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Intro to Apple Logic Pro

Lesson 24 of 31

Flex Time and Pitch Part 1

Travis Kasperbauer

Intro to Apple Logic Pro

Travis Kasperbauer

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Lesson Info

24. Flex Time and Pitch Part 1

Lesson Info

Flex Time and Pitch Part 1

Moving on with our song that we've been creating here want to get into some new editing techniques that we have and what we're going to talk about let me zoom in here a bit is, uh, this relatively new, I think was new with logic pro nine was the idea of this tool called flex time we're able to actually change audio for the first time we talked about many before a couple of things that that we knew about the midi know something papa region open here, slide this up is our baseline again, we know that all this information here rather than mean audio like with our guitars from daniel and spencer and the vocal that we had that's digital audio but with the midi we knew that it was on off information was telling you start the note and the note other information in there like the volume was faras velocity, how hard we're the keys hit and minnie's been around against in the early eighties on day one of the cool things about it was how quickly we could change things like the time we looked at, y...

ou know, the apple loops as well were another thing where they were generated in a way that we could just things like tempo and have them instantly conform to it that's something we haven't been able to do like changing notes big because of midi or changing the time of them are stretching a note out so that would last longer we'll go a little bit shorter that was all stuff that was just midi until we had apple loops than apple loops gave us this whole cool new thing we were able to change the tempo in a session and have it instantly follow along andi also we've heard it change some pitch now those we did that with the green and the blue apple loops of the blue apple loops were definitely audio but that was because it had gone through something like the apple loops utility tool on dh were able to go in and actually tag something's mark those transients and get it to be in a state that it was is sort of elastic you'll hear referred to especially in some other applications where we can actually spread this stuff around but that was apple loops until just very recently the idea of taking doing something like that with with real audio was either impossible or else if it was possible we did start to get some tools and logic was there with a pitch in time machine back quite a few versions that less actually start to take audio and stretch it again. One of the things that we had to worry about I was in the old days if we ever wanted to make something go slower to go faster we talked to ask you guys, you have the correct answer was it was going to change pitch, right? We made it go faster or shorten the length of the pitch would go up or the pitch would go down if we slowed it down on dh that's just the way digital audio was we're dealing with, you know, a real time amount of information and after moves so, you know, we were forced to do things like work in many if we want to be flexible, be able to change our time back and forth, or we had to create apple loops out of everything, which, you know, that could take some time to get in there and change stuff, and even with that with those audio apple loops, you know, we were limited what we could do to it, really, we could just change the tempo, it was going to keep its performance basically and just sort of stretch it out as my fingers to say, and it was like an accordion, it was going to move in to go faster, spread out, but now, uh, with flex time, and they gave us the editing capability to really change little things, little details within the audio wave form, and this is stuff that just blows my mind, we're going to take a look at you in a minute plus, they have a brand new feature with flax, and this is something we haven't seen from anybody else built right into the app, and that is flex pitch. Andi it's a huge thing pitch correction, you know, is what we normally call it. In a case like this, where we have this beautiful song going, we don't really have any correction to dio, but I want to just show you guys a couple things about what we can do, so I'm going to go through flex pitch and flex time for us here. They both set up the same way, and they're both going to access to the same way, so I'm gonna just start generally talking about both probably jump into pitch first, and then we'll talk about time and a bunch of the things that we can do. I'll be using our song here, and terrence, um, stuff around again, I don't really feel that we have too much of a need for improvement, definitely not something that I think, you know, stand stood out to me right away, and I want to jump into, but I'm just going to demonstrate what our options are by using our vocal tracks. So spencer, police understand, I'm not not saying that there's anything wrong with your vocal? Because your voice is great, but we're going to try to mess around with a little bit and see how we can change it can not thinking about just correction but also creativity how could we change some things and make it different? I'll be using the session like I said I'm also going to go back at some point once I talk about the pitch when they get into time, I'm going to jump back to that first demo session for everybody since you guys don't have access right now everyone in the internet doesn't have access to this song I want to do a little bit of this in the demo session as well, so I'll let you know we're going to switch over to that, but whenever you're going to jump into something like this again, it's a great idea to go and make a new version here an alternative project to it so that I can make some changes and you see I was setting up some flex when I was checking this out last night to see what I might do and I'm just going to go and give us a new name since we're in class here today so new alternative and let me just call this flex too so find your own name system stick with it and all the stuff always make sense to you but to me since I work this way a lot as faras rename and stuff this all makes quite a bit of sense to