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Intro to Apple Logic Pro

Lesson 23 of 31

Editing Your Composition Part 2

Travis Kasperbauer

Intro to Apple Logic Pro

Travis Kasperbauer

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Lesson Info

23. Editing Your Composition Part 2

Lesson Info

Editing Your Composition Part 2

I'm gonna talk to guys about a situation here for a bit that that was a real world situation with the song said we had michael working on a bass part, he had a little something extra for me as well, besides the base and that's something that now I wanna have his session, I want his bass parts, I want the end of putting a keyboard in their force. I want to get that as well, but I've been working, you know, the song I gave him doesn't he isn't even really relevant now. I'm a little bit worried about it because what I gave mike was intro verse and chorus he didn't know that I put in a bridge, he didn't know that he should have repeated his verse a couple of times he didn't know that we had a now trail on it now, so I kind of left him in the dark and just let him work on the two parts that we had so let's figure out how we're going to get over that. Plus, while he was doing just those few parts, I did the arrangement of change, the drummer, I have a bunch of different things going, so we'l...

l have to see I can't open up his session. Otherwise if I I mean I can open it up, but if I started working in his session I lose all this work I didn't hours of work I did putting this stuff all on and it's proper order and all make and it's that I did with the different parts would be gone so what we need to do is find a way to take what he did, what like he did but keep what we're currently working on and integrate the two together this is a big part with collaboration let people go their own way but then just bring over the things we want so for that one of my favorite features for doing this type of thing file I'm going to go down to import this is where we find a lot of cool things so you know if we're looking to do some things like add audio files uh rob, you were saying before that you've got some tracks from your band and when he's hoping you're going pick up my phone for me your tracks they're from a different d a w right? Yeah yeah going way back from you know you know right from all kinds of different program right? Just there the digital audio files there wave files or something like that and we want to use him he's asking could we get them in and can I work with them in certain ways absolute. This is where we do it on her file an import audiophile and let us go search for them. We could bring all them over from a different audio file folder we can bring over just the ones that you want, maybe want to grab a vocal from a song you had before and work on a new version of it. This where we bring in a lot of search for it, find it want to grab a midi file, you know, hey, I had a really cool midi part for a tan marine or a shaker or something like that would be really generic and can work in a lot of different songs. I know it's going to conform to the tempo so we can import many files from other projects, way get final cut pro, got a f on, then there's even some other stuff in there. But when I want to show us here and our intro class is that it says here that we can import logic projects, which is kind of weird way against khun probably realize it's pretty easy to think about importing audio are important, you know, an actual track or components, but a logic project doesn't necessarily sound like what we want to do because I said mikey's logic project is different from our logic project over here now if we brought his in how do you know they're gonna mesh with each other? So let's, take a look at what it does before I click on this logic project, let me show you what I've got is going right off the hard drive. This is a package, not just a document. So inside this is mikey's audio files our copy of the audio files that I moved to him. Any of the other information that he worked with is all inside of there. And I just moved it to the desktop, not in my normal folders so that we could see that that is from mike and again the name on it. What do we call it? Seal song, one bass tracks. I think we said mikey in there someplace too. But we're gonna do is go back on her file unless import a logic project going to see a cool thing happened here lets us find it going to go through mike searching here to the desktop. And sure enough, c l song one based tracks at its and hammond. Andi see mikey, finish this up and delivered it to me at eleven. Fourteen p m last night. Yeah, good work. So I double click on it looks like a type of window where I'd be actually opening up another session, but that's not what's gonna happen instead to when it was open and a browser open for me over here on the right hand side where we saw the loop library before it showed me that I could look inside my project and cross I've got this one open sorry, but project the media on the computer so everything itunes folders stuff like that or all files here and it's showing me my desktop on this computer and there's mikey's file song our project file rather and it's telling me please choose one project alternative so I had three this is the one that I gave my key this is one that he started labeling okay there's gonna have basing everything actually, we have one down here named seal song t k one base and this is the one that we actually saved into so mike he was making his own alternatives on his computer. These are not the ones that we I have in my list these air new ones I don't have a one base or the bass tracks at its in hammond so I look in here what I'm going to see what I had okay is it's not actually open the session but we're going to see this list open operate here, let me go show you everything that it showed me when I look in this list kind of confusing at first I'm going to pull this