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Intro to Apple Logic Pro

Lesson 16 of 31

Recording Digital Audio: Set Up

Travis Kasperbauer

Intro to Apple Logic Pro

Travis Kasperbauer

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Lesson Info

16. Recording Digital Audio: Set Up

Lesson Info

Recording Digital Audio: Set Up

Boy, are we excited here? We're going into something that that's my favorite part about recording because I've been doing it forever since before we had computers sitting in front of us and that's just recording artists, recording audio not with logic pro ten of course we're recording digital audio, so we've got something really special here we're going to be building a new session talking about how we set it up. We're gonna be recording actual audio on the tracks talk a little bit about what we might need to set up inside your personal space ticks you get to do this making something outside of the normal computer, but then a really special treat in studio class here that we have such a creative group, so also making the class move right along and they are going to perform an original a piece of music for us and we're going to record it captured here we're going to try to just show you guys what we've been feeling here in the classroom is everyone started to get how easy it is to just ...

start with nothing and quickly be creating new musical ideas and collaborating with other people, which I talked a little bit about yesterday thing so important trust us to get out and start having fun making music and that's what we're gonna do, we're all just friends here sin hanging out now learning some new stuff and we're going to do in a creative way and these guys are going to perform for you some brand new original music that they're gonna whip up for us here let's get going I'm going to close out of our drummer session say goodbye to that awesome new drummer that we have will be hiring a new one just a few moments I think um I would close out of this one make sure I've saved up and give this one of course our title and this was our new drummer track and it's going close that up and again I keep going back to this idea just repeating what we've learned we're gonna go for a new one this time we're going to be a little bit different and we're going to start hitting a couple of hard other tracks that we haven't used yet so we're talking about audio again and for that we've got a couple different categories we have audio track which suitable for recording anything so we're going to do vocals we wanted to record anything we'd put a microphone in front of and also include direct singles of like a guitar here they can go on there but they've also I have this new category of guitar or base you're going to see sets us up in the library with some new options to go with rate away so I'm going to set one of these up for us we get going and it creates pop this one out for us and as usual we're going to start getting set up some of our lock screen sets um now a couple of different things that we're gonna be going through with this obviously you're gonna have to show us a couple new settings for recording audio we've looked at our records settings before, but we've been working with the many recording options we've talked about some count in options and metrodome settings those are definitely going to be in play again as well, but we're going to be looking at some audio recording settings and some preference is that we might need to set up here too so we'll get to those in just a second but uh let's also get a second window here where we're going to be hitting why to get that wonderful library open with our guitar sounds we see are already given us a category for electric guitar and bass is who locked that window and let's get ourselves a mixer as well we're going to get some multiple tracks in here so I'll hit screens at three and we'll bring up with command too mixer and fill that out lock it down excellent all right, like I said, we're doing audio now so we're gonna have to take a look at a couple settings and, uh, preferences, so I'm going to start preferences an audio page in the general devices tab. You're sort of devices, general io assignments audio file out of your mp three reset. We're going to stick with the basic one here. We noticed that the first thing that came up and the reason why I want to start here is that it's talking about enabling the core audio so we could get audio in and out of our logic process. I'm here, but also it's talking about devices right away, input device, an output device. Another thing I wanted to look at that we have is an option down here that comes in checked is twenty four bit recording. Well, we also had some other settings here before where we went in with our project settings, and with our recording, we'll look at those and with our audio and here's, another one I want to bring up just sort of side by side that's going to start us in a little conversation here, to things that some of you might have heard of before when it comes to digital audio. And that is this idea of a check box next to the words twenty four bit recording and then a sample rate setting over here that has a sample rate that's listed as forty eight, forty eight k, h z, let's talk about the bit that sample rate of, uh, of the files that were going to be generating here so there's a great place for us to stop so what we're talking about is we're going to be capturing audio the way that I started doing this was with tape machines where we're going to do is take sound that's you know, I'm either in the air we talk about like my voice here for recording that or one of you guys singing you know, we have a drummer we looked at a drummer track where you know is had we were listening to the sounds of drums that were actually played in a room and microphones captured them so we have sound that's in the air we're talking about acoustic energy so some sound pressure you know, disturbing molecules in the air hits are here and we perceive that is sound, but when we go to capture them and the way that I started caption them back when I was in tape was to change that signal somehow and to an electrical signals so that we talk about like analog sound and analog signals we're talking about so we need to find some way to start converting some energy here turning sound that we hear