know this my last one flex to now, I'm set to go all right again so that when we talk about flex, it gets built in process within logic pro ten, we wanted to do some of these functions in the past with any d a w we talked about buying somebody else's application to put in, like when we talked about the other software instruments, other plug ins ah, common one for people or to use pitch correct er's, everyone is getting pretty familiar with it, jen. Generic now term of auto tune or some of the other ones like melody line this one not spending like two, three, five hundred dollars for that other app it's built into one hundred ninety nine dollars logic pro tent so let me jump in here and I'm gonna take a look just at one of our vocal tracks start with something like the chorus here, so I'm going to change again. I'd liketo just do it slowly and show you guys, I'm going to grab here if you don't want to go dragging all those things remember that we work with the chorus, so I couldn't command, and you set those locators right around. Where we're working ah let's take a look at that first I'm going to set up just one track long times will start that way, especially with the pitches just to set up one individual track but to get flex going right up here below our main control bar, you're going to see this little button and when you hide over, it goes show or when you hover over it, says show hide flex I do turns purple track it's a little bit bigger when we noticed a new little panel show up here so it says select flex mode and I'm going to click in here and pick some now we've got a bunch of different things that will do we could have an automatic pick, we'll just try to find for us, okay? What does it think is the algorithm for it? I want to remind us here now it's talking about flex time as well as flex pitch, so before I get into the different algorithms that we have for you on options that we have for the flex time, I'm going to go right to the top where they put the brand new one, which is flex pitch and we're going to see something happen here there we go, so with those selected regions that I had, you know everything looks a little bit different a little starry sky happening here and let me d select one of these here we'll get just this one going that's where we're gonna focus what you guys might notice is that it's got the way form in the background, but now we've got the whole new appearance here where we've got a straight line across the middle and we've got a line going above. I'm going below on some of these now what it sounds it's gone through and it's analyzed this track and it's trying to figure out what it thinks the best pitches now we didn't put in a key signature in here. We haven't told it anything, so it's just looking at it is one of those things where you want to break your tracks down into smaller pieces and see exactly what you know happening with these different notes. But for the most part, when you set up your session correctly and spend a little bit of time, I think you'll find that these work quite a bit what we're actually seeing here, la la la way basically going over, we could see the way form, basically see spencer's words, is he singing them there? And the line's above, in lines below were based on what it thinks the perfect pitch would be. Now again, we didn't really do a proper set up here as far as putting in all of our signature markers and saying what he were in or anything like that but this is what it's going to start with for us a lot of times I see this work just fine way what we could do is if we wanted to go straight on the center line of the zero crossing here that is what it would consider to be the perfect pitch now doesn't mean that that's necessarily where you need to drop it all the time but it would be showing you where it thinks maybe it's a little bit sharp are a little bit flat but it's based on this whole section there so maybe also what we have to take into consideration there's some things where the voice maybe did ben pitch a little bit it was an intentional things so don't when you look at the stuff think oh this is wrong and it shall go down just realize that this is a consideration that it has so what we're showing here's fifty cents up and down movement through these so if I was to start just the very beginning the first law I'm going to take this the ops away on here that go up and continue to go up as I go through we're hearing the actual pitch of it so that's what I thought was this center of that frequency again wear hearing his voice go down so I'm going exaggerate this quite a bit you see as I keep dropping through the screen it's dropping in the next half step down so I got him quite a bit flat now not what they told me to do it all way see that line getting quite a bit darker as I'm getting further and further away from what they think it wass I'm ruining your weary no spencer and we start that again wait, there he goes so I really made a mess of that I can undo each of those steps through that I had and will knows that pop back to where it was before, but I can also at any time this is another great a little place where they've hidden for us ah control click mechanism so I control click on it and I see set to original pitch or I can set it to the perfect pitch or I could just reset that pitch control so it was sent to the original where we were and there it was just that little bit above it I'm selected again just dropping that down right on that center line like that no work, but you know, sometimes they just pop up here it's just a normal voice thing so one of the complaints that people have of auto tune some folks is that it just sounds too fake, right? Almost sounds robotic and just perfect and, you know, certainly would I'm really out of pitch here. How was kind of has those artifacts of sounding robotic a little bit, especially with higher? You guys hear that robo spencer, I'm another one of those people that I'm kind of with him. I don't think everything has to be a set perfect pitch. The human voice is made so that it can kind of slip and slide up and out of time want to just get it in a basic range we don't we're looking to just not have bad notes that are out of here in like that, so this is perfect with that, we're able to bring it to where you think it