Logic Pro X Tutorial

Producing Voiceovers with Logic

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23 Videos | Length: 3hr 0min 31sec
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    Tutorial 1



    Explains some of the differences between dynamic and condenser microphones, as well as the relative merits and drawbacks of the different sizes and pickup patterns available.

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    Tutorial 2

    Project Setup


    Looks at specific project settings and preferences that will be useful for the voice over recording task we will be undertaking.

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    Tutorial 3

    Recording with Effects


    Learn about the different ways to have your talent monitor software effects while recording so that they are either monitored only, or printed to a file.

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    Tutorial 4

    More Project Settings


    Looks at setting up a headphone send, and look at pre-fader metering and punch on the fly for this project.

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    Tutorial 5

    The Music


    See how to set the tempo to match the tempo of the pre-recorded music bed we'll be using, in case we need to do any music editing later in the project.

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    Tutorial 6

    Sound Isolation


    A brief look at sound isolation possibilities and the importance of mic placement as a means towards achieving a clean sound.

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    Tutorial 7

    Setting Levels


    With the talent in the studio, we'll set levels and demonstrate some of the effects of mic placement.

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    Tutorial 8



    Watch the process of the voice over talent being recorded, reading through the text of the ad.

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    Tutorial 9



    See how to replace some of the flubbed lines using both Auto-Punch mode, and Punch On The Fly mode.

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    Tutorial 10

    Another Read


    See the voice over talent read through the script again, this time with music underneath, in order to get an alternate performance from him and to provide additional choices in case we need them.

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    Tutorial 11

    Creative License!


    See how one line of the text is taken and by using cycle record mode, experiment with some character voices on top of an apple loop.

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    Tutorial 12

    Organizing the Takes


    See how to backup and organize as well as use the Strip Silence function to remove the empty spaces during the recordings - in order to get them ready for auditioning.

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    Tutorial 13

    Creating a Composite Take


    Listen back to the main read through, select the best takes, and separate them onto their own track.

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    Tutorial 14

    Placing & Editing the Text


    Watch how to place the text alongside the music to get a rough timing; and then make some cuts to get it down to approximately one minute in length.

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    Tutorial 15

    Heads & Tails


    In this video we'll trim the heads and tails of each dialogue region, and select one of the creative takes John did on the single line we isolated previously.

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    Tutorial 16

    Processing the Dialogue


    See how to split another phrase onto a separate track for future processing, and apply basic EQ and compression to the main dialogue track.

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    Tutorial 17



    Learn how to create some special effects for the isolated lines of dialogue, and create a break in the music.

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    Tutorial 18

    More Sweetening


    See how to place a tempo change in the timeline, and create an Apple Loop from a segment of the music bed to follow the new tempo.

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    Tutorial 19



    Discover how to create volume automation as well as process some destructive gain change in the Sample Edit Window.

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    Tutorial 20

    Creating a Doughnut


    In this video we'll create a second version of the ad that has a large hole in the middle of the dialogue; so that it can be recycled and updated by the client in the future with various seasonal promotions or other replacement text.

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    Tutorial 21

    Bounce Down


    In this video we'll add a subtle amount of a mastering plug-in on the mix bus, and render the final versions of the mixes for different delivery formats.

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    Tutorial 22

    Problem & Solution


    We discover a small last minute problem - and a creative solution!

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    Tutorial 23



    Listen through the two completed versions, and recap all the steps that we've gone through from the beginning until completion.

Presented by Apple Logic Certified Pro Eli Krantzberg, this collection of Logic 8 & 9 compatible video tutorials will show you how to make professional voiceover productions for commercials, advertisements and more.

Starting with a blank session, Eli takes you step by step from the beginning and shows you how to prepare, record, edit, mix and master a quality voiceover spot for a radio advertisement. If you want to expand your studio services to include voiceover work, this collection will be your best investment.


- not reviewed

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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