Adding Reverb To Your Drums in Logic Pro X – Post navigation

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Hello Logic users, Mike here. You start by simply adding a drummer track to your project. Either from the menu: Track — New Drummer Track. Make sure to drag it to the proper place in your sequencer. For example, at the top of your drum group. Or perhaps even the top of your sequencer altogether. When you have the drummer track selected, you simply open up the library view, where you will find the genre and style browser for the drummer.

The left column is where you choose the main genre, and to the right you have different drummers with unique performance styles that you can try out as a starting point for your project. Whenever you choose a new drummer, Logic will automatically mixing logic pro x drummer free the corresponding drum kit. You can see the current selected drum kit in the instrument library below the drummer assignments.

POWER TIP : You can actually change drum kit manually from the instrument library, so that a specific drummer and genre of your choice is performed on a drum kit that you can also choose. It can be a drum kit plugin, or a sample library. As long as it is mapped to the standard general Mixing logic pro x drummer free drum mapping it should work fine.

Meaning the kick drum is the same key, the snare is the same key and so on. When you create a new mixing logic pro x drummer free track, Logic will create the first drummer region automatically. For any drummer region, you can resize it, split it up into several parts, move it in the sequencer.

And of course, you can create new drummer regions simply by hovering your mouse at the right mixing logic pro x drummer free of the track header, or just to the right of another drummer region. For example: the intro section will get an intro type drum performance, the verse will mixing logic pro x drummer free slightly higher energy, and so on. First bring up the drummer performance view. Double-click a drummer region, or select one and click E for editors. Every region will have an independent performance based on the AI of this drummer performance view.

The more you move it up, the louder the drummer will make the performance. And the more you move it to the right, the more complex the beat will become. Every time you move this dot, the AI will update the drummer region. You can even use independent beat presets for the drummer on each region inside the drummer track. The Drummer AI works per region, so by creating more regions you can add more variation into your drummer track.

I do this because drummers often add a little fill or variation at the turn of every 4 bars. And also because of the added control I get with more regions. If you want mixing logic pro x drummer free more control over the drummer track in a mixing logic pro x drummer free from one section to another in your track, you can simply cut a small extra region just before the transition point.

For example 1 bar, or even half a bar if you want to be увидеть больше precise. Then you can dial down the fills knob on the region just before, and increase it on the short transition drummer region.

POWER TIP : Since transitions are so incredibly important in music you might even want to convert the short transition region on the drummer track to customize the beat exactly as you want it. You also have independent control over the parts of the drum kit used, per region.

You have a clear visual representation of the drum parts used from the specific drum kit. Take advantage of this for adding even more variation between your regions. You can use the Fills knob, and dial in the strength and complexity mixing logic pro x drummer free all the fills, the Drummer adds to a selected region.

The main fill will always be focused to the end of a region, but the Drummer can also add for example a cymbal crash in the start of a region, and some small extra details in the middle depending on the setting of this Fills knob. Full swing will be a triplet groove. But you can dial in how http://replace.me/22968.txt the drummer will swing the beat with this dial.

Both the Fills knob and the Swing knob can also be locked, so that you can try out different beat presets without these dials changing. You can shape and polish the performance with the details button, which has different features depending on the drummer style. And for the electronic kits you can control the complexity range per drum part, as well as the humanize level and phrase variation.

You can lock your settings so that you can change the drummer, while still maintaining the performance you already created and shaped.

You can even lock the drum kit, so that it will remain, even when changing to a completely different style of drummer. For example, having a rock drum kit played by a hip hop or EDM drummer. The drummer in Logic is truly remarkable, because even with the same settings on all features you can get a slightly different performance due to some randomizations in the algorithm. Every time you do this, you will get a tiny variation to the performance.

Now you can go in and adjust each drum hit individually. Add or delete notes, control the timing, velocity and so on. For example: Create a new track below the drummer and assign another drum plugin and kit. Then you can mute the drummer track completely, and the new drum plugin that основываясь на этих данных dragged the alias region to, will still play the performance based on the drummer region. When checking this checkbox, you can choose which track inside your project the drummer will be influenced by, when creating its performance.

However, it is not always working as expected, so you might want to double check. Also, if you change the track как сообщается здесь follows, you need to refresh the drummer region, to make it update its performance accordingly.

Now, as with mixing logic pro x drummer free anything inside the drummer track, this feature is also region based. So you can have one drummer region be influenced by your bass track, and the next region by perhaps an ostinato strings track. One of my personal favorite ways of using the drummer in Logic Pro X, is not to create complete mixing logic pro x drummer free performances.

For example: I can use the drummer for читать больше fills to my epic cinematic toms. Or spicing up the high-end with stick hits on my Taikos, by using the hi-hat performance from the Drummer track, and so on. Basically: I choose the по этому сообщению part s from the kit, to create the percussion performance from.

Then I choose the drummer, the style, shape the performance, and then I drag and drop the created region to the track I want to use it on. Transitions and fills are so important in music, for adding that spark of change and anticipation, for something new that you will introduce in the next section of your track.

