same reverb, instead of having multiple instances or reverb on each track. This can be useful so we can use the same reverb settings to keep the mix sounding more consistent. It will also save on CPU power so the project doesn't struggle with too many effects as would just be using one effect rather than several. So, let's just play this back now and adjust this senal. I'll also add a reverb send to the guitar part and adjust this control drawing playback. Let me show now. The routing order determines the sequence in which audio signals are processed. You can adjust the routing order to control how audio flows in a channel strip, ensuring that effects are applied in the desired sequence. For example, you might want to route a track for an E Q to remove some unwanted frequencies before applying distortion to ensure that the distortion isn't being applied to any unwanted sounds. So let's add the channel Q audio effect and also the distortion two effect to this piano parts. However, for now, let's just bypass these effects, so they're not applied when we play this back. You can be creative with your routing order, but the good rule of thumb is to fix the issues in the signal before enhancing them. Let's now talk about the output level. Located at the far right of the mixer. The fader on the stereo output channel controls the overall output level of your project. It is where you adjust the final volume before exporting or playback. You can also add effects to this channel by applying them to everything in your project. Avoid over using this as the interesting aspects of your music usually come from the differences between tracks rather than the effects on the whole track itself. For this example, let's add a distortion effect on the stereo out, and you should be able to hear that it doesn't quite sound suitable when applied to the whole mix. So I'll play this back now and adjust the drive and pre gain controls on this distortion effect. So, let's now remove this distortion effect from the steri out, because, as I said before, it doesn't quite sound suitable when applied to the whole mix. Okay, so that send of this video, where we've looked at the mixer, uc and sends. I hope you find this video useful, and I'll see you in the next one. 16. FX and Plugins - Equalization or EQ: Let's now talk about effects and plug ins. Effects and plug ins are powerful tools for shaping the sonic characteristics of your audio tracks. Let's now have a look at some effects in detail. So let's turn on the Channel E Q by tapping on the Bypass Channel EQ effect and selecting turn on. So now let's have a look at the Channel EQ in detail, and we can do this by tapping on the Channel EQfect and then selecting show details. Equalization or EQ is a fundamental audio processing tool used to adjust the balance of frequencies within a sound. E Q allows you to boost or cut specific frequency ranges, shaping the tonal characteristics of individual tracks or the overall mix. E Q divides the audible spectrum into frequency bands, ranging from base or low frequencies to treble or high frequencies. Each band represents a specific range of frequencies, such as base, 20 hertz to 250 hertz, mid range, which is 250 hertz to 4 kilohertz, and treble, which is 4 kilohertz to 20 kilohertz. These numbers are rough areas on the frequency spectrum. They're not strict rules. The Q and Logic Pro has three main controls, and let's have a look at these now. Again, this adjusts the level of the selective frequency band, allowing you to boost or cut the volume of frequencies within that range. Frequency. This sets the center frequency of the selected band, determining which frequencies are affected by the Q adjustment, Q or bandwidth. This controls the width of the frequency band affected by the Q adjustment. A hi Q value narrows the bandwidth. Focus in the Q effect on a smaller range of frequencies. Let's just show the mixer again by tapping the mixer button. OK, so now let's talk about some common Q techniques. Frequency balancing. Q is commonly used to balance the frequency spectrum of individual tracks or the overall mix. For example, boosting the base frequencies of a kick drum can add weight and impact, while cutting the low frequencies of a vocal track can reduce moodiness and improve clarity. Okay so now let's add an Q plug in to the kick drum and show the details for this effect. Then let's play this bag and boost the base frequencies for this EQ. Okay, now let's show the mixer again and close the Q details window by pressing the x in the corner of this window. Frequency carving. Q can be used to carve out space for different instruments in the mix. For instance, cutting the mid range frequencies of a guitar track can create space for vocals or other instruments to stand out. Okay, so now let's solo the guitar and piano tracks, and then let's show the details for the EQ for this guitar track. Let's now carve out some of the guitars frequencies so that the piano part stands out as these instruments share many of the same frequencies. Q sound sculpting. Q can be used creatively to shape the character and texture of sounds. Experiment with extreme Q settings, such as boosting or cutting specific frequency ranges to create unique sonic textures and effects. Let's do this now for the piano part. Let's unsolo the guitar track so we can only hear the piano track and let's show the details view for this Q. The telephone effect is often used on vocals, for example, and is done by using Q to remove the high and low frequencies while also boosting the mid range. Okay, so that's EQ. Next, let's have a look at compression. Okay. 17. Compression: Compression. Compression is a dynamic audio processing tool used to control the dynamic range of audio signals. It reduces the volume of louder parts of the signal while leaving quieter parts unaffected, resulting in a more consistent and balanced sound. Let's now have a look at the compression controls. So let's add the compressor effect onto the snare track. So let's click on Add audio effect, and then let's tap on dynamics. And now let's choose compressor. Now, let's have a look at the detailed view of the compressor by selecting this effect and tapping show details. Threshold. This determines the level at which compression begins to act. Any signal that exceeds the threshold will be compressed. Ratio. This sets the amount of compression applied to the signal. For example, a ratio of four to one means that for every four DB that exceeds the threshold, the output signal will only be increased by one dB. Attack. This controls how quickly compression is applied after the signal exceeds the threshold. A fast attack time reduces the initial transient of the sound while a slower attack time preserves more of the transient. Release. This determines how quickly compression stops once the signal falls below the threshold. A faster release time results in a more responsive aggressive sounding compressor, while a slow release time provides a smoother, more transparent compression effect. Makeup game. This compensates for the overall game reduction caused by compression, allowing you to boost the level of the compressed signal to match the original level. Common compression techniques. Dynamic control. Compression is commonly used to control the dynamic range of audio signals, reducing the level of loud peaks, while boosting the level of quieter passages. This helps to even out the overall volume of a track or mix, making it sign more balanced and polished. Okay, now let's play this back and in the game reduction meter here, you should be able to see the compression that's applied. So let's play this back and AB the compressor effect, which means we play it back and then bypass the effect and turn it on again to hear the difference. Let's go to the detailed view for the compressor and talk about transient shaping. Let's also turn the effect on again. Transient shaping. By adjusting the attack and release times, compression can be used to shape the transience of a sound, such as the initial attack of a drum hit or the pluck of a guitar string. A faster attack time can harsh transience while a slower release time can enhance sustain and presence. So let's now play this back and adjust the attack time to see if you can hear the difference. Glue or cohesion. Compression can be used to glue together multiple tracks or elements within a mix, creating a cohesive and unified sound. By applying subtle compression to individual tracks or groups of tracks, you can blend them together and make them sound like they belong together in the same sonic space. For example, compressing a bus with two signals sent to it. Let's now view the details view for this drum, and here we're compressing all of the drums with this one compressor effect. Let me show you now. Okay. Compression can be used to creatively add character and texture to audio signals. Experiment with extreme compression settings such as high ratios and short attack times to create breathing or pumping effects that can add excitement and energy to your music. So let's show the detailed view for the compressor for this drum aux track again, and I'll playback and adjust some of the settings, including ratio and threshold. I'll also select another one of these compressor type models, which can give you a different flavor or color to your compression. I'm not going to explain these now, but I do recommend testing these out yourself and listen out for the differences. Okay, so that's the compressor effect in the next video, we'll look at reverb. 18. Reverb: Reverb. This is a crucial audio effect used to simulate the natural reverberation of acoustic spaces. It adds depth, dimension, and realism to audio recordings by emulating the reflections and decay of sims in different environments. Reverb is created by the reflection of sound waves of surfaces and the acoustic space, such as walls, floors and ceilings. These reflections combined with the original sound to create a complex pattern of echoes and reverberations. In digital audio production, reverb is generated using algorithms that simulate the behavior of acoustic spaces. These algorithms model parameters such as room sound, shape, and surface material to recreate the desired reverb characteristics. So let's now show the details of the chromo verb reverb effect that's added onto bus one and explain the essential settings of reverb and how it works. Reverb parameters. Different reverb plug ins may have slightly different parameters. Here are some general ones you should expect to see in most reverb plug ins. Room size. This determines the perceived size of the virtual space in which reverb occurs. Larger room sizes result in longer decay times and more spacious reverberation. So let's play this back now and I'll adjust the size dial, and this will emulate different size rooms. Decay time. This controls the duration of the reverb tal or how long it takes for the reverberation to fade away after the sound source stops. Longer decay times create a more pronounced sense of space, while shorter decay times produce shorter, more controlled reverb. Let's now play this back again and I'll adjust a decay time dial. Early reflections. These simulate the initial reflections of sound of nearby surfaces in the acoustic space. Adjusting the early reflection parameter can enhance the sense of realism and depth in the reverb effect. So, let's play this back now and I'll adjust the early late mix style. So if this control, we can blend between the early and late reflections. Let me show you now. Pre delay. This is the time interval between the original sound and the start of the reverb, allowing the dry signal to be heard before the reverberation begins, which can help preserve clarity and articulation in the mix. Let's play this back now and I'll adjust the pre delay dial. Damping. This mimics the absorption of high frequencies by surfaces in the acoustic space. Increasing damping reduces the brightness of the reverb, while decreasing damping add spark airiness. Okay, so that's the essential controls for the reverb effect. As I said, some reverb plug ins can look different, but they should all have the same essential controls or at least most of the ones covered in this video. Okay, so now let's have a look at some creative uses of reverb. Reverb can be used to add depth and ambiance to audio recordings, placing sounds in a virtual acoustic environment. By adjusting parameters like room size and decay time, you can tailor the reverb effect to suit the mood and atmosphere of your music. Reverb can also enhance the perception of spatial depth and dimension in a mix, making it sound more immersive and lifelike. So, let's now play this back again and draw in playback. I'll adjust a decay time for the reverb. I'll also show the mixer again, draw in playback and I'll also send more of the piano part to the reverb with the Sendal. By placing instruments and vocals in different virtual spaces, you can create a sense of depth and separation that adds clarity and definition to your mix. Let's now show the details for this chromo verb effect by tapping on this effect and selecting show details. Reverb can be used to evoke emotions and create dramatic effects in music. By using long decay times and lush reverb tales, you can create a sense of grandeur and majesty shorter decay times and tighter reverbs can add tension and excitement to a track. Let's now play this back and adjust the decay time so you can hear the difference. Re verb can also be used creatively to create special effects and unique textures in music. Experiment with extreme reverb settings, such as a high pre delay time or unusual room shapes to create surreal and worldly sounds that can add intrigue and interest to your productions. Okay, so that's the end of this video. Thanks for watching, and I'll see in the next one. 19. Delay: Delay. Delay is an audio effect that produces distinct repetitions of the original sound, creating echoes and rhythmic patterns. It works by capturing the input signal, delaying it by a specified amount of time, and then feeding it back into the mix. Here's a detailed explanation of delay and its creative uses. Before we do this, let's solar the guitar part, and let's add a delay effect to this track in the mixer. So let's press the plus button in the effect slot area, and let's choose delay, and let's choose a tape delay. There are other delay effects we can choose here, but for this example, let's choose the tape delay. I also recommend checking out the other delays as well at some point. Let's now tap on this effect and tap show details. Delay time. This determines the amount of time between each repetition of the delayed signal. Short delay times produce fast rhythmic echoes, while longer decay times create spacious ambient effects. Let me show you this now. So I'll play this back and then I'll change the delay time so you can hear the difference. I'll also increase the delay wet amount, which we'll talk about very soon. Let's now put this back to one 16th notes and let's have a look at feedback. This controls the number of repetitions or echoes generated by the delay effect. Increasing feedback creates more repetitions, resulting in a denser, more pronounced delay effect. So, let's play this back and I'll adjust the feedback dial. Dry wet mix. This adjusts the balance between the original dry signal and the delayed wet signal. A high wet mix emphasizes the delay effect while a low wet mix maintains more of the original signal. So, let's play this back and I'll adjust the wet control. Some delay effects offer filtering options to shape the tone of the delayed signal. High pass and low pass filters can be used to remove unwanted frequencies or add warmth and texture to the delay effect. So this tape delay effect has these high and locate filters. So let's play this back and adjust these to hear the difference. Common delay techniques. Delay can be used to enhance the spatial imaging of audio recordings, create a sense of depth and dimension to the mix. Delay can be used to create rhythmic patterns and syncopated rhythms and music. By synchronizing the delay time to the tempo of the song, you can create rhythmic echoes that complement the groove and add interest to the rhythm section. And we can sync the delay time to the tempo of the project by enabling this button here. Delay can be used to create lush ambient textures and soundscapes in music. By layering multiple delay signals with different delay times and feedbat settings, you can build complex evolving textures that add depth and atmosphere to your compositions. Delay can also be used creatively to add character interest to audio recordings. Experiment with unconventional delay settings such as extreme delay times, fb settings, and modulation effects to create unique unexpected sounds that add intrigue and excitement to your music. Okay, so now let's bypass the delay plogin and that's the end of this video. In the next video, we'll look at some common modulation effects. So thanks for watching and I'll see you there. 20. Essential Modulation FX - A Brief Overview: Modulation. Modulation encompasses effects like chorus, tremolo, and phaser, each offering distinct sonic transformations by altering audio signals over time. Let's solo the piano part and look at some modulation effects starting with Chorus. So let's tap on the plus button in the effect slot area, and let's go to modulation, and let's select chorus. Chorus duplicates the input signal, slightly altering the pitch and timing of the duplicate and then blends it with the original. This process creates a thicker, richer sound similar to multiple performers playing or singing together. Chorus is ideal for adding depth from warp to vocals, guitars, and synths. By adding parameters like rate and intensity, you can achieve subtle thickening effects or more extreme pick shifting qualities. Okay, so let's hear this back with a chorus effect. Drawing playback, I'll increase the mixed slider so we can hear the effect clearer, and I'll also adjust the intensity and rate dial. So that's the chorus effect. Let's now have a look at the next modulation effect, which is tremolo. Let's replace the chorus effect with a tremolo effect, and we can do this by tapping on the chorus effect and then go to replace Modulation, then tremolo. Again, let's show the details for the effect. Tremolo modulates the volume of the audio signal at a regular rate, resulting in rhythmic fluctuations in amplitude. It produces a pulsating effect that adds movement and dynamics to the sound. So let me play this back now and I adjust the rate depth and smoothing controls, so we can hear the difference. Tremolo can inject energy and rhythm into instruments like guitars, keyboards, and strings. It's often employed to create vintage vibes or add a pulsating texture to Simpson pads, enhancing the groove and atmosphere of a track. Let's now replace this with the next modulation effect that we'll look at, which is phaser. Phaser splits the audio signal into multiple phase shifted copies, modulating the phase relationship, create a swelling, sweeping effect. This manipulation of phase relationships generates peaks and troughs in the frequency spectrum. Again, let's play this back and adjust some of these settings so you can hear the difference. Phaser is versatile and in depth for movement to guitar, Simpson, drums. Phaser can range from subtle coloration to dramatic swirling textures, depending on parameter adjustments and musical contexts. Creative modulation techniques. Experiment with automating modulation effect parameters over time to craft evolving textures and transitions. Dynamic adjustments to depth, rate and feedback can yield mesmerizing sonic journeys within your compositions. Combine multiple modulation effects to construct intricate soundscapes. For instance, blending chorus with tremolo can produce shimmering pulsating textures, while phaser paired with tremolo can evoke swirling rhythmic atmospheres. Okay, so that's a brief overview of some essential modulation effects. I'm just going to bypass the phaser effect before we look at distortion, which will cover in the next video. So thanks for watching and I'll see you there. 21. Distortion: Distortion. Distortion is an audio effect that intentionally alters the waveform of a audio signal, introducing harmonics and saturation to create a gritty, edgy or aggressive sound. It's commonly associated with guitar amplifiers pushed to their limits, but it's also widely used in electronic music to add character and texture to various sound sources. Here's a detailed explanation of distortion and its creative applications. Distortion works by amplifying the audio signal beyond its intended level, causing the waveform to become clipped or distorted. This clipping introduces harmonic content, resulting in a more complex and saturated sound. Different types of distortion exist, including overdrive, fuzz, and saturation, each producing unique sonic characteristics. Overdrive produces a warm, smooth distortion by gently clipping the waveform, while the distortion effect creates a more extreme sound by heavily clipping the waveform. So for this example, let's add an overdrive audio effect to the guitar track. So let's replace a tape delay effect with the overdrive effect, and we can do this by tapping on the effect plugin, then go to replace distortion and then overdrive. So let's play this back and I'll adjust the drive and tone control so you can hear the difference. Let's now replace this with the distortion two effect. And let's hit this back and I'll adjust these controls here, so the pre gain, drive and tone controls. Distortion can be used to add character and personality to audio recordings, making them stand out in the mix. It's particularly effective on instruments like guitars, basses and synths, where it can add grit, edge, and bite to the sound. Let's now listen to the guitar part in the mix with this distortion effects applied, and I'll adjust these controls again, drawing playback. Distortion can be used to enhance the dynamics and punch of audio signals. By driving certain elements of a mix into distortion, you can make them cut through the mix more effectively, adding energy and intensity to the overall sound. I'm just going to bypass the distortion on the guitar and let's now add a distortion to the snare. Let's now play this back and adjust some of these distortion controls. Distortion can be used to create interesting textual effects in music production. By applying distortion to unconventional sound sources or using extreme settings, you can create unique and experimental textures that are depth and dimension to your compositions. Distortion can be used to shape the tumbra and tone of audio signals, allowing you to sculpt the sound to fit the mood and style of your music. By adjusting parameters, you can tailor the distortion effect to achieve the desired sonic characteristics. Experiment with layering multiple instances of distortion to create complex and dynamic sounds. By blending different types of distortion or stacking distortion effects, you can achieve rich textured sounds with detrim character. Use automation to modulate distortion parameters over time, creating evolving and dynamic textures within your music. For example, automating the amount of distortion applied to a guitar signal can add excitement and intensity to the performance. Try parallel processing techniques to blend distortion and clean signals, combining the clarity and definition of the original signal with the richness and saturation of distortion. This can help maintain clarity and balance, we add in depth and character to the sound. This can be achieved by using sends and inserting a distortion plugin on the auxiliary track. You then have control over the distorted signal and the original signal independently. So let me show you how to set this up now. For this example, let's set this up for the piano, but let's first remove the distortion from the sns track. Okay, so let's add a new bus to the piano part. So let's tap on the plus button in the bus section, and let's choose a new bus. Now this aux track has appeared, and this is where we will send bus free to. Now, let's drag the distortion effect from the guitar to this c one track. Now let's turn this on and play this back. During playback, I'll adjust the bus free dial on the piano part, and this will blend the undistorted signal with the distorted signal and increase the bus free dial. Let me show you now. When it comes to effect processing, it's important to understand that how the sound is created is not as important as how it sounds. So experiment and be creative. Okay, so that's the end of this video. Next, we'll look at grouping. 