Music Production For Beginners: From Recording to Exporting in Logic Pro X

1. Introduction: It doesn't matter if you're a singer songwriter, producer, podcast producer, editor. If you've just started at the beginning of your music journey, this class is the perfect class and get you started. Whatever direction you are going. Hello my beautiful creatives. My name is Eve Horne. I am a singer, songwriter and producer. I'm also found that a peak music UK and we are the unheard campaign. I've been in this industry now for over 20 years and I've collaborated with some huge artists, producers, songwriters. Since I launched my campaign, I've raised and loads of awareness for the equality of women in the music industry. I've been able to teach production and songwriting to women and gender minorities. I was also nominated for a music week, women in musical ward. I also produce all the music for this car. This class is aimed at beginners, so you don't need any prior knowledge of software or hardware to take this class. I'm gonna guide you through everything to get you started. And even if you're not a beginner and you're just new to logic, feel free to take this class as well. This class is my third class on Skillshare. You might remember my first-class, creative Songwriting for beginners and my second class production for songwriters using able to live 11 for beginners. In this class, I'll be giving you everything you need to get started with Logic Pro ten or Pro X, so that you can start making your own traps if you want to start using it as a producer and getting some loops in recording your vocals and getting ideas, your songwriting, if you want to use it as a songwriter, by the end of this class, you will have a clear understanding of the functions of Logic Pro ten. You'll be able to start your own tracks, recording your own audio, edit them, arrange them, and export them. You'll be able to understand plugins, input levels, again, midi automation. So there is nothing stopping you from creating your own tracks. I look forward to seeing you in the class orientation, where I'll be giving you some key concepts and the tools that you need for your future in production, songwriting, or ever. 2. Class Orientation: Hello and welcome to your class orientation. Here, I'll be breaking down exactly what I want from you for your class project. I would like you to complete a 2.5 minutes song using a minimum of the following things. Drums, bass, synth, vocals, piano, strings, or guitar. I chose this project because I feel it's so important for creatives to be able to learn and feel confident. We're broadening their tuple and expanding their knowledge as we go on this journey together, I will be guiding you through every step of the process. I'll be providing bite-size lessons to make it easy for you to understand so that you can create each musical element, practice them, and then upload them to the class community to take part in this lesson, you will need a computer Logic Pro X or ten, a midi keyboard, headphones or speakers, or your computer keyboard. In order to make this class work for you, please make sure you read the class description, take your time and focus on one piece of information at a time. Complete the tasks I give you throughout the lessons. Be too hard on yourself and make sure you contact me if you have any questions at all. Remember, no question is a stupid question. I can't wait for you all to dive in. Make sure you download the resources that I've provided for you along the way. And I will see you in lesson one. 3. Creating A Project: Hello and welcome to Lesson one, choosing a project. In this lesson, I'll be showing you how to download Logic Pro X or Logic Pro ten from the App Store or the Apple website. How to open an empty project? How to open a live loop project, different style to grid templates to get you started in Live Loops available tutorials which are highly recommend. You check out in your own time. Project templates, which are great to get you started, whether it's a commercial truck, TV, film, orchestral, singer, songwriter, they're really good to help you get going. And lastly, I'll be showing you how to save the template. So in order to start using Logic Pro, we need to go to the app store and download it onto our computer. So I'm going to click on the App Store app type in Logic Pro X or Logic Pro ten. And there you go. You can see it says open because I already have it on my computer. But if you don't, it will say get or purchase or buy. You click the button and it will download onto your computer. And then you just simply follow the instructions and install it. Once you've installed it, you can go to your application folder. And there you will see Logic Pro. And from the applications folder you can drag it down into your doc so you have easy access to it at all times. Once you've done that, literally click on the icon and open Logic Pro. If you haven't got Logic Pro and you can't afford it right now, you can go and get a 90 day free trial directly from Apple's website. So you literally go to Apple's website. Here you can see the page where Logic Pro is beautifully set of all its colors. And right here is where you will download your free trial. Before that though, I'm just going to scroll through and so you can see the other features in logic and feel free to read all of these at your own leisure may be good introduction to see how powerful logic is as a digital audio workspace. So obviously as your more advanced, It's good to know that logic can go into Dolby. Here. You've got new sound packs. So definitely go into that because they're always creating new sandbox for you. Here we've got Logic Remote, the Live loops and stuff, all good. I'm gonna be going into that later on in the class, but checkout all the other stuff as well. I don't want to go into too much that it does because it would overwhelm you. Here it's showing you live loops and the step sequencer remixes a great stock plug-in that allows you to add all sorts of effects to your track and almost like give it a DJ style effect, flextime pitch, smart tempo and stuff. They're all quite advanced features of logic, which I'll probably cover in another lesson. So we go up to where it says free trial. Click on that. And then you have the Download button that will ask you if you want to download allow downloads from Apple.com, you will click Allow. And then up here you'll see that once you've clicked Allow, your download will start. Once I started, you simply follow the instructions and open Logic Pro for the first time. I'm going to cancel because I already have logic, so it's pointless me adding another to something gig to my, my already diminishing hard-drive space. So as soon as you open logic, you will have this window here or this box, and it will give you a list of different options. So at the top here we have New Project and we've got the option of an empty project or live loops under that, we have our recent projects. So this will show you any recent projects you've been working on. Then we have started grids. This gives you a whole different range of sound packs. Here we have tutorials, so I would definitely recommend going into these at some point and going through all of the tutorials just to make sure that you are completely familiar with the different options within Logic Pro. Here we've got a demo project and they've been kind enough to give us a Billie Eilish demo project. So definitely go and have a look at that. Here we've got project templates, which is really good because it allows you to open an existing template so you don't have to do the hard work. Everything is already set up for you. And under here we have my template. So this will be the templates that you create and save yourself. Here we've got all the details about whatever project you have highlighted at the time. So it'll give you the Tempo Information, key signature, time signature, and so on. So I'm gonna go to New Project and click on empty project and press choose. Now you can see that it has bought this drop-down menu, and this gives us a variety of things to choose from. Automatically, it will highlight audio. So you have the option between a software instrument, an audio track, drama, guitar, or bass, or external Midea. And you can see that the details of each of those projects options changes slightly. So I'm going to click on software instrument and just under here where it says instrument is set to default patch here you can actually choose what you want to open as default. So say for instance, I wanted to open to software instrument tracks. I could essentially have piano open on them every single time I open a software instrument, I like to use empty channel strips or just default, which is nothing. Or actually it's a piano because I like to choose what I want on the tracks when open them, here is your audio output, so that will stay as 12. Here is the number of checks you want to create. It will default to one. I generally do for just for standard. I don't actually know why. Then we press Create. And as you can see, we now have four instrument tracks in logic. Okay, so I'm gonna close that and go back to the project section. And this time I am going to open a live link project. As you can see, it looks kind of similar, but this time we have these square boxes. And that is because each box is where you would add a loop. Here you can see there's two different tracks. One has got a blue wave form and the other one's got a green note. The blue waveform represent audio loops, and the green musical note represents midi loops, okay, as you can see here. So I'm just going to randomly drag some things in on each track and then press play. So effectively you can add as many loops as you want and they'll play simultaneously together. Here you can choose the amount of bars that it plays, four, and it will loop that amount of bars. Okay, so now we're going to come out and we're gonna go to start to grids. So I'm just going to download this boom bap Masha vision inverse, stomach that as well. Okay, so now it's loading and this is our session. This is a live loop session, so it's lovely and colorful. As you can see, I can play any of the loops that I want is a great way to really disliked. Create tracks, create sounds. It's really a good way to explore your musical ideas. You can trigger them at different points, manipulate them in real time. I'm basically just create any type of arrangement you want. So it's really, really good to start exploring different ways of arranging songs. So definitely have a play with those because it's so much fun. Okay, here are the tutorial. So again, definitely make sure you go over them. I'm just going to open the Live Loops tutorial and just quickly take you through that. The great thing about live loops as well as you can just create like completely different arrangements from things you've pre-recorded as well. You can drag anything in. It just gives so much fluidity to the arrangement of your stuff is great. Okay, so here's a tutorial and you literally come over here to this column on the right-hand side, you can see that it will take you through how to use Live loops, how to add content to the grids, how to play cells and scenes, and then how to edit those cells as well. Also, it shows you how to record into live loop. So if you want to play your own stuffing or record some guitar Ian or whatever. So, yeah, have a lot of fun playing with that. Okay. Demo projects. I'm not gonna go into this because it's going to take ages to open and stuff. And I just think for the purpose of time, Let's move on, but definitely go and check that demo product out. Okay, So here are our project templates. I'm going to quickly open some of them so you can just get an idea of what they might look like. Not everyone who buys logic is gonna be a producer. You've got songwriters in here. You have composers, you have people who want to specifically write for TV and film. Okay, so the first template we're gonna go into is songwriter. And as you can see, it's already got a piece of audio in the truck. It's already set at eight bars. We've got our smart controls up and the audio already has effects on it and stuff like that. It's got the drum kit loaded, so you're ready to pretty much stop playing instantly. Okay, This one is music for picture, for anyone who is interested in sync in sound to film or TV. So already you can see how different it looks from the template that we just had open. This one has this little box up here, which is for the movie or the visual, the picture. And it will be set in frames rather than beats and bars, so to speak. And you can see all of the instrument tracks are set for sound that would be used in films. So sound design, sound effects, that type of stuff. And again, over here on the side, you have the effects already set up and they're already going to Abbas as well. And you can see here all of those buses will be going to an auxiliary channel. And they also have effects already set up. It's just literally ready to go. It's plug-and-play. Okay, So now we're gonna go into our hip hop template here you can see similar to the songwriter one. We have the drama set up here, but our instrument is a trap drum. Okay, so before we had a live drum kit, this has got an electric drum kit and it's a trap kit. And straight away you can hear like how easy it is to get ideas directly from this one loop that's been put in there for you to start with. So exciting. And the fingers as well, they've already set out all the other tracks for you is all using the same stuff. So everything will be based around the track. Track. It's hard to say trap truck. And again, each track that's laid out, you've got your truck base, your agile synth base, your voice box, simply, each of these tracks all have the effects laid out ready for you to go. So in order to save our template, we're going to go up here to File, and then down to save as template. Here we're going to name our saved template. I'm just going to name it Eve trap. And that will save in the project templates folder. And then we press Save. You can see it's named it up here. So now if I go to File New from template, it's going to open up our box, go down to my templates. And now we can see we have IV trap and then we press Choose. And there you go. It opens our template. Okay, So now I've shown you all of those. I'm just going to open a standard for track software instrument project so we can get started. Try to focus only on what I've shown you in the lesson so that you don't get too overwhelmed. I would like you to practice opening different projects. Spend some time playing with the starter grid templates to help you get familiar with the door. Take time to check out all of the tutorials. Familiar with the project templates, create a new project and save it as a template. When you're done practicing, take a screen grab of your project in the template section and upload it to the class community. I look forward to seeing you in lesson two, where I'll be helping you to understand preferences. 4. Preferences: Hello and welcome to lesson two, preferences. In this lesson, I'll be showing you general project handling, how to correctly set your inputs and outputs, how to set up your required file type connecting midi devices, where to set up your project for a score or movie automation preferences and storing your information in your tracks. To get to preferences, we're going to go up to where it says Logic Pro. Then the drop-down menu comes down and we can see preferences here. So when you hover over Preferences, you've got another drop-down menu, which we'll go into in a sec. It just gives you the overview of what you can see in preferences underneath that control surfaces, which I would recommend to just leave as is, you got key commands. If you want to set up your own key commands, you can do so your sound library. So anything to do with downloading your sounds, you can find here and also any other things when it comes to services or providing feedback to logic. And also where you can quit Logic Pro or hide it. And the key commands are there as well. Okay, so let's go back up to Preferences and I'm just going to click on General that will open the Preferences tab. So you can see along here, you have everything that is in the drop-down menu will be along the top here, so it correlates. So general audio recording, midi display score. So it's the same thing across both sections. So first of all, the first tab here is general, and this is going to basically cover everything general to logic. So your overall preferences of Logic Pro ten. So here the Tablet selected here is project handling. And this is everything to do with the project that you open and how you want that project to open your startup action. Do you want it to open with the most recent project, which I would recommend. A lot of this is done by default. You'll see a lot of things already ticked. So logic, we'll just default at the most standard thing. So a lot of this stuff doesn't actually need to be touched unless once you get more familiar with Logic, you want to go back in and start changing things, but as of now, we don't need to change anything. Okay, so the next type of cross is editing, and this is the tab that is responsible for anything to do with your editing preferences. So number of Undo steps, the way your mouse works or your trackpad, the piano roll you can see down the bottom Double-clicking a midi region opens what? You can set all of that when it comes to the editing section of your project. Next we have cycle that's off. Just leave that catch is when you want your playhead to pick up. So I would leave that as it is for the moment, notifications leave that here you've got accessibility. And underneath that it says plug-in windows. So you have the choice to opening controls view by default or not. So basically all that means is that when you select this option, your plugin will pop up in the window every time without you having to click on it to open it. Okay, let's go across now to audio. This has everything to do with our audio preferences. So recording anything in getting sound into the project, audio will always be enabled and should always be enabled. And first of all, here we have our output device. So that is basically how we are going to hear any sound coming out of logic. So if you have speakers, if you have an audio interface connected, if you want it to come out of the main computer, if you have headphones, this is where you would set your output and the same as the input. If you have things to get the sound coming in to logic, you'd have to set your input to the correct settings. You have your buffer size here, which I would always leave it default to start with recording delay as well. Leave all of that until you are much more familiar with logic. Similarly with processing threads and buffer range, basically what this does is if you have a lot going on in logic and your playback is