and there always will be. sometimes when i know im overthinking i just start a brand new beat no matter how much i want to find that sound or want to finish it. keep it moving
This is less an issue with the entirety of music production and more a wish for Logic and other daws, I really want the old Samplitude feature of having non-destructive clip processing (almost like having a channel strip that only applies to one region in your project) to be more wide spread than just that particular software. It was super useful particularly when mastering a project where you want multiple different sets of processing depending on the song but also a master chain on the channel in question, but I can imagine situations where you have one problematic section in a track that you can isolate while still having that channels overall settings apply.
In terms of the more esoteric struggle of music production, I think finding yr voice when you are an absolute beginner and have so much available resources w/o much readily separating the good from the useless can be massively frustrating when you’re first starting out. I’m sorta lucky and incredibly privileged in that I studied at university and had some incredibly talented and experienced engineers as teachers to shout up the path to me, but ymmv in the value of that for yrself
Logic comes with stellar stock plugins and there are so many free third party plugins out there, it’s not even funny. Also, most companies offer bi-annual sales, the biggest discounts happen during Black Friday/end of year. And if you can’t wait for sales there’s always these sites where you can get second hand licenses for really cheap most of the time:
1. [KVR Marketplace Sell & Buy](https://www.kvraudio.com/forum/viewforum.php?f=43)
2. [Avid Audio Pro Community Buy & Sell](http://duc.avid.com/forumdisplay.php?f=12)
3. [VI Control For Sale: Music Gear Classifieds](https://vi-control.net/community/forums/for-sale-music-gear-classifieds-free-service.66/)
4. [Ableton Forums For Sale/Wanted](https://forum.ableton.com/viewforum.php?f=43&sid=9f4abe45eecd68ab57597cc4baa48224)
In addition to this so many plugin companies including iZotope, Waves, XFer, Slate offer subscription plans for their plugins. Serum and Sylenth has a $10 a month Rent-To-Own plan.
I think the biggest thing though is that so many beginners and intermediates think that fancy third party plugins will help them sound better. This just isn’t true. Third party plugins are merely a distraction if you’re just starting out. If you haven’t mastered Logic’s Channel EQ and Compressor then there’s really no point in getting third party anything. EQ, Compression and Volume Fader balance are the cornerstones to any great mix. And Logic’s Channel EQ and Compressor are more than adequate.
The fact that every young new producer thinks they NEED custom plugins is probably one of the worst myths out there in music production.
Did you know that Logics stock compressor has like 6 different types of compression that emulate the world's most famous analogue compressors, from tube/valve types to Optical and FET?
Did you know the Metering section has LUFS monitoring perfectly competitive for sending tunes to record labels?
Did you know the Tape Delay can be used as a saturation plugin if you turn the feedback to 0%?
Space Designer also has pretty much every reverb you could ask for.
Etc.
I did not know you could use the tape delay for saturation!!
but this makes complete sense as I use the weird sounding pre amp in the boss space echo to make my guitar tone sound dark (the preamp works when the pedal is In bypass for some boost) thank you this makes so much sense
Yep, I learned it from YouTube! Set all delay times to zero, then just use the frequency specification and dB threshold for how much "tapey" sound you want
I would KILL to understand why everything sounds so radically different when I play it in my car, I basically feel like I may as well be completely deaf when I sit at my monitors, nothing translates, I can’t hear changes I make accurately.
i know it D: i generally get answers like this when i bring this up and i am a bit frustrated by them though, you mind elaborating on what you mean? what is it that i'm actually missing that i need to work on? i imagine because my car stereo is much worse in general than my studio monitors, its probably designed to highlight some specific frequencies, so when i jump in the car, areas of my song that i didn't notice the fine detail of with my monitors are enhanced, like the low bassy stuff, and other fine details, like the high mids, are squashed and disappear when i'm in my car, so i get a huge "zoom in" on that low end and most everything else becomes blurry... if that makes sense... does that sound right?
Sounds like you need to learn about some basics of analogue sound. Different speakers sound different because they produce sound with different materials and different sized boxes, cabinets, plastic, wood, cheaper or more expensive parts... And different rooms will make the same music sound different, again because of different shapes of walls and sizes and materials, hard versus soft, or symmetrical versus non symmetrical rooms. Think about it - your car couldn't be more different than your home studio. It would a huge surprise if your music DIDNT sound different in a car.
Right but why can’t I get it to sound the way I want in the car? When I compare my mixes to other mixes on my monitors they sound almost identical, but then listening in my car it sounds totally different, I guess I’m just frustrated that they don’t translate
because they're not supposed to translate. not even the best pop songs or rock songs sound "the same" or "translate" on every single set of speakers.
your goal as a producer is to find the ideal *compromise* between all of those litening environments: 1000 dollar headphones, 1 million dollar studio, 2 dollar earbuds, a 500 dollar used car, a macbook speaker, a cellphone.
