As full featured as Logic Pro X’s internal FX are, one unfortunate omission is a tape emulation plug-in. So, this is a very worthwhile addition to Logic’s built in processors. I'm a big fan of tape emulation technology. And the simpler it is to use, the better, in my opinion. In this video, sponsored by Universal Audio, I show two different approaches to using Oxide Tape in a real-world mix. They both work, yet yield slightly different sonic results.
Follow along in this video as I capture the feel of an apple loop and then apply it to a MIDI bass part. And then vice versa. I’ll show you how to take the timing and feel of the MIDI performance, and apply that to the Apple Loop.
We all have different ways of programming drum parts into Logic. Some are real time, and some are non-real time mouse based workflows. I prefer playing in my parts rather than mousing them in. In this video, I’m going to look at a couple of ways I like to work in the Tracks Area. You don’t have to be a great finger drummer to accomplish this. Logic gives us plenty of tools to simplify the drum part entry process.
New from Ample Sound, Ample Guitar SJ (Super Jumbo), based on a Gibson Acoustic SJ-200 Vintage Custom Shop guitar, is there most comprehensive release yet. It combines all of the performance and tone shaping characteristics found throughout their other instruments.
Every DAW has built in EQ plug-ins, and Logic offers many. The Channel EQ is a workhorse, capable of considerable flexibility with regards to how frequencies are boosted or attenuated. Logic’s single band EQ is a competent purpose designed multi-function single band variation for the times when multi-band EQ isn’t necessary. However, what about vintage analog style EQs? Read on to learn about what Logic has to offer.
The Creative Process is all about generating, developing, and curating ideas. The creation of ideas is known as “ideation.” As composers, managing our thoughts in their various stages from inception to completion, how do we do this in Logic Pro X.
We often tend to take for granted what’s right in front of us. Particularly when it comes to effects plug-ins. Love the one your with before straying! Logic’s venerable Stereo Delay is often overlooked, but hopefully not forgotten. In this video, I show you how I use it on a mono guitar solo to add a nice stereo thickening quality before the signal is sent to reverb.
In this video, I’ll show you my workflow utilizing linked lanes to generate interesting and dynamic linear style drum grooves. You can use any software drum instrument for this, but here I am using Modern & Massive from GetGoodDrums . They not only sound great, but also offer really fun and flexible mixing options.
Spectrasonics today released an update to Omnisphere with something for everyone. In addition to expanding their innovative hardware synth integration with support for over 65 new hardware synths, there are also some really nice major enhancements to Omnisphere’s arpeggiator.
Antares has released Auto-Tune Access, making vocal tuning more accessible, easier to use, and less expensive, than ever before. When I first saw a demo of this at NAMM I had my suspicions that this was too good to be true. After all, how accurate can it be when there are literally just two controls, with three settings each? After testing it out, I have to say that the results are simply stunning. I don’t know how they’ve tweaked their detection and processing algorithms, but this thing just works!
Deciding how long a reverb tail to use in your mixes encompasses a lot of variables. What is the tempo of the song? How busy are the parts? Are there a lot of open spaces between phrases, or are they densely packed together? Do you want to convey a sense of an intimate closer space, or a larger distant space? These are just some of the considerations that play an important role in communicating the intended emotion of the music. In this video I use Logic’s ChromaVerb with tempo synced decay and pre-delay values, to create a lush enveloping reverb on a lead vocal focused pop ballad.
Neyrinck have announced that there is an update of their V-Control Pro software which brings support for Avid’s legacy Pro Control and Control 24 control surfaces to more DAWs.
With over fifteen years of experience touring and recording with some of the biggest names in rock, Christian Matthew Cullen has brought his not inconsiderable experience, as a performer and sound programmer, to the table and created a pack of twenty channel strip presets for Logic’s Vintage B3 Organ, for both Logic and MainStage.
Vienna Symphonic Library have a great special on until the end of March 2019 on their Synchron libraries. They are offering a discount of up to 35% on their entire collection of Synchron Series products. Including, strings, brass, percussion, piano, and drum libraries. The current special includes eleven products in total. They also offer “Synchron-ized” libraries, containing re-edited samples from their Vienna Instruments series, customized and mapped for the new Synchron Player.
In this video, sponsored by SynchroArts, you can see how a few simple mouse clicks in VocAlign Project auto aligns dub tracks with a guide track. In this case, I used the lead vocal as the timing reference to correct the phrasing of the harmonies, which were originally recorded along with another lead vocal take that had different phrasing.
n this video, sponsored by Universal Audio, I have Montreal session drummer Jean Nadeau in my studio to lay down some drum tracks. We set up sends on the five drum mics to Aux 1, using Ocean Ways Studio reverb and Oxide Tape. And then to Aux 2, using the Neve 33609 and Elysia Mpressor for a drum crush bus. Both Aux channels are printed to Logic Pro X independently of the five drum tracks.
Creating compelling chord charts is not something limited to the select few Logic gurus blessed with score editor chops. You don’t need to be a notation expert to put together nice looking lead sheets.
In this video, I’m going to show you a fun little workflow that allows you to create interesting and original bass sounds quickly and simply, with minimal fuss.
Universal Audio’s Century Tube Channel Strip is the perfect first step in getting a warm and fluid brush sound. Close drum mics don’t generally need as much gain as quieter sources like acoustic guitars, or even vocals. This is the perfect scenario to take advantage of the Century Tube Channel Strip’s gain staging. Engaging the pad and then boosting the Level knob results in a nice thick warm tone. Combine this with a nice steep low mid roll off and a subtle 10k boost in the EQ section, along with a few dB of sweet vintage opto compression and you are halfway towards your final drum sound. Add on Universal Audio’s Pure Plate reverb, and you’ve got a sound with real personality and vintage charm.
One of the many features, I think, that makes this phaser particularly remarkable is its ability to have the all-pass filters react to a variety of sources other than the usual LFO shape(s) most phasers use. Here I'll explore its ability to have the all-pass filters react to the envelope from an external signal.
In this video, brought to you by Universal Audio, my buddy Morey Richman and I are going to look at recording three separate 12/8 based guitar parts in the same song. Each part uses the Suhr PT 100 guitar amp in Unison mode, along with the Korg SDD 3000 delay plug-in.
Preference Manager is a fantastic little free app from a company called Digital Rebellion. It does exactly what the name implies. It allows you to backup and manage your Logic (and Pro Tools) preferences.
Apple has released a new update to Logic Pro X. Version 10.4.4 fixes the recent bug where auto backups were not being created as expected. There are other under the hood bug fixes as well.
One of the endearing and ubiquitous qualities of Rhodes sounds is the ability to use the tremolo knob to pan the sound from side to side. We’ve heard it on a million records and love it. It creates a nice wide moving stereo spatial effect that adds a sheen of polish and sophistication to the sound. For an interesting variation, why not modulate the reverb’s position in the stereo field instead of the source?