over so we could look a little bit better and I'm gonna reorganize the size of these columns just we can see a little bit better school and organizing everything but what I've got here some numbers and some stuff it's telling me I have a marker track signature track tempo track project notes the bluebird which is the name my drum kit starting to make sense to me now after the one I've got these little prentiss e two three four they're the individual parts that drunk it sure enough what I'm looking at here is my tracks live so it's the same as what I gave my key from bluebird being the drum kit let me show you bluebird and this lister says bluebird overheads kick and kick out and if I disclosed my track stack sure enough overhead kick and kick out this is simply a track list so I'm looking at all the tracks that mike he has and so far everything's the same as what I have until I get down here a little bit further I noticed finger style base and in oakland oregon those are two tracks that I didnt you with the ham and b three organ making another appearance in class um so seventeen and eighteen these tracks tracks I do not have so when I look in here my seventeen eighteen were guitar one guitar too he moved those down so these are definitely the tracks I'm looking for and this is clearly a different session than the one that I have open right now. This is my keys. I also want to show you guys it wasn't quite that easy actually, the first time I looked in teo, find his track just because there's so many things here again, it's late at night was make it easier on yourself. They've allowed us to sort of filter out different things. So the global tracks I've showed you before that's the market track, signature track tempo track project notes, I don't need those things, ira have perfect one cent mine, in fact, might have gone further than what mike he had. I don't want them replaced, so I'll click those now they're gone, I knew like he was using the ipad is a mini controller, so I want to get rid of audio tracks these air many tracks that he's sending me an instrument, not auxiliary. I don't care about the io, and they were in an old school many and that's. What I'm left with here now are the on ly many things that we have this overhead, our instant tracks, other overheads are listed, but the finger style base and the oakland organ, those are my keys to tracks that I need, so I went over, I looked at what my options were it's goingto let me and let me do little laure house clean so we can see for sure there we go, it's telling me this is the number of the track in mikey session here's the name so my finger style base and the oakland organ first check box I get his content that's talking about what's on the track. This is an audio track we recorded vocals. This is telling when you click on it, I want to take this stuff over from the session we recorded cool stuff, so I definitely wanted that in this case there many regions like he made some different many regions who want to bring them in also weaken, bring with it the plug ins so it's letting me pick shuriken, take the whole track, but I could just take parts of it, so I'm like, yeah, I like I like what you did with your base plane on the mini region, but it wasn't a big fan of the x twenty four sound that used actually was a fan of the sound use, and I kept it, but also you had a bass amp, a compressor, a pedal board and echo paddle on it. Yeah, I was take everything that you want or if I didn't like it like the next one's, the oakland organ, if I was sick of hearing the vintage b three I could say bring me the you know the region but don't bring over that instrument I'm going to pick a different one from the library right away I didn't bring in his hand and be three though uh let him win another one also we can take another thing so you know if they were sends two effects let's bring him in there were none so it's not about me this when I had him so it does let me didn't have specific io meaning was it routed out to different places or didn't have you know, a traditional routing today it was an audio attracted have it set to a certain input like from the apogee quartet over here on did I automated yet we haven't we're going to talk about today but if I did maybe I want it maybe it's going to be perfectly automation he did maybe it's not gonna work maybe itt's I'm taking out like a sample from a different song or, you know, track from another song and the automation to turn it up in the chorus or turn it down in the bridge maybe that doesn't line up in time anymore so and he was definitely in a different way project with a different layout or arrangement so I don't want to bring anything that he might have automated with that but I picked the things I didn't want mainly being the content and the plug ins and then I could hit ad, but before we do that, let me also show you down here one of my favorite things air import project settings so if I've done work with a bunch of stuff like screen sets, you know, if if I'm starting work with an artist and this happens a lot like maybe I'm gonna be recording like a jazz trio or something like that, we do a lot of live recording where they're going to set up they're going to play everything together we're gonna get this song all worked out well, if I bring up the first song and that makes screen sets for it that are perfect for it, it might be perfect for the other ones. Once I get my second song open, I could just go here to import settings say, bring in the screen set let me get all those four five made without me having to sit there and re size everything again. Those were perfect, same with sets for the score editor, the sink settings tuning, setting this movie saying, so if I've really changed a bunch of stuff match gnome settings, you know I could get all that stuff to instantly show up so record settings on many sightings, they're huge loans that we can use to I love this this works really, really