Mono mixing logic pro x free download
Its stock plugins are fantastic and easy to use as well! Just about everything you need is all ready to go and right in there. This is what makes it a great DAW for beginners to. This Logic Pro X tutorial is intended for beginner to intermediate users. Logic offers several session templates to get you going, or you can open a new empty project. For the first time, Empty Project is a good place to start. Here, choosing an Audio Track is fine.
You always have the ability to add more tracks later. The default sample rate is The higher the sample rate, the better quality your recordings will be.
However, the file size will be significantly greater as well. As a general rule of thumb, your sample rate should be twice as high as the highest frequency you intend to record. As the human ear only goes up to 20 kHz in the most extreme cases, the default This could hinder the overall quality of your recordings.
Bit depth determines the overall dynamic range of your recording. There are 6 dB worth of headroom in each bit, so a bit depth of 24 offers dB of dynamic range. You can choose 24 by checking the box in the Recording menu.
There are a few different ways to go about it, and some are more efficient than others. The first way to import audio into Logic Pro X is to find the files in your Finder window, highlight them, and simply drag them into your session.
From here, a dialogue box will ask you whether you want to Create new tracks, Use existing tracks, or Place all files on one track. Another way to import files into Logic is to do so using the Import menu. If you select Audio File from the Import menu, a dialogue box will open allowing you to find the tracks for import.
This is especially important the more tracks you have to mix! Make a selection by clicking the first track and dragging to the last one. Listening to this will help you determine where things should begin to sit relative to one another. At this point you can get hands on and move faders! This is great for, say, a left and right rhythm guitar, or any other stereo pair of instruments.
Lots of engineers recommend bringing all the tracks down to dB when starting a mix just to create headroom. Re-create legendary sounds and craft your own unique tones by mixing and matching 25 amp heads, five EQs, 10 reverbs, 25 speaker cabinets, and seven mics that you can position freely around the speaker cone.
Classic American silverface and blackface combos. A full range of British stacks and combos. Ultra-high-gain metal stacks. And even rare amps that would be hard to find in the real world. Experiment with classic delays, echoes, and reverbs. Run your signal through some of the most coveted overdrives and distortions. Try out dynamic pitch transposition or dive-bomb effects. Choose from all your favorite choruses, flangers, tremolos, and other must-have modulation boxes.
Or turn up the funk with vintage and modern wahs or an octaver. The Pedalboard interface makes it easy to reorder and swap your pedals and to creatively route your signal for thousands of combinations and virtually unlimited sounds.
Lay down an amazing bass track with dead-on models of three vintage and modern bass amps and cabinets. To get the perfect tone, switch between two types of input channels. Swap out cabinets and amps. Position one of three mics on different speaker cones.
Or blend between amp and DI box signals, just like in the studio. You can also use graphic or parametric EQs to fit the bass in your mix. And easily level performance dynamics or sustain with a compressor before or after the EQ. The library is filled with modern synth sounds created with powerful instrument plug-ins like Alchemy and Sculpture. Electronic musicians, enjoy your choice of pulse-pounding bass, stabbing synth leads, and pumping pads. The library offers a wide selection of pristine, dynamic-sampled acoustic Patches, including pop and classical pianos, fretted instruments, world instruments, and sounds from every section of the orchestra.
Add texture and color to your tracks with a wealth of ever-evolving and richly layered Patches. The Logic Pro Sound Library is perfectly suited for creating a soundtrack that evokes just the right environment or emotion. Add more to your music compositions with an ever-expanding variety of themed sound packs containing loops, presets, patches, Drum Machine Designer kits, and Live Loops grids. Ignite your creativity with a massive collection of instruments, loops, and samples — with newly added sounds created by some of the biggest producers in the world.
Logic Pro. Buy Logic Pro. Plug-ins and Sounds Logic Pro gives you a massive collection of plug-ins and sounds to fuel your creativity. Instruments Effects Sound Library. New Spatial Audio Create professional spatial audio mixes using enhanced surround plug-ins that add depth and movement to your tracks.
Instruments Create amazing sounds using authentic re-creations of vintage equipment, powerful modern synthesizers, and complex multisampled instruments. Quick Sampler Quick Sampler is a fast and easy way to work with a single sample. Looping Slicing Live Sampling. Auto Sampler Auto Sampler lets you save hours by easily creating fully playable sampler instruments from hardware instruments, other software instruments, and effect plug-ins.
