Music Tech Focus - Logic Pro 9 Volume 3

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LOGIC PRO 9 VOLUME 3 THE IN-DEPTH GUIDE FOR THE CREATIVE MUSICIAN
LOGIC PRO 9
THE IN-DEPTH GUIDE FOR THE CREATIVE MUSICIAN
ALL NEW
ADVICE &
WORKSHOPS
FOR LOGIC
132
PAGES OF
LOGIC PRO
TIPS & TRICKS
8.99
ISBN 978-1-906925-39-0
9 781906 925390
MusicTech Focus: Logic Pro 9 Volume 3
www.musictechmag.co.uk
22 essential Logic Workshops

The very best plug-ins for Logic
Extending Logic with hardware
Controller & monitor Round Ups
Four industry pros interviewed
VOLUME 3
Compiled by the Logic Pro experts from Music Tech
Welcome MTF
Welcome
What are Apple playing at? The long-rumoured Logic Pro X is yet to
materialise or, at least, it was at the time of writing (Apples software
releases simply appear these days, with none of the fanfare associated
with its hardware launches) and the music-producing world wants to
know why.
Though its true to say that many a producer is somewhat concerned
about the direction that Logic Pro X will take. This niggling doubt being
fuelled by the release of Final Cut Pro X, Apples video production suite,
which the majority of TV and movie producers felt had been significantly dumbed down, rendering it less
than fit for purpose in the modern video
production studio.
Whilst we wait for the release of
Logic Pro X, however, weve still got the
frankly excellent version 9 of Logic
Studio to play with. And what a
collection of software tools it is. Largely
regarded as the go-to DAW for sheer
vastness of capability, it manages to offer something for producers of every type of music, from recorded
orchestral to ultra-modern dance music created entirely within the software.
In this issue of Music Tech Focus we feature a further 22 Logic Pro 9 Workshops helping you explore
Logic to its full extent. These, plus features on expanding Logic, our choice of third-party plug-ins,
hardware and tuition round-ups and a whole lot more.
As ever, do enjoy the issue.
Logic manages to offer

something for producers of
every type of music
Paul Pettengale Editorial Director

paul.pettengale@anthem-publishing.com
Business Dev Manager Di Marsh

di.marsh@anthem-publishing.com
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Contributors
Mark Cousins, Hollin Jones
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focus Logic Pro 9 Volume 3
|3
MTF Contents
Issue 26
Logic Pro 9 Volume 3
ALL NEW
ADVICE AND
WORKSHOPS
132 pages of pure Logic Pro 9 know-how,

written and compiled by Music Tech Magazines Logic experts.
Including Workshops, Round Ups, Interviews, pro tips & tricks
The in-depth guide for the creative musician.
Feature
Feature
Pick of the
Plug-ins
Complement Logics built-in

instruments and effects with these
carefully selected plug-ins p66
Optimising
& extending
Logic p25
MTF Interviews
Mr Woo
Freemasons
Efterklang
& Lorn
All exclusive pro insight

Pages 18, 46, 86 & 102
4 | Logic Pro 9 Volume 3
focus
Contents MTF
MTF Issue 26 Full listings
Gear Round Ups
Monitors and
Controllers
006 | Workshop
Middle and Side processing
p92
010 | Workshop
Piano Roll Editor
014 | Workshop
Synth bass sounds with ES2
018 | Interview Mr Woo
p54
022 | Workshop
Delay plug-ins Part 1
p81
025 | Feature Extending Logic

032 | Workshop
Delay plug-ins Part 2
035 | Round Up Education
038 | Workshop
Drum sounds in Ultrabeat
042 | Workshop
External sounds in Ultrabeat
046 | Interview Freemasons
No fewer than 22 Music Tech
Workshops, covering every
aspect of Logic
22 Workshops
050 | Workshop
Creating lo-fi sounds
p50
054 | Round Up Monitors

058 | Workshop
Processing and mixing guitars
062 | Workshop
Tools & tips for a better mixdown
p58
066 | Feature
Pick of the Plug-ins
074 | Workshop
Sampler instruments
p10
p62
078 | Workshop
Modulation Matrix
081 | Round Up Control surfaces
086 | Interview Efterklang
p06
p92
p50
090 | Workshop
Creating reversed sounds
094 | Workshop
Bigger drum tracks
098 | Workshop
MIDI control surfaces
102 | Interview Lorn
p110
Education Round Up
Getting trained
up in Logic
p35
p38
106 | Workshop Stereo

110 | Workshop
Sidechained compression
113 | Workshop Dubstep bass
116 | Workshop Song structuring
120 | Workshop iPad control
123 | Workshop
Super-size synth sounds
126 | Workshop Flex Time
129 | Next Issue Mastering Vol 4
130 | Whats on your MTF DVD
|5
MTF Technique M/S processing
Logic Pro 9 Workshop
Middle and side
On the disc
processing in Logic
Unlocking the powers of M/S could transform your

mixing and mastering in Logic. Mark Cousins
explores a new dimension in sound
flexible routing and signal processing can be applied in

some unique and unusual ways.
M/S basics
iddle and side (M/S) processing is one of

the few remaining secret weapons of
audio production, offering an intriguing
means of dissecting and reassembling a
stereo image. Whether youre recording,
mixing or mastering, therefore, M/S processing offers a
completely new dimension to your work, giving you the
opportunity to fully manipulate the width and
presentation of your stereo soundstage, for example, or
produce a tighter, punchier mix with a more controlled
low end. Indeed, once you start exploiting the wonders
of M/S, youll wonder how you ever worked without it,
and realise why so many mixing and mastering
engineers turn to M/S technology on a daily basis!
In this fist Workshop of the issue were going to
explore the full breadth of what you can achieve in Logic
using M/S processing, using both the integral features
of Logic and simple freeware M/S encoders/decoders
that you can download from the web. From examples of
how to decode an M/S recording through to a complete
M/S encoding/decoding matrix, well see how Logics
PRO TIP
Controlling the output of a
reverb plug-in is one of the
most logical and effective
applications of M/S. If you
have access to the bx_solo
plug-in you wont need to
route it via an M/S matrix,
simply use the stereo width
control to adjust the balances
between Mid and Side
channels. Increase the width
to make the reverb wrap
around the mix, keeping the
Mid channel clear of clutter.
Lets work along the principle

that M/S offers a revised way of
dissecting a stereo image
1
2
Logics Direction Mixer is a

quick and easy way of
decoding M/S recordings.
If you want to explore M/S
signal processing youll
need consider downloading
a freeware M/S Encoder/
Decoder plug-in.
focus
To fully understand the wonders of M/S its well worth

doing some wider reading (Music Tech Magazine 85s 10
Minute Master on M/S Mastering is a good start), but
for now, lets work along the principle that M/S offers a
completely revised way of dissecting a stereo image.
Rather than seeing a stereo soundstage as being made
of two left and right channels, therefore, M/S divides
the soundstage into the Mono sum of the mix the
Mid or Centre of the mix, in other words and the two
extremities, or Sides of the mix, formed by the
difference between the left and right channels.
Open up the MS Decode project on the cover DVD,
which is a good example of one application of M/S
theory: an M/S drum recording. An M/S recording uses
two microphones: a forward-facing Mid microphone, set
to a cardioid polar pattern and pointed directly at the
sound source; and a side-firing figure of eight
microphone positioned at 90 degrees to the centre
microphone picking up the Side information.
Take a look at the MS Drums audio track to hear and
see this in action. Note how the Mid channel (on the
left-hand side) is the strongest of the two channels
given that its pointed directly at the sound source, and
how the Side channel is at a lesser amplitude, as its null
point is where the principle direct sound from the
instrument resides. 1
Given that monitor speakers work with L/R stereo,
we need to decode our M/S recording for it to make any
auditory sense at the moment, it just sounds like a
M/S processing Technique MTF
4
We send our audio tracks to an M/S Encoding matrix to change them from
L/R stereo to M/S stereo.
Wed recommend using one of

the simple freeware M/S plug-ins
available on the web
one-sided recording! Luckily enough, Logic includes its
own M/S decoding system in the form of the Direction
Mixer plug-in. Instantiate the Direction Mixer plug-in
(found in the Imaging plug-ins folder) across the MS
Drum track, and changed its Input setting from the
default LR mode to MS. Play back the drums and you
should now hear them in the full glory of L/R stereo,
having been decoded from their M/S source. 2
Reverse engineering
Having seen how we can take an M/S recording and
decode it to L/R stereo, lets now look at a way we can
reverse engineer a stereo mix and take it into the M/S
domain. As well see, this is where the application of
M/S starts to get really exciting, offering a plethora of
creative opportunities in respect to how we process
sounds. For the time being, close down the MS Decode
project and open up the other project on the DVD, called
MS Processing.
At the moment, our current project has three audio
tracks playing, all of which were going to send to a
basic M/S Encoding matrix to change them from L/R
stereo to M/S stereo. Begin by routing all the three
tracks to bus 1 and label the newly created aux channel
as Mid. Next, create an additional aux channel using the
mixers local menu option: Options > Create New
Auxiliary Channel Strips. When youre presented with a
dialogue box from the new Aux channel strips, ensure
that you select Bus 1 as the input, which will effectively
create a duplicate of the first aux channel. Finally, name
Aux 2 as Side. 3
Although its possible to create your own M/S
Encoding system in Logic, wed recommend using one of
the simple freeware M/S plug-ins available on the web
particularly, the excellent bx_solo from Brainworx
(www.brainworx-music.de) that were going to use for
this exercise. To solo out to Mid channel, therefore,
instantiate bx_solo and press the M solo button. Make
sure youre only listening to Aux 1 (you can mute Aux 2
PRO TIP
Although compression and EQ
are the main plug-ins used for
M/S processing, you can
achieve interesting results
using other types of signal
processing. For a powerful
lo-fi treatment, try applying
some distortion to the Mid
channel. By keeping the
distortion focused on the Mid
channel you direct the new
harmonic information towards
to the power of the stereo mix
(where elements
like the kick and
bass reside),
leaving the
details in the
Side unaffected.
for now) and listen to the Mid in isolation. Notice how

the mix becomes immediately drier, with a strong bias
towards the key instruments in the centre of the mix,
namely, the bass and kick. 4
Seeing a new side

Repeat the last process, this time instantiating the
bx_solo plug-in on Aux 2 (the Side channel, in other
words) and then setting this second instance to S Solo
mode. Now listen to Aux 2 in isolation and note some
major sonic differences. The most immediate difference
is the complete omission of the bass, which is present
by virtue of the fact that the original recording was
made monaural with a single mic panned in the centre
of the mix theres no Side information, in other words.
Also note how the sound is slightly roomier, and that
some of the instruments panned off-centre
particularly the toms become far more prominent. 5
Of course, the key objective here is that we can now
apply different processing to the Mid and Side channels
respectively, which is what well be exploring
|7
MTF Technique M/S processing
6
Set Input type to MS to hear the mix in LR mode
after its short M/S excursion.
later on in the Workshop. For now, though, our M/S

excursion wont be making much sonic sense when the
two signals (the Mid and Side channels, in other words)
run simultaneously. At this point therefore, we also need
to construct a M/S decoder on the end of our M/S
encoder so that we can hear the output of our eventual
processing in the L/R domain!
In effect, the next step of our exercise is a repetition
of the first exercise: taking the existing Mid and Side
channels, panning them left and right respectively,
routing both to Bus 2 and on that bus instantiating the
Direction Mixer plug-in. As before, set the Input type to
MS and you should now hear the mix in LR mode after
its short MS excursion. 6
A new direction
With the Direction Mixer in place, we can now start to
explore some of the processing possibilities M/S offers.
One immediate technique is to vary the level of the Side
channel fader. Try this on our M/S encoder/decoder
system and note how the width of the soundstage
changes, moving from a completely monaural mix, with
the Side channel fader at its lowest setting, to an
increasingly exaggerated width as you move the Side
channel above 0dB.
To see this in action, you can also instantiate the
MultiMeter, setting the plug-in to its Goniometer mode.
In short, the Goniometer is a visualisation of M/S, with
the Mid channel as the centre line, and divergence
created by information fed from the Sides. 7
PRO TIP
In the process of moving in and
out of the M/S domain it does
appear that the Direction
Mixer loses gain, probably to
negate any distortion. If you
want to preserve Unity gain,
therefore, you might need to
raise the output of the
Direction mixer by around
+2dB or so. Also, its worth
looking at your levels as the
signals pass through the M/S
matrix, especially if youre
using lots of additive EQ.
Although we could dive in at this point and initiate

some M/S processing, I also think its worth
instantiating a final monitoring version of bx_solo
across the Main Outputs so that we can properly
audition the Side Channel. To see why this is important,
solo Side channel in our M/S encoder/decoder. Once its
embedded in the M/S matrix, the Side channel sounds
somewhat phased in isolation, which isnt an entirely
pleasant listening experience. Instead, use the
additional bx_solo plug-in to monitor either M/S
channel in isolation. 8
The two primary tools of M/S processing are
compression and equalisation, much as is the case with
the process of mastering. The objectives tend to differ,
given the contrasting prominence and balance of
instruments between the Mid and Side channels.
Starting with the Side channel, therefore, its useful to
roll off some of the low end, allowing the overall mix to
have a strong monaural bass that roots the track in an
effective way. In our mix, for example, the Side channel
has a small amount of kick bleed, arguably from the
drum overheads picking up the kick drum. By applying a
high-pass filter (of around 128Hz) to the Side channel
we can pretty much remove the kick from the Sides
without affecting the colour of the low end in any
significant way. 9
Following this logic through, we can also look at
ways in which we can colour the Mid channel without
fear that it will affect the Sides of the mix. Solo the Mid,
therefore, and experiment with low end enhancement,
Use bx_solo to separate a L/R mix into Mid

and Side components. Once the signal has
been split in this way you can then apply
different processing to each component.
focus
M/S processing Technique MTF
10
There are ways of colouring the Mid channel without affecting the Sides of the mix: apply
a high-pass filter to the Side channel to remove the kick from the Sides.
lifting up the kick and the acoustic bass around 80Hz.

Now listen to the combined result in the mix, bypassing
each equalizer to see what they add or subtract. The
effect is subtle, but you will find it pleasing to hear how
the sound becomes more defined, especially if you add
a touch more sparkle with an air lift (around 12kHz) on
the Sides. 10
As you can see here, there are

some clear advantages to both
mixing and mastering with M/S
M/S Squash
Given the directed nature of M/S processing, you can
start to see how the application of compression might
play out. One of my favourite treatments is a small
amount of Side compression, which seems to do a good
job of enhancing the detail of the mix without it
sounding too pumpy or deliberately compressed.
Try this on the Side channel in our mix, using some
ClassA_R compression set to a relatively subtle
configuration (ratio around 2:1, threshold at -29dB and a
medium release of about 160ms). Given that the kick
and bass drum arent dictating the gain reduction, the
compression is going to sound suitably light and
transparent. 11
PRO TIP
The Correlation Meter plug-in
can visualise a poor phase
relationship between the left
and right channels. One
possible way of addressing
this inconsistency (that can
cause phase cancellation
when the mix is collapsed into
mono) is to run the signal
through a suitable M/S matrix.
To improve the phase, try
reducing the level of the Side
signal, making the balance
more Mid focused.
11
Of course, the fact that the Mid channel is

predominantly kick and bass-focused also opens up
some other interesting possibilities in relation to
compression, especially if you have a particularly weak
and flabby low end. Using the Compressor plug-in on
the Mid channel can really help tighten up the mix,
giving it drive and focus. In this case, use a harder ratio
(around 4:1) on the FET circuit type so that you can
really massage the kick and bass. Use a fast attack time
(around 3ms) but create a pleasingly graduated release
(around 180-200ms) so that the compressor moves in
an empathetic way to the low end. 12
Stereo magic
Of course, weve only just begun to scratch the surface
of what M/S processing can deliver, but across the
processes weve looked at here, weve explored the key
techniques and ideas behind M/S. As you can see, there
are some clear advantages to both mixing and
mastering with M/S, particularly in how you can control
groups of instruments and their stereo dimensionality.
Although we worked with the entirety of the mix, you
can always use M/S sparingly, only applying it to
instruments or tracks that are routed to your M/S
encoding/decoding matrix. Likewise, the same M/S
matrix can also be used to deconstruct an existing
two-track master in a radical and powerful way, making
it an ideal part of your mastering repertoire. MTF
12
Compression and
equalization are the main
signal processing tools
used with M/S recordings.
Use the signal processing
to bring out the unique
division of sounds and
instrument found between
the Mid and Side channels.
|9
MTF Technique Piano Roll Editor
Secrets of the
Piano Roll Editor
Logics Piano Roll Editor might be a familiar tool, but
its features and functions can seriously transform
the composition process. Mark Cousins opens it up
lthough Logic includes a number of MIDI

Editors, its arguably the intuitive Piano Roll
Editor that sees the most use, representing a
crucial linchpin in your daily workflow. On the
whole, most Logic users will be familiar with
the basic principles behind the Piano Roll Editor,
whether theyre deleting a few unwanted notes, for
example, or adjusting the timing of one or more MIDI
events to create a tighter performance. However,
beyond these basics theres plenty more to be
discovered within the Piano Roll Editor, from ways of
editing MIDI data in a far more efficient way to
techniques that enable you to be more creative with
MIDI editing and composition.
Intelligent selection
Arguably one of the most immediate ways of improving
your proficiency with the Piano Roll Editor is to look at
how you select notes. While this might not sound too
ground-breaking, its surprising to note how many of us
are happy to take the long route and individually select
the notes we do and dont want to modify. Applying a
little more thought in how you select notes, therefore,
can significantly speed up your MIDI editing as well as
open up a few unexplored creative opportunities.
In the Piano Roll Editor there are a number of ways in
which you can select notes, including some deft
keyboard shortcuts, the local Edit menu and the
contextual menu, which can be activated by [Ctrl]-
On the disc
clicking on a note in the current sequence. As an

example, lets try editing the drum pattern in the Logic
session included on the DVD. In bar five, select the first
clap and pick Select All Following of Sample Pitch from
the contextual menu (or use the keyboard shortcut
[Alt]+[Shift]+[F]). This should highlight all of the
subsequent hits on the same sound, but not any
beforehand. Once selected we can drag the notes down
so that the second half of the loop uses a snare rather
than a clap. 1
Creative functions
PRO TIP
Logic takes a two-tiered
approach to quantizing, so
settings made in the Inspector
can be modified on a
note-by-note basis in the
Piano Roll Editor. This
approach is a useful way of
setting a global quantize (like
1/16th, for example), but then
being able to individually
modify notes (like triplets, for
example) that fall outside of
this basic pattern.
Its interesting to note how a revised look at how you

select notes can change the way in which you create
music. One of my favourite techniques is the Select
Highest Notes function. Try this on the piano part, for
example, opening up the sequence in the Piano Roll
Editor and selecting Functions>Select Highest Notes
(the keyboard shortcut is [Shift]+[up arrow]). Although
this is just a short sequence, it illustrates the concept
well, enabling us to quickly select the highest voice of a
four-voice sequence, which can then be moved to a
different instrument, for example, deleted or
manipulated in any number of interesting ways (as well
see later on). 2
Another useful feature is the ability to select
so-called Equal Subpositions. This is perfectly
illustrated on the current shaker pattern. Opening the
sequence in the Piano Roll, we can see that the pattern
remains fixed at the same velocity throughout all eight
bars. What we want to achieve, however, is an accented
pattern, so start by selecting the notes in bar 1 that you
want to accent.
1
2
focus
Piano Roll Editor Technique MTF
As well as moving note information

horizontally, consider also using the
Nudge functionality to shuffle sequence
data backwards or forwards in time.
The Piano Rolls Functions menu

contains features that enable you
to refine and edit MIDI data
With the notes highlighted, select Edit>Select Equal

Subpositions; Logic adds the corresponding bars to the
selection. Now, as you increase the velocity, all of the
subsequent bars will be raised too, despite initially
selecting only one bars worth of notes. 3
If you havent already discovered it, its worth

knowing that individual notes can be muted in the Piano
Roll Editor (just as regions can be muted in the Arrange
area). Muting works wonders as a form of soft delete,
allowing you to remove notes from playback yet still
having the option of restoring them later. For greater
efficiency, though, its worth noting that you can select
just the muted notes ([Shift]+[M]) and then use the
Invert Selection function ([Shift]+[I]) to select the
unmuted notes accordingly. Using these shortcuts its
easy to move data between two instruments, muting
and un-muting notes accordingly. 6
Event coordinator
Functional fun
Having explored a few different ways of selecting notes,

lets turn our attention to ways in which we can better
handle our note selection. Although a mouse is an
intuitive way of moving notes around in the Piano Roll
Editor, its worth knowing a few simple keyboard
interactions as a means of modifying note data. Chief
among these is so-called Event Transposition, whereby
you can quickly move a selection of notes up or down an
octave. As an example, open the second piano region in
our example project, select the top line (using the same
technique as before) and use the keyboard shortcut
[Alt]+[Shift]+[up arrow] to move the notes up an octave
(the same also works on the down arrow for a -12
semitones shift). Immediately, the part has a different
feel and musicality to it. 4
As well as moving note information horizontally,
consider also using the Nudge functionality to shuffle
sequence data backwards or forwards in time. Nudging
works both at a fine resolution (moving one or more
notes by a few ticks or SMPTE frames), as well as
musical divisions, like beats, bars or 1/16ths. Before you
use Nudge, therefore, its important to define your
selected Nudge Value. This can be easily done using the
contextual menu, selecting Set Nudge Value to and then
picking your desired division. 5
Once the Nudge value is set, you can simply use the
left and right arrow keys in conjunction with the [Alt]
modifier to move sequence data back and forth
accordingly. From a musical perspective, this can lead
to some unusual and unexpected results for example,
try this on the kick drum within the drum sequence,
selecting the kick and nudging it by 1/16th.
The Piano Rolls Functions menu contains some

powerful features that enable you to refine and edit
MIDI data in some useful ways. Note Force Legato
(under Functions>Note Events), for example, is a great
way of ensuring a smooth transition between notes (try
this on the instrument on track 4), with Logic adapting
the note duration so that it butts up exactly to the next
note in the sequence. Note Overlap Correction, on the
other hand, is handy in situations when you want to
PRO TIP
You can view the contents of
multiple regions by
drag-enclosing them
accordingly. However, this can
get confusing if you need to
identify the notes with the
particular region they belong
to. To solve this problem,
select View>Region Colors
from the Piano Rolls local
menu. Assuming the regions
are coloured differently, the
notes will be distinguishable.
| 11
MTF Technique Piano Roll Editor
The Event list should display the MIDI

notes in your project as well as
their associated channel status.
remove any overlapping notes, particularly for

monophonic orchestral instruments like the clarinet or
trumpet (overlap isnt physically possible). 7
As an extension of the Select Highest Notes feature,
try exploring the Voice to Channels features, again
found under Functions>Note Events. Used on the piano
part, for example, we can divide the four-voice
sequence between four different MIDI channels
simply select the notes and apply the Voices to
Channels function. To see the results that have taken
place, though, you might want to open up the Event list,
which should display the MIDI notes and their
associated channel status. 8
To hear the results of the Voice to Channels function,
youll either need to place the sequence on a suitable
multi-timbral instrument track (Kontakt, for example) or
use the option MIDI>Separate MIDI Events>By Event
Channel from the Arrange areas local menu. This will
split the single region into four new regions, which in
the case of our piano part could then be assigned to the
four unused instruments in our project. As you can see,
this is an excellent quick-and-easy orchestration tool,
especially if you need to split a generic string pad sound
between two violins, a viola, and a cello. 9
its Step Time functionality. The Step Time feature can

be activated using the small MIDI In icon towards the
top left-hand corner of the Piano Roll screen. 10
Once active, notes can be entered into the sequence
using a MIDI controller keyboard, but with Logic
advancing one step (or grid division) at a time. As youd
expect, Step Time input is a great way of creating
sequencer-driven music whether its swathes of 16th
arpeggiation, for example, or chugging bass lines.
As youre creating your sequence, its worth having
the Step Input Keyboard open Options>Step Input
Keyboard. Although primarily a means of entering note
data without a MIDI keyboard, it also doubles as a
useful way of adjusting step time note durations
on-the-fly. This is particularly effective moving between
8th, 16th, and 32nd division within the sequence,
creating additional movement and interest rather than
just a continuous stream of notes. 11
On a Roll
Although weve identified some important techniques in
relation to the Piano Roll Editor, this is only the tip of the
iceberg in terms of what can be achieved with it. What
this Workshop shows, though, is that even the most
familiar of tools in Logic have hidden depths features
and functions that you wont necessarily find by
accident, but with a little investment of time, they soon
become the key to unlocking the real musical and
creative potential of the application. MTF
A step in time
Of course, rather than editing existing MIDI data, you
can also use the Piano Roll Editor to create MIDI
information from scratch, particularly with reference to
10
The Step Time feature can be activated

using the small MIDI In icon towards the
left-hand corner of the Piano Roll screen.
focus
11
A4_print.indd 3
3/12/12 2:56 PM
MTF Technique Synth bass
Synth bass sounds

using Logics ES2
When it comes to the all-important bottom end of your
track, few synths deliver the power and flexibility of
the ES2. Mark Cousins goes deep
ollowing on from our exploration of pad

sounds with the ES2 in Music Tech Issue 93,
were now going to take a look at another
defining area of the ES2: synth bass. Although
most of us have access to a number of good
software synthesizers, the ES2 remains one of the most
powerful when it comes to producing bass lines. Maybe
its the flexibility of the oscillators, its powerful Unison
feature or the gritty multi-mode filter, but the ES2 rarely
fails to fill out the bottom end of the mix.
In this Workshop, therefore, were going to take a
look at the underlying principles of synth bass as well
as exploring the unique features of the ES2 that make it
really excel in this application.
The heart of any good synth sound starts in the
oscillator section and this is never more true than in
the case of synth bass. Deploying the ES2s three
oscillators in the correct way gives us a wide palette of
basic timbres that can be shaped by the multi-mode
filters and amplifier section. For example, we could go
all out, using all three oscillators to produce a rich and
meaty bass line or create something more subtle that
sits subsonically at the bottom of the mix.
Open up the tutorial project on the DVD and take a
closer look at the Vanilla Bass patch playing on track 4.
At the moment this sound isnt anything special just a
single oscillator with a basic envelope setting set
across the amplifier and the filter. The starting point is a
On the disc
sawtooth wave, which is a good choice for meatier synth

bass lines thanks to its rich harmonic content. For the
first exercise, try mixing in an amount of Oscillator 2 to
create thickness. This second oscillator is detuned
slightly compared to the first oscillator (by about 16
cents) creating a richer and more impressive overall
sound as the oscillators beat against one another. 1
The sub way
PRO TIP
The ES2s output section
includes a sine wave
generator, tuned at the same
pitch as Oscillator 1. Use the
sine wave as a means of
reinforcing the fundamental,
especially after heavy filter
settings, or just to add a touch
more bass end to the patch.
Although our bass sounds thicker after this first step, it

still hasnt reached its full potential in respect of power.
An important part of many bass sounds is the use of
octaves or, more specifically, an additional sub
oscillator tuned an octave beneath the main
oscillator(s). To hear this in action, try unmuting the
third oscillator, then using the triangular oscillator
mixer to blend in the sub-oscillator to taste. Ideally, the
sub-oscillator should add power to the bass sound, but
not be so loud as to dominate the overall blend. In this
example, therefore, a setting of around 20% seems to
work well in a supportive role. 2
Another important point to note regarding the
sub-oscillator is the choice of waveform. Rather than
using another sawtooth wave, the sub-oscillator uses a
square wave. The reasons for this choice of waveform
are twofold. Firstly, the use of a square wave adds
some timbral diversity to the patch, giving the ear
something a bit more interesting to listen to (you can
also try this mix-and-match effect on the two main
oscillators, if you want). Secondly, and more
importantly, the square wave has a hollow sound,
which means it can sit underneath the sawtooth waves
without crowding the mix. 3
As a first step towards getting a

fatter, fuller bass sound, use both
oscillators set to a square
waveform, then blend in some of
the sub-oscillator to taste.
focus
Synth bass Technique MTF
4
5
6
Experiment with using different waveforms for the sub-oscillator and also
have a play with the filters ADSR settings and Cut-Off control.
The ES2 remains one of the

most powerful soft synths when it
comes to producing bass lines
Other colours
Having seen the effect of a different waveform choice
on the sub oscillator, lets try paring down our patch and
exploring the sounds that we can achieve using other
waveshapes. Using square waves on both the top
oscillators (one and two) produces a more angular
sound, and on this example, try using a triangle wave as
the sub-oscillator to keep its input discrete.
Of course, the triangle wave and the sine wave are
also great choices for subsonic bass lines, where the
sound sits at the bottom of the mix. In these situations,
though, you often find using just one or two oscillators
tends to produce a more powerful effect than this
three-oscillator approach less really is more. 4
Few bass sounds would be complete without some
form of filtering, so lets take a closer look at the role
and input of the filter in their creation. Returning our
patch to the original two sawtooth and sub-oscillator
variant (because this gives the filter plenty of
harmonics to play with), we can see that the current
patch is using Filter 2 (note that the Blend control is set
fully to the right to indicate this) which, as the Router
indicates, is being fully modulated by Envelope 2. This
basic envelope setting fast attack, a medium decay,
no sustain and medium release gives your synth bass
sound some shape, with a bright attack that quickly
decays to a more mellow timbre. 5
PRO TIP
Oscillator 1s sine wave can be
frequency-modulated by
Oscillator 2, creating some
unique subsonic FM bass
sounds. Try setting Oscillator 2
to its sine position and
experimenting with different
octave tunings and varying
strengths of FM depth. The FM
feature works well for adding a
little extra bite to subsonic
bass sounds.
2s Decay a setting of 200ms, for example, sounds

more percussive, while increasing the decay to around
3000ms keeps the filter open for longer. 6
Another important part of the filter is resonance,
which tends to produce some wildly contrasting results
on synth bass. Technically speaking, resonance creates
a small peak around the cut-off point, and, if used
subtly, can help add character and interest to any
movement thats happening in the bass. For that
reason, therefore, adding a small amount of resonance
(around 0.10 or so) can really help to define the bass
and make it sit in the mix in a more distinctive way. 7
As you add more resonance, though, the results
become somewhat more varied. At high cutoff settings
the effect of resonance tends to be a pronounced drop
in bass energy, although this effect formed a big part of
the classic acid house TB-303 bass sound from the
80s. At a low cut-off setting, resonance can actually be
coaxed to add some bass end, although you really need
to keep the filter almost completely closed to achieve
this effect.
One really useful tool, therefore, is the ES2s Fat
control, which instantly negates the thinning effect of
resonance by re-routing some of the low end directly to
the output. In short, therefore, you can use as much
resonance as you want without worrying about its
slimming properties. 8
Filter variations
From this basic filter/envelope combination we can
explore a couple of variations. First, try reducing the
depth of modulation applied in the Router this should
make the amount of timbral change more subtle, as
well as making the sound slightly darker.
You could also explore this with Filter 2s Cut-off
control, which controls both the base level for the
modulation (the envelope works in addition to this
setting, in other words) and, again, the overall
brightness or darkness. Finally, try adjusting Envelope
| 15
MTF Technique Synth bass
7
The Resonance control can really add shape to
your bass sound. Set both Resonance and Cut-off
high for a classic acid bass sound. ES2s unique
Unison control can also help fatten things up.
The magic buttons
FM, meanwhile, modulates the cut-off frequency of

