Logic Pro Live Looping Masterclass

1. What is Logics Live Loops: What is live loops in Logic Pro? Well, live loops is exactly as it sounds. It's loops. But live, live loops let you arrange and play musical ideas in real-time in a grid of cells. Now they're each containing a musical phrase or loop. You can start and stop these cells freely while keeping everything in sync with the beat and the tempo of the project. Each grid row uses the same rooting for the channel stretch. You'd find the tracks view. The cells that you find in the columns are actually called sections, and cells in grid columns are called scenes. These can be played together. Imagine them it fall a intro verse, chorus, bridge of breakdown, and these are musical sections. An extensive set of parameters gives you control over recording, looping, and playback. So you can spontaneously take your music in different directions. Live loops actually came from the iOS system and was so popular that it got brought into Logic Pro alive leaves is designed to be used with a re-mix effects plugin. This is a multi effects which features several DJ alike effects. You can also use a control surface or you can use logic remote to control these effects, trigger the loops and have a bit more of a tactile response. This gives you a better flow and it gives you more precision. The cells themselves, you can record both audio and midi to control external devices or software instruments inside logic, you can also use Apple Loops, which of course are royalty free. These gonna be placed into the grid or you can record in life. Finally, once you have the loops to where you want them, you can record that as a performance. Now you don't have the trigger, the loops in order. You can trigger them in any way you want. And with one grid, you can re-mix it to make it 1000 different performances. Logic Pro itself actually has some starter grids for me containing instruments and pre-recorded tracks to get you going. So let's jump over to the computer. And the first thing I want to share as well, live loops, live. 2. Getting Started: Apple themselves make a couple of demo projects, and they were originally on the iOS platform, on iPhone and iPad, and they've been brought over to Logic Pro. When you go into a new project from a template, you can see starter grid and the role here. And I'm going to use the flex and flow one for today's demonstration. When you load up a demo project, it also loads up some plugins and loads up all the audio that's inside it. So here we are in the Live Loops project window, and it looks like logic, but obviously a little bit different. I'm going to take you through the differences right now. First of all, the top bar itself where we've got Transport Window and all the options there haven't changed. What we're gonna be looking at is just under here, if you've got a couple of extra options and just further down as well. So first of all, we still go on edit functions in view, but we now we have our Live Loops grid and the trucks view grid. And you can actually have these side-by-side because of course, you can record your performance and show which loops have been used and when you use them underneath. And we've still got add a new track and duplicated track. But then what we've also now a guard is enabled performance recording. And what that does is it records every time you click a loop and what all do you clicked it in and when you clicked it. So you can actually record the performance of what you've played. And on the right-hand side, we've got a couple of things. So we've got the quantity starts, which is set to one bar. I'll go into what that is in a minute. We've got this circle here which will come alive and we stopped playing loops. And then we've also got the two arrows. Now the Live loops are actually satis squares with circles inside them. But what we can do with this is just a grid zoom. So we can actually zoom it out to fill the whole page if you want to. But I'm not gonna do that for this example. I'm just going to leave it as it is now. My left-hand side is not any different than it is for Logic Pro and tracks mode. So you've got your instruments, whether it'd be a drama, whether it's midi, whether it's an audio instrument, or whether it is audio itself. But then we have these series of loops and I can play each individually if I wanted to. So if I click this Play button, it'll stop playing the loop. It'll also start the project. Now this play head's turned into a stop button and you can see that this is actually going in what would be the tracks for you? If I stop the loop, it stops it on the next bar, and then this is still going. What we can do is we can hit stop and then we've stopped the project and we can double-click back to the beginning. One thing to be aware of is the actual loops themselves. So the way these loops are presented are exactly like that, like loops that are actually presented in a circle. And that way I think of it is as a clock. 12 o'clock at the top is the beginning of the loop. And then it goes clockwise round, right back to 12 o'clock AM and just keeps looping and going round and round and round. Now, these loops that can also be different lengths. So what I'm gonna do is I'm going to show you a couple of different ones. So if I start and press on here, and I trust this one as well. Even though I started the modality of times, they're actually in sync with the project. Stopped by one individually. Stop that one individually as well. Right at the bottom of the page, we've got this brand new section here, and these are the columns. If you think of this as an intro, the next one could be a chorus or a virus, or a bridge or a breakdown wherever you've got. And then each one of these are called seams. So you can rename this, this is just called 1109, but you can actually rename them to wherever you want. And then you've got a little arrowhead. Now if I click this arrow, it's going to launch everything in that same column at the same time. What we'll do is we'll click that right now. These five leaps and applying the same time in st. Let me get back to the beginning. It just starts getting to stop them. I can just press stop on the project and double-click and then the back to normal. One thing that you may be aware of if you notice it there, that the loops go round in different lengths, but then they all stay in sync. Now if you click this triangle, then we just stop once you'll notice that the actual loops of flashing that pulsate because they haven't finished yet. If I click Play again, and this is what's called basically a preloaded loop. And you can actually have the pre-loaded live and play it again. Just applying straightaway. I can stop that. The flashing in Logic Pro is known as queuing. And what you can do is you can actually Q a loop. So let's just say we want to start this, but I want to start two or three of them