you're getting some latency because your processes are going insane. You can change certain things within preferences to improve your playback, okay, you would leave summing here at 64 bit. That's what logic uses at the moment. And then rewire behavior, keep us off. So anytime you want to change anything in preferences, you will always have to click the Apply button down here. Okay, so the next tab along in audio is general. Again, this is all stuff that happens behind the scenes. So changing the amount of bus assignments is not something you need to worry about now. So down here we have plug-in latency. I would keep that as all. And here you can see low-latency mode. So basically, if you are running Logic Pro off a laptop that doesn't have a lot of CPU and stuff like that, you can go into something called low-latency mode, which basically frees up some CPU usage so that the interface can run smoother on playback. And there's a great shortcut way of being able to access without having to always go into preferences. So if you come up here to your control bar and press customized control bar. You can see it brings this nice drop-down menu. And here we have low-latency mode. When I click that, you can see a new button appears on the control bar. And if I turn that on, you can see now that the low-latency mode within Preferences has been ticked for, turn it off, it goes away again. Okay, so sampler is all about the amount of samples coming into logic, not something we need to worry about editing. We don't have to worry about for now your input and output assignments. I would also leave, this is basically showing that your output is going to stereo. Output 12. Literally leave that as is if you're working on a film or a score that needed to be set to surround sound, you can set that up here. So you're in, our assignments would be set up in here. You can see left and right centers and stuff like that. Next Cross we've got File Editor. Don't worry about that. And then your MP3 preferences within audio. So this is basically how your mp3s are going to export when you bounce out. Okay, so generally leave that as is. Okay, next, we're gonna come to recording and underneath we have audio. So this is our file type and Logic Pro ten uses AIFF files. I would leave that as is you have the option of WAV files are wipes. I would leave it as AIFF again, leave everything here as is next week, come across to the MiniTab, and this is our midi preferences. So if you need to connect a milli driver, you would put it here all your recent messages and sinks and inputs. I wouldn't worry about this. This is all about midi timecode and things like that. You don't need to worry about that your inputs. This is if you have a midi keyboard or I've got my machine is set up here. So all that does is makes sure that any midi input coming into logic proton is connected correctly. You will display this is what it says on the tin. So this is how your windows will be displayed. So if you've got dual screens and things like that, you can set all that up here. It should set up automatically. You can also set additional displays up in here. Along here your score preferences. And they will relate to if you are writing a score within Logic. So unless you're doing that, you don't need to worry about this section at all. If you are doing that, you can click on score project settings. And that will open up a whole host of sub categories for you to start editing your settings, for your score, pretty colors. Now we have the movie tab here. And this is if you are doing any sound to picture the adjustments that you can make, and so on and so forth. Again, if you're not doing anything like that, Do not worry about that. Majority of people using logic will only need to worry about the audio and midi sections of preferences. Okay, so here we are, automation. And this basically is quite important, especially once you start getting used to automation. If you have loads of tracks of audio and then you start automating them, what will happen is you might automate a piece of audio and then say for instance, you started the truck five bars in. And then you need to pick the whole track up and move it back to one. What's going to happen is that audio is going to move, but the automation doesn't unless you have it ticked for always move or ask. Very important if you're doing podcasts editing. So down here as well, you've got just the pencil tool when it comes to automation, how you want that to act, and just some other things that you don't need to worry about. Control surface preferences. Again, not something you need to worry about as such, unless you are connecting midi controllers and assigning them to things. So I wouldn't worry about that right now. But if you do want to start connecting things and then assigning, you can click set up and it will bring you to this section here and help you set up your device. Here we have my info. So this section is literally about the artist. So if you're making tracks or whatever, it's a good idea to get your information in. Because what happens is when you balance out that track and then say you want to play it in iTunes, it will bring all of that information that's sitting in the track into iTunes. So the minute you press Play and iTunes, it will pop up with your artist named composer, named the album name, and everything like that. So it's a really good thing to start getting into that practice. Here's the Advanced tab and you can see everything here is ticked. So advanced tools, I like them to be shown. You can take that off, but as you start getting used to logic, it will be good to just have them ticked so that you can understand them all. Before moving on to the next lesson and practice using the shortcut to access the control bar and add and remove icons from it. Also filling your artist details under the info tab, I look forward to seeing you in lesson three, control bar part one, where I'll be helping you to understand the control bar and its functions. 5. Control Bar Part 1: Hello and welcome to lesson three, control bar part one. In this lesson, I'll be helping you to navigate your way through the main part of the interface so you can get started straight away. I will be showing you how to browse your library for sounds and select them, understanding the inspector window, your toolbar, Smart Controls, accessing your mixer and accessing your editors. So let's get started. So let's start with this little section here. And first of all, we're going to start with this tray looking icon. This is your library. And you can see as I click on an off it, the sound library appears and disappears. This is where you're going to search for all of your instruments that come with logic. So I haven't downloaded most of my sons because I have so many. But here you can see I have downloaded base, so I'm going to just click on that. And then we have another drop-down menu within base that gives us all of the different styles and types of base available to us. And you can see up here that the icon changes as we go. So if I just load one of these, so I'm just going to load a finger style base. You can see it automatically names the track that we have loaded it onto, that will load onto the highlighted track. Okay, so let's go and choose another sound. So I'm gonna go to Oregon. Again. We have the drop-down menu showing us the different styles and variations of organs that are available to us. Any way you see the little arrow, you have another drop-down menu. So I'm going to click on here experimental. And this is gonna give us a list of experimental types of organ. So let's check out this reggae organ. And again, you can see that it's loaded to the track that I have highlighted. Okay, Nice. So a quick way to go back to the main menu is to click down here where you can see the latest instruments selected. And if you click on that, that'll take you back to the main menu of the sounds that you originally started with. If you go and legacy, this brings you to all of the jam packs that come with logic. They provide you different types of jam packs for different instruments. So you've got remixed tools, rhythm section, Symphony, Orchestra, and within those you have more drop-down menus of the different instruments within that. So mallets, horns and you can see there's a ray of different instruments. So strings, it has loads of different types of strings, obviously because there are lots of variations of a string in the world. So make sure you have a play with those. Okay, So next across here we have the Inspector tab button wherever you want to call it. So what that does is brings up this window here, and this is the information for the selected track. You can see when I change the track that I select, the information within the inspector window will change. Okay. So what that's doing is pretty much giving us a quick look into what's going on within the track selected. So it's going to show us any plugins we have on it and allow us to change the different parameters of that track at a glance. Let's just drag this up here. You can see up here in the midi region section where it says Mu is grayed out. And that is because we don't have a midi region yet. So let me quickly record something in. So now we can see that the Mu has become available. Okay, so you can see now, once I tick that box, I can mute it. If I loop, it loops for as long as I want it to. Here we have quantized, so that allows us to quantize to a specific amount. Then we have transpose here. This allows you to transpose up or down a certain amount of semitones. So if I just transpose up 12 semitones, you can hear the difference there. Bring that back. So here we have delay, dynamics, gate clip, lymph, all this other stuff that you can play with. And again, all of these things will become available once the region has what it needs. In their next under here we have the track information so we can rename our track from here. If I just add a one there, you can see it's renamed my track. We can change our icon as well. So if you have multiple organs or you have a specific way, you like things. A lot of the time, we like to have our own colors and stuff and be able to customize the door so that we're comfortable with it. So this is a great way to do that. Here. It has channel instrument one. So this tells us what channel we're coming into, the instrument that we are on. The midi information here that will generally be set to all. So all of this information is generally what's going on in the track. You've got the key, the velocity limit, because middy it goes from 0 to 127, or in this case 12127 delay if you want to transpose it, and so on and so forth. All of this will change depending on if you add or change something within that track or on the media information. So down here, this little section here is the channel strip setting, basically anything that you want to effect within that channel strip you can do here. So if you want to remove all of the sends on it, if you want to remove all of the plug-ins that are on it, you can literally go there and do it one time instead of having to go in manually and change things. You can also save the presets on that channel strip so you can copy and duplicate it to another channel strip as well. Okay, Just under here there's this little thin line and what that is as a gain reduction meter, and it will essentially have a compressor on it. So if I click here, you can see that that is monitoring the gain reduction on that channel strip. Just under that, we have the channel EQ. It's logics built in EQ, and you can just double-click on it and it will bring that straight up. It's a great way to put an EQ directly onto the channel without having to go and search for specific one. So under here, we have midi effects. And what that does, it brings us a list of any effects that we would like to apply it to the existing midi we have just played in. Then underneath that is the actual instrument that we have. So it brings up a little moving part, so to speak, or something that you can physically go in and edit. You can change the parameters of the instrument. As you can see here. You can have a good mess about with it and really go in and manipulate the sound that you've created to make it your own. Okay, I can be here all day playing with this. I love these things. And you can also go in and edit it from this window here. Then if you want to change the organ that you're using, you can use these arrow buttons. And that will change the type of organ that you have selected. And again, once you've done that, you can click and edit it to your heart's content. Okay, So next down on our channel strip, we have some plugins that come with the instrument. So when you select an instrument, a lot of the time on a preset, they will come with some plugins. And you can see here, when I click on either of them, it's the same compressor and EQ that we selected earlier. Down here, we have our buses now a bus routes the audio that's coming into our channels. So imagine our audio is going in a specific direction. So it's coming down the channel strip is going through the compressor, through the EQ. And then down here, what we can do if the bus is we can send that audio signal to somewhere else. I like the analogy of a physical boss. So you're putting it on a physical bus and that bus is going from one station to another one. I remember when I was learning sound engineering at uni that I had to do visual things like that just to get my head around it. Obviously, we learned on the actual mixing desk. So it was very hard for me to understand signal flow. So I used to create pictures in my mind of physical things helped me understand it. So I literally think of a boss that people get on, in this case signals. And we can give that boss destination and change the destination as we please. And then that bus off it goes with the signal on it to that destination. Don't judge. Okay. Underneath that we have our stereo out, and that is basically routing the signal to a stereo output, literally. So speaker's set of headphones and you can choose where you want that to go. Underneath that we have groups. So that allows us to be able to group our information on that channel. So that basically comes later on down the line and we will group things for the sake of mixing our tracks. Underneath that we have where it says read. So that is automation, which we will come back to later date. And here we have our pan pot. So this is where we would pan out signal left or right. And this again comes when you're mixing your track where you've got multiple channels of information and you would like to pan them in different directions. So if I have, for instance, multiple vocals recorded on different channel strips, I can then stop panning them slightly in different directions so they're not all coming out down the middle. And we start to get some nice spatial awareness, I guess, in the mix for the instruments, the midi and audio that we're using in our tracks. So here is our level meter and this is just where we monitor our level coming in. It is very important to make sure that you do not peak. It doesn't go into the red. A good rule of thumb is to always have it at minus three db or minus six, whatever you want, and make sure that your fader here is always at 0. It's just a good bit of housekeeping to always keep your fader at 0. The more tracks you add, the more information that's coming into the tracks. Don't forget, all of those audio signals are going to go out to your master, which is going to be. Literally overloaded. So it's very important to make sure that we don't go above 0 and make sure that we have a good balance of instruments coming out. Okay, down the bottom here we've got a mute and solo buttons. You can see when I press mute, mute the track that I'm on, again with the Solo button. You can see that when I press it here, it's solos, my track. And the great thing as well is the Solo button at the very top appears. It's like a master Solo button. So if for instance I have multiple tracks and I've got 20 something tracks and I've got multiple things. So load, it's a very quick way to just un-solo everything. Okay. I'll just show you here. There you go. Okay. Next across we have our Quick Help button. This is absolutely vital and I would recommend every single one of you go through the door with the Quick Help button on and just get familiar with every single aspect of this door. So basically wherever I hover my mouse, it's gonna give me the information as to what that is in the door. Okay. And it's a really good way for if you're in a studio environment and you start hearing people talk about certain things within the door. A great way for you to learn and understand about what is what. So yeah, definitely take your time and go over stuff and write some things down. The key things that you're going to need so you can get used to it. Okay, Next across we have our control bar. So this gives us a shortcut to any tools that we want. And the great thing about this is you can customize it. So if I right-click up here, you can see this drop-down menu of anything that you want to put up on your control bar. So it's a really great way to get all your shortcuts once you start getting used to the door and getting really familiar with the tools that you're going to use, you can literally choose exactly what you want to add on your control bar here. So you can see if I press bounce, it's going to add that icon, shuffle. Icon comes on. So have a play with that. And as you go along, you start figuring out the more things you are going to get used to and the things that you're going to want on your control bar. Next across we have Smart Controls. Now, earlier when I was showing you that organ, it brought up the whole instrument and showed that we could play with so many different things. So again, that can be really overwhelming if you are not used to using the door or the instruments. So what Smart Controls does is it gives you a really quick snapshot of the main controls of that instrument. So rather than you going in and be like, Oh, don't know what any of this is. It's just going to give you the main things that you're going to need to use, which is just so much more easy to understand when you're new to the door. Understanding the instruments and even what a midi instrument is, okay, here you can play around with some reverb. Here you can see a conflict between the EQ and the controls. Okay. Do you remember when I said earlier with our inspector button, the inspector is a very quick view of the track that we're on. So now when we're on the mixer, you can see my highlighted track, reggae over n1 is also highlighted on our mixer, but we can also see all of the other tracks. As I click on each one, you'll see that it will correlate to what is happening in the mixer. And sometimes people find this confusing because it's horizontal and its vertical and it takes a while to get your head round. But you can see the names at the bottom here correlates the names. Our tracks. Again, it's like a mirror. And so if I move something on the mixer, you'll see it move as well on the channel that's selected, okay, and if I pan anything on here or if I do any adjustments on this track, it will do exactly the same in this window here, okay, So this button here is Editors. This is for the edit window. So generally you would be using it. Most people call it the piano roll because what happens is when you play in some middy, you can double-click the area or you would click the editor button and it brings up this piano roll sections. So that allows you to edit the middy that you have just played in. You can change the velocity. So if I highlight this and move the velocity down to one, you can see the color and the line changing within that one midi part, okay? And this allows you to individually go into each midi part and change and adapt. It is really good to make sure not everything is the same velocity like you would on a, say, a kick drum. Whereas if you're doing something like hi-hats at sixteenths or 32s, you would want some feeling or movement in that. So you'd need to be changing the velocity or playing it in differently, so the velocity isn't the same. You can also quantize your notes. So if I select these here, if I come up and click this q, those midi notes snap, then to the nearest. So then they snap. And that means that all of our Medina will be on time. So if we want to play something over that, we can without the metronome on because we have snapped everything to the grid, making it in time. And that is a definite rule, I would say to anyone if you're playing something in for the first time, you need to make sure is on time and snap to the grid. Otherwise, your whole song is going to be out of time. Before moving onto the next lesson, practice selecting instruments from your library, Change parameters and add effects in the inspector window and then compare the differences in those changes depending on whether it's an audio track or a midi track, practice accessing your toolbar and customizing it. And lastly, practice familiarizing yourself with the mixer and the editor. Once again, please try to only focus on what I'm teaching you in this lesson so you don't get too overwhelmed and frustrated when you're done practicing. Let's take a screen grab of your customized toolbar and upload it to the class community. I look forward to seeing you in lesson four, control bar part two, where I'll be continuing to help you understand the control bar and its functions. See you there. 