![]() ![]() Making use of a variety of grouping techniques – including fader groups in the Tracks area and take groups in the Project File Browser – also lets you manage and edit multiple channels and audio files with the same ease as a single file.Īs an alternative to quick swipe comping, we’ll also look at some simple editing techniques that let you quickly assemble a collection of takes into a finished performance. ![]() So, creating a ‘Master Template’ project is useful as a means of importing (via the All Files Browser) multiple tracks: all pre-named, colour coded and with appropriate icons, in just a few mouse clicks. Track to SuccessĪs you’ll see from the walkthroughs, there are a variety of techniques you can employ to work with multiples of tracks more effectively. Likewise, increasing the level of their instruments in your mix, for example, won’t suddenly temporarily deafen the musicians with their own performance.Īlthough your mixer will get initially more complicated, it replicates the same features used of a dedicated studio console to manage a typical profession recording session. You can turn down the backing track, for example, and the musicians will still hear it. For you, though, the instruments you’re recording will be of more interest that any pre-recorded elements, or the click, for that matter. Their mix, for example, will favour large amounts of click and less of themselves in contrast to the rest of the track. The lazy approach is to simply duplicate what you’re hearing in the control room (what is often referred to as the monitor mix), but this solution might be in sharp contrast to the balance of instrumentation the musician(s) want to hear. Hearing is Everythingįor both you and musicians to work effectively, it’s important that you gain some distinction between the mix you want to hear and the mix they need to play to. When you’re finished tracking, simply restore the latency to a more CPU-friendly setting of around 256 samples. Lowering the buffer setting will in turn lower the latency of your system, so, assuming you’re using a fast connection protocol (better than first- or second-generation USB, in other words) and a speedy computer, you should be able to reduce latency to near-negligible amounts. Unless you intend to utilise the low-latency mixing provision in your audio interface, the first step of any tracking session in Logic Pro X is to optimise your Buffer settings as part of Logic’s audio preferences (Logic Pro X > Preferences > Audio). Put simply, latency is the delay between signals arriving at the input of your audio interface and (via a trip through your computer’s CPU) the same signal leaving the output.įor most production activities, latency is rarely an issue, but when a musician is listening to themselves on headphones, any noticeable delay can be distracting. No exploration of recording workflow in Logic (or any other DAW, for that matter) would be complete without a cursory mention of latency. The techniques explored have developed using Logic Pro X to record and mix a range of large instrument groups, although they can easily be adapted to a variety of recording tasks using Logic. Although there’s a range of prescriptive features for single-track overdubs (like Quick Swipe recording a vocal, for example), what’s missing is a clear methodology in respect to recording a multitrack performance. In this workshop, we’re going to take a look at a range of features within Logic Pro X that can be used to manage a multitrack recording session. ![]() However, while you’ll find plenty of advice and guidance on a range of post-production tasks – like using a compressor, for example, or fine-tuning a reverb – there’s often a distinct lack of guidance when it comes to track laying in Logic.
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