Producing Music with Logic Pro X

1. Introduction: Do you want to produce a song like this? Then all you need is this, a laptop and a copy of Logic Pro. Hi. My name is Solo Ray, and I'm a music producer here in Montana, and together in this Skillshare course, we're going to create a track from top to bottom. We're going to go over drums, bass, synth leads, chords and arpeggios, suppression, sampling, and some mixing and mastering. When you're finished, you should have a basic group that then you can either write to or send to somebody else to collaborate with, whether you're brand new to any type of music production at all and you want to hit the ground running with some great musical sounds that are unique to you, or you're an experienced pro looking to expand your arsenal and pick up some tips and tricks that I've learned over the years. This class is going to be incredibly useful to you. I can't wait to see what you come up with. Let's get started. 2. Templates: So pretty much every time I start making a song from scratch, I pretty much always going to be using a template. I really like to use templates in my workflow, mainly because I find myself using similar routings, similar samples, similar patches frequently and it's nice to have a jumping off point, so I don't have to go and recreate all of that stuff. I have my environment laid out for me already. So I'll show you how to do that in this video. You can save as many templates as you want. I'll update my template all the time with new stuff I find, new patches, new ways of routing stuff so it's a very fluid thing. But it's nice to have a little bit extra to get off the ground running. Let's go ahead and we will start with creating an empty project. Logic does not allow you to have a literally empty project, it needs to have something to do. So we can either create an audio track or an instrument track. I'm going to create an instrument track empty with nothing there. This is as literally empty as you can make a project. I'm just going to customize the interface a little bit to see the stuff that I find helpful and get rid of some stuff that is not helpful to me. I'm going to go up to this display mode here and go to custom and it shows me a whole bunch of stuff here and I want to turn off some things that are not relevant to me. So MIDI activity in and out, I don't really want to see that, I don't care about that. I do want to see low-latency mode, that'll be important and we'll talk about that more later. Pre-fader metering is cool. There's all these specific things that you're going to develop opinions on about what you like to see and what not to see. It's completely subjective, there's no right or wrong way to set up your template. It's personal preference. I like to see this stuff. These are the options that I go to often, it's nice to have. Let's set up some more stuff. We got an instrument track. I'm going to create like eight of these bad boys, because I'm going to use them at some point. Audio wise, yeah, create eight of those suckers too. I'm sure we'll use them at some point. I'm probably going to want a piano at some point. I'm going to hit Option L to open my library of patches and sounds, and I'm just going to go find a piano. I'm going to go to piano. Wow these all look and sound nice. Let's do a Boesendorfer, that sounds cool. Let's see, what else will I want? I'm probably going to want some drums at some point. Let's do drum kit and four on the floor? Yeah, obviously four on the floor, the best drumbeat of all time. What else are we going to want? We're going to want maybe some horns, that sounds fun. Let's do a seven piece Mississippi joint section of horns, cool. Whatever, you get the idea. Once you have your basic setup of sounds that, cool, I like this. We can save that as a template. So we go File, Save as Template, and then we can name it whatever we want and it will put it in our project templates folder. I'll just call this my super great template that I love and then save that. Now I have my super great template that I love and when I open a new project, I can start it from that template and I'm ready to get going. Saving stuff as templates is really powerful in that it saves it everything going on in the project to that template. If you have loops going on, if you have markers going on, tempo information, all of that stuff, is saved inside of the template, which is grate. The problem is, let's say like you produce a song and you have this fully finished song and you really like a lot of the sound choices that you made in that song and you want to go back to them later, you can save that song as a template. But it will also save everything that you played into that template which is not totally relevant. If you're creating a new song, you don't really care about having the vocal from another song in there. What I would do is just before you save that project is a template, just save it as a copy first and then delete everything, all the files in there of your audio and your MIDI and everything. Make sure it's a copy though, not the original. But if you just save it as a copy first, then you save it as a template, you just get all your nice sounds that you made and none of that other baggage of extra files and stuff, which is a nice sort. Now that we know how to make a template, let's actually start making some music and start putting sounds in that template. 3. Demo Stems to Build Your Track: We're about to dive in and get started. But before we do, just a quick note on some clarification on what you actually received as part of these assets. These are all the stems for a song that I produced called one more time. Now, a stem is basically a group of audio tracks. If I were to open up a session in the olden days, it'd be on a giant desk and there would be for each track of audio, a channel, and it'd be this huge, massive thing. If I open up a logic session of multi-tracks for a session, it going to be 100 plus a ton of stuff. That can be overwhelming when we start to remix things or send stuff to mixers or whatever. It's just cumbersome to have all those tracks. A stem is where we'll take a couple base things and sum them together in a base stem. We'll take a lot of drum stuff and sum them together as a drum stem. These stems are 29 different stems. Those are summed down from the original project, which was a lot bigger. I group stuff together with vocal delay throw. That layer of sound, I summed a lot of that stuff together to have that one thing, same thing with some of the pianos and other stuff like that. I'm going to bring in the vocal. I think I'll bring in. You can use this stuff to make whatever you want. Don't feel like you can only use this vocal. If you want to bring in some drums or if you want to bring in some base, go for it. I have added. This stuff is here for you to use it and to make cool stuff. Just let me know what you do with it. I would love to see it. That said, let's go ahead and get started. 4. Getting a Groove Going: Now that you've got your template up and running, let's start actually making some music. If you want to follow along, you can download my actual template that I use every day in the exercise files. That's what I'll be using. We got our template here. [NOISE] Let's start working. I'm going to just first save this. I don't know, in case something happens or whatever, Logic will save me. I'm just going to save this as One More Time 2020. Like I talked about in the intro, we're going to be working from this one more time song that I produced for closer. You should go check them out. We're going to bring in that file now. I think we're just going to grab the vocal. The other stuff is cool, but I just want to maybe see if we can go in a different direction and just see what happens. I don't know. I think that could be fun. I'm going to go in the exercise files, I'm going to go into the stems and I'm just going to grab the vocal lead and drop it right in here, and so Logic is telling me that, hey, this has tempo information, do you want to use that? Yeah, that sounds awesome. I'm going import that. It has markers in there too. Sure, let's throw those in there. Nice, it tells me where it starts. Cool. Looking at this vocal, let's give it a listen. [MUSIC] It's cool. David's got a great voice. So we got a verse, a chorus, a little bit like a hook section, and bridge sort of like those little like groups of the arrangement. I think I like to start by just getting some groove going. To me, I feel like drums really define the feel of a song. Drums or lack thereof. I think what I'm going to start with right now is just adding some drums just to give us a semblance of what's going on. Let's press Option L to open our library for sounds and I'm going to go to, let's see, let's do electronic drum kit and you'll notice some of these sounds have this little arrow by them, and that just means that you haven't downloaded that sound yet. Logic has an insane amount of sounds that it comes with. It's really, really incredible. Yeah, and they're constantly adding stuff too. I can't even keep up with the content they're adding, it's awesome. Anyways, so we got our cinematic funk kit. Let's give this a listen. If you don't have a MIDI keyboard or any way to actually play the sounds, that's not a problem at all. You can use your computer keyboard. I actually do that really, really often. There are days where I'm just at a coffee shop working, making beats, and I'll just use my computer keyboard. I don't need anything else. It's got everything I need. The way you can do that, you can go Window and then there is this, Show Musical Typing, this little option right here. If you click that, it turns your keyboard into a keyboard, which is pretty sic. We can go in and hear some stuff. [MUSIC] Okay, so let me just try [MUSIC] and, men that is wild. [MUSIC] I think I'm only really going to worry about kick and snare right now and we'll add some other stuff on top of it. But I'm just going to loop kind of the verse. And I'm just going to play around and see if I can find some interesting rhythm. How to loop a section? This little yellow bar up here is called the cycle. If you drag anywhere from left to right up at the top of the project where these little measure numbers are, it will start looping that section. If let's say I want to loop from bar 3 to bar 5, it'll create a loop there if I want to drag from here to here, whatever. I'll loop for maybe the length of the verse, which is probably 16 bars, I would imagine. Let's just see how that sounds like. [MUSIC] Cool. [MUSIC] I'm going to turn on the click with a keyboard shortcut K for click. [MUSIC] You could use something like that. [MUSIC] Let's keep it simple. Just do a four on the floor with a little snare. [MUSIC] Cool. I played that in [NOISE]. Yeah, R is record. Sorry, I didn't say that. We got our little beat here. Now, this is a groove on its own. [MUSIC] Then click off with K. [MUSIC] Sorry, David. This is a groove in of its own. If we really want it tight, which is very subjective word in music, but we can quantize it so that all those hits in those samples are occurring right on the grid. This is what it sounds like fully quantized and without my sloppy playing. [MUSIC] Like everything is just completely locked in. I quantize stuff a lot. I think it's cool, but not all the time. I think the stuff that's really important to quantize is very foundational things. That kick drum, I'm not an amazing player that can really get a ton of feel out especially on my computer keyboard playing in a kick drum. It's not going to sound that great. I'll just lock it in, especially for this style of dance music or anything else that's supposed to be synthetic. That's okay. I don't know, the whole idea of quantizing or not quantizing stuff. There's no rules. Quantize it if it's not feeling right to you, cool. If it's feeling pretty good, you don't need to quantize it. I think it's like, try it without it, try it with it just to see what it sounds like. Just make sure you're deciding