Filter 2 using an audio spectrum output from Oscillator
2, adding a unique form of grit to your bass sound.
Finally, theres also output distortion in both soft and
hard flavours that really helps to add meat to the
bones of your bass sound. 10
Another interesting option is the ability to run the
two filters in parallel. Although Filter 2 is usually used
for bass sounds, the additional filter modes (like
Band-pass, Band-reject and so on) work really well
when layered and contrasted against the main filter. So,
once youve established a workable sound on Filter 2,
try flipping-in Filter 1 (using the Series/Parallel button)
set to either BP, BR or Peak filter modes. You dont need
to set up much in the way of modulation, just bleed in
an amount via the Blend control to create a Daft
Punk-like sound, with Filter 1 adding a buzzing layer on
top of the main filter. 11
Having taken a whistle-stop tour of the fundamentals of

synth bass, its worth highlighting some of the other
unique areas of the ES2 (like the aforesaid Fat control)
that have a big impact on bass sounds.
One of the most popular features is the ES2s Unison
control, found at the top of the interface, which stacks
up a basic three-oscillator patch with up to 32 duplicate
copies. The size of the unison is best controlled in Mono
mode, which keeps the ES2 monophonic (no problem
for bass sounds), but then allows you to adjust the size
of the stack using the Voice parameter. 9
Although Unison sounds fantastic, it should be used
with some degree of caution. First off, theres an
immediate jump in amplitude, which can either damage
your better judgment (louder tends to fool your ears into
thinking it sounds better) or, even worse, damage your
monitors. You should also be careful exploiting too
much stereo width and power in the bass part as youll
leave little room for anything else in the mix.
The lowdown
The ES2s dexterity as a bass synthesizer will lead to
many happy hours exploring its various control and
features. Beyond what weve looked at here, theres still
plenty to explore whether its the multitude of
additional waveshapes and how they work together, the
possibilities of FM bass sounds, the addition of other
modulations like LFOs and so on. Whichever options you
choose to tweak, ES2 has plenty of potential to fill out
the bottom of your mix, giving your monitors plenty of
exercise along the way! MTF
Bass saturation
Throughout the ES2 theres also plenty of scope to add
distortion into the equation, really beefing up your synth
bass sound.
Firstly, the filter has both a Drive control and an
intriguing FM option. Drive has a subtle but
nevertheless vital addition to make, adding small
amounts of saturation into the filter in much the same
way as a Minimoogs filter can be slightly overdriven.
10
11
The final step in your

quest for the
biggest, baddest
bass line, is to add
some distortion. The
ES2s Drive and FM
controls are your
friends here; adding
a second filter can
also be useful.
focus
MTF Interview Mr Woo
My grandfather had
taught me some basic
piano skills as a kid but
nothing I could really
brag about
The MTF Interview Mr Woo
Laurence Woo Allen is a British producer and songwriter with a varied career that has
taken in everything from US East Coast hip hop controversy to UK pop and R&B, with a
dose of Logic along the way
aurence Woo Allens story is almost the stuff of

urban myth. He became the ultimate Brit abroad
when he took off to the States, without so much as
a plan or a penny, and ended up remixing and
producing some of the biggest stars over there
and staying for a while. Hes now a respected producer across
the board, having worked with everyone from Liberty X to
Craig David. Its a story that will give anyone with half an idea
faith but Laurence also had a big musical background on
which to build
In 1997 we moved to Berlin and spent all our money
building up a studio, he recalls. We played some live shows
and then I met Kit Clayton and released music under my
moniker Phon.o on Cytrax records. Phon.o soon became part
of Berlins laptop laptronica scene. I got the MAX/MSPbased loop patch from Kit Clayton which allowed you to play
live with a laptop. Apparat pimped up the patch a lot and at
the end it got the name Dshihad.
It stems back to my early childhood years, he recalls. My
parents split up when I was around three so I spent a lot of
time with my grandparents. My grandfather, Ernest Sidney
Allen, had graduated in 1933 from The London Institute Of
Music in Pianoforte, so my earliest memory was the
fascination of the bass and high notes on the piano. It
amazed me how the bass would sustain and the high notes
were crisp. From there I learnt the fundamentals of piano,
although, if Im honest, Im not a very good player!
Ear for production

Nevertheless, it would inspire him into making music and
helped him develop an ear for production. And it certainly
gave him a confidence that would help him make the brave
leap into the unknown
focus
In 1991 I took a flight to LA with 500 in my pocket,

knowing no one and nothing, he explains. My grandfather
had taught me some basic piano skills as a kid but nothing I
could really brag about, but at age 14 my bedroom in Luton
was filled with synths and keyboards. So after some time in
LA I think around 2 weeks I decided to fly east to New
Jersey as I had a buddy out there who could put me up, and
this was my introduction to New Jersey.
At that time hip hop groups like Naughty by Nature were
making headway, along with Boyz To Men, he continues. I fell
in love with the sound, the music and the lifestyle but here I
was, a kid from Luton Town, who knew very little about the
urban sound of US music but it didnt take me long to
explore and find out!
A young but happening producer called Cliff Walker took
me under his wing, an African American kid from Newark who
was as talented at making beats as a mofo. We got along
great and after around two years of watching Cliff it was time
to get my first studio in the US. I purchased a Ensoniq EPS
16+ along with an Akai MPC 60 and I was off!
It amazed me how the

bass would sustain and
the high notes were crisp
from there I learned the
fundamentals of piano
Mr Woo Interview MTF
And it turned out to be a great move as Laurence quickly

became involved in the East Coast music scene and he got
his first remix on G-Street Records for PM Dawn.
Id already started making a small name for myself in and
around the New Jersey and New York hip hop circles. This is
when I first met Sporty D, who is second cousin to Snoop Dog
and cousin to Daz, a Death Row ace producer. Sporty was
always on the look out for new rappers, singers and
producers. He had heard what I was doing and got me started
making some beats for a few of his acts.
High profile twist

Allen was suddenly immersed in the US hip hop scene but his
journey would take an even more high profile twist. Capitol
Records had just signed their first white rapper, called
Miilkbone, who eventually came to work with Woo
As soon as he arrived we connected right away and the
What became considered a controversial song for Death Row Records

actually helped Woo to open up the US hip hop scene and eventually led
to work with B2K.
Woos Kit
Avid Pro Tools
Avid Digi 003
Apple Logic 9
Dynaudio
Monitors
Emagic Unitor 8
Genelec 1031A
monitors
Korg Triton Rack
Mackie D8B
Manley Massive
Passive EQ
M-Audio Axiom
Native
Instruments
Maschine
Neumann U87
Roland TR-606
Roland JV-2080
Studio
Electronics SE1
Tube Tech LCA2B
Universal Audio
LA-2A
Universal Audio
1176
songs came fast and furious! He was a humble guy and we

just hit it off I think we must have produced around 30-40
songs in total. I have to say, some of my best times were in
that basement studio, spending endless hours night after
night creating and trying fresh musical ideas.
In 1999 I produced what turned out being a controversial
song for Death Row Records, he continues. It was included
on the Suge Knight Represents: Chronic 2000 album and
called Presenting Miilkbone. It featured Miilkbone and was an
anti-Eminem track in response to Eminems diss song, Just
Dont Give a F***, which hed put out on his debut studio
album The Slim Shady LP. It was a pretty crazy time, and
caused a lot of attention at the time.
And it was attention that would help nudge Allen further
into the US hip hop scene. He went on to work with
Gravediggaz, Jungle Brothers and eventually a record for B2K
with Tricky Stewart who has produced songs for Beyonc
and Rhianna. In 2001 he produced a remix for the first B2K
single Uh Huh and started working with the Hush Hush music
group. This led to producing Mr Cheeks in 2004 (All Nite Long
and Mass Homicide on the Ladies and Ghettomen album) and
he also has his music regularly featured on MTVs Punkd.
After his success Stateside, Allen decided to come back to
the UK but his US experience held him in good stead for a
return and he soon started working with some of the big acts
of the time including Liberty X, Terri Walker and Big Brovaz.
Since then, you could say Woo has expanded his musical
portfolio. He has produced several albums for big named
Russian acts, including Zarina from Kazakhstan. Hes done a
collaboration with Craig David, produced a record for one of
Madonnas dancers (Nicole) and even produced a country and
western album. He also still has roots in the US, as he signed
a publishing deal with Sony which led to the Top 30 hit Sumo
| 19
MTF Interview Mr Woo
MTF Step-by-Step Woos favourite Logic features
BOUNCE IN PLACE
Wow, what a sooo cool feature! I can
right click and print the demo version of the
new soft synth Im checking out straight to
audio on the fly. Its also a super fast way to
free up soft synths that are taxing your CPU!
01
AUTOMATION VIEW
This is another feature I really take
advantage of. Here I have Tornado with a bunch
of patches automating in real time.
02
Now I say, go out and

network, attend functions
and workshops, and dont
be ignorant, talent comes
in all shapes and sizes
featuring Twissman & Ginny B. So, from Luton to New Jersey
and back covering a lot of ground both physically and
musically. Luckily Woo has been armed to the teeth with
some of the best gear to help him through these challenges
My studio is now a home studio after time in a
commercial spot, he says. It was easier to purchase a
property where I could fall out of bed into work!
The Woo studio

Woos studio certainly boasts an impressive rack, with some
classic compression and EQ alongside some standards in
sound production from Roland and Korg. Software-wise hes a
huge Celemony Melodyne fan and, of course, an avid Logic
user. But that wasnt always the case
During my time spent in USA, I was a die-hard Digital
Performer user, he reveals. Thats all I knew and had done for
years. When I arrived back in the UK, so many people, both in
USA and UK, were chatting about Logic so I tried it and there
was no looking back.
Logic changed my creativity I think I was stagnant with
DP and my music was lacklustre but Logic drove me into a
whole new arena of creativity and energy. It was almost like I
had reinvented myself, so Logic has now become my personal
choice for so many reasons.
Laurence then details just some of those reasons, starting
off with how its helped him out on stage
I was on a mini tour with Maroon 5 out in Dubai we were
opening up for them. I was the stand-in rapper for someone
who didnt show up for the show. We had rehearsed at Music
Bank in London and everything was synced in a MacBook Pro
in Logic 8 in fact, the whole set was dependent on Logic
from the word go, but the seamless power of Logic meant that
focus
TIMESTRETCH TO REGION
Adjusting your loop to tempo is easy in
Logic. You might start with a loops that
doesnt fit the tempo, as I have here. Simply
click Timestretch to region and it should fit
perfectly (as long as you have edited the loop
correctly in the first place!)
03
we had a flawless show and everything was spot on right

from the off.
And in the studio, Laurence uses Logic alongside Pro Tools.
The former is well thought out and seamless while Woo
prefers Pro Tools for extra headroom when mastering
I find myself having to lower faders to compensate. Yes, I
could Limit it but at times I dont want too! Id also like to see a
user friendly arppegiator in Logic rather than something
you have to go into the Environment Window and have to
patch wires together.
Top advice
But overall Laurence is a big Logic fan and goes on to detail
his favourite features (see box). And after being a hit on both
sides of the Atlantic, he also has some top advice for any
aspiring producers.
My music ethic has changed over the years. I would sit for
hours and hours in the same chair going over and over the
same things to try and perfect them. Now I say, go out and
network, attend functions and workshops and dont be
ignorant as talent comes in all shapes and sizes. And dont be
afraid to experiment, try not to follow the obvious chart hitter
thats doing well. Innovate, dont imitate! But most of all dont
fix whats not broken as too much tweaking can leave the ear
drum leaking! MTF
These days its all Celemony Melodyne and Logic in the Woo studio, but he actually worked mostly
with Digital Performer during his time in the US. When I arrived back in the UK, so many people,
both in the UK and the US, were chatting about Logic.
Small just got bigger
Hands-on performance controls, VocalTune and vocoder effects.

MiniNova is a compact performance synth with the same sound engine
as its big brother: the UltraNova. It has five effects per-voice and comes
with 256 incredible onboard sounds that you can tweak with five knobs,
or totally warp with eight animate buttons.
Featuring brand new VocalTune effect
Instantly recreate iconic vocal
sounds from Hip Hop, Urban
and electronic music.
www.novationmusic.com/bigger
MTF Technique Delay plug-ins
Delay plug-ins
Part one: the basics
On the disc
Unlocking the full potential of Logics delay plug-ins

can seriously transform the effectiveness of your
mixing. Mark Cousins gets delayed
ome of the simplest effects are also the most

versatile and useful tools for mixing and
production. Take delay, for example.
Its a simple enough effect on the surface, but
when exploited to its full potential it becomes
a creative tool that can produce myriad interesting
results. Its no surprise, therefore, to find that Logic
includes a number of delay-based plug-ins, including
everything from simple tape-like delay effects through
to sample-accurate delay lines and, of course, the
surround-enabled Delay Designer.
This Workshop is the first in a two-part series on the
use of delay, covering everything from the basics
through to some highly unusual, innovative effects.
Delayed reaction
Of Logics five delay plug-ins (Delay Designer, Echo,
Sample Delay, Stereo Delay and Tape Delay), arguably
the most useful is the good, old-fashioned Tape Delay,
which provides just a single tap of delay alongside
controls to influence the qualities and tonal colours of
the delay in question. Although some of the more
complicated multi-tap delay effects might seem
tempting at first, its often a single delay tap that seems
to work best in the majority of mixing applications. 1
Having decided to start with the Tape Delay plug-in,
lets now consider the best way of instantiating it in our
mix, using the Fender Rhodes channel from the Logic
project included on the DVD. With but few exceptions,
the best way of applying delay is via a buss send, with

your delay plug-in (in whatever form) instantiated
across an aux channel.
Although this routing does admittedly take a few
more mouse clicks to configure by comparison to a
delay directly instantiated into the channels insert
slots, it ultimately offers far greater creative potential,
from simple tricks such as being able to pan the delay
separately from the main signal through to more
experimental possibilities such as a dub-like
regenerative delay triggered only from strong,
accented beats. 2
Into the Groove
PRO TIP
Use the Flutter control to add
pitch inconsistencies to the
output of the Tape Delay
plug-in. Interestingly, this can
work particularly well with
fixed pitch sounds (like a
Fender Rhodes piano, for
example) as the pitch
modulations add an extra
touch of chorus-like warmth.
One of the easiest delay effects to create (and one that

Tape Delay defaults to) is a simple tempo-synced
delay with the tap set to 1/16th, 1/8th or any other
appropriate musical division.
In the Tape Delay plug-in assuming that the Sync
button is enabled the current delay value is easy to
see via the small note icons. Clicking on the various
notes enables you to change the delay time in musical
divisions; by bringing the Groove slider into play you can
then adjust the basic setting to a dotted-note setting at
75% or triplets at 33.33%. On the whole, the dotted-note
setting (with Groove set to 75%) seems to work best,
giving the delay a distinctive syncopated feel. 3
An important part of this simple tempo-synced
delay is the panning of the dry signal on the channel
faders and the relative stereo placement of the delayed
signal on the auxiliary fader. One solution is to pan both
signals to the same place in the mix maybe
positioning the instrument and its delay slightly
2
Although Logic features a choice of delay plug-ins,
the basic Tape Delay is often the best place to start.
Although comparatively simple, it still offers a
surprising degree of control, especially when routed
to an aux channel.
focus
Delay plug-ins Technique MTF
3
You can sculpt the sound of the Tape Delay in various
ways. Use the Groove slider to control the amount,
pan the effect, apply some feedback or use the High
and Low Cut controls to shape frequency content.
When exploited to its full

potential, delay can produce
myriad interesting results
left-of-centre, for example. In this case, the delay is
somewhat locked-in with the original sound, which may
or may not be the effect youre after. Putting the delay in
a slightly different position in the mix immediately
creates a stereo dimension to the effect, although this
is controllable (between extreme and subtle) given the
relative differences of the two pan settings. 4
Positive feedback
As well as establishing the basic delay time, there are
also plenty of additional features in Tape Delay that
allow you to fine-tune the effect. Feedback routes a
proportion of the wet signal back through the delay line,
creating a distinctive regenerating delay effect. If the
delay is used prominently in the mix its often beneficial
to keep feedback relatively low (this helps to create one
or two distinct delays rather than a mush of sound),
whereas longer feedback settings can be useful if you
want a more spaced-out quality to the delay. Of course,
when pushed above 50% or so the delay will start to
self-oscillate an effect well be exploring in more
detail later on. 5
Important features to use in conjunction with
feedback are the Low Cut and High Cut controls. Delay
always seems to work best when it has a different
timbral colour from the original input, arguably helping
the ear to make a distinction between the dry and wet
signals as well as mimicking the tonal colouration of an
echo that might occur in the real world. Using these
filtering controls (which are positioned as part of the
feedback circuit) you can make the delay darker (using
High Cut), thinner (using Low Cut) or narrower (using a
combination of both filters). 6
PRO TIP
Ultra-short delay times with a
moderate amount of feedback
applied can be used to create
unusual drum resonators. The
delay time needs to be in the
region of 1060ms, with the
time actually defining the
pitch of the effect. Feedback
sets the ring, with settings of
about 53% generally
producing the best results.
120ms so that the delays arent heard as discrete

tempo-based echoes or repeats of the original sound.
To create slapback with Tape Delay youll need to
deactivate the Sync feature, then fine-tune the delay
time using note values and the Groove slider (as before),
reading off the delay time in the Delay display. In this
application, therefore, the notes move between macro
delay settings, while the Groove slider enables you to
fine-tune the amount of delay on a millisecond-bymillisecond basis. 7
Slapback delay can be used in several ways. Try
using a slapback setting with little or no feedback
this is a great way of adding a subtle amount of extra
body to a sound, especially vocals. As before, you can
use panning to great effect here, either locking the
delay to the same position in the mix or using the short
slapback to create a greater stereo dimension. Adding
feedback turns the effect into a form of lo-fi reverb
that sounds particularly effective on electric guitar
parts or even drums. 8
Stereo sound
Having looked at the essentials of Tape Delay, lets
compare and contrast this with the Stereo Delay
plug-in. Given some understanding of the controls in
Tape Delay, the Stereo Delay plug-in should be relatively
Slapback delay
Although Tape Delay defaults to tempo-synced delay
treatments, its well worth exploring a few applications
that arent related to musical divisions. So-called
slapback delays use a delay time of between 40 and
| 23
straightforward, although, of course, were now dealing

with two delay taps, panned hard left and right
appropriately. Each tap now has its own delay time as
well as the opportunity to feed back on itself or across
to the opposite side of the delay to create a type of
ping-pong delay that jumps from left to right. 9
However, the greatest asset of the Stereo Delay
namely, its expansive left-to-right width is also its
greatest curse. On the Hammond Organ sound, for
example, Stereo Delay can help add width and depth to
a sound, but once several sounds have made use of this
super-wide delay, the mix can start to take on a mushy
quality. In truth, only a few select instruments should
occupy the three golden positions of the soundstage
namely, middle, left and right. Restricting your use of
the Stereo Delay to just a few sounds, therefore, will
ultimately produce a better-defined mix.
Super dub
To finish this part of the Workshop, were going to look at
a solution for creating dub-like delay effects whereby
the delay is triggered on the fly to catch individual
drum hits or words within a vocal line. The original
effect was created on the Roland RE-201 and exploited
the units ability to switch the echo input in and out so
that the delay was applied only as and when required.
The delay effect we need to use is already available
across auxiliary 2, using buss send 2, which were going
to use to process the drum tack. The delay itself has a
deliberately thin and nasal sound to it (created with
10
9
Slapback delay can be used to give any individual
sound a little extra body or to give it a greater stereo
width. But if you want to explore the latter more fully,
head for Logics dedicated Stereo Delay plug-in.
some extreme low- and high-cut) as well as some pitch

modulation and virtual tape flutter to re-create the
sonic inaccuracies of the RE-201. To enable us to switch
the delay in and out were going to instantiate a Gain
plug-in across the first insert of auxiliary 2 and pull
down the gain level to -96dB (silence). 10
To give the delay its dynamic qualities well need to
automate the Gain plug-ins Bypass control to bring the
effect in and out accordingly. First, create a new track
lane in the Arrange area by opening up the mixer and
selecting Options>Create Arrange Tracks for Selected
Channel Strips from the local menu.
With the channel strip in Touch mode you can then
move through the song, dropping in the delay effect by
bypassing the Gain plug-in. If youre feeling
adventurous, you could also try automating feedback so
that the delay appears to regenerate into distortion
before dying away. 11
Taking effect
So far weve covered the two essential delay plug-ins
Tape Delay and Stereo Delay and a number of
typical applications, including tempo-synced delays,
slapback and the classic RE-201 dub effect. However,
with plug-ins such as Sample Delay and the impressive
Delay Designer, theres still plenty for us to explore in
the second part of this Workshop, from techniques that
will improve the phase consistency of your mixes
through to altogether more extreme ways in which delay
can be used as an abstract effect. MTF
11
One obvious use of

delay is to re-create
those classic dub
echo effects. With a
little tweaking,
Logics plug-ins can
sound almost
indistinguishable
from classic
tape-based units.
focus
MTF Feature Optimising

Xxxxxxxxx and extending Logic
focus
Optimising and extending

Xxxxxxxxxx
Logic Feature MTF
MTF Feature Studio Technique
Optimising
& extending
YOUR LOGIC
SYSTEM
Logic is a powerful tool, but to get the most out of it you need a properly optimised
system and maybe even a few carefully chosen extras
ogic is perhaps the most powerful of all the DAWs, and certainly the
most Mac-centric since it was purchased by Apple almost a decade
ago. New users might be surprised to learn that for much of its early
life, Logic was cross platform and existed both for the Mac and for
Windows with parity of features. When Apple bought it, Windows
support was discontinued and, more recently, PowerPC support was dropped
too. So now Logic is a thoroughly modern application, designed to run on the
latest multicore processors and, in its 64-bit mode, use very large amounts of
RAM. It may be that you
put Logic on your Mac
and just use it as is, but
in order to get the most
out of it you need to
know a little more than
just how to install it.
You will need a good
Mac to run Logic on,
well stocked with storage, RAM and with a fast processor. Beyond that, you may
want to add a control surface or, if you have an iPad, a wireless controller for the
software. You will almost certainly add at least a few third-party plug-ins, and
then there are tasks like mastering and CD burning that also require additional
tools. Finally, getting your music onto the web and other mobile devices requires
some knowledge of formats and loudness. The good news is that there is a wide
range of add-ons, services and devices to extend Logic, free and commercial.
Most are not specific to Logic and will work with other software and hardware
as well, so youre not limited in what you can do with it. Read on to find out how
to optimise and extend your Logic system
In order to get the most out of

Logic you need to know a little more
than just how to install it
| 27
MTF Feature Optimising and extending Logic
Tech Terms
CONTROL SURFACE
A piece of hardware or,
increasingly, software that
is connected to Logic either
with a physical cable or over
a wi-fi connection and used
to provide you with hands-on
control of multiple parameters
without having to sit in front of
the computer.
NETWORK MIDI
Your Mac is able to send and
receive MIDI wirelessly to
compatible apps over its
wireless connection, which is
great for remote control.
Get better results than

recording with your mobile
using a dedicated field recorder
like Yamahas Pocketrak C24.
To run the latest

version of Logic you will
need a Mac, since the
software is Mac-only and
has been for some time.
You will also need an Intel
Mac, since PowerPC
support has also been
discontinued. The good
news is that this means
more or less any Mac from
the last six years, though
earlier machines will
struggle for power. The requirements of Logic itself
in terms of CPU power are not too onerous, though,
as ever, minimum system requirements should be
considered as a baseline to get the software going
they dont guarantee a smooth ride. Audio
production is one of the most demanding of
computing tasks and as soon as you
load up a few instances of the
EXS24 or ES2 and begin
programming parts, or using Flex
Time, youre likely to see
performance on old machines
degrade. Bear in mind also that Mac
OS X likes around 2GB RAM to
itself, so you should factor this in to
any purchase or upgrade.
Apple quotes a minimum of 2GB
RAM (4GB recommended) and OS X
10.6.8 as a minimum to run Logic.
Your Mac probably already has 2GB
RAM, though a more recent model
should have a minimum of 4GB as
Apple typically quotes a lower

maximum RAM figure than a
machine can actually hold
Services like BandCamp let you control

the way your music is sold and this one
has embedding tools and a specialised
mobile version.
standard. If you have less

than 4GB, consider upping
the RAM as a priority, to 4GB,
8GB or, if you have the money
and the capacity, 16GB if you
intend to run large sessions.
The capacities of different
models vary greatly. Mac Pro
towers for example have
many RAM slots, and some of the most recent 2012
models can hold up to a staggering 96GB of physical
RAM, though this would be colossally expensive to
actually implement. More realistically, a recent iMac
can hold up 16GB and a Unibody MacBook Pro up to
16GB. Confusion can arise when comparing figures
because Apple typically quotes a lower maximum
RAM figure than a machine can actually hold. So
when Apple says 8GB, this sometimes means that is
the number Apple will officially support. In reality,
its usually possible to install double capacity RAM
sticks to up this to 16GB with no issues.
Thanks for the memory

The smaller the machine, the less RAM it can hold.
Apples MacBook Airs and Retina MacBook Pro have
soldered-in RAM and no user-serviceable parts so
you must order as much RAM as possible when you
buy them. You can find information on your
particular Mac by going to www.mactracker.ca and
downloading the app which lists complete specs for
all Macs ever made. RAM reduces the amount of
time OS X has to spend thrashing the hard drive for
virtual memory tasks and also lets you load more
and bigger sample-based instruments more quickly.
If your Mac has user-upgradeable RAM (and all but
the most recent models and MacBook Airs do) you
can fit extra RAM, and you will find companies like
MTF Pro Technique The future of Logic

Apple is notoriously tight lipped about the future direction its
products will take, to the extent that an entire rumour industry
exists specifically to try to guess what the company will do next.
That doesnt really happen with many other companies. And despite
what people may think, even the tech press and industry experts are
really only making educated guesses. Weve all been proved wrong
or caught out at some point when Apple either released something
we hadnt seen coming or failed to unveil
something wed sworn blind we were about
to see released.
So speculating on the future of Logic is
just that speculation. What we can do
though is look at the way it has developed its
other pro apps, specifically Final Cut. When
Apple transitioned Final Cut Pro to Final Cut
X, it completely threw away all the old code
and wrote an entirely new application that
looked basically nothing like the old one.
focus
This caused waves in the industry, and many people found it a

strange move. There are good reasons why this wont happen with
Logic X, if and when it arrives. Final Cut was built on an old code
base, on technologies and architectures that were increasingly
archaic and outmoded. FCP 7 couldnt use more than a couple of
processing cores and wasnt 64-bit aware. Crucially, there was no
easy way to suddenly make it compatible with the new code base in
OS X, so Apple started again. Logic is much more modern, and
has been gradually overhauled in recent
versions so that it can in fact take advantage
of many of the new underlying technologies in
OS X. So while we cant promise anything, it
does seem unlikely that the next version of
Logic will be significantly redesigned to the
extent that Final Cut was. At least, thats what
we all hope!
Final Cut was radically redesigned but it was a very
different beast from Logic.

Xxxxxxxxxx
Logic Feature MTF
MTF Step-by-Step Set up DAW remote
Go into the Audio MIDI Setup

application on your Mac and then go to
the MIDI section. Click on the Network icon
and start a new session by clicking the plus
button. You can add protection if you like so
that only specific devices can join but its
generally safe to leave it open in your own
studio. Name the session and your computer
if you like.
01
Go into Logics Preferences, then Control

Surfaces>Setup. Click Install and then,
from the list, select a Mackie Control. From the
devices menu, then choose to assign Session
1, or whatever you called it, to the input and
output of the device. This will connect your
iPad wirelessly to Logic. Next, go to the DAW
Remote app on your iPad.
02
www.crucial.com/uk offer good quality but

affordable upgrades. Consider also getting a fast and
capacious external hard drive if youre running a
Mac with only one internal drive, which is pretty
much every Mac these days. As well as backing up, it
can be used for recordings and storing sample
collections. Logics own downloadable loop content
weighs in at 19GB, which will use plenty of valuable
space on a smaller hard drive.
You will also get the most out of Logic if you
upgrade to Mac OS X 10.8. Although it runs well on
10.6.8, that OS is now several years old and will at
some point cease to be supported by plug-in
developers. Version 10.7 had a few quirks and bugs,
most of which have been excised in 10.8. A fast dual
or quad core processor will serve you well and allow
for lower latency recording, the running of more
simultaneous plug-ins and a smoother ride overall.
You dont need to go too nuts here: a Mac Pro with
12 cores is probably going to be overkill, unless your
needs are extreme. A faster MacBook Pro or iMac
with plenty of RAM will suffice for most people, and
a Mac Mini is a cost-effective solution if your needs
are more modest. As ever, make sure you have a full
Time Machine backup before performing any major
system upgrades.
Going mobile
The mobile arena is one in which Apple has made
huge strides, with iPhones, iPod Touch and iPad
models able to run simple audio recording and
MIDI sequencing apps. Apple hasnt yet released
Logic for iOS (and theres no reason to think it
will) but it does do a version of GarageBand for
iOS that is surprisingly capable and comes with
a range of instruments and effects as well as
supporting audio tracking. You can use studio
quality mics such as the iRig Mic or through
the iRig Pre from IK Multimedia, or even turn
your iPod into a proper mini studio with
something like the Alesis StudioDock, with
high quality studio I/O.
Tech Terms
AUDIO HOSTING
Sites like SoundCloud and, to
a lesser extent, YouTube and
Vimeo are able to host your
uploaded tracks to be shared
with the world. The latter are
better for video..
AUDIO UNIT MANAGER
When Logic encounters newly
installed plug-ins, it runs an
AU validation tool to check
that the plugs are compatible
with your system, to prevent
crashes further down the line.
A Mac Pro might be overkill but

a MacBook Air wont be
enough. A higher end iMac can
be a good machine for running
Logic on.
In the preferences section of DAW

Remote, select the Logic layout. Your
computers MIDI session should appear at
the top and you can click to join the network
session. You should then get a connected
message and you will find that the app now
controls Logic. The same applies to the
iPhone version, though functionality is more
limited on the smaller screen.
03
The reason all this matters is that you can sketch

out ideas on your iPad or iPhone and then export the
project to GarageBand or Logic back on your Mac.
Since Apple makes all this software, it is able to
include all the relevant code to ensure that the song
you started on the tourbus will translate into Logic
on your Mac and you can continue working on it,
adding more tracks and plug-ins. So GarageBand for
iOS isnt just another way to work with music; it
actually integrates with Logic. Of course, you are
able to export from some other iOS apps as stems,
though the process is often a little tedious and you
have to re-link everything back in Logic. Going from
GarageBand mobile, its seamless.
GarageBand isnt the only mobile app you can
team up with Logic for better studio integration. iOS
apps can communicate with Logic wirelessly after
you set them up as remote control surfaces in the
Preferences. DAW Remote (10.49 from the App
Store), in iPhone and iPad versions, has a Logic
template and can be used to control Logic from
anywhere on your wireless network. Supporting
Logic Control, HUI and Mackie Control protocols, it
lets you monitor timecode, panning, plug-in
parameters and track levels remotely, control up to
eight channels at once, faders, pan, solo and more,
and it can be customised to suit your
preferred workflow. Its even
possible to configure more than
one iOS device running the app
into a control surface group.
V-Control Pro is more expensive
at 34.99 but is a highly
professional controller for Logic
and other DAWs. For more
adventurous users, TouchOSC
(2.99) is inexpensive and provides
multiple customisable controls for
building your own MIDI controller
for Logic on iPhone or iPad. Its
considerably more advanced one
for the more code-minded, perhaps
| 29
MTF Feature Optimising and extending Logic
Tech Terms
MULTICORE
Modern computer CPUs
have more than one core per
processor. Some Intel CPUs
have two processors each
with two cores, some have one
processor with quad cores.
Logic is able to use these for
better performance.
64-BIT
64-bit compatibility means
that software is able to
address far more physical
RAM as well as processing
more data per clock cycle.
but its
extremely
versatile.
Other
MIDI-over-wifi
apps may not be as
slick or have templates
specifically for Logic, but
all are configurable and
some are inexpensive. Check
out apps like MIDI Touch,
S1MidiTrigger, MIDIPilot, AMOS
and StepPolyArp for more wireless
programming fun. There are many
hardware control surfaces available too, and Logic
has presets and templates for connecting these and
getting more hands-on control of your projects. (See
the Control Surfaces Round Up on pages 81-84 for
more on this.)
Sound all around

RAM is still vital for the smooth
operation of your Mac with
Logic, so fit as much as you can
realistically afford.
Logic is of course quite capable of working in

various different surround sound formats and
allowing you to mix your music or your movie sound
in surround. To do this you will need the correct
hardware, so you can correctly identify
how the sounds will be reproduced in
a surround environment. If your
budget is very large you could splash
out on something like the blue Sky
System One at a shade over 4,000,
which features multiple bi-amped
speakers for amazing surround
MTF Pro Technique Storage options explored

A full install of Logic with all its downloadable
loop content weighs in at 19GB and while
this is relatively small in terms of modern
hard drives, on a laptop or Mac Mini it can
be problematic, especially when you
factor in the other apps you might have,
plus multitrack recordings and sample
libraries for other instruments. The vast
majority of Macs only have a single
Invest in a decent portable hard drive for
internal hard drive due to the constraints of
more options.
space, but all have fast USB2 or USB3,
FireWire or Thunderbolt depending on the age of the machine. So adding a
secondary, external hard drive is a must unless you happen to have Mac Pro, in
which case the drive can be internal.
You can pick up a 500GB drive for around 100 that you can use to host
samples, libraries and recordings, being sure to back up recordings regularly of
course. If portability is a non-negotiable issue, you could consider getting a
solid state drive for your laptop when ordering, or later if it has a userreplaceable drive. These have lower capacities and cost more but are very fast
and use less power. If you are sticking with a traditional spinning drive for your
computer, spec one that spins at 7200rpm or, if you have a Mac Pro, at 10,000
rpm as these offer significantly faster data access. In fact a faster drive will
make more difference in real world performance terms than a modest speed
bump to a CPU. Its also vital to back up regularly and OS X includes Time
Machine which makes incremental backups, and provides access to old
versions of your files. Consider spending a few quid on a quality external drive
for backing up if you ever need it youll be glad you did.
focus
If you want hands-on hardware

control there are pro level
options like Mackies classic
Mackie Control unit.
reproduction, but
you can use any
multi-output audio
interface and configure Logic to
fire sound out in surround configurations.
All you need to do is connect matching speakers to
the outputs you have assigned and then route your
audio tracks in your project accordingly. So if you set
up five speakers, assigned the panners in a surround
Logic project, and then routed sound accordingly you
could fairly easily work in surround. It can export in
surround formats too, so you can deliver finished
projects in the correct format.
On the subject of interfaces, you will need one to
get sound in and out of Logic but the choice depends
very much on what kind of work you will be doing. If
you work mostly in the box, which is to say you use a
lot of loops and software-generated and processed
sounds, you can probably get away with a smaller
interface with four or even two ins and outs. For
moderate recording tasks you might look at six or
eight ins and outs, and for full band or orchestra
tracking, 20 or more. For setups larger than this you
may have to look into getting a mixer and using
subgrouping to manage higher track counts if you
need to record everything at once. You may not have
realised it but Mac OS X is capable of aggregating
multiple audio interfaces into one virtual model. In
the Audio MIDI Setup application you can create a
new Aggregate Device, then assign any physical ins
and outs from multiple connected devices to it, and
it will appear to Logic as a single, unified device.
This is a clever way of using the kit you already have
to track more sources than any one unit actually
supports by itself.
Adding sounds
Logic ships with a ton of looped content, and this
can be enough to get your projects off the ground.
The only thing is that every other Logic user gets
that content too, so its not exactly unique. And while
you can stretch, reverse and slice it up in many ways,
you may find that getting some third-party loops
and samples can spice things up a bit more.
Companies like Loopmasters and PrimeLoops make
genre-specific sample collections covering pretty
much any musical bases you can think of so these
can be well worth looking into. The same goes for
plug-ins. Logics own plugs are really good some of
the best around in fact. But they cant do everything,
so you should consider adding a few third-party
plug-in effects and instruments to your system.
(See the Pick of the Plug-ins feature starting on page
66 for more on this.) One important thing to add if
youre working in the box is a mastering plug-in or
suite such as Ozone or T-RackS, since these can help
to give your music a radio ready sound that you
might not get by simply exporting a mixdown.

