Mono mixing logic pro x free download.Why Mixing in Mono is the Best Tool You Have For Achieving Great Mixes

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Hi Chris. What do you think about a Waves NX plug-in? I have no good room acoustics and speakers, and I bought Waves NX for mixing in headphones. By the way, what can you say about mixing in mono with headphones?

Hey Roman, I personally was not enamored with Waves Nx plugin. I think testing out mono mixing on headphones is good practice as well. You can always turn mono off occasionally and check to see how your mix is working in Stereo. Hi, Chris. Got a mono-question which I hope you can answear. I tried to mix tremolo onto a guitar track.

Did it by sending the guitar signal to a bus with a tremolo effect. It worked great in stereo, but when I tested the mix in mono, the tremolo almost vanished. Had to turn up the guitar signal to the tremolo bus, but when switching back to stereo the tremolo was of course way too loud.

But then I tried adding tremolo by using the pedalboard plugin with tremolo directly on the guitar track, and it worked fine, both in stereo and mono. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. You can record or edit a sound from your computer. It is easy to handle and gives great results.

It is another iOS option to choose from. GarageBand is a reliable DAW that is used widely around the globe. The app has a large library of a host of music to choose from. You can mix your sounds or polish them. It allows you to export a track and has a powerful interface that you will find to be accessible and interactive. Use Ardour to record your sound, mix it, or trim it. The app is available on both iOs and Windows platforms. And there is nowhere you can go wrong with this app.

Thank you so much, you are awesome!! I saw your book on amazon. I'll definitely check them out! Aug 6, AM. Edgar's advice is correct. This would allow you to monitor iTunes in mono, to hear how well professional tracks will sum to mono.

Might also be worth using during mastering, if your mastering software doesn't offer a summing feature. Mono is your friend. May 12, AM. Question: Q: Check my mix in mono? Logic Pro X More Less.

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Mono mixing logic pro x free download. Mixing in Mono – Why it’s Essential

 

L' and '. R' extensions such as those generated by Pro Tools. Having spent many a happy hour trying to locate the missing left part of a stereo file in my old Digidesign days, the ability to use interleaved files is mostly a blessing.

It does, however, mean you can't directly treat the left and right sides of a stereo recording with separate effects, for example — though there are ways around this limitation, as we'll see later. Because Logic Pro's Pan control only adjusts the balance between the left and right channels, you can't use it to define exactly where the 'phantom' centre image should be located or how wide the stereo spread should be.

For more precise adjustment, it's better to use the Direction mixer plug-in. The plug-in's Direction knob places the centre of the audio at the required position in the stereo field, while the Spread slider changes the width of the stereo image — though you'll have to be careful of phase cancellations when setting it to zero to create a mono track.

I like to use the Direction Mixer with Hammond organs, as it allows me to accurately position the recording in the stereo field, while keeping some of the stereo sweeping effect that gives the Leslie speaker its distinctive sound. This allows you to give listeners the impression that the organ was recorded in a fixed position in the stereo field, much like it would be if you recorded a whole band with a stereo microphone setup where the organ was off to one side.

The beauty of this technique is that you always get a solid mono centre image from the Mid microphone, along with complete control over the centre position and spread of the stereo image and, as an extra bonus, it also sums to mono without phase issues. This plug-in effectively centres the left Mid channel and splits the right Side channel into two, routing one to a hard left pan, the other routing hard right with its phase inverted.

These two channels are then mixed with the Mid channel to produce a true stereo image. If you've captured the Mid and Side microphones to two separate mono tracks, you'll have to pan the Mid to the left and Side to the right and route them to an Aux with a Direction Mixer on it. Don't get the panning mixed up, as the left channel must always be the Mid channel for the Direction Mixer to work.

To get this to work, you'll need to set the first Channel Strip to Input Monitor Only by clicking on the 'I' icon to get the audio through to the second audio track which you'll need to mute or set to no output to avoid hearing the audio twice.

I often use a portable recorder that only creates interleaved stereo files, but sometimes I want to treat left and right channels separately.

To the name of the track, Logic appends the number of the recording. The playhead jumps to the beginning of the selected region and playback starts. If you are not happy with your new recording, you can delete it and start over. In the Finder, the audio file is moved from inside the project package to the Trash. The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary.