in the air I'm thinking like sound waves and converting it to a way that we could actually start a process are captured in the first is to change that to some electrical energy to do that today we're going to be using a couple of different things first we're going to we're going to using electric guitar so a guitar that has a pickup system in it on dove course the guitar then has a cable coming out of it are sound is still going from what was a disturbance of energy with somebody you know, striking some strings on and going through a cable now is some kind of voltage are a little electrical signal going through on again that's something that we'd consider analog. So when you hear about people talking at a logger versus digital so we're talking about it's not ones and zeros like digital yeah it's electrical signals little pulses are waves that we can measure so both with the guitar and then later when we're doing vocals with a microphone that's what the job is electric guitar or the microphone is to capture these things that were khun sound pressure waves and then turn it into something else that we can capture in this case electricity. So coming out of a microphone little teeny, a little surge of voltage there or with the electric guitars while really small small signal that we can get out of there and then normally what we do is we have to do something to amplify it, so in the case of electric guitar, normally we would run to a guitar that's the way that toys ran something I always loved to do is plug guitar into a guitar anthony gets louder or a microphone run that into a p a or into some kind of a recording system, so we have that we're going to be set with that get it into that state of energy, we're going to be analog, but is the name digital audio workstation with logic pro ten would tell you we need to make this digital we're going for digital audio, so I don't know how much experience you have. This is another one of those topics were, hey, we've got three days I could spend it on just talking about how we're going to get digital audio. I know everyone's familiar with it and smarts we hear about it, we all know that we work with that you listen to mp three's, you're listening to digital audio writer, so we think we have a digital file to work with, um, and I know there's a lot of people out there because of all the resource is know, you know, quite a bit more about how we can capture stuff, but with the limit amount of time in the fact that's a ninja, of course I want to give you guys my really basic basic explanation of digital audio, so there's definitely some things where you could go and be much more exact with it. This is a good working piece of of information I think to get started with it encourage you guys check out some of the other courses I know I watched a couple of the other courses that talked about digital audio on dhe mentioned some stuff about it on creative live there's a great resource you go and find some more stuff just on the creative live site but a lot of information out there but for us intro class let's talk about it this way all right? Whenever we want to take something like a guitar signal or a microphone what we need to do is find some way to put it into the computer that the computer could understand that logic pro can understand and the language of course of the computers digital so ones and zeros binary on what we need to do is find a way to take this file this I'm sorry not filed but the signal weatherby the guitar or the microphone single it's coming in and have it changed basically into these ones and zeroes are converted as we say so that it can actually go into the computer all right and the way that we go on our way in to capture that is through a device called an analog to digital converter all right, so what we have here on gonna be able to put some information up with class if you go to view it later what we're using here is a product from a company called apogee we'll look at a couple of their things today but sitting next to me on the desk here I've had this box called the apogee quartet throughout this class a really great piece you see it's a small thing sitting on the desk a ce faras you know when I'm going to touch controls you guys may think from the view of the cameras something that I actually have a bunch of buttons and things that I'm pushing it was a really elegant design that they have here where I just have one big knob that I'm doing to change some volumes I'm also changing some things that we said we needed to amplify the signal so I've got some pre amps in here cem microphone preempts an instrument pre amps in here so I could turn and adjust me turn up or turn down some of the signal's based on how long how powerful the strength of single was if they're playing really hard or were they playing a little bit softer I can adjust that with this big knob hit another simple button go back to change in the volume of the speakers that air behind me so great little what we call audio interface sitting here lots of different people make them all kinds of brands big price ranges but I get asked a lot by people like one of them consulting for studios are on helping students out that I've worked with are musicians that come in to me and mikey studio they're asking us all the time how can I get a smaller set up that works for me and whatever I do I say again I don't work for this company that they haven't given me anything free but apogee the one that creative live had here in studio is what we've been using our studio forever seriously for for over ten years that's been our go to interface audio interface working with any d a w worked with pro tools logic pro ten but especially with logic pro ten I think that they have a line of products that is just so simple for us to recommend to people again I'm gonna be able to show you a couple of things but from a very affordable small systems where it's just you may be in you know you just need some way to capture your voice and in a guitar that you can plug in they make a simple device for that but if you want to go a bit further where you have a couple things you want to do at the same time well they have stuffy there too the quartet that we're using today allows us to get multiple inputs we have four microphones in this room coming in or a combination of a couple guitars in a couple microphones