Turkish saz zither – EXS24
Used chord trigger positions based on 36 interval octave charts routed into arpeggiator. Transposed output notes down an octave. Hammered string sound.
Iraqi sample output 5 slices
Manually sliced up Iraqi Sample Output 5 and exported as individual audio files.
Imported into EXS24 and mapped individual slices to individual keys.
Set up 3 chord triggers.
Ran thru arpeggiator and note repeater.
Processed with reverb and stereo spread.
36 interval octave MicroBassoonTone
Downloaded bassoon samples from the Philharmonia Orchestra website. They were MP3 files I converted into wav files using GarageBand and iTunes.
Used EXS24 to map 24 notes of a bassoon across 6 octaves in a microtonal instrument.
Each semitone had 3 intervals: the root note, pre-root note tuned down 33 cents, and the post-root note tuned up 33 cents.
Chained Chord trigger into arpeggiator into note repeater into Space Designer reverb.
finger-picking sketch with drums
Used folder stack to group master arrangement regions and composition.
Created master track of finger-picked guitar audio regions.
Mapped the project tempo to this master track using beat mapping.
Created drummer track and had it follow the master track.
Fine tuned multi-output drum-kit.
Created drummer performance by tweaking soft/loud/simplex complex grid.
Droning, chiming over-tones of the Epiphone.
The amp selection is clean, so it’s almost pure guitar tone.
chaining MIDI fx – chord trigger + arpeggiator + note repeater
Used folder stack to group master arrangement regions and composition.
Used alias regions to create composition in master arrangement track.
Used folder stack to group guitar sketches.
Set key signature, changed it for bridge, changed back after bridge.
Transposed bass track alias region down an octave using MIDI plug-in.
Set project end point.
Quantize master arrangement region notes.
Changed region colors.
Add arpeggio MIDI effect to synth channel.
Add chord trigger MIDI effect to synth channel before arpeggio.
Add stereo delay to synth channel.
audio source vs. apple loop comparison
Audio source is warmer. Apple Loop is brighter. Is this normal?
guitar song fragments
guitar patterns, scales, exercises, etc.
MusicTechHelpGuy – Logic Pro X Video Tutorial Series
- synth and guitar loop
- drummer and drum machine
- getting started in Logic X
- getting Started in Logic 10.3
- sample rate, bit depth, i/o buffer, setting up for recording
- autopunch, quick swipe comping, low latency mode, control bar
- transport, colorize regions, cycle mode
- quick punch, punching in vocals
- cycle record, loop record, duplicate tracks
- import audio files, export audio files
- zoom controls, zoom shortcuts, waveform zoom
- create your own Apple loops
- EXS24 sampler tutorial (part 1) sample management and auto-map, applying synthesis
- EXS24 tutorial (part 2) drum sampling, groups, multi-output
- EXS24 tutorial (part 3) alternating samples and velocity layers
- Ultrabeat (part 1) sequencing and sampling
- Ultrabeat (part 2) drum synthesis
- Ultrabeat (part 3) step mode and multi-output
- flex time part 1 – polyphonic and monophonic
- flex time part 2 – rhythmic and slicing
- flex time part 3 – speed and tempophone
- tempo changes with flex time
- flex pitch and vocal tuning
- more flex pitch, convert audio to MIDI
- arpeggiator MIDI fx plug-in
- chord trigger MIDI fx plug-in
- modifier MIDI fx plug-in
- note repeater MIDI fx plug-in
- randomizer MIDI fx plug-in
- chaining MIDI fx – chord trigger + arpeggiator + note repeater
- MIDI piano roll editor, part 1
- MIDI piano roll editor, part 2
- match loop tempo with BPM counter and flex time
- creating soundscape soundtrack music with Alchemy + EXS24
- sculpture synth overview
- retro synth and the basics of synthesis
- ES2 synthesizer (PART 1)
- ES2 synthesizer (PART 2)
- track stacks, folder stacks and summing stacks
- beat mapping (part 1) – acoustic guitar and drummer plug-in
- beat mapping (part 2) – live drums, guitar and bass
- alchemy tutorial – part 1 – getting started, simple controls, browser
- alchemy tutorial – part 2 – sources, oscillators, filters, master controls
- alchemy tutorial – part 8 – make sequenced drum grooves with drum samples
- alchemy tutorial – part 9 – sampling, auto-map samples, looping, layering
- organize and categorize plug-ins with plug-in manager
organize and categorize plug-ins with plug-in manager
organize plug-ins by category, plug-in manager window, 3rd party plug-ins, plug-in validation, reset and rescan selection, disable or turn off plug-ins, assign plug-in to category, remove plug-in from category, create new category, put plug-in in two different categories
Logic Pro X – Organize and Categorize Plug-Ins with Plug-In Manager
alchemy tutorial – part 9 – sampling, auto-map samples, looping, layering
multi-sampled instruments, import multiple samples on each source, loop, modulate, layering, import audio, sampler mode, pitch mapping, alchemy identifies pitch of imported samples, looping, cross-fade, continuous loop mode, loop range, seamless loop, loop fade, attack time, release, convolution reverb, arpeggiator, import drum sample, turn off key scale, re-trigger, modulate with sequencer, import sample set files in sampler mode with pitch mapping, edit window to see auto-mapping, turn on continuous loop mode, set loop range within waveform, go thru samples and set loop ranges, cross-fade, loop xfade, soften attack, pull attack time, add effects to everything, layering
Logic Pro X – Alchemy Tutorial – PART 9 – Sampling, Automap Samples, Looping, Layering
alchemy tutorial – part 8 – make sequenced drum grooves with drum samples
audio files can be loaded into sources, file clear to re-set to default settings, import audio, turn off key scale, make voice monophonic, re-trigger, arppegiator, mode up, sequencer pattern, turn off key scaling, go to global, go to voice, make monophonic, turn on re-trigger, turn on sequencer using mode up, in arppegiator change rate/octave/length/pattern/swing/note velocity/split/latch, right click on volume knob then add modulation/ahdsr envelope/new ahdsr, drag envelope with mouse to change settings, turn on low pass filter, scoop out low end with filter, add wave-based sound, increase number of voices, detune, lower by an octave, panning, add effects to voices, effects tab, add reverb to everything using main tab, add effect to single voice, effects send, turn on effects in effects bus, change delay settings, change phaser settings
Logic Pro X – Alchemy Tutorial – PART 8 – Make Sequenced Drum Grooves with Drum Samples
alchemy tutorial – part 2 – sources, oscillators, filters, master controls
