Although Logic’s Environment is reputed to be its ‘dreaded’ window, after some understanding and use it can quickly become an inseparable part of your productions. In this tutorial, we will take an introductory look into Logic’s Environment to create a multi-instrument that will help streamline your productions as well as begin to dispel any myths about this extremely useful and often overlooked aspect of Logic.

Step 1

Let’s say you have found a combination of three bass sounds that you want to play in unison to form the main bass element of a current project. You have mapped out your MIDI pattern and decide to copy and paste the region into your remaining bass tracks to get everything playing together. Everything is fine, until you realize there are a few tweaks you want to make to the MIDI.

At this point, you have to derail your creative flow by making edits in one region, deleting all corresponding regions in the other tracks and then pasting the new region in the now empty tracks. All of this is necessary before you can hear an accurate update across all three sounds of even the smallest change. This process quickly becomes tiresome and monotonous at every stage of the creative process, from experimenting with ideas to finalizing the event data. To get around this, we need to employ the following trick.

To start, I have set up a layered bass sound consisting of three basic bass instruments responding to copies of the same MIDI region; all of which I pulled from Logic’s library.

It is not very interesting, but more than suitable for this demonstration.

Here is what it sounds like.

Download audio file (MIDI1.mp3)

Step 2

After listening a few times, I’ve decided that I want to change the pattern around by making some MIDI adjustments. I want to hear those adjustments as I make them and not have to go through the multiple steps necessary to update each individual region each time I change a note. To do this I need to create a fourth MIDI instrument/channel that I will use to control the existing bass instruments.

The beginning of this process requires me to open Logic’s Environment (Window>Environment or ⌘8) where I will then go to the ‘New’ menu located at the top of the Environment window and select ‘Instrument’.

Step 3

Once I have the instrument object, I need to click/drag the top-right patch node of the instrument (the triangle sticking out of the instrument icon) to one of the bass instrument channels within the Environment that I want to control. As I drag the node over the instrument channels, they will become highlighted to let me know that a connection will be made between the channel and the MIDI instrument object when I release the mouse button.

As soon as I make the first connection, a pop-up dialogue will appear and I will have to choose ‘Remove’ from the dialogue box to remove the channel port that Logic assigns by default.

Step 4

Now I will repeat the connection sequence by click dragging the new instrument patch nodes that appear on the instrument icon to whatever instrument channels I want to control (in this case the two other bass instruments).

Once these steps are done, your Environment should look something like this (I took the extra step of naming the new instrument ‘Multi-Bass’ which you can do by selecting the instrument object and then changing the name field in the inspector, located in the upper left).

Step 5

Now I have to go back to the Arrange page and create a new track. It does not matter what type of track it is as I will be converting it in the next step. The only important thing is that it is there.

Step 6

Now I need to drag the MIDI instrument object icon from the Environment to the new track header in the Arrange page. To do this I need both the Arrange page and Environment open and then it is just a matter of dragging the instrument object icon to the track header and dropping it. Logic will update the track header and all associated parameters automatically.

Step 7

Now I can move one of the MIDI regions down to the new MIDI track and delete all the others and still have the same output as when I had three regions. Logic will now read the MIDI within the new multi-bass track and route that MIDI information according to the patch in the Environment.

Here is how it sounds with some slight MIDI editing within just the one region.

Download audio file (MIDI2.mp3)

Although it sounds pretty much the same, the key here is that it only took editing a single region to change the pattern and subsequent output of all three instruments.

Step 8

Now I can hide the instrument tracks and edit the MIDI within the single region and all of my bass tracks will correspond to those edits instantaneously without my having to update other tracks or regions. This greatly increases my productivity, and allows me to preview multiple creative ideas without having to change gears to constantly update MIDI in other tracks.

Of course you are not limited to just three instruments, but generally 3-4 is a good number for sake of clarity. Try experimenting around with different numbers and different types and see what happens.

In the next tutorial, we will take things a bit further in the Environment by looking at the transformer object and programming it to control various parameters (cutoff across all three instruments, etc.) of our multi-instrument by using just a single parameter.

