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Click here to Download. Log In Create Account. You can move regions to a different point in the same track, or move them to another track of the same type. Remix FX is another terrific facet of Logic Remote, designed to work across the main stereo bus and provide DJ-like sonic treatments.
Rounik Sethi on Nov 12, in Logic Pro 0 comments. Deleting tracks no longer causes the track header to narrow. The technical storage or access that is used exclusively for statistical purposes. This article serves to help you understand the concept region inspector logic pro x free gain staging and how to apply it when mixing in Logic Pro X. Gain staging is level management. It comes from the analogue days where it was essential to get a good signal-to-noise ratio whilst preventing clipping distortion.
More info on that. Gain staging was also needed to make sure that the level going into each hardware unit was optimal. Using pre-fader metering in Logic Pro X is essential to practice gain staging. However, if we remain in post-fader mode defaultwe may be unaware of how hot those levels were before the fader adjusted them. For example, if the level shows dBFS, but our fader is at dB, that means the level before fader region inspector logic pro x free at 0dBFS, which could be giving the plugins we use on that channel a very hard time.
So with pre-fader metering on, we know the level of the tracks even with the fader all the way region inspector logic pro x free. From here we can do some simple pre-mix housekeeping. As early in the signal flow as possible. Attaining the ideal level in your audio tracks is as easy as using the clip-gain feature in the region inspector.
I would play the track through, get a rough idea of the level at which it is peaking, and simply apply the maths to the gain control in the inspector with all of the regions on that track selected.
See below. I recommend you look into using the K-System, or for a very quick and easy way to do this, I wrote a blog on how to do this simply using your ears and the Spotify app for Mac. Now that you have calibrated your monitoring, it will be near impossible to overcook the mix as anything louder than dBFS RMS will be loud to your ears, forcing you to practice decent level management. The solution is as simple as loading a Gain utility Logic stock plug-in on the master bus Stereo Out and raising the volume of the mix from there.
You should be able to get it loud enough that you can hear it comfortably whilst preventing the channel from clipping. At this point, your mix is well balanced and the level on the master bus is close enough to 0dBFS without clipping.
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. New patterns were automatically created for each new Drummer region. Editing the Intro Drum Performance In this exercise, you will make the drummer play the snare instead of the toms. The Drummer Editor shows its settings. Throughout this exercise you can click the Play button in the Drummer Editor to start and stop playback, or you can navigate the workspace by pressing the Spacebar Play or Stop and the Return key Go to Beginning.
The toms are dimmed to indicate that they are muted. In the Intro region, the toms disappear from the top lane. In the Intro region, snare hits appear next to the kick hits on the bottom lane. To play the kick in only the first half of the intro, followed by the kick and snare in the second half, you will cut the Intro region in two. The region is divided into two two-measure regions. When a region is divided, the drummer automatically adapts his performance, and plays a fill at the end of each new region.
Notice how the crash disappears from the first beat of the following region. Even though it is in another region, the crash is actually a part of the fill. The snare plays every beat. Now the drummer plays rim clicks at the beginning of the first Intro region, and hits the snare a few times at the end. The drums play a straightforward beat with a fill at the end. Now you will open the hi-hat to add energy to the end of the intro. The drummer plays the snare on the first eight beats, and then a basic rock pattern with a very open hi-hat adds energy.
At bar 5, a crash punctuates the fill at the end of the intro. The straightforward groove continues in the Verse section with the hi-hat a little less open to leave space to later add a singer. Editing the Bridge Drum Performance In a song, the bridge serves to break the sequence of alternating verses and choruses. Often, the main idea of the song is exposed in the choruses, and verses help support or develop that statement.
The bridge can present an alternate idea, a different point of view. For this fast, high-energy indie-rock song, a quieter bridge in which the instruments play softer will offer a refreshing dynamic contrast.
Playing softer does not mean the instru- ments have to play less, however. In fact, you will make the drums play a busier pattern during this bridge. When pressing the Spacebar to play a section, you can use Cycle mode to ensure that playback always starts at the beginning of the section.
The drummer plays at the same level as in the previous sections, but he plays more here. You need to bring down his energy level.
When you click the toms, the hi-hat is automatically muted. Aside from the kick and snare, the drummer can focus on the toms, the hi-hat, or the cymbals ride and crash.
Kyle is now playing sixteenth notes on the toms, which create a mysterious vibe simi- lar to tribal percussions. You will make him switch from the toms to the ride cymbal in the second half of the bridge to brighten things up.
While the second Bridge region is still selected, you can adjust the cycle area. The toms are muted, and the drummer now plays the ride cymbal. However, the groove still seems to be missing something. You can hear rim clicks.
He plays a crescendo, thereby building up energy to lead into the next chorus. Kyle plays slightly ahead of the beat during the bridge. You will be editing the feel of both Bridge regions simultaneously. At the top of the Drummer Editor, the ruler, Play button, and playhead are hidden because multiple regions are selected. You can now adjust the settings of all the selected regions at once. Settle on a Feel knob position more toward Pull to realize a reasonably relaxed groove.
Kyle now starts the bridge with a busy pattern on the toms, and then moves on to a bell sound on the ride. He uses restraint, hitting softly and behind the beat, with a slight crescendo toward the end. The quiet and laid-back yet complex drum groove brings a welcome pause to an otherwise high-energy drum performance, and builds up tension leading into the last two sections.
That Chorus region was created when you populated the track with Drummer regions earlier in this lesson. The drummer now plays the crash, and this last chorus is more consistent with the previous two choruses. The drummer plays a loud beat, heavy on the crash, which could work for an outro. You will, however, make him play double-time twice as fast to end the song in a big way.
Playing double-time at that fast tempo makes the sixteenth notes on the kick drum sound ridiculously fast.
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