Logic pro x training book free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Many professionals have already benefited from this comprehensive list of Best class, tutorial, program and certification available online for These online resources will help you create killer music and are most useful for beginners, intermediate and advanced learners. Available on Udemy, this comprehensive tutorial is designed by Make Pro Music which is a renowned music and audio school.

The great thing is that you can access it from anywhere round the clock. The instructor will teach you how to do sound recording and basic audio production. By joining this training, you will learn to write, produce, mix and edit great music that sounds highly impressive, polished and professional. You can Sign Up Here. Review: So glad I invested in this course. Only half way through it and there is just so much detail and so many functions I, as a logic pro X user, have missed all this time!

Shortcuts that make life so much easier and most importantly quite a bit of detail on mixing and mastering your music. Great value for money. Thanks Rob! In Review: It was a really good course. He pretty much covered everything in Logic Pro and since I am new to Logic, I feel comfortable about getting started working in Logic based on what I learned in this tutorial.

The additional bonus interviews were a nice feature too — it was good to hear from professionals in the industry and get their input on a lot of topics related to the field.

Really enjoyed it, thanks! Through this training, you will learn how to set up remix stems in projects, use insert effects, create instrument tracks, and mastering missing track. The program will aid you become a Logic Pro X power user.

If you have a shoestring budget and want to learn how to create killer beats, then this is the perfect class for you. This tutorial has been developed by Dot Bustelo who is an internationally-recognized Logic Pro software specialist, film composer, sound designer and music producer. The instructor will show you how to make music using Logic Pro X software.

You will learn every aspect of drum programming and making beats that include select the best drum kit for quantizing, arranging, and recording beats. Through this tutorial, the instructor will show you how to record, compose, mix and edit sounding tracks. The class is useful for both novice and intermediate learners. You will learn about great arranging and editing techniques for both MIDI and audio data. If you have always wanted to bring musical ideas to life, then this is the perfect program for you.

Check out the Best Adobe Audition Courses curated by us. The instructor will give you an idea about the software which includes its key commands, navigation, windows and editors, workflow, and screensets. By joining this course, you will able to produce great Music. It includes numerous critical listening examples, power user tips and tricks and interactive activities that explain the great capabilities of this dynamic tool. Do have a look around our website to find more courses, and do share this article with your friends if you found this useful.

Skip to content Music Courses. August 21, August 26, 10 months ago DigitalDefynd. Producing Music with Logic Berklee. Related Courses.

 
 

 

Logic Pro X – Apple Pro Tr – David Nahmani – replace.me

 

You also want an ePaper? Veteran producer and composer David Nahmani uses step-bystep, project-based instructions and straightforward explanations to teach everything from basic music creation to sophisticated production techniques. From there, learn to record audio and MIDI data, create and edit sequences, and master mixing and automation techniques such as submixing with track stacks. Harness the power of Smart Tempo to make sure all recordings, imported audio files, and samples play in time.

Finally, you mix, automate, and master the song, using plug-ins to process only selected sections or entire tracks, giving your audio creations the final polish needed to achieve a professional sound. Downloadable lesson and media files allow you to perform the hands-on exercises. Focused lessons take you step by step through practical, real-world tasks.

Accessible writing style puts an expert instructor at your side Ample illustrations help you master techniques fast. Lesson goals and time estimates help you plan your time. More documents Similar magazines Info. This item: Logic Pro X In stock.

Music Theory For Dummies, 4th Edition. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Graham English. Logic Pro X David Nahmani. Darren Jones. Harry Gold. The Mixing Engineer’s Handbook 4th Edition. Bobby Owsinski. Start reading Logic Pro X Don’t have a Kindle? About the author Follow authors to get new release updates, plus improved recommendations. Brief content visible, double tap to read full content.

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There was a problem filtering reviews right now. Please try again later. Verified Purchase. Still, you can bring back a little bit of the excitement just before the breakdown at bar This last region brings back a welcome variation to the monotonous pattern that the guitar has been playing for the past five bars, returning in time to lead to the break in the next section. Now you know how to select the desired material within a region and move or copy that material anywhere on the track.

Comping Takes In the previous lesson, you recorded several takes of a guitar performance and packed them into a take folder. Now you will learn how to preview those individual takes and assemble a composite take by choosing sections from multiple takes, a process called comping. Comping techniques are useful when you have recorded several takes of the same musical phrase, each with its good and bad qualities. In the first take, the musician may have messed up the beginning but played the ending perfectly.

And in the following take, he nailed the beginning and made a mistake at the end. You can create a perfectly played comp using the beginning of the second take and the ending of the first take.