22. Grouping: Grouping. Grouping allows you to organize and manage multiple tracks together, streamlining your workflow, and facilitating creative control over related elements. We're going to talk about summing stacks, folder stacks, and group processing, and editing. Track stacks. Summing stacks route the outputs of multiple tracks into a single unified track. This is useful for grouping related instruments or sections such as drums or backing vocals. To create a summing stack, select the track you want to include, then choose Create stack from the menu. So for this example, let's select the different drum tracks to the kick snare and high hats, and let's create a stack for these. You can adjust the volume pan solo mute of the entire stack as if it were a single track. Summing stacks also allows you to apply effects and processing to multiple tracks simultaneously. This is useful for adding cohesion to related elements or applying global effects to a section of your project. To apply group processing, insert effects on the summing stack itself, affecting all tracks within the group. So for this summing stack, let's add an overdrive effect. So let's play this back now and I'll adjust the drive setting for the overdrive effect, and you'll be able to hear that affects all of the drums, so the kick, snare and the high hats. Okay. Let's now flatten this track stack to remove it. We can do this by tapping and holding on the track stack and selecting flattened stack. Let's now have a look at folder stacks. Folder stacks organize tracks hierarchically within a folder structure. This is helpful for managing complex arrangements or sections of your project. To create a folder stack, select the tracks you want to include, then choose Create folder stack from the menu. You can collapse or expand the folder stack to simplify your workspace. The folder stack only allows you to control the volume for all the group tracks, but does not reroute the outputs of those tracks. You cannot add effects or inserts to a folder stack. Group editing enables you to make collective adjustments to multiple tracks at once. This includes volume, pan, and other parameters. For example, you can adjust the volume of all drum tracks in the sum in stack simultaneously by adjusting the group tracks volume fader. This speeds up the editing process and ensures consistency across related elements. You can add tracks to a group by going to the groups tab in the mixer and assigning all the relevant tracks to the same group. So for this example, let's rename this drums. Grouping helps you maintain a tidy and organized project, especially in complex arrangements with numerous tracks. It streamlines your workflow by allowing you to control multiple tracks collectively, reducing the need for repetitive adjustments. Group processing also ensures that related elements share common effects and processing, enhancing cohesion and unity in your mix. A few practical uses for grouping include drums. You can group together individual drum tracks into a summing stack for a cohesive processing and editing. Another example might be organizing backing vocals into a summing stack for easy management and processing. Okay, so that's the end of this section. In this section, we've learned how to harness the power of effects processing and grouping to elevate your mixes to the next level. Keep exploring and experimenting and stay tuned for the next lesson. So thanks for watching, and I'll see you there. 23. Mastering with AI Mastering Assistant: Welcome to this next lesson. In this lesson, we'll explore mastering and exporting your track. Let's dive into master and basics, using master assistant and exporting your first project. Mastering is the final step in music production, focusing on optimizing the overall sound quality and preparing the track for distribution. Key tasks include increasing loudness of the track, applying EQ and compression, enhancing stereo imaging, and adding final touches to ensure that mix translates well across different playback systems. Mastering to a high standard is a very in depth process, which we're not going to lock out in detail in this course. Logic Pro for iPad offers the master assistant, which can help get your track up to a standard for distribution quickly. While it's not perfect, master assistance use of AI is a fantastic and relatively new tool in the music production world. To use Master assistant, simply go to the stereo output channel on your Mixer and click on where it says Mastering in the effect slot area, and this will enable master assistant. Logic Pro will then analyze your mix and suggest settings based on its analysis. Let's now open up and view the master assistant by clicking on the plug in and selecting show details. Once activated, the master assistant analyses the audio material in your project, including its frequency content, dynamics, and overall spectral balance. Based on the analysis, the master assistant suggests adjustments to various parameters such as EQ, compression, and limiting. These adjustments are tailored to optimize the audio for a balanced professional sounding master. After the initial suggestions are made, you have the option to customize and fine tune the settings according to their preferences. This allows for flexibility and control over the mastering process, ensuring that the final result meets the desired artistic vision. Okay, so let's play this back now and draw and playback, I'll bypass the master assistant plug in, so you should be able to hit a difference when the plugin is enabled and bypassed. Let's now have a look at some of the ways you can tweet the master after master assistant has offered its initial suggestions. For broad changes to the character and tone of your track, go to the character section at the top left of the window. There are four options, clean, valve, punch, and transparent. Clean and transparent are quite similar. They focus on preserving the sound of your mix, while increasing the loudness and providing clarity in your master. Valve offers a more vintage tone to your master, reducing the top end and adding warmth. Punch focuses on boosting the transients of your master, which will make the drums punch more in the track. The EQ section of the master assistant makes suggestions for boosts and cuts of your whole track across the frequency spectrum based on the analysis. You can add or reduce the extent to which these boost and cuts take place on your master by moving the slider on the left up or down. By tapping the custom E Q tab at the bottom left, you can also add a low shelf, high shelf, and band EQ to further customize the master. It's worth noting that these changes are very broad and should be used to shape the tone of your master rather than for fine tuning. The dynamic section of the master assistant fine tunes the mitter. Limitors work in a similar way to compressors and are used by mastering engineers to increase the perceived loudness. In Logic Pro for iPad, the loudness style makes the master or quieter. Bear in mind that higher loudness reduces the dynamic range of your track, which is the difference between the loudest and quietest part of the track. The spread section determines how wide your master is. Increasing the width will push the information on the left and right sides of your track further to the left and right and reducing this dial narrows the master. The bypass button turns the master assistant on and off, so you can't observe the changes you're making. The loudness compensation button balances out the input and output of the master assistant, so you can easily compare the effects of the master assistant without large increases in volume as this can make the comparison more difficult. Overall, the master assistant in logic P streamlines the mastering process by providing intelligent suggestions and customizable options, allowing users to achieve professional quality results with ease. Okay, so that's the essentials of mastering with a master assistance. Next, we'll have a look at exporting, which we'll cover in the next video. So thanks watching, and I'll see you there. 24. Exporting: Export in your project. Once you're satisfied with the mastering of your track, it's time to export your final project for distribution. In Logic Pro, go to the file menu at the top left of the screen and select export. Choose your file type, uncompressed, or compressed, and set a destination for the exported file. Select your file type based on what you plan to do with the exported file. Uncompressed audio file store audio data without any form of data compression, preserving the original audio quality. Examples of uncompressed audio formats include WAV and AIFF. Uncompressed audio files maintain high fidelity and are commonly used in professional audio production, mastering and archival purposes. They have larger file sizes compared to compressed formats due to the lack of compression algorithms. Compressed audio files reduce file size by removing redundant or un necessary audio data while attempting to maintain acceptable audio quality. Examples of compressed audio formats include MPA, AAC, and MP three. Compressed audio files are suitable for streaming, distribution, and playback on various devices due to their smaller file sizes. However, compressed audio files can introduce artifacts such as loss of audio detail and reduced dynamic range. In summary, uncompressed audio files are for pristine audio quality, but larger file sizes, while compressed audio files sacrifice some quality for reduced file sizes. The choice between the two depends on factors such as intended use, available storage space, and desired audio quality. You can then choose whether you want to export the entire track or a selected portion of your project. The start and end numbers referred to how time codes and your project measuring bars and their subdivisions. If you want to export the individual tracks of your project, you can check that box too. You might want to do this if you want to send your stems off for further processing or to a mix engineer, for example. However, you can only do this with uncompressed file types, not with compressed file types. We also have the middy file type, which is just for exporting all of the mid tracks as a middy file. For this example, though, we'll export as an uncompressed file type. Now let's tap share, which is in the top right of the window. Your track will then be exported and you have the option to send the track somewhere or save to your iPad files. Mastering and exporting your tracks are crucial steps in the music production process. By mastering the basics, using tools like Master Assistant and exporting your final project correctly, you can ensure that your music sounds as best and reaches your audience with the highest quality possible. Okay, so we're now at the end of this video. Thanks for watching, and I'll see you in the next one. 25. Introduction to the Session Player Sections: Okay, so now let's have a look at the session players, which we're going to cover in the next few sections. So if you create a new track by pressing this Buttonop here, you can see here we can add a session player. So we can choose a drummer, bass player, or keyboard player session player. So in the next few sections, I'll show you in detail how you can use these different session players and customize them as well. We'll also look at using the chord track, which allows you to create, edit, and arrange chords directly on the chord track. So I think the session players can be great for helping you generate ideas, but I do think it's a good idea to customize these so you can make the parts your own and tweak and change any parts if you wish. Okay, so that's what we're going to cover in the next few sections. Let's start by looking at the basics of the drummer session player, which we'll cover in the next video. 26. Drummer Playing Styles: Okay, so now let's have a look at the basics of the drummer session player, starting with the playing styles. So let's create a new instrument, and let's select the drummer session player down here and click on it here to create a new instrument. Now we have the session editor open down here, and we can open and close the editor by tapping this button down here. Okay, so in the next few videos, I'll give you a quick overview of the drummer session player before we dive deep into all of the controls. So first of all, here on the left, we can choose our drummer style, and we can view more by tapping on it here. So we have these different styles under dramas rock, songwriter, Alternative and R&B. Let's play this back on the first one, though, which is pop rock. So let's just tap off this to close this and press the play button up here to hear this back. And then press the stop button here to stop playback. Let's now have a listen to some of the other styles. So let's tap on the style icon here again, and let's choose another one. Let's try punk rock. By the way, when you click on other styles, you may get this pop up appear, and this means you need to download additional sand packs to use this style. So you can see here it says this session player uses an instrument that is not installed on your device. Do you want to download the sound pack with the missing instrument? So for this example, I'm going to download the sound pack, and you can see up here, it's downloading the sound pack. So if your iPad has enough space, I recommend downloading the soundbacks. This sound pack has been downloaded, and let's hear this punk rock style. So let's tap off this to close this pop up and play back this punk rock style. So you can hear instantly it's a different drum style. Let's now have a look at the drum instrument. We can do this by clicking on the mixer button down here, and then scrolling up on the track and finding the instrument here, which is drum kit designer. So if we tap on this to open this instrument, you can see it's the East Bay kit. We can tap on this here, though, to choose another preset. So these are different drum kit presets. So let's choose this one here called Manchester Kit. Let's now play this back, and it should be the same drumbeat, but we'll be in a different drum kit, and will give us a different sound. Draw and play back there, I selected another drum kit, which was liverpol kit, so you can hear a difference. Let's just close the mixer now by pressing this button, and let's also close the browser by pressing this button in the bottom left. Let's also close the drum kit designer by pressing this plug in button in the middle here, and let's open up the editor again so we can see the drum kit designer. Let's now tap on this drum icon again. And if you don't want the drum instrument to change when you swap between different playing styles, make sure you uncheck change patch. So notice if I uncheck this and I go to the psychedelic rock playing style and play this back, it's going to use the same liverpol kit that we selected in the browser. But if we enable change patch, and we choose another playing style, let's say funky songwriter and play this back. You notice it'll be using a different drum kit. For now, I'm going to leave it enabled. As I wanted to change the drum patch with the different styles, as Logic does a pretty good job selecting the right type of drum sound for the different playing styles. Okay, let's listen to a few more playing styles. Let's try Roots brush. Okay, let's try another one. Let's try Indie Pop. Okay, let's try this. Next one, garage rock. And let's try this from the start. Let's try another style. Let's try one of these R&B styles. Let's try modern R&B. And again, let's play this back from the start. So I recommend testing out all these different playing styles for yourself. But there's just a few of them so you can hit a difference. Next, let's have a look at the complexity and intensity sliders down here and also the perform again button, which we'll look at in the next video. So thanks watching, and I'll see you there. 27. Complexity, Intensity and the Perform Again Button: Okay, so now let's have a look at the complexity, intensity and perform again button. So for this example, let's actually go back to the drummer style, and I'm going to choose the first one here called pop rock. So let's now talk about the complexity and intensity sliders here. So when we pull up the complexity slider, we will have a much more complex pattern. And when we pull down the complexity slider, we will have a simpler pattern. You'll also see the region update when we adjust the slider as well. Okay, I'm going to play this back now and adjust the complexity slider so you can hit a difference. I'm also going to loop these 8 bars as well. So I'm going to tap up here on the cycle range and drag this over to 8 bars. Okay, let's play this back. So you should have heard there when I increase the complexity slider, we've got a more complex pattern. And when I decrease the complexity slider, we got a more simple pattern. Let's now talk about the intensity slider. So this is the dynamics for your drum beat. If we pull this up, then the part will be louder, and if we pull it down, the part will be softer. This doesn't just pull down the volume of the playing. Pulling up or down the intensity slider will trigger different samples of what drums are being played harder or softer. Okay, let's play this back and adjust this slider. You can also hear that when we pull this slider down, it wasn't playing the snare. It was playing the rim shot. So this is where the drummer hits the stick on the rim of the snare drum. A rim shot is often used for softer styles of drumming, so it can trigger different drum samples when we adjust the intensity slider. Let's now have a look at the perform again button down here. This allows us to vary the session player's performance without changing the settings. So let's say you want to change the pattern slightly, you can do this here. So you can see that when we press this button, the pattern changes. Let's just press the perform again, the button. And you can see here the fill has changed. Let's just tap on a cycle region here to disable this and play this from Bar four again. Okay, so that's complexity, intensity, and the perform again buttom. So I do recommend going through these different drum styles and adjusting these sliders to hit a difference yourself. Okay, so next we're going to look at creating another session player region and drum selection. Thanks for watching, and I'll see you there. 28. Creating a new Session Player Region and Drum Selection: Let's now have a look at creating a new session player region and drum selection. Like any region, we can loop this by going to the loop icon up here. And then we can tap and drag to the right, and this will loop the region. So you can see here, I've looped this by another 8 bars. However, I'm going to put this back to 8 bars by tapping and dragging to the left. We can also trim our region by going to the trim tool up here. Now we can tap and drag to the left to trim this. We can also tap and drag to the right, and logic will extend this session player region, and you can see the pattern continues. However, let's just drag this back to 8 bars long. I actually like to make a new region for a new section of the song, for example, verse or chorus. That way, we can easily change some of the parts. For example, you might want to swap to a different drum instrument in the other section or have less or more drum instruments or more or less complexity or intensity. For example, if you're going from the verse to the chorus, you might want to have more intensity in the chorus compared to the verse. Let me show you now how to create a new region. So you need to tap on an empty space in the arrangement and then go down to create session player region. So this will create another region. We can also copy our region by double tapping on it and going into copy and then move the playhead ruler to where you want to paste. For this example, let's move it to bar 17 and double tap on here, and se let paste a playhead. So you can see here with past of this, and we now have three regions. However, I'm just going to delete this third region, and we can do this by double tapping on the region and going to delete. Okay, now we have two regions, and let's now change the parts between these two patterns. So let's select the first region here. And you can see here we can choose our different drum instruments. Let's just play this back, and I'll spot between these different instruments so you can hear the difference. I'm also going to tap up here to enable the cycle region, so we're going to loop these 8 bars round. Okay, so I'm going to play this back and then turn on and off these different drum instruments so you can hear a difference. So we have a high hat, ride, tom drum, snare, and kick. So let's say you want to have one section of a tom drum, you can select this here. And if you want to have another section with a ride or high hat, you could select one of these as well. You can't, however, select both. You can only choose one of these. But for the kick and snare, you can select either of these, none of these or both of them. So let's say for this example, we have the verse with the Toms, then we have the high hats for the chorus. So let's say the second section here is the chorus. We can select the hi hats here, and let's also increase the intensity because a lot of the time the chorus will be a bit louder and more intense than the verse. Okay, let's now play this back from the first region to the second region, and you should be able to hear the difference. Okay, so that's how to create new region and drum selection. Next, we're going to look at the drum patterns, which we'll look at in the next video. 29. Drum Patterns: Okay, let's now have a look at the drum patterns here. Let's start with a kick and snare. If we tap on this pattern here, you can see it gives us other patterns that we can choose. Let's go through some of these now and have a listen. Before I play this back, I'm just going to tap up here so we can loop this region. Okay, let's now play this back and listen to some of these different kick and snare patterns. I didn't go through all of them, but hopefully you heard the difference between these patterns. If we scroll down here, you can see we have this follow rhythm obsection. This allows us to follow the rhythm of another instrument. However, we'll look at this later on when we add another instrument to the song. Let's now play this back again and have a listen to the different patterns for the high hat Ride and Tom drum. Okay, let's do this now. Let's choose the ride. Had four different patterns to choose for the high hat and ride and three different patterns for the Tom drum. You may have also noticed that two of the ride patterns were more of a crash pattern, so they're playing more of the crash symbol rather than the ride symbol. Let's just switch this back to the high hat for now, though. We can also choose a manual pattern for the kick and snare. Let me show you how to do this now. So we need to go up to the manual tab up here, and now we can type in our own pattern for the kick and snare. So we can tap to add and tap again to delete. Let's start off with something simple, so the kick on beats one and three and the snare on beats two and four. And you can see this update in the region up here. Let's now hit this back. So each four of these is a bar, and each one of these is a 16th note. Let's add a few more 16th notes now to make this a bit more complex. Okay, let's hear this back. Draw and playback, as well. I'm going to adjust this pattern. We can also tap on these free dots here and copy the pattern or reset the pattern if you wish. We can also adjust the length of the pattern, so this doesn't have to be only 1 bar. It can be 2 bars, 3 bars, 4 bars, or we can choose a set number of steps. For example, if I select 2 bars, you can see we have this other area here for the second bar. However, let's go back to 1 bar. So if we go back to the main tab here, it says manual pattern for the kick and snare. However, we can always tap here and go back to one of these presets if you wish. You'll also notice in the presets that some of these dots are darker and some of them are lighter. The lighter tone dots will have a softer velocity, and the darker tone dots will have a harder velocity. You can also see that some of these patterns are more complex than others. For this example, I'm just going to go back to one of these presets. Let's choose preset number two. You'll notice, though, that we can't choose a manual pattern for the high hats ride or Toms. But later, I'll show you how to convert this into a midi region where we can change all the midi notes and drum hits around. Okay, so that's the drum patterns. In the next video, we'll continue looking at this drummer session player. 