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Intro to Apple Logic Pro

Lesson 25 of 31

Flex Time and Pitch Part 2

Travis Kasperbauer

Intro to Apple Logic Pro

Travis Kasperbauer

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Lesson Info

25. Flex Time and Pitch Part 2

Lesson Info

Flex Time and Pitch Part 2

I'm going to open up the other session so we can start to look at something a little bit different with flex time instead of just the flex pitch so if you guys have any questions for me I can answer while I'm opening up ah I had a question please since those were taking your voice and turning it into midi notes is it possible to have that turn into a score? Um that is a great question but I believe it's not at this time of tried to open that up for in the track yeah, maybe pretty sweet right? There might be a way for it though to let me let me check on the break just to make sure um so I know they've done some stuff like that before but I'm not aware of it right now let me check great question would be lurking under the view window ah inside the woods because this isn't a piano roll editor when that's where we find it on the tab for the score there so we're not gonna see anything like that here got it? Yeah it's cool it's many notes it should be able to throw something out for us thoug...

h so maybe they're coming up with a way to do that maybe they haven't thought of it yet maybe you're the first person to think of it so keep the ideas coming down to cupertino alright let me go and open up that demo session so for everyone at home we're going to be opening up that song were using on day one I don't need to save anything here so I'm just gonna close this project out and I'm gonna open a recent I believe this one have a part to in there sure enough all right so now we're going to see a bunch of stuff happening with the tracks now I want to be able to show the class a lot of things so I went ahead and did some work here it's on ly a minute or two of work it's just something I didn't want to be a too boring with you guys about so what I've done is I went ahead and I turned on flex for the whole track in the same place up here is before it show hide flex and like before with our first vocal track we looked at I had my options plus an individual flex truck so I enable flex track by track I wanted to just some of them but not all of them this is the way to do it just go ahead and in this track area carry on turn it off we'll see it jump right back in and worked for us now we have those options we talked about for flex time, no longer flex pitch but flex time and uh what I have is the same session against so we are starting the same demo session so start with the vocals but went down vocal these that were on their own track those are I haven't set to this one's actually set wrong what I want for it is mama phonic so the automatic could work absolutely but I picked monica phonic for those vocals because I know this is a model phonic track that I'm working with same with the harmonies and stuff now I want to point out here this is why I want to use this session remember all their background locals? This is where we learned about the track stacks where everything is compiled together it looks like many, but we have audio files happening there and a bunch of different vocals ago throughout the song in this stack stacks themselves they don't have any kind of indicators saying that I have flecks on and no options for those different algorithms that we can use for it, so we need to look inside of it and there's a good reason for that too. I wouldn't wantto have tohave my stack have won control because when we look at the controls that we have here in the vocals, we see that we have options like and I'm gonna pull this track up a bit so you get this conceit over there a little bit better there's that vocal track and it's set to mano phonic, but we'll see what our options are automatic monta phonic slicing rhythmic polyphonic and then we have a couple of special effects. One's called speed and tempera phone so I would start with the ones that aren't the special effects. Monta phonic that means one source at a time one source of pitch one pitch at a time so no courts were talking about before we rob was asking about taking a guitar chord and fixing one note with it. So this is perfect for things like baselines that don't use court single baselines, monta phonic vocals, that's the king, the king mondo phonic thing that we use all time, right? But any other instrument that just plays one pitching a time there's never any overlapping notes that's what this one's perfect at and what it's talking about is the way it's going toe analyze the track. This is back to time again. So you know, when we talked about the apple loops and finding those little events are transients that happened when it knows what's, the content is when it knows what it's looking for, it can sort of better react to stretch a mon a phonic thing we don't have to worry about, okay? Here's a note. Here's another event were to stretch it well what was going on with the notes inside of it was just one so we know we can stretch it a certain way and have certain flexibility with it versus down here you see polyphonic that's for all the other tracks of normal material like the guitar chords, piano chords things that were recorded an audio that had multiple things so two singers singing into one