Logic pro x quantize velocity free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Logic Pro X Capture your compositions and performances — from monitoring a live band to a solo software instrument session — and go with the flow of your songs. Group related lobic, audition alternate versions and consolidate more than one track. Lightning-fast источник comping helps you build your great performance from a couple of takes. Free Download Logic Pro X Transform a loose logic pro x quantize velocity free download performance into one that locks tight into the groove using привожу ссылку parameters for notice velocity, timing, and dynamics.

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Logic Pro X Cheat Sheet | ShortcutFoo

 

Elements in a channel strip and mixer — a group of effects, for example — reflect their position in the signal path. To change their position in that path, just drag them up or down to a new position. And you can now engage a Quick Help feature that, in a small window, provides tidbits of information about any item your cursor hovers over. You can easily move arrangement markers to change the order of sections in your song.

The Score editor now behaves more like a notation application. But suppose you could group some of those tracks — all the acoustic drum tracks, for example — into a folder-like arrangement in the track list and then show or hide the tracks it contains with the click of a triangle icon?

The other idea is the summing stack. If this track contains software instruments, it can be used and saved as a patch so that it behaves like a single instrument rather than a group of instruments. Not only can you group and hide them as well as control their mute, solo, and volume settings, but you can additionally use your MIDI keyboard to play all of them at once as a single instrument. Press a low key, and you hear the Growly Synth and Crunch Synth mixed. You can then save this patch and call it up for any project you work with in the future.

This is a powerful method for creating layered and fat instruments. Another way Apple makes Logic more accessible is through new Smart Controls. For example, call up the Classic Electric Piano instrument, double-click on its icon in the track list, and its Smart Controls appear at the bottom of the Logic window. No sampler fiddling required. Click an Info button, and a pane appears where you can choose what a particular control will do.

For instance, on my Fender Rhodes I can assign a Phaser control to what is, by default, the Bell control knob. I can then store those settings as part of a patch so that they come up every time I use it.

And like other Logic controls you can assign a hardware controller to them a slider or wheel on your MIDI keyboard, for example and manipulate them while you play. As you do that, you can record your manipulation so that it plays back with the track. Logic Pro 9 was a boon for guitar players in that it included stompbox, amp, and speaker effects.

With Logic Pro X, Apple turns to bass players and drummers. Bass players will be happy to know that they can now build their own rigs as well. There are two direct box-out settings as well. And, as with the guitar rig, you can choose a mic and its position — a Condenser 87, Dynamic 20, or Dynamic While bass tracks are designed primarily for those jacking a real bass into an audio interface, as with guitar effects, you can apply your bass rig to software instruments and MIDI tracks too.

New drum features run deeper still. So Apple came up with the Drummer track. For example, Max is a punk drummer who bangs on a punchy kit. Logan is an older dude who prefers retro rock and plays a just-as-retro kit. Next to your drummer are some helpful controls.

Next, you can employ an X-Y pad and move a controller between Simple and Complex on one axis and Soft and Loud on the other. Drag the control around, and the pattern changes to match your desires. For example, if you place the control in the bottom left corner Simple and Soft , you may hear a rudimentary kick drum on beats one and three and high-hat clicks on beats one through four. Drag the control to the top right corner the Complex and Loud corner of the X-Y controller , and the pattern gets far more interesting.

For example, if you hate cymbals, just click them in the representation of the kit, and they disappear. You can also adjust fill and swing controls, adding more or less of each with the turn of a virtual dial. And for each drum and cymbal you have the option to adjust its gain, dampening level, and tuning.

You can also enable a Follow option that tells your virtual drummer to examine the other tracks and try to get a feel for its part based on what else is playing in the song. They did. Clever, these Apple engineers. With Logic Pro 9 Apple introduced Flex Time, a feature for subtly adjusting the timing of where specific notes fall.

If, for example, a kick drum plays a little before the beat, you can shift it over to fall on the beat. In the past you could use a pitch correction effect to try to knock them into line, but Flex Pitch takes a different approach. Notes in tune will display a solid bar. You can then gently drag the bar up or down to fill it and bring the pitch into tune. You can also make more radical adjustments and change the note entirely — drag it down a fifth, for example — to change the melody.

