I want to talk a little bit now about setting up a new sound review our recording options and take a look at a different way that we can quantities as well while we're talking about kwan tai so I'm gonna make a new track hit that plus new software instrument our library open so we can create a new patch let's check out vintage clap again there we go something funky I'm gonna hit why close that out a mute our piano track and go back in I'm gonna try to have a little bit of a timing reference here so guys here what do I need to use metronome right? Or click on a slide the silver against you guys could see that what I'm gonna be turning on here is this button I'm also gonna need a count off for this temple of one hundred ten I'm all set with that so don't put the beginning they are for record let me throw in its have some sound a couple notes here there we go something that I'm sure is gonna have a lot of time in years for me so I'm gonna hit for get into my panel roll editor and sure eno...
ugh we could look into their and see what's going on and not too good beginning note as a little bit early and some that a little kind of on one that hung a little bit more so the same thing we're going here and kwon ties that and get them to be where they need to be or a little bit further away and that's awful I went according note eighth note or now if I get down to sixteenth note which is the difference between those probably closer all right so I can change the style of what I had with it a bunch of different ways let me go teo even something even simpler turn my kwan ties off if I go in here and check what our records settings where that we talked about yesterday so many recording opens instead of joining in adding new stuff right now I'm going to create a take folders so I'm going to do something even simpler go to the beginning and just go ahead and record I'm going to do just something something like that but tell you what I'm purposely going to do some bad timing this isn't just me without really trying all right and I go in and I take a look I was trying to put them for here is trying to actually go in put them right on the lines and I didn't do so well so I could go back in and I couldn't do the same thing with kwon ties but what it can also do is go back into this window clear out those regions and just assume that I'm not going to do all that great when I go in so I have no region selected, but I go to in that inspector again, I to bring up the inspector. I look in the region's parameter here when I have something like a region selected, it tells me the name of the region, I could see that that's what I'm going to be controlling, but if I click anywhere in the background area here and my main area and I have this track selected it's telling me, you know what, you're going to actually try to do something here and play through, do you want to control anything with it? And I have a quantum eyes where I can go in right now, so I'm going to set that toe half notes what we'll find out as you should be able to hear me do some performance stuff, but what we actually see afterwards might be different, so record, all right? And I played back, so I didn't have those double hits and all those other things since I said it to input kwan ties it put everything right on those note values that I had, which were the half note. So any quarter notes I put in the sixteenth notes, they all automatically went in. He's this all the time. If I'm programming drums, you have it like the cycle record that we're using. I could sit there and actually hit the kick drum no matter where I put them. If I've said it the right way, they're going to show up where they ought to be love that input kwan ties again, we're going to find it if we look at a track, I don't have a region selected just the background area look in that region's parameters would go up and pick a quant eyes remember it's on, I always turned off in any time and then the next thing you record, we'll have it in there. Good deal. All right? We're going to talk a little more in another segment, we're gonna talk about some audio and video recording where they're sort of connected to each other. We'll bring up some more stuff. So if you have guys have questions, think about him will be hit him online. If guys have questions about many editing, some specific stuff you want to do with midi et and let us know because we have another segment coming up, which will be and I think three or four segments where we'll get to hit a little bit more of that. Uh, I want to talk a little bit before we start going on some really great stuff we have, uh, later today involving recording some real instruments, meaning, like a guitar ran in with some amps, simms and using microphones, but I want to talk about the instruments just little bit more before we leave software instrument world, because, again, they've done so much for us. They have so many great sounds, so many things to explore and find that I wanted to have just little bit of information about what's generating these sounds so far, I'm going to make a new track here, software instrument to create meet the other one hears my inspector, opened my library open a lot of what we've done so far. I think mostly what we've done is to go in here and use the library and their patches, I think that's a great, great way to work special, worse, getting started, get used to them, I said, you know, we had some common chest about how do we find what we want to use? We'll listen to him, you know, get used to what your palate of sounds are and jump right into him, but as you get a little bit more advanced still, I think, you know, good for the intro user, but a cz you start to, you know, find sounds that are really close to what you want, but not quite exactly what you want you guys to get into customizing a little bit. So rather than going right into a patch from the library that will set up over a fax and sends and stuff like that and take this default one, we're going to move away from it. We're going to take a look at a couple of the instruments and a couple of different classes of instruments they have. This is a topic that I could go on, you know, we could have three days just about the software instruments that they include. There's