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
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.
Music Project Playlists:
The band, 1984.
By spring of ’84 I needed to reinvent myself. I decided to take a break from St. Vitus Dance and see Europe. I wrote a batch of songs, playing them on guitar and harmonica. I recorded them and made copies to sell while busking on my trip. The Europe visit was a very conscious effort to change direction. These songs are the fruit of that reinvention.
Recorded in Lake Geneva, WI in spring 1984.
Words, guitar and harmonica by Eric Schuurman.
- Love Dangerously LyricsLove Dangerously
- Johnny Thirteen LyricsJohnny Thirteen feat. John Halka
- Monkey and the Button LyricsMonkey and the Button feat. Natalia Schuurman
- Splinter LyricsSplinter
- First Chapter Elizabeth LyricsFirst Chapter Elizabeth
- Nightsweats (Tongues of Jakob) LyricsNightsweats (Tongues of Jakob)
- See Through Me LyricsSee Through Me
- Home Prayer LyricsHome Prayer
- Jettison LyricsJettison
- Far Enough Away LyricsFar Enough Away
- Baltic Rain LyricsBaltic Rain
- Wade in the Water LyricsWade in the Water
- For Nothing More LyricsFor Nothing More feat. Stan Borys
- New Amerika LyricsNew Amerika
- Maybe It’s the Way LyricsMaybe It's the Way feat. Tom Waicunas
- Sense of Humor Lyrics
Sense of Humor feat. Tom Waicunas
- Midnight Shuffle Lyrics
Midnight Shuffle feat. Tom Waicunas
- What You Gonna Do Now? Lyrics
What You Gonna Do Now? feat. Tom Waicunas
- Techno Blues Lyrics
Techno Blues feat. Tom Waicunas
- My Phone Got Disconnected LyricsMy Phone Got Disconnected feat. Tom Waicunas
- Love Dangerously LyricsLove Dangerously feat. BB Bugaloo
- Mr. Pitiful LyricsMr. Pitiful feat. BB Bugaloo
- Brand New Cadillac LyricsBrand New Cadillac feat. BB Bugaloo
- Fa Fa Fa Fa Fa Sad Song LyricsFa Fa Fa Fa Fa Sad Song feat. BB Bugaloo
- Love Dangerously Demo LyricsLove Dangerously Demo
- In My Hour Lyrics
In My Hour
- Vineyard Homicide LyricsVineyard Homicide
- Winterline LyricsWinterline
- Resurrection LyricsResurrection
- Too Many Pieces LyricsToo Many Pieces
- Take Care of Love LyricsTake Care of Love
- Apology LyricsApology
- Homeward LyricsHomeward
- Greenwich Mean Time LyricsGreenwich Mean Time
- Strange LyricsStrange
- Dressed in Black LyricsDressed in Black
- Airplane Dreams (Instrumental)Airplane Dreams
- The Hand in My Head LyricsThe Hand in My Head
- Waiting in the Rain LyricsWaiting in the Rain feat. Stan Borys
- Liturgy LyricsLiturgy
- Marionettes LyricsMarionettes
- Heaven is Far Away LyricsHeaven is Far Away
- Klepsydra (Instrumental)Klepsydra
- Time Falls, Run LyricsTime Falls, Run '87
- Time Falls, Run LyricsTime Falls, Run '85
- World Away LyricsWorld Away
- Follow the Moon LyricsFollow the Moon
- Snack LyricsSnack
- Blessed LyricsBlessed
- Autumn ’85 (Instrumental)Autumn '85
- American Séance LyricsAmerican Séance
- Exhilarated LyricsExhilarated
- Goodnight Godspeed LyricsGoodnight Godspeed
- If You Were Mine LyricsIf You Were Mine
- Little Miss Mystery Kiss LyricsLittle Miss Mystery Kiss
- Season of Danger LyricsSeason of Danger
- Recklessly Yours LyricsRecklessly Yours
- On the Road Again LyricsOn the Road Again - St. Vitus Dance
- What’s Buggin’ You? LyricsWhat's Buggin' You? - St. Vitus Dance
- Respectable LyricsRespectable - St. Vitus Dance
- Crawlin’ King Snake LyricsCrawlin' King Snake - St. Vitus Dance
- Lights Out LyricsLights Out - St. Vitus Dance
- Tiny Montgomery LyricsTiny Montgomery - St. Vitus Dance
- Wild Child LyricsWild Child - St. Vitus Dance
- Angela LyricsAngela - St. Vitus Dance
- Matchbox LyricsMatchbox - St. Vitus Dance
- Recklessly Yours LyricsRecklessly Yours - St. Vitus Dance
- Mother’s Kitchen LyricsMother's Kitchen - St. Vitus Dance
When I first met John, we were both 13, living in north Barrington. We shared the same school bus stop in our wooded neighborhood, Timberlake. Our birthdays were a month apart, but he was a grade higher than me.
