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GENERAL INFOMATION FOR STARTING UP ON Logic Pro X.

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There exists a type of channel strip that's well known to veteran Logic users but perhaps not so much to relative newcomers. And this channel strip can't be created by any other means than going into the Environment and...Now, wait a second. Are you about to click away from this article because the word "Environment" fills you with fear? Well, I'll let you in on a secret: did you know that each and every single time you create a Logic project you're working with the Environment?

Yup, it's true. The channel strips you see in the Inspector and the Mixer page are all Environment "objects", as they're officially called. Instruments of all kinds (plugins and external MIDI) and auxes are Environment objects, too. And there's this one particular object, the Bus Channel, which is so extremely useful that it shouldn't be given short shrift just because you have to (brace yourselves) go into the Environment to create them. Really, it's quite easy to do. So please, stop digging your fingernails into your mouse at the thought of having to open the Environment window, take a deep, relaxing breath, and read on to find out how Bus Channels are created, as well as to get some insight into the types of control they offer.

Creating The Monster

Open the (not scary) Environment window and select the Mixer layer from the menu if it's not already selected. Then choose: New > Channel Strip > Bus

Oh, and don't let the nomenclature of "Bus" -as seen in the menu in Figure 1 above-confuse you. When you perform this operation you're not creating a Bus. Working backwards through that menu, you're creating a Bus Channel (strip). And that begs the question...

Is a Bus Channel the Same as a Bus?

Nope. A Bus is like a virtual wire that's used to send audio signal from one channel strip (the source) to another (the destination). A Bus Channel is used to control the level and, if desired, add insert effects on the Bus itself, all to be described below. But first, let's continue with a closer look at Logic's Busses.

Logic has 64 permanent Busses; in other words, all 64 of them are available at all times. They don't need to be created individually like channel strips and auxes. And you can see the list of Busses whenever you click and hold on a send slot to create a new send. What comes up? A list of Busses! Digital or virtual "wires". Audio pathways.

After choosing a Bus for your send, Logic automatically creates an aux, and the output of that Bus is automatically selected as the input to the aux. Add an effect plugin to the aux, turn up the send, and you're now tapping the signal from the originating channel via this virtual wire to the aux. Simplicity itself (see Figure 3).

Notice how, in Figure 3, the level of signal from the send (set to 0 dB) is also reflected in the aux channel strip. We use the term "unity gain" to describe this situation, where the level of a signal at the destination equals the level of the signal from the source.
Conclusion: Busses carry signal from source to destination at unity gain, i.e., no change in level. If we were to turn down the level of the send to, say, -6 dB, the aux's level meter would reflect -6 dB as well. Again, unity gain. Or, to put it another way, "no difference in level from source to destination".
However, there are times when you might want to change the overall level of the signal on that Bus, or add a common effect to all signals flowing along the Bus. And when such situations arise, Bus Channels come to the rescue!

Taming the Monster

A Bus Channel is a volume control for the output of a bus, and it's also a way to insert effects directly on the Bus! In Figure 4 we see several interesting things, starting with the signal flow. The Bus Channel is positioned at the end, or output, of the Bus itself, and here we see it acting as a volume control for the Bus:

The signal emanating from Send 1 on the channel strip is at a level of 0dB, but the fader on the Bus Channel reduces it to -7.3 dB. This level reduction is reflected in the level meter of the ultimate destination for Bus 1's signal: Aux 1. As you can also see, I've also inserted an EQ on the bus itself, thereby "conditioning" any signal being sent along Bus 1 to have a little bit of a low end roll-off before the signal is received by the Space Designer reverb, hosted in the Aux.

There are many highly useful applications for Bus Channels, including the little-appreciated concept that they can also be used as master group or trim controls for groups of audio and instrument channels. This application alone provides the long sought-after "Trim" function missing from Logic's palette of track automation functions. And like all channel strips, Bus Channels can be automated.

