The Power in Logic Pro: Songwriting, Composing, Remixing and Making Beats

Copyright E 2012 by Dot Bustelo

All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.

Published in 2012 by Hal Leonard Books

An Imprint of Hal Leonard Corporation

7777 West Bluemound Road

Milwaukee, WI 53213

Trade Book Division Editorial Offices

33 Plymouth St., Montclair, NJ 07042

Book design by Adam Fulrath

Book composition by Kristina Rolander

Library of Congress Cataloging-in-Publication Data

Bustelo, Dot.

The power in Logic Pro : songwriting, composing, remixing, and making beats / Dot Bustelo.

p. cm.

1. Logic (Computer file) 2. Digital audio editors. I. Title.

ML74.4.L64B87 2012

781.3’4536--dc23

2012002230

www.halleonardbooks.com

Contents

Preface

Methodology for This Book

Acknowledgments

Introduction: Becoming One with Logic

Chapter 1: Setting Up Your Logic Studio

Preparing to Launch

Custom Install and Changing the Install Location

Saving Disk Space

Software Updates for Logic

Connecting External Audio

Down and Dirty with Built-In Sound

Audio Drivers for External Hardware

Communicating with MIDI

Loading a Software Instrument

The MIDI Activity Monitor in Transport

The Audio MIDI Setup Utility

Connecting Hardware Instruments

Adding Third-Party Software Instruments

The Audio Units Manager

Chapter 2: A Five-Minute Tour of the Arrange Window

Introducing the Arrange Window

Understanding the Track List and Track Header

The Transport

The Media Area: Apple Loops, Audio Bin, Library, and Browser

The Bar Ruler, Toolbar and Tool Menus

The Bar Ruler, Setting a Cycle Area

Creating a Cycle or Region Loop

Region Name and Region Header

The Toolbar Is Cool and Customizable

The Tool Menus

Primary Tool Assignment

Command-Click Tool Assignment

Power Tip: The Marquee Tool as a Command-Click Tool

Independent Tool Menus in Every Editor

Power Tip: Third Tool Menu

Essentials of the Mixer and Other Editors

Selecting Editors

Resizing the Editors

Dual Channel Strip, Channel Strip Settings, and the Inspector

Dual Channel Strip

Channel Strip Settings

The Inspector

Chapter 3: Writing Your First Track in Logic

Programming Drums

Channel Strip Settings

Power Tip: Your Own Channel Strip Settings

Plug-in Window View and the Contextual View of Library

Enabling Cycle

Power Tip: Cycling in Logic

Adjusting Cycle Length

Adjusting Tempo

Rehearsing Your Drum Parts

Recording the Kick and Snare with the Click

Understanding Regions

Looping the Recording

Power Tip: Real Copies Versus Aliases

Quantizing Basics

The Region Parameter Box

Region Quantize

Create New Track with Same Settings

Adjusting Your Region Length

Copying a Region

Selecting the Right Sound for Your Synth Part

Recording While Viewing Notation

Saving Your Project the Right Way

Power Tip: Include Project Assets

A Few Tricks to Help Your Creative Process

Quick Trick #1: Creating Quick Fills (Time-Compressing MIDI)

Quick Trick #2: Separating the Drums—an Arranging Tool

Quick Trick #3: Capture As Recording (Never Lose a Performance!)