He had a Pioneer stereo, blacklight posters, and Pong on his basement tv. There was also a decorative mandolin hung by his parents on the hallway wall by his bedroom. We took it down, started experimenting, and the music began.
Early in high school, both of us picked up guitars and started lessons. We shared chords, compared finger exercises, bounced ideas off each other and jammed. We listened to Dylan for the poetry, blues and early rock and roll for the chops we wanted to lift, and punk for inspiration and a guiding ethos. We couldn’t wait to get out of high school, rent a space, and start rehearsing our band.
In the fall of 1978, we rented a house in McHenry, IL near the Fox River. We built a little studio in the basement with sound insulation, placed ads in the Illinois Entertainer for side players, and started bangin’ away, me playing guitar and keyboards, John playing bass. I worked in a shop in Wauconda welding pipe heaters and snow melters. John worked in a cement factory in Crystal Lake. Nights were loud, loose and raucous doing auditions, rehearsing new songs, and jamming. We called our band St. Vitus Dance.
In the summer of 1980, we moved our rehearsal space to a palette factory south down the Fox River to West Dundee. We were kicked out and re-located to a basement floor space in a small office building in Barrington, near the train station.
We continued with auditions and rehearsals, and soon started playing parties and dives. We did a mix of covers and originals in a raw, loud, rock and roll, blues style. Our technique continued to tighten, and we were bringing in better side players. We also were playing in larger, better known bars.
By the summer of 1983, we were developing musically. We performed acoustically in Milwaukee, Madison, and Minneapolis. We had purchased a multi-track tape deck, and begun experimenting with over-dubbing. John’s bass playing was rock-solid and unadorned. He had a baritone voice reminiscent of Jim Morrison. He looked great with his brown P-bass, dark beard and olive green ’60s Mustang.
The lifestyle was developing as well. We were constantly around alcohol and drugs in a time when they were tolerated, if not celebrated. We indulged to the point where it became clear to me that a recalibration of attitude towards them was necessary. It took John much longer to reach that conclusion. In part, they contributed to the deterioration of our friendship and the end of our collaboration.
By early 1984, a toxic competitiveness had crept into our musical efforts. Feeling the need for self-reinvention, I decided to take a break from our band. The idea was that I would go off and knock around Europe a bit with my acoustic, come back and we’d resume. Then we’d find a way to re-locate the band into The City, Chicago.
That summer, before I left, I’d met Stan Borys. When I returned, I focused on working with him. I found an apartment in Chicago with Vince Salerno, a sax player John and I worked with. I set up my tape deck and started adding synthesizers and drum boxes. I enjoyed not having to share the musical helm. I did not bring John and the band into The City with me. We would never count off a song again in the same band.
In the spring of 2005, I got a call out of the blue from John. I couldn’t remember the last time we’d spoke. We discussed getting together for a beer after I returned from a family trip. When I called him, his phone was disconnected. The next winter, I heard from his brother Doug that John was locked up. By spring of 2006, a year after he reached out to me, I was able to make contact with John, writing, then visiting him at Walworth County jail in Wisconsin.
John had a serious substance problem. He forged a prescription and got caught. John was fined and paroled. Later, his parole officer found out that his employer wasn’t informed about his criminal record. He was let go when his employer was told, and went on the run, having run afoul of his terms for parole. Freaked out about doing time, he lived in a stolen van, sleeping at night in empty parking lots, scrounging food where he could. He broke into a house near Lake Geneva, WI and stole a gun with the intention of killing himself. Fortunately, he was caught and couldn’t do it. Unfortunately, he had time to do.
We re-connected after he got out in May of 2008, and re-established our friendship. He worked for me as a photographer, and helped with sales calls for my business until the Great Recession did in my company. We talked about collaborating again after things settled down with the economy, but it never happened. John died of a heart attack on August 1, 2012.
Our last collaboration was ‘Johnny Thirteen’. When John was in jail, he read a poem to me over the phone, which I recorded. It was excerpted and used in the song. John’s share of sales of ‘Johnny Thirteen’ will go to his son, John Halka Jr.
John Halka was a gifted musician. He struggled with his demons, but he was a good person. We resonated on the same frequency. He was my dearest, best friend, and I miss him very much.
St. Vitus Dance
Rehearsal tapes, performance board mixes, multi-track recordings.
(These 11 songs are not yet available commercially.)
Alternative ballad, post-blues, reticent guitar passion, unique baritone vocals.
Alternative, genetic dice-roll bust, punk-induced, snarling at fate, John’s jail poem, a brother’s farewell.
