Logic Pro X Tutorial

Flex Time Explained

16 Tutorials (1hr 36min 50sec)
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    Tutorial 1

    FlexTime Editing Introduction

    2:47

    Introduction to the concept of flex editing and how its implemented in Logic 9.

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    Tutorial 2

    The Flex Tool

    5:24

    See how the Flex Tool can be used to simply and easily manipulate the timing of audio waveforms directly in the regular Arrange Window view.

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    Tutorial 3

    Flex View

    6:46

    Learn how to toggle Flex View from different locations in the Arrange Window, as well as how to switch algorithms and selectively exclude specific regions from flex editing.

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    Tutorial 4

    Working with Flex Markers

    6:09

    Discover how to create, delete and reset individual flex markers; and how to understand the color shading that is generated as visual feedback representing the time compression or expansion that is being applied.

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    Tutorial 5

    Marquee Tool & Flex Markers

    4:05

    Explore how the Marquee Tool can be used to automatically create flex markers based on selection boundaries as well as the next/previous transients.

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    Tutorial 6

    Slicing Mode & Quantizing

    7:32

    See how quantizing can be applied in slicing mode, and how the additional parameters can be used for creative effect.

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    Tutorial 7

    The Transient Detection Grid

    7:42

    Learn the different ways to influence the creation and manipulation of transient markers in the Sample Edit Window.

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    Tutorial 8

    Phase Locked Editing Setup

    5:38

    Discover how to get multi-tracked drums ready for phase locked editing, so that flex markers and quantization can be applied where necessary.

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    Tutorial 9

    Multi-Track Drum Quantizing

    4:37

    Explore how to create flex markers and properly quantize grouped multi-tracked drums.

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    Tutorial 10

    Align Flex Markers to other Tracks

    5:39

    See how flex markers can be created and lined up with transients on adjacent tracks.

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    Tutorial 11

    Fixing the Vocal Track

    3:57

    Learn how flex markers can be used to line up and correct the timing or phrasing of specific words or syllables.

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    Tutorial 12

    To Quantize or not to Quantize

    8:35

    Discover how the Q Range parameter can influence how quantizing is applied to multi-tracked live drums, by allowing for control over what is or isnt affected by the quantization.

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    Tutorial 13

    Eli’s Slap Chop

    9:45

    Forget boring loops. Explore some of the ways Flex slicing mode can be abused towards rhythmically interesting ends.

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    Tutorial 14

    Tempophone Fun

    7:43

    See how the Tempophone algorithm can be used to creatively deconstruct a sound by introducing granular or mechanical types of artifacts.

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    Tutorial 15

    Built for Speed

    6:16

    Learn how the Flex Speed algorithm is used and how it has been implemented into other areas of the Logic 9 program.

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    Tutorial 16

    Fleeexed

    4:15

    Discover how flex markers can be lined up to freely played MIDI notes on adjacent tracks.

If you use Apple Logic 9, then you must learn to use its incredible FlexTime feature. This amazing tool allows you to stretch and squeeze audio in ways you've never dreamed. Now you can hone a track to perfection or create something completely different, all while keeping the sound intact.

Apple Certified Logic Pro Eli Krantzberg starts from the beginning explaining all the features and functions of FlexTime and then moves onto showing you how to use FlexTime on the most common instruments such as multi-tracked drums, bass, vocals and more. Get flexible, get FlexTime Explained today.

1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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