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Mastering guide logic pro x 自由 -
Mastering guide logic pro x 自由
トラックを「グループ」で1つにまとめることで、「音量」「Pan」「編集」「ソロ ミュート」などを設定したグループでリンクできます。 Logic ProはVolumeやPANだけではなく、EQ、COMP、Reverbなどの「プラグイン」にもオートメーションを適用することができます。 エフェクトに対してオートメーションを記録すること Logicの外部シンセの接続方法です。MIDIインターフェイスと外部音源の「MIDI IN 」 「MIDI OUT」を接続します。 Logic Proの「OMF」機能を使用すると、プロジェクトのオーディオファイルと、配置された位置を他のDAWソフトで再現することができます。 オーディオファイルをわざわざ書き出したり、オーディオフ LogicProの「ノーマライズ」は、レコーディングしたオーディオ波形が小さすぎるという場合に活躍します。 波形を音が割れるギリギリまで持ち上げることができる機能です。 Logic Proに備わっている便利機能「ストリップサイレンス機能」を使用することで、リージョン内の「無音」「小さなノイズ部分」を一気にカットすることができます。特にボーカルトラックの無音部分に大き Logic付属の高機能ボコーダー「EVOC 20」を「サイドチェイン」と併せて使用することで、あらゆるオーディオ素材に対し音程をつけることができます。 Logicに付属する「Match EQ」は希望の楽曲周波数を検出、抽出することができる「イコライザー」です。市販作品の音域を抽出することができます。 音をぶつ切りにする「ゲート」を使用することで、トラックに対して、とても面白い効果をだすことができます。 ここではその使用例を解説していきます。 前項の「かけ録り」を応用したレコーディングテクニックを解説していきます。 この方法を使用することで、 「かけ録り」と「素のトラック」の両方をレコーディングしたり、 mastering guide logic pro x 自由 LoigicProのデフォルト設定では、楽曲テンポを変更すると、MIDIはその変更に従いますが、 オーディオファイルの再生速度は変わりません。 ここでは「MIDIトラック」のように、 オーデ Logic X より搭載された「MIDI FX」 様々なMIDI打ち込みを支援してくれる強力な機能が満載です。 その中の「Chord Trigger」を解説していきます。 コード構成音を各鍵 Logicのプラグイン規格はAUとなっており、VSTプラグインとは非互換になってしまいます。 これにより、VSTのみに対応した音源の使用が制限されてしまうことになります。 この問題を「KOMPLE 作曲作業を行なっていく中で、プロジェクトの再生は言うまでもなく、重要な操作です。 Maztering このモードを把握し、使いこなしていくこと ここでは「Logic Pro X」上のMIDI音源に対して、異なるMIDIキーボード・デバイスを割り当てて演奏する設定を解説していきます。 MIDIキーボードごとに演奏する音源を指定するなど、ライブ Logic Pro Mastering guide logic pro x 自由 画面配置 に変化があり、トランスポートや各ボタンの場所なども変更させています。ここではその変更点を中心とし解説を進めていきます。 Smart Controlを使えば、プラグインウインドウを開いて個々のパラメータを調節するよりも、サウンドの調整を素早く行えます。MIDIコントローラーで操作することも可能です。 Arrangement Markerは楽曲構成を設定し、これらの順番を簡単に組み替えることができる機能です。様々な「構成シミュレート」や「楽曲デッサン」に重宝します。 iPadにも「Logic Remote」というアプリが追加されました。無料なのですが、機能はかなり充実しています。ここではダウンロード方法を動画でご紹介致します。 guiide Remote」の使用方法を中心に解説を行っていきます。初心者の方も非常に楽しく自己表現ができるでしょう。 Logic 実用性が高い機能も多く搭載 前回の解説に続き「Logic 先日リリースされた「Logic Pro X Logic Pro X Apple社よりLogic Pro Xの「 Apple社よりリリースされている人気DAWソフト「Logic Pro X」 久々の大型アップデートとなるVer DTMの始め方 パソコンで始める iOSで始める 「歌ってみた」の始め方 DTMレッスンのご受講 バナー・動画制作 バナー広告掲載のご依頼 記事・動画制作などコンテンツのご依頼 法人様のご依頼・お問い合わせ DTMクラウドファンディング DTM専用パソコン.