or even a small drum kit and record all those microphones at the same time to their own tracks on their own editable lanes within logic probe and something that I want to show you guys if we do it in advanced class here's how to do multi tracking when you have a ton of stuff maybe sixteen inputs or those fifteen from the drums and they have products for us there too, with the symphony io be able to get a lot of tracks coming in and out so can't say enough good things about you the great products and find people there at apogee unwarranted advertisement over, I guess, but we're using the apogee quartet uh audio in her face here again, what the job of this little box sitting here is going to be to do quite a few things. First of all, we're gonna have a guitar coming in later on microphone run after like I said, adjust those levels make sure that we fill certain amount of space with the sound but not too much we don't want to overfill sort of this file that we're making, but that's just the first and that's still in the analog phase, the next thing that's going to happen with it is this idea of conversion, all right? And so the way in it's pretty easy to remember if we think about what I just said as faras the electrical single that's analog right that's not ones and zeros that's what something where rather than being a representation of a wave on of the screen, we actually are dealing with some kind of waves sound waves and then little electrical pulses but on the way and we're going to take it from analog to digital so they call that conversion on analog to digital conversion or the way that you're going to see it commonly referred to a t all right and what theeighty converter needs to do and what our quartet is doing right here before it gets to the computer we need a way to tell, you know, to say I see this wave this analog wave and we hear it I wanted to be captured is close to that original one is possible, so what it can't do is take a listen to like a whole riff are a couple of bars and music and just sort of take a digital picture of it and put it in okay it just doesn't work that way to be able to get all those little details of all the sound and was it loud? Was it right? What frequencies were it at what kind of harmonics and stuff but what it can do is break it down to small pieces all right, so you guys in here you've heard people talk about when they're making music about sampling and other artists right? So when we say we're going to sample somebody, what we want to do normally is like take a little piece right? So maybe we want to sample james brown so we get a james brown record our you know, get a digital file and we go and we love the sound of the drums so we'll go and it would grab a little bit of clyde stubblefield trump plane on james brown record will pull it in and then use that in our song and loop it out cut around and now we've been sampling right well when we think digital what you think the same thing, we're going to sample pieces of that waiver that guitar performance or that vocal into a small piece and then we're going to be able to go and take other samples and put him together and we already start to see something in our list right here that goes along with what I'm saying the sample right? Okay, so when it says the sample rating time we here that that that are seeing the word rate in something with aware before what we're talking about is that there's going to be some kind of a rate we're going to take samples in this case at a certain rate, what they're talking about is a number of samples are a number of little pieces like the music samples, a number of little pieces per amount of time and this time is a second. So when it says here forty eight kg cage see means a thousand so forty eight thousand it's going to sample our waves for every second of guitar plane for every second of talking or singing into a microphone. Then we take it so you know, for you here's the beginning of the sound and here's one second later in time, it's going to divide that one second into forty eight thousand individual little pieces and what it does is well, our waves going through that one second. Now all that has to do is take that one forty eight thousand of that one second and look at it instead of being a big moving wave it's just a little piece, just a little dot in that way, that of all those little dots that make up the wave, you guys to think of it this way well, like sena frames of film, right? If you look think about an old reel of film in an old movie and you look at it and what it's made up of a bunch of little pictures, right and in the picture if you have an actor on there that's moving here's me being an actor if you looked at the frame's rather than moving fluidly, they'd be doing little, you know, stop motion pictures of it. Kind of like when you draw a stick figure in your flip books, right, you flip him over and you can see that little stick figure move across the page if you draw it on each page. Just doing a little bit different. That's what? Our samples air doing here when we sampled them, it's just a little picture of what was happening in the sound for that brief little fraction of the second, and then it goes on to the next little one. So as this thing is continuously coming in the sound wave being stopped at this device and just capturing those little teeny samples within it. So this one set right now to forty eight kilohertz if I click on it, we get the list and these are the really common ones that we see it at the top forty for one killer hurts our forty four point one. I'm sorry. Forty four thousand one hundred samples in a second that's a lot. Imagine if this was a film or something like that. Having tohave, you know, forty four thousand one hundred of those little pictures for every second of film that went by so it's a lot, but this is set to forty eight let me tell you that forty for one, which is the lowest one in here. The fewest amount of samples per second is actually number when you see something at the bottom of a list or, you know, the lowest amount was something you might think. Low quality forty four one while it is much fewer samples and the other one's here is something that you guys at least look, folks in this classroom all grew up with that's the sample rate oven audio cd. Okay, so when you think about digital audio that's what you