Logic Pro X 10.0.7 – Snapshot Automation

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.

What is Snapshot Automation and Why Should I Care about It?


In Logic Pro automation has been traditionally either track based or region based (now called MIDI Draw). One can either pencil it in with a mouse or capture parameter movements in real time. We’ve all learned to work this way, and it’s generally pretty efficient. But often all that is needed are static parameter changes. And this is where the new automation key commands are so useful.

Let me give you an example. Say you’re mixing a pop tune. You have everything sitting nicely where you want it and the mix is sounding good. Now the chorus comes in and you want to bump the rhythm guitar part up 2 db, pan it to about 10:00 o’clock, and send a bit less to the reverb bus. You want this to happen right on the downbeat of the chorus.

Position your playhead there. Adjust your channel strip parameters accordingly, and hit the new key command for “Create 2 Automation Points each for Volume, Pan, Sends”. I’ve assigned mine to. Bang! Automation nodes for all those changes are created. Now position the playhead to the end of the chorus. Move your channel strip parameters back to where you want them for the next section. Hit the key command again. Done. Static automation points are created for the new settings.

Now, lets say I don’t know the exact parameter changes I want when that chorus comes. Maybe I want to try a 3 db or 4 db volume change to hear what will work better. No prob. Enable a cycle range that encompasses the downbeat of the new section as well as a few bars before it and after it. Position the playhead, set the parameters, invoke the new key command, and hit play to audition the effect. To audition different values, stop playback, place the play head where the change is, re-adjust the parameters, hit the key command again, and hit play. All this while leaving the cycle range intact so you hear the same area each time you try different parameter values.

Working Blind

One really significant change to workflow that this allows is, what I like to refer to as “working blind”. I find that when I am mixing, my editing is usually more or less done. I am focused on the mixer (and plug-ins) and less on the Tracks Area. Creating automation used to require me to switch views, open automation lanes, and pencil in what I need. Then inevitably edit the parameters if I entered them inaccurately. I know I can enable one of the write modes and mouse in the parameters directly from the mixer, but that always requires significant clean up after. Especially when I don’t want/need a parameter value to ramp up/down, but really only want a static change. With this new function, it will be easy to stay in the mixer and not have to be distracted by moving around Logic Pro’s GUI. Move the parameters where I want, hit the key commands, and move on. No need to actually view the automation data, or even the Tracks Area, while working.

The new function works wonderfully for volume, pan, and sends, as you can see in the short video below. The “visible parameter” command is great for plug-in automation. But for basic bread and butter mixing, this new volume-pan-sends key command will sure make these types of static changes a heck of a lot easier to implement and experiment with.

Watch the video:

Author: Eli Krantzberg

Apple Certified Pro Eli Krantzberg is an internationally known author and music software trainer for Groove3. His instructional videos have helped demystify music software such as Logic Pro, Pro Tools, Sonar, BFD, Melodyne, and Kontakt for thousands of users all over the world. Based in Montreal, Canada, Eli is involved in all aspects of audio production. In his studio he works with various artists, as well as on commercial jingles, corporate videos, and original music composition.

EQ Ear Training for Mixing Engineers : TrainYourEars EQ 2.0

TrainYourEars EQ 2.0 is out, a brand new application for Mac and PC that makes EQ ear training for mixing engineers – both beginner and advanced – cool and intuitive.

EQ Ear Training for Mixing Engineers – How it Works


EQ Exercises and Methods

  • Any music you’d like to use for ear training sessions can be loaded into the application. These could be your own audio files, or tracks from other music applications such as Spotify and iTunes. You can also test your skills on plain pink and white noise.
  • You then choose an ear training exercise, to learn the difference between a Low Cut and a Low Shelf, or a High Cut and a High Shelf for example. Exercises can also be designed from scratch: you can design custom EQ quizes to train your ears to recognize specific frequencies, EQ filter types, boosts and cuts, Q-factors, or a combination of parameters for unlimited possibilities. Regardless your current EQ skills, you can always adjust your exercises to something that will keep challenging you once your EQ skills begin to improve.

Guess the EQ

  • Next, you choose an EQ ear training method. With the Guess Method , you listen both to the unprocessed and processed audio, then guess which EQ parameters were altered. This is the classic method that has been used for over 40 years by thousands of successful mixing engineers.

Correct the EQ

  • By using the new Correct Method, the app will start throwing EQ problems at you. You’ll have to apply your EQ skills to make a processed audio file sound like the original again. Do this together with the app’s ability to play tracks from Spotify or iTunes – and you could be fixing EQ issues on reference tracks you know best! This new Correct Method was suggested by audio mastering engineer and author of “Mastering Audio: The Art and the Science” Bob Katz, and implemented in version 2.0 of TrainYourEars EQ.


Watch the video below to see how this all works… pay special attention to the EQ example at 0:28…

Did you get it right?

TrainYourEars EQ Edition 2.0 Review

Here’s Pro Tools Expert’s Dan Cooper doing a 5-minute review of TrainYourEars EQ 2.0.

  • Jump to 0:40 to get to know the Audio Player’s features
  • Jump to 0:50 to get to know the Live Player’s features
  • At 1:08, note the AU/VST hosting capabilities of the software.
  • Skip to 1:31 to see the EQ ear training exercises that come bundled with the app
  • Jump to 3:08 to see how to make your own equalisation exercises with the app

Train Your Ears EQ Pricing & Upgrading

TrainYourEars EQ 2.0 normally costs € 89, but is available now for only € 49 (around USD 53 at today’s currency exchange rate) thanks to a special launch offer. For those who bought version 1 in 2015, the upgrade will be free. People who bought it before 2015 can purchase the ear training app at an additional 50% discount over the already discounted price – for a total discount of 75%.

For more information, documentation and user testimonials, visit the TrainYourEars EQ 2.0 website!

Arturia MiniFilter V – Free Until December 25th

Nice! Until December 25th 2016, the Arturia MiniFilter V, a 24dB/oct ladder filter from the Model D monosynth, is completely free.

Arturia MiniFilter V

From Arturia:

The filter itself is based on the legendary monosynth developed by Dr Bob Moog in the 1970s, and has been painstakingly reproduced to be as faithful and accurate to the original as possible. Arturia worked closely with Bob Moog back in 2004 to recreate this timeless ladder filter, and their team of passionate, skilled engineers have been using the latest breakthroughs to refine it in the years since.

Using their exclusive TAE® technology, Arturia developers have been able to replicate the behaviours and subtle nuances of analog components, and it is this technology that brings the incredible 24 dB/octave filter emulation to life, allowing it to breathe, scream, and whistle like the original.

To read more about the process behind replicating this famous filter, read Arturia’s “Behind The Mini V” focus article with DSP engineer Stefano d’Angelo.

MiniFilter V is available for free download at the Arturia website until December 25th (32-bit & 64-bit VST/VST3/AU/AAX plugin format).

You’ll need to login or create an account at Arturia to get your copy of the plugin.

Servers will probably be very busy at this point, so be patient.