Logic Pro X Tutorials
Welcome to the Logic Pro X Tutorial page on Logic Pro Expert, a great place to start learning how to use Logic Pro X.
Scroll down to browse all tutorials we have ever published, or click on a term below to filter tutorials.
In this short Logic Pro X tutorial, Eli Krantzberg shows you how to adjust Nudge Values with the Step Input Keyboard. This is an elegant workflow for musical grid-based offsets!
It goes without saying that Logic is so deep a program, that there are always new things to learn and workflows to discover. Here I want to share with you a nice little workflow I picked up in a discussion group. It involves MIDI editing, specifically velocity editing.
The Global Tracks Button in Logic Pro X functions as a toggle, switching between two states, Show/Hide Global Tracks. But this button has a “hidden” third state that definitely should be part of your workflow.
Waves recently have released new versions of their Q10, AudioTrack, and L1 plug-ins with their recent 25th Anniversary Update. Their GUIs were long due for a makeover, and there are a few very useful features added onto each.
In this tutorial, Groove3 trainer Doug Zangar takes a look at using Smart Controls with third-party plugins in Logic Pro X. Doug will be using Spectrasonic’s Omnisphere and Line Six Helix Native for the examples.
No one, and I mean no one, knows and uses every feature in Logic Pro X. I doubt even the individual developers know everything about every aspect of the program. Here are three features in Logic Pro X I’ve recently discovered.
In these two video tutorials produced by Eli Krantzberg, you’ll learn how to make vocal harmonies in Logic Pro X, and how to “midify” vocals with Synchro Arts Revoice Pro.
Algorithmic reverbs are well suited to create drum room ambiances. In this video tutorial, Eli Krantzberg shows you how to make them with Softube TSAR-1.
I was working on a mix recently and came up with some Space Designer tweaks on the snare reverb that really helped the overall drum groove sit nicely in the arrangement. By adding a bit of pre-delay, I was able to separate the snare attack from the reverb bloom. The tempo was slow enough, and the groove sparse enough, for this to work very effectively.
Phase between multimiced instruments tends to be completely overlooked by home studio producers and engineers. Yet the negative effects of bad phase relationships can ruin the potential of your mixes. Instead of avoiding the problems lurking in your mix, check out this easy 5-minute technique and make light work of fixing phase issues in Logic Pro.
If you bounce your mix in Logic (or any other DAW), you have to know about “Loudness Normalization” – SERIOUSLY. No matter whether your mix will be played on the radio or Spotify, if you upload it to your YouTube channel, or just listen to it in your iTunes Library, your mix will be affected and you better know how. In this three-part series, I will explain all the details. Part 3: Logic’s Loudness Meter.
If you bounce your mix in Logic (or any other DAW), you have to know about “Loudness Normalization” – SERIOUSLY. No matter whether your mix will be played on the radio or Spotify, if you upload it to your YouTube channel, or just listen to it in your iTunes Library, your mix will be affected and you better know how. In this three-part series, I will explain all the details. Part 2: The Standards.
If you bounce your mix in Logic Pro (or any other DAW), you have to know about “Loudness Normalization” – SERIOUSLY. No matter whether your mix will be played on the radio or Spotify, if you upload it to your YouTube channel, or just listen to it in your iTunes Library, your mix will be affected and you better know how. In this three-part series, I will explain all the details. Part 1: What’s the Problem?
When I first started this Logic Pro from A to Z series, back in July 2014, my first post, for the letter A, was about using Aliases in Logic Pro. Taken more abstractly, the notion of an alias refers to something false; a false name or identity.
While producing digital music, you never know when breaking the rules may yield interesting, stimulating and musical results. We are conditioned, through discussion forums, instructional videos, online tutorials, etc. to approach using Logic Pro X in certain ways. It’s not that there is a codified set of rules, but more like invisible unspoken agreed upon conventions.
I had a colleague here at my studio last week. He asked me to help him put the finishing touches on a couple of mixes that he started in Logic Pro on his own. They were due for delivery the next day, and he just wanted me to make a few quick tweaks and add some sub group processing with a few plug-ins he doesn’t’ have. He assured me he didn’t want to spend more than an hour or two on it.