6. Control Bar Part 2: Hello and welcome to lesson four, control bar part two. In this lesson, we'll be continuing our journey of control bar discovery. I will be showing you play and record functions, loop functions and its features, the time position display, the media and loop buttons and all the other functions. Okay, So this is part two of the control bar. We're gonna be going over this middle section here. So these two buttons here are quite self-explanatory. They are the rewind and forward buttons. So when you press them, they will shuffle the cursor backwards and forwards throughout your project, this button here stops and jumps back to the beginning of the whole session. If you're say at the end and you want to start again, you can press that button or press the Enter button on your computer keyboard. Also, if you right-click on that button, it brings you this drop-down menu so you can actually adapt what you want that button to do. I just leave it as the default settings. Next across is our play button. So we obviously use this when we want to play back any audio or midi in our session. And again, if you click on the little arrow down or right-click, you can actually adjust the place settings from there as well and save any defaults or customize it as you wish. Next up is our record button that allows us to record any audio in or any midi. So first of all, we need to make sure our track record ready or record enabled, which is the little r on the specific track that allows an input to come into that track or channel. And then we press the record button when we're ready to actually record a piece of media or audio. This button here is our loop or cycle button. So whatever particular piece of audio or midi we want to play, we can change the loop length so that it will repeat over and over again. And it will keep looping that section of muddy or audio. That's great if you're working on a particular idea and you need to hear, I know, so you've laid the drums and you need to start working on a melody piece. It's great to start hearing the drums. You get the feel of what's already put down. So you would loop that section to play over and over again and to stop it, you just press the stop button. You can also change the location of the loop by putting your cursor above it. And you can see that the arrow then changes to a hand. Once that happens, you just press and hold and then you can drag left or right. So it allows you to move the loop from bar to bar. You can also change the length of the loop. So if you put the cursor at the very end and you see it changes to this icon here. You can then press and hold that and drag it left or right. And that will change how long your loop length is. At the moment we have it set to two bars. So if I want to make it four-bar loop, you'll see now that the cursor plays for four bars, but we only hear the midi coming through between 12 bars. So what I can then do is loop the midi region. Okay, So there are two different types of loop here. You've got the loop that allows you to Loop audio and midi. So that's your loop function, I would call it. And then you can loop pieces of middy itself so you can look at actual midi region. Okay, and again, you would put your cursor into the top right-hand corner of that piece of muddy. And your cursor will change to this icon here. And once it does that, you press and hold and you can drag out. And if you have gone too far and you want to shorten the midi region, then you would drag it back to the left. So this section here is your play head position display, and that indicates the play head position based on bars, beats, divisions, and ticks. So you can actually drag it vertically to change the amount. Or you can double-click and write in the information. You can see my cursor changes from an arrow and that allows you to drag up or down to change the amount. So for instance, at the moment it's set to bar one, beat one, because that's where the cursor is going to start playing our track from. So if I then move my piece of middy to bar three, you can see now it has changed to the number three, so it's bar three, beat one. So it starting from bar three and on the first beat. So now if I move my piece of middy to beat three, you'll see now where I put my cursor. It starts bar A3, B3 because we've started a bar free, and then there are four beats in-between each bar, okay, this next section here is your tempo display. So this gives you the tempo of the whole truck. It always defaults to 120. Again, you can change that by dragging up or down or typing it in here where it says keep at the moment that is selected. So what that means is we're going to keep the project tempo. It does give you the option to adapt the project tempo. So for instance, if you drag in a piece of audio that you've done in another project, and it is different from the default tempo in logic, it will ask you, do you want to adapt to this tempo? And you can click yes or no. So here's your time signature display, and it gives me the option to change my time signature. So when you click on that, you'll get this box pop up and ask you if you are sure that you want to change the time signature of the whole project, and then you can say yes or no. And the good thing about this is you can actually change the time signature just at a specific point within your project. And then just under that we have our key signature display, which tells you the key that you're in at the moment is on C major, which is default. So if you want to change the key, you would click on it and it will bring up a list of different keys and you can change to the specific key one. So at the moment, we can see the bars and beats, the tempo and time signature and key. But if we wanted to change what we're seeing on our display, we can go to this little section here where this down arrow. And when I click on that, it gives me this drop-down menu. So at the moment we're looking at beats and projects, but we can make that bigger so that we have a bigger display and it goes more in depth. So you've got bars, beats, the divisions and the ticks. You can go to beats and time and what that does then it will give you the beats and bars, but then the time in terms of hours, minutes and seconds, you can go to beats and time large. So that basically does the same thing, but breaks it down into even smaller increments. You can go to just beats, which will give you the beat bar divisions and ticks. You can go to just time, which is great for if you're editing a podcast, which I do quite a lot. So time is what I would generally use and then you can customize it and that basically brings up everything that you need. So also you can have it separate, so you can have it floating and have a giant display if you need to as well. This section here is really good because you can also adapt it and customize it. So if I right-click here, it will bring back this drop-down menu. And you can see, I can tick all of these boxes here. So low-latency mode, pre-fader metering, auto input monitoring, software monitoring. And it just keeps adding as many buttons as I want. So again, when you're going through this, double-check what they are, have a look at them, have a play and then customize it to the way you want when you start getting used to the door. This button here is the replace button. And this allows you to replace an existing piece of audio that you've recorded with a new piece or just a specific part of it. This next button here is your tuner button that so basically if you have any instruments connected to your system, you can use this button to tune them and make sure that in key, if this button is grayed out, it's because there's no recording taking place. This next button here is your solo button and you can keep that or get rid of it because you also have another solo button over there. And again, that allows you to solo selected regions during playback. This button here is you're counting buttons. So basically when you press record, you get a counting and it will just say 1234. And then cool process will start happening. Now again, you can change the length of the count in that you want. Or if you even want accounting, all you can make it start directly as soon as you start recording, or you can have it counting for longer than a bar, one bar, two bars, free bars, four bars. And here is your metronome, the beautiful, lovely metronome that is the most important part of the door because this is exactly what is going to keep you in time and it works with your time signature and your tempo. So if you speed your tempo up, your metronome will go faster. If you slow your tempo down, the metronome will go slower. Again. If you right-click here, you can adjust it and customize it exactly how you would like to. This here is your master volume slider. I would suggest leaving it exactly as it is. Okay, the last section over here, we have these four boxes. The first one here is our list editor button. This allows you to view and edit midi events. You can view and edit markers, tempo changes, and all the signature events as well. So if we go down here to event, you can see it's got all of the information of that midi region. So you can see it's got the position of the playhead, the note the channel that is on the velocity status of each of the nodes and the lymph Next across is markers. So this is if you want to add markers to your session, which we're going to cover later on. And adding markers is a really good way to start getting your arrangement in. Okay, let me just name it here. We double-click on there. I'm going to rename that now one and then done. And then I can say at marker one, I want this to happen, okay? And again here, this just gives you the information of the tempo of the track and your time signature. Okay, So the next section across is literally a notepad. So again, anything that you want to write about your session, anything you want to write about your project, the specific instruments you're using, what you want to happen at a specific time. Any effects that you put on at a particular time in the track, if they're automated, what you want to happen to them at that time. So again, great way to just have some housekeeping and your project. This button here is our loop section. So when you purchase logic, you will also get a load of audio and midi loops that come with it. And it is a great way if you're brand new to logic to start learning how to build a track. Another thing is if you're a songwriter or you can just drag some of these loops in and it gives you instant inspiration to start getting some melodies and lyrics on top as well. So here you can see I'm going to drag in a midi loop again, it's named that track for me tostring acoustic guitar. And you can see again, the middy loops are green and the audio or blue. So if I drag a blue loop onto a midi track is going to come up with this. Notice it's going to let me know that this isn't an audio track. So you won't be able to drag audio onto it. Drag green Apple loops here, which is great, and drag blue ones onto an audio track. So we don't have any audio tracks at the moment. So what I can do is just drag it down into this empty region here, and it will create an audio track for me. Again, it's named it instantly 12 to eight acoustic strum a one. So if you want to make the tracks bigger, we can put our cursor here and you can see it changes to this little line with two arrows on it. Hold Alt and drag downwards. And you can see here that definite difference between the two. So the green one has midi notes in, and the blue one is a stereo audio file. This last button here, this is our browser button. So this allows us to access audio and other media files that are on our computer or elsewhere that we might have bought onto peter and then we can actually go and put them into the project. So if I click up here to audio file, you can see it says Add audio file. Once I click on that, it's going to bring up a box that allows me to search my computer for the specific file. So you would just literally go to where you've saved it, click on it and then it will add it into that box below. And then you will click Add, and it will show up down here in this section. So for instance, if I just go to one of the tracks I've done before and I just get a bounce. I can add that file. Once I've done that, I press Done. And as we can see, that's now in our audio pool as we call it. And then we can just drag that into our session. Excellent. Remember if you don't want to see any of these boxes, just click on it again for a little tip to double-check if you're like, Oh, how do I get rid of this box? Look at the top and if you see anything is dark gray, that means that it's selected and it is therefore open. Click on it and it will go to light gray, which means it is not selected and closed. Before moving on to the next lesson, make sure you practice changing the time position, display, accessing the media and loop browsers, right to markers and naming them and practice changing tempo G takeaway. Remember that the tempo is the speed at which will track will play back. So if you want a fast track, the BPM beats per minute needs to be higher. And if you want to slow track, BPM needs to be lower. When you're done practicing, take a screen grab of your named markers and upload them to the class community. I look forward to seeing you in lesson five, musical typing keyboard, where I'll be showing you how to use your computer keyboard to make music. So if you don't have a midi keyboard yet, can't afford one wherever. You are still good to go. 7. Musical Typing Keyboard: Hello and welcome to lesson five, musical typing keyboard. So in order to get up our musical typing keyboard, we come up here to Window, and then we go down to Show Musical Typing. And now we can start actually using this to make music. So you can see if I press on these letters on my keyboard, is actually generating the sound. Now the great thing of this is by using different keys on the computer keyboard, we can actually alter the sand as well. So if you press the Tab key here, it allows us to sustain the note. I can also change the octave of the keys as well by using my mouse up the top here, sliding left or right. Or you can see those little gray arrows either into the keyboard at the top, you can tap on them and it will go up and down an octave. Alternatively, you can use the Z and X buttons, which will zed is to take it down an octave. And x is to bring it up an octave. Cmv, all to increase or decrease the velocity. So if you want to make a note sound more aggressive when you hit it, then you would increase the velocity pressing the B button. And if you wanted to make it sound a little timid or more quiet, you would press the C key. Up here. Numbers 12 allow you to add pitch bend. So if you press and hold number one, it pitches down. So it bends down. And if you press and hold number two, it goes up. And then numbers three to eight, or for modulation. So you can actually add modulation to the note as well. This is what I mean. Like you can do all of this on your actual computer keyboards. So there is absolutely no excuse for you not to start getting some music made. Remember, your musical typing keyboard will only work if you have a midi track created in your project. When you're done practicing, it takes a little video of yourself using your musical typing keyboard and upload it to the class community. I look forward to seeing you in lesson six, interface overview part one, where we will be delving deep into the main part of logic. See you there. 