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Intro to Apple Logic Pro

Lesson 29 of 31

Mixing: Drums and Plugins

Travis Kasperbauer

Intro to Apple Logic Pro

Travis Kasperbauer

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Lesson Info

29. Mixing: Drums and Plugins

Lesson Info

Mixing: Drums and Plugins

Get back to our mix here. I know I've got to talk about the main components I'm going to get back and talk about a few is another one there's a whole three day course in mixing in logic pro ten that we could do, but I want to get you guys started maybe we could get back together in an advanced logic and talk about some more stuff, but there's a lot more, even on the basic level, I think could be useful. Start again with what I talked about, you know, listening to music, listen to your song the same way, figure out where you want it to be, this where we have all the control, so use the elements we talked about in the tools we talked about so far with the favors for our size, or which one's going to be up in front pans to move, use that sterile field filters and cue to move stuff up and down on dh, then we'll get into that last bit. The second, as far as having some kind of ambiance are making those dimensions to the space where this thing exists, with delay in river been a bit, but lead...

ing up to that, you know, when it comes to shaping those sizes and stuff, getting the volumes are, you know, the position of these things, right? Might want to work in sections we see that our sessions getting bigger and bigger as the day's gone on from yesterday today in fact I'm even being a little easy on myself here as faras the drunk channel here um if I went to all remember that we're dealing with when I think seventeen tracks of drums so when I look into the all section here we get a lot more of those trumps filling out everything there. So when we talked about getting in on dh controlling the sound let's not forget about those stacked tracks they're going to come over just showing us that main one but we get to go inside of those and do little micro mixes aaron eternal mixes with those as well so when we do something like listen to the different drums here and he wants him to do another one of these temporary groups were going to go in and highlight everything in here that I want to be part of it except for that master track I'll leave out and that's when where if I want to solo these drums and go in and listen to all of them now suspend that temporary group just by clicking away to a different track or on individual one tends to clear it out so now they won't if I move a fade or something won't all go together remember this is a whole drum kit so we talked maybe the hi hat was a little bit quite a little bit more of the morocco up and down panning those to remember if it was a track stack that came from the library that wasn't your own you might want to go in and customize it should you know it could be totally perfect for you but for example I know only move the hi hat we already talked about I'd move him over the other side but I'll go with these today and you know I like to set up if I recorded the drums just like they look you know, so one drum was here and one drum was over here I just imagine that they're coming out of these speakers so I wanted, you know, set up like they were on panam in that position wouldn't be too good if I took all these drums and put him on to one place when we know in the real world when they were recorded they were actually separated a little bit and there's some stereo mike's like the overheads there picking up that stereo image I want to follow it that's why I'm going to trust what they came up with this faras the pan in here because they know exactly how this drum kit was set up and they probably following some of those things to to get them tow line up exactly where they were actually set up it's not say you can't change it, we can do whatever we want it's our song, our mix and we can do things so slide some stuff around if we weren't hearing enough of that shaker coming through, you know, he's going and move that along as well, you might temporary group, those things are a little bit more, bring that down and stop now. Besides that idea of just a temporary group where it can highlight some things, work with them together as far as like the failures of the pans, there's, some other types of groups that we could make her as well, mixed groups that I like to use all the time, so we're going to go ahead and bring that back down the tracks. We'll talk about something like vocals would be something I would normally group, so I can start this again with a temporary group, but why don't we do this? Time is go for this little block box that we have above a box that says, read on all of these going to go in and pick, says one new group, click I just see it one show up. If I try to control something, gonna get rid of my temporary groups, I can see what's really happening here notice, just like that temporary group it's going and everything's moving together so keeping the relative position one another but being able to take them all up and down if we have them all set perfectly so that they're singing well together but we need to fit it into the mix a little bit better now I could bring them all up and get that relation any time I want to suspend that group or turn it off like maybe I'm deciding looking back this up just a second into that transition from the course to the bridge where we actually vocals on different tracks back it up a little bit further come on, work with me all those things you got to zoom in sometimes giving my selected region way I decide okay, well, everything was working great with my vocal settings and I liked the group I got him all turned up, but maybe I need to get back in and turn this bridge vocal down a little bit see I can't do that while I'm still in here so a couple of ways I could do it, I could go back in and I can say no group or just take this one out of the group was he just that one now is suspended out of it or what I could dio is simply to go in under mix and now I can go down and either show the groups or disable that group it's a shift g for group when