Mixing in Logic Pro X (Everything You Need to Know)

in this video I'm going to go over the whole mixing process inside Logic Pro X and take you through all the key plugins show you how to approach the mixing process and also give you a workflow so if your Logic Pro user this is going to be really helpful because it's very specific to that door now this is a pretty long tutorial so don't feel like you need to watch it all now I've also included some timestamps in the description so you can come back and reference different parts of it later and before we dive in I just want to share with you our free Logic Pro X cheat sheet it's completely free and inside you have my favorite keyboard shortcuts so you can save time while you're working also some information and tips for the different stock plugins that come with logic as well as some recommended starter settings so it's just a really useful PDF to have if you're a Logic Pro X user so you the head to the link on-screen now or the link in the bio to get access ok let's do this before you start your mix I recommend that you start a new project or a new alternative and import the audio from your edit or your composition and if you're doing a mix for someone else or for a client and they'll be sending you the stems anyway so go into your edit once you've finished editing either go to file export all tracks as audio files and then that will give you an individual track for each channel and then you can reinforce them or once you've got all your channels like this and you might have a few regions dotted around like so and if you want to tidy that up we can just highlight them and hit command J and create some regions and that just means that every time you finish composing or you finish editing it's kind of a checkpoint and when you're finished composing you bounce it down and that stops you going back and tweaking it it helps you to commit to your composition rather than just endlessly tweak it and then when you finish editing you bounce it down so that all your crossfades all your edits are there and you're committed and then when it comes to mixing it means you can just focus on the mix window here and forget about this and we're only using this for navigation and this is all nicely organized and neat all incomplete regions and then you won't get distracted by edits and going back and adjusting your cross fades it's really good to give yourself a time commitment so every time you finish your phase you finish editing you commit to it and that will really help you with your workflow and to get things done but what we're gonna do now is actually delete all of those and import some audio so we go to the browser or files and I'm going to locate some multi-tracks once you found them just highlight them all and click Add and we're gonna make sure there are new tracks so you can see here that it's already added channel names for us but what I'm going to do now and I suggest you do is just go through neaten those up changing it to anything that you're used to so for example if you normally call it lead vocals instead of vocals or if you refer to guitars as typing out the foreword or sometimes people just do GT just go through and rename one of those channels to your favorite naming convention once you've done that you need to reorder the channels into the order that you like to work in and I tend to go vocals at the top then drums bass and then everything else but whatever order it really doesn't matter it's whatever we'll do you're used to you can use that same order or some people like to go kick Kitts bass and then everything else and then vocals last it doesn't really matter just go through and reorder the tracks then what I'd like to do is actually change the channel images as well because that makes it even easier to navigate around and see what I'm working with then change the colors of the channel so that you can quickly and easily navigate around the mixer it makes it easier to jump to the drums or the vocals and to see what instruments are groups together and belong to the same kind of groups finally you need to add your structure markers and this is important because using the numeric keypad we can jump around the song he also helps us to quickly highlight and loop different sections of the song and we're using cycle and it helps us to cut bits out if we want to play around with the arrangement as well although that would have been done in editing but still it's really good for jumping around the song when you mixing one way to quickly add structure markers if you don't know the song that well is to turn on various speed and bring up the speed so you can quickly play through the song and then just use the option apostrophe shortcut to add markers as you're going through the song [Music] you [Music] once we've got our mix organized we can then start sending stuff to subgroups and we're also going to set up a sub mix because this is a really great technique especially when you start using a reference which you're gonna talk more about in a second and this is where so many people go wrong by just kind of mixing as it is now but what we need to do is condense some of these into their own tracks which can help us really be efficient and quicker and more effective of our mixing but it will also help us to organize the mixer better and adjust the balances easier and then finally using a sub mix will allow us to add effects and plugins to the master output without affecting our reference trackers again like I said we're going to talk about this but there's a really good idea to use a professionally recorded and mixed track as a reference something that you can constantly compare your mix to in order to improve and you don't want to add any effects that reference you want to hear it clean so then if you decide you want to add some compression to the stereo buss which is a great little trick just to glue everything together you only want to add that to your music not your reference track which is why we need to set up a sub mix that we can add effects to rather than just adding directly to stereo out so first of all let's do this in the full mix window and now you can access this by going to window open mixer or you can use the shortcut which is command two and then we can use command one to get back to our workspace and then come on to to get back to the mixer and you can make this big and now we can alternate between the two by okay and command one come on to command one come on to so let's just turn off very speed and now what we're going to do is set up our group so the first step is to bus all of our instruments to instrument groups so we're going to send all the drums to one channel we're going to send to the bass and the kick to a channel and then we're going to send all the guitars to channel and finally with the keys to channel so let's go from left to right and start with vocals now we're going to change the output we're not going to set this up as a send because we want this whole channel to go to our new channel we don't want a version of it a duplicate of it so we want to send this directly there so if we go to stereo out hold down and then we're going to create a new bus and bus one and it will automatically create a channel for us here so we're going to change that to vocals then we're going to do the same for the kick so if we select the whole drum kit but not the kick so there we go and let's change this to bus - I'll call that drums and the reason I did do the kick is because I like to send the kick and the bass to their own channels so let's select those and then change this to bus three and this means we can compress the kick and the bass together which can really help make them punchy and work together then we've got guitars on bus 4 and finally keys on buss 5 now let's change the color of all of these so that all of our group channels are the same kind of color what's not being used let's go for a brown and now what we're gonna do is select all of these and now send these to another channel and this time we're going to use bus six and we're going to call this sub mix and we're going to change the color of that to red and then we're going to create one more channel this time we're just going to create an audio track and call that reference and we're going to make sure this is going directly to the stereo output now what we need to do is also create effect channels because a lot of effects especially time-based effects like reverb and delay it's better to have them set up as a send rather than as a plug-in on the individual channel so let's just use this so now the seven onwards are now going to be our effect so let's call this reverb let's do another send cool it delay and then I actually like to use several reverb so then I'll go on to create a short reverb and also along with output I don't use one so let's change that to read so let's change the color of these to something a bit effecti purple as well let's go more pink so that's