I hope this brief article has stimulated your interest in the possibilities for using Bus Channels. If you'd like to learn more, please post your questions in the mPV Logic Forum or here at the end of the article. Interested in more? Let me know and I will do a follow-up article showing additional, real-world applications for Bus Channels.

In the meantime there's a whole lot to learn about Logic, and you can find out more with these Logic Video Tutorials and do check out Peter's MIDI 101: MIDI Demystified tutorial for an entertaining and educational unveiling of MIDI, what it is and how to use it better.

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How to Best Use Bus Channels in Logic Pro

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There exists a type of channel strip that's well known to veteran Logic users but perhaps not so much to relative newcomers. And this channel strip can't be created by any other means than going into the Environment and...Now, wait a second.

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As Mark Cousins' tutorial exploring the use of Reverb & Space Designer in Logic Pro X continues we explore Room Designer and using Space Designer creatively...

Step-by-Step - Room Designer

7: Now let's turn our attention to the drums, this time clicking on the Synthesized IR tab so that we can create an IR from scratch. Start by notching down the reverb time from the default two seconds to around one second.

8: On either a Sampled or Synthesized IR, the Volume Env can be used to shape the amplitude of the reverb over time. Here, we've created a more exponential decay, which is an interesting alternative to shortening the decay time.

9: The Filter Env can be used to change the timbre over time (the EQ, by contrast, is static). Set the Initial level to define the overall darkness, and then modify the curve characteristic to change the amount of high frequency damping.

10: The Filter itself can be set to work across a variety of modes, with the default being a relatively shallow 6dB low-pass filter. Try using the BP and HP setting on the drums, which contours the reverb more towards the snare.

11: The Density tab is unique to Synthesized IR and cannot be edited in an IR Sample. Try lowering its initial phase to create a coarser sounding reverb with distinct echoes. Notice how the tail's graphic updates to show the lowered Density visually.

12: If you're adapting the Density, it's well worth playing with the reflection shape control. On the left-hand side on the slider, the reflections are more transient, whereas moving the slider to the right creates a more rounded set of reflections.

This tutorial is endorsed by Point Blank. With courses in London, online and now in LA, Point Blank is the Global Music School. You can study sound to picture on their Music Production Diploma courses, with pro industry tutors.

Step-by-Step - Creative Space Designer

13: As well as using the supplied Sampled IR files, you can also import your own sounds for more experimental applications. Working with the 808 Groove, setup an instance of Space Designer and load the 'E Chord.aif' from the Audio Files folder.

14: Listening to the playback, notice how the drum loops pick out shared frequencies in the sustaining piano chord, almost adding a pitched quality to each part of the kit. The filter really comes in handy here, especially on the HP and BP modes.

15: One interesting feature is the sample rate - especially with 'tuned' IR files like the piano. Using the /2 option, the file is played back at half its speed, doubling the length of the effect as well as lowering the pitch by an octave.

16: Return the sample rate to orig, and then press the Reverse button in the top right-hand corner of Space Designer display. When you're using the reverse option, it's well worth adjusting the IR Start so that the length of the reverse is correct.

17: Other sound sources can provide some interesting and unusual results. Try using a drum loop at the same tempo as the original track. The result is a form of ghostly tempo-synced delay effect, with each hit like its own mini IR Sample.

18: Look in the Warped Effects preset folder and you'll find a collection of lo-fi IR files taken from speaker cabinets. Unlike the other applications we've seen, you need to run Space Designer as an insert effect, with wet at 100%.

Comments

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Logic Pro X Tutorial: Reverb & Space Designer - Step-by-Step

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As Mark Cousins' tutorial exploring the use of Reverb & Space Designer in Logic Pro X continues we explore Room Designer and using Space Designer creatively... Step-by-Step - Room Designer 7: Now let's turn our attention to the drums, this time clicking on the Synthesized IR tab so that we can create an IR from scratch.

