Orchestrating in Logic Pro X
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4:51 Introduction
Get an overview of what will be covered in these videos, and hear a before and after version of the exercise that will be developed throughout the series.
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5:13 Understanding Articulation IDs
Learn how to choose and switch instrument articulations in the Smart Controls and Event List windows using Logic?s proprietary Articulation ID note property feature.
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6:13 Real Time Articulation Switching
Explore real time articulation switching directly from the EXS 24 modulation matrix, and from Smart Controls.
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9:42 MIDI Expression & Alternate Tempo Map
Learn how to set up an Environment transformer to convert incoming MIDI CC messages from an external controller into MIDI Expression (CC 11) messages. And see how to create an alternate tempo map in order to play in parts at a slower tempo.
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3:07 Orchestrating the Original Idea
Follow along as the original three voice piano sketch is spread across three string section sounds.
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7:30 Developing the Idea Pt. 1
Discover how subtly modifying the EXS 24 attack envelope of the string section sounds enhances the natural quality of the legato note swells already established with MIDI expression. And follow along as a pizzicato cello section part is added to the next eight bars of the orchestration.
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6:11 Developing the Idea Pt. 2
Pizzicato basses are added, and doubled on solo clarinet, to flesh out the ostinato pattern outlining the shifting harmonies.
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10:24 Melody
Watch as a legato melody is recorded using the french horn section. Track alternatives are used to record multiple passes of expression data. The melody is then doubled with a solo bassoon and the copied expression data is edited.
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7:33 Ostinato Variation
Here a variation of the ostinato part is created in the lower register, sustained chords are used in the middle register of the French Horn section, and the melody is restated in the high register by solo flute and the first violins.
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4:57 Developing the Variation
A rhythmic trumpet section part comprised of staccato and legato playing styles is added. The rhythm is then doubled on snare drum.
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8:00 Harmonic & Melodic Variation
A modified version of the main melodic motif is played over a short and simple ostinato variation built on a static harmonic center.
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2:57 Recapitulation
The central ostinato theme is restated with a simple melodic variation added, followed by the principal melody with a thinned out accompaniment.
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6:31 Coda
The sketch is ended with a full chord. Each instrument plays one note, and a swell is established by recording separate expression data for each instrument.
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7:19 Phrasing & Tempo
Learn to use the global tempo track to create subtle ritardando and accelerando changes to add phrasing and timing variations between sections.
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8:29 Mixing
Hear how Logic?s stereo panning and PlatinumVerb?s early reflections are used to establish positioning and depth in the orchestral mix.
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4:01 Final Playback
Explore a few last minute tweaks, and hear a final playback of the full exercise.
Product Overview
Your personal Logic Orchestra awaits! Eli Krantzberg guides you through a comprehensive series on how to create realistic orchestral arrangements using nothing but Logic Pro X and its built-in instruments. You also get the Logic Project files so you can follow along and experiment!
Eli begins with an overview of what will be covered in the series, talking about how he'll take a simple piano sketch and orchestrate it into something big and beautiful using Logic's instruments.
This is followed by videos on things that make for more realistic sound, such as use of Logic's Articulation IDs, creating and editing MIDI Expression, tempo curves, panning, predealy, and reverb.
Throughout the series Eli explores and explains ways to develop the original musical idea, as well as how to build up the orchestration by creating a melody, counter melody, rhythmic ostinatos, harmonic variations, and more.
See the individual tutorial descriptions below for what's covered. If you use Logic Pro X and want to know how to produce convincing orchestral arrangements using Logic's instruments, this video series is on your "must watch" list. Get "Orchestrating in Logic Pro X" today!
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Reviews
Submitted 1 month ago
Great for Beginners
The step by step approach used in these videos is exactly what a beginner needs.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 months ago
Many great pointers
He keeps it simple in this series which is very helpful in learning how to apply the topics.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 months ago
Old fashioned ideas about orchestration that no longer apply
With the quality of Sample Libraries in the last five years there is no reason to start orchestrating on a piano...that's a through back to when studio musician time was expensive and they didn't have the technology they have today. The main problem with composing on the piano is that it's natural harmonics are different than those of the strings, winds, and brass. You will miss harmonies that sound good for those sections if you start on a piano. Use your keyboard skill and start with an ensemble section of the orchestra instead. Also, his recommendation to change the ADSR envelope and automating volume levels of certain string notes is bad. It results in artificial sounding "video game" orchestration ...instead use better sample libraries like those from Spitfire and Orchestral Tools that don't have poor violin recordings. Also use mic positions.
I am a: Semi-Pro, Musician, Producer, Ableton Live, FL Studio, Cubase, Logic Pro, Reaper
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 months ago
Another bunch of learning points.