really a deep collection, there's, lots of stuff in that controls inside of them are really deep, but I'm going to do is go right here, and we talked about this as far as being in, uh, our channel strip here, whether it be from the inspector, where I can see this one here and I see e piano on our soft huntsman track or from the mixer, which may give you a little bit of a better view as far as knowing what's spot we're on right here we look, we see each track has an input with the software instrument tracks. That input is the instrument it's where we're going to put the thing that's going to generate the sound our keyboard or many controller or the ipad that we might be using eyes going to go in no and control it but the actual input of the track comes from the sound generator and what we can do here's some controls we go over receive right now it's the piano our electric vintage electric piano double click in the middle where you see couple sliders that's going to let you edit the actual instrument when we look here whatever pops up here this is the again the electric vintage electric piano the one that happened have open next to it if I double click is this one called sculpture does some physical modeling and then the excess twenty four those are always the individual instruments that are making the sounds those are just three of them um but bringing this up is where we can change some of those added options hover over it we can turn it off if you just want to mute the track basically just free up the process whatever it may be in turn it off temporarily but then the other tab that we have right here when you have one on is to be able to go in and select so no plugin would clear it out there's nothing on that track I bring it back now I see a list of the actual would I consider, like the raw instruments, the actual instruments that we could work through? C c there's tons of different things here from drum kit designer, which we're going to be using a lot in our next segment fm since the fm synthesizer, the ensemble synth monta phonic, synth polyphonic since several other sort of combination additives, attractive synthesizers, a lot of different things. Like I said, we got three days of material right here. Unfortunately, don't have that kind of time, so I'm going to jump into a couple men just show you guys what's up, starting with sort of the most basic one. Um what they, uh, got mono phonic one here. So if I go in here, you know that sometimes it's gonna give us options of mono or stereo? Amano phonic one is gonna pop up as a mano you can resize the way that you're looking at these buy the dragon a bottom corner that has a view option here we can change what they are but a lot of the synthesizers. So things in the e s family what the what they're doing is just sort of emulating other types of actual vintage synthesizers, so additives attracted synthesis. I don't know how much you guys are familiar with them, but in the case of the first couple to show they talked about using oscillators to generate a sound and then some other kind of components to take away from that original sound that was the idea of synthesizers was to be able to synthesize the sound of really instruments at first, so to be ableto have some control over something. So you could say, how is the sound made? You know, how can we control things like its volume envelope? How does it generate sound? Is it like a trumpet that when you start blowing in a black, you get a blast or a drum that you hit? Or is it more like, you know, a boat instrument or something that, you know, has a gentle attacker, a slower attack to it. But in the case of some of a lot of these logic, yes, instruments, there's a couple things I can show you the hope you get around. We start working first of all is normally on a sort of the left here is that has that signal generator of the oscillators, the case of sm, which is a great like basin. We hear very basic talents and go open octomom my control, have a nice, simple control booth. What this one's going to give us is the choice of two oscillator shape, so right here we're looking at one that's got that form, they are over to sort of a square shape on lets his booth, this is too lost. What is going on on a lot of these persons, you're going to see the numbers eight, sixteen, thirty two sometimes there's a couple other numbers one lower, sometimes one higher you'll hear right away the effect of those changing the rains it there and leave if memory serves that what these air referring to the numbers would be pipe organ likes so in eight foot pipe wouldn't be telling us, you know, a sea like this sixteen fight, thirty two foot type thing, all these synthesizes all have other controls, so additive, you know being able tto add a sound, but then take away stuff so it can emulate other sounds so things like a cutoff filter, which is like any q filter we'll take away in this case, high frequencies makes it a low pass filter, so the lows passed through the filter. The highs continue to go through it, it gives us a residence peca's, well, consort of the frequency at which it's being cut, and this is where we get into some of those cynthy sounds that people love times less I have a way that we can control will it sweep the filter for us so I speed this one up a little bit way here that going through there we can change how is it going to go through the filter quickly or slower? Ah where we sat that filters where it's going to start you on some kind of a volume or the amplifier setting your you can set some different things about it as well your distorted so that's a very simple sm brought that one just to sort of show us the simplest one that we have but it goes up all the way in between a couple of different kinds but the e s two synthesizer you see, this is one that they used for a lot of patches and it's also one that when I show it to a lot of people it's pretty intimidated I know the first time I looked at it was like yeah right well learned how to use this thing uh but it actually wasn't all that hard to figure out what's gonna be my good screen resolution here slide a little bit to get this thing open on dh here we go but if I break this down a little bit in fact going to make a little bit bigger