microphone instead of being multi tracked one microphone what they're doing to pitches they're each monta phonic singers but together they make a polyphonic track because they're both on one microphone captured together so anything that you hear two pitches you have a court or anything you're going to put those onto this polyphonic okay we have two others here that are pretty similar but we're going to see there's a big difference with first one here says rhythmic that's for tracks that are you think focused in being rhythmic now I'll use rhythmic sometimes for mama phonic tracks just because I think what's more important than the fact it's monath adi is rhythm you know I want to make sure it focuses on those transients that are happy that's the focus of it not the fact that it has different pitches also you would think things like drums and stuff like that would be a really big thing right? But we also have this one called slicing on with slicing what that's going to do is that's actually a great one for drums where it's going to cut it up in a certain way so they'll move and maintains an original time? You know, it's kind of weird the way explain it, but I'm going to be able to break this down for you once I look at the some different tracks in here, okay? And once I'm able to show you guys exactly what we can do to so we'll get back to slicing on the drums and a bit, I show you all these different options that we have here for the flex time because that's important to know about when I said the track stack our tracks tax don't all have to be same kind of tracks right? I could have just vocals in there, but I could also have the orient in this track stack or I could have, you know, piano or like I said, a couple singers in the same microphone which would be polyphonic so I don't I want in my tracks act have to pick one of these options I want to be able to go back and pick within them so disclose I went through, I picked mano phonic for all the vocals we got down to the guitars I believe will be after the vocals sure enough, those air polyphonic to me right the base that's minnie that's already an inflexible world right? So we don't have to worry about that at all in fact we're trying to do is get our tracks toe act like midi so that one doesn't have an option the mideast since don't let the audio sense for sure did now some of them were monta phonic since somewhere polyphonic sense so we have a little options with both of those same with ease since down here and then back into our drums and this is why I wanted to do all that work I had a time for he came in the drums are gonna pick slicing from now on we'll see in a minute why all right? First things versus once we've set up all these tracks I can go in here and start making drastic changes now I love this because a lot of times I'll work with artists on the way mike and I work sometimes with people is again producing singer songwriters that coming with maybe a garage band idea on maybe other times they just record themselves audio guitar and voice maybe into the built in microphone on her laptop and maybe with other microphones and we need to figure out some stuff like what ki should have been and definitely what temple with this song be best at that could take some time we could make apple loops out of all their stuff we could have them try to play them all or we can drop all the tracks they have into flex so let me remind you about this demo song twenty seven foster the people wait when now I go in and use this new option now my lcd looks a bit different than what we've been using can I recommend that we changes and get used to change and this is what beats and project that we've been using before I went to custom but also within this custom I customized the lcd a little bit more than what would normally come up let me show you what you're normally going to see is this right here would be the normal lcd but a control clicking to customize and I'm able to go in here and hit this thing called various speed very speed is something that I've been familiar with for a long time again because I'm kind of the olden days of recording and two inch tape machines and that was something we had right on top and now if you guys know turntables they always have a speed control on it as well right old fashioned analog equipment so again vari speed was one of those cool things there if you want to go faster turning the right but the pitch went up you wanted to go slower turned down pitch went down so can't really use that my demonstration to try to find for a serious songwriter the perfect tempo but with now flex time we get a speed on ly version of various speed and it's going to give it to me either in per cent or I can change themselves into temple if I wanted to to see what the temple was but now watch this place theo see what it's like if this one is slowed down let's go twenty let's go a lot twenty five percent slower everything's the same same rhythm nothing else is changing suffer the speed on dit catches up immediately thiss is the huge spark great here wants you guys to listen to the drums for me this's an extreme thing fifty percent down that's pretty huge gonna use that new technique that we learned today where I'm going solo our drums and I could even go in here and solo all the way through my drums if I wanted to they bring that back up and just go on our main track now again this is an extreme change in tampa