Drum Synth This powerful but easy-to-use plug-in creates synthesized drum sounds. Drum Machine Designer Redesigned to be more intuitive and integrated, Drum Machine Designer lets you effortlessly build electronic drum kits. Studio Kit Studio Kit. Brooklyn Kit Brooklyn Kit. Alchemy Alchemy, the ultimate sample-manipulation synthesizer, is the most powerful instrument in Logic Pro.
Fantasy Detroit Reflections Skyline Ascend. Studio Strings and Studio Brass These two realistic plug-in instruments feature sophisticated articulation controls. ES2 A versatile synthesizer that delivers sounds ranging from classic analog to modern digital. Retro Synth Retro Synth. Vintage Keyboards Play authentically re-created models of the Hammond B3 organ, the Mellotron, the Hohner Clavinet D6, and the Fender Rhodes, Wurlitzer, and Hohner electric pianos — with all the character and quirks of the originals.
Vintage Mellotron Mellotron Mellotron. Alien Language Alien Language. Bleep City Bleep City. Spacey Spacey. Classic Analog Classic Analog. Sculpture Sculpture is a unique physical modeling instrument that produces tones no other synthesizer can.
Effects Use plug-ins to help you perfect or manipulate the color and personality of your tracks. Remix FX Bring DJ-style effects and transitions to your tracks with a collection of stutters, echoes, filters, vinyl scratches and stops, reverse playback sounds, bit crushes, and gating effects. ChromaVerb ChromaVerb is a high-end reverb plug-in that uses unique modeling to reproduce both natural and otherworldly acoustic spaces.
Night Lights Night Lights. Almost Time Almost Time. Endless Highways Endless Highways. Vintage EQ Collection The Vintage EQ collection brings authentic re-creations of three of the most revered analog hardware EQs, with support for mono and stereo and control over analog saturation and heat. Vintage Graphic EQ. Vintage Tube EQ. Vintage Console EQ. Step FX Add rhythmic movement to any track by arranging filters, effects, and independent step sequencers to create and control a wide range of treatments over time.
Autonomous Flight Autonomous Flight. Transformation Transformation. Random Voltage Random Voltage. Backyard Party Backyard Party. Mixing the Song Now that you have arranged your regions in the workspace, you can focus on the sound of each instrument and how they sound as an ensemble.
Choosing Names and Icons for Tracks and Channel Strips You will open the Mixer and name your channel strips so you can easily determine which instrument they control. You will then adjust the Volume faders and Pan knobs to change levels and stereo positions, and use plug-ins to process some of the instruments. At the bottom of the main window, the Mixer opens. The channel strips are named after the Apple Loops that you previously dragged to the workplace.
To more quickly locate instruments, you can assign the channel strips more descriptive names. To edit the name on a track header and on its corresponding channel strip, you can double-click either and type the new name. A text entry box appears, and the current name—Fine Line Beat—is selected. Both the first channel strip in the Mixer and track 1 in the Tracks area are renamed Beat Loop.
A text entry box opens. This time you will enter a name and open the text entry box of the next track with a single key command. Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip. Notice that track 2 has only a generic audio waveform icon.
A shortcut menu displays icons organized in categories. A collection of various drum icons appears. The icon is now visible in the track header. The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment. When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating.
Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument! Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes. You can see your new names at the bottom of the channel strips.
You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips. You will learn about those options as needed. In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options.
With the Mixer open and occupying most of the main window, the workspace is much smaller. Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible.
To remedy that, you will now adjust the locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments. If necessary, scroll or zoom out in the workspace so you can see your entire arrangement. Remember: to see all your regions, click the background of the workspace and press Z.
Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments. Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing. Synth 2 is significantly louder than Synth 1.
Continue adjusting the Volume fader until the Gain display reads The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays. Synth 2 is now quieter and closer to the level of Synth 1. You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image.
The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones. The two synths come back closer to the center of the stereo field. Now they sound like they belong in the mix. Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments.
In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano. When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used. The Power button dims to indicate that the plug-in is off.
You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant. The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character. The bass amp also made the bass a bit louder. In fact, it is a little too loud now. You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano.
The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great.
In the inspector, look at the peak level display on the Output channel strip. When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted.
In this project, the highest peak in the song is under 0 dB FS, and no distortion is created. In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds. You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad.
Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware. In this exercise, you will bounce the project to a stereo audio file. By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions. You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website.
Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining. A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file. When the progress bars disappear, your MP3 file is ready on your desktop.