Power Tip: Capture As Recording in Real Time

Chapter 4: Essential Audio Recording and Mixing in Logic

Recording Audio

Create an Audio Track

Mono Versus Stereo

Arming a Track to Record

Setting Record Levels

Power Tip: Pre-Fader Metering

Setting the Record Path to Your Logic Project

Record Settings: Count-In and Click

Power Tip: Eighth-Note Metronome Click for Drummers

Sample Rate in the Audio Settings

Power Tip: Settings Versus Preferences

Naming a Record Track

Power Tip: Name Your Tracks Before You Record

Multi-Take Recording Basics

Punch-In Recording: Record Toggle

Autopunch Recording

Mixing Your Music

Channel Strip Settings for Mixing

Power Tip: Using Software Instrument Settings on Audio Tracks

Creating Your Own Channel Strip Settings

Single Mode Versus Arrange Mode

Mixer Trick #1: Rearranging and Bypassing FX

Mixer Trick #2: Coloring Track Names

Mixer Trick #3: Temporary Track Grouping

Chapter 5: Navigating and Editing Made Simple

Know Your Navigation Tools

The Pointer Tool and Tool Menus

The Marquee Tool: Your Secret Weapon in Logic

Your Zoom Tools

Key Commands to Zoom

Caps Lock Keyboard: No Controller Necessary

Navigation by Marker

Hiding Tracks You Don’t Need to See

Navigating in the Browser

Track Import

Global Tab: Importing Tempo, Signature, and Markers

Import Project Settings

Editing in Logic

It Starts and Ends in the Arrange Window

Power Tip: The Tick, the Smallest Nudge Value

Piano Roll MIDI Editing

Power Tip: Silent Edits with the MIDI Out Button

Linking Editor Windows

Very Important Editing Preferences

Edit Grid Menus: Snap, Drag, and Shuffle

Power Tip: Switch to No Overlap as Default

Chapter 6: The Secret to Learning Logic: Key Commands

Creating Custom Key Commands

Finding Out What a Key Command Is Assigned To

Loading Key Command Sets

Printing (and Memorizing) the Key Commands

Power Tip: Protecting Your Key Commands

Dot’s Favorite Key Commands

Chapter 7: Creating with Logic’s Software Instruments

Loading, Tweaking, and Saving Channel Strip Settings

The Settings Library

Making Your Own Channel Strip Settings

Power Tip: Navigating Quickly Through the Library

Backing Up and Carrying Around Your Logic Instrument

The EXS24 Sampler: The Workhorse of Logic

Power Tip: EXS24 Samples in Your Project Folder

Drag and Drop Samples: Creating Your Own EXS Instrument

Old-School Synth Features: Lowpass Filter and LFO Tricks

File Management of Your EXS24 Library

Power Tip: Where Are Your Samples?

An EXS Trick: Sample Group Key Switching

Power Tip: AutoSampling Your Hardware Synths

The Futuristic ES2 Synth

Edgy FX with the Randomizer

X-Y Vector Pad Sweeping

ES2 Modulation Matrix

Ultrabeat: Unlocking the Beat Machine and Drum Sampler

Quick Tour of the Drum Module

Power Tip: Voice Auto Select

The Drum Synthesizer in Ultrabeat

The Step Sequencer

Programming Hi-Hats

Ultrabeat Trick #1: Humanizing the Feel

Ultrabeat Trick #2: Deep Kicks with Envelope Controls

The Full View of the Step Grid

Triggering Vocal Samples in the Step Sequencer

Power Tip: Empty Kit to Load Sampler Instruments

Ultrabeat Trick #3: Step Sequencer and Vocal Samples

Ultrabeat Trick #4: Adjusting the LFO

Dragging Step Sequencer Pattern to Arrange Window

Import Alternate Kit and EXS Kit

Sculpture’s Otherworldly and Cinematic Sounds

The Basic String Section, the Pickup, and Exciters

The Material Pad

EQ and Physical Body of the Instrument

Creating Textures with the Morph Pad

EVOC 20’s Retro Character

Vocoding 101

EVOC 20 PolySynth and EVOC 20 TrackOscillator

The Steps to the Classic Vocoder Vocal Effect

External MIDI, ReWire, and a Special Plug-In for Hardware Synths

Power Tip: Project Template for Your Hardware Synths

Using Third-Party Software Instruments

Controlling Synth Parameters from Knobs and Sliders

Chapter 8: Amazing Things to Do with Apple Loops

What Is an Apple Loop? (Blue Versus Green Loops)