8. Interface Overview Pt 1: Hello and welcome to lesson six, interface overview Part one, I will be showing you how to reverse audio, how to access media effects, how to create groups, the edit functions and view buttons. How to access your automation controls, your flex time tools, and you'll catch button. Okay, so let's just recap. Remember, we have our library button here. This right here is our inspector window, and this gives us a snapshot of the track that we have selected. This bit here is our midi regions. Then this bit here is our track information, okay, if I click on the midi track here and press loop, it will loot the midi track infinitely and we can change that so it's a quick way to loop. And depending on whether or not it's a midi or audio track, the information in that section will be different. Here we have our quantize and transpose, so you can change the values of that. And if we click on this more tab, I can change all of the information down there as well, but I tend to just leave it as is. So here on the track, information is showing that we've got instrument number two up. And right here we can change the icon that we use in remember, so if I just click on this, you can actually change the different images to whatever you want. This is the channel information middy will always be set to all freeze mode defaults to pre-fader. And this is all the other information like your key, your velocity, if you want to add delay, transpose it, and so on and so forth. And you can see when I click on the audio track, the information in the tract section changes. So it's important to remember if you are going to access that section, make sure you're on the correct track and you have the correct track selected. Again, if I press mute loop, I can increase the gain and decrease again, you can see the waveform changing as I do that. Here, I can reverse the audio to solo that. Again, this is a great tool that instantly can change any piece of audio that you're working on. It's great to do vocals and just mess around with stuff. Also, if you're doing builds and stuff and you've got a crash, it's very easy to reverse it and add it to a building. Your track here is where your compression will be, so that would be your noise reduction. This is where your EQ go, right here. Midi effects. So we're going to just add some effects to this mini. So let's add an arpeggiator here straight away, the effect on that, then we can just literally start playing around with it. Here we can change the rate of the arpeggiator as well. So we change it to triplets, apes, halftime, dotted quarter notes. Okay. If you don't want to plug-in anymore, you just got there to know plugin cola modifier. And if you want to listen to the media or audio signal without the plug-in, you can turn it on or off here that selects it, the middle section and the bit at the end allows you to remove the plugin from the audio path. So again, this is where the instrument sits down here we have our plugins, so compression cores and EQ. So this is what will come with the instruments. When you load an instrument, it will come with its presets. Again here, this is where we have our bus member. What I was saying before is where it will get sent to another destination where you can add more effects to it. So you'd turn the bus on and then increase the amount that is getting sent to the auxiliary channel. So again, we spoke about groups before. So when you're mixing and you start adding more and more tracks, you can actually start to group tracks together. You will select the tracks that you want to group and you put them in the same group by clicking here and say pressing group one. And now you can see when I moved to faders, they will move together. So everything that is within group one, I can actually adjust the levels on their own. So if I get rid of the group, you can see now I can move the faders individually again. So now I'm putting this in group one and you can see now that is going to move with the one next to it. So whatever you put in group one, if you want to move the faders and adjust the volume, you can do so together. Very good when you have loads of vocals and you want to change the volume slightly, you can actually change the volume individually, then put them all in a group. Then if you need those vocals to be louder as a whole in your mix, or lower as a whole in your mix. That's when the groups come in. And then also you can send that group to a bus and an auxiliary channel and you can actually affect the whole group. This section is for automation, which we will cover later on. This is where we pan left or right, and this here is our fader. And remember we want to keep it at 0, okay? And this is our level meter down here is where you can press record at the moment, it's not going to record because there's no source selected, because we are on an audio channel, but we haven't got anything coming in. We haven't selected an input to record with. Remember, we need to make sure I track is record ready before we press the record button. And we need to make sure we have input monitoring selected so that we can hear the input coming into that track or channel. Down here again, we have our mute and solo buttons. Okay, This area here is where you will be laying down all of your tracks. And this section here allows you to edit what is happening inside this area. So any tracks that you have, these buttons here will correlate exactly to what is happening within your session. So the main tools that you're gonna be using when you're making your tracks or the Cut Copy Paste selections up here. So make sure you get familiar with the shortcuts. So Command X, Command C, command V, these are going to be used a lot. You want to split any audio or midi you can come here to do so. If you want to trim or time stretch, you would also use the Edit function here and here you can see the time stretching algorithm gives you the option of universal complex or percussive. But that's, I wouldn't worry about any of that right now. So here you can also delete media events and separate midi events and cut an insert time. So yeah, basically all of your edit functions within this window you can access from here. But I would recommend trying to get used to the shortcuts. Again, we just went to insert in time or silence. You can also access that from the toolbar here where you can insert silence as well. Next section across functions. Again, this is all based on what is going to be happening within your actual parts. So you can see most of these functions are grayed out. If I just click here on the midi track, we can see now a loaded them come back because we're looking at the actual regions and cells, so we're naming the actual part, everything inside it. Now let's click on the piece of audio and you can see the other options have also become available. So for instance, normalizing and removing silence and stuff. So all of this is based on audio and the other stuff is based on middy. So again, I would recommend in your own time just going through these logic is non-destructive. So just create something for the sake of having some midi or audio in the session and just see what each of them do. Okay, so up here we've got create midi region and create midi patterns so we can click on there to create it all become right-click in the space and create the midi region from there. Then we can drag it out, and that creates a space. We double-click on that, that opens up our piano roll editor. And then we can start drawing in our midi notes. Okay, lovely. And you can see here now our region has midi in it. This section here is everything to do with how we view the session, so it allows us to zoom in or zoom out. Again, I would recommend getting used to the shortcuts and also if we want to view or on view certain things. So here we've got a secondary ruler. I wouldn't worry too much about that. This section is literally what we're seeing at the moment. We have the track area highlighted because that's what we're in. If I press this one, this one brings up the Live Loops grid. This is quite new to Logic Pro ten, and it gives us a different way to create a track. This section here is for automation. So this allows you to add automation to each track separately and different types of automation. So at the moment it defaults to volume. But if I click here and go down, I can actually go into different parameters of automation. So if I want to say, for instance, automate the panning and make it go from left to right. But without me having to manually do it, I can then automate it to do so, I can draw that information in. You can also do the same with effects. So any effects that you have on that track, you can actually automate them. And we will be covering that as well later on in this class. This section here is flex mode, so it's all about flextime and flex pitch. And this allows you to actually stretch and manipulate the audio within your session. Allows you, if you go into flex pitch, you can actually change the, the pitching of vocals or instruments. And you can change the gain. There is load you can do in this section, but we're not gonna go into that now because it's too advanced for beginners, and I don't want to overwhelm you. And lastly, this button here is your catch button, and that basically keeps your playhead visible as your track is playing. So at the moment, we can just see one piece of the screen. And when your track goes outside of that screen, the playhead will disappear. By having that button on. It allows the playhead to follow the project as it continues. Practice dragging in some audio loops from the loop pool and reversing them. Familiarizing yourself with the automation controls and creating a group. Before moving on to the next lesson, please make sure you take a screen grab of your reversed audio and your automation and upload it to the class community automation. I look forward to seeing you in lesson seven, interface overview part two, where we look forward to seeing you in less than seven interface of view part two, where we will be digging deeper into the main part of logic. 9. Interface Overview Pt 2: Hello and welcome back to lesson seven, interface overview part two. In this lesson, I will be showing you your primary and secondary tool menus, the smart and drag pop-up menus, the different Zoom buttons, your file drop-down menu, and all of the other functions that you need to be familiar with to make sure you can start getting creative straight away. Okay, so now we're going to come to this section here in the middle, and this is where our toolset. So if you click on this first box here you can see we've got the pointer tool selected, which is our cursor. We have our pencil tool. So this we use to draw him things like automation and Midea eraser tool, which erases any midi or automation that we don't want. Down here we have the Text tool. So if I click on that, we can see that I can come over here to this piece of midi and click on the top here, and then I can rename it. So this is a scissors tool and this allows you to cut pieces of media or audios. So if you just place the scissors tool where you would like to make the cut, then click it will make a cut in your audio or midi region. If you find that you've made too many cuts or you've done cuts where you don't want them. You can simply press Command Z, which is undo, or you can go to File undo, or you can come and get the gluteal. And then you would select the whole piece of media or audio and then click on any part of that and it will glue everything back together. Okay, underneath that we have our solo tool. I'll mute tool and I'll zoom tool. So if you click and drag on the piece of midi or audio that you've selected, you can zoom right into that region. Alternatively, you can use these buttons over here. Okay, so next we have the fade tool. So this works only on audio tracks. As you can see when I tried to put it on a midi track, is just bringing the loop function up. Whereas when I moved to an audio track, the cursor changes to the fade tool cursor, okay, so I put it at the end and drag inwards, and that allows me to put a fade at the end of each cut. So for instance, I want to fade out a bit of vocal. I've done a cart and I want to make sure there's not a clip in the audio because sometimes you might have not cut it directly in a space where there's a bit of silence. Sometimes you might get a little clip. So great housekeeping, whenever you do cut is just a little fade at the end of the car, you can also do a cross-fade. So a crossfade would be when you take two pieces of audio and that have been cut and you bought them up together. So say for instance, you've got a sentence and there's a word in the middle that you don't want, but you want the bit at the beginning and the bit at the end. You can cut the middle of it out and then, but the other two up, but then you can cross-fade them so that they flow seamlessly. And the same with the beginning of a piece of audio. You can also fade it in, and then you can choose how you want that faded in. So you can have a tiny bit just so that it makes sure it doesn't clip. You can make it fade in a slower rate and a longer route as well depending on how far you drag that fade in. So just by dragging the cursor down or up, we'll change the curve of the fade as well. So if you right-click on the cross-fade or the fade, you can actually remove all of the fades that you've put in. If you are finding that not working, you can just remove them all at once. And then you can go and get the gluteal and glue it all back together. Next, we've got our automation tool, automation curve tool, marquee tool, and our flex tool. The main tools you're going to be using are going to be the pointer tool, pencil tool, scissors, glue, maybe zoom and fade or eraser. So this second box here is literally our secondary tool. So it's the command function. Basically what that means is you can use it as a shortcut. So the first box will be your main cursor that you can use at all times. The second box is a shortcut. So when you press command, it brings up whatever secondary tool you have selected. So having my scissors as my command tool, it makes it so much easier. So I will literally press Command and be able to go cut, cut, cut, cut, cut. And you can see all the tools are the same as the main toolbox. So this bit here is our snap tool. So basically when you do a cut and you drag a piece of audio or midi, this is how it's going to snap back. So you can either make it snap by bar. You can see here when I move it, it's only snapping to the bar. If I change that to beat, you'll see now it's going in much smaller increments and snapping to the beat, I go to smart, which is what I generally always have it on. Basically, you can move it in really tiny increments and it will always almost magnetically connect to the last piece of audio that's been cut that you want to, but it up to the drag function here means that when you cut a piece of audio or midi and you want to drag it again, and like I just said, but it up to the bit before it or after it, you can choose how you want that to happen. So if you choose cross-fade, what it's gonna do is it's going to allow you to. Automatic cross fading. So if I dropped my bit of audio on top of the last part, it will create an automatic crossfade for me. If I click shuffle right, what that's gonna do is it's going to shuffle that piece of audio to the beginning of the whole audio clip. And it's the same as if I press shuffled left, if I keep it on no overlap. What it does is it does that magic magnetic thing where it just makes it stick to the last piece of audio. This button here is to zoom in or out to the actual waveform. So when you're editing and you want to make a cut, you might want the waveform to be bigger so you can see exactly where you're cutting. This one here allows you to zoom in horizontally as do these two here. So this allows you to zoom in vertically for the whole of the tracks. And the same for this button here, which allows you to zoom into all of the tracks horizontally. So also, if you want a shortcut to this, I use the shortcut, which is Command and the two little boxy things. I have to put the image up because I don't know what they're called. But yeah, you can set your own shortcuts as well to help with your workflow. So if we go to file up here, this list will give you everything that you need to save your project or export it. So everything to do with managing your project or saving it, you'll go up to File. You can create a new project, save it, Save as you can save a template. So when you click Save As is going to bring up this box and then you can name your session and save that. You can also revert to any last saved sessions, which is really important sometimes if logic accidentally crashes, which happens to the best of us, you can also revert to the last saved project. But what I would highly, highly recommend is that you make command S your best friend and constantly use it like I have command S on tap, every single move I make, I come on this. So I'm constantly saving just in case. Okay, so down here we have input if you want to import any external projects into logic or any files. Here we have export. Again, you can export your project or selected tracks as audio files or midi files or a whole project. So you have an air foil which can be read by other doors as well. Bounce is where you would bounce your tracks. So once you've finished your track and you're happy with it and you've had a mix or you want to bounce it out just to listen to it and reference it. You would come down here and press bounce, and you would bounce it as a project or a selection. So if you just want to bounce one track within your project, you would make sure that that one track is soloed, okay, make sure that the loop function is from the start to the end of that one selected pieces. So load and then you would press bounce project or selection, and you would name it and make sure that you save it in the correct destination. Also, if you want to share your projects, you can do so here. So you can share it directly to Apple Music SoundCloud. You can AirDrop it to your phone or bring it to GarageBand or email it across to someone. Okay, so the next tab along is your edit tab. And here is where you are going to pretty much do all of your undoing, copying, and pasting. So these are very common commands, so I would definitely recommend getting used to the shortcuts are down the side on the right here. So here you can select any tracks. You can choose which ones to select all unused. Don't really touch any of this stuff to be honest, show flex pitch time, you can get that up in the other window to this just gives you multiple ways of doing the similar things in the other windows. Next along, we've got track tab, and this is where you would do anything to do with any tracks within your projects. So if you want to create a new track, a new audio track, a new software instrument track. Also, remember when we open up our project for the first time, it gives us the option to choose audio tracks or software instrument tracks. So this is another way that you can add more or create a new one. You can also rename your track here and delete any unused tracks that you don't want. Another feature in this section is coloring your tracks. You can assign a track color and attract icon as well, pretty colors. So you can see here is brought up this little color chart. And if I select the tracks and click on a color, it will change the tracks to that color. But then if I want to change a specific piece of audio or midi so the region, I can click on that part and then press the same color to match the track. It's a great way to be able to distinguish