Intro to Apple® Logic® Pro

Lesson 8 of 31

Building a Track Part 3

 

Intro to Apple® Logic® Pro

Lesson 8 of 31

Building a Track Part 3

 

Lesson Info

Building a Track Part 3

Needs a shaker let's cool it was to put a couple last elements in here then we're gonna talk quickly about the mix to do are sort of introduction to a mix here and gets going so I'm gonna reset us one more time we're saying percussion, huh? And of the form of a shaker shake it okay thank you rufus can't stop grooving now um what else could we tell but we still got we got one hundred eight with narrow this down a little bit that says african life yeah, a lot of animals represented here in the balloon I would go to, uh the world world teo narrow it down a little more you got it. We're going world uh there you go trying with that kid let's grab one over right then we can search through the family then tried to searching through that way. Okay. All right, we got white. Where do you want us to start with on the head at the beginning read the beginning with the beginning can you got so we're gonna drag it over coach says one one builds our new track for us get out of this if you go back to o...

ther screen set where we got some more room here turn on our cycle and put it right in the beginning so we don't have to listen to other incidents just the drums first okay, they were they were going to get the idea of some mixed stuff. You're right away. I've got a lot of stuff happening right in the middle of pop it over. That should put it more in your speaker over there. Right? You guys okay? There's that first one told down option click this. Listen, listen, the second fund baraka's a subtle difference. Okay, but it's still cuba you guys were thinking busier ones, huh? First look here's another time it's pretty much the same thing. I'm both of them remember if there was just part of it that we liked I could have used that re sized tool brought it down to just the part we wanted even I still can who want to go in a little bit further detail with it. Let me zoom out a little further so we can I'm looking at the quarter notes waken going it will let me go any further. We could stretch those down to a different size that we stop a second cut that out about that. All right, let's loop this guy not to go with it all the way through, I'm assuming and bring it down a little bit let's make sure it sounds good with our base and our organ, all right, anything else that needs to happen anywhere in this little bit anyone else besides michael rubin ross have a nine? Yeah, uh it's a mutiny. Alright, let's do it. It's fine decision about luke police, please. Yeah, um let's say you make a rest in the middle of it. So with the last one, if it was like you got it yeah, if it was in the middle of it, would you be able to loop it so you could have the rest in there? Or do you have to keep putting it back into the situation and then cutting it halfway through that's exactly what I'm so there's no way for me to kind of go in here, highlight and see what this is. What I'm going to show you, we're going to be able to do is, you know, normally would say copy it over leave that break in there, but what this will do for us, this is kind of cool thing, and if we decide raped before it picks up how I will break you up just a quick one or full bar or something, I think just probably like a quarter rest in each bar, okay, I'm oh, so each bar yeah, yeah, that's what I'm talking about if you took a if you just took like a court arrest out of aa each bar, we'll be able to copy it over and over and over again that one that one becomes a little bit more difficult for us so you know, if I put in there I've highlighted it with the marquis tool gonna click on it and it sees it getting my own little one there now whenever I bring it back it wants to keep it continuous, okay? So it wants to bring it through however what we can do and sort of build it. So now this one has that and there's another one right here with it and we could do some other adding options we're gonna get into like once we get one with court arrest make another one maybe with it next to it that has the same thing we're going to learn that we can go in with that same idea of shift clicking multiple things and start copying that writes I'm gonna hold on option grab it so I make sure I'm in the right spot here option and we're both a little selected move that thing on over to the next one where it's at okay, now I'm gonna have four of them move that over a cz well sweet, you know are creating new apple loop with it with that little gap in it as well? Good, great question great idea, sweet that's something I think I put actually wear to throw like a delay on to that maybe like faded out instead or like he was saying we could put a delay on it yeah, yeah absolutely right let's get right into it let's take a look at that mix and put that one in there. Let's, go look at our mixer which I have on screen set three here we said that we have some controls we haven't really started looked at the shadow than talking about the failures having to get a little bit of pan or balance control moving stuff left to right turning up down left right channels of stereo tracks but inserts popular thing with logic the effects right? That's one of the coolest things with it is compared to some of the other dea w's out of the box there's a ton of stuff for us to play with. So I wanna look here going to give us the wider look in the next we look first thing we can go right to there and start putting on like an echo or a delay. Um what do you guys think? It's just some kind of simple delay that kind of fills out little spotter? Okay, let's take a look