at the same time. What we do is we can right-click or two-finger click, and we can actually Q the loop. So now it's pulsing again. Now right-click this one as well, and q this one at the same time. So now if I press play, only these two will stop playing. I'm going to cube this one up and go Q for playback. I want to cube this one up and queue that for playback. And I'm going to cube this one up in Cuba for playback. And let Q one of the beats, Let's cue this one up. Now, those individual ones are actually flashing as opposed to a whole column. Now if we hit play, those lips will play. Now you need to understand your loops because these could be out of tune. It could be a different section of the song, but let's have a listen. Let's see what it sounds like. Anyway. This is the great thing about live loops because even though you've got them maybe in a structure and order, you could remix them and you can have them in any order you want, and you can trigger them in any order you want as well. 3. Starting New Projects: The next one I want to show you what this demo project is, how to bring something new. What we can do is we can do two things. We can actually import loops in, or we can also record loops in. The first thing is if I move the cursor around and we can have a quick look here. If I was to click on this one, you can see it's got the play. And this is the eighth awake flex. This is a midi loop of, and you can see that it's actually the midi notes that are going around in a circle. But then in the empty ones, you can just say a big old record button. And then what we can do is when you click that, it will give you a 1234. If you've got an imaginary arm, you can do that straight away, then you can literally start playing it. If you've got things like a keyboard, midi keyboard, you can physically play that in, whereas you would any other midi instruments, dual one is audio. And then what you can do is you can actually right-click and we can add a cell and we can create them. We will record into the cell. Now let's just go up. Somebody came up to me for a minute. This is certain parliamentary thing you can do is you can right-click or two-finger click on the track pad and you can go create a midi cell. You can go create pattern cell, or you can record into self, obviously recording to sell exactly the same as the Record button with a recording. You've got a couple of things, so we've got mode. What this will do is this could replace merge or do takes with media. Of course you can merge if you want to play some really complex, you could play it a bit. And then as it goes around to the next loop, you can play the next pair In an expert. I just add it all in. You can replace it. So as you go to the next loop, it could replace it or you can do it and takes your, your best, take out a five and you could pick the best one that you want. The record length is automatic standard. But what you can do is you can actually dictate what the cell length is. Or you can also do an automatic by bars or by beats. Then the last thing is what to do when you get to the end of the recording. Continue recording and you could have it in Merge. Of course, you can just carry on playing until you are happy. Or what you can do is you can change it straight to play mode if you're familiar with things like loop pedals and lively paddles are live loop machines. This is what happens when you play something and it's called overdub mode, and it goes into play mode. Let's move over to Audio. From Midea, we go over to Audio. Now what we can do is we can right-click then we can add an audio file and drag one in. If you've got maybe two samples from another project, or if you've got basically loops from somewhere else, we can create a cell and we can also record into the cell. This is where you'd be picking up your audio interface. We'll be plugging in a microphone or guitar or a keyboard, whatever you're doing. Again, recording, we've got those three options. Mode this time is intakes of a place. You can't merge. So this is basically rather takes a replace and you can't merge one audio on top of another, and you can either do texts or replace. Then you've got the chord length. You've either got the record length of the automatic bars or beats. And again, record end action. So this actually changed it to play mode standard instead of recording continuously. Because then obviously once you've recorded your loop, we just wanted to play what is quite nice if you're not doing this in a live environment, if you're in the studio, then of course the record mode you could do it is takes, and then once you've stopped, you can go back and pick your best take. 4. How to Control A session: The next thing I want to show you is actually controlling the Live loops. Now you can actually control live leaves with the app called Logic Remote. If we go into Logic Remote, so we can actually connect to the iPad. And what it does is it actually shows you the same tracks. But if we go to the top left-hand corner, then you've actually got live loops. So now what we can do is we can actually tactile play with this. This is just like a midi controller that's on the same Wi-Fi and we can control it. But there's another thing on here which is very, very unique, which is called the effects. Effects is a single, multi-year effects processor where you can actually draw your finger up and down and you can affect the sound. I'm gonna do is I'm going to play the track. And then this time what I'm gonna do is I'm going to actually use this to affect it. This is a really tactile tool and it's a really, really cool thing. Of course, you've got all controls And it did actually stem from iPad and GarageBand or S. This is a really, really cool tool and it makes it really tactile and live loops actually started and GarageBand on iOS for both iPad and iPhone. So it only makes sense that it works really, really well. Logic Remote is a free download and you can just get it from the app store and then you just connect on the same Wi-Fi to your computer. The great thing with logic remote as well as the top left-hand corner, you can see all different parts. So we can go into the code strips. We can actually go into logical modes, actually controls all different kinds of parts of logic. We can do actually enter the mixer. We can see the mixer, why we love live loops on the screen. Or we can actually go into things like steps sequences. Or you can even go into court strips if you're playing chords on things like a piano or a synthesized it. But for the actual live loop section, using the effects, it's really, really useful. 