I do that we should see that they go off but you know this is not the same as when I clicked on it turn out there's still a really shadowed one in the back there so it knows hey that's my group and that's something I want nothing to do is go in there mix here and show groups it's going to give me a couple things first of all my group number one it's on right now and it's just disabled but I give it a name so these our vocals now that's going to make sense to me and now I look back there and it doesn't just say one if I do shit she again will brighten up forces turn back on that actually tells me their vocals it's another place I can easily look and see I don't have to go all the way to the bottom to see what the name is because this we're going to get into a lot where we're looking more in the top now I don't have to go down to the name and look, you can see oh yeah those are all my vocals down here hear the drums I can also tell it based on this window I love that we can resize stuff too I can look here and I can go through and say what is going to work with it so settings I could make editing selection so now if I said this, I could go so I go in here and I switched back over to one. Now when I go in on any of these vocals and I do things like selections looking the way it selects all those for me so it's an addict group, not just a mixed group able to go in and that could save us a lot of time when I was copying before probably would've been in my best interest right to make some groups I wouldn't have had to highlight everything and move them around so that's cool that we also have an edit besides a mixed group type idea go back under new thera and let's show those groups besides that, I could also make sure that the automation mode is going to change with it. Well, that's something we're getting into and with it do I want the volumes to go together, the mutes to go the inputs solos, one that a lot of people like, I definitely do so I can listen to a whole section of things the pan you got to be careful with because right now I've got vocals spread around everywhere, right? But if I turn the pan on and I move one of them I'm going to see him all jumped to that new position so that it comes default not checked and I think that's a good one same with record we don't want to accidentally record over stuff that we had enough that we couldn't get back, but that's something on there also we have sends for eight different sense that we can bring in we can make the color of the same the track soon and hide tracks, which is an option we have or we can actually just make him go away even though they play for us tons of great stuff in the groups I don't know if they have a limit it's another one of those words if it's a lim it's enough there's so many of my lino often will have like forty groups and next sometimes of the bigger session so time this stuff make sure you name them, otherwise you get a little lost. Another thing to know is that it doesn't just have to be so I'm going to suspend this group I can also just turn it off with that button right there keeps the name but we see it's not one where I could go back in I think if I was to go shift in g c it doesn't turn them back on all the way, it just hasn't sort of in a state of being ready but on and off from here but I want to point out that say all my vocals are in a group here but maybe I want another group where the vocal and which put the one next to the bridge guitar should be on the group as well but now I can go into group too we see that it's going to throw that vocal in that one as well so give it a name, vocal and gtr now I've got a second group here that I can work with and we'll see that those will work if I don't have the vocal group on this one those two are still tied but I go back and turn that one so they can be overlapping groups as well and we manage him here from the show groups that we found under mix turn those off that's great special getting automation you might want to do some of that stuff as well. All right let's get right back in that some control stuff it was get back into that last element of our mix, which is to give some sort of shape and dimension now this is what we're seeing some stuff already happening in here I got this button in my mixer I'm going to go over, I make this a bit wider I also khun again filter something's I'm looking at so let's get rid of the audio tracks and the instrument tracks for just a bit and look at what we have left were insert some auxiliary tracks and these all are ones that came from our different patches on those presets we had where they had buses set up on they go here, tio some different auxiliary returns for river. But I know we had a chance to talk for just a minute about it the other day, but what I want to do is just set up a new one for us. So I'm gonna move my vocal groups, not from this window. I don't move my vocal over here down the bottom back over here, not with this vocal notice that whenever we put one of these buses on here it actually makes it give us another slot below. So it does go for the next available bus and the buses are just virtual patch cables where we could basically plug from one into another one and by turning up a little virtual na there it's going to send some of that signal to another place, so creating a new one here what that's done is giving me a new right next to it auxiliary input, which is totally blank. It just looks like a normal track the exception of its got an input up here of bus thirteen again making that connection from this track here in the senate knob we could go up and into this track and be processed by anything, so I want to show one more time where we're going to look at some of the tracks settings for things like vocals have great settings, who as far as a tape delay or stereo delay and a river plug, it is really common thing to see in those patches and they sound great on get worked for a lot of people, but I think a simple way to start with a mix, especially if things were just getting a little too heavy for you is to maybe clear out some of those ambien effects but set up your own auxiliary with a bus send here like bus thirteen and put just one reverb to