well I want to point out this is something I think it's going to be helpful for people is well before I get off this page um the same idea the same recording your band or it's you know that jazz trio somebody that you know generally sounds the same song the song I do little lot where a band comes into the studio with me and mikey on dh rather than being overly produced or, you know, having a dramatically different song to song what they want is an old style record where you put it on and you know, this is that band you know, the kick drum sound sounds like the same kick drum every time the guitar that they use for rhythm guitar they want that tone every time they want to sound like you were in a room with him for an hour while they did this record and their plane for you and then there's something really charming and I love about those kind of records. I also love those records because they're incredibly easy for me to mix our work with because what I can do is imagine again jazz trio comes in I would say it's a guitar upright bass and a drum kit small drum kit we record them we were using, you know, fifteen mikes on the drum kit two mikes on the guitar and too likes on the base just to get the perfect sounds after we record the first song, I might have had a perfect setting of the failures for where they like to listen to in the headphones when they're hearing it while they're playing a good setting for me to listen to all I'm in the control room, I might have put the right effects on for everybody. So the vocalist like singing with a little slap delay in their headphones or, you know, little amount of reverb, all these things that take a little bit of time to set exactly the way you want on that first song now, when it comes time to go to the second song and set up that session rather than doing all that stuff again, all I have to do is open up the previous one with the file import logic project and look at all the tracks should be the same, right? Alright, khun import all these different tracks, but the only thing that's going to be different is the song, right? The content like, you know, the notes that were played in someone's going to be different, so that's the content so I could bring over everything that we had before a ce faras the track name, the sends, the automation and he's fader settings, stuff like that, but just not bring in the tracks. So I mean, is it as simple as it could have taken me fifteen minutes just to name all the tracks you know, type and kick and kick out snare tops near bottom lights heip him again we could just import those tracks have everything set plus again fader the pans all that so this is a huge time saver um you know and if when you get to mixing and you have some final touches on like q and something that's super helpful as well and if the band watches you do the first song and sees you do all the hard work like, wow, this sounds really great going to be really surprised when you instantly pop that into their second song third song, fourth song and then of course make little touch ups as you go. So this is huge that being able to import not just aspects of the logic project but also their projects settings which we found under their settings over there so great as it is now though I want to bring in last night mikey's new bass in his new oregon so I simply said ad let me know some stuff says selecting ad you can create new aug so you can choose an existing dogs for project corresponding to this arcs are so just tell me that there was a hall reverb on one of them so I can add them we're going to say okay use this other one I have all the choices for them as well so I'll say okay or at all it could get both in that one all right this window again that popped open automatically that was my browser over here and it was the project browser I want to give us a peek because somebody had asked yesterday susan about keeping track of all those files that we have they want to know you know, is there a way that when you're recording all this stuff that you could just sort of keep track of what you've done this is it one of the browsers and the project is showing us all the stuff that we did here's all of our takes yesterday and a really cool way now you can make this a much simpler thing by just looking and saying yeah we did a guitar that was guitar one it was forty eight sample rate of forty eight k twenty four bit it's a mono track here's the side of the size of it there's the bpm so all this information is tagged to it but also it shows us all the different takes that we did and it's showing us what part of are we using? So when we did those copy we can look here and see all those different bets I know yeah that's what we're hearing right there is that section so very cool way here in the brat project browser to be able to keep track of all those files. So we see all thing the vocals and the guitar, everything that is our song as faras the media coz it's inside there and speaking of media in the media browser this where we could just look across the computer, look for audio anywhere on it. So there's our logic folder all the project's going and take a look at all those there and then all files we just search across the computer and that's where we started with so that's the browsers go back and show you what happened down here is after my last selected track and I'm gonna shift click these and reorganize move it down to the bottom there's my key. So what we brought in is you see that he has a bass track here. Ah, there head is new bass part and and in the course, jump over here. Ah, base, a little bit of oakland, oregon. Guys noticed that way that I was able to seoul about those together. That's due to me having those two tracks selected there's. Another good thing for us to be able to review if you have multiple things selected by using shift or maybe using command to get the non contiguous ones whenever any tracks are highlighted here you khun solo or mute