5. Using Midi Control: The other thing you can do is you can control Live loops with midi. And there's lots of different things you can use it. Of course, you can use things like a midi keyboard. The other thing you can use if you're using anything that's kind of like an MPC pad or anything like that. Or you've got control strips that are really, really useful. And then you just plugging that into logic through your USB and you can control it in different ways. Now this is totally dependent on what device you have and how you've got it set up. But what you'll need to do is go into audio midi setup on your computer. And obviously programming up. You can control them through midi notes, or if you control it through control changes. The second part of this is I want to show you what you can do with one single loop. We're going to right-click on this first loop. Now again, we've shown you you can get recording to sell and we can queue up the playback, but we can also edit so we can cut, copy and paste. I can obviously copy this and move it over to his different section. And you would only move it across on the same instrument if I was to put it somewhere else, it may have the wrong channel strip on, it, might have the wrong settings on it. It could sound a bit weird. Of course, you could duplicate the trunk and have it in different modes if you wanted to. The next option is Select, and we can do lots of different selections. So all, all sounds or following cells, all following cells at the same track or all cells of the same truck. All cells of the same scene. Of course, all sales going down. And then you can do same colored cells. Of course you can recall them yourselves, so you can have them in different colors. If you wanted to select all of them and queue them up, you could do them. You can invert the self-selection and of course de-select them all quantizes there obviously for things like midi. But with the drama, the drama is preset already. If I were to do this on here, you'll then see the quantizes available and I can quantize it to lots of different time signatures. Transpose is also there for you as well. So you can maybe duplicate or copy and paste the same track and maybe I could duplicate it and then transpose it. Or maybe because of course, it could be for a different part. I can transpose on an audio file and it does use the Time Stretch system, and therefore, you can actually stretch it and transpose it without changing the actual timing of it, which is really, really useful. The next one is playback. Now it's set as lupus standard. Of course, what you can do is you can have it muted. You can also reverse it so that this one right here, I think this one is reversed. Let's have a look. Yeah, it's looped but also reversed. You can actually then change the speed if you weren't to be half or slower or faster. You can quantize the start and quantize this loop to start as well. And then the platform and how it's being played. You can actually change the platform. So maybe you only want it to trigger once and then play it out and that's it. Or you wanted to continuously loop. You can change the way it plays recording. We've already gone over because obviously we've shown that on an empty loop. But again, modes we can change it over from replace or takes. You've got the chord length and also what it does at the end of the recording, just like any of the track and tracks modes, what you can do is you can bounce and join. You can actually joined cells in place. You could select a couple of sales and join them together. Maybe you've got a three-part harmony and you actually want to bring those together just as one cell. You can do that. The other thing you can do is you can export and extract. What we can do is we can actually right-click and go to export on a midi track and you can add it to the loop library. The other thing you can do is you can export as an audio file. So then if you just want it as audio as opposed to meeting, it means it's just playing an audio track. Just be aware when you do that, you can't put audio on a midi track. Obviously it will create a new one for you. Then lastly, we've got things like the name of the cell and also for color as well. Now when we get over to Audio, there's another option as well, which is extract sleep. Now you can't do this at the moment because it is a demo project. But if you've got loops that are in there, you could extract it out because obviously it's a loop with it's made of your own is it clearly says that this item is disabled because the cell is an Apple Loop. But if you had your own loop, you can extract that loop out and you could pull it out and make it your own version to put in the loop library. And then you could pull it out as a separate waveform. 6. Importing Sound: The other thing I want to show you is how we can also import things. On the right-hand side, we've actually got a couple of different options here. And one of them is Apple Loops. Now Apple loops, there are thousands of loops here. They're all royalty-free, but you can't extract them out, but you can use them if you want to. And then we can actually bring in a different loop. And the other way you can do it as well as we get to file, we can go to import and there's loads of different options here. We can input things from another logic project. We can input live loop grids. We can actually do an audio file and midi file and Music XML file, and you can even pull things on music memories files as well. What I'd like you to do is have a little bit of an exercise and play around with this and start dragging things in. Now if you're using an Apple Loop like pretty much predetermined. So you can pull them in if they agreed there midi, if they're blue that audio. So obviously you can't put one on top of another C complement audio, loop onto a midi track. But you can obviously bringing midi track into a different midi file and just do it that way. So have a play around. What I suggest you do is obviously start pulling in things like different projects into the grid file. Or obviously, we'll have a look at if you've got some samples and try pulling them into it as well. 7. Creating a Starting Point: This is actually creating a blank Live Loops track. What we can do is there's two ways to do this. If we were in logic or you need to do is go to File and new and it's gonna create a tracks view straightaway. If we go all here, for example, and then I can just click Create. Now we're in the normal tracks for you as we've always had. But now what you can do if you're here, you can actually create a live loops view and get rid of the tracks view we're in. And when you're in a blank project and you got to live loops, what it does it create eight different sections for you. You can always add more when you fill that and it just automatically will add it on for you. The other way of doing this is we can actually go and get a lively obsession right from the get-go. Now, with the tracks view, of course you say what you want, but let's just get out of here for a second and close this down. And then what we can do is you go to File and New from Template. Now of course we've got the starter grids