should be, and I want us to realize and remember here that we're dealing just in the main window now looks, I'm zoomed in so it looks a little bit different, but we're in the main area if I jumped back a little bit, in fact, let me save our setting here by unlocking and re locking there's some we could make a key command for a swell with that option ke ke commands, um, but if I was to jump back out and look at our other screen, you just see that this is right there in their main area, so I'm not even popping up on editor window are anything yet, and we already have access to all the different pitches of what's going on with this vocal track, so that's really cool being able to go in, but let's, take a look at a couple of other options here I'm gonna control click right on that first bar again, and this time I'm going to go to set to perfect pitch, you know? So that jumps that one rate down so we could go and just find the main offenders that we find wait, I thought this one started low because it just sort of swooped up in the notes, so it's one I don't think we'd want to go to perfect pitch, but we'll see what it does, what we say set to perfect pitch so let's, go ahead and give it a shot since its sound a couple right was control click just in an open area, not raid on one of those bars. What I have now is for this asshole region that's a super cool way to start anything sometimes is to set them all the perfect pitch, so everything in this region that's highlighted see it all jump right down now when I do this I'll tell you you know it's set up right it's working perfectly but just again the way that I think vocal should sound my personal opinion a lot of times when I do this it isn't exactly I'm looking for but it was take a listen all right? So I said sometimes it doesn't give me the right thing simply because I was afraid that it would sound some stuff would be on a pitch but that what you guys think it is pretty cool, right? I mean the fact that it did it all at once that's what so great now if I didn't think that overcorrected some of them are wanted to go up or down look, I'm just going to go back in here take those ones that I thought maybe he should have been a little bit lower a little bit high and bring them back in you also notice another really cool thing is that when I click on it this one that's been corrected I'm going to try to get that box doesn't necessarily cover up it shows me where was that one at originally so I can say well that's where originally was let's split the difference which is normally a thing we can do, you know semi corrected so really brilliant the way that they set this out really kind of an elegant design and call it rob you got a question for me when you're adjusting uh this this kind of thing for example if you've got a guitar chord where you've got multiple strings being hit at the same time in one of those strings is off right and you go in and alter that specific string within the court or does it have to be the yeah you're asking just the best question here it's a perfect thing remember for years the idea of even pitch correction of notes you know that sort of string from one to the next was just not gonna happen even with you know auto tune the pitch correct er's that's where they came in and it was a big deal that they couldn't have to change the whole region toe one pitch you know are try to adjust them all in the relative amounts to try to get centered but getting to this point I've been able to do the individual parts of a single and we called mono phonic right? Because it's just one pitch at a time the human voice even getting to this point is has been just a huge thing it's again looks like magic to me that we can do it but your question is a super valid one and hey great khun do it mama phonic obviously but kind of do polyphonic it can't and logic pro ten I'll tell you almost nothing can do that it's one of those things that when I started teaching interns and teaching students they'd ask me hey, you know I have a two track song can I pitch corrected vocal inside of it and say no that's buried in there, you know, once we've mixed down that's setting that's buried or people say I've got a cord canada's anything I do about I'd say yeah, you have your cord and you can move the whole cord up and down you can't you know it's internal logic pro ten, but I'll tell you outside of it, there is one impressive application that runs beautifully uh alongside logic pro ten for those things it's melody line dna or direct note access on dh it can do it that's difficult a cz well, you know, to get it but that's a very impressive thing, you know, I don't know what they're working on next apple, but the way they're going, I wouldn't be surprised to see something like that in the future but telling you raped from this area to be able to monitor phonic lee change things vocals of the thing that get corrected the most know so just having it right on that screen I'm pretty happy with that right now, but you know, hey, world changes when things get better because of people like you asking for it, so I think you know, it's a great question and I hope you're looking into the future for us that's what I could say about it, but as of now, we are it's good to know that we are working in amman a phonic world on d c in a very easy to deal with mama phonic, world it's never been this easy and different taps that I've worked with, it's similar this? We're looking at logic proton and flex pitch it's really similar to the other pits programs that I've used plug ins or standalone applications, which is awesome because I didn't really have to take any time learning this when I dug into it, I just I just they were shown to me and I looked at it, I thought, wow, I see all these lines and he sent this back again. This was the very first appearance I had of it, and when they showed it to me and I sat down and I grabbed the mouse, the first thing I did to say, yep, I bet that senator line is what's going to be perfect, and if I go here on, sure enough, it did exactly what I thought it was going to dio again, I wasn't told, and this is where I want you guys to start thinking everyone out there is start clicking around in some places, one of my favorite things to tell people when it comes to software which is totally different