together so that way we could get a cool okay I want to hear the drums with mikey's base that other part solo them all together play just so sections while they're still highlight so so I love this one I'm mixing unable to get just certain parts to you know let me focus on those now let me hear it with the whole mix don't they focused on those again a couple other solo mute tricks for this window as well for the main area I want to solo some stuff together rather than sitting here this happens all the time we'll be like okay what does that guitar let's listen with the other one let me get a vocal in here let me do the drums rather than click click click click their next to each other quickies and home it's you know it's always drive across this very cool able to quickly go through click and drag that work with all the buttons here way with love it's a very fast way to get around all right back down to my here and his parts so had his base had the organ I just basically need to move it over a little bit I also did a little bit with mikey as far as going in double clicking on it doing some quanta izing miking pick up your microphone there yes, sir. What we did what we went through with this who we did a little bit of changing of the timing, right? Yeah, well, we did so I did some edits because I'm not a very accomplished ipad bass player yes it's nude here's one though, huh? It was fun. That was really fun. Uh but it was hard and you did really well, it's just you know, you're feeling it and has a little slopping a couple spots not sloppy, just just lot of aggressive I like it was loving but you know, simple thing where he went in and there was no cmt highlighted we talked about kwon ties and going in picking the value quanta izing it added a little bit of swing or taking a little bit off the strength to leave it a little bit the natural timing but it worked really well. Also you did some adjustment of what the velocity velocity is absolutely see one of his fingers would be a little bit heavier when it would hit the keys here. This one sattler right there. Okay, good. So mikey went in and I watched him use what we learned yesterday going in with the block's not the kwan ties tool but with the velocity tool I'm just going on those notes. In fact, I saw him peeking watching him work making sure he's doing it all right and he did he would grab all those notes that were the red color with you a little too loud and brought those down together. I'll see no, so if I didn't want to go to the tool the great little slider over here is where I want to show you that way so individual notes you can go, you can grab and move up and down. So go from red down to the cooler colors also in groups you can if you love their relatives. So when he brought down those red ones he loves the relative volume or velocity of all of them. Now we can adjust it, you see that they're going to maintain their relative position. The ones that were quieter than the others will stay quiet. The ones that were louder will stay a little bit louder, but we can adjust the whole range up or down of the selected notes like you get a question on that comment oh, no, no, I was just saying how incredibly handy that was for for someone that as unskilled as me to be able to you know I play the part, then move the notes into the correct position where they needed to be and then adjust the playing of the notes absolutely and yeah, you've got skills but well, not really that anyone out there who could with it with a little practice could have done what I did yeah, it was it was great to watch it happen and it happened very fast so we made some of those adjustments right away. We also went in close my editor with the the e key there on the keyboard also he did you can see some folder takes committee so we pick the one that he liked the best for the chorus. Um, but we also need to work with the sound and I want to go back and show you guys a little of what happened here with that for that I'm going to go back to my play options was play from selected region way have a bass track in here yesterday, so I wasn't able to show you guys the cool new bass amp designer brand new. So what came up with the sound to the patch was the logic d id looks like a to box d I direct box so it's got some cool controls on it, do some bows, loosed re sense for talent and shame on my frequency doling out maybe, but we want to look into more sort of an amp suit that would fit the song so same thing was with the guitar and designer we've got a couple different ways that we can switch, we can change the overall model, we can change just the absolute like they had an amplifier component, more the cabinet in the speaker cannon himself. What we did is first look for one that would work and couple great options here. A modern amp again looks familiar to me from a different company besides logic classic camp this's, I'm going try to avoid saying what it is. This is an s p t and I think it's the best emulation of one that I've ever heard. This is the amp that we loved to use in the recording studio part the one that we use the most would be old aunt peg tube s t m with the eight ten matching cabinet that you'll see over on the side. I thought, this is great, so we end up using this one for part of it, and as this goes, let me do another thing here, I want this to sew our cycle around there, so with this region selected, I'm going to command in you, which is going to readjust my locators on guy can't see to bring up the cycle and commanded us the set locators, so bass player, what dampens this run, what does this look like, tio the sbt, right, you got that? Sbt right? You can call out and since you know the bass player in the house you could call out when you see the amps that you're familiar too but this is the one that said we want to use I'm gonna come back to it we also have the flipped on damn it's, another old vintage anta and that I'm pretty familiar with tons of great