This alert appears only when you try to delete a recording made since you most recently opened the project. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear. You will keep your recording so you can experiment with recording additional takes in the next exercise. Recording Additional Takes When recording a live performance, musicians can make mistakes.

Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take.

To preserve multiple takes in Logic, you can record new performances over previous ones. The new recording in red appears to be recorded over the previous blue audio region. Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder.

The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below. By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface.

The take folder now contains three takes. It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. Recording in Cycle mode allows you to repeatedly record a single section, thereby creating a new take for each pass of the cycle.

When you stop recording, all the takes are saved inside a take folder. The Guitar track is automatically record-enabled. The playhead jumps a bar ahead of the cycle for a one-measure count-in, and starts recording the first take.

When it reaches bar 9, the end of the cycle area, it jumps back to bar 5 and starts recording a new take. Logic keeps looping the cycle area, recording new takes until you stop recording. Record two or three takes. All the takes recorded in Cycle mode are packed into a take folder.

The Guitar track is automatically disabled for recording. To keep the last take of a cycle recording, make sure you stop the recording more than one bar after the beginning of the cycle area.

The take folder closes. Doing so allows you to record several instruments at once, placing each instrument on a separate track, so that you can later adjust their volumes and stereo positions or process them individually.

You first create the desired number of tracks, making sure that each track is assigned to a different input number that corresponds to the input number on your audio interface where the microphone is plugged in.

In the following exercise, you will record two mono tracks at the same time, which you can do using the built-in Mac audio interface. To record more than two tracks at once, you need an audio interface with more than two inputs.

The exercise describes recording an acoustic guitar on Input 1 and a vocal microphone on Input 2. When creating multiple tracks, selecting Ascending automatically sets the inputs or outputs to ascending settings. In this case, you will create two tracks, so the first will be assigned to Input 1 and the second to Input 2. Make sure that you took precautions to avoid feedback, as explained at the beginning of this lesson; this time you will create record-enabled tracks. Two new tracks are added at the bottom of the Tracks area and automatically assigned to the next available audio channels Audio 8 and Audio 9.

Their inputs are set to Input 1 and Input 2, and both are record-enabled. The multitrack recording starts, and after a one-measure count-in, you see the red playhead appear to the left of the workspace, creating two red regions, one on each record-enabled track. You now have a new blue-shaded audio region on each track.

You can use the same procedure to simultaneously record as many tracks as needed. If the tracks already exist in the Tracks area, make sure you assign them the correct inputs, record-enable them, and start recording. Punching In and Out When you want to correct a specific section of a recording—usually to fix a performance mistake—you can restart playback before the mistake, punch in to engage recording just before the section you wish to fix, and then punch out to stop recording immediately after the section while playback continues.

This technique allows you to fix smaller mistakes in a recording while still listening to the continuity of the performance. At any time, you can open the take folder and select the original recording. There are two punching methods: on the fly and automatic. Punching on the fly allows you to press a key to punch in and out while Logic plays, whereas automatic punching requires you to identify the autopunch area in the ruler before recording.

Punching on the fly is fast but usually requires an engineer to perform the punch-in and punch-out while the musician is performing. Automatic punching is ideal for the musician-producer who is working alone. Assigning Key Commands To punch on the fly, you will use the Record Toggle command, which is unassigned by default. Click the disclosure triangle next to Global Commands.

The Key Commands window lists all available Logic commands and their keyboard shortcuts, if any. When looking for a specific functionality in Logic Pro X, open the Key Commands window and try to locate the function using the search field. A command likely exists for that functionality that may or may not be assigned. When Learn by Key Label is selected, you can press a key, or a key plus a combination of modifiers Command, Control, Shift, Option , to create a keyboard command for the selected function.

An alert indicates that the R key is already assigned to the Record command. You could click Replace to assign R to Record Toggle, but then Record would no longer be assigned to a keyboard shortcut.

Control-J is now listed in the Key column next to Record Toggle, indicating that the command was successfully assigned. Punching on the Fly You will now use the Record Toggle key command you assigned in the previous exercise to punch on the Vocals track the bottom track in your Tracks area.

When punching on the fly, you may first want to play the performance to determine which section needs to be re-recorded, and to be ready to punch in and out at the desired locations. Position your fingers on the keyboard to be ready to press your Record Toggle key command when you reach the point where you want to punch in. The playhead continues moving, but Logic is now recording a new take on top of the previous recording.