fifty percent of that original hundred twenty seven but what I'm hearing is my drums still sound the way that they sounded before okay that's because of this thing called the slicing now if I was to go back in here and change it to what some people would think would be good for the drums which would be rhythmic we're going to hear something a little bit different make it the final one here especially if you get that kid to come up a little bit they're in the toms we really heard it you guys knows how it went boom boom right? What happened is is unrealistic to the real world slowing it down with rhythmic is it took something like that tom hit we just hurt which for you guys if he hits it in the real world normal tempo any temple you go on hit a drum it goes boom right if I clap my hands right now every clap sounded like that right and then I just had a siri's of them if I slowed down I still go it's still just right it's not clap they didn't get longer and then rhythmic that's what we had when I was on me jumped right on that floor time here again let's listen to it here it comes again let's listen you hear how those went long now? Well, I go back in with slicing so same thing if I sped it up if I have sweated up now my drum instead of being boom boom at a normal time to be be really short so it's compressing that time in there so slicing is the one that they came up for anything that doesn't really have like a tone or pitch like those drums kind of do when you pull them out but somewhere we want it to always be the same length so when I get back into slicing with all these we listen that again it's kind of resetting itself there everything still now a great drum sound normal drum sound too even with that extreme setting of fifty percent christ passes start a whole new genre music where we just take other people's music and justice fees I was down to just a more realistic thie idea of taking it cnn one twenty seven or one o five work better, you know, little little differences in percentage faster or slower khun b such a handy thing when you're trying out a song your demo and getting it ready or even now you look you're almost finished with it or in this case it is finished see even better a little bit more upbeat so have fun with that play around with it it's gonna be really fun to dio I want to jump back right into that top thing here where it show me speed on lee and now I see I get a couple of cool things where I can do very speed and speed and pitch was listen to what happens now this is something that I've almost started to miss because I say back in the day used to be it always changing the pitch now stuff doesn't change the pitch I want to hear a pitch change so again original people so cool it could be really funny and goofy like that, but also really useful yeah, he wanted cheese you want to just make it a little bit thieves do this all the time with pop stars make him sound young as they just speed it up a little bit with various speed a little bit shift here a little bit faster and a little bit younger sounds theo's the secret to the black sabbath records that was their slow down they slowed down in the recording and then sped it up tio actually, so that's the overall controls that we have with the very speed with either being just speed and pitch or being just the speed on ly with it so it can maintain pitch or if and have it drift with it a cz well, now it's a couple other options that we have in here is well with that they want to show you quickly and maybe we'll just go to like a vocal for this one's gonna have to switch all those things. Get tight lead vocal we had a couple of these things where we can change. Like with the speed here you know those days when you want it now without using very speed if I just use the temple again change, play the game so now instead of using various mean, I'm actually using tell teo you and I can control us that other one up here was everything now I can control with the temple here and just just certain ones having the speed effect or not there's also wanted here the temple phone which is going to give it sir this granulated that really robotic sound used to be the side effect when we first started having stuff like this was that sound and now they've realized a another opportunity to be the next greatest cool little crazy sound so whether we're going faster or slower when you get further away from the original want juice teo get a get a little bit of those artifacts sounds in there he may trick sound you get out of it so cool stuff that could happen they're going revert back and I want to show you guys we got a couple minutes and I want to show you the really powerful thing in here I've been showing you sort of sum over all things, so I think it's a great way to get into flax and see what it khun dio but probably the most useful one that we have is right here recollect down in the single track level and that is the way that I can go in here and pick this one polyphonic and what I have to do is a folder, so I'm gonna go in and flatten and merge in this one will notice that what this looks like when I'm flattened emerge again, if you have a track folder, you have to tell which one inside that take folder that you're going to use, so I'm zoomed in now what we see is exactly what I was telling you guys about since we started talking about apple loops. You guys see those little lines in there? This is where they've