Mixing and Mastering tips for the recording enthusiast. Whether you’re an acoustic songwriter or your producing a complete LP for your band, I think you’ll find some interesting audio tutorials here.
Many of the audio tutorials you’ll find to be DAW generic. For example, my popular video on how to EQ an acoustic guitar uses principles that you can apply in Logic Pro, Pro Tools, Cubase, Sonar X3, Studio One, etc. I’m currently using Logic Pro X so you’ll fine lots tips using Logic Pro.
Creating an Auto-tune effect for vocals using Logic Pro plugins.
Using Logic’s stock compressor to emulate the classic Teletronix La2a
Shuffle and swing beat from 8th note triplets.
If you are using Logic Pro 9 make sure you check out the video on using the Logic’s Environment window to wire in an Arpeggiator.
Logic Pro 9 to record a kick drum. A sine wave with a low frequency is used on another track with a noise gate plugin. The kick drum is used as a side chain input to activate the sine wave allowing the sine wave to play with the kick. This technique is one way to allow the kick drum to cut through the mix.
Setting up the Arpeggiator in the Logic Pro 9 Environment can be done a couple of different ways. Using the mixer preserves the original recording. Although you will hear the arpeggiated notes you will not see them as individual events in the piano roll. The advantage here is that you can change the parameters of the arpeggiator (change 1/8 notes to 1/16, etc.) on the fly to experiment with the different parameters. If you use the Click & Ports method and cable the arpeggiator before the sequencer, everything recorded is arpeggiated and therefore printed to the track. The advantage of using this method is that the individual notes can be edited. If you don’t want all the notes to be in octaves then you can change them to thirds, fifths, or a combination of whatever. This also works well if you want to copy the lead arpeggiated track, alter a few notes, and make it the bass track. Cable switching is also employed to bypass the arpeggiator if it’s not desired when recording subsequent tracks. Both methods have advantages and disadvantages. You decide which works best in your project.
In this video I’m going to share with you how I use the high pass filter to determine where to set the low pass filter frequency and visa versa. The whole point is to cut frequencies that you don’t hear. I use this process on every track. This can have a compounding effect that can make a huge difference in cleaning up your mix.