Auditioning and Using Loops in Your Project

Power Tip: The Loop Browser’s Audio Playback Track

Musical Tags and the Search Engine

Hit Songs Using Apple Loops

Tricks with Green Apple Loops

Removing an Unwanted Element from a Drum Loop

Changing the Software Instrument Playing Back the Loop

Changing the Quantize and Swing

Making Your Own Apple Loops

Power Tip: Labeling Your Custom Apple Loops

Indexing Your Loops in the Browser

Third-Party Apple Loop Libraries

Setting the Key (Changing Pitch)

Chapter 9: Remixing and Making Beats

It’s All About Timing (and Stretching)

BPM Plug-in and Tap Tempo to Find Tempo

Adjusting Logic’s Tempo to the Beat (or the Vocal)

Time-Stretching Audio to Logic’s Tempo

Option-Drag to Time-Stretch Audio

Power Tip: Time-Stretching with Snap To Absolute Value

Importing and Exporting Vocals for Remixing

Track Import

Track Export

Flex Audio (Elastic Audio)

Enabling Flex Mode

Flex Markers

Quantizing and Regrooving Your Audio

Flex Trick #1: Cutting on Transients

Flex Trick #2: Special Effects with Tempophone

Power Tool: Flexing to Change Your Project Tempo

Making Beats with Live Drummers

Beat Mapping

Drum Replacement

What Varispeed Is for Anyway

How Logic Swings: Groove Templates

Advanced Quantizing: Deepening the Groove

DJ and Electronic Music Tricks

Space Designer Warping

DJ Speed Fades

Making a Sampler Instrument Out of a Drum Loop

Retro Logic Groove Tricks

Transform Editor for Human Drummer Feels and Fills

Gate Time and Delay

The Oldest Trick in the Logic Book of Grooves: Option + Scissors

Chapter 10: Especially for Composers (and Arrangers in the Modern World)

Tapping into the Score Editor

Power Tip: Duration Bars in the View Menu

Real-Time Scoring Transcription

Creating a Lead Sheet Automatically

Text Tool for Inputting Lyrics

Instrument Sets to Merge Score of Independent Regions

The Instrument Set Parameter Box and Part Box

Global Score Project Settings

Printing Your Score

Film Scoring Hurdles of SMPTE and Sync

SMPTE Offsets, Picture Sync, and Other Fun Stuff

Spotting to Picture: Dropping FX at SMPTE Locations

Classic and Modern Arranging Techniques

Power Moves for Building the Arrangement

Making Your Project Look Good

Chapter 11: Good Housekeeping (and Other Smart Practices)

Managing Your Logic Project

Understanding How to Bounce

Bouncing the Master File

Bounce in Place

Project Templates

Setting Up Patch Names for Analog Keyboards: Multi-Instruments

Backing Up Your Presets and Settings

Marker Text TelePrompter on Second Monitor

Making Notes in Your Project

Optimizing Your System Performance

Chapter 12: Troubleshooting

Best Practices

The Scene of the Crime

The Crash Log

Power Tip: Taking a Snapshot of Your Screen

Avoiding Latency While Recording and System Overloads

Problems with Third-Party Plug-Ins

Audio Units and the Audio Unit Manager

Know the Components Folder in Your Finder

Audio MIDI Setup Utility

Trashing Your Logic Preferences

Miscellaneous Troubleshooting Tricks

Facing a Logic Song Corruption

Slaving Your MPC

At the End of the Day

Appendix A: Dot’s Key Commands in Logic

Appendix B: The Video Tutorials

Preface

This book is based on the method of introducing Logic I developed while working with some of the greatest artists of our time during my years at Apple on the worldwide Logic team, and before that at Emagic. I had the privilege of demonstrating to musicians from all over the world at countless recording studios, homes, tradeshows, and music stores while I was on my own humble path to produce music and become one with Logic. This book is designed to get you over the initial hurdle of learning Logic that I’m happy to have helped so many musicians get past as quickly as possible. My hope is that once you’re up and running, this book remains your studio guide as you continue to find energy and headspace to expand on your creative process in Logic. I have carefully selected the topics that world-touring bands, rock stars, hit producers, professional engineers, international DJs, aspiring musicians, and hobbyists have asked me time and again to explain. It’s my pleasure to pass along a body of creative and technical knowledge that was shared with me by the incredibly passionate team of Logic developers and other former colleagues at Apple and Emagic, all of whom I genuinely consider my family.