which we played with. And if you get a new project, you've got an empty project for tracks, and you've got an empty project for Live loops. So let's pick that one and then do now is it's going to load up an audio track, and it's also going to load up a midi track as well. Whatever you've used for media of course is gonna preload that up. So I've been using analog, just using logics internal library, of course, it'll load up what you'd last two years. Now, working with the sales option, There's a couple of things you can do. Of course, if you've got a track that you've already made and you want to turn it into a live loops. You can do that. And you can actually extrapolate the audio and turn it into a live loop. This is really good for remixing, and you can actually then remakes your track in sections if you want it. Another thing to talk about is the drums and the drum patterns. So obviously if you create a new drummer, we go into the trauma problems and we picked which drumming we want. I'm going to go create. What this will do is it automatically creates the drummer pattern. And of course we can now go into this. We can actually go into the individual drum beats and create a loop for each one which is really good. Or of course, if you've got it here, you can click Plus. It will give you that and you can split it all up into the different patterns. If I were to hit playing out. Actually shows you all the bedrooms using for great. Because of course we can then mix it exactly the same. 8. Recording Loops: Next I want to show you how we can record. So I've got an instrument here. I've created a little baseline. Next I'm going to show you how we can record and I've got a bass sound here. What we want to do is I remember according to that cell. So what happens is that just keeps recording until you say otherwise, we can have the maxilla and on. But what I've already got is I've already gotten the big room sounds. So we're going to play that. And then I'm just going to click record and we'll just get a couple of bars down. Now to stop recording, what you do is you click it and maybe just before the bow on beat one as it were. So let me show you what I mean. I'm what we'll do is our code a little bit, Recorded it. Now I didn't actually apply the batch that account. So what we can do is we can now right-click this and quantize just like you would for any other midi track. It's just a loop. So we can actually record this down and just actually there. So a quarter notes if you want. Or we can obviously go over, there's eight notes. There we go. It's now actually quantized. Now that's it, That's the basics of it. But what we can now do is we can obviously go into the next one and of course different for a different section. But we can obviously stop marrying this together so we can start playing them together to see what it sounds like. Maybe you want to make some adjustments. Great. What I'm gonna do is I'm going to right-click and I'm actually going to copy this and paste this into this one. It's exactly the same bullets. What can now do is I can now edit this. So we're going to actually go in and edit the sounds and edit what it sounds like to do this, all I need to do is it basically gives us a double-click and then it brings up the normal inspected as you find all need to do is I want to edit any of the midi notes. You do it in exactly the same way you would for any other track. You can give it a double-click or we can just press here, or we can just press E for the editor and then we get on or piano roll. We can actually start editing this and start playing around with it and obviously change what the sound is or change the melodic part of it. Anything that you would normally do on logic. Just made a quick change here and I'm just changed to overlook all the notes at the end. And then obviously this is all called inst one instrument one. So we can actually rename this if you need to. We can just give this a completely different name. You can name each individual cell if you wish to. So I'm going to call this instrument like base verse. I can call this one by right-clicking gives a name and rename a cell. Course. It's just a graphical representation for you. It's just so you can see where you are. You can even go into here and you can actually rename the queue if you wanted to call out verse one chorus. So we can actually look at different, looked at calling it different things. We could recolor it, it just for you and representation so you can actually go and navigate around your loops really, really quickly. It's just for you, so you can navigate round your lips really quickly. Now the other thing as well, just like the drama sections in patterns, we're going to add in a chorus for the drama added to the pattern. And then what we can do is you'll notice I haven't got rid of the Inspector, but if you've got inspected that this is where you can then change the server shouldn't make this a bit louder. We can actually just add in a couple of different things. That's, that's a precaution in you can see the loop is actually changing just like it does on drawing. So let's play this one. There we go. We've got some differences with the same pattern. 9. Audio Cells: The next thing is to play around with is audio. And what we can do is we can actually right-click and add an audio file. So if you do that, it just brings up a finder and asks you what audio file you want. Of course, if you've got your own samples, you can bring that in. The other way you can do is you can actually create a self first. We can actually create a cell. And then you can see here in the Inspector, you can create a cell first and you can see here in the editor what the size of that cell is. It's actually four bars long and we can change this and we can change the length of that if you needed to. Now of course, if I hit play, it's just going to play an empty track. And it's going to play that for four bars and just go back to the beginning. Now the reason you would do that is because if you wanted to actually bring in a little parts of samples, maybe you've got any very small snippets. You want to drop it in at different points that you can do that because you're creating a cell of samples. So you can actually create that. The reason you would do that is because you can actually drop in more than one samples. You could actually drop in a couple of samples or C all in one SAP. But for now, I'm gonna get rid of that. So we go to Edit and go to delete, and let's go and have a record into cell. So this is the part where you might want to bring in something like obviously a microphone or you bring in the guitar. So if you go recorded to sell, we got 1234 again, of course, it's just listening at the moment. All you can hear is the metronome is I'm gonna turn that off and it just keeps recording. It's gone beyond the full bars until I tell it don't record. You could