Looking for:

Logic Pro – Resources – Apple.

Click here to Download


When I want that, I use the Drum Crush bus. It compresses the signal to hell and adds some distortion to make it even more powerful. I put there a compressor and an overdrive plugin, but you can always use its variations. For example, if you have something like a tape machine, you can add it with your favorite settings on every bus group, so you can always reach them with just a click.

Then, you can start mixing with those plugins bypassed, and you can open them when you need. There is a stereo out bus; why would I use a mix bus? Good question. I use it for a couple of reasons.

Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix. So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume. I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it.

So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus. Then the mix bus goes to stereo out.

I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template. You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB. And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back.

There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression. And we came to the fun part, the effects! I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later. Details always come later in the mix for me. This Logic Pro mixing template lets me do this easily. We have small, medium, plate, long, big, and a massive reverb on the mixing template.

Every one of them has a different pre-delay and decay time. Small and medium are room reverbs; long and big are hall reverbs. It has a different character, and I mainly use it on guitars and the percussive sounds.

When I want to replicate a room, I use the small reverb. When I want to take everything in similar places, I use medium reverb. When I want to use the reverb as an effect, I tend to use long, big, and massive ones. But you can always edit or put an EQ after them. We have a half note, quarter note, eighth note, and a slap delay. Echo is also an eight-note delay, but it has a longer feedback time and a reverb, which I mostly use on synths or guitar solos.

And lastly, we have a doubler effect. You can use it on the lead vocal gently to give it more power and width. Your effects on different buses, so you can send those effects to each other. Be creative and do whatever you want with them. For example, I always send delays to reverbs, so they go back in the mix. But I know you can be more creative than that.

You can download the Logic Pro Mixing Template here. Please let me know if you have any questions, or issues with it. Happy mixing! There are several ways to create this effect, but Logic has some tools to streamline the process. Start by placing the locators from a little before you want the track to start slowing down, and ending where you want the clip to end.

Next, bounce the track as you normally would. Disable any bus processing since this mix will be played in your session and thus would otherwise be going through the bus processing twice. You could use Bounce In Place at this point but, depending on what plug-ins you are using and where, the results may vary. Mute the regions you just bounced. Import the audio from your Bounces folder or the Project Audio List and place it in its original spot a tip on this is coming up. Select OK.

Logic will create a track with a new EXS24 instrument. When you hit the trigger key that you chose, you should hear the portion of the song you originally selected. Mute the bounced audio, open the EXS24 instrument, and change the pitch-bend range to Now you can slow down your track with the Pitch-Bend wheel, and perform it to taste.

This may seem a little convoluted, but explaining the procedure is more time-consuming than the actual execution. Then change the pitch-bend range to 12 and play in the effect. But it goes deeper than that. For instance, in the slow-down effect I just spoke about, at the point where you import the audio, instead of putting it between the locators, you can just drop it anywhere and hit this key command, and viola!

The region is where it should be. This is also a great tool when dealing with tracks for video. Now that most post-production people are spoiled by composers sending them one audio track per reel, they are annoyed by the extra work of placing each cue individually. No problem, you can do it for them. Just grab all your mixes, drop them into a new session, engage Move To Original Recording Position and the files will snap into place.

Did you know that holding Shift while cutting a region will cut it into equal segments?


20 Logic Pro X power tips you need to know about | MusicRadar.20 Logic Pro X power tips you need to know about | MusicRadar

Training staff include Grammy- and Emmy Award—winning producers and professional audio engineers. Also, you should set your tempo so your reverb and delay effects can work based on your tempo.


– Best logic pro x tips free

An extensive collection of online courses for Logic Pro and MainStage. With these, a close mic channel is created for every drum, along with overhead, room and leakage channels. Click Browsers in the top right-hand corner, then All Files. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template. Why Logic Pro Rules. Therefore, I have to route all of them to a bus group. Pushing the parameters in a deliberately extreme way especially using lots of Bell takes the sound far away from that of a typical electric piano.