from like hardware we used to be in the studio we had expensive microphones and tape machines we would tell people oh don't touch oh don't touch once I started teaching software to people in digital audio workstations my thing is always touch first day of class always for me is like all right let's open up a session I want you guys to click click start digging around go through the men you see if you can break it because we can't obviously physically break it but dig around I am going teo suggest for everybody there's your homework until we meet again in another class is too as you get into logic pro ten do what you've seen me doing this faras control clicking in a lot of places are right but in clicking on your mouse customized these things look what the options are there's so much stuff you're in so much of it they will find hidden and cool little places or we'll see it show up exactly where it needs to be. So my point me and soon as I saw this for the very first time I got no training on it they didn't tell me too much about how powerful it was but I saw I can move it I went to that first thing I held down control and that's when I just smiled because as I clicked on a nice on of course that's what apple did they said set to set all too perfect pitch set all the original pitch so give me a way that I can change it instantly to probably what I want, which is to put everything you know, on what they considered to be a perfect pitch pitch correction and always they give me away back out of it in case I made a mistake or it didn't go the way that I wanted always control click right there I messed with that a little bit than I thought hey, I wonder if you could do all that once and I thought, how smart are those people in the logic team? I know they did, so I just clicked in an open area and just like I predicted, you see that's another thing that I love the way that they laid this out for us is they made it so that we can kind of you know they're the reading our minds they know what we want to do but we can kind of read theirs and know well if they did a control click here they probably did a control click here they probably did one here other absolute kind of lose that idea like in some places you'd use a certain modifier and other places maybe you do a certain kind of, you know, gesture or motion to get something to happen I hear they're really consistent from window to window page to page hey, if this did this here, is it probably going to do it for me there? And it always seems to be true so again, I love the way this is love the way they set it up and it couldn't be simpler just rate from this main window on dh that's another thing they do is they're not trying to scare us off with how powerful they are andi shouldn't be were just able to jump in here and start working and it's really intuitive and just the way that normally we think especially if you've seen some of the other applications that do it, so being able to change just go region by region change those individual notes, taking them with you, I believe it is sure not fifty cents. I was wondering when I was listening to it before this is one of those things where you need to kind of read a little bit too and the teachers learning something here today when I was listening to them before I'm playing and just using my ears as I'll do a lot e thought, yeah, it's almost like a half step going up now I notice that it's showing me in my window that I know my position, I can see the pitch that it's centered around, so I'm on the second, eh but it's also showing me sense so I know I want to just have like, you know, a background or a double just barely peek out a little bit maybe I could go bit by bit just a couple sense that something normal no one would hear but would come through is a little chorus of factor a little bit of thickness I can add just a little bit that way but now I can actually look at it and control what I'm doing on dh see the note a month's there's the bee and you see as I go to times through I'll go through that sea and back down on a so whole page through we get that full half step excellent and again control click open area, settle the perfect pitch and that didn't pretty well for a lot that's that's really impressive and again we had a great vocal take to start with but being able to just sort of move your stuff will be great whenever I sing on something I'd only do it alone without other people in the studio and the first thing I'll do now was hit this before anyone hears it going and fix myself so I have to worry about it I'd also have to sit there forever trying to get the perfect pitch on something so this is the in the main area of you of our flex pitch and when you know it they've done even more for us so what I'm going to do here and this is something that I was blown away we've been using the iki a bunch here right and he has been bringing that our editors so when we were dealing with mickey what has it been bringing up forced you guys remember anyone microphone when men hidden e like when you were working on your base part mikey what jump up in the bottom of the screen pierrot the piano roll editor right and we have to go to the school score editor as well on dh so it would be great if something like that could happen but quite honestly the midi the piano roll editor that's for mitty right that's why as a piano note to it and that's how the midi notes works so I was bummed I was like okay, we're not going to be able to get you know the piano roll editor to open up I was looking up on her window and saying like hey and I was there a piano audio piano roll and I didn't see it under my windows but I have my region selected and I had e and I'm sorry I'm on the wrong track this is going I have a selected region but make sure I'm selecting the correct track had her over here too in the tracks area so what that selected I hit e look what they did this is an audio editor, so this is where, you know, we looked at annapolis before and we looked at some audio before we could go in and change some things, but when you have flex turned on and there's another button for flex so we could actually rather than in the main session, I could just go open up double click on an audiophile, bringing up in its normal track or file editor. We talked about that the first