Keep your fingers in position to be ready to punch out. The recording stops while the playhead continues playing the project. On the Vocals track, a take folder was created. It contains your original recording Take 1 and the new take Take 2.

A comp is automatically created Comp A that combines the original recording up to the punch-in point, the new take between the punch-in and punch-out points, and the original recording after the punch-out point. Fades are automatically applied at the punch-in and punch-out points.

You will learn more about fades in Lesson 3. The take folder disappears, and you once again see the Vocals 01 region on the Vocals track. Punching on the fly is a great technique that allows the musician to focus on his performance while the engineer takes care of punching in and out at the right times. On the other hand, if you worked alone through this exercise and tried to punch in and punch out while playing your instrument or singing, you realize how challenging it can be.

When working alone, punching automatically is recommended. Punching Automatically To prepare for automatic punching, you enable the Autopunch mode and set the autopunch area. Setting the punch-in and punch-out points in advance allows you to focus entirely on your performance during recording.

First, you will customize the control bar to add the Autopunch button. The ruler becomes taller to accommodate for the red autopunch area.

The autopunch area defines the section to be re-recorded. You can define the autopunch area with more precision when you can clearly see where the mistakes are on the audio waveform. Logic zooms in, and the selected region fills the workspace. Here we have a vocal recording in which the two words around bar 3 need to be re-recorded.

Listen while watching the playhead move over the waveform to determine which part of the waveform corresponds to the words you need to replace. You can drag the edges of the autopunch area to resize it, or drag the entire area to move it. Red vertical guidelines help you align the punch-in and punch-out points with the waveform.

Playback starts. When the playhead reaches the punch-in point the left edge of the autopunch area , the Record button turns solid red and Logic starts recording a new take. When the playhead reaches the punch-out point the right edge of the autopunch area , the recording stops but the playback continues. A take folder, Vocals: Comp A, is created on the track. Logic zooms out so you can see the entire take folder filling the workspace.

Just as when you punched on the fly in the previous exercise, a comp is automatically created that plays the original recording up to the punch-in point, inserts the new take between the punch-in and punch-out points, and continues with the original recording after the punch-out point. When a marquee selection is present, starting a recording automatically turns on the Autopunch mode, and the autopunch area matches the marquee selection. Recording Without a Metronome Musicians often use a tempo reference when recording.

In most modern music genres, when live drums are used, drummers record their performance while listening to a metronome or a click track. When electronic drums are used, they are often recorded or programmed first, and then quantized to a grid so that they follow a constant tempo.

The other musicians later record their parts while listening to this drum track. Still, some musicians prefer to play to their own beat and record their instrumental tracks without following a metronome, click track, or drum track.

When recording audio in Logic, you can set up Smart Tempo to analyze a recording and automatically create a tempo map that follows the performance so that the notes end up on the correct bars and beats. Subsequent recording or MIDI programming can then follow that tempo map, ensuring that all tracks play in sync. An empty project template opens, and the New Tracks dialog opens. To make Logic analyze the audio recording and create a corresponding tempo map, you should set the Project Tempo mode to Adapt.

The orange color indicates that those parameters will be affected by a new recording. Get ready to record. Because the Project Tempo mode is set to Adapt, the metronome does not automatically play unlike the Project Tempo mode set to Keep mode.

You no longer need it! Try playing something that has an obvious rhythmic quality to it, such as a staccato rhythm part in which you can clearly distinguish the individual chords or notes. During the recording, Logic displays red vertical lines over the recording when it detects beats. An alert offers to open the File Tempo Editor so you can preview the recording and adjust the positions of the beat markers that Logic created while analyzing the file.

In the Global Tempo track, you can see multiple tempo changes. In that case, perform this exercise again, making sure you can hear a strong rhythmic reference in your recording. For example, try tapping a very basic beat with your fingers in front of the microphone.

You have recorded a rubato performance without listening to a timing reference. Logic automatically detected your tempo changes and applied them to the project tempo. Some settings do not affect the quality of the audio recording but can alter the behavior of your project during recording or change the audio file format used for recordings.

