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Write: Erases existing automation on the track as the playhead passes over it. Records the new control movement or deletes the existing data if you do nothing. Trim: Offsets the value of the existing automation Volume, Pan, Send levels by adjusting it up or down by the amount you move the fader or control.
Works in combination with Touch and Latch automation modes. Relative: Adds a secondary automation curve that offsets the existing primary curve for the selected parameter. There are three channel strip parameters for which you can create relative automation: Volume, Pan, and Send levels. When both relative and absolute automation exists for one of these parameters, both curves are visible and can be edited separately. Relative automation mode works in combination with Touch, Latch, and Write automation modes.
Shift-click track headers to select them, then choose a mode from the Automation Mode pop-up menu in one of the track headers. Shift-click channel strips in the Mixer to select them, then choose a mode from the Automation Mode pop-up menu in one of the selected channel strips.
In Logic Pro, you can set the automation mode using the following key commands :. The Volume fader moves to a center position and the fader becomes transparent. Now when you move the Volume fader during playback, it does not write completely new volume automation data but adjusts it proportionally to the existing data. If you do not need to edit relative and absolute automation curves separately, you may want to tidy up your automation curves by consolidating absolute and relative automation curves into the same curve.
In Logic Pro, with automation curves shown, Control-click the track header and choose Consolidate Relative and Absolute [Parameter] Automation from the shortcut menu. A four-measure intro will be long enough, so you can resize the Intro marker before moving it. In the workspace, the Drummer regions move along with their respective arrangement markers. As with regions in the workspace, you can Option-drag a marker to copy it.
Option-drag the Verse marker to bar 21, right after the chorus. The Verse marker and the Drummer region are copied together. The Chorus and the Drummer region are copied together. The song is taking shape. You will now finish arranging the song structure with a bridge, a chorus, and an outro section. As you place the last three markers, continue zooming out horizontally as necessary.
A Verse marker is created after the last chorus. The song structure is now complete, and you can add Drummer regions to fill out the empty sections. New patterns were automatically created for each new Drummer region. Editing the Intro Drum Performance In this exercise, you will make the drummer play the snare instead of the toms.
The Drummer Editor shows its settings. Throughout this exercise you can click the Play button in the Drummer Editor to start and stop playback, or you can navigate the workspace by pressing the Spacebar Play or Stop and the Return key Go to Beginning.
The toms are dimmed to indicate that they are muted. In the Intro region, the toms disappear from the top lane. In the Intro region, snare hits appear next to the kick hits on the bottom lane. To play the kick in only the first half of the intro, followed by the kick and snare in the second half, you will cut the Intro region in two. The region is divided into two two-measure regions. When a region is divided, the drummer automatically adapts his performance, and plays a fill at the end of each new region.
Notice how the crash disappears from the first beat of the following region. Even though it is in another region, the crash is actually a part of the fill. The snare plays every beat. Now the drummer plays rim clicks at the beginning of the first Intro region, and hits the snare a few times at the end.
The drums play a straightforward beat with a fill at the end. Now you will open the hi-hat to add energy to the end of the intro. The drummer plays the snare on the first eight beats, and then a basic rock pattern with a very open hi-hat adds energy.
At bar 5, a crash punctuates the fill at the end of the intro. The straightforward groove continues in the Verse section with the hi-hat a little less open to leave space to later add a singer. Editing the Bridge Drum Performance In a song, the bridge serves to break the sequence of alternating verses and choruses. Often, the main idea of the song is exposed in the choruses, and verses help support or develop that statement. The bridge can present an alternate idea, a different point of view.
For this fast, high-energy indie-rock song, a quieter bridge in which the instruments play softer will offer a refreshing dynamic contrast. Playing softer does not mean the instru- ments have to play less, however. In fact, you will make the drums play a busier pattern during this bridge. When pressing the Spacebar to play a section, you can use Cycle mode to ensure that playback always starts at the beginning of the section.
The drummer plays at the same level as in the previous sections, but he plays more here. You need to bring down his energy level. When you click the toms, the hi-hat is automatically muted. Aside from the kick and snare, the drummer can focus on the toms, the hi-hat, or the cymbals ride and crash. Kyle is now playing sixteenth notes on the toms, which create a mysterious vibe simi- lar to tribal percussions. You will make him switch from the toms to the ride cymbal in the second half of the bridge to brighten things up.
While the second Bridge region is still selected, you can adjust the cycle area. The toms are muted, and the drummer now plays the ride cymbal. However, the groove still seems to be missing something. You can hear rim clicks. He plays a crescendo, thereby building up energy to lead into the next chorus. Kyle plays slightly ahead of the beat during the bridge. You will be editing the feel of both Bridge regions simultaneously. At the top of the Drummer Editor, the ruler, Play button, and playhead are hidden because multiple regions are selected.