advanced features, sources, oscillator controls, global filters, source filters, voice control, master controls, 4 layer-able sources, global view, lfo and sequencer modulation, ahdsr, effects tab, click on source letters to the left to view the full set of source controls, virtual analogue oscillators, va mode, wait knob, fm filter, key scale option, loop mode, filters can be in serial or parallel, filter menu, cutoff frequency, resonance, drive knob, compressor, effects send, noise generator, oscillator symmetry knob, sync knob, unison options, detune, meter going to red means clipping, master controls: volume/pan/coarse tuning/fine tuning, voice controls control number of voices that can be played at once, legato, pitch bend, glide
Logic Pro X – Alchemy Tutorial – PART 2 – Sources, Oscillators, Filters, Master Controls
alchemy tutorial – part 1 – getting started, simple controls, browser
download additional content menu selection, sample manipulation synthesizer, manipulate sounds from Alchemy’s library, 3 main views: browse/simple/advanced, quality control settings: draft/good/great/ultra, ultra mode brighter and fuller sounding, preview in draft mode, print to sound file to save CPU processing, keep on ultra unless playback errors, combination of traditional wave-based and sample synthesis, modulate synth pad, 8 zone vector pad, snapshots, zones, 2 main ways to control X/Y pad: key trigger or key switch/use mouse afterwards to write in changes, rate menu amount of time to get from one zone to another, in project settings/recording/overlapping recordings in the overlapping recordings section under MIDI no cycle should be set to overlap to overlap key switch settings onto existing performance, raise buffer size to get rid of pops, quantize to whole note, play in section changes, quantize key switches, wheel control, modulation wheel, control modulation settings with modulation wheel, modulation knobs can be customized for any types of modulation, control X/Y pads with mod wheel, envelope controls: attack/decay/sustain/release, control X/Y pad with automation, latch/read automation modes, author prefers manual control of zones as opposed to key switching
Logic Pro X – Alchemy Tutorial – PART 1 – Getting Started, Simple Controls, Browser
beat mapping (part 2) – live drums, guitar and bass
create tempo map to live drums and quantize bass and guitar to it, wrap grid around drums and use as a timing reference to apply flex time to other instruments, manually map beat map to drums, go to global tracks, hit g to pull up global tracks, right click and select show beat mapping, show beat mapping transients, analyze transients, on a track that does not have beat mapper transients under beat mapping select analyze transients, click in ruler and pull down to left or right to map beat to new location, beats from region, use new grid and tempo map to sync base and guitar to drums using flex time, turn on flex time, quantize to whole notes, switch to division mode to do manual edits, manually sync to grid, quantize transients to drum timing grid
Logic Pro X – Beat Mapping (part 2) – Live Drums, Guitar and Bass
beat mapping (part 1) – acoustic guitar and drummer plug-in
wrap tempo around source recording, vary tempo in tempo track every bar or every beat, match grid to recording, opposite of flex time, bpm counter, sense tempo, match project bpm to audio bpm, beat map markers, relocate ruler marker in beat grid, match song end tempo slowdown to audio, add drummer track to be mapped to audio tempo, snap to bars, command r to repeat region additions, in drummer screen click follow checkbox and select track to follow, turn off snap mode then extend drummer region end to allow last crash to ring, drummer track syncs to audio track’s groove and tempo without using flex time
Logic Pro X – Beat Mapping (part 1) – Acoustic Guitar and Drummer Plug-in
track stacks, folder stacks and summing stacks
using stack tracks, folder stacks vs. summing stacks, group a series of tracks as a unit, move clips around as a group, use as summing track, aux mix, create track stack, folder stack/summing stack, snap regions to absolute value, snap regions to relative value, select then option then drag region for duplicate, automate-able, separate fader controls volume of whole stack, turn off automation display, cannot add fx to track stacks, summing track a multi-purpose track stack that mixes its subtracts and can be saved as patch, summing stack creates a single full channel in mixer where ef can be added, track stacks all about arrangement and ease of moving clips around, allows arrangements to be condensed and managed at macro level rather than micro, author finds using aux tracks for sub-mixes preferable to summing tracks, tracks stacks improves on older folder function from Logic Pro version 9
Logic Pro X – Track Stacks, Folder Stacks and Summing Stacks
ES2 synthesizer (PART 2)
ES2 synthesizer overview (part 2), using the xy pad for modulation effects, using live automation with the ES2 (bugged in 10.0.7), using vector mode and the vector envelope, assigning continuous controllers, randomize ES2 settings, more control over modulation parameters over time, xy pad, xy pad doesn’t save motion unless written in with automation, hit a to pull up automation, latch automation mode, live automation modes: read/touch/latch/write allow you to write in automation in real-time by moving a controller around, press play (not record) and move controller around, 2 shapes of automation generated: x and y axis, click on arrow to open 2nd automation lane, display x or y axis, view axis at same time, draw in shape, after writing automation mode change back to read, every knob or fader in ES2 is automate-able, delete all automation on selected track, vector mode is a vector envelope, lfo’s repeat, envelopes don’t repeat, vector envelopes allows many stages that can be repeated and looped, can go backward and forward, rhythmic motion sequences, gated synths, assign 2 modulation targets to be affected over time, increase intensity settings, choose xy vector mode, initialize vector envelope to a loop, right click clear envelope, create stages in vector envelope, vector mode like xy pad step sequencer, select solo point to play thru sound, loop rate, oscillator mix triangle pad is automate-able, change vector mode to mix for triangle pad automation, continuous controller options, if you don’t know which MIDI continuous controller number you need use learn to detect it as you use it, randomization, and button, random intensity, select feature to randomize
Logic Pro X – Video Tutorial 49 – ES2 Synthesizer (PART 2)
ES2 synthesizer (PART 1)