30. Fill and Swing: Okay, so now let's have a look at the fill and swing area down here. Let's first look at the fill amount dial here. With this, we can adjust how many fills you want to hear in your pattern. When we move the dial to the right, we will hear more fills, and when we move it to the left, we will hear fewer fills. Let me show you now. We can also adjust the complexity of the fills with this dial here, so the complexity determines how many notes are in the fills and how fast the fills are played. So we can make the fills a bit more simpler by moving this dial to the left, and we can make the fills more complex by moving this dial to the right. Let's play this back and I'll adjust the fill amount and fill complexity dials. It was a bit too much when we had to fill them out on Max, so I dial this back. You notice up here as well, we have this lock setting. With this, we can lock the fill and swing controls here. So if you're happy with these settings, you can lock them so you don't accidentally change them. We can also lock the settings, so it keeps the settings when we change to a different play style. So these locked, we can't adjust them. So this might be useful if you want to change to a different play style, but you don't want to change these settings here. However, for this, I'm just going to unlock these. Okay, so that's the fill settings. Let's now have a look at the swing settings. With this control, we can add an eighth note swing to our part. If we tap here, this will change to the 16th note. So this, we can add swing on the 16th note. Let's swap this back to the eighth note, though, as this will be a bit more obvious. So I'm going to play this back now and I'll adjust the swing settings and also swap between the eighth note and 16th note swing so you can hear difference. So if you're creating jazz or blue star music, then you might want to add some swing, or you might just want to add some swing to your drum part. Again, we can tap this icon here and we can lock the swing amount if we wish. For now, though, I don't want any swing, so I'm going to turn the style all the way to the left to 50%. Okay, so that's fill and swing. Next, we're going to look at the Details tab, which we'll look at in the next video. 31. Details - Part 1: Okay, so now let's have a look at the details tab. We can access this by pressing details up here. This area has the ghost notes, feel, dynamics, humanize and tempo. In this part one video, we'll look at ghost notes and the pop up menus for snare, percussion, and high hat. Okay, so let's first talk about ghost notes. So these are very soft, subtle notes that are played on the snare drum. These notes are so soft, they are almost ghostly, which is why they are called ghost notes. So let's put this down to 0%, and let's hear the groove now with no ghost notes. Et's now add some ghost notes and increase this to 100%. You can see here the pattern update, and you should be able to hear some additional softer snare hits. Let's play this back now. So you can hear there that with ghost notes, it adds some texture, dynamics, and groove to the drum part. Let's just turn this down but leave some ghost notes in. Okay, let's now have a look at these drop down options here. Let's first look at the options for the snare. This allows us to choose what type of snare hit we want for our performance. You can leave this on automatic, but let's have a look at these other options, which allows you to choose a specific snare hit for the performance. Center will hit the snare in the center of the drum. This will give us a standard sounding snare hit. Let's select this and hit us back. Then we have rim shot. This is where the drummer hits the stick on the snare' drum rim. You can hear in this example that it sounds like it's hitting the rim and the snare at the same time. Then we have side stick, which is a rim tap. Then we've got Tom, which will replace the snare with the tom drum. Now, though, I'm going to leave it automatic. But if there's a specific type of snare hit that you have in mind, you might want to play around with these here to find one that's closer to what you have in mind. Okay, let's now have a look at the percussion options here. This allows us to add some percussion to our performance. We've got tambourines, shakers and claps, and we've got different patterns for these as well. So let's play this back and I'll swap between these different instruments and patterns so you can hear the difference. If you want to add some percussion to your drum part, you can do so here. For now, though, let's put this back off and have a look at the high hot options here. So this, we can choose different ways that hights are played. Right now it's half closed, but let's change this to wide open so you can clearly hear the difference. Let's now change this to closed. Let's play this back again, and I'll change between half closed, half open, open, and automatic. So if you imagine you're playing the drums, the high will sound different depending on how you press the foot pedal. So you can have the high closed all the way to wide open. But for now, let's leave this on automatic. If we go back to the main setting, this will actually change. So if we sell that Ride and go back to details, you'll notice this has changed to different types of symbols. So we can choose a ride symbol. Then we can choose Ride Bell, which is hitting more of the center of the ride symbol, the bell area. Then we can choose Ride Crash, which is where they hit the ride symbol much harder. Then we can choose CASH one, which is a crash symbol rather than the ride symbol. And we can choose CASH two. So these crash symbols will give us more than an aggressive sound. But for now, let's put this back to automatic. Let's now go back to the main tab and choose the Tom drum. You'll notice again in the details tab, this has changed. So right now it's on automatic, and let's hear what this sounds like. Let's change this to Tom Lowe so you're playing the low Tom. Let's try this with Tom Mid, which will sound higher than Tom Lowe. And let's try this with Tom High, which will have an even higher pitch. Obviously, the Tom lows are lower, and the Tom highs are higher. Let's now swap this back to automatic, and let's actually go back to the main tab and swap this back to high hats. Okay, so that's the end of this video. Next, we're going to continue looking at the details tab where we're going to look at feel, dynamics, human eyes, and tempo. 32. Details - Part 2: Okay, let's now continue looking at the details tab for the session player drummer. So let's now have a look at the section over here. Let's first talk about feel. So if we move the dial to the right, this will push the field forward, and we can see the pattern move slightly when we move this dial. So this might be hard to hear. But if I play this back with a metronome, you may be able to notice that the notes are rushing a bit. So let's just turn on the metronome and play this back. If we move this dial to the left, it will pull it back, and it'll sound like the notes are kind of delayed. So this is simply a method to control how much you want the drum groove to be ahead or behind the beat. This can be quite hard to hear the difference when we just have the drums, but when we have multiple instruments, it should be easier to hear. So let's just add a bass part now so we can hear this a bit clearer. We'll look at the session bass player a bit later on in the next section, but for now, I'll just drag over at a bass loop. So let's go down to the browser here. Let's hit the SAC button here and select loop. Go to find a bass loop, and let's choose one of these. Okay, I'm going to choose this one called frenzy hard sennth base free. If you're following along and you don't have this exact loop, just choose another loop, but I recommend choosing one with a bit of movement. Let's now tap and drag this below the drummer. Let's just go over to the loop tool here and I'm going to loop this, so it's the same length as the drums. Okay, let's go back to the Trim tool and let's select the drumer region again. And let's also close this browser so we have a bit more space. So let's play this back now and I'll adjust this field dial. So basically, if we move this dal to the right, it'll push the fill forward, and if we move to the left, it will pull the fill back. For now, though, let's mute this base loop. The heavy rock and similar styles, you might want the transients to stand out a bit more ahead of the bass and guitar, and you might want to move the field to push. For something more laid back, you may wish to move the field to pull. I'm just going to double tap on the field dial now to put this back to the default of 0%. Okay, let's now talk about the dynamics control on the right here. This goes from 0% to 200%. So if we move this dial to the right, then there'll be more dynamic variation and velocity variation in the different drums, including the ghost notes. For now, though, let's just turn off the metronome and play this back. If we pull this down, then there'll be fewer dynamics, and the velocities will have less variation. So the snare hits will sound very similar, and the kick hits will be very similar as will the other drum instruments in this pattern. Let's now hit this back with this turndown. So if you want more dynamic variation in the performance, then I recommend increasing this dial. But if you want it to sound more uniform, then you can decrease this. So it depends on what you want for your song. If you want something to sound like a computer is playing the drums, then you can decrease this. But if you want it to sound a bit more like a human would play with dynamic variation, then you can increase this. But for now, let's double tap on this and go back to the default of 100%. This brings me to the next control, which is humanize. So this will affect the timing of the drum part. If we put this to 0%, then it will play this perfectly in time. And if we increase this, it will move some of the notes so they're slightly out of time. And you can see this update in the region as well. That's because a real person playing the drums can't play them perfectly in time, and they will not be perfect. However, on a computer, we can make the drums timing perfect if you wish. Again, it depends on whether you want this to sound like a person is playing the drums or if you want it to sound computer programmed. So you can increase this dial if you want it to sound more human. Let's just unmute this bass loop again, and let's play this back and adjust to humanize control to hit a difference. Mm hmm. So it's not out of time by any means, but when you add some humanization to the part, it just makes it sound a bit less robotic. Hearing differences can be quite subtle, though, so I do recommend testing this out yourself. Now, though, let's double tap on this and put this back to the default of 20%. Okay, let's now have a look at this tempo drop down here. By default, this will be on standard. Changing this from standard might be useful if you've recorded the song at double or half the tempo as a drummer will follow the project's tempo. Right now, this isn't useful for this song. But, for example, if you've recorded a song at 170 BPM and the groove is actually 85 BPM, then you can select halftime. The other way around as well, if your groove is actually 170 BPM, we've recorded at 85 BPM, you can select double time. Also, if this is in the automatic mode, then the session player will play in double time or halftime If the project's tempo is very different from the style's default tempo. However, for this, let's leave this in standard. Okay, so that's the end of this video where we've looked at the section over here. So these settings can help you push or pull your groove, and can help you add some dynamic variation and humanize if needed. And we've also looked at this tempo setting. So thanks for watching, and I'll see you in the next one where we'll look at converting our pattern into a midi region and adjusting the pattern as midi. 33. Converting to MIDI and Editing MIDI Notes: Okay, now let's look at converting our session player region into a midi region. If we do this, we can customize and change our part. Before I do this, though, I'm going to duplicate the track by selecting the track and pressing the duplicate button up here. I'm then going to double tap on our session player region and go to copy. And now I'm going to move the playhead so it's at bar nine. And then I'm going to paste on Bar nine on our new track. So let's double tap here and select Pace at playhead. So now I've got a copy of this session player just in case I want to go back to the session player region, as we can convert a session player into a midi region, but we can't convert a midi region into a session player region. Okay, so I'm going to mute this new track as we don't need to hear this. So we can do this by tapping on the button. Okay, now let's convert the session player region into a midi region. To do this double tap on the region you want to convert, and then we can tap on convert here, and then select convert to midi region. Now we can see here in the MDI Editor that the drums have been converted to MDI information. We have the piano keyboard on the left, and we can click on these piano notes to hear the different drum hits. Let's now tap with two fingers and drag to zoom in, and let's do this vertically as well. We can also tap on individual mini notes to hit the drums playback. We can also sell out the velocity button up here, and we can tap and drag up or down to adjust the velocity of individual notes. Let's now tap with two fingers and drag to zoom out again. Let's do this horizontally and vertically. Let's hear this loop back once again. Before I do this, I'm just going to mute the bass loop that we added previously. Okay, let's now play this back so we can just hear the drums. Okay, I'm just going to zoom in again. And let's just adjust this pattern now. So here we have the kick drum on C one, and let's just go over to the pencil tool here and draw it in and delete some kick patterns. We can tap to draw and tap on the note again to delete it. Let's also do this for the snare part. So this Ente here is a snare. So again, we can tap on the note to delete it. And tap to add one. Okay, let's hear this now. Okay, great. Let's change it even more. Let's add some high hats. So this is the high hats. And let's remove some, as well. Let's add the snap part here. And let's add a kick drum here, and remove this one. Okay, let's hear this back now. Okay, great. I'm just going to add a few more high hats so it's a bit obvious. So we can see there, we can't add a note there. But zooming now, we can see these lines, and we can add a note easier. Okay, let's hear this back now. Just be careful that when you have the pencil tool selected, you don't accidentally add in some notes. So I'm just going to undo those two notes there added there. And let's go back to the Trim tool and zoom out again. You can see there's even more midi information up here that we can adjust. This is the crash symbol, Toms, open high hat. Again, we can go in and adjust these if you wish. Okay, let's actually now adjust some other velocities. So I'm just going to pinch here to zoom in. Let's find the snares, this one here. And for this example, I'm going to add some snares here. So let's go back to the pencil tool and tap here to add some snares. Now I'm going to go to the velocity tool and let's have this increase in velocity. And then go down in velocity again. So it should sound quiet, get louder, and then get quieter again. Okay, let's hear this back. Let's just loop from bar 12 so we can just hear this. Okay, great. For this, though, I actually want it to gradually increase. Okay, something like that. And then at bar 13, I want to add a crash symbol. So it's this one here. So let's add this here. So I'm going to swap back over to the Pencil tool and tap on bar 13. So the snail will gradually build up, and then we'll have this crash symbol. Let's hear this now. Okay, remember we can always press this Undo button here to undo any changes. So I'm just going to press this a few times to undo what we just did. We can also add more drum instruments as well, not just the ones we see here in the midi Editor. Remember, we can tap on the notes here in the piano keyboard to preview the different drum sounds. So let's add this Tom drum here. So let's make sure we have pencil selected up here and let's type in a few more notes. I'm just going to zoom in. And let's add some notes here on Br ten. So it's this a note here. Let's add quite a few, so it's obvious to here, and let's also tap velocity up here and adjust some of these velocities. Let's now drag the cycle region back to Bar ten, so this comes in straight away. Okay, let's now hit this back. And, of course, we can continue to add more of these notes if you wish. Again, let's tap the pencil icon up here and add a few more of these. And again, let's go back to the velocity tool to adjust some of these velocities. If the velocity sounds the same all the time, it will sound a bit robotic, and we can make it sound a bit more interesting with some velocity variation. Okay, let's hear this back again. Bars ten and 11. And again, we can tap on these to delete them, or we can undo our changes by pressing the Undo button. So there's a lot more we can do to this pattern, but that's just a quick way of customizing your drum pattern in immediate editor. Okay, so that's all the settings for the acoustic drummer. Next, we'll look at the electronic drummer session player. Thanks for watching, and I'll see you there. 34. Electronic Drummer: Okay, now let's look at the electronic drummer session player. The settings for this drummer are very similar to the acoustic drummer we looked at previously, but I'll explore a few differences in this video. Okay, so let's mute the drum track we were working on previously, and let's now add a new track by pressing the Astrak button up here. Now in the session player, let's select drummer. And tap on where's the session player to add this track. So you can see here we've added a new drum session player. I'm just going to drag the circle region over now, so it loop this first 9 bars. Okay, now we can go on where it says Acoustic drummer. And now let's go up to type and tap on where it Says Acoustic drumer. You can see here we have this drop down list that has acoustic drummer, electronic drummer, percussionist, bass player, and keyboard player. We'll be looking at percussionist in the following video. But for now, let's choose electronic drummer. You can see here we have these different styles for electronic, hip hop and alternative. For this example, let's choose Synthpop. When choosing some of these styles, you may get a pop up like this to ask you to download a certain sound pack. So for this example, I'm going to download the sound pack. And we can see it downloading up here. Okay, now it's been downloaded. Let's now tap off this and let's play this back to hear the Synthpop electronic drummer. Okay, let's now hear some other electronic drumers. Let's try modern hip hop. Let's try another one. Let's try Tech House. Let's try one more. Let's try Modern House. I'm not going to go through all of these different styles now, but I do recommend you go through these yourself so you can hear the different styles and sounds. Okay, let's hear Modern House. Let's actually hear this now with the bass part that we added previously. So let's just tap and drag this over and unmute this and hear the bass with the electronic drummer. Mm. Okay, so straightaway, I think that sounds quite good. However, for now, let's mute the space track, and let's go back to the electronic drummer. So let's tap on this region here, and let's just have a look at some of these settings. So we have the complexity and intensity sliders. These do the same thing as the acoustic drummer. So with the complexity slider, we can make the pattern more complex or more simple, and the intensity slider affects the dynamics of the drum part. So if we drag the slider up, the part will be louder, and if we drag the slider down, the part will be softer. I'm just going to play this back now and adjust these two sliders so you can hear the difference. Okay, then we have the patterns area over here, which is very similar to the acoustic drummers pattern area. So here we have some predetermined patterns for the kick, snout and clap. We can also turn them on and off by tapping on them. Above here, we have high hats, shakers and ride, and we have some more percussion above here. You'll notice the percussion may change between these different styles. So let's just choose another style now for the electronic drummer. Let's choose modern 80s. And you'll notice the percussion has changed. So we still have the kicks now and clap, but now we have high hat and shaker and Toms and sticks. So again, we can tap on here to choose the different pattern. Let's just play this back, and I'll choose some different patterns and enable and disable some different instruments so we can hear the difference. Let's just go back to the pattern for the kicks now and clap. You notice here we have the section that says follow Rhythm of. So we don't have this for the patterns for the high h and percussion, the kick and snare or for the electronic drummer, kicks now and clap. We don't currently have any chords, but it will follow the chords if we have some, and this is enabled. We can also follow the track. Here we can follow the individual drums for the acoustic drummer, and we can also follow the bass audio loop. Let's have it follow the bass part. So let's select this and let's play this back. So let's unmute the bass, and you should be able to hear that the kicks now and clap follows the bass part more. For now, though, let's mute the bass part. And let's go back to this pattern, and let's tap on track and go to off, as I don't want this, following anything for now. We can also manually type in a pattern for the kicks now and clap. We can do this by going over to the manual tab, and each four squares is a beat. So if I add a kick drum every four squares, the kick will play on every beat or every quarter note. Let's hear this now. Just for this example, let's put a clap on every one of these squares. So these are 16th notes, so there'll be four claps every beat. Let's say this now. We can also tap on these yellow squares again to delete them. Okay, let's now type in the beat. So let's have the clap and snare play