Xxxxxxxxxx
Logic Feature MTF
Its great to be able to source your own sounds,

and recording through a studio mic is the best way
to do this. But often you can be out and about and
hear something that can be useful, maybe a crowd
noise, the sound of the sea, or indeed the sound of
someones voice remember that Logic can be used
for all kinds of audio production, not just music. So
it can be useful to be able to record in high quality
when youre not in the studio, and import the audio
into Logic later. Smartphones are mostly capable of
this, and the iPhones mic is actually surprisingly
good. There are many audio recording apps, mostly
free or inexpensive, that can record from the internal
or a connected mic and some can even use effects
and edit audio too if you want.
Alternatively, a field recorder can be a wise
investment if you plan on doing a lot of ambient
recording. Yamaha makes some excellent portables
like the Pocketrak C24 (86), with uncompressed
24-bit 96 kHz stereo recording as well as MP3.
Tascam and Zoom also make some great recorders,
as do Zoom and Roland, and all will offer higher
quality recording and better SPL tolerance than a
smartphone mic. Most also have a line input, which
is useful for tapping a feed off a desk to record live
gigs, then editing these down later in Logic.
After youre done

When it comes to getting your music out there, the
conventional method is to burn a CD, and your Mac
will almost certainly have this capacity, unless it is a
MacBook Air or one of the most recent Retina
MacBook Pro models (in these cases you can add a
USB CD burner for around 40). If you run a studio
you may also want to consider investing in a CD
duplication unit. These are obviously more expensive
but can burn 10, 20 or more CDs at the same time
and perhaps also print labels. The same technology
is available for DVDs too.
CDs are becoming marginalised in favour of
digital formats; and radio stations, sync companies
and other people are as likely to want AIFFs or MP3s
as physical discs these days. Logic can of course
output in multiple formats, though its best to
always export your masters at the highest quality,
MTF Pro Technique Key Commands

If you go into Logics Preferences menu you
will find a Key Commands option, which
reveals the Key Commands window. These are
key combos on your computer keyboard that
can be mapped to almost any command
within Logic and are exceptionally useful as
timesavers, especially for repetitive tasks or
things that might normally have to be
accessed via a menu. Key Command sets can
even be imported or exported, so different
people working on the same system can have
their personalised sets to hand. Click on any
section to expand it and you will see the available Key commands are a useful ally in
the war on workflow.
tasks in a list, or use the search field to quickly
find a command. Assigned commands can be seen in the Key list and you can add,
modify or delete commands using the section on the right. You can also use the
Learn function to quickly assign a new key combo to any command. The reason
that key commands are so useful is that they act on muscle memory, whereby
you are so used to performing a command with your hand on the keys that it
quickly becomes second nature. Its tough to become a power user or really speed
up your workflow without using at least a few key command combos, so why not
investigate this section of Logic to see how it all works?
Tech Terms
TIME MACHINE
An incremental backup tool
included with all versions of OS
X since 10.5. A vital tool in your
defence against data loss.
THUNDERBOLT
Apples latest interconnect
technology found on all
new Macs except the Mac
Pro. Very fast and able to be
daisychained, its still making
slow inroads into the pro audio
world.
perhaps matching the project settings, and

then compress different versions after that.
Logic is actually rather more limited than
other DAWs in the way it can output, lacking
direct support for online hosting sites like
SoundCloud or Vimeo, though you can upload
the tracks manually from your Desktop of
course. These arent technically add-ons for
Logic but they are things you should be
looking at using once your projects are
finished. The same goes for clever online stores
like Bandcamp.com, which let you set your
own prices and provide downloads all the way
from small to uncompressed files. Services like
CDBaby, The Orchard and Ditto Music,
amongst others, can get your music onto the
iTunes Store, from where it can be purchased
on any iOS device, Mac or PC running iTunes.
Each has a different pricing structure, so
check out the one thats right for you.
The total solution
Mobile apps are becoming

increasingly capable. TouchOSC,
for one, is a programmable MIDI
remote control environment
that can be tied to Logic.
You can use Logic as it stands and produce

some great sounding music. If however you
find that your needs extend beyond what it has
to offer, there are plenty of add-ons, services
and tools available to help. From upgrading
your computer hardware and operating system
to adding a mobile controller, creating a setup
to produce in surround sound, adding new
loops, sounds and effects through sample
collections and plug-ins to burning discs and
getting your music distributed digitally, this is
all possible. Some of it is cheap, other things
cost a little but you are free to pick and choose
which you take advantage of. Optimise and
extend your Logic setup to suit your particular
needs and youll never look back. MTF
| 31
Delay plug-ins
Part two: correction
On the disc
Logics delay plug-ins are far more than mere creative

tools they can perform essential corrective tasks,
too. Mark Cousins rounds them up
aving explored the essentials of delay (see

page 22) the second part of this Workshop
takes a deeper look at some of the less
familiar tools and techniques available
from Logics delay plug-ins. In particular,
well look at how delay can be used as a corrective tool
improving phase inconsistencies between different
tracks as well as some of the more extreme creative
treatments possible using Delay Designer. Ultimately, it
all illustrates how versatile and important delay is as a
mixing tool, and how Logics collection of delay plug-ins
enable you to extract the full musical potential from the
material youre presented with.
Micro pause
The first technique were going to explore is an example
of using a plug-in for corrective rather than creative
endeavours. First, though, we need to understand the
problem in hand by taking a look at the acoustic bass
recorded on tracks 1 and 2.
The bass was recorded in two ways: with an ambient
mic placed about a metre from the performer, along with
a DI signal recorded from a pickup mounted on the bass
itself. Whenever you record an instrument in this way
theres always a risk of time delay between the channels,
caused by sound arriving slightly later at the ambient
mic position. While this delay isnt too problematic on
higher-pitched sounds, its easy for bass to be subject to
serious amounts of phase cancellation. 1
Logics Sample Delay, therefore, is the perfect tool

for the infinitesimally small corrections that need to be
made in these situations, especially if you have a
performance comped from multiple different takes and
cant simply time-slip a single region. In essence, the
Sample Delay is applied across the close-miced
channel (in this case, the DI signal), delaying it by the
same amount that the ambient mic is offset by.
Technically speaking, there are two ways of finding out
what the required amount of delay is: either through
deft editing, or by ear, using a phase-reversal trick.
Perfect phase
PRO TIP
Delay Designer really comes
into its own for surround
sound mixing. In 5.1 mode,
each tap can be given its own
surround placement, using a
small panner in the bottom
right-hand corner of Delay
Designers interface. Use the
effect subtly, or create a more
exciting treatment that
bounces the sound around a
5.1 soundfield.
For the former approach, make a small edit: cutting the

Ambient Mic track in reference to the point where a note
starts on the DI track, then placing a second edit on the
front of the same note (a few milliseconds later), again
on the Ambient Mic track. You should now have a region
exactly the same size as the time difference between
the two respective channels. Select this newly created
region and open the Sample Editor [W], noting the
selected area that corresponds to the size of your
region. [Alt]-click on the selected area and you should
see a text dialog indicating the Start, End and Count
values of the selection in Samples. The Count number,
therefore, is the amount of delay required in Samples. 2
Place an instance of Sample Delay across the DIed
Bass track, then adjust its single editable parameter to
the same number that you found in the Sample Editor
(about 129 Samples). Listen to the results both with and
without the Sample Delay. The effect can be subtle, but
notice how the bass becomes proportionately more
solid and reinforced with the delay correction applied. 3
1
2
Sample Delay
can be used to
time-align a
recording made
using both DI
and closemiced channels.
focus
Delay plug-ins Technique MTF
3
5
4
Phase-inversion can be
applied using the Gain
plug-in; press the Phase
Invert button to flip the
phase accordingly.
Easily the most powerful tool in

Logic for creative delay treatments
is Delay Designer
You can also adjust the delay by ear to achieve the
same solidifying effect. The trick in this case, though, is
to phase-invert one of the channels (either the DIed
Bass or Ambient Bass) before you apply the correction.
Phase-inversion can be applied using the Gain plug-in,
pressing the Phase Invert button to flip the phase
accordingly. In this case, youll want to adjust the time
of delay until the bass sounds at its weakest, although
this is best done with the DI signal slightly raised in
level. This weak bass actually means that the two
tracks are now phase-aligned (but phase-inverted);
once the Gain plug-in is removed you should have a
perfect sound to the bass. 4
Designer lifestyle
Easily the most powerful tool for creative delay is Delay
Designer, which has up to 26 different taps alongside
options for filtering, pitch transposition and so on. In all
honesty, Delay Designer is somewhat too high-powered
for most delay-based mixing activities, but in situations
when you need a particularly leftfield effect or if the
effect needs multiple taps, its a clear winner.
Given its creative capabilities, Delay Designers GUI is
slightly confusing, but once youve mastered the basics
its easy to start building interesting and unusual
effects. Try experimenting with the Fender Rhodes track,
using Delay Designer placed across an auxiliary fader
and working from the basic Reset setting. 5
The interface is dominated by a large tap display,
illustrating the relative time placement for up to 26
available taps. One way of positioning the taps is to draw
them in (or re-position them) one by one. This is a good
solution as a controlled way of building up your tap
profile using the Pencil tool to add taps in the bottom
timeline, shuffling them up and down the timeline by
clicking and dragging on existing taps, or highlighting a
tap then deleting it. Alternatively, you can press the
Start button and input a tap pattern on the fly, tapping
your mouse button in time with the music. 6
PRO TIP
Something thats easy to
overlook is Delay Designers
Feedback control, found on
the far right-hand side of the
interface. The feedback path
can be positioned anywhere
along the line of taps,
selecting the desired tap to
route from (Tap A, Tap B and so
on) via the small dropdown
menu. When used in
conjunction with the
Transposition feature,
Feedback can create
some unique spiralling
pitch movements.
The real power of Delay Designer lies in the facility to

adjust individual Cutoff, Resonance, Transposition, Pan
and Level settings for each tap in your sequence.
Although Pan and Level arent too exciting (but
nevertheless still useful), Cutoff and Resonance really
come to the fore as a means of timbrally shaping the
delay in some extreme ways. Once you click on the
appropriate tab at the top of the interface, each delay
tap works like a bar graph, enabling you to quickly
animate the tap pattern and make the effect far more
dynamic. You can also [Shift]-chick on the bars, making
it easier to change the proportionate parameter level en
masse rather than on a tap-by-tap basis. 7
By default, Delay Designer works to a 1/32 grid,
established on the left-hand side of the interface. In
effect, the Grid quantizes any on-the-fly tap
placements, as well as snapping any new taps that you
draw in with the Pencil. Some of the most interesting
and usual treatments, though, come from using the
ultra-fine grid settings (like 1/64 or 1/96) to create a
type of glitch n stutter delay effect. Try drawing blocks
of these delays in a beat or so into the tap pattern,
using some dynamic pan and filter settings to give the
effect even more interest. Alternatively, use the 1/128
| 33
Draw in your
own grainy
reverb tail, with
a collection of
closely spaced
taps replicating
the multiple
reflections in
real reverb.
setting to draw your own grainy reverb tail, with a

collection of closely spaced taps replicating the
multiple reflections in real reverb. 8
Beyond delay
One criticism of Delay Designer, though, is its somewhat
sterile-sounding output in short, it sometimes sounds
too clean, even at heavy filter settings. This is easily
rectified, though, by virtue of the Delay Designer plug-in
being instantiated via an auxiliary fader. By applying
additional plug-ins after it we can alter the sound of its
output. However, because this is only the delayed sound
and not the dry signal, we change only the sound of
Delay Designer and not the source. An almost essential
addition, therefore, is one of Logics distortion plug-ins,
such as Dist II or Bitcrusher. In particular, I like how
Bitcrusher compliments the glitch-like delay effects
that are possible with Delay Designer. 9
As well as changing the sound of Delay Designer, its
also worth thinking about how various additional
effects can be added to a delay output, whether its EQ,
compression, flange or any other effect in your plug-in
folder. In short, dont be precious about the delay return,
but instead consider it as being as malleable as any
other part of the mix.
Ambient landscapes
Although the list of post-delay effects is almost
endless, it worth picking up on some main contenders
and their principal uses. First off, dont be afraid to use a
10
The Tremolo plug-in is used to add a sense

of stereo movement to Tape Delays
fixed-position output.
focus
buss send from the aux fader to route a proportion of the

delayed signal through to a generic reverb used in your
mix. Without the occasional touch of reverb the delay
return can sound too upfront, so its often worth adding
a small amount of reverb to sit the delay towards the
back of the mix. Adding an increasing amount of reverb
on the delay output (possibly leaving the original sound
relatively dry) makes the effect deliberately ambient a
perfect way of creating Eno-like sonic landscapes. 10
Another simple trick worth exploring is placing the
Tremolo effect on the output from Tape Delay. The
Tremolo plug-in is used to add a sense of stereo
movement to Tape Delays fixed-position output. Set the
Rate parameter to a musical division like 1/4 and
pull back the Depth so that the delay doesnt swing
completely hard left and right (although, of course, the
full left/right movement can have its uses). 11
Delightful delay
Hopefully, these two Workshops have illustrated the
versatility and practical benefits of Logics range of
delay treatments. Once you understand the unique
flavours and qualities that each plug-in brings to the
equation, youll soon realise that theres little need to
turn to any additional third-party delay plug-ins to fulfil
your mixing requirements. From the precision of Delay
Designer through to the distinctly lo-fi vibe of Tape
Delay, Logics delay plug-ins deliver superb results every
time you use them and for me, are certainly one part
of Logic I could never be without. MTF
11
Education Round Up MTF
1 ACADEMY OF
CONTEMPORARY MUSIC
Price 3,000 (39 week diploma),

4,995 (2 year degree),
224 (10 week part-time course)
Contact enquiries@acm.ac.uk
The Academy of Contemporary Music in
Guildford offers a full-time Music Production
course at diploma, higher-diploma, and degree
level, which includes a look at sound design,
composition and arrangement techniques, post
production, and music industry studies,
alongside advanced Logic production skills.
They also run several part-time courses
including a new Bedroom Recording Studio
course based around Logic that runs for 10
weeks, every Wednesday night from 7-9pm.
Web www.acm.ac.uk
2 LOGIC PRO
FOR RECORDING
ENGINEERS AND
PRODUCERS
Price $16.99
Contact info@halleonardbooks.com
This Quick Pro guide is designed to help
engineers and producers who are already proficient in
another DAW software platform make the transition to Logic
Pro. Text, illustrations, and examples are geared toward
demonstrating the creative, practical, and technical benefits
provided by Apple in this well-developed application.
Everything in this book is there to instruct someone who is
already proficient to some degree in the modern recording
world on how to use Logic. Since many studios use both Logic
and Pro Tools, leading producers have lent their names to this
books ability to help you transition between the two.
Web www.halleonardbooks.com
Round Up
Education
Logic is a powerful tool but mastering it is a lifelong

process. Even professionals who have been using
Logic for years are still learning new tips, tools and
techniques all the time. Getting trained in Logic is a
great way to take your skills to the next level
3 SONIC ACADEMY
Price 34.99/quarter, 99.99/year

Contact info@sonicacademy.com
Sonic Academy offers a range of Logic
courses in the form of streaming
videos, with a wide range of subjects and
techniques covered. You can watch a number
of preview videos to see if the courses are likely to suit you,
and you can sign up for either three months or a year, with
the year pass representing a saving over buying several
shorter passes. You get tech support, project files and
downloadable samples and resources and you can ask
questions of the tutors online.
Web www.sonicacademy.com
| 35
MTF Round Up Education
4 LONDON SCHOOL OF SOUND
Price 3 day intensive Logic course 649

Contact info@londonschoolofsound.co.uk
The London School of Sound offers Apple certified training
and courses of varying level and length. Short courses vary
from three days intensive training to nine weeks part time, and
theres the option to do a four month foundation certificate,
one year professional certificate or a two year Diploma. As
well as hands-on teaching in small groups you are supplied
with a book and DVD containing all the material you will need.
The three day course has only seven places and is inclusive of
all course materials.
Web www.londonschoolofsound.co.uk
5 PC PUBLISHING
Web http://pc-publishing.com
6 SSR
Price 3 day course 495

Contact SSR Manchester 0161 276 2100
Operating out of London and Manchester, this
hands on course introduces students to the
primary features and basic user interface of
Logic Pro. Students learn how to generate a
customised audio and MIDI configuration that
will seamlessly integrate with their own personal
production studio. Students also create their own
song using Logic Pros comprehensive array of
software instruments, Apple Loops and DSP
effects. In depth lessons will cover MIDI and
audio recording, streamlined editing and
arrangement techniques, user defined
key commands, automation, scoring to
picture and surround mixing.
Web www.s-s-r.com
Price 8.95
Contact info@pc-publishing.co.uk
There are often many ways to do similar things within Logic,
which can add confusion when you are trying to solve a
specific problem. Luckily, author Stephen Bennett has
compiled a collection of hard earned Logic tips and tricks
taken from years of experience with the program. Logic Pro
Tips & Tricks contains hundred of useful tips to help you
perfect your tracks, with descriptions on how to perform
standard studio techniques, such as drum editing and
replacement, and parallel compression, as well as advice
that will improve your workflow. Youll also find information
on Logic 9s new features like Flex-Time, Amp Designer and
Pedal Board.
focus
Education Round Up MTF
7 MIDI SCHOOL
Price 3 day course 595

Contact info@midischool.com
This course introduces students to the primary features and
basic user interface of Logic Pro. Students learn how to
generate a customised audio and MIDI configuration that will
seamlessly integrate with their own personal production
studio. Students also create their own song using Logic Pros
comprehensive array of software instruments, Apple Loops
and DSP effects. In-depth lessons will cover MIDI and audio
recording, streamlined editing and arrangement techniques,
user defined key commands, automation. A special
troubleshooting section helps students to set up and optimise
a Logic system effectively.
Web www.midischool.com
8 LOGIC-COURSES.COM
Price 149 single course, 225 both courses

Contact via website
The latest joint venture of sample company
Loopmasters and online production academy
Producertech Ltd, Logic-courses.com offers
two online video courses for beginners and more
advanced level students. Each course contains
26 thirty-minute modules presented by qualified
trainer Rob Jones and can be viewed online at any
time alongside an active student forum. Students also get
course materials, notes and sessions, plus over 850 MB of
royalty free samples and a Novation Bass Station soft synth.
You can get 20 per cent off any course at Logic-courses.com
and sister site Live-courses.com with the special promo code
MTM20. Check out a preview video on the DVD.
Web www.logic-courses.com
9 MACPROVIDEO.COM
Price $25/month, $199/year

Contact via website
Over the past few years macProVideo has built up
a huge selection of video tutorials over 22,000
at the time of writing covering a range of
software and techniques, including many on
Logic Studio. These range from plug-in specific
walkthroughs on Ultrabeat, Sculpture, ES2 and
EXS24, genre specific tips on mixing electronica,
RnB, and drum & bass, plus additional tutorials
covering fundamental recording, mixing, and
synthesis techniques. Its recent releases
highlight Logics versatility, with a look at
how to master your tracks, write music
for picture, and record and produce
pro guitar sounds.
Web www.macprovideo.com
| 37
MTF Technique Drum sounds
On the disc
Creating drum sounds
in Logics Ultrabeat
Creating your own signature drum sounds from

scratch can be a rewarding and engaging experience.
Mark Cousins demonstrates the power of Ultrabeat
hile most of us are happy to synthesise

the occasional bass sound or a synth
lead when required, the same isnt so
true when it comes to synthesising our
own drum sounds. However, as any
owner of the ARP 2600 will testify, the opportunity to
create your own synthetic drums sounds is something
thats not to be missed. Put simply, the drum sounds
you create from scratch have the potential to contain
more power, more significance and more character
than anything you choose to pick off the shelf. And if
youre lucky enough to have Logic Pro as you main
sequencer, youll also have a plug-in dedicated to the
task of drum synthesis right there at your fingertips in
the form of Ultrabeat.
In this Workshop were going to explore the basics of
drum synthesis using Ultrabeat as our principal tool.
Well look at the defining sounds used in rhythm
production kick, snare and hi-hat and explore ways
in which these can be created and modified to suit your
particular style of production. Well also look at how
PRO TIP
Use the Group option to link
your hi-hat sounds so that the
closed hi-hat mutes the open
hi-hat whenever it is played.
You can also use the [Ctrl] key
as a convenient way of copying
parameters between drum
voices. That way, you can copy
the closed hi-hat and simply
extend the release time to
make it an open hi-hat.
some of the other tools and features in Logic can be

brought into play, further enhancing what you can
achieve solely in Ultrabeat.
Hats off
Open the Logic project included on the coverdisc and
youll find an instance of Ultrabeat and a basic pattern
to trigger the three starting points that were presented
with. The first sound were going to look at is the
simplest of the three to create a hi-hat. In theory, a
workable hi-hat sound can be created using a short
burst of filtered white noise, with a high-pass filter to
deliver the required brightness and a short envelope so
that the sound is suitably clipped.
Each drum voice within Ultrabeat has its own bank
of synthesis controls, displayed in the main part of the
plug-ins interface. Clicking on the relevant drum voice,
therefore, brings up the appropriate set of controls;
press the solo button to hear the sound in isolation.
Each drum voice comprises up to three different
oscillators, each with a slightly different set of
sound-generation features. The middle oscillator, for
example, specialises in noise and is the only oscillator
active in our hi-hat voice, while the lower and upper
oscillators cover areas such as phase oscillators,
samples and physical modelling. 1
On the beat
The opportunity to create your

own synthetic drums sounds is
something not to be missed
At the moment, the hi-hat is just a short burst of pure

white noise, but lets look at how we can tweak the
oscillators controls to shape its timbre in a more
effective way. Technically speaking, the oscillator has its
own built-in filter section (in addition to the large
central filter in Ultrabeat), which is an essential way of
1
2
3
The middle oscillator specialises in noise and is the only oscillator active
in our hi-hat voice, while the lower and upper oscillators cover areas
such as phase oscillators, samples and physical modelling.
focus
Drum sounds Technique MTF
5
Dirt adds a small amount of grit to the noise,
making the noise slightly less synthetic. The noise
oscillator makes use of a different envelope in
this case, envelope 2 with a longer release time
than that of the phase oscillator.
giving colour to the noise, whether its the tick of a

hi-hat, the strings rattling on a snare drum or the fizz of
some cymbals. Try moving between the three different
filter modes BP, HP and LP to hear how the noise is
coloured in different ways. Given our objective, the HP
mode which makes the sound thinner and removes
low end is easily the best choice. 2
We can also adjust the oscillators cut-off and
resonance setting to further refine the effect. Notice
how the sound becomes thinner as you move the cut-off
higher, almost turning the hi-hat into a shaker. The
addition of resonance adds a small filter peak around
Another good example of

a layered approach to drum
synthesis is the kick drum
the cut-off. Try a resonance setting of 0.75 and notice
how this changes the effect of different cut-off points,
making the cutoff frequency more pronounced. 3
The final stage is the envelope used to shape the
amplitude of the hi-hat. Each Ultrabeat drum voice has
four potential envelopes to play with, although the
fourth envelope is always reserved for use as the global
amplifier envelope. You can access the envelopes from
the bottom right-hand corner of Ultrabeat, clicking on
one of the four numbered tabs to access the envelope
in question. By adjusting the decay of envelope 4 we
can change the click of the hi-hat; extend the release
time to make the voice sound like an open hi-hat (or
even a ride cymbal, for that matter). 4
Rinse to the rhythm

Moving onto the snare, we can now start to explore
a layered approach to drum synthesis, whereby a
sound consists of two distinct components. A real
snare drum has two principal elements: the drums
head, which is hit with a stick, and the snare wires
underneath, which vibrate in sympathy with the
drum skin. At the moment, our snare consists of
just one layer a bongo-type component made
from a pitched-phase oscillator being abruptly
attenuated by envelope 1. 5
PRO TIP
Each drum voice has its own
two-band equalizer, located
on the right-hand side of
Ultrabeats interface. If youre
not using the individual
outputs, the equalizer is a
great way of colouring each
drum sound for its particular
place in the mix, whether its
some more low end on a kick
or sparkle on a hi-hat.
To add virtual snare wires into the equation, activate

the noise oscillator. This is set to a similar high-pass
filter sound to that of the hi-hat, although this time the
cut-off is lower and a small amount of Dirt has been
added. Dirt might appear to be a vague term, but in the
case of Ultrabeats noise oscillator, it adds a small
amount of grit to the noise, making the noise slightly
less synthetic. Note also that the noise oscillator makes
use of a different envelope in this case, envelope 2
with a longer release time than that of the phase
oscillator. Try further adjustments to the release time to
change the qualities of snare, using a shorter release to
make the snare sound snappier or a longer release time
to give it a looser sound. 6
Kicked into action

Another good example of a layered approach to drum
synthesis is the kick drum. Our current example,
though, just uses a solitary phase oscillator, with its
pitch being modulated by a short-and-snappy envelope
1 alongside a more graduated release on envelope 2
modulating its volume. Try lifting the root pitch of the
phase oscillator to better understand the basic sound.
The current setting (A#0, illustrated by the red legend)
provides a low-pitched thud, but move the pitch higher
and youll better discern the characteristic pitchsweeping effect. Of course, you can use this pitch
control to provide the key thud of the kick drum, either
setting it lower (for a deeper kick) or higher, for a clicky
kick drum. 7
Mute the first phase oscillator for now, then activate
the second phase oscillator at the bottom of
Ultrabeats interface. The sound is almost identical
to that of the first oscillator, although in this case,
envelope 3 is used as the modulation source for the
oscillators pitch and the amount of modulation
(indicated by the blue shading on the pitch control)
is far more extreme. The result is a clicky sound,
much the same as a beater hitting the skin of the
kick drum. Combine the two oscillators and the
kick sound should have both depth (from oscillator
1) and impact (from oscillator 2). 8
The third and final part of the kick is the noise
oscillator, this time using some low-pass filtered
noise with just a touch of Dirt. The addition of the
noise oscillator is subtle, but it helps to make the
| 39
MTF Technique Drum sounds
7
8
9
Click on the Crush button to activate the
distortion and note how only the beater
element of the voice is distorted. This gives the
drive and grit of the distortion without losing
any of the kicks low-end power.
sound slightly less sterile. There are also some

interesting possibilities achieved by routing the beater
sound through the filter and applying a touch of Crush
distortion. You can see whats routed through the filter
using the small red arrows, with only oscillator 2 being
routed at present. Click on the Crush button to activate
the distortion and note how only the beater element of
the voice is distorted. This is ideal, as it gives us the
drive and grit of the distortion without losing any of
kicks low-end power. 9
The more you play with the drum

sounds on offer, the more youll begin
to understand how they tick
reduction). Distortion is also good on the kick drum
(even in addition to the distortion weve already applied)
and, of course, you can use some extra EQ to position
the sounds in the mix that bit better. 11
Another excellent choice for drum synthesis is the
ES2, especially given its powerful self-oscillating filters.
Look under the ES2 Legacy>Drums & Percussion folder
for inspiration. Usefully, you can use the Bounce in Place
feature to render the ES2s output as an audio file, which
can then be imported into Ultrabeat given its ability to
drag and drop samples into its sound engine. 12
Beyond the beat

Although Ultrabeat can deliver excellent results, its
important that you look slightly beyond its feature set
and consider how other parts of Logic can be called into
service. Arguably the best place to start is to use the
multi-output version of Ultrabeat, available as you
instantiate the plug-in, although you can switch to the
multi-output version at any point without losing your
settings. Drum voices can then be assigned to their own
outputs, potentially enabling each drum voice to have
its own series of plug-ins. 10
Although the possibilities are endless, there are
some techniques worth identifying. Compression and
reverb on the snare (especially when the compression is
placed after the reverb) really brings the sound to life
and helps add power and intensity to the effect. Use a
super-tight Space Designer reverb with just a small
amount of wet signal and keep the compression
relatively unsubtle (3:1 ratio with about 34dB of gain
Drum head
Drum synthesis is a vast subject, but hopefully weve
given you some insight into how you can approach this
exciting area inside Logic. Even if you dont fully
understand the theory, theres still a lot to be gleaned
from playing with existing examples (the various
Analog Drum Banks are a good start) and tweaking
them to suit your objectives. Ultimately, the more you
play with the drum sounds on offer, the more youll
understand how they tick, enabling you to approach
Ultrabeat as an expert rather than a novice. MTF
11
10
Compression and reverb on the snare (especially when the

compression is placed after the reverb) really brings the sound to
life and helps to add power and intensity to the effect.
focus
12
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MTF Technique External sounds
Processing external
sounds in Ultrabeat
On the disc
More than just a virtual drum machine, Ultrabeat can

also turn its hand to some unique forms of signal
processing. Mark Cousins gets sidetracked
ne of Logics best-kept secrets has to be

Ultrabeats ability to process a sidechain
input, creating a number of unique effects
that you wouldnt usually expect from a
virtual drum machine. Although weve
touched on sidechaining elsewhere, this Workshop is an
opportunity to look at Ultrabeat solely as a means of
mangling external sounds, understanding how features
like the envelope section, filtering and step sequencing
all impact on this application. Certainly, the techniques
illustrated here demonstrate that Ultrabeat isnt just for
drums, and can actually be thought of as a unique and
interesting signal processor in its own right.
Chain gang
The ability to route and process signals through
Ultrabeat takes advantage of the plug-ins sidechaining
capabilities. In the first example were going to start with
a basic application whereby Ultrabeat is used to create
a key gating effect across a synth pad. Start by muting
the synth pad on Track 1, as the track needs to be active
but we dont want to hear it in the audio output. If you
want to create the same effect with a virtual instrument,
route the signal to a spare buss, then set the buss
output assignment to No Output. 1
Now move to the empty instance of Ultrabeat on
Track 2 and set the Side Chain parameter in the top
right-hand corner of the plug-in to read Audio 1 Synth
Pad. In theory, the synth pad should now be routed to
PRO TIP
Add extra interest to your
basic gate pattern by using the
virtual Accent LEDs, which add
a programmable level boost on
Ultrabeats output. Off-beat
patterns work particularly
well, and you can adjust the
amount of level boost
(between 0 and 12dB) using
the small slider to the left of
the Accent LEDs.
Ultrabeat, although we wont hear it at this point.