I am finding all of these Training Tutorials so helpful, and whilst it is a significant learning curve, each video is so well put together in terms of content, scope / key points, presentation, and pace. Thank you.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 4 months ago
What's not to like?
Fabulous introduction to Orchestrating using Logic Pro X. Presented by master Eli. What's not to like?
I am a: Hobbyist, Musician, Logic Pro
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 11 months ago
A good starter on orchestration but with some reservations
Eli is one of my favourite tutors on Groove3. He speaks full, grammatically correct sentences with no hesitation and no hyperbole. He teaches you what Logic's instrument articulations are and how articulation IDs are stored with the notes, how to select an articulation ID before recording, and how to change articulations after recording. He teaches you the difference between merged and overlapped MIDI recordings, how to have a separate recording tempo from your playback tempo, and how to set up shortcut keys for Capture Recording and Create New Track with Same Instrument - very useful for having the same instrument play more than one MIDI part at a time. And he also demonstrates how to capture expression both while playing an instrument and after having recorded it. Most of the rest of the course is the same sequence repeated over and over: adding an instrument, selecting an articulation, playing a few bars, capturing the recording, quantising where necessary, adding expression if it wasn't added while playing, and rinse, repeat, rinse, repeat, rinse, repeat. I felt that I was learning less and less as the course progressed, with so little new information in each video. So it seemed to be more about Eli finishing his musical piece than about passing knowledge onto us. Also, it was a strange piece of music to use as a teaching aid. When we compose a piece of music, it's mostly for a particular purpose: music for an ad; theme or incidental music for a movie; an opera, a concerto, a chorale; music simply to entertain, and so on. This seemed to be none of those. It was just... strange. I can understand that the course might have grown over-large if Eli had explained how each instrument or section took particular themes during a classical piece, for example, but there was no explanation as to why each instrument played its particular melody, counterpoint, or whatever. I guess it's up to us to map what we were given onto what we want to compose. Logic Pro X has changed since this course was put together (I'm using 10.5). Articulation sets are defined in the Track section of the Inspector, but Articulation IDs are now included in the panel at the left of the Piano Roll, between Scale Quantize and Velocity. There's no need to open the Event List to edit them. You can select multiple notes and select their Articulation IDs from the dropdown menu rather than having to know which number relates to which ID and then drag the numbers up or down. Simpler and easier. You should be able to use this knowledge together with Eli's techniques in this course to get a good start in orchestration.
I am a: Hobbyist, Musician, Producer, Audio Engineer, Sound Designer, Logic Pro, Studio One
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 2 years ago
Very Helpful
As always, Eli is spot on with his instruction with Logic Pro X. This was a short but insightful video course on how to properly orchestrate instruments using Logic Pro X and I will be applying the knowledge in my future productions.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 years ago
Dissapointed
Instead of using a piece of classical music to work with, we got this tedious progression of chords.
I am a: Professional, Musician, Sound for Film/TV, Cakewalk Sonar, Logic Pro
Response from Customer Service:
I am sorry you did not find the tutorial more advanced. It was kept at a level that would be good for beginners to learn with. I have added a request for a more in depth tutorial taking these basic concepts further.
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 years ago
Opens a New World
Very cool video.... Eli is a great instructor generally, but this is among his best and one of the videos I feel is required viewing for LPX. What makes videos like this great is that you learn about logic AND a new skillset (Orchestration generally). Further, this video is a little extra-cool, because he does orchestrate entirely within the DAW.
I am a: Semi-Pro, Musician, Audio Engineer, Acid, Logic Pro
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 years ago
Amazing!
Excellent course, explained in a clear, direct manner. I have other sample libraries but never knew how powerful Logic was. My orchestration skills have doubled because of this course!
I am a: Sound for Film/TV
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 1 month ago
Great for Beginners
The step by step approach used in these videos is exactly what a beginner needs.
Submitted 3 months ago
Many great pointers
He keeps it simple in this series which is very helpful in learning how to apply the topics.
Submitted 3 months ago
Old fashioned ideas about orchestration that no longer apply
With the quality of Sample Libraries in the last five years there is no reason to start orchestrating on a piano...that's a through back to when studio musician time was expensive and they didn't have the technology they have today. The main problem with composing on the piano is that it's natural harmonics are different than those of the strings, winds, and brass. You will miss harmonies that sound good for those sections if you start on a piano. Use your keyboard skill and start with an ensemble section of the orchestra instead. Also, his recommendation to change the ADSR envelope and automating volume levels of certain string notes is bad. It results in artificial sounding "video game" orchestration ...instead use better sample libraries like those from Spitfire and Orchestral Tools that don't have poor violin recordings. Also use mic positions.
I am a: Semi-Pro, Musician, Producer, Ableton Live, FL Studio, Cubase, Logic Pro, Reaper
Submitted 3 months ago
Another bunch of learning points.