If you would like to submit one of your tracks for helpful peer review, learn more here.

Our sister site, ActiveDen, has some fantastic and affordable Flash resources that will make you stand out from the crowd. We feature 20 of their best site templates and audio players.

1. Advanced XML Website – Perfect for musician

Full Screen Preview

“Advanced XML Website is an Flash (AS3) fully XML driven website template that allows you to modify the whole content without even opening the source files. It’s perfect for an musician website.

It’s a very easy to manage and professional documentation is included.”

2. PunkerPop XML Template

Full Screen Preview

“PunkerPop XML Template features an eye catching and one of a kind website template fully controlled by XML and very versatile in its setup! It gives you total freedom in the way you want to setup your pages (e.g. you can have 5 text pages and 1 contact page)! Make use however you want from the 8 available template pages and enjoy full deeplinking support!”

3. Black Velvet XML Template with Deep Linking

Full Screen Preview

“Full flash xml loaded website template. Uses swfAddress to enabled deep linking to all pages on the site.”

4. Scraps XML Music Site

Full Screen Preview

“Scraps is a xml-driven site template for artists in the music industry. It contains tabs for band information and photos, five-album discography, news and upcoming gigs, links, a php contact form, and a simple music player.

“The content for Scraps is driven by 6 seperate, easy to use xml files—one for each tab (except contact), and one for the music player. This file comes with a detailed help document to make uploading your content easy to understand.

If you’re looking for a hip (yes, I said “hip”) easy to use site to get your band’s name out there, this is the file for you!”

5. Dream Music XML Website

Full Screen Preview

Features:

• Fully XML driven
• Deep linking supported
• Multiple modules can be loaded on the same page
• Includes banner rotator
• Audio player with unlimited songs support and a song purchase button
• One sub-level menu

6. Multiple Music Projects site template

Full Screen Preview

“The mbudm#004 template is aimed at individual musicians or bands/music collectives that dabble in more than one music project. Inspiration has come from people I know for whom music is their main interest and so they are always embarking on new and interesting side projects while simultaneously organising their main band or collective.

“The big challenge in making a music template is that by nature musicians are highly individual and have incredibly different needs. Because of this I have added in as much flexibility as I can so that this template can be transformed into a site that truly represents you, your band and your projects.”

7. The Music Band Template – with PHP and MySQL

Full Screen Preview

“The Music Band Template is a flash template packed with many features. It has been created for the Music Template competition from ActiveDen, therefore it has the functionality of a Music Band Fan Site. However, the template is easily customisable and you can personalise it as you wish.”

8. Dynamic Elegant Template V1

Full Screen Preview

“This is fully customizable elegant template with a lot of features. One of the biggest features is: CREATE AS MANY GALLERIES , HTML PAGES , CONTACT FORMS AS YOU WANT.”

9. Dark XML Fullscreen Web Template

Full Screen Preview

“This website template is fully resizable, customizable in the xml, and is only 29kb! You never even need to touch your flash file.

“The rollover gallery menu on top hides when you are not using it, scrolls right and left if there are too many to fit, and has a thumbnail show up on rollover. Each image is associated with a caption that shows up on rollover. There are also next and back buttons that hide when they are on the first or last image. There is even a button that makes this template fullscreen.”

10. SOLO – Music Website Template – with deeplinking

Full Screen Preview

“Featuring 3 levels of deep-linking, url error management, playlist creator, interavtive tour map and integrated twitter reader.

“Designed with a musician in mind but equally suitable for any artist/creative individual.”

11. XML MP3 Player with List (by quickyboy)

“And from the same story with the brand new FLV player, here comes the XML driven MP3 player with list!!! ”

12. Switch MP3 Player

“Many Flash projects benefit from adding background music. This simple MP3 Player lets you add music to your movie, without the distracting hassle of extra buttons, volume sliders, and unnecessary equalizer animations. The user will be able to quickly turn the music on or off.