Obviously this sounds more natural when notes are separated as they would be on an instrument track, versus a vocal track where the singer slides from one pitch to another. If you find dragging a drag, just play the note you want on your MIDI keyboard to move it. Additionally, you can ask Logic to analyse the pitches in a track like this and extract its notes as MIDI data, which is a cool idea if you want to easily double a vocal part with an instrument.

When you click a preset, the region settings update and you can hear another perfor- mance from the same drummer. You can Option-click a new drummer to select that drummer while keeping the cur- rent drum kit.

You are now ready to customize the performance. They may ask the drummer to play behind or ahead of the beat to change the feel of the groove, or to switch from the hi-hat to the ride cymbal during the chorus, or to play a drum fill in a specific location. In Logic Pro X, editing a drummer performance is almost like giving instructions to a real drummer. In this exercise, you will play a drum region in Cycle mode as you adjust the drummer settings. Next to the presets, an XY pad with a yellow puck lets you adjust both the loudness and complexity of the drum pattern.

To undo your most recent Drummer Editor adjustment, press Command-Z. After positioning the puck, you must wait for the region to update update time var- ies depending on your computer. If you drag the puck constantly, the region will not update. As you position the puck farther to the right, the drum pattern becomes more com- plex; and as you move the puck toward the top of the pad, the drummer plays louder.

As he plays louder, he opens the hi-hat and start playing rim shots hitting the skin and the rim simultaneously for accent. You can still hear a lot of syncopation on the kick drums. The drummer now simply alternates kick and snare on every beat. Listen to the hi-hat: It is currently playing eighth notes. The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9. You should still see a fill at the end of the region.

Each time you adjust a setting in the Drummer Editor, the selected region is refreshed and the drummer plays a new subtle variation. Dragging the Fills knob by a tiny amount is a quick way to refresh a region. You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. On the drum kit, the hi-hat is now dimmed, while the cymbals are highlighted in yellow.

The drummer no longer plays the hi-hat, but instead plays a ride or crash cymbal in that region. You can hear the second region in Cycle mode. The drummer is playing the ride cym- bal on every eighth note. For a more powerful chorus, you instead want him to play crash cymbals on every beat. You now hear crash cymbals on every beat. Even for a chorus, the beat is a little too busy. You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern.

You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus. They are the two most important building blocks of the song that you will now start arranging.

Arranging the Drum Track In this exercise, you will lay out the whole song structure and continue editing drum regions for each section, still using the two Drummer regions you edited for the verses and choruses. Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song.

The global tracks open, with the Arrangement track at the top. Also Control-click the Signature and Tempo tracks, and hide them. The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships.

An eight-measure arrangement marker named Intro is created at the beginning of the song. By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song.

An eight-bar marker named Chorus is created. You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. A four-measure intro will be long enough, so you can resize the Intro marker before moving it. In the workspace, the Drummer regions move along with their respective arrangement markers.

As with regions in the workspace, you can Option-drag a marker to copy it. Option-drag the Verse marker to bar 21, right after the chorus. The Verse marker and the Drummer region are copied together. The Chorus and the Drummer region are copied together. The song is taking shape. You will now finish arranging the song structure with a bridge, a chorus, and an outro section. As you place the last three markers, continue zooming out horizontally as necessary.

A Verse marker is created after the last chorus. The song structure is now complete, and you can add Drummer regions to fill out the empty sections. New patterns were automatically created for each new Drummer region. Editing the Intro Drum Performance In this exercise, you will make the drummer play the snare instead of the toms. The Drummer Editor shows its settings. Throughout this exercise you can click the Play button in the Drummer Editor to start and stop playback, or you can navigate the workspace by pressing the Spacebar Play or Stop and the Return key Go to Beginning.

The toms are dimmed to indicate that they are muted. In the Intro region, the toms disappear from the top lane. In the Intro region, snare hits appear next to the kick hits on the bottom lane. To play the kick in only the first half of the intro, followed by the kick and snare in the second half, you will cut the Intro region in two.