You can use the same comping techniques to create a single musical passage from multiple musical ideas. As they improvise in the studio, musicians will often record a few takes and later comp the best ideas of each performance into a new, virtual performance.

Previewing the Takes Before you start comping, you need to become familiar with the takes you are going to comp. While doing so, you will assign the takes different colors to help distinguish between them, and then decide which part of which take you will use.

The selected take folder and its takes fill the workspace. The take folder is on the Guitar track, and the three takes it contains are on lanes below the Guitar track. Take 3 at the top is selected and is the take currently playing.

The other takes are dimmed to indicate that they are muted. This is useful when you need to assign other regions the same color. Take 1 is purple. You will keep the blue color for Take 2, and choose a new color for Take 3. The selected take, Take 3, plays. This time the first bar sounds good, but the second bar is rather messy; the third bar sounds good, and then the guitar player plays the wrong chord and stops. This time the guitarist misses the entire beginning but gives a good performance in the fourth bar of the breakdown.

Although each take is a very poor performance, you have all the material you need to create a comp take that will sound good. You will swipe your mouse across the parts of the takes you want to hear in your comp. The entire take is selected, and its color and name are displayed in the take folder. The mouse pointer does not automatically snap to the grid when Quick Swipe Comping, but snapping would help you edit this kind of rhythmic material.

This time the mouse pointer snaps, making it easier to select exactly one measure. Notice that in the take folder on the Guitar track, the waveform and its background color match the sections of the selected takes.

Your comp name, Comp A, now appears next to the take folder name, and the letter A is displayed in the Take Folder pop-up menu to the right of the disclosure triangle. An easy way to start a new comp is to Option-click a take to select it, and start comping again.

There is, however, a lingering noise present at the end of Take 2 you can delete. The upper part of the clicked section is white, indicating that the section is selected. You can hear a double-attack on the downbeat of bar You will now clean up that edit. Holding Control-Shift while you drag temporarily disables the snapping, giving you the precision you need to clean up this edit.

The take folder is replaced by the current comp. The selected sections of the takes in the folder are now replaced by audio regions, and crossfades are displayed at the junctions between regions.

You now have a flawless funk rhythm guitar performance during the break. The crossfades, automatically added between edit points during the comping, ensure smooth transitions between the regions.

You will learn how to apply and adjust your own fades and crossfades in the following two exercises. Adding Fades and Crossfades When editing audio, you usually want to avoid abrupt transitions on edit points: the region boundaries and the junctions between regions.

You can use nondestructive fades in the workspace to create smooth transitions. Adding a Fade-Out The very last region on the Guitar track ends abruptly, before the guitar chord has finished its natural decay.

You will now add a fade-out to make that last chord end more naturally. You can hear odd blip sounds at the edit points: the beginning of the first region, the junctions between regions, and the end of the last region. The clicks are exacerbated by the reverb in the Amp Designer plug-in on the channel strip.

You can now clearly hear the clicks. The third region, a C minor chord, ends abruptly and the sustain tail of that chord does not sound natural. You can create fades only over region boundaries. Here, the rectangular frame should cover the end of the region. A fade-out is created. The position where you started dragging determines the length of the fade-out. The fade is curved in the direction you drag.

The guitar and the piano fade out simultaneously at the end of the song, which now sounds cleaner and smoother. The Left-click tool is reassigned as the Pointer tool.

Adding Fades to Remove Clicks In this exercise, you will add very short fades and crossfades to eliminate click sounds that occur at edit points on the final three regions on the Guitar track.

You can hear a click at the beginning of the region. You may need to zoom in a few more times to clearly see the shape of the waveform. To add fades using the Pointer tool, you can Control-Shift-drag over the region boundary. A fade-in is added. The click sound at the beginning of the Ab chord region disappeared. You can hear a click sound at the edit point. A crossfade is added at the junction between the two regions. The click sound at the junction between the regions disappeared.

All you need is a very short fade at the edit point to smooth the transition. This time you will add the crossfade using the parameters in the Region inspector to avoid zooming in and out. A five-millisecond fade-out is added at the end of the selected region. In the workspace, you can see that the fade-out at the end of the selected region is replaced by a crossfade.

After editing a section, you may have many small regions with fades between them. You can choose to keep those small regions with the fades so that you can readjust the edits later. However, if you are ready to commit and would rather deal with a single audio region for the entire section, you can join the regions to render your edits into a new audio file. An alert asks you to confirm the creation of a new audio file.