Selecting Drum Voice 1 in Ultrabeat, activate the Side
Chain Signal control up in the upper left-hand corner of
the Synthesizer parameters, then input a short
16th-note sequence using the Step Grid at the bottom
of the interface. Assuming Ultrabeats sequencer is
active, pressing play on Logics transport should now
produce a simple 16th gating effect. 2
Pushing the envelope

Having configured the basic effect, we can now start to
explore ways of modifying the output. A crucial
parameter, of course, is the Amplifier Envelope. By
default, the master Voice volume control (found on the
far right of Ultrabeats interface) is modulated by
Envelope 4. You can see Envelope 4, along with the three
other envelopes, in the bottom right-hand corner of
Ultrabeats Synthesizer section. Try adjusting the release
to make the gating effect shorter or longer, or adjust the
attack time to smooth out the start of each pulse. 3
Fine control over the envelope is important given the
short duration of each event, so its worth exploring
some of the more detailed controls on offer. Look closely
at the release phase and youll notice two small nodes
that enable you to shape the release in a number of
different ways. A shape with a quicker initial decay will
produce a more percussive effect; a slower initial decay
will give the effect slightly more sustain. You can reset
the envelope at any time by [Alt]-clicking on it. 4
Filter fun
Although some basic amplitude modulation is useful in
itself, its interesting to combine this effect with some
filter-based treatments. Ultrabeat includes four
different filter types (low-pass, high-pass, band-pass
The ability to route and process signals

through Ultrabeat takes advantage of the
plug-ins sidechaining capabilities.
focus
External sounds Technique MTF
4
6
5
An important part of the filter is

the Distortion section, found just
beneath the Cutoff and
Resonance controls.
Ultrabeat can be thought of as

a unique and interesting signal
processor in its own right
and band-reject) as well as two different strengths
(12dB and 24dB). To active the filter, simply click on the
Filter legend, select your filter type and adjust Cutoff
and Resonance accordingly. Well add some movement
later on in the Workshop, but for now, familiarise
yourself with the basic filter sounds on offer. 5
An important additional part of the filter is the
Distortion section, found just beneath the Cutoff and
Resonance controls. Technically speaking, the
distortion can be placed either before or after the filter,
indicated by the small triangle between the filter and
distortion controls. With the arrow up, the distortion is
ahead of the filter, supplying additional harmonics (and
beef!) ahead of the filter. Although subtle, pre-filter
distortion tends to produce a pleasing musical sound
and gives the filtering a touch more character. By
contrast, post-filter distortion tends to be more obvious
to the ear, but doesnt lend the same degree of
musicality to the result. 6
Going low
Of course, by itself a static filter isnt that exciting, so
lets look at how we can add some movement to the
effect. Filter cut-off can be assigned a modulation
source using the dropdown menu accessible by clicking
on the small blue legend underneath the Cutoff control,
with the amount of modulation established using the
small blue line. Two obvious choices for modulation are

the LFOs, as well as the aforementioned envelopes. By
using LFO 1, for example, you can create a slow,
undulating movement to the cut-off (set the LFO to
free mode and its Rate to 0.24Hz or so). An envelope
can also add a percussive quality to the sound if you
use a fast attack and release, ideally using one the
spare envelopes (13) so that you can vary the release
separately from the amplifier. 7
The effect of movement, though, becomes far more
dramatic and interesting when we add in Ultrabeats
unique step sequencer. In theory, the step sequencer
offers the potential to create a unique parameter level
for each step of our sequence we could create a
unique repeatable pattern for cut-off, for example, or
any other parameter thats being used, whether its the
colour of the distortion or the release time of Envelope 4.
Step into action
PRO TIP
Another way of making your
pattern more dynamic is to
vary the Gate and Velocity
settings as part of the
sequencers control set. Gate
can shorten or lengthen the
notes, although youll need to
have Sustain active on the
envelope (and positioned
somewhere along the release)
to hear it in effect.
To access the unique Step Time mode youll need to

press the rocker switch in the bottom left-hand corner
of Ultrabeat, changing the interface from Voice mode to
Step mode. The yellow highlighting around each control
now visually indicates the step-able parameters. In our
case, try adjusting the cut-off, and notice how the track
lane located at the bottom of Ultrabeat changes to
reflect the parameter offset for each of the 32 steps
available for Filter Cutoff. Now set a unique position for
each step either manually (by using the bar graph
display) or by [Ctrl]-clicking on the track lane and
selecting Randomize. 8
| 43
MTF Technique External sounds
Access Step Time mode

by pressing the rocker
switch in the bottom
left-hand corner of
Ultrabeat, changing the
interface from Voice mode
to Step mode.
Hit play on Logics transport bar and you should now

hear a dynamic, stepped filter treatment, arguably
made even more exciting by a touch of distortion and
resonance. Its also worth adding some envelope
movement (set by the relative position of the blue line
on the Cutoff control), creating shape and movement to
each step rather than just a static filter position per
step. To adjust any of the synthesis parameters youll
need to move back to Voice mode, which will
temporarily disable the step sequencer, although
flicking back to Step mode can easily return to the
stepping movement. 9
Although filter cut-off is an immediate candidate for
step sequencing, its also interesting to experiment with
some of the other controls. An interesting treatment is
the possibility of varying the envelope release time,
both in respect to the amplifier and the filter. Again, all
you need to do is grab hold of either release curve and
the step sequencer will update to show the parameter
in question. Opening up the release time on a given step
adds a touch more emphasis, sustain or brightness
accordingly, as well as making the whole effect more
dynamic and interesting. 10
Ultrabeat, the way youre applying the parameters and

controls, or other effects instantiated over the plug-ins
output. As an example, weve configured an alternative
approach to processing the pad sound using a second
instance in Ultrabeat on Track 3.
In this example, the sidechain input is being
triggered by three separate voices rather than the
single-voice approach weve covered so far. Each of the
three voices uses a slightly different filter a low-pass
filter for Voice 1, a band-pass filter for Voice 2, and a
high-pass filter for Voice 3 arguably mimicking broad
timbral colours that occur across a kick, snare and
hi-hat. The pattern used to trigger the sidechain input
across all three voices follows this principle, with Voice
1 on the downbeats, Voice 2 on the off-beats and Voice
3 creating an 8th/16th-like feel. 11
Mute the original Ultrabeat on Track 2, activate the
new Ultrabeat sequencer and press play on Logics
transport. You should hear the effect in action
(assuming youve muted the original Ultrabeat and
unmuted this current instance), which sounds not
entirely dissimilar to a vocoded drum loop. Notice how
each voice is also making use of a separate output,
which offers extra potential to process each sound in a
slightly different way, whether its the reverb on Voice 1
or the delay on Voice 2. Weve also added a touch of
noise to the snare and hi-hat voice, which helps to bring
out the drum-like quality in these sounds as well as
giving the filter some grit to play with. 12 MTF
Advanced trickery
Having covered the principles of signal processing
through Ultrabeat, its now a case of thinking creatively
about what you can potentially achieve whether its
the types of sound youre choosing to process through
10
11
12
Opening up the envelope release time on a given step gives a
touch more emphasis, sustain or brightness.
focus
More fresh ideas for your musical world
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NEW FOR 2012
MTF Interview Freemasons
focus
Freemasons Interview MTF
Both of us had
successful musical
careers before, but
when we met it just
went ballistic
The MTF Interview Freemasons
James Wiltshire, from the dance duo Freemasons, explains how Logic has been with him
throughout the duos five UK hits, co-producing Kylie and remixing Beyonc
ussell Small and James Wiltshire have been working together as the
Freemasons since 2005. Both of us had successful musical careers
before, says James, but when we met and started writing it just went
ballistic. We both got into music for the same reason: we absolutely and
totally love it its a major part of our lives.
Their debut single, Love On My Mind, was the first of five consecutive UK hits,
which led to some super high profile remix work: One day we got a call from
Beyoncs fathers office, whod heard we were clipping the billboard dance charts.
Suddenly we were remixing the hottest female artist in the world and touring the
world as DJs. Totally amazing!
The success didnt stop there as the duo went on to co-produce Kylie, work with
Sophie Ellis Bextor, and then produce tracks on Alexandra Burkes debut album.
Not bad for a couple of Brighton boys named after a pub
We are fundamentally about melody and chords, James explains. Its what we
both love and what we are both good at, especially when those melodies are
carried by vocals, and when that vocal hits the amazing note and the chord
changes over the downbeat its where we are in our element. You have to trust
what gets you excited. Weve already proven that, even on a worldwide basis, when
we get it right and love it, a lot of the population do too.
Logic from Notator

James has been using Logic since its early days, as he details
I've been using it since v2.54. Back then there were two versions: the MIDI-only
system that was spawned from Notator on the Atari ST, and the four-track audio
version, Logic Audio, which ran on the Digidesign Audiomedia card. I can still
remember everyones amazement when VST first appeared and we were able to
stereo filter a whole stereo track and edit it back in. It changed music for ever. I
remember Dave Seaman calling everyone up to his office when Fatboys
Rockerfeller Skank first went out on white. Everyones jaws hit the floor when the
slowdown/speed up happened. Cue everyone scuttling back to their studios to
work out how it was done! These are all taken for granted sometimes we need
some more of this extreme stuff back in commercial production.
Using Logic at the time was necessity, he continues. My friend and mentor
| 47
MTF Interview Freemasons
We have found that

sticking an SSD in as
a system drive can be a
monumentally good idea
with Logic
Steve Anderson from Brothers In Rhythm didnt want to
change from Cubase to Logic when Macs arrived in the
studios but I had researched it and knew that Cubase back
then just wasnt stable on the Mac and the MIDI timing was
sometimes off. We were still doing 95 per cent of the work on
hardware Akais, Rolands, Junos, etc so MIDI timing was
vital. Logic, with its perfectly integrated audio, offered a very
obvious advantage from the rest of the DAWs as the timing
was the best.
Nowadays Freemasons use Logic, Reason and Ableton
Live as their compositional starting points
It all depends what we are doing as they all have pros and
cons. Whatever the starting point, though, Logic always
becomes the main workhorse as it truly is powerful, friendly
and relatively fast. The workflow is second to none and after
so many years I just cant do certain things any other way,
especially when Im working at speed. I will often have to slow
to wait for the computer to catch up. We have found that
sticking an SSD in as a system drive can be a monumentally
good idea with Logic.
Having it side by side with other DAWS has given James a
unique take on the software
Daily it surprises, delights, amazes and infuriates me! he
says. It is my main instrument I have become a virtuoso on
it and a blank session always reminds me of the endless
possibility music has to offer. Other DAWS seem to have more
MTF Studio Eye Freemasons studio

ANALOGUE/DIGITAL
We now run a hybrid analogue/digital studio, says James,
before running through the duos kit list, which comprises an Apple Mac
Pro running Logic, an Apogee Symphony 16-channel I/O ,plus lots of
analogue processing, including Neve, Manley, API, Chandler, Neumann,
UBK and GML.
Freemasons
Top Logic Tip
Get used to
ReWiring its been
so simple since
they integrated
the library idea
and additional
mixer functions.
Reason and Logic
are amazing
companions as
you have instant
access within
your Logic page to
all that Swedish
goodness. Export
a few tracks from
Logic to Reason,
ReWire them
back in, play back
and set a tempo
change curve on
Logic. You get that
amazing real time
timestretch Reason
offers via Logic. We
have a brilliant track
coming called Bring
It Back that uses
this and we also did
it on a Rizzle Kicks
remix.
particular functions, like Pro Tools always makes me feel like

Im mixing, and Reason which we also love makes you feel
like youre surrounded by instruments and ready to create.
Logic seems to offer everything at once, in an exciting form.
Thats not to say James doesnt have issues with Logic, as
he would love to see memory issues sorted (big sessions act
like a cantankerous and ill-disciplined teenager throwing all
sorts of memory-based wobblers) and loading times (do we
really need to scan the EXS inst for so long every time?).
Hed also like to see parallel processing built into the
mixer, a new and professional channel EQ (I think were due
MTF Pro Technique Freemasons favourite Logic features
LATENCY
The Latency engine is the best in the
business. You can set up the most incredibly
complicated routings within the mixer and
still have it play back seriously on point.
There are a few timing issues with certain
AUs but Im guessing thats the format as
weve often found the VSTs are much tighter
when we can use one program, such as
Ableton, to compare.
01
focus
BOUNCE IN PLACE
Get a sound, basic processing, want it
bigger? Okay, shove Ozone on it, lots of latency,
but you get the sound big. Then just hit bounce
and delete the old track. I literally ran round the
studio on a lap of honour when they first put
this in. It also brings you back to the old school
way of working you have to make some big
processing and production decisions and this
is vital. Too much tweakability can ruin music if
not checked as you never mentally move on
from one part of the process.
02
THE INBUILT COMPRESSOR

For me there isnt another one as
flexible yet simple on the market. Its genius.
If you learn this babys modes and oddities
you will discover you may have wasted all
that money on other plug-ins. Im still finding
people who have never used the VCA mode
on drums, or havent found the additional
functions under the hood. It actually makes
me slightly jealous as its wonderful to still
find your DAW has hidden gems that are
totally free.
03
Freemasons Interview MTF
FLEXIBILITY
The high end classic stuff will never ever stop being amazing and
were old enough to have seen several stylistic merry-go-rounds
happen musically, so we know that if you align yourself with just one
method of recording you can come unstuck as fashions change.
CLASSIC KEYBOARDS
We also have a classic collection of keyboards, says James. We are very lucky as, when we
released our last crop of singles, physical was still viable so when the royalties came through we were
able to get everything wed need for the future.
one now that Tools has the Euphonix channel strip built in), a
new sampler (with a more percussive-friendly engine) and
various other features. James is clearly a serious Logic user
who has been married to the software for 15 years and knows
its every detail but, as in any good marriage, you need a good
clear the air row once in a while
Careers advice
Finally, after giving us and you some of the best software
advice and tips, James is also prepared to offer some great
music business advice after all he and Russell have 35
years experience between them
Our approach is pretty simple: we have to like what were
doing or we dont do it. Weve never been money driven and its
kept us going for a lot longer than those who have been. Also,
reach for the stars, but never at the expense of someone else
and you simply wont make enemies. People still take our
calls as weve never taken the piss and always delivered on
time and on budget and tried to get on with everyone. Those
that are just easy to work with and fair are always the real
talent they know deep down theres always another great
track to make tomorrow.
Stressed processors dont sound good. Logic hides it, but its still there.
However, Freemasons have a tip for dealing with this (See right.)
Those that are easy to

work with and fair are the
real talent they know
theres always another
great track tomorrow
Freemasons
Top Logic Tip
If you have a really
busy session in
Logic which is
sounding a bit
mushy, save the
session as a new
name and use the
Bounce all tracks
in place option.
Sounds better
right? Imagine your
brain doing 100
complex algebra
equations at once,
then just having to
do 2+2+2+2! Which
one will be more
accurate?
Freemasons have had a self-imposed break from music

for a while but have now just signed a deal with Ministry of
Sound and things are getting very exciting already: MOS
has a very creatively minded A+R team and weve known
them for a while so to be working with them closely is an
exciting enterprise.
They already have some new music ready to go which
James describes as some of our best work to date but hes
also excited about the new breed of musicians that Logic is
helping to bring to the surface.
Weve seen some real talent come to the top, Labyrinth
being a perfect UK example, James states. Hes potentially a
UK Quincy Jones: awesome musical knowledge backed up
with first class degrees from the street and club.
Now programs like Logic are available to all for less than
the cost of the original 8MB memory upgrade of the AKAI
S1000 I have no doubt well see more and more of these guys
come through. Would Skrillex or Deadmau5 have made it
without the DAW? Possibly, considering their huge talent, but
the software has allowed them to keep control of their
musical world like never before.
Freemasons also have a rather good sample collection out
via Loopmasters called 100% Remix Tools (more info from
www.loopmasters.com). MTF
| 49
MTF Technique Lo-fi sounds
Using effects:
creating lo-fi sounds
On the disc
Its time to get nasty! Mark Cousins explores various

ways of adding some of the sonic dirt thats typical
of everyone from The Ramones to Justice...
heres little doubt that some strategically

placed lo-fi weirdness can really transform a
track, whether its a scratchy old drum loop, for
example, or a super-dirty synth bass. Of
course, there are plenty of off-the-shelf
solutions for lo-fi effects (many of which can be found
in your Apple Loops folder), but nothing beats the
opportunity of creating your own lo-fi treatments.
Whether its the pleasure of pushing plug-ins far beyond
their acceptable working limits or because you want
more control over the amount of lo-fi-ness applied,
theres a lot to be said for the DIY approach.
In this Workshop were going to explore lo-fi from two
directions. First were going to look at how you can
combine various plug-ins to create a vintage lo-fi effect,
full of pumpy compression, grit, noise and a touch of
spring reverb. Then well look at a contemporary
approach to lo-fi, exploring the altogether nastier side of
digital recording with downsampled drum loops and
8-bit grunge! In both examples, though, were looking at
the interaction of several plug-ins not a one-shopstop solution, but a considered combination of tools,
including compression and distortion.
Digital aging
In our first example were going to explore some vintage
lo-fi effects using the Ultrabeat drum loop included on
Track 1. In many ways there are close parallels between
the process of aging a digital photo and the art of
PRO TIP
Both Guitar Amp Pro and Amp
Designer have clean amplifier
and cabinet settings so that
you can strategically bypass
elements of the amplifier
modelling. Using this approach
you could, for example, set up
Amp Designer solely as a
spring reverb, instantiated on
its own aux fader and fed from
a buss send.
making a drum loop sound as if it has been lifted of a

dusty piece of 70s vinyl. In the photo example, youd
usually combine a number of different processes to
create the desired end result colour manipulation, the
addition of dust and scratches on the virtual negative,
and even a touch of blur. In the audio world, there are
similar key areas to work on namely, distortion, noise,
character, timbre, and a touch of compression.
The first lo-fi effect were going to explore is some
good old-fashioned distortion. Distortion is a great
candidate for lo-fi treatments, both because its the
antithesis of a hi-fi production ethic, and because most
recordings made in the 50s, 60s and 70s had some
degree of distortion embedded into them.
Logic has plenty of distortion effects, but were going
to opt for a touch of the Overdrive plug-in, opening up
the Tone parameter so the hi-hats arent lost in the
process. Overdrive gives the drums a touch more body
without colouring the output too much. 1
Lo-fi colour
Having established some basic distortion, lets look at
some timbre modifications and add a touch more
character. An easy-to-use option here is Guitar Amp Pro,
though you could also try Amp Designer if you wanted to
explore a greater range of tones.
Amp simulation is great for lo-fi as it has a big
impact on the colour of the output (rolling off the highs
and lows and accentuating the mids) thanks to both the
sound of the speaker cabinet and the frequency
response of the virtual microphone. In this case, the UK
1x12 Open Speaker delivers all the cut we require, while
the Dynamic mic picks out the mids nicely. 2
Logics Overdrive effect is a good place to start getting

down and dirty, but were going to try adding some
other effects to really muddy things up.
focus
Lo-fi sounds Technique MTF
3
Combining different gain stages and effects
within a guitar amp simulator such as Guitar Amp
Pro can be extremely effective.
Whats interesting to note with this example is the

combined effect of two distortion stages on the
Overdrive plug-in and as part of Guitar Amp Pros amp
emulation. Try bypassing each effect to see how they
contribute (you can use the Clean Tube Amp setting on
Guitar Amp Pro so as to leave the rest of the colouring in
place). The fact is, the best (or most musical) distortion
often comes from more than one gain stage, much like a
mic preamp might have been overdriven ahead of a
signal being recorded hot onto tape. 3
The final offering from Guitar Amp Pro is the addition
of some spring reverb. Spring reverb is distinctive and
characterful for several reasons: it has all the ringiness
and bounce that youd usually seek to avoid across a
drum kit, its mono, and, if that wasnt enough, its also
subject to the same cabinet colouring that the drums
are enjoying. Try experimenting with different spring
settings (Spring 2*2 H seems to work best), as well as
different amounts of reverb return to change the
balance between wet and dry. 4
Another addition in respect to character is the vinyl
noise included on Track 2. Technically speaking, the
noise is actually a mix of white noise (from the ES2),
record crackle and some hum, which combines to
create the audio equivalent of dust and scratches. At
this stage were just going to add a touch of the noise
into the mix, but as well see in a minute, its contribution
isnt fully realised yet. 5
reverb and vinyl noise. Unlike the transient drums, these

two additions are both constants in the equation, and
as a result tend to be noticeably modulated by the
compression in other words, you hear the noise and
reverb pumping up and down, almost like a rhythmic
effect in itself. Take away the spring reverb and the vinyl
noise and the effect becomes much less interesting
and, indeed, much less lo-fi.
Digital excess
PRO TIP
Consider some parallel routing
if you want to reintroduce
some low-end weight or
top-end sparkle after a plug-in
like Guitar Amp Pro. In the
vintage lo-fi example, try
duplicating the drum track,
removing everything but the
kick, then bleeding a
small amount of the dry
kick back into the mix.
When it comes to digital lo-fi effects, the Bitcrusher

plug-in is an essential processor to have in your insert
path, but to make things a little more interesting, lets
work in complete reverse to the last example and place
a compressor right at the beginning of our signal chain.
To start with, therefore, deactivate the plug-ins used in
Glue gun
The final piece of the puzzle is the addition of
compression. Importantly, though, its the last plug-in in
our chain, because we want it to squash the entirety of
our output so far including the dirty drums, the spring
reverb and the vinyl noise.
To do this, change the Output assignments of the
Ultrabeat instance on Track 1 and the Vinyl Noise on
Track to both read Bus 1. On Bus 1, insert the
compressor, using the FET circuit type, a 5.1 Ratio, quick
Attack (12.5ms), slow Release (160ms) and a Threshold
of about -24dB so that the compressor really begins to
pump. For more loudness, add some limiting, setting
the limiter Threshold around -2.6dB or so. 6
As well as adding body and loudness to the effect,
listen to how the compression helps the character in
the effect specifically with reference to the spring
| 51
MTF Technique Lo-fi sounds
Getting a good lo-fi sound is often a case of using different

plug-ins together. Compression, for instance, can have different
effects when placed either first or last in the signal chain.
the last example, restore the output assignment to

Output 12, and instantiate a compressor in the first
insert slot. 7
In this example, the objective of the compressor is
different so, instead of gluing the end result together,
were going to use the compressor as a means of
presenting the Bitcrusher with a juicier version of the
drums. Accordingly, the settings on the compressor
need to be slightly different using the VCA Circuit
Type, an 8:1 ratio (almost limiting, in other words), fast
attack and release (23ms each) and a low threshold
(-34dB). The result is a lot of compression, which almost
appears to re-shape the dynamic envelope of each
drum hit, so youll need to pump up the Gain output to
around 10dB or so. 8
Bits and pieces

Instantiate the Bitcrusher plug-in after the compressor
and take a listen to the output. The default 8-bit
settings produce a noticeably crushed release phase
on each drum hit, which may or may not be to your
liking. In situations where you dont want the effect too
evident, try using the 12-bit resolution and increasing
the Drive slightly, which results in a hard digital sound,
much like the earlier Fairlight or AKAI samplers. For a
more obvious digital grunge, try reducing the
Downsampling, noticing the strong aliasing frequencies
that start to join the high end. At more extreme
Downsampling settings it may be worth lowering the bit
resolution even below 8-bit, if you dare! 9
Once youve experimented with the Bitcrusher, try

going back to the compressor and bypassing it to see
what effect it has on the output. Youll find that the
transients become more pronounced, but the
Bitcrushing effect loses some of its body. Try using the
Hand tool to move the compressor pre- and post- the
Bitcrusher plug-in. Post-Bitcrusher, the effect sounds
subtly different less juicy and more like a Bitcrusher
with compression on it. 10
Speaker crunch
As youd expect, the full range of lo-fi treatments go far
beyond the two broad examples weve presented here,
and indeed its well worth exploring these techniques
using other, non-rhythmic sounds. The overarching
principle, though, is how several plug-ins can contribute
to the same effect whether its the compressor gluing
the first example together, or the delicate interaction
between compressor and Bitcrusher in the digital
grunge exercise. In both examples, the order and routing
of the plug-ins are just as important to the end results
as any individual settings within them.
Although weve covered the principal lo-fi effect
types (compression, distortion, bitcrushing and amp
simulation) its worth remembering that almost any
plug-in, pushed beyond its usual settings, has potential.
Whether its Space Designers more experimental
impulse response settings or Tape Delay pushed into
self-oscillation, theres plenty of lo-fi madness inside
Logic Pro just waiting to be explored. MTF
8
10
The Bitcrusher is an invaluable tool

for adding dirty digital grunge to
your sound. Experiment with the bit
Resolution and Depth settings to
tailor the results.
focus
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MTF Round Up Monitors
1 KRK ROKIT RP5 G2
Price 249
Contact Focusrite 01494 462 246
KRK is well known for its powerful but precise
speakers and the Rokit RP5 series uses technology
from its bigger brothers but has a smaller footprint
and a lower price. The curved front plate design
eliminates diffraction distortion, while the front
firing ports allow for excellent bass response. The
woofer cone is made of Glass Aramid Composite
for high volume tolerance and theres a 1 inch
Neodymium sift dome tweeter for crystal clear top
end. The active KRKs are particularly good with
electronic music and anything loud or bass heavy.
Web www.krksys.com
Round Up
Monitors
The best computer, mics and plug-ins in the world wont perform to their full potential unless
your monitors are up to the job. Whether mixing or tracking, a suitable pair of speakers can
make the difference between a good end result and a great one
2 YAMAHA HS80M
focus
Price 382
Contact Yamaha 0844 811 1116
Yamahas NS10 monitors were a studio staple
for many years and those classic models have
now been replaced with the HS series. The
HS80M is a bi-amped, two way powered
speaker designed to deliver an exceptionally
flat, accurate response that will not colour the
sound. Like the NS10s, the idea is that if
something sounds good on these, it should
sound good on any system. Theres an 8 inch
woofer and 1 inch dome,42Hz to 20kHz
frequency response and 120 watts of power in
each one. Inputs are via XLR or jack inputs and
they have full magnetic shielding.
Web http://uk.yamaha.com
Monitors Round Up MTF
4 TANNOY REVEAL 601A
3 DYNAUDIO DBM50
Price 390
Contact TC Electronic 0800 917 8926
A lot of producers work at desks rather
than mixing desks, meaning that
speaker placement is more difficult
than in traditional studios. Dynaudios
desktop monitor has been designed
with an acoustic baffle tilt that fires
sound towards the listeners ears when
placed on a desktop, reducing
reflections from the surface. The
speakers are bi-amped with 2x50 watts
each and deliver 117dB SPL at their
peak. An auto standby mode puts the
speakers to sleep after a period of
inactivity, and there are frequency
controls for room filtering. Inputs are via
XLR or RCA connectors.
Web www.dynaudio.com
Price 300
Contact Tannoy UK 01236 420199
Tannoys active nearfield monitors can
be found in many small and professional
studios worldwide, and the 601a series
packs some of the best technology from
its bigger relations into a small but
powerful package. Each speaker
features a 90 watt power output, 6.5
inch woofer and 1 inch dome delivering
a frequency response of 60Hz to 30 kHz.
A front firing port helps to create deep
and accurate bass reproduction, while
the bass unit is designed to minimise
distortion. A trim switch allows for
custom room adjustment and theres a
rear mounted volume control for
desktop use.
3 4
5
Web www.tannoy.com
6 BEHRINGER B2031P
Price 160
Contact via website
Passive speakers contain no amplifiers
and so must be connected to power
amplifiers to generate sound. As such
they use more space in your studio, but
can still be excellent for production.
Behringers B2031Ps have a very neutral
sound and an extremely flat frequency
response. They are able to handle up to
150 watts of power and deliver deep
bass thanks to an 8 and inch woofer,
and crisp top end through the liquid
cooled tweeter. Mounted in a low
vibration cabinet, the speakers are also
magnetically shielded for use next to
computer screens and televisions.
Web www.behringer.com
| 55
MTF Round Up Monitors
6 DYNAUDIO AIR 20
Price 2,260
Contact TC Electronic 0800 917 8926
If your budget allows, a top end set of monitors can really
unlock the power of your music. Dynaudios Acoustic AIR 20 is
a three way active nearfield monitor developed for stereo and
multichannel mixing in all production environments. It has a
10 inch woofer, 5.5 inch midrange and 1.1 inch tweeter, and
192kHz audio support via its Dual Wire system. There are
selectable crossover points for precise control of frequencies,
advanced bass management preset storage and recall,
programmable reference levels and integrated parametric
EQs in each monitor. Last but not least, they pump out up to
200 watts per monitor.
Web www.dynaudio.com
7 ADAM A7X
7
8 GENELEC 8030A
Price 430
Contact Source Distribution
020 8962 5080
These bi-amplified nearfield monitors
are ideal where space is at a premium.
The unique enclosure features rounded
edges and a gently curved front to
achieve a smooth frequency response
and the ports use a flow optimised
design. Low distortion drivers are driven
by dedicated amps each of 40 watts
with active crossovers and the speakers
are magnetically shielded for use next
to computer screens. Each also comes
with an isolation coupler / decoupler for
precise vertical or horizontal mounting
and positioning, for greater isolation.
You can daisy chain multiple speakers
together with XLRs for surround work.
Web www.genelec.com
focus
Price 750
Contact Adam UK 020 7737 3777
The AX7s supersede the much loved A7 range,
adding new technology that allows the tweeter to
produce sound as far as 50kHz. A 7 inch mid woofer
and front firing ports handle a deep and solid bottom
end, and each driver has its own amplifier. The
tweeter is driven by a 50 watt A/B amp and the
woofer by a 100 watt PWM amp. The front panel
contains a power switch and volume control, and
these speakers produce a clear, powerful sound that
will help you accurately mix and master your tracks.
Web www.adam-audio.com
Monitors Round Up MTF
10 KRK VXT8
9 YAMAHA MSP7
Price 850
Contact Yamaha UK 0844 811 1116
Yamahas MSP7s are designed to be all
round reference monitors for a variety of
audio applications. The 6 inch woofer is
driven by an 80 watt power amplifier,
while the 1 inch dome has its own 50
watt amp and the frequency ranges are
divided via a carefully designed
electronic crossover before the power
amplifier inputs, featuring steep 30 dB/
octave rolloff curves in both the low and
high pass filters. Theres an overall
frequency response of 40Hz to 40kHz
and the speakers are shielded. Low cut
and high trim controls allow you to tailor
the speakers to the space in which you
are working.
10
Price 920
Contact Focusrite 01494 462 246
KRKs flagship speakers are powerful
beasts, perfect for loud, bass heavy
electronic music as well as more subtle
applications. The 8 inch woofer is made
of woven Kevlar and the tweeter is Silk
Ferrite, the speakers front ported to
allow for a truly astonishing bass
response. Around the back you get XLR,
Jack combo inputs, 120 and 60 watt
amps for the low and high drivers
respectively, and extensive frequency
trim switches to tailor the speakers to
work well in your room. There is a handy
sleep function that puts the speakers to
sleep after a period of inactivity, and clip
overload protection.
Web www.krksys.com
Web http://uk.yamaha.com
11 MACKIE HR624 MKII
11
Price 700
Contact Loud Technologies 01494 557 398
The Mackie HR624 mk2 features a Zero Edge Baffle,
minimising diffraction for a crystal clear image of
your mix, and controlling sound waves for wide, even
dispersion. Acoustic Space, LF rolloff and HF
controls let you easily tailor the sound to suit your
space and taste. And, thanks to remarkably linear
frequency response, you always get accurate mix
translation. There are 100 and 40 watt amps for the
woofer and tweeter respectively, full internal
damping and LF and HF controls for tweaking
response. You get XLR, TRS and RCA inputs and the
option to add OmniMount accessories for wall or
ceiling placement.
Web www.mackie.com
| 57
MTF Technique Processing and mixing guitars
Processing & mixing