The next few exercises will show you how those settings affect the audio recording process and explain how to modify them. Setting the Count-In The count-in is the time you have to prepare yourself and get in the groove before the actual recording begins. The take folder is deleted. Until now, every time you pressed Record, the playhead jumped to the beginning of the previous measure so you could have a four-beat count-in. However, sometimes you may want to start recording without a count-in.

The playhead starts from its current position, and Logic starts recording right away. At other times, you may need a longer count-in, or you may want Logic to count in for a specific number of beats. The audio region is removed from the workspace, but the audio file is still in the project folder. The playhead jumps two bars ahead to bar 3, and playback starts.

When the playhead reaches bar 5, Logic starts recording. Setting the Metronome By default, the metronome is turned off during playback and automatically plays during recording. In this exercise, you will change the default behaviors using the Metronome button and later go into the Metronome settings to adjust its sounds. The metronome is on. The metronome is off. The metronome is back on. You now have inverted the default behavior: the metronome is on during playback and is automatically turned off during recording.

The Metronome Settings window opens. There are settings for two metronomes: Audio Click also known as Klopfgeist, which is German for knocking ghost , which you are using, and MIDI Click, which is now off. Under the name of each metronome, you can adjust the pitch and velocity of the notes playing on each bar and beat.

The metronome sounds a little low compared to the drum loop on track 1. In fact, you can hear it only when no drum hit occurs on that beat.

At the bottom of the Metronome Settings window, you can drag a couple of sliders to adjust the sound of the metronome. The metronome sound changes, and you can start hearing a pitch. When a project already contains a drum track, you may need the metronome only during the count-in to get into the groove before the song starts.

You hear the metronome for one measure, and then it stops playing as the song and the recording start at bar 1. It places a number of samples in an input buffer for recording and in an output buffer for monitoring. When a buffer is full, Logic processes or transmits the entire buffer. The larger the buffers, the less computing power is required from the CPU.

The advantage of using larger input and output buffers is that the CPU has more time to calculate other processes, such as instrument and effects plug-ins. The drawback to using a larger buffer is that you may have to wait a bit for the buffer to fill before you can monitor your signal.

That means a longer delay between the original sound and the one you hear through Logic, a delay called roundtrip latency. Usually, you want the shortest possible latency when recording and the most available CPU processing power when mixing so that you can use more plugins. The Audio preferences pane opens. When choosing a different audio device, make sure you click Apply Changes to update the Resulting Latency value displayed. The latency is now shorter. If your Mac has a multicore CPU, you can see a meter for each core.

You can monitor the amount of work each core is doing. When the CPU works harder, you might hear pops and crackles while the song plays. When playing the project becomes too much work for the CPU, playback stops and you will see an error alert.

Deleting Unused Audio Files The Project Audio Browser shows all the audio files and audio regions that have been imported or recorded in your project. During a recording session, the focus is on capturing the best possible performance, and you may want to avoid burdening yourself with the decision making that comes with deleting bad takes. You may also have several unused audio files in the Project Audio Browser that make the project package or folder bigger than it needs to be.

In this next exercise, you will select and delete all unused audio files from your hard drive. The audio data in the audio file stays intact, and the regions merely point to different sections of the audio file. You will learn more about nondestructive editing in Lesson 3.

If a Delete alert appears, select Keep and click OK. The regions are removed from the workspace, but their parent audio files are still present in the Project Audio Browser. All the audio files that do not have an associated region in the workspace are selected. While the region plays, a small white playhead travels through the regions.

Once you feel satisfied that the selected audio files do not contain any useful material, you can delete them. An alert asks you to confirm the deletion.

The audio files are removed from the Project Audio Browser. In the Finder, the files are moved to the Trash. You are now ready to tackle many recording situations: you can record a single track or multiple tracks, add new takes in a take folder, and fix mistakes by punching on the fly or automatically. You know where to adjust the sample rate, and you understand which settings affect the behavior of the software during a recording session. And you can reduce the file size of your projects by deleting unused audio files—which will save disk space, and download and upload time should you wish to collaborate with other Logic users over the Internet.

What two fundamental settings affect the quality of a digital audio recording? In Logic, where can you find the sample rate setting? What precaution must you take before record-enabling multiple tracks simultaneously? In Autopunch mode, how do you set the punch-in and punch-out points? Describe an easy way to access your Metronome settings. Describe an easy way to access your count-in settings.

