Transcripts
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.