day being where we could add it in the track or edit the actual file and destructively edited. Now we're going to track it brings up this beautiful piano rolled editor and that is so cool and also look at my markers and stuff so I can still see my parts. Let me zoom in here and let's look at that same course and see what's different it is not the cool, just simple way that we were looking at before, not that this is difficult in any way, but now that looks like me, doesn't it? And that's basically what they've done now you see the way form in the background, we're not actually going to be working on the way for me that's, why you see this hover a little bit and I can scroll through here, but what it's showing you is we can see the actual midi no but this is so cool um let me do a little bit of zooming here again command and down you can see amusing this is actually showing us those notes that we were on and I can select in any of those notes where we are in the scale from what they were saying so this is showing us a couple of things. First of all, the blocks are just like the midi where it's saying that's what it thought the perfect pitch wass that's where it put these all uh these lines is where when we were in the other window it thought it was the perfect pitch but then we see also the line with going with emma's well and that's the natural part of the vocal where it does swoop up a little bit come back and forth so we listen it's the same thing we had so there we go not and so now we see not just where the pitches and where the most of the notes are happening but were the actual line went above and beyond I'm going to look at this uh let's take a look over here. One of these notes here our first law so there's our lalla right through there and then we'll know so what those many notes is we got a couple little hot spots on there and they say different things for us I'm gonna go ahead zoom out a little bit for a second, let's, get this down right on that front part la la land like crazy after a while. So when I go up here and look at it again, these couple of controls we have around that note that it's set up as the perfect note for it, and we'll know some left in the right corner. We're seeing the same called pitch drift and set at zero. Okay, so both the beginning and the end of the note at the top pitch trip in the middle, we've got a little fine pitch control on the bottom are going to see you gain, and then we're also going to see by broad o and then finally, a form in shit shift in there as well. It's set to zero okay, so that's something we'll talk about last, but first and the beginning in the end, we've got this little button and when you click on it, of course, whenever we see a pop up value and you see when you have your mouths over some, it turns into a finger tool it's given you ah, something that it's representing like the pit shift and number like zero what do you guys think we can do with this? What would you do if you have it, your mouse over this yeah mike he said he doesn't like when you said click click and drag probably right not yeah sure enough we'll see what happens that line by clicking here I start dragging up takes it even sharper than what it was before bring it back down pretty soon I'm going to make it so that it sits entirely inside of that no right there or I could take it low again let's listen to it dropped down should be similar to what we had before with the nicest swoop up on they're going pretty far with it as well but when I go in here sorry that was in the game you guys know so I can change the gain of individual notes let's check it out since I accidentally clicked on it wei have a little note this is such a great little corrector we're just talking about pitch but maybe what it is is they leaned away from the microphone just a little bit we don't wanna have to go in and automate every time that happened maybe certain pitches were just a little bit more quiet than the other ones that came out you know it wasn't quite a strong who's a little areas that went out you have a simple little thing we're just that word we can change the way form in the volume of it hey so I get that back down to where we were gonna try something here, all right? So we get that back down to where it was I'd go back up to the pitch bring it back in so that its rate inside the line there same thing if I don't want it to jump up next notes so much I could crab the fine pitch drop it strip on this and decide that one back down so it's almost entirely inside in the middle and slide me hear that last part of the word like that wait there we go so we have that let me jump on to these other ones and show us a little bit more actually I'll stay with this one for now fine pitch now you could see I could take that whole note on the same thing just going in sense I could bring the whole thing up or down a little bit all right fi barato this one's so cool we can see the actual natural vibrato that happened there and sometimes what we want to do is bring that town a little bit and just straight now the rest that line were almost getting robotic but that's what I'm kind of trying to do here that's so inside of it sort of moving if it's one of those notes where we wanted to flatten out we can adjust that we can also of course exaggerate my bra does so somebody seen a little bit too straight but we get the pitches all worked out you can put more vibrato this might not sound great because going to exaggerate, but but that is what I called libra so I imagine, you know, everybody I mean, seriously, what kind of that? You know how big the craze of auto tuned vocals got twenty pain and everybody to the point where we're all sick of it now as faras having, you know, perfect little robotic size, why don't we go with like instead of auto tuning with logic pro x flex by broad owing right? So everything that we sing from now on is going to have an exaggerated vai barato to it we could get like this in our lalas will start to sound like I think that's the new big thing in hip hop, you know think spencer is going to lead the way, so bring that back down, but we saw them six hundred percent increase in vibrato take it the opposite way and it'll even let us counter act out a little bit more so completely on zero look at that flattened out nuts