on beat two and beat four. Let's add some kicks in between. Let's also add a clap here as well. Okay, let's he this back. Drawing playback. We can tap to add and remove steps here as well. And we can tap on the length here, so it's not just 1 bar. We can have it longer or shorter if you wish. So you can see that when I select 2 bars, we have this other bar here as well. However, for this example, I'm going to use more of the presets. So let's go back to the main tab and let's tap on where it says manual pattern here and choose one of these presets. Let's choose the top one. You can see here it's changed. Let's hit this back. Okay. Then just like the acoustic session drummer, we have the fill amount and complexity, and we can also add some 16th note or eighth note swing here with the swing dial. Let's just play this back again and drawing playback, I'll adjust them with these controls so you can hear the difference. Okay, let's now go to the details tab and talk about these complexity ranges. These set a range between the most complex and least complex things for the drum instrument to play. As you see here, we have kick, snare, clap, high hat, shaker, Tom, and sticks. Right now, these are graded out because in the main tab, we don't have them enabled. But if we enable them here, you can see they're no longer grade out. If we move this range up, it will be more complex, and if we move it down, it'll be less complex. Or we can drag up like this to make a larger range. Or we can have a range down here, where it would be more simple or drag up and have a range up here, where it'd be more complex. Let's have a look at the kick from first. So when we move this down, you can see this update in the region. Let's play this back, and let's just listen to the kick. Now let's drag this up so we have more of a complex range. And you can see here again, it's updated in the region. Let's hit this back again. And again, we can change this so we have a larger range. We can do the same for the snare, so we can drag up here, so we have a more complex range or drag down so we have a more simple range. So we can have a large range between simple and complex or just have it simple or complex or somewhere in between. And the same applies to the other drum instruments here. So this allows you to customize your drum part in this electric session play even more. We then have this phase variation slider. With this, we can adjust how much rhythmic variation occurs over several bars. So if you want your pattern to be more repetitive, then you can lower this. But if you want your pattern to have more variation, then you can increase this phase variation slider. Okay, then we have field dynamics, humanizing and tempo, which is the same as in the acoustic session drummer. I'll cover this again briefly now as a refresher or in case you missed the previous video about this. So a feel, we can push the field forward if we move the dell to the right. Or if we move the dial to the left, we can pull the fiel. For heavy rock and similar styles, you might want to push the fiel. For something more laid back, you may wish to pull the fiel. Then we have the dynamic style, which allows us to control the amount of dynamics in our drum kit. If we move this to the left, then there will be fewer dynamics, and there will be less velocity variation. And if we move this to the right, there will be more dynamics and more velocity variation. I'll just play this back now and adjust this dile so you can hit the difference. Then there's humanize, which will affect the timing of the drum part. If we put this at 0%, then it will play this perfectly in time. And if we increase this, it will move some of the notes so they're slightly out of time. Then we have this tempo control here. Changing this from standard might be useful if you've recorded the song at double or half the tempo as a drummer will follow the project's tempo. One other thing to mention for this electric drummer session player is the perform again button down here and the bottom left. This will give us a variation of the drums performance without changing the settings. Again, like the acoustic session drummer, we can convert this to MDI and then adjust some of the drums in the midi Editor. We can do this by double tapping on the region and then go down to convert and convert to midi region. Okay, so that's the electronic drummer session player. I'm going to delete this track for now, and next we'll look at the percussion session player. So we can delete this track in this region by tapping on the track header and going to delete. And then tapping delete again. Okay, next, we're going to have a look at the percussion session player, which we'll look at in the next video. So thanks for watching, and I'll see you there. 35. Percussionist: Okay, let's now look at the session percussionist. This is a session player for percussion. This includes shakers, tambourines, Macas, hand claps, and more. This might be useful alongside the session drummer, or you can use it with other loops, samples, or recordings of real drums. Let's now create a new track by pressing the Add Tracks button up here. Now, under session player, let's choose drummer and tap on the session player here. Now, let's tap on this drum image here. And now under type, let's change this to percussionist. Now let's choose one of these percussionists. We've got Latin, pop, and songwriter. Let's start off with Pop. So let's tap this. When you do this, a pop up may appear asking you to download the soundback. For this, I'm going to download the sound pack. So let's download this by tapping, download Soundback. And we can see it downloading here. Okay, let's now play this back and hear what this pop percussionist sounds like. Just like the acoustic drummer and electronic drummer, we have the complexity and intensity sliders down here. We can make the pattern more simple or complex with the complexity slider and we can adjust the dynamics for the pattern with the intensity slider, so we can make it louder or softer. I'll just play this back again and adjust these sliders so you can hear the difference. Again, like the acoustic drummer and electronic drummer, we have the fill amount, fill complexity, and swing controls here. We can choose 16th note swing or eighth note swing by tapping this button here. Let's play this back again and adjust these dials and controls so you can hear the difference. Then we have the different percussion instruments here that we can enable or disable, and we can enable and disable these by tapping on them, and we have the patterns here that we can choose for them. The percussion instruments and patterns actually change when we choose a different type of percussionist. So we can see these change when we swap between pop, songwriter and Latin percussion. So let's just change this to Latin, you can see here the percussion is changed. Let's now swap this to songwriter. And it's changed again. Let's leave this on songwriter, and I'll choose different percussion instruments and patterns drawing playback, so you can hear the difference. I'll start with none of them on and then I'll gradually add one in so you can hit a different percussion instruments when they are added. So we can't have the percussion pattern follow something else like with the session acoustic or electronic drummer. You'll also notice that there's no manual tab, so we can't manually type in a pattern for the percussionist to follow. We do have this details tab, though, and let's have a quick look at this. This is actually the same as electronic drummer, and I'll briefly go over this now. So we have these different complexity ranges for the different percussion instruments. So these, we can have a large range between simple and complex, and we can drag the range down to make it more simple or drag it up to make it more complex, or we can have a large range or a smaller range. Then there's the phase variation slider. So if you want your pattern to be repetitive, slide it down. And if you want more variation in the pattern, slide it up. Then we've got feel which allows you to pull or push the feel. Then we've got the dynamic style. We can move this to the left for less dynamic variation, and we can move it to the right for more dynamic variation. Then we've got the humanized control. We can move this to the right to add rhythmic imperfections like a human would play, or we can move it to the left to make the timing perfect, but it may sound more robotic. Then we've got this tempo setting here, which you can use if you've recorded the song a double or half tempo. Let's actually unmute the session acoustic drummer that we looked at previously. And let's now hear the percussionist, with the drummer. So this might be useful alongside the session drummer. But as I said, you can also use it with other loops, samples or recordings of real drums. Again, we can convert this to MIDI by double tapping on the region and go down to convert and convert to Midi Region. Now inside the MIDI editor, we can manually change some of the midi notes if you wish. However, I'm just going to press the Undo button up here a few times. So we go back to the session percussionist, I said I don't want to edit this midi. So as you should have seen, the session acoustic drummer, electronic drummer, and percussionist are all very similar. And I hope now you're able to use all of these to help you quickly come up with drum grooves and percussion parts for your songs. For now, though, let's mute the percussionist by pressing the end button here. Okay, so that's ended this video. In the next video, we're going to look at the session bass player. So thanks for watching, and I'll see you there. 36. Session Bass Player - Part 1: Main Tab and Bass Styles: Okay, so now let's have a look at the session base player. So let's create a new track by tapping the new Tracks button up here. Now under Session player, let's tap on this drop down list and choose base player. Now let's tap on this button, and this will open our base player session player. So you can see here we have three different tabs, Min, details, and manual. For now, let's look at Main. We can also click on this base icon here to choose a different playing style. Here we have eight different playing styles in four different genres, rock, songwriter, alternative and R&B. Let's click on the first one, which is pop rock. Again, we may need to download a sound pack to use these session players. So for this, I'm going to click on Download SoundbaC we can see it downloading up here. Okay, let's now play this back to hear what this sounds like. Drawing playback, I'll so the bass track by pressing the S button on the track header here. Okay, let's hit back now. And So the session bass player uses the studio base instrument. So we can access this by tapping on the mixer down here. And you can see here it says Studio base. So let's tap on this now. Let's just tap on the mixer icon again so we have a bit more space. So currently, it's played on this classic preset. We can tap on this drop down list here and choose another bass instrument. These emulate popular bases. For example, classic is emulating a fender Precision bass. Then 60s is emulating what looks to be a Hoffner base, similar to what Paul McCartney from the Beatles played. Let's hear this back. Let's now have a look at the other bases. Rock is emulating a Rickenbacker base. Let's hear this back. Then there's session, which looks like it is emulating a fender jazz base. Then there's modern modern looks like it's emulating an Ernie Ball sting ray base. Then there's American upright, which is emulating an upright base. You can hear that they all have quite different tones and sounds and I recommend testing these out yourself on different baselines to hear the difference. For now, though, let's go back to the classic bass instrument, and let's continue looking at the session bass player. So let's tap on Editor icon down here to bring up the session player. And let's close the session bass player by pressing the plugin button. Let's now tap on the session bass player button to choose another bass playing style. If we choose a different style, it will change the bass instrument unless we uncheck change patch here, which won't change the bass instrument. So let's say, for example, you really like the sound of the classic bass instrument. You can uncheck change patch and then hear the different styles with that instrument. But for now, I'm going to check this as Logic Pro does a pretty good job selecting the right type of tone and bass instrument for the different playing styles. Okay, let's just play this back again, and I'll switch between the different playing style so you can hear the difference. Then the Mm hmm. As you can hear, the different playing styles are very different. I actually like the sound of the pop rock playing style, so let's choose this one. You notice that the out for the session bass player is very similar to that of the out for the session drummer. So here we have the complexity, intensity, pattern controls, fill them out, swing and fill complexity, which do the same as the session drummer, which I've covered several times in the last few videos, so I won't cover these again, but I'll just play this back and adjust a few of these controls so you can hear the difference. And, Uh, Uh, Okay, let's now have a look at these controls here in the main tab. First of all, we have melody. If we tap on this, will give us a few options. Let's first talk about root only. So root is the root note of the chord. For example, the root note of a C major chord is C. So if you want a more simple melody, you could choose root only. But if you want a more complex melody, you could try another one of these. If we choose some notes, this will add more notes to the melody. And if we choose more notes, this will add more additional notes to the melody. This setting may change though when we choose a different bass player style. For example, if we switch this over to pop song writer, you can see it now says root only, some notes, more notes, and most notes. You can also choose how many octaves you want with this control here. You can stay within one octave by selecting none, or you can mostly stay in one octave by selecting some, or you can select more, and you will hear more octave drawing playback. Okay, let's just play this back now and I'll swap between these three settings. Okay, let's leave this on s. And now let's have a look at this freezing control here so we can have shorter or more staccato notes by choosing short. Or we can have medium length notes, which we had previously, or we can have longer phrases or longer notes by choosing long. You can also see this update in the region as well. For now, though, let's go back to medium. We can also have the session bass player follow another instrument. We can do this by tapping on the patterns button here. And down here next to tracks, we can choose our drums, so the bass will follow this. So our drums are SoCal, and it's the first one. So let's tap on the pattern again and tap over here and tap on SoCal. We can see our region updated. Now let's play this back to hear the difference, and the bass should follow the drums more now. It's a very simple part, but it seems to work well with the drums. We can also choose the lowest note. So on the four string electric bass guitar and standard tuning, the lowest note will be E one. However, for a lot of rock and metal music and also some other genres as well, you might want to use drop D, so the lowest note is a D or even drop C, so the lowest note is a C. So if you have guitars on your track that are tune this way, you may want to change the lowest note for the bass as well. This actually goes all the way down to B zero as a five string or six string bass has one lower string, and this is a B zero. Less no play this back with these lower notes. So when I move this down to C one and B zero, it was playing a C note by Octave Lower. One other quick thing to mention, just like the session drummer, we have the perform again button down here and the bottom left. If we tap this, then this will add a slight variation to the pattern without changing any of the settings. Okay, so that's all the controls for the main tab. In the next video, we're going to look at the details and manual tab for this base session player. Thanks for watching, and I'll see you there. 37. Session Bass Player - Part 2: Details and Manual Tab: Okay, so now let's continue looking at the session bass player and have a look at the details and manual tab. Let's start off with a details tab. Let's first talk about dead notes, which are also known as muted notes or ghost notes. We can use dead notes to add rhythmic texture and add groove to a baseline. Dead notes allow the basis to create more intricate rhythms. They can add a recussive element to the part and can enhance the groove. They can also be used to break up the space between the notes and can add a funky feel to the bassline. If this dial is at 0%, then every note will be played and they won't be muted. You notice when we increase this dial, you'll be able to see more notes have been added to the region. Okay, let's solo the bass part by pressing S in the track header, and let's play this back and adjust this dead notes style. Let's start this off on 0% and then I'll add some dead notes drawing playback. Drawing playback or unsolo the bass part, so we can hear it with the drums, as well. It depends on what you want for your part, but for this example, let's have some dead notes. So I'll leave this on 40%. Then we have this slides dial, which allows you to add more or less slides to your bassline. If your part has short staccato notes, then you may not be able to hear the slides when you increase this dial, but for longer held notes, you should hear it slide between the notes. Again, let's play this back and I'll adjust this slide dial. So for our part, we can hear it slide up here and slide down here. For this example, I like hearing the slides, but I'm going to dial it back a bit, so it's not so extreme. Let's hear this back now at 65%. So we could hear it slide up here, but we couldn't really hear it slide down here. However, for this example, I think this is fine. Okay, then we have these free buttons down here, which are pickup hits, dynamic mute and line root. Let's first talk about pickup hits. If you enable this by tapping on it, then it's more likely to have pickup hits. So these are percussive rhythmic muted click sounds that are created when the bassist uses their finger or thumb to tap the pickups or strings close to the pickup. These can add percussive elements to our bass line and can emphasize the groove and can make the lines sound more rhythmic. These can add more rhythmical nuances to the bass part and are often used in jazz, funk, and experimental styles of music. So let's play this back and enable and disable the pickup hits button to hear the difference. For now, though, let's leave this disabled, and let's look at the next button, which is dynamic mute. If you have this enabled, then this allows you to have more muted notes in your baseline. Next, there's the align root option. When enabled, the bass part will play closer intervals drawing chord changes. So this will prevent large jumps when the chord changes. By the way, intervals is just a musical name for the distance between notes. So if you want the part to sound less jumpy and to smooth out the part a bit, you could consider enabling this. Right now we just have one chord, so enabling and disbling this won't make a difference. But if we add another chord, you should be able to hit a difference. So we will look at the chord tract later on, but I'm just going to add a chord to the chord track now so we can access the chord track by pressing the global Tracks button up here above the track headers. So you can see now we just have a C chord. But then bar three, let's add another chord. And we can do this by pressing this plus button here. As I said, we will be looking at this in detail later on. But for now, let's just add an F major chord. Let's tap on the base session player region again and let's tap on the Details tap. Now you'll notice the region will change when I disable a line root. So there should be less jumps during the chord changes when we have this enabled. Let's just play this back now to hit the difference. Okay, so that's where a line root enabled. Now let's disable this. So if you want your part to sound less jumpy and to smooth out the part a bit, you can leave this enabled. So for this example, let's enable this. Okay, then down here, we have double stops and new offset. Let's first talk about double stops. Double stops are when two notes are played together. These can add harmonic depth and texture to a baseline. With this control, we can adjust the probability of playing about double stops. So at 0%, there won't be any double stops, and if it's on 100%, then there'll be double stops all the time. Let's now play this back and adjust the double stops control. And So now it's on 50%, and you should have heard there that around half the time it plays two notes at the same time. For this, though, let's put this back to 0%. By the way, we can double tap on this or type in the exact amount we want here or we can use these arrows to go at 1%. To this, though, let's put this on 0% as I don't want to hear any double stops for this part. Let's now look at the mute offset control. This allows you to choose how much you want the notes to be muted. This goes from -100 to plus 100. So we can mute this more with higher values. So you might want to mute the part as it can give you a percussive rhythmic sound. Muting also allows you to control the sustain of the note. So instead of letting every note ring out fully, muting allows you to cut notes shorter, which can make the bass part more expressive and dynamic. Let's play this back and I'll adjust the mute offset amount so we can hit a difference. For now, though, let's put the mute offset back to zero. Again, we can double tap on this to bring up this control, so I can just tap on this number here and tap zero and done. And now it's changed to zero. Okay, so now let's talk about the manual tab. So let's tap on this. This is the same as a manual tab for the session drummer. So this we can create our own pattern by typing one in. So we can tap on the step to create a pattern, and we can tap on it again to delete the pattern. Each one of these is a 16th note, and every four of these is a beat, and all four of these beats make up a bar as we're in four, four times signature. We can change the length by tapping on this dropdown list under length, so we can make the pattern longer or shorter than the bar if you wish. Just for this example, let's leave this on 1 bar, and let's type in the pattern. By the way, we can change this pattern drawing playback. So let's play this back now and I'll change this pattern drawing playback. Openings opens. And now if we go back to the main tab, we can see here it says manual pattern, and we can always tap on this again and choose one of these pattern presets instead if we don't want to use the manual pattern. Okay, so that's the session bass player. Again, like the session drummer, we can convert this to midi by double tapping on the region and going to convert and convert to midi region. Now in media Editor, we can change any of these mini notes if we wish. Again, you may wish to duplicate your track before you convert and basically make a copy of your session player, as you can convert a session player region to MIDI, but you can't convert MIDI to a session player region. So if you want to go back to the session player, you can't if you convert it to MIDI, which is why I recommend making a copy of the session player. You can also mute this as well, so you can't hear it. I personally like having a backup until I'm completely done and happy of my midi parts. However, let's undo this convert and go back to the session bass player by tapping the Undo button a few times, which is up here in the top right. Okay, so that's the session bass player. Next, we'll look at the session keyboard player, and after that, we look at the chord track. So thanks for watching, and I'll see you there. 