“Inside the MP3 Player you have numerous settings such as a master volume, default on/off setting, and a randomize feature. You can include an unlimited number of songs on your playlist, all of which are loaded externally. For your convenience, the playlist can be defined both inside the SWF as an array, or externally as an XML file.”

13. Dark Star Mp3 Player Pro

“Dark Star XML MP3 Player V1.1..It can play mp3 music files from your XML file.”

14. 2 Mode MP3 Player

“Cool Aqua Style Mp3 Player. With Normal And Lite Display Mode. Drag and Drop. Easy To Use For XML Or ActionScript”

15. WeLove Mp3

Features:

• Dynamic XML driven mp3 player.
• Exclusive “open-albuns” animation.
• Customizable XML driven skins (text colours, bgs colours and background image).
• Album cover images.
• Shuffle on/off.
• Autoplay on/off.

16. Streaming MP3 Player with drop down playlist

Features:

• XML driven
• Streaming MP3 Player with drop down playlist
• Add as many songs as you like
• There is no limit to your playlist
• Just paste the mp3 movie clip in your flash file
• Save your mp3’s in the “tracks” folder, and update the XML
• All changes made through the xml
• No need to re-publish your flash file

17. MP3 Player with Drop Down playlist V2

Features:

• Streaming MP3 Player with drop down playlist
• Add as many songs as you like, there is no limit to your playlist
• XML driven
• Just paste the mp3 movie clip in your flash file
• Save your mp3s in the tracks folder, and update the XML
• Updated with Autostart and Paused mode

18. Dynamic Mp3 Player 2

Features:

• Supports unlimited number of mp3 files.
• Fully customizable – XML driven.
• You can choose between multiple settings.

19. ADG3 : Simple Sound Controller

“A simple music on/off controller, with animated levels.

“The difference here is that the music fades in or out gradually, as opposed to cutting out immediately.

“If you are detail oriented, you may agree, it’s a small difference that comes across as smoother, less harsh on the user’s ear.

“Aside from the decor in the file, the controller is contained in a single movie clip, which can be dropped into any flash project.

“If you wish to remove the rising dots animation, that’s easy too, just delete layer 2 in the mc called music player bar, in the library.

“The file size of this controller is only 1 kb, but depending on the length of the loop you choose and the compression you set, the total size added to a movie will vary, naturally.

“Included as a bonus here is one of my loops, which you can use as you see fit in any of your flash projects. Hope you like it”

20. Simple MP3 Music Player V2 + XML Playlist

Features:

• XML MP3 Player with volume slider
• Simple MP3 player, all vector, easy to skin
• Name the artist and title in the xml
• Just copy and paste a player movie clip into your file
• Streams and plays your external MP3 tracks via XML
• Unlimited playlist

Are you planning a website to show off your band or music? Which of these Flash resources appeal to you most? Do you already have a web presence you’d like to show off? Let us know in the comments.

1. Different Types of Desks

In big recording studios, you usually
come across big mixing desks that have two types of faders on the
same track. These mixers are called In-Line mixers.

The SSL 4000 G+ In-line Mixing Desk

Photo by Pablo Albacete

This is the SSL 4000 G+ In-line mixing
desk. Without going into full detail of its complexities, notice how it has two faders per channel. It has a large fader
at the bottom, and then a small fader above. You use the different
faders for different things, depending on which stage you are in,
whether it be recording, mixing or overdubbing. When recording, this
desk jumps into a different position than when mixing.

The basic signal flow when recording on
the SSL is as follows:

• Signal gets picked up by the
  microphone and goes into the microphone input of the desk.
  
• It then Goes down the channel path to the
  large fader first.
  
• After that the signal shoots up to
  the routing matrix, which is the assortment of gray buttons at the
  top of each channel.
  
• From there it goes to the
  recorder, or multitrack. Now the large
  fader controls the amount of signal that gets sent into the DAW.
  
• Now we have to listen back to
  signal as it comes back to the desk from the multitrack. As you send
  the signal back into the desk it goes into the routing matrix again,
  down the monitor path to the small fader. The small fader are the
  tape return faders, where you listen to what’s coming from the DAW.
  