gone into they've actually said, yeah, these air, those points that we think are those event transients that happened, this was something that was important to the sound. Now, you know, so I can go in here and I can actually create new ones are moved different ones around actually can't do it from here. I need to go into the, uh, audio editor, but I can go in and actually shift where these things are and it's showing me these different notes, these air, what those lines have been using with those different transits, rather that have a lot of to move them and spread him around as the whole group, right? Like an apple loops and that's what we just saw, but this is the really cool thing is now it's going to give us some options to be able to move stuff individually. So what? Your nose with tools is in the top half? I'm going to get one of two tools so again, center line type thing that we've had with some of the other tools on the top. It's just this normal flax tool it's a single line. Okay, when I get over one of those event markers that we had, it turns into, like, a little looks like a nail or attack or something like that. That means that you're on uneventful, actually had fear away from it. What it's going to do is create one of those new ones for you. So now we can say, hey, I thought this was an event to let me have that as one, right? Let me undo that all use just the ones they had for now, the way that this works is in the top half. We have a single little event flex marker I click on that. And now it's highlighted. And when I go back over it again, it's got these little motion action things next to it. They look like wings to me kind of. But when you click on that watch what's gonna happen with our track here I would click it I'm gonna drag everything that was before that marker is getting dragged in time, everything that's at and it turns white to show me that everything after stayed exactly the same way but it moved on down the line so it's not going to be in time with our drums anymore so going solo it but let's check that out e I just changed how long he spent spending that sometimes like tito instead of that I can now drag this as long as I want and it's going to shift all that stuff over now it's zez sort of a limit to how much we can do before we get started get some artifacts but this is also seen different words imagine that what's happened here is you were singing or playing something you're playing the bass rob and you stopped just a little bit short on a note it didn't go quite long enough or it started a little bit too early. What we're able to do now is going to click on this and be able to shift just a little bit later with that start our extend your sustain a little bit longer on the notes were actually inside of this thing shifting this original performances timing all over the place just with single movements you notice it's kind of this telescopic thing where it's going move everything afterwards so some stuff's getting shrunk down in the end of ours here but let's let's take a listen to what we have just ruined here port foster the people t s o you see kind of ridiculous what I've done here but I did I'm just showing you the son of the power of it michael, you got a question for me? Yeah, whatever the motions that you make within the highlighted area its remains in the same for you be count or whatever it just your subdividing it different ways I'm divided it right? But we're talking about the content within this region right in the region so this region is that's the for mars you're referring to write so since these air cut here michael's right on that what I'm doing I mean grab just this first one here and watch everything it's not squeezing down the road finally goes to read same you've exceeded the realms of good taste and now you've got into crazy bill by going red and we definitely haven't this point but everything stays in there, which is another thing you think about when you're cutting up in creating your regions if we had the original track I could actually know the whole thing I could go to the very end of it and stretch it and continuously drag it out and all maintained so you know, so that was a thing that I grabbed the first one and not you no one in the middle so you're correct good come let me show you again here uh now the bottom half that was a top half in single is what I get the most mileage out of what I use all the time, especially for just simple time correction and this is one of those things where, you know maybe you're not a perfectionist we've been talking a lot outside of class with our group here about the way we like to record stuff where daniel will sit and do it over and over and over again because he's, a perfectionist with it and spencer and I was saying that maybe we like to just do it and get on to the next thing for those that liked to do it once and get on to the next thing this is where we can go in and if I noticed little timing airs with stuff that I've done and the lower half instead of being a single it's the same idea of make your own thing so it's a straight flex tool or else having this little pin on the top of that type thing and the bottom we get three okay, so I'm gonna go right on this first one here with this three and what I want you to notice is that's what it's going to consider the center once when I click watch not just on that line but around it in the other lines and look right