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To create beats on a piano roll use the pencil tool to get up a big image of the piano roll you press

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Ever wonder why your cursor sometimes acts up and won't go between the grid lines? It's a common problem producers run into all the time, and here's how to fix it in Logic Pro X! For more, check out deanpalyajr.com and follow @DeanPalyaJr. Thanks for watching!

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Really ueful for khz-H

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Logic Pro X comes with the most incredible sound effects on the market. It includes every plugin you need to make great sounding music.

Channel EQ is one of the most-used Logic Pro plug-ins. It's a powerful sound-shaping tool with simple controls and it's easy on the CPU.

How to Add Channel EQ to Your Tracks

The channel strip is where you adjust the volume and sound of a track. You can find a track's channel strip in the mixer or track inspector.

To open the mixer: Press X, choose View > Show Mixer, or choose Window > Open Mixer

To open the inspector: Press I or select View > Show Inspector

Here are two ways to add Channel EQ to your track:

Click the EQ display on the channel strip

Choose EQ > Channel EQ from the channel strip effects slot

How to Use Channel EQ to Sculpt Your Sound

Channel EQ can adjust eight frequency bands simultaneously:

Band 1: High-pass filter

Band 2: Low-shelving filter

Bands 3-6: Parametric bell filters

Band 7: High-shelving filter

Band 8: Low-pass filter

Turn the bands on or off by clicking the colored filter icons at the top of the interface. Boost or cut the bands by any of the following:

Drag the frequency handle in the graphic display

Drag the gain/slope field below the display

Click the fields below the display and enter the value

Below the graphic display, you can adjust the following values of the frequency bands:

Frequency: Adjusts the center frequency of the band

Gain/Slope: Adjusts the level of boost or cut of the parametric and shelving filters or the slope of the low- and high-pass filters

Q factor: Adjusts the frequency range that's affected, also known as resonance (Higher values have a narrower frequency range)

To the right of the graphic display, you can adjust the gain of the entire track with the gain slider.

More Frequency and EQ Tips

Record your project well and you might not need to use much EQ. These tips will help you when you do need EQ:

Cut to balance track levels

Boost to add color to tracks

Cutting Frequencies
If you want a track to cut through the mix, either cut the frequencies of any tracks that are masking the track or cut frequencies that are making the track unclear and muffled.

Masking is when two similar sounds are in the same frequency range and the louder sound masks the quieter sound.
Boosting Frequencies
When you want the track to sound different, boost frequencies. Beware that boosting frequencies can disturb the balance of your mix and cause unwanted phase shift. You may need to adjust the gain of the track after boosting a frequency.

Analyze the frequency content of your track by clicking the Analyzer button below the frequency display. If you want to see how the EQ is affecting the track, click the PRE/POST button to toggle the display before (PRE) and after (POST) the EQ is applied.

When you need to EQ a track, these generally accepted frequency ranges are excellent starting places:

Low End: 20-250 Hz

Lower Midrange: 250-1000 Hz

Upper Midrange: 1-8 kHz

High End: 8-20 kHz

You can divide the low and mid ranges even further to get more divisions. This is useful as your ear advances and you need more frequency range distinctions in your mixing.

Low: 20-100 Hz

Mid Low: 100-250 Hz

Mid: 250-2500 Hz

Mid High: 2.5-7.5 kHz

High: 7.5-20 kHz

Remember, there's no "right way" to EQ your tracks. Every genre is different and there's a range of acceptable sounds within every genre.

If your music sounds good to you and your listeners, it IS good.
For more mixing tips, download the Mixing Cheat Sheet...

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Logic Pro X Plugins: How To Sculpt Frequencies With Channel EQ

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Logic Pro X comes with the most incredible sound effects on the market. It includes every plugin you need to make great sounding music. Channel EQ is one of the most-used Logic Pro plug-ins. It's a powerful sound-shaping tool with simple controls and it's easy on the CPU.

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A run through

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For those new to Logic's Virtual Instruments, here's a brief overview of the synths on tap.