ES2 synthesizer overview, oscillators and filters, synthesis modulation: lfo’s/envelopes/routers, ES2 synth patches much more complex than retro synth, modulation routers, hold option click target in modulation routers to turn off, sine level, vector mode, ES2 has 3 oscillators, polyphonic mode, unison, voices, analogue, oscillator tuning, ring modulation, digi-waves, right click on sine beneath oscillators to change digi-waves, oscillator balance triangle, fm carrier wave, fine tune oscillators, independent de-tuning of oscillators, global controls: polyphonic/monophonic/legato/voice count/unison, unison activates analogue knob for rich chorusing, master volume, extra sine wave, flanger/phaser/chorus effect, hard/soft distortion, xy fader has nothing to do with knobs around it, turn filter wheel on or off, ES2 has 2 filters, filters can be in series or parallel, blend, cutoff frequency, resonance control, filter types: low-pass/hi-pass/peak/band reject/band pass, filter 2 is dedicated low-pass filter, cutoff slopes: 12db/18 db/24 db/fat, 3 envelopes: 2 for modulation techniques/1 for volume, time envelope option, modulation routers take modulation sources (mod wheel, fader, lfo, envelope) and pair it with element of synthesizer, vibrato effect example, each router has target and source, lfo 1 cannot be synced to beat clock and is polyphonic, lfo 2 can be synced to beat clock and is monophonic, depth of modulation fader, tremolo affects volume, vibrato affects pitch, modulating filter cutoff, bi-directional square wave, layer a filter sweep, via parameter is a way to control depth of modulation with a control source, create range for modulation, bypass routers, ES2 has huge amount of modulation routers
Logic Pro X – Video Tutorial 48 – ES2 Synthesizer (PART 1)
retro synth and the basics of synthesis
retro synth overview, understanding the basics of synthesis, oscillators, filters, lfo’s, envelopes, analog, oscillator sync, wavetables and fm, emulates classic sounds of analogue synths, wave sync-able, wavetable, fm, simple synth, synth fundamentals, oscillator waveforms: sign/triangle/square/sawtooth, sine has no overtones, triangle has a few overtones, square wave has every other overtone in harmonic series, sawtooth has all the harmonics in harmonic series, sawtooth is complex waveform, sawtooth is brighter, bitey-er, gritty-er, more complex, sine wave simplest, oscillator shape 1 and shape 2, blend between oscillators, pulse width modulation, noise generator, de-tune 2nd oscillator, tune 2nd oscillator octave higher, 100 cents in a semitone, cents can be used to de-tune for chorus effect, vibrato, settings, global controls, continuous controls, filter cutoff, aftertouch, velocity control, 3 controller options to: filter cutoff/wave-shape (pulse width)/lfo rate/vibrato rate, global controls, transpose, global tuning needs to factor in de-tuning between the 2 oscillators, bend (pitch), voices, legato, mono, legato nice for fast arpeggios, trills, polyphonic better for chords, voice de-tune adds further de-tuning for more chorus, double multiplies oscillators by 2, stereo spread spreads audio across wide stereo field, synthesis modulation parameters, filters, lo-pass, hi-pass, band pass, band reject, peak, cutoff frequency, resonance, cutoff, resonance is caused by feedback, key slider controls key tracking, key tracking is varying amount of a filter across keyboard, filter loo, filter envelope, lfo’s create repeating waves, filter sweep, sync to beat clock, 1 hertz means once a second, control depth of modulation, lfo shapes: square wave/triangle wave/sawtooth/reverse sawtooth/uni-directional square wave, amplitude envelope, velocity, use amplitude envelope to convert lead synth sound to pad sound, flanger, sine level, glide, set voices to legato, vibrato is pitch modulation, sync mode, master oscillator, slave oscillator, detune one or both oscillators, table mode, wavetable oscillator, many pre-set oscillator wavetables, fm mode, frequency modulation, fm synthesis, operators, modulator wave, carrier wave, sliders: fm/harmonic/inharmonic/shape/mix, sidebands are overtones
Tutorial 47 – Retro Synth and the Basics of Synthesis
sculpture synth overview
sculpture synthesizer overview, physical modeling synthesis, material pad, objects and string synthesis, modulation techniques, using the morph pad, vast, deep modulation, esoteric, sculpture simulates string sound, material pad, string display, 3 objects, delay, body eq, material: nylon/glass/wood/steel, inner loss, stiffness, media loss, resolution, tension mod, media loss controls dampening, resolution controls harmonics, tension modulation controls pitch drift in a string, hide, key scale, release, release, emulating dampening effect of a string, object 1 affects string using disturb types: impulse/strike/gravity strike/pick/bow/bow wide/noise/blow, bow/bow wide/noise/blow all sustain regardless of sustain setting, string display allows for placement of 2 pickups and the 3 objects across the virtual string, object 3 affects string with disturb types: disturb/disturb 2-sided/bouncing/bound/mass/damp, most object 3 settings require objects 1 or 2 to be active, object 2 has both impulse and disturb types: impulse/strike/gravity strike/pick/bow/bow wide/noise/blow/disturb/disturb 2-sided/bouncing/bound/mass/damp, gate: key on/always/key off, filter: hi pass/lo pass/peak/band pass/notch, key tracking, cutoff, resonance, velocity sensitivity, waveshaper, waveshaper can be glitchy – click on/off on hide mode if it gets stuck, waveshaper simulates tube or transistor overdrive: soft saturation/vari drive/tube-like distortion/scream, input scale, variation, delay, wet level, feedback very similar to real-world, body eq: lo mid hi and many other options, eq signatures, volume envelope, some object settings like bow over-ride envelope attack, use spread to create stereo spread effect across pickup or key, level limiter, use level limiter: both to prevent clipping in synth, voice count, keyboard modes, poly, mono, legato, 2 lfo’s can be assigned to anything, morph pad, lfo 1 has 2 targets, rate, sync, waveform, phase knob controls whether poly or mono, curve softens wave, jitter modulation is a random effect, input scale, lfo vibrato, velocity/note on randomizer, MIDI controller options, morph pad, morph pad allows you to change anything that has red dot or orange with red next to it, morph pad can be automated, morph pad movement can be programmed in an envelope or manually, record morph pad movement, see envelope mode to see manually drawn morph pad movement shape, sync morph pad movement to musical timing, evolving morphing modulation effect, envelope has 2 targets, typical envelope
Logic Pro X – Video Tutorial 58 – Sculpture Synth Overview
creating soundscape soundtrack music with Alchemy + EXS24