there when it did was put up these different pins for us now it's basically, mikey you're just talking about the way it was restrained by the region that leads me perfectly into here I go back up into the top or it can use down the bottom here it's gonna let me go within those things so a lot of times I don't want the rest of track acting us up. I just need this one note to shift over so that it was right on and the cool thing is I can look at the grid at the top ruler in the background and I can actually get it to go right on time for me. So now I can just do little teeny shifts here sometimes have one little part sustain a little bit. Okay. Speaking about that we have this snap in here and it's set to smart I could go down to something like the beat are the division and get it. You see now it chunks just on the corner notes or our division sect to sixteenth note so I can go division. This is the fastest thing like via kick drums and snare drums from a performer that I loved the performance but we really need a rock solid kick and snare this is what I do, I jump in, just look at all the kicks, slide him over, get rate on that downbeat every single time I want to get it back where I could just sort of give it a push and pull and go back up into smart, and they'll get me some finer resolution almost like it's sliding back and forth that's a great way to go up here and sort of limit our moves. So all this stuff super cool, being able to change things like actually modify the way that the person had sung or performed any instrument, this is polyphonic ahs well to spencer, describe your question, can you drag and note from one region and have it, like, go into the next one? Or did you have to open up a new like you were there so many different things that we can do and being creative is the best way to do it? Obviously everything wants to stay in that region, right? We saw that that it didn't want to go be on this one at all. Like I went into here, you'll see that when it gets to the end, it will start to slide, but then it gives me a place where kind of stops, but if you keep dragon, you bet right now that was just covering up that other stuff, so sometimes a little bit more clever and like maybe put it on its own track if you wanted to overlap and stuff like that, so yeah, just experiment with it and get it to work that way I gotta show you guys this is one of the neatest things getting people to play on time again are getting to change the way that they you perform something is huge, you can see that we could sit here for ever pulling little things back and forth, but of course they let us go in here had do this is well, we're familiar with our region parameters that we have right for many we looked at some of the things that we could transpose and change some things and told the stuff just about the selected region no one with audio we didn't have too much going with him with a mute on a loop, but look at that kwon ties is there now, so this is the first time ever we've ever thought about quickly conforming the timing of something that was audio, not just little notes so we can actually go in here. And as long as we have that region selected and that's one in here, we can say yeah was put you on those quarter notes so that everything you do is right on and we see the ones that are the purple have been compressed on time and the ones and white have been expanded in time so little shifts and pulls throughout this region to change the timing will we hear a difference? Not much of one, but we'll know that at the start of all these words now takes heap a little bit of push and pull, forcing him to be raid on with that beat that's right or wrong it's just that how cool is that? You know I'm really getting those things and move with it I'll tell you like you'll get your question just second what what I thinking the microphone sorry one thing that I'll do this on two at least experiment with a lot because I'll go in here and I'll take something like anaugh dio based track actually I don't think I have an audio bass track I'll have an audio bass track and I'll kwan ties that and what I might quanta eyes it to friends when we quantifies things I'm able to go in here and at the bottom of the list I could actually make a groove template what that's going to dio I make this crew template is it's going to take that vocal like I had a different one here or if I went to another region that had a similar part to it, what I could do is say for that one over here instead of that was still flatten us quick flatten and merge it's our whole region there by high, like this one. Now, instead of kwan tai zing on no value, I could actually go down here and say, make it the same cadence as this one, so I'll take something like a kick drum and copy it, or make its own groove. Ten player, its own quant eyes sort of road map, and then I'll apply that to the base. So the bass plays perfectly along with the kick drum that's just super cool of flax, how we cannot treat the audio like minnie, we saw with the pitch, but now we're also looking at the time as well, see what that did to this or wear for the hell I'm going through. But we see how it's drastically changed the way that this vocal saying that something we were never able to do before, and we can correct things, but we can also be incredibly creative within a swell. How we doing? I'm doing pretty good. How about you? Great, good lovin all