record for as long as you like. But if you want it to be a loop, obviously you might want to keep it short. You want to have it longer. It could be 16 bars long way reads a whole verse. You could record your whole verse for the vocals are the harmonies. You could tell whatever it's going to be. Once I click this. There we go. It starts playing it again and appalled somatically, it starts analyzing it because of course we can get into this. We can start playing around with it if we wanted to. Again, just remember the same channel strips are there for you. So if we were to actually stop that for a second and we went into the tracks view. It's exactly the same channel strip system and also anything that you've gotten there for the individual sections. So you've got audio one, instrument, one, and we've got the dream of that. Now the great thing about this, as I said before, is you can set it up so it just takes, so if you're just playing a solo, you want to get that absolutely right. Or playing something like a rhythm, you want to make sure it's right. You could set it so I don't need those four bars or 16 bars are eight bars, whatever you want it to be. And then it'll roll back to the beginning and just keep recording. I've got this set that is I hit record and I hit Stop Recording, it goes into play mode, but then you could hit it and it will actually go back to bomb on beat one and record taken over to the other thing as well as if you've got a couple of things that you go cool, I got to use that maybe in a different project, you can bounce that cell. So we talked about this before. What we can do is we can actually bounce it down and bounce the cell into place. And then that way you've actually got that as a bump cell with all the effects or the compressors, all your facts on that channel bounced actually inside that cell. The reason you might want to do that is because of course you might just want Warner Franklin the vocal. Maybe it's like a radio style effect and you could actually bounce it in place. So then it just gets, we need to give it a brand new name. And then you can actually include all the different plug-ins as well. And then it'll actually just replace it. But whether that audio sample welcome itself is what I'd like you to do is I'd like you to actually start creating your own track. What would he do is start with the drama and then just pick the drums that you'd like and then add a new section in and then start playing around with what it sounds like. Maybe you want to create a four or eight section loop system. And then you've got maybe the intro, a verse, a chorus, while I was late to do as well, is actually titled them to start structuring your song. There's a really great way, even if you look things in the track view, sometimes it can look a little bit like I don't know what to add in here. Whereas with the loops view, what you can do is you can go do you know what? I got too many drums in here. I wanted to actually make it a little bit simpler, or I want to add some harmonies in this section. The trucks, the loops view can actually help you with structure of your songs. 10. Starting a Track From Scratch: So this next section is basically making a leap from scratch and making a track from scratch. What we're gonna do is we're gonna go into New from Template. And we're gonna go into live loops. And it's going to create the truck project for us and that's fine. We're not going to use any of the apple loops. I'm gonna get rid of that. I've also got my keyboard down here. This is the key Lab at 49 does matter which Cuba is a midi keyboard. Also got the iPad at running Logic Remote. And the iPad really, really useful for things like this. If you haven't got things like keys, you haven't even got midi keyboard of any kind. Logic Remote can actually show you a keyboard on a display so you can stop playing it. You can actually play the basics of it and you could add things in silicates, midi, you just keep recording until it sounds flush. We've got our instruments, we've got our audio. I'm going to use the instrument here. So let's grab the alchemy sense, which is already loaded up. Okay, so we've got the alchemy synth. Let's see what we have. Let's go record. We're gonna do is we're gonna grab a little sound, so lets just grab something. What we're gonna do is I'm going to use this, which is the classic acid patents. And I'm just going to create a loop. So let's make this a little bit bigger so we can say, oh, it's showing me record because we've got record on. If you have that switched off, it doesn't change anything. We can hit record. And then you can obviously do this on the screen with a keyboard and trackpad or mouse. But we can also do is go to live lives in the iPad or the phone, and you can actually trigger it right here. So it depends on what you do. If you've also got things like a midi controller, you have a foot control, you could do it onto the foot controller as well. It will trigger the next loop or trigger a livelihood depends on what you want to do. You can really utilize things like midi controllers to personalize which track you're selecting, your recording, what you're not recording, very, very clever. What we're gonna do is I'm just going to hit Record and then we need to make sure that the imagineering is on the first one so I can hear what I'm doing. So we're just going to record a little pattern. What we can do is we can actually double tap this until the top where it says the actual name and it brings up the editor. What we need to do is we need to change the edits that we need to actually tell it to only play for bars. Now, when it plays it, we're actually going to get full bars and it should go around in a loop. Of course, at the moment this was just played live. We can't go in there and quantize the sound. You can either do that in the editor and grab each individual. You can either do that in the editor and grab each individual notes and do it yourself or you can do into quantiles and also quantized by selective than the notes. Or what you can do is if you don't have the editor open, you can right-click or two-finger click on track pads. And then you can actually go into quantize here really quickly. And it'll quantize the whole pattern, which is great because obviously we can just shift that along. And you can see that, that moved even if I only had one node selected, if I quantize the whole pattern, that's exactly what it's gonna do. Next. I want to add a different line. So what we're gonna do is I'm just going to grab new software instrument from alchemy. We're gonna do a basic bass. Let's grab something from here. We're going to record that, but what we're gonna do is we're going to actually play the acid patterns first so I can get a sense of rhythm. And then we'll hit record and get a baseline it a little bit out there. But we can obviously go into quantize. We can