our sense and we're also going to make sure these are going to the sub mix not the stereo like so so we've got our first few buses our our groups bus 1 2 3 4 5 our groups 6 is the sub mix and then after that we've got our sense so these are all outputs and then this is sense because these ones we've got coming directly from the output here bus 2 3 4 etc whereas these ascends because we're sending them we're sending a duplicate of the vocal that we want to add a little bit of reverb or delay to for example so that's it with group mixes and what this means we can do now is if we have a listen go loop the chorus what you'll notice is now I can control the entire groups by just moving these faders up and down [Music] do [Music] because now all of these tunnels are going to these before they go to our output so this is great because down the line it means if we just want to make the guitars a bit louder or the keys a bit louder or quieter we can just move this fader up or down and we control all of the guitars but also a lot at the time we want to apply the same process in to the guitars say they're battling the vocal for space we might want to use an EQ to just cut some of the low mids and we might want to do that on all the guitars so lots of really handy ways we can use these groups but most of all it's just for balancing and just so that we can speed everything up a bit now that we've got all of our sub mixes and groups and effects end setup we can actually start approaching the mix using plugins so the basic premise is of course as we said earlier the signal flow is from the top to the bottom so here we have audio effects and at Moton there's only one space but this is going to grow because every time we add one it'll add a new slot and you'll probably end up using a lot of audio effects this is also called plugins or inserts and this is basically how we we mold and control the sound so let's take an example of lead vocals we can add an EQ and then we might want to add some compression to control the dynamics etc and as we add more effects this expands but the first thing that we want to do actually is gain staging and this is something that again a lot of people don't know but it's a vital part of mixing and we discussed earlier that minus-18 sweet spot well we want to make sure now that everything is in that sweet spot before we start mixing because a lot of time it's easy to kind of forget that when you're composing and editing and suddenly something is really loud or quiet or if you get sent files by someone else or a client and you need to check that they're at the right level before you start mixing because otherwise that's going to cause issues down the line you're going to run out of headroom everything will sound worse because everything sounds better when it's in minus 18 so when it's not around there you just really starts to be detrimental so let's get rid of these or we can just change it clicking this drop-down arrow what we're going to do is go to utility gain and then we're going to watch this meter here you can see where -18 is which is going to check that it's hitting -18 another important thing to note is that you want to do this on a loud part of the song because it's no good if it's hitting -18 in the verse or the introduction but then suddenly in the chorus it's almost clipping so let's pick the climax I think for this song it's around here so that's quite aggressive on on all parts so let's go back to the mixer and we'll just loop this I'm just going to adjust this gain plugin until we're averaging around - 18 peaking no higher than 6 [Music] cool and this is the boring bit we're gonna go through and do that for every single channel but there's a bit of a shortcut we can just copy this because it's got - oh this make one with - because we can assume that a lot of the time the gain is going to be too high so if we just make one with -5 like this and then we can just copy that by holding alt and dragging we can copy that to every single channel like so and I actually have made a preset where it's all really like this so you don't have to bother doing this every time and we're going to talk about templates and presets a lot more later so now what we're going to do is just have a look at these meters and noted look out for anything that's particularly high a particularly low and we're going to start with that [Music] so ready I'm saying that these overheads are a bit higher [Music] but they're fine drums are generally harder to deal with in fact everything seems to be pretty quiet so let's just go through and adjust these [Music] so when you find an instrument that you can't hear you just need to go back to this view and find a section where it's actually hitting so I'm just looking now for somewhere where the floor songs being used perhaps he doesn't use it in the whole song let's have a listen so [Music] and then we want to do the same for the rack song is that no look like it's anywhere these might just be spill from this now yeah so we can actually just delete that track because it's not being used now let's go back to the mix and carrier so there we go it's time-consuming if you're in a rush you can just eyeball it and just adjust anything that's not really anywhere near but I like to do it properly because what you'll notice now is that because everything is at the same level coming in the mixer really sounds a lot more balanced and that's because you know a lot of the time in a mixing situation your main challenge is to actually just make everything the same volume so by doing the using game before it's even at the fader it's all the same volume at some listen [Music] you made a ban me and there we go gain stadium tedious but so so important and now it we've got so much Headroom on the master which means we can make our track louder it also means we've got room to just you know if the vocals aren't loud enough instead of having to turn everything down we can just just turn them up whereas if everything was already really loud you won't be able to do that now the first step of any mix and the foundation of a mix is balancing and this is purely the act of moving these faders up and down so that we've got the audio a good volume because our main aim is to make sure that everything is audible but we also want to make sure we're giving the focus of the mix to the right stuff so a lot of time you want to make sure the lead vocal is loud and everything else but then also we want to make sure the solo parts are loud when they need to be loud and we want to make sure that the drum kit is well balanced so that we've got nice low-end but it's not overpowering and the same with a bass we don't want the bass to be too loud especially if it's playing quite low in and more of a supportive role because then that will affect the overall balance of the track so balancing is really important and it's something you shouldn't skip over now what you can do here is well while you're balancing is make some small panning moves if you think that will help you just kind of get a good image of what the tracks gonna sound like and your aim here is to get a good static mix and by static mix we mean no automation like very few plugins just a mix use imbalance and the pot pans and then what we're going to do is kind of work on that foundation and build from that but if we don't take time to lay that foundation you're gonna get carried away you're gonna start furring loads of effects at it that you don't need because you haven't set the volume right and things like that so make sure you spend time doing this I'm going to quickly walk you through now my kind of process of balancing a track and it starts off with you know just feeling it listening to what's too loud and what's raising its hand in the mix and bringing that down looking for you to channels checking I can actually hear everything and then I'm going to make sure that the vocal is loud enough and you want to think about compositionally what is the focus of the song what's really add melody or you know emotion to the song and make sure that that's a bit louder than everything else and if you're composing your own music you'll know what this is if you're not mixing your own music and you're mixing someone else's it's worth having a couple of listen throughs first of all before you start balancing and just make any notes write down what you think the track is about you know how it makes you feel what you think the focus instruments are how you want to enhance those instruments but for now just pick out the melodies and the parts that you think need to be more the focus of the mix because if you just start mixing aimlessly you're not going to get anywhere so I already know this song and I know that the keys pay quite a big part there's a piano solo that's important the guitars can be quite low there as a solo but they're more supportive especially the acoustics that's just really supporting role so that's gonna be quite low the electric