In the Project Audio Browser, when selecting unused files, what determines whether a file is used or unused? The sample rate and the bit depth 2. Make sure the tracks are assigned different inputs. Adjust the left and right edge of the autopunch area in the middle of the ruler. Control-click the Metronome button, and choose Metronome settings. The CPU works less hard so you can use more plug-ins, but the roundtrip latency is longer. An audio file is considered unused when no regions present in the workspace refer to that file.

Goals Assign Left-click and Command-click tools Edit audio regions nondestructively in the workspace Add fades and crossfades Create a composite take from multiple takes Import audio files Edit audio regions nondestructively in the Audio Track Editor Align audio using the Flex tool Audio engineers have always looked for new ways to edit recordings.

In the days of magnetic recording, they used razor blades to cut pieces of a recording tape and then connected those pieces with special adhesive tape. They could create a smooth transition or crossfade between two pieces of magnetic tape by cutting at an angle.

Digital audio workstations revolutionized audio editing. The waveform displayed on the screen is a visual representation of the digital audio recordings stored on the hard disk. The ability to read that waveform and manipulate it using the Logic editing tools is the key to precise and flexible audio editing.

In this lesson, you will edit audio regions nondestructively in the workspace and the Audio Track Editor, and add fades and crossfades. You will open a take folder and use Quick Swipe Comping to create a single composite take. Even as your ability to read waveforms and use the Logic editing tools develops, never forget to use your ears and trust them as the final judge of your work. Assigning Mouse Tools Until now, you have exclusively worked with the default tools.

You have also used keyboard modifiers such as Control-Option to choose the Zoom tool, and changed the pointer to tools such as the Resize or Loop tools.

When editing audio in the workspace, you will need to access even more tools. In the Tracks area and in various editors , two menus are available to assign the Left-click tool and the Command-click tool. Previewing and Naming Regions During recording sessions, helping the talent produce the best possible performance often takes priority over secondary tasks such as naming regions.

In this exercise, you will assign tools to the mouse pointer. You will use the Solo tool to preview the audio regions on the new Guitar track, and apply the Text tool to rename them. You can hear a region play back in solo mode by placing the Solo tool over the region and holding down the mouse button. In the control bar, the Solo button turns on, and the LCD display and the playhead both turn yellow. The region is soloed, and you can play back starting from the location where you placed the Solo tool.

You can also drag the Solo tool to scrub the region. You can change the playback speed or direction by dragging the Solo tool to the right or to the left. You can hear that the guitar is playing single, muted notes, so you will give it a descriptive name based on those notes. If you hold down Command when your pointer is over a region, it changes to the Text tool.

A text field appears, in which you can enter a new name for the region. You can hear some dead notes at the beginning of this take folder, and about a bar of funk rhythm guitar in bar You will edit this take folder later in this lesson. In those regions, the guitar sustains chords, so you will name the regions after the chord names. Instead of moving back and forth from the workspace to the tool menus in the Tracks area menu bar, you can press T to open the Tool menu at the current pointer position.

A Tool menu appears at the pointer position. This key command will save you a lot of trips to the title bar. You can also Command-click a tool in the pop-up Tool menu to assign it to the Command-click tool.

The Tool menu opens and closes, and the Left-click tool reverts to the Pointer tool. Both tools are back to their default assignments: the Pointer tool for the Left-click tool and the Marquee tool for the Command-click tool. Editing Regions in the Workspace Editing audio regions in the workspace is nondestructive. Regions are merely pointers that identify parts of an audio file. When you cut and resize regions in the workspace, only those pointers are altered.

No processing is applied to the original audio files, which remain untouched on your hard disk. As a result, editing in the workspace provides a lot of flexibility and room for experimentation because you can always adjust your edits at a later date.

In this next exercise, you will edit the Muted Single Notes region on the Guitar track. In the Snap menu, a checkmark appears in front of the modes you choose. The help tag shows that the region length is now 4 0 0 0. You will now repeat the simple motif in the last two bars of the Muted Single Notes region a couple more times, from bars 9 to 13, where the synthesizers play.

The Command-click tool is now the Marquee tool, and the Left-click tool is the Pointer tool. This is a very powerful tool combination when editing audio in the workspace. You can select a section of an audio region with the Marquee tool, and move or copy that selection using the Pointer tool. The section you selected with the Marquee tool is highlighted. The playhead jumps to bar 7 and plays the selection. It corresponds exactly to the two-bar pattern of the guitar you are going to copy.

