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Logic pro x mixing and mastering pdf free. Mixing Secrets For The Small Studio – Additional Resources


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. At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2. The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release.

These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression. Sometimes labelled make up gain, this control is used to match the compressed and uncompressed signal levels. Because compressors often make things sound louder, it can be difficult to compare and accurately gauge the effect of a compressor when switching between the affected and unaffected signal.

Because the human ear naturally favours louder signals , the louder, compressed track often sounds better by comparison. Use the make up control to ensure the levels are consistent so you can judge the effect of compression more accurately. Compression is best used to control overly dynamic instruments, for example, an inconsistent vocal recording. Use the loop control in Logic to select a section of vocals, and open up the compressor plugin.

Start with a modest ratio of is generally seen as the middle ground in compression ratios. Roll back the threshold control until the compressor starts engaging when the loud vocals kick in. The goal here is to allow the compressor to kick into gear only when the vocals get too loud, not at all times.

That said, you may want to apply a little compression to the vocal tracks e. If the compressor is acting on vocal transients too slowly, make the attack quicker. Experiment with different attack, release, threshold, and ratio settings until you find the perfect setting.

Logic, being Logic, has tonnes of built in effects that you can use to spice up your tracks, add some depth and interest, and make your productions sound just like the pros do. Imagine a ball of blue light directly in front of you. The horizontal field left to right , is controlled by pan. Whereas the vertical up and down , represents frequency, which is dependent on the type of instrument bass guitar vs violin for example , as well as any equalization applied.

The volume or level controlled by the fader as well as compression , is represented by the light becoming brighter or duller. This is controlled using reverb. By using all four fields or spectrums stereo, dynamic, frequency and depth , you can give each instrument its own space in a mix, meaning every track can be heard clearly. Before the world of plugins, and even before outboard hardware effects, reverb was literally created in a physical space.

For example, if you wanted a big chamber sound on a choir, you had to record the choir in a big chamber! Obviously this is incredibly inconvenient, so sound engineers quickly figured out how to emulate this effect using springs and plates. Predelay The predelay parameters control the amount of time in milliseconds between the dry signal and the first reflection.

Reflectivity Have you noticed how some rooms are more reflective or noisy than others? Think of the difference in reflectiveness between an empty hall, and your living room with carpet, sofa and thick curtains. The higher it is set, the longer the reverb effect will last for. Higher settings are great for creative effects, though if you are trying to create a small amount of space on a vocal or lead instrument, try rolling this back a bit.

Turn Wet all the way up and Dry all the way down, and you will only hear the affected signal. Experiment with the two controls to find the perfect balance for your application.

Typically, bass instruments are left out of the reverb game. You can also take a moment to compare your reference with your own track, using tools such as the Multimeter to see how it performs on the technical side and to analyze the frequencies of each of the files.

Once you have your track loaded up in Logic Pro, it is time to think about using a compressor to further control your dynamics and glue everything together.

The Vintage VCA is an emulation of the famous Solid State Logic compressor present in the SSL Series channel strip, and it is famous for its ability to glue everything together and give your music extra analog mojo. The standard Platinum Digital is an all-around workhorse, but if you feel like your track is sounding too digital or harsh , it may benefit from the subtle coloration of the Vintage VCA.

The Threshold will define when your compressor will start working. For example: at dB, it will only be engaged when your audio is above that level. Now it is time to set the Attack and the Release.

For mastering purposes, try keeping the Attack anywhere from 30ms to ms depending on your song. Shorter settings will smack the transients harder but longer ones may give your mix a little extra impact. The Release setting is gonna determine how early or late the compressor will stop working. Start with a setting of ms to ms and work your way up. A great tip is to pay attention to kick and the snare when setting the release since they are the instruments that will impact the transients the most.

It is worth noting that the most important thing when setting your master compressor is using your ears. Here is a video from In The Mix to help you hear the subtle nuances of compression , both in mixing and mastering:. You can also use the Multipressor for even more control over your sound.

The plugin allows you to use different settings of compression for different frequencies. The plugin is very simple to use. It is divided into four sections and you can tune the frequency using the main upper panel. Below that, you will see the same controls that you would find in a standard compressor.

Just as with the compressor, you should use the equalizer very subtly when mastering. The Channel EQ is parametric and more surgical.

It will give you more control over your frequencies. However, the added functionalities make overdoing it much easier so be careful. The Vintage EQ Collection semi-parametric plugins are modeled after famous real units. The benefit of using them is that they add a little bit of analog color to your sound and the stripped-down style makes them less prone to exaggeration — perfect for mastering. Also, make the Q range as broad as possible so the result is smoother and more consistent.

Compare your song to your reference and check for any frequencies that would benefit from an extra boost. A slight boost at around 8kHz using a high-shelf setting should add a little bit of brightness to your master; As well as one using a low-shelf at kHz for bringing attention to your bass sound. Saturation is an optional step that can give your sound extra perceived loudness and analog mojo by distorting the sound very subtly. There are a few ways you can do this inside Logic.

These are modeled after real analog units. There is also a feature in the Tape Delay plugin that will work. 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.

Panning This is the natural next step after fader work. It really helps to understand the psychoacoustic nature of stereophonic sound.


The ‘Mixing Secrets’ Free Multitrack Download Library – What are Templates?

Jun 05,  · The most efficient way to do this is using Logic’s send/bus/aux track method. Under the Audio FX section in the mixer, you’ll see a section called Sends. Click an empty space on your desired track, and select a Bus. You’ll see Logic has created a new Aux track (this happens the first time you activate a bus). Tag archive for logic-pro9-tutorial-pdf-free-downloading. Tag archive for logic-pro9-tutorial-pdf-free-downloading. Skip to content. Mixing and Mastering. Music Production, VST Instruments and Plugins, DAW Software, Audio Hardware & the Music Business Native Logic Pro 9 Plugins One By One (pt. 1) May Mixing And Mastering. Mixing & Mastering (by Why Logic Pro Rules) Vocals mastering (by Marc Mozart) Drums (by Sean Divine) OTHER. O.K. This was worth a mention. I paid $ and got over 40 templates. It’s considered a donation, so you can give as little or as much as you like for all templates. There are some good ones. So if you got a.

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