create ambient atmospheric synths using Alchemy and EXS24, soundscape, dark, spacey ambient background music, sculpt sound, clear patch build setting, import audio, plucked string sound, pizzicato, volume, size, density, rtime, rpan, number of taps, taps spacing, stereo offset, AHDSR, attack, hold, decay, sustain, release, Alchemy arpeggiator, rate, octave, length, pattern, swing, note velocity, split, latch, mode random, sync, trigger, maximum number of voices, delay designer, audio fx/delay/delay designer/stereo, delay designer setting: complex filtered/ease in 04, change grid, increase dry and wet in mix, space designer: audio fx/reverb/space designer/stereo, space designer setting: large spaces/warped spaces/03.6s seep space, adjust dry signal, ambient arpeggiated sound, exs24, load stock settings, channel eq, notch, pitch shift plug-in, tremolo plug-in, adjust sample rate, fade in with automation, turn on track automation
Logic Pro X – Creating Soundscape Soundtrack Music with Alchemy + EXS24
match loop tempo with BPM counter and flex time
conform loops to a session tempo using the BPM counter plug-in and flex time, use BPM counter to sense tempo of non-Apple loops and use flex time to adjust playback speed of multiple loops to conform to central tempo, turn click volume up in metronome by right clicking on metronome icon and selecting metronome settings and increasing volume, select BPM counter from channel strip menus: audio fx/metering/BPM counter/stereo, use drum loop as reference tempo, problems with loops with low transients improved with: audio fx/dynamics/enveloper/stereo, enveloper plug-in, increase attack time and amount, decrease release time, increase punch, enveloper used temporarily to capture BPM, may take a little tweaking to get BPM, turn on flex time, polyphonic mode, change tempo, find native tempo of loop then apply flex time while session has that same tempo then go to desired tempo, turn on complex mode
Logic Pro X – Match Loop Tempo with BPM Counter and Flex Time
MIDI piano roll editor, part 2
more piano roll editing, using scale quantize, view multiple MIDI regions by region colors, working with snap modes, understanding the grid, quantization strength, create harmony, duplicate data using option key, duplicate track, scale quantize option, colorize regions, snap modes, bar mode, beat mode, division mode, show custom view in transport to change division of the grid using custom view, smart mode snaps to grid but can be off grid, ticks and frames, ticks for musical, frames for SMPTE, snap regions to relative values, snap regions to absolute values, quantization strength, more human feel with quantization strength
Logic Pro X – Video Tutorial 28 – MIDI Piano Roll Editor, part 2
MIDI piano roll editor, part 1
changing time signature with global tracks, piano roll edit tools, quantization and the quantization tool, note overlap correction and force legato, understanding velocity and the velocity tool, MIDI input filter, step input and disable note output, create and edit MIDI, matrix editor, change time signature, meter, show global tracks, signature, show/hide signature, double-click on MIDI region to open piano roll editor, click on MIDI region then command 4 to open piano roll editor in full window, click on green midi out icon to stop sound from playing any time region is touched, quantization, time quantize value, get rid of note overlap, fill gaps between notes, forced legato fills gaps, trim commands, pointer tool, pencil tool, eraser tool, finger tool, scissors tool, glue tool, mute tool, quantize tool, zoom tool, velocity tool, velocity slider, turn off aftertouch, polyphonic aftertouch, step input, create new MIDI region with right click, step input keyboard, red turn step input off icon, mass edit MIDI data, catch playhead button makes window follow playhead
Logic Pro X – video tutorial 27 – MIDI piano roll editor, part 1
chaining MIDI fx – chord trigger + arpeggiator + note repeater
MIDI fx plug-ins: chord trigger/arpeggiator/note repeater, add additional MIDI fx above or below each other, chaining MIDI fx, bass machine breakdown, bad order, make synth polyphonic/monophonic, arpeggiator, chord trigger, multi or single mode, learn mode, note repeater, MIDI delay, transpose by semitones, velocity ramp, audio fx, stereo delay, take something very simple and make it complex
Logic Pro X – Chaining MIDI FX – Chord Trigger + Arpeggiator + Note Repeater
randomizer MIDI fx plug-in
using the randomizer MIDI fx plug-in, controlling a filter cutoff with the mod wheel in the ES2, randomizing velocity events, fixing velocity to maximum value (127), randomizing modulation wheel events, introduction to the step editor, randomize velocity and modulation wheel, depth of synth modulation, hammer lead synth, randomizing velocity, es2, constrict or expand the range of randomization, input range, randomization range, weight is how often are higher or lower values going to be triggered, output offset, step editor, edit MIDI continuous controllers: volume/pan/modulation/pitch bend/ch. pressure/poly pressure/ writing MIDI automation old school way, grid value, pencil tool, line tool, write modulation wheel message into MIDI region
Logic Pro X – Video Tutorial 42 – Randomizer MIDI FX Plug-in
note repeater MIDI fx plug-in
using the note repeater MIDI fx plug-in, adding and transposing MIDI note repeats, understanding semitones and octaves, creating a velocity ramp, MIDI delay, transpose, thru, repeats, transpose, semitones, velocity ramp, rate of delay, simple plugin to use
Logic Pro X – Video Tutorial 41 – Note Repeater MIDI FX Plug-in
modifier MIDI fx plug-in
using the modifier MIDI fx plug-in, convert control messages, re-assign continuous controllers, bypass a cc by setting scale to 0%, modify and convert one control value to another control value, utility
Logic Pro X – Video Tutorial 39 – Modifier MIDI FX Plug-in
chord trigger MIDI fx plug-in
using the chord trigger MIDI fx plug-in, single vs. multi mode, play chords with trigger notes, multi mode much more useful, clear, learn, transpose, set range for chord triggers in multi mode, clear all by holding option, save as preset
Logic Pro X – Video Tutorial 38 – Chord Trigger MIDI FX Plug-in
arpeggiator MIDI fx plug-in
using the arpeggiator MIDI fx plug-in, latch modes, adjusting the rate and note order, tabs: pattern/options/keyboard/controller, live vs. grid mode, pitch quantizing arpeggios to a particular key, assigning MIDI cc’s to arpeggiator controls, MIDI insert on channel strip, latch mode, latch modes: reset/transpose/gated transpose/add/add temporarily/through, delete last, clear, note order, rate, arpeggio direction, note order modes: ascending/descending/up and down/outside in/random/as played, silent capture, variation, octave range/inversions, beat clock, lock, live mode can be used for almost everything, quantize MIDI data, 2 types of presets:everything/pattern, note length, randomize, velocity range, swing, steps, staccato, legato, if arpeggio velocity is not working make sure synth is set up for it, swing, cycle length, grid, as played, scale, input snap, key, scale, quantize, keyboard split, remote, MIDI continuous controllers, learn, map MIDI continuous controller to any of the knobs in the options tab