so goodbye broad ow can take it back, put us down a little bit more natural until even we go just totally flat with those way lose a little bit of character, but that's the cool thing is that we get the options for it something we can undo is well, who all right, so we've talked about the pitch drift on the beginning pitch trip on the end, being able to change the gain of the individual notes, being able to do the fine pinch. And now we got this thing called the for formal pitch. Our shift rather sorry nowthis is talking about when we're changing the notes. What do you want to change about the actual tambor of the sound so it can actually change some of the sound if I bring this down? Well, here, the so the note stayed the same. But what basically kind of happened is like the quality of the gin tama of the voice. See how it seems like it's a boy bigger person speaks it's the same patching. But it sounds as though it was a like a larger man singing it right opposite of that. You thought you sounded like a girl or you said it, not me. Graze it up. You sound like a child now. I'm exaggerating this here, but it's. Great. Because if you take pitch now we remember we said before that the cool thing with his pitch on changing speed and changing speech pitches and stuff before used to make maybe spend up a record made people sound like a chipmunk. And turned it down made him sound like a demon right this is the way that we can actually change the pitches but not have the size of the person or the instrument change you know if we brought you up in pitch by dragging here and this is another cool thing just like a mini note I I could take you up there so I brought you up into a totally wrong pitch that's really high but if I want to make it sound like you were a chipmunk I take that for my shift and I bring it back down and let me get a little more about space here and I bring it down to where you were down here on that didn't quite work for me you need to bring down even lower wait here it sounds more like you singing in that really high pitch so it's really great you know when I pitch correct some other model phonic stuff and it really works you take something like a saxophone and maybe you know they played it a certain party wanted just bring it up you know like bury saxophone or something that has a really beefy big sounding sound but if you pitch corrected up also that starts to sound like a little baby instrument when you want some like the big instrument playing high notes and that's what this control is going to give us with the form it's shift there so that's, a really cool feature to be able to go in and sort of maintain the nature of the character of the original instrument or performing that did that's, you know, something you don't see all the time. Let's, go and get you back where you were here before. Go on again. The really cool thing. I mean, I knew that one is, um, being able to take all these notes and do some editing with him as well. So just I'm wearing the piano roll, basically. So able to go through here, shift control. Any of these notes are highlight drag and you these notes take them all up or down as we see fit to let me keep this one going and that could be the next big thing here, right? So just cool creative things. I want you guys to think not just correction all the time, but also about being creative, be a trendsetter, be the person that does think of that next auto tune type thing and pitch crash like this o r shifting like this, I think, is a really cool thing on dh it's just kind of fun is sit around, record yourself, saying things and then drop it down, so these are the things that we can manually do inside the track editor here with this but I also want to show us that there's a couple of the cool things that we can do bring us back to where we were. Ah, s o a couple things we have here. The quantities is still showing up. So wait that's kind of weird, right? Quantas was a midi thing. That was something that only due to many. But since it's kind of made our notes many now we could do that too. There's, obviously nothing wrong with your timing. So let's, just do this again to exaggerate stuff was force it into something going to quarter notes and kwon ties those notes and we see them all lined right up. Now I think you work not where is before you were nice and playing with the group and the melody so it was undo it and watch those notes as they shift back to where they were before. Really, really cool that it could do that when we see them go there. But it's also got a scale kwon ties now. So get the beginning and we got our selected notes. Now this is one which it obviously picked the right key. What we're in for this one, spencer, the first time from the course a mind right, and so when we do that, we see it shifted one of the notes we had one note like out of scale, but we quanta eyes that now we'll put it in the natural liner way. But we could also shift this toe other things and you see it keeping up right away so anything we want to try some different that that it's actually picking up way try different things, put up completely different vocal part by going through here and shifting it same thing that we had with kwon ties before what's gonna let us pick how much of that correction do you wantto have before you do it just give us sort of an amount. So instead of going all the way corrected which might sound too unnatural, we could give it just a slight amount with it again, this is one of those things that we could spend days and days on get in there and just play with it, use the demo session record your own voice going in the computer and just start messing around. The biggest single were in this audio editor version of it is the six little points we have with the pitch drift in the beginning and in the end of each note have that fine pitch where we can take it up and down the game control that will actually change the volume up or down of the individuals and the vibe arado, which we can exaggerate or bring back and a little more control. And then finally, the formance forming shift that we have there as well. Great stuff.

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

Student Work

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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.