That is why I often use a 1 bar drummer region to help me get a starting point for a fill or transition, that I can then option-drag to one or several percussion tracks in my composition. Pixelmator download free download I can go into each of the copied regions and make some customizations to fit my specific needs.

But the point is that I get a great starting point, which cuts down the time dramatically. And I love features that make my composition workflow more efficient! Feel free to Bookmark this Page for future reference!

Shape the Style per Region Beat Presets You can even use independent beat presets for the drummer on each region inside the drummer track. Control the Transitions Create Transition Regions If you want even more control over the drummer track in a mixing logic pro x drummer free from one section to another in your track, you can simply cut a small extra region just before the transition point.

Change the Instrumentation The Drum Kit You also have independent control over the parts of the drum kit used, per region. Add some Fills Fills Knob You can use the Fills knob, and dial in the strength and complexity of all the fills, the Drummer adds to a selected region.

You can also choose if the swing will be based on 8th triplets or 16th triplets feel. Polish the Finish Details Button You can shape and polish the performance with the details button, which has different features depending on the drummer style. And again, what is so powerful is that you can control all of these per region. Keep your Settings Cog Wheel — Keep… You can lock your settings so that you can change the drummer, продолжение здесь still maintaining the performance mixing logic pro x drummer free already created and shaped.

You will find both of these settings if you click the cog wheel beside the beat preset list. Add some Refreshments Cog Wheel — Refresh Mixing logic pro x drummer free drummer in Logic is truly mixing logic pro x drummer free, because even with the same settings on all features you can get a slightly different performance due to some randomizations in the algorithm.

Power Tip 2 — Percussion Part Creator One of my personal favorite ways of using the drummer in Logic Pro X, is not to create complete drum performances.

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Drum & Bass Mixing Logic Pro X Template | Ancore Sounds

 
Logic Pro X – Pop/Rock Mixing – PART 1 – Volume, Setting Levels, dB-FS, Pan, HEAVY METAL DRUMS IN LOGIC PRO X **UPDATED** Using the Drummer & FREE. Download my free Logic Pro mixing template, and learn the philosophy behind it with this article. The amount of people I see still adding reverb plug-ins to inserts amazes me! Some people say it sounds better and although with mixing most.

 
 

Free mixing template for Logic Pro and how to use it

 
 

Microphone Basics is supported by readers. When you buy with our links, we may earn a commission. Learn more. If you want your tracks to keep up on the sonic stage, you need to learn how to mix in Logic Pro X. Same goes for producing electronic music in Logic, or any other software for that matter.

Sure, the instruments sound pretty great out of the box, but once you layer in several synths, a couple of drum kits, a sweet bass line and some vocal chops, you start to realise something.

In minutes, you can use Autotune in Logic Pro X to clean up a vocal track, switch to the Scissors tool to make some quick cuts, and apply automation in an instant. And if you mess it up, Command Z is your best friend! Audio editing meant physically slicing tape with a razor, and splicing them back together — no Command Z here…. Applying compression to a track meant physically patching in an outboard compressor and fiddling with actual knobs.

And with physical outboard gear comes a limitation, you only have as many compressors as you have! Luckily, we live in an age where your wildest dreams are at your fingertips.

Every engineer, producer or audio enthusiast has their own process for mixing, and there is in no way one best way to mix. There are a few best practices though, and so in this tutorial you will learn about 5 key areas of mixing in Logic Pro X:. Remember though, every rule is made to be broken, and what matters is the end result. So, experiment a little and find what works for you.

Chances are the names of your tracks are all over the place, like they are in our session. This is especially important when in the mixer view as the text display is fairly narrow. Our session is still looking pretty bland, so we are going to add a splash of color. Our session is pretty small at only 12 tracks, if you have a large session, color coding is vital. Most people apply colors based on instrument type e. Hit X to bring up the mixer, select the tracks, and apply some color again. A static mix involves setting the volume or level for each track, and creating some stereo depth using pan.

Hit X to bring up the mixer, and use the faders to balance out the volume of each track. For example, kick drums and bass guitar often battle for space in the low frequencies, while electric guitars and vocals can have issues in the mids. Pay close attention to the Stereo Out track, which is the master output.

Try to keep the level at around -6dB. Remember, 0dB is the ceiling, and once you start pushing levels above this, digital distortion occurs. This is the pan pot panoramic potentiometer , and you will use it to position each track within the stereo field. Whereas the fader controls the level or volume of each track, pan controls whether the track appears in the left or right side of the mix, or anywhere in between.

Again, there are no hard and fast rules here, though typically lead vocals, bass, kick and snare are kept at centre. You should experiment with opening up the cymbals or overhead tracks as wide as possible, and if you have multiple guitar or keyboard tracks, try panning them left and right too. Try sitting the guitars just inside the cymbals, or vice versa.