what to do and it's not just a default of, I played it in, so I have to do this, or no, that's always bad. Every situation is different, every part is different. Just try it and see what it sounds like. In this case, I like how it sounds quantized, but I'm going to take the snare and I'm going to just shift the snare [NOISE] back a little bit. I'm grabbing the actual MIDI note and just moving it to the right, which is later. If you want [NOISE] to be really precise with the movements, you can hold down Control as you're moving, and then it'll be in super, super fine [NOISE] increments. See, so I can just barely nudge it back. It's telling me that number there how many samples I'm actually moving it back. Let's see, like 25. [MUSIC] You can hear that flam [NOISE]. That might be a little too [NOISE] much. Let me just bring it back a little bit. [MUSIC] Cool. I think it sounds good. That's a basic groove of cool. Four on the floor with a snare with a little bit of delay on it. Yeah, that sounds good. Now, let's get some hats going, some additional movement. What I'm going to do is, I'm actually going to use Logic's drummer track for this, which I really like using for percussion things or just other auxiliary parts of the kit. Drummer is basically all of these different MIDI patterns that based on the stuff that you tell it to do, it will generate drum patterns for you. I'm going to create a drummer track and the genre is, yeah, I guess hip hop. Whatever genre is a whole thing [LAUGHTER], but yeah, we'll do say hip hop for now, and here's where we can turn on or off different parts of the kit. I don't want it to generate a kick drum because I played in a kick drum. I know I want it four on the floor, so I'm going to turn that off. Snare, I got a snare going, so I don't think I want snare either. [NOISE] Claps. [MUSIC] Yeah, claps are cool. Cymbals & Hi-hat. Yeah, sure, that's cool. Fills. Fills will use all parts of the kit. Even though I don't have snare drum or kick drum selected, if I do a fill, it probably will add some snares in. But that's okay. I think like in the fill, as long as it's not part of the pattern, I'm okay if there's like a little flaming at some certain section. I don't know, we can see what it sounds like. The reason fills is an amount and not like an on-off thing is because it's like, how often do you want fills? Do you want them all the time or do you want them just a little bit? You can see the pattern change as I bring this knob down so that it looks like every four bars, it's doing one, and this is like barely one and okay. Yeah, let's see how that sounds like. [MUSIC] Cool. Yeah, awesome. Just some incident vibe. That's great. Let's see. We want this to last. Yeah, eight bars, that's cool. How long is this lasting? Three. Let me drag this back to two so that way this is looping at a nice even rate [NOISE]. [MUSIC] Cool, that's a groove. Now let's bring back the vocal in [MUSIC] and we can just start to go through and build out an arrangement of like, okay, we're going to want drums here and we're not going to want drums here. We're going to want more drums here and these are going to be little, whatever, and just by using these two patterns that we have, the kick and snare, and the Hi-hat and claps and stuff, we can start to build out an arrangement. In the verses, probably just kick and snare. That's what we did originally and I like that groove. [MUSIC] Pre-chorus here. [MUSIC] Chorus right there. Maybe cool if it broke down there. I think that's nice. [MUSIC] Something else right there. [MUSIC] Two, three. [MUSIC] That's like the hook. Let's have another section right there. [MUSIC] Second verse there. Cool. Okay, yes. That's the idea, is we'll just go through very quickly through each part of the song and make sure that there's some rhythmic element happening. Or if it's not happening, we know that we are intentionally not having something happen there just to start with the skeleton of the song that we can add stuff on and have it make sense. That's the basics of getting a groove going. In the next video, we'll talk about starting to get some actual cords going and how to frame the harmony of our song. 5. Chords and Arps: [MUSIC] So hopefully by now you have a beat that you like, and you've downloaded the exercise files and you're following along. Now we're going to start adding in some actual chords. Let me start with getting a little arp going, an arpeggiator. I think that could just have a cool movement to it in my head. Well, we'll see how that turns out. I'm going to grab one of these empty instrument tracks that we have and I'm going to just add in a synth that I like that's built into logic called ES2. I'll open up the keyboard by pressing "Command T" to play it. [MUSIC] Okay, cool. [MUSIC] So I want it to arpeggiate, which is like pup, up, up, up, up, up, up play through the notes in a chord. I'm going to go to the MIDI effects, little menu right here. I'm going to click "Arpeggiator". Now when I play a couple notes, [MUSIC] it will kind of step through them, which is cool. I can give it a chord. [MUSIC] and it will go through it, which is nice. Then there's all sorts of options for how you want it to do that, either picking the notes randomly or whatever. I'm just going to leave it as it is, and I'm just going to play in one chord, and I'm just going to put it in there, and then adjust the parameters on the synth. As it's playing, I'll be listening to it and try and just get it to move in a way that is pleasing to me. I'll hit "R" to record, and we'll drop this chord in. [MUSIC] Okay, cool. So now I got that chord in there. I'm going to open up that MIDI file by double-clicking it, and we can see the notes here, get out of the way ES2. So I can see that this is obviously sloppy because I'm just throwing it in there on my computer keyboard. This is something where I do think it'd be nice to quantize this, because if I'm going to be looping it, I want it to fire at the same point. So in this instance I am going to quantize it. Then a cool trick you can do so that it always goes to all the MIDI notes, go to the end of the bar exactly, is hitting "Command F". So we're going to hit "Command A" for all of the MIDI notes, and then "Command F", which is for follow. It'll say, "There's notes overlapping, what do you want to do with the ones at the end?" I want to shorten them, so that it'll stretch them all out and then anything that's longer than the bar length, it'll shorten back to the end of the bar. I'll hit "Shorten" and now we've got this MIDI note that is exactly two bars long. Which means that when we loop it, it'll constantly loop. There won't be any gaps in it or it won't be too long and they might not retrigger anything weird like that. Anything that's like a nice, sustained sort, it's nice to use that follow feature if you really want it to be nice and seamless. So let's listen to our arpeggiator. [MUSIC] I want this to be a little bit more plucky and have a very distinct start. So what I'm going to do is mess with the envelopes. And envelopes are the change to a synth over time. So every time that note fires, every time I say C or D or any node whatever, it will follow the envelope. It will have an attack of something going up. It will have a decay going down. There's all sorts of different parameters. So I'm just going to fiddle with them and try and get it plucky, which means probably short decay, short sustain, and longer release. Let's go see what that sounds like. [MUSIC] That sounds pretty good. Now let's maybe add some delay to it, something that can just widen it out and give it a different texture. So I'm going to use this tape delay plugin, which is built into logic, which by the way, if you didn't see it when I did that. If we go to select a plugin under this plugin menu, to get onto Delay, and then Tape Delay. It'll be right there. You'll notice you won't have probably the same plugins, but I'm going to try and use only stuff that you will have available if you're following along in the exercise files. At the end of the course too, I'll go through all these free plugins and free samples that I think are really great that I use all the time. But we'll get to that in a second. Tape delay, let's just see what it sounds like right out the gate. [MUSIC] It's at a quarter note, which is exactly the same rhythm as what we're doing, which is not super helpful. So what I'm going to do is, I think I'm going to do this at a dotted quarter note so we can get some really chaotic stuff. [MUSIC] To not make that super semi, I'm going to add some of this deviation, which is basically just going to make it so that it's not quite a dotted quarter note. It's a slightly off which you'll have these like cool little flame characteristics. [MUSIC] Okay, that's pretty cool. It is still like pretty everything's down the center. So I think let's add a little bit of reverb just to spread it so that it's not all right in your face because the vocals all right in your face. So let's go to Space Designer, which is my favorite reverbs. Let's go just a simple room, ambiance and let's see what that sounds like. [MUSIC] That sounds great. That helped to widen it, but now it feels like a little distant. I want to bring it back a little bit to tighten it up. So I'm going to add a compressor after everything. So after that delay and that reverb, I want to compress the signal, which is just going to squash it and make it a little bit louder and less dynamic. We've got the compressor on there, let's just see that sounds like out the gate. [MUSIC] It's barely doing anything. So I'm going to take this threshold and just bring it down. You'll see on the graph, it starts to take more and more of it down. [MUSIC] Helps tighten it up a little bit. So that's some basic harmony, this is the key of the song. This gives me more of an environment to play with. So go ahead and follow along, drop into harmony to your tracks, try and find some sort of shape that you think is cool, whether that's an arpeggiator like I've done, or you're laying down some more chords. Whatever you want to do, just try and get something to where you're building the track a little bit more. It's becoming a little bit more of an environment for you to play in and then we'll start adding in some bass, which is just going to further define those chords. 