start with for yours song so I'll go down and here we're going to start digging into our plug ins. I'm gonna use this one called space designer now I noticed that when I get down here to reverb and space designer, that what it's telling me is that I have a mono track and it can give me a mano to stereo, plugging on there if I want that's not exactly what I want. This is a stereo environment we're listening in, right? So I want my reverb, which represents like the walls, basically or the size of the place. I want to make sure that that is stereo was well, so same is when we're recording guitars on dh, the vocals there's a little single circle right there, telling me that this is created for me, ah mano bus and it did that because it came from a cent on a mono track click on it, it's stereo now, when I go back into my list for that river space designers on lian stereo for me so great, now I've got this room because we get a chance to look at this one it'll this is another one of those cases that with logic pro ten for one hundred ninety nine dollars, not doing a sales pitch for I'm just just happy for all of us that use this. This reverb is what's called an impulse response river burn I r, reverb, convolution, reverb all these different types of files that were going to see her in the background against knows that's like actually a wave form, okay, what's actually happening with this product says has an eye, our sample, but they did is recorded riel places, okay, now I'm not totally sure on how they went around and did it, but I've heard seen some demonstrations on how it can be achieved, so I'm gonna give you the general idea again. I'm sure there's people at logic that are engineering team that if they heard it, they'd be like, what is this guy talking about? But the basic concept is that you could go into a place like the room we're in right now or into a concert hall or something like that and what we could do is just blast a really loud noise like white noise or some kind of noise where it's all frequencies present no so high frequencies loafer but just give it a loud sound imagine like if I clapped what it clapped in away sorry those two got clouds in a way that like, you know, it was full frequencies highs through lows well, what you could do is use a measurement microphone at a certain spot on there and capture the way that that sounded right different sounds different rooms it's going to have a different echo, you know you clap your hands in a really small room that's got carpet and furniture and people in it not much happens you're alone in a big warehouse and clapping it's right little echoing and and all the sound so basically what they could do is record from one spot where the sound came how did this room in the space are more specifically? How did the frequencies and those sound waves react in the environment that they were and you captured that and then you're able to do it again so that's basically our kind of thing we're looking at here with this wave form for the space is that that's the way that the sound looked in there versus when you go into the space is that they have here in the presets this is one of those and other things of those presets wow, you go in and you start looking at rooms and they have vocal rooms and concrete rooms and all these different places and then hauls and when you're looking at these real places indoor outdoor start to look at some of the crazy things like a boat hangar big cave neo church swimming pool so where they actually went into some places high school gym and did this get it so want to put him in a high school gym? Where did that one just go what's that a thank you? So now we see what that one looks like on the idea here is we have spencer's vocal gotto hide that for just a minute I'm going to solo our tracks and name that track to auxiliary sixteen going to go in and doubleclick name it reverb and what we should be able to dio kill make sure eliminated any of these other process serious here also just turn them off and now we listen to his voice and I've loved you since I met you but I know the way is no river from it that's the driver will sway hey I never went to gather by the birds sing in the windows sure enough there he is second way you use bring this out was check out another place enough you like go to a concert and not in the sense that he's in those actual places okay question yeah quick question what's what's the advantage of using an additional a bus out for the reverb as opposed to just applying that that reverb on too I love track so much this is a question that I get asked all the time and it's a question that I loved to answer because I'm happy with my answer I'm also happy with people that take that my explanation or my answer and say that doesn't work for me there's no rules you know there's some guidelines that we can use but no rules in making this art so my version of the reason why I do it and it started before first of all it was a resource thing that's really how it kind of started with me or at least I thought that's why it was was that when I worked in big studios we had on actual physical version of these consoles right big desk that I work behind and we had racks of equipment including some of what we call outboard reverb so processors either digital ones that you know had the same similar capabilities were ableto have reverb and it or else some studios that I worked at had echo chambers where they actually below the floor they had big chambers with speakers and they would send the sound and then microphones to capture it and the places that I loved to work have what's called a plate reverb or it's a big piece of steel with visible speakers and microphones on that sits in a closet or somewhere that gives you a cool reverb sound. Well, normally you had a few of them, you know, they cost thousands of dollars or they're incredibly big and hard to make or, you know, just too big and you couldn't have the space for them but normally and a good mixture and we would maybe have, you know, five or six reverb is total and maybe one one or two of them were the really good ones. So what this does for us in the sense of resource is just resource is alone is that now