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Logic pro x vocal mixing tutorial free download. Logic Proの使い方 上級者編
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. The output of the bus where everyone gets off is the aux track.
Whatever effect is applied to the aux track, is applied to all of the tracks that got on the bus. When using a send, it is only a clone or copy of the audio signal that gets sent down the bus.
This is important to know as you may not want to apply the same level of effect to every track. For example you may wish to send more of the backing vocals than the lead vocals, to give them more depth and sit them behind the lead vocal. This is a great technique for mixing as it allows you to control the individual effect levels via the send levels, and also the overall effect level via the output fader on the aux track.
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Logic pro x vocal mixing tutorial free download
Michael Norris’ Sound Magic Spectral plugins (optional – free to download!) a Monster costume / pumpkin / ghost outfit (optional to set the mood). ステップ1 – GarageBand Tutorial: How to Make a Basic Track you can even load GarageBand projects in Logic Pro when you make the step up. Students will need access to iPads iZotope Vocal Doubler is a free plug-in designed to support your vocal with a on learning time so you can get right to crafting a full, wide vocal mix.