The Babies & the Big Boys

For this overview, I'm going to break up Logic's synths into two groups-the Baby synths, and the Big-Boy synths. All come with a good supply of factory presets, but all are also user-programmable, for the more adventurous synthesists. The "Babies" are five smaller synths, each of which specializes in one specific type of synthesis, with simplified control sets-they're ideal for synth novices to cut their teeth on. The "Big Boys" are Logic's four main synths-all feature substantial programming options, and most are capable of multiple types of synthesis-a collection that hits all the bases and then some, for any synthesist's needs. I'll start with the Babies..

ES M

All of Logic's "Baby" synths (as well as the "Big Boy" ES2) use the "E" designation, which dates back to Logic's pre-Apple days as Emagic. The ES M is a simple mono analog-style synth, that Logic recommends for "bass sounds that punch through the mix". It starts with a simple dual-oscillator. In keeping with classic "Subtractive" analog synthesis, there'a a traditional Lowpass Filter, with Cutoff & Resonance controls, and, while there's no full ADSR, there are Decay controls for Filter and Volume, which can also be controlled via Velocity. While not a full-enough feature set for general-purpose synthesis, there's just enough programming control to dial up a variety of good analog synth bass tones.

ES P

ES P is an 8-voice poly synth that "emulates classic polyphonic synths of the 1980s"-by this I'll assume they mean those classic analog Roland models. The Oscillator section lets you mix multiple waveforms, plus Noise, and there's a more full-featured LPF and proper ADSR, all of which can be Velocity controlled. An LFO is added for classic modulation effects, and there are even Chorus and Overdrive FX, for a little character. ES P would be the perfect virtual analog synth to learn about the architecture and programming of traditional analog synthesizers-all the main controls are provided, but without the distraction of an overly complex front-panel.

ES E

ES E is for synth pads (the "E" stands for Ensemble). Its simple controls are similar to the ES M's-Oscillator, basic LPF, AR envelope, and Velocity controls. But ES E incorporates modulation for three Chorus options, including a thicker Ensemble mode. The simple control set and Attack slider make it easy to dial up nice chorus-y pads, which is this synth's raison d'être.

EFM1

The EFM1 is Logic's attempt to provide a simple design for a complex type of digital synthesis-FM synthesis, as popularized in the '80s primarily by the Yamaha DX7. The rich bell-like tones of FM synthesis were hugely popular when the DX7 first came out, but FM fell out of vogue after a while, probably due to its distinctive but sometimes same-y quality, and the complexity of programming sounds, which was beyond the comfort zone of most synthesists versed in analog designs.

The EFM1 is a little more complex than the other E-synths here, but still quite simple for a model based on FM. In FM synthesis, waveshapes are produced by two oscillators (Modulator and Carrier), with one Frequency-Modulating the other (that's what FM stands for), producing often metallic/clangorous overtone structures not possible with traditional analog oscillators-the relative tuning between Modulator and Carrier determines the overtone content and timbre of the sound. EFM1 adds Modulation (tone) and volume envelopes, along with a few additional controls. It's quite a bit simpler than the DX7 and other classic FM synths, but it's still somewhat tweaky, especially compared with the more predictable controls in an analog synth-fortunately, a suitable collection of presets is provided, to be used as is, or reverse-engineered for learning purposes.

ES1

The ES1 is kind of a bridge between the simplicity of the other E models and the daunting complexity of the much more elaborate ES2. It's a full-featured analog synth, with two Oscillators, Lowpass Filter with controls for Cutoff, Resonance, and Slope, and full ADSR for Volume and Filter, with Velocity control of all relevant parameters. To this basic control set ES1 adds some Global controls, a Chorus, and two Modulators, each of which can be routed to control one of a number of synth parameters via a simple modulation matrix, which is a precursor of the more complex Mod Matrix featured in the "Big Boy" ES2 (and Logic's EXS sampler).