controls with that one and get a drop on a direct box is going to go back to classic camp for a minute and show you some stuff again great things we can mix up the two so I can use this wonderful eight ten cabinet or look at some of the other ones of modern jazz fifteen inch bottom of the stack time thing or the ten even the small trouble speaker a classic cabinets the flip top candidate with that flip top and then also some of the direct options within a cz well go back to the cabinet that goes with this one and those cue controls common basement travel way you want to kill get rid of a couple things this handsome great switches with it the original apted faras a mid shift of frequencies that it's boosting big differences with low swish hi swish compressor built into it the game's setting to it on an overall game bright switch a couple different options on the input as well little does bring up one of a couple of different other kinds of some of these models have this graphic you I like you can roll out some stuff mad, some others or is there a more traditional type e q man put it pre or post in the circuit as well, so we haven't you know in the game stager after some very handy uses of the human there just like what I said we saw with the guitar and designer they also have like her phone choices of condenser new eighty seven dynamic sorry twenty or before morning one I love and the ability to move in close proximity far left and right new speaker as well, really cool on the whole time we can go between that remark boxes on an amplifier and into a blend so everyone sort of some people love the sound of just the direct somewhat the app cool little blend between the two of them loving and it totally changed the way we sounded from that original lifeless electric bass just plug in direct too and again, this is, uh this is not a real base, meaning there's not an actual force during instrument. What we're working with here like he was is the excess twenty four sampler and a finger style electric bass sample playback so pretty impressive with that once we got the sound it was right back to what we looked at before getting this stuff copied out so we did some repeating some shift clicking and moving these things over so if I needed mohr hold on option more first course left open bridge spot to be filled and then had another chorus move so option dragging that one over there to rot in his organ the hammond b three okay norman organ and then move that over over so it was that simple you know, like he did it on his own I'm sure that wasn't to simply all he had to go on record all the stuff but as soon as you gave it to me I should be made you know, priest short work of getting that thing to fill out the whole song because it was just so simple once he had those parts edited and the sound he wanted just to copy them out a few times so I didn't sit in there and trying to force himself to play all the different parts you know, little copying pace verses were the same now he want to go back in later and he's still in the process of doing a few things where he wanted to make a little bit of a change between the first one in the second one you know they're not a least each other so it's a copy he can absolutely go now into the second verse make just a few little changes so that it doesn't sound too boring it doesn't sound like it was just a machine plainer, you know, a little robotic copy and paste on that a little for national style may be a different clawing ties for that second second verse or a second course tecate going so once I had that in their did another one of those alternative saving sessions and I was able to bring that one back in, so I'm not going to save stuff I did just now how we doing out there in the world? I'm so excited to hear this final song I don't know about you guys someone in the chat room had said that they were singing la la la all night long yes, that's a good sign when it stuck in your hand out showing the club seriously it was tree tree tree said anyone else have the la la la stuck in their heads since last night? I should have great improv song so, so great. Um all right, so now here I opened up and and this is what I ended up with mikey session I've brought in. I will take a little listen here quickly that you saw nice, muted out, mellow drummers been told what to do but she's working out better than another drummer wade got almost the full song together we just need to get some bridge stuff because that's things that we hadn't done before well that was another simple process this morning as well so working late come in to work early so I came in and we had the guys jump in daniel and spencer jump right in right back and to doing guitar so one to point this out because here it is another day you know, old school studio session you were done with the day we packed stuff up we packed up the guitar and we took the microphones down put him back in the cabinet getting set up to the same spot again getting the exact sound again so it won't sound like it's a different instrument down on a different day when you get to this new part the bridge it's really hard we'd have to keep session notes to be able to make sure that we could put you know, maybe take a picture to make sure that mike goes in the same spot in the anti amps in the same room make sure someone hasn't gone through and changed all the settings on it maybe one to another song no problems with that came right back in one to put him on a new track so I selected spencer's old track hit that duplicate with the same settings on dh dropped in a new track from to start making some new takes in his folder of the bridge part and the same with daniel getting his new guitar lead to happen on that bridge is well, so instead of having just that plank spot that we had before now we're going to see wei back into another part again. Great, we have it in their watch after the lunch break, we're gonna have even more stuff for you