guitar is kind of like a lead part so we want to make that loud enough to hear but not distract him from the lead vocal and then we want to have the drums and the bass kind of provided a nice foundation but not really in your face or draw an attention from anything else so let's just do that I'm just going to go through and adjust these failures [Music] you made a bad man out of me [Music] don't come easy Jesus you made a bad man out of me you made a bad man out of me now love don't come easy Jesus MA you made a bad man out of me so Needham I love don't come easy Sean you made a bad man out of me [Music] now love don't come easy either smart you made a bad man out of me so need a look now love don't come easy easy you made a bad man out of me I can hide me so need a lot now love don't come easy Jesus no you made a bad man out of me [Music] don't come easy easy smart you made a bad man out of me hide me [Music] you made a bat out of me you made a bat out of me you made a bad man out of me so all I was doing was just focusing on those elements getting it sounding nice I tend to use really aggressive panning but it doesn't really work on this track it's meant to be quite full kind of like a bit of a wall of sound we've got you know acoustic going a guitar and keys and an electric piano so my experiment with maybe panning them around a bit more but for now I think it sounds better when everything's kind of glued together around the center and you just want to adjust the fader spend a long time on this I mean that's only just the beginning I'd spend another 20 minutes on this just really getting a feel for it because once you set this foundation it's a lot easier to mix it's something that so many people overlook if you think of it the wrong way you'll start adding EQ to your master buss to reduce the bass for example rather than just bringing down the volume of the bass and if you didn't spend time on this process and you left the bass too high and too loud the whole time you'd be battling of a room in the low-end where it's just bringing that down a touch and sometimes you know just a couple of DBS or even 1 DB can make a huge difference so spend lots of time on balancing and just do some rough panning just to get an idea but we're actually going to go back to Mono in a second so don't worry about panning too much just kind of rough panning using that pot there to move things around once you've got a static mix going and you've balanced your track it's now time to start thinking about a cue and this is one of the most important tools for any mixer now the logic EQ is one of my favourite sake keys if not the favorite stock EQ so it's called channel EQ there are a few different types that I'm going to talk about in a second but China week use the main one and you can also see that in window here so you don't even have to add it as a plugin you can just click that window and it will add it for you and open this up now this windows really helpful because as soon as I start adding carts and boosts you can see them in this little window so that's really handy when you know you get in towards the end of the mix in every channel or nearly every time it's got a tiny bit of EQ on it you can just at a glance see what's going on so this is the logic EQ window and you can see quite a few options up here but before I talk about them you need to have an understanding what an EQ is and essentially an equaliser it's just a tool that raises or lowers the volume of different frequencies rather than of the sound as a whole so the most obvious example is in your car or in your hi-fi on your speaker system your iPod dock whatever it is you can obviously increase the bass and then this increases the low end and the rumble and the bit that you can feel or you can increase the treble and this increases the top-end kind of the clarity sometimes brittle if you boost it too much and bass and treble are just kind of opposite ends of the frequency spectrum now this EQ says 20 here and 20 K up here and this is the audible human range of hearing so we can hear 20 Hertz and this is what this number represents cycles per second or Hertz the same as light but much lower and this is 20 Hertz which is you know no one can really hear that I think elephants can hear that and they use that to communicate but for us we don't really hear 20 you can hear 30 you can feel 20 but you can't really hear it and then up here 20,000 it's the other end and that's where it's supersonic you know bats use that dog whistles are above here but for us it tends to tail off about 16 K but when you're a very young child perhaps you can hear above that as you get older the highest frequency that you can hear gradually reduces until when you start having hearing problems when you're old that's because you can't really hear anything above you know 10 12 K some people will be able to hear this end some people won't everyone will be able to hear the very low end if you've got a good speakers and that's the problem here is that below 50 Hertz you need a subwoofer really to hear this but we can still mix without a subwoofer you can still hear on most speakers so that's the frequency spectrum we've got bass down here we've got treble up here and in between we've got low mids between you know 200 and 1000 and then we've got high mids between 1000 and around 10,000 maybe a bit low I'd say high mid sends about 8,000 but it breaks down into low middle and high and then the middle also breaks down into low mids and high mids so that's what this graph represents now what we can do is boost certain frequencies so we can boost the bass or we can boost a treble we can boost the high mids or the low mids or we can cut but not only that we can also adjust the amount that we're cutting or boosting like so so we can either just boost a very very thin part where we're only boosting that frequency which is 440 Hertz and some of them around it or we can do a really wide boost where we're boosting around 340 but we have a really gentle slope going off where we're still boosting even up to 10 K and we're still boosting done at 20 just a tiny bit now these figures down here represent the amount that we're cutting a boost and buy it in decibels so 5 DB 10 DB etc so what do all these different buttons mean and there's different ways as well different types of EQ so this is called a band or a bell week you turn that off this is called a shelf EQ and you'll see that this actually just boosts everything below it or cuts it and then we've also got a high shelf which does the same thing up here so rather than a band EQ which you know tails off a shelf will boost or cut everything above it like so and we also have these two which is called a filter so this is a high-pass filter and then we're literally cutting out everything below a certain frequency and we can control the slope and the angle in a slope or we can cut everything above like this so you have filters shelves and bands or deli key some people call these knotch eq's as well there's a few different names so let's reset that to default what we can also do is use the analyzer to see what's going on so if I kick and then play it so now we can actually see what frequencies are evident in that kick so you can see that nothing above really 250 and most of it centered around here around 66 64 and then we've got a bit more here another kind of hump here so you can hear that's kind of the resonance and then down here that's the fundamental resonant of the drum but of course there is still content up here so if I slowly bring this down you'll hear the sound changing even though it looks like on the analyzer there's no frequencies you'll hear it so in my opinion that's where you need to be careful with analyzers because they can kind of trick you into thinking that there's not stuff there or that you know certain frequencies are too loud you might look at that and say oh God 60 Hertz is far too loud we need to cut that but in fact that's not the case it's just because that instrument and in this case that drum and the skin and the wood and the size of the drum all resonating and that frequency so that's the fundamental frequency and you could cut that but what that actually tells us is that really we want to leave that in and we want to cut that on other stuff because if the kick drum is resonating at 60 60 Hertz we want to cut that in the bass guitar to make sure it's not fighting for that so that's when the analyzer is helpful to see where instruments are centered because the bass guitar now if we have a look at that is going to be slightly different [Music] and because we're playing notes here of course the frequency changes depending on the note but you could see it was mostly above you know 60 and of course there's a lot more high frequency content in the low-mid and again loads of stuff up here too so you cut a new boost using knees if you want to cut and boost everything above or below certain frequency you use the Shelf anything