Logic pro x 10.4 reverse audio free. Audio Reverser | How to Reverse Sound in Logic Pro X
Logic pro x 10.4 reverse audio free
A new entry into the DAW market, Luna is a free solution available to those running Universal Audio’s Apollo and Arrow interfaces. It’s a bold. › video-editing › reverse-audio-in-logic-pro-x. Logic Pro X cheat sheet of all shortcuts and commands. Move Locators Backwards by Cycle Length. shift+[SPACE] Show/Hide Audio File Editor.
Logic Pro X Professional Music Production –
However, as with any application as diverse and all-encompassing as Logic Pro X, it would be foolish to see any update as a lurch to one style of production over another. Each version simply brings new a dimension to the system. The introduction of Alchemy in Having used Logic since version 2.
Despite its accessibility, its well tailored to engineers and musicians who like to drill down into the details. Choosing the right DAW is one of the most important decisions you can make in respect to setting up your studio.
While many studios opt for Pro Tools as a replacement for a traditional multi-track recorder, Logic Pro X has been the popular choice for music professionals working across a range of composition and production tasks for many years. At one point in time, reverse tape effects were even the most popular music technique. You can take popular sound effects and reverse them to create new sounds and achieve remarkably great sounds, which of course can be used in music tracks or for other like purposes.
We’ll start with Logic Pro X. Get ready, launch the software and proceed with the following steps:. You could also record sound directly on the software and reverse that too.
So you either import one or record directly before apply the reverse effect. Apart from adding files created by you, you could also reverse a Logic Pro X built-in sound.
It could be a loop or a cymbal—or whatever. Select the entire track or simply select a section of it as shown in the image below:.
A section of a track was selected in the image above. You can either select a section or an entire track or sound file.
This time you will enter a name and open the text entry box of the next track with a single key command. Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. In the Mixer, you can also press Tab to enter a name and open the text entry box of the next channel strip. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip. Notice that track 2 has only a generic audio waveform icon.
A shortcut menu displays icons organized in categories. A collection of various drum icons appears. The icon is now visible in the track header.
The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment.
When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating. Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument!
Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes.
You can see your new names at the bottom of the channel strips. You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips. You will learn about those options as needed.
Depending on the size of your display, you may not be able to open up the Mixer all the way. In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options. With the Mixer open and occupying most of the main window, the workspace is much smaller.
Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible.
To remedy that, you will now adjust the From the Library of Bhooshan Thite Mixing the Song 49 locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments. If necessary, scroll or zoom out in the workspace so you can see your entire arrangement.
Remember: to see all your regions, click the background of the workspace and press Z. Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments. Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing.
Synth 2 is significantly louder than Synth 1. Pan knob Gain Volume fader When space does not permit, negative Level and Gain values are displayed without the — minus sign. The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays.
Synth 2 is now quieter and closer to the level of Synth 1. You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image. From the Library of Bhooshan Thite Mixing the Song 51 The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones. The two synths come back closer to the center of the stereo field. Now they sound like they belong in the mix.
Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments. In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano.
When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used. The Power button dims to indicate that the plug-in is off. You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant.
The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character. The bass amp also made the bass a bit louder. In fact, it is a little too loud now.
You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano. The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great.
When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted. In this project, the highest peak in the song is under 0 dB FS, and no distortion is created. In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds.
You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad. Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware.
In this exercise, you will bounce the project to a stereo audio file. By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions. You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website.
Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining. A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file.
Logic Pro X is hidden, and you can see your desktop. To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family! Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain? Where is the workspace and what does it contain? When multiple panes are open, how do you make sure the desired pane reacts to key commands?
Describe two ways to adjust a numerical value in Logic. How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins? In the help tag, what are the units of the four numeric values used to determine the length and position of a region? How many ticks are there in a sixteenth note? How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected.
The Tracks area is in the center of the main window. It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions. The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project.
Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key.
Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files From the Library of Bhooshan Thite Lesso n 2 Recording Audio To build a song, you need to come up with the raw material you will later arrange and mix.
You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project.
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.
Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac. You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording.
The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion. The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves.
To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate. The sample rate identifies how many times per second the audio is digitally sampled.
The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings. Most audio interfaces include analog-to-digital converters, and many include microphone preamps. Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones.
Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.
However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed. The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium.