at we're going to take a look at all of the most of these effects processes and look at some stuff let me show you something you'll probably go from simple to really crazy really fast in a good way is we can start by putting this delay designer right on top of its now since it's on this insert means it's going to fix put everything through that on that region there so all their sacre sounds going to go through this process or what we got the other side is gonna be a mix of the two of them pretty much equal we're not even gonna notice so much what's going on you know with that uh little gaps that were happening with him sir seems to still play because the delays still working with it right? But if we go back here fact that was done blame there we go back and we start changing some of these settings some of the different things with it we'll be able to go in simple and let's do alternating pan quarter note and I can turn the wet single down a bit then you get just a little bit of a shadow of that went out with him down to we can make this a really fun shaker by I didn't tell him different stuff to it now you know not so natural but lots of fun but I think we'll go with something a little bit more on the basic simple side there was not much of a mixture of that went just enough in this sort of shadow over that little bit that we have good ideas guys alright gonna save up thanks again first thing concepts it wants to get with this favors size volume how much is in there compared to the other one's got a big organ happening no good hammond organ happening with that one a little bit loud sometimes break donald now's a good time to start getting into the idea of shaping some of the sounds making sound with a different something I want to do is take a look also that's something we have going on one of these tracks at the very top says it's setting the channel strip setting where top it says that's the setting for the liverpool base if I went down here would see there's actually a bunch of different ones in here in this came from the jam packed section base and that's the setting that had the each you the compressor and the actual instrument itself with it so that's for an instrument setting but even with our audio ones like this percussion we should be able to go in here and look for some different ones and find stuff like when and drums and percussion studio percussion shaker we look at that it's going to bring in some stuff that would normally be therefore so unique you that's got some of the low enrolled out of it a little bit because it doesn't need all the low frequency stuff also a compressor which you make it so that it's going to be a bit more beefy for us but more in the mix sort of the little stuff will go there also it's got this cool uh, frequency spread it would make it sound a little bit wider and then a limiter so we get it aloud about this thing's gonna be much fuller sounding remember what we had before so we have these sightings as well we can go in and change things about it. Um take a look at what one of the other ones would have done for us here logic trumps for custom studio percussion short sacre very much simple things suffer they put a gate on it looks like so they're basically cutting off turning off and it's not a certain volume of shake its cut it off so that it's gone from either really on to really ofthe same sound if I bypassed that shaker is still there but we can totally change the way that it's going to sound for us which is cool again and settings that we already have force we don't need to bring in all those different plug ins. And just like I've said with a couple things loops and with uh sort of pre sets are templates the best one is going to be your so this is definitely we can save two if we change this to include, you know daniels delay that we had before we could bring that in and then say now let's go back up to that channel strip that will go in here and what we could do is say that channel strip setting put your name on it put your initials next to it so that you know that it's yours and it's there every time you go back is this all the time with some of these loops but also when we get into mixing other things like vocals if you always used the same compressor and cue and effects we always go back to those as well the question came in from chris mitchell at what point does everyone's music start to sound the same with everyone using the same apple loops you know, great question way started this whole sort of I deal with it the whole concept of this section with it is sure it's stuff that it's there but we've looked at all the different ways that we can change these by you know the mixer itself the different effects changing the pitch, changing the tempo I mean that's huge we look at our song right now I guarantee you someone could do this exact same thing but when you change it a little bit in tempo that's not the same song anymore so I'm going to go down with it that's a simple change but when you do key changes out all these other things on you know, you really going to get original and also we need to remember this is just a tool for us there's another asset that we have for us so maybe we're just using shakers, but we're creating all the other stuff you know, if you gave me a thousand recordings of the best precaution is playing shakers and then intermix the apple loops I wouldn't be able to tell you which ones were the apples which one were the professional? I mean, you know, it's one of those instruments where there's just no offense to shaker players, but you know, there's, not much diversity and the sounds of them, I don't think we need to worry about it, but you know, a lot of