New-York based producer and engineer Chris Vandeviver at Brass Palace Recording recently sent me a guest post and accompanying Youtube video tutorial about how to emulate the effect of analog summing using Logic Pro X’s Compressor plugin.
She’s all yours, Chris!
In this Logic Pro X tutorial, I’ll share some tips for getting the most out of Logic Pro X’s humble, but very useable orchestral sample library.
I just completed a series of videos on the new Analog Strings instrument from Output and was blown away with the incredible sounding modulations created with their Flux feature. This type of function is often referred to as secondary modulation: modulating the modulator. The rhythmically complex patterns that result are very compelling. How can we emulate this sort of vibe with Logic Pro’s plug-ins?
A lot of people have been asking about the use of Celemony Melodyne and the new Selection Based Processing (SBP) feature in Logic Pro X 10.3. Does it work? The answer is yes, but with some caveats to be aware of.
I’ve just returned from a productive and invigorating edition of the NAMM 2017 show. For me, NAMM serves two functions. On the one hand is the business end of it. It is my annual opportunity to meet with colleagues and friends, visit with audio plug-in developers I deal with doing my Groove3 videos throughout the year, and get the scoop on new and upcoming releases and developments in our little corner of the world.
The good news is that the brand new Logic Pro X 10.3 update provides super cool implementations for the Touch Bar. The bad news is that you need one of those brand new MacBook Pros that come with a Touch Bar … or do you? In this article, I show how you can still enjoy the loveliness of Touch Bar functionality in Logic Pro X 10.3, even if you don’t have a real Touch Bar (yet).
In my recent articles, I showed a lot of lesser-known Logic Pro X tips and tricks to improve your workflow. However, there are also many, often unknown, MacOS features that are definitely worth incorporating into your Logic Pro workflow.
“Editing and Mixing Vocals in Logic Pro X” is a series of video tutorials published by Ripple Training that will teach you how to mix vocals in Logic Pro X, apply equalization and effects and create background vocals – with the ultimate goal to turn a decent home recording into a professionally mixed, industry compliant and radio ready performance. The tutorials are currently on sale for $49.
I thought this video was nice and quite refreshing. New York recording engineer and producer Christopher Vandeviver shares some of his tips on how to deal with the intimidation of a blank project in Logic Pro X. Highly recommended to those suffering from BPA (Blank Project Anxiety).
It is no secret that Logic Pro X is a very “deep” program with sheer endless features and functionalities. But in addition to all that, there is more stuff, sometimes hidden or undocumented. In this new multipart tutorial series “OMG, I Can Do That in Logic Pro X?” I will show some of those secrets.
When you record in Logic Pro X your singer or instrumentalist on an Audio Track and want to quickly play him or her the melody on your MIDI keyboard (for the 10th time!), you have to select or record-enable an Instrument Track and switch back the selection before hitting the Record Button. In this article, I show how to setup an always-available “Rehearsal Piano” in your Logic Project.
There have been some nice enhancements to Logic’s track automation in the sub releases of Logic Pro X. Unfortunately, some of the features are not working as expected.
In Logic Pro X’s Score Editor, if you are in Linear View, you still have the bar ruler to use to place your playhead at a new start location. Wrapped and Page Views don’t have the ruler, so defining a playback point requires different technique.
New York City based horn & string arranger Charles Schiermeyer has put together a free Logic Pro X script that enables you to control the Vintage B3 plugin from a Korg Kronos – as though it were a real Hammond B3.
V-Control Pro 2 lets you control Logic Pro remotely from a plethora of devices, including iOS and Android tablets and smartphones, even web browsers. Neyrinck, based in San Francisco, announced major upgrades to the DAW control system today.
Thanks to UAD forum contributor speakerfood, you can now easily browse all Universal Audio plugin presets (now version 9.0.0) in Logic Pro X’s Library Window.
To all Raven MTi2/MTX owners: Slate Media Technology/SlateTV yesterday put up a nice video tut about how to use Logic Pro X’s Show/Hide Groups feature together with the Raven Multi-Touch Production Console.