I am finding all of these Training Tutorials so helpful, and whilst it is a significant learning curve, each video is so well put together in terms of content, scope / key points, presentation, and pace. Thank you.
Submitted 4 months ago
What's not to like?
Fabulous introduction to Orchestrating using Logic Pro X. Presented by master Eli. What's not to like?
I am a: Hobbyist, Musician, Logic Pro
Submitted 11 months ago
A good starter on orchestration but with some reservations
Eli is one of my favourite tutors on Groove3. He speaks full, grammatically correct sentences with no hesitation and no hyperbole. He teaches you what Logic's instrument articulations are and how articulation IDs are stored with the notes, how to select an articulation ID before recording, and how to change articulations after recording. He teaches you the difference between merged and overlapped MIDI recordings, how to have a separate recording tempo from your playback tempo, and how to set up shortcut keys for Capture Recording and Create New Track with Same Instrument - very useful for having the same instrument play more than one MIDI part at a time. And he also demonstrates how to capture expression both while playing an instrument and after having recorded it. Most of the rest of the course is the same sequence repeated over and over: adding an instrument, selecting an articulation, playing a few bars, capturing the recording, quantising where necessary, adding expression if it wasn't added while playing, and rinse, repeat, rinse, repeat, rinse, repeat. I felt that I was learning less and less as the course progressed, with so little new information in each video. So it seemed to be more about Eli finishing his musical piece than about passing knowledge onto us. Also, it was a strange piece of music to use as a teaching aid. When we compose a piece of music, it's mostly for a particular purpose: music for an ad; theme or incidental music for a movie; an opera, a concerto, a chorale; music simply to entertain, and so on. This seemed to be none of those. It was just... strange. I can understand that the course might have grown over-large if Eli had explained how each instrument or section took particular themes during a classical piece, for example, but there was no explanation as to why each instrument played its particular melody, counterpoint, or whatever. I guess it's up to us to map what we were given onto what we want to compose. Logic Pro X has changed since this course was put together (I'm using 10.5). Articulation sets are defined in the Track section of the Inspector, but Articulation IDs are now included in the panel at the left of the Piano Roll, between Scale Quantize and Velocity. There's no need to open the Event List to edit them. You can select multiple notes and select their Articulation IDs from the dropdown menu rather than having to know which number relates to which ID and then drag the numbers up or down. Simpler and easier. You should be able to use this knowledge together with Eli's techniques in this course to get a good start in orchestration.
I am a: Hobbyist, Musician, Producer, Audio Engineer, Sound Designer, Logic Pro, Studio One
Submitted 2 years ago
Very Helpful
As always, Eli is spot on with his instruction with Logic Pro X. This was a short but insightful video course on how to properly orchestrate instruments using Logic Pro X and I will be applying the knowledge in my future productions.
Submitted 3 years ago
Dissapointed
Instead of using a piece of classical music to work with, we got this tedious progression of chords.
I am a: Professional, Musician, Sound for Film/TV, Cakewalk Sonar, Logic Pro
Response from Customer Service:
I am sorry you did not find the tutorial more advanced. It was kept at a level that would be good for beginners to learn with. I have added a request for a more in depth tutorial taking these basic concepts further.
Submitted 3 years ago
Opens a New World
Very cool video.... Eli is a great instructor generally, but this is among his best and one of the videos I feel is required viewing for LPX. What makes videos like this great is that you learn about logic AND a new skillset (Orchestration generally). Further, this video is a little extra-cool, because he does orchestrate entirely within the DAW.
I am a: Semi-Pro, Musician, Audio Engineer, Acid, Logic Pro
Submitted 3 years ago
Amazing!
Excellent course, explained in a clear, direct manner. I have other sample libraries but never knew how powerful Logic was. My orchestration skills have doubled because of this course!
I am a: Sound for Film/TV
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.
Products by Eli
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tutorial videoAAS Strum GS-2 Explained
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg covers the expansive performance library of electric and acoustic guitar strumming inside and out, and shows you how to make Strum GS-2 your new favorite session guitarist!
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tutorial videoAirEQ Explained
Eli Krantzberg returns with an in-depth series on the amazing AirEQ by Eiosis, which was designed with a vision of achieving musical, technical and sonic excellence in equalization. This just might become your to go-to EQ!
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tutorial videoAlchemy 2 Explained
Logic Pro X 10.2 integrated Alchemy 2, one of the most powerful virtual instruments ever made. In this three-hour video training tutorial series, Eli Krantzberg teaches you how to become a Alchemy wizard and unleash all of its power on your music!
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tutorial videoAmple Sound Super Jumbo Explained
Eli Krantzberg presents a detailed series of Super Jumbo tutorials! Learn Super Jumbo, Ample Sounds’s incredibly realistic virtual acoustic guitar instrument inside and out, as well as how to use it creatively.
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