It’s important to listen to the signal
after it goes through all of the equipment as it might be changed
by the equipment. So listen how the signal is going to sound on tape, not
how it’s coming in. By being able to control both the level of the
signal going into the desk with the normal gain knobs, and then the
level going into the multitrack (DAW, Pro Tools, etc.), you get a higher
degree of control using an In-Line desk than a normal one.

Not a lot of people have the
pleasure of working with an SSL everyday. And some don’t even like
working on an analog desk. I find it tiring to work on the SSL
because if you are mixing and you want to come back another day to
finish, you have to take down the position of every fader, every knob
and every setting so you can recall it again when you come back. And
that sometimes doesn’t work because you find that you can never put
it back exactly as it was.

Digital Studio Desks

Because digital audio has gotten better
and better over the last decades, digital mixing desks are often
used instead of the old analog mixers. In a digital mixing desk you
can save all your settings when you leave, and recall them exactly as they
was before. This is a huge advantage when you aren’t the only one
using the desk.

There are two types of digital mixing desks out
there: one has built in EQ, compression and effects processors,
effectively working like a normal mixing desk; and the other is
only a control surface. A control surface looks like a mixing desk,
but it only controls the DAW you’re working in.

The Control 24 Pro Tools Controller

Photo by Pablo Albacete

This is the Control 24 Pro Tools
controller. Although it has pre-amps, it isn’t actually a mixing
desk. It’s hooked to Pro Tools in a way that whatever you do on the
desk, moving faders, panning etc, happens directly inside Pro Tools.
So in a way, it’s just a really cool and powerful mouse. These types
of controllers come in handy when you like mixing inside the box, but
want to be able to push faders and twist knobs for a more human feel.
I prefer moving faders on a console than moving them inside a DAW
with a mouse and I imagine most of you like that too.

When you only want your audio program
to act as a big playlist, and like using built-in EQ or compression
of a digital desk, there are a few options out there for you too.
Normal digital mixing desks are hooked up to an audio program and
each channel inside the program linked to a dedicated fader. You
don’t have to use the audio program more than you want to, as you
have built-in processors on the desk, but by using both things at the
same time you can get best of both worlds. For instance, you can save
the processing power of your computer by using the EQ and compression
of the mixing desk, and then using more dedicated effects, or
automation inside the program.

The Tascam DM-4800 Digital Mixing Console

Photo by Pablo Albacete

This is the Tascam DM-4800 digital
mixing console. It has built-in EQ and compression and two
multi-effects processors. This one is hooked up to Logic and can work
as a controller, like the Control 24. But it is more powerful than
the Control 24 which only controls Pro Tools, and doesn’t have any
internal processors. As said before, many people like working in
digital because it allows them total recall of every setting they had
the day before. On the Control 24 you just save the Pro Tools file
and the desk recalls it exactly as you save the file.

On the Tascam
you save your session inside the mixing desk itself, and when you
come back it will recall every setting from it’s memory. With digital
there comes convenience, and although many people still argue over
the sound quality of digital versus analog, you can’t argue that
digital mixing desks are way more convenient than the analog ones.

Mixing Desks in a Live Situation

In live sound situations you don’t need
all that excess baggage of an extra pair of faders like on the SSL,
or the need to control Pro Tools remotely. You aren’t recording
anything and you only need the sound to go straight into the desk and
out again to the PA (public address system). So live sound mixing desks have
a more simplified look and signal flow.

The Soundcraft GB2 Live Mixing Desk

Taken from Soundcraft.com

This is the Soundcraft GB2 live mixing
desk. Notice how much simpler it looks. It only has one set of
faders, the control room to the right is a simple affair with only a
master fader and two sets of group faders. This mixer is much easier
to handle compared to the SSL with it’s various modes, routing
matrixes, faders and groups.

The signal flow is as easy as it gets
as well:

• The signal goes from the microphone to
  the mic input of the desk.
  
• The signal goes down to the fader at
  the end.
  
• The signal goes to the master fader
  and out to the PA.
  

