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Logic 201 Chunk 6
Transcript of Logic 201 Chunk 6
Creating production notes
Using mixer views
Creating channel groups in different ways
Creating pre-fader sends for headphone mixes
Using parallel compression
Sending and receiving audio to use external audio devices
Bouncing in place
Advanced automation techniques
Mapping MIDI controls
Surround Mixing Creating Production Notes Importing Channel Strips, Automation and Region Content Using Mixer Views Creating channel groups in different ways Creating pre-fader sends
for headphone mixes Using Parallel Compression Sending and Receiving Audio to use External Audio Devices Bouncing in Place Advanced Automation Techniques Grouping Automation Mapping MIDI Controls Working with Notation Control Surfaces Surround Mixing Notes can be assigned globally to the project or to individual tracks. Click here to open your production notes Use the Project tab to take notes that pertain to the entire project Click the pencil button to enter text Click the button on the left to open the text style window Click on the Track tab to access notes for the selected track Logic will automatically select the right track notes when you select different tracks Your track notes will also be accessible from the Mix window by clicking here You can view all track notes at once, and even edit the notes directly from the Mix window The Mixer window has multiple view modes that allow you to select which tracks are displayed at a given time. What it's useful for: letting your recording artist hear a different version of the mix than what you, the producer, are listening to. For example, a singer might ask to be turned up and to add more reverb in his headphone mix while he's recording, but you can listen to the "normal" mix out of your monitors at the same time.
What's required: an audio interface with more than one stereo pair of outputs. Let's set up a headphone mix using these eight tracks in the Mix window First, select all your tracks using Edit > Select All or by pressing Command+A Assign all the tracks to the same unused bus. To do this, click and hold on a Send slot and select a Bus from the drop down menu. Since this is an empty project, Bus 1 is free so we'll use that. Now the tracks are all sending to Bus 1, and an Aux track is automatically created with Bus 1 as the input source. Name the track accordingly to keep your project organized. Select all of the tracks that are feeding the headphone mix and change them to Pre Fader outputs. To do this, click and hold on any of the tracks' Bus 1 send slots and select Pre Fader from the drop down menu shown here.
This allows you to control their volume independently from the track's main fader level. Pre Fader sends are green so they are easy to identify when looking at your Mix window. The output volume of each send is controlled by the circular knob to the right of the send slot. Set the level of all selected tracks to their default value by option-clicking this knob. By clicking and holding on the output control knob, you can see the output level measured in dB. By clicking and dragging up or down, you can raise or lower the output level of the send Parallel compression is essentially duplicating the audio signal of a track, compressing the second signal, and mixing it back in with the original. This is opposed to the more traditional method of using compression as an insert effect. The final step is to assign your headphone mix bus channel to a different stereo output than your main mix (use whichever output is feeding the headphones that your performer is wearing). For parallel compression, you can use a similar routing setup as the headphone mix. Rename the aux track (Ours is "Parallel Comp"), change its output back to your main outs and change the bus sends to Post Pan (Post Pan is also Post Fader). This will keep your pan relationship intact. Now all you have to do is add a compressor plug-in as an insert on the bus channel. Logic uses a plug-in called I/O to manage the "outside the box" routing required for hardware processors Sending and Receiving Audio to use External Audio Devices Using this plug-in interface, you can setup an output-to-input chain on your audio interface, provided you have extra output and input channels that are free. Bouncing allows you to render audio and MIDI tracks through their plug-ins and turn them into new audio tracks. This can be useful for saving CPU resources when using a lot of plug-ins at once, or for creative sound design techniques.
You can access the Bounce in Place window by selecting Region > Bounce Regions in Place or by pressing Control+B. Bouncing in Place By default, the new region will go to a new audio track, but you have the option to place it on an existing audio track by choosing "Selected Track."
"Include Audio Tail in File" is useful if you have any time-based effects on your original track (like reverb or delay) that would cause the resulting sound to actually last longer than the length of the original region and you want to include that audio tail in the new file. When you have tracks grouped together, any automation you do to one will be reflected across all of them. It is worth noting that the changes made across the track are relative rather than absolute. In other words, moving one track up by 3 dB doesn't mean the other track will go up by 3 dB if they have different levels to start from. Logic already offers built-in support for many hardware controllers. Go to Logic Pro 9 Control Surfaces Support manual to see which controllers are supported:
http://documentation.apple.com/en/logicpro/controlsurfacessupport/Logic%20Pro%209%20Control%20Surfaces%20Support%20(en).pdf Mapping MIDI Controls For further customization of your hardware control, you can assign functionality to your MIDI controller in the Key Commands window's Assignments area. Please refer to Lessons 10, 11, 12, and 13 (pp 333-440) in your Logic textbook for further information about this Chunk.