if I want to take not just this vocal but these other vocals they can all get river when I put them on to bust thirteen so now it's not like I'm going to make a new auxiliary and a new plug in for each one and now I see your point like yeah it seems like more work to make a new track and then to have those but now I'm able to send them all into one reverb if it was a good enough setting for it was good enough setting for my lead vocals probably should be a good setting right or good ambient place for by other vocals and let me just go and turn these on with it and did together all not only using the same river for re sources but you see I was a little bit easier to set up I didn't have to go over make sure I had the same rumoring like that I didn't have to put more plugged in so resource is which are not as limited as they used to be even when we got out of the actual studio where we had the physical units when I first started using pro tools india w's a river bar to started limit your possibilities of what you could do it just because of the computers that we reason at the time right river was normally the one that used the most ram or the delays would and so you were lucky if you could get three or four river bs and delays going now you see in my session right here that big powerful space designer and probably got twenty of those going right now so the resource is not a valid excuse anymore the set up is still ah good reason for doing it, but ultimately over time once I realized I could use more plug ins, the real answer that I have for now is my mixes for the most part a little bit more clear and a little bit easier for people to do the listening I was telling you guys about because in reverb kind of sets on delay as well set sort of the dimensions of the place we're in you know? He sounds like he's in john airplane hangar and did because of that one river right? So it's like we have that space you're listening and by using the seine we put the vocal into it I start to get a sense whenever you get too many different reverb is going and I sometimes I'll use two or three like a different one for the snare drum just cause it sounds better some but once I'm like a vocal or other instruments, I start to get two, three, four rivers with different settings it's no longer like I'm taking a space and putting my instruments and musicians in it it's like I'm putting space is on top of different musicians and it gets really hard to kind of listen and figure out where they are so with that said, though, I know so many people that do some of my favorite mixes, and they're making a lot of money and winning grammy awards and stuff that do put their rivers and delays rate on here like the patch is set up so again, no right or wrong, but I wanted one to try it both ways. I think it's a great exercise to limit yourself when you're first starting to, like, maybe one bus end with the river, find one you like and then one delay setting so you can have some ambient stuff start with that, then going like for special effect delays or, you know, in our guitars, all of our guitars came up with the echoes or paddleboards that we're using, you know, some of the delay paddles and stuff like that that's a little bit different because on a stage, a guitar player might have a delay pedal or anything, so definitely weaken sweeten the sound on the insert, but when it comes to mixing these things and I like tio for the mixed part, I liketo have the auxiliary sends are the bus ends rather to the auxiliary and be able to have it one other big thing that I haven't mentioned with the control not about resource is not even about that one room. But I want to show you guys what we can do here with the bus sends and the way that they're set up. Now, when I click and hold on this, it will get, like, give me a choice to go down and pick a different bus, but I've also got a couple of their options here. I see that what I have here is pre fader post fader or post pan that's talking about where it's going to take a copy of the signal and send it on it's kind of confusing at first, but I'm going to stick just with pre fader or post fader these two rate down here, okay, when it's post fader, what that means is that now I'm waiting, I brought that fader down and I'm actually still sending from the exact quite my hearing something when I bring the spider down in its post bater means the scent happened after the results of the fader that's why we don't hear any reverb or any sound right now, ok, that's great, I bring it back up there he is with the river now I can control the amount of wetter dry this is gonna happen to places I can say no river or a lot of river, but I can also say a lot of river, but this turned down the result of it but check this out, I can also get here's another sense of that that movement back and forth going to click and hold on bus thirteen and now I'm gonna make it pre fader, which means when I set this on the knob, switch to the other side so I know in pre fader it means that this is sending before the result this fader so what's it going to do now? Here is spencer in their big space, he's right in front of me, but it's such a big room that we hear the echo and he's singing loud, I'm going to make him walk away from you guys, and we're still going to hear him in the room, but he's going to the other side of the hangar just by moving this fader and did you way lose that direct sound now, it's just the ambient sounds and I can bring him back to the front again, so control and I will be unable to customize this when we get an automation in a few minutes, we're going to see what that's all about, all right? And that is how we use the og sends and how I think we should try it with it, and we're going to get so many of those auxiliaries up from using the patches. From the library that I think you could just sort of jump onto those you notice they all have their input so bust thirteen bus to bus a few want to you can always just go and add to that so I'm attract with no river use one of those existing ones when I look I can see that this list it's even to tell me small room snare chamber bluebird so that's one for the drums and all the different sizes including