guitars in Logic Pro
On the disc
With powerful plug-ins like Amp Designer and

Pedalboard, Logic Pro is the perfect choice for
processing guitars. Mark Cousins amps it up
he ability to process a guitar using plug-ins

has been one of the most beneficial
developments as part of the DAW revolution.
Indeed, few musicians and engineers rarely
go near an amplifier and microphone
nowadays, especially given the huge range of tones and
flexibility available within plug-ins like Amp Designer
and Pedalboard. However, despite the immediacy of
these two guitar-based plug-ins, its still worth taking
some time to understand the fullness of their signal
routing, as well as the more finessed control you can
achieve with a touch of creativity. Rather than relying on
presets, youll soon be able to create the perfect tone
that matches your playing, or the style of music you
want to produce whether its an authentic blues-like
sound, or a distinctly more high-octane guitar sound.
Processing components
Unlike the completely modular of environment of Guitar
Rig, Logic makes a point of dividing its principal guitar
processing components into two distinct plug-ins: Amp
PRO TIP
Use the Automation Quick
Access feature to control the
wah-wah pedal over MIDI.
Assign an Automation Quick
Access controller using the
Automation preferences (Logic
Pro>Preferences>Automation).
With the Automation view
enabled, and Pedal Position
selected on the current track
lane, you can manually adjust
the wah-wah pedal from a
MIDI controller keyboard. Of
course, by placing the track
into Touch mode, you can also
record any moves as new
automation data.
With a little creativity you can

soon achieve much more than this
setup might first suggest
Designer and Pedalboard. Interestingly, this unique,

two-stage approach implies a degree of prescribed
workflow: that Pedalboard be placed before Amp
Designer. However, with a little creativity, especially in
relation to how the two plug-ins integrate into Logics
mixer, you can soon start to achieve much more than
this setup might first suggest.
Starting off simply, we can look at Amp Designer as a
virtual replica of a guitar amp, complete with the basic
tone-shaping tools like the bass, mids, and treble
controls, as well as a virtual speaker cabinet and
microphone. So, as a starting point, open up the Guitar
Processing Workshop on the DVD, which should contain
a simple DId recording of an electric guitar. Instantiate
Amp Designer over the Channel Strips inserts and listen
to the way in which the tone and character of the guitar
is instantly transformed. 1
Browsing through the various Models is a quick way
of exploring the different tones Amp Designer can
produce. A Model is a matched combination of the
Amplifier Head, the Cabinet and a Microphone used to
virtually record the setup. The amplifiers settings
remain consistent as you move through the different
Models, so if youve added a touch of extra gain, for
example, and sprinkling of presence, then this will be
carried through accordingly. Of course, the exact output
of these settings will vary from model to model,
particularly in relation to the amount of drive, moving
between the Silverface Combo setting, which is
relatively clean, and the more distortion-heavy High
Octane Stack. 2
Whats particularly interesting about Amp Designer,
1
Amp Designer allows you to mix and match a
combination of amplifier head, speaker cabinet and
virtual microphone
focus
Processing and mixing guitars Technique MTF
3
5
4
Between these three simple variables youll find a wealth of different

guitar tones.
though, is its ability to mix and match different

amplifier heads with various cabinets. In effect, the
amp setting defines the sound in respect to tone and
distortion, as well as rudimentary amp-based effects
like spring reverb and tremolo, while the cabinet has a
broad impact on the final timbre of the guitar, often
rolling off any edginess to the distortion and providing a
warmer sound to the output.
Try contrasting a few of Cabinet settings, with
settings like the Tweed 1x10 producing a smaller sound
with sharper high-frequency attenuation, while a
cabinet like the Modern American 4x12 produces the
bigger sound you would expect from the combination of
amp head and 4x12 speaker stack. 3
Although the cabinet has a big impact on the final
tone of the guitar, its worth remembering the small but
important role the microphone plays. The two key
parameters here are the choice of microphone, moving
between ribbon, dynamic and condenser, and the
relative position of the microphone in respect to the
speaker cone. As with a real amplifier, youll achieve the
brightest tone using a condenser microphone pointed
directly at the centre of the speaker cone. The ribbon
and dynamic models produce a more coloured sound,
which becomes noticeably darker as you move towards
the outer edge of the speaker cone. 4
Toned up
Once youve found the right combination of amplifier,
cabinet and microphone, you can start to pay closer
attention to the controls on the amplifier itself. Increase
the gain to add more drive and distortion to the sound,
using the master control to lower the final output level
and preserve some degree of unity gain. 5
Whats particularly important to note about the amp
settings, though, are the dropdown menus associated
with the EQ and reverb sections. In the case of reverb,
for example, we can switch between different types of
spring reverb, largely to adjust the relative brightness of
the reverb. The darker springs, for example, have an
instant mellow sound to them, while the brighter
settings tend to cut through the mix more. The
alternative EQs move between vintage EQs, which tend
to have slightly dirtier sound, and the modern EQs,
which tend to better at more extreme tonal shaping,
especially in relation to heavier rock styles. 6
6
Super stereo
PRO TIP
Another interesting variation
on the stereo amp technique
is the use of two amps with
slightly different delay
settings. As with the earlier
example, you can also
consider using small
variations on the amplifiers
themselves, even using
something as simple as a
different mic position, for
example. This time, though,
youll want to reduce the
spread between the pan
settings slightly,
otherwise the
added delay
might make the
sound too wide.
Having mastered the principles of Amp Designer, we

now need to consider the wider aspects of the guitars
sound and how it sits in the mix. For example, one of the
more interesting aspects is how we deal with the
concept of stereo, as the sound of a guitar and its
associated amplifier is an inherently mono entity. To
best visualise the phenomenon of stereo, try
instantiating the MultiMeter plug-in across the main
outputs and setting the plug-in to its Goniometer mode.
At the moment, note how Amp Designer is producing a
monaural image with the single central line on the
Goniometers display. 7
One simple but effective way of adding a small touch
of stereo is with the addition of one of the small room
ambience settings as part of Space Designer, which is
the virtual equivalent of placing your amplifier in a
small recording room. The crucial trick with this effect
is not to make the guitar sound deliberately
reverberated. Look for small room impulse response
files, with a reverb time of less than a second, and keep
the amount of reverb returned into the mix relatively
minimal (in this example around -11dB).
Ideally, the room should just provide a slight
wraparound sound to the amp, which should be
evident in the small amounts of additional movement
seen in the Goniometer. 8
| 59
MTF Technique Processing and mixing guitars
One of the more interesting aspects is

how we deal with the concept of stereo.
Another interesting way of creating stereo is to

double up the original guitar part not in the form of
double tracking as such, but almost as if it were fed into
parallel amplifiers. Try creating a complete duplicate of
the original guitar track with the same audio region
copied onto the duplicate track. The trick is to keep the
difference between the two amplifiers relatively
minimal, but pan the two amplifiers hard across the
mix. The small variations could involve the amount of
drive, for example, tone controls, some added tremolo,
and the choice of position and choice of the microphone
just enough to create some divergence between the
left and right channels, but not so extreme as to create
a completely different left/right sound. 9
PRO TIP
The Splitter pedal lets you
divide the signal into two
distinct frequency bands. This
is particularly interesting on
hybrid distortion effects, using
different pedals for each part
of the respective frequency
spectrum. Use a heavier
distortion on the low end to
add power, for example,
keeping all the transient
details relatively unmodified
by a light-touch saturation on
the high end. Try the same
treatment on the delay pedal
for some interesting spectral
delay effects!
More juice
On the whole, the most guitar processing activities tend
to revolve around Amp Designer, but the ability to add
additional effects can enhance both the basic tone of
guitar and to transform it in some radical ways.
As any guitarist will testify, theres a range of signal
processing tools worth considering ahead of the
amplifier, all of which will have a big impact on the tone
you produce. Although the logical assumption is to turn
to Pedalboard for this task, its also well worth exploring
Logics existing plug-ins ahead of an instance of Amp
Designer. One of the best of these is the compressor
plug-in, which can really help level out the dynamics of
the guitar ahead of the amps distortion. 10
For more radical tone-shaping though, you might
want to run an instance of Pedalboard ahead of Amp
Going loopy
Traditionally speaking, effects pedals, like reverb, delay
and flanging, are often best placed in the amplifiers
effects loop post input distortion, in other words, but
before the colouration of the cabinet. While this type of
signal routing is relatively easy in Guitar Rig, youll need
to apply a little extra creative thought when you are
applying it in Logic.
To achieve a proper effects loop, we need to split our
single instance of Amp Designer into two; one for the
amp head, the other for the cabinet. To start with, set
the current instance of Amp Designer so that its cabinet
is set to Direct mode. This will bypass the cabinet,
making the sound appear much more shrill. 12
Follow your first instance of Amp Designer (the amp
head, in other words) with an instance of Pedalboard,
10
You can produce a

more stereophonic
output in two ways:
either add a small
amount of room
ambience, or pan
two similar
sounding
amplifiers hard left
and hard right.
Designer. The trick here is to steer your choice towards

pedals that affect the timbre or level of the guitar,
rather than effects pedals like flanging, delay or reverb.
In this example, weve picked a wah-wah pedal followed
by the Rawk distortion. Distortion is always interesting
applied as a two-stage effect, combining non-linearities
of both the pedal and the amplifier in short, the
distortion becomes more multifaceted.
Also, pay particularly close attention to the order of
the pedals. In this case, the wah-wah pedal is placed
ahead of the distortion so that the distortion has an
edgier sound. 11
focus
Processing and mixing guitars Technique MTF
12
13
11
The wah wah is placed ahead of the distortion, which gives
the latter a little more edge.
which in turn, is also followed by another instance of

Amp Designer. The second instance of Amp Designer is
now working as your cabinet, so make sure the amp is
set to Transparent Preamp and that all the controls are
flat. The cabinet and mic choice should now be set to
how the first instance of Amp Designer had its cabinet
initially configured here, the Boutique British 2x12. 13
Even something a simple as a

single amplifier has a number of
key parameters at your disposal
With the amp split into two, you can now start to
think about the pedals placed in your effects loop. In
this case, weve placed the delay pedal into the effects
loop, so that the delay is applied to the marginally
driven guitar sound, rather being distorted itself by the
amplifier head.
Indeed, you can always try experimenting with the
sounds you can achieve with the pedal placed in the
pre-amplifier instance of Pedalboard, rather than the
post-amplifier version we have used here. Note how the
PRO TIP
Using just the cabinet
component of Amp Designer
can be an interesting option
for timbral colouring effects
during mixing. Make sure you
use the Transparent Preamp to
keep the colouration effects
purely in relation to the choice
of cabinet. Although all the
cabinets have their own
merits, I find that the
Pawnshop 1x8 is one of the
most useful designs, given its
distinctly boxy sound and
pronounced lack of bass end.
Its a great choice for lo-fi
vocals, especially when
combined with a Dynamic mic.
14
delays are slightly more distinct in this effect loop

arrangement. 14
As youre layering additional effects in this case,
adding a flanger think about whether youre applying
them in series or parallel.
If you move towards the top of Pedalboard interface,
you should see a simple wiring schematic that indicates
the routing of the pedals. Routed in series, the effects
are cumulative, with each pedal adding to the output
that precedes it each delay tap gets flanged, in other
words. Routed in parallel, however, the effects will run
in tandem, so that delay is kept distinct and separate
from the flanger. If you want to change the routing,
simply rearrange the on-screen schematic accordingly,
noting the mixer pedal that appears with a parallel
routing so as to change the balance between the two
effects. 15
Rock on
While its tempting to process guitar with the minimum
of fuss, its worth spending a little time thinking about
the exact signal path you create. As weve seen here,
even something a simple as a single amplifier has a
number of key parameters at your disposal, including
the amplifier head, cabinet and choice of microphone,
each of which will impart a different tone and feel to
your guitar segment. Augment this stereo processing
and numerous additional effect pedals, and you can
soon see that there is a multitude of routing and
ordering options for you to explore. MTF
15
As you add effects

pedals into the
equation, start to think
about your signal path.
Place tone modifiers
like distortion and
wah-wah pedals
before the amplifier,
while effects are best
placed in between the
amp head and cabinet.
| 61
MTF Technique Mixdown
Tools and tips for

a better mixdown
On the disc
Logic has a number of tools that are essential for

controlling and shaping an unwieldy, oversize
mixdown. Mark Cousins gets organised
hats the easiest way of improving your

Logic mixes? Do you buy more plug-ins,
an expensive compressor, a bigger
reverb or, quite simply, organise your
mixer more effectively? While the
process of organising your mixer might not sound all
that exciting, it can have a significant impact on the
quality of the music you produce (and the ease with
which you go about mixing). And with productions now
featuring spiralling track counts, it becomes somewhat
inevitable that you need to re-think the mixing process.
In this Workshop, therefore, were going to look at
strategies that enable you to handle a large mix more
effectively, from simple tips that improve your day-today project navigation through to a completely different
way of looking at the mixer and Arrange area.
PRO TIP
As a clearer way of
understanding the use of
effects, consider applying a
buss send using only the
correspondingly positioned
send slot. For example, a buss
1 send would be placed in the
first slot, buss 2 the next and
so on. Your mixer might be
slightly larger, but youll have a
better picture of how your
effects are being used.
Colouring in
Arguably the biggest problem with high track counts is
identifying whats on each track or mixer channel strip.
This is often down to the somewhat scattershot way
music can be composed and/or recorded in a DAW

maybe starting with drums, for example, tracking a
rough vocal, adding some keys and so on until the
composition is finished. As a simple starting point,
therefore, consider colour-coding the regions and
channel strips in Logic as well as more effectively
ordering the track list so that your project is organised
into clearly segregated instrument families (drums,
guitars, bass and strings, for example).
Colour-coding can be achieved in a number of ways.
If youre really organised you can colour-code channel
strips as theyre created (open the colour palette
(View>Colors or [Alt]+[C]), click on a mixer channel strip
then choose an appropriate colour). Once the colour is
set, all subsequent MIDI and audio regions will adopt
the channel strips colour.
Alternatively, you can colour-code channel strips at a
later point select all of the regions in your project then
choose the menu option Region>Channel Strip/
Instrument Colors to Regions to achieve the same
outcome. Remember, though, to attribute a colour to an
instrument family (blue for drums, green for keyboards
and so on) rather than producing a rainbow effect
across your entire project. 1
Group activity
Organising your mixer can have

a significant impact on the quality
of the music you produce
The next simple technique is to use Groups, which allow

you lock together related faders so that they move as
one. You can assign a Group via the dark-grey box just
above the channel strips automation mode select
(usually set to off). Once youve set one channel,
subsequent channels can be added to the same Group
assignment by holding down the [Alt] key and simply
clicking in the same grey box. The numbered
1
2
3
Colour-coding groups of instruments make it immediately clear what is
happening where. Using Groups enables you to lock related faders
together so changes are made as one.
focus
Mixdown Technique MTF
Packing families of related instruments into folders

is the next step to getting your projects properly
organised. These folders are then used to navigate
your mix. Use the back arrow at the top left-hand
corner to return to the top level.
assignments are indicated with a yellow legend. You can

also open the Group Settings floating window
(accessible from the dropdown Group Assignment
menu) to see the current Groups settings, as well as
defining a name for each Group. 2
Key to using Groups, however, is a simple shortcut:
[Cmd]+[G] (or, in other words, the Group Clutch key). The
Group Clutch shortcut globally deactivates the Group
functionality (notice how the Group legend turns grey),
enabling you to move faders independently. Reactivate
the Group and the channels volume and mute controls
are re-locked, although the new relationship between
the faders is left intact. Actively using the Group Clutch
key, therefore, is a great way of assembling a mix,
allowing you to control macro mix elements (the
relationship between rhythm and bass, for example) as
well as individual elements of the mix. 3
and Filter buttons at the top of the mixer area. In this

case we need to check that the Arrange option is active
so that Logics mixer displays only whats active in the
current arrangement (in this case, the folder tracks). 5
The navigator
Folder mixing
Having explored two simple techniques, lets take a look
at an advanced solution that will really get your mix
super-organised. This advanced technique involves
packing away families of related instruments into
folders, as well as exploiting the adaptive properties of
Logics mixer, without losing the ability to see and
manipulate your mix as a whole.
Using the same instrument families as before,
highlight all of the corresponding regions then choose
Region>Folder>Pack Folder ([Shift]+[Cmd]+[F]). As you
pack subsequent folders, ensure that youre not resting
on an existing folder track, otherwise the currently
selected regions will be packed into the same folder.
Once youve finished, the arrangement should be devoid
of any regions (you can also consider naming and
colouring the folder tracks so that its clear what they
contain). Finally, tidy up the track list so that the empty
tracks are removed from the Arrange area, using the
local menu option Track>Delete Unused. 4
Assuming that theres some embedded organisation
along the way, the process of packing the folders
shouldnt take longer than a few seconds. However, the
issue now is how we best use the folder system in
relation to mixing. Logics mixer is, of course, adaptive,
meaning that you can choose to display or hide tracks in
relation to your workflow. The adaptive qualities of the
mixer are established primarily using the small View
PRO TIP
Remember that Logics Hide
Track functionality also works
in conjunction with the mixer
(assuming that the mixer view
mode is set to Arrange). Using
the Hide functionality is a
great way of quickly tidying up
a busy mix, slimming down the
screen to key instruments
rather than a
barrage of tracks.
To navigate the mix we can now use the folders, with the
mixer adapting whenever we move inside a folder (do
this by double-clicking on the selected folder, either in
the Arrange area or the mixer). Once youve finished
investigating that part of the mix, you can move back up
to the top level using the small back arrow in the top
left-hand corner of the Arrange area. 6
Although this folder solution works, its still a bit
clumsy, so lets look at a couple of ways in which we can
improve on its functionality.
Firstly, we need to consider the mixers Catch mode,
established using the small chain-like icon in the top
left-hand corner of the mixer area. By default, the icon
should be shaded purple, meaning that Catch mode is
set to Same Level Link in other words, we need the
Arrange area to be inside a folder for the mixer to
display its contents.
If you [Alt]-click on the Catch icon it turns yellow,
indicating that its in Content Link mode. Now we can
simply highlight the appropriate folder in the Arrange
area and the mixer will show its contents, negating the
need to jump in and out of folders. 7
| 63
MTF Technique Mixdown
8
If you need to view the entire mixer, simply
switch to the All view mode. This displays
all of the existing channels, irrespective of
whats happening in the Arrange area.
We now need to consider a means whereby we can

see the whole mixer, as well as being able to view the
mix on a section-by-section basis. Arguably the simplest
solution is to use the All view mode, in preference to the
Arrange mode weve been using. With All engaged, the
mixer shows all of the existing channels, irrespective of
whats happening in the Arrange area. The only issue is
that the faders are presented in numerical order rather
than with any re-ordering you might have established in
the track list. 8
If the track order is important, consider creating an
All Channels folder. To do this, select all of the channel
strips you want included, then select Options>Create
Arrange Tracks for Selected Channel Strips from the
mixers local menu. The Arrange area should now have a
series of empty tracks that can be populated by a
number of empty regions created using the Pencil tool.
Select these newly created regions and pack them into
a folder (this will become your All Channels folder),
then use the menu option Track>Delete Unused to clear
up the top-level arrangement. 9
The new auxiliary buss faders for each instrument

family are always displayed in the mixer irrespective of
the current folder level. In short, this means that you
can control the global level of another folder (or mute it)
wherever you are in the mix. As a bonus, you can also
use the same buss fader as a means of applying signal
processing to groups of instruments whether youre
instantiating a splash of buss compression across a
drum submix, for example, or a touch of high-end EQ
across a vocal group so that they sit higher across the
top of the mix. More than just being a functional
improvement, therefore, these buss faders take the
folder mixing concept to a new level of sonic dexterity,
enabling you to apply signal-processing tools like EQ
and compression on two different levels. 11
Mix master
Unlike the often haphazard process of writing a track
(when a little chaos can actually be a good thing!),
mixing needs a somewhat methodical and organised
workflow so that a track can be balanced in a
considered and musically empathetic way. Taking time
to organise your mix, therefore, as well as establishing a
clear methodology to your workflow, is every bit as
important as setting levels, equalising or any other
tasks you might carry out during a mixdown. Ultimately,
therefore, you have to be the master of your mix,
shaping and controlling each part of the track with the
same fluidity as a musician playing an instrument,
rather than simply stumbling from fader to fader. MTF
On the busses
The final improvement to the folder technique is the
addition of new buss faders for each folder, providing
control over the complete mix irrespective of what level
youre at. Within each folder, therefore, change all of the
channel strips output assignments to a spare buss (this
is best done by [Shift]-clicking a number of faders so
that theyre all assigned at once). 10
10
11
Creating buss faders for each folder
provides control over the complete mix
irrespective of what level youre at.
focus
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NOW!
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FROM THE MAKERS OF CLASSIC POP MAGAZINE
MTF Feature Pick

Xxxxxxxxx
of the Plug-ins
MTF Feature Studio Technique
Pick of the
PLUG-INS
Some carefully chosen plug-ins can bring an added
dimension to your productions, complementing Logics
built-in instruments and effects and taking things to
another level
ogic has always had one of the best sets of bundled plug-ins available,
and when Apple bought the software from eMagic, it chose to provide
all of them to anyone who bought the Pro package. This was quite a
turnaround from the previous situation, where you had to pay to
unlock the higher end models even if you had already bought Logic.
Since that time, the quality of third-party plug-ins has risen steadily, and
there are now a great many instruments and effects available that expand on
the already excellent toolbox that Logic provides. These range from tracking
and mixing plug-ins to
special effects, beat
mashers and high end
compressors to
mastering suites to help
give you a radio ready
sound. On the
instrument side, there
are amazing synths,
powerful drum boxes, lush orchestral scoring tools and authentic-sounding
vintage keyboards.
With the increasing power of modern computers, plug-ins have reached a
point where they can do things that just ten years ago would have either been
impossible, or restricted to only the highest end DSP-powered setups. With a mid
range iMac and the right tools you can now run large numbers of plug-ins in real
time, or freeze them to free up resources, add convolution reverbs, advanced
signal processors and manipulation effects or run multi-gigabyte sampled
instruments to get the sound of real grand pianos inside Logic. The reason all of
this matters so much is that people are increasingly working 'in the box',
meaning that they use little or no outboard hardware when recording, editing
and mixing. Its now quite possible to do everything inside Logic using plug-ins,
and top producers have begun to work this way. By carefully choosing your
weapons, you too can get a great sound without ever leaving your DAW.
By carefully choosing your

weapons, you can get a great
sound without leaving your DAW
focus
Pick of the Plug-ins Feature MTF
Synthesizers Add depth and sonic adventure
ROB PAPEN PREDATOR
Price 149
If youre making any kind of electronic music
youll want a couple of extra synths to give you
more options for sound generation. Predator
is decidedly electronic and places all the key
controls at your fingertips with an easy to use
interface. Theres even a demo version
available so you can explore for yourself its
great presets, gritty leads and fat basses. It
also includes PredatorFX, allowing you to use
its filters, modulations, effects and vocoder
as an effect plug-in inside Logic. Other
features include Intelligent Preset Variation,
MIDI and Synth Controllable FX, Unison
Detune, Chord Memory and an extremely
versatile Arpeggiator.
Download www.robpapen.com
OMNISPHERE
Price 295
Spectrasonics only makes a couple of
instruments but they are awesome to behold.
Omnisphere ships with a vast 50GB sound
library and combines a variety of realtime
synthesis techniques to generate its sounds
including Variable Waveshaping DSP synthesis,
Granular synthesis, Timbre Shifting, FM,
polyphonic Ring Modulation and an advanced
Unison mode, amongst others. The company
has sampled thousands of sounds, including
some pretty weird and wonderful ones, and
given Omnisphere an innovative interface that
makes it easy to use but offers a huge depth of
editing features to more advanced users.
Arpeggiators, Groove Lock and multiple effects
are just a few of its powerful features.
MASSIVE
Price 179
Designed primarily for basses and leads, NIs
Massive is a deceptively clinical looking synth
that actually has the ability to make some
fearsome sounds. Especially good at dubstep
basses, it has 600 factory presets as well as
an additional 700 patches from Expansion
packs, previously available separately. Using
a unique wave scanning algorithm to generate
sounds, it has three parallel oscillators and 85
specially designed wavetables as well as a
range of effects to add depth and character to
your patches. There are multiple filters,
flexible routing and modulation and a built-in
step sequencer for ultimate flexibility.
Download www.native-instruments.com
Download www.spectrasonics.net
| 67
MTF Feature Pick of the Plug-ins
Synthesizers Continued
IZOTOPE IRIS
Price 169
Izotope is better known for its signal
processing tools than its synths, but Iris
manages to combine the two in spectacular
fashion. Its a resynthesizer, taking bundled or
user-supplied samples and using them as the
basis for generating sound. You get up to four
layers to use, and for each one you can
physically draw any section of the waveform
to use to make sound. Theres completely free
rein to set up samples of different lengths and
with different characteristics, and also
modulation and onboard effects as well as a
mixer. The end result is amazing, unique and
weird and wonderful soundscapes that you
wont hear anywhere else.
REAKTOR
Price 119
NIs Reaktor is not just a synth but also an
environment for creating and building your own
instruments and effects. Its a sound studio
that also runs as a plug-in, and as well as some
great presets you have complete freedom to
build any kind of instrument you can think of.
Its pretty advanced stuff, of course, and
beginners may well stick to the presets, but if
you can imagine it, then its probably possible
to make it happen inside Reaktor. Some of NIs
other great synths actually run inside Reaktor
Player, as they were built using the software.
PADSHOP PRO
Price 65
Steinberg has recently branched out into
making instruments that work in hosts other
than its own, and Padshop Pro is a granular
synthesizer that uses samples as the basis
for sound generation. You can drag and drop
any audio sample into its interface and it
features two engines with independent
layers, oscillator edit and effects sections.
You can have up to eight grain streams per
oscillator and theres a 10 stage modulation
matrix, twelve filter types per layer and
multiple onboard effects. Create organic,
interesting textures and ambient noises with
this powerful plug-in synth.
Download www.steinberg.net
Download www.izotope.com
Dynamics and EQ Control your dynamics and boost your levels
MAAG EQ4
Price $199
The Maag EQ4 is a one channel, six band EQ
plug-in with a special Air Band feature letting
you boost frequencies in the 2.5 to 40 kHz
range. The different bands all interact so, for
example, turning up the Air Band will increase
overall gain slightly. A Level Trim control helps
you to compensate for this. Modelled on
Maag hardware, this plug-in comes in all
major formats and has been used on
countless chart hits. Thanks to the Air Band
feature its particularly popular on vocals.
Download www.plugin-alliance.com
FABFILTER PRO-C
Price 134
Fabfilters plug-ins are particularly easy on the
eye and easy to use, with excellent tooltips and
a thoughtful layout. Luckily they sound great as
well, and the Pro-C offers three types of
compression so you can select one based on
your specific needs at any given time clean,
classic and opto compression. It supports
64-bit internal processing and in Expert mode,
external side chain input is available and you
can select mono, stereo, or mid/side
processing with completely customisable
channel linking and routing. Theres even an
animated compression display that shows you
when and how compression is applied to the
audio signal.
Download www.fabfilter.com
focus
RND PORTICO PLUG-INS
Price 648
Steinberg and Yamaha collaborated closely
with legendary sound expert Rupert Neve to
develop these two plug-ins using the
companys VCM technology. Both modelled
on real hardware, the 5033 EQ has three full
parametric bands with adjustable filter width
and 12dB gain control to help manage the
boost or cut from different frequencies. The
5043 compressor works in feed forward or
feed back modes and both come in AU format
for use in Logic. Theyre easy to use and sound
gorgeous on any kind of source material.
Download www.steinberg.net
Dynamics and EQ Continued
PRO-Q
Price 134
Fabfilter is a relatively new kid on the block as
far as plug-ins go but continues to produce
effects that we love to use. The Pro-Q adopts
the developers trademark slick interface,
eschewing modelled hardware in favour of
greater flexibility, making it very intuitive to
use. It has up to 24 EQ bands and operates
either in zero latency mode, or in linear phase
mode with adjustable latency. Unusually,
each band can operate on the stereo signals
or on the left or right channels independently
for per-channel EQ'ing, and mid and side
signals can also be EQd separately. Theres
also a built-in real-time frequency analyzer
with Pre- and Post-EQ modes. The Pro-Q will
become a staple of your everyday workflow.
WAVES SSL G-CHANNEL
Price $487
Available as part of the SSL 4000 collection,
this plug-in comes in all major formats and is
developed under license from SSL. It
consolidates the equalization and dynamic
controls of SSL G Series consoles into one
convenient tool. The G-Channel EQ module
delivers the original hardwares characteristic
pre-boost dip, pre-cut rise, and broad Q for
extreme frequency manipulation. The
Dynamics section features soft-knee
compression and limiting, a gate/expander, and
automatic makeup gain for rock steady output
levels. All in all its an excellent all round
tracking and mixing tool for your setup.
Download www.waves.com
Download www.fabfilter.com
OXFORD LIMITER
Price 195
The Sonnox Oxford Limiter is a powerful
mastering tool that uses highly accurate
logarithmic sidechain processing along with
innovative adaptive timing functionality using
look ahead signal acquisition to provide
exemplary performance whether for general
transparent level control, programme
loudness maximisation or heavily applied
artistic sound effects. Comprehensive
metering and dithering are also provided to
ensure high quality, loud masters without
inter-sample clipping or other unwanted
artifacts. The plug-in runs in all major formats
and is fully 64-bit compatible for use in the
latest hosts.
Download www.sonnoxplugins.com
Keyboards and general purpose sound modules Adding instruments
VINTAGE ORGANS
Price 99
Hammond organs are a staple of all kinds of
music from blues to dance, and NIs Vintage
Organs collection brings together some of the
best loved models ever created. Running
inside the free Kontakt Player, you get the
Hammond B3, C3 and M3 as well as a Vox
Continental II and Farfisa Compact. Each one
features comprehensive tonewheel controls
as well as Leslie speaker effects, advanced
keyboard splits, effects and even mic
placement options. Incredibly playable and
easy to use, the organs sound rich, mellow
and incredibly authentic. Set up two MIDI
keyboards and a pedal system and you can
even route them to the different sections of
the organs for the ultimate Hammond
experience.
TRILIAN
Price 179
There are surprisingly few dedicated Bass
instruments but Spectrasonics Trilian has to
be the biggest of them all. With a huge 34GB
sound library, it offers stunningly realistic
electric and acoustic basses as well as a good
selection of synth basses as well. The
companys unique STEAM Engine that drives
the sound allows for advanced tweaking and
customising of sounds and there are of course
multiple onboard effects, multi channel mixing
of the virtual mics and amps, articulations for
more realistic playing and multisampled
dynamic slides. The basses have to be heard to
be believed and Trilian could be the only bass
module you ever need.
PIANOTEQ
Price 249
Most piano instruments use a very large
number of samples to generate sound, but
not Pianoteq. Based on physical modelling for
realtime sound generation, it has a small
physical footprint and so is ideal for laptops.
You get full dynamics, with no velocity
switching, and adjustable tuning, mic position
and multiple effects including a convolution
reverb. In addition to pianos you get a great
range of classical instruments like
harpsichords and electric pianos and more
instruments are being added regularly either
as free or downloadable extras.
Download www.pianoteq.com
Download www.spectrasonics.net
| 69
Keyboards and general purpose sound modules Continued
DAMAGE
Price 299
Developed by NI and a specialised team of
sound designers, Damage is designed
specifically for scoring. Its many patches are
ideal for high impact film, TV and video game
music, with thundering drums and intense
sequences all available at the touch of a
button. Additionally everything can be
tweaked and re-sequenced to suit your
needs, and you get a 30GB library of amazing
punchy sounds as well as onboard effects.
The beat-sliced loops mean you can knock
soundtracks together with ease and sound
just like a Hollywood film composer.
GARRITAN PERSONAL
ORCHESTRA 4
Price $150
GPO 4 uses the unique Aria engine to make
optimal use of both CPU and RAM resources to
play back its large library of sample-based
instruments. You get multiple stringed
instruments, woodwinds, brass, percussion
and even some great keyboards, harps and
choir patches. Onboard effects and a mixer
section make it easy to create professional
sounding classical scores, or to add more
organic sounding elements to whatever genre
of music you are producing. Garritan also
makes a range of other specialised 'real'
instruments.
Download www.garritan.com
SYNTHOGY IVORY II
Price $349
Ivory II contains an astonishing 77GB of grand
piano samples including a Bosendorfer 290,
Steinway D and Yamaha C7 grand with up to
18 discrete velocity layers for amazing
realism. Theres harmonic resonance
modelling, half pedalling and sustain
response DSP for realistic damper pedal
response as well as customisable user
controls for sound shaping. Youll probably
want to get a dedicated external hard drive to
host that massive amount of sample content,
but this is one of the most realistic sounding
virtual pianos ever made.
Download www.synthogy.com
Drums and percussion Give your productions some rhythm
TREMOR
Price 99
FXPansions latest electronic drum machine
is a powerhouse of up-to-the-minute beats
and owes its ultra modern sound to the fact
that it synthesizes all of its sounds. There are
no samples involved, just eight synth engines,
each of which has a specialised DCAM
oscillator with harmonic partials that work in
a similar way to a drumskin. Mixed with a
sub-oscillator and tuned noise source, the
signal is sculpted by modelled drive/filter/FX
sections and razor-sharp envelopes. A range
of effects and a clever non-linear sequencer
round out this impressive beatbox.
Download www.fxpansion.com
focus
SUPERIOR DRUMMER 2
Price 259
Toontracks flagship drum box is designed for
people who want to recreate really authentic
sounding drum parts, as if played by a real
drummer on a real kit. With 20GB of sampled
content it allows you to construct your own kits,
creatively mix within the software and add
effects as well as using specialised MIDI
grooves and customised MIDI mapping. You get
mixer presets by top producers and advanced
features like adjustable mic bleed, plus the
unique room sound of a legendary New York
recording studio.
Download www.toontrack.com
BATTERY
Price 179
NIs Battery is a more advanced drum module
but nonetheless easy to get to grips with for
beginners. For the more adventurous user it
does provide really detailed editing tools for
your sampled kits including advanced
timestretching, sample editing and effects.
It has powerful loop-based capabilities
including sync and slicing, the ability to
emulate the sound of two classical drum
machines, the MPC60 and the SP-1200 and
programming tricks such as flam, MIDI echo,
drag, roll and buzz to help you program more
realistic sounding beats.
Drums and percussion Continued
ROB PAPEN PUNCH
Price 119
Punch is a drum synthesizer that is also able
to load your own samples, with a built-in
sequencer and kits produced by top DJs.
There are multiple effects supplied as well as
two envelopes and LFOs, eight modulation
slots and a full drum mixer. The sequencer is
highly flexible and each drum has assignable
'easy controls' for quick editing and
programming on the fly. For up to the minute
electronic drum and percussion sounds for
your music setup, Punch is definitely a
contender.
Download www.robpapen.com
MOTU BPM
Price 178
If you find a beatbox-style interface is better
suited to your method of programming beats,
BPM could well be for you. With a 19GB sound
library, it has a friendly interface but a huge
depth of features. With its onboard tools you
can combine kits, patterns and loops with
instrument sounds, perform advanced mixing
and use DSP effects to create the kinds of
loops and beats you want. It can also record
and sample directly in, making it even more
flexible, and slice up audio so it can be mapped
across the pads. With the onboard step
sequencer it becomes a standalone music
production and programming unit.
Download www.motu.com
MASCHINE 2
Price 599
Maschine remains one of the very best beat
creation and production solutions out there,
and the mk2 adds some evolutionary new
features to improve workflow and usability.
Existing hardware owners will get the 1.8
software too, though without the colour
communication with the hardware as this is
only supported in the newer units. For a
newcomer or someone switching from
another platform, Maschine 2 is pretty hard
to argue with, and the changes are a result of
extensive communication with users. Its an
incredibly intuitive and powerful performance
tool, very flexible and capable of making
some amazing sounds.
Reverb, delay and special effects Alter and vary your sounds
GUITAR RIG
Price 179
Logic has the excellent Pedal Board and Amp
Designer plug-ins, but NIs Guitar Rig adds a
degree of flexibility that they struggle to
match. Working as a plug-in or in standalone
mode, Guitar Rig can be controlled by the
accompanying Rig Kontrol pedal which also
works as an audio interface. The software has
15 amps and matched cabinets covering
everything from jazz to metal, a control room
section complete with mixer faders, a looping
facility to help you learn and perform, and a
rack interface that lets you layer up as well as
mix and match as many modules as you like.
In addition to classic amps and effects you
get some more unusual stuff like effect
sequencers, for getting even more creative.
CSR
Price 170
Great sounding reverb can often be pretty
heavy on your CPU but thats not the case with
the remarkably efficient Classik Studio Reverb,
four reverb units in one suite. Comprising plate,
hall, room and inverse, they offer high quality,
musical sounding reverb that fits easily into any
kind of production and doesnt have the tinny
quality that sometimes plagues reverb units.
Warm and authentic sounding, each one has
simple controls for quick access and a more
advanced set of tools for precise reverb
shaping including macro controls and a
modulation matrix.
Download www.ikmultimedia.com
ALTIVERB
Price 499
Logics Space Designer is excellent but
Altiverb 7 offers even more by way of impulse
responses, or IRs. Widely used in professional
studios, it has the ability to place your sounds
into virtually any sampled space from a phone
booth to a cathedral and everything in
between. You are even able to sample your
own spaces as IR files to capture the sound of
a specific room. It sounds gorgeous but this
does come at the cost of relatively high CPU
usage, so a fast computer and a willingness to
freeze tracks is a must.
Download www.audioease.com
| 71
Reverb, delay and special effects Continued
STUTTER EDIT
Price $249
Izotopes Stutter Edit is a remarkable plug-in
that allows you to play effects like an
instrument. You can remix in real time, on
stage or in the studio, and achieve stunning
results that sound like they took hours to
program but actually happened more or less
with the press of a key. Glitches, stutters,
fills, repeats, delays and bitcrushing are just a
few of the things this plug-in can do and as
well as sounding great its tremendous fun to
play with. Thanks to tempo sync and timing
grids, everything stays in time so its easy to
perform advanced effects.
REPLICANT
EFFECTRIX
Price $49
Audio Damage makes some unusual but highly
useful effect plug-ins and one of the most
interesting is Replicant. A delay-based effect
that does beat slicing and looping, it is capable
of everything from simple delays to extreme
beat mangling. Stuttering buffers and filter
drops are easy to program, and the
comprehensive randomisation features give it a
mind of its own, if so desired. If youre looking to
add some tempo-synced randomisation to
your beats and loops, this is definitely a good
one to check out.
Price 99
Sugar Bytes makes some clever effects and
one of the most fun to use is Effectrix, an
effect sequencer. Applied to any track that
contains audio signal, you can paint blocks of
data into grids and graphs to make effects
trigger at specific times. The idea is to use
multiple effects and create tempo-based
loops and scratches as well as other sounds,
and take advantage of the modulation system
to get really creative. At its simplest, this is a
fun and useful multi-effect that can really
spice up any sound you run through it.
Download www.audiodamage.com
Download www.sugar-bytes.com
Mastering Squeeze the best possible sound
WAVES KRAMER MASTER TAPE
OZONE
Price $150
Developed in association with Eddie Kramer,
the Kramer Master Tape plug-in is modeled on
a rare vintage 1/4-inch reel-to-reel machine.
With adjustable tape speed, bias, flux, wow
and flutter and noise parameters, it provides
comprehensive control over the contours of
your sound. You also get a flexible slap and
feedback delay, ideal for rock, dance, dub and
other styles. Running at up to 24-bit and
96kHz resolution, it comes in all major
formats and works in mono or stereo modes.
Placed across the master buss of Logic or
your wave editor, it really adds a subtle
warmth to any tracks and is especially helpful
on material that has been recorded in the box,
adding character.
Price $249
Izotopes mastering plug-in is much loved
among producers of all levels thanks to its
power, flexibility and great sound. Essentially
eight mastering processors in one module, it
features a Loudness Maximizer, Paragraphic
EQ, Multiband Dynamics, Multiband Stereo
Imaging, Post Equalizer, Harmonic Exciter,
Dithering and Mastering Reverb. Theres
user-definable signal routing as well as a
refined user interface and some great presets
to get you up and running. Although highly
customisable it can also be used easily by a
beginner. Advanced metering lets you keep an
eye on how your tracks are being processed.
Used carefully, Ozone can take your tracks from
good to great.
Download www.waves.com
focus
T-RACKS 3 DELUXE
Price 380
IK Multimedias T-RackS was the first
commercially available software mastering
suite. Now at version 3, it has nine processors
based on vintage and modern mastering
tools: three compressors, three EQs, two
limiters and a clipper module. It also has an
extensive metering section that provides
real-time Spectrum, Phase, Peak and
Perceived Loudness data. Modules can be
loaded in series or parallel and mixed and
matched, with presets for individual units as
well as whole chains. The software works in
standalone mode or as a plug-in and each
module is available to load in your DAW. A
clever tool lets you configure metering for
your style of music, making it easier to master
accurately for your genre.
Download www.ikmultimedia.com
MTF Technique Sampler instruments
On the disc
Sampler instruments
with the EXS24
Creating your own sampler instruments can be an
enjoyable and creatively rewarding experience.
Mark Cousins gets in on the action
lthough the main plug-in window of the