between the sections. So if I color all of my vocals in orange, and I do my drums in blue. And all of my stringed instruments I want to do in purple is a really good way of visually being able to manage your project, as well as going up to the track icon at the top, you can actually add a new track in this section here. So if I click on this cross, it will bring down the drop-down box that we saw when we first opened our project. If I want to recreate a track that's already there, say for instance, I've created a track. I really liked the sound of it as a vocal on it. And I really like the effects and plug-ins that I've put on that vocal. And I want to add all of those effects and plug-ins to another instrument or another piece of vocal, I can duplicate that track. So you select the track you want to duplicate and then you press this button here. As you can see, it's completely copied the exact track down. And then you can actually record your piece into that track with the same effects or plugins or settings that you have. Again, this bit here is your solo, but on social universal Solo button to say this little tab here just brings down other information in your project, such as your arrangement, your marker signature tempo, things like that. So here you can change the tempo within the track manually, which is a great feature. So the next along we have navigate. I don't really use any of this. This is basically where you can create your markers and stuff like that. There are shortcuts for those as well. Next across we've got our record section. So anything under here is to do with the record function within Logic Pro turn or Logic Pro X. And this is where you can customize your counting like we spoke about earlier and sort out your metronomes settings. If you don't like the sound of it, you can change the sound of your metronome setting as well and all of your record button options and settings. Next across we have our mixed tab. So this is pretty much to do with automation groups and assignments. So when you're mixing stuff, this is what you would do to start putting things in groups and assigning things to different tracks Across. We've got our View tab. So this just allows us to view different windows within the door. So you can show and hide different parts of the door depending on what your preferences are. Next to cross, we have windows. So again, this opens different windows that you might want to see earlier. We spoke about the transport section being able to open as a separate window and float. So let me just do that. There we go. So you can have that floating on your screen if you want, and open the piano roll as a separate screen. And this is good obviously if you have two monitors, so at the moment I'm using an iMac, but sometimes it's great to use two separate monitors, which is what I used to use and I love because you can have your Arrange window on one page and your mixer and the other. And it just makes the workflow so much nicer. It's an X across. We've got this number two. So this is, as you can see, I've got screen set to enabled, so that's showing me the tracks and the piano roll. So basically, it's the way that your screen is split top and bottom and you can change that or you can just leave it as it is. And lastly, we have the Help button, which would obviously use if you need help with logic in terms of tutorials, any help with instruments affects what you do is you can click on any of these and it will take you straight to the Logic Pro user guide. And there you will be either just read everything and anything that you need. You've got PDFs for the user guide, instruments and effects. So if you want go and download them as well, and you can just get them on your phone and read up as you go. Before moving onto your next lesson, I would like you to practice assigning your secondary tools, changing your metronomes settings in the record tab at the top and changing the colors of your tracks in the tracks tab at the top. It doesn't matter if you haven't gotten any instruments on them. Just create a little tracks and practice changing the color. Remember, you can always use your musical typing keyboard if you don't have a midi keyboard yet to start practicing everything I have taught you so far. Also remember that Apple loops are a great way to get inspiration for your some ideas for moving onto the next lesson. Please make sure you do a screen grab of your beautiful rainbow colored tracks and upload them to the class community. I look forward to seeing you in lesson eight, interface overview Part three, where I will be digging deeper into the interface and giving you tips on how to improve your workflow. 10. Interface Overview Pt 3: Hello and welcome to lesson eight, interface overview part three. In this lesson, I'll be showing you how to navigate the editor or the Piano Roll as we like to call it. I'll also be showing you how to edit your midi, change the velocity of your midi notes, and all importantly, quantizing it. It's so important that we quantize our midi notes before we create any more sections. Okay, so now we're going to look at the piano roll. As you can see, you can drag it up and down like this. So once your cursor turns the little double arrows, you can drag it up or drag it down. So all of these little functions here are pretty much the same as what you get in the other window, except a few of the functions will change depending on the middy that is selected. So even though some of the functions are similar, when you go into editing your video or your audio, the functions and the view buttons will have different things within the drop-down menu. This section that's highlighted right now is our piano roll. And you can identify that because it has the piano down the side here. And this allows us to identify the midi notes and what sounds were playing. So if, for instance we had a drum kit in here, we'd be able to identify where the kick is on our keyboard. When you press a key on your actual midi keyboard, it will highlight the note on the piano roll as well. Another thing you can do here, as you can see, if I just select all of my midi here, the moment we're on S3. So I can drag that down to C2. And now I've got a bigger court. So I have my original chord playing on S3, and I've dragged it down onto C2 as well. And then if I don't like that, I'd simply delete it. If you're not used to playing in Midea, this is a fantastic way to start arranging your song. So if I duplicate the midi region up here, now, I've basically got doubled the length, so it was, okay, so what I can do is click in this first bit of memory here and then delete the second chord that I just dragged down the octave. So we have the first part of this midi region playing the one chord. And then when it goes into the second part, both cords come in. Okay? This is a really simple and easy way to start arranging your song. If you don't play, just remember, you can get your loop, add loads of stuff into it, duplicate it, and then start taking away from the beginning. That is, you have the feeling of the song building. And the great thing about Midea is if you put something in and you don't like it or it's the wrong key, you can just delete it again. But also, you can see that the midi ports on the loop that we dragged in, don't forget, we drag this in from the loop section in logic. So this was a midi loop, and so it purposely didn't start on the one. But say for instance, I wanted to drag it to the one. I can select all my midi part, drag that on, and then we're just gonna do the same for the next section. That will completely change the feel of the guitar. Now we dragged it. So it starts on the one. I personally don't like it myself, so I'm going to put it back. Okay, so next tab or button along is the score button. So this is for people that know exactly what they're doing and they know how to write and read scores. And what it does is it scores your Midea for you. So people that can read music and are good with music theory, this is great for them because they can go in and edit it. They can change the way they're seeing it. Okay, So the next section here is a step sequencer which is grayed out. And you'll see if I click on this audio, those options change. So now we have track, file and smart tempo because it's going to give us the track, the actual file of that audio, and then the smart tempo that we can add to audio, which isn't available for Midea because middy does not contain tempo. Okay, so if I go back to the audio and I tap on Smart Tempo, you will see automatically we can start adapting that piece of audio because we can manipulate it and stretch it or squeeze it and change the tempo of that piece of audio. Whereas you can't manipulate midi in the same way. Okay, so remember earlier I explained that some of the functions in this section, when it comes to the edit functions and view tabs are slightly different from the ones in the Tracks area. So if I click on this, you've got undo, delete, redo, move events. So again, because we're gonna be moving individual events of middy, you can click inside this box and then use one of these shortcuts. When you start using shortcuts, you have to click inside this box to make sure that those shortcuts work on that piece of media information. If you're not clicked in the box, they're gonna do it in the track section of logic. So again, we've got the copy and paste and delete options and the options to repeat, select, split, join the notes as well. So the functions tab here allows you to quantize your notes within this window. You can mute your notes within here as well. And that's basically just giving you midi information. That the view button here is also basically just giving you the information of what you want to view within that window and how you want to view it. So here you can see that you can set the note color and stuff like that just as you could in the Tracks window. This next section here allows you to zoom right into your midi notes. Here, again is your automation so you can actually automate your middy at the moment it's set to note velocity. So remember what we said before. It goes from 0 to one to seven. If I click here, you can see there's a big list of different things that I can actually change and automate. And if you click on here, you can actually flick between volume and velocity, two very different things. So again, up here, you have the tools that you can use to edit your midi information. So at the moment I've got my pencil, which is set as my command tool, so that's my secondary tool. So I'll have to press the Command button on my keyboard to activate that tool. And that's going to allow me to draw in my automation. We, there we go. And you can see the fader sliding up and down following that automation because we've set the volume, so the volume on the fader is gonna go up and down if I want to set it to pan. So it's going to pan left or right. I can do it manually. So you can see on my track channel there, my pan pot is going left to right. I can also manually do it by clicking on it and it creates this little dot. And then I can drag up and down. So what I'm doing now is panning hard left and hard right. So you can see my pan pot and the slider here going from left to right. Now if I want to draw it in, again using my secondary tool, I will press Command and the pencil comes up and I can do exactly the same, but what that does, it just allows you to be a little more specific with where you might want it. Instead of going very hard left or hard right, it just allows a little bit more freedom when you can draw it in. This next button here is your midi out button. So this allows you to play midi events when they're clicked, selected, or added using a midi editor. Next along is the same button as we have in the track area. And that is the catch button that basically just allows you to follow the playhead as it goes through your project with the link button, you can click that to link the display to the selected region in the window with focus, again, we've already covered these. This is where your tools are and these are gonna be used within this specific window. So this section here, it shows you the key that your midi notes are on. So if I hover my mouse over each midi part, you'll see that that information is changing depending on where my cursor is and on what note. This section here is where you would snap your mini two and these sections over here, or where you would zoom in and out vertically and horizontally. You can also use this little bit at the bottom to navigate your way across your project. So this section here, we have our Quantize section at the moment is set to 16th notes. So if I set it to two, what that means, it's going to quantize. I snapped to the grid in shorter increments. So rather than it's snapping to a bar or a beat is going to snap at the increments in-between those that gets smaller and smaller, which makes it much more precise. And you would press this Q button here to make sure that you quantize those notes. So if you have played something in and it's just slightly offbeat, but you want it bang on. Then you would command a, select all of your midi ports, and you would press the Q button and that will snap it to the grid. Down here is just strength. I always leave a 100 and swing. So if you're doing a track and depending on the genre, you would like to add a bit of swing into it, which means it's just sits either side of the actual grid. I say in inverted commas. So it can swing behind the beat or in front of the beat. That basically gives it a little bit more of a human feel and makes it less rigid. So down here, this is our scale, and you can quantize your midi information depending on what scale choice you choose. This is really good for people. Again, like myself, who don't really know how to play music. So for instance, if I wanted to set it to a C, I could set the scale here and then create a chord and then quantize it and it will snap to that scale, which is amazing. And down here we have our velocity again. So I'll just zoom in here and you can see the little line in my midi notes at the moment it's set to A25. I click on this 5780, so on and so forth. So if I select this and move my slider up and down, you see it goes up to one to seven and the color changes. Again. Remember to wait till the cursor changes. Then you can drag this down to the bottom and start playing with some midi notes. Getting there, just play with staff, have a listen, change your instrument while you're in there, start quantizing, messing about with the change of velocity. Have a play with your automation as well. And yeah, Just have fun with it. Before we move on to the next lesson, I would like you to practice recording and join in midi notes in the piano roll, quantizing your midi notes, changing the velocity of each note. And finally, familiarize yourself with the automation function. Please make sure you take a screen grab of your Quantize notes and the velocity changes and upload them to the class community. I look forward to seeing you in lesson nine, Live loops where I'll be showing you how to create and arrange your music in real time. 11. Live Loops: Hello and welcome to Lesson nine that live loops. In this lesson, I will be showing you how to open a live loop session. How loops are arranged in the grid of functions that you can access for each cell. How to play yourselves in a scene, and how to record your loop session into an arrangement. So this is live loops. First of all, in order to open a live loop session, you would come up here to File and down to New from template or Command N. So I'll keep this open till I've still got the one behind. And here you see the star to grids. So you can choose some pre-selected grids that have all the sounds filled in for you. I've already got the boom bap Masha one open. If you want to start a brand new project, you'd click on New Project and then select Live loops. So I'm gonna choose that and it comes up with this option of closing the project. So if you do just press yes, and here is what it looks like. So this gives you a nice empty session and you can start adding all of your sounds, your loops, premade loops wherever you want, and stop playing about with them, creating tracks. You can see down here it says Drag apple loops here to create instrument tracks. So just like in the other session, like a normal logic session, you would drag your loops wherever they're midi or audio into the blank space to create a track. And you can see at the top it's got a midi and an audio track already for you. Okay, so we're gonna go back to the original one that I had open. Okay, So in this session, again, you can see that all of the instruments are preloaded. So you've got beats, toppers, bases, piano chords, piano melodies, horns, chords, melodies, samples and affects. The pattern will probably be the same in everything. So the beats will always be at the top, affects always at the bottom. And so now what we're looking at here is on the beats track, we've got multiple. It can trigger to play simultaneously. You can do that on every single track. And again, you've got pretty colors. Okay, so I'm just going to play some of these here for you for a minute. You can hear how great they already sound together. So if you right-click on a cell, you can see the information here we have record into cell Dequeue. So Edit, select Transpose playback, record, bounce and join export, name and color. So here you can see I can dequeue the cell and then q in playback again. So what that will do is it will make it stop. And then when I'm ready to queue it back in, it will count in for me to bring it back into the track in time. Here you've got select. This drop-down menu allows you to select all cells again using the command a function all following cell. So what that means is all the cells that are following after that cell, all following cells of the same track, pretty self-explanatory and so on and so forth. Here you've got the playback, so the drop-down for the playback, again, you've got mute it loop, it reverses the speed of the playback, making sure it's quantized at the start. This is obviously really good if you're playing in your own sound into a loop, make sure it's quantized and stuff like that. Everything plays in time. Again here play from, so this allows you to choose where you want the cell positioned to play from. So from the play head position, from the start or the stop position, definitely recommend opening this up and having a plot of all of this stuff just to get your head around it. These two little arrows up in the top left corner, these show you the different versions of that sample. So you can see here that we have version five selected. If you want to change that out, you can just choose a different version than it would replace what's already playing in that cell. This section here is where we enable performance recording. So this is where we would record