guys grew up right, listen to cds. This is the sample rate of those so to you that's music cds of only sounded like what music is to you and that's definitely our lowest sample rate and it's just fine when it's what we're used to, but we can use some of the higher ones forty eight thousand samples a second eighty eight point two. We're doubling up on the forty four point one ninety six thousand, which is where a lot of people with the two and especially ninety six people started to think hdl, your high definition audio. But here we can look our top end of this stuff one hundred and ninety two thousand samples in a second it's amazing to me that in one second, one just brief second of you playing a guitar saying that that's, your voice or guitar it's actually taking like snapshots are little sliced pictures of that wave one hundred and ninety two thousand times. All right, so this is the way that we sort of get how realistic is that wave? And again, we talked about the flip book our films in a frames in a film, if you had was take away the thousand here if you had forty four pages in your little flip book to draw a stick figure drawing across that you'd get some pretty good motion with forty four pages, right, kind of robotic and jagged, but it gets pretty smooth. Well, you double that and go up to the eighty eight now you'd get much more fluid. Everyone in between you get more. Think about adding up to one hundred and ninety two pages, how fluid you get, little back spins and moves inside your stick figure at that point, you know, moving through there. So again, forty four one that's what we're used to, but all the way up to one hundred ninety two thousand samples per second. Incredible. So that's, the quartet here is going to be ableto let us pick from the app which way it's going to capture those things? So the reason why I'm going to leave it on forty eight here is for some of you at home will be going through I know people have, if you started to make your little home studio, or you have, ah, better workspace that you work at. Ah, a lot of people have other devices from other companies, and a lot of them are really great, and the only thing I see with some of them is that they have limitations, so I don't want to talk about the higher sample rates and just do the demo in it when there are some especially of the older firewire usb interface is, and they're connecting to the computer that top out at a certain sample rate, they just can't do them it's up to the device itself, not your computer, not logic, pro ous faras how how high of a sample rate we can put in there. So for those of you that maybe when you click on this list, you don't see some of these options, you're going to know that, yeah, this is just what my device can actually d'oh. So we're gonna go in here and pick forty eight we'll talk more about selecting your device in a second here as well, when we go back to this other window, so that's the sample rate that's telling us how many little pictures or snapshots or as they say samples do we have of that wave per second I'm going to close out our project settings for now again this is a project setting so we can set it for each of the ones that we go through changes each time there's our preferences here which are going to save for us I moved through I got right when we're here at the devices I should show you input but device output device so you can actually spread these two it doesn't have to be the same for both but when I look here I see some stuff like some system settings but this is where we'll also dependent on your computer you will have the built in microphone if it has one if it's something like a mac pro that doesn't have a built in microphone you might say built in input on dh that will be a choice for you then where it has like a little eighth inch microphone and put on the back of the computer on the side of it that would show up for you as well plus anything that you have hooked up for a device we're using the quartet and I should show you our point out the only way it's connected you may see a few cables and stuff working through here it's actually quite simple the only thing that's connecting this box to logic pro into the computer it's a simple usb cord this one little thing one that's underneath here and going to there so it's just a one cable back and forth travel of audio through this device so we know we're going to go be going in through it I'll pick that, but if we didn't want to separate something like if I wanted to use air play to go out to a big television or if I wantto use the ht meyer built in hope with just the speakers here I could separate those two but no, we're going to stick with our quartet in here all right now I want to go down we're still talking about our audio file that we've just sampled up a little bit, but we have this button for twenty four bit recording okay? And some people a little bit of confusion people have about bit depth, especially because logic has announced with this logic pro ten that I don't know how many of you've seen this, but it says sixty four bit that's not talking about the audio file is talking about the way processes and some like that's a different thing that we're talking about when it comes to the audio files and our choices and logic pro what we have is the way it's selected here with twenty four bit or it could be turned off which is going to put us into sixteen that recording okay, sixteen bit that goes back to our audio cds a cz well sixteen forty four one but twenty four bit the one they're gonna have us always using here uh that's the one we're gonna go with a little bit different what the bit depth is when we talk about bits we're talking about the number of actually of ones and zeros okay, well that's what we're going with this thing is ones and zeros so where I'm sues me originally we said sample rate take those old pictures the bit that falls within those individual little pictures okay and what it is is with twenty four bits is talking about the number of ones and zeros we have to describe what happened inside that little sample of the wave so when it says twenty forbid it means we have twenty four ways to describe it versus the sixteen bit so I'll have to think of it this way again. This is the very sort of simple there's a lot more that goes into it but it does get us through it if you said I was