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Logic pro x reverb automation free |
Logic pro x reverb automation free
Logic pro x reverb automation free.Space Designer overview in Logic Pro
Logic pro x reverb automation free.Overview of automation in Logic Pro
Relative automation mode works in combination with Touch, Latch, and Write automation modes. Shift-click track headers to select them, then choose a mode from the Automation Mode pop-up menu in one of the track headers.
Shift-click channel strips in the Mixer to select them, then choose a mode from the Automation Mode pop-up menu in one of the selected channel strips.
In Logic Pro, you can set the automation mode using the following key commands :. The Volume fader moves to a center position and the fader becomes transparent. Now when you move the Volume fader during playback, it does not write completely new volume automation data but adjusts it proportionally to the existing data. If you do not need to edit relative and absolute automation curves separately, you may want to tidy up your automation curves by consolidating absolute and relative automation curves into the same curve.
The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc. The higher the ratio, the more the compressor reacts. At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2. The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release.
These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression. Sometimes labelled make up gain, this control is used to match the compressed and uncompressed signal levels. Because compressors often make things sound louder, it can be difficult to compare and accurately gauge the effect of a compressor when switching between the affected and unaffected signal.
Because the human ear naturally favours louder signals , the louder, compressed track often sounds better by comparison. Use the make up control to ensure the levels are consistent so you can judge the effect of compression more accurately. Compression is best used to control overly dynamic instruments, for example, an inconsistent vocal recording.
Use the loop control in Logic to select a section of vocals, and open up the compressor plugin. Start with a modest ratio of is generally seen as the middle ground in compression ratios. Roll back the threshold control until the compressor starts engaging when the loud vocals kick in. The goal here is to allow the compressor to kick into gear only when the vocals get too loud, not at all times.
That said, you may want to apply a little compression to the vocal tracks e. If the compressor is acting on vocal transients too slowly, make the attack quicker. Experiment with different attack, release, threshold, and ratio settings until you find the perfect setting. Logic, being Logic, has tonnes of built in effects that you can use to spice up your tracks, add some depth and interest, and make your productions sound just like the pros do.
Imagine a ball of blue light directly in front of you. The horizontal field left to right , is controlled by pan. Whereas the vertical up and down , represents frequency, which is dependent on the type of instrument bass guitar vs violin for example , as well as any equalization applied. The volume or level controlled by the fader as well as compression , is represented by the light becoming brighter or duller.
This is controlled using reverb. By using all four fields or spectrums stereo, dynamic, frequency and depth , you can give each instrument its own space in a mix, meaning every track can be heard clearly. Before the world of plugins, and even before outboard hardware effects, reverb was literally created in a physical space. For example, if you wanted a big chamber sound on a choir, you had to record the choir in a big chamber!
Obviously this is incredibly inconvenient, so sound engineers quickly figured out how to emulate this effect using springs and plates. Predelay The predelay parameters control the amount of time in milliseconds between the dry signal and the first reflection.
Reflectivity Have you noticed how some rooms are more reflective or noisy than others? Think of the difference in reflectiveness between an empty hall, and your living room with carpet, sofa and thick curtains. The higher it is set, the longer the reverb effect will last for. Higher settings are great for creative effects, though if you are trying to create a small amount of space on a vocal or lead instrument, try rolling this back a bit.
Turn Wet all the way up and Dry all the way down, and you will only hear the affected signal. Experiment with the two controls to find the perfect balance for your application. Typically, bass instruments are left out of the reverb game. This is because tracks tend to get muddy when reverb is applied on the low end. Have a play if you like, but make sure you are paying attention to the clarity in the low end when using reverb on kick drums or bass.
To help bring the kit together nicely, try sending some of the other drums to the same reverb, such as the toms. One of the most widely used effects amongst guitarists, delay is an effect often employed by sound engineers to create depth and interest in a mix.
The difference between delay and reverb is that delay is not space focused it is not emulating a physical space , it is a time based effect that makes use of a repeat as opposed to a reflection. It might help to imagine delay as the reflection from a single surface. Delay Time As delay is a more musical effect than reverb, its time factors are often represented by note lengths i. This is a cool way to produce an interesting ping-pong type effect in a mix.
Alternatively, you can set the left and right signals to the same delay time for a more traditional delay effect. Feedback The feedback parameter essentially controls how many repeats you will hear, and therefore how long the delay effect continues for. When this is set to 0, you will hear only one repeat. As you turn up the feedback, more and more of the affected signal is fed back into the delay effect. For example, you may have several vocal tracks for which you wish to use just one reverb type.
If your head is spinning trying to understand the difference between sends, busses, and aux tracks, try thinking of it like this. The bus is a path that picks up all the passengers tracks , and takes them to the next location. You are not changing anything, you are simply polishing the end result.
While different producers have different mastering chains and it is always a debate on how to approach it, I have kept it basic. Some of the plugins above perform similar functions. So you can try them out and then decide what works best for your application. Out of all the the following functions, these are my top 3 picks of free audio plugins for mixing and mastering.
OTT is applied to normal multi-band compression to balance the sound and large amounts of upward compression to bring it up front and loud in the mix. Modern electronic music relies heavily on over-compressed sounds.
Since the plugin is on the master channel, adding only a small amount of the effect goes a long way. Use the L, M, and H knobs for even more control over the sound. Toned is a specialized tone-shaping plugin with analog modeling. It is designed primarily for use in the mastering process or on two-track audio busses.
Toned uses two distinct equalization processes: a three-band tone-shaping matrix, and a specially designed high pass HP filter. The three-band tone-shaping matrix uses a crossover-style filter bank of first-order filters -6dB per octave. This type of equalization produces very gentle and broad filtering, with minimal alteration of phase. Very wide boosts and cuts can be accomplished while still sounding natural. This style of equalization also mimics some of the interactions between frequency bands that are commonly found in passive analog EQs and analog tone controls.
The tone-shaping matrix can be applied to stereo channels, or specifically to the mid or side channel. Space Designer generates reverb by convolving, or combining, an audio signal with an impulse response reverb sample. An impulse response is a recording of reverb characteristics, or more precisely, a recording of all reflections in a given room following an initial signal spike. The actual impulse response file is a standard audio file.
With that in mind, we can use automation to change the timing or intensity of a reverb plugin during an important part of a song. Automation is typically performed in a linear way — meaning the change made to whatever parameter is being affected is done so in a constant way.
This is great for volume automation at the end of the song, but it also helps to gradually or drastically introduce plugin parameter automation. Instead of the typically used Read function, with which we need to enter in each data point, we can use the Latch function to perform automation.
Like regular panning automation, this works really well as a creative effect.
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