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Free mixing template for Logic Pro and how to use it
How to Mix Piano Pt. 2
Having that group from the beginning is perfect for me. The bus routings are on the second page of the buses, so your primary bus names can stay the same. You can see it below:. Set the bus groups from the beginning of a mix project, and delete the unnecessary ones.
So this is why I put a VCA type compressor on the drum bus group. You can always tweak it to your liking, and I encourage you to do so because every song is different. But if you want energetic drums, this compressor will help you a lot. Sometimes I want a big, powerful sound from drums. 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. Even gentle filtering around 20 or 30 Hz on low-end instruments like kick drum and bass can carve out a ton of space in your mix! Learning how to use a compressor is one of the most important mixing skills you can acquire.
Compression is quite literally all over mixes, even becoming the sound we associate with loud, modern pop mixing. Ratio settings generally range from all the way to At , an input signal of 2 dB will output at 1 dB. An input signal of 10 dB will output as 5 dB, and so on.
At a ratio, your input signal is being reduced by a factor of 2. The ratio determines how much a sound is being reduced in volume, i. Any sound louder than dB will then tell the compressor to start applying gain reduction.
Threshold tells the compressor when to turn on, and ratio determines how much gain reduction to apply. Generally speaking, we use compression to catch the loudest peaks in our dynamic material. So, setting a threshold that catches and reduces those peaks to make our track level more consistent is the best way to begin. But what exactly happens when the signal does surpass the threshold? Does gain reduction immediately kick in? Not necessarily. The attack setting controls how much time it takes the compressor to apply gain reduction after the input signal passes the threshold.
If we set the attack time to 5 ms, it will take 5 ms for gain reduction to apply after the input signal passes our dB threshold. Setting the attack time will vary from instrument to instrument, and even from song to song based on tempo and a variety of other factors. Most of the time, slower attack times work well; think somewhere between 20 and 40 ms.
A slow attack means the entire note will be compressed after it passes the threshold, rather than just the initial transient. If you want to crush fast transients, say on a snare of rapidly-picked guitar, fast attacks do the trick.
Many producers like to at least somewhat preserve this natural image when mixing piano. This leaves room in the middle for more important instruments like vocals. A warning though, it may make your reverb stand out, so consider revisiting your reverb level.
More than 70 new Drum Machine Designer kits. Over 1, new patches. Original multi-track project of Billie Eilish's "Ocean Eyes. Individual or multiple audio files or software instrument regions can be dragged into an empty track header to provide instant options for creating Sampler, Quick Sampler, Drum Machine Designer, or Alchemy instruments. Learn more Multiple additional enhancements and stability improvements. Learn more Logic only loads the plug-ins and software instruments needed to play the project, which helps projects open faster.
Learn more All-new DeEsser 2 plug-in provides more options to reduce sibilance on audio tracks. Learn more The Loop Browser can filter by loop type and allows drag and drop of multiple loops into your project simultaneously.
Use the new Pressed filter button in the Key Commands window to see if a key combination already has a command assigned to it. Projects with numerous Flex Time edits and tempo changes perform more efficiently. Optimizes performance for Mac Pro including support for up to 56 processing threads. This update also contains additional stability and performance improvements. Increased Number of Tracks and Channels, up to: stereo audio channel strips software instrument channel strips auxiliary channel strips external MIDI tracks 12 sends per channel strip.
Learn more Imported multi-track stems can follow or define Project Tempo. Learn more Alchemy provides drag and drop hot zones that let you select re-synthesis and sampling options while importing audio. Alchemy allows numerical editing of parameter values. Dragging one automation point over another now aligns them vertically. Automatic Slurs can be applied to selected notes in the Score Editor. Add a photo to track or project notes to help remember key session details or studio hardware settings.
This update also contains numerous stability and performance improvements.
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