6. Adding Bass: [MUSIC] If you're following along, we have a groove going. We've got some chords going, or in my case, literally one chord. But you can get away with that if you use the bass to really define the chords and define the different sections and stuff. That's my approach right now is I like that app that we came up with. I think it's pretty cool and I'm just going to loop it for a while. I might mess with it later, but the base is really what is going to define the chords of the song. Let's get some base going. I'm going to use that same synth. I'm going to use ES2 again. This time I'm going to jump through some presets a little bit and try and find something that is maybe close to what I want. If we have the app plucking along , there's a couple of different approaches. We could have the bass also pluck along in the same way to where it becomes hard to tell what's what. It feels like everything is flashing together. That's cool or you can separate them further to where if the app is really going to be very steady, then let's have the base be very sustained so that it separates itself apart. That seems to me a little bit easier to digest when listening to. I'm going to try that first and we'll see what that sounds like. Divine bass, that sounds like it should be good. I'm going to see what this sounds like. [NOISE] It does. What I'm going to is that has a very aggressive envelope when it starts like, [NOISE] thing. That's cool but I want this to be something that just sustains throughout that app and really have that be the thing that's rhythmically driving it. I'm just going to turn down that envelope. You can see in this middle area of the synth, there's all these scary-looking parameters. It's saying what is affecting what. In this case we can see envelope 2 is affecting cutoff, which is the target. That's the filter which was actually making that sound of [NOISE] that thing. If I bring this down, that envelope will affect the filter less. Let's [MUSIC]. Yeah, that's not at all affecting it. [MUSIC] Cool. You can hear that click when it starts right away, that's because the attack is set to zero. It's literally snapping on instantly. I'm going to add just the tiniest bit of time to that attack so that instead of snapping on, it gradually turns on, but so slowly that we're not really able to perceive it, it just doesn't sound like a click anymore. Instead of zero, I'm going to do like 0.1. [MUSIC] Then same thing on this one. [MUSIC] A little bit more. [MUSIC] Yeah, there we go. [MUSIC]. Cool that sounds good. You'll notice when this is in legato mode. Legato means that if another note plays while the first one is still playing, it won't re-trigger all those envelopes, all those settings, it'll move the pitch up. That can be cool if you're doing the dstar shape. [MUSIC]. That glide up there. [MUSIC] For me I want to play in mono mode, which is where every note will re-trigger the envelope regardless of what happened before it and only one note will play at a time. [MUSIC] I think that seems a little more playable to me with this sort where it has that decays like that. I just like it. Let's go to the start of our groove here and let's fish for some notes. [MUSIC] That's cool vibe, I like that. I'm going to go ahead and plug that in. I hit art record, 3, 4. [MUSIC]. Cool. But at the very end there, we'll resolve back to that first note button. [MUSIC] I think I do want to quantize this. I just want this to be absolutely locked in into hit right with the kick. It's turning into an 808 thing, which is cool. What I'm going to do is I'm actually going to take our original kick and have it follow that new pattern because I think that actually hits harder. Let's open that back up real quick. [MUSIC] I'll just move that kick back. [MUSIC] Yeah, cool. Let's listen to that and turn the bass down a little bit. [MUSIC] No, that's not doing it. [MUSIC] No that's not the rhythm I want. I want this. Because we're having that there, I think it'd be nice to turn off these kicks. They're firing with the snare so that you really are only getting kick on that rhythm of that bass. I Shift-click, all those kicks underneath the snare and I always hit N to mute them. [MUSIC]. [inaudible] little bit. [MUSIC] Nice. I'm going to skip forward to this drop section here with these hats, lets see how this sounds like. In my head, it should sound dope but we'll see. [MUSIC] Yeah, that sounds awesome. That's a bass. Sure, we can refine it more and refine the tone of it more. But as far as finding a groove and a vibe that's solid to me, that feels great. That'll only get more and more refined as it goes on. But baselines are so subjective and they can totally change the feeling of the song depending on how hard they hit, how aggressive they are, how smooth they are. I would love to hear what you guys come up with. In a couple of videos, we'll go through the process of actually exporting a song. Man, if you have a baseline that you think is cool, I would love to check it out. Post it, tag me on social media, share it with the class, whatever I would love to hear you guy's bass lines, I think that would be cool. Coming up next, we'll talk about creating lead lines and hooks and everything like that, which is really fun. Hopefully, you're following along, share your bass line with the class. Let's go to hooks. 7. Adding Leads: [MUSIC] In this video, we're going to talk about creating lead lines or hooks. Basically, the thing that is going to make it a hit or not. This is the catchiest part of the song or it should be anyway. What we're going to do is listen to the song. Right now there's this spot right after the chorus that is just very obviously, here's where a thing goes. [MUSIC] It's just so clear that there's something supposed to be there. What I'm going to do is I'm just going to loop this section. Then let's come up with some hook or a lead on. Let's do this. You know what? Let's grab a bit of the vocal. Let's chop that up. Let's listen through here. [MUSIC] One more time, one more time. I'm thinking on that downbeat. I want something to hit to really send us into that next section. I was trying to listen through the vocal, one more time, one more time. Like the downbeat comes in the middle of that phrase. It'd be cool if one more time, one more and we literally punch in right there, like cut it out. I don't know, that could be cool and aggressive, let's see. I'm going to take that time portion of what he's saying. I'm using the Marquee tool, by the way, which is if you hold command, it will go to whatever your secondary tool is here in your toolbar, which most of the time is the Marquee tool. I have it so that way just seems to be the most useful. I'll do Command. Then because I wanted this to be very specific and I don't want logic to help me make the selection. I'm going to also do control so I can really get nice and specific. I'm just going to select that and click it, and it'll automatically chop it up, which is great. I don't have to go to my scissors tool, I can just point it where I want and it would grab it. Let's take this little snippet here. Let's listen to that. [MUSIC] Cool. [MUSIC] I want that to be a huge distortion wash that just is almost like a symbol hit or something then maybe we'll make a lead out of that, I don't know. Let's see what that sounds like. Let's start with some distortion. I'm just going to go to distortion II, just built in to the logic. I really like this drive. [MUSIC] It's already a little bit crunchy. Add a little more. [MUSIC] You can see as we distort something, we're going to bring up the noise floor. All the other stuff that was going on that was quieter as we're distorting it, that stuff is getting louder too, you can hear at the end some of that nasty noisy. [MUSIC] It's really subtle in there. Because that's coming up, what I'm going to do is shave some of that stuff off with an EQ. Where it says EQ right here, I'm just going to double-click it and boom, it's created an EQ plugin for us. I'm going to use what's called a high pass filter, which lets everything above it pass through. Everything higher than the filter point passes through high pass. I'll click the high-pass and just bring this up. [MUSIC] You can see this is where the bokeh information is. We can just bring everything up right under there. I want this to be a steeper shelf. I'm going to make this a little bit steeper. [MUSIC] Cool. Now, let's add in, I want a higher element to it. It'd be cool if like time, but there was also an octave above that. I'm going to go into pitch. I'm going to go to vocal transformer. We have pitch and formant controls. Pitch is pretty simple. That's pretty self-explanatory, it's the pitch. But formant is a little bit different. I'll just play it for you. It's a little bit easier to hear it than to explain it. [MUSIC] That effect or the chimp monkey sound. [MUSIC] Both are useful. I think my go-to is I really like pitching something up and then dragging the formant down. It's just very obviously synthetic. It just has a cool character to it. [MUSIC] You see that. Then let's maybe instead of a 100% wet, let's maybe bring the mix down a little bit so that it's both of them and we'll play with that balance. [MUSIC] Let's see what this sounds like before the distortion. [MUSIC] I think it sounds a little better. Let's add some reverb to this now. I'm going to use Space Designer again. We're going to make sure to use the stereo version of the reverb because this signal is mono, logic gives the option, do you want to keep this mono signal or do you want to make it stereo if you're adding a delay or reverb or something like that. I'm just going to pick something huge. Let's go a haul. Yeah, ancient church, huge. [MUSIC] Nice, awesome. Now let's add a compressor to that too, just to smash it back down. [MUSIC] Sweet. Now we have all those effects on that original time. If we turn all these effects off, well here what we started with, [MUSIC] which that's still the file. If I want to turn this into a lead, into a playable thing, I need to turn all this stuff on and actually render this out as audio so that I can then do stuff with it. Logic makes it really easy to do that. All you do is right-click on the file and click bounce in place. What that'll do is it'll say, what would you want to call it whatever. Now this new chunk of audio that it gave me has no plug-ins on it. It's completely dry, but [MUSIC] it sounds like the stuff we've been working on. Super cool. We can take this. I didn't print the tail. You can have it print where it's just the selected region that you have or you can have it print the entire length of the effect. In this case, I actually do want that tail because if I'm holding out a note, I want that note to last. I'm going to bounce it in place again, but this time I want it to leave the source and I want it to include the audio tail in the file and the region too, just so I can see it. There we go. Now it's nice and long. This file, check this out. If I want to just turn this into a patch that I can play, convert to new simpler track. It's going to ask me, you have a region. Do you want it one of them or do you want us to analyze it and chop it up or whatever? In this case, I do want a region, so I'm just going to click that. It gave me an instrument [MUSIC] where I can play it. [MUSIC] But in this case, it's like I can play that one note, right? [MUSIC] But I want to play all the notes. What I can do is I can take that file that we have, and just by having this sampler window open, if I click that file and drag it, I can drag it onto the plugin window and I can have it map it for me. I'm going to drag it into optimized and I want a zone per file. Now it automatically spreads it across the keyboard. Anytime I play [MUSIC] it created that whole [MUSIC] we can even play chords with it. [MUSIC] That's dope. That's a synth patch that nobody else in the world has because you made it from picking out a sound and adding stuff to it and creating a patch with it. Nobody else in the world has this exact same sound. Even if you're following along with the exercise files and you're literally following step-by-step what I'm doing, it's not going to sound exactly the same because your parameters that you adjust to is going to be slightly different and it's always going to sound different. It's always going to have a slightly different edge to it, which is super cool. This is a super useful approach for creating lead lines and stuff that are entirely your own and that also sound different every time too, at the same time, it's really cool. Now that we have this lead patch, let's play it, and let's see if we can make something pretty cool. [MUSIC] I found it at the end there. Let's grab that. We'll chop this up and make sure that it's nice and legit. Let's see that sounds like this put it where it should go. [MUSIC] That's a cool for bass. I want to quantize that to just have that be nice and choppy. [MUSIC] I still think it'd be cool if we had that initial hit. We'll go over that and adding textures and stuff in later videos. But as far as creating a lead, that's how you create a lead. That's super cool. 8. Layering: [MUSIC] If you're following along, you just made the dopest synth lead of your life. Now we are going to start layering some other sounds and other stuff in that section. I'm just going to focus on this post-course section, this hook. I just think that feels the most inspiring to me right now. I'm going to zoom in. Let's set our loop section here. Let's drag four bars. Now let's hear what we got. [MUSIC] We need that burst of something happening at the beginning. Let's grab one of our instrument tracks and let's open up our library. It'd be cool if there was some timpani