our cells that were playing simultaneously into an actual arrangement. So let's do that now. So you come up here and you would press record and that goes red. And then once we've press the record button in the live loop page, we then have to press the master record button. Okay, We can see here that we have an arrangement. So I'm going to press Stop up here, but you can see it's all grayed out. So in order for that to become live, we have to take that off record and we come to track view. And now you can see on the tracks as these little sections just to the end of each track here, like two little arrows, these enable each track to be edited, okay, and you can see at the bottom there's Stop button as well. So we're going to click on each of these or you can click on the top one to do them all. And now we can start editing our arrangement. First of all, I'm going to select everything and drag it to the beginning because I didn't start paying straightaway. So that's quite cool as an intro. Then here we can save the crate dig in reverse. K is like, I didn't want it that many times that quickly. So what I can do now is get my scissors, cut it or I can drag it in because it's a loop and place it where I want. So I get my scissors using my secondary tool commands. Don't forget press and hold Command. Move that out of the way. Okay, now I can place this one piece where I was hearing it in my head. Okay. So then now I can copy it out and that's in place. I can select them, duplicate them, then do exactly the same to select all of them. This section here, I would like to come in a little earlier, so that needs to come in. So that's on the one down a little bit panicked slightly. That's great because this is where you can really start arranging them and you can really start sculpting your arrangement. Again, the good thing is if you don't like it, you can go back to it in order to save your arrangement or you'd go up here to File Save As brings up that box again, you'd make sure you're in the right folder. And then you would name of session, live lops. All I've loops, and then create a new folder. So I always copy and then paste that into the new folder. So it's got the same name, create new folder in the logic folder. And there you go. We have our live loop session. And again here you want to start tailoring your outro. And if you don't like the outro, if you don't like any part of it, you can actually go in and change what's in the cell. You can see here I use multiple different samples here because none of them are quite light. So different ones because I knew once it was recorded to the arrangement section, I can choose which one. It's the same. As you can see again, just to make sure you press these two arrows here at the top, it actually mutes everything in that session or enables it again. And you can see if I open the Live grids, the ocean or the colors correlate to what is in the track area or the arrangement. This base didn't like it, so I can delete it from the track area and then store it where I want the base to come in and go to my live cells. Make sure I've got the record button on. Different selling where I want that to be. Saved. Section here is recording. So it's showing me that something is actually now if I stop recording that, there you go, enable that. So it's available in our track area and there's our two new different basis from different cells. It's just so simple and easy to chop and change and make different variations of a track. And of course you can add all your effects to it as well. So I can add a little bit delayed to that. And these again, these are the Smart Controls. Don't forget what this is doing is giving you the main controls from the plugin to make things easier. So it's not too overwhelming and confusing for you. If you hover over and right-click, you can actually open the plug-in itself in the windows of pop-up and change the parameters within the plugin if you want. This section here is re-mix effects. So this is an actual plug-in in itself. But obviously again, because it's the smart controls, the skin, you'd just be overviewed the main functions. And this is really good. You can have so much fun. It allows you to apply DJ like affects your truck. So you can start it, you can add records. Stops are so much fun. We can reverse it. This bit here. This just brings on the drop-down at the top. Switch between pheophytin, classic fill modes or your wasn't time. Endless fun. And then when you're ready to export your track, you would just do so as you would any other truck and got to file and bounce. I would like you to practice playing with different cells, triggering scenes. Try importing your own audio into the cells, create an arrangement and then edited key takeaway for this lesson, live loops is a great way to get ideas down or to remix and existing track. Before moving on to the next lesson, please make sure you create an arrangement that using live loads and applies it to the class community. I look forward to seeing you in less than ten recording and editing audio. 12. Recording & Editing Audio : Hello and welcome to lesson ten, recording and editing audio. In this lesson, I will be showing you the audio interface might collection differences between a condenser and dynamic Mike's input levels. How to record into Logic Pro Tem, putting your audio and adding effects. So here we have a focus, right, scarlet 212, great audio interface for the price. And it's all you need. So you'd have your two inputs with their adjustable inputs. Here. You've got your line and Mike in switches here. Here you have your 48 volt button, which is also called phantom power. And you will need your phantom power when you're using a condenser mic, which we will get back to in a while. Down here you've got your direct monitor. This is your main monitor knob here. And then just under here we have a headphone in, and our headphone monitor on the back here we've got our USB power, so that goes straight into your computer. And here we have our line outs, which are left and right speakers. So we have inputs on the front and our headphone monitoring. And then on the back we have the power source and our left and right speakers. So when you have a microphone, you have a lead which is called an XLR cable, and they have male and female connections. You also have pulled two inch jack, so we have a microphone. You can either connect via your XLR cable or you might have an XLR to Jack input, in which case the jack will go in this centerpiece here as well. So if you have an XLR jack than the jack can go in there, XLR to XLR. Then you just simply put your XLR in and turn up your input, and then you would monitor your input when you start recording. Here we can see my microphone, and this is something called an ISO ball. And inside this we have our microphone, okay? And also you can see here, this is, it's like a pop shield that comes with it. Now, this is a condenser mic. And earlier, if you remember me saying about the 48 V button on our audio interface, you will need that button turned on when you're using a condenser mic. And the reason for this is because condenser Mike's contain a diaphragm, which is a thin piece of metal and that lies behind another bit of metal called back plate. Phantom power needs to be applied to these pieces of metal that create a static charge. And then when a sound wave or someone's things into it, or noise is picked up from the microphone that makes the diaphragm moves back and forward. And that generates a voltage that then can be read as an audio signal. So basically what phantom power does is it sends a direct current down the microphone to activate the electronic circuitry. That's like it in a nutshell. So when we're recording a vocal, we have to make sure that our input level is correct. And the reason being is if it's too high, then your vocal is going to clip. And once the recording is clipped or distorted, that recording can't be used because it will have digital clipping in it. You can't get rid of that. So it's very, very important when you're recording to remember that the human voice or an instrument isn't exactly the same all the time. So we have to constantly adjust the input level. Or you can get a general input level that is good overall. And you might just need to adjust it slightly throughout the session. So as we touched on earlier, dynamic mics are the mikes that don't need phantom power. And the most famous dynamic markets, you can get a Shure, SM58 and SM57. They are both directional mics and they have a cardioid pick up pattern. And what that means is that the pickup pattern picks up the sound directly in front of it and reduces or minimizes any background noise. So when it comes to condenser microphones, this is literally down to taste. It depends on the sound of it, the warmth, the pickup pattern, everything. So that's the difference between the microphones. You have a condenser and you have a dynamic. A dynamic mike does not need phantom power. They're rugged, they're strong, whereas a condenser mike does need phantom power. It's got much more fragile bits inside, but they're beautiful. Mike's as well for picking up vocal recordings in the studio. Okay, so now I am going to show you how to record audio into Logic Pro ten. So in order to record audio in, obviously we need to mix it up. And you can recall vocals, you can record an instrument. You can recall pots and pans, Chris, packets, whatever you want. As long as you have, you might set up and you'd have your audio input ready to go. So in order for me to record phone calls into logic, I need to create a vocal track. So in order to do that, we come up here to the plus button that brings a drop-down menu. We choose Audio. And I always default to four. So I'm going to choose four in the box at the bottom here and press Create. That's gonna give me four audio tracks. Now, first thing we want to do is click off anywhere in an empty space so that it selects all of them. And then click to the one you want to use. You can right-click and rename it. I'm just going to call this Vox one. Press enter. So we have now named our track. You can see here that there's two inputs coming in. And that is because this bottom one here is record readied. Alright, so I've taken that off. So now we have the input only come in on the track. We want to record on a principle called ready, make sure that my inputs coming in. And then the other thing that we need to do in logic is press the input monitor button, and that means that I can hear my voice, my headphones when I'm singing. Now for seniors out there, it's really important because we need to hear what we're saying. And I always keep one headphone off as well. Some people don't like that, they have both of them on. But I liked here my actual voice and what's in the headphones as well. Once that's set up, we need to make sure our input is a decent level and then we're ready to record. You can see as I'm talking, the inputs quite high, let me just turn that down a little bit. And role of family, you want to stay at least a fifth limb away from the microphone. So normally in a recording situation when you're recording vocals, you'd be standing up. You would be in a studio environment or even if you're in your front room, you'd have your this would be kind of like up up there. But for the purposes of this, I'm gonna be sitting down showing you, alright, so I'm going to press Record and just start recording a bit vocally. Old-school RMB. One, I think, yeah, I love cocoa, so I'll just do want to tell it. Okay, So we're gonna go back to the beginning. I'm going to meet whatever was on there before and I'm going to press Record and you'll see it starting to record now. Okay. So I'm just going to start seeing something. You can see how it gets recorded from ten miles away. Project light for you and me to see leaves on a tree clearly so we can breathe. We breathe. Okay, let's leave it there. And let's encourage. You can see, let me just make this a bit bigger input, so it's quite small. Okay? That's not bad because with women input that is quite low. We can always add into it after you can increase the gain. So it's always better to have an input that is low than an input that is too high because once you are distorting and you're committing too harsh or too hot, you can't do anything about that. So low input, it's always better than a high input. Okay? So what you ideally want is for this to be in the middle here. So there's room Eva side, decent amount of room either side. So let's go again. I'm going to just drag this one down to here. And I'm going to meet that. We're going to record again, but this time I'm going to increase the input a little bit. Alright. Now, we will press descends and Miriam miles away, Project Green Light for you and me to see. Leaves on a tree. Clearly. We can bring the BRI, but I sometimes feel that way. Okay, less and there again. And it's clear input. So we can see between the two. The second one is a lot bigger, so we've increased the input volume. Alright, so you've got a better income. Income. We got a vector input. Now I'm going to turn it really high. Alright, this is what we've done. Say feedback already. Okay, so let me write that down. We're going to go really high and the sun's a million miles away project for you and me to see. And leaves on a tree. Clearly so we can breathe. We breathe. Let's look at our input. Alright, so now we can see we have three different types of input. Yeah, amazing. So we have a really quiet one, codon Midwestern, and then a bigger one. So we don't really want to go any higher than that because that means we're going to end up really distorting and in a place that we can't come back from. So I would say between these two inputs, there actually is a good place to be and write them off. Okay, now I've gone really high, just turned my speakers of k. This is what we don't want. The sun's light for me to say and leaves on a tree clearly so we can bring Bree. But I sometimes feel that we are going to say that I was hearing at the stoma and it was really painful. No good. Not good at all. It was actually nice because I didn't need the one underneath and it sounded like little delay on it. But wow, this is definitely what we do not want. You see it's completely flat at the top, flat at the bottom, there is no room and distorting badly and you can't come back from that. Never, ever want to have your input that high. Alright, so let's turn that back. And you want to have it like halfway or maybe three-quarters of the way. Nasa decent input. It's now showing you how to record into Logic Pro Tem, how to make sure you have the correct input. I can now show you how to cut it up and start adding effects. Okay, So first of all, what I'm gonna do is I'm going to listen for a little bit of phone calls and then I'm going to spend a bit that I like and then I'm going to chop away project light for you, lied for you clearly, yeah. Yeah. So first of all, I'm going to increase the gain that I can see where I'm cutting it and also I can hear it better. Then I'm going to zoom in, get my secondary tool. Again, hold command and use my scissors to cut exactly where I would like my sample to be. Descends. And then I'm going to drag that onto a new track. Meet that descends and I'm just going to fade the ends out so that there's not a clip at the end of it. The sons, and remember what I said in one of the earlier lessons that we need to make sure that we put fades on our cuts and codes, put the metronome on for the timing. The sensor. Now, don't forget at the moment, I'm not doing this in relation to anything. I'm just getting it in time for myself. The sun. The sun. Okay, and here, obviously, you can just play around with the vocal, see where you'd like it to sit and as you start moving it around, something will form in your head. If you don't have one already that is descends and the sons in this case, I'm going to copy that vocal, this enzyme, this enzyme. Dozens and dozens and dozens and dozens and dozens. And right now I am going to have a listen to the rest of the vocal that I did before and see what else we can take to add to it. And you can see it's easy for me to just pick up and move the loop bar by placing my cursor over it. And then the cursor turns into a hand to C, to C, to C. So I'm going to just grab this bit here to see. Mute that descend, descend to see, drag that in to organs and to see descendant, descendant to see. Not really working here k. So now I'm going to select all and duplicate that. So I can either press Command D or a press and hold O and pick it up and move it and then let it go before I let go of the old but very important to see dozens and dozens and dozens and dozens and dozens and dozens of times can get rid of that. Dozens and dozens and dozens and dozens. And this is the beauty of it. You can just play about with things. It's all non-destructive. You can undo anything. If you delete something, you end up wanting to keep and just have a play the sons and to see the sons and the sons and the sunlight, that's going to have to do for now. Now I'm going to add some effects to it. I'm going to go over here to the drop-down menu where it says Audio Effects and you've got step effects and fat effects. I'm just going to choose step affects, select that mono. And here we have it. Now we can start with people. I love the XY control on this. Great thing is you can assign what you want, the X, Y control as well. So at the moment it's assigned to the filter. I'm just going to add the fat effects as well. And then I can turn the stuff off. So it's only the fact the census. How many more times can I say this? Again? This has got loads and loads of presets. You can see here we've got rhythmic, so I can choose any of those sustain the drop-down. And again, depending on where I move it in the x, y controls, depends on how the sound effects it. So here you've got down to that is going to have the filter affected to save loads of different presets here, since you have loads more plug-ins as well as if we go down here to modulation, see, I'm just gonna go to chorus mono so we can add course. What that does is it basically adds a nice smoothing effect over the vocal and it's really good flux background vocals. It gives the illusion that there's multiple voices happening at once, hence the name course. The sons and the sons. And here I've got FAB, feel, timeless. Three, these are really good plugins. Plugins are beautiful to see. The sun isn't descends and obviously I'm not going to teach you how to use all of the plug-ins because one, you probably don't have them. And two, it's more important that you start getting used to logic and understanding how to use it daily before you even start going into plug-ins. But this is just kind of like an overview so you can understand what happens after or how you can enhance vocals and add to your creation. You can see here there are so many different types of plugins is live and all