Logic Pro X is hidden, and you can see your desktop. To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family! Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain? Where is the workspace and what does it contain?
When multiple panes are open, how do you make sure the desired pane reacts to key commands? Describe two ways to adjust a numerical value in Logic. How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins?
In the help tag, what are the units of the four numeric values used to determine the length and position of a region? How many ticks are there in a sixteenth note? How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected. The Tracks area is in the center of the main window. It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions.
The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project.
Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key. Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally.
Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note.
Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix. You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes.
To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project. In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.
Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac. You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording.
The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion.
The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves. To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate. The sample rate identifies how many times per second the audio is digitally sampled.
The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings. Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones. Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.
By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed. The Project Settings window opens, and you can see your Audio settings.
By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium. Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface.
If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones. The Input Device is the device into which you plug your microphones or instruments. If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices.
If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window.
Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have.
Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording. When adding tracks, the new tracks are inserted below the selected track.
To create a new track at the bottom of the Tracks area, you first need to select the bottom track. The New Tracks dialog appears. You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback. You will later take precautions to avoid feedback and then record-enable the track from the track header.
A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel. Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7. More descriptive names will help you identify files in the future.
The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector. This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound.
To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in.
Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. Amp Designer opens. Here, you can dial in a sound or choose a preset.
You can now hear your guitar processed through Amp Designer. Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters. On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.
Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording.
Working with a low-level recording is better than clipping the input. Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase. If the Gain knob is dimmed, it means that the feature is not supported by your audio interface. Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping.
When your signal peaks below —2. When it peaks between —2. When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea. The Tuner opens. Checking the Balance Now that the guitar is tuned, you can practice the performance and make sure that you can hear yourself and the other instruments comfortably.
If the guitar is now too loud or too soft in comparison to the other tracks, in the inspector, drag the volume fader on the Guitar channel strip to adjust the monitoring level, or drag the volume slider in the Guitar track header.
Recording Audio You have set the desired sample rate, adjusted the recording and monitoring levels, inserted a plug-in to emulate the sound of a guitar amp, and tuned the instrument. You are now ready to start recording. The playhead is positioned at bar If you need to adjust the position of the playhead, drag it left or right. The playhead and the LCD display in the control bar both turn red to indicate that Logic is recording. The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts.
You will learn how to alter both the metronome and the count-in settings later in this lesson. The new recording, Guitar 01, appears as a blue-shaded audio region.
To the name of the track, Logic appends the number of the recording. The playhead jumps to the beginning of the selected region and playback starts. If you are not happy with your new recording, you can delete it and start over. In the Finder, the audio file is moved from inside the project package to the Trash. The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary.
This alert appears only when you try to delete a recording made since you most recently opened the project. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear. You will keep your recording so you can experiment with recording additional takes in the next exercise. Recording Additional Takes When recording a live performance, musicians can make mistakes.
Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take. To preserve multiple takes in Logic, you can record new performances over previous ones.
The new recording in red appears to be recorded over the previous blue audio region. Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below.
By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface. The take folder now contains three takes. It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. Recording in Cycle mode allows you to repeatedly record a single section, thereby creating a new take for each pass of the cycle.
When you stop recording, all the takes are saved inside a take folder. The Guitar track is automatically record-enabled. The playhead jumps a bar ahead of the cycle for a one-measure count-in, and starts recording the first take.
When it reaches bar 9, the end of the cycle area, it jumps back to bar 5 and starts recording a new take. Logic keeps looping the cycle area, recording new takes until you stop recording. Record two or three takes. All the takes recorded in Cycle mode are packed into a take folder.
The Guitar track is automatically disabled for recording. To keep the last take of a cycle recording, make sure you stop the recording more than one bar after the beginning of the cycle area. The take folder closes.
Doing so allows you to record several instruments at once, placing each instrument on a separate track, so that you can later adjust their volumes and stereo positions or process them individually.
You first create the desired number of tracks, making sure that each track is assigned to a different input number that corresponds to the input number on your audio interface where the microphone is plugged in. In the following exercise, you will record two mono tracks at the same time, which you can do using the built-in Mac audio interface. To record more than two tracks at once, you need an audio interface with more than two inputs.
The exercise describes recording an acoustic guitar on Input 1 and a vocal microphone on Input 2. When creating multiple tracks, selecting Ascending automatically sets the inputs or outputs to ascending settings. In this case, you will create two tracks, so the first will be assigned to Input 1 and the second to Input 2. Make sure that you took precautions to avoid feedback, as explained at the beginning of this lesson; this time you will create record-enabled tracks.