just so I can hide some stuff for a minute just break things down to keep it easier first of all has a filter section like the other one, but it starts with oscillators same thing where we get to pick a wave shape we could generate some sounds made it cool for us to turn some stuff on and off by clicking on whenever you see the color green on it starts with a simple oscillator again, this one lets us do some different stuff as far as picking some shapes, we're gonna have a different sound what I like to do, especially when I was starting out with making some different synthesizes sounds I'm showing it to people for the first time we looked at an analyzer before on the q don't use that one again even if I'm not going to use the cue for any shaping of the sound I'll use it just to look at what's being generated so you can see the difference between some of these waves shapes a ce faras what they do with frequencies and things like harmonics little sub harmonics, things like that so if I went to a very simple sound, I believe go up here into simple sine wave has nothing's that's just appear toner way see exactly what I had the keys where they are but as I searched through some of these other way of shapes waken seymour that yeah, this one's actually giving us a couple other points where there's some harmonics of that original fundamental tone and as we change the different ones, we'll see a different relation from that to that original tone that I'm hitting at what else could be generated with the sound move over a couple more? So I'm actually able to look at what is my synthesizer doing? But the cool thing is they also let us pitch it so an octopus semi tones sense, but I can add other sounds, so now I can layer instead of just that one sound was through another one. If so, if I have a square shape, put a different shape with it and maybe change the pitch of that one by an octopus. It's not on the sub oscillator with that. You look at what those sounds doing. I'm just hitting one key at a time, working model phonic here so we could see what those notes they're doing and they even let us put in a third one or we could do some other stuff with it. Extra change the way above theo three oscillators working together on a lot of change. How much do we hear? Almost three oscillators, so at any time we can change them and fade between the different oscillators that we have pitching them, setting a wave and then controlling the volume of each of them, basically. Like the other one had a very simple low pass filter with it we're gonna know it was something like the e s to here it gives us a couple different filters in a couple different ways we can work either of them first of all it starts turning on the word filter now we'll hear things like this where we can cut and adjust things with that filter say with the residents are gonna give us a peek how's it going across what we are listening to against un e can hear it's cutting hi's right that makes it a low pass filter but I want to make this one the opposite broken theo high pass filter cut the lows just that the highs through or a peking filter band password takes the highs and the lows and just that's a middle through it has a drive functions we can really but this has a secondary filter to or I could slide the spade are over I look at this one s so it's always going to be a low pass filter so I could set the other one toe hi theo leave this one set teo options for how much is it going to cut with this filter? How much does it cut off? And I actually like to demonstrate this with the q as well let's talk about it with no filtering on I could look at the queue and hi past lowe passed filters that we have in synthesizers we also have in their channel e q similar things work the same way where what it could do is be a high mass builder and cuts out theo lows and lets the highs pastor mum on the opposite side a low pass filter cutting out highs let wei see things like and the second filter filter number two or it gives us twelve d b eighteen d b twenty four and then this twenty four fat here of the fat let's talk about how many decibels does it cut or how much volume doesn't cut per octave of frequencies now we can actually see this one here too right there it's set to twenty four dvds and octopus so I could see that I turn that up something like forty eight or if it was less some like six you see it's still letting some of those builders with a smaller number lets some of those frequencies get through the filter. I can also show you guys with that residents peak looks like like adding a little boost of it right there theo theo turnout frequencies we're at the point that it's cutting this's just with the q but the it's the exact same thing that we can d'oh over here I've got this one set too high filter out the residents way should see the same type of thing happen over theo all right so that's what the two filters could do again this one number two is showing us that we can pick how much does it cut has a fat I's gonna have a little bit of volume back into it filters know we take away something thing says familar frequency modulation on theo wait the coolest thing about these filters is that it lets us blend a little bit of the two of them theo and also let's change how do this sound go through them imagine sounds generated over here on the left with the oscillators as it rolls the sound is created through it goes over to the filters and the way it's set right now where I see the number one and the number two is it's going to go through the filter number one and then into filter number too so if I was to cut out all these frequencies I have very much left to go through the next one right now so we're kind of hearing but it'll also let me hit this button on here that says siri's and watch what happens now they're going in parallel and basically what's happening is when I make myself it's cutting it into two same copy two copies of the same signal one going through filter one one going through filtered teo on meeting up on the other side I still have blend control so I can't say how much you weigh but it'll set sail on through then into the next section there so we can pick in the siri's or the parallel well then we have the same section here we