Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1
Export Tracks as Audio Files… ⌘E
This is how we might try to produce stems. The real questions arise when considering AUX tracks for sends. Do the tracks get exported? Yes, the AUX tracks get exported.
If the project is complete I think it is prudent to create a new alternative and Bounce and Replace All Tracks which will leave the “printed” audio on every track with all of the plugins and effects removed. Note that if you are using a Summing Stack (it’s a track in the Arrange area) you will get a print of that AUX along with a print of all of the tracks contained in the stack. Ideal for stemming and preserving.
Export tracks as audio files – Logic Pro X
You can export one or more selected tracks as audio files, or export all tracks (all audio, software instrument, and Drummer tracks) in a project as audio files—one file per track. When you export tracks as audio files, you can specify the naming of the audio files using filename elements.
⇧ SHIFT – ⌃ CONTROL – ⌥ OPTION – ⌘ COMMAND
10 Tips for Mastering if You’re Not a Mastering Engineer
by Nick Messitte, iZotope Contributor February 7, 2018
Maybe you’re a singer songwriter who has mixed a song and wants to release it quickly. Or perhaps you’re an EDM producer working at a fast clip, and you don’t want to shell out the money to bring every new track to a competitive level. Maybe still you’re a mixing engineer looking to give a client a pseudo-master—not just any pseudo master, but one that sounds better than the average limiter-slam.
How to Mix Hi-Hats: 8 Tips for Added Energy
by Daniel Dixon, iZotope Contributor September 9, 2019
A hi-hat is vital to an overall great drum mix.
In our blog articles “5 Tips for Mixing High End” and “8 Tips for Taming Harsh Treble in the Mix” we provided some general tips for managing high end in a mix. Today, we’re diving into a specific sound that occupies the top end of the frequency spectrum: hi-hats.
How To Analyze A Hit – Bobby Owsinski’s Music Production Blog
If you really want to understand an audio recording and hear it in a new way, here are a few pointers on what to listen for. I’m going to break it down to a general technique, and then add an additional advanced technique for experienced musicians, engineers and producers, since they already have more refined listening skills.
Always good to practice. In traditional music theory courses of study there’s the part called “dictation” where you learn to write down what you hear, including basic rhythm and intervals. I should remember to run songs through Capo sometimes.
Studio One has a chord track to help.
Logic Pro doesn’t have a chord track anymore, but you can certainly use it to track tempo and pitch.
Making Metal: How to Master Metal with Ian Shepherd
by Ian Shepherd, Mastering Engineer September 4, 2019
Mastering metal is tough.
In fact, I’d probably go so far as to say it’s one of the most challenging genres to get truly great results in. It is certainly possible though.
The Intangibles Of A Mix – Bobby Owsinski’s Music Production Blog
It’s easy to think that getting a good mix is just a matter of pushing up some faders, getting a reasonable balance, adding some effects, and you’re finished. Although that might work for a rough mix, there are still a number of intangibles that are vitally important to a great mix. Awareness is always the first step in learning, so here are some things to consider before you start to move faders around.
Posted by Julian Rodgers – Pro Tools Expert
Microphone Off Axis Sound – How Does It Affect The Sound? | Production Expert
I’ve been accused of audio heresy in the past because I’m not a fan of the SM57. It’s a useful mic on guitars but I avoid them on snare drums because of their off axis sound, which I find colours the hi hat in an unpleasant way. In this article we will look at a couple of examples, including the SM57 on snare and offer some thoughts not just about why this happens but why it matters.
Interview with Michael Lawrence from Rational Acoustics and Live Sound International about fighting feedback while mixing monitors from FOH.
Sound Design Live – Between The Lines
I was a guest on the Sound Design Live podcast hosted by Nathan Lively. We talked about mixing monitors from FOH, workflow, and how I’ve mostly (but not completely) managed to avoid artists vomiting on my mics.
‘[How to Mix Vocals Like a Pro – Produce Like A Pro](https://producelikeapro.com/blog/how-to-mix-vocals-like-a-pro/)’
How to Mix Vocals Like a Pro – Produce Like A Pro
MAX MCALLISTER AUGUST 17, 2019
We’ve all struggled with mixing vocals at some point! It’s easy to feel frustrated when we just can’t seem to get it right, especially because vocals are so important for the listener. Fortunately, there are some standard as well as creative techniques you can use when learning how to mix vocals effectively. We’ve compiled a “master list” to help you achieve better sounding results!
Check out the “magic frequencies”.
Classical Music: A Walkthrough of Recording, Mixing, and Mastering an Album
by Jett Galindo, iZotope Contributor July 22, 2019
Los Angeles-based choral ensemble, Tonality, recording their album entitled “Sing About It”
Part 1 of this article covered the fundamentals of classical music production—from recording and editing, all the way to mixing and mastering. We also covered the many elements that set classical music apart from a modern-style production.
In Part 2 of our classical music exploration, we get an inside look at how a recent choral album came to life, featuring Los Angeles-based choral ensemble, Tonality, and their album entitled Sing About It. Conducted by Dr. Alexander Lloyd Blake and produced by GRAMMY-winning classical producer Peter Rutenberg, they will be providing valuable insight into the production process of the album throughout the article.
Friday Tip – Panning Laws: Why They Matter – PreSonus Blog
You pan a mono signal from left to right. Simple, right? Actually, no. In the center, there’s a 3 dB RMS volume buildup because the same signal is in both channels. Ideally, you want the signal’s average level—its power—to have the same perceived volume, whether the sound is panned left, right, or center. Dropping the level when centered by 3 dB RMS accomplishes this. As a result, traditional hardware mixers tapered the response as you turned a panpot to create this 3 dB dip.
Definitely in the “rocket science” category. The final takeaway of the article is that pan laws will effect audio processed in different DAWs. If the panning is set “the same” in Logic Pro X and Studio One the output might not be identical.
In Logic Pro X the pan law is set on a project level. Normal is -3 dB compensated, not applied to stereo balancers.
7 Tips for a Balanced Static Mix
by Nick Messitte, iZotope Contributor June 17, 2019
If you’ve strolled along the forums, checked out engineering podcasts, or watched YouTube videos, you’ve probably heard of the static mix—yet the static mix is hard to put into words: every engineer seems to have their own definition.
Production Expert | How To Move Sessions And Projects From One DAW Like Pro Tools To Another Like Studio One Or Logic Pro
With more and more people using different DAWs, the need to be able to transfer a project from one DAW to another has grown. In this article we are going to show you how to move projects from one DAW, like Pro Tools, Studio and Logic Pro, to another DAW. In this article we will also cover the pitfalls in the export and import processes and how to overcome them.
Moving projects about. Very important to know how to do this.
The Standard LUFS Standards Levels Every Mixer Should Know – Bobby Owsinski’s Music Production Blog
Looking back at the analog days, mixing level requirements seemed so easy. You aimed for 0 on the VU meter and didn’t worry too much if it bounced over. Of course, under the hood 0VU could actually be calibrated to different levels, but we usually didn’t concern ourselves too much with that as long as it was clean around the 0 mark. These days there are so many different meter reference calibrations available that it can take some time to settle on one that you feel comfortable with. That said, LUFS looms large when it comes to delivery signal levels, and that makes for lots of confusion.
5 Tips for Mixing Your Own Music
by Daniel Dixon, iZotope Contributor June 3, 2019
In today’s musical landscape, more artists and producers are adding “mix engineer” to their credits. While this level of creative control is great, there are challenges that come with being a jack of all trades. It’s hard to let go of ideas you spent a lot of time on and listen from a new perspective.
For those who wear many hats in the studio, here are five tips on how to mix your own music.