Two new tracks are added at the bottom of the Tracks area and automatically assigned to the next available audio channels Audio 8 and Audio 9. Their inputs are set to Input 1 and Input 2, and both are record-enabled.
The multitrack recording starts, and after a one-measure count-in, you see the red playhead appear to the left of the workspace, creating two red regions, one on each record-enabled track. You now have a new blue-shaded audio region on each track. You can use the same procedure to simultaneously record as many tracks as needed. If the tracks already exist in the Tracks area, make sure you assign them the correct inputs, record-enable them, and start recording.
Punching In and Out When you want to correct a specific section of a recording—usually to fix a performance mistake—you can restart playback before the mistake, punch in to engage recording just before the section you wish to fix, and then punch out to stop recording immediately after the section while playback continues. This technique allows you to fix smaller mistakes in a recording while still listening to the continuity of the performance.
At any time, you can open the take folder and select the original recording. There are two punching methods: on the fly and automatic. Punching on the fly allows you to press a key to punch in and out while Logic plays, whereas automatic punching requires you to identify the autopunch area in the ruler before recording. Punching on the fly is fast but usually requires an engineer to perform the punch-in and punch-out while the musician is performing. Automatic punching is ideal for the musician-producer who is working alone.
Assigning Key Commands To punch on the fly, you will use the Record Toggle command, which is unassigned by default. Click the disclosure triangle next to Global Commands. The Key Commands window lists all available Logic commands and their keyboard shortcuts, if any. When looking for a specific functionality in Logic Pro X, open the Key Commands window and try to locate the function using the search field. A command likely exists for that functionality that may or may not be assigned.
When Learn by Key Label is selected, you can press a key, or a key plus a combination of modifiers Command, Control, Shift, Option , to create a keyboard command for the selected function.
An alert indicates that the R key is already assigned to the Record command. You could click Replace to assign R to Record Toggle, but then Record would no longer be assigned to a keyboard shortcut.
Control-J is now listed in the Key column next to Record Toggle, indicating that the command was successfully assigned. Punching on the Fly You will now use the Record Toggle key command you assigned in the previous exercise to punch on the Vocals track the bottom track in your Tracks area.
When punching on the fly, you may first want to play the performance to determine which section needs to be re-recorded, and to be ready to punch in and out at the desired locations. Position your fingers on the keyboard to be ready to press your Record Toggle key command when you reach the point where you want to punch in. The playhead continues moving, but Logic is now recording a new take on top of the previous recording.
Keep your fingers in position to be ready to punch out. The recording stops while the playhead continues playing the project.
On the Vocals track, a take folder was created. It contains your original recording Take 1 and the new take Take 2. A comp is automatically created Comp A that combines the original recording up to the punch-in point, the new take between the punch-in and punch-out points, and the original recording after the punch-out point.
Fades are automatically applied at the punch-in and punch-out points. You will learn more about fades in Lesson 3. The take folder disappears, and you once again see the Vocals 01 region on the Vocals track. Punching on the fly is a great technique that allows the musician to focus on his performance while the engineer takes care of punching in and out at the right times.
On the other hand, if you worked alone through this exercise and tried to punch in and punch out while playing your instrument or singing, you realize how challenging it can be. When working alone, punching automatically is recommended. Punching Automatically To prepare for automatic punching, you enable the Autopunch mode and set the autopunch area.
Setting the punch-in and punch-out points in advance allows you to focus entirely on your performance during recording. First, you will customize the control bar to add the Autopunch button. The ruler becomes taller to accommodate for the red autopunch area. The autopunch area defines the section to be re-recorded.
You can define the autopunch area with more precision when you can clearly see where the mistakes are on the audio waveform. Logic zooms in, and the selected region fills the workspace. Here we have a vocal recording in which the two words around bar 3 need to be re-recorded. Listen while watching the playhead move over the waveform to determine which part of the waveform corresponds to the words you need to replace.
You can drag the edges of the autopunch area to resize it, or drag the entire area to move it. Red vertical guidelines help you align the punch-in and punch-out points with the waveform. Playback starts.
Mono mixing logic pro x free download. Plug-ins and Sounds
How complicated can it be to produce a song? How about VERY? Let me point out just a small list of some of the topics featured on WLPR:. And those topics are just a teensy tiny taste from the HUGE list of questions and concerns readers have had.