Were you ever in the situation during production when you wanted to compare your mix to a reference track? In this tutorial, I show some elegant solutions how to configure your Logic Project to have a simple button for A-B comparison by (mis-)using the Side Chain feature in the Compressor Plugin.
Get up to speed on “Automatic Control Surface Assignment” – a brand new feature that was introduced in Logic Pro X 10.2.2.
Calma Estudis from Mallorca, Spain wrote to tell us they have made a free Logic Pro X key commands template for TouchOSC ($4.99) on iPad.
On the Logic Pro page in the official Support Communities, Apple has published 5 Logic Pro X video tutorials on October 12th.
Utilities, as the word suggests, are useful for a variety of purposes. Nestled inside of Logic Pro’s plug-in menu, in the Utilities directory, is an extremely useful and underrated little gem: The Test Oscillator. In this article I’ll explore ways of using it to create colourful pitch riser effects.
Due to the overwhelming response to this week’s article “Logic Pro X 10.2 Update: Undocumented Changes“, we now make it available as a free PDF download, a Logic Pro Expert Exclusive. The PDF contains new information that was not covered in the original post.
The release notes that come with the Logic Pro X 10.2 update indicate how big of an updated this is. The list has over 250 items of new features, changes and bug fixes: https://support.apple.com/en-us/HT203718. However, this is not all. There are additional changes in Logic Pro X 10.2 that are not mentioned in the release notes. In this article, I will not only list those changes, but provide in-depth explanations for each of those topics.
Note: The contents of this article and additional unpublished information are available in a free PDF. To download, see this article: FREE PDF – Logic Pro X 10.2 Update: Undocumented Changes
As I was scrolling through the 10.2 Release Notes (again), I came across this little gem: “Audio regions can now be nondestructively reversed using either a check box in the Region Inspector, or a key command”.
Should Pro Tools be your audio weapon of choice, and you’d like to get into the latest Alchemy action (now included in Mainstage 3 which costs $30), watch this…
In this Logic Pro X tutorial, Edgar Rothermich takes a deep look at quantization, one of the most important and often used features during MIDI editing in Logic Pro.
The sort of cyclical variation of volume associated with tremolo effects can be generated via a plug-in, or easily be set up directly in a synth’s programming. It is often desirable to build tremolo directly into a synth patches programming in order to maximize internal routing, signal flow, and processing possibilities. Here I’ll look briefly at the plug-in, and then show you how to use the EXS 24’s modulation matrix to quickly and easily construct an internal tremolo routing.
The Pan Knob. Virtually every Channel Strip on a Mixer has one. It is an essential element of every mix, and pretty much everybody uses that control in every Project. But does everybody also understand what the Pan Knob really does? If you can’t answer that question, or want to check if your answer is right, then read on. All your future Logic Pro mixes might depend on it!
It’s good to see that amid the recent release of some cool new products, Apple has published quite a few new or modified support articles on support.apple.com. Here’s a quick overview of support articles that apply to Logic Pro users. This post was first published on April 13th 2015.
Babylonwaves have released Art Conductor, a script for Logic Pro X that allows you to change sampler instrument articulations in a completely new way.
I recently finished a Logic Remote video tutorial series for Groove3.com. It was a good excuse to finally buy an iPad (like it!). The Logic Remote program is free and it’s constantly being upgraded. In addition to working with Logic Pro X, it also works with MainStage and GarageBand.
What’s not to like about that?
When the “VCA” feature was introduced in version 10.1 of Logic Pro X, it caused a lot of confusion. Experienced users who were familiar with that concept questioned how it was implemented in Logic, and newbies just asked the more fundamental question: “WFT is a VCA ?”.
So let’s find out.
Groove3 has just released a new series of Logic Remote video tutorials – “Logic Remote Explained” – made by Groove3 trainer and Logic Pro Expert team member Doug Zangar.
In this free video, you can see and hear how Eli Krantzberg uses the McDSP AE400 Active EQ in Logic Pro X.