EXS24 has remained largely unchanged
since its release, there have been some big
and significant developments in the way
that the EXS24 integrates with the rest of
the application. As a result, therefore, its never been
easier to make your own EXS24 instruments, whether
youre cutting up and mangling some drum loops, for
example, or creating delicate multi-samples of an
acoustic instrument. In short, the gap between audio
recordings in your arrangement and a finished, mapped
EXS24 instrument is almost paper-thin, offering a host
of creative opportunities.
In this Workshop were going to explore the process
of creating EXS24 instruments using two recordings
made from an old Waldorf Pulse subtractive
synthesizer. In many ways this is perfect fodder for the
EXS24, marrying all the sonic interest and imperfections
of an old analogue synthesizer with the flexibility and
ease of a modern-day software sampler.
PRO TIP
Try experimenting with some
of the other Zone parameters
on a note-by-note basis. One
of the best techniques is the
Reverse option, which sounds
great on selective notes of the
bass patch. You can even use
the Pan parameter to
reposition individual notes in
the stereo field.
Strip tease
Open the project files included on the DVD and you
should find an arrangement containing two mono
recordings of a Waldorf pulse. The Waldorfs output has
been recorded chromatically over a range of two
octaves, with the second sound having a greater
amount of detune than the first (the reason for this will
become apparent later on). If you want to sample a
synthesizer of your own choice, follow the same basic

rules, recording each key chromatically and leaving a
short space between the notes. 1
The first part of the instrument-creation process is
to separate the single audio file starting with the file
called Pulse Bass 1 into a series of regions for each
note of the instrument. There are multiple ways of
achieving this, but arguably the best approach is to use
the Strip Silence feature, found under the local menu
Audio>Strip Silence. In the Strip Silence dialog, try
adjusting the parameters to get an accurate separation.
In this case, a 20% Threshold seems to work best,
increasing the Post Release Time to capture the full
duration of the notes and making sure that Search Zero
Crossing is enabled. 2
Instrumental decision
Although the Strip Silence feature usually does an
adequate job of separating the regions, its worth
checking the results to see how well the editing has
been carried out. In this case, some of the inaccuracies
in the Waldorfs output have led to a few misplaced edit
points, largely because Logic has tried to edit to a
so-called Zero Crossing Point to avoid unwanted clicks.
Open the Sample Editor and step through each region to
adjust the edit points. You can resize the regions using
the long blue line at the bottom of the Sample Editor,
although youll probably need to turn off the Zero
Crossing editing feature (Edit>Snap Edits to Zero
Crossings) to reposition some of the tighter edits. 3
With the regions edited, now comes the quick and
easy part: making the EXS24 instrument. Highlight the
regions you want to build into your instrument, then
1
2
3
The first part of the instrument-creation
process is to separate the single audio
file into a series of regions for each note
of the instrument.
focus
Sampler instruments Technique MTF
The Convert Regions to New Sampler

Track function is principally designed
as a means of converting rhythmic
loops into time-sliced EXS24 files.
The EXS24 gives you the ability

to stack multiple samples and
create a hybrid sound
select Audio>Convert Regions to New Sampler Track.
Youll see an accompanying dialog allowing you to
specify how the instrument should be created. In this
case, we want to use Regions rather than Transient
Markers to create the desired zones and set the
mapping to begin at C1 (or whatever pitch your lowest
recorded key is set at). Press OK and Logic will create
your new EXS24 instrument. 4
Technically speaking, the Convert Regions to New
Sampler Track function is principally designed as a
means of converting rhythmic loops into time-sliced
EXS24 files, which is why Logic has also created a
corresponding MIDI file to trigger the samples in their
original location. This MIDI region can be deleted,
though, as we have no use for it in this application.
Taking control
Although Logic has done a good job of creating our new
EXS24 instrument, its worth tweaking a few of the
controls so that the instrument behaves like an
old-fashioned analogue mono synth. Open the EXS24,
therefore, and change the instrument from Poly to Mono
mode, so that only single notes are triggered at any
point in time. Its also worth changing the velocity
scaling, using the Level slider on the right-hand side of
the EXS24s front panel. Raise the lower half of the
slider, increasing it to the same height as the top half.
Set this way, the velocity is ignored, giving the sound a
tighter dynamic range. 5
Beyond these basic settings, the limits are largely
dictated by your imagination, although its worth
highlighting some areas that are worthy of exploration.
ENV2, for example, is pre-wired to the amplitude of the
instrument, allowing you to shape its volume over time.
On our Pulse bass, for example, its worth increasing the
release slightly (to around 330ms) so that you get more
of the samples natural release. Its also worth
experimenting with the attack, maybe increasing it
slightly to create a softer-sounding bass. 6
Along with the amplifier, the filter can also be useful

if youre working with samples that have a rich
harmonic content. By default the filter is inactive, so
youll need to click on the Off button to change the filter
status to On. A static filter setting can be useful in
establishing a different colour to the bass sound,
maybe reducing the cutoff and increasing the drive to
create a deeper, heavier sound.
Adding movement to the filter via modulation will
require you to create a routing in the modulation matrix,
specifying the Destination (in this case, cut-off) and the
source, which is usually one of the envelopes, an LFO or
even the mod wheel. 7
Stack heaven
PRO TIP
The instrument that youve
created here will be stored as
part of your projects assets.
However, if you want to access
the instrument in another
project, consider saving it in
your User folder under Library>
Application Support>Logic>
Sampler Instruments.
One of the most exciting possibilities offered by the

EXS24 is the opportunity to stack multiple samples to
create a hybrid sound in this case, transforming our
original three-oscillator subtractive synthesizer into a
six-oscillator monster. As we explained before, the
second audio file included in the project is a detuned
version of the original bass patch, using the same
exaggerated settings we would have used if the Waldorf
Pulse had six oscillators to play with. Try repeating the
above exercise, therefore, stripping the second audio
| 75
MTF Technique Sampler instruments
Layering both sets of samples

together into a single EXS24
instrument enables them to be
triggered simultaneously. You
retain control over how the two
work together, though.
file Pulse Bass 2 DETUNE into a new series of

regions and creating a secondary EXS24 instrument
from these newly created regions. 8
Although it is possible to run the two instruments
separately, lets look at a way in which we can layer and
combine the samples into a single EXS24 instrument.
Firstly, open the instance of the EXS24 containing the
Pulse Bass 2 DETUNE patch. Once this is open, click on
the Edit button to take you through to the EXS24
Instrument Editor. You should see the mapping for the
second instrument, with the notes displayed as a series
of Zones. Highlight the Pulse Bass 2 DETUNE folder in
the Zone column in the left-hand side of the window
(this selects all the zones), go to the Edit menu and
select Copy to place the Zones onto the clipboard. 9
Wallpaper paste
Now return to our original instrument, open the EXS24
font panel and press Width to take you into the EXS24
Instrument Editor. From the Edit menu select Paste; the
Zones from the previous Pulse Bass 2 DETUNE
instrument should now be integrated with your existing
Zones. If you play the instrument, the two samples are
triggered at the same time. 10
Even with the samples stacked as part of the same
instrument, you still have control over how the two
layers work together. As you merged the two sets of
samples, Logic created two Groups, which allow you to
link together related Zones so that they can be handled
en masse. You can see the active Groups in the current
instrument in the Zone column on the left of the EXS24

Instrument Editor. Highlight a group to see the samples
assigned to it or select the All Zones option to see the
mappings irrespective of the Group assignment. 11
To edit the Groups youll need to change the EXS24
Instrument Editor from Zones mode to Groups mode
using the buttons in the top-left corner of the interface.
Once youre in Groups mode the display becomes much
clearer, with the two sample layers shown as the two
Groups, each with their own set of parameters. As a
quick-and-easy modification, try panning the Groups
hard left and right, which creates a fat, unison detune
effect. If youre feeling more adventurous you could
even explore velocity switching (check you can see the
switching with the menu option View>Group: Velocity
Range), using velocity to switch between the sample
layers. In this example, therefore, the patch would
become more detuned as you hit the keys harder. 12
Sample this
The addition of the Convert Regions to New Sampler
Track feature has revolutionised instrument-creation
with the EXS24. What was once a labour-intensive task
has now become such a fluid part of Logic that it rarely
interrupts your workflow. More than just capturing
existing sounds, though, the process of sampling and
mapping soon starts to suggest new possibilities,
whether youre layering contrasting sounds, creating
rich polyphonic pads from a monophonic synth or
building your own custom drum sounds. MTF
10
11
12
focus
To edit the groups

youll need to
change the EXS24
Instrument Editor
from Zones mode
to Groups mode
using the buttons
in the top-left of
the interface.
Whether youre a keen newcomer thirsting for more knowledge about digital audio production
or youre already an experienced producer needing inspiration or a skills refresher,
our Focus Guides will help you get the most out of your studio setup
VOLUME 22:
MIXING 2012
The all new guide to

mixing like a pro
VOLUME 23:
SYNTHESIS 2012
The all new guide to

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VOLUME 24:
ABLETON LIVE
VOLUME 2
Pro advice and all

new Workshops
VOLUME 25:
RECORDING 2012
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MTF Technique Modulation Matrix
Understanding the
Modulation Matrix
On the disc
The Modulation Matrix forms an essential part of the

deeper functions and capabilities of the ES2 and
EXS24. Mark Cousins enters the Matrix
odulation is a vital part of the creative

potential of any synthesizer, bringing
filters and amplifiers to life with the
strategic addition of an LFO, an
envelope generator or a range of other
modulation sources. Indeed, you can tell a lot about a
synthesizer just from its modulation capabilities, with
basic instruments often having little more than a few
pre-wired routings. A fully fledged synthesizer, on the
other hand, will almost always have a range of
modulation sources and destinations that can be freely
assigned using a Modulation Matrix. Its no surprise,
therefore, to find that Logics two key sound-design
tools namely, the ES2 and EXS24 both feature an
impressively flexible Modulation Matrix, also referred
to as the Router.
Although weve touched on the Modulation Matrix in
both the EXS24 and ES2 many times before, this
Workshop is an opportunity to look specifically at the
principles involved. As well as exploring the means of
establishing a modulation routing in both instruments,
PRO TIP
X-Y Pad is a great way of
modulating two parameters at
once particularly cut-off and
resonance. Once routed you
can record the dynamic
movements either as
automation data or as part of
the ES2s Vector Envelope
feature so that the movements
occur on a note-by-note basis.
A fully fledged synth will have

a range of assignable modulation
sources and destinations
1
Pick a modulation
Target from the
dropdown list at
the Target slot
and select a
modulation
source (an LFO or
an envelope, for
example) from
the dropdown
Source list.
focus
well also check out some of the more unusual forms of

modulation available, including sidechaining, random
note values and wobbly bass lines.
Matrix matters
The Modulation Matrix in both the EXS24 and ES2 can
be found towards the bottom of both instruments
interface. It features a long line of modulation slots, each
with Target, Via and Source parameters, plus, of course,
modulation intensity, indicated by a small green triangle.
Establishing a modulation routing is straightforward:
pick a modulation Target from the dropdown list at the
Target slot (the parameter on the synth you want to
modulate) and select a modulation source (an LFO or an
envelope, for example) from the dropdown Source list. 1
One of the finer points to understand is the
interaction between the modulation intensity and the
current parameter setting on the synth itself. To
understand this interaction better, lets look at the basic
synth bass patch on track 1. Firstly, set up Cut 1+2 to be
modulated by Envelope 2. Dial in a modulation intensity
using the small green triangle to the right of the
modulation routing. Even with the amount of modulation
increased, though, the modulation doesnt seem to be
having an effect. This is because the modulation is
adding to the existing cut-off setting, which is currently
set to its uppermost position. To hear the modulation
taking effect, therefore, we need to ensure the cut-off is
brought down at least part of the way. 2
Wobble bass
The final part of the Modulation Matrix puzzle is the Via
parameter, found part way between Target and Source.
In short, the Via parameter enables you to integrate
Modulation Matrix Technique MTF
To make the patch dynamic, insert the ModWhl

option from the dropdown list in the Via slot.
Velocity is an alternative option.
another modulation source as a means of influencing

the amount of modulation taking place. As a means of
illustrating the Via concept in action, lets add distinctive
dubstep wobble to our bass patch. Start by creating
another routing, this time connecting a tempo-synced
LFO2 (set to a triplet 1/8th setting) to control Cut 1+2. 3
At the moment, the patch isnt dynamic in respect to
the amount of modulation taking place theres a fixed
amount of wobble defined by the Intensity slider. To
make the patch dynamic, therefore, insert the ModWhl
option from the dropdown list in the Via slot. Notice how
the Intensity slider changes, so that it now shows both a
green and orange component of the slider. The green
triangle sets the base level of the modulation (in this
case, with the mod wheel at its lowest setting), while the
orange segment sets the maximum amount of
modulation applied by the Via source (in this case, how
far the mod wheel can travel). 4
Try playing the newly created patch, increasing the
amount of filter wobble using the mod wheel. Of course,
you dont have to use the mod wheel as a means of
applying this effect. Another approach would be to use
Velocity, so that the harder you hit the keyboard, the
more wobble is applied. Alternatively, use one of the
random LFO sample-and-hold waves on LFO1, so the
amount of wobble varies over time. 5
Creative thinking
The key to being creative about the application of
modulation is to look more carefully at the various
modulation sources and destinations available.
Traditionally speaking, the principal sources of
modulation are the two LFOs and three envelope
generators. These alone are powerful tools, especially
given the ability to tempo-sync LFO2, which can be
applied to great effect across the filter or the amplifier.
Closer inspection of the modulation Source lists
reveals some intriguing options. Two of my favourite
sources are the two random note options RndNO1 and
RndNO2. Unlike the aforementioned sample-and-hold
LFO waveshapes that return a stream of random
controller values at a rate defined by the LFO speed, the
RndNO1 and RndNO2 sources deliver a new, random
controller value on each key press. Having the two
sources effectively gives you two unique control values
for each note, which, in turn, can be patched to two
unique targets. Take a listen to the Sequence Bass

patch on track 3, which uses two random control value
generators to modulate cut-off and resonance. 6
Break the chain

Another modulation source is the SideCh option, which
enables you to modulate a parameter in the ES2 using
an external audio signal fed via the sidechain inputs.
Move back to our pad sound on track 2 and route the
instance of Ultrabeat to Bus 3. For now, mute it so we
cant hear the buss output in the mix. In the instance of
the ES2 on track 2, set up its sidechain input so that it
reads Bus 3. Add a new modulation routing using Cut
1+2 as the Target and SideCh as the Source and
bypass any cut-off modulation (the small b/p tab). 7
Increase the modulation to hear the sidechain input
modulating the filter. Technically speaking, the
modulation is a form of envelope follower the filter
follows the broad dynamic shape of the input (hence
drums being a good choice as an audio source). Add
some of the other forms of cut-off modulation, hearing
how various types (tempo-synced LFOs, envelopes and
sidechain inputs) can be combined to good effect.
PRO TIP
If youre modulating pitch, the
amount of modulation can be
given a musical figure in
semitones and octaves. A
setting of 0.28, for example, is
one semitone, whereas a
setting of 0.76 stretches a
full octave. The maximum
setting of 1.00 equals
three octaves.
Final destination
So far, our exploration of modulation sources has been
somewhat conservative, using the most obvious
candidate for modulation filter cut-off. However, as
| 79
MTF Technique Modulation Matrix
Another
modulation source
is the SideCh
option, which
enables you to
modulate a
parameter in the
ES2 using an
external audio
signal fed via the
sidechain inputs.
well as turning to a number of different modulation

sources, we can also consider a more diverse choice of
Target parameters. Although its tempting to go through
the whole list, lets highlight some key parameters and
the results that can be achieved with them.
As well as being able to modulate the pitch of all
three oscillators Pitch123 you can also modulate
the pitch of each individual oscillator, using Pitch 1,
Pitch 2 and Pitch 3 respectively. While this might sound
more laborious, the ability to individually modulate each
oscillator yields some interesting results on detuned
synth leads and pads. By using different LFO settings
and speeds you can effectively create pseudo-random
pitch drifts between the oscillators maybe with one
oscillator using a faster, more pronounced vibrato, for
example, while another slowly undulates. 8
If youre using one of the square or pulse

waveshapes, the Osc1Wave performs what is commonly
known as Pulse Width Modulation (PWM). PWM is a
unique effect created by varying the width of the pulse
or square waveshapes, and is worth exploring for
super-fat lead and pad sounds. Try setting up a PWM
routing using the basic square wave patch on track 4,
using one of the LFOs as a modulation source. Even with
just a single oscillator, the patch gains a unique
fatness, somewhat mimicking the phase shifts that
occur when two oscillators beat against one another. 10
Patch magic
Although weve largely illustrated the use of the
Modulation Matrix through the ES2, its worth
remembering that many of the principles and
techniques explored here are transferable between the
ES2 and the EXS24. Indeed, even though the interface
differs slightly, Sculpture also has its own degree of
modulation routing following similar principles.
Whichever instrument you use, modulation forms the
lifeblood of synthesis, adding movement, dynamism and
responsiveness to even the most basic of patches.
Mastering instruments like the ES2 or the EXS24 (or, for
that mater, synthesis in general) is fundamentally about
understanding how modulation works, whether its the
simplicity of a few envelopes shaping a note over time or
a complex interaction of MIDI controllers, random LFOs
and various other modulation sources shaping an input
in radical and dynamic ways. MTF
On a wave
Given the ES2s wavetable waveforms, its also worth
exploring the Osc1Wave, Osc2Wave and Osc3Wave
Targets to actively change the raw waveform formed by
the oscillator. Technically speaking, the precise effect of
this parameter target varies given the currently
selected waveform. If youre resting on the wavetable
(by default, this is the sine option), youll be able to
move through the various Digiwaves included in the
ES2. In the case of the wavetable, use small amounts of
modulation to achieve a subtle effect, otherwise the
output becomes a garbled mess of Digiwaves rather
than a distinct and gentle shift in timbre. 9
By using different LFO settings and speeds you

can effectively create pseudo-random pitch
drifts between the oscillators.
focus
10
Control Surfaces Round Up MTF
Round Up
Control surfaces
With Logic able to perform almost any audio or MIDI task you could think of, getting hands on
control of the software becomes increasingly important in unlocking its full potential. Control
surfaces come in all shapes and sizes, and whether youre on the move or working in a studio
theres sure to be one that will suit your workflow.
1 V-CONTROL PRO
Price 34.99
Contact via website
The iPad makes a fantastic remote
control surface for Logic since it is very
light and works wirelessly. V-Control Pro
also supports other DAWs and allows
hands on control with multi-touch so
you can for example change multiple
faders at the same time. Control your
Logic sessions from anywhere you can
get wi-fi reception. A unique V-Window
feature lets you open plug-in windows
directly on the iPad, and theres full
control of all mixing parameters,
automation shortcuts and an editing
commands window. Theres a free
version available to try and both
versions are available on the App Store.
Web www.neyrinck.com
2 ICON QCON PRO
Price 470
Contact Zoom Distribution
08432 080 999
Icons distinctive range of MIDI
controllers is headed by the Qcon Pro,
with eight touch sensitive motorized
channel faders, 12 segment LED
metering and eight dual function
encoder knobs. The buttons are backlit
for ease of use in low light environments
and as well as full transport control you
get multiple assignable MIDI function
buttons. You can even daisy chain up to
three units to provide 32 hands on
channels for more complex mixes, or
add an audio card to turn the unit into an
all purpose recording and control
device. Theres full support for Logic as
well as a range of other leading DAWs.
Web www.icon-global.com
| 81
MTF Round Up Control Surfaces
3 AVID ARTIST CONTROL
Price 1,096
Contact Avid 01753 655999
Formerly branded as Euphonix, the Avid Artist Control is a
touchscreen control surface that not only allows you
access to regular plaback and control parameters but also
all your plug-in and EQ controls, macros, surround panning
and more. There are four 100mm touch sensitive motorised
faders, dedicated bank select keys and the ability to lock
tracks to faders and store them as Layouts, great for
submixing. Thanks to the touchscreen, this unit is
particularly configurable, and you can add models from
the rest of the range to create a system with up to 36
physical faders.
Web www.avid.com
5 AKAI MPD32
Price 199
Contact Numark 01252 896000
AKAIs MPD32 is an interesting
combination of DAW controller and live
performance instrument. With its 16
MPC-style pads it offers the classic
AKAI programming and playback feel,
and in fact you get up to 64 pads
thanks to the selectable pad banks.
There are also eight assignable faders,
switches and 360 degree knobs, again
with assignable banks. You can
connect input pedals for greater
control and of course the unit comes
with transport controls for interfacing
with Logic and other DAWs. As well as
controlling the playback of your
projects you can get creative playing
your plug-in instruments as well.
Web www.akaipro.com
focus
4 NOVATION ZERO SL MKII
Price 199.99
Contact Novation 01494 462246
Novation has a long history of making MIDI controllers and its
Zero SL series remains highly popular. Compact and sleek, it
features eight faders, pots and encoders as well as 32 buttons
and a crossfader, which all of course map to your favourite
DAW. Controls are illuminated and theres a 144 character LCD
screen to provide more visual feedback. Touching any control
will cause its currently assigned parameter to appear on
screen, and of course the unit uses Novations clever Automap
software, which enables controls to map directly to all of your
plug-ins for total control.
Web www.novationmusic.com
Control Surfaces Round Up MTF
7 PROREMOTE
Price 39.99
Contact support@folabs.com
Running on both the iPhone and iPad,
ProRemote is a wireless controller for
Logic and other DAWs that frees you
from your computer and mouse when
you are working on music projects.
Imagine you are behind the drums and
need to record arm some tracks then hit
play and record; with this app, you can
do it. Theres support for fader and
panning controls, record, mute and solo
of tracks, automation, mixer snapshots,
crossfading and more, and the server
app runs on your computer to enable all
of this to happen.
Web www.folabs.com
6 NOVATION NOCTURN
Price 69
Contact Novation 01494 462246
When space is short, you cant always deal with a large control
surface. Novations Nocturn is tiny and affordable yet still
provides automatic and intelligent control of all automatable
plug-ins within all leading DAWs thanks to the companys
Automap software system. Connecting via USB, it has eight
touch sensitive rotary encoders, each with backlit LEDs, as
well as eight user assignable illuminated buttons and a
crossfader. In the centre is a clever speed dial knob that
takes control of whatever parameter your mouse is currently
pointing at. This pocket sized controller certainly punches
above its weight when it comes to getting creative with
plug-ins in Logic.
Web www.novationmusic.com
8 PRESONUS FADERPORT
Price 119
Contact Source Distribution 020 8962 5080
Connecting to your computer over USB, the compact
FaderPort has a high quality, touch sensitive motorised fader
with a 1,024 step resolution for greater precision. There are
comprehensive transport controls, of course, as well as
window selection, undo/redo and five user defined key
mappings. You can even activate hands free punch in and out
of recording with an optional footswitch. Its a great solutioon
for those on a budget or where space is an issue, and sits
conveniently to the side of your setup while you use the mouse
with your other hand.
Web www.presonus.com
| 83
MTF Round Up Control Surfaces
9 MACKIE CONTROL
UNIVERSAL PRO
Price 985
Contact Loud Technologies
01494 557 398
Mackie has been making MIDI control
surfaces for longer than almost anyone
else, and its Mackie Control protocol is
the standard used by many controller
and DAW manufacturers to ensure that
hardware and software interact
correctly. A serious piece of kit, it has
multiple 100mm motorized faders,
V-Pot control over software, effects and
virtual instruments as well as more than
50 dedicated buttons for the detailed
control of your DAWs transport and
other operations. With tape-style
transport controls, it provides a familiar
interface to many musicians. You can
even expand it with other optional units
from Mackie to provide the ultimate in
outboard MIDI control.
Web www.mackie.com
10 FOCUSRITE CONTROL 2802
Price 2,999
Contact Focusrite 01494 462246
The Control 2802 forms both the digital nerve centre and the
analogue heart of the modern professional project studio.
Dual Layer Technology enables you tojump between analogue
mixing and DAW control. In a single surface, the Focusrite
Control 2802 integrates state of the art summing of 28 inputs,
comprehensive monitoring, stereo master bus compression,
and sophisticated control over every major DAW. As well as
being a high quality audio interface its an ethernet-enabled
controller too, providing control of plug-ins, automation and
more. Its a serious machine, but you get a lot for the money.
Web www.focusrite.com
11 AVID ARTIST TRANSPORT
Price 286
Contact Avid 01753 655999
Formerly the Euphonix MC Transport,
this is a compact controller designed to
let you navigate projects easily while
taking up very little space on your
desktop. It has a spring loaded,
weighted data wheel at its heart,
ergonomic transport controls and a
numeric keypad for speedy data entry.
Trigger keyboard shortcuts and macros
with the assignable keys, view data
using the onboard OLED display and use
EUCON, HUI or Mackie Control
protocols, all through the ethernet
interface. Portable and affordable, the
Artist Transport is the perfect
companion to any setup.
Web www.avid.com
11
focus
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MTF Interview Efterklang
We still have to use our

imagination but it is
closer to the real thing
and working in MIDI is
just different
The MTF Interview Efterklang
Efterklangs new album is based around samples taken from an abandoned town near
the Arctic Circle. Mads Brauer tells Music Tech about how they have switched to Logic
ver more than a decade and four albums