that's kind of a guitar or a high pitch instrument I recommend adding a shelf like that anything that's low you know you don't need to add a high cut you can just leave it and it's still helpful just to add a tiny little cut there even on drums or bass because listen to how this tightens it up because what we're doing is remove in the low frequency content which is the most powerful that's making it sound kind of flabby tighten it up a bit so there are other EQ in logic we've also got the linear phase EQ which looks the same and this is good for add an EQ to your master buss or to you know a whole mix because normal EQ even if you boost it 200 it will affect other frequencies in a very slight way and that's why it's best to use as little EQ as possible i don't recommend boosting or cutting by more than 5 to 10 dB a lot of time just a free DB boost is enough to mould the sound but with linear phase EQ it works in a slightly different way so that we can be a bit more aggressive so if you boost a 5 DBS on a linear phase EQ it won't affects the rest of the spectrum as much so that's why it's really good for mastering and applying EQ to your master buss there's also the match EQ which helps us to match two different instruments not really that useful to be honest and then single band EQ is great if you just want to add a low cut or something like that save and processing and also this is a really good way if you know that it doesn't need leaky so say this electric guitar for example sounds really good if I added a fully parametric like this just because I wanted to add a low-cut just to clean it up I'd then be really tempted to use all of these other bands whereas instead of that I could just use a single band EQ they're like no all I want to do is just add a low-cut 60 Hertz and then we save on processing power and we're not tempted to start playing around so that's how use EQ can't go into much more depth that's kind of beyond the scope of this course I could talk about it for hours but just make sure you familiar with that the main EQ is the channel EQ use the linear phase on your stereo buss but you can still use normal EQ on your stereo buss too and use the single band when you only need to make one adjustment now that we've finished apply an EQ the next kind of stage of mixing is compression and EQ and compression are the two main tools after balancing and planning that we have there are two main plugins that we have at our disposal and that is if we don't count gain as a plug-in so it's really important that you understand compression how to use it and that you understand logics compressor which again is one of my favorite stock compressors probably my favorite because it has so many options it's so versatile so let's go to compressor and we'll start with using compression on vocals let's look at this layout for a second so we've got across the top here these buttons are different types of compressor and these model different analog compressors different real-world compressors with different algorithms of slightly different tones now these sound different for a variety of reasons sometimes it's because they kind of have an EQ curve to the compressor other times it's because they have a different knee size which is something I'm going to talk about more in a second you can see some of these you can't control the knee whereas here you can and also there's a few different things in the background that's different between them but let's start with the kind of stock compressor this is the first one opens up so other than these controls at the top we can now look at the layout from left to right so we've got input gain which we want to leave zero and then we've got the main compressor section now as to break down what a compressor does it essentially is like asking someone to automatically move the fader up and down and if we said to someone well when the vocal gets too loud I want you to turn it down a bit and when it gets too quiet I want to turn it up a bit that's kind of what a compressor does it makes the dynamics more consistent and it does this by compressing the loudest bits by bringing them down and then bringing the overall volume of the track up so that's why it's called a compressor even though normally compressors are associated with an increase in volume and that's again because it compresses the loud bits and then brings the overall volume up so when we're compressing the peaks we need to set a threshold and this is when we're kind of telling the compressor well when the vocal hits minus 24 I want you to start if that was minus 24 I want you to start compressing it and as soon as it hits the minus 24 I want you to bring the volume down a bit well after you told it at what volume you want it to compress the audio you then need to tell it how much and that's the ratio so a ratio of one to one would be no compression and that's because for every one decibel it went above the threshold which is minus 24 it would only allow it in one so it would be the same but if we set it to two now we're saying for every two DBS that the volume goes above the threshold only let through one so we're having it so if the audio in this case the vocal goes 10 DBS over the threshold it will only actually compress and only five DBS will come through the compressor and then of course we can go into crazy compression ratios like five to one and above where we're saying only let through one decibel were volume increase for every five DB that the source increases so again if the lead vocal went 10 DB above the threshold this time we were only actually letting through two and once you get up to 30 and above that that's where we start to cool it a limiter because what's happening now is instead of controlling the dynamics we're essentially saying well as soon as it hits 24 I don't want you to increase the volume because a 31 ratio you know the volume would have to increase by 30 decibels for there to be one DB let through by the compressor so that's what we call a limiter a lot of the time we're gonna be between two and five ratio if we're working with vocals guitars stuff like that you can't be more aggressive but I recommend you stick kind of between those unless you have a particular reason not to after that we've got make up game because once we've told the compressor to clamp down on the loudest peaks and we tell it when to clamp down and then how much to clamp down by we then need to bring the volume up because by reducing the volume with the loudest Peaks we've essentially reduced the volume of the whole track but this means we can bring up the overall volume which means the quieter bits now get louder so a lot of the time if you're reducing the gain by three DBS on this meter then you want to add 3 DB s of make up gain so bring it back up to the same level and this meter is really important this is what's going to tell us how much we're reducing the volume and there's also a graph U which I'll go over more in a second when you're adjusting your makeup game make sure you turn off auto again and I always turn it off and I recommend you do the same and do it manually with this gain control now you can see there's a few more settings down here I've got knee attack and release let's not worry about me for now but first of all let's talk about attack and release so we're telling the compressor when it hits - 24 DBS to reduce the volume at a ratio of 2.4 but then how quickly does it do it does it just instantly react and reduce the volume and then as soon as the volume goes back below the threshold do we then instantly release the compressor and stop reducing the game well that's where the attack and release time coming because this thick takes how quickly the compressor reacts to the audio so if we set the attack time to 10 milliseconds what we're saying is as soon as the audio hits the fresh hold say for example the audio is at minus 14 DB which is 10 DB louder and we're using a ratio of 2 to 1 we're saying reduce it by half but take 10 milliseconds to do it and then as soon as the audio drops to maybe minus 25 so now we're below the threshold I want you to release the compressor over 50 milliseconds now obviously these are really really small measurements of time it's a millisecond so it's not noticeable in a sense that you can hear it fading in and out instead where it does it allows us to go on a micro level and adjust how much the compressor is reacting to the attack and the transient of the note so if you have a really fast attack time like zero millisecond the compressors going to react immediately and clamp down on the transient clap down on the attack of the note or clamp down on the very beginning of the word this think of a word like continent you can hear there at the beginning the continent that onset is the attack and zero was saying compress that but if we change it to 200 what that means is that the attack and the transient isn't compressed at all instead everything afterwards is compressed so