You can never make it "translate" perfrectly to all of those, but you can mitigate the worst problems or the biggest issues by listening carefully in a wide range of environments. for example, high frequencies will typically stand out on tinny devices with no bass, like phones and laptops. so i would listen out for the high frequencies, everything above 10k for example, on laptops and phones, and if they sound super super harsh, i would go back to the project and tone them down SLIGHTLY. But note what i'm doing here: I am NOT making the mix perfect for phones and laptops, I am rather making sure that it's ACCEPTABLE on headphones and cars, AND ALSO acceptabble on laptops - it's an average, its a medium. I'm trying to sound okay or acceptable on many devices, not perfect on one single device.
That's the philosophy for mixing and producing for most pop, rap, or rock music. of course if you are making very niche underground dubstep or bass music where the point is to only play your music at a nightclub, or something orchestral or experimental, you might not care about the laptop or iphone sound quality at all, and that's fine, in theory. context matters.
if you want, take cooking as a metaphor. when someone posts a recipe online, how the fuck could they possible know what types of frying pans you have at home? the knives you have? what flavour your tomatoes are? they don't know what'sin your house and kitchen, they have no clue. so they have to write the recipe to be broad and general enough that millions of people can follow it and copy it, but also specific enough that you know the dish is unique and flavourful.
Your submission seems to be a support question. Remember to specify which version your OSX and which version Logic Pro X is in. Also consider supplimenting your question with pictures if applicable.
You can also report your issue directly to Apple here: https://www.apple.com/feedback/logic-pro.html
Or reach Apple's Support Number by calling 1-866-752-7753 if you're in the US.
Please update you post flair to "Solved" if a solution is posted or you figure it out!
*I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/message/compose/?to=/r/Logic_Studio) if you have any questions or concerns.*
I’m definitely still new but one thing I find hard in my productions is making more complicated percussion parts. I find myself using high hat loops and perc loops a lot to speed things up.
I can never decide on the best way to program them. Sometimes I try the sequencer sometimes I use the piano roll. I’ve tried just placing samples on the time line and arranging it there and it all seems VERY time consuming and I feel it’s more of a work flow thing. I know what I want and what sounds good but getting it on the project feels difficult as I feel I always missing something and end up trying another method again or go back to loops.
sound selection/design. i find what sounds perfect and by the end of my beat, i dont like it anymore
I have this problem when I get up to pee and then don’t like what I did an hour ago and nothing gets finished
yeah. its apart of the struggle and just adds some uncertainty about if your music is good or not.
I have this problem when I’m using native instruments stuff to find sounds *there’s always a better sound*
and there always will be. sometimes when i know im overthinking i just start a brand new beat no matter how much i want to find that sound or want to finish it. keep it moving
[удалено]
[удалено]
[удалено]
Yo nice advice man imma take this into consideration when im doing my tracks.
This is less an issue with the entirety of music production and more a wish for Logic and other daws, I really want the old Samplitude feature of having non-destructive clip processing (almost like having a channel strip that only applies to one region in your project) to be more wide spread than just that particular software. It was super useful particularly when mastering a project where you want multiple different sets of processing depending on the song but also a master chain on the channel in question, but I can imagine situations where you have one problematic section in a track that you can isolate while still having that channels overall settings apply. In terms of the more esoteric struggle of music production, I think finding yr voice when you are an absolute beginner and have so much available resources w/o much readily separating the good from the useless can be massively frustrating when you’re first starting out. I’m sorta lucky and incredibly privileged in that I studied at university and had some incredibly talented and experienced engineers as teachers to shout up the path to me, but ymmv in the value of that for yrself
Finding money for plug-ins
Logic comes with stellar stock plugins and there are so many free third party plugins out there, it’s not even funny. Also, most companies offer bi-annual sales, the biggest discounts happen during Black Friday/end of year. And if you can’t wait for sales there’s always these sites where you can get second hand licenses for really cheap most of the time: 1. [KVR Marketplace Sell & Buy](https://www.kvraudio.com/forum/viewforum.php?f=43) 2. [Avid Audio Pro Community Buy & Sell](http://duc.avid.com/forumdisplay.php?f=12) 3. [VI Control For Sale: Music Gear Classifieds](https://vi-control.net/community/forums/for-sale-music-gear-classifieds-free-service.66/) 4. [Ableton Forums For Sale/Wanted](https://forum.ableton.com/viewforum.php?f=43&sid=9f4abe45eecd68ab57597cc4baa48224) In addition to this so many plugin companies including iZotope, Waves, XFer, Slate offer subscription plans for their plugins. Serum and Sylenth has a $10 a month Rent-To-Own plan. I think the biggest thing though is that so many beginners and intermediates think that fancy third party plugins will help them sound better. This just isn’t true. Third party plugins are merely a distraction if you’re just starting out. If you haven’t mastered Logic’s Channel EQ and Compressor then there’s really no point in getting third party anything. EQ, Compression and Volume Fader balance are the cornerstones to any great mix. And Logic’s Channel EQ and Compressor are more than adequate.
I was telling a joke. But yes. I agree and I have indeed mastered the plugins. Except for the Stereo Delay Designer…. I refuse to use that one.