Efterklang have become a creative force to be
reckoned with. They seem to strive for something
new with each release but always seem to do the
impossible: marry that newness with melody and
accessibility. Its given them a very passionate fanbase who
lap up their music, which can be described as intelligent,
shoe-gazing folktronica one minute, or stripped back
electronic Elbow the next.
But well give up trying to pigeonhole a band that clearly
cant be, especially when we discover that their latest album
took inspiration from an abandoned Russian mining town on
the island of Spitsbergen, half way between Norway and the
North Pole. They went there, recorded all sorts of ambient
noises among the decaying ruins including a piano not
played in over a decade and weaved them into their new
album, Piramida, which is named after the town itself.
Its a process that has yielded fantastic results:
atmospheres and beats created from the samples, backed by
wonderful washes of ambience or choral work and melody,
always melody.
Kit List
Abandoned piano
Akai MPC2000
Apple Macs
(several)
Apple Logic
Apple Mainstage
Ableton Live
Avid Pro Tools HD
Manley outboard
M-Audio Axion
keyboard
Native
Instruments
software
including Reaktor
Roland Space
Echo classic
effects
Massenberg EQ
MTF Studio Eye Efterklangs live setup

We have quite a computery live setup these days, Mads reveals, with
three MacBooks up on stage. Two of them run Ableton Live, the third is
running Mainstage and is being used as a sampler/synth. So far it is great
and reliable.
I have it set up in a multi-timbral way, so that each MIDI channel has its
own sound, and then Peter Broderick (our piano and keyboard player) can
just change a patch on the Axiom keyboard to change the sound. It has also
been a very fast way for us to transfer all the samples from the record to the
live setup.
focus
But away from the island and the abandoned settlement

its back to recording reality and Mads Bauer from the band
tells us about their more regular studio space
We are renting a nice little house in the backyard of a
residential building in the neighbourhood of Weissensee
(which means White Lake) in the former East Berlin, he says.
It is more of a production space centred around a computer
setup, but with a lot of acoustic instruments as well: piano,
drums, synths, pipe organ, etc.
So we have everything in the same room, which makes
communication really easy, and everything is wired up, so if
you get an idea you can try it out straight away. We use our
studio for working on the songs (composing, making
sketches, editing, hanging and drinking coffee, etc) and for
recording line instruments such as bass, synths and
samplers. But when we record drums, piano and other more
critical stuff we go to more professional studios with more
mics and more outboard gear.
So the central component to all of these acoustic and
electronic instruments is that aforementioned computer,
which the band use as creatively as they can.
For me it is important to use computers in a way that
challenges you and inspires you creatively, Mads confirms. I
like to give something to the computer and then get
something back, that I wouldnt have thought of, using
technology to push the music into areas that cannot be done
without it. Thats where the interesting stuff happens.
Good offer
I have known about Logic since I started getting into
electronic music, says Mads, and I bought it when version 8
came out, just because it seemed like such a good offer.
However it wasnt until finishing our last record, Magic Chairs,
working with Gareth Jones, that I discovered how powerful
Efterklang Interview MTF
Logic really is. Coming from Pro Tools, it seems like such a
modern application, where PT is still in the world of a mixer
and tape recorder, just within the computer.
Watching Gareth work was a great inspiration, and on the
following tour Casper and I started doing a lot of tour projects
(remixes, sketches, etc) in Logic, simply because it is so easy
to work in.
Logic is not the only software they use, however
I have always used a lot of different software, Mads says.
We have a Pro Tools HD rig, that we still use for recording,
editing and mixing, and the latest album was mixed mostly in
PT, except for three songs that were mixed in Logic. I also love
Ableton for its own thing, though I would never choose to mix
an album in it, or track a large brass section in it.
But Logic has changed the way the band compose, simply
because of the larger number of options available to them
It is so easy to pull up software instruments, says Mads,
so we have started doing demos for songs with full on
MTF Studio Eye More on that abandoned town

Efterklang went to Piramida for nine days to record. It was once the home of
1,000 Russians but deserted overnight in 1998. Many possessions still litter
the town now inhabited by seabirds and polar bears. The band accumulated
over 1,000 recordings on the trip
The idea for this album was to start from scratch, for all three of us to
create from the same blank canvas, says Rasmus Stolberg. Everything
that has gone onto this record is connected with that trip, says Casper
Clausen. Adds Stolberg: We didnt really know where we were going to end
the record, but the starting point was something we could control. That was
an amazing framework for us.
We are renting a nice

little house in the backyard
of a residential building in
the neighbourhood of
Weissensee in the former
East Berlin
arrangements all done in MIDI, whereas we used to do

arrangements with melodicas and voices and then imagine
how they would sound if they were played by strings.
Now we still have to use our imagination, but it is
definitely closer to the real thing. And working in MIDI is just a
very different thing, with a whole different workflow.
Being raised in Pro Tools, I really miss the playlists, he
continues when asked if he believes that there is anything
important lacking in Logic, and the whole idea of being able
to have different versions or arrangements on the same
tracks. But no software is perfect, and there are annoying
parts to all of them.
Another thing is not being able to move several tracks
around at the same time, but that is probably just because I
use too many tracks (200 plus!).
Efterklang are touring the new album with so-called
Piramida Concerts
We will play together with classical orchestras, reveals
Mads. It is really exciting but also a lot of logistics, but when
it all comes together it feels like youre flying. MTF
| 87
MusicTech.indd 1
19.09.2012 15:36:50
MusicTech.indd 2
19.09.2012 15:38:19
MTF Technique Reversed sounds
Creating reversed
sounds in Logic Pro
On the disc
Theres a lot more to reversed sounds than hidden

Satanic messages, especially with a DAW as powerful
as Logic. Mark Cousins shows you why and how...
eversing sounds whether its a backwards

reverb tail, a reverse cymbal or any other
instrument inverted in time is one of the
most useful sound-design techniques
available. The appeal of reversed sounds is
easy to see: they take on an unusual dynamic profile
(with a slow attack and an almost instantaneous
release) while the original identity of the sound is
disguised by the process.
Most of us will be familiar with Logics main Reverse
function, but its interesting to look more holistically at
this technique within the workflow and toolset that
Logic provides. From new ways of using your plug-ins to
unusual ways of transforming MIDI data, theres more to
reversing sounds than simply using the Sample Editor.
PRO TIP
Logics EnVerb reverb offers a
quick and easy way to create
fake reverse reverb without
the need to render
intermediate audio bounces.
Use a slow attack, quick decay
and release alongside plenty
of sustain. Technically
speaking, the reverb tail still
comes after (rather than
before) the note, but the effect
retains a distinctive reversed
dynamic envelope.
Play it back
In case you havent experimented with Reverse
functions in Logic before, lets take a brief look at the
essentials of the process, as well as exploring ways of
handling reversed sounds more effectively. Reversing,
The creative potential offered

by reversing sound is something
that can never tire
as such, is a process that needs to be carried out on an

audio file, so for now well need to stick with the audio
tracks within our project. To start, open the cymbal
sound included on the DVD in the Sample Editor. 1
The first point to note about the Reverse function is
that its a destructive editing tool in other words,
youre modifying the raw audio data rather than simply
modifying the data when playing back. If you dont want
to permanently modify the audio file, therefore, create a
duplicate first using the local menu option Audio
File>Save A Copy As, appending the filename with the
letters REV to illustrate that its a reversed file. Also
note that the Reverse function is applied only to the
selected area, which in this case conforms to the size of
the region. To ensure that you reverse the whole file,
therefore, consider using the local menu item
Edit>Select All before proceeding further. 2
To carry out the reverse, go to the Functions menu
and select Reverse. Logic will re-write the audio file,
effectively reversing the order of the sample data
contained within it. Once finished, you might want to
consider repositioning the anchor point (indicated by
the small orange icon at the bottom of the Sample
Editor), placing the new position at the peak of the
cymbals rise. Once set, the anchor point becomes the
regions new positional reference point, effectively
enabling you to align the newly reversed file based on
its peak rather than the region start point. 3
Reverse engineering
Having considered the process of reversing audio files,
lets look at how we can apply this technique on virtual
instruments. To reverse an audio instrument like the
EVP88 track included in the demo project we first
2
3
Reverse the supplied cymbal file in Logics Sample Editor. The Reverse
function is applied only to the selected area, which in this case
conforms to the size of the region.
focus
Reversed sounds Technique MTF
The quickest way of achieving a render is to

use the Bounce in Place feature [Ctrl]click on the region and select Bounce in
Place from the dropdown menu. Make sure
that Include Audio Tail in File isnt checked
to preserve timing integrity.
need to render it as an audio file. The quickest way of

achieving a render is to use the Bounce in Place feature
[Ctrl]-clicking on the region and selecting Bounce in
Place from the dropdown menu. For now, make sure
that Include Audio Tail in File isnt checked, as ideally
we need an audio region of the same length to preserve
the timing integrity. 4
Once the file is bounced, we can use the Sample
Editor and the Reverse function to reverse the playback
accordingly. Listen to the EVP88 reversed in this way
the results are good, but notice how the chord
sequence (Emin/C/Emin/C) has also been reversed.
Although the reversed chord sequence is interesting, it
would be useful to know how to perform a reverse
without this happening. 5
When it comes to audio instruments, therefore,
theres another layer to the reverse process worth
considering a Transformed reverse. Go back to the
original EVP88 part and this time open up the sequence
using the Piano Roll Editor. Now go to the Edit menu
and select Transform>Reverse Position. Once the
Transform Editor is open, click on the Select and
Operate button, and see how the sequence data (the
raw notes, in other words) have been reversed. Bounce
the resulting MIDI sequence as before and then carry
out the Reverse function in the Sample Editor. 6
Given that the sequence data was inverted before
we carried out the audio-reverse, the result is an audio
file with notes in the correct order (in other words, bar
1 is still bar 1) but with their dynamic envelope
reversed. Of course, you dont need to carry out this
note-reversal every time you perform an audio reverse,
but its a useful feature, particularly on melody lines,
when you want the reversed file to retain the same
musical progression and shape as the original part,
just sound reversed.
PRO TIP
The EXS24 Instrument Editor
has its own Reverse parameter,
effectively enabling you to
reverse an audio file without
having to apply a destructive
edit. For instant gratification,
try editing an existing
instrument in the EXS24s
library. Although the results
might be difficult to play, youll
quickly discover some unusual
reverse-FX sounds.
(rather than after) the dry signal, with the instrument

almost appearing to be sucked out of the reverb, often
resulting in a dramatic effect.
The key to successfully using true reverse reverb is
to make sure that you preserve the timing integrity of
the reverb in relation to the dry signal, so that when the
finished audio file is reversed into place, the reverb
occurs precisely before each note of the sequence.
Lets start by reversing the Ultrabeat drums using
the familiar Bounce in Place feature, making sure that
the resulting region fits exactly within a defined
number of bars. 7
Instantiate some time-based effects using a buss
send from the reversed region. As were looking at
time-based effects, our principal plug-in choices
should be Space Designer and/or some of the tempobased delay plug-ins, including Tape Delay and Stereo
Delay. Of course, the precise settings will vary given the
input youre trying to process and the end result you
want to achieve. In this case, were going to use a short
delay and reverb setting so that we dont interfere with
the drums too much. Less percussive sounds, though,
may well suit a particularly spacious sound perhaps
using a reverb time of 46 seconds and a long
regenerative delay. 8
Play time
As well as experimenting with reversed audio tracks
and instruments, its also worth exploring the sonic
possibilities of reverse time-based effects namely,
reverb and delay. Of course, you can simply bounce an
effects-only file to disk and reverse this, but the real joy
of reverse effects comes from true reverse reverb tails,
when the effects tail precedes the note or sequence in
question. Put another way, the reverb comes before
| 91
MTF Technique Reversed sounds
7
8
Reverse the Ultrabeat drums using the Bounce in Place

feature, making sure that the resulting region fits exactly
within a defined number of bars.
Now comes the important part to get right the

effects bounce. First youll need to solo out the
effects-only auxiliary faders so that only the reverb and
delay are present in the mix. Next, specify an area to
bounce (using the cycle locators), factoring in two or so
bars after the end of the reversed drums to allow for the
reverb and delay to decay away into silence (longer
reverb times will, of course, need more bars). Finally,
use the Bounce button on the main fader to bounce the
effects-only mix down to an audio file, ensuring that the
resulting file is then re-imported in your project. 9
With the reverb and delay bounced, drag the newly
created audio file into your arrangement, placing it
exactly two bars before our drum sequence (this allows
for the two bars post-roll when we created the
effects-only bounce). Open the audio region in the
Sample Editor and, making sure that the whole region is
highlighted, select Functions>Reverse from the local
menu. Move back to the arrangement and notice how
the reverb tail now fades up to the first hit. Finally, play
back the sequence (unmuting the original drums and
then muting or deleting the temporary bounce) to hear
the reverse reverb in full effect. 10
Having created your true reverse reverb, theres no
reason to think that it forms the end of the creative
options available to you. Indeed, these reverse-reverb
effects often form a great starting point for further
exploration. For a start, try editing the reversed reverb
region, using it as a spot effect rather than
continuously playing behind the drums. In our example,
try using the first reverse tail just before the drums,
and perhaps a few other beats at the transitions
between bars. If you decide to make an aggressive cut,
remember that you can always use a small fade at the
beginning of an edit to preserve its backwards
dynamic envelope. 11
In addition to further edits, its worth playing with
additional plug-in effects to add further character to
the reverse-reverb effect. A dose of heavy-handed
compression (try an 8:1 ratio with about 610dB or gain
reduction) will help to bring out some of the more
discrete details in the reverb tail. 12
For extra grit, try adding a touch of Bitcrusher, which
really helps to create some distinction between the
original drums and the reverse reverb, as well as adding
more character and edginess to the overall sound.
Reverse Logic
The creative and sonic potential offered by reversing
sound is something that can never tire, as each new
sound brings exciting new possibilities. Beyond the
techniques weve described here, theres also plenty
more to discover in Logic, including the EXS24s
Reverse function (as part of its Instrument Editor), the
EnVerbs ability to create fake reverse reverb, plus
further reverse functions in the Transform Editor.
Indeed, the more you investigate reverse engineering
in Logic the more you realise that the Sample Editors
Reverse function represents only the start of what you
can achieve with time-inverted sound. MTF
11
12
10
With the reverb and delay bounced, drag

the newly created audio file into your
arrangement, placing it exactly two bars
before the drum sequence.
focus
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MTF Technique Drum tracks
Processing FX for
bigger drum tracks
On the disc
If you want a big, powerful drum sound youll need a

radical approach to signal processing.
Mark Cousins is having it large
ore than any other instrument in the

mix, drums seem to tolerate a good dose
of heavy-handed signal processing.
Although a big and beefy drum sound
might not benefit every mix you work on,
its interesting to note how much energy can be injected
into a track via some judiciously over-compressed drum
sounds. Whether youre working with acoustic drums or
hard-hitting beats, its worth knowing some of Logics
more extreme ways of processing a drum kit.
Although our main tool will be Logics Compressor,
this is also an opportunity to reappraise the AutoFilter
plug-in as well as the relative merits of mono signals in
the context of powerful sounds. And these techniques
dont apply only to drums its worth applying them to a
variety of instruments to see what they bring to the mix.
A polite start
The drums included on the DVD are relatively polite a
good starting point for exploring extreme processing.
Well start by looking at the application of compression
PRO TIP
For a more controlled amount
of stereo width, consider using
the Direction Mixer instead of
the Gain plug-in. The Direction
Mixer is useful in that you can
finely adjust the stereo width
in steps, going from a Spread
setting of 1 (for the full
left-to-right soundstage)
through to 0 (which is a
completely monaural image).
To get the extra power, just a
small reduction of stereo
might be all thats required.
Apply these techniques to a

variety of instruments to see
what they bring to the mix
Parallel motion
Although the insert compression helps to glue the
overall sound of the kit together, we need to turn to a
different compression trick to really deliver the big and
as an insert effect, so for now, instantiate the

Compressor plug-in across the drum track. Whats
interesting to note with this exercise is how easy it is to
appreciate some of the subtle differences between the
various compressor circuit models and elements such
as the attack and release settings. As youll see, small
changes to these will make a big difference to the
results, so its also a great way of understanding the
Compressor plug-in in a more informed way. 1
Start by setting the Compressor at a relatively hard
compression setting a 4:1 Ratio, Attack at 12ms,
Release at 120ms then back down the Threshold until
you yield around 15dB or so of gain reduction. Now try
experimenting with the different circuit types, in
particular the sound of the VCA mode. Compared to the
default Platinum circuit type, the VCA mode has a more
pleasing envelope to the sound, especially in relation to
the release and body of the kit. Other modes to try
include FET and Opto, both of which place a different
emphasis on the enveloping of the results. 2
Given that the compressor is running as an insert
across the drums, the Attack and Release setting are
vital to the integrity of the results. In this case, the
Attack is fast, but not so fast that the transients of the
drums are compromised (the kit still has bite, in other
words). The release, on the other hand, is slow enough
to create a pumping effect, arguably helping to create a
pleasing body to the overall sound. 3
Set the Compressor at a

relatively hard
compression setting a
4:1 Ratio, Attack at
12ms, Release at 120ms
then back down the
Threshold until you yield
around 15dB or so of
gain reduction.
focus
Drum tracks Technique MTF
You need to push

the compressor
hard enough so
that its almost
breaking up, then
either pull back
the Threshold or
lengthen the
Release to reduce
the extremities.
Its interesting to note that a

full-width stereo image somewhat
dissipates the power of the kit
beefy sound we discussed earlier. Parallel
compression whereby the compressor is injected into
the mix via an auxiliary buss send is a great way of
creating a more extreme compression effect without
completely obliterating the integrity of the original
sound. However, to get the best results we need to
follow a few simple principles.
To create the parallel compressor, create a buss
send for the drum channel and patch an instance of
Compressor across the newly created aux fader. Set up
the parallel compressor using similar settings to the
insert compressor indeed, you could just copy and
paste the Compressors settings. The three crucial
parameters to play with here, though, are the Attack,
Ratio and Threshold. Set the Attack as fast as it can go,
as ideally we need the transients to be squashed hard.
To get this desired transient smashing, increase the
Ratio (to around 7:1 or so) and raise the Threshold. The
theory here is that were now directing the compressor
more towards the transient energy rather than the
body of the sound. 4
At such extreme settings its often the case that a
small amount of distortion can start to become evident
in the compressors output. Ideally, you need to push
the compressor hard enough so that its almost
breaking up, then either pull back the Threshold or
lengthen the Release to reduce the extremities. Even
with a tamed compression, though, its often
interesting to introduce a small amount of the
distortion post the compressor. Dont overcook the
distortion, though, just add enough to restore some of
the high end sucked away by the compressor. In this
case weve used Growl mode and set all three controls
around their 12 oclock position. 5
The final task with the Compressor set up in a
parallel configuration is to bleed a certain amount of
the transient-squashed sound back into the mix. Even
small amounts of the parallel compressed signal fed
back in this way can be quite effective, although given
PRO TIP
Add an extra dimension to
your big drum sound with
some Space Designer reverb.
As the first effect in the insert
path, the reverb can provide
extra room sound for the
compressors to work with. Use
reverb after the monoing Gain
plug-in to return a degree of
stereo information. Use short
settings (around 1s or so) for
the best effect.
the kind of effect were after, well probably push the

level relatively high in the mix, but still somewhat
behind the main drums.
Power of mono
Although compression is an important tool for power,
lets look at two additional ways in which we can make
the drums more powerful. One often-forgotten trick is
the power of a reduced stereo image. Despite sounding
wide and flattering, its interesting to note that a
full-width stereo image somewhat dissipates the
power of the kit, whereas a tight mono image tends to
offer the musical equivalent of being hit in the middle
of the head with a sledgehammer (the almost monaural
mix of Red Hot Chili Peppers Californication is a good
example of this).
The best way of monoing our kit is to change the
output assignment of the two faders (both the original
drum track and the parallel compression) to a new buss.
Once this is done, instantiate the Gain plug-in across
the corresponding buss fader. Open the Gain plug-in
and activate its Mono control to remove the stereo
width from the drum submix. Compare the results
before and after the Gain plug-in and notice how the
| 95
MTF Technique Drum tracks
The monoing effect can be made even more interesting when sitting in a stereo-rich
mix, so that the drums form a pronounced contrast to the rest of the track.
6
relative power of the drum kit changes. The monoing
effect can be made even more interesting when sitting
in a stereo-rich mix, so that the drums form a
pronounced contrast to the rest of the track. 6
distortion and notice how the low end takes on extra

body and weight, without necessarily sounding
distorted. This type of input distortion is a big part of
the warmth attributed to a Moog filter, so its worth
experimenting with the effect on a range of sounds. 9
At the opposite end of AutoFilter is the Output
Distortion, which is just as useful as the added
saturation on the Input stage. Rather than being focused
on the low end, though, the Output Distortion tends to
favour the high end more, restoring a touch more
presence thats often lost by the low-pass filtering. After
filtering, if the drums sound too lost in the mix, this
Output Distortion is a great way of adding a touch of bite
to help push them through while retaining the colour
and weight that the low-pass filter delivers. 10
Filter fun
In addition to monoing the kit, theres a lot of fun to be
had using the AutoFilter both as a means of rolling off
the top end of the kit and to add extra body. Following
the Gain plug-in, therefore, insatiate AutoFilter. The
default setting always has a degree of Envelope
Tracking (so that the filter follows the dynamics of the
input signal) but were interested in a static filter. To
remove the filters existing movement, therefore, turn
down the Cutoff Mod parameter from 50% to 0%. 7
The role of the filter in this case is to add heavyhanded top-end reduction, helping to place greater
emphasis on the power of the drums the kick and
snare while attenuating superfluous detail like the
hi-hat. Turn down the Cutoff to about 7080% enough
to darken the top end but retain the musical input of the
hi-hat. You can also experiment with different strengths
of filter the 24-pole filter (the default setting) is more
extreme and pronounced, whereas the 6- and 12-pole
settings are lighter on the hi-hat reduction and arguably
produce a more musical output. 8
Although the basic filtering is relatively interesting,
the real power of the effect comes from the introduction
of distortion, both at the Input and Output stages. Try
adding a small amount about 80% of Input
Big is beautiful
This simple combination of three signal-processing
ingredients compression, mono imaging and filtering
has long been exploited as a means of adding power
to drums, perhaps best exemplified by the muchsampled drum introduction to Led Zeppelins When The
Levee Breaks. Although many engineers turn to
expansive modelled plug-ins (or even the original
hardware) to create such effects, its reassuring to note
how well Logics own plug-ins work in this context
thanks to their flexibility and excellent sonic output.
Next time your mix is starting to sound a little too polite,
therefore, consider turning up the heat a little and
making your drums that little bit bigger. MTF
Although the basic filtering is relatively interesting, the real power of the effect
comes from the introduction of distortion, both at the Input and Output stages.
focus
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MTF Technique MIDI control surfaces
Do-it-yourself MIDI
control surfaces
Creating you own MIDI control surface can transform
Logic workflow, making it considerably more productive
and hands-on. Mark Cousins takes control
lthough some engineers are happy to use a

mouse and QWERTY keyboard all day long,
theres a lot to be said for having a
collection of hands-on physical controls as
a means of interfacing with your DAW. Of
course, the ideal solution is to have a touch-sensitive
control surface such as the Mackie Control, but you
dont have to resort to expensive additional hardware to
achieve a more tactile working environment. With a
modicum of time investment, any MIDI controller can be
transformed into a working control surface for Logic
even if its just a simple keyboard with a single mod
wheel to play with.
In this Workshop were going to take a look at a
quick-and-easy way of making your projects more
hands-on (taking no more than few seconds to
configure), as well as exploring a more involved setup
that will offer you an unprecedented degree of control
over your Logic workflow. As weve said, all youll need is
a basic MIDI or USB controller keyboard with eight or so
MIDI faders and a mod wheel, although anything that
transmits MIDI data will do to get you started.
Open access
The first option for hands-on control well explore is
Automation Quick Access, which is arguably the
quickest and easiest way to add tactile control to your
Logic workflow, even if you have only a basic MIDI
controller keyboard. Indeed, even if youve got a
PRO TIP
Although flying faders are a
great way of adding
automation data and seeing
the mix, the inherent noise of
the motors can be distracting
either when youre
evaluating a mix or (even
worse) recording in the control
room. A handy tip, therefore, is
temporarily disable your
control surfaces via Logic Pro>
Preferences>Control Surfaces
>Bypass all Control Surfaces.
On the disc
dedicated control surface, its well worth investigating

Automation Quick Access as an even easier way to
automate FX parameters and so on rather than having
to flip faders and navigate multiple software screens to
find the correct parameter.
Open the Logic project included on the DVD as a
starting point, then select Logic Pro>Preferences>
Automation. With the Preferences window open, youll
see the option to engage Automation Quick Access at
the bottom of the dialog box. By default this will be set
to Off, so change it to read On. Logic will ask you to map
an accompanying controller click the Assign button
and then slowly move or turn your chosen controller
(ideally the mod wheel) to map it to Automation Quick
Access. Once youve finished, press the Done button. 1
Taking control
The beauty of Automation Quick Access is that a single
controller can be mapped to almost any mixer or
instrument parameter in Logic via the automation
system. At the moment, for example, you can move
through each channel of the mix using the mod wheel to
turn the fader up or down accordingly and re-shape the
balance. You can see why this is happening by viewing
the current automation status (View>Track Automation).
By default, all of the automation track lanes are set to
Volume, which is why the mod wheel is currently
controlling the level of each instrument. 2
Of course, it isnt just volume that the mod wheel can
control, but any other plug-in or instrument parameter
in our mix. For example, move to the synth bass track
and click on the small arrow at the bottom of the track
lane to open an additional automation track. Click on
the current automation assignment Volume and
change this to an ES2 parameter of your choice from
2
The beauty of Automation Quick Access is that a
single controller can be mapped to almost any
mixer or instrument parameter in Logic.
focus
MIDI control surfaces Technique MTF
To open the Controller