this means that the attack of the guitar pick on the string or the hit of the drumstick on the drum or the kind of aggressiveness of your speaking and the first sound and the consonant is uncompressed and instead we're compressing the audio afterwards so think of attack time is controlling how much attack there is and when it's zero there's not a lot of attack and when it's really high there is a lot of attack so you can kind of thinking this is when it's low you're turning the attack and the the kind of aggressiveness down and when it's high you're turning the aggressiveness up release is different release is more about tuning it in time with the music if there is also release you can just use that and that normally works fine if you notice anything weird or you notice that the graph is moving really quickly then that's when you can tune the release time and normally we've released you just want to adjust it until it's breathing in time with the music so that's the basic compressor settings we can also adjust the knee if I go into the graph here this is showing you how much it's going to compress so if I turn this up really high we can see with a zero knee as soon as it hits the fresh hold which is minus 24 you can see here it's going to start compressing it thirty to one ratio so it's really aggressive as soon as it hits that threshold its compressed but when we turn the knee up it adds this gradual change so now the fervor above the threshold and more it's compressed it also gets compressed as it approaches the threshold you can see the difference so now we're even compressing it - 25 and maybe - 26 where's there it's only compressing when it hits - 24 so what this means is that a high knee sounds really natural and subtle and works really well and something like vocals where you don't want the compression to be noticeable whereas a hard knee is better for controlling drum hits or stuff that's really aggressive and really dynamic and we need to really control it and fast and effectively so generally you can go somewhere in the middle if you're using vocals turn it up if you're using drums turn it down but a lot of the time you can't even control the knee like in these different ones now let's actually have a listen and watch the compressor in action so let's start with the fresh hold so if we bring the ratio quite high so that we can dial in a good sound and then we'll make it subtle afterwards and let's bring the knee down as well let's start with just a normal attack and just go up the middle now what we're going to do is bring the threshold up to zero and we're going to bring it down until we start to see the compressor working and this need will start moving [Music] you made a bad man of me I can be [Music] so now you can hear as soon as the compressor starts engaging the volume really starts dropping and this is telling us at all times how many DB is the gain is being reduced by the compressor so if it's hovering around minus 10 that means we're applying 10 DB to gain reduction so then we'd have to turn the make up gain to ten like so and now we can also see on the graph where it's hovering and this is a really good view that you don't have in most doors you can let you see how when the waveform gets louder the compressor is dropping it lower and you could see where it was hovering around here so in terms of the logic compressor we've got lots of different features but some of them have need an attack some of them just have attack and release not all of them have even attack and release controls and what I'm going to do now is just go through these different compressors to show you how they sound a bit different [Music] you made me easy-easy so different sources will suit different compressors I really liked the sound of Studio Fe T on these vocals but every time you use compression just scroll through and find one that sounds good and then tweak the settings but of course before you do that you need to make sure that it's actually applying some game reduction so now let's bring the ratio back down to something a bit more normal and let's aim for maybe 5 DB of gain reduction [Music] [Music] now let's just as an example experiment with the attack time and you'll notice when this is really high pressure doesn't react as much whereas when it's really low we're suddenly compressing -10 and that's because when it's at 200 a lot of the the loudest parts of the word which at the beginning are actually slipping through so that's why we're vocals we actually need quite a quick attack time maybe around 5 milliseconds [Music] but now listen to how as I increase it it starts to sound more aggressive you made a bad man out of me and there's normally a sweet spot between five and 15 and always remember to check the plug in bypass to make sure you're actually improving the sound I really like the Sun is compressor so I'm gonna drive it a bit harder and I don't normally go this aggressive with vocals but let's give it a go you made a bad man for me cool now just to quickly go over some of the other features side-chain allows you to actually dock the gain according to a different instrument which we're going to talk more about in a later section output we can also turn on the limiter and this means that the volume will never peak above zero and we can also add distortion either you made a bad man out of me now if we turn on the limiter we can adjust the threshold of the limiter for me and this means the volume will never go above minus nine point one the mix knob is very handy because this allows us to mix the dry signal with the compressed signal so one trick called parallel compression is normally has to do this by duplicating the track is to create a duplicate version and compress it hard and then bring it in just sitting underneath the vocal but instead we can do that with logic just by using this mix knob so if we dial in some really aggressive compression [Music] you read about me so near come easy either stop you made a bad man out of me know what we can do is actually just bring it in underneath you made a bad man for me so that's really good just to kind of add another layer of compression to the vocal that's still quite subtle it sounds really good on drums as well we can just add it to the drum buss for me [Music] you made a band from me either smart you made a bad man for me [Music] you just hear how that makes the drums punchier but it's not that noticeable and you can just bring it in underneath normally a bit less than that so that's the compressor we're going to talk about some more advanced settings later on and that's the basic compressor and that's what we need to know for now and that's everything you need to know in fact to get a lot further with compression than most people most we were really intimidated by compression but the Logic Pro compressor makes it really easy to get to grips with compression and get some really good sounds just always keep it subtle never really go for more than -5 unless you know what you're doing and then you can't go too far wrong there are several other dynamic processes in logic that you can use in a really handy and that's what we're going to talk about now so you can see here we've got an adaptive limiter a de-esser an envelope an expander a limiter a multi presser and a noise gate so I'm just going to introduce each of these briefly the adaptive limiter is a limiter that you can use to make sure the volume never goes above a certain level so you set the ceiling at - naught point one I recommend that not - not at zero on - something and then we can also increase the look ahead and this is the kind of processor that you'd normally add to your master buss so let's have a listen to that if we add it to our sub mix like so let's have a listen you made a bad man for me Macca [Music] you made a Batman from me so you can see as soon as it starts to hit - not point 1 you know reduce it and we're getting around 2 degrees again reduction there [Music] and a limiter is how you increase the volume of your track when it comes to mastering you maintain that Headroom throughout and you keep everything at minus 18 and then at the very last stage you add a limiter to increase the gain and make sure it doesn't go into the kind of clipping area you also have a de-esser and this is for vocals and this will actually cut down on sibling so any sorts sounds and it does it by compressing only those rather than cutting them out with EQ which would affect every single word we can use the DSO to only target those sibling frequencies so let's monitor and this is a really handy function you can choose to listen to certain parts of the data here we've got the detector frequency so this dictates what's triggering the de-esser and we're gonna in a second have a listen and find the frequency and then we've got the suppressor frequency and normally you want to just make this the same as your detector frequency so let's first of all find where the sibilance is [Music] [Music] so