38. Session Keyboard Player - Part 1: Playing Styles: Okay, so now let's look at the keyboard session player. In the next few videos, I'll show the controls for this session player. And then after this, we'll look at the chord track so you can add your own chords. For now, though, let's just use this CNF chord that we're working with before. Okay, so now let's credge new instrument. We can do this by tapping this button up here. Now let's tap the drop down list under session player, and let's choose keyboard player. And now let's tap this button here. Let's now unsolo the bass track that we were looking at before and solo this keyboard track. So you can see that when we tap this image here, we can choose a different playing style. We don't have genres like the other session players. Let's now hear these different playing styles. Let's start with the first one freely. Let's now have a look at the instrument it uses. So let's tap on the mixer button here. And you can see here this is our solo track, and it uses the studio piano instrument. Let's tap on this. Let's tap on the mixer icon again to close it so we have a bit more space. So this free style uses the studio grand one mic instrument. And I think this instrument sounds nice. Let's now have a look at the next playing style. Let's look at the session player editor again by tapping on the Editor button. Let's tap on this image again and try the next playing style. This one's called Broken Chords. So you may get a pop up like this up here that'll ask you to download another soundback. So for this example, I'm going to download this, and we can see the download progress over here. Okay, so this pack has downloaded and you can see the instrument has changed to the vintage upright piano sound. Let's hit this back. Let's try the next playing style by tapping on this icon here, which is Block charts. This also uses a vintage upright piano sound. Okay, let's hit this back. That style gives us a different feel and sound as well. Okay, let's try the next one, which is arpeggiated, which again, uses the studio grand one mic piano instruments. Okay, let's hit this back. We can also play these styles back on other preset sounds. For example, we could change this to the concert grand. Let's say this back. We can also change it to the studio grand instrument. You can see this instrument has multiple mics, and we can turn the different mics on and off with these buttons down here. With these sliders here, we can adjust the level for the different mics. Let's just play this back, and I'll turn on and off these different mics and also adjust the levels. By the way, we don't only have to hear this back on the studio piano instrument. We can choose another instrument if you wish. So let's tap on the browser button down here in the bottom left and then tap on instrument patches. From here, let's choose another instrument sound. Let's choose this one, classic suitcase MKour. So you can see down here is changed to the vintage electric piano. Let's now hear this playing style back with the vintage electric piano instrument. So you can hear it's playing the same part, but it's played on a different instrument. Let's just close the browser by tapping this button again so we have a bit more space. Let's now have a look at the last session player playing style. So let's tap on this icon here, and let's choose the next one, which is called simple pad. This doesn't actually use the tudopiano instrument. It uses retro sync with a pad preset sound. Let's hit this back. So we can adjust the controls for this synth, and it will give us a different sound. For example, let's play this back and adjust the filter cut off amount during playback, and you'll hear how it sounds different. Okay, let's do this now. Okay, so that's different playing styles, and you should be able to hear they all sound very different. Let's actually tap on this icon again and go back to one of these previous playing styles. Let's choose broken chords. Okay, great. Let's now hide this instrument so we have a bit more space, and we can do this by tapping the plug in button down here. Okay, so that's the different playing styles. Next, let's have a look at the main controls which we'll look at in the next video. Thanks watching, and I'll see you there. 39. Session Keyboard Player - Part 2: Main Tab: Okay, so now let's have a look at the controls for the main tab for the keyboard session player. So we've got the complexity and intensity sliders, which do the same as other session players we looked at before. So we can change the complexity of the performance with the slider. We can make it more complex by sliding it up and make it more simple by sliding it down. Then the intensity slider allows us to adjust the loudness of the performance, so we can move it up to make it louder or move it down to make it softer. Let's just play this back and I'll adjust these two sliders so you can hear the difference. We can also set these back to the default settings by double tapping on them. Okay, let's now have a look at this middle section over here. Let's look at the patterns first, which again is the same as the other session players. So we can tap here and choose a different pattern. Let's just play this back and select a few of these so you can hear the difference. By the way, for this playing style, some of the patterns will sound the same, will be very similar. Let's tap the pattern again. And you'll notice down here we have this follow rhythm of section. And if we enable this chord switch here, this will emphasize the chord changes. So we can see it change slightly here when we enable and disable this. This will be more noticeable when there's a new chord being played. See if you remember, currently, we have these two chords, C and F. Then we have this switch here, which allows us to follow the rhythm of the chords. When this is enabled, this will emphasize the chord changes. So this will be more noticeable when there's a new chord being played. I would generally leave this enabled, so it emphasizes the chord changes. We can also have the keyboard session player follow another track, so we can tap on this drop down list here and choose another track for it to follow. For example, the drums or bass. So for this example, let's have it follow the drummer session player. And that's the first one here called socal. So let's tap on this out for scroll up here, we can see it's this one here. So you should have noticed there that the region for the keyboard session player has changed. Let's just tap on the patterns again and change it to off so you can see the difference. Now let's choose socal again. And let's play this back, and you should be able to hear that the keyboard session player follows a rhythm of the drums. Okay, great. Let's scroll up here and unsolo the drums. And now let's continue looking at the keyboard session player. Let's now have a look at the left and right hand settings down here. So here we can turn on and mute the left and right hands. So if you just want to hear one of these hands, you can mute the other one or have them both on. Then below here, we have these sliders for the left and right hands. These allow you to adjust the hand placement for the left and right hands, so you can make the hands closer together for a more closed position, or you can make them further apart. Let's just turn off the right hand and you'll notice that when the slider is moved to the left, it will have a lower range, and we'll play lower notes. And when it's moved to the right, it will have a higher range, and we'll play higher notes. So if you want some more notes in the lower end or some more bottom end, then you can move this to the left. And if you want some higher notes, you can move this to the right. This is also the same for the right hand. So let's mute the left hand by tapping on it and unmute the right hand by tapping on it. So now we can tap and drag on this right hand icon to adjust the range of the right hand. So when we move it to the right, we'll get higher notes, and when we move it to the left, we'll get lower notes. Let's play this back and adjust this so you can hear the difference. Okay, let's just unmute the left hand and adjust these controls to find something suitable. I think about that sounds nice for this part. Okay, then we have these voicing and start options below. Let's first have a look at the voicing options for the left hand. So by default, this is on root only. So this will just play the root note of the chord. We can also have this play root and octave. And we can see update here in the region. Let's just mute the right hand for now, so it's easier to hear. Okay, so now it should play a root and an octave above. Then we have root and fifth. So, the root note and the fifth note of the chord. Let's hear this now. Then we have root fifth and octave. Let's hear this now. I generally choose either root only or root and octave, but I recommend testing this out for yourself and choosing whichever's most suitable for your part. But for now, let's leave this on root only. Then below, we can choose different styles. With this, we can choose different complexities for the left hand. These different styles will change the rhythm at length of the notes. This is currently on sustained only. This will play long and sustained notes. Then the simple, which will play a lot of long notes, and we play some short notes. Again, let's just mute the right hand and play this back. Then there's moderate, and this will play a moderate rhythmic pattern. Then there's complex, and this will play a more intricate or complex pattern. Then there's follow right hand, which will play accents that are in sync and will follow the right hand. Then there's steady apes, which will play straight steady ape notes. But for now, let's keep it simple and put it back to sustain only. Okay, let's now look at the voicing settings for the right hand. So this is a little different from the left hand voicing, and here you can choose a different amount of voicings. So this allows you to select how many notes can be played. If we choose two voice, then the right hand will play a maximum of two notes at the same time. We also have two voice fixed interval, which means two notes are played together, and the space between them stays the same as you move to different chords. So you can see here on bar three, we moved to a different chord. Let's hear this back. Using this type of voicing can help you create a minimal and stable texture in your arrangement. We also have two voice common tone where two notes are played together, but one note stays the same, while the other changes to create a new chord. This gives the music a steady feeling since one note remains constant. Let's hear this now. We also have free voice common tone, which means one note will stay the same, and the others will change when there's new chords. Let's hear this now. We then have free voice common tone, which means we have three notes, but at least one note will stay the same while the others change to create a new chord. Then we have full chord. Full chord means we're playing all of the notes that make up the chord. Let's hear this now. We also have four chord fixed inversion. This means you're playing all of the notes of the chord, but the order or inversion is changed and stays fixed while playing. For the right hand, the root note may not be the lowest, but all of the notes of the chords still included. Let's hear this now. We can also choose four plus voices, which might be useful if you're using extended chords, for example, seventh, ninth, 11th or 13th chords. Let's say this now. Then we have four plus voices fixed inversion, which is the same as four chord, fixed inversion, but we can have more than four voices. Okay, then below here, we can choose the movement. With this, we can choose the range of the movement for the right hand. You can choose a more minimal range, which will have more inverted cords, or you can choose a larger range, which will have larger jumps and leaps between the different cords. Or we can choose somewhere in between, a small range or medium range. For this example, let's choose small. So this will have some movement, but it won't have too many large jumps or leaps between the different cords. Okay, then we have the fill complexity and swing, which is the same as the other session players. So we can add more or less fills with a fill amount dial, and we can choose who complex we want the fills with a fill complexity dial. We can also add some eighth note or 16th note swing with this dial over here. Okay, let's just play this back and I'll adjust the fill complexity and swing controls so you can hit a difference. So for this playing style, fill them out and fill complexity. Don't do too much. We can still hear there's a slight difference when we change these controls. Okay, so that's the main tab. Next, we'll look at the details of our manual tab, which we'll look at in the next video. Thanks for watching, and I'll see you there. 40. Session Keyboard Player - Part 3: Details and Manual Tab: Okay, so the details tab is quite minimal. We just have this grace notes control. By the way, we don't have a details tab or a manual tab for the simple pad plane style. We also don't have any patterns that we can choose for this plain style as well. Okay, let's go to another plain style. This time, let's choose peggiated. And let's tap on details, and let's now talk about grace notes. So grace notes on the piano are tiny fast notes played right before the main note. These are used to add a little extra decoration to the music. I suggest not using too many grace notes as too many can make the music sound out of key. But let's increase this grace note style. And you can see in the region, added a few extra notes. And let's hear this now with the grace notes on 0%. So you can add grace notes to your piano or keyboard part to make the melody more lively and interesting with quick, decorative touches. But as I mentioned, it's best not to overdo it. For now, though, let's leave this on 0%. And let's have a look at the manual tab. This is like the manual tab for the other session players. With this, we can type in our own rhythm for the keyboard player to follow. So let's just type something in now so you can hear a difference. So I'm going to play this back now and I'll change the pattern in the manual tap drawing playback. You can see that when we go back to the main tab in the pattern area, it says manual pattern, but we can also click here and choose one of these patterns and use one of these instead of the manual pattern if we wish. Okay, so that's the details and manual tab for the keyboard session player. Next, we're going to look at the chord track. 41. Chord Track - Part 1: Essentials: Let's now have a look at the chord track. This allows you to create chord progressions that the session bass player and keyboard player can follow. We can show the chords in the chord track by tapping a Global Tracks button up here. So you can see bar one and two has this C chord, and bar three to nine has this F chord. So we can change these chords or add more chords if you wish. So let's just change one of these chords now. So we can double tap on this F chord and go down to Edit Cord to change this chord. Then this cord field box will appear. This allows us to change the chord, including the root note and the type of chord. For this example, let's change this to an A minor chord. So you can see here we don't have a cord box for this first chord. That's because this was the default chord for the project, and we haven't added a new one. So let's actually add one in now. Let's drag the playhead ruler over to the start of the first bar. And now let's press as plus button here. And this will open up the cord field and allows us to change the chord. So for this example, let's change this to a D minor chord. So let's change the root note to D and select minor here. So now we have two different chords. So now the session keyboard player and the session bass player will follow these chords. Let's just scroll up and solo the bass session player that we made previously as well. So now the keyboard part and the bass part will follow these chords. Okay, let's hit back. And then up to bar nine, it will continue playing this A minor chord. Let's actually add a new chord at bar five. So let's move the playhead back to bar five. And by the way, when you do this, I recommend having snap to grid enabled. You can do this by tapping on the drop down list under Snap and choosing snap to grid. This way, it'll snap on the bar and not somewhere near the bar. Okay, so let's go over to this plus button again. And this time, let's leave this on C major chord. And now on bar seven, let's add a new chord. So let's move the playhead ruler to bar seven and then tap this plus icon again. And this time, I want to add a G major chord. So let's change the root note to a G and make sure it's on major. Okay, so now we have a 2615 chord progression. So in the key of C major, the two chord is a D minor. The six is an A minor, the one is a C, and the five is a G. By the way, we'll look at the difference between major minor and ofer chords in the next few videos. Okay, so let's hear this about now. And because we have the cycle region enabled, this will loop around again. So it is quite amazing, really, that the keyboard session player and bass player will follow these cords in the chord track. We can also double tap on the cord and then go to Copy to copy this over, and then we can past this somewhere else. For example, at bar nine, we have this A minor chord. So I'm going to double tap on this and select paste. And you can see here it's pater than this chord. We can actually loop this cord progression as well if we wish. Before we do this, I'm just going to change this so we have one cord box rather than two. This way, we can loop our region a lot easier. So let's double tap on the first one and then go to delete. Now we can drag this chord track back. Remember, the first cord was a D minor, so let's double tap on this firstchord and then go to Edit Chord. Now let's change this to a D minor. So you can see here we have D minor, A minus a minus, A minor, which isn't the same as what we have here. So let's actually double tap on these chords here to delete them. Let's do this for the first one and the second one here. Now let's go over to the loop tool and drag to the right to loop this. We can keep going as long as we wish. So let's say the song is 57 bars, we can drag to here. Let's also enable snaps so it snaps to the grid. Okay, there we go. So now we have our 2615 chord progression going all the way up to bar 57. Okay, now let's actually change to a new key. So in Logic Pro, if you choose a new key, we'll actually transpose the cords and the chord tract to this new key. So in the display up here where it says C major, let's tap on this, and let's change this to a different key. So let's tap on where it says C. And for this example, let's change it to D major. So let's choose D and make sure major is selected. So this key has two shops, so all of the F will now be in F sharp, and all the Cs will be a C sharp, and the key will root around the D rather than the C notes. So it does still use the 2615 core progression, but this time in D major. Okay, let's hit this back. Uh, Okay, nice. By the way, if you're new to music theory and you're not sure what chords or chord progressions to use, then you can use a core progression that logic provides. You can do this by tapping on the chords so it selects all of the chords, and then holding down and tapping again so this pop up box appears. So here we have these core progression options. So these will all be in the key of the project, which is now D major. So let's try some of these. Let's try the first one, 251. So you can see it's changed the timing as well. We have the course change every bar rather than every 2 bars. Let's hit this back. Let's tap and hold and tap again to bring up this pop up. Let's choose the next chord progression, which is 1564. By the way, when we have an uppercase Roman numeral, it means it's a major chord, and when we have a lowercase Roman numeral, it means it's a minor chord. Okay, let's hear this back now. And then it repeats there. However, for this example, let's have the course change every 2 bars rather than every bar. And we can bring up these options by double tapping. So now let's go to half chord rhythm. Now you can see the chords will change every 2 bars. Okay, great. And there's other core progressions you can choose as well. But for this example, let's leave it like this. Now let's go back to C major. So let's tap on this key signature up here and changes from D major to C major. And now let's tap done. And it uses the 1564 core progression, but now it's in C major. Let's say this back. And again, we can have the course change every bit, if you wish. So let's bring up the pop up by holding and tapping or right clicking using a mouse or trap pad. And now let's go to double chord rhythm. And you can see here the course change every bit. And then they will continue repeating. We can actually change one of these cords here, and it will change the chords in the loop as well. So let's double tap on this A minor chord and then go to Edit cord. And for this example, let's change it to a D minor. And you can see this is updated in a loop, as well. Okay, let's hit this back one more time. Okay, great. So I do recommend testing at the different corre progressions and try them with other keys to hear the difference. Okay, so that's the essentials of the chord track. In the next few videos, I'm going to dive deep into the different types of calls you can choose. Thanks for watching, and I'll see you in the next one. 42. Chord Track - Part 2: Major and Minor Chords: Okay, so now I'm going to cover the different type of chords that the chord track offers, starting with major and minor chords. So if you're new to songwriting or music theory, then I recommend watching the next few videos, as I explained the theory of chords. If you're quite proficient at music theory and you already know the different types of chords, then I recommend skipping these next few videos. Okay, so let's get started. So let's tap on the Global Tracks button here. And let's double tap on the first chord and then go to Edit Cchord. So now this cord field pop up box will appear. So you can see here that we can choose a major or minor chord like we looked at before. Let's now quickly explain the differences between a major and a minor chord. These chords are different in the structure and the mood they convey. A major chord sounds happy and uplifting, and a minor chord sounds sad and darker. A major chord has a root note than a major third, which is four semitones or half steps from the root and a perfect fifth, which is seven semitones or half steps from the root. Let's just tap on the play surfaces button down here in the bottom right to bring up the piano keyboard. Let's now close the editor window so we have a bit more space. So I'll just show you now on this piano keyboard these different chords. So a C major chord has the root note of C. And then it has the major third, which is four semitones above C, so one, two, three, four, which is an E, and then the perfect fifth, which is seven semitones above C, five, six, seven, which is a G. So a C major chord will have the notes C, E and G. Let's just bring the cord field pop box back up again. So let's double tap on their C chord and go to Edit Cord, and we can press the speaker icon in the top left of the cord field to preview the chord. Let's now talk about a minor chord. A minor chord has a root note, then a minor third, which is three semitones above the root, and then a perfect fifth, which is seven semitones above the root. So the root note for a C minor chord is C, and then three semitones above this. We give us this E flat, which sounds the same as a D sharp, but it's an E flat as a key of C minus has flat, not sharps. And then we have the fifth, which is seven semitones above the C. One, two, three, four, five, six, seven. That brings us to G. So a C minor chord has a note C, E flat and G. Let's let's see min in this chord field here. And let's press a speaker icon in the top left abbreviate this. So it's the third note that's a difference between a major and minor triad. By the way, a triad means a free note chord. Okay, let's now play back our loop and swap between a minor and major chord so you can hear the difference. So you should be able to notice that the minor chord sounds sadder and darker, and the major chord sounds happier and more uplifting. Before I do this, though, I'm just going to half the chord rhythm. So each chord is 2 bars long so you can hit the first chord for longer. So let's tap off this chord and then tap and hold on all of the chords to bring up this pop up box. Now, let's select half chord rhythm. Okay, let's double tap on the first chord again and select Edit chord. Now let's play this back on a minor chord and then I'll play it back again on a major chord so you can hit a difference. So you should have heard there. The first cord sounded quite sad and dark. And now let's try the major chord, where it should sound happier and more uplifting. Okay, so that's the difference between major and minor chords. In next video, we're going to continue looking at some more types of chords. 