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A table of Logic Pro Global Commands key commands. X. Show/Hide Smart Controls. B. Show/Hide Score Editor Download the guides: Logic Pro User Guide. 1. General Controls ; Command+3. Open Smart Controls ; Command+4. Open Piano Roll ; Command+5. Open Score Editor ; Command+6. Open Audio File Editor ; Command+7.
 
 

Die Logic Shortcuts | SOUND & RECORDING – How to Quantize MIDI in Logic Pro X

 
Dec 03,  · Learn how to Quantize Audio parts in Logic Pro X, in this video tutorial. Free Download (MIDI Pack): replace.me Check out my Music Cours. Logic Pro X cheat sheet of all shortcuts and commands. Sign in. Home Dojos Tournaments Achievements Profile Pricing Logic Pro X Cheat Sheet Shortcuts Global Commands I R Record shift+* Quantize note starts on/off Shortcuts Drag visual here Upload. Dec 10,  · before purchasing a MacBook, i knew all i was going to use it for was a portable DAW for Logic Pro x, i was largly debting between the pro and the air, after 1 week i am glad to report that the macbook air i purchased is fully capable of running Logic Pro x, with many tracks, and the battery life is great. logic is like the lungs ofmy studio, allowing everything to breath no matter where i am.

 

Logic pro x quantize shortcut free download

 

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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Each certifica- AATCs worldwide. If you play piano then Sustain is one of the most beautiful, expressive elements there is, even though it’s technically a global parameter – in reality you naturally learn how to use it in such a way that it sounds far more dynamic. In terms of synthesis, it’s the release parameter on an amp envelope that can be engaged at will. On a real acoustic piano you also get harmonics when using sustain pedals, i.

What the sustain pedal does to the sound depends of your sound source. In Pianoteq using the sustain pedal ist much more than just preventing the triggered notes from stopping. It sets free a global string resonance as you have it on real pianos, also half-pedalling is possible if your foot controller is able to output this , and if you release the pedal very shortly and press it again, the strings will still sound a little bit. What’s more, the dampers being removed from the strings cause a silent dull percussive sound themselves.

Ah, yes, of course. Well, everything I said about Pianoteq is true for acoustic pianos, too or in fact the other way around: Pianoteq has these features because acoustic pianos do. First, sorry about ‘AP’. I guess I used my own shortcut notation rather than explaining myself. Still, the only thing that affects the ‘hammer’ would be velocity. All a hammer can do is hit a string.

The hammer always falls back after the hit. So I don’t see how anything else related to the striking of a string and the character of the note envelope due to the hammer relates to sustain. That seems to be controlled uniquely by the damper please correct this assumption if incorrect. And I am still not sure how sustain might be invoked to any better benefit beyond the way I am manipulating the note bar end points.

It seems like manipulating the same parameter. The basic envelope of the note as far as attack and decay seems pretty fixed on a AP, er, acoustic piano. Sustain and release don’t seem to be a part of what the hammer is capable of influencing. And if I want an open string to ring with a successive hit, I just overlap the note bars. If I want it to ring louder, well there are plenty of ways to address that. But I do have to add one disclaimer, I am using the Steinway and Bosey patches in LPX, and I assume they have no ability to ‘cross-feed’ ring to undamped strings I wish they did.

As a matter of fact, me letting certain notes ‘sustain’ longer than others is a way to provide some of that sort of ‘glue’ another way. But I am not savvy about playing piano and am doing jazz and not classical, so while I may have a lot to learn, it may not apply to my music, I guess. I am not approaching this from the point of view of an accomplished keyboard musician because, hey, I ain’t one , I am approaching this as a technician manipulating MIDI.

I am more a producer and engineer than I am a piano player. But I sure like this forum, and there are tons of really smart helpful people here, so I am pretty jazzed that you guys are replying. Haha, i love questions like yours the best, as it almost breaks my head to wonder if holding a note is the same as sustaining lol – See, i’ve grown up playing real pianos and to even suggest such a thing based around that domain is just ludicrous It actually rocks the very foundations of piano for me to think it over – hand on heart i felt physically sick thinking through it!!

In a digital domain, where you’re playing a sampled ‘virtual’ instrument, and you’re able to adjust note lengths post performance beyond what is humanly possible – the rules are totally tipped on their head and it’s not so ludicrous, in fact, you’ve probably got a valid point in questioning if there would be any significant difference for you. Add to that the style of your playing is more Jazz orientated – if what i imagine in my head when i think of Jazz piano is your thing – then Who knows where to draw the line nowadays of where Music creation stops being an art of almost wonderment, and can be treated purely from a technical viewpoint?!

Emulation of traditional instruments has trodden this path for many years now – Many smart people have used math to inflict emotion. To me, use of pedals is such an integral part of playing that really encourages wider use of the velocities available and after years of playing i still love to simply travel delicately from low to high across the full piano octaves with the sustain pedal down.

It’s one of life’s many joys, pure magic to hear those strings resonate in the air! I’ll hold my hands up and say i’m stumped on this, i think i should’ve been a musician in the s where Elves and Dragons would inhabit my studio space, and not AU Plugins lol. Here is another feature in that you can in fact convert the sustain pedal to note length thereby eliminating the CC data all together Maybe it’s time I get some rest And what’s more, overlapping notes of the same pitch are difficult to edit in the PR.

You can also record MIDI data on a summing stack to trigger all the software instruments inside of the track stack at once. You can unstac either folder or summing tracks with the flatten stacks command. Right and Left arrow will select the next and previous regions respectively. If you have a marquee selection however, Right and left arrows will adjust the end point of said marquee selection forward or backwards by a transient.

This is a great way to fine tune where a marquee selection ends. Similarly, Shift Right and Shift Left arrows Will extend the selected region to include the next or previous region respectively. The drummer now simply alternates kick and snare on every beat.

Listen to the hi-hat: It is currently playing eighth notes. The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9. You should still see a fill at the end of the region. Each time you adjust a setting in the Drummer Editor, the selected region is refreshed and the drummer plays a new subtle variation. Dragging the Fills knob by a tiny amount is a quick way to refresh a region.

You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. On the drum kit, the hi-hat is now dimmed, while the cymbals are highlighted in yellow. The drummer no longer plays the hi-hat, but instead plays a ride or crash cymbal in that region. You can hear the second region in Cycle mode.

The drummer is playing the ride cym- bal on every eighth note. For a more powerful chorus, you instead want him to play crash cymbals on every beat. You now hear crash cymbals on every beat. Even for a chorus, the beat is a little too busy. You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern. You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus.

They are the two most important building blocks of the song that you will now start arranging. Arranging the Drum Track In this exercise, you will lay out the whole song structure and continue editing drum regions for each section, still using the two Drummer regions you edited for the verses and choruses. Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song. The global tracks open, with the Arrangement track at the top.

Also Control-click the Signature and Tempo tracks, and hide them. The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships. An eight-measure arrangement marker named Intro is created at the beginning of the song. By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song. An eight-bar marker named Chorus is created.

You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. 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.

 
 

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