my reverb down on thirteen so you can jump on with some of the other ones that are there for you as well. All right, I want to go up here I got a bunch to get through I want to show you that also once you guys do your beacuse maybe some of those dynamics processing you go up to this child strip settings at the top there this is the way if you don't know where to start, you get right into it we'll see some different categories on the instrument and audio tracks like the vocal here we can go in and we can pick different one so I could say logic different settings here space is electric guitar pick the different ones you want and just get those full sightings of voice male voice can see choke too quick sorry I'm down in the legacy ones here in logic voice mail voice mail ambient lead creamy lead vocal you weigh that gives its own settings with compressor the cue and stuff that's a great way to start again if you use them, just check out what's happening click on him in the middle, look at what they're doing. Make some adjustments to it, see what they thought was a good suggestion than finding tune it for you. If it's kind of delay on that, you can use it. We could still have our sends a cz well, but I also want to point out like he had the great point before where we could go in an option drag things once you get a whole set of stuff here we've got all those insert plug ins and your sins and everything set the way you want it. If you don't want to have the option dragged all of them, we can also create a channel strip set with that so we could, you know, save this channel strip setting put your name. We can also do something really simple with copying it and then moving it over to a different one and then pasting all that setting right in there. So there's the whole track set up exactly what it was double vocals, double guitar things like that, a really quick way to get in and do that all right, um, quickly I want to go through the list that we have here, we don't have time. Unfortunately, again, a lot of time could be spent. I could go through here a list all these things, but I want to just go over the categories at least and tell you what, we have so many questions before I move onto these plug ins. Yeah, I also just wanted to read a comment that hank's had finally understand what buses or for yes, that was very cool. Do we have any questions in the studio audience? You guys are doing good. There are quite a few questions coming in. Let's see, joe rogan experience said, can you import impulse responses that you made on your own into logics, convolution, reverb and perhaps in a future advanced class? How do you do that? Is that to advance for what we're doing until but to advance? But that is my understanding is that yeah, we can put there's a folder and we can put those in. In fact, I know it's true because online somebody put some from another company. One last thing on that. Thank you for the question is that when I said I was kind of seemed impressed when I brought this up and said it was with one hundred ninety nine dollars, one, they sell very similar products in other companies do for a thousand dollars for just this revert plugging in if I had to pay a thousand dollars for it and I would not feel too mad about it. It's not useful. We barely looked. We looked in one category of the rial spaces. You have to know some of these things just go on and on and on, including some really cool, warped effects. Those not just realistic things, but taking those and going this is well beyond the worth that well, beyond the price of admission that we have getting the logic protest. Just another example of things I think are worth alone. More than one ninety nine. But yeah, we will talk about that. Um, tell joe go try to throw some stuff inside the folder. Uh, he'll find impulse response folder in there. Okay, cool. Thanks or tell you, joe teo. All right, uh, let me again. I want to go through the plug ins. I'm just going to stay on one track here will go with the vocal. I just want to go through the categories again. So many great things here. I wish we had time to go and show you guys individually at least the categories and bring some stuff up, but we got to look through the app designer bass, amp designer and paddleboard remember all that stuff is not just for the guitar and bass tracks that's how they came up for us through the library remember this is a plug in I want a vocal I want to bring up paddleboard for the vocal you bet no one's going to stop us anything we want to do with it you could bring this so anything you want to bring over you can but that's where we'll start is with there absent paddles on that category delay giving us echoes sample delay stereo delay a cool tape type delay so a vintage sound too in another one where they've modified it to sound like something older may more expensive are unattainable delay designer has a similar name too and appearance this one is also worth more than your pain for logic pro crazy delay that works in all different ways you know maybe of like repeating delay or ping pong delay now think of it being able to do anything you could actually almost sequence the way that the repeats happens so not just normal quarter notes eighth notes but fluttering things and different filtered sounds all both of the processors the reverb in delay we're sinkerball in time and you have things like filters like the high pass in low passing get rid of frequencies out of your delay a reverb different pitch transposition for when they repeats go on on and on and on tons of great stuff inside delay designer as well. Distortions so everything from, like, a bit crusher give you that. So lo fi sound to more like mellow overdrive and phase distortion. Anything crunchy to sound sounding distorted sounding. We confined in here dynamics where I was only able to show you guys the compressor. And finally, I'll show you the adaptive limiter later, but everything to do with compression of the dynamic range. So we see compressor. But we also see ones like this one called the di essere, which we talked about compressor. Just being able to turn some stuff down, right? The d s ir talks about that thing's siblings. So vocalist