A new audio region is created in place of the selected regions and their fades. Zooming and scrolling in the workspace can help to an extent; however, when you want to edit the regions of a single track, you can use the Audio Track Editor to focus on that track without changing the zoom level of the Tracks area.

Importing Audio Files Using the All Files Browser You will now import a new audio file to the project: a white noise sound effect you will use later to accentuate the transition between song sections at bar The All Files Browser opens. At the top, three buttons allow you to access all the volumes connected to your computer, your home folder, or the current project folder.

The contents of your home folder appear in the browser. The wave. A new track is created, and the wave audio region is added at bar The audio file was recorded at a low level, and its waveform is rather flat. Depending on your zoom level, you may not even see a waveform at all. In the next exercise, you will zoom in to the waveform so you can see it clearly.

The white noise effect sounds like it will work in that section. However, for maximum effect, it must be positioned so that the climax of the wave sound occurs at bar Using the Audio Track Editor You will now continue editing the wave region nondestructively, but this time in the Audio Track Editor, which allows you to clearly see the grid and the ruler above the regions without having to change the zoom level of the Tracks area.

The Audio Track Editor opens, displaying the wave track and its single region. The wave region fills the Audio Track Editor. You can clearly see the ruler just above the waveform, with vertical grid lines displayed under the waveform. You can see that the wave region is a stereo audio region because it has two interleaved circles next to its name, and two waveforms are displayed in the Audio Track Editor.

As you reach a certain zoom level, two waveforms are displayed, one for each channel. The waveform is a little taller. In the workspace, the wave audio region is moved accordingly. The climax of the wave sound is now perfectly aligned with the transition between song sections at bar The effect would sound even better if the rise before bar 17 were shorter. Then drag to the right so the region starts at bar The region is now trimmed. All the edits you perform in the Audio Track Editor are reflected in the workspace.

The wave sound now rises rapidly in the last bar of the breakdown and decays slowly in the next section, which works better for this transition. Playing an Audio Region Backward You will now create a new region from the last chord of the Gtr chords region at the end of the Guitar track, and copy it to the beginning of the song. You will then reverse the new audio region to create a swelling sound effect during the introduction.

You will now copy that region to bar 4, the last bar of the introduction. You have a new Gtr chords. In the Tracks area, you can see the Gtr chords. The swelling guitar chord sounds about right. To get the full impact of the break at the end of the intro, the Gtr chords. To help line up the end of the reversed guitar with the first notes on the bass track, you can zoom in horizontally and position the playhead at the beginning of the Skyline Bass. Now the swelling guitar chord sounds smooth.

Aligning Audio Accurately aligning audio material to the grid, or to other instruments in the song, is crucial to realizing a professional-sounding song. No amount of plugins, mixing, or mastering techniques can fix a sloppy arrangement, so getting a tight-sounding arrangement before moving on is important.

You will now import a guitar recording that was removed from the workspace but kept in the Project Audio Browser. That guitar was removed because of timing issues, which you can now fix using the Flex tool. The third note, at bar 2, sounds out of place, while the other notes play at the second and fourth beat of each bar, much as a snare would be heard in a drum pattern. You will move that third dead note to the second beat of bar 2. The audio files used on the Guitar track are analyzed for transients.

You may see a progress window briefly. You will learn more about flex editing in Lesson 7. Depending on its position over the waveform, the Flex tool can perform different functions, indicated by different tool icons.

The dead notes in the first two bars now sound consistent. The dead notes in this guitar region are still not located perfectly on the grid. If you wanted to take this a little further, you could set your snap mode to Beat, zoom in closer on the first guitar note, and use the Flex tool to drag it exactly on the beat. You now know how to read a waveform, identifying notes and their attacks to perform precise and clean edits.

You acquired skills with a number of editing tools—such as the Marquee tool, Fade tool, Resize tool, Flex tool, take folders, and snap modes—that you will continue to use as you edit recordings and arrange projects. Further, you can now accelerate your workflow by choosing the appropriate Left-click and Command-click tools for each job. As you produce more music in Logic, you will continue sharpening those skills in the course of becoming an increasingly proficient audio engineer. What is nondestructive audio editing?

Where can you perform nondestructive editing? How do you comp takes? How do you prepare to edit the takes inside a take folder? How can you see the result of your comp as regions? How do you add a fade-in or fade-out to a region? How do you add a crossfade between two regions? How do you select a section of an audio region?

Which tool allows you to move an individual note inside an audio region without dividing the region? Audio region editing that does not alter the audio data in the referenced audio file 2.