quantize that to eight modes and just shift that along. Now at this moment in time, everything we're doing is playing with midi. And we can just carry on recording if you want to record and just add different sections. We can also copy these over. So we could actually do copy and paste and then just change them in the editor if you wanted to do the thing as well is audio. So what we can now do is we can then pick an audio source and audio source like a microphone or guitar. And what we can then do is when we hit records, we can then actually start recording and audio. The thing with this as well is you need to obviously then be very careful because you need to make sure you wear headphones. Actually you're not recording obviously the sound of what's coming out of the computer. For this example, I'm not going to do that. I'm just going to show you that you can record. And the other thing as well as a sudden in an earlier video is on the medial side. You can actually just continue to keep recording and overdubbing. The moment I've got it, when I click it, it goes into play mode. But what we can do on this one, for example, we can actually then overdub on, which is basically I think they call it merge. Where are we? Let's have a look at cooling mode. Yet merged. I'm in a looping, well-done, leaping violent with looping pedal as people call it overdubbing. You can merge those. You record one thing, you can record nothing, the other thing stays that you could call it both on top. So let me show you that. You can see that I recorded on top of that goes to stay where they were. And it added the Min. You can do this where it just keeps recording on top. If you want to change the way it records, I just added another recording on top, but you can do it where it just keeps going, just keeps emerging. If you wanted to, the differences with audio, what you have to do is you can't merge them. What you have to do is make a recording and then duplicate this track for another recording. If you want to do a three-part harmony, it would be three recordings deep. If that makes any sense, then you could stack them. So what you can do is you can actually create a stack track. If you were doing a harmony, for example, you could do a stack track, no problem, give that a name and then stack them in. So then that's recording number one. And then we add another one underneath. You add new audio track underneath. And we add that into the stack. You could obviously stack them all up and then keep them all under one roof. So then when you want to launch them, it's just one loop that you're launching, but actually it's three. I'm just gonna make this a little bit smaller to fit everything in, and I'm just gonna get rid of the editor. The next thing we're going to bring in is I'm actually going to bring in a drummer. So let's bring in one of the dramas. Let's go into electronic. That's fine. And then we can go Create. Now what this does from the get-go is it just brings in one of the dramas. When you go into the tracks view and you bring in a drama, it just brings in eight bars straightaway, but this doesn't do that. What you have to do is you have to add it in. Of course, you can then pick the sound and the sound of the drum, which one it is. And when you click it on there, what it does is it then brings in the eight bars that you bring in. But what you can do as courses, you can then you can adjust this wherever you want it to be. And we can then just apply it. I've added in the big room there, and that's what I wanted to do Fourier one. Now with this acid pattern, what I'm gonna do is I'm actually going to copy it and then go into paste and I'm gonna paste it into here. The reason is because that bit, that the high bit in this one, I don't want them. So I'm going to do is I'm actually going to get rid of the high bid. One gonna do is I'm gonna get rid of them and we're just going to make sure audio is off. There we go. We're just going to get there we go. We're going to delete them. They're not in this one, but they are in this one so we can start pulling things out. So this could be our intro before we introduce the higher parts. Did you think as well as the recorded this layer base and I don't want it in the first part. So what I'm gonna do is I'm just going to drag it. So you can literally drag and drop it to wherever you want on that channel. Now I can't put it in a audio bit. It says that it is not a midi track. And I'm going to leave it that if you have an audio one and drag it down, it would say it's not only attracts, you can't mix and match them together. They have to be on our own tracks. 11. Adding Custom Audio To Our Track: So the next part is audio itself. So what I've done is I've turned my audio interface for the white friends. Let me just bring the microphone in here. As you can see it bouncing up and down at the moment, we've got that kind of setup in logic. And what I'm gonna do is I'm going to record just a quick sort of Omar to add this into our very, very strange dance track that we're creating. I'm going to add this in just as attractive. What I'm going to need to do though, is obviously turned down the speakers, made sure it doesn't come into here and wear headphones. Okay, we're going to record. I've got this now sets up a width, just going to put this on some kind of tracking vocal. There we go. Just to give it a little bit and then we can put it on monitoring if we wanted to so we can hear it myself. But I don't want to do that right now. About not the best vocal take ever done in my life, but you kind of get the idea. So each one of these is completely separate. And we can play one individually. Who apply that anymore? Because I'm a little cartoon that today. But you get the idea that basically you can grab all of these now. I could grab all of these and just select them all and then create a track stack out of it, like you've got here. So it could stack these in if I wanted to. The other thing I can now do is I can now grab these three and create a track stack so that if I stack that over and then we can obviously create that. They're all in there as one net only thing is it doesn't show the audio file. It just says I'll tiny little three there. If you notice it, you have to go down to there and see it. If I were to play this right now. Actual stacking is that for just making sure it's only in tidy and you have to put it in one place and change things at the volume and the channel strip. But if you want to stop the loops individually, you still have to go inside. It never assumes that's what you want to do. You can actually stop them yourself by dropping the track stack down and obviously having a look at that. Now the other side of this is the fact that I've actually been doing that live right in the moment. And you could actually live on state do this where you could record in the moment and just with the right buttons. So