Logic Pro has so many features and functions, it can be overwhelming at times and it is almost impossible to know them all. Different users use different subsets of Logic. Some users live in the Score Editor, others might never have opened it. Some users love the Drummer and use it in every project, but others might think of it as a toy. However, regardless of their personal preferences, all Logic users rely on one aspect in Logic all the time – the various windows.
Opening, closing, selecting, clicking on them and interacting with them as the main interface – “the window into Logic”. Do you know three window-related Key Commands: ⌘ tab (command-tab), ⇧ tab (shift-tab), and ⌘ ` (command-tilde)? If you haven’t incorporated them in your Logic workflow yet, then read on to see why it might be a good idea to do so.
In the following video, Harry at Audient shows you how to create automation in Logic Pro X with the iD14’s Scroll Control feature.
Should you ever find yourself seriously in need of making an EDM snare roll, you know, those machine gun snare rolls that go from 1/4 notes to 1/32 notes before the drop, they’re very easy and a lot of fun to program with Note Repeat and Logic Pro X’s Musical Typing feature. Absolutely no mouse required. Just fire away, fire away…
If you have ever needed to export audio tracks out of Logic Pro X and have used the track export feature, you’ve likely discovered that you can either do one selected track with Export > Track as Audio File or all tracks by using Export > All Tracks as Audio Files. That’s fine until you want to export a subset of tracks.
Songwriters write about separation all the time. In fact, Paul Simon once famously wrote about fifty ways to leave one’s lover. A friend of mine once quipped, “I don’t know why anyone would need or want more than one”; but that’s another article. Unlike unhappy lovers though, us Logic Pro users have and need many ways of splitting, separating and other wise pulling apart our notes, regions, and arrangements in order to realize our musical goals. Here I’ll look at ten different ways Logic Pro has of separating, splitting, and splicing our work; all towards creative ends.
Thanks to Martin Delaney at Ableton Live Expert (also a Logic Pro user) for catching this one: Apple’s official Logic Pro X 10.1 manual is available now in the US, UK and Canada as an iBook, published on 22 January 2015 containing 1029 pages of Logic Pro X goodness.
Logic Pro X 10.1 has a few new Key Commands, here’s what I have found out about them sofar.
I’ve taken a first look at Logic Pro X 10.1‘s new plugin reorganization capabilities, one of many cool new features. If you haven’t updated to version 10.1 or haven’t tried this feature yet, have a peek to get a sense of how this goes.
Duet is the first app that allows you to use your iPad as a second display for your Mac using the Lightning or 30-pin cable. Built by an ex-Apple engineer, Duet Display is compatible with all Macs (10.9+), all iPads and iPhones (iOS 6.0+). I’ve tested the app with my MacBook Pro (Retina, 15-inch, late 2013) running Logic Pro X and using my iPad 3 (early 2012) as a second display.
Plenty of plug-in promotions have peppered these pages over the past month. This is a great time of year to be purchasing software. We all have a wish list we hope Santa will fill, and this post is directed to the Santas in our lives out there. Partners and significant others, this is for you. Logic Pro Expert readers, forward the link to this post to your wives, girlfriends, boyfriends, husbands, partners, etc. This is for them.
We got this question on our Facebook Page recently:
Let’s say I record a Cello line, then I want to record a Violin line on top of it with a different track. I want to be able to see the cello line play back in the Score Editor so I know what notes to harmonize with. Every time I try this the Cello line disappears and only shows the score of the track I’m working on (violin). Any thoughts? Suggestions? Help?
The Logic Pro X Scripter Plugin seems to have been a little bit overlooked. Unlike the other new MIDI FX plugins, it does not have a shiny and polished GUI. Having a look at its inside world – the script editor – probably makes most users feel that to start programming scripts with Scripter will be a daunting task, and stop them from digging deeper. But even if you have no idea about programming, you can do some basic things with Scripter quite easily.
Overcoming obstacles that block our workflow is an important part of being a DAW user. One of the biggest obstacles is dealing with crashes. Fortunately there are many safeguards built in to Logic Pro to avoid losing your work; some obvious, some not so much. Here I’ll show an emergency hidden last resort workflow for recovering from a corrupt Logic Pro project that won’t open. This comes by way of my good friend L. Leon Pendarvis (aka Pen), one of the musical directors of Saturday Night Live, who unfortunately had to stare this situation down the hard way with his colleagues in preparation for a recent show.