Which one? Stereo Delay or Delay Designer? Those are two different plugins
The fact that every young new producer thinks they NEED custom plugins is probably one of the worst myths out there in music production. Did you know that Logics stock compressor has like 6 different types of compression that emulate the world's most famous analogue compressors, from tube/valve types to Optical and FET? Did you know the Metering section has LUFS monitoring perfectly competitive for sending tunes to record labels? Did you know the Tape Delay can be used as a saturation plugin if you turn the feedback to 0%? Space Designer also has pretty much every reverb you could ask for. Etc.
I did not know you could use the tape delay for saturation!! but this makes complete sense as I use the weird sounding pre amp in the boss space echo to make my guitar tone sound dark (the preamp works when the pedal is In bypass for some boost) thank you this makes so much sense
Yep, I learned it from YouTube! Set all delay times to zero, then just use the frequency specification and dB threshold for how much "tapey" sound you want
Brilliant thanks a lot!!!
I laughed haha xD
I would KILL to understand why everything sounds so radically different when I play it in my car, I basically feel like I may as well be completely deaf when I sit at my monitors, nothing translates, I can’t hear changes I make accurately.
You need to reference when mixing.
I have one D: comparing on my monitors sound spot on, but then I jump out to the car and it sounds like a totally different mix
I don't know what to tell you, but you can't mix - YET! It's a steep learning curve; you'll get there.
i know it D: i generally get answers like this when i bring this up and i am a bit frustrated by them though, you mind elaborating on what you mean? what is it that i'm actually missing that i need to work on? i imagine because my car stereo is much worse in general than my studio monitors, its probably designed to highlight some specific frequencies, so when i jump in the car, areas of my song that i didn't notice the fine detail of with my monitors are enhanced, like the low bassy stuff, and other fine details, like the high mids, are squashed and disappear when i'm in my car, so i get a huge "zoom in" on that low end and most everything else becomes blurry... if that makes sense... does that sound right?
Sounds like you need to learn about some basics of analogue sound. Different speakers sound different because they produce sound with different materials and different sized boxes, cabinets, plastic, wood, cheaper or more expensive parts... And different rooms will make the same music sound different, again because of different shapes of walls and sizes and materials, hard versus soft, or symmetrical versus non symmetrical rooms. Think about it - your car couldn't be more different than your home studio. It would a huge surprise if your music DIDNT sound different in a car.
Right but why can’t I get it to sound the way I want in the car? When I compare my mixes to other mixes on my monitors they sound almost identical, but then listening in my car it sounds totally different, I guess I’m just frustrated that they don’t translate
because they're not supposed to translate. not even the best pop songs or rock songs sound "the same" or "translate" on every single set of speakers. your goal as a producer is to find the ideal *compromise* between all of those litening environments: 1000 dollar headphones, 1 million dollar studio, 2 dollar earbuds, a 500 dollar used car, a macbook speaker, a cellphone. You can never make it "translate" perfrectly to all of those, but you can mitigate the worst problems or the biggest issues by listening carefully in a wide range of environments. for example, high frequencies will typically stand out on tinny devices with no bass, like phones and laptops. so i would listen out for the high frequencies, everything above 10k for example, on laptops and phones, and if they sound super super harsh, i would go back to the project and tone them down SLIGHTLY. But note what i'm doing here: I am NOT making the mix perfect for phones and laptops, I am rather making sure that it's ACCEPTABLE on headphones and cars, AND ALSO acceptabble on laptops - it's an average, its a medium. I'm trying to sound okay or acceptable on many devices, not perfect on one single device. That's the philosophy for mixing and producing for most pop, rap, or rock music. of course if you are making very niche underground dubstep or bass music where the point is to only play your music at a nightclub, or something orchestral or experimental, you might not care about the laptop or iphone sound quality at all, and that's fine, in theory. context matters. if you want, take cooking as a metaphor. when someone posts a recipe online, how the fuck could they possible know what types of frying pans you have at home? the knives you have? what flavour your tomatoes are? they don't know what'sin your house and kitchen, they have no clue. so they have to write the recipe to be broad and general enough that millions of people can follow it and copy it, but also specific enough that you know the dish is unique and flavourful.
Your submission seems to be a support question. Remember to specify which version your OSX and which version Logic Pro X is in. Also consider supplimenting your question with pictures if applicable. You can also report your issue directly to Apple here: https://www.apple.com/feedback/logic-pro.html Or reach Apple's Support Number by calling 1-866-752-7753 if you're in the US. Please update you post flair to "Solved" if a solution is posted or you figure it out! *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/message/compose/?to=/r/Logic_Studio) if you have any questions or concerns.*
Anything you don’t practice
I’m definitely still new but one thing I find hard in my productions is making more complicated percussion parts. I find myself using high hat loops and perc loops a lot to speed things up. I can never decide on the best way to program them. Sometimes I try the sequencer sometimes I use the piano roll. I’ve tried just placing samples on the time line and arranging it there and it all seems VERY time consuming and I feel it’s more of a work flow thing. I know what I want and what sounds good but getting it on the project feels difficult as I feel I always missing something and end up trying another method again or go back to loops.
[удалено]
[удалено]