assigning something like a midi controller or a midi keyboard or an MPC or anything like that. With the right programs, you can actually, you can actually have that where you could select the track, hit record and it could record in live there I have actually been people creating live loop of performances that are on things like YouTube and also live streaming them as well. The great part about this, of course, is that you have all the bits that you need. You could obviously set it up with the right instruments and then you can just go down to the next one, start playing it straight away. Or if you're doing it for vocals, you can obviously then create the vocal tracks that you need. Or if you don't even have one, you can literally just create a new one on the fly while it's playing, the plane doesn't stop if you create a new track, which is really, really good. Obviously, if you're using a big plugin, then it could pause it or make it stutter and alive environments. So you have to be careful of that. But if you're using something that's kind of in-house, it doesn't need to load it from an external source, then it's going to pretty much stayed going as long as your computer is powerful enough. 12. Tracking Out: Now that we've gotten there so far, we have the drummer, we've got three vocal tracks, and we've got two different midi tracks as well, and everything is still editable. Now think of it. This is logic. We're not moved to anywhere else. You can go in there. You can actually grab attract and we can edit it however you want. We've still got our editing tools here. We can edit for the actual stack where you've got basically something they're on there. You've got the we've got the compressor, we've got the EQ, we've got the actual sound that it is. And then you've got your own individual stuff for effects. You've got your buzzers, you can still do all of that. And then the actual sound itself. When we go into the editor, I could, I knew these were sung a little bit attuned today, but we could actually go in and we can flex that out. We can edit it, we can change the length of this. The possibilities are endless, which is fantastic. Now, everything I've been talking about so far has all been live loops and that makes sense. Why do we now need the tracks view? Well, if we have a look over this side here, there's actually a bar which I've not actually talked about at all yet. And the reason for that is because this is actually emerging between the loops view, the tracks view. When you've got these parts here, you can press stop. When you've got these parts here, you can actually press Stop right here to stop an entire scene. But we've also got these little arrows on every single one of these we're gonna do is I'm going to bring the tracks view bag and I want to show you why they're there. So what we can do is if you've got stuff recorded on here and then you want to play a loop. You can actually have both playing at the same time, one or the other. So we can actually override what happens depending on which one it is. Right now if I do this, it's going to be the loop, whereas if you've got centered on here, it will actually do it. So I'm going to bring in a track right now, as you normally would in the tracks view will just press flight. Now that is playing the track. So if I now do this, it mutes it. And there's nothing playing because I've not told it to trigger the loop. The great thing about this is this is where you can start experimenting. So if you want to actually create harmonies or you want to create a melody, does that work? I'm not sure if that works. So you can do that without having to like put this into a looping mode and you have to drag and drop. It's real quick and you can just really quickly hit play. You can put any section with any section, as opposed to having to drag sections on top of one another and then deleting them and rearranging them. This is almost like pre-plan system where you can just play what you like and then you go actually know that one and that one worked really well. Let's drag them over. You can start creating the structure of your song based on the loops that you're making. Now the other part of this is this button right here. And this actually enables you into recording the loops into the tracks mode. So what we can do now it just hit record and nothing will happen until you actually create a loop. If we have a coordinate right now, right away, we've got a couple of different things. Now the other button I want to talk about, which is really important is this bone right here. This basically is enabling performance recording. What this does when you turn it on, it doesn't start recording straightaway, but it enabled you to record the loops that you've made into the tracks view. What this means is we can actually start recording. Now one thing you need to do is you want to keep recording, keep going and track for you, of course, is turning off the looping system on the tracks view, which is a bit confusing. But while as long as that's great, it'll just keep going. So now what we can do is we can hit record on the main project. And then what this will do is it will then record and we can actually set this. I'm going to set this up to Q, the cell back to play straight away. When we go into record mode, it will start playing. You can see that there's this gray record bar. Let's add some things in. Bop, bop, bop, bop, bop, bop, bop, bop. Let's see. Let's click Stop. Now what's happened there is it's recorded it but it's all gray. Because what we've done is we're still in Record mode if we take that off and then we stop everything, you'll notice now that they're not grayed out, then the ones that are grayed out or ones that are in the stack. So we can actually do that and then it will play around, no problem. So this is really cool because then what we've done is we've just created our own track based on the performance that we did here. Now, I could record this at a million different ways. And then there's tracks view. And then once you're finished with that, you could get rid of the loops view. And then here's your track, just like it always is in logic. So this is a really, really clever way of getting this stuff from the loops. As you're not gonna play it live. You want to record it out as a song that you've actually know what attracts view for editing and for changing things. You can obviously do that, no problem. The other thing as well is when you've got them both up, you just need to be aware of this button here. This button here literally tells Logic which one it's going to be paying attention to. Whether you're going to be on the loop side or we're hearing on the truck side. So if I actually now say I want it to be on the truck side for everything, Let's just make sure that's right. Yeah, there you go. Now they're all let's open colors. Now, if we were to press just play, it