guys and there as well. So uh, as a jump in, I want to show you guys also with the out true since we had that was kind of a new part for us, of course never ended before, so wait could do there's just throw some extra chords. It was the idea of just chopping up this last bit with the drummer so that we could get some extra phil's on the crash right on the end, I might touch that up a little bit more as well. When we get into the final and e cleanup that just a little bit I can always go into it. Look, click on it, adjust more or less what we need to get done that way perfect, nice low crash on the end toe end the song so that's where we got to again the idea of uh, collaboration needed close my editor there, so we took the song we had, I think two different computers running it to different people on different setups, with completely different ideas of what's gonna happen, brought them together. Being able to come back the next day, have our musicians and songwriters jump right back into it, get the same sounds they had before. Thanks. Setup took us like, two minutes to get you guys. Go on, just plug it back in set things where you were, and logic remembered everything else for us. So quite simple and really, really fun and powerful. Here we are now, a day later, while learning everything, we also have a three minute, thirty second song fully mapped out here. It will be finishing today. Robbie got a question? Yeah, uh, something you were missed talking about. Just they're triggered something in my mind. So if, for example, now say, if I'm working like remotely from a different location and say, um, I'm trying to figure out a word this so, um, for example, christian is in our ceo and he's working on our dates, our studio stuff like that. Is there a wave where I could actually where, where we would be able to look, being different places and be logged in looking at the scene, you know, like, if I could see him see his may I actually see his you know yeah within logical I'm not aware of anything that they have hidden tell us to do it. I know there's some screen share things out there where you'd be able to do it to be talking about using an app outside of it basically okay, yeah, the meeting okay, I used go to me yeah, yeah, yeah we're just be well then you haven't you and you three different views of the people there are five different views of the people that are in and then the bottom half of the screen is whatever screen you decide it's the common screen awesome correct love technology it's free there's there's so many ways to do sharing of things but I mean that's when, you know I haven't really thought of before I know I've done conferencing before, but not you know and we've definitely had, you know, producers other places are engineers there commenting on the session back and forth using things, but yeah, we could totally watch each other session there's tons of different ways for us to be able to quickly send the files back and forth now by using you, send it dropbox files like that our sources like that to get stuff back and forth, so yeah, we're in a great time for collaboration all right, so that had our arrangement set out, our new parts were ready to maybe do a little bit of fine editing on a couple of things that we had left. So it was good time and take those questions. Sweet question time. Any questions? That you guys have an ass? All right, so some of these are going to be a little bit of a recap. Can we go back to the beginning of this morning? Sure. Okay, great. Um, let's see here. Question came in from beavon who's been watching the last three days. Thank you. And says, what would travis do if he were sharing this with someone using pro tools either for collaborating collaboration or to send for mastering which might be later today, you might talk about that as faras when you were going through your files and trying to show them with michael. Sure, you know, if somebody's working with pro tools, if it's a mastering thing with mastery of the final phase of the recording, where we take multiple songs only can be an individual and and try to put the final perfect polished to it, you know, so it's not working with the multi tracks like we're seeing here where we have all the individual control mastering is the point where we're dealing with a stereo file like, you know, the ones that eventually end up in your hands, you know, an mp three from itunes air off oven audio cd or something like that. So, you know, dealing working with somebody that's coming from doesn't matter if it's pro tools or anything else, the master in phase super simple take those files, and they're all going to be, you know, usable inside there, drag and drop import audio the way we looked at before, and I'll be able to process them inside logic pro, just fine, but also they asked about I know what you do when you work with somebody else in a different d a w like pro tools, they said, and be able to work with them. So there's gonna be a couple different ways that we can import and export different things on in a way that we can get those files to come back. So under the file, we have some definite options. It's an advanced topic that we're going to talk about, I hope later, something we just don't time to go in to open up a pro tools session to bring over, but I want them to know that absolutely it's possible, and I do it all the time, toe working people with different day w's and get their information into a logic procession. Okay um and then another review question from jose is it possible to delete an arranger marker without deleting the region's it contains let's give it a shot, huh? So I get here and highlight it and we delete and you see that everything in there goes first so what we want to do rather than deleting that marker if you wanted it I mean, if you have stuff there and you know you wanted to stay there it probably needs some kind of a marker so what they're probably gonna want to do rather