Alternative narrative poetry, jungle novelty, suicidal tendencies of a species as told by an 8-year old girl and her 3-year old sister.
Alternative, swirling, poetic, witness to our disasters, debris and transformation.
Alternative funk-ish, inspired by American religious fanaticism, cult of the innocent.
Alternative, goth-opera, shades of Kurt Weill and Bertolt Brecht, lost language undecipherable, anthem of the grotesque.
Alternative pop, shimmeringly textured, slightly jangly, a dangerous ambivalent love.
Alternative, menacing, dark and exotic, longing perseverance, unique baritone vocals.
Alternative abandonment, post-empathy, cold eyed alienation, isolation, disintegration.
Alternative post-blues/rock, a celebration of departure and lifted weight, foreign voices in the night mist.
Alternative, post-folk, a sea voyage, tune of a new day, expat freedom, unique baritone vocals.
Alternative, post-blues, looming swamp catastrophe, unique baritone vocals.
Alternative majestic poetry, existential musings of a Polish rock legend, another through the ages, lost and found.
Alternative voice, ragged optimism, ambiance of emergency, post-patriotic, anti-ideology naiveté.
Roots, folk, singer-songwriter, earnest longing from another era, the melancholy of distant train horns, Spice Factory feast.
Roots, blues, harmonica defiance, howling at the bleeding moon, plea for shelter from a burning son.
Roots, blues shuffle, ode to the dog-eared nocturnals, dirty blues harp, a guarantee of trouble.
Roots, folk, singer-songwriter, the question after it’s over, yearning for lost connection, heartbreak yelp.
Roots, folk, deceitful chopping guitar chug, feelings disconnected survival, harmonica sympathy, robot laughter.
Roots, blues, King of pink mail, land-line-less, ironic harmonica, no walk in the park.
Soul passion, R&B orchestration, Stax-Volt influence, Memphis longing.
Soul, R&B orchestration, ghost of Otis, horn sweetness, a hurting Hammond.
Soul romp, vamps galore, humming V8 rhythm, key tickling axe chopping raging horn joy-ride.
Soul, not sad, another Otis redux, brother horn support, piano banter, a legit organ-ization.
Post-roots toss-off, lost weekend spoils, falsetto seed, primal genetic melody emerges, envelope guitar.
Post-roots jangle, post-romance prayer, hymn to long-gone her, un-answered musical questions, melodic regret.
Post-roots, slide guitar witness, 12 bar death scene, honking fit of random violence, unique baritone vocals.
Post-roots, creaking black ship departure, rolling party of disaster, tears for an abandoner, and a curse.
Post-roots elegy, longing to un-do, echoes, reflections and lingering backward glances.
Post-roots circus of fools, idiot calliope, drunken lament among the wreckage.
Post-roots blues, musical statement of the obvious, lost on the oblivious, do as I say…
Post-roots waltz morose, morse code tones, a prayer for beloved parents, in-conclusion.
Post-roots rejoice, chiming battered gaggle, bloodshot light of morning revel, unique baritone vocals.
New wave ice lace synth, intoxication of youth, distant memories of distant places, symphony of innocence.
New wave bludgeon, sweet little bombs, battered by a whisper, lip to ear to heart extortion.
New wave noir, chimes of night and youth, urban gravity vibrato, north-side screenplay and wardrobe.
New wave fugue, instrumental, Bach and the MIDI spec, flight of the earth-bound.
New wave misanthropy, polished mechanical metal Etude, possibility violence, a bad influence.
New wave ballad, haunted by a legend, fine ringing strings, steel drum secrets, the wait, the rain.
New wave sacrament, skittering holy ghost, guitar birds, the soft embrace of strings, most sacred love.
New wave puppetry, charms for children, strings, the caffeine of nervous music, resigned to tendon-cies of others.
New wave dissonance and distance, pointless repetition of ill-defined chimes, joyless syllables, thin comfort for the weary.
New wave soaring instrumental, Bach and the MIDI spec, lost and wandering horn in hiding from the bridge’s snarling trolls.
New wave measure of time, signature of youth in slightly larger increments, layered wash of guitars, cathedral chaos concludes.
New wave measure of time, signature of youth in slightly smaller increments, synced vibrato guitar, a younger man’s voice.
New wave blanket dive, synth sympathy, tunnel of love ecstasy, submission to 6-string Eros, 2 solo souls combine.
New wave silver light night-time devotion, nocturnal schemes, frenzied tumbling percussive descent, subdued guitar warning.
New wave diet, bagels and Progresso, starving artist ensemble, ricochet buffet, the oboe knows.
New wave psalm, propulsion of gratitude, cradled finger lattice synth, testimony of the horn.
New wave noodle, birthed of itself, touch of synth chill, celebration of techno color, feathered cello exit.