That’s as easy as it gets.

There are digital mixers available for
live sound as well. These work in a similar way to the Tascam DM-4800
as they have built in processing such as EQ and compression. With
normal analog live mixing desks like the GB2 we need dedicated
outboard processors and effects to enhance the sound, but that’s
built-in to the digital mixers. So in a way, as the sound industry
becomes more digital every day, our lives become easier. At least we
have to lug less stuff around in a live sound situation.

2. Different Types of Sound Engineers

There is also a difference between live sound engineers and mixing engineers, and the way they work. Some
studio mixers need their rack of effects and a lot of time to mix
their music, while the live sound engineer has to make do with what he
has.

Even if the studio mixer only mixes inside the box with his DAW, the result is bound to sound much better than some of the garbage sound systems the live engineer needs to work
with.

Do you prefer this?

Or this?

Photo by Pablo Albacete

3. Difference in Time and Creativity

There is a benefit involved with being
able to take your time in the recording studio that you also don’t
have when you are trying your best to make a live band
sound tight. In the live venue, you only get one shot, and there’s
only one performance by the band. So you’d better make sure that
performance sounds great because there’s no undo button, no punching
in for a better take and certainly no editing.

Being able to get the best performance
out of the artist is a great thing in the studio, and editing
together the perfect take is a joy to mix afterwards. Studio and live
performances are a pleasure to mix, but if you get an insecure
vocalist for example, you can’t edit his good takes together in a
live venue. At least in the studio, you can end up with a convincing
performance after heavy editing.

Time for creativity is also more
available when you are working in the studio. A live sound
performance only has the members of the band playing their
instrument, so the general sound of the concert is dependent on how
tight and good the band plays. But in the mixing studio you have room
to play around with delay, reverb, overdubs and layers. You have
more tracks to choose from, more time to tweak parameters and
generally more creative freedom. There are no mixing engineering
secrets in the live venue, it’s all dependent on the band.

Conclusion

Although the field of studio sound and live sound encompasses the
same basic principles, the approaches needed for each one is
different. Whether it be different attitudes or equipment there is a
certain uniqueness to each situation.

Live sound is based on fast
paced decision making where the music in going on right in front of
your eyes while a studio mixer might be able to take his time,
fine-tuning his mix to perfection. The same applies to the equipment,
where a live sound desk needs to be easy to navigate and control,
while the studio mixing console has more complexities in it’s signal
flow.

In my opinion there is no better job. There is joy to be had with mixing a great performance coming
out of a great sound system, and there is also satisfaction to be had
with creating a great take out of many mediocre ones. It’s all a
matter of taste. Sometimes live sound can rule the world, and
other times studio mixing is the calm comfort zone you want.

To learn more about what you get as part of Audio Plus, read this. To take a peek inside this sample pack, hit the jump!

All loops were programed from scratch in Logic and then destroyed using various processing for a hard edge sound. WAV, REX and MIDI versions are incuded. If you have ‘Stylus’, you can import the folder ‘Tuts+ Glitched REX’ by dropping it into the Spectrasonics Sage Expander.

Here’s an example from Toby of what can be done using the pack:

Download audio file (Hard Nut Demo.mp3)

Sample Pack Inventory

6 Loop Suites

Each suite includes a full mix, alt mix, kick, snare and hi hat samples.

Included suites:

• Crunchy 96 bpm
• You Glitchy MF 98 bpm
• Da Man 116 bpm
• Hard Nut 140 bpm
• Nitro 160 bpm

12 FX Loops

12 different FX loops at different tempos, from 100-160 bpm. They were created in Metasynth and further processed in Logic.

Existing Plus members can log-in and download. Not a Plus member? Join now.

Each Tuesday we open our mic to readers and lurkers alike to come out of the woodwork and tell us your thoughts and opinion, your experiences and mistakes, what you love and what you hate. We want to hear from you, and here’s your chance.

Are there any specific topics you’d like to see tutorials on? Are you having audio problems you need advice on? Is there a nagging unanswered question in your head we can help you with?