43. Chord Track - Part 3: Sus, Diminished, Augmented, 5 + 6th: Okay, so now let's have a look at some more types of chords, including sus chords, fifth chords, augmented, diminished, and six chords. Let's first look at sus chords. So let's just bring up the chord field again. And you can see here we have sus two and sus four chords. If you choose this type of chord, then this will replace the third of the chord with another note. So let's first talk about sus two. This will replace the third of the chord with the second scale degree or the second note of the scale. This creates a more open, unresolved sound. For example, C major triad has a note C, E and G. But the sus two triad has the notes, C, D, and G. As the D is the second scale degree or the second note from a C major chord. Without having the third note in the chord triad, it gives the chord a suspended unresolved sound. Let's preview this as well in the chord field by pressing the speaker icon in the top left of this pop up. Let's also hear what the sounds like with the session bass player and keyboard player. Okay, then we've got a sus four chord type, which is a suspended fourth chord. So this time, the third will be replaced by the fourth. So for a C major triad, we have the notes C, E and G. But the C sus four chords will have the notes C, F and G. As the E will be replaced by the F. Let's preview this in the cord field. And let's hit this back with our loop. Sus cords create tension, and they sound like they want to resolve to a more stable ord, such as a major or minor chord. Okay, let's now look at the next chord type. Next, we've got a five chord. So this type of chord just has the root and fifth. It doesn't include the third note of the chord. For example, a C five will just be the notes C and G. These are also known as power chords, and with just these two notes, we don't know if the chord is major or minor, as there's not enough information, as we need the third to determine this. These types of chords can sound powerful or neutral sounding and are often used on electric guitars with distortion and are used in rock and metal genres. Again, let's hit us back on the piano and bass loop. Then we've got an augmented chord. This is a type of chord triad where the fifth note is raised or augmented by half a step or a semitone. This type of chord can create drama in the music and creates a tense, unresolved sound, as augmenting the fifth note creates a feeling of instability. So a C major triad has a note C, E and G. But for a C augmented chord, we raise the fifth note a semitone or half step, so the G will become a G sharp. So C augmented chords has the note C, E and G sharp. Let's preview this here as well. An augmented chord use is more for adding movement and harmonic color rather than strictly belonging to a key. Let's hear this back on the bass and keyboard player as well. Let's now look at our next type of chord, which is a diminished chord. This is essentially a minor chord where the fifth note is half a step or a semitone lower. We can see in this box down here, we have a flattened fifth. If we select the augmented, you can see we have a sharpened fifth. Let's continue talking about diminished, though. So a diminished chord creates an unresolved tense and dissonant sound. These are often used to create tension. So for this example, let's choose a B diminished chord. So let's change the root note to a B. A B diminished chord we'll use in notes B, D and F. So a B minor chord will use the notes B, D and F sharp. But remember, a diminished chord is a minor chord with a flat and Thef. So this F sharp will become an F. So a B diminished chord uses the notes B, D and F, which are in the key of C major. A C major has no sharps or flats. It's just the white notes on the piano keyboard. Again, let's preview this up here. And then hit back with a piano and bass. Good. Okay, let's now have a look at the next type of chord. For this example, let's change this back to a C major. Now let's look at a six chord. So this will add a six note to the cord. So this will make a four note chord. So for example, a C major chord has a note C, E and G, but then we're also going to add the six, which is this A here. This can add richness to a basic cord. Again, let's hit this back in the cord field. And then hit this back with our loop. Okay, so that sus cord, fifth chords, augmented, diminished, and six cords. Next, we're going to look at seventh chords, which we'll look at in the next video. So thanks watching, and I'll see you there. 44. Chord Track - Part 4: 7th Chords: Okay, so now let's have a look at seventh chords. Let's tap on when it's a seven, and let's uncheck 13 and tap on seven again. This is also known as a C dominant seventh chord. So this is a major triad of added minus seventh. So it's a major triad with a minor third on top. So let's work out the notes for a C seven or C dominant seventh chord. So a C major triad will have the notes C, E and G. Then we need to add a minor third on top, which will bring us to our minor seventh. Remember to find a minor third, we need to count up three semitones or three half steps. So from the G, which is the fifth, let's count up three. One, two, three. That brings us to B flat. So I see dominant seventh chord, we'll have the notes C, E, G, and B flat. Again, let's preview this in the chord field. And again, let's hear this back with our loop. A dominant seventh chord is often used to add tension and color and is often used in jazz and blues music. For this example, though, as we're in the key of C major, let's choose a dominant seventh chord that fits in our key. So for this example, let's choose a G seven chord. Let's work out the notes for a G seven chord. So we have the G major triad, which is G, B and D. And then remember, we need to count three semitones from the fifth to find the minus seventh. So one, two, three, that brings us to this F. So a G seven or G dominant seventh chord has the notes G, B, D and F. And all these notes are the white notes and fit in the key of C major. Again, let's preview this. Let's play this back in our loop. Let's now have a look at another type of seventh chord. Okay, let's now talk about a major seventh chord. So this is a major chord with added major seventh. Let's change the root note back to C. And let's preview this here first. So this creates a warm, rich sound and as depth to chord progression. Let's work out the C major seventh chord. So remember, a C major triad uses a note C, E and G, and then we need to add a major seventh on top. So it's a major third on top of the G. And to find a major third, we need to count four semitones or four half steps. So from the G, one, two, three, four, that brings us to this B. So a C major seven, we'll have the note C, E, G, and B. This also fits in the key of C major, as all the notes are the white notes. Let's hear this back with the loop. Okay, so that's the major seven chords. Let's now have a look at the minus seventh chords. So let's tap R minor and tap R seven. So for this example, it brings us to C minus seven. However, let's keep this in the key of C major. So I'm going to change the root node to D. And this gives us a D minus seven chord. Let's work this out now. So we have the notes of D minor, which are D, F, and A, and now we need to add on a minus seventh on top. So we need to count up three semitones or three half steps from the fifth to find the minus seventh. So from the A, we need to count up three. One, two, three, and that brings us to the C. So a D minus seven chord we have the notes D, F, A, C. Let's preview this in the chord track, and let's play this back with our loop. A minor save up call can feel romantic, lay back, and can sound quite dreamy. Let's now talk about the other type of minus seven chord, and that is a minor major seven chord. There isn't actually a minor or major seven chord that's in the key of C major. So for any of these minor major seven chords, there will be at least one sharp or flat. For this example, let's work at D minor major seven chord. So remember a D minor triad uses the notes D, F, and A, and then we need to add a major seven on top. So we need to add a major third from the fifth. So remember, we need to count four semitones from the fifth. So from the A, let's count at four. One, two, three, four. That brings us to C sharp. So for a D minor major seven chord, we have the notes D, F, A, and C sharp. So a minor major seven chord sounds mysterious, tense and can also sound a bit sad. Let's preview this on the cord field. And let's play this back with our loop. So there are other types of seven chords we can use as well, but the most common ones are the major and minus seventh chords. For example, we can have a sus 27 chord, so this can be a dominant seventh or major seventh. So again, we can work out the notes for a SS two triad, and then we can add either a minor seventh or major seventh on top. Same for the sus four and the fifth, and we can also have augmented and diminished seventh chords as well. For an augmented or diminished chord, we're actually changing the fifth note of the chord, so I wouldn't add a major or minor third from a fifth to work out the seventh note. I'll tell you another quick pattern though to work out the seventh, which you can use for all of these chords, but particularly for the augmented and diminished as we are changing the fifth note. So for this example, let's work out a D, augmented seventh chord. So this is getting a bit trickier now, let's work this out. So we have the root note of a D. And remember this is a major chord, so we need to count four from the root to find the third. So one, two, three, four, that brings us to this F sharp. And then to find a D major chord, we need to count to three to find the fifth. One, two, three. So a D major chord uses the notes D, F and A. However, an augmented chord will augment the fifth. So instead of this A, we need to put this up one semitone to a G sharp. So a D augmented chord uses the notes D, F, and A sharp. Now let's find the dominant seventh. So another way to work at the dominant seventh is to count down two steps from an octave above the root. So we have this D three note, and an octave above is this D four note. Now let's count down two semitones. One, two brings us to the C. So a D augmented seventh chord will have the notes D, F sharp, A sharp, and C. Let's hit this back with a preview. Let's hit this back with our loop. Okay. Okay. This ord has a very tense and unstable sound. It's often used to resolve into another cord or to create dramatic tension. This cord can be used to create dramatic transitions. However, it is quite rare that you will use an augmented seventh chord, but that's how you work it out if you're interested. Let's look at this now with a major seven. So the trick to work out a major seven chord is to count down one semitone or one half step, an octave above the root note. So let's look at this D augmented cord again. Remember the notes were D, F sharp, and A shop, and we have this Dan octave above. Let's just count down one semitone, which brings us to this C shop. So a D augmented major seven chord will have the notes D, F sharp, A sharp, and C sharp. Again, it's quite rare that you use this type of chord. This type of chord has a unique intense sound and can be used to create tension and drama in music. So for example, this type of cord could be used for tension in a film or TV show. Let's hear this back with our loop now. And we can work out a seventh chord for a diminished chord as well. Let me just quickly show you how to do this. Let's change the root note to a B, as this chord will actually be in the key of C major. So a diminished chord is basically a minor chord but with a flattened fifth. So let's work out a B minor chord. So let's start on the root note of B. And then we need to count three semitons or three half steps to find the minor third. So one, two, three, that brings us to a D. And then we need to count four semitones or four half steps to find the fifth. One, two, three, four. So a B minor chord has the notes B, D and F sharp. But diminished chord will diminish or flatten the fifth by half a step. So this F shot will become an F. So B diminished chord has the notes B, D and F. Now let's work out the seventh. Remember the trick I just taught you to work out the dominant seventh, you need to count down two steps or two semitones an octave above the root. So here we have the B two note and above, we have the B three note. Let's now count down two semitones from this B three. So one, two, brings us to this A. So B diminished seventh chord will have the notes B, D, F, and A. You can see here it's written as a B minus seven, flat five chord, but that's the same as a B diminished seven chord. Let's hit this back in our preview. And let's play this back with our groove. So that chord actually fits in that key. A diminished seventh chord can be used to create tension and drama. Okay, let's now have a look at another type of diminished seventh chord. Let's look at a diminished major seventh chord. A diminished major seven chord adds tension and mystery and can be used for dramatic effects. Let's work this out for B diminished major seven. This one won't fit in the key of C major, but let's work it out anyway. So the B diminished chord uses the notes B, D and F. And remember the trick I taught you before to work out a major seven chord, is just one half step or one semitone, an octave above the root. So an octave above this B two brings us to this B three. And one semitone or half step below brings us to an A sharp. So we have the B, the root, the D the third, the F the fifth, and the F sharp, the major seven. Let's hit this back in the preview. And let's also hit this back with our groove. So as you can hear in the chord track, there's many different combinations we can use. As I said, we can also add seventh to the sous chord and a fifth chord as well. So I do recommend testing out these different cords. Remember, you don't have to work them out on the piano keyboard if you don't want. You can just preview these different cords here to hear what they sound like. For example, let's hear what the sus 27 chord sounds like. Let's now try the sus four major seven chord. Let's try the 57 chord. And the five major seven chord. But for now, let's just go back to a nice and simple C major chord. So again, there's many different combinations of seventh chords. As I said, we can have seventh chords for source cords, fifth chords augmented and diminished. But hopefully now you know the difference, and you should start to understand different patterns so you're able to work them out. Okay, so in the next video, we're going to look at some extended chords, including nights, 11th and thirteenths. Thanks watching, and I'll see you there. 45. Chord Track - Part 5: 9th Chords: Okay, so now let's have a look at these extended chords. Let's now look at ninth chords. So for this example, let's select a C nine. So you can see that when we selected this nine chord, it also added a dominant seventh chord. So a nine chord basically adds a second on top. So the second note in C major is a D. And so we're going to add a Dne on top. So it's called a nine because it's nine notes above. So let's just count up now. So C is one, D is two, E is three, F is four, G is five, A is six, B is seven, and then going back to C again, we're counting this as eight as it's an octave above, and then D is nine. Let's just work out a C dominant seventh chord and then we'll add a nine on top. So let's start with the C. Then remember this is a major chord, so we need to count up four. That brings us to E, and then from the third to the fifth, we need to count up three. So the C major trid has an note C, E and G. So to work out a dominant seventh, we need to count up three from the fifth, or we can count down two from the octave above. Let's work this out from the fifth, first of all. So the fifth is a G, and let's count up three, one, two, three, brings us to this B flat. Or, like I said, we can count down two from the root note and octave above. So the C three and octave above brings us to the C four. Now let's count down two, one, two, again, brings us to this B flat. So a C dominant seventh chord has an note C, E, G, and B flat. And in the C major scale, the second note, one, two, is this D. So let's add this octave above. So for this example, D four. So now let's work out a C nine. So it's a C dominant seventh chord, with a ninth. So we've got C, E, G, B, D. Let's just go back to the cord field and preview this up here. Let's now play this back with a keyboard and bass session players. A nine chord like this adds color and tension, and it can be great for jazz, blues, and funk music. Let's now look at another type of nine chord. So we can do a major nine. So we have a C major seven with a ninth on top. So remember the C major triad has the note C, E and G. Then we need to count up four from the fifth, or we can count down one from the root note and octave above. Let's count up four from the fifth. So the fifth is this G. One, two, three, four brings us to this B. Here we have the C note and let's play this octave above. And one note below, again, is this B. So a C major seven chord has the note C, E, G, B. And then we need to add the ninth on top. So in the C major scale, the second note is a D, one, two. And let's play this octave above. So a C major 79 has note C, E, G, B, D. Again, let's preview this in the cord field. And let's play this back with our track. A major 79 chord sounds smooth and warm and can be great for jazz and pop music. Let's now have a look at creating a minor ninth chord. So let's swap this over to minor and let's select nine. And you can see by default, it's select seven, which in this case is a minus seven. For this example, let's actually change this to D minus seven, as this will be in the key of C major, which might be a bit easier to understand. Okay, so let's first of all, work out a D minor chord. So the root note is D. And remember, we need to count to three from the root to find the minor third. So one, two, three brings us to this F, and then we need to count to it four from the minor third to find the fifth. So one, two, three, four. So a D minor chord has a notes D, F, and A. Now let's add the minus seventh. So remember, from the fifth, we need to count up three half steps or three semitones. So the fifth is this A. Let's count up three, one, two, three. That brings us to C. Or we can count down two semitones or half steps from the root note and octave above. So the root note is this D three, and the octave above here is this D four. So let's count down two half steps or two semitones. So one, two brings us to this C as well. So a D minus seven chord has the nodes D, F, A and C. And now in the scale of D minor, the second note is this E. So we need to add a nine, which is this E and octave above. So a D minus nine called will have the notes D, F, A, C and E. Again, let's preview this in the cord field and play this back with our track. A minor ninth chord has a smooth emotional sound, ideal for creating depth and atmosphere. Okay, let's now have a look at a minor major 79. So we don't actually have a minor major seven chord that fits in the key of C major. But let's work out this D minor major 79 chord anyway, even though it's not in the key of C major. So D minor has the D, F, and A. And now let's work out the major seven. So we need to count up a major third from the fifth. So we need to count up four semitones or four half steps. So the fifth is this A. So let's count up four. One, two, three, four, brings us to the C sharp, or we can count down one step or one half step, an octave above the root note. So the root is this D three. An octave above is this D four, and one half step or one semitone brings us to the C sharp as well. So a D minor major seven chord, has the node D, F, A and C sharp. And remember the nine is this E. So let's play this all together. So a D minor major 79 chord, has the nose D, F, A, C sharp, and E. Again, let's preview this in the cord field. Let's play this back with our track. So this type of chord sounds tense and haunting and it's perfect for adding drama. So you can see here, we can also sharpen or flatten the ninth note, if you wish. Sharpening or flattening the ninth note can create tension and color and can alter its emotional impact. Let's actually go back to a C major seven. So let's change the root note back to a C. Just because with a C major seven, all the notes are in C major, and let's first of all, look at sharpening the ninth. So remember the notes of C major seven are C, E, G, B, and a ninth is this D. So if we want to sharpen a nine, we'll be playing this D sharp instead. So the notes for C major seven, sharpened ninth will be C, E, G, B and D sharp. This type of chord sounds bright and tense. A sharpened ninth can add tension and dissonance and can add a bluesy flavor and color. This can sometimes be used in dramas such as jazz, blues, and rock. Let's preview this in the chord field again. And let's play this back with our loop. D. And let's look at flattening the ninth. So remember, C major seven has the notes C, E, G, and B. And this time, we're going to flatten the ninth. So this will bring us to a deflat. So you can see here actually says we're flattening and sharpening the ninth. For now, though, let's just look at flattening the ninth. So let's uncheck sharpen nine. Okay, so the notes for C major seven are C, E, G, B. And now let's flatten the ninth, which will bring us to this deflat. So this type of chord sounds bright and haunting with a hint of dark tension. A flatter knife also adds tension and dissonance and can be used to create drama and is often used to enhance dominant seventh chords in dramas of music such as jazz, classical and flamenco music. Let's preview this. And let's hit us with our loop. We can also choose to have a flattened and sharpen ninth in the same cord. This will add a lot of distance and tension and can also add color to the cord. It may be very rare you'll use this type of cord, but let's just work it out. So remember, C major seven cord has a note C, E, G, B, and then we have the flatten ninth, which is the D flat and the sharper ninth, which is the D sharp. Like I said, it is very dissonant and tense. Let's preview this. And hit us back with our loop. And, of course, we can do the same for minor chords. It doesn't allow us to sharpen a knife, but we can still add a knife or flatten the knife. With a sus two, we can't add knife because a sus two will actually play the second note already because we're replacing the third with the second. But with a sus four chord, we can add a knife or a flatten knife and also with a fifth cord. And with augmented and diminished chords, we can also add knifes. So I'm not going to go over all of these, as it may take quite a while. But I do recommend testing these out yourself. And if you don't want to work these out on the keyboard, you can always just tap the ones you want and preview them up here to see if you like the sound. So there's many different combinations you can choose. Okay, so that's ninth chords. The next video, we're going to look at 11th chords, and then we'll look at 13th chords. So thanks watching, and I'll see you there. 