of these are stock plug-ins. Grab an Auto Filter and again, go to the little drop-down here. And there are so many presets that you can just quickly choose from and then adjust as you wish. So here I'm just going to show you the different types. Normal district. Let's have a look at some delay. Again, this is a really good stock plugin from logic. Loads of presets. Again, the sun, the sun. The sun is the sun allows you to tap the tempo of the delay yourself and listen, listen, listen, listen. And there you've got your wet and dry mix. Here you got like pitch shifted reverbs. These are really great as well for adding effect. There's so many I would recommend going in and really having a playful this stuff. Just have some fun with it. Don't forget as well. You can automate these plug-ins as well. If you want to add even more effect to your vocal, you can actually cut it up yourself. If you want to create a starter, you can literally duplicate the same bit of audio. There you go. I mean, there's so much you can do. I am hopefully giving you all of the tools that you need to understand how to do these things. And I think it's important now that you really just get used to these tools and get used to doing them well. So they'd become second nature. Don't forget you got your little reverse button up here so you tick that you can reverse the piece of audio. If you don't like it, you can untick it. This lovely. I would like you to practice creating an audio track in Logic Pro X or ten. Record some audio. That audio using the scissors as a secondary tool and add an effect. Key takeaway for this lesson is to remember it's important to adjust your input gain to avoid distortion or clipping. A great tip is to stand a fist limb away from the microphone. Before moving onto the next lesson, please make sure you take a cheeky little video and upload it to the class community. I look forward to seeing you in lesson 11, recording and editing midi. 13. Recording & Editing MIDI: Hello and welcome to Lesson 11, that recording and editing midi. In this lesson, I'll be showing you the different ways of adding or recording midi into your project. How to change the length of the notes, changing the velocity I'm quantizing. Okay, so to start our project, we're going to have to go up here to software instrument and create a software instrument track. And don't forget here where it says instrument. We can choose an empty channel strip or choose from any of the instruments in the drop-down menu. Then we go to the number of tracks we want to create. Again, I choose four as default and we press Create. This will give us four software instrument tracks. And remember to click anywhere in an empty space to deselect them all. And then you want to select the one that you want to start creating them. Remember, over here on your left, this is where you're going to start selecting the instruments you want to start creating your track. So if I just go to keyboard here and this isn't a faded keys. And again, remember if you click on it, it names a track for you. Okay, let's listen to this one, plastic keys. Okay, So I'm just gonna go to some orchestral stuff and strings. I'm going to load pop strings. See what that sounds like. Nice. Okay, let's record something in. Remember, we come up here to set our loop length. So I'm just going to create eight bars there. And then we want to make sure I'm metronomes onto a complaint time. So it's a good idea to start practicing with the metronome on just so you can get an idea for your timing before you actually press record. And then we press record and start recording our median. Okay. Let's get that in. Oh, I totally mess up the start again. Okay. Try and do it properly. Lovely. Okay, So again, if we click on the region, it will bring up our piano roll. Care played some DAD notes there, and now I can get rid of those dotted notes. And this is where again, we would start editing our middle. Okay, So I like that. I'm going to quantize that. And then I can duplicate it by selecting the region and holding Alt and then dropping it into place. Okay, So I feel like these notes, but the end, they're a bit long and I want to just alter it. So what I'm gonna do, shooting that here and then repeat that code right there again. That does, it just gives us a little bit of a variation between the two as well. Again, I do everything by ear so I don't really know what goes where. So just start placing things. First of all, I'm going to save this. So again, we go to File down to Save As. And then we will need to name it. Make sure it's saved in the correct folder. Create a new folder. So I copy the title, create new folder and name the folder the same as the title. And then make sure that we're in the logic folder as well. And then press Save. Okay, there we go, our new session. All right, so now I want to add a new instruments. So I click on the next track down instrument to, and I'll go find an issue and our animated swells. Just have a listen to that. Very nice. Indeed. Like that. Right, let's get that in. Again up here. Press Record, it'll give me a count and do select all quantize. Again, command a Cuba and make those notes little shortlist, they're not overlapping. Just going to duplicate that. Again, select the region, press and hold Alt, place. Okay, now we're gonna go down to instrument free. Choose another sound. Rhythmic. Metallic fireflies sublicense that. Neurons firing. Crunchy synth patterns. Crunchy. Else. Say what? Short swells sim sounds like. Cool. Quite like that. Right? Let's recall that in. Again, select all press Q to quantize. Sometimes the sound of Simpson stuff just doesn't fit right so you can move it a little bit left or right of the bar. Duplicate that. And down to instrument for over to look at this, get another since k, Let's look at synth leads IC simply gritty cost of squib, how shimmering base store. That's quite nice, actually. So very area. Love it. Okay. Let's get that in case select all quantize. Shortly snapped in time. Much change these around. Bring that down, put that one up there. Another truck come up here, right-click, Create new instrument track. I'm going to add some drums. So go over here to drum kit, juicer kits. So-called this one. Permanent come down here and choose and Native Instruments plug-in battery, just get that up. K, this is battery. Now I've got another massive list of kits in here and it's come up. Percussionists just go for a standard care members killed assistance that Duchy kick coalesce record that in NYSE, Show us or ends on four bars. Duplicate that. Okay, now because I liked that drum kit, I'm going to do is duplicate that tracks. So I press hold the truck, drag it down, and then delete the region on it. But it means I can still use that. Hugging. Kelly's getting nice. Again, select all Q. Again, this is an easy way to start a trap. Okay, so you can see here within battery you've got all of these effects as well so I can filter it. I can turn the compression on some saturation. Following Sunday. I just got to make sure I'm on the right track. Assessing. Make sure you have the correct plug-in open. So what you could effectively do, which I've just done, is affect the wrong track. So make sure that you have the correct plug-in, open the trunk, just duplicate it. Go turn that foot one compressor saturation. Right now we can. Why isn't it working easy done? Always the mute button. Let's add some effects. The Shakers. Okay, you could do anything, do what you want. Okay, so let's try this. I'm going to drag this in and duplicate that. And then this section, I'm going to highlight every other one. Move it up to this track here to change it up a bit. As multiple ways you can do that. You can choose different instruments. I move it up to a different instrument. You can change the velocity, which will add dynamics to your shakers or hi-hats. What that does, it just gives it a little bit depth and it makes it feel like it's moving a little bit more rather than being really lacZ. It'd be much, wow, I've just turned into a shaker. Let's try up here. This is again, a really good way. You can just select all and just move it around. Sometimes the best things come out of like happy accidents. Yeah, that's my tip to you guys. Create happy accident. So let's solo that. Now we can mess about with the actual sound of it. Case. You can see that the actual instrument comes from the alchemy plugin. And I can actually change the sound of it by changing some parameters within the plug-in itself. So let's hear what that sounds like in with the other instruments. Nice. Solo. Change the waveform because he's gone between oscillate at 12. Cool. So there you go. There's the perfect way to start a track using midi. And you would put an eight bar loop on, start building it. And then when you start arranging it, just keep duplicating and then subtracting for versus controls. The light. Lovely. I would like you to practice creating for software instrument tracks. Set your tempo, use for different software instruments. Play and draw in your midi notes. So you can have a play them by using a midi keyboard or your musical typing keyboard and draw them in using your pencil tool. Lastly, I would like you to create some hi-hats and change the velocity to create dynamics. Key takeaway for this lesson is for more dynamics in your percussion, you can change the velocity of each of the midi notes. Before moving on to the next lesson, I would love if you could please take a video of what you've created and upload it to the class community. I look forward to seeing you in Lesson 12, plugins and automation. 14. Plug ins & Automation: Hello and welcome to Lesson 12, plugins and automation. In this lesson, I'll be giving you an overview of remix effects that affects logic stock, EQ, logic stock compressor, and the different ways of using automation. For this lesson, I'm just going to use the live loop session we did in a previous lesson, purely because it already has lots of plug-ins on it. So as you can see, Every single track comes with its own plug-ins. So again, in order to get to that plug-in, you would need to come down here, click on this section here, and it will bring this drop-down menu up. As you can see at the top here it says fat effects. So that's the effect that we've actually got open at the moment. Underneath that it's got no plug-in. So if you get a plugin and you don't want it anymore, you can get this drop-down menu and go to no plugin to get rid of it. And then just under that, you have the recent list. So this allows you to access any of the plug-ins that you've recently accessed. So you haven't got go looking for them again, which comes in really handy for your workflow. So underneath that is a list of your stock plug-ins. You have amps and pedals and moving that, you have other drop-down menus. Here you've got delay and the different types of delay, distortion dynamics. Within Dynamics, you'll have multiple different things. We have EQs, filters, metering, modulation. This is different types of plug-ins that affect modulation. Pitch reverb specialized. So this is where you'd find your excite as your re-mix effects and then utility and multi effects. So the multifactor is where you will find your fat and step effects. And then under that you've got audio units. So this is for any external plugins, the top of the list and the drop-down menu is all of the Apple stuff, that's all your stock stuff. Again, each of those will have its own drop-down underneath that are the rest of my third-party plug-ins. So there might be some you're familiar with Fab food or isotopes and toys, things like that. Let's go back up to our fat effects. If you want to turn it off from here, you would press this button here, which correlates on the plug-in itself. This section in the middle opens or closes it. And the little bit on the right is what brings up the list to replace it. Okay, So as we went over earlier, this section here is our x y control. You've got your presets, which you can access here where it says use the default. Make sure that's on loop. So you can hear the difference as I'm moving this, how the filter is affecting the sound. And you can see we have the low filter cutoff and the high field cut off on your x and y. So depending on where I move, it will depend on whether you get the high fever cough or the loaf filled cough. And to change that, you would come to this section here. Okay, So if you come over here, you can actually change what the X, Y control is affecting. Case if I change the filter to residents. You can see over here. So let's turn that on. The resonance part. Wherever you want to call it, you can see it moving as I move this around the x, y fill. Now you can actually hear it affecting it. You can add any of these sections and control it with the XY control here. So if I put basin and turn that up, you can now see the blue line. The dark shows you how much you have to make sure that section is turned on and then the amount to sign up. You can see down the bottom here the ones that are on the ones that are lit up. So if I turn it off, it goes grayed out. So it's just another way for you to see what's getting affected. And this section here is your master. The LFOs here are connected to the filter, so you've got your filter cutoff under there, under the LFO. So you can assign an LFO and then where that target is going within the LFO. So drive to filter cutoff resonance. And depending on what you set it as you see on the plug-in itself, the blue line will just dark around so you can actually see what's getting affected unchanged, the amount you could literally be on here for hours. Okay, so you can choose the waveform of the LFO as well. Okay, let's turn on LFO two. And now you can see we've got one effecting the residents and the other one's affecting the drive. And we can do the same with the Fill coffee. So we can assign that to something completely different. Okay, so here again is the drop-down menu. And we can see there are so many different types of presets that you can add to it. So depending on what the instrument is that you've had, you have to plug it on. You can actually find a preset that is already been created for that specific instrument or sound. So that's the great thing, though already would have gone in and figured out the types of presets and settings that would work with that type of sound. And then you can just adjust them to your liking. These buttons here allow you to flick between the presets. This Compare button allows you to compare it to the last setting you had here. You've got your copy and paste. So for instance, if I go and get another version of fat effects, but I can actually copy my settings from one plug-in to another. So if I go back to the other one, press coffee on this. Now you see the paste buttons come up. Then I can paste it in this and you'll see all my settings change too much that one can go back to the other one that I was in here, some really good feature, okay, and here we have undo and redo, which is always very good. Here is your side chain section. So you can actually side chain your plugins to anything that is on a different track. And this is your view section. So it shows you how you're viewing your plug-in. And then a section is your link is take that off. Okay, let's go down and get our stuff effects. Again, exactly the same principle, but with a step sequencer. And again at the bottom you can see which bits are active and which bits aren't. Delay on. Turn that up. Okay, so if you go down here, you can see I can turn on the panning and the gate. And again, we can change exactly what's here by clicking on this little drop-down menu. And now you can see that it's added delay to the mix. So the delay Mix button is getting affected. Then we can choose the amount of feedback and delay go into that. So we can put the modulation effects on. And again, you can say it's gone straight to the right depth. It will flip to that feedback. Then you can move your X, Y control and really, really mess with the sound is great. And if you don't want it, you just turn it off again. Here's your reverb. Again. You can choose from the different types of reverb that are affecting it. And likewise, you can come up here to the drop-down menu and you have another massive choice of presets that are already in good. Let's go to this negative comb space. Okay? Yeah, and again, using the X bar control can completely change what you're hearing, how you're hearing it, and don't forget, all of this can be automated as well. Playful glitch, what says, Wow, you can don't forget change. The amount is getting modulated by using the step modulator down here, I say step sequencers, same shape, overdrive and beat maker. Interesting, Okay, you can see how much of that field is going, is using, it's going insane and the modulation. Okay, Let's just quickly go to war to show you something from here. Excellent. Okay. So yeah, you can see they're pretty much the same. The great thing of logic is most of the plug-ins have the same setup. So once you open it, you know exactly where your drop-down menu is, where your undo is, your Compare button. They're always in the same place. And you can see here, if we just open this EQ, again, you turn it off from there. You've got your drop-down menu for your presets and then all your other bits here and there. With the queue, you have here, your volume on the side too, or your gain. And it goes from 0, which is where this line is. And then you got plus or minus five plus or minus ten plus or minus 20. And you can see this little slider. So once you set your EQ settings, you can actually increase or decrease them as a whole using this slider here. Okay, so these along here, this is the frequency spectrum. So it starts at the bottom, which is where your bases are, and it's 20 hertz, and it goes all the way up to 20 thousand hertz is 20 hertz to 20 kilohertz. And then a long hair or your different functions that are going to affect different sections of that frequency, if that makes sense. But the bottom and the top, you have your high-pass and low-pass. So you can click on them to effect the top of the frequency range or the bottom frequency range. So you can see if I click on that, it enables that section of the frequency and the same file click on this one at the bottom, the High Pass, it will enable that section of the frequency spectrum to come on so we can start actually affecting it. So for instance, if I drag this bit here, what it's doing is getting rid of anything that is in the low frequencies, so it's wiping out. So all that you're going to hear is anything from 800 hertz to 20 K. And if I do the top here, that basically means I'm doing a low-pass filter. So what I'm doing is I'm getting rid of all of the high frequencies and I'm allowing all of the low frequencies to be heard k. So the same applies for the next ones in. So you'll see they look like a tuning fork. And what they'll do is they'll start affecting