Some producers who make intensive use of Traditionally, music is recorded at The Audio Engineering Society recommends a 48 kHz sample rate for most applications but recognizes the use of In Logic, settings fall into two categories: Project settings, such as the sample rate, can be set individually for each project, so that each project can have unique project settings; Logic preferences are global and apply to all projects.
If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences.
The Audio preferences appear. The Output Device is the device connected to your monitors or headphones. The Input Device is the device into which you plug your microphones or instruments. If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window.
The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have. Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording.
When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track.
The New Tracks dialog appears. You will later take precautions to avoid feedback and then record-enable the track from the track header. A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel. Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7.
From the Library of Bhooshan Thite 70 Recording Audio Logic automatically assigns the name of a track to the audio files recorded on that track, so naming a track before recording on it is always a good idea.
More descriptive names will help you identify files in the future. The new track has a generic audio waveform icon. To avoid feedback when recording with a microphone, monitor your recording using headphones and make sure your speakers are off.
You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector. You may hear a small delay between the time you play a note and when you hear it.
This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound.
To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in. The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plugins after the recording is completed. Amp Designer opens.
Here, you can dial in a sound or choose a preset. You can now hear your guitar processed through Amp Designer. Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters. On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.
Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording. Working with a low-level recording is better than clipping the input. Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase.
If the Gain knob is dimmed, it means that the feature is not supported by your audio interface. Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping. When it peaks between —2.
When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea. The Tuner opens.
The Tuner is available in the control bar only when an audio track is selected and an input is selected in the input slot of the corresponding channel strip. From the Library of Bhooshan Thite 76 Recording Audio Checking the Balance Now that the guitar is tuned, you can practice the performance and make sure that you can hear yourself and the other instruments comfortably.
If the guitar is now too loud or too soft in comparison to the other tracks, in the inspector, drag the volume fader on the Guitar channel strip to adjust the monitoring level, or drag the volume slider in the Guitar track header. Recording Audio You have set the desired sample rate, adjusted the recording and monitoring levels, inserted a plug-in to emulate the sound of a guitar amp, and tuned the instrument.
You are now ready to start recording. The playhead is positioned at bar If you need to adjust the position of the playhead, drag it left or right. The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts. By default, the metronome automatically turns on during recording, and you get a four-beat count-in in the control bar, the Count-in and Metronome buttons are enabled. You will learn how to alter both the metronome and the count-in settings later in this lesson.
The new recording, Guitar 01, appears as a blue-shaded audio region. To the name of the track, Logic appends the number of the recording. The playhead jumps to the beginning of the selected region and playback starts. If you are not happy with your new recording, you can delete it and start over. In the Finder, the audio file is moved from inside the project package to the Trash.
The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear. You will keep your recording so you can experiment with recording additional takes in the next exercise.
Recording Additional Takes When recording a live performance, musicians can make mistakes. Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take.
To preserve multiple takes in Logic, you can record new performances over previous ones. From the Library of Bhooshan Thite 80 Recording Audio The new recording in red appears to be recorded over the previous blue audio region.
Take folder Takes Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below. By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. If the recent take you recorded is shorter than a take you recorded earlier, the take folder is named Guitar: Comp A, and plays a comp made of the recent take and the end of the previous take.
From the Library of Bhooshan Thite Recording Additional Takes 81 The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface. The take folder now contains three takes.
It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. You can also double-click a take folder to open or close it. In this post you will find a tutorial for audio playback in Logic Pro X, and a perfect alternative solution for audio reversing. Try Free Try Free. Elva updated on Sound Editors. Sound Editing. Sound Effect. Part 1. Select the entire track or simply select a section of it as shown in the image below: A section of a track was selected in the image above.
[Audio Reverser Tutorial] How to Reverse Sound in Logic Pro X.
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The latest version of Logic Pro X However, адрес страницы Yes, Logic Pro can run on a Macbook Air. Logic Remote offers hands-on ways to record, mix and logic pro x 10.4 reverse audio free perform using your iPad.
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Yes, Garageband projects can be opened in Logic Pro. You can use all the functionalities of Logic Pro to expand logci an deverse Garageband project. Make sure that both Logic Pro and Garageband are up to date. Logic pro x 10.4 reverse audio free To Update Pri Pro. Here at Live Aspects, we have dozens of useful lessons and ligic created to enhance your music production skills and help speed up the learning process. You can access our huge range of music theory lessons and production tips and tricks here.
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[Audio Reverser Tutorial] How to Reverse Sound in Logic Pro X.
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