Logic Pro X – Video Tutorial 37 – Arpeggiator MIDI FX Plug-in
more flex pitch, convert audio to MIDI
separate and merge notes, adjust pitch drift, adjust gain, convert audio to MIDI with flex pitch, double-click on region to open track editor, hit e on keyboard to open editor, if flex pitch inspector isn’t showing go to view menu and select show local inspector, pitch correction, separate 1 note to 2 using scissors tool, carefull to use the track area tools (left click/command-click) not arrange area tools, use glue tool to merge notes, 6 hot spots: pitch drift in/fine pitch/pitch drift out/formant shift/vibrato/gain, convert audio data to midi data works better with instrumental material than vocals, create MIDI track from flex pitch data works with monophonic sounds
Logic Pro X – Video Tutorial 24 – More Flex Pitch, Convert Audio to MIDI
flex pitch and vocal tuning
using flex pitch, altering instrument melodies, tuning vocals, create artificial vocal harmonies, flex pitch adjusts tuning and pitch, flex pitch track editor, time quantize, quantize pitch using scale quantize, pitch correction, flatten vibrato in vocal track, artificial vocal harmony process, 6 hot spots: pitch drift in/fine pitch/pitch drift out/formant shift/vibrato/gain, formant shift controls overtones in human voice, lower formants means lower overtones, more formats means more overtones, author prefers meladyne because more stable and accurate for pitch correction than flex pitch, work in small chunks in flex pitch not entire track, clear clean toned vocals work better in flex pitch than rough and raspy vocals
Logic Pro X – Video Tutorial 23 – Flex Pitch and Vocal Tuning
varispeed, toggle on/off Logic’s advanced tools, using varispeed, tempo changes with varispeed, pitch changes with varispeed, varispeed from tape world, change display to custom view, turn varispeed on in transport control, toggle on/off varispeed, speed only option in transport changes playback speed of song without affecting pitch, varispeed (speed and pitch) option affects both tempo and pitch of project, detune (semitones.cents) option shows how many semitones the adjustment is, tuning reference (Hz) option shifts song up or down in Hz, varispeed and midi option essentially the same results as varispeed (speed and pitch) option, author slammed varispeed and midi option
Logic Pro X – Video Tutorial 22 – Varispeed
tempo changes with flex time
create tempo changes with flex time, make audio conform to tempo changes, explanation of time bases (samples versus ticks), using the global tempo track, using the tempo list, MIDI and Apple loops conform to tempo change natively, change timebase to ticks, relative timebase, flex time automatic, turn on complex option when using flex time polyphonic, digital artifacts occur when bpm is increased by at least 10 to 20 bpm, change tempo across time, show global tracks, tempo track, accelerando speeds up, ritardando slows down, list editor, tempo list
Logic Pro X – Video Tutorial 21 – Tempo Changes with Flex Time
flex time part 3 – speed and tempophone
speed mode, tempophone mode, adjusting the sensitivity of transient markers, create speed and tempo phone effects with loops, enable flex time, create single or 3 flex markers, slicing, snap mode, rhythmic mode does not affect pitch of recording when tempo changes, speed mode is like varispeed effect, compressed waveform region increases playback speed, stretched waveform region decreases playback speed, tempophone produces mechanical sound that has a lot of digital artifacts, kind of affects pitch, tempophone uses granular synthesis, file editor, increase or decrease sensitivity of analysis in transient editing mode, speed and tempophone effects, click within region and stretch or compress
Logic Pro X – Video Tutorial 20 – Flex Time Part 3 – Speed and Tempophone
Logic Pro X User Manual
flex time part 2 – rhythmic and slicing
rhythmic mode and slicing mode good for drums and percussion, phase issues with groups and multi-track drums, chop up a loop or song with flex time, edit group, editing and phase-locked audio, transient markers, phase issues in rhythmic mode with multiple tracks, working in rhythmic mode with single track no issue, quantize multiple tracks simultaneously, slicing mode best for drums and percussion with gaps between events, trick with drum loops and flex time, slice at transient markers
Logic Pro X – Video Tutorial 19 – Flex Time Part 2 – Rhythmic and Slicing
flex time part 1 – polyphonic and monophonic
using flex time, flex modes, polyphonic mode, monophonic mode, editing transient and flex markers, quantizing audio with flex time, turn on flex, show/hide flex, time compression/expansion, quantize transients, fix timing, snap mode, delete flex markers, complex option in polyphonic flex mode for audio improvement, create new flex marker, transient editing mode, transient marker, render to audio file
Logic Pro X – Video Tutorial 18 – Flex Time Part 1 – Polyphonic and Monophonic
Ultrabeat (part 3) step mode and multi-output
using step mode, mixing Ultrabeat in multi-output mode, aux tracks, step sequencer, step sequencer control of Ultrabeat synthesis parameters, multi output mode, Ultrabeat aux tracks, groups, adding effects to Ultrabeat aux tracks
Logic Pro X – Video Tutorial 53 – Ultrabeat (PART 3) Step Mode and Multi-Output
Ultrabeat (part 2) drum synthesis
understanding the synthesis of Ultrabeat, filter and distortion units, layering noise with a sample/phase/fm/side chain and modeling oscillators, importing sounds from other kits, oscillator 2 pitch control, filters: lp/low-pass, hp/hi-pass, bp/band-pass, br/band-reject, 12 db slope, 24 db slope, cutoff frequency, resonance, tonal change by velocity, distortion, oscillator 1 layer, phase oscillator, envelope 4, fm synthesis, noise generator, dirt, 2 band eq, modeling oscillator recreates real-life timbres, side change loop slices and controls sections of a loop, import kit, drum banks nothing but snares (or kick, or toms, or whatever)
Logic Pro X – Video Tutorial 52 – Ultrabeat (PART 2) Drum Synthesis
Ultrabeat (part 1) sequencing and sampling