After a while of trying to learn everything I possibly could about audio, I decided I needed a different approach. So instead, I decided to focus on core philosophies. Mono listening is when you combine stereo listening to only one signal straight down the center.
So if you pan your guitar to the right, you still only hear it down the center. Mono playback forces you to focus. So if your mix is muddy, you have to do something about it. While only reintroducing the mix in Stereo once in a while for double-checking my panning. And then I show you the before and after results both in mono and stereo. Check it out, and let me know what you think of mixing in Mono. Great video. Mono mixing is the secret to great mixes. Widely misunderstood by most engineers, but totally used by the best.
So, so, so true! But the results are huge. Great stuff, thank you Chris. Gotta get things sounding decent enough to advance the work efficiently, so I set plugins for mono and do zero panning. In any case I intuitively knew to keep things simple until projects are ready for mixdown and mastering.
For sure Charles — not panning any of your instruments truly forces one to contend with the mud! How do you split left and right any software instrument in Logic Pro x into two true mono left and mono right tracks of the software instrument? Do the following:. When you select the region, you should now see it highlighted in the Project finder.
This process will create 2 new versions of your Audio File: one for the left signal, and one for the right. You may need to import the 2 new Audio Files back into your Project. I noticed you did some panning in mono, Chris, setting guitars hard left an hard right. I did! Hi Chris. What do you think about a Waves NX plug-in?
I have no good room acoustics and speakers, and I bought Waves NX for mixing in headphones. By the way, what can you say about mixing in mono with headphones? Hey Roman, I personally was not enamored with Waves Nx plugin. I think testing out mono mixing on headphones is good practice as well.
You can always turn mono off occasionally and check to see how your mix is working in Stereo. Hi, Chris. Got a mono-question which I hope you can answear. I tried to mix tremolo onto a guitar track. Did it by sending the guitar signal to a bus with a tremolo effect. It worked great in stereo, but when I tested the mix in mono, the tremolo almost vanished.
Had to turn up the guitar signal to the tremolo bus, but when switching back to stereo the tremolo was of course way too loud. But then I tried adding tremolo by using the pedalboard plugin with tremolo directly on the guitar track, and it worked fine, both in stereo and mono. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email.
Skip to main content Skip to primary sidebar. Enjoy this post? True Two Mono L and R from Software Instrumentals How do you split left and right any software instrument in Logic Pro x into two true mono left and mono right tracks of the software instrument?
Do the following: — Hit key command F to open the Project finder. Leave a Reply Cancel reply Your email address will not be published. Write a Comment Email Required Name Required Website.
Logic Pro – Plug-ins and Sounds – Apple
The project for this course is to download the attached Logic file and follow along with the tutorial. I encourage you to submit your final mixes to the class! Jun 13, · Download my free Logic Pro mixing template, and learn the philosophy behind it with this article. Now I regularly update my Logic Pro mixing. Balance is used for mono tracks where we have just a single audio signal. Stereo pan takes into account both channels of audio on your stereo.
Mono mixing logic pro x free download
We assure you it is not as hard as it sounds. The application comes packed with a variety of features necessary for professional use. It ranges from software instruments, audio effects to recording facilities. Unfortunately, despite its brilliance the app is only available on iOS devices. That does not bode well for Windows users. While that means you cannot install the app directly on any Windows PC, there is another way round.
As we have mentioned, you cannot install the app directly on your PC. For that you need to take the route of a virtual machine. Here is what you need to do:. So to ensure smooth running of the app, it would be better to check whether your device meets the following requirements.
Despite an arduous installation process, the app is worth every bit the hardship. It carries great features which are beneficial for beginners as well as professionals. It does a lot more than just cutting, trimming and joining audios. If you feel Logic Pro is a bit too much, then opt for Audacity. Considering its features, the app is also a very good substitute you might try.
It is free to download and provides you with a multitude of features. You can record or edit a sound from your computer. It is easy to handle and gives great results. It is another iOS option to choose from. GarageBand is a reliable DAW that is used widely around the globe. The app has a large library of a host of music to choose from. You can mix your sounds or polish them. It allows you to export a track and has a powerful interface that you will find to be accessible and interactive.
Use Ardour to record your sound, mix it, or trim it. The app is available on both iOs and Windows platforms. And there is nowhere you can go wrong with this app. It is a convenient tool to use that makes editing easy. You use it for a bunch of other functions as well.
Your email address will not be published. Download Now. I am a writer at heart with an indomitable passion for technology. Leave a Reply Cancel reply Your email address will not be published.