than delete it because again this is this is a cool feature it sounded as though the question was like what would it be? It would be so horrible if I clicked on this and tried to get rid of it like by deleting but it's actually a really cool feature if you just think of it the other way hey, I want to put a gap in where this bridge is right now so I'm gonna highlight the bridge and hit delete and get rid of now I've got a cool little space that means we could actually use these markers as a way to put in like drop breaks and things like that you know and hip hop and rap with love and dance music club down a nice big drop a big break there's a way we can do it by putting those in but normally when someone thinks about getting rid of this part either you are trying to get really delete that marker to get rid of everything that's there or maybe you want to resize it or change it we can always do that from here is well so when I changed the size of these things I can change my marker it won't affect those regions underneath it if you're trying to get rid of it because maybe you know, this isn't a bridge it's just all going to be the outro same thing where I could just shrink that down until it's gone now it's basically deleted but everything that was there still exist great all right question from came ryan is it possible to repeat a region spacing it with a specific number of bars like copy one region and paste it every four bars? Do we cover that yesterday we talked about a couple different ways that we can do it normally the thing is like get it spacing don't you get it done the first time absolutely you can get that so let me go ahead and jump in here again they said like every four bars type thing that he's different way to do this I'm gonna highlight delete that one delete that one let me make this bigger so we can see the track I'm showing so here would be one of those cases where you've got a region the region, but a gap between it like they're asking for sure enough, copy paste, repeat any of those different options that we have under at it there's a bunch of things that we can do to move those things around, but I'll demonstrate with the option drag again and you bet, same way copy those things with those new spaces that you put in there. Maybe you kind of talked about it, and I was confused. I don't think so. But how would you like if you wanted to put in a full brake but keep like your bridge? Just like shift everything over, like copying that's when they were you know, in the intro class I'm gonna have people the way I love for going to start working with this. Let me go ahead and bring up locators in the form of a cycle. I will slide this and say, hey, I like everything and I want to keep that they're right, so the best way to do it is we could just highlight that bring down the toolbar, insert silence. There you go, everything moves over. Now we can adjust this a point to put a new marker for that break, you know is no matter where we were, everything just split separate put in a silent cap yeah, a lot of people who decided I want a little pick up note at the beginning or before a certain thing, you know, having just a little section, maybe in a different time. Signature may be in the same. Maybe I want to put in a whole new pre course. Yeah, that's super cool. Okay, well, seven just came in with a question willis says, can I use arrangement or markers, as in pro tools use memory locations. Absolutely mean, tio navigate through the different places. Certainly on dna. Only that's what I'll use, uh, the markers for. So I'm going to go into control here and show markers. And when we put a couple of these markers in slip that one over, I will put another one over here. This used the cursor to make them, and now we can go and I can jump from market a marker. I've set up a key command special for it, which I want to show you guys a cz well, under, uh, logic pro. Here we'll go in and you guys will see that they have the options for the key commands. Presets, orto edit with option k. This is a list once I want to keep intro kind of away from it. Key command because when you start to look at some of these things that we can do the key commands that's where I see some people's eyes kind of glaze over there like oh, well I don't even know what that means but sure enough in here we see that we have some key commands this well I was searching for here go to marker number one go to marker number two we've got simple key command on the number pad so that's why I was saying before with the screen sets make sure you're using you know that home robe but now we have it here where we can go through and select uh, you know, go to market number one, go to market number two and it's in an order and just like in pro tools, they said we could get a list of those markers as well the pop up for us so that's great go on her list here marker and there's my two markers and there's an even easier way to be able to jump marker one marker to through all of those. So yeah, and one final question from ruby from portugal I know they just been awesome since we're going into mixing today could you ask travis about what could be used in logic that similar to something like the waves plug ins that emulate consul channel strips thank you. You betcha. Um, when we do go in, which is just another short segment away from when we had in the mixing, but, you know, I'm a big user of the waves. Software waves plug and always have been the one of the first companies out that made them look for pro tools. And now for logic, of course, but something like their channel strips, I believe that's what they're talking about, counsel, emulation or some like that. Logic has a little bit of something that will cover every single thing that they do, in my opinion, so we're definitely going to get into that for sure. And thanks for bringing that up. I'll make sure I make a point to say when it's, similar to some of those waves plug ins.