Nearly every creative step in any DAW requires the creation of something new. A track, a plug-in, a send routing, a preset change, etc. And Logic Pro of course has myriads of functions for creating new things. Projects, tracks, regions, templates, controller assignments, groups, zones, screensets – to name just a few! In this post I’m going to share one of my favourite workflow routines to force Logic Pro to create new channel strips the way I want them.
The Kick is one of the most critical elements in your mix, in all genres from Hip-Hop, Pop, Rock/Country to Progressive Metal, and of course in all types of EDM. This post is deconstructing the components of a Kick sound, and shows you what type of „handles“ you can create to control it in the mix. The Kick is of extreme importance, and it’s worth – as part of building your mix – to spend a few minutes creating the „handles“ to control the parameters we’re talking about in this article. What you need to control will develop as you’re progressing with your mix, but it’s important to have those controls at hand when needed, and to know how to use them.
I recently had a Logic Pro user ask about the ways to delete CC events (Continuous Controller) from one or more regions/tracks. I like using the MIDI Transform Window for this. Let me take you through the steps in this article. This should be easy even if you’ve never used the MIDI Transform Window before.
Many of you might be thinking, MIDI? Really? It’s been around for over thirty years. What more is there to say about it? Well, the fact is that almost all modern DAWs, Logic Pro X included, deliberately blur the lines between the previously separate realms of audio and MIDI. Now more than ever. MIDI grooves, timing, and note events are easily extracted from audio these days. So, the new thing about MIDI is that it is less separate from audio than it ever has been since it was invented. Here I’ll look at converting audio to MIDI note data in Logic Pro X.
Logic Pro’s locators are something we usually think about when we need to loop a certain section of music, either for recording or playback. Set the locators to establish the loop range, and hit C for Cycle. But there are a myriad of other features in Logic Pro that utilize the locator settings as reference points in executing their functions. Here I’ll list 10 things you can use Locators for, other than creating loopable areas in the timeline.
Groove3 has just released Logic Pro X Advanced Vol. 2, a new series of video tutorials in which Apple Logic Certified Pro and Logic Pro Expert author Eli Krantzberg shows you everything you need to know about the Audio File Editor in Logic Pro X. 2 of these video tutorials are free to watch.
Knowing which key commands to use and when is what separates Logic Pro power users from the mere mortals. We all have out favourites that we use every day; we all ignore some we shouldn’t, we all have some we can never remember, and some we can never forget – even when Apple decides we should!
Key commands have been the topic of many forum threads and blog posts over the years. I’ve asked my fellow LPE-ers Danski and Doug to kollaborate with me on this post, so that we can share some of our favourites with you.
If you have used the Flex Time feature in Logic Pro, then, for sure, you have encountered the Flex Markers already. These are the markers that you use to time shift a section inside an Audio Region without affecting the rest of the Audio Region. Are you sure you moved the Flex Markers and not the Transient Markers? If so, which Flex Markers? Maybe it was a Quantize Flex Marker or the Manual Flex Marker. Are you sure it wasn’t a Tempo Flex Marker? If you have any doubt, please continue to read about the “Four Markers and the Seven Tools”.
Joining up region boundaries is a relatively routine task. And Logic Pro has plenty of nice functions to help with this. The shuffle left and right modes are a great feature to quickly snap start and end boundaries of different regions together. The fade tool and fade parameters in the Inspector help smooth out any rough transitions. But hidden away in Logic Pro’s arsenal of features is the Junction Tool.
I’m going to write about Inputs in this post. Inputs, you’re wondering? Either stick a mic in your audio interface, a MIDI cable into a MIDI interface, or a USB cable directly into the computer. We all already know that. Here I’ll share six tips with you as to how you can modify the input signal reaching Logic Pro before hitting the record button. Three dealing with Audio, and three with MIDI.