thing that we can mess with in process like some big rolled. [NOISE] I don't know. I'm hearing something like that in my head that could be cool. I have no idea if that's even possible but let's see what we got. Timpanis. Let's see if we can find a roll. [NOISE] I could have sworn there was a role in here. Let me see. I'm going to open up that sampler and goes to pick on a preset here. This is a different preset than the patches preset like when you hit Option L and see all that stuff. That's a full chain of plugins and your instrument and all that stuff. These what I'm looking at right now, these are the presets within the actual plug-in itself. In logics case in the sampler, I'm literally looking at just banks of samples that are only within this sampler plugin. But in my case, that's okay because I'm looking for this timpani tremolo crescendo, timpani single strokes. Crescendo would be cool if that's a [NOISE] thing. Let's see what we got. [NOISE] I'm going to record that in and then we'll chop it up and make some cool hit. [MUSIC] Let's quantize that. Because I'm just going to be chopping this up, I really don't care about anything else right now , maybe the velocity. I might want it to hit harder. Let's see. [NOISE] That's cool. I'm going to take that and bounce that down, right-click bounce in place. That will render that out as an audio file. Looking at the waveform, you can see there's that huge sort and then boom that big kit. I want to make something cool with that. I'm just going to delete this original thing. Let's use this to start us off. This will say, "Hey. Something of course is going to happen." [NOISE] Come in again. [MUSIC] Cool. But then when it actually hits, we're going to meet it. It's just the rise and then we'll have some [MUSIC]. Maybe for the start of it, we'll grab it and pitch it up. Let's see that sounds like if it literally go up an octave. [MUSIC] Then we'll add a bunch of stuff to it. We'll take this octave up one, and let's get crazy. I'm just going to add a couple of effects without even listening to them, and then we'll tweak it from there. Let's add our distortion tool we were messing up with earlier. Definitely don't want reverb, you want reverb all the time. That was sarcasm by the way. You definitely don't want reverb [LAUGHTER] sometimes. Let's do large hall. Church tower. Cool. That sounds good. Then I know we're going to need to chop off some low end. I'll just preemptively do that. Then let's compress it back down. Let's just do a ridiculous irresponsible amount of compression. Let's just see that sounds like.This might hurt. [MUSIC] Cool. Let's maybe add some delay to that like [NOISE]. We could do tape delay again. Let's do that. I believe that be an eighth note, I'm pretty sure. [MUSIC] No,16th. Let's go all the way down to 16th. We got our deviation. Not quite as much, more feedback. Let's just mess this up a little bit. It's just not super clean. Nice and stereo. Let's see. [MUSIC] I can't even hear that. Let's bump that. [MUSIC] Put that before the compressor so that the compressor will bring up some of those repeats. [MUSIC] Maybe make these filters not quite as aggressive. [MUSIC] It's like [NOISE]. It's very subtle, but just makes it last a little bit longer. [MUSIC] Then going into this verse, we'll still have that rush coming up, but we won't have the initial hit. We'll tease it and then not be there and everything will [NOISE] [MUSIC]. When it goes in there, I don't want reverb. It looks like it created a bus for us for some reverbs. I'll just turn that off so that everything goes away. Same thing with this. With this app, if we want to layer this so that that feels very abrupt to the ends. I'm going to bounce this whole section down to audio. Let's go back up so that I can cut off the tail at the end. See how on its own right now. [MUSIC] I get some of those delays and the reverb and everything that carries off. Normally that's cool, we like that. But for this, I literally want it to just stop. [MUSIC] Going into reverse. I think that's cool. Then what we can do with that thing that we cut off, we'll use it as an effect earlier on. Oops, we'll open it up and first have it not be muted. We can go. When we double-click on an audio file, we can mess with it a little bit. When we double-click on a midi file, we can edit the notes. On an audio file, we can do a couple different functions one of which is reversing it. If we click this File, sub-menu, we can go Functions, Reverse. It will reverse it based off of the length of the region. I'm just going to make sure that this is a nice even length. I'll make sure that this region is two bars long and then when I reverse it, it will be, boom, we have R2 bar, reverse effect. Let's make another audio track so we can move this around. Let's play with this with that stereo. [MUSIC] That'd be cool. [NOISE] Having something there on that snare hit which is right there. Let me move that so that everything crescendos up to that. You know what, let's just copy and paste the effects we did on this. Copy channel strip setting, there it is. Then we'll paste channel strip setting, and that will take all those same plug-ins that we had on the other channel and move them over to this one. [MUSIC] Bump that up, and I can't hear that. [MUSIC] That's way more than what we want. Let's turn that stuff off. Let's cut off more low-end. [MUSIC] Cool. I want to even more drastic of a rise. Let's trim this back a little bit more. Then I'm going to add a little bit of a fade to. too going to go to the corner and it automatically turns into a fade tool. [MUSIC]. Cool. Then you notice that click at the very end. [MUSIC] Same click from earlier when we were making our sync pad and stuff. What we can do is just add a tiny fade at the end there, just so that it's not zero. If we move it to one or two whatever, then it won't happen. [MUSIC] Because it's just a fade enough that it's not going to click. Then we can use that and we have some more texture in there. [MUSIC] Cool. It's just keeping on doing stuff like that; finding little moments of ear candy and just interest stuff that there's never a dull moment. Something is always happening and that makes it groove harder when there's just stuff that makes sense. It's not just a randomly placed swell. It's swelling into that snare hit which makes that snare feel louder. It's finding ways for everything to flow and move together. That's my philosophy on layering synth sounds. I just want everything to have its own little spot and constantly be handing off to the next little thing. It's super fun to do and it's easy to get lost in and just have it next and on forever and ever. But it's super fun. We got some pretty cool sounds. We should save these to use later on. That's what we'll talk about next videos; how to actually build your own library of sounds moving forward. 9. Saving User Patches: [MUSIC] In this video, we're going to talk about how to build your own library of sounds unique to you in user patches, or user instruments, or whatever you want to call them, your own bank of sounds. Basically, let's go ahead and do that now. We got this lead line that we made earlier in the video about creating leads, and hooks, and stuff, I really like how it turned out [MUSIC], that's cool. I want to save that and we'll use it again in something. What I'm going to do, is I'm going to open my library with Option L, and there's this little button here, it says save. You guessed it, it saves. We are going to click "Save", and now we can put it somewhere. I have my library of sounds that have already been building, this feels like a lead to me even though it could really be a lot of things, you could turn it into pretty much anything, but for now I'll throw it into leads, and I'll call this vocal chop lead. Sounds blue to me. I'm just going to call it blue. Now, I have vocal chop lead blue in there. If I wanted to make another sound and let's say, I know vocal chop lead blue, that thing was so cool. I want to use that again. I'll go into user patches, leads, boom, I have vocal chop lead blue, all ready to go [MUSIC]. Great, awesome. This is just a really quick way of working in the future. A lot of times what I'll do is at the end of a project, everything is sounding great, I love it. It's pretty much done. I'll go through and just look at the stuff that is useful that I would want to use later for something and I'll just save it as a sound. Most of the time it's going to be a jumping off point. Let's say if I come back to this sound, [MUSIC] I might want to turn this into a pattern so I'll add some filtering on it to make it softer [MUSIC] and then maybe I'll add some delay [MUSIC] and then some reverb and now I have a completely different sound. [MUSIC] Functionally is very different, but I'm not starting from square one. I'm starting from something that excited me at some point. It's just easier to make creative decisions when it's like, I don't have to worry about messing up the specific sound of what if I lose it? It's like I know I like it. I've saved it, it's in my library. I can call it back at any time. It makes me feel free to mess with it and break it and just see if I can make it sound cool. Anyways, that's something that I've really only started doing in the last year or two and it's been so helpful for me. Just save everything, save all your sounds. It's all cool. Even if something where it's like this is a cool sound, but I don't understand how it could ever be used in a different song, it's like to use is so specific, still save it. It could be a cool sample to use later on or you use it and process it in a different way or whatever. If you have a sound that you think is great, share it with the class, post the Dropbox link or something. I'd love to check out your sounds. 10. Percussion: If you've been following along in this video, we've got a pretty good solid foundation of a groove and some cool textural synth layers and stuff. Now we're going to try and make the percussion a little more exciting. We still just basically have our original kick and snare and a logic drummer track. There's really not much going on in the way of percussion, so I think that could use a little bit of a facelift. I'm going to loop that same section that we've been working on for a bit, and let's listen to the drums and see what we can think of here. It's cool, I feel something needs to drive it. It's a little floaty and with all the swelling synth reverse stuff which is cool, there needs to be something that is carrying the main beat forward so that those accents to the snare are a little bit more predictable. What I'm going to do is let's start by just muting that, and let's start just programming in like a shaker, a tambourine, or something. This is a good opportunity to take a look at Apple Loops. The built-in loops that come with Logic are fantastic, some of them. There is an insane amount of loops and insane amount of content more than you need. Honestly, more than is helpful sometimes, because there is maybe about 50 percent of it that is just not going to be relevant. But it's there and it's helpful to everything is fuel for some sample or some whatever. You can get use out of everything, but for now I want some percussion thing that's going to be steady. Some steady percussion that's going to help drive the beat forward, I mean kick and snare rhythm. I'm going to go Percussion and I'm going to go, let's see. I have no idea what Celestial Percussion Ensemble sounds like, and the fact that there's key queue to it. That's not what I want. I need something that's going to be very chill and something that is going to be very simple. This is a drummer pattern it looks like. Triangle's interesting. I don't know, let's see. No drummer track. Let me make a drummer track for you. Got a drummer track, let's drag this back up to the rest of our instruments. Just want to make sure that starting on a downbeat. We'll leave it in there from now. I'm not crazy about it. I'm going to mute it, and then we'll keep looking for