What types of tuts do you find most helpful? Software tuts? Which programs? Generic tuts that should work on most DAWs? Step-by-step instructions about how to do something specific? Theory tuts?

What level of experience should our tuts be aimed at? Experts, intermediate users, beginners, or a mix?

And don’t forget you can tell us about tutorials you’d like to see at any time at our Uservoice Audiotuts Site Suggestions and Feedback page.

For all you Mac users, this tutorial will show you how to use Apple’s Waveburner to get that finished project on to a CD with individual track markers and a professional polished sound. If you are a Windows user and would like to see the equivalent in an application like Wavelab please let me know in the comments section.

Step 1 – Your Finished Mix

Whether you are creating an artist album, a DJ mix or compilation you can use Waveburner to consolidate the whole project. Obviously before we get into the basics of the application we have get the project out of the DAW it was mixed in.

Regardless of which DAW you are using there are few things to think about before you start exporting. Any sections of your project that are to be mixed seamlessly, or just played consecutively without gaps can be mixed in the DAW at this stage. These sections can then be exported and track markers can be inserted in Waveburner. If you are working on a DJ mix, or mixed compilation all your tracks will be exported as one large file.

With your consecutive sections and any single tracks mixed, you can start exporting. As we are technically mastering here you will want to export anything you intend to use at the highest resolution possible. 24 bit is preferable and everything can be converted to 16 bit at the end of the process.

Exporting the mix from Ableton

If this section still seems a little convoluted let me go through what I have done here… I have mixed a ‘mini’ DJ set in Ableton Live using three tracks, these tracks are obviously seamlessly mixed so they were then exported as one long file.

Mini mix in Ableton Live

Our CD will contain three tracks and these will be made using only the single file produced in Ableton. If you wanted to use unmixed tracks you could add these at a later stage. If this is a little confusing I apologise, it should all become clear by the end of this tutorial!

Step 2 – The Waveburner Interface

Waveburner is bundled with Logic Pro and has been for the last few versions. At version 1.0 Waveburner was a little buggy to be honest, but it has really come of age recently, and after a few updates at version 1.6.0 it’s now stable.

Waveburner 1.6.0 interface

The application shares its look with Apple’s new generation of professional tools such as Final Cut Pro and Soundtrack Pro. Everything is in a single window interface and its all pretty self-explanatory. The workflow is also pretty fluid and has some nice touches, such as the ability to resize the different work areas and full support for dragging and dropping files into projects.

Step 3 – Adding Tracks to a New Project

When you open Waveburner it automatically presents you with a blank project. To add tracks to our new project we can use several different methods. The central window in the lower part of Waveburner’s display is where our project media is displayed, files can be dragged and dropped into this window. Alternatively you can use the import function in the file menu or the shortcut in the upper toolbar.

The import option in the toolbar

Importing audio from the file menu

Once our file has been imported you will see it in the media list and when this is selected an overview of the file will appear in the display area at the top of the interface. With all the work areas expanded this can be a little fiddly but with the lower windows collapsed things get a little clearer.

Audio in the media list

Collapsed view of new audio file

Either way you get a good overview of your track and with the lower windows expanded you are presented with extra info on your file, such as resolution, loudest section and length. The lower windows on the right also display information on effects and processing, which we’ll look at later.

Expanded view of new audio file

Step 4 – Creating Track Markers

Creating track markers is what Waveburner is good at and it executes this function with relative ease.

Simply find the point in your mix or album where you want the new CD track to appear and use the purple ‘Add CD Track’ tool. Once placed this new marker can be dragged about to any location you desire. It really helps to zoom in pretty heavily at this point as its nice to have the track change on the beat or at an equally appropriate moment.

The new track tool

Adding our first track marker

Once placed you can name the separate tracks and move on to the next one. As this project only contained three tracks is was a pretty fast job! Use the next last buttons in the transport area to test your new track markers, as this is how they will sound on the CD.

