Chapter 1 : Setup
Get an overview of what this series is about, and hear an A/B comparison between the raw tracks and the finished mix.
Listen through to the mix as it was delivered as markers are created for each section of the song.
Follow along as the tracks are renamed, and the default channel strip setting plug-ins removed.
The vocal tracks are bounced back to mono, and split up on to separate tracks for every verse, chorus, bridge, vocal FX, and coda.
See how both summing stacks and folder stacks are set up to control signal flow and routing of all the tracks in the project.
Follow along as initial fader levels are set for a general overall blend of all the elements, while making sure to leave plenty of headroom on the master bus.
Watch as a duplicate Master Bus channel strip is set up for metering purposes, and some gentle compression is dialed in to catch sharp transients.
Chapter 2 : The Instruments
Follow along as processing is added to the overheads, kick, snare, and high hat mics.
See how to make the drum mix sound more exciting by setting up parallel processing for the kick tracks, snare tracks, and full drum mix.
Watch as Bass Amp Designer and side chain compression settings are set up, and automation is added.
See how flex time is used for quantization and a few simple timing fixes in the bass part.
Hear how the electric guitars used in the introduction and bridge are processed, and see how two hard panned electric guitars are routed through a parallel mono bus in order to process a mono image of their summed signal.
Gentle ?glue? style compression and some Mid/Side EQ is added to the Intro Guitars summing stack, in order to help them ?pop? better with the bass and drums.
See how some subtle Amp Designer and Pedal Board tweaking helps differentiate the two complimentary strumming patterns. Then optical compression, mid/side EQ, and narrowing the stereo width on the summing stack is used to help glue the two together for a unified sound.
Discover a nice thickening technique achieved by routing audio in parallel through duplicate channel strips, each with unique stereo pan width & placements, and unique effects processing. When combined with the source audio, the result is a full rich sounding stereo spread.
Hear how the guitar fills are processed for a wet panned stereo effect, and look at a recap of all the guitar track routing before we move on to the vocals.
Chapter 3 : Vocals
Watch as an ethereal dreamlike floating effect is created as the lead vocal is sent to a traditional reverb. A duplicated tuned version of the vocal is combined in the reverb return only for a thicker reverb sound, which is then processed with some EQ and stereo delay.
Hear how the harmony vocal part is processed and edited to fit with and compliment the lead.
Watch as a couple of small problems are dealt with getting the chorus vocals to blend and match the tonal qualities of the verse vocals.
Explore how the combination of Track Alternatives and Selection Based Processing is used to allow creative experimentation with a safety net, as the Harmony Vox bridge vocal part is processed beyond recognition!
Selection Based Processing and Track Alternatives are used again, to experiment with an alternate version of the B-Vox vocal tracks in the bridge.
Delay is now added to the dry lead vocal to compensate for what was temporarily bypassed on the reverb/delay effects return. A fade is used to clean up a bad edit, and time stretching is experimented with for an alternate timing feel at the end of the middle phrase.
Watch as the timing between the lead and B-Vox track is tightened up, and the pitch shifted duplicate lead vocal is again set up to run through the effects return only.
See how a factory channel strip setting is used in conjunction with a custom plug-in chain for a unique filtered vocal effect.
See how an alternate track is set up for a separate chorus effect, and hear how the central hook of the song is emphasized by doubling it on the filtered FX tracks.
Follow along as some unique echo effects are set up and contrasted with a completely dry vocal phrase, and watch as cross fades are used creatively to tame some sibilants on the filtered tracks.
Chapter 4 : The Mix
A couple of sibilant sounds are softened with fades, and region gain offset is used to smooth out the relative balance of doubled and tripled parts.
An iPad with Logic remote is now used to add some automation to the guitar and drum parts, bringing them up and down at selected places between vocal phrases.
A few final tweaks are reviewed, and all the individual tracks, including the multiple outputs from the Drum Kit Designed Producer Kit, are exported for archival purposes.
See how a parallel mix bus is set up with linear phase EQ and multi-band compression for subtle tonal balancing. The signal is then combined with the regular mix bus, and limiting is applied to the summed signal arriving at the Stereo Output.
Sit back and watch the Breathe For You video by Haylely Richman accompanied by the audio mix produced in this video series.
Learn the nuts and bolts of mixing in Logic Pro X! Eli Krantzberg takes you on a mixing journey using nothing but LPX, showing you all the features and functions, steps, techniques and theories to use to create a professional sounding product. You also get the full Logic Project and audio files so you can mix or remix along in real-time!
Eli starts with an overview of what the video series will cover, and then jumps right in with setting up your project with color markers, organizing tracks, signal flow concept, volume level mixes, using a master buss and more.
He then gets into all the individual instruments including drums, bass, and guitars, followed by extensive work on all the vocals and harmonies. Eli wraps it up with a deep focus on effects, automation, mix bus processing and other ideas.
See the individual tutorial descriptions below for more info. If you want to mix in LPX, but aren't sure where to start, or want to see how a veteran Logic user approaches mixing, look no further than "The Mechanics of Mixing in Logic Pro X".
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