The region is divided into two two-measure regions. When a region is divided, the drummer automatically adapts his performance, and plays a fill at the end of each new region. Notice how the crash disappears from the first beat of the following region. Even though it is in another region, the crash is actually a part of the fill.

The snare plays every beat. Now the drummer plays rim clicks at the beginning of the first Intro region, and hits the snare a few times at the end. The drums play a straightforward beat with a fill at the end. Now you will open the hi-hat to add energy to the end of the intro. The drummer plays the snare on the first eight beats, and then a basic rock pattern with a very open hi-hat adds energy. At bar 5, a crash punctuates the fill at the end of the intro.

The straightforward groove continues in the Verse section with the hi-hat a little less open to leave space to later add a singer. Editing the Bridge Drum Performance In a song, the bridge serves to break the sequence of alternating verses and choruses. Often, the main idea of the song is exposed in the choruses, and verses help support or develop that statement. The bridge can present an alternate idea, a different point of view. For this fast, high-energy indie-rock song, a quieter bridge in which the instruments play softer will offer a refreshing dynamic contrast.

Playing softer does not mean the instru- ments have to play less, however. In fact, you will make the drums play a busier pattern during this bridge. When pressing the Spacebar to play a section, you can use Cycle mode to ensure that playback always starts at the beginning of the section.

The drummer plays at the same level as in the previous sections, but he plays more here. You need to bring down his energy level. When you click the toms, the hi-hat is automatically muted.

Aside from the kick and snare, the drummer can focus on the toms, the hi-hat, or the cymbals ride and crash. Kyle is now playing sixteenth notes on the toms, which create a mysterious vibe simi- lar to tribal percussions. You will make him switch from the toms to the ride cymbal in the second half of the bridge to brighten things up. While the second Bridge region is still selected, you can adjust the cycle area.

The toms are muted, and the drummer now plays the ride cymbal. However, the groove still seems to be missing something. You can hear rim clicks. He plays a crescendo, thereby building up energy to lead into the next chorus. Kyle plays slightly ahead of the beat during the bridge. You will be editing the feel of both Bridge regions simultaneously. At the top of the Drummer Editor, the ruler, Play button, and playhead are hidden because multiple regions are selected.

You can now adjust the settings of all the selected regions at once. Settle on a Feel knob position more toward Pull to realize a reasonably relaxed groove. Kyle now starts the bridge with a busy pattern on the toms, and then moves on to a bell sound on the ride. He uses restraint, hitting softly and behind the beat, with a slight crescendo toward the end. The quiet and laid-back yet complex drum groove brings a welcome pause to an otherwise high-energy drum performance, and builds up tension leading into the last two sections.

That Chorus region was created when you populated the track with Drummer regions earlier in this lesson. The drummer now plays the crash, and this last chorus is more consistent with the previous two choruses. The drummer plays a loud beat, heavy on the crash, which could work for an outro. You will, however, make him play double-time twice as fast to end the song in a big way. Playing double-time at that fast tempo makes the sixteenth notes on the kick drum sound ridiculously fast.

The performance now sounds more realistic while retaining the driving effect of its double-time groove. The drum fill at the end of the outro is now longer. However, raising the number of fills has the undesirable effect of adding a new fill in the middle of the outro. To remove that fill, you will cut the Outro region in two. You now have two two-bar Outro regions.

The outro has the required power to drive the last four measures; however, it seems like the drummer stops abruptly before he can finish his fill. Usually drummers end a song by playing the last note on the first beat of a new bar, but here a crash cymbal is missing on the downbeat at bar You can create projects with up to a thousand stereo or surround audio tracks and up to one thousand software instrument tracks, and run heaps of plug-ins.

Enables customers to create rich, layered instruments with Track Stacks. Developer :. Downloads: 1. Official site Link. Room Arranger 9. Nearly all functions have keyboard shortcuts, so you can learn to be pretty fast in Room Arranger.