you guys do you know, maybe sometimes we record stuff words that have ass is and it gets so really asking sound that could be kind of harsh, especially when we compress before we use the compressor. We can use one that's called a di essere, and it basically takes our sound, and it cuts down certain frequencies so we could say, oh, it's a high frequency s it takes there, and it compresses on lee those frequencies, leaves a rest your voice alone and just turns down the ass is or it d s is your song so that's where the name comes from? Go and try the presets there for male and female. If you guys want to check those out pretty simple to get going, same with envelops, weaken, turn volumes up and down and expand, or so you can actually make things have mohr dynamics based on what they are multi presser, another one a multi band compressor, so instead of compressing just the song, you could do it in lo's low mids, hyman's and highs incredible like on whole mixes and in drums to be able to compress a kick drum. But out of all, you know a stereo drum track, another one worth more money than what they're charging us love it when we had the comment before about waves plugging and plug ins and ones that could compete with it all the ones I'm going to actually pop open free ones and I think maybe even exceed what some of the other companies khun dio and a noise gate where makes it? If it's not a sound isn't what we want in there, it's not loud enough to be considered real material, it'll shut the sound, get on it and make it not play for us automatically. We've looked at the channel a cue, which honestly you don't need to get away from if you don't want teo there's just so much good stuff happening with it. It's my go to e q those old mixing boards I talked about they all had the same cue on every single channel I'm happy with the channel e q being line on everyone, but they've added some other ones, including these two right here incredible technology again ah, linear faizi q which I'll tell you we could use on like the master fader when it does is make sure that if we turn up the frequencies volume on certain frequencies, make sure that they don't actually get ahead in time a little bit there faster and the louder we make him, they could repeat it seemed to us, although not really obvious, that they're actually getting to our ear first slows down frequencies to make sure that everything still stays in its waves phase as they're going so that's where get that linear phase matching q. Oh incredible equalizer where what this was going to do? Another one that I believe waves also has what it will do is if we love the sound of a track we can actually tell this look at another track, analyze it, tell me what's going on with the frequencies than put it on a different track and have that match it it will actually move any q to make a track sound like another track or it will match the equalizer sound of that track? Incredible. Um let's go back in here filter somebody had asked someone actually it works here had asked, you know, do they have some other types of filter stuff from, like the whether the wa pedal or some of the synthesizer things that we can use on everyday tracks? And absolutely we've got a couple different places where we can have an auto filter here which will be like a wall that moves for us and then also in a filter bank from one of the uh synthesizers we have the vote coating synth fuzz wah great stuff imaging we already took a look at the directional mixer is the big one one for spreading stuff around meet oring people have asked a couple questions. Can I figure out what the temple of something is? You need to have a bpm counter throw it on that track will tell you currently in real time what is it track playing at from the inserts here also some things like that I showed you guys a couple of the different meters they have a multi meter that if we don't going to weaken, see things like frequencies what's happening in there very specifically on what the volume so great tools here for being able to use our eyes as well as our ears while we're mixing the tuner that we saw before pops up automatically couldn't be accessed here modulation plug ins well not really wish we got to talk about but what we're talking about with modulation is if we modulate something we're changing it right moving around so that's what these plug ins doing there's some common ones course great effect for vocals or things it just takes basically copy the signal in it modulates air moves the pitch of it slightly up and down gives into sound on effect that there's multiple people um same with these others floundered microfiche is there a modulation delay phaser ring shifter bunch of things that just slowly change their volume or phase or something about the sound from the original and a pleasing way that almost all of them I think are a sinkerball to the original tempo in the session so you get cool movement and rather than just thinking about instruments floating actually now get a wiggle a little bit in their initial sound pitts processing with a pitch corrector pitch shifter and a vocal transformer make somebody sound like a robot if you want to just great little fun effects there the river bs along with space designer a couple of their other ones that can create to have other ones so lots of different stuff of the noise er exciter groove shifter speeds enhancer sub base, which I know a lot of folks like. We'll add, like more base to kick drums or bass instruments and really fill it out. And then, finally, some utility stuff just gain and a test oscillator, so you can run stuff through our make sounds with it. Ah, lot of stuff. I'm tired, even just trying to run him through the list of things that we had. So get in there, play around with them and find them. Also, you'll see the audio units show up all of the different ones, just generic apple ones they have. This is also for those of you that are going to be putting in like waves, plug ins or any of the other companies. Audio units, that's, where they're gonna show up, and you can organize them there.

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.


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.