In the workspace or in the Audio Track Editor 3. Open the take folder, and drag over each take to highlight the desired sections. The take folder assembles a comp including all the highlighted sections. From the Take Folder pop-up menu, choose Flatten.

Drag the Fade tool over the boundaries of a region or Control-Shift-drag the Pointer tool , or adjust the Fade In parameter in the Region inspector. Drag the Fade tool over the junction of the regions or Control-Shift-drag the Pointer tool , or adjust the Fade Out parameter in the Region inspector.

Use the Marquee tool. Goals Create a new project with a Drummer track Choose a drummer and drum kit Edit the drummer performance Arrange the song structure Edit performances in the new sections Customize the drum kit Tune and dampen individual kit pieces Work with electronic drummers Customize drum machines Convert Drummer regions to MIDI regions In most popular modern music genres, drums are the backbone of the instrumentation.

They provide the foundation for the tempo and groove of the piece. For recording sessions in which the instruments are not tracked at the same time, drums are usually recorded or programmed first so that the other musicians can record while listening to their rhythmic reference. In this lesson, you will produce virtual indie-rock, hip-hop, and electro-house drum tracks. Creating a Drummer Track Drummer is a Logic Pro X feature that allows you to produce drum tracks using a virtual drummer with its own personal playing style.

Its performance is placed in Drummer regions on a Drummer track. Using the Drummer Editor, you can edit the performance data contained in a Drummer region. Each virtual drummer also comes with its own drum kit software instrument plug-ins: Drum Kit Designer or Drum Machine Designer which controls Ultrabeat in the background. A new project opens along with the New Tracks dialog.

A Drummer track is created along with an eight-bar Drummer region. At the bottom of the main window, the Drummer Editor opens, allowing you to edit the performance in the Drummer region that is selected in the workspace. The track is named SoCal Kyle , which is the name of the default drum kit and default virtual drummer in the Rock category. The project tempo is set to bpm, which suits the selected music genre. The drummer starts with a crash cymbal and plays a straightforward rock pattern.

At the end of the Drummer region, a drum fill leads into the next section, which you will add later. If necessary, continue zooming vertically by dragging the vertical zoom slider or pressing Command-Down Arrow until you can see two lanes in the Drummer region.

The Drummer region displays drum hits as triangles on lanes, roughly emulating the look of drum hits on an audio waveform. Kicks and snares are shown on the bottom lane; cymbals, toms, and hand percussions are on the top lane. Now you can read the Drummer region. In the next exercise, you will listen to multiple drummers and several performance presets.

Later, you will zoom in again to see the Drummer region update as you adjust its settings in the Drummer Editor. Choosing a Drummer and a Style Each drummer has his own playing style and drum kit, and those combine to create a unique drum sound.

In the Library, drummers are categorized by music genres. By default, choosing a new drummer means loading a new virtual drum kit and updating Drummer region settings. But sometimes you may want to keep the same drum kit while changing the drummer, which you will do in this exercise. The Library lets you access drummers and drum kit patches.

The Drummer Editor shows the settings for the selected Drummer region. A yellow ruler allows you to position the playhead anywhere within the region, and you can click the Play button to the left of the ruler to preview the Drummer region. As in the Tracks area, you can also double-click the ruler to start and stop playback. The selected region plays in Cycle mode, and the cycle area automatically matches the region position and length.

The selected region is soloed— indicated by a thin yellow frame. Soloing the region helps you focus on the drums when you have other tracks in the project. You are looking for a drummer with a simple, straightforward style that more appropriately serves the song. In the Tracks area, Cycle mode is automatically turned off, the dimmed cycle area returns to its original position and length, and the selected region is no longer soloed.

When you click a preset, the region settings update and you can hear another performance from the same drummer. The current patch is locked, and changing the drummer will no longer load a new drum kit. You are now ready to customize the performance. Editing the Drum Performance In a recording session with a live drummer, the artist, the producer, or the musical director must communicate their vision of the completed song.

They may ask the drummer to play behind or ahead of the beat to change the feel of the groove, switch from the hi-hat to the ride cymbal during the chorus, or play a drum fill in a specific location.

In Logic Pro X, editing a drummer performance is almost like giving instructions to a real drummer. In this exercise, you will play a drum region in Cycle mode as you adjust the drummer settings. Next to the presets, an XY pad with a yellow puck lets you adjust both the loudness and the complexity of the drum pattern.

After positioning the puck, you must wait for the region to update update time varies depending on your computer. If you drag the puck constantly, the region will not update. As you position the puck farther to the right, the drum pattern becomes more complex, and as you move the puck toward the top of the pad, the drummer plays louder.

