Нужно выключить «ТРАНСТЕКСТ». У нас… – Он нас сделал, – сказал Стратмор, не поднимая головы.  – Танкадо обманул всех. По его тону ей стало ясно, что он все понял. Вся ложь Танкадо о невскрываемом алгоритме… обещание выставить его на аукцион – все это было игрой, мистификацией.

Customer Downloads | Mastering In Logic.Tutorials Archives – Sean Divine Productions

 
Aug 25,  · Logic Pro X Session Templates. Download NOW!!?utm_source=YouTube&utm_medium=Referral&utm_campaign. Jun 15,  · #logicprox #logicgang #cjbeatzAs promised, here an updated mix and master tutorial for logic pro x!Want to support the channel? Go drop some money on my kits. To Open the Compressor presets in Logic Pro X – Load the Compressor, click on the drop down presets menu (top right) you’ll be able to see the preset folder where you can select from the presets. Files created in Logic X but are backwards compatible to older versions. Happy mixing and mastering.

Logic pro x mixing and mastering tutorial free download

Most people apply colors based on instrument type e. Hit X to bring up the mixer, select the tracks, and apply some color again. A static mix involves setting the volume or level for each track, and creating some stereo depth using pan. Hit X to bring up the mixer, and use the faders to balance out the volume of each track. For example, kick drums and bass guitar often battle for space in the low frequencies, while electric guitars and vocals can have issues in the mids.

Pay close attention to the Stereo Out track, which is the master output. Try to keep the level at around -6dB. Remember, 0dB is the ceiling, and once you start pushing levels above this, digital distortion occurs. This is the pan pot panoramic potentiometer , and you will use it to position each track within the stereo field. Whereas the fader controls the level or volume of each track, pan controls whether the track appears in the left or right side of the mix, or anywhere in between.

Again, there are no hard and fast rules here, though typically lead vocals, bass, kick and snare are kept at centre. You should experiment with opening up the cymbals or overhead tracks as wide as possible, and if you have multiple guitar or keyboard tracks, try panning them left and right too.

Try sitting the guitars just inside the cymbals, or vice versa. If you have several vocal tracks, for example one lead vocal and two backing vocal harmonies, try panning the harmonies a little to either side of the stereo field for a thick sound.

EQ is the process of manipulating the frequency spectrum of a track, and is used to either cut offensive frequencies, or boost desired ones. It features low and high cuts, low and high shelves, and 4 bell peak type nodes. You can edit the peak frequency by simply clicking and holding a node and moving it left to right, and you can apply a boost or cut by dragging it up or down. You can also click and drag on the numerical equivalent at the bottom of the interface, or double click and enter a specific value.

Where equalization is concerned with controlling the frequency range in a mix, compression is used to control the dynamic range of your tracks. It can also be used to change the tonal character of an instrument. Certain guitar or bass notes may have been played more softly or louder than others, or your vocalist may have moved closer to or further away from the microphone during recording.

As with equalizers, compressors are incredibly complex, as you can see from the number of controls in the above GUI. Compressors work to control the dynamic range by compressing or turning down , audio signals when they go above a certain level. You use the controls of the compressor to set the point at which compression occurs, to what degree, and how quickly among other things.

The five most important parameters to get the hang of are threshold, ratio, attack, release, and make up. The threshold controls the point at which the compressor kicks into action. You can think of it like setting the ceiling.

When the track level reaches above this ceiling the threshold , the compressor will engage and compress or turn down the audio. The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc. The higher the ratio, the more the compressor reacts. At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2.

The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release. These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression. Sometimes labelled make up gain, this control is used to match the compressed and uncompressed signal levels.

Because compressors often make things sound louder, it can be difficult to compare and accurately gauge the effect of a compressor when switching between the affected and unaffected signal. Because the human ear naturally favours louder signals , the louder, compressed track often sounds better by comparison. Use the make up control to ensure the levels are consistent so you can judge the effect of compression more accurately. Compression is best used to control overly dynamic instruments, for example, an inconsistent vocal recording.

Use the loop control in Logic to select a section of vocals, and open up the compressor plugin. Start with a modest ratio of is generally seen as the middle ground in compression ratios. Roll back the threshold control until the compressor starts engaging when the loud vocals kick in. The goal here is to allow the compressor to kick into gear only when the vocals get too loud, not at all times. That said, you may want to apply a little compression to the vocal tracks e. If the compressor is acting on vocal transients too slowly, make the attack quicker.

Experiment with different attack, release, threshold, and ratio settings until you find the perfect setting. Logic, being Logic, has tonnes of built in effects that you can use to spice up your tracks, add some depth and interest, and make your productions sound just like the pros do. Imagine a ball of blue light directly in front of you. The horizontal field left to right , is controlled by pan. Whereas the vertical up and down , represents frequency, which is dependent on the type of instrument bass guitar vs violin for example , as well as any equalization applied.

The volume or level controlled by the fader as well as compression , is represented by the light becoming brighter or duller. This is controlled using reverb. By using all four fields or spectrums stereo, dynamic, frequency and depth , you can give each instrument its own space in a mix, meaning every track can be heard clearly.

Before the world of plugins, and even before outboard hardware effects, reverb was literally created in a physical space. For example, if you wanted a big chamber sound on a choir, you had to record the choir in a big chamber! Obviously this is incredibly inconvenient, so sound engineers quickly figured out how to emulate this effect using springs and plates.

Predelay The predelay parameters control the amount of time in milliseconds between the dry signal and the first reflection. Reflectivity Have you noticed how some rooms are more reflective or noisy than others? Think of the difference in reflectiveness between an empty hall, and your living room with carpet, sofa and thick curtains.

The higher it is set, the longer the reverb effect will last for. Higher settings are great for creative effects, though if you are trying to create a small amount of space on a vocal or lead instrument, try rolling this back a bit. Turn Wet all the way up and Dry all the way down, and you will only hear the affected signal. Your attention will be drawn to the details… the small details that add up to make a very big difference over the course of an entire mix.

As you move forward with your musical pursuits, you may find that the pros are using the same tools as everyone else for the most part. Even the techniques are similar… in theory. The value that a video such as this brings to the table is being able to watch somebody do it live and make those decisions in real time. Nearly everyone in the game knows how to using EQ in theory, but how the tool is used and what frequencies are being manipulated is what makes the difference.

Unmixed starting point stems: Load these up into the DAW of your choosing, to follow along with Jaz and hone your mixing techniques. Some highlights from this 2-part tutorial: Multiband sidechaining Metering for a visual reference Mid-side EQ EQ Compression Maximizing low end Transient shaping

Logic pro x mixing and mastering tutorial free download

Вот именно! – крикнул Джабба.  – Посмотрите уран. Его сверхкритическую массу.