using the step-sequencer to build drum patterns, dragging patterns to the arrange window, drag and drop samples kit, 1-shots and envelopes, hi-hat groups / monophonic groups, easy to use, multi-output, built-in sequencer, blue volume bars, mute, solo, pan, synthesizer, step sequencer, full view, pattern menu, sq, start pattern using ultrabeat play button, copy/paste/clear pattern, create pattern on-the-fly, add every downbeat, add every upbeat, quick swipe to add or remove events, copy and modify pattern, adjust velocity, note gate affects length, sequence drag and drop, drag to arrange window, ultra beat sequencer on/off, repeat regions, trigger patterns live, swing, pattern resolution, drag and drop samples kit, blank kit, free samples at sample swap.org, 1-shot, extend sample length of sound using envelope 4 for full tail, set max and min velocity on waveform location, exclusive group/hi-hat group/choke group, open closed hi-hat
Logic Pro X – Video Tutorial 51 – Ultrabeat (PART 1) Sequencing and Sampling
EXS24 tutorial (part 3) alternating samples and velocity layers
alternating samples and velocity layers, sampling acoustic drums, round robin (alternating samples) technique, velocity layers technique, hyper-realistic drums, alternating samples of same instrument, groups, round robin format convoluted process in Logic Pro X, velocity layers, different velocities triggers different samples, zone group re-naming glitch, sample velocity range, de-tuned, velocity sensitivity using samples
Logic Pro X – Video Tutorial 56 – EXS24 Tutorial (PART 3) Alternating Samples and Velocity Layers
EXS24 tutorial (part 2) drum sampling, groups, multi-output
drum sampling, using groups to organize samples, mixing drums in multi-output mode, audio file naming for EXS24, 1-shot, manual sound assignments to keys, gm drum kit format see MIDI.org, edit mode, root key, un-check pitch checkbox ignores root key and keeps original pitch of file, aux outputs, zone group, groups, aux tracks, panning within a group
Logic Pro X – Video Tutorial 55 – EXS24 Tutorial (PART 2) Drum Sampling, Groups, Multi-Output
EXS24 sampler tutorial (part 1) sample management and auto-map, applying synthesis
sample file management, in EXS24b preferences: read root key from file: filename/file for better auto-mapping, load multiple samples, extrapolate pitch, building and naming EXS24 instrument, if files are musically named by note/octave/sharp use auto-map by reading root key from audio file, if files are named numerically use contiguous zones for auto-mapping, 1-shot option for drums typically, legato, glide, vibrato, syncronize EXS24 to hertz or beat clock, lfo, filter sweep, filter cutoff
Logic Pro X – Video Tutorial 54 – EXS24 Sampler Tutorial (PART 1) Sample Management and Automap
create your own Apple loops
Apple loops, creating Apple loops, editing loops with marquee tool, using snap mode: bar, adding regions to the loop library, adding loop search parameters, Apple loop trim glitch error in Logic Pro X 10.0.3, snap mode, left click tool, command click tool, loop browser, adding to loop library, index loop into loop library, import tempo
Logic Pro X – Video Tutorial 08 – Create Your Own Apple Loops
Apple Loops Utility: Create Apple loops from audio files
zoom controls, zoom shortcuts, waveform zoom
using the zoom tool, zoom to fit window, waveform zoom, individual track zoom, zoom shortcuts, control/option for zoom tool, option/mouse wheel for vertical zoom, option/command scroll up or down for horizontal zoom, option/command scroll left or right for vertical zoom, z toggles fit in window, selected region then z toggles zoom to region, zoom tools menu, adjust individual track zoom, zoom default height
Logic Pro X – Video Tutorial 09 – Zoom Controls, Zoom Shortcuts, Waveform Zoom
import audio files, export audio files
import audio files, export audio files, export all tracks to stems, sample rate, bit depth, convert file, change project, playback speed issues, export track, export region, scissors tool, bypass effect plugins, include audio tail, include volume/pan automation, overload protection, all tracks as audio files, bip, bounce in place
Logic Pro X – Video Tutorial 07 – Import Audio, Export Audio, Export All Tracks
cycle record, loop record, duplicate tracks
audio recording techniques in Logic X, using cycle record (loop recording), duplicating tracks, combining takes with quick swipe comping, take folders
Logic Pro X – Video Tutorial 06 – Cycle Record (Loop Record), Duplicate Tracks
quick punch, punching in vocals
audio recording techniques in Logic X, using quick punch-in, punching in vocals, take folders, quick swipe comping, flatten and merge
Logic Pro X – Video Tutorial 05 – Quick Punch, Punching In Vocals
transport, colorize regions, cycle mode
functional & navigational aspects of Logic X, transport controls and key commands, colorize regions, using cycle mode, set key commands to default setting, US key command keyset, play from selection button, arrange window, inspector, toolbar, cycle mode, auto set locators
Logic Pro X – Video Tutorial 02 – Transport, Colorize Regions, Cycle Mode
autopunch, quick swipe comping, low latency mode, control bar
audio recording techniques in Logic X, low latency mode, adding icons to the control bar, using auto-punch, intro to take folders and comping, using quick swipe comping, flatten and merge, i/o buffer size, monitoring volume versus gain on audio interface
Logic Pro X – Video Tutorial 04 – Autopunch, Quick Swipe Comping, Low Latency Mode, Control Bar
sample rate, bit depth, i/o buffer, setting up for recording
setting up for recording, adding a guitar or bass track, understanding sample rate, understanding bit depth, understanding i/o buffer, changing the recording file type
Logic Pro X – Video Tutorial 03 – Sample Rate, Bit Depth, I/O Buffer, Setting up for Recording
getting Started in Logic 10.3
downloading and installing sound library, setting up audio interface, turning on advanced tools, understanding layout and navigation, transport, zoom controls, workspace, building basic instrumental arrangement, using loop, drummer, and software instrument, bouncing, i/o buffer size, latency, control key commands, extending loops, quantize, convert loop to real copies, repeat sections, organize project as package or folder
LOGIC PRO X 101 – #01 Getting Started in Logic 10.3
getting started in Logic X
Logic project folder, create a track, quantize, Apple loops, loop browser, select a track and create a track of same type, legacy Logic, MIDI effects, arpeggiator, horizontal and vertical zoom, bounce, bounce range, bounce dialogue
Logic Pro X – Video Tutorial 01 – Getting Starting in Logic X
manchester ian drummer, seismic ronnie drum machine, multi-output tracks, drum verb bus, drummer drives traditional drum-kit and drum machine instrument, drummer kit customization, drummer pattern programming, fills, pattern dynamics, mixer aux tracks, track groups, project templates, screen-sets.