Audio Example 1 Logic's "Baby" synths in action:

At the grown-up's table-Retro Synth

And that gets us to the "Big Boy" synths, starting with Retro Synth, one of Logic's newest additions to its stable of virtual synthesizers.

If you took all the "E" synths I just went through, added a few more advanced features and effects, and combined them all into one plug-in, what you'd get would be something that looked an awful lot like Retro Synth. This is Logic's attempt to create a full-featured synthesizer with a wide range of programming options and sounds, but still maintain an interface that would be more immediately accessible to musicians and producers than the very complex parameter sets and front panels of most of the other "Big Boy" synths, which can be a bit daunting at first glance.

Retro Synth emulates 4 classic analog and digital synths, presented in 4 separate skins, which, if you're even remotely familiar with the originals they're (loosely) based on, you'll be able to identify with no trouble. They're officially called Analog, Sync, Table, and FM, but the inspirations for each are pretty obvious... Analog, with its traditional oscillators, filter, and ADSRs, is based on classic analog models like the Minimoog. Sync provides the "hard sync" effect you get from syncing one oscillator to another (as found on some Prophet models), which creates new, edgy-sounding waveforms (see this article on Retro Synth)-this is also sometimes referred to as "Phase Distortion" synthesis, ala Casio's classic PD synths. Table refers to Wavetable synthesis, where sounds are created by combining single-cycle or short waveform snippets into a new complex wave-the graphics here clearly pay homage to the PPG Wave, a classic wavetable synth from the '80s. And, of course, FM harks back to the digital FM sounds of the DX7, both sonically and visually. All of these models are very straightforward to use and program-what they sacrifice in high-end flexibility is more than made up for in ease of use and sound-quality.

ES2

The ES2 picks up where the ES1 leaves off, and then leaves its kid brother in the dust, with a powerful, complex feature set. ES2 combines the traditional oscillators and filters of subtractive analog synthesis with FM synthesis and even Wavetable synthesis. It's three multi-waveshape oscillators can either be blended (analog) or modulate one anther (FM), and each oscillator has a position where you can alternatively dial up preset digital waves, for Wavetable synthesis. There's also a Noise Generator for good measure.

ES2 boasts a pair of Filters (one multimode filter, one LPF), two ADSR envelopes, and an extra AD envelope, all Velocity controllable. There's even a user-configurable Vector Envelope, a really cool feature which is just too complex to describe in this brief overview.

Modulation sources include a pair of multi-waveform, assignable LFOs, and an X-Y Planar Pad, another very cool but complex feature. The feature set is rounded off by an effects section, which includes Distortion and a Chorus/Phaser/Flanger. But the heart of the ES2 is its Modulation Matrix (Modulation router), which gives you 10 routings that let you direct almost any modulator (including external MIDI mod sources) to almost any destination parameter on the ES2 front panel, with independent mod intensity and scaling control for each routing. This is like having a modular synth, where you can patch the different components together in creative ways well beyond the pre-wired options designed into the front panel itself, and this kind of flexibility is the hallmark of a high-end synth (see this article on ES2).

Sculpture

Sculpture is a bit different from all the other synths here-it's a specialty instrument that creates sounds via physical modeling, rather than any traditional analog or digital synthesis (or even sampling) techniques. Physical modeling is a method of sound creation/modification, where the actual physical elements of a sound source or processor are analyzed and then recreated/simulated in software. Many virtual acoustic instruments-from strings to pianos-use this technology as an alternative to sampling (it's the basis for Logic's own Vintage Electric Piano, Clav, and B3 virtual instruments). For modeled instruments, the idea is that since the mechanics of sound production are emulated, a modeled virtual instrument can be made to respond as expressively as a real, physical one. Plus, while emulation is one application, physical modeling can also be used to create cool, organic, natural-sounding/playing virtual instruments that don't (or couldn't!) actually exist in the real world.