In a recent post I discussed some strategies for using groups in Logic Pro X as a means to hide multiple tracks simultaneously. After experimenting with it as a means of managing large projects, I found that what would be equally, if not more, valuable is a “show tracks” function rather than just the ability to hide tracks. In other words, the ability to view only select tracks while hiding all others rather than viewing all tracks while hiding a few. Here I’ll share a way of using the group function to do just that.
Hiding tracks in Logic Pro is nothing new. We all know the drill: hit the H button in the track header for tracks you want hidden, then use the key command H to show/hide all the hidden tracks. I use it a lot, but it isn’t the perfect solution for all situations. Sometimes you need to show/hide selected groups of tracks but not others.
Generally groove templates are used to extract the feel from loops (MIDI or audio) that we like so that we can apply it to our own MIDI or audio regions. But going one step further and using the extended region parameters, they can be used for a lot more than as a simple quantization template.
Figuring out what to focus on for the letter F was difficult. Folders jumped out as the obvious choice, since there are now several different types of them. Finally though, I settled on Flex. It is one of the great under-hyped features in Logic Pro. And now with Logic Pro X, we have Flex Pitch as well as Flex Time. For this post, I used a couple of Apple Loops to demonstrate a few of my favourite Flex functions.
Automation is an essential part of music production regardless if a project is mixed on a mixing console or on the computer using a DAW like Logic Pro. While a mixing console only provides Online Automation where you “record” your mixing steps live like an instrument, a DAW provides the additional convenience of Offline Automation. This lets you edit the automation data graphically or numerically, similar to editing MIDI data.
Among all the tools, workflows, and concepts, in this post I’d like to focus on one important aspect of Offline Automation: “Borders”.
Edgy, energetic, effervescent, enigmatic, are all eligible adjectives appropriate to describes Logic Pro’s many “E” named synths. Since its first software instrument, the ES1, Logic Pro has used the letter E to name all of its synth (except for Sculpture, Ultrabeat, and Retro Synth). Even the recently renamed keyboard instruments were originally named EVP88, EVB3 and EVD6. Exploring them all in a single post is impractical. Instead, I’ll take a factory patch that begins with the letter E from each of these synths, suggest a tweak or two, and then try to make some music with them.
A brand new ‘Reverb Tips and Tricks’ section has recently been added to the Exponential Audio website, a place where Michael Carnes writes about how he uses his own range of reverb plugins.
Densely populated arrangements often contain repetitions of the same content at various places along the timeline and/or on different instruments. The use of aliases and copy/paste functions, like we looked at in the last few articles, are two very powerful methods of repeating needed events or regions where needed. But Logic Pro also has several other methods.
Creating carefully crafted arrangements is what Logic Pro is all about. Clearly it has a plethora of tools to help us with this process. One of the most fundamental aspects of computing, using the clipboard’s copy and paste functions, has myriads of uses and applications in Logic Pro. Regions in the main area, notes in the MIDI editors, presets, settings, markers, tempo, and signature events can all be copied using the key command ⌘ C. Doing this places them in Logic Pro’s invisible clipboard, available for pasting at new locations or positions in the timeline.
Being a creative Logic Pro user involves using standard features creatively. Take the “bounce” function for example. We all know how to use it to render our arrangements down to a final stereo pair. But there are lots of other ways of taking advantage of Logic Pro’s numerous bounce functions.
“All the Things You Are”. It’s a well-known tin pan alley song by Jerome Kern in the key of Ab. It’s also what I plan to write about concerning Logic Pro. All the things it is to me. “All the Things You Are” is also a phrase that begins with the letter A. And that is the format I will be using in an ongoing 26 part series with Logic Pro X tips. An alphabetarium. The letters of Logic Pro. Each post starting with and focusing on a different letter of the alphabet. I’ll try and include some features and/or tips with each post. But it will primarily be my ode to Logic Pro, one letter at a time. So let’s get started…
The Library Window got a big promotion in Logic Pro X. While in Logic Pro 9 it had to share its window with three other windows under the Media tab, now it moved to its own place, the prime location on the West side of the Main Window. It even got its own Library Button. However, with all that excitement, there is one important little thing that can be easily overlooked, a tiny mysterious triangle. You have to understand the purpose and functionality of this triangle in order to understand the Library itself. So let’s find out.
