Logic Pro | The Virtual Shoebox – Curating Your Ideas in Logic Pro X:
Creating music is not unlike the work researchers do. Carefully hunting for useful tidbits, storing them away as the broader topic develops, and then forming a system to catalogue them for later retrieval. At the top level of the creative process is the generation of fresh ideas. They will most likely begin conception as fragments of ideas based on some aspects of either harmony, melody, some new samples, virtual instruments, or loops. I consider this to be the macro level of ideation. The top level of the pyramid.
I have been using “packages” for my Logic Pro X projects since I started. I remembered too many horror stories of people losing the assets for a project when they move things around. Project alternatives have been my go to device.
I will now re-think using folder-based projects. Copies (versions) of a project can be saved without creating yet another copy of all of the audio files in the project. I still will consolidate audio and make sure all of the assets are stored in the folder.
I can document my project and versions with a simple “option drag” of the Logic project file into my Scrivener binder. There I have the index cards and all of the other reference material that I might want. I still treat it as a giant “ideas” folder, but all of the bits are well contained, and possibly well documented.
Lesson 2 Recording Audio – Logic Pro X 10.4 – Apple Pro Training Series: Professional Music Production:
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.
Next up in the course. I will go ahead and plug in the guitar and work through the tuning exercise, along with some comping. It’s not something that I would normally do (guitar), but I have one…so…
How to Choose a Reverb for Music Production:
But before we begin, one caveat: there is no such thing as a bad reverb. One reverb may work incredibly well on one instrument while sounding disastrously bad on another. And furthermore, the same reverb may sound great on a guitar on one song, and create a very muddy mix on the same guitar on another song. Making the decision as to which reverb to select is personal. This guide is meant to be an idea-sparking tool to help you in the process.
Always good to share…
Q. When should I use mono reverb as opposed to stereo reverb? |:
I’m not really sure when it’s best to use mono reverb effects — and how to pan the reverb when doing so — and when to use stereo reverb. Can you de-confuse my mind a little?
Mike Senior provides excellent advice as usual.
Glossary Of Technical Terms |:
If we do not explain a particular term below, please email email@example.com and we will add it to our next update.
If you want it defined, here ya go…
sE Electronics DM1 Dynamite |:
The sE Electronics DM1 provides a similar functionality to many other microphone gain boosters, such as the Cloud Microphones Cloudlifter and the Triton Audio FetHead — it acts as a local in-line gain-booster for weak microphone signals, such as from passive ribbon mics and some moving-coil dynamics. It is built into a metal tube just under 100mm in length so is very compact. We were very lucky to get this review underway, actually, as this tube comes packed inside a dummy stick of dynamite, complete with fuse — Paul brought it back from the AES show in his hold luggage, and when back in the UK he found a note to say the bag had been searched by US customs; thankfully they decided his bag wasn’t suspicious enough to warrant a controlled explosion!
I have a Cloudlifter for adding clean gain to my “low output” microphones. I won it at the Potluck Audio conference a bunch of years ago. I like it. The folks I have recommended it to like it.
There are other alternatives. This is a new one at a decent price. I am a fan of sE Electronics microphones (think VooDoo VR2 active ribbon….yeah).
Pulse Techniques EQP-1A |:
As a standard facility of most mixing consoles and DAWs, we all tend to take EQ for granted, even though there are many different types of equaliser with varying levels of sophistication and application. While the true origins of the first audio equaliser are shrouded in the mists of time, two names stand out for me as pioneers of audio equalisation: Peter Baxandall from the UK, and the American, Eugene Shenk. Baxandall was an electronics engineer (and friend of our esteemed Editor In Chief) who came up with a very elegant circuit for an active bass and treble equaliser. He published his design, royalty-free, in 1952 and it has subsequently been employed almost universally in mixing consoles and hi-fi amplifiers, bearing his name as the Baxandall equaliser or ‘tone control’. Amazingly, at around the same time in America, Gene Shenk developed a passive design which has become the legendary studio equaliser — the PulTec EQP-1.
The Pultec is fabled. I use my emulation all the time. This review is an excellent guide to what it is and why it works.
Are You Listening? Ep. 1 | Audio Mastering Basics – YouTube:
What is mastering? Can you mix and master at the same time? These are a few of the questions professional mastering engineer and iZotope Director of Education Jonathan Wyner covers in Episode 1 of “Are You Listening?”
Note: The audio examples you hear have been altered from their original recordings to bring attention to the core concepts highlighted in the ‘Are You Listening?’ Series.
I am up to episode 3 of this series. A nice, gentle introduction to mastering.
Production Expert | Apple Mac mini 2018 Tested For Audio Production Work – Is This The Next Computer You Should Buy For Your Studio?:
USB-2 Audio Issues
We have been alerted to possible USB-2 audio issues by community members, forum posts, and other news websites, so we were keen to get to the bottom of this. One site claims “all T2-based Macs, that is all Mac models from the 2018 generation, are evidently unusable with USB 2.0 audio interfaces, irrespective of vendor.”
I have read about the problems with T2-equipped Macs and USB interfaces. The discussions do not make me feel warm and fuzzy.
I read this test/review of the new Mac mini with great interest. Appears that, at least in this case, there isn’t really a problem.
The 2018 Mac mini is still looking like my next studio computer. I have plans for a 40″-43″ 4K TV for a monitor and moving my X-Touch onto my desk. Probably need a new desk…my 28″ by 54″ desk is a bit too small. Probably get a 5′ by 3′ desk.