things you'll start to sound like everyone if we use in the same way we use them ourselves, we're going to be really creative and custom with him, okay, we got a couple in here, I mean, and the other thing is that the difference from the legacy you could see that it went from, like ten thousand to nineteen thousand and then you can make your own loops as well, right after I think that I guess your imagination would be really the only limitation at that point coli within each of all of these apple loops of stuff you can then kind of go in and altar what's within that loop absolutely infinitely right yeah way we're talking you know we're just baby steps in tow editing and creating stuff when I start talking about us editing midian audio over the next couple of days we need to remember we can come back to these apple loops and do the same thing so we're going to be able to get even more creative with him on one thing not to forget because we did it early on is you know we did that that base here we're worried that we're going to sound too much like paul mccartney or like everyone else doing it which is a concern I'm not I'm not making light of that uh remember I'm gonna go in here change the instrument you know waken with anything so ah but it's the same performance so yeah I think you know a valid concern but the simple answer be creative that's pretty cool okay question from another question from any v h fifty one fifty how do you slow down a region so not the tempo so not the temple but just get the actual region again. This is one I think I put a friend ofthe here has been asked great questions a couple of times but that's definitely when we get out of the loops we're talking about audio which normally doesn't do that we're going to talk about flex in the flex too and we're absolutely going to demonstrate that that's great. We'll know it's fine to just say that we'll be doing that in future. That's fine. They they'll watch one day. Okay? And then they went on to ask if he copies a loop. Now, all plus drag doesn't retain these new parameters the tuning or revert to the parent files. Okay, so, great question. I understand fully what's going on there? Uh, we're talking about I believe back a little bit when we changed by highlighting that one and we transposed one of them and I showed it. Now I should have pointed that out a little bit better when I copy this again, I'm copying the parent file that I have changed so it's, you know, a copy of it different from what the original dragged in one is, but when I copy this one by holding on to this one rather than the other ones, I am taking everything with that one, the option drag her out as they said, um, when we move something over, we're not just copying the parent and the aliases that we made of it, but we're taking all the changes that we made with it is well now it's its own. So when I go back to the original here and I was set to plus six and I changed that let's. Just go to four. Just so be obvious. And I look at the one that I copied just a moment going six it's still there. So it's, you know, going to copy everything it had, but a soon as it lands or I let go of the mouse it's its own thing with the settings of the one previous. And I'm free to change it again. That's also very good. I'm glad we got tio. All right. And we have just a couple more recap questions before we go to break, daniel wanted to know, can you change the chord without the transpose option? Can change court without the transport off option is absolutely supposed, teo, be able to change the key. I don't know about the cord of, you know something, but meaning like, is it a major or minor? That was more difficult with the appaloosa, but we're able to change. Yes, with thea, um, signature bar those different loops as we bring them in. Okay, cool. And then one final question from curio. So can you have the channel parameters displayed as a visual graph below the way form and tweak it? I'm so a floating regions parameter box you know what, I am not aware of that? But I just also haven't heard of it. I don't think so. Let me double check. That's. Great. I've always used it up in this area, it's, not to say that somebody might not have seen some new secret thing, that I just haven't been you two, if not if they don't. I'm going to pass that on a suggestion, because that's, great to be able to have a floating where these boxes, it can move around.

Class Description


There’s a reason Apple® Logic® Pro is the go-to recording tool for the music industry’s most-respected bands. It’s a powerful, easy to use program for creating professional-quality music on your Mac from scratch. Join world-class producer Travis Kasperbauer for the world’s first free live exploration of everything Apple® Logic® Pro has to offer.

This workshop will teach you everything you need to know about recording awesome music in Apple® Logic® Pro. You’ll explore the basics of the workspace and learn tips and shortcuts for navigating the interface. Travis will also teach you how to record with microphones and instruments, use MIDI, arrange and edit music, and mix multitrack projects. By the end of this course, you’ll be ready to record a full song with vocals, guitars, and drums.

Whether you’re a beginner or a professional, this course will give you a Apple® Logic® Pro playbook for unlocking your full potential as a producer and artist.

Reviews

Ellen Gibson-Kennedy
 

This is a great course. Travis is an excellent teacher, as well as an interesting and relaxed speaker. I liked the casual classroom environment, which gives the impression of being in the room as well. I learned so many great Logic Pro tips. Highly recommend and enjoyed!