some other options and see what we can find. This is a good example of something where using a loop for not a loop. I don't want to take this piece of audio and just loop it. I feel like I would get pretty annoying pretty quickly. But there's a little frame in there that would be really great to have as an accent or something halfway through a measure soul apart. That would be really cool to have, especially if we have it sent to some verb halfway through or something. That feels like that should be a snare hit. Yeah, so let's go and find that. That hit is the snare for sure. Let's see what that sounds like. We'll have that be the repeating thing, but only once a bar. We don't need it happening as often as that was doing. Maybe on these times, we don't have the trill leading up to it. We'll just have it start at the extra layer. I'll zoom in and just add a little fade here. In these first two, we get the full movement of it; and on the other two, it's just slightly different, we'll cut off that first little bit. Nice that's cool. We still haven't gotten the thing we originally setting out to do, which is just it's normal [inaudible]. You know what? Let's just. Shaker? This is a good example. I like the sound of the shaker, but it's swung a little bit. Rhythmically is a little bit more relaxed. Instead of. Everything else is pretty straight like with our arpeggiator and everything like that. What we're going to do is we're going to have Logic slice up that loop and quantize it for us. Normally you can only quantize MIDI, but Logic has done some pretty cool stuff to where it will analyze your audio and chop it up for you based on detecting the transients. It does a pretty good job most of the time, sometimes it needs a little massaging. We'll see how it does with the shaker, which doesn't really have super defined transient, so I'm a little curious to see how it does. That process of Logic editing audio like that is called flex in Logic speak. We'll open our Flex menu. It looks like this little DNA thing here, and then we get to pick what algorithm it's going to use. We tell it a little bit about what the audio is and it will use that to determine what it's going to do. I'm going to click Slicing, which is where it's actually going to cut it up. I don't want to stretch it, I want to chop it. It found some points here, and let's quantize that now and let's see what that sounds like. I'm trying to click on for a reference with K. Sounds the same to me. What I'm going do is I'm going to help it out by moving stuff around. See that is that up thing which is a little bit late, I'm just going to drag that a little bit closer. Same thing here. Drag it a little closer. Lets maybe do, how far is that? You only really need two bars or beats rather. Let's make sure this guy is nice and that might be on already. Let's see what that sounds like I think that sounds better. There's still a little bit of artifacting going on in there but I'm not too concerned about that, especially in this style I think it's okay. Cool. We've got that shaker and append that to one side. I don't want it to happen and be like, whoa, that's a cool shaker. It's just meant to add a little bit of extra excitement in width. We'll put that one shaker on one side. Let's copy the track. On this other one, it'd be nice if I could find some either different shaker or a tambourine or something. Oh, look at these tambourines. This tempo here is like the tempo that the loop was recorded at. Logic will match it to your current project tempo but it's still nice to try and find something that it doesn't have to warp it too far. It's powerful, but if you can find something that's close to the tempo, it's going to sound clearer and more transparent which most of the time you want to go for. Not always. Sometimes it's cool to get an obviously synthetically warped sound. That's cool but for now, I want a clean thing. That's just some hits. That's a nice little pattern. It looks like just by looking at this, the majority of the sound is on the left. You can see those two bars there. If we listen to it and straight up and down. It's mainly on the left, I'll lean into that and be like, if you want to be left, cool, go for it. I'll put my shaker over to the right which is a mono signal anyway so it doesn't matter. That way we have our tambourine in the left and the shaker a little bit in the right, adding some width. Nice, I'm trying to click off and loop that with L. Turn the flux menu off so I can see what I'm doing. Cool. Still haven't gotten to our hats which is the original thing that I was going to do. We'll add in some hats very quickly here. Let's add a new instrument track. Let's open our library. Let's go. Let's do some acoustic cats and then we'll just mess them up a little bit. Sound cool. Let's" R" for record. We got the basic rhythm there. I'm just playing around just trying stuff. I have no idea if that'll work. One quick way that you can add some life to your high-hats. As I played that I was just tapping them in all the exact same time, this exact same velocity. Your computer keyboard can't tell how hard you're hitting it. If you're hitting it or not. One thing we can do to bring some life into it is to emulate the feeling of a real person playing a hi-hat. When they play a hi-hat, if you're a drummer, you'll hit the down beats a little bit harder than you will the off one's. You're naturally going on and off. What we can do is mimic that. I'm playing all the same. I'm going to select all of them and copy them forward one beat so now we have twice as many but by me doing that, all the ones that I've selected now are the offbeats. I can just grab my velocity tool, hit escape, and then click the velocity tool, and I'll bring those second notes down. What we have is instead of See? Now we can make it a little more exaggerated. Let's bring them down even more. Let's see what that sounds like in the next. See how those hats bleed into that verse but I want the verse to warp all down to nothing. What we'll do is we'll just L for loop but I only want it to loop one note. I just want one note at the very end. I will hold down control which allows me to be very precise and I'm just going to loop it so that one note, fires. That's a bit more exciting. That feels like a bit more of a vibe. Adding some percussion to keep something steady and just maybe deciding to take some of the looped elements that we were given from larger drummer and giving our own spin on them, doing the same thing. Then we can always bring those elements back into or maybe the last chorus and everything's just very exciting. There's tons of options. I'd love to hear your stuff, what you think about hi-hats and there's so many different ways to do this but that's just a couple of ideas for making your percussion breathe a little bit more. 11. Textures: [MUSIC] We're in a pretty good spot right now. Our groove is established. We got some nice percussion. We have some cool lead sounds and some cool textures and stuff like that. Now, what I like to do at this point in the process, I don't want to add anything apart. I just don't want to clutter too much up, I want to keep it nice and clean and digestible. But at the same time, there's some space that I don't want. It's not intentional open space, it just feels a little bit underdeveloped. I really like to take something that is organic, something that is real, and make some texture out of it that I can really spread around and keep it way out on the sides and way up in the high-end, just to put it in a space. That can be a lot of different things, to mess with some string samples or something, sometimes with room tone, or if you have an iPhone, you can just record places. That is great fuel for samples, just places of stuff, places that you've been, and a coffee shop that you liked the vibe of, or whatever. Just set your phone down and record 30 seconds or whatever, and then you throw a bunch of reverb on it and then you side chain and make some stuff out of it or whatever. It's a cool way just to add some texture and vibe to your track. That's what I'm going to do here, is I want to take something that I can just throw way out to the sides and just have it move with the kick. What I think I'm going to try and do, is do that with some strings. I think that could sound cool, we'll see how it sounds. I'm going to do a new track, an instrument. I'm going to go to my instrument, and this one, I don't want Logic to help me, I know what I want to do. I'm going to go Studio Strings, Stereo, and I'm going to go with the String Ensemble. Let's see how that sounds, just right out of the box. [MUSIC]. Let's get something high [MUSIC], something nice and open [MUSIC]. Let's start with that and then I'll just make a sample out of that. [MUSIC] Cool. Let's quantize that and bounce it in place. Let's call it strings. Now I've got this one string cord [MUSIC]. I want it to move with the kick, the kick happens. I want it to dock, that effect is called a side chain. The way that we do that is we take a compressor, but instead of the compressor being triggered off of the sound that the compressor is actually on, we're going to have it listened to a different sound, and it will affect our string sound based on what we point it to. For our side chain signal, we're going to try and select our kick. We go instrument, and then we have all this stuff from Cinematic Funk, which was the kit that we chose for our drums way back when at the beginning. We'll choose the kick from that. Now, if we watch our strings, the compressor should only dock and actually engage when the kick happens. [MUSIC] You'll can see that it just barely wiggles. What we're going do is make this a really aggressive sound. I'm going to crank the threshold way down, I'm going to bring the ratio way up. This means the compressor will engage faster and more often, and when it does, it'll be stronger, that's what the ratio one is. Auto Gain is basically saying, when I turn that threshold down, it's going to be turning the signal down. Auto Gain basically turns it back up based on how much the compressor is pulling it down. Most of the time that's the helpful thing, sometimes it gets in the way. In this instance, I want to turn that off, because I'm using it as an effect. I'm not really compressing as a tone shaping thing, I'm literally wanting it to be very obvious with it, so I want Auto Gain off. Let's hear where we're at. [MUSIC] That's a little obvious. It is very aggressive, but I think I might want somewhere in the middle, something that just grooves a little bit more with the kick and doesn't feel quite as random. I'm just going to play with the attack and release of the compressor. The attack is how fast it's going to turn it down and the release is how long it takes to let it back up to the original signal. Let's just play with that and see if we can get it to speak in a musical way. [MUSIC]. Cool. I like that movement, I think that's cool. Now any extra effects that I add to this string layer to either widen it or cut stuff away from it or whatever, I want to add that stuff before that compressor, because I want that stuff to also be part of that side chain effect. If you go to add a plugin, but you go slightly above the compressor, you'll see that tiny little blue line, above where it says compressor, that will allow you to actually put a plug-in before that in the chain, which in this case is what we want. I'm going to use that same tape delay that we've been using a lot of. I'm just going to crank up the spread, and just pick some shorter division, and just add some modulation to it, so it's going to warp the pitch and stuff a little bit. Then let's filter out a lot of that low end, so we're really just getting the high stuff on the repeats. [MUSIC] It's just adding a little bit of stuff up there, now let's add some of our distortion too [MUSIC]. We'll add some of that EQ, trim out. That distortion is going to bring up a bunch of that low end and undefined by just random low end. I want to turn that