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Mastering guide logic pro x 自由.How to Master in Logic Pro X
To stop the compressor from overreacting to your bass, use the side chain in HP high pass mode, and adjust the frequency dial until the compressor is no longer reacting to your kick or other low-end instruments more than the rest of the mix.
The sweet spot is usually around Hz. Multi-band compression is a bit like an EQ which only activates when specific frequencies get too loud. Do not worry — though it looks complicated, setting it up is mostly the same as a normal compressor.
You can change the crossover frequency depending on what is needed to affect a smaller or more comprehensive frequency range. This controls how long the compressor stays on between attack and release. The release must last the full length of each bass note until the beginning of the next note.
If the bass has lost some loudness, you can use the gain change line to turn it up again. There is also an expander at the bottom, with a threshold, ratio and reduction level. An expander is the opposite of a compressor — it turns the volume up when the signal drops below a certain threshold.
Pro Tip: unlike EQ and compression, multi-band compression is unnecessary in every master. Saturation is a unique blend of subtle distortion and compression, as you would find in any analog gear. It adds harmonics which give your mix an extra vibe and liveliness, as well as helping to glue everything together. There are four different ways to add saturation in Logic Pro:. Turn the drive dial up or down to add saturation in any of the vintage EQs.
Be aware that turning the drive up will make your track louder, so if you are returning to your EQ at the top of the plugin chain, you must adjust the output volume to match the same loudness level on your loudness meter. Alternatively, you could add a second instance of the vintage EQ plugin as a stand-alone saturation tool without any EQ adjustments.
Again, you can either add this as a stand-alone and turn the ratio to no compression or return to the compressor you used previously and adjust output gain afterwards. Tape saturation is a favorite for many producers, thanks to its beautiful warmth and vibe.
Logic has a secret weapon with this built-in: the tape delay. To use its saturation in your mastering chain without the delay effect:. Turning the clip threshold into the negative values will push the tape saturation further, while positive values will make it more subtle. From here, you can add as much soft saturation as you like.
This is the final processing step for your master! The limiter works like a compressor, but rather than turning the volume down slightly after it crosses a certain threshold, it just chops it off. Compared to the regular limiter, it has an automatic release time which adapts to the music. Next, turn your gain up until you start getting some gain reduction.
Now you have a choice to make. You can turn on True Peak Detection, which provides super-accurate limiting and saves hassle. Pro Tip: as with compressors, you can use more than one limiter. For example, you might like to use one limiter with True Peak Detection off to shape the sound and a second with True Peak Detection on to catch any stray peaks.
Mastering is more about the musicality than the numbers, but there are still some things we need to check to make sure your track will sound its best once released. A true peak detector can detect inter-sample peaks. These inter-sample peaks can cause unpleasant distortion, so checking for them is essential.
To recap, digital platforms recommend true peaks to be no more than This prevents your track from distorting when converted to lower quality for streaming online.
You may have heard that streaming services normalize everything to LUFS. This is not a target for you to hit. LUFS is a scale of loudness perceived by the human ear, so it helps compare the relative loudness of different tracks. There is no one LUFS reading you should be aiming for. Softer genres like jazz tend to sit around to LUFS.
Here is a video from In The Mix to help you hear the subtle nuances of compression , both in mixing and mastering:.
You can also use the Multipressor for even more control over your sound. The plugin allows you to use different settings of compression for different frequencies.
The plugin is very simple to use. It is divided into four sections and you can tune the frequency using the main upper panel.
Below that, you will see the same controls that you would find in a standard compressor. Just as with the compressor, you should use the equalizer very subtly when mastering. There are two main types of stock equalizers we can use for mastering in Logic Pro: the Channel EQ and the Vintage EQ Collection ones. The Channel EQ is parametric and more surgical.
It will give you more control over your frequencies. However, the added functionalities make overdoing it much easier so be careful. The Vintage EQ Collection semi-parametric plugins are modeled after famous real units.