You can now adjust the settings of all the selected regions at once. Settle on a Feel knob position more toward Pull to realize a reasonably relaxed groove. Kyle now starts the bridge with a busy pattern on the toms, and then moves on to a bell sound on the ride.
He uses restraint, hitting softly and behind the beat, with a slight crescendo toward the end. The quiet and laid-back yet complex drum groove brings a welcome pause to an otherwise high-energy drum performance, and builds up tension leading into the last two sections. That Chorus region was created when you populated the track with Drummer regions earlier in this lesson. The drummer now plays the crash, and this last chorus is more consistent with the previous two choruses.
The drummer plays a loud beat, heavy on the crash, which could work for an outro. You will, however, make him play double-time twice as fast to end the song in a big way. Playing double-time at that fast tempo makes the sixteenth notes on the kick drum sound ridiculously fast.
The performance now sounds more realistic while retaining the driving effect of its double-time groove. The drum fill at the end of the outro is now longer. However, raising the number of fills has the undesirable effect of adding a new fill in the middle of the outro. To remove that fill, you will cut the Outro region in two. You now have two two-bar Outro regions. The outro has the required power to drive the last four measures; however, it seems like the drummer stops abruptly before he can finish his fill.
Usually drummers end a song by playing the last note on the first beat of a new bar, but here a crash cymbal is missing on the downbeat at bar You will resize the last Outro region in the work- space to accommodate that last drum hit. A moment after you release the mouse button, the Drummer region updates, and you can see a kick and a crash on the downbeat at bar The drummer finishes his fill, punctuating it with the last hit at bar You are now done editing the drum performance and can focus on the sound of the drums.
Customizing the Drum Kit When recording a live drummer in a studio, the engineer often positions microphones on each drum.
This allows control over the sound of each drum, so he can individually equalize or compress the sound of each kit piece. The producer may also want the drum- mer to try different kicks or snares, or to experiment with hitting the cymbals softer before he begins recording.
In Logic, when using Drummer, the sounds of each drum are already recorded. However, you can still use several tools to customize the drum kit and adjust the sound of each drum. You will study Smart Controls in more detail in Lesson 5.
In this exercise, you will use Smart Controls to quickly adjust the levels and tones of dif- ferent drums. The Smart Controls pane opens at the bottom of the main window, replacing the Drummer Editor. It is divided into three sections: Mix, Compression, and Effects. In the Mix section, six knobs allow you to balance the levels of the drum.
To the right of each knob, a button lets you mute the corresponding drum or group of drums. On the left channel strip in the inspector, the Compressor plug-in is dimmed, indicat- ing that it is turned off. As you drag up the knob, you will start hearing the subtle reverberation of a drum booth. In the inspector, you can see the Bus 1 Send knob move along with the Tone knob.
It allows you to customize the drum kit by choosing from a collection of drums and cymbals and tuning and dampening them. You can also drag Drummer regions to another software instrument track, and they are automatically converted to MIDI regions.
You can hear the snare sample. The snare stays lit while the rest of the drum kit is in shadow. To the left, a Snares panel contains your choice of three snare drums, and to the right, an Edit panel includes three setting knobs. The left panel shows only a limited selection of snares. To gain access to the entire collection of drum samples included with Logic Pro X, you need to choose a Producer Kit in the Library.
To the left of the inspector, the Library opens, listing patches for the selected track. The current patch, East Bay, is selected. The Drum Kit Designer window is reset. Clicking the disclosure triangle displays the individual tracks and their channel strips. You will use Track Stacks in Lesson 5.
This time the left pane displays a choice of 15 snare drums use your mouse to scroll down the list. The current snare, Black Brass, is selected. Continue previewing different snares and try listening to a verse or a chorus to hear your customized drum kit in action. The info pop-up window updates to show you information on the selected kick drum.
Listen to the kick drum. This kick is the right choice for your song, but it has a long resonance. Typically, the faster the tempo of the song, the less resonance you want on the kick; otherwise low frequencies build up and could become a problem during the mix. You may have seen drummers stuff an old blanket in their kick drum to dampen them. In Drum Kit Designer, you only have to raise the dampening level. You will now tune the toms, which are mainly used in the bridge section. You can hear only the low and mid toms.