Similar to the NSA (America’s “National Security Agency”), Logic Pro is always “listening”. Without hitting the Record Button, Logic Pro is secretly recording your MIDI and Audio signals that are connected to the application. However, unlike with the NSA, in Logic Pro this is actually a good thing. Even better, I can reveal those Logic Pro secrets in this article without ending up in Russian exile 😉
The Media Browser in Logic Pro is one of those cool features that Apple came up with at some point. Apple implemented it, but then forgot to tell us about it, or even tell us how to use it. Maybe you’ve come across the Media Browser in Logic Pro X or even in other apps, but chances are, you’ve never used it. You might even ask yourself why to use it in the first place. Let’s find out.
Besides all the excitement about the major Logic Pro X update last year, you might have heard that GarageBand also experienced a major update in October 2013. It wasn’t welcomed in the GarageBand community as much as Apple might have hoped. Apple made the mistake, in my opinion, to label this as an update although it was more like a new application to an existing GarageBand user. Now, the users are required to learn not just a few new features but almost a new application.
Apple took away the old GarageBand app and instead gave everybody, for free, GarageBand v10 – or is it “Logic Express”?
Logic Pro X 10.0.7 has so many great enhancements it’s easy to overlook the powerful addition of snapshot automation. They don’t label it as such, but it is present by way of four new, very useful, key commands. I’m dating myself here, but for those of us old enough to remember, the only way to accomplish snapshot style automation previously was by cabling up channel splitters, tracks, and ports in the Environment. It was so obtuse, it was rarely used.
In the following article, Edgar Rothermich – author of “Logic Pro X – How it Works”, takes a look at the “Smart Strings” patch in Logic Pro X, and how it can be played by utilizing the multi-touch gestures on an iOS Device.
A reader recently brought up the subject of calling up software instruments in Logic Pro X. There are not only several ways to call them up, but several settings and functions to be aware of that affect their creation and operation. So, here is a laundry list of the top ten things you need to know about working with software instruments in Logic Pro X.
The developers of Auganizer have been hard at work, the application has just been updated to version 1.1 (coming from 1.0.1). The latest version of the one and only Audio Unit plug-in organizer for OS X introduces some welcome changes (100% compatibility with Sound Radix 32 Lives!), improves plug-in compatibility and fixes some bugs.
Recently on the Logic Pro Expert Facebook page, a reader sent in this question:
Hi, I have a question. Can I make a surround mix with a stereo output monitoring on Logic Pro X? With Pro Tools I can do this with an Aux, but can I do this with Logic Pro X?
Many of us are using Logic Pro X Project Alternatives to create alternate versions of projects. It is a simple and intuitive way to easily save and recall project variations. Logic Pro X gives us the ability to attach meaningful names to each alternative that can be as unique from the actual project name as desired. They can be related to the project name, which I personally find to be useful for my workflow, or the alternatives can be named something completely different.
On the Logic Pro Expert Facebook page, someone recently asked us:
I’ve got a question. I use Logic Pro X live on stage but it takes me too much time (and too many clicks) to change Performances. Is it possible to change Performances with a foot pedal? I hope you can help me. Greetings!!!
I received an email from a very knowledgeable colleague, a Logic Pro power user, with what seemed (to both of us) a very unusual Logic Pro X Drummer problem. It had me stymied for a while. Until I finally let go of my preconceived notions of how things should work and accepted that Logic Pro X really is a very different app from Logic Pro 9.
Groove3 instructor and Logic Pro Expert team member Eli Krantzberg has just released a new series of Logic Pro X video tutorials that guides you through all aspects of signal flow in Logic Pro X. Three sample videos are free to watch.
I think it is a safe bet to say that most of us Logic Pro users are, to varying degrees, musicians as well as engineers. The two previously separate realms of playing music and engineering recordings have become merged into a new combined set of skills we all need to have. We are “musicianeers”.
Our friends at lynda.com uploaded 5 brand new free Logic Pro video tutorials worth watching, with numerous creative tips on how to pack drum loops in a Take Folder, how to use Varispeed to experiment with your project’s tempo, how to make stutter vocal effects by using the side chaining feature in Ultrabeat, and more.