Option-dragging a marquee selection automatically divides, copies, and pastes the selection to a new location regardless of region boundaries. In this example, the two-bar guitar pattern is copied and pasted at bar 9. Remember to release the mouse button first and the Option key second. When the mouse button is released, the original region is automatically restored. The guitar plays a melodic riff with high notes when it first comes in, and then it plays more discretely throughout the following sections, leaving room for the two synths to shine.

Still, you can bring back a little bit of the excitement just before the breakdown at bar This last region brings back a welcome variation to the monotonous pattern that the guitar has been playing for the past five bars, returning in time to lead to the break in the next section. Now you know how to select the desired material within a region and move or copy that material anywhere on the track.

Comping Takes In the previous lesson, you recorded several takes of a guitar performance and packed them into a take folder. Now you will learn how to preview those individual takes and assemble a composite take by choosing sections from multiple takes, a process called comping. Comping techniques are useful when you have recorded several takes of the same musical phrase, each with its good and bad qualities.

To browse Academia. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. PDF Pack. Peachpit Press is a division of Pearson Education. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the prior written permission of the publisher.

For information on getting permission for reprints and excerpts, contact permissions peachpit. For more on Distant Cousins, visit www. All rights reserved. Available on iTunes. For more on Televisor, visit www. The projects and footage supplied with this book may only be used for educational purposes in association with the lessons included.

Any other use, including but not limited to incorporating footage into another project, duplicating or distributing footage, is expressly forbidden and requires explicit permission from the copyright holders listed above.

While every precaution has been taken in the preparation of the book, neither the author nor Peachpit Press shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark.

All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. This book is a comprehensive introduction to professional music produc- tion with Logic Pro X.

It uses real-world music and hands-on exercises to teach you how to record, edit, arrange, mix, produce, and polish audio and MIDI files in a professional workflow. Each lesson in this book is designed to support the concepts learned in the preceding lesson, and first-time readers should go through the book from start to finish. However each lesson is self-contained, so when you need to review a topic, you can quickly jump to any lesson.

The book is designed to guide you through the music production process as it teaches Logic. The lessons are organized into four sections. Lesson 1 starts you out with an overview of the entire process. Lessons 2 and 3 dive deeper into typical situations you may encounter when recording from microphones or other audio sources. Lessons 4—6: Working with Virtual Instruments Lesson 4 describes how to produce a virtual drummer performance using the new Drummer and Drum Kit Designer features.

You will choose the right drummer for the project, swap a drum kit with the kit of another drummer, edit the patterns, change which kit elements the drummer plays, shape an interpretation, and precisely control where fills are placed. Lessons 5 and 6 immerse you in using software instruments. Varispeed will allow you to work with your project at differ- ent tempos.

Make sure that you know how to use the mouse and standard menus and commands; and also how to open, save, and close files. If you need to review these techniques, see the printed or online documentation included with your system.

If you have not yet installed Logic, you may purchase it from the App Store. When your purchase is completed, Logic Pro X will automatically be installed on your hard drive. All the instructions and descriptions in this book assume that you installed Logic Pro X on a Mac without any legacy Logic media, and that you downloaded all the additional media except for the Legacy and Compatibility content. An alert then offers to download additional media content.

Depending on the speed of your Internet connection, the download process may take several hours. After you save the files to your hard disk, each les- son will instruct you in their use. When you have the code: 1 Go to www. Logic Pro X Files contains two subfolders, Lessons and Media, that contain the work- ing files for this course.

Make sure you keep these two folders together in the Logic Pro X Files folder on your hard disk. If you do so, your Mac should be able to main- tain the original links between the lessons and media files.

At the beginning of Lesson 1, you will be instructed how to show advanced tools and select all additional options. If you have changed some of your Logic Pro X preferences, you may not realize the same results as described in the exercises.

Keep in mind, however, that when you initialize preferences, you lose your custom set- tings, and later you may want to reset your favorite preferences manually. A confirmation message appears. Your preferences are initialized to their default states. Using the U. Key Command Preset This book assumes that you are using the default initialized key command preset for a U. So, you may find that some of the key commands in your Logic installation do not function as they are described in this book.