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 an Apple Logic Pro playbook for unlocking your full potential as a producer and artist.

Ratings and Reviews

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a Creativelive Student

Travis Kasperbauer was one of the best teachers in this discipline I have encountered. His style of teaching is easy to follow. I learned more in one day with Travis then i have learned in a year watching video online and learning on my own and from others. Travis knows what he is talking about and what he doesn't know he takes the time to figure it out and walks you through the process of finding the solution to the problem. I find this important because there no one way to do anything when being creative and sometimes understanding the process to figuring something out is just as important on the steps to do something. So many people spend so much time explaining where a button is that they spend little time in truly explaining why you are pressing the button. Travis takes the the time to explain the basic lingo other instructors use but spend little or no time explaining. After Travis explains the basic foundation of logic pro he jumps right into the important thing we all want to know, and that how to make music. I does not matter what genre you are interested in this is the course for you. I watched the course live and after felt it was every bit worth it to own it! Take this course it is worth every dime. I look forward to his advance class in the future. After watching this class i feel confident that what i learned here has given me the tools for his next class but more importantly I can start experimenting and making music today! Thank you creativeLive for this course and Thank You Travis for your gift and knowledge. Thank you for making music attainable to the masses. Ronnie AKA

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!


Extraordinarily well done. My long time expertise is with video production ... Avid and Final Cut Pro so I understand the learning curve in tools like Logic. But I was simply “blown away” by the quality and content in this class. I had already poured through two other video based courses and decided to try Travis’ course based on his credentials. It’s not even close: this course is superior to anything else out there. Here’s why: 1. He uses deep and creative real world examples based on his production experience. 2. He is a master of every feature of Logic Pro and then gives you precise examples of how to use those features to deliver a great production. 3. His “layered” approach to presenting the concepts makes the content “stick”. He doesn’t just turn on the fire hose of content, but brings in key features at just the right time. 4. He covers everything and showed me how to save a ton a money because of all the unique built in features. For example, because of his broad experience with 3rd party plugins and libraries, he showed how Logic meets and exceeds those other tools. 5. His style and communication ability is top notch. This is a long course ... I think this was done live over 3 days but absolutely worth my investment in time. I wish I had come here first.