The Edit panel opens with four tabs: All for adjusting settings of all three toms in the kit together ; and Low, Mid, and High for adjusting settings of each individual tom. You can hear the mid tom being pitched up as Kyle continues repeating the first half of the bridge. If you want, feel free to continue exploring Drum Kit Designer and adjusting the sound of the hi-hat, ride, and crash cymbals.
You have exchanged the snare for another one that sounds a little clearer, dampened the kick drum to tame its resonance, and tuned the mid tom to pitch it a bit higher. You have now fully customized both the drum performance and the drum kit. To select all regions on a track, make sure Cycle mode is off, and click the track header. If Cycle mode is on, only the regions within the cycle area are selected.
At the bottom of the main window, the Piano Roll opens, showing the contents of the selected regions, ready to be edited. Individual drum hit are represented by note beams on a grid, making it easy to select, move, or delete any of them.
You also customized the drum kit to get your desired sound. Lesson Review 1. How do you choose a drummer? How do you choose a new drummer while keeping the current drum kit?
Where do you edit Drummer regions? How do you mute or unmute drum parts? How do you make the drummer play softer or louder, simpler or more complex? How do you access the Feel knob to make the drummer play behind or ahead of the beat? How do you open Smart Controls? How do you open Drum Kit Designer? When customizing a drum kit, how can you access all the available drum kit pieces? How do you dampen or tune an individual drum? Answers 1. Click the drummer in the character card, or from the Genre pop-up menu, choose a genre, and then click the desired drummer.
Option-click the desired drummer. In the Drummer Editor at the bottom of the main window 4. Click the drum parts in the drum kit that is displayed in the Drummer Editor.
Move the puck on the XY pad. Click the Details button at the bottom right of the Drummer Editor. Click the Smart Controls button in the control bar, or press B. Click the drum kit at the bottom of the character card.
Select the appropriate Producer Kit in the Library. In Drum Kit Designer, click a drum and adjust the settings in the Edit panel. See adjusting volume, 45 tool, live automation, checking when select all, 52 recording recording, 70 starting playback at offline automation. See drum kit, adjusting drum levels with sample rate and customizing Smart Controls, bit depth, 60 hidden functions in crash.
See crash cymbals setting up, 59—63 shortcut menu, 86 ride. See also drum loops editing Drummer nondestructive editing building up rhythm regions, — adding fade-out, — section, 22—26 editing intro drums adding fades to remove continuously repeating performance, clicks, — section, 17—21 — aligning audio material, creating simple project, 15 genres of drummers in, — positioning playhead to — arrangements.
See Channel removing fade with, aligning audio, — EQ plug-in fader. See also Volume creating and naming customizing amp fader, tempo sets, model, fades defined, EqP crossfades, adding batch, — editing note pitches in Eraser tool, adding fade-out, — Audio Track Editor, ES2 instrument plug-in, adding in Audio Track — — Editor, — Flex Pitch, — Event List adding to remove clicks, Flex Time, , — creating crescendo via note — time stretching single velocity, — defined, note, — defined, speed, — time stretching waveform overview of, — feedback between transient quantizing pitches, scales avoiding when recording markers, — and timings of MIDI multiple tracks, 79 Flex Pitch editing, — notes, — avoiding when recording folder stacks, — events.
See modulation wheel for using step input offline automation controller, recording, — reverting to straight overview of, , — MIDI Thru parameters, line, processing MIDI notes, quantization, — MIDI editors — mix automation Event List.
See recording MIDI takes, live automation. See Score Editor. See tracks, project, creating new, 3—7 recording MIDI takes, recording single Project Settings, 62, — Record Enable button recording live automation properties, MIDI hardware, recording additional in Latch mode, — — takes, 75, 79, 81 overview of, — puck.
See audio regions using aux sends in joining recordings defined, mixing for, — into MIDI region, Drummer. See folders rhythm section, building up, 22 to patch parameters, keyboard shortcuts for, ribbon mics, — — ride cymbals overview of, — MIDI. See drum defined, checking balance, 70 tracks, virtual getting into same groove, monitoring effects, 67—68 virtual instruments.
See workspace, — adding fades to remove navigation overview of, clicks, — workspace Voice Separation tool, Score for Autopunch mode, appearance of stereo Editor, 86—88 audio regions in, volume animation curve, comping takes, — — — defined, , color-coded regions Volume fader deleting unused audio identifying Balance knob on, 35 files, 99 instruments in, checking balance when dividing regions by defined, 14, recording, 70 removing silence, editing note pitches in, dynamic processing — — plug-ins, editing audio by editing regions in, EQ plug-in, — reading, — external MIDI devices, editing note pitches in hiding areas in, 23 Logic Remote, workspace, — repeating sample patterns MIDI controllers, editing regions, , in.
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