going to do a sixteen bit file or make it like the audio cds basically be saying you have sixteen words to describe something so I want to describe someone like a student like mikey here who's doing some drawing I see like I could think of sixteen words to describe you or if I had twenty four, I could think of many nice things to say those extra words about mikey. Joe? Because he's sitting there drawing pictures of me as a robot, I believe right now, but twenty four bit, obviously, we get a little bit more, but even better to describe this the way I like to say. Okay, well, what are these twenty four bits going to be doing to describe what's happening with that wave is I go back over here gonna point at the screen these meters. So we've been noticing these the whole time, next to the failures and in the mixer and in the inspector we have the meter don't ask question to the class. Simply pick up a microphone so you guys can answer together if we were looking at a track and the meter for this start to see some green and it hovered at the bottom not going up in the middle upin the top, it was down the bottom. What would how would you describe that sound for me? What's the first thing you think, even without hearing it, how would you describe the sound when the meter just flickered down here quite right, absolutely okay, and if it went all the way up to the top almost too this zero up here what would you think opposite of quiet which is yes perfect love it everything in between were getting louder louder louder right the difference I don't know because I've ever heard this before but the difference between the quietest thing that we can hear down here and the loudest thing up to the almost up to the top but without exceeding where it would say zero what do we call that difference between your I'll tell you it's a range what type of ranges that between there and there because ever heard that dynamic range absolutely we're talking about the dynamics of being able to be quiet be loud so from zero all the way to the bottom here all the way to the top that's our dynamic range well think of it this way if we were sixteen bits were twenty four bit recording right now but in sixteen bits if we'd switch to it and this is still a twenty four bit meter what we could do is almost divide this up into sixteen equal little spots right? And so if we used all sixteen bits to describe the sound we'd be filling all the way to the top of the meter well we go to twenty four bit we basically extended and put eight more on top of it now the difference between the client ist and allowed us is a bigger difference which means we have a bigger dynamic range absolutely you guys great so that's how you know that and that makes it more realistic when we're in the real world if we're sitting this we're being quiet we should be able to hear something that's really clyde and as it gets louder louder, louder, louder that's going to be more effective use of sound right? If you think about an orchestra the way that they used dynamics you think about sound and movies and the way that they no have something really light and happy but then also something dark and really loud starts to happen it adds to the intensity well that's the whole idea here with having increased dynamic range increased bit depth we just could better represent what really happened with that wave. All right, so my recommendations for us here are always to use the twenty four bit and when it comes to sample rate that's where you might have to start by just going with what does your device have or thinking do I ever have to go back you know and work with somebody else on a different device that maybe can only do one of the lower sample rates and that's just the simple, simple simple explanation does that give us any questions for you guys here? How about I like, well, quite a few questions have come in? I'm not sure um so a question came in from joe schmo how do the higher sample and bit rates affect the cpu? The cool thing is that with this is that obviously we need to capture that and is going to come in. But the sampling takes place not in the cpu. The sampling is taking place here with the interface oh, that's all here in the apogee unit on what it can handle. So I think that is great that should have that for anything that does. All right. Um, one more thing I want to talk about here is in this preferences pain goingto audio and then into general is one other thing that might be a consideration for us right here and it's just sort of hidden down in here, it says recording recording filed type that says a f f we have some different options, you have a calf, a wave or bwf and then the ff audio in her file interchanged file for men I believe it's stands for, but then the way file or bwf broadcast wave logic defaults day ff great file. It just means that when you look in the audio file folder and have a dot ff after it this one here dot waiver dot bwf broadcast wave they don't sound any different it's the shell basically we're putting those samples in the bit as we like to think of it not an issue as faras one being better in the other eyes for a sound called you like that? One thing I will say is that more applications and more people there you may be sending files to might be looking for the way false sort of the one that everyone kind of grease everyone will play with versus you know ifyou're going different platforms like obvious not with logic pro ten we're not going to going to the pc anytime soon but you know if you're going to different applications maybe going to try to import something into a session that was already on way fall uh it's one where a lot of people would default using away file I do just to keep it simple I always do the same file type but that was found again the preferences and audio awesome we still something resize so back to our interface over here again this is the device it's going to be taking all those samples putting them dyson it up giving us those ones and zeros to describe it and then throwing in question please about the way files if you record one as an a f f file can you transfer it to awaken you converter yeah converted absolutely there's a number of different ways that we can convert it, you know is easy as building a new session, changing that file type and importing them into it I will give us the option just to convert