back, because I got plenty low end from the base, I want this to just be stuff on the highs. I've been talking a lot about having this be something that's really wide and off to the sides. One way that you can do that inside of Logic's stock EQ plugin, which is an amazing tool, is this idea of processing stuff in mid/side. Processing something in stereo or in mono is self-explanatory. Mono is right here in the middle, and stereo is, there are two signals of it. Mid/side is a little bit different in that it's still technically speaking two channels of audio, but mid refers to just the signals that are identical in the left and right channel, and side refers to anything that is different between them. If I go in this processing right now, it's on stereo, so it is applying this high-pass filter equally to the left and right channels. If I switch the processing to mid only or side only, now you can do stuff just to those respective channels, which is actually really cool. What this allows us to do, is if we want to widen the sound, we can go to mid only and then just turn it down. What it'll do is just the stuff that is identical in the left and right channels, it will turn that down, but anything that's different, it will stay the same in the left and right. It will just all of a sudden get wider here. Watch, you'll see what I mean. [MUSIC] It sounds strange, it sounds like it's wide but then it almost sudden comes back in the middle again, as it gets really pronounced. It's very bizarre, but when you have a lot of stuff going on, a lot of times, especially in the low-end, stuff just gathers in the middle. It's nice to try and win those competing frequencies and just a lot of stuff in the same space, just to get rid of it and just push it off to the sides, or just pin it completely to the side. If it's really getting crowded and you don't have room on both sides, well, you might have room just on the right, or just on the left, or whatever you can just to get something out of the way. Anyways, switching what channels, something that's processing on, is a really easy way to give each thing its own spot, but I still want that high-pass filter rather to apply to everything, and I I want to turn down just the mids. I'm just going to use two different channels to do this cleanly. There's probably an easier way to do that or more elegant way. I just think this is easy. I have one EQ for the sides and I have one EQ for everything. Just makes sense to me. I'm going to have this be my mid EQ, so I'll turn this off. The only adjustment that this is doing, is just taking the mids down. Let's do four dB, just a medium amount. Then I will do another EQ, this one will be on everything, so the stereo, and this is where we'll put our high-pass filter. We'll listen to that. [MUSIC] Cool. Now, if we just pull this volume back a little bit, and maybe on this one too. Let's just bump up the highs a little bit on everything. [MUSIC] It's really subtle. It should be something that you don't really notice. It just add some extra energy, it just adds some extra scope when the chorus hits, or the hook hits, or whatever the section ends up being. Anyways, that's a little bit about the approach of adding textures and things that just add a little bit of life to the track, that just suddenly move with it and help bring it into a place a little bit more. Next, we're going to be talking about adding automation to things. Really getting things to flow in and out from one section to the next. Stay tuned for that. 12. Automation: [MUSIC] If you've been following this far and you're following along with the exercise files, and you're making your own beats and you're making your own syncs and everything, everything should be sounding pretty good. This step of automating things I feel like is so underutilized. Automating really is what gives things life and what takes things from a loop, and takes things from just a beat that you made to a song. I feel like this is by far the biggest thing that really takes a track to the finish level. It's the automation because it's such a marriage of musical but also engineering sides of the brain. It's really cool. Let's start and let's listen to what we have, and let's try and identify the things that feel a little too static or that feel a little bit like, I appreciate what that does in the mix as far as filling a frequency spot but it's not exciting. It doesn't do it for me, whatever. Try and find the pinpoints. This is again pretty subjective. Everyone's going to have a little bit different opinions on this. I'll go through, listen and I'll say what I'm hearing. [MUSIC] I like the lead, it's cool but it's too similar for too long. For my opinion, I feel like the sound is cool but it needs to move and have different textures or something. The strings are cool but the same thing. I feel like they don't really breath enough. The arpeggiator is cool but I feel it's samey a little bit. That sameness is what I like to use automation to combat. Let's start with the arpeggiator because it's got that delay on it. I think this change will be pretty obvious, and drastic with it. What I'm going to do is I'm going to use my marquee tool to select this arpeggiated section. That will make this its own region so that if I attach any automation to this region, I still have that other region in the verse that is just completely straight, so I can always go back to that if I want. You can open up the automation lanes by pressing A. You just press, "A," all of a sudden everything got dark. That's because now we're looking at all these lanes of automation. By default, it's just volume, and automating just volume is a really useful tool. I mean, you will never work on a project where you're not automating volume, you're going to automate volume. Let's say if we wanted to automate the volume going into the chorus, well, we just put a node right there, put a node right there, a couple of ones there, and just drag this here. Now we got this little dark section going into our pre-chorus. [MUSIC] This isn't even the R. Let's see what this is. [MUSIC] This is the midi for R which I'm not even using. You know what actually? Yeah. Let's do that on the midi because that way that change will be reflected throughout the delays, which actually will be pretty dope. Let's do that. If I want to automate the volume, you just punch in some nodes. Whatever. [MUSIC] You can draw in some cool shapes and stuff that way. Totally valid thing to do. Actually, I'll do that for the stop at the end before I had it bounced to audio and I chopped off the tail. That's one way to do it. Another way is you could literally just have logic, just turn the volume down at that point. I'll just go to that downbeat and zoom in really far. Just to make this nice and precise, you can snap the nodes too certain divisions and stuff. I just like to do it by hand, I feel like this is easier. I know exactly where it is and I'm not having to worry about logic snapping to the right point or anything. It's just easy this way. Let's add in some more creative automation. If I click this little drop-down menu, this will show all the different things that I can automate. This is every parameter inside of any midi effect that you have in there, the instrument itself, any plug-in that is on that track. Those can all be independently modulated by automation. That's a huge amount of flexibility. What I'm going to do is go to ES2 or sync. I'm going to go to the mix and filter and I'm going to go to this cutoff here, this LPF Cutoff that stands for low-pass filter cutoff. That's that sound of that thing when that's higher and that's letting more of that brightness come through. That's a higher filter. The filter is filtering less of the signal. Then when it's lower, it's filtering more of the signal so it sounds darker. What I want to do is just maybe play around with automating that, opening that up, closing it, that sort, and see if that adds some life to it. Maybe we'll do that in response to the drums. Maybe like do, do, do, do, going up to that first snare hit, that can be cool. Let's see if that works. [MUSIC] This is not the filter. We are messing with the wrong filter so let's go to the other filter. Because we don't care about that one. We want this one. That's the one we're using? Yes, indeed. We'll put a note there. We have it go up to that first snare hit, which is I believe here. [MUSIC] We got all those delays happening after these filter moves, right. As it goes, doo, doo doo, if it gets brighter, those tails after that will be brighter. It's further smears together and I think at this point in this stage, that's what I'm looking forward to do. [MUSIC] Maybe another one there are, no, we keep it. Let's see. [MUSIC] Right there. I like that move. I think that's cool. Right now, that automation is on the track as opposed to the region. I can have it on the track, and that way, if I have this loop going wherever it is, that loop is independent of the automation that is on the track level. I can actually put that automation on the region itself. However many times I loop that little r, that automation move will always happen at the same point. Sometimes you want it on the track level, sometimes you want it on the region level. Depends on the part. For this because I envision this as part of the whole way that the song is flowing and grooving, I want this on the region level. What I'm going to do is I'm going to take this automation, copy it, Command C for copy. I'm going to swap over to region. I'm going to place my play head there and paste it. Then it will show me the lane there, and now I can do my move that I want to do. There's ways to convert your track automation to region automation. Simpler, I like to draw it in just to be sure. Then let's maybe do one more move at the end here, maybe create a little room for it or something for other stuff at the end of the meter. Let's see how. Got rid of her, There we go. [MUSIC] That's a good example a track automation versus region automation or volume cutoff at the end. That should be track automation? Because I don't want it to do that at the end of every time that loop plays, I only want the volume to turn down at the end of the section. You'll be using both, and that's part of the vibe. Cool. [MUSIC] Let's address that lead now. It'd be cool if it was like some stuffed to help spread it around. What we're going do is a send for that. That's basically where I'm going to take on part of the signal and send it to a different channel for processing, and I can turn that send on an off so that I can have a dry version of signal going while the reverb for this other thing is going that unaffected. That'll make more sense in a second. I'm just going to send this to a brand new bus. Let me go down here to one that's not being used. On this bus, let's throw some reverb, let's throw our space designer on there then a compressor after the fact just to make it nice and low fi and smashed. Now I'll take on this automation thing. I can go down to main and I have this send one right here. We can even make that more clear if we label this bus as lead effects. Now, this has essentially turned into a reverb amount. As we turn this up, it's sending more to that reverb, which actually I should make sure that the drive is all the way off on here. Good. Now listen to the lead, and we'll choose some points for it to throw to that reverb. [MUSIC] Like on that one would be cool, just have this burst of sound. [MUSIC] Feel like that one did it too, let's say that sounds like maybe that first one too. Really into it. [MUSIC] Maybe on both of those that can stay on but to a lesser extent. [MUSIC] Cool. That sounds good. Let's listen to all those things together. Those couple little automation things. Let's see if we made a better or not. [MUSIC] Nice. I think that flows a lot more. I think that breathes more. Obviously, this is still pretty mixed and everything, so all those varying levels and stuff will all get tightened up in the next. Let's talk about mixing