you can hear that's quite aggressive so then we just make this the same and then we can reduce it so now we can actually listen to it off and we're just a strength and you'll see when it's active and now laughter calm easy either strong so you could hear it actually compressed it see it the active see button lights up when it's active so let's have a listen again and now laughs calm easy easy start so it sounds a lot less sizzle II and it's normally commonplace to the SR on a vocal pretty much 90% at the time the envelope er is a kind of transient designer and this allows you to play with the transience of the instrument and now laughter come easy either stung you made a bad man out of me and I can hardly breathe cuz I need alone and now laughter calm easy so you can play around with that a bit that can be really handy for drums more so than vocals expander this allows us to reduce the noise between words by kind of it's like a gate that is more subtle so between the words it reduces the volume or between hits so instead let's do this on the snare now normally on drums you would use a gate which sounds something like this so what i'm doing here is adjusting the fresh hold and that dictates when the gate opens reduction dictates how much we're reducing it and this is kind of how we turn a gate into an expander and then this dictates how long the gate stays open how quickly it closes or how quickly it opens and by bringing the reduction amount up and we've now turned it into an expander because a gate completely closes whereas an expander just reduces the volume it's called downward expansion so it's expanding the volume down words between the hiss so you can still hear some of the bleed whereas when I turn it into a more like a gate [Music] it helps to clean up the germs it's really common to use gates on drums but the expander is basically the same thing as changing that range control it's set for this time we've got a ratio so this is kind of like compression it tells us how how much it's going to reduce the volume between the hits to make in here the snare is much louder than the other hit so this is kind of the opposite of a compressor rather than making the loudest it's quieter it's making the quiet bit quieter ie the noise and the bleed between the phrases then we have another limiter which works in very much the same way as the adaptive limiter they're just very slightly different a normal limit is basically the same but we can also adjust the release time whereas an adaptive limiter adapts to the music and controls the release time itself so all of the same settings we increase the gain set the output level to minus naught point one and then we can also play with the look head as well and even turn on or off an E and there's a couple of different modes there that you can try finally we also have the multi presser and this is a multiband compressor which means rather than compressing the whole frequency spectrum we can choose to only compress certain frequency ranges so for example on our mix we might want to compress the low end and leave the rest alone so we're good to go up to the multi presser dial in the low end maybe everything below a hundred we'd want to compress and we can adjust the threshold the ratio the attack time the release the peak rms we can even turn it into an expander as well which is this bottom arrow so let's turn the expander off and now let's just compress the low end and you'll see it here and this shows the gain reduction [Music] Jesus you made a ban me so it tightens up the bottom end make sure you increase the gain there otherwise it will just sound quieter but you can see there how it's compressing the low-end everything below hundred Hertz but not everything above a hundred Hertz so that's it for dynamic processors play around with them they're all really useful in their own right in an earlier lesson we looked at creating effect channels in the form of effect busses and group buses that we could use to send our audio to using our sends there at the moment these don't actually have any effects on them so now let's look at delaying reverb now there are four different types of reverb the first three are digital algorithmic reverb and this means that they use an algorithm to digitally recreate a reverb and to recreate a space because reverb is simply lots of really fast reflections of the walls around you that kind of merge into one reverb tail so it's quite easy to model with a computer so let's just look at some reverb on vocals if we solo the vocals and bring this send up let's have a listen to this and let's just go to a hall reverb seen here has a slightly digital sound to it it's better for sure really fast reverb times you made a bad man out of me [Music] camisa either strong you met a bad man on me and I can hardly breathe zooni darlin now laughs so here we've got the room controls we've got a pre delay and this shifts the reverb forward a bit it's really good for getting the reverb out the way the vocals reflectivity it takes how reflective the areas and the surfaces of the Rimmer sighs it takes room size density over time also helps to control the length of the reverb and so when it's really low it sounds more like a delay you can hear the individual hits whereas when it's high and really dent it sounds more like a room reverb we can also cut the lows and cut the hires modulator to sound a bit more unnatural and whenever you're using effects on a send channel like this make sure it's set to 100% wack so we don't want any of the dry signal so silver is one of the newer ones we've also got platinum verb which is an older model and this comes from logic 9 you made up and this gives us a bit more control that you got all the EQ down here but you can change the delay to spread the cross over the room shape you can actually affect here as well as the room size you can go for a pre delay and you can control the early reflections independently of the reverb so see this title here early reflections this is kind of the very first reflections of the nearest wall that you would hear and the reverb is the tail so if someone has lots of early reflections that means it's nearer to you whereas if it's lots of reverb is too far away and you're hearing the reverb tail and now laughter come easy either star you made a bad man out of me here we can control the balance between early reflections easy easy [Music] you made a burglar so you can hear the quality of that compared to reverb so we can put something further away or closer so that can be quite handy we've also got an verb and verbs cooks it allows you to control the envelope which is why it's called Enver stands for envelope of the reverb so we can control the early flexions the attack the decay and then the sustain you can see as I move these are just different parameters and the release so let's play around with this for a bit so you can just hear what these parameters do so these will control different things when I increase the release that's the release when I increase the sustain that's that part and then the attack and the decay you made a bad so that's really good for providing a kind of haunting fade in reverb you can hear it like swelling up you made a bad man out of me so and verbs better for creating interesting effects now space designer is my absolute favorite reverb and this is kind of different it's a convolution reverb so this works by actually modeling different rooms and you record an impulse response and logic comes with a few of them but what you can actually do is record an impulse with like a clap in a room and that allows you to measure the reverb time of that room and then you can import that impulse response into space designer and essentially models the room using that information so rather than it all being algorithmic and digitally synthesized it's actually modeling on a real acoustic spaces so it sounds a lot more natural it sounds kind of more pleasing to the ear that's how listen just as an example and now laughter calm easy easy this time you made a bad man out of me and so we still have plates and some unnatural sounds but we can go to a large hall like this easy easy you made a bad man out of me and I can hardly breathe cuz I need alone now laughter come easy easy this time so we have some controls here you can load impulse responses here you can adjust the sample rate you can adjust the length of the impulse response so this will only take the beginning for example and now you can also synthesize your own impulse response and now and then like the end verb we can adjust the attack and the decay and the shape of this reverb and now live dark armies down here we've got a filter so we can add a high pass a bandpass and we can even make it resonate and now laughter come easy easy sound like so and then finally we've have a volume envelope where we can add a bit more control over the impulse generally it sounds good when you don't use these but let's have a listen and now laughter