As the drummer plays softer, he closes the hi-hat and switches from hitting the snare drum on the skin to playing rim clicks hitting only the rim of the drum. As he plays louder, he opens the hi-hat and start playing rim shots hitting the skin and the rim simultaneously for accent. The menu lets you choose a track to influence what the drummer plays on the kick and snare. The drummer now simply alternates kick and snare on every beat.

Listen to the hi-hat. It is currently playing eighth notes. The hi-hat now plays only on the beat quarter notes , which works well for up-tempo songs. The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9.

You should still see a fill at the end of the region. Dragging the Fills knob by a tiny amount is a quick way to refresh a region. You can also click the Action pop-up menu next to the Presets menu and choose Refresh Region.

You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. A new eight-bar Drummer region is created at bar 9. The new region is selected, and the Drummer Editor displays its region settings, the same as the original Drummer region on the track.

You can hear the second region in Cycle mode. The hi-hat is dimmed, the cymbals are yellow, and you can hear the drummer play a ride cymbal instead of the hi-hat. The drummer is playing the ride cymbal on every eighth note. For a more powerful chorus, you instead want it to play crash cymbals on every beat. You now hear crash cymbals on every beat and the beat has more impact.

You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern. You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus. They are the two most important building blocks of the song you will now start arranging. Arranging the Drum Track In this exercise, you will lay out the song structure and populate the Drummer track with Drummer regions for the whole song.

Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song. The global tracks open, with the Arrangement track at the top. A shortcut menu opens in which you select the global tracks you want to display. The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships. An eight-measure arrangement marker named Intro is created at the beginning of the song.

By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song. You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. An eight-bar marker is created. A four-measure intro will be long enough, so you can resize the Intro marker before moving it.

The Intro marker is inserted at bar 1, and the Verse and Chorus markers move to the right of the new Intro section. In the workspace, the Drummer regions move along with their respective arrangement markers. As with regions in the workspace, you can Option-drag a marker to copy it. Option-drag the Verse marker to bar 21, right after the chorus. The Verse marker and the Drummer region are copied together. The Chorus marker and the Drummer region are copied together. The song is taking shape.

You will now finish arranging the song structure with a bridge, a chorus, and an outro section. As you place the last three markers, continue zooming out horizontally as necessary.

A Bridge marker is created after the last chorus. The song structure is now complete, and you can add Drummer regions to fill out the empty sections.

New Drummer regions are created for all the empty arrangement markers. New patterns were automatically created for each new Drummer region. To remove the arrangement marker, press Delete again.

Amazing as the playing is, Kyle the drummer might not have guessed what you had in mind for each section. Editing the Intro Drum Performance In this exercise, you will make the drummer play the hi-hat instead of the toms. The Drummer Editor shows its settings. Throughout this exercise you can click the Play button in the Drummer Editor to start and stop playback, or you can navigate the workspace by pressing the Spacebar Play or Stop and the Return key Go to Beginning.

When you click the hi-hat, the toms are muted automatically. Aside from the kick and snare, the drummer can focus on the toms, the hi-hat, or the cymbals ride and crash. The drums are still a little too loud and busy for this intro. The drums are softer, but the transition into the first verse at bar 5 is a little abrupt. Making the drums play crescendo increasingly louder during the intro will help build up some tension leading into that verse. To make the loudness evolve throughout the intro, you will cut the Intro region in two.

The region is divided into two two-measure regions. When a region is divided, the drummer automatically adapts his performance, and plays a fill at the end of each new region. Notice how the crash disappears from the first beat of the following region. Even though it is in another region, the crash is actually a part of the fill.

The drummer automatically starts playing louder before the end of the first intro region, which transitions into the louder second region and creates a nice tension at the start of the song.

Self publishing. Share Embed Flag. TAGS download logic ebook audio midi drum certification ebooks audiobook downloadable. Do you know the secret to free website traffic? Insider knowledge. Veteran producer and composer David Nahmani uses step-by-step, project-based instructions and straightforward explanations to teach everything from basic music creation to sophisticated production techniques.

You will create both acoustic and electronic virtual drum performances using Drummer tracks with Drum Kit Designer and Drum Machine Designer. Focused lessons take you step by step through practical, real-world tasks.

Lesson goals and time estimates help you plan your time. The Apple Pro Training Series is both a self-paced learning tool and the official curriculum of the Apple Training and Certification program. Upon completing the course material in this guide, you can become Apple Certified by passing the Logic Pro X To find an Apple Authorized Training Provider near you, please visit training.

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