all that stuff in the next video, Let's get this thing tightened up. 13. Mixing: [MUSIC] Now our song is at a pretty good spot to where we can start mixing it. Now, mixing, honestly, this should be, if not its own course, its own series of courses or its own website with courses about courses about mixing. There is so much that could be said about mixing. I'll try and keep it brief. But basically, there's a lot of crossover between producing, mixing, mastering. A lot of these terms get thrown around. It's important to remember producing is what we've been doing so far. Everything we've been doing so far about creating sounds, and creating beats, and all that stuff, all of that is producing. Mixing is where we're taking that stuff that is produced, all those different parts, and making it fit together. Where the confusion happens is a lot of times producers will mix their own stuff. I'll mix my own stuff very often because it's easy. I have the project, I have everything open, I'll just mix it myself. But I still think it's helpful to think of producing and mixing in separate stages because it's really easy to get lost in the weeds of tweaking a synth sound. But when you just commit to this is the sound, now I'm going to mix it, and I'm going to just get it to play nice with this other sound. I'm not going to open it up and try and mess with the synth parameters anymore. We're like, okay, this is the sound, let me try and make it fit. Those limitations about treating mixing as a process is really helpful. You get to more creative spots and make more creative decisions when you're focused on only mixing, and then only producing or whatever. I'm saying that now, there's tons across over all the time. It totally happens and it's totally okay. But with all that said, let's take a listen to the mix of this section that we've been working on, and let's try and identify some problems with it. [MUSIC] Right off the bat, I like the automation we did to the synth with those reverb synth and stuff, but when we're doing that, the level of that lead line isn't as consistent anymore because you have these fluctuating reverb things, so it would be nice to level that stuff out so that it's more consistent. The other thing is the relationship between the kick and the bass, I feel like could be stronger. That could almost be said of every mix ever. [LAUGHTER] The relationship between the kick and the bass could be stronger. That's just always true. But I think it's something worth looking at. Then what else? [MUSIC] Yeah, I feel like the snare could use a little bit more life as well. I like how choppy and short it is, but I just want the drums in general to feel a little bit bigger. All these synth layers and stuff that we're adding are very spacious and big, and the drums feel like they don't totally match that. They're not punching through all that stuff enough. Let's try and solve some of that stuff. The synth one is going to be easy. What we'll do is we will take these. You'll notice also in this template, all this other stuff down here, all of these other channels that aren't doing anything. I have these set up to act as subgroups. To basically take all of my synths and bus those together into a synth group, I'll take all of my drums and bus them to a drum group, I'll take all of my bass and bus those to a base group, so on and so forth. The reason for doing that is because in the mix stage, it's really helpful to treat things together. If I add a little bit distortion to all the base equally, it glues them together because it's that same effect being applied to the base across the board, and it just makes it feel like one sort. Same thing with the synths, I don't want when someone listens to this to identify there's that synth, and that synth, and that synth. It should just feel like it just feels like layers, and it's hard to tell the difference. Same thing with drums. I don't want to be like, oh wow, look at those three different layers on the snare. No, it just sound like one huge snare. Those things, when you sub staff together and group stuff together, helps achieve that effect where it just feels more cohesive, it feels more like a mix. That's what we'll do with this synth line. We'll take the output of this, and we will bus it to the same group. I'm going to send, and actually we can keep all this even visible on the arrange window. If we create a track stack with something, which I'll just grab this other guy, if you right-click on a group of tracks, there's this Create Track Stack option. If we click that, it'll ask us if we want it to be a folder stack, which is just literally a folder of different things, there's no plugins, or routing, or anything that it's doing. It's literally just an organizational tool, very helpful. There's also Summing Stack, which will actually create a bus and some things to that bus, and then we can apply effects to that and turn it up and down, and automate it. That's what I'll hit. I'll hit ''Summing Stack.'' Now it created this bus for us. I'll call this synth lead. I want to take the reverb of that synth and the synth itself, and compress them both together. What I'll do is I'll take this send, I can even click 'Read,'' and it will put it on the arrangement window, which organizationally makes it easy. I just like to see what I'm working on. We'll change this output. Bus 35 is where it's going, we'll put it in bus 35. There you go. Now our synth lead is sending signal to that reverb track, which is then sending it to the synth bus. Now if we solo this, we'll hear them both together. [MUSIC] Which is cool, and we can adjust the level of the reverb after it's being sent to it. Really, really helpful stuff. I'm going to turn this down a little bit, and I'm just going to add some compression to the whole thing. These are just different flavors of the compressor. This Studio VCA, Studio FET, they just work a little bit different, add a little bit different distortion to it. You just play around with them and find the ones you like, and there's different situations for different ones. [MUSIC] I'm going to take the attack down a little bit, so it lets a little bit less of that [NOISE]. It's punching a little bit hard. It's cool, I like it, but I just want to control it a little bit. [MUSIC] Yeah, cool, nice. That's good. Then since I have this opportunity, since I'm here, I'll just also again cut off some low end, just in case there's anything that's being added by that compressor, or the reverb, or anything. I don't want any of that extra super low stuff to be getting in the way of the bass of the kick. I'll, just around 100 hertz, just cut all that stuff out. [MUSIC] I'm going to mute the vocal for now and just focus on the mix of the instruments itself. Vocals are another beast. Let's talk about these drums. [MUSIC] I don't like that kick anymore. This is one thing that I'll do. Even if I'm just mixing something, a lot of times, mixers will sample, replace things, or add samples to something. If you have a drumbeat, add in a sample just for the kick. Actually, you know what? Let's make that its own video. This has been an introductory to mixing and adding some compression, and grouping things together. In the next video, we'll talk about drum mixing, and making things just hit really hard but still control them. Yeah, let's do that. 14. Drum Mixing: [MUSIC] In this video we're going to talk about mixing our drums, specifically getting them to hit really hard, still control them, and make sure they play nice with the base and the other instruments. One thing that's really common in mixing is swapping out a sample, mainly like kick and snare samples because as the mix develops and instruments get added and effects get added and other stuff, something may have sounded great in the beginning with nothing else around but when other stuff gets added, it can't cut through anymore and so you need to find a different approach or something, super common. In this case, I'm just going to try and find a different kick sound for sure and then depending on what we find I might swap out the snare also. I'm just going to create a new instrument track. I'm not going to use the sampler. I'm going to press "Option L" to get our library open and I'm going to look for electronic drum kit. I want something that's just going to hit a little bit harder. Let's do this. Let's do big room. As long as this isn't too EDM pro step we should be good. [MUSIC] Yeah, that's what I was afraid of. [MUSIC]. Cool. Let's adjust this. This is logics drum machine designer which is basically just a bunch of different plugins all working together and it hides it and puts it under the hood and just gives you some controls that as I turn this drive for example, actually there's a different plug-in that's running that drive control. It's pretty cool. I can use this to shape what I want the sound to be. [MUSIC] Let's turn on that drive. [MUSIC] That's ridiculously huge. [MUSIC] It might be [LAUGHTER] a little much but I think let's see how it sounds. I'll copy this down and just mute our snare channel. [MUSIC] Cool, nice. I think a snare could actually work pretty well with that but it needs to just be a little bit more, it's not like snappy enough so I'm going to use a compressor not because I want to turn it down necessarily but I'll use a compressor because I want to try and shape the sound. I want to use it to add more click to the start of this. I'm going to have a really long attack but I'm going to compress it a lot, so it's going to add some of that tk sound to it. [MUSIC] Yeah, cool. Now let's turn that up, make sure it's closer to the other stuff. [MUSIC] Nice. Let's bring our original other stuff back. I liked this, logic drums at the beginning. But I'm going to turn the fills down now that we have that other section. Let's just do that. [MUSIC] Cool. We got a good kick sound, got a good snare sound, now we're going to just send all those drums to one bus, to one group, and we'll process them all together just so that they breathe in and out a little bit together. It just has a really, really cool sound. Let me close that. Let me grab all my drums here. Let's see, am I forgetting anybody? Yes, you. The percussion, I'm going to leave out of that. I don't know if I want to smash all that together. I'm going to open my mixer Window with x so I can see where all the stuff is going and I'm going to send it to my drum bus that I already have created. Now, what's nice about my template is I have some stuff for this routed already so I already have the drum bus itself, I have a copy of that in parallel, so if we want to add something and blend it in we could do that. Then just some drum verb that's going on lightly. [MUSIC] Let's add a little bit of compression to the drum bus as a whole. Let's do something that is nice and subtle. I don't want to do too much. [MUSIC] That's cool. Now, I'm going to add a bunch of distortion on this parallel bus and then we'll blend it in a little bit. On its own, it's going to sound completely ridiculous. [MUSIC] Oh, hey, my drummer track isn't going there. Thank God I have it going. [MUSIC] Yeah, it's just ridiculous. [LAUGHTER] It sounds cool. We have our clean drums and then we'll blend that in. [MUSIC] Nice. Cool. That's feeling really good to me. Last thing we'll do is we will add a little bit of that side chain that we did to the strings but we'll do that to the base. We'll have the base really follow along with the kick. Most of the time with an 808 style base you wouldn't do that. You would just have them all hit at the same time and you just have the kick literally like 10 dB louder than everything else. But for something where it's a little bit more EDM-focused, I think it's nice to create a little bit of room. We'll do that in the same way that we side chain to the kick before, only now it's not kick cinematic funk. Now it is instrument 13. No, it's big room kick. Yeah, so we'll do that. We'll go instrument and we'll use our big room kick. There you go. [MUSIC] Nice. Now that that's moving a little bit more I want to make that a little clear. I know I said not to open up the synth parameters when you're mixing but I'm going to open up the synth parameters when I'm mixing and just brighten up the filter because I need it a little more. [MUSIC] Nice. One thing we could do too, man, this is going long, I'm sorry guys, but it sounded really good. I'm going to copy this base and on this other layer, I'm going to cut out all the low end. The low end is coming from our first layer of the base. Then on this one, I'm going to add a chorus. I know you're not supposed to do that but I think it sounds really cool especially if I'm cutting all the low-end out, it's not going to phase because the only phasing is going to be in the high end which is like cool phasing. [MUSIC] We got this going on. Make sure it's nice. [MUSIC]. Cool. Now we add our normal base back in. [MUSIC] That sounds pretty good to me. I mean, I'm pretty happy with that mix. Now that we got a cool mix that we like, let's finally master this puppy and export it and save it. Well, we've been saving but you know what I mean. [LAUGHTER] Make it so that we can actually show people what we've been working on. That's coming up in the next video. 