If you have several vocal tracks, for example one lead vocal and two backing vocal harmonies, try panning the harmonies a little to either side of the stereo field for a thick sound. EQ is the process of manipulating the frequency spectrum of a track, and is used to either cut offensive frequencies, or boost desired ones. It features low and high cuts, low and high shelves, and 4 bell peak type nodes. You can edit the peak frequency by simply clicking and holding a node and moving it left to right, and you can apply a boost or cut by dragging it up or down.

You can also click and drag on the numerical equivalent at the bottom of the interface, or double click and enter a specific value. Where equalization is concerned with controlling the frequency range in a mix, compression is used to control the dynamic range of your tracks.

It can also be used to change the tonal character of an instrument. Certain guitar or bass notes may have been played more softly or louder than others, or your vocalist may have moved closer to or further away from the microphone during recording.

As with equalizers, compressors are incredibly complex, as you can see from the number of controls in the above GUI. Compressors work to control the dynamic range by compressing or turning down , audio signals when they go above a certain level.

You use the controls of the compressor to set the point at which compression occurs, to what degree, and how quickly among other things. The five most important parameters to get the hang of are threshold, ratio, attack, release, and make up.

The threshold controls the point at which the compressor kicks into action. You can think of it like setting the ceiling. When the track level reaches above this ceiling the threshold , the compressor will engage and compress or turn down the audio. The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc.

The higher the ratio, the more the compressor reacts. At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2.

The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release.

These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression. Sometimes labelled make up gain, this control is used to match the compressed and uncompressed signal levels. Because compressors often make things sound louder, it can be difficult to compare and accurately gauge the effect of a compressor when switching between the affected and unaffected signal.

Because the human ear naturally favours louder signals , the louder, compressed track often sounds better by comparison. Use the make up control to ensure the levels are consistent so you can judge the effect of compression more accurately. Compression is best used to control overly dynamic instruments, for example, an inconsistent vocal recording.

Use the loop control in Logic to select a section of vocals, and open up the compressor plugin. Start with a modest ratio of is generally seen as the middle ground in compression ratios.

Roll back the threshold control until the compressor starts engaging when the loud vocals kick in. The goal here is to allow the compressor to kick into gear only when the vocals get too loud, not at all times.

That said, you may want to apply a little compression to the vocal tracks e. If the compressor is acting on vocal transients too slowly, make the attack quicker. Experiment with different attack, release, threshold, and ratio settings until you find the perfect setting. Logic, being Logic, has tonnes of built in effects that you can use to spice up your tracks, add some depth and interest, and make your productions sound just like the pros do.

Imagine a ball of blue light directly in front of you. The horizontal field left to right , is controlled by pan. Whereas the vertical up and down , represents frequency, which is dependent on the type of instrument bass guitar vs violin for example , as well as any equalization applied. The volume or level controlled by the fader as well as compression , is represented by the light becoming brighter or duller.

This is controlled using reverb. By using all four fields or spectrums stereo, dynamic, frequency and depth , you can give each instrument its own space in a mix, meaning every track can be heard clearly.

Before the world of plugins, and even before outboard hardware effects, reverb was literally created in a physical space. For example, if you wanted a big chamber sound on a choir, you had to record the choir in a big chamber! Obviously this is incredibly inconvenient, so sound engineers quickly figured out how to emulate this effect using springs and plates. Predelay The predelay parameters control the amount of time in milliseconds between the dry signal and the first reflection.

Reflectivity Have you noticed how some rooms are more reflective or noisy than others? Think of the difference in reflectiveness between an empty hall, and your living room with carpet, sofa and thick curtains.

The higher it is set, the longer the reverb effect will last for. Higher settings are great for creative effects, though if you are trying to create a small amount of space on a vocal or lead instrument, try rolling this back a bit.

Turn Wet all the way up and Dry all the way down, and you will only hear the affected signal. Experiment with the two controls to find the perfect balance for your application. Typically, bass instruments are left out of the reverb game. This is because tracks tend to get muddy when reverb is applied on the low end.

Have a play if you like, but make sure you are paying attention to the clarity in the low end when using reverb on kick drums or bass. To help bring the kit together nicely, try sending some of the other drums to the same reverb, such as the toms. One of the most widely used effects amongst guitarists, delay is an effect often employed by sound engineers to create depth and interest in a mix.

The difference between delay and reverb is that delay is not space focused it is not emulating a physical space , it is a time based effect that makes use of a repeat as opposed to a reflection. It might help to imagine delay as the reflection from a single surface. Delay Time As delay is a more musical effect than reverb, its time factors are often represented by note lengths i.

This is a cool way to produce an interesting ping-pong type effect in a mix. Alternatively, you can set the left and right signals to the same delay time for a more traditional delay effect. Feedback The feedback parameter essentially controls how many repeats you will hear, and therefore how long the delay effect continues for.

When this is set to 0, you will hear only one repeat. As you turn up the feedback, more and more of the affected signal is fed back into the delay effect. For example, you may have several vocal tracks for which you wish to use just one reverb type. If your head is spinning trying to understand the difference between sends, busses, and aux tracks, try thinking of it like this.

The bus is a path that picks up all the passengers tracks , and takes them to the next location.