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Logic Pro X Tutorial: Get Mixing in a Powerful DAW - Produce Like A Pro - Logic Pro User Guide
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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. The five most important parameters to get the hang of are threshold, ratio, attack, release, and make up.
The threshold controls the point at which the compressor kicks into action. You can think of it like setting the ceiling. When the track level reaches above this ceiling the threshold , the compressor will engage and compress or turn down the audio. The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc. The higher the ratio, the more the compressor reacts.
When Direction is set to a value of 0, the midpoint of the stereo base in a stereo recording is perfectly centered within the mix. Higher values move the center of the stereo base back toward the center of the stereo mix, but this also has the effect of swapping the stereo sides of the recording.
Higher values move the middle signal back toward the center of the stereo mix, but this also has the effect of swapping the side signals of the recording. Spread slider and field: Determine the spread of the stereo base in LR input signals or set the side signal level in MS input signals.
Spread parameter behavior changes when fed LR or MS signals. These differences are outlined below:. At a neutral value of 1, the left side of the signal is positioned precisely to the left and the right side precisely to the right.
More articles by this author. Jay is a Los Angeles-based composer, songwriter, arranger and orchestrator, conductor, keyboardist, as well as vocalist. As a composer, he is best known for scoring the New World Television series Zorro. Create an account or login to get started! Audio is your ultimate daily resource covering the latest news, reviews, tutorials and interviews for digital music makers, by digital music makers. Log In Create Account. A NonLinear Educating Company. Jay Asher is here to help you make the most of the Logic's mixer by creating different mixer views and saving them to screen sets.
Plus, it's easy once you know! Logic Logic Pro logic pro X mixer. Jay Asher More articles by this author. Related Videos.
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