Adding and naming more markers

The three markers in place

Step 5 – Automating Levels and Creating Fades

If you find that some areas of the project are significantly louder or quieter than others its possible to change this in Waveburner. The quickest way is to split the files with the dedicated tool in the toolbar. Once split the two new regions are re-located to their own lanes.

Splitting regions to edit levels

You’ll notice that each region has its own level handle and the gain of each region can be easily adjusted. Don’t worry about a small difference in level as a mastering compressor can always be employed to look after subtle changes like this.

You can also perform other tasks using these handles. If you overlap two regions on different lanes they will automatically cross fade, these cross fades can then be adjusted manually to get exactly the right blend between two files. Using a similar technique fades can be added the start and end of files, the curve for these fades can then be edited in the same way. I have added a fade out on the end of the project as the track hadn’t finished.

Performing fades

Step 6 – Adding Processing

Assuming the material that you have imported into Waveburner has not already been treated with mastering processors you can add some basic treatment using the applications included plug-ins.

The plug-ins that are available are exactly the same to those in Logic Pro 9. Waveburner is also audio units compatible so you can use your favourite third party mastering plugs if you like.

Choosing plug-ins

To add plug-ins go to the lower right hand window and use the add plug-in menu. You should be able to see all the Logic plug-ins in the list. I have used Apple-only effects here so that the project can be loaded on any system. I have used a linear phase EQ and a limiter, just to add a little high end and some volume.

Plug-ins used on the project

Step 7 – Saving, Exporting and Burning

When you’re happy with the track markers and processing you can think about burning or saving your finished project. Before you do you have the option to ‘bounce’ the project. I like to do this as it cleans things up. By using the Bounce Project option in the file menu all the split regions and effects are ‘imprinted’ onto a single file. Your track markers however will stay intact and can edited further.

Bouncing the project

The bounced project

When bounced you can either burn directly to CD using the burn function or save the whole thing as a disc image. Saving as an image can be useful as you will have a ‘master’ copy on your hard drive and this can be used to burn multiple copies of your latest masterpiece!

Burning the final project to CD

M-Audio SP-2 Piano-style Sustain Pedal

For the chance to win an M-Audio SP-2 piano-style pedal (pictured above) all you need to do is comment. Make sure to include your correct email address with your comment so that we can contact you. This giveaway is open worldwide, but make sure to get your comment in before midnight this Saturday, Pacific Eastern Standard Time.

The M-Audio SP-2 Sustain Pedal is the perfect product for keyboard players who want the most realistic pedal action. The SP-2 model is used in the same manner as the sustain pedal on an acoustic piano. This classic-style pedal works with any M-Audio keyboard. Designed to work and feel just like an acoustic piano’s sustain pedal, it has a specially designed rubber bottom that grips the floor and stays put while you play. The SP-2 is a high-quality damper pedal with expressive half-pedal capabilities.

If you miss out, check it out at Amazon.com and get yourself an early Christmas present.

Please note: Envato staff and people who have written more than two tutorials/articles for a Tuts+ site are not eligible to enter.

A Quick Recap on Recording Multiple Takes

Before we learn how to edit take folders, let’s look at recording those multiple takes in the first place in case you haven’t done so before.

1. Loop the Section You’re Recording

Click and drag on the bar meter at the top of the Arrange window to set loop locators. When you press play, Logic will loop that section of the song repeatedly. Make sure you set locators for precisely the section you need to capture multiple takes for. Your bar meter will look something like this:

2. Press Record

Hit the Record button. You’ll get your four beat count-in the first time, scurry over to your instrument or mic really quickly!

3. Repeat Until Done

After the count-in, Logic will just keep playing back the same section and recording on new take tracks. You won’t get a count-in with every repetition; after the first play-through it loops seamlessly as you’d expect. Once you feel you’ve captured enough takes to make a good comp from, hit Stop.

Here’s the audio I’m working with — I’ve played a chord progression a bit behind the drum beat, which gives the progression a relaxed sort of feeling. I’ve done this specifically so I have something to edit into place later.