at that point it's really it's not changing too much structure you're never going to hear a sound difference like that that's a great question absolutely if somebody if you build and this has happened before where I've worked with some film editors before on doing sound for them and they will say maybe they're working in final cut pro and they'll be like, hey, you always work with wave, but I need an a f f andi, you know, although they could probably converted just as easily, no problem just crabbing while changing over and you're fine with it. Yes, I'm also glad you brought that up, daniel, because well, you can convert the file type really easily there's some people with definite opinions on whether or not you should convert the sample rating bit death because when we convert that sample rate orbit up will convert the bit up, we're talking about again dynamic range so something needs to go away it's not just a simple changing, you know the name of it from twenty four bits of sixteen that's when we're actually changing the content inside of it and same with sample rate if we do a conversion of sample rate, we recorded it some people like yeah, I'm gonna work out ninety six or one ninety two at home because I can but the studio we're going to go to to mix in or where I'm going to go to do the vocals they can only do forty eight so I'm going to do it at one ninety two and then convert it down you know to forty eight or forty four point one that's why we have to realize okay, you captured a lot of samples and then when you convert it you don't have those same samples you know, so it's no longer that good file it's not like converting the final type like you're asking confirming actual properties of the file so something to be aware of him you know, sometimes not that big of a deal quick question but it could be yes tonight travis to interrupt the buffer size what I want you to be sent to we're absolutely going to that buffer size next thank you very much. All right, so I'm gonna go back in here again into the preferences and audio and it was right in there for a below our device settings so I oh, buffer size is going to do a number of things for us again we can talk a lot about but I like to think of it in a very simple way it's talking about how many samples we know how small a sample is now, right? We're talking about within one second all those thousands and thousands of samples we might need just a little bit of actual time to get some stuff done process to get things going so you can think of this buffer as a way to kind of allow it toe work within this range so as long as it's getting all of its work done within a certain number of samples, everything will be fine and this allows us to turn it up now seems simple then hey, I don't want any kind of you know, buffering or anything being late coming in or taking any time to do anything so we just leave that lowest one possible but what you may find depending on this is one where we may get into some processing things of your computer at least I've found that you may need to turn this up a little bit in samples just so you get a little more time to get all that happening. The one drawback that you're going to see is the higher to get with the numbers the more we're going to get this thing called leighton see or when you like go to singh if you're hearing yourself back and headphones on the speakers, you might get like a little bit of a slap delay where instead of it just being an instant thing it will be a little bit of an echo for vocalist I could totally, you know, knock you out of time so going bigger will allow us to do somethings like use more software instruments, used more processing power, use more plug ins and things like that we go to hi, we have a drawback of our recordings coming back in a little bit late, we'll look at some other settings for getting rid of late and see as well keep it lower is always the best option unless it starts to give us a message that it can't keep up with it. Too many things are happening, and we need to bring that back down again. So my advice is always keep this pretty low take a listen to what you're recording, see if you have that leyton see effect or not. All right, I think that covered that one pretty well, um, we also have a recording delay sending down here too, where you can it's telling us actually what the roundtrip latent c is going to be so it's a six point, two milliseconds round trip next explain again because I'm laughing almost because I still may be I'm just a old person that's usedto analog tape and and think that the world of digital audio is a little bit of a miracle, but the fact that we can go from somebody playing a guitar, having that go through a cable come up to the desk to this little device be sliced up into all those samples we talked about assigned ones and zeroes to tell us about the dynamic range put into a computer where now we're going to mess with it and give it a bunch of different sounds and then come back onto the computer. Go through this cable back to this device. Be changed again on the other conversion instead of analog to digital. Now, digital toe analog. Where it's going? Put all those frames back to all those samples back together, play them, spit it out as analog electrical energy. Go through these cables back to these speakers over here. Where then that moving speakers going to convert it from electrical energy to acoustic energy with sound waves again and then to our ears in six point two milliseconds blows my mind. I think that is so crazy on dh it's. So wonderful. Um, it's, just great. Sorry for geeking out, but I think it's one of the coolest things ever. So here we've got these settings. We want to get us moving so we concerned some fun here, so I'm gonna, of course, go down here, make sure he had applied changes. Anything that needs to be updated will go right through, and now we're set.

Class Description

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

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

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

Ratings and Reviews

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a Creativelive Student

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

Ellen Gibson-Kennedy

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


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