Logic Pro X – Video Tutorial 45 – Drummer Plug-in (PART 1)
Logic Pro X – Video Tutorial 46 – Drummer Plug-in (PART 2)
quantization on a rough midi pattern, guitar track using clean marshall sound (studio re-issue), guitar loop recorded as loop recording.
I was introduced to BB Bugaloo by Vince Salerno in summer of ’85.
BB was born Justice Obed, living in Takoradi, Ghana near the central western coast of Africa. Friends from his soccer team heard him singing to James Brown and Sam Cook songs in a nightclub. One of them played bass in a local band and invited him to audition. BB joined the band and they were soon opening for one of Ghana’s top acts, BB Dynamite. Around this time, Justice Obed became BB Bugaloo.
The band quickly gained a following. It was said that BB Dynamite had the showman moves, but BB Bugaloo had the voice. Soon the band was touring extensively. First, throughout Africa, then across Europe with extended stays in France, Sweden and Italy. In 1979, a member of the American consulate saw BB performing at a nightclub. He complimented BB, and promised that if he ever wanted to take his talent to the US, he would help him with his visa.
BB arrived in the states in spring of 1980, spending a short time at Berkeley School of Music in Boston. After his money ran out, friends convinced him to join them in Chicago. BB was soon fronting African reggae band, Asafo, playing African expat bars on the south side at night, during the day parking cars as a garage attendant. That’s where he heard Vince practicing his sax under the Columbus Drive bridge, and invited him to join them.
In the summer of 1985, BB went into the studio with Asafo to record his first American album. The project was produced by Eric Schuurman for African businessman Robert Barimah Minta who released it in Europe.
BB is currently living in Ghana.
The world began and the little boy sat on the shore looking out across the ocean. The old man approached the boy, stopping near the fence between them, and motioned to him. When the boy approached, the old man spoke to him: “A stranger has come who will be staying for awhile. He dreams of diving for pearls here.” The little boy nodded and wondered what this meant.
The next day as the boy was day-dreaming, a stranger came from the forest path and walked thru the gate in the old man’s fence. He carried a small black case and didn’t seem to see the boy. The boy watched as he surveyed the rocky shoreline, stepping on the boulders, looking out across the waves. He settled on the largest one jutting far out into the sea, placed the black case at his feet, and removed his shoes. After securing the small case to his belt, he paused, then crouching, threw his arms back and sprang out from his perch, diving in a long graceful arc into the deep blue water. After an impossibly long submergence, he re-surfaced, climbed back onto his boulder, placed his case on the ground, then stretched out, resting in the sun.
This became the stranger’s routine. The little boy noticed that other than his black case, the pearl diver always emerged from the surf empty-handed. He wondered when the stranger’s precious pearls would be laid out in the sun to an admiring world. Day after day the stranger did this, as days became weeks, weeks became months, months became years, years became decades.
One day, the boy saw the old man and called him over. “What does he do beneath the surface, and what is in his small case?” The old man replied, “Well, my boy, there is something very special in his case. In it are sand grains from another world. He plants them in the oysters hoping to grow and present us beautiful, mysterious pearls.” “So where are his wondrous pearls?” the boy asked. “Son, the reason why is unknowable, but the oysters reject the sand grains from another world. That is why he emerges empty-handed.” Disappointed, the little boy now understood.
On the day the end of time arrived, the little boy and the old man stood together and watched as the stranger rose and walked past them empty-handed, other than his small black case. “Is he sad?” the little boy asked. “No. He has enjoyed his time diving in the ocean” the old man explained. The little boy admired the stranger for being brave and stoic. The old man watched as the stranger departed and wondered if that was a tear he saw in his eye. The stranger continued down the path, disappeared into the forest, and the world ended.
The Sunday Herald
November 2, 1980
A Closer Look
Turning inner city despair into jubilation
by Anna Madrzyk
“The place was really in bad shape. Like no heat, no hot water… We would get up, and we would have to heat water to wash up in the morning; plus we would have to turn on our ovens to keep warm. It was just terrible.
We didn’t have any security in the halls, and addicts were running in and out. I was afraid for my kids to just come over here and visit… I wouldn’t dare to open my door, because so much went on in the hall. Addicts were beating up their girlfriends and things. A man got hit, beat up. Right in front of my door.”
Viola Taylor is black, middle-aged and poor. She lives with her husband, Charles, in a Washington, D.C. ghetto just two miles north of the White House.
But today, the rat-infested, crumbling apartment building the Taylors moved into is an inner-city success story, rather than a pit of despair.
It was purchased by Jubilee Housing, Inc., a non-profit organization that grew out of a small church’s mission to help the poor.
Since 1973, Jubilee has bought several slum buildings and, through the efforts of tenants working side-by-side with volunteers from across the country – including a contingent from the First Presbyterian Church in Arlington Heights – is turning them into decent places to live.
Jubilee’s unique approach to inner-city housing rehabilitation spurred big-name corporations and high-powered legal firms to offer financial help and donate their expertise. It attracted such Washington, D.C. movers and shakers as First Lady Rosalynn Carter, Washington Post Publisher Katherine Graham and former Secretary of State William Rogers to serve on its support committee.
And it inspired Barrington resident Richard Schuurman – a 54-year-old former executive whose career included nine years as president of an Oakbrook insurance firm – to change his life.
At a time when most people would be looking forward to a few years on easy street, with their children grown and heavy financial responsibilities over, Schuurman accepted a volunteer position as director of Jubilee’s development office.
He spends every other week in Washington, leaving his spacious suburban home – with its view of 2 1/2 wooded acres, spectacular sunsets and a water lily pond stocked with golden fish – for the inner-city of the nation’s Capitol. There, he sleeps on a mattress in a small row house right in the Adams-Morgan neighborhood that Jubilee is helping rehabilitate.
“The first night there I was very, very apprehensive,” Schuurman recalled. “If you’re afraid of roaches, you’d better stay out of the whole area. It’s just a way of life out there.”
He pondered the decision to leave the business world for months before joining Jubilee. “I guess I look at life differently than when I was 24 or 34 (years old),” Schuurman explained. “I just came to a point where I said, ‘what’s this all about?’ I was not particularly unhappy with what I was doing, but I just didn’t find anything really fulfilling in it anymore.”
“It was a difficult decision. It meant shifting my whole life, turning it around 180 degrees.”