There's where Sculpture fits in-it provides the tools of physical modeling, combined with some traditional synthesis parameters, and a whole host of modulation and effect parameters. Instead of traditional oscillators, filters and envelopes, there are Exciters, Disturbers, and Resonators to create sound waves based on (respectively) different vibrating media-wood, steel, glass, etc.-emulate different physical methods of sound production-striking, plucking, bowing, blowing, etc.-and shape the tone and character of the virtual instrument, real or imaginary. Obviously, there's no room in an overview to get too deeply into all of this, but suffice it to say if you're interested in unusual but organic instruments or sound effects (especially for post-production sound design), Sculpture is definitely something you'll want to spend some time checking out.

Audio Example 2 Retro Synth, ES2, and Sculpture:

Alchemy

Alchemy is the newest addition to Logic's synth collection, integrated into Logic when Apple acquired Camel Audio a while back. Since I'm running out of room, I'm afraid I'm going to be giving Alchemy short shrift, but that would be inevitable, anyway, seeing as it would take several articles to fully describe this beast. Alchemy incorporates sampling and sample manipulation with additive, specular, granular synthesis, and resynthesis, wrapped up with an extensive set of programming controls and effects.

An Alchemy patch incorporates four independent sound sources, each of which can include multiple elements from its various categories of sound production. Each has its own filter and modulation parameters, and of course there are global filters and effects as well. The interface is deep, and the possibilities for sound creation and manipulation could keep an eager synthesist busy for days/weeks/months exploring its powerful options for creative control. Fortunately, there's also a very comprehensive preset library for those who need to jump right in and start making music. With all its options and capabilities, it seems like Alchemy will be taking its place as the new King of (Logic) Synths.

And with that, I'm out of space. Every one of Logic's synths, from the simplest, most efficient, to the biggest, baddest, do-everything models, is capable of adding good sounds to an arrangement, when matched with the right song and a good player. All of them are worth a little (or more than a little!) time spent getting to know what they have to offer.

Joe is a musician, engineer, and producer in NYC. Over the years, as a small studio operator and freelance engineer, he's made recordings of all types from music & album production to v/o & post. He's also taught all aspects of recording and music technology at several NY audio schools, and has been writing articles for Recording magaz... Read More

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An Overview Of Logic Pro X's Powerful Synths

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For those new to Logic's Virtual Instruments, here's a brief overview of the synths on tap. For this overview, I'm going to break up Logic's synths into two groups-the Baby synths, and the Big-Boy synths. All come with a good supply of factory presets, but all are also user-programmable, for the more adventurous synthesists.

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Logic Pro X features an incredibly deep Sound Library, virtual instruments, amazing effects and a massive collection of plug-ins and sounds.

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Creating a Custom Sampler Instrument:

Open a new Software Instrument track (option + command + N) and then load up an EXS24 from the Input section of the channel strip. In most cases, EXS24 will open up with no sound loaded in the form of a basic sine wave-like sound.

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In the Mixer, each track has a channel strip. You can control the sound of the track using its channel strip controls.

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Control a tracks send level

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Any notes not played in time are moved to the nearest position on the grid.

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How to loop a Region

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You can use Reverb effects to simulate the sound of acoustic environments such as rooms, concert halls, caverns, or an open space.

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HERE >>>>>>>

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Automation refers to recording, editing, and playing back the movements of faders, knobs, and switches......

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You can use automation to create changes over time to volume, pan, and other settings in your mix.

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MONO:
In MONO one single channel is used.
STEREO:
In STEREO more channels are used (typically two). This is used to create directionality, perspective, space.

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Something that is holding information ...

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An audio signal is recorded on an audiotrack of a digital audio workstation software. The recording is a representation of the sound the instrument actually made, and

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A MIDI signal is normally generated by a keyboard, and it contains information about which keys are being pressed. The MIDI signal can be recorded on a MIDI track of a digital audio workstation

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To hear the sound from your microphone.....

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To hear the sound from your microphone.....

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Press the + button for a  new track.