46. Chord Track - Part 6: 11th Chords: So for this next example, let's work out C major 11 as all the notes will be in C major. So let's make sure the root note on C. Let's change it to a major chord and then tap on 11. You can see here we also have a seven and a nine. So this chord will have the root, third, fifth, seventh, ninth, and 11th. So the 11th is an octave plus the fourth note. Let's count up now. So in C major, the fourth note will be an F. So we have C, which is one, D, which is two, E, which is three, and F, which is four. So the four scale degree and octave above will be this F. So we have C, E, G, B, D, and the 11th, which is this F. Again, let's preview this in the cord field. And hear this with our loop. Let's try another type of 11th chord. Let's now try a G 11th chord. So this time, we're going to have a dominant seventh rather than the major seventh. So a G dominant seventh chord fits in the key of C major. Okay, let's work this out. Let's just scroll across here. So first of all, we have the G major triad, which is G, B and D. Then we need to add the F, which is a dominant seventh or a minor seventh. So we need to count top three, one, two, three, to find this. That brings us to this F. And then we need to work out the ninth. So the second scale degree in G major, one, two, brings it to this A. So a G nine, we'll have the notes G, B, D, F, and A. Okay, let's now work out the 11th. So the fourth scale degree will be a C, so one, two, three, four. So we need to add this C on top. So a G 11 chord, we have the notes G, B, D, F, A and C. And you can see here, it's also written as g79 11. So it's a G seven chord, plus a 911. Let's preview this here. And you can hear there actually played back an octave lower than what I just worked out. Let's now hear this with our track. So this chord sounds rich and smooth with a hint of tension. We can also select the 11 and un chat the seven and a nine, if you wish. So this way it's going to be a G major triad plus the 11. Let's just go down octave so let's change this from play to scroll, and let's scroll down to an octave lower. Okay, let's switch this back to play. And now let's work out a G add 11. So we have a G major triad. And now we need to add the 11, which is the fourth scale degree. So one, two, three, four. So it's a G major, add a C. And again, we can preview this and hit us back with our track. So this type of chord sounds open and slightly tense. And there's many of the different combinations we can choose as well. For example, we can just have the nine or we can just have the seven. And we can also sharpen the 11 if you wish. And of course, we can do this with minor chords as well. So we can choose an 11, and we can sharpen this if you wish. However, with a sus four chord, we can't add an 11th because a sus four chord changes the third to a fourth, so we're already playing a fourth note. And remember the 11th is the fourth note but octave above. And with the fifth chord, we can add 11, and also we have augmented and diminished chords, but with a diminished chord, we can't sharpen the 11th. So there's many different possibilities here, and I'm not going to go through all of them, but that's how you can work out an 11th chord. Okay, so that's the end of this video. In the next video, we're going to look at 13th chords, thanks watching, and I'll see there. 47. Chord Track - Part 7: 13th Chords: Okay, so now let's look at 13th chords. So these chords have the root, third, fifth, seventh, ninth, 11th, and 13th, or the sixth note an octave higher. These types of chords can add depth and richness to a harmony. They might be useful for genres that explore extended harmony, such as jazz or fusion. For this example, let's work out C major 13. So let's change the root note to C, change to a major chord, and then tap on 13. So for this example, I want to change the seven to a major seven, and I also want to add the 11th to make a full 13th chord. Okay, so let's work this out now. So first of all, we have the C major triad, which uses the notes C, E, G. Then we have the major seven, which is the B, then we have the nine, which is the D, then we have the 11, which is the F, then we have the 13, which is the A. This is quite a big ord, and it is quite difficult to play on the iPad. So remember the 13th is a six and octave above. And in C major, the six is A. So C, which is one, D, which is two, E, which is three, F, which is four, G, which is five, and A, which is six. Okay, let's now preview this in the chord track. And let's hear this back with our loop. Let's try this now with another 13th chord that fits in the key of C major. So now let's work out G 13. Let's change root note to a G, and we're going to change it from a major seven to a dominant seventh. And again, let's make sure we have the ninth, 11th, and 13th selected. Because if we choose a major seventh, this won't fit in the key of C major. Let's keep it simple for now and keep it in C major. So let's change back to a seven, so we're going to play a dominant seventh. Okay, let's work this out. Before we do this, let's just work out the sixth note so we know what our 13th note is going to be. As the 13th note is the six octave above. So G is one, A is two, B is three, C is four, D is five, and E is six. So our 13th note will be this note an octave above, which is this E four note. Okay, let's work out this G 13th chord now or G seven we've added nine, 11 and 13. So let's start off with a G major triad, which uses the notes G, B and D, and then we have the dominant seventh on top, which is the F, then we have the nine, which is the A, then we have the 11, which is the C, and then we have the 13, which is the E. This again is quite a difficult cord to play on the iPad. Let's preview this in the chord track. And let's hear this with our loop. So we can get some pretty complex cores if you wish. There are other types of 13th cords we can add as well. By the way, we don't have to have this with the 11th and ninth. We can just have it with the seventh and the 13th. We can also have minor 13th chords. Again, we can have this wa the 11th and with about the ninth. We can also add a 13th for the sus cords as well. And again, for augmented, where we can add the 11th if you wish, and we can also add the 13th note for the diminished as well. Again, I recommend going through here and previewing these so you can hear the difference. Okay, so that's the 13th chord, and as I said, it can add depth and richness to our harmony. So thanks for watching this video, and next we're going to look at the other settings in his chord track, which we'll look at in the next video. 48. Chord Track - Part 8: Other Features: Okay, so now let's have a look at some of the other settings for this Cord filled pop up box. First of all, next to chord here, we can type in the exact chord we want. So for this example, let's type in D. And this now we'll play a D major chord. However, if we change this to DM, this will now be a D minor chord. And if we change this to DM seven, this will play a D minus seven chord. And let's just do one more example. Let's type in C nine. And you can see now it's playing a C nine chord or a C dominant seventh with a ninth chord. So we can type in the exact chord we want up here, or we can just tape in the type of chord we want down here. Okay, let's now have a look at wet Say's base note. This allows us to change the base note of the chord. If we choose a different base note to the chord, then this can add harmonic variety and tension and can emphasize a specific base movement in the progression. So right now we have a C major chord, but let's change the base note to a D. Let's preview this now. Let's also hear this with our groove. These types of chords are known as slash chords or compound chords. So for this C decord, the first letter here C is the chord and the second letter is the base note. But for this example, let's change this back to none. So it'll be back to a C major chord, where the base note will be a C. Okay, let's now have a look at scale down here. With this, we can choose a certain scale or mode with the scale drop down list. So a scale is a sequence of notes. So here we can choose different scales which might help you come up with some new ideas and break out of familiar patterns. Some of these different scales can give a different flavor to the music, so I recommend testing these out. So a major scale is Ionian, but we have all these other scales we can choose as well. These scales will also change depending on the type of chord you have selected. For example, if we change this to an augmented chord, you can see here we have fewer and different scales available. By the way, this is just a scale for the session player instruments. It's not going to change the scale for any instruments that aren't session players. So if you do change your scale, make sure the non session player instruments follow this scale as well. Okay, so that's all the other features for this chord track box. So I hope now you understand how to use the chord track in Logic Pro for iPad. So thank you so much for watching this section, and I'll see you in the next one. 49. Optimising Your Workflow: Welcome to this next lesson of the course, where we'll focus on optimizing your workflow for efficient music production. Let's look at touch gestures or shortcuts for the iPad and go over some advice on the order in which to work for out the production process. Touch gestures or shortcuts. Touch gestures work like keyboard shortcuts on the mac. They are a great way to improve your workflow. Some common touch gestures include tapping, swiping, pinching, and dragging to perform actions such as selecting, zooming, scrolling, and adjusting parameters. I'm not going to go over all of these touch gestures now so I can keep the course concise, and they may not be so critical for everyone, but attached to this video is a PDF that explains some of the most common touch gestures. So I recommend downloading this and checking this out if you want to learn about these common touch gestures. Although you can fully operate logic pro for iPad by only using your fingers on the screen. You can add external input devices on your iPad that works similarly to gestures or extend their functionality and add precision. A track pad uses the same gestures as on your touchscreen. You can use an Apple pencil for one finger gestures, which allows for more precise tap and drag operations. This is particularly useful for drawing in automation and regions. You can also use it as a text input device with handwriting for naming tracks or regions in the inspector. An external hardware midi controller like a MD keyboard can be used to record media regions or used to write automation. An external computer keyboard can be used for similar shortcuts as you would find in Logic Pro for Mac. Okay, so that's the end of this video. Next, we'll talk about workflow order. 50. Advice on Workflow Order: Advice on workflow order. When starting a piece of music, it can be difficult to get things going. You could be feeling overwhelmed with the possibilities of making music, or you might struggle to structure your workflow efficiently. Don't worry. This happens to everyone. We've found the following processes can help with your efficiency and keep things moving. Writing and arrangement. Begin by sketching out your musical ideas and arranging them into a cohesive structure. Use the arrangement view to organize your tracks and sections, laying down the foundation of your composition. Don't be too precious about the decisions you're making at this stage, write freely and try to take a step back from your music and get an overall picture of the track. Tone, tombra and leering. Once your arrangement is in place, focus on shaping the tone and tombra of your sounds. Experiment with different instruments, patches, and lawing techniques to create depth and texture in your mix. This is your opportunity to think about instrumentation, Wo more complex musical techniques, and generally thicken up your track. Effect processing. After establishing your sound palette, delve into effect processing to add depth dimension and character to your mix. Experiment with effects like reverb, delay, compression, and modulation to enhance the sonic qualities of your track and be creative. Automation. Use automation to add movement, dynamics, and expression to your music. Automate parameters such as volume, panning, E Q, and effects, to create dynamic changes and transitions throughout your mix. Mastering and exporting. Once your track is polished and ready for distribution, finalize your project by using the master assistant and exporting it in a desired format. By following this workflow order, you can streamline your music production process in Logic Pro for iPad, maximizing efficiency and creativity along the way. Experiment of touch gestures and shortcuts to further enhance your workflow and lock the full potential of your musical ideas. 51. Advancing Your Music Production Toolkit: Advancing your music production tool kits. There are many ways to advance your music production toolkits. Let's dive into some valuable resources, hardware interfaces, and leveraging logic ProferAC to enhance your music production capabilities. Note that the subscription for Logic Per iPad is more than enough to get you started on your musical journey. What we're about to discuss is content that can be downloaded to enhance and explore new content for music making with regards to both software and hardware. Explore a variety of packs available to download within Logic Per iPad by going to the browser and selecting the sound library under Get More sounds. Each pack contains unique loops, samples, instrument patches, drum machine designer kits, and more. Packs can be designed for specific instruments like Synps, drum machines, and keyboard packs. They could also be tailored towards a specific producer or artist sound. Some packs are tailored towards dmras more generally. You can preview the packs before you download them. One thing to bear in mind when downloading packs is how much stories they take up on your iPad. The size of each pack is displayed at the bottom of each pack window. You might also consider investing in an external audio interface compatible with your iPad to expand your inputs and outputs for recording and monitoring purposes. Audio interfaces offer additional microphone pre amps, instrument inputs, and headphone outputs, allowing for more flexibility and versatility in your recording setup. Look for interfaces with high quality converters, low latency monitoring, and compatibility with IOS devices to ensure seamless integration with logic pro for iPad. Let me quickly show you logic P for Mac, and I'll briefly show you some of its more advanced features that logic pro iPad doesn't offer. You can also utilize Logic Pro for Mac to access advanced editing features in a different workflow compared to the iPad version. Features like Flex Pitch, flex time, and advanced automation, offer advanced control over audio and midi editing, allowing for precise pitch correction, time manipulation, and creative effects. Logic Proper MAC can handle more processing power and a larger number of tracks compared to the iPad version, making it ideal for complex productions and professional grade mixing and mastering. Transitioning between logic proper iPad and logic ProferMAC allows for seamless collaboration and workflow flexibility, empowering you to tackle projects of any scale with ease. Let's now go back to logic P for iPad. By exploring sample packs, investing in hardware interfaces, and leveraging logic pro for Mac, you can advance your music production tool kit and take your productions to the next level. Whether you're crafting beats on the go of your iPad or diving deep into editing and mixing on your Mac, the possibilities for creativity and expression are endless. So keep experimenting, learning, and honing your skills as you continue your musical journey. As we conclude our journey through this logic P for iPad course, I hope you've gained viable insight and skills to unleash your creativity and elevate your music production capabilities. From navigating the interface to mastering your tracks, this course has equipped you with the knowledge and tools needed to bring your musical visions to life. Remember the journey doesn't end here, continue exploring, experimenting, and pushing the boundaries of your creativity. Keep making music and may your passion for expression through sound, flourish in the ever evolving world of music production. 52. ChromaGlow Part 1 - An Introduction to Saturation: Hi there, and welcome to this section, where I'm going to explore chromo globe. This is a saturation and distortion plug in, and this effect is based on hardware units. So saturation can be great for adding saturation or distortion onto different instruments or vocals. You can even use it for mastering, where you apply it to your master bus. This can help give your songs a bit more kit or grit and adds character to your music. Before we get started looking at this effect, let's talk about what saturation is. Saturation is a type of distortion, and this is really what makes analog hardware sie pleasing. We can also emulate this with digital plugins like chromoglo. Saturation can give you music analog warmth and can make the sie fuller by adding harmonic frequencies. Let's now talk about what adding harmonic frequencies means. The best way to explain this is with a test oscillator. In Logic Pro, we can add this by going to the effect slot and go down to utilities and test oscillator. We can add this onto a MD or audio track. It won't make a difference. Let's now add a test oscillator in logic P for iPad. Let's add a new instrument with this plus button up here. Now let's press the three dots next to MD software instrument, and where it says patch slash instrument. Let's change the default patch to test scitor. So we can do this by going down to utility, and then choosing test oscillator. And then hit Create. Let's just turn this off for now as the sound can get a bit annoying. Let's also make sure this is set to a sinewave, and let's put the frequency down to 250 hertz. Now, we turn this on, you here, it's a little less annoying. Turn this off for now. Let's not actually close the browser, and also the play surface area as this has taken up a lot of unnecessary space. Okay, now let's add a channel EQ. Let's go over to the mixer, and then change this to setup mode up here. Now in the test oscillator instrument, let's add an EQ, and we can do this by clicking on the AudioFX here. Let's go to EQ, and now let's go to Channel EQ. Now let's tap on this and go and show details. Now in a turn on the Test oscillator, you can see it will give us a frequency at 250 hertz. Let's tap on Test oscilator here, and then tap turn on. Let's just tap on this again and press bypass, so we can't hear this anymore. Okay, now we're going to add the chromoglo plug in and we're going to have this before the channel EQ. Let's just scroll down in the mixer here and tap on this plus button to add a new plug in. So we can find the chromoglo effect by going to distortion, and then chromoglo. However, as I said, I do want to have this before the channel EQ. So let's just tap and drag this down. So now the test oscillator will go to the chromoglo effect, and then we can see what the frequencies will look like in the channel EQ. Let's turn on the test oscillator again. And let's show the details for the channel EQ. Right now it looks the same. But let's actually increase the drive dial on the chromoglo effect. Now you can see if we go back to the E Q, there are more frequencies. So the chromoglo saturation effect is creating harmonics from this one frequency produced by the test oscillator. This is why adding saturation makes the sound fuller and richer as it adds more frequencies. So let's now tap on chromogloe, and go to show details. Also, in chromoglo, we have different saturation models. These will boost certain harmonics more than others. So let's just quickly choose another model. We can do this by clicking on the drop down here. And for this example, let's choose magnetic. Now I'm going to play this back and open up the channel EQ and then swap between the different models on the chromoglo effect, so you can see that the different models will boot certain harmonics more an others. So let's do this now. Okay, so let's turn off the test oscillator now. Okay, so I'll just wanted to demonstrate that with a test oscillator, so we can clearly see the difference. However, we're not going to use the test oscillator anymore, so let's actually delete this track. So we can do this by tapping on the track here, and then go to delete. That says you're going to delete objects that assigned to tracks in the tracks. But we're going to sel delete anyway as we're not going to use this. Let's now close a mixer by tapping on this button, and let's also tap on the plugging button here as we don't need to display this now. Let's also delete this track here in the track area, by tapping on this, and then going to delete. Okay, I just wanted to organize our project before we continue. Let's now continue talking about saturation. So you can add saturation to anything in the mix that needs to sound a bit thicker. It can often be used on bass, electric pianos, drums, or even vocals, for example. But remember, it's not needed on every individual track in the mix. It's also nice to add saturation to the master channel, which can give your song a bit of warmth and can make it sound a bit thicker. So adding saturation can help tracks or instruments cut through the mix better and can give fullness and attitude to certain parts from the harmonics it adds. But remember not to overdo with this effect and keep it subtle. Okay, so that's what saturation is. In the next video, we'll explore some presets and chromogloe. So thanks for watching, and I'll see you there. 