calm easy easy this time you made a bad man out of me and that can hardly breathe so what we're doing there is actually kind of cutting off the impulse early but if we just make it like this and reset that that's normally how it sounds best but that does give you a bit more control if you want to shape it a bit more but you don't have a right impulse response and then we can add a pre delay here we can change the start of the impulse response but mostly this is good just for using the presets find a preset that you like and then play around with it a tiny bit but generally it sounds best when you just load a preset or load your own impulse responses and easy easy like so for delays we have quite a few options as well so we've got delay designer echo sample delay stereo delay and tape delay now let's start with sample delay because this is slightly different this isn't like an echo effect this instead is for getting your tracks more in phase so if for example you've recorded an acoustic guitar and you recorded with a DI as well as a microphone they will probably be slightly out of phase and that's because the DI signal will get to the computer quicker than the microphone signal or for example if you recorded a singer who was playing a guitar and you had two mics one at their mouth and one at the guitar the guitar microphone will pick up some of the vocal slightly out of phase because it will reach the vocal microphone quicker and what this means is it starts to sound weak it starts to sound empty so what you can do is you can just add a very very slight delay in samples or in milliseconds as a plugin rather than having to nudge the region itself and what this means is you can carry on edit as you would and you can also adjust it later on so that's what the sample delay is now the other ones are more like our kind of classic delays we've got the delay designer now laughter come easy easy Tom you made a bad man up let's bring this end up see on this one each one is represented by a different marker and we can actually create our own you can move these around you can increase or decrease the volume etc that's good if you have a really particular thing that you want to do but generally the others are more useful echo is just for a really simple you made a bad man out of me [Music] now here repeat is normally called feedback but in this delay it's called repeat and nested it takes how often it how long it goes on for right when it says it zero it would just be one repeat [Music] so that's good if you just want a really simple echo then we also have stereo delay and this is what I tend to use the most the other good thing is you can set your own to delay time because a lot of time you don't necessarily want to sync it so rather than choosing and no we can just adjust the time in millisecond and what this allows us to do is have a very slightly different time in the left to the right ear and this is a great way to create space for a vocal without adding reverb for example so let's have a listen to that if we turn the feedback down so it's like a slap back you made a bad man out of me so you can see it kind of sounds like a reverb but we've got completely different times in left and right just turn that on to Mono so you can hear that now laughs make sure this is a stereo version and now laughter calm easy easy this time you made a bad man out of me and I can hardly breathe neither okay that's really over the top but you get the idea there that's good for adding individual delays on the left and right and then finally we've also got the tape delay and this is good just for a mono delay down the middle so this is very similar to the echo but just a bit more control few more parameters and you can adjust the sound a bit more so that's it for a reverb and delay once you've added compression your reverb and your delay and any other plugins that you want to add it's normally then time to come out of money so I did it just now to show you the delay but this whole time I would have still been mixing in mono to adjust the EQ and the compression etc but now if we're just doing a very basic mix of EQ and compression we can now come into stereo and adjust our planning a bit more but the great thing is now that we applied EQ in mono to create separation we can then really use the stereo feel to add a whole lot of separation and just free up loads of space in the mix so if I reset all the planning and turn this to stereo let's have a listen to how it sounds and now laughter come easy Jesus you made a bad man out of me [Music] you made up so it still needs some work but what I'm going to do now is just show you how big a difference panning can make so I'm a fan of LCR panning and that means left center right so the theory is that if you only pan hard left dead center or hard right it creates a lot more space because you're not using the bits in between and this works really well for modern music where you've got like pop or electronic or something like that but a lot of the time it doesn't work so well with this kind of stuff which is kind of soft rock it's meant to sound live and natural so LCR panning probably won't work I'm going to give it a go though but the basic premise would be to leave snares and all the kit close mics dead center vocals dead center bass dead center and the overheads far left and far right which is standard practice but then any extra parts that aren't really playing a supporting role and more playing kind of an interest role we're going to pan to the hard left or hard right now this probably sound unnatural at first I'm gonna give it a go just listen to how this sounds [Music] you made a Batman for me calm easy easy so now there's just so much space in the mix and does sound kind of weird I'm not sure it works with this style so let's try it just plan in the acoustic Center as well you made a Batman for me so I'm sorry it's quite like that and that often works really well it adds so much space to your mix but just to make it sound a bit more natural let's just dial that all back and you can at any point you can hold alt and click on these to reset them to the middle or you can just click and drag and you can also type in your values so that would have been minus 30 something like that let's listen again [Music] you made a Batman for me [Music] sounded good so that's it for panning just make sure that your sub mix is in stereo before you start doing that because otherwise you'll wonder what's going on but at this point after applying EQ and compression this could be a finished mix we're going to talk about some other tools now in the next section but what you could actually do is just use gain staging balancing EQ compression and panning to create a very good mix and that's what a lot of people try to only use those tools because when you're restricted in your tools it forces you to be more creative and use things like balancing more which is really really important once you've got your static mix pretty much finished with EQ and compression and panning and balancing you can start to add excitement and go into a bit more depth and this is where we start to get into more advanced techniques but first of all let's look at the other plugins and effects that you can use to enhance your track something that I use a lot is saturation now there are a few distortion plugins in logic and we can use these distortion 1 is pretty handy we can also use distortion too and this is kind of more analogue and they're both really handy great tones there's also the exciter which is great on vocals so experiment with them I'll just give you a quick example and easy easy song you made a bad man out of me now that sounds really harsh on its own but when you have it really subtle and now laughter calm easy easy this time you made a bad man out of me and that girl excites the top end and the other plugins are great as well especially on drums distortion 1 gives us a lot of control and now after come easy either strong you made a bad man out of me we can override top end like this slicer or we can actually add some warmth and kind of body by distorting the low end now laughter come easy easy tom you made a bad man out of me and I can hardly breathe cuz I need a loan distortion to is an analog modeling distortion more like a kind of knob control here and this is great as well and now laughter calm easy easy Tom you made a bad man out of me and I can hardly breathe and again we can control the tone so we can do the kind of low end and now laughter come easy easy Tom you made a bad man out of me and that can hardly breathe they sound great on the drum bus as well just try that [Music] now because we gain station minus 18 you will have to play around with the pregame because this model is an old unit we're kind of you drive it by driving the pregame and then we can just add a game plug in afterwards to bring the level back down [Music] [Music] you can hear how that just adds a bit more aggression a bit more character