15. Exporting and Mastering: [MUSIC] You've done it, you've created a cool dope beat. Now, we have to share that with people. We're going to go over just some quick mastering and exporting and bouncing is what Logic calls it. Yes, some basic things like that. Basically, when we're listening to our music right now inside of Logic, we don't really hear it clipping, even if we go above zero. If I play this you'll see, it will actually go above zero. [MUSIC] See, I went to one dB above zero, but I didn't hear any audible distortion. There's a lot of very complicated reasons why that is. All that to say, it's really important that we make sure that the level of what we're sending out does not clip so that we don't export something and then listen to it, and then it's way quieter than everything else that we listen to. This is why, is because it has to be turned down until it doesn't clip. There's things we can do to help prevent that clipping and make sure that what we're sending is as loud as we intend it to be. The most common one of those is just a limiter. We can go and go to this adaptive limiter in our dynamics section. What this is going to do is set a ceiling to where, any volume that goes above this, we're just going to cap it off, it's not going to go above that. Sometimes this can add a certain amount of distortion or what sounds like distortion because the wave is being smashed down. There is a limit to what you can do. It's not like you can just turn things up a million times. We'll just play with it and see how loud we can get it responsibly. [MUSIC] I'm starting to hear the kick break up just a little bit, so I'll back off a tiny bit and I think that's pretty good. I'm okay with it sounding pretty aggressive. I feel like that's pretty appropriate for just the sound of the song, it should feel angry. This output ceiling, it's at 0.0 and you think, I want this thing as loud as possible without clipping, zero. Let's go. But there's something weird that happens when files get converted. When you're exporting this, and you're exporting it as an MP3, what happens when it is rendered to an MP3 file from a wave file, or you have this, it's not anything, it's just the project, when it creates a file, that encoding actually adds a little bit of gain. It actually makes it a little bit louder when it becomes an MP3. We need to compensate for that loudness adjustment on our end. We'll actually make this negative 0.1 when we export that, that way, when it becomes an MP3 and that tiny little bit of gain is added, it doesn't then all of a sudden turned into clipping. What would actually happen is, that tiny little bit of gain would be added and then it would turn it down so that it doesn't clip. It actually makes it quieter. By having this negative 0.1, it's actually louder than zero. Because it's allowing for that gain to happen, so it doesn't actually have to turn it down. We're talking like tiny amounts of gain that are differences. But it can be the difference between something sounding professional or something sounding amateur. It's these tiny little differences, but like 100 of them over time make something sound professional. This is just one of those things that there's a lot of subjectivity in music. This is something that is objective, you don't have to mastering your tracks but you should be making sure that nothing is going above zero, they shouldn't be clipping because they're going to sound unintentionally quieter than what you mean for them to be, or worst-case, they're going to distort and they're going to clip. Unless you're trying to do that as an effect, which is valid but we want to be in control of how we're doing that. Anyways, that's a very quick bread and butter thing of mastering, of just making sure that our signal is appropriately loud for what it should be. I'm going to just going to save this just because it's a force of habit. Now we're going to export our file. The way we export is, remember the cycle thing that we've been using, this also tells Logic what length of the file we want to send is. Logic will just go on forever, that this project can extend as long as we drag these loops out for. What I want to do is, I've been working on a song, I think it's cool, I want to send it to my buddy and maybe have him lay down a vocal on it. What we're going to do is I'm going to mute this vocal. I'm going to maybe give him this much section. I want him to have this little bit of a base and this little verse section have this little hook. Then this verse section we'll loop. I'll drag the bars to that length and then I'll go to File, Bounce, not export, bounce and then we'll do that. A quick difference between bounce and export. Bouncing is telling Logic, hey, I want you to print this as audio, just render this out as an audio file. Either this specific region or this specific section of the song or whatever. Export is taking certain resources in your song and sending them to either go into another project or go into another session or whatever. For example, like export, I can take all the tracks and render them out. I can take all these different Final Cut Pro files. That's more like the technical exporting of things. Bouncing is like, my track is done let me print it. That's bounce. Pretty much every single time we're sending something out of Logic, we're going to be bouncing. I'm going to bounce this project, or this section rather. Now we get some file types. I always print a wave no matter what and I will also always print an MP3. Because when sharing a mix with a client or somebody, nobody wants to reference from a wave file. Even if they think they do, they don't. Because it's way too big compared to an MP3 file, which you can be in spotty service driving, and you just load up your phone and that MP3 file will start playing instantly. These file sizes are so small and the quality difference is just so negligible when you're talking about a 320, MP3. If you're talking like this bit rate, if you go to like a tiny bit rate, that will sound like garbage. Make sure that you just have the highest bit rate as an MP3 and it will sound awesome. It'll sound indistinguishable from a wave file. I'm sure some people can tell the difference, I can't. I always just send MP3s and use those as references at the same time, I'll also have waves. If I'm going to deliver that to a master or send that off to Spotify, iTunes or SoundCloud or whatever, I'll still use a wave file for that. But just we're referencing sending stuff to people, I decide to use an MP3 and it's always plenty fine as long as it's 320. Okay, we're doing 320. We'll do an offline bounce, which basically means that it will just render it out instead of playing it back in real-time. I'll hit, "Okay." Now it's automatically put this in my bounces folder. I'll just say, yes, one more time, 2020 Solo Ray, and this is version one. Bounce. Then it'll think about it real quick and then put it in the bounces folder. Then you can take that file throw wherever you want. Throw it on SoundCloud, text it somewhere. If you have been following along with these exercise files, I would love to hear what you've come up with. Toss that sucker on SoundCloud and post a link. I would love to check it out or just reach out to me on social media, send me a message, I would love to hear what you come up with. Way to go guys. We just have one more video talking about just some stuff that I think would be great for you guys to have as far as awesome plugins and samples and stuff. Go ahead and check that out. 16. Next Steps: At some point in your career as a producer, artists, musician, as amazing as logics sounds are, and as many of them as there are, you're probably going to outgrow them at some point, and want to find a way to distance yourself from the pack or just some more material to feed your sampling or whatever. There are some amazing plugins, and instruments, and stuff available online. I just want to tell you about a couple of my favorite that I think would be super, super helpful to have. Probably the number 1 most valuable, I think free plugin that you could get is by Spitfire audio, Their whole labs range. Calling this a plugin is a little bit insane because it is gigs and gigs and gigs of free content that is so so good. Everything from like atmospheric pads to like beautiful soft pianos. This is one of my favorite pianos. It's their free soft piano, I use it in almost everything. [MUSIC] It's just giving this stuff away. It's amazing. There's tons and tons of stuff way more than your hard drive can handle. Go check it out and download everything that you can, it's really good. For drum sounds that sound is a fantastic drum company, they do different drum recordings and samples and stuff. They have a free, I think it's rotating every month. They do different grab bags of a sampling of their different sample packs. Fantastic sounding samples. Honestly I use that sound drums all the time. Go pick up their free stuff, it's awesome. The other thing is just splice. Splice is a marketplace for sounds where you pay a monthly subscription, and you can just download a drum sound as you want. They have a pretty generous free trial, and every sound that you download from there is yours to keep after the fact. What you should do is even if you don't want to pay any money, you should still make an account, use up the free trial, and download as many sounds as you can, and then just keep those sounds and you have them to use forever. Just get a bunch of kicks, get a bunch of snares, whatever, just fill out your roster, get some dope sounds and then you have them for life. There's a ton of great stuff too, like Native Instruments is another really good company that has a ton of free plug-ins. Lots of great sense, lots of great leads, and bases, and stuff. The last thing I think you should do is just sign up for a bunch of newsletters. Honestly, sign-up for all the mailing stuff, and your inbox will get flooded, which most of the time is annoying. But every once in a while, these companies give away plugins for free. It does happen. I've gotten several sound toys plug-ins for free, I've gotten several waves plug-ins for free. They give the stuff out. It's as annoying as it is sometimes to hear about this month summer sale. Again, it does pay off. You will get a free plugins every once in awhile, it helps just to stay subscribed to it. Thank you guys so much for watching this course. I hope you learned a little bit about producing, and making sounds, and putting your own spin on them. I would love to hear the stuff that you guys come up with. If you exported your truck, go ahead and upload it to SoundCloud and shoot me a link, tag me in social media. I would love to hear what you guys come up with. Stay tuned for more courses, and can't wait to see you guys again soon.