53. ChromaGlow Part 2 - Let's Explore Some Presets: Hi there, and welcome to this video, where we look at some presets for the chromoglo effect, so you can quickly hear what this effect is capable of. Okay, so for saturation, you really want it to be subtle. But in this video, I'll use some extreme examples so we can clearly hear this effect in action. So here we have some loops, keys, electric base, and drums. Let's first of all, apply chromoglo to the keyboard track. So let's go over to the mixer. And now let's click on Audio effect slot over here. And now that let's go to Distort. And here we can add chromoglo. So let's now tap on this effect, and go to show details. Now let's hide the mixer, so we have a bit more space, and so we can see all of the controls for this chroma glow effect. We'll explore all of the controls and settings for the chroma glow effect in the next few videos. But for now, let's hear what this sounds like with some presets. We can access the presets by clicking on the pre set up here, and this will display the different preset categories. Let's just have a listen to this beat that I've made. So I've created this little beat by using mid loops, then adjusting the media little. So let's play this back now. You can also apply what I teach in this section to your own instruments or audio. Or if you like, you can download this logic pro project and use the exact parts I'm using here. This project is attached as a downloadable resource. As I said here, I've got the keys, electric bass, and drums. The drums here are separated into kick, clap and hats, so we can adjust the levels and effects of these separately. Also for the drums are created a track stack, which is a summing stack. This allows me to add effects to this bus, which will then apply the effects to all of the drums outputted to the bus. I'll just quickly show you how to set up a track stack now. So let's just right click or tap and hold on this track, and then go to flatten stack. I'm just going to high chromo glope now as well, so we can see this a bit clearer. Now let's tap the multiple select button and drag over the different drum parts. Now we can right click or tap and hold on the track and go to create summing stack. So that's create summing stack in logic P pad. Again, if I press this little arrow button here, we can see our different drum parts. For now, let's have a look at the keyboard part. Okay, let's go back to the presets for the chromogl effect. Let's open up the mixer. Let's tap on this effect here and go to show details. And now let's hide the mixer so we can see all of this effect. Remember, this is on the Keys part. So for this part, I'm using the vintage electric piano. I'm actually just using the default sound. Let's play this back, and I'll solo this draw and playback. Right? Let's have a look at some of these presets. To this, let's go to the Keys presets. Now, let's have a listen back to this, and I'll go through some of these different presets. So you can hear there when it's on this crunchy distort preset, the drive is on 100%, and it's really distorting the signal. Let's bring the drive down to around 50%, so it's extreme and more suitable for this part. Let's play this back now, and I'm going to A B this plug in, so I'm going to play it back and then turn the plug in on and off to hit the difference. This preset is quite interesting, and it does add a fair bit of dirt to the parts. However, let's have a listen to a few more presets now. This mid energy preset is nice, let's try another one. Let's try this one called slow and warm. With this preset, we're getting a lot of the base boosted. That's because we have this loc at filter enabled, and we have some resonance here, which is used to emphasize frequencies around the filter cutoff point. So I'll play this back and turn off this filter, and you'll notice that the base boost has gone. Let's put this back on. So the resonance boost is quite nice, but it's a bit too much. So let's put the resonance down to two and hit this back. Okay, I think this is more suitable, but let's now hear this in the mix. I think this precept works well for this part, if the resonance is a bit lower. Let's now play this back again and turn on and off the chromic glow effect, draw and play back to hit a difference with the effect enabled and bypassed. Okay, this sounds nice to me, is brightening up the sound and adding a bit of dirt to the parts. However, this part is a lot louder of this preset. Often, something can sound better just because it's louder, and this can sometimes lead to poor mixing decisions, as we might choose something because it's louder rather than improving the sound. So I'm going to pull the level down to around -5.5 dB. Now the level shod be about the same with the effect enabled or disabled. And let's just hear this back. Okay, you could hear the level is about the same when the chromoglo effect is enabled or disabled. Okay, let's now add the chromoglo effect to the base part and have a look at some base presets. So let's go back to the mixer, and let's just close the plugging button here, so we can see more of the mixer. Now on the base track, let's add the chromoglo effect. So let's tap this plus button here and remember we can add chromogloe by going to distort or we can see up here is in the recent area. So let's select it here. Let's tap on this effect, and selects show details. Now let's close the mixer again, so we have a bit more space. Okay, now we've added this effect to the electric base part. Let's now check out some of the presets for this base part. If you can't see the presets on the left, just tap on the preset here. We have an electric base category called base electric. Let's use this. Okay, let's play this back and select some of these. Some of these are really nice, and they are quite subtle, but I like this one here called retro. Remember, we don't want to overdo it with a saturation effect, so the subtle effect is good. Okay, so now let's add a chromoglo effect onto the drum bus. So this will affect the kick, snare and hats at the same time. Let's close the plug in and open up the mixer, and we have the drum bus here. In the mixer, let's add the chromoglo effect. Tap on this plus button here where it says audio effects, and then select chromoglo onto recent. And tap on this and then go to show details. Again, let's hide the mixer, so we can see these controls. Let's just scroll down here so we can see the drum track. And in the preset area here, let's go to drums, and you can see we've got quite a few different drum presets. I'm not going to go through all of these, but let's have a listen to a few now. This one here called 1920 fade is quite interesting. Here we're filtering out or cutting out some of the low and high frequencies. If we just click and drag up here, you can see we have a high cut filter as well. So we can turn off these filters here with these buttons to hear the difference. So draw and playback, I'm going to turn on and off the low cut and high cut filters, so you can hear a difference. Okay, let's try some more presets. Let's try the next one called Add Energy. Oh, Draw and playback, I adjusted the drive dial to hear the difference. So when adding effects, especially more subtle effects like saturation, I think it's a good idea to start with more extreme settings so you can clearly hear the effect and then dial it back to something more suitable. So when the drive for this preset was at 100%, I think it was a bit too. So I pulled it back to 66%, which sounded more suitable to me. Okay, let's try another preset. Let's choose this one called base bumper. Wow. The base bumper really boosts the kick drum. We can reduce this by decreasing the resonance here. So I decreased it to two and drawing play back, I turned the plug in on and off to hit the difference. It does seem a little lo with the effect. So let's turn down the level out to around minus one d, and then play this back and turn on and off the effect to see if it's around the same level. Okay, I think this preset sounds pretty good now. I'm not going to go through all of these preset sounds as there are so many, but I do recommend you go through them yourself to hit a difference. Okay, let's now add chromoglobe to the master bus. So let's close the plug in and open the mixer. We do have the mastering assistant on the stereo out, but I do cover this in another video in this course. You can also add saturation to your final master, which can sound good as well. So let's have a look at some presets for this. So let's add effect for the master channel by tapping on this plus button here. And again, let's go to chromoglo. Now let's tap on this plug in and go and show details. And again, let's hide the mixer. We do have the Master bus category, so let's tap on this. Subtlety is really the key to mastering, but I'll use some more extreme settings by increasing the drive dial, so you can hear these a bit clearer, and then I'll dial the drive amount back to something more suitable. Okay, let's hear this now. Okay, this preset here does have too much of a boost bump for mastering, really. But again, we can decrease the resonance to reduce the base bump. Okay, let's have a listen to a few more. Let's try this one called club track. This one is nice, it is boosting the highs and lows and adding a bit more grit. Let's try one more. Let's choose this one called energize. Oh. Okay, I think this one's pretty good. Drawing playback I decrease to drive to 40%, so it's a bit more subtle, but it still seemed to give the track analog warmth. I also enabled and disabled the plug in drawing playback, so we can hit this and without chrome. But for now though, let's turn up this plug in for the master bus and let's hide the plug in by pressing the plug in button, and let's also hide the pg pets by pressing the browser button on the left here. Okay, so hopefully now you can hear what the chromoglo effect is doing and how it can be useful when added to audio, including instruments and the master bus. So starting with precet is great, but you will often need to tweet the preset sounds. And in the next few videos, I'll show you what all the different settings do in the chromaglo effect. So thanks watching this video. I hope you find it useful, and I'll see the next one. 54. ChromaGlow Part 3 - Drive, Model and Style: Okay, so now that we've looked at some preset sounds, let's check out some controls on chromoglo. I'm going to demonstrate this on the keys part. So let's open up the mixer, find the keys part, tap on chromoglo, and then tap on show details. And then hide the mixer, so we have a bit more space. So in this video, we'll look at drive, model and style. We've already looked at drive, but I'll go over this again in case you missed the last video. So the drive dial allows us to set the amount of saturation. This goes from 0%, so nerve effect applied all the way up to 100%. Before we play anything back, I'm just going to disable the low cut and high cut filters down here. We'll look at these in detail in the next few videos, but I want us to hear the sound clearly and not filter these frequencies. Let's just sol the keys part and draw and playback, I'll adjust this drive dial, so you can hear the difference. You can also apply the saturation effect to other instruments such as vocals, or electric guitar. Okay, and now let's have a look at the different models over here. Chromogloe has been modeled from different hardware units, and we can see these different models by tapping here to see this drop down list. Let's now briefly talk about these different models. I do recommend testing these out yourself, but I'll go over the differences quickly now. First, we have retro tube. This is good for vintage vibes and emulates a single stage vacuum tube. This is also the model we were listing to previously. Then we've got modern tube. This gives you heavier distortion when you use higher gain settings. This model will also give you more harmonic richness than retro tube. Let's hit us back to Hit the difference. Then we've got the magnetic model. This emulates the saturation qualities of an analog tape machine. This as harmonics and can give you a slightly compressed and warm sound. So this model can be useful to achieve an analog feel. Let's hear this back. Oh, Then there's squeeze. This emulates the saturation you can get by pushing a compressor. This can create harmonic distortion and can add color to the tone and can add warmth. Let me show you now. Then there's analog preamp, which emulates a solid state preamp. This can make your audio sound like it was recorded with an analog preamp, and can give your sound a punch and edge quality. Let's hit this back. So I recommend testing out these different models and choosing whichever is most suitable for your part. For now, though, let's go back to retro tube. We also have two different styles to choose for each model. So retro tube, modern tube, magnetic, and analog preamp have the same two styles to choose from. And these are clean and colorful. The colorful style will sound more colorful as it introduces more harmonic saturation. So this style, we can hear the saturation effect a bit more than the clean style. So if you want a heavier saturation effect, you could select a colorful style. For the squeeze model, we have different styles, and these are soft press and hard press. Soft press will give us a smoother or more natural compression. And hard press will give us a more punchy compression with more distortion. Let's now play this back, and I'll swap between the two. Again, though, let's put this back to retro tube. Okay, so that's drive, model, and style. Next, we continue looking at this effect. We will look at bypass, level, and mix. So thanks for watching, and I'll see you there. 55. ChromaGlow Part 4 - Bypass, Level and Mix: Okay, so now let's look at bypass, level and mix. That's this area over here on the right. Let's first have a look at bypass below. We can turn this on and off with this button here. With this enabled, frequencies below this number will not be saturated. Right now, it will not apply saturation to frequencies below 510 hertz. So let's play this back and draw and play back, I'll enable and disable bypass below, so we can hit the difference. So you could hear there that we were saturate in the lower frequencies when this was disabled, and when this was enabled, we weren't saturate in the lower frequencies. Now let's increase this to 700 hertz, and now it won't apply the chromol effect to anything below this number. L et's increase this even more. So it's more obvious. Let's increase it to 1,200 hertz. Let's increase it even more to 3,000 hertz. All the way up to 10,000 hertz, but we can't hit any of the chromo glow effect anymore. And when we drag this down, we can hit saturate the lower frequencies. Let's just tap on this to bring up this large dial and put this back to 510 hertz. So this, we can affect more of the top end and the bottom as you may wish to add distortion or saturation only to the high end and less to the mid and low range. So this, you can add saturation, but just to the high end. This might be nice for some instruments such as vocals or even for mastering. However, for this electric piano sound, I like it's saturating the lower frequencies, so I'm going to disable this. Let's now have a look at bypass below for the master bus. Let's go back to the mixer, and for the stereo, let's enable chromogloe. Let's tap on this and then turn on. Now let's tap on this again and press show details. Again, let's hide the mixer, so we have a bit more space. You notice here we have bypass below enabled, and we actually have this enabled for all of the mastering presets. So if we tap on the Browser button here, we can go back to the preset menu. Let's tap on Master bus, and let's select some of these and you'll notice they all have bypass below enabled. So I mastering a lot of the time you won't want to saturate the lower frequencies, just the higher ones. However, let's play this back and go through a few of the presets enable and disable bypass below, so you can hit a difference. Before we do this, though, let's make sure we uns the key track. I am using some quite extreme examples here just so we can hear a difference. But for example, on the club track preset here, when we disable bypass below, you can really hear it saturate a kick drum. There was too saturation in low end there. Let's play this back again and enable bypass below. I am using some quite extreme examples there. But hopefully, you can hear the difference. So it does sound better or more appropriate for mastering with this enabled. Okay, let's just turn off the chromogl effect for this master bus, and let's demonstrate the next setting on the base track. So let's actually close the mixer and the blogging control and then slip the base track here. Now let's show the details for the romolo effect on the base track. Let's tap on this and show details. Now let's close the mixer. And let's also close the browser here, so we have a bit more space. By the way, up here, it's only going to show one track, and it will only show the track that you have selected. So that's why I close the mixer and selected the base. Okay, now let's discuss level in and level out. These controls allow us to adjust input and output levels. With the level in control, we can set how much audio is going into the effect. So we can get more distortion by increasing level in. So if you want to really distorted effect, you can increase this. So let's slow the base and play this back and I'll adjust a level in control. Then we can adjust the gain level with a level out. So if this, you can compensate for the increased gain by turning down a level out. As I said before, you really want your plug ins at the same level with them enabled and disabled as this helps with mixing decisions. As often, things can sound better if they're louder. So we really want it to be the same level with a chromoglo effect turned on and off. Okay, let's now play this back and adjust the level out and try and the same level when the effects turned on and turned off. Okay, approximately about that. Right, Let's now discuss this mix control. Right now it's on 100%, so we can't hit the signal before we apply the saturation effect to it. So we can only hear the wet signal. We can add some of the dry signal, which is the audio before we apply the effect by decreasing the wet amount. So if we pull the mix down to 50%, then we can hit the signal without the effect applied and the signal with the chromoglo effect applied. Let's just play this back and I'll adjust the mix signal, so we can hit a difference. Do Blending the wet with a dry signal like this can give us a different sound or character. So this is a bit like parallel compression. This is where you heavily compress the signal and then blend a bit of the signal with the dry signal. We can do the same kind of thing here if we wish. So this is where we can blend some of the heavy stated signal with the signal. Okay, so that's bypass level and. Next, we'll look at Loca and do here. So thanks for watching, and I'll see you there. 56. ChromaGlow Part 5 - High Cut and Low Cut: Okay, so now let's have a look at the loca and hiker areas down here. Let's demonstrate this on the electric piano. As on the base part here, there isn't too much high frequency information, so it will be better to show this on the electric piano. So let's close the plugging button, select the keys, and then open up the mixer. And then show the details for this chromoglo effect on the keys part. Now let's hide the mixer again. And we can see the keys track up here. And now let's talk about the loca and cut filter. This will filter the wet signal or the signal with the chromoglo effect applied. So for this example, let's make sure the mix is on 100%, so we can only hear the wet signal. Now let's first of all look at the loca filter. Let's turn this on with this button here. Now, anything below this filter frequency will be cut or filtered. Let's play this back and adjust the filter cutoff frequency, so we can hear a difference. Okay, let's now solar this keys track and play this back. Draw and playback, I'll adjust this filter frequency cutoff. So you can hear when I increase the filter frequency, we're cutting out the low frequencies. So you can hear that when I increase the filter frequency cutoff, we heard less of the low frequencies. As I mentioned before, this only works with the wet signal. So if I blend in some of the dry signal, you'll notice it's not filtering this. Again, let's put the mix back to 100%, so we can only hear the wet signal. We also have a slope control here, which allows us to select the steepness of the slope for the filter. So the filter will have a more gradual slope if you choose something like 60 per octive, or if we choose something like 48 dB per octive, it will be a much steeper slope and will give us a hard roll. So if these, we can adjust the shape of the slope for the filter, and this will give different filter effects and sounds. Let me show you now. Oh Then we have the resonance control. This will add a boost or emphasize the frequencies around the filter cutoff frequency. Let's demonstrate this resonance control on the electric base. So let's close the plug in, and let's select and slo the electric base, and then open up the mixer and show the details for the chromoglo effect for the electric base. Now let's close the mixer. Now let's play this back and I'll adjust a filter frequency cutof and the resonance draw and play back. So they could hear a boost around the filter cut of frequency. I was using some quite extreme settings there, so you could hear it clearly. I wouldn't normally have the resonance this high as it does sound quite extreme. But hopefully, you can hear the boost. Let's now play this back again, and I'll turn on and off the loc a filter so you can hear the difference. So adding some resonance can be useful to boost frequencies around the filter cut off. Also, I'd use resonance very sparingly on the master bus. As remember from mastering, it needs to be subtle, but you can add a bit more resonance on individual tracks if you wish. Okay, then we have the high cut. Let's demonstrate this on the drum bus as it'll be easier to hear difference as there are more high frequencies from the high at part compared to the base part. So again, let's close. Sel the drums, sol, open up the mixer. Show the details for the chroma glo and now close a mixer again. Again, let's make sure the mixer is at 100%, so we can clearly hear this. I'm going to play this back now and adjust a filter slope, frequency, and resonance. No. It does sound quite cool when you have a high resonance setting and you sweep the filter frequency. Let's play this back again and I'll adjust the settings for the low cut, and I'll try and make the kick really jump out in the mix with the resonance control. This is quite extreme, but you can really hear the kick stand out. Let's just pull it back a bit. L et's decrease the resonance for the high cut. Okay, as you could hear there, we gave the drums a very different character in sound, the locut and high cut filter, and adjusting the resonance and filter control. Okay, as you could hear there, we gave the drums a very different character and sound with these filters. One more thing to mention are these pre and post controls here. With these, we can apply the filter before or after the saturation effect. So Pre means the filter will be applied before the saturation effect. And Post means the filter will be applied after the saturation effect. So having it in pre or post can give you filters a different sound. And this is the loca and the igut filters. However, from testing the sod, it does sound very similar having the filters in pre or post on this drum bus, but it does sound quite different on the keys track. So let me show you on the keys track now. Let's close the plug in. Let's sol the drums. Select the keys track and solar this. And then open up the mixer and then show the details for the roglo effect on the keys track. Draw and play back, I'm going to switch the filter from pre to post, so you can hear a difference. I'll also turn on the high upt filter and switch this from pre to post as well, so you can hear this. So you can hear there. I gave a very different sign when we switched it from pre to post. Okay, so that's the filters, and that's all of the controls on the rolo effect. Croglo can add a bit of energy and grit to your audio, and I recommend testing this out yourself. So I hope you find this video useful, and I'll see you in the next one. 57. Thanks and Bye + Class Project: Okay, so we're now at the end of this class. I hope you find it useful, and I hope now you're more confident using logic profit pad. So for your class project, I want to use the skills and techniques that they've learned from this class and apply them to making your own song in Logic Pro Pad. The song doesn't have to be long or complex. It just has to be a few bars with a few instruments. Once you've created your song, could you please take a screenshot of the tracks area, and then write a short paragraph about how you made the song and post this as your class project. Okay, so thank you so much for watching and hopefully see the next class.