The console , graphic, and tube EQs are based on Neve , API, and Pultec hardware EQs, respectively. The benefit of using them is that they add a little bit of analog color to your sound and the stripped-down style makes them less prone to exaggeration — perfect for mastering. Also, make the Q range as broad as possible so the result is smoother and more consistent. Compare your song to your reference and check for any frequencies that would benefit from an extra boost.
A slight boost at around 8kHz using a high-shelf setting should add a little bit of brightness to your master; As well as one using a low-shelf at kHz for bringing attention to your bass sound. Tip: Use the Drive Knob on any of the plugins of the Vintage EQ Collection to apply soft saturation to your master.
Saturation is an optional step that can give your sound extra perceived loudness and analog mojo by distorting the sound very subtly. There are a few ways you can do this inside Logic. These are modeled after real analog units. There is also a feature in the Tape Delay plugin that will work.
Under the Character section, note the Clip Threshold knob. Dial it back very carefully to add some tape saturation to your sound, but keep it to a minimum. You may also download the free Saturation Knob plugin by Softube. This type of plugin can be used to enhance the overall stereo image of your audio. You should go about stereo-widening very carefully as, if used incorrectly, it could throw your mix all over the place and make your bass sound weak , as well as cause phase issues.
If you still decide to use it, just as with most things in mastering, keep it to a minimum. Load the Stereo Spread plugin and set your Lower Freq. Keep the Lower Int. and the Upper Int. Set the stage to 4 or 5. Finally, a limiter will catch the loudest transients in your song while increasing its loudness to standard levels. Limiting is somewhat similar to compressing, but in a much more aggressive way: these plugins will squash any sound that exceeds the threshold , enabling you to have more perceived loudness without clipping.
There are two plugins for this job inside Logic: the Limiter and the Adaptive. With the first one, you will have to dial the release by yourself, as opposed to with the latter, which will automatically adapt the value based on your audio signal.
That said, certain aspects of mastering will help get your mixes to that next level, so rest assured you still have some room to work. Import your finished mix or mixes to a new audio track in Logic, accompanied by 3 different reference tracks.
Listen and compare the 4 tracks, and make a few notes literally write them down :. Create a new audio track and load up 3 instances of Match EQ on it one for each of your reference tracks. Hit F to bring up the Project Browser on the right hand side, giving you access to your 4 audio tracks. Drag your mix file onto the Current tab in Match EQ, and one of the reference tracks onto the Reference tab. Then, on the EQ Curve, hit Match.
The plugin will create an EQ curve that visually demonstrates the differences in frequency spectrum between your mix, and your reference. Now go ahead and do the same for the other 2 references, using the other 2 instances of Match EQ. For example, it appears our mix has quite a few challenges in the low end. Compared to the references, we have a lot of energy around 80Hz, and not a lot in the Hz range. Our mix also appears to be lacking a lot of high end, dropping off significantly around 12kHz.
The golden rule, as with mixing, is to use your ears, not your eyes. You should compare any trends noted from Match EQ to the notes you took when listening and comparing. This is simply an example, and is actually using an unfinished mix to demonstrate how you can use Match EQ to level up your music production.
One of the principles in mastering is measuring. That is, using tools to measure things such as:. Logic Pro X has a number of measurement tools including a Loudness Meter, Correlation Meter, and Level Meter, all of which can be found in the Metering section under Audio FX.
The Analyzer section in MultiMeter is a real time frequency analyzer, which shows you changes in frequency as they happen. There is no set goal for what this should look like across a mix; think about the different frequency settings on your car radio, iPod or in Spotify. For example in our mix, Hz is coming through really strong. We might use an EQ to cut a little in this area.
Loudness is a contentious topic in mastering, as it has been the subject of abuse for many years now. Remember how the human ear identifies louder sounds as subjectively better? Well, mastering engineers or more accurately the record labels that hired them learned how to use this to their advantage by using a limiter to make finished tracks louder and louder.
This resulted in something called the Loudness War, which ended up sacrificing the beauty in music and its dynamic range in favour of overly compressed or squashed tracks that appeared louder. Loudness is still an issue in contemporary music, though it has been stamped down by new limitations enforced by streaming and broadcast companies. All the way, seeking to retain the nuance and dynamic range that makes music music.
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