A Save As dialog opens. Your custom shortcuts can now be recalled as any other key command preset. Your new preset appears at the bottom of the Presets sub-menu. An Open dialog appears. Logic will now respond to the key commands as described in this book. Screen Resolution Depending on your display resolution, some of the project files may appear different on your screen than they do in the book.

When using a low display resolution, you may also have to zoom or scroll more often than instructed in the book when performing some of the exercise steps. In some cases, you may have to temporarily resize or close an area of the Arrange window to complete an action in another area.

Developed by experts in the field and certified by Apple, the series is used by Apple Authorized Training Cen- ters worldwide and offers complete training in all Apple Pro products. The lessons are designed to let you learn at your own pace. For a complete list of Apple Pro Training Series books, see the ad at the back of this book or visit www. Upon completing the course material in this book, you can become a certified Apple Pro by taking the certification exam at an Apple Authorized Training Center.

Successful cer- tification as an Apple Pro gives you official recognition of your knowledge of Apple pro- fessional applications while allowing you to market yourself to employers and clients as a skilled, pro-level user of Apple products. For those who prefer to learn in an instructor-led setting, Apple offers training courses at Apple Authorized Training Centers worldwide. These courses, which use the Apple Pro Training Series books as their curriculum, are taught by Apple Certified Trainers and bal- ance concepts and lectures with hands-on labs and exercises.

The goal of the pro- gram is to offer Apple customers, from beginners to the most seasoned professionals, the highest-quality training experience. For more information, please see the ad at the back of this book, or to find an Authorized Training Center near you, go to training.

Resources Apple Pro Training Series: Logic Pro X is not intended as a comprehensive reference man- ual, nor does it replace the documentation that comes with the application. Other documents available in the Help menu can also be valuable resources. They provide the foundation for the tempo and the groove of the piece. For recording sessions in which the instruments are not tracked at the same time, drums are usually recorded or pro- grammed first, so that the other musicians can record while listening to their rhythmic reference.

In Logic Pro X, you can speed up the process by taking advantage of the new Drummer feature along with its companion software instrument, Drum Kit Designer. In this lesson, you will produce a virtual drum track to start producing a new imaginary indie-rock song. His performance is placed in Drummer regions on a Drummer track.

You edit the performance data in the regions using the Drummer Editor. The virtual drummer also has his own drum kit loaded in a software instrument plug-in called Drum Kit Designer. A new project opens along with the New Tracks dialog. A Drummer track is created along with two eight-bar Drummer regions. At the bot- tom of the main window, the Drummer Editor opens, allowing you to choose a drum- mer and his drum kit, and to edit the performance in the Drummer region s that are selected in the workspace.

The track is named SoCal, which is the name of the drum kit used by the default virtual drummer, Kyle. In the first region, the drummer starts with a crash cymbal, and plays a straightfor- ward rock pattern.

At the end of the first four measures, he plays the simplest of fills a single tom hit , followed by a crash cymbal that accentuates the first downbeat of bar 5.

At the end of the first Drummer region, a drum fill leads into the next section. In the second region, the drummer switches from the hi-hat to the ride cymbal, and plays a more complex pattern: The kick is busier, and the snare adds ghost notes very quiet hits between beats. As in the first region, the drummer plays a fill at the end of the first four measures, followed by a crash.

He plays another fill at the end of the region. If necessary, con- tinue zooming vertically by dragging the vertical zoom slider or pressing Command- Down Arrow until you can see two lanes in the Drummer region. Crash cymbal Stronger hi-hat Softer hi-hat Snare Kick The Drummer region displays drum hits as triangles on lanes, roughly emulating the look of drum hits on an audio waveform.

Kicks and snares are shown on the bottom lane; cymbals, toms, and hand percussions are on the top lane. Now you can read the Drummer regions. In the next exercise, you will listen to multiple drummers and several performance presets. Later, you will zoom in again to see the Drummer regions update as you adjust their settings in the Drummer Editor.

Choosing a Drummer and a Style Each drummer has his own playing style and drum kit, and those combine to create a unique drum sound. In the Drummer Editor, drummers are categorized by music genres. Genre pop-up menu Drummer Character card Drum kit 1 In the character card, click the drummer. All the drummers from the Rock category are displayed. A dialog explains how to retain region settings when changing the drummer. The Drummer Editor shows you the settings for the selected Drummer region.