Schuurman says he had the complete support of his wife, Ann, who has her own business: three very successful employment agencies, located in Barrington, Streamwood and Elgin.
“I had to work through the idea of working for a pittance while my wife would be the chief breadwinner, because we live in a culture where your identity is tied in with your breadwinning activities,” he said. “It was my problem, and I am so thankful I was able to work through it. We still have an adequate income to live the way we always did… I can’t say it was a great sacrifice in that sense.”
As director of development for Jubilee, Schuurman will be traveling around the country during the next few months with his associate, a tenant of one of the apartments, seeking desperately needed funds from selected private foundations and firms.
He’s In a race against time, because the strategically located Adams-Morgan neighborhood is rapidly changing. Already, there are $180,000 townhouses going up across the street from tenements. Soon, Jubilee officials fear, rising property values will push the cost of the apartment buildings way out of the non-profit organization’s price range. The process of “gentrification,” Schuurman says, threatens to leave Washington’s poor “with literally no place to go.”
Jubilee’s goal is to secure 20 percent of the housing in the Adams-Morgan neighborhood for poor families. To achieve it, the organization must complete an ambitious five-year expansion program, which will require raising $3 million in funds just the first year. Currently, Jubilee owns five small apartment buildings in Adams-Morgan and a sixth dwelling in another neighborhood.
While other inner-city rehabilitation projects have reverted quickly back to slums, Jubilee is successful because it requires that residents assume responsibility for their living conditions, Schuurman said. Renovation projects patterned after Jubilee have started in Denver, Louisville, Baltimore and Alexandria, Va.
“This is not a matter of a group of middle-income people who come into a neighborhood and want to ‘do good,'” he said. “We have a very deep commitment to getting these people to help themselves. We require the residents to attend classes, learn how to handle the operation of the buildings, preparing them to take over the building as time goes by as cooperative housing and eventually to own the buildings themselves.”
Resident Viola Taylor, who serves on two committees for her building – admissions and construction/maintenance – was taught how to spackle and paint by her husband Charles, who is chairman of the construction committee. “I don’t mind working, trying to make the hall look decent. I feel proud,” Mrs. Taylor told a Jubilee staffer who interviewed her for a publication.
Some residents were suspicious of Jubilee at first, Schuurman said, and there are still a few who are just “along for the ride” and don’t do their share of the work. But overall, participation is good and many residents are deeply involved. Besides decent housing, Jubilee offers below-market rents for residents whose family incomes average $5,000 to $6,OOO a year.
The Jubilee approach to improving the quality of life for ghetto residents is “holistic,” Schuurman said, encompassing a variety of social services as well as housing. In the neighborhood, there is a Montessori School for damaged children, a nutrition program for the elderly, a health clinic and Potter’s House, a combination bookstore-coffeehouse that was the first mission of the Church of the Savior, the tiny, ecumenical church on Washington’s Embassy Row that launched Jubilee.
Once a year, the Washington luminaries on Jubilee’s support committee attend a dinner with residents. “It’s dynamic to watch those with power sit down with those without power and see what happens,” Schuurman said. “They discover they have a lot in common – Mrs. Carter’s got Amy just like Rosa Hatfield’s got her four children, and the problems are the same.”
Like the other successful businessmen who have become involved in Jubilee’s work and who discuss their feelings about it on a 12-minute promotional tape used in fundraising efforts – Richard Schuurman finds his new job absolutely fulfilling. It has “deepened my spiritual life greatly,” he says.
“Up to now, I guess, I gave to the causes the church supports but I never had a sense of personal participation in it,” Schuurman said. “There’s a great deal of difference between writing out a check and working with poor people to help solve their problems. I am a lot more sympathetic to the plight of the poor people than I ever have been before.”
Schuurman said the experience has taught him something about his own lifestyle. “You can get by,” he says. “We live so lavishly in our suburban culture. You can get by on much, much less and still be happy.”
Yerkes Observatory, built in 1895, is a historic astronomy research institution near the north shore of Geneva Lake in Wisconsin, owned by the University of Chicago. In early summer 2018, My sister Patty told me Yerkes Observatory was ending its public tours in October. In late June, I drove up there to take a look around, and to get some photos of Yerkes. Patty and Paul recently bought a cottage near the north shore, east of Yerkes, across Williams Bay. My grandfather originally had rented a cottage for his kids in Williams Bay many years ago. Eventually he purchased one near the south shore when his kids had families. Each family would spend about 3 weeks there during the summer. My parents later owned homes there, and eventually Patty would as well. Our earliest memories of Yerkes were viewing it across the lake from the south shore. Above the trees, you could clearly see the 3 observatories: the large one at the west end and the two smaller ones east. Lately, the smaller ones have become harder to see as the trees have matured further and begun to obscure their view from the lake. My parents took us on the Yerkes tour when we were young and we observed the interior of the majestic structure we previously only viewed on the horizon above the shoreline. We are hoping that Yerkes’ historic significance is appreciated and the institution is respected and endures.
In human history, globally disruptive transformations have occurred after sets of events converged and social, political, or environmental pressures led to annihilation of the status quo. We are in such a cycle now. Step back, look from a distance, and it is apparent that the shape of current events perfectly fits the profile of an approaching apocalyptic realignment. A Boomer, I watched the Cold War end in my twenties. It’s easy for me to see the stretch since then as a history book chapter where an era began with optimism and idealism, followed by unforeseen, conflicted, seemingly random world events that proved unresolvable, leading to a disintegration that changed everything for everyone. These pressures exist around us now and are building. We all know what they are. We face evidence of them every day. It is unknowable how this will come to a head. Some of us will be swept away. Some will adapt and endure. Some will prosper. There is no survival preparation for this, other than eyes wide open and get right with your neighbor, family and yourself. It’s coming. No-one escapes untouched. Good luck!
Riding my stationary bike, eyes closed in my quiet basement, I peer into the Next Thing, which I’m closing in on. I think my spirit won’t just dissipate, it will carry on in some form to the benefit of the species, to life itself. I’ll rejoin the ocean of souls from where I once emerged. I believe I will reconnect with loved ones and other people from my life. Maybe in this thing we can re-configure and see each other again from our old eyes, but shared. This omnipresent entity we are absorbed by will free us of the barriers of individual creatures driven by self-preservation in the physical world. From it we will re-constitute and precipitate again as new, original beings. Our souls spring from a joined source of retained memory, perhaps. Life advances, new and improved.