right, well, why don't we ask some questions? Yeah, any other final questions for the segment? Go ahead, can you put a swing on it? So there is more of a natural feel? Well, not lately, so you know, it's one of those things where we're going toe if it was something to stiff like our first one here e absolutely go down and with those quarter notes or eighth notes will have to use here and put that f swing on it and then we'll reset it and you see everything thinks that's hassling for you but also we have the quantities swing down here so you have the full options and being able to swing it mohr looking all those things shift watch me go the opposite way and watch those white and purple things because they go down and let go back to where they were so you could apply quite a bit of swing to this absolutely great question. I love this song all the way yeah, nicole has a really good one. Okay. Question from mu shu france um, about flex pick pitch is there a way to set all the notes to perfect pitch and then humanize the region? I know that you you kind of showed us how to do this manually to individual notes, but can you? What about entire regions? Absolutely. What we do is sort of human eyes and take away that amount. We had it, and I'm not the same anymore. Input let's, go ahead, bring us up. Uh um so we have them here we saw that we could go in control and set to perfect pitch, but also with that, then we can bring up the editor. It knows that it's already been brought in two perfect pitch, but we can then go in here and use that pitch correction amount, which isn't just showing up for me right now to move that back inside those over, we'll be able to go in and change that pitch correction amount from one hundred down back down again and be able to give it just the amount it wants. So absolutely okay. And jordy said, can you use flex time? Uh, bring a song into a specific tempo, like if you record a band with no click, I want to go back and add loops to other items that are set to a specific tempo. And then, beavon said similar majority would love to know if travis has any suggestions for recording a band with no click and how to either kwan ties that are mapped the tempo toe add loops to it. Sure, you know, and these are some advanced topics. I don't want to leave anyone hanging without an answer, so I'm gonna tell you absolutely that there we can't we don't have time to go through and actually demonstrate it for you, but let me show you a couple things here, first of all, working with cliques are with the tempo if you can do it, if people want to be dynamic with the tempo, don't tell them though you can't or you don't tell yourself that you can't, but we do have that tempo line in here so we can adjust this to try to find what the temple is is the first thing or if you're recording, somebody said it the way you want to be on deacon go through and do that also in our tempo, so options under edit, we could go in here and I want to start with saying if you want to do different tempos and this is something that works with flex but also was setting up your track ahead of time if we say there's a certain amount of time here, I'm through, uh, aren't my position here where my one forty four, okay, so I'm going to bring this down, so we're just a few bars in so one through eight well, d'oh, and if I say I want to have a certain tempo start certain tempo was go slower and have a nice curve to it as it goes down, I could apply that and we would see at my beginning now you start that one, that cool little tempo dip in there so you can adjust your temple absolutely using the line here and get some stuff happening so ahead of time you could always make it even if they wanted different tempo changes put him in ahead of time then that grid's gonna work it will be able to work everything now but the question was more specifically what if you had something that was already recorded and you want to kind of get that back are getting tempo set from it they give us a bunch of ways to do it in the global tracks we have this thing called beat mapping where you could bring in one of your tracks and we could take a look at it and let me just select one down here's who's one pops up and any track that we could highlight we'd be able to go in and say yeah, map it off of this one so I'm not getting the tracks like I normally use like a kicker a snare something rhythmic but you click that it'll actually go up and pick based on it which detect out of it basically and make a new temple ruler for us out of it also under edit and under the tempo options were able to go in here and detect temple of a selected region so you can bring in one of those things you don't know what the tempo is I try to break him down into small pieces make it easier time to find places right on those hits and cut it up, like using the marquis tool and clicking with the pointer tool. But we can detect those. And then we can also adjust the tempo of something by using beat mapping or beat detection to get our track set to it. So, yeah, a number of ways were. Definitely if we get to do an advanced class, going to talk a lot about this type of stuff. But for now, everybody get in under edit and the main menu and down to temple and try some of these different ones out to get that done for you. But they've given us a lot of options, very possible. I do it all the time.

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.