have the volume thes stars over the overall way its modulation of course michael do you have to use the keyboard for your tone generation or could you tone generate through guitar or acoustic instrument can this's a mini instruments so we're looking for some kind of many control right? So okay a like a mini controller okay, yeah we had questioned some of that yesterday there is one exception that maybe we'll get teo with the vocoder where that connection could control it but not exactly what you're thinking as faras using it as an audio this move your finger pedals with filters and stuff like that we could date I'm sorry fatso you're talking about absolutely they do have a filter plugging that we'll talk about okay? They could do this portion of it. I thought you're talking about having a guitar generate theosophy no no no. I was just wondering if the if the filters on the back end of it could like if you could generate a different tone and use those filter sets absolutely not inside this instrument but they have a plug in for us that has excellent filter options for us and automatically moving filters and sink filters look, I passed low pass band passed absolutely we're going to get to that one in the mixing phase for sure I want to tell you that everything that you see everything you've heard me playing keys and then touching stuff we see how drastic changes the sound on overwatch keyboard synthesizer players you see them off a lot of time you know moving their hands controlling stuff that's absolutely the case here we can play while controlling stuff we can also record everything that we're doing so if I hear a sound and I love what I'm moving some of this stuff ah that's a performance we're going to talk about recording with actually going and control be able teo assign some controls to a nod uh go in here and assigned something like now I've got this novel maiken keyboard here with the quick learned function and adjust it on there's different ways that we can capture that recording as well it's also got a huge routing the section here where we can automatically have things go sink in time so if I wanted those filters are the pitches will say to change a little bit I could tell it okay how is it gonna work and you know what's our source going toby lfo to here which khun sink in times I'll go to division here and give it a shape for how I wanted to change and we'll start to hear on with mac's assigning different things to change the sound tons of that stuff here but common with all almost all their synthesizes as well is away that we can go in and adjust theeighty s are the attack to k sustained release the volume envelope not something I just want to talk about real quick it's down here and this is the place where if ever you're going into sounding like I love it but I wish it wasn't so fast on the attack I was like a kind of ease into that sound this is the place with the attack decay sustain and release we can make that attacks slower in time or if we wanted to not end so abruptly we can go like to the end of this with the release my hand on the key but it's still going on a little bit and then also changed things like the volume of the dick eins s o I wish we had days to talk about this stuff we're not even scratching the surface but I wanted to give you guys a little room to dig in and start point big ones to look for that yes to is a great way to see all their features but they also have the new retro since which is probably my favorite right now that's going to show us a couple of different kinds of synthesis from analog to the singable the wave table since toe fm since which may look familiar in style to some people being a pretty famous eighties keyboard there lots of different stuff wish we had time maybe another class we'll do it all the go go have fun and explore all right let's get to those questions okay cool so that some of these air recap so hope you don't mind all right bryce g said is there a way to automate cut off and other settings within the synthesizers absolutely yes when we get teo automation in the mixing time we want to go back to the instruments and talk about a little bit but it's really as simple as I showed with and doing a command elena quick learn and assigning a knob to some function on these instruments are one of the controls and then putting into record mode and absolutely we'll talk about it okay bryce will get that alright be logical said how do the soft instruments and logic compared to external packages like native instruments can logic used native yeah absolutely and we would talk a little bit about how there's a lot of different manufacturers of software instruments and a lot of people use native instrument stuff inside of it how do they compare? I think they're all right neck and neck some people swear that they have to have a you know a different set not the ones that came with it it seems like since they came for free maybe that they're they're worth a little bit less that's not the case I do a lot of stuff where it's just with the logic instruments I think you get so much but you know, other manufacturers and other designs it's why we don't just sell one guitar you know, one kind of piano, different flavors, different sounds and absolutely logic plays well with others, so to speak is faras taking other people's software on being able to use it? Cool. All right. Next question is from joe rogan experience. Who said regarding the piano roll is there a way to onley show the notes that were played in a given midi performance in the piano roll editor? Absolutely. That's what? We were looking at it their next time we opened up so you don't want to talk about yeah, okay, are you gonna talk about it again? No, not something. We'll give it when we have backup but that's the way we were looking at it, all right, cruising right along. One pepe said for quanta izing what is swing and shuffle the swinging shuffle again is the way that we can throw in some of those human feels so taking it from kwon ties no, when we think of perfect timing now we can say, okay, perfect timing with the exception of let's not make it a robot let's give a little bit of a feel to it so swing with some of the other performance is just going to have some of the notes a