Digital technology is making music production more and more accessible—so everyone can have a bedroom studio with the potential to sound great. But for most people, it remains a tease because there’s no assurance that they’ll really know what to do with it. A new user must get past that major hump at the beginning then make the effort to continue actively learning. Over time, the art of learning becomes incremental and very satisfying. Knowledge of a new feature can be as thrilling as a new piece of gear.

The best advice I have for becoming one with Logic is to treat it like an instrument, like learning to play the piano or the guitar. You have to learn the language of the instrument, and you have to practice. Give yourself focused, disciplined time—besides the time you plan to write in Logic—to learn your new instrument. Take the pressure off yourself of having to create a masterpiece each time you launch the app. You don’t even have to feel inspired when you boot it up. Just poke around and start shopping for sounds in the vast collection of software instruments, plug-in settings, channel strip settings, and Apple Loops. Start saving your own folders of custom channel strip settings into the Library with Logic or third-party instruments, and Logic will start to become your own personal instrument. Build your own mega EXS24 sample library so your drum samples can easily be saved within your Logic project. You will develop your own unique sound within Logic, and when you learn which assets need to be backed up, you can carry your own Logic sounds everywhere, and load them into anyone’s Logic studio. (See chapter 7, Creating with Logic’s Software Instruments, and chapter 11, Good Housekeeping and Other Smart Practices.)

Time needs to be spent learning Logic, practicing the tools and navigation. Above all, to learn the language of Logic, study the key command shortcuts. When I was learning Logic, I got the advice from more senior Emagic colleagues to print these out and hang them in my bathroom. I didn’t exactly do that, but I did carry them around with me. I printed them out using a little trick in the Key Commands window (under Options > Copy Key Commands to Clipboard), then dropped this into Microsoft Word and—bam!—ready to print. (See chapter 6, The Secret to Learning Logic Key Commands, for details.)

No, I never learned every key command, but I do have a hot list of my favorite 30 key commands that I share in Appendix A of this book. Study these, cross-reference any unfamiliar terminology in the Help files, then make your own set of power key commands for your workflow, and you’re on the path to becoming one with Logic.

The reputation that Logic sounds better and grooves better than other DAWs is a significant legacy from the Emagic days, and there are reasons for both these truisms that will be covered throughout this QuickPro book series.

I’m also honored to introduce two extremely prominent Logic users—Jay Z’s engineer, Young Guru, and Mat Mitchell, whose credits include engineer/musician and technical genius for Tool, NIN, and Katy Perry, to name a few—who share a few of their favorite techniques for making music groove better in Logic. You’ll find their advice mainly in chapter 9, where beat-making tools are featured, so bear with the methodology of this book to prepare yourself for their favorite tools. Both engineers coincidentally say they learned Logic by reading the manual, so consider yourself in good company for making time to read about your tools.

Methodology for This Book

Though the chapters are logically sequenced to read in a linear fashion, the information in each is self-contained and so can be read on its own.

In a perfect world you could inject all the information of the book simultaneously. But until we can jack into the matrix, read this book in any sequence you like—in whatever way you’re inspired to use it.

Sometimes there will be a To Do summary at the top of a chapter or section that will be explained in more detail in the text that follows it. You’ll also find QuickTime movies on the accompanying DVD-ROM (ebook readers can access this content by visiting http://www.halleonardbooks.com/ebookmedia/333399) that further illustrate certain