Plan is to place monitor at the back of the desk with X-Touch between the monitor and the keyboard. Plenty of room.
I should document changes to my most used template – multi-bus – I am beginning to keep comments in the Project notes.
Removed tracks for all of the AUX except MixBus. Tracks get added automation is used on an AUX.
Rename output channels properly
Fix mixer windows in screenset 3 for audio.
Fix mixer windows in screenset 4 for MIDI
Headphone and monitor mixes added (HP1/2)
stock plugins (O8 and Insight2
Screenset 1 is overview with notes, tracks, mixer.
Screenset 2 is Tracks (Arrange window)
Screenset 3 is Mixer (sized for typical audio) and transport
Screenset 4 is Mixer (sized for MIDI instruments with settings)
Managing Ear Fatigue | FAQ Friday – Warren Huart: Produce Like A Pro – YouTube:
Our featured question of the week is: When working with music full time, how do you manage ear fatigue?
Produce Like a Pro on YouTube – excellent source of materials with thoughtful commentary.
I’m a bit old-fashioned. I wrote a “scale” generator way back when so I could play a MIDI file of a Major/minor scale sequence.
These days I use “MIDIplayer X” to play my scales. The classic ‘t2mf’ is used to create the MIDI file from a shell script…
# SCALE="C" SCALEM="a" N1=60
cat >$SCALE-$SCALEM.txt <<EOF
MFile 0 1 24
0 Meta Text "$SCALE major scale"
0 On ch=1 n=$N1 v=64
12 On ch=1 n=$N1 v=0
24 On ch=1 n=$N2 v=64
36 On ch=1 n=$N2 v=0
48 On ch=1 n=$N3 v=64
60 On ch=1 n=$N3 v=0
72 On ch=1 n=$N4 v=64
84 On ch=1 n=$N4 v=0
96 On ch=1 n=$N5 v=64
108 On ch=1 n=$N5 v=0
120 On ch=1 n=$N6 v=64
132 On ch=1 n=$N6 v=0
144 On ch=1 n=$N7 v=64
156 On ch=1 n=$N7 v=0
168 On ch=1 n=$N8 v=64
180 On ch=1 n=$N8 v=0
190 Meta Text "$SCALEM minor scale"
200 On ch=1 n=$NM1 v=64
212 On ch=1 n=$NM1 v=0
224 On ch=1 n=$NM2 v=64
236 On ch=1 n=$NM2 v=0
248 On ch=1 n=$N1 v=64
260 On ch=1 n=$N1 v=0
272 On ch=1 n=$N2 v=64
284 On ch=1 n=$N2 v=0
296 On ch=1 n=$N3 v=64
308 On ch=1 n=$N3 v=0
320 On ch=1 n=$N4 v=64
332 On ch=1 n=$N4 v=0
344 On ch=1 n=$N5 v=64
356 On ch=1 n=$N5 v=0
368 On ch=1 n=$N6 v=64
380 On ch=1 n=$N6 v=0
392 Meta TrkEnd
t2mf $SCALE-$SCALEM.txt >$SCALE-$SCALEM.mid
I assure you that weird characters in file names can be odd.
The VIrtual Orchestra: String Basics – KeyboardMag:
Many film and TV scores live or die on how well the strings are conjured. Fortunately, the state of the art of sampled string libraries is finally approaching a level of illusion that can convince all but the most refined ears. As much as we’d all love to play a keyboard and sound like a symphony orchestra, it almost always takes the patient construction of multiple tracks and an understanding of real orchestration to create authentic string passages.
I need to translate into Miroslav Philharmonik 2 or Logic’s “Studio Strings”.
A good morning (or two) exercise.
7 Mistakes Audio Engineers Make When Setting Up a Home Studio – Audio Issues : Audio Issues:
Setting up a studio can be expensive. All too often, engineers blow their entire budget on gear and forget to buy cables to hook it all up.
I found out about TS vs. TSR (balanced vs. un-balanced) cables 15 seconds in to installing by JBL LSR305 monitors. Balanced cables everywhere except for the guitar cables.
I have “little or no acoustic treatment”, but! Wall behind monitors has non-flat surface, reflections are “different”. Ceiling has coved corners, so angles are odd. Right wall has bookcase with assorted things on it. Back wall is bookcases with assorted things. Front left corner is bare. When doing room correction with ARC2 I can actually hear the corner being weird. With Sonarworks Reference I can see the odd curves in the correction model.
My speakers are isolated with yoga blocks. Fantastic stands. $10/pair. Currently using one pair per side.
No sub-woofer here. The <40 Hz response on the JBLs is enough to get me happy bass. Got rid of the sub-woofer in my TV room as well. Nothing useful there. If I want big bass I’ll just go to a club, throw the -20 dB earplugs in, and let my body be pummeled. 😉
I got this wonderful present from my sweetie – a command keyboard skin
My education will continue. I have a goal to understand why the keys are grouped by color-coding. I understand the red one for the big “R” of record. What wonders do the others hold.
Part of the reason that I want to become very familiar with keyboard commands is to be able to re-map my extended keyboard without screwing myself up.
I like markers. I use them. Typically I use buttons on my X-Touch to move between them, or the nifty “Go to next marker and set locators (⌥. – option-period)
Markers by numbers? Just don’t use it. Why waste 20 keyboard commands on marker movement (keypad 1-9 and ⌃0-⌃9). I also don’t do a lot of step-editing of notes with velocity changes, so there’s lots of things I can do.