Download audio file (1.mp3)

Step 1

Once you’ve got a set of takes, the first thing you need to do is turn Quick Swipe Comping on that region off. This can be done by clicking the little button with three rectangles inside it in the top right corner of the region, or by selecting the menu option that will appear when you click the arrow button next to it. Here’s a screenshot that shows both:

Step 2

Double-click on the region or click the small arrow in the top left corner of the region to expand the take folder. You’ll see each of your takes each on their own tracks.

Step 3

Select the tool you wish to use to edit the tracks. Not many of the tools will work at this stage, such as the fade tool, but for now all you really need are the scissor and pointer tools. Split the regions with the scissors where you plan to move the tracks.

Here’s what my tracks look like now — quite a bit of cutting going on:

It’s important to note that splitting regions creates new regions — a fairly obvious point, but you will need to remember you’re also separating the comp groups. This makes it easy to swap one chord out for one from another take, but you can just switch the whole thing over to your fifth take or whatever without going through each region’s comp controls one by one.

Step 4

At this stage, delete unneeded regions and shift them into place. I’ve decided that my guitar track feels too relaxed and I’m putting everything back on the accented beats where the average person would expect them to be.

Because of the simplicity of my edit I can remove the silent sections to create a cleaner track and simply move all the regions over half a bar:

Step 5

Comp the edited tracks. At its simplest, this is basically a matter of using the drop down menu to select the take you’d like to use in each of your segmented regions. For a more detailed look at comping, refer to this tutorial, but bear in mind that there may be some changes between Logic Pro 8 and 9 when following the instructions.

Move on to the next step once you’ve turned the best part of each take into one track and you’re happy with it.

Step 6

Are you sure you’re happy with it? Because we’re about to flatten the takes down into your one comp, and once the Undo history runs out you won’t be able to change your mind easily.

Click on the arrow button in the top right corner of the window to bring up the comping dropdown, and select Flatten. Repeat this process for each region.

Step 7

My flattened but separated comps sound pretty choppy:

Download audio file (2.mp3)

Now that the comp is flattened we can use our tools again, so I’m going to fade the regions in and out to take that sharp edge off them.

I had to fade in pretty heavily to make the chords smoother. If I was working on a proper project I would’ve edited much more carefully but since this is a tutorial I just made cuts right on the beat. So how far you need to fade will depend on the type of audio you’re working with (these are quite percussive chord hits so they come in loud and hard) and how well you’ve edited the regions.

Download audio file (3.mp3)

(I am of course aware that the guitar is in desperate need of some reverb, but that’s for another tutorial!)

Step 8

Merge the regions together if you’d like to have a solid block for that chord progression just like when we started. This is simply a matter of selecting all the regions you wish to include, then going to the Region > Merge menu and clicking on Regions.

And there you have it: one comped, flattened, edited and merged region.

This track has been submitted for your friendly, constructive criticism. They have put their track (and their heart and soul) in your hands to learn and get useful feedback.

• Do you enjoy the song or track itself? Does it have potential?
• Can the arrangement be improved?
• How did you find the mix? What would you do differently?
• What do you enjoy about the rhythm track? What can be done to improve it?
• Is the choice of instruments relevant and effective for the style/song?
• Are the lyrics (if any) effective? Does the style, arrangement and genre of the song suit them?
• Can you suggest any specific techniques that might improve the track?
• Do you have any other constructive feedback?

Maybe by David White

David describes the track: “Built as excuse to play my bass, rhythm guitars are logic samples tweaked, cut and pitch shifted, synth solo was a ‘happy accident’… stumbling on how to patch an arpeggiator in the environment window. Solo played with no regard to key – voicing only, arpeggiator took care of timing. Each note hand pitched to create solo in post production. Titled to evoke ‘Yes’. I know it’s produced ‘loud’, but i was excited…”

Author’s website: www.reverbnation.com/davewhitepdx

Download audio file (Maybe.mp3)

Terms of Use: Stream only. comment freely.

Composition and performance by David White

(c) 2009 AudioMoxie™ Music (BMI)

(P) 2009 AudioMoxie™ Records

Have a listen to the track and offer your constructive criticism for this Workshop in the comments section.

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