Dennis, Doug, and I have been uncovering some mysterious Logic Pro X artifacts in the past few days. Could these be clues as to what’s in store for us down the road? On their own, they are nothing. In fact, even together they could be nothing. Or, they could be something. But hell, speculating is fun! We invite you to do your own sleuthing and share your hypothesis on the future of Logic Pro.
A reader sent us the following question today, after running into trouble while trying to punch in while recording audio and MIDI simultaneously in Logic Pro X.
On the Logic Pro Expert Facebook page today, someone asked us the following simple question about the Edit button not being visible in the EXS24 Sampler in Logic Pro X.
When mixing in Logic Pro X, it’s good practice to monitor you work in progress at different levels. By listening at different volumes, different areas of the frequency spectrum might take on more weight or emphasis than at louder levels, or vice versa.
In this free Logic Pro X video tutorial, lynda.com author Scott Hirsch shows how the Piano Roll Editor offers an easy and intuitive way to view, create, and edit MIDI notation in Logic Pro X.
As virtual instruments for Logic Pro X become more and more capable, the list of automation parameters gets longer. Being able to automate every single parameter is a beautiful thing – browsing the list of automation parameters, the way things are now in Logic Pro X, is a workflow killer. Here are a few tips for browsing automation parameters by keyboard.
In this free video tutorial, explore how to work with the Arpeggiator MIDI FX plug-in in Logic Pro X and see how you can incorporate it in your tracks.
In this free Logic Pro X video tutorial, Groove3 instructor Eli Krantzberg show you how to re-route the output of summing stacks so that you get to record summing stacks back into Logic Pro X, to create stems or subgroup mixes.
In this free Logic Pro X video tutorial Doug Zangar takes a look at using Smart Controls in Logic Pro X.
In the following article, Logic Pro Expert team member Eli Krantzberg reflects back on his long career as an audio professional, and gives you 12 things he wishes he’d known when he was first starting out. An Apple Certified Pro, Eli has made many music software training videos for Groove3, including training videos for Logic Pro. Welcome to the team, Eli!
As you probably know, when Logic Pro X 10.0.5 came out, both the Channel EQ and the Linear Phase EQ plug-in were updated with a new graphical user interface and new functionality. Most notably, both EQ plug-ins now have Mid/Side processing capabilities enabling you to independently apply equalization to the Mid and Side signals of your audio. I’ll use the new Channel EQ plug-in and take a look at how that works, and what it’s like to work with the new user interface. And actually have fun!
The market for analog tape emulation plugins has been coming to full fruition lately, with major third-party plugin developers now offering digital emulations of legendary tape machines to saturate your magnetic tape needs. If you need to bring some analog tape warmth back into your Logic Pro projects without breaking the bank (or your back!), have a look at my round-up of some of the best tape emulation plugins on the market today.
Got time for a little Logic Pro X Smart Controls Tutorial? In it, I’ll build a custom vocal delay effect, and use Smart Controls to roll my own Waves One Knob Series, and control multiple plugins with just one knob. If that sounds like fun to you, read on…
I’ve finally had some good times with Flex Pitch, one of the most exciting new features Logic Pro X has to offer. I’ll walk through the user interface, have a look at workflow, and point out why I think it’s nearly as good as the industry standard for pitch correction: Celemony Melodyne.
In Logic Pro X, the default set of Key Commands has changed considerably. As expected, there are many new key commands reflecting the new features that Logic Pro X offers. Many functions that had a default key command set in Logic Pro 9, do not have one set in Logic Pro X. Besides that, some functions have been (slightly) renamed. In several cases, modifier keys have been modified. Lastly, there is now just one preset. So, it looks like we’ve got some work to do. Here’s what I’ve found sofar.
Here’s a nice overview of the new Logic Pro X by SFLogicNinja which I thought was worth passing through. Have fun, and happy upgrading!
Every now and then, I get these “I wish I could do this in Logic Pro” moments. And in the past year, a lot of article drafts for this site have turned out to be mere feature requests. This post is a good place to put all these ideas together.