Assignments Window use
either the menu option
Logic Pro>Preferences>
Control Surfaces>
Controller Assignments or
the keyboard shortcut
[Cmd]+[K].
You dont need additional

hardware to achieve a more
tactile working environment
the dropdown menu (LPF Cutoff, for example). The role
of the mod wheel will now change given the current
automation track lane youre resting on (the uppermost
lane for volume, the lower lane for cutoff). 3
Fade to grey
Now lets look at a more involved setup, this time using
eight or so MIDI faders assembled into a custom-built
control surface. To keep things simple, close the current
project and create a new one, then create nine new
audio or instrument tracks so that we can build and
test-drive our eventual physical control surface. For
now, make sure that youre resting on the ninth fader
(the ninth fader is the Selected Track, in other words)
the reason for this will become apparent later on. 4
There are multiple ways to assign controllers in
Logic, but well stick to the Controller Assignments
Window so that you get a better understanding of the
entirety of the process. To open the Controller
Assignments Window use either the menu option Logic
Pro>Preferences>Control Surfaces>Controller
Assignments or the keyboard shortcut [Cmd]+[K].
Theres a lot of information in the Controller
Assignments Window, but its the best way of visualising
your assignments as youre piecing them together. 5
To map a fader youll first need to move the virtual
mixer object you want to control in this case, the
volume fader on Logics first mixer channel. Next, press
Learn Mode and then move the physical MIDI controller
you want to map to the mixer object in this case, the
first of our eight physical MIDI faders. Once this is done
your fader will be mapped, so its worth moving out of
Learn mode or you run the risk of adding further MIDI
controllers to that assignment. 6
PRO TIP
Rather than build your own
control surface, it might be
that Logic has a template for
your existing MIDI device. Go
to Logic Pro>Preferences>
Control Surfaces>Setup and
select New>Install. You should
be presented with a list of
supported devices. Select your
device and press Scan. Once
the device has been found,
youre ready to go.
something more meaningful, giving the mapping a title

such as MIDI Fader 1 so that youre clear which
physical controller it belongs to. Also check that its
Channel Strip status is set to Fader Bank 1 and not
Selected Track. This is the reason why we created, and
rested on, the ninth fader: so that a Selected Track
assignment wasnt mapped to the first MIDI controller.
If it has been assigned you can simply change the
Channel Strip parameter from Selected Track to Fader
Bank accordingly. 7
Now methodically move through each fader,
mapping each MIDI controller to each subsequent
fader until youve mapped all eight. Although this takes
some time, its worth remembering that the controller
mapping is a global preference, so whether youre
starting a new project or revisiting an old one, the
mapping assignments will always be carried through.
Theres also a neat workaround for consecutive
controls once youve mapped the next controller, stay
in Learn mode and then tweak the last virtual fader
(this would be fader eight in our example) followed by
the accompanying MIDI controller. Now, when you move
out of Learn mode, Logic will ask you if you want to
create the corresponding assignments to fill the
intermediate slots. 8
In control
You can see how the object is mapped to the right of
the Controller Assignments Window. At this point, for
example, its worth changing the Control Name to
| 99
MTF Technique MIDI control surfaces
6
Click on Learn Mode then move the physical
MIDI controller you want to map to the mixer
object. Remember to change the Control
Name to something meaningful.
Of course, youre not restricted to simply mapping

volume try mapping pan to rotary encoders, for
example, or Logics transport controls to physical
buttons on your MIDI controller keyboard. The type of
event or object that the MIDI controller manipulates is
listed in the Class parameter of the controller window.
The Channel Strip class, for example, covers the mixer
controls; Key Commands initiates any of Logics
assignable key commands from a MIDI event; Global
enables you to set locators, punch in/out points, and
marker positions over MIDI. In short, if your MIDI
controller keyboard can transmit the MIDI data, the
only limit is your imagination in respect to its
application in Logic. 9
You decide whats important to

you, mapping controls that improve
and enhance your workflow
Test drive
To test-drive our fader assignments, re-load the
original project back into Logic. Because all eight MIDI
faders have been assigned to Fader Bank 18, theyll
control the first eight channels of our mix irrespective
of whether the objects are audio tracks, instruments or
auxiliary faders. Note that you also might need to move
the fader through its current position to take control
of it this is to prevent the fader levels from jumping
as soon as you take control of them. Otherwise, use
your physical faders just like you would the virtual
versions in Logic for adding automation moves, for
example (in addition to the Automation Quick Access
method) or simply to rebalance the mix in a more
hands-on way. 10
Beyond the first eight faders, there are several

different options for taking control of the rest of the mix.
Often a MIDI controller will have a bank control for the
eight physical faders, effectively enabling it to transmit
a further series of controller messages from the same
set of physical faders. In this case, create additional
mappings based on the MIDI controllers additional MIDI
messages. Its also worth remembering that the fader
bank is adaptive, just like the virtual mixer in Logic.
Therefore, consider using folders to organise your mix,
grouping eight or so related faders at a time.
Hands on
Features such as Logics extensive MIDI control
mapping are easy to miss, but once harnessed they
offer the ability to customise Logic in some interesting
ways. Ultimately, it makes Logic a completely scalable
solution a tool that can be optimised to work with a
simple MIDI controller keyboard and the rudimentary
controls it offers as well as being able to integrate with
a dedicated control surface. Best of all, though, you get
to decide whats important to you, mapping controls
that improve and enhance your workflow. MTF
Youre not restricted to simply mapping

volume try mapping pan to rotary
encoders, for example, or Logics
transport controls to physical controls.
8
10
focus
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MTF Interview Lorn
Id love the ability to

apply permanent effects
onto the waveform and
move forward
The MTF Interview Lorn
Over two albums Lorn has become well known for his unique, dark electronic
productions. Here he reveals how Logic has enabled him to channel his creativity
os Angeles producer Flying Lotus has certainly been

cutting a swathe through many a musical genre with
his Brainfeeder imprint. Lorn was the second artist
to sign to the label and his debut album, 2010s
Nothing Else, was met with critical acclaim from
everyone from NME to Radio 1. It was a work that won Lorn a
worldwide fan base by striking a chord with its challenging,
beat-laden and melancholic electronics.
Lorn takes elements from genres that include hip hop and
dubstep, among many others. The resulting music is
sometimes frightening, darkly personal and brooding, yet
always interesting and unique. Its intense and Lorn is very
honest, although, as you can see from the photos, hes not
after personal recognition, only recognition for his music
Exploration, discovery, abandonment, experimentation,
he says of his compositional philosophy. I never go in with
one mindset and while it seems generic to call it a digital
canvas thats exactly what it is: a place to play, be abstract, be
representational, create new colours and shapes, to print it
out or rip it up and do it again, or do it different. I love this shit.
For every track I finish there are probably 50 projects that I
dont, half of them never get re-opened.
And he certainly does do it different, which all comes
down to his early influences
Music was and still is something that really stirs me up,
provokes and draws me in, he says. I grew up with a lot of
different sounds from funk and R&B to classic rock, 80s pop
and hip hop but it wasnt until I came across electronic music
that I felt like it was something I must do. There were late
night techno and drum & bass sessions on local Chicago
radio, I then discovered Aphex Twin, and bought my first wax
(Drexciya Molecular Enhancement). It wasnt long after that I
picked up a turntable and started getting into DJing and
turntablism, then building computers out of spare parts so I
could start making my own loops.
Lorn started sharing his work online at just 14 years of
age, but at 16 he came across Logic and his production work
became more serious
focus
I was introduced to Logic back in 2004 or 5 by an old

friend named Weston, part of a production trio called GEIN.
He was using Logic 5 on a PC. At the time I was stuck using
Reason and ACID Pro so Logic was completely alien to me: a
big complicated space that helped churn out some of the
craziest sounds Id ever heard in drum & bass and electronic
music in general. A couple of years later I bought the
academic version of Logic 7 and spent nearly a month
opening and closing it before I actually managed to create
something. It was a tough leap from the step sequencing I
was used to but one that Ill never regret making.
Lorns 7&13 EP and Grief Machine 12-inch vinyl releases
followed and came to the attention of Radio 1 and Mary Anne
Hobbs, and he was signed to Brainfeeder.
Ive since toured all over the world and had my music
synced with television and video games. he says. I never
really spelled it out like that its been a crazy journey so far.
Dedicated studio
Kit List
Akai MPK
keyboard
Akai MPD32 + 24
controller
Apple i7 27-inch
iMac My main
workhorse
Beyerdynamic
DT770 Pro
headphones
Focusrite Saffire
6 USB interface
KRK 10s
subwoofer
M-Audio O2
keyboard
Moog Little
Phatty II synth
Pioneer RT-707
recorder
Yamaha HS80M
monitors
Nowadays Lorn has a full, dedicated studio which has a

modern front end based around Logic on an iMac, but Lorn
uses a trio or reel-to-reel recorders to capture his work.
(Each has its own personality, my favourite being a Pioneer
RT-707.) Logic has now become his weapon of choice for
almost everything else, though
It has a weight to it, he explains. The interface, the
ordering and the sound itself. What was once the most
intimidating screen I had ever seen has since become the
most robust and powerful DAW I have ever used. I now use it
for pretty much everything: drum programming, recording,
effects, remixes, re-edits, mix downs, mastering Ive got a bit
of a weird post-production workflow seems iffy to me, at
least that also uses hard changes on files bounced out of
Logic and then edited in Soundtrack. Using Logic live is a bit
of a different story. I havent yet tried Mainstage but Ive pulled
off a few sets using Ableton Live as a sequencer with Logic
open second (so ReWire isnt enabled) for live instrumentation
and vocals.
Lorn Interview MTF
After a slow start Lorn has become a power user, almost to

the point where the software has become transparent
After using it for so many years now, daily, constantly, it
has gotten to the point where there isnt much keeping me
from putting an idea together besides the time to do it. Im
able to experiment more. A lot of other DAWs make it feel like
Im just participating in something going through some
motions like playing in a sandbox whereas Logic drops me
off at the beach with power and amps for all of my gear.
He also has some ideas for additions to the software
Id like to see Soundtrack Pros complete audio view and
editing capabilities implemented into Logics current
waveform view, he says. Soundtracks spectrum view is an
amazingly helpful tool, plus you can visually click and drag to
capture and edit certain frequencies. Its timestretch feels like
a really early version of the Flex tool, has a completely
different sound, and is all the better for it. Plus Id love the
ability to apply permanent effects onto the waveform and
move forward as opposed to having effects open, tempting
me while eating up the CPU.
And some bugbears
Ive migrated systems, done complete re-installations,
and transferred a lot of files onto external drives, so opening
old EXS instruments is either hit or miss. It could be my own

fault, with poor naming conventions, or maybe I just dont
know about some secret search tool, but many of my old
custom libraries have been rendered nearly useless because
Logic cant find the files that Spotlight can.
After now spending so long with the DAW does Lorn have
any top insider advice?
I might be really late on this but you can get past the 4GB
memory management limit (low on memory, out of memory
errors) by right-clicking the application in the Finder,
selecting Get Info and unchecking Open in 32-bit mode.
Logic 9 will now run in 64-bit and unlock the rest of your
available RAM. The downside to this is that any third-party
32-bit plug-ins youre using will run through a bridge and their
interfaces wont load automatically. This has helped me out of
a few binds including saving projects I could no longer open.
Lorns second album, Ask The Dust, was released in June
and hes currently building a live show to tour it with live
drumming, instrumentation and vocals.
Im really putting an open environment together so that
no two sets are ever the same, he says, and adds, Im also
involved in soundtrack work for an upcoming video game its
very exciting, and I hope I can talk about it soon! MTF
MTF Studio Eye Lorns top three Logic features
FLEX TOOL
Initially I had
glanced over this
function and thought
the only way I could
transparently alter
track timing (or
warp waveforms)
was with Live. That is
not the case at all as
it is right there inside
Logic.
BIN.
Here's another feature that Ive come to love but
didnt notice at first. My projects can get overwhelming
at times with so many recordings from different
sessions including heat of the moment, fix it later 75
track type sessions. It means that finding certain takes
is nearly impossible using the playhead and
arrangement view. The bin stores all recordings,
whether they are in use or not, and makes them easy to
locate, audition and/or get rid of.
a VARISPEED
I love this feature so much. For the longest time I'd
render out my music pitched down and then have to send them
through other applications like Cool Edit to slow them down. I
now use it to slow down the tempo while recording hard parts.
I use it to bounce out half-pitch/half-tempo bits for re-sampling
and, of course, bouncing entire projects out at some obscure
tempo in an in-between key.
| 103
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| 67
MTM Technique Stereo
Understanding &
exploring stereo
Its easy to overlook the stereo qualities of a mix, and
Logic has some useful tools for better defining your
soundstage. Mark Cousins has the lowdown
ithout stereo, the world of music would

be a considerably more onedimensional experience. However,
despite stereo being such an important
component of a successful mix, its
amazing how many of us myself included take it for
granted. Scratch beneath the surface, though, and youll
soon find that Logic has a range of tools that enable you
to evaluate, refine and control the stereo image to
create a realistic and engaging left-to-right soundstage.
Equally, its also worth taking a few moments to
consider the phenomenon of stereo, and what precisely
were trying to achieve by feeding sounds to two
speakers rather than one.
PRO TIP
If youre intrigued by the
possibilities of M/S
processing, take a look at
Brainworxs bx_control V2
plug-in. The bx_control is an
advanced M/S matrixing tool
that can turn any of Logics
plug-ins into M/S processors.
Just place the bx_control at
the beginning and end of the
plug-in chain everything
between it works in M/S mode.
On the disc
MultiMeter plug-in. In short, the Goniometer is a form of

two-channel oscilloscope that provides a visual guide to
both the phase and stereo qualities of a mix. Unless
youre in a perfectly treated control room, the
Goniometer is essential for understanding how stereo
works, and, in the example of this Workshop, how the
mixing decisions we make influence the final output. 1
The Goniometer is currently placed across the main
stereo output, which is being fed by two instances of
Ultrabeat routed to buss 1. Playing back the song
reveals a completely monaural mix of the drum and
snare, which is indicated by the strong central line in the
middle of the Goniometers display. Add some reverb to
the snare, using the instance of Space Designer
patched across buss 2. Notice how the display dances
in response to the stereo information generated by the
reverb. Even with the monitors turned off, therefore, we
can gauge some important information about the mix,
particularly in relation to the instrumentations
positioning and the selective use of reverb. 2
Take to the stage
Down the pan
Rather than focusing on one plug-in in Logic, this

Workshop will take a broad look at a number of tools
that impact on the stereo-ness of your mix. To best
understand whats going on, though, we first need to
explore the Goniometer options as part of the
Turn off the reverb for now as were going to explore how
the pan pot can control and influence the stereo image.
Using the pan control on the first two channels,
therefore, slowly reposition the kick and snare so that
theyre hard-left and hard-right respectively. On the
Goniometer, you should have seen the two instruments
slowly move from the middle to either the left- or
right-hand sides of the display, and you should now also
be able to discern some of the sonic differences
between the two sounds (this will help later on,
visualising the impact of our mixing decisions). 3
Logic has a range of tools that

enable you to evaluate, refine
and control the stereo image
1
2
The Goniometer is currently placed
across the main stereo output, which is
being fed by two instances of Ultrabeat
routed to buss 1.
focus
Stereo Technique MTM
Using the pan

control on the
first two
channels, slowly
reposition the
kick and snare so
that theyre
hard-left and
hard-right
respectively.
In effect, what weve created here is a form of stereo

signal on buss 1, with the two instruments sitting at the
two extremes of the soundstage. Of course, whenever
you select a stereo audio track (or stereo virtual
instrument) youre effectively starting at the same
point, although the precise makeup of the stereo image
will vary (you might be dealing with just a touch of
internal reverb, for example, or a collection of samples
captured with a pair of stereo mics). Whats interesting
to note, though, is how the pan pot, as simple as it is,
influences the representation of this stereo signal.
To hear the results, therefore, try moving the pan
control on buss 1 while listening to the output and
watching the movements on the Goniometer. What
should be apparent is that the pan control doesnt pan
as such, but instead changes the relative levels of the
left and right channels. Pull the pan to the left,
therefore, and the snare gets gradually quieter and vice
versa. At extremes, of course, the snare or kick
(depending on which way you pan) will be completely
removed, which may or may not be a good thing. 4
The real world

Thinking this behaviour through, its easy to see both
pros and cons to the pan pots influence on the stereo
signal. In the real world, of course, this operation is
much the same as what youd hear in real life, with a
greater emphasis on one instrument as you moved to
either side of the soundstage (although, of course, youd
still hear the room ambience and a small proportion of
the opposite side). However, if youre panning a stereo
piano sample that has a left-to-right positioning on the
keys, the logic doesnt carry through so well. In this
case, the pan pot changes not only the instruments
position on the stage, but also the relative balance of
the left- and right-hand keys (the low and high notes, in
other words), which could lead to some unforeseen
musical deficiencies.
So if we dont like the behaviour of the pan pot, what
other options do we have? Well, one simple but slightly
drastic solution is to use the Gain plug-in, found under
the Utilities and Tools folder. By monoing our signal
before we pan it, we negate any relative level changes
across the two channels. Of course, the cost of this
action is that the stereo interplay between left and right
is lost, but as we move to one side of the soundstage,
the signal becomes increasingly mono anyway. In short,

therefore, extreme left and right instruments may well
benefit from being monoed first. 5
While weve got the Gain plug-in open, its probably
worth noting some other important features relevant to
stereo signals. Arguably the most useful one is the
ability to swap the two channels of the stereo signal
using the Swap L/R button. This is an absolute godsend
if your Virtual Drummer plug-in is panned from the
drummers perspective; going back to the piano
example, if the keys are arranged as if you were sitting
at the piano (for reference, music should generally be
mixed from the listeners perspective). Theres also the
ability to switch the phase of the left- and right-hand
channels, as well as the ability to adjust the L/R
balance ahead of monoing the output. 6
Image makeover
PRO TIP
Technically speaking, the
Stereo Spread tool is best
used as a means of creating
stereo information from a
monaural sound source rather
than increasing the width of an
existing stereo signal. The
plug-in works by dividing the
frequency spectrum and then
placing the respective bands
on either side of the stereo
soundstage. Its an
interesting tool, but
something that
shouldnt be overused.
Another way of controlling the stereo soundstage is, of

course, to use Logics various forms of Imaging
Processor, most notably the Direction Mixer. The
Direction Mixer solves the previously noted problem
about panning a sampled piano, enabling you to
reposition the instrument but retain the balance
between the upper and lower keys. You can see how the
Direction Mixer works by instantiating it across buss 1
and using it as a replacement for the pan pot. As you
move the Direction control to the left, for example, the
snare moves with the kick drum, so that both signals
are present in the left-hand speaker. At extremes, of
| 107
MTM Technique Stereo
The Gain plug-in enables you to switch

the phase of the left- and right-hand
channels, as well as adjust the L/R
balance ahead of monoing the output.
course, the signal effectively becomes mono, but we

havent compromised the musical information carried in
either channel. 7
The prowess of the Direction Mixer doesnt begin
and end with the Direction control. The Spread control
is just as useful, either restricting the stereo width or
expanding it. The reduction of the width is easy to
understand, especially when using the Goniometer.
Imagine our stereo buss fader as two mono faders,
panned hard left and right. In the case of a reduction of
the Spread, the control works in much the same way as
pulling-in the pan controls, with the signal effectively
becoming monaural when the parameter is at zero. 8
A better understanding of stereo

will ensure your mixes have the width
and dimension they deserve
information see MTM Issue 85s Ten Minute Master on
middle-side mastering) to break a L/R signal into
middle (centre) and side (stereo extremities)
components. The easiest way to understand a wide
spread is by monoing buss 1, re-instantiating the snare
reverb, then instantiating the Direction Mixer on the
main stereo fader. Now move between a width setting of
0 and 2.00. With Spread at 0, the mix is middle-biased,
with just the mono components of the mix. Move to
2.00, though, and we hear just the extremities of the
soundstage; in this case, the sides of the reverb. 10
Going wide
While it might seem like a shame to restrict the width of
stereo signal, the Spread control is a great way of
rationing the use of the soundstage. In truth,
overpopulating the extremes of the soundstage can
create clutter. Indeed, it is said that there are three
golden positions in a mix hard-left, centre, and
hard-right and that these three positions should be
taken by a few select signals. As an example, I often find
that the stereo delay sounds too wide (the taps are
panned hard left and right by default), but a quick
instance of the Direction Mixer will bring the output
closer to around 11 and 1 oclock respectively. 9
Whats trickier to understand, though, are the results
of moving the Spread control outwards. In short, the
Direction Mixer uses a form of M/S matrixing (for more
Panoramic vision
Although theres plenty more to explore, this Workshop
hopefully introduces some of the key issues in relation
to stereo in Logic. Ultimately, the result of the Workshop
could just be that youre more informed about Logics
pan control, but equally, by using the Goniometer and
your ears you might start to be more inquisitive about
the stereo information that a plug-in offers and how
this is best carried through into the mix. Either way, a
better understanding of stereo will ensure your mixes
have the width and dimension they deserve. MTF
10
The easiest way to understand a wide spread is by monoing buss 1,

re-instantiating the snare reverb, then instantiating the Direction
Mixer on the main stereo fader.
focus
MTF Technique Sidechained compression
Using sidechained
compression in Logic
On the disc
French-style compression is all the rage, but what are

the key ingredients in this exciting form of dynamic
control? Mark Cousins goes sideways...
s with a number of different experimental

compression styles, sidechained
compression (also known as French-style
compression) has gained a lot of popularity
over the last few years. The technique is
arguably best exemplified in the work of Daft Punk
(hence the French tag), although the distinctive sound
of sidechained compression has now crept into a range
of different production styles. In this Workshop,
therefore, were going to look at the specifics of creating
the effect of sidechained compression in Logic, looking
at both the signal routing involved as well as the key
parameters that define the character and effectiveness
of the results.
Before we dive into the specifics, lets remind
ourselves of the principles of sidechained compression.
In most applications, a compressors movements in and
out of gain reduction are dictated by the signal its
processing in other words, the compressor changes
the output gain in relation to the input level; as the
volume of the track rises, so does the amount of
compression. However, with a sidechained compressor

we make a distinction between the input (the signal
being processed, in other words) and a sidechain input
used to control the compressor. By choosing two
contrasting sources, therefore, we can create some
novel and interesting compression effects.
French style
PRO TIP
The Enveloper plug-in is
another interesting tool for
dynamic reshaping. As its
name suggests, the Enveloper
can radically modify the
attack and release of an audio
signal. Use it on drums, for
example, to add transient bite,
or bring up the room ambience
using the Pumping Reverb
preset, which is great for its
extreme compression sound.
Sidechained compression
has gained a lot of popularity
over the last few years
The classic application of French-style sidechained

compression is to make a distinction between the body
of the track, which is subjected to the compression, and
the kick, which is used to control the compression. Our
starting point in the demo project on the DVD is to route
the respective parts of the mix namely, the kick and
the body of the track to two separate busses. As the
first step, route the Ultrabeats kick drum to Bus 1 and
then route all the other tracks to Bus 2. Note that if you
wanted to keep parts of the mix separate from the
sidechained compression (such as the vocals, for
example), these could be routed to Bus 3. 1
With the basic routing in place, instantiate the
Compressor plug-in across Bus 2. For now, its also
worth removing the kick drum from the mix, so try
muting the output from Bus 1 this prevents us hearing
the kick in the main output, but its still active, as such,
on the buss fader. With the kick muted, well gain a
much better understanding of how the sidechained
compressor is working, as well as the precise impact of
the compressors controls. 2
Kick into action

Now we need to establish the sidechain input on the
compressor in other words, the source used to control
the compressors gain-reduction circuitry. You can see
2
Route the Ultrabeats kick drum to Bus 1 and all the other tracks to
Bus 2. If you want to keep parts of the mix separate from the
sidechained compression, route them to Bus 3.
focus
Sidechained compression Technique MTF
The Circuit Type has a big effect on how the

compressor behaves, with certain models
having a more musical performance than others.
the current sidechain assignment in the top right-hand

corner of the plug-in. At the moment the parameter is
set to None, which means that the compressor is using
the main input to control the movements of the
compressor. Click on the dropdown menu, though, and
we can move it over to read Bus 1 the kick drum. 3
To audibly check that the routing is correct, open the
Compressors extended parameter set (via the small
arrow at the bottom of the plug-in interface) to see the
full set of sidechain controls. Change the Activity
parameter from Off to Listen. If the routing is correct
you should now be listening to the kick drum as the
sidechain source. Move the Activity control back to Off
to restore the compressor to its usual operation. 4
Circuit trainer
Beyond the basic routing, the finesse of the effect is all
down to the settings you pick on the compressor. As a
good starting point, therefore, try picking one of the
more audiophile Circuit Type settings. As youll see later,
the Circuit Type has a big effect on how the compressor
behaves, with certain models having a more musical
performance than others. Although the precise
derivation of the Circuit Types is hard to pin down, I find
ClassA_R to be a good starting point. Once weve created
the basic effect, though, its worth switching the Circuit
Types to see what you think sounds best. 5
Arguably the two most important controls for the
sidechained compressor trick are ratio and threshold.
On the whole, its worth not being too subtle here,
instead trying to get the compressor to do some hard
work. As a result, avoid calibrating the ratio too low
aim for settings around 6:1 or more, even up to
limiting. This theory also makes sense in that we want
the compressor to respond to the peak energy in the
kick rather than the body of its sound. Set the threshold
equally hard so that the compressor is applying plenty
of gain reduction. I really like the sound of the
compressor not quite reaching unity gain, instead
spending most of its time floating in the distressed -8
to -10dB region. 6
PRO TIP
Try sidechain compression on
the return from a delay line
being used to process a vocal.
By using the vocal as the
sidechain input youll turn
down the delay whenever the
singer is singing, with the
delay brought up at the end of
a line. This is a great way of
adding character to the vocal
without adding clutter.
enough (around 010ms) to respond to the kick, but not

too noticeable in the end result. The most important
enveloping parameter is Release, as this governs how
the compressor moves out of gain reduction and, hence,
the pumpiness of the result. A good starting point is
around 64ms, although there are big differences as you
move either side of this setting. The variables, of course,
are the tracks tempo (a slower track will need a slower
release time) and how you want the release to sound
either fast and responsive or more sluggish. 7
To finish the basic effect youll need to restore some
of the output level using the Gain control. Aim to restore
the output level so that it broadly meets the precompression levels. To hear the kick in the mix youll
also need to unmute its buss, then fine-tune the levels
between the two busses to form your final mix. In
theory, the added compression should provide a touch
more headroom, so it might be that both faders can sit
proportionally louder than they did before. 8
Feel the space

More than being just a gimmick, this form of
sidechained compression is an interesting way of
adding both space and dynamism to a mix. Because the
Pump it up
The next step is to investigate the Attack and Release
parameters. For this form of sidechained compression
the attack isnt that important ideally being quick
Focus Logic Pro 9 Volume 3 | 111
MTF Technique Sidechained compression
Youll need to restore some of the output level

using the Gain control. Aim to restore the output
level so that it broadly meets the precompression levels.
rest of the track is being actively turned down in

response to the kick, its amazing to note how much
extra prominence the kick is given, which is great not
only for dance music but also any type of production
that needs a powerful low end. The movement of the
compressor also adds an extra layer of dynamic and
rhythmic interest, with the instrumentation effectively
pumping up and down much like an open hi-hat.
Following the concept logically through, you could
also try a touch of selective EQ, creating some timbral
distinction between the two busses in addition to the
dynamic differences. Instantiate the Channel EQ
across Bus 2 so that we can EQ the body of the track. In
much the same way as the compressor, the trick is to
think subtractively in other words, what can we take
away to create greater distinction? The obvious
candidate is a some judicious high-pass filtering,
notching out the sub-80Hz region so that only the kick
drum extends to the depths of the mix. Apply the
steepest filter setting (48dB/oct) so that the
equalisation is as sharp as it can be. 9
The example weve created here is certainly extreme
in that it modifies the entirety of the mix (less the kick
drum, of course), but it isnt always necessary to go to
these lengths to use sidechaining effectively. Rather
than bussing the whole mix, therefore, consider how
the technique can be applied to individual elements
within a track. A bog-standard ES2 pad sound, for
example, can gain extra dynamic qualities by being
compressed French-style using the kick drum as the
Youll undoubtedly achieve some

great results that will both delight
and intrigue your listeners
sidechain input. Another interesting application would
be to compress an instance of Space Designer being
used to reverberate a drum kit. In this example, the
reverb would be pumped up and down (again, in
response to the kick), producing a unique squashed
room sound. 10
Chain reaction
Rather than just controlling loudness, therefore, a
compressor can be used for a range of dynamic
reshaping activates. As weve seen in this Workshop,
the key component is the sidechain, and by using some
imaginative combinations of sidechain input and audio
input you can produce an almost endless variety of
dynamic reshaping effects. Dont restrict yourself to
working with just the kick drum, therefore, and instead
explore how a range of sounds whether its the
vocals, snare or the bass guitar can be used as a
means of dynamically reshaping the sounds of other
instruments in the mix. Thanks to Logics flexible
routing and powerful Compressor plug-in youll
undoubtedly achieve some great results that will both
delight and intrigue your listeners. MTF
Apply some
high-pass filtering,
notching out the
sub-80Hz region so
that only the kick
drum extends to the
depths of the mix.
focus
10
Dubstep bass Technique MTF
Dubstep bass
in Logic Pro 9
On the disc
Logics powerful synthesizers are ideal for making a

range of dubstep sounds, especially the infamous
wobble effect. Mark Cousins shows you how
he dubstep wobble bass patch has become

a ubiquitous component of modern music
production, even crossing over into several
notable examples of mainstream chart
music. On the surface of it, the task of
creating a dubstep bass sound appears to be a
relatively straightforward one: simply map a temposynced LFO through to the filter and to a large extent
youre up and running.
However, beyond these basic principles, the finesse
can get a little tricky. For example, how do you
modulate the LFO speed so that it changes from note
to note? Equally, what are the secrets behind the
distinctive digital sound that artists such as Skrillex
seem to use to such great effect?
Faced with these kinds of questions, then, its
interesting to see how you go about creating a truly
contemporary dubstep bass sound in Logic without
needing to turn to third-party synths such as Native
Instruments Massive or Razor, which are often a first
choice for creating such effects. Indeed, with a little
creative thought its interesting to note how good
Logics integral synths can sound, especially when the
ES2 and the EFM1 are paired together. Its also a
perfect example of how several components of Logic
PRO TIP
To trigger two synth sounds at
the same time, place both
tracks into record mode using
the small R icon on the track
header. This is a great way of
auditioning the sounds at the
same time, and when you
actually get round to making a
recording, Logic will
intelligently place an alias of
the main sequence on the
additional track.
namely, software instruments, plug-ins and

automation can all work together to create a
composite effect.
First steps
In this first example, were going to explore how we can
transform a standard ES2 preset to make it more
appropriate to dubstep production. Open the instance
of the ES2 on track 1, which is currently set to one of the
default presets included in Logic Real Fat. Of course,
you can always start from scratch, but its interesting to
pick a bass sound that suits your overall sonic objective
(warm and analogue, for example, or dirty and digital)
and then modify the patch from this starting point. 1
The starting point of any dubstep bass line is the
routing between the LFO and the filter, creating that
distinctive wobble effect. In this example, were going to
use LFO 2, as this modulator can be tempo-synced (for
now, set the LFO to its 1/8 setting). To create the routing,
move to the modulation matrix (also known as the
Router) and select Cut 1+2 as the Target and LFO 2 as
the Source. When it comes to establishing the amount
of modulation you want to be relatively conservative,
introducing just enough LFO to create the movement
(around 0.20) rather than swamping the sound. 2
What weve created here is a relatively standard
analogue dubstep sound a patch than can sit nicely
at the bottom of the mix, but not something that really
grabs your attention. To give the sound more
prominence there are several techniques that you can
try. Arguably the biggest improvement comes from
some multi-layered distortion, increasing Drive and FM
in the Filter section, and the Distortion parameter as
part of the output controls. All of the parameters add
varying qualities of grit some before the filter, some
1
2
The starting
point of any
dubstep bass
line is the routing
between the LFO
and the filter.
MTF Technique Dubstep bass
3
To automate the LFO speed, open the
automation track lane (View>Track
Automation) and select LFO2 Rate from the
ES2s list of automatable parameters.
The dubstep wobble bass has

become a ubiquitous component
of modern music production
after as well as body. For more bass, try changing Osc
2 to a square wave and tuning it down 24 semitones (an
octave beneath Oscillators 1 and 3, in other words). 3
Wobble board
Rather than keeping the LFO fixed at its 1/8th setting, it
helps if you can change the rate, particularly on notes at
the end of a bar. Immediately, though, we hit a potential
restriction of the ES2 in that the LFO speed cant be
modulated (otherwise, we could just map the mod
wheel to the LFO 2s Speed parameter). The workaround
is to control LFO 2s speed using automation, which
might sound convoluted at first but actually opens
some interesting musical possibilities.
To automate the LFO speed, therefore, open the
automation track lane (View>Track Automation) and
select LFO2 Rate from the ES2s list of automatable
parameters. The trick is to be able to draw in
automation events that tally with the notes themselves.
To do this, select the Scissors tool and place edits on
the beats that you want the LFO 2 speed to change over.
As you make the cut, Logic might ask you if you want to
Split, Shorten or Keep notes. If this happens, select
Keep so that the notes remain as they are. 4
With the region edited, now comes the task of adding
automation nodes. Highlight the edited region and
select Track>Track Automation>Create Two Nodes at
Region Borders. With the nodes inserted in this way you
should now be able to lower/raise the LFO 2 speed for
the selected beat, with the chosen rate (1/8T, for
example) shown as part of the automation track lane.
When youre finished you could glue back the regions (so
that the sequence is contained in a single block), leaving
the automation moves as you created them. 5
Digital edge
When it comes to creating dubstep sounds with a
distinctive digital edge to them, the EFM1 takes some
beating, especially when its strategically layered with
focus
PRO TIP
If youre layering synth
sounds, consider using
AutoFilter as a unified way of
applying the wobble effect.
Get the synth sounds as rich
and buzzy as possible, then
route them through to a spare
buss. AutoFilter has some
useful distortion sections
(both before and after the
filter) and you can automate
the tempo-synced LFO to
create the morphing wobble
effect.
the ES2. Technically speaking, the EFM1 is a simple

one-operator FM synthesizer, much like an ultrasimplified FM8. FM synthesis is unashamedly digital in
its sound, mainly thanks to the strange, non-musical
additional harmonics the process of FM synthesis
creates. If youre interested, its worth taking a look at
Music Tech Magazine Issue 27s Logic Workshop to fully
understand both FM synthesis and the EFM1. For now,
though, well concentrate on the controls that are most
relevant to dubstep bass sounds.
Unmute the sequence thats on track 2 and listen to
our basic patch, which is the initialised reset EFM1
patch with some additional sustain. The key component
of any EFM1 sound is the amount of frequency
modulation applied via the large central FM knob. Try
experimenting with differing FM amounts, noting how
the effect is somewhat akin to a form of reverse digital
filtering, whereby greater amounts of FM adds more
harmonic material to the output. 6
The sub way

In keeping with dubstep principles, were going to
change the amount of FM using the LFO, creating a
unique form of digital wobble. Try increasing the
EFM1s LFO rate to around 1 oclock (sadly, it isnt
tempo-syncable) and move the LFO Amount control so
that it veers towards the FM side, rather than the Vib
side. As with the example on the ES2, well want to keep
the amount of modulation light so that the wobble
doesnt become too overbearing. You might also want
Dubstep bass Technique MTF
7
8
To adapt the
character of the
digital grunge
that is created,
try playing with
the Modulators
Wave parameter.
to reduce the FM Depth towards the top of the interface

(so that you remove some of the initial attack to the
sound) and increase the base level of the FM control to
define the amount of FM before the LFO interacts. 7
To adapt the character of the digital grunge that is
created, try playing with the Modulators Wave
parameter. By default, the Modulators waveform is set
to a sine wave, which is relatively polite. Other
waveforms, however, create a more chaotic set of
harmonics that are perfect for extreme dubstep. You
can also create some interesting effects by changing
the relative tuning between the Carrier and Modulator,
with the output becoming increasingly bell-like. 8
Although the EFM1 can create some interesting
digital harmonics, its output is still rather polite. To
make the result decidedly more extreme, therefore, try
instantiating the Overdrive plug-in, followed by a touch
of Bitcrushing. On the Overdrive plug-in, increase the
Drive to add some bite, ensuring that the Tone is kept
open (20,000Hz) to take advantage of the added
harmonics. Use the Bitcrusher mainly as a means of
adding downsampling artefacts. Set the Downsampling
around 4x and the resolution to 16-bit (unless you like
all the added noise, that is). 9
When it comes to automating the LFO movements on
the EFM1 you can use the same technique as we used
on the ES2. As the LFO isnt tempo-synced youll need
to set the rates by ear. Although the manual tuning is
slightly fiddly, you soon find the correct settings as they
dont need to be sample-accurate. Of course, there are
Creating dubstep bass gives a

fascinating insight into how you
can use Logics synthesizers
also the creative possibilities of