to the drum kit so that's saturation now of course there are quite a lot of more interesting modulation effects like chorus and here our main control is intensity you made a bad man out of me and I can hardly breathe [Music] neon now laughter come easy easy strong knock your trick I'm very who's just out of really subtle chorus and now laughs don't come easy either stung you made a bad man out of me and that can hardly breathe it's a bit of shimmer and depth and this also flanger there's another great effect to use easy either strong so they're good to use creatively if you want to create a really weird sound like that or you can use them really subtly to just add depth like this that's just right easy fun and easy either stung you made a bad man out of me and that can hardly so you can experiment flanger phaser as well same kind of thing all of these can create really wacky effects but also can be used really subtly to just add character and depth or shimmer [Music] you made a bad man out of me and I can hardly need a learn now love don't come easy easy smile checking experiment with them and we've got a few more ring shifter creates a really interesting effect tremolo is like a really quick fade in and out [Music] which sounds really good on guitars nor me that's where they're more commonly used I'm easy either star you made a bad man out of me and I can hardly breathe needle on now laughter come easy [Music] you can hear that guitar as a really cool effect with the tremolo I think I'm gonna leave that on I really like that [Music] and just experiment with them you would go over the top to create wacky interesting effects are using really subtly to just add color we can also hit shift can be quite handy sometimes if you want to make a guitar sound like a bass for example [Music] or the other way and we can mix as well [Music] and create harmonies so experiment with that play around with these there's some really cool effects the auto filter can be pretty cool as well [Music] try the presets and then tweak them from The Exorcist was quite complicated [Music] whatever fuzz wah [Music] and you can automate that if you want to which we're gonna cover later on [Music] so experiment with that I mean just try them out that's the main ones that there's lots of really interesting effects just check out the modulation the filter section even a specialized section for the exciter sub-base is good for just adding some extra low-end [Music] works better on bass let's try that so you might not be able to hear that but that just added a load of low-end to that bass guitar it can't sound a bit unnatural oh so be careful with it and of course that sounds good on kick too but again just use the presets that are there for a reason and then you can experiment from there so experiment with the effects use them for over-the-top character for weird sounds or just subtly to just add character and interest to your instruments and vocals logic has a great built-in amp simulator and this is handy for a few reasons first of all it's good if you just want to rehearse on your own you can just plug it in a bass or a guitar and have amp simulation or you can record direct and then add amp simulation to the guitar so then you don't have to worry about microphones but another reason it's useful as well is because you can actually use it to shape the tone of guitars and basses even after they've been recorded so this bass for example was recorded direct with an amp already running for it but let's have a listen so it still sounds pretty good it's got a lot of color to it already but we could then run it through another amp simulator and see if we can create some more interesting sounds so already that starts to sound more like a microphone on a cab and we've got loads of different options here so play around with the presets but after that you can start to use different amp sections and then you can change the amp here as well we can also change the cabinet and the cabinet size and we can go between the I and the amp so we've even got some di options so we can use this kind of sound and of course you control the amp like you would in real life you can even go in further more and finally we can also adjust the position of the microphone so here we can pay it further away from the cab or closer to it and in the middle where it's gonna sound more defined and trebly on the edge where it's gonna sound more bassy and you can bring that up at any time by just hovering in this general area so you have quite a lot of control over the tone you can change the microphone [Music] so already that's kind of got rid of that di twang this is without the amp simulator and then with so experiment with that and the guitar one is exactly the same just we have a whole different set of amps so let's so do this [Music] again that already sounds so much better listen without bit of a DI Trang to it and then with [Music] so we can play around with these let's try moving it a bit warmer effects [Music] [Music] Jesus you made a bad man out of me so same thing you can change the type and then you can change the amp itself and the cabinet get so much control over the character of the sound simply swapping carbs or mics makes such a difference and you can click that little arrow there if you just want to reduce that once you're happy with your settings you click that arrow and it will reduce it to these so next time you open it up just to adjust the tone a bit you made a bet out of me it's nice and easy so a really great amp simulators use them on direct signals use them on signals are already amplified you can even use them on acoustics this di especially is gonna sound rubbish without one so let's add one now quickly and then we can just go to presets it sound like clean and see if we see anything acoustic II just go clean power [Music] [Music] you made a Batman so definitely use them when you get the opportunity there are a few more plugins that are really handy to use that don't really fall into any other category so first up we've got metering and multimeter is a great one it allows us to see a few different things it allows us to see first of all the kind of frequency response then it allows us to see the phase correlation and anything that's down here is bad [Music] you made a band for me so now when I hit in mono you see that that meet it doesn't move because it's measuring the phase between the left and right so that can give you an idea if you've got any problems you can also see some really handy information about the frequency spectrum of your mess but like I said don't rely too much on this tells us lift which is a measurement of volume that's really handy peak volume and also our RMS which is your average volume [Music] showing you a meter and this again tells us kind of phase information so that's a really handy tool we've already covered gain let's also a BPM counter there's also a oscillator if you want to test your speaker's there's an impact output control which is good for monitoring there is a correlation meter again for checking your face [Music] always check that the light showed in the multimeter which I tend to use of course we've got the tuner which we've already seen and finally exciter and sub-base some really good specialized plugins that have briefly discussed but excited just adds top-end and adds a new harmonic so that's really good on vocals or anything that sounds a bit dull and lifeless sub bass is good on kicks and basses to add sub and that's it all of your extra plugins will be shown under audio units so you can see here I've got some third-party plugins from waves faire filter etc and imaging you can also add stereo spread and of course this rarely sounds good it's more destructive than I like it because it plays with the face but what you can do is just add a really really subtle change and you can only do it on the top end you made a Batman for me [Music] for me for me I don't like them but sometimes you can use them to spread the mix a bit or if you have a stereo instrument like let's see if we combined these into a stereo channel and the drums and we wanted to make them wider we could do that here so a few useful plugins we've covered pretty much everything but if there's anything that you're not sure the standard go to rule is resort to the presets that'll tell you a lot about it and then find a preset you like and tweak from there and that applies to any plug-in ever the presets are really handy a lot of people shy away from them but you can create your own presets you can use them as a starting point and then tweak and we're going to talk more about creating your own presets in another section but for now that's pretty much all the plugins anything you haven't tried give it a go

Channel: Musician on a Mission

Views: 604,007

Rating: 4.9622555 out of 5

Keywords: musician on a mission, rob mayzes, mixing, logic pro x, workflow

Id: vry9ZDGr56E

Length: 98min 56sec (5936 seconds)

Published: Thu Aug 08 2019