the next section of the frequency spectrum. So the bottom one will affect the low frequencies and then you start going into the low mids. So as I pull this up and down, you see that the numbers correlate to the color that I'm moving, the color that I'm moving. You can see as I'm dragging it up and down the spectrum, the top numbers are moving and that is because I'm dragging it through the frequencies. The next one underneath is the amount of decibels I am affecting. So you can put your cursor on that drag up and down. And you can do exactly the same with underneath. So the bit underneath is the amount of frequency spectrum you are affecting. What you can do is you can sweep through the frequency spectrum by dragging the dark or putting your mouth on the number. So that will go left to right. The one in the middle goes up and down. So your effectiveness decibels. Then the one at the bottom, once you've got the frequency that you want to effect, it will bend that frequency or make it narrow or wide depending on how much of that frequency you want to effect. So the easy way to show is this one which is kinda like a bell. Okay? So you can increase the gain on it and then sweep it up and down your frequency spectrum to see what part you would like to effect. Once you have that, you can also do the same from here. So you can increase the gain or decrease. And then the bottom one is how much of that? So you widen it or narrow it, and then you can sweep that up and down as well. So say for instance, you have some essays that you want to get rid of. You can make it really, really high like this. You can sweep it up and down the spectrum until you find the noise or the thing that you want to get rid of. And then you can drag it all the way down. And then effectively you're almost depressing something because you're taking out that specific frequency, okay? That the same hair. Now, this works with those four controls in the middle of your EQ. Once again, they're pretty colors. So this is where you would get rid of the essays up here again, like I just said, you would come up here, sweep it, bringing it as high as you want and then drop it out. It's a really easy way to start cleaning up, I guess. Again, up here you've got brilliant presets. Most of the presets really good. You just might need to adjust them here or there depending on what your preferences are down here, you've got your analysis. This will analyze it pre or post EQ. So you can see once I turn this on, we have our waveform. So we can actually see if I bring up, the waveform goes up. Then if I bring it down, the waveform in, that frequency starts to dip. So you can actually start seeing what you're affecting within that waveform. You can see where it might need increasing or decreasing and presets here so you can actually see the difference. And then like I said, you can just go in and adjust them as you wish. And if you don't want that frequency to be affected, you can just turn it off or turn the whole plugin off from there as well. You can see here it's grayed out. Once it's turned off. Here again, we've got our stock compressor. This gives you different skins. So what this is doing is emulating actual outboard equipment. So it's emulating the hardware. So you've got a studio, DSA, studio. Here is your input gain. This is your auto gain. You've got your side chain and your output here. You've got filters, so you can listen on or off frequency. I personally don't touch any of these here. You've got your makeup gain them ratio for now, I would think your best bet is to stick with the presets because a big mistake that people use, and I've done it myself, is using compressors for gain and not realizing that compressors actually reduce the volume, they minimize headroom. So I would really recommend trying to take some time to understand compresses before messing about with it. Because if you start overdoing it with compressors, then you can start getting into a lot of trouble later on down in the mix. So here again, you've got your output. So generally this needs to stay where it is on 0. You've got a limiter here, so you can always add the limiter within a plug-in as well or reduce the input gain is always better to reduce the input gain at the start, I would recommend leaving your output gain as is your makeup gain. This is showing you how much gain reduction you're getting for your compressor. Let's put that my cocaine back to 0. Okay, drop-down menu. This is great as well because you can see they've done presets for specific instruments. So for instance, if you have got a keyboard and you want to just add a compressor so that the precise there for you, you can see here it's like peaking. So what we're doing is we would take the input gain down and the makeup gain a little bit, and you can change the threshold. So how much of the signal is getting compressed at some limit around that as well. Because you don't want to make sure that your output is staying around minus three dB. Again, you've got the presets here for voice and different types of tools for different things. So if you want to fatten something, if you want it to be more pumping, if you want it to be like have an orchestral feel, a type compressor. It's just putting these presets and a different kind of pool is so to speak, rather than instruments. And then down here you have Compressor by type. So again, breaking them down into the types of outboard compressors. So the affects your classic VCA and stuff like that. So if you know that you've, for instance, you like a fat on it, then you'd go straight to that, put the preset from there, instead of going to the specific instrument, preset, voice. Brilliant. They've got some really good presets I'd recommend, as I've said in all of the lessons, to take some time to go through these presets. Just play something, a vocal or some drums or whatever, and then listen to the presets. Really listened to how each preset effects it and make some adjustments because this is how you're going to start understanding your plugins and really getting the sounds that you like. And then you can save those presets as well and name them your own. So you can have your own bank of presets for all of your plugins. Okay, so now I'm going to quickly show you how to automate your plugin. So you need to come up here to the Automation button, and that allows automation to be shown on all of the tracks in your session. You can see here that the tracks have now got lines through them that are all grayed out and underneath where it says track, it says volume, and here is where you start adding your automation. So straight away you can see it's got fat effects. And now I can choose from that plug-in what effect within that plugin, I want to automate. So let's choose your low cut off. You can see now that that's changed from volume, I click on the track and now we've enabled it. And to start adding the automation, I click on it and then these little dots appear. And you can see now as I'm moving it, the dot on the x-y control is moving with it. I just love automation to that all the way down. That way instead. Now you can see where I've drawn it in. I've just drawn a straight line going down. And you can see my little dot on my x, y control within my plug-in is moving with it. So let's undo that. So now I'm going to show you how to do it this way as well. So let's go to volume. And this section where it says read, this is how you would add automation by recording it in. So you'd come to here and click touch. You can see now that goes orange. Then we want to put the cursor where we need it and we're going to press Play. And now I'm going to move my control within the plugin. And you can see on the track that is actually changing my automation. So that's how you would draw it in by using read and touch. Once you've done that, make sure that you go back to read because it will keep recording over itself. So you have to make sure you put it back to read some radius. I'm going to read the automation that you've just written in. By doing it this way, it just gives you a little bit more freedom in the automation rather than it being a straight line. You can actually manipulate way you want it to go. Okay, let's do that again. And the great thing about this is once you've recorded in the automation, you can still edit it after and it will still read that automation. Okay, and if you want to turn the automation off, you would literally come up there. It was still automate, but you're just not seeing it in the session anymore. So you're not effectively turn it off, you're just closing it. So if you want to actually use one of the buttons are knobs who do exactly the same. You would enable it, press touch, and then go to whatever Navi would like to affect and move that. Make sure you put it back to read. And you can see here we've got field cut off, this ones in pink. Lovely. Now you can see we've got three different sets of automation happening. You can just stack this as much as you want. And this is really good once you're starting to get a track down and then you really start playing with the dynamics of it in so many different ways and layering it and are endless, I want to make sure that it stops just before this bit comes in. So you can see, if I go back here, I can now move these to make sure that they all connect to the correct place and see if something is assigned and what you can actually go in and edit it and change it. There you go, see, perfect. And that's exactly what I wanted it to do. Lovely. So that's how you automate your plugins. I would like you to practice adding two or more effects to an audio or software instrument track. Change the parameters of those effects so that you can actually hear the effect changing the sound. So within each plugin, change a separate parameter and listen to how it's affecting the sound. Lastly, I want you to record or drawing some automation key takeaway for this lesson is remember if you like a specific setting on a plugin that you can actually save it before moving on to the next lesson, please make sure you film. You're working automation in your project and upload it to the class community. I look forward to seeing you in the bonus lesson. See you there. 15. Creating A Track in 5 Mins BONUS : Welcome back to this bonus lesson, where I'll be creating a track in five minutes using Apple loops. Okay, So first of all, we're going to start with five minutes on the clock. Go. Okay, So coming to loops. Okay, What we've got here but percussion go. No, no, no, no. Okay. Alright, strike that in. Okay, next. Drag that in Hamlet. You just imagine it like going from there to there, like having a bit of a bill. Let's go and look for same tempo. So we want this to stick with a similar tempo. So it was like 96 or seven days. Okay. Scroll down. Scroll down. Okay. 1990. Let's see what we got. We got No, no, no. This is more stressful than it seems. Okay. Float pad. Wow. He's jumped out and say that sounds like a little strings. It's got some strings in. Okay, tempo, tempo, tempo. Between, between these two. Let's just drop that in. Okay, they won't drag it back in. Time for this. Okay. There you go. Okay. What else? All right. Let's just get some phone calls. Sophie. Trekking in. There we go. Wow. Know what time it is. Stop. Drag. There we go. Time's up. No, man. All right. Let me just quickly move this. Wow, that was actually so much fun. I definitely would recommend that it's super fun. All right, let me just drag this out. Just so regressed. Tell you what though, this would be really good if you could practice this like five minutes every day, you definitely get good at listening to stuff them quickly, making quick decisions. So much fun. Brilliant. Then what you can do with all of this is just from there. Select it all, drag it all out, loop it, and start arranging it. So select all again. We know what that is by now. So let me just drag that out there. Just make this intro a little bit longer. Okay, So then we can say it starts with the drums, a little bit of vocal comes in. Then with this, we can make it even longer than that, so that we have eight bars. So then we've got like four bars of the Ghost Kit intro. We've got the little vocal leading our same for one bar. She could be a chorus. Okay, Let's bring that in a bit earlier, see if that works. You guys get the idea. It is so much fun and I would highly recommend them. Practice time and yourself, creating your charts using Apple Loops and make sure that you have fun with it. Don't take it too seriously. It's not a serious thing. You can, you can see what I've just created. The thing is if we put too much emphasis on things happening to be good, we end up ruining the process and we put way too much stress on it. Like half the stuff I've done in these lessons is like a fraction of nowhere near what I know that I'm capable of, but none of that matters. None of that matters because my role here is to teach you how to use it, not to produce tracks. That will be a whole different lessons. So have fun with it. Try not to be. So far. I want to see you laughing like when you're pulling stuff in and going over time and then doing it again and stuff like that. It's just, it's just a laugh. But what that does is it's going to subconsciously make you get so much better in terms of timing and being able to identify what goes where in a track and your subconscious, you're going to get better at that. So it is going to be doing something, but just don't stress out key takeaway for this lesson. So remember to make it easier for you, you can actually choose loops at the same tempo and length before moving onto the next lesson, I would love you to film what your trap. You can even go one further, film yourself doing it. And it's stressing out in the moment so that I can have a laugh as well and make sure you upload it to the class community. I look forward to seeing you in the conclusion where I'll be recapping everything that you have learned in this class. I'll see you there. 16. Conclusion: Congratulations you. So one of them. Well done. Honestly, you've done it well done for taking the first steps in your production journey. Whether you're a singer, songwriter, producer, editor, it doesn't matter it you've done it, you've taken the first step in your production journey. So give yourself a massive pat on the back. Well done, Let's cover all the things that you've learned in this class in less than one, creating a project, we looked at how to download Logic Pro X or Logic Pro ten from the App Store or the Apple website. How to open an empty project? How to open a lively project, different style to grid templates to get you started in Live Loops available tutorials which are highly recommend. You check out in your own time project templates which are great to get you started, whether it's a commercial track, TV, film, or Castrol, singer songwriter, and how to save the template. In lesson two, we looked at preferences. I showed you general project handling, how to correctly set your inputs and outputs, how to set up your required file type connecting midi devices, where to set up your project for a score or movie automation preferences and storing your information in your trap. In lesson three, control bar part one, I showed you how to browse your library for sounds and select them in the inspector window, your toolbar, Smart Controls, accessing your mixer and accessing your editors in less than four control bar part two, we looked at the play and record functions, loop functions and its features, the time position display, the media, and loop buttons. The other functions less than five. I showed you how to use your musical typing keyboard in less than six, interface overview part one, you learn how to reverse audio app to access media effects, how to create groups, the edit functions and view buttons. How to access your automation controls. You'll flex time tools and you'll catch button in less than seven, interface overview Part two, we delve deeper into your primary and secondary tool menus, the smart and drag pop-up menus, different Zoom buttons, your file drop-down menu, and all the other functions that you need to be familiar with to make sure you can start getting creative. Straightaway, lesson eight, interface overview part three, I showed you the editor or the Piano Roll how to edit your midi, change the velocity of your midi notes. I'm quantizing it in less than nine Live loops. We looked at how to open a live loop session. How loops are arranged in a grid of functions that you can access for each cell. How to play yourselves in a scene, and how to record your loop session into an arrangement in less than ten, recording and editing your audio, you learn the audio interface might collection differences between the condenser and dynamic Mike's input levels. How to record into Logic Pro Tem, cutting your audio and adding effects in less than a recording and editing your midi. We looked at the different ways of adding or recording midi into your project. How to change the length of the notes, changing the velocity. I'm quantizing in less than 12 plugins and automation, I showed you an overview of remixing effects that affects logic stock, EQ, logic stock compressor, and the different ways of using automation. Lastly, in lesson 13, the bonus lesson, I showed you how to create a track in five-minutes using Apple Loops. My last words to you or that I hope that you continue practicing the steps I've given you in this class is so important to continue practicing those steps until it becomes second nature. It's so easy to get caught up with new things and new shiny bits and pretty. And before you know it, you're gonna get lost again. And you're really going to make it hard for yourself by sticking to what I've taught you. Make sure you keep practicing it. It becomes second nature. And that way later on down the line is really going to help you with your workflow. When you've done that, you're used to and it's second nature, then you can start playing with your plugins. Then you can start customizing your doors so that you like it. You can start saving your settings and really amping up your production. Remember as well, to upload your finished projects to the cars communities so I can give you feedback. I absolutely can't wait to hear what you produce. I have faith in each and every single one of you. It's been absolutely brilliant guiding you through this process and I really hope that you do continue on your production journey. Remember, this is just the beginning. Please try not to be too hard on yourself and also try to have fun and not focus on that. Number one, cheesy. But true. Please please also contact me if you need any help or support and make sure that you follow me on socials so that you can become part of my world and I can continue to support you. I just would like to take this opportunity to thank you again so much for taking this class. And I will see you in a class very soon.