little bit forward a little bit backwards on give it sort of a more natural performance okay? And the final question is from sorrow in nineteen sixty eight cannon lfo be applied to velocity absolutely have not so much the velocity I guess on the input but the volume are the output of the oscillators absolutely with something like a yes to that we had up again we wish we had a little bit more time for it but we do have an opportunity now I think maybe for some more lessons for people but with something like the s two and the excess sample whereas our router here we're able to go in and we can use sources like this telephone number one low frequency oscillator is just a really inaudible low wave that we can pick a shape and it actually com'on control anything else in here so I'm sorry what was he asking about the control of the l a foe was the volume or velocity right? Yeah canal a phobia about right so we go in here we look at all the options that we have here these are all the things we have including being able to change the amps and stuff like that so yeah, we can use the telephoto make things louder quieter okay and tree had asked after all those adjustments on the scent can you save that instrument? Absolutely great question to thank you you know I feel bad whenever I forget to throw some of this stuff in because I'm just so happy and used to the fact that no matter what I do saving all this stuff you don't wanna have to do it again and you know maybe perfect one time but you can't this many options you might not be able to get back to that same sound so up in the top of all these instruments as well as with most the effect plug ins that we'll be looking at are the insert effects you look at factory default where we go through and you can see tons of different you know, ideas of sounds that they've made which I love to go through and just see what they d'oh see how it changes maybe customize it make it the way that you want a little bit more but then absolutely you go right back in there and say that throw your name on it are your initials on it and you'll be able to go in so what t k next this one is though I'd created it taking credit for other people's work and you'll see you'll have your own little section at the top which will be the most important ones of your own stuff excellent question thank you sweet and then one more from joe blow small, who wanted to know, how in depth will we be covering automation, that's one that actually do what we have for their third day. Ah, lot of time for sweet. So I want to make sure, so tell him, please get their questions in early for stuff like that. I know of a place where they could maybe pop him in on ben, sit tight because we'll get to him. Maybe that's. Definitely one of those things that, over after the class, we can compile some of those things and get him ready in line, okay.
Travis is a lifelong musician who has been working with recording artists for more than 20 years. As an award-winning freelance Producer/Mixer/Engineer, he has worked with a diverse group of artist including The Go-Go's, Talib Kweli, Eric Mcfadden, Jello Biafra,
Travis Kasperbauer was one of the best teachers in this discipline I have encountered. His style of teaching is easy to follow. I learned more in one day with Travis then i have learned in a year watching video online and learning on my own and from others. Travis knows what he is talking about and what he doesn't know he takes the time to figure it out and walks you through the process of finding the solution to the problem. I find this important because there no one way to do anything when being creative and sometimes understanding the process to figuring something out is just as important on the steps to do something. So many people spend so much time explaining where a button is that they spend little time in truly explaining why you are pressing the button.
Travis takes the the time to explain the basic lingo other instructors use but spend little or no time explaining. After Travis explains the basic foundation of logic pro he jumps right into the important thing we all want to know, and that how to make music. I does not matter what genre you are interested in this is the course for you. I watched the course live and after felt it was every bit worth it to own it! Take this course it is worth every dime. I look forward to his advance class in the future. After watching this class i feel confident that what i learned here has given me the tools for his next class but more importantly I can start experimenting and making music today! Thank you creativeLive for this course and Thank You Travis for your gift and knowledge. Thank you for making music attainable to the masses.
This is a great course. Travis is an excellent teacher, as well as an interesting and relaxed speaker. I liked the casual classroom environment, which gives the impression of being in the room as well. I learned so many great Logic Pro tips. Highly recommend and enjoyed!
Extraordinarily well done. My long time expertise is with video production ... Avid and Final Cut Pro so I understand the learning curve in tools like Logic. But I was simply “blown away” by the quality and content in this class. I had already poured through two other video based courses and decided to try Travis’ course based on his credentials. It’s not even close: this course is superior to anything else out there. Here’s why: 1. He uses deep and creative real world examples based on his production experience. 2. He is a master of every feature of Logic Pro and then gives you precise examples of how to use those features to deliver a great production. 3. His “layered” approach to presenting the concepts makes the content “stick”. He doesn’t just turn on the fire hose of content, but brings in key features at just the right time. 4. He covers everything and showed me how to save a ton a money because of all the unique built in features. For example, because of his broad experience with 3rd party plugins and libraries, he showed how Logic meets and exceeds those other tools. 5. His style and communication ability is top notch. This is a long course ... I think this was done live over 3 days but absolutely worth my investment in time. I wish I had come here first.