A yel- low ruler allows you to position the playhead anywhere within the region, and you can click the Play button to the left of the ruler to preview the Drummer region.

As in the Tracks area, you can also double-click the ruler to start and stop playback. Play button Playhead The selected region plays in Cycle mode, and the cycle area automatically matches the region position and length. The selected region is soloed—indicated by a thin yellow frame—and the other region is dimmed.

Soloing the region helps you focus on the drums when you have other tracks in the project. You are looking for a drum- mer with a simple, straightforward style that more appropriately serves the song. In the Tracks area, Cycle mode is automatically turned off, the dimmed cycle area returns to its original position and length, and the selected region is no longer soloed.

Drummers from the Alternative category are shown. When you click a preset, the region settings update and you can hear another perfor- mance from the same drummer.

You can Option-click a new drummer to select that drummer while keeping the cur- rent drum kit. You are now ready to customize the performance. They may ask the drummer to play behind or ahead of the beat to change the feel of the groove, or to switch from the hi-hat to the ride cymbal during the chorus, or to play a drum fill in a specific location. In Logic Pro X, editing a drummer performance is almost like giving instructions to a real drummer.

In this exercise, you will play a drum region in Cycle mode as you adjust the drummer settings. Next to the presets, an XY pad with a yellow puck lets you adjust both the loudness and complexity of the drum pattern. To undo your most recent Drummer Editor adjustment, press Command-Z. After positioning the puck, you must wait for the region to update update time var- ies depending on your computer. If you drag the puck constantly, the region will not update. As you position the puck farther to the right, the drum pattern becomes more com- plex; and as you move the puck toward the top of the pad, the drummer plays louder.

As he plays louder, he opens the hi-hat and start playing rim shots hitting the skin and the rim simultaneously for accent. You can still hear a lot of syncopation on the kick drums. The drummer now simply alternates kick and snare on every beat. Listen to the hi-hat: It is currently playing eighth notes.

The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9. You should still see a fill at the end of the region. Each time you adjust a setting in the Drummer Editor, the selected region is refreshed and the drummer plays a new subtle variation. Dragging the Fills knob by a tiny amount is a quick way to refresh a region.

You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. On the drum kit, the hi-hat is now dimmed, while the cymbals are highlighted in yellow. The drummer no longer plays the hi-hat, but instead plays a ride or crash cymbal in that region. You can hear the second region in Cycle mode.

The drummer is playing the ride cym- bal on every eighth note. For a more powerful chorus, you instead want him to play crash cymbals on every beat. You now hear crash cymbals on every beat. Even for a chorus, the beat is a little too busy. You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern. You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus. They are the two most important building blocks of the song that you will now start arranging.

Arranging the Drum Track In this exercise, you will lay out the whole song structure and continue editing drum regions for each section, still using the two Drummer regions you edited for the verses and choruses. Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song.

The global tracks open, with the Arrangement track at the top. Also Control-click the Signature and Tempo tracks, and hide them. The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships. An eight-measure arrangement marker named Intro is created at the beginning of the song.

By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song. An eight-bar marker named Chorus is created. You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. A four-measure intro will be long enough, so you can resize the Intro marker before moving it. In the workspace, the Drummer regions move along with their respective arrangement markers.

As with regions in the workspace, you can Option-drag a marker to copy it. Option-drag the Verse marker to bar 21, right after the chorus. The Verse marker and the Drummer region are copied together.

The Chorus and the Drummer region are copied together. The song is taking shape. You will now finish arranging the song structure with a bridge, a chorus, and an outro section. As you place the last three markers, continue zooming out horizontally as necessary. A Verse marker is created after the last chorus. The song structure is now complete, and you can add Drummer regions to fill out the empty sections.

When I first started mixing, I was always trying new things and techniques, and the mixing process was always different, even though some things were always the same. Now I fdee update my Logic Pro mixing logic pro x mixing pdf free to my needs, and I update it when I buy a new plugin, and I use it for every single mixing project.

For example, I always had to change the sample rate, control bar display, and ruler settings. After some time, I started using bus groups on my mixes, and I realized that I was spending a lot logic pro x mixing pdf free freee preparing my mixing projects and trying to get the best reverb sound for the material.

   

 

Logic Pro X Tutorial: Get Mixing in a Powerful DAW - Produce Like A Pro.

   

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