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Mixing 101 logic pro x free.Mixing and Mastering in Logic Pro X – MIX INNOVATOR
Learn more. If you want your tracks to keep up on the sonic stage, you need to learn how to mix in Logic Pro X. Same goes for producing electronic music in Logic, or any other software for that matter.
Sure, the instruments sound pretty great out of the box, but once you layer in several synths, a couple of drum kits, a sweet bass line and some vocal chops, you start to realise something. In minutes, you can use Autotune in Logic Pro X to clean up a vocal track, switch to the Scissors tool to make some quick cuts, and apply automation in an instant.
And if you mess it up, Command Z is your best friend! Audio editing meant physically slicing tape with a razor, and splicing them back together — no Command Z here…. Applying compression to a track meant physically patching in an outboard compressor and fiddling with actual knobs.
And with physical outboard gear comes a limitation, you only have as many compressors as you have! Luckily, we live in an age where your wildest dreams are at your fingertips. Every engineer, producer or audio enthusiast has their own process for mixing, and there is in no way one best way to mix. There are a few best practices though, and so in this tutorial you will learn about 5 key areas of mixing in Logic Pro X:. Remember though, every rule is made to be broken, and what matters is the end result.
So, experiment a little and find what works for you. Chances are the names of your tracks are all over the place, like they are in our session. This is especially important when in the mixer view as the text display is fairly narrow. Our session is still looking pretty bland, so we are going to add a splash of color. Our session is pretty small at only 12 tracks, if you have a large session, color coding is vital.
Most people apply colors based on instrument type e. Hit X to bring up the mixer, select the tracks, and apply some color again.
A static mix involves setting the volume or level for each track, and creating some stereo depth using pan. Hit X to bring up the mixer, and use the faders to balance out the volume of each track. For example, kick drums and bass guitar often battle for space in the low frequencies, while electric guitars and vocals can have issues in the mids. Pay close attention to the Stereo Out track, which is the master output.
Try to keep the level at around -6dB. Remember, 0dB is the ceiling, and once you start pushing levels above this, digital distortion occurs.
This is the pan pot panoramic potentiometer , and you will use it to position each track within the stereo field. Whereas the fader controls the level or volume of each track, pan controls whether the track appears in the left or right side of the mix, or anywhere in between.
Again, there are no hard and fast rules here, though typically lead vocals, bass, kick and snare are kept at centre. You should experiment with opening up the cymbals or overhead tracks as wide as possible, and if you have multiple guitar or keyboard tracks, try panning them left and right too. Try sitting the guitars just inside the cymbals, or vice versa. If you have several vocal tracks, for example one lead vocal and two backing vocal harmonies, try panning the harmonies a little to either side of the stereo field for a thick sound.
EQ is the process of manipulating the frequency spectrum of a track, and is used to either cut offensive frequencies, or boost desired ones.
It features low and high cuts, low and high shelves, and 4 bell peak type nodes. You can edit the peak frequency by simply clicking and holding a node and moving it left to right, and you can apply a boost or cut by dragging it up or down. You can also click and drag on the numerical equivalent at the bottom of the interface, or double click and enter a specific value.
Where equalization is concerned with controlling the frequency range in a mix, compression is used to control the dynamic range of your tracks. It can also be used to change the tonal character of an instrument.
Certain guitar or bass notes may have been played more softly or louder than others, or your vocalist may have moved closer to or further away from the microphone during recording.
As with equalizers, compressors are incredibly complex, as you can see from the number of controls in the above GUI. Compressors work to control the dynamic range by compressing or turning down , audio signals when they go above a certain level. You use the controls of the compressor to set the point at which compression occurs, to what degree, and how quickly among other things. If the vocals pop in and out of the mix, use a compressor to tame the variations in volume.
Keep your use of these effects intentional. That moment when you start doing things for the sake of it, adding candy here and there without any real purpose, is the same moment you need to stop. At this point just commit and bounce. Unlock a bundle of free resources to help you create and release your music.
Music Production. Table of Contents 1. Gain Staging 2. Balancing 3. Panning 4. Bussing 5. Problem-solving 6. Committing 1. Gain Staging If you know me, you know I am hot pun excused on the issue of gain staging. Balancing This is the key to mixing. The sound stage is a 3-dimensional space. Mixing IS balancing. Table of Contents Introducing Mixing in Logic Pro2. Exploring the Mixer3. Importing Audio from Another Daw4.
Getting Imported Audio Aligned5. Getting a Project Organized6. Setting up Groups7. Getting the Mix Started8. Panning the Mix9. Dynamics and the Kick Dynamics and the Snare Dynamics and the Toms Dynamics and the Overhead Mics Linear vs. Channel EQ on a Kick Creating Harmonics with the Exciter Taking the Ring out of a Snare EQ on Keyboards Experimenting with Overhead Alignment Compressing Overhead and Room Mics Getting Creative with the Room Mic Adding the Lead Vocal Into the Mix Solving Problems with EQ and Gate Using Compression and EQ on a Vocal Exploring Spaces with PlatinumVerb Using Convolution Reverb Applying Reverb to a Snare Drum Adding Delay Effects to the Chorus Vocal Working with a Vocal in the Chorus of a Song Using Strip Silence to Eliminate Noise Replacing Drums Realtime Automation in Logic A Look at Offline Automation
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