Apple Logic Pro /LogicExpress Discussion

Thanks very much. I'm going to have fun trying out these and the other
people's tips. I only have one afternoon to do it in though as my
competition deadline is looming!  I have only really worked with
automation on volume so far so it will be interesting to learn how to put
effects on the end of lines.

thanks again

Andy

> Hey I just wanted to offer up a couple of ideas on the problems you're
> having with that vocal line.
>
> When faced with a dynamic or frequency dependent issue, a lot of us tend
> to go for a plug-in solution and with good reason; it is quick and usually
> gives good results. This however a generalized approach and it overlooks
> one of the central advantages to using a DAW in the first place namely -
> Total Automation. In the hardware world, eq and compression tend to be
> 'set & forget' solutions. Often times we carry this over into the DAW
> realm overlooking the fact that we can manipulate every singe parameter of
> an eq, compressor or any other plug-in parameter in real-time and with
> near sample accuracy. I really encourage you to dive into the automation
> side of Logic. It is simply, fast and incredibly powerful.
>
> Try this: Solo the part and then find the area that is being a problem.
> Isolate the region and set locators. Cycle the region. Next add a single
> band eq to your channel strip. If you already have plug-ins rolling, place
> it after your main eq and before any other processing. Hit A on your Mac
> keyboard to go to automation mode. In the track header you will see a
> pull-down labeled Volume. Using this pull down you can select the
> frequency and gain of the single band. Use automation break points to to
> gently dip the problem frequency only where you have the problem;
> literally only during the 300-400 msec that the problem is occurring. This
> is similar to what a de-esser would do, only here, you have total control
> over what's going on. If you are familiar with your automation tools, you
> know you can copy and paste the data from one area to the others very
> quickly and then tweek each spot individually. Using this method you can
> make absolutely transparent corrections to only the problems spots leaving
> the rest of the track unmolested.
>
> Once you get this down, you will quickly realize what you can do with
> dynamic automation of compression-eq to draw out breaths, selectively
> compress the tail-ends of lines or create all sorts of wild effects. Give
> it a shot.
>
>