would play the track as we wanted to play. Now the loops is still active, so we could actually then actually add in something. It wouldn't be recording right now, but we could just play it live at the top of it. She could. I'll stop myself from saying where you could actually create a backing track. Then you can just play stuff over the top. You can add little bits that are live in the moment. This becomes like a studio slash live performance tool. If you've got this on a laptop, for example, you could take that out on stage with you. It's really, really powerful. Now it doesn't stop there if you've got an iPhone or an iPad and we've got logic for modes. Then of course what we can do is we can actually go over to things like the mixer. We've got obviously the effects channel layer, so we can actually add the effects in. It's playing either the live loops or as it's playing the track. We can obviously then start playing the track. I could use the mic sets are actually adjusted or you can obviously then use code strips all live loops. And I could trigger the Live Loops exactly the same whilst you're in the tracks view. So even though I'm in the trucks view on this computer, on the iPad right now, I'm in the Live Loops view, just like that play and I could just be playing around and adding things on top. It just makes it a really, really versatile piece of care. Because even if you're doing it on a phone and then you can actually add this and you could trigger something really, really easily. You could have that maybe by the side of your keyboard and just trigger warn loop that you might need in a chorus or a breakdown. 13. Tips & Tricks: So a couple of tips and tricks for you. Certainly when you're using both live loops and the tracks for you together, one thing you can do, first of all, let's go down to the bottom here to the scenes. On the live loop section, we've got the scenes. You can select different scenes here. And if we right-click on the scene on the arrow, then you've got a brand new menu. We've got Q, the scene, and that will actually queue up all the different loops for playing before you hit play, which is really useful. Copy playing cells here. So we can actually copy just the ones that are playing in the moment. We've also got duplicated, so we can actually do this a couple of times. Let's do it. We're going to duplicate and literally at duplicates and it pushes everything else sidewalk. This is really, really useful because imagine if you've got like 20 all in one go. You can move them across and you could start taking things out so we can start structuring are sunk. I'm going to duplicate these a couple of times and do that. But now what I'm gonna do is I'm gonna start taking out these harmonies. What can do is I running, going to start with that one, this one I can meet you, just press the Delete key and get rid of. Then I'm going to add that one in and leave that one in, and then we can take that one out. I don't want the acid in there. I don't want the big room in there until we get to all three. And then we've got this one here as well. So we can really start structuring the sun how we want just by duplicating what we've got. If it's the same code going over and over again. The next one is you can insert an empty scene. So we can actually enter a completely empty scene in the middle. And we can also take that out as well. Let's take that out. All you need to do is actually just be on that scene and click Delete. And that way as long as there's no cells on there, it'll just get rid of it if you hit Delete on a certain scene. Sorry, I didn't mean to do that. If you hit Delete on a scene, it then asks you and says, hang on, there's stuff in here. Are you sure you want to do this? Really useful for that? Right-click again, and obviously we've got things like renames. We can rename this one could be intro verse, chorus, bridge, wherever you want. Of course, we can delete the whole scene. It asks you if you want to do that, you can just press the Delete key as well. These are really clever one and this is where they start merging things over. So let's go and put this on bar 29 on the playhead. And what we can do is this scene right here. We can literally go copy seem to play head. When we do that, it copies all the tracks that are in use in that scene over to the play head. And that's just really useful. Certainly if you're now building the structure for your song, you get a bit right, that's definitely going to be just played once. And then this one afterwards. That's what I'm gonna do, is I'm gonna go above 33. I'm just gonna copy and copy that to the scene as well. Now instead of having to play it, what you can do is you can just copy them over a copies over both the wire of audio information and the midi information. And then what you can do is when you're in the actual live track section, what you can do is you can start editing that separately so you could change it from what it is. So it's not always the same loop we can do now is we've stopped all these. We move over to the tracks view. So let's just move that over. You can do it all by just moving all over there. And you also got a full stop if you want to stop anything that's playing here. So we've now got these here, and this is a complete repetition of this one. But we can now go into this one and we can change it. And it wouldn't affect this one here. It would create it as a brand new midi track, just like it does on the normal tracks view, you can completely different midi section or region. So you can obviously then change it. Same with any of these. You can start chopping up the audio. So we can actually just grab here and I can start moving that of course it doesn't affect any of these at all. Now another couple of things you can do obviously insert seen a play head as well as copy it. You can obviously do that if you need to. She could copy over. So if you have got tracks on here already, there are something else. Then you can insert it in. If you copy it in, what it'll do is it'll override anything else that's in that region. Whereas if you insert it in, it's actually pushing it in in-between. Everything else really useful. Then the other thing as well is you've got quantized. How are you going to start it? It's global or moments or wherever it says, up here is the quantized star, but you could change it scene by scene if you wanted to. You've also got the play mode. So at the moment it's unreal, trigger or start, stop. And then you've also got set all seen triggers. You can then set all of them to exactly the same nice little tip for you as well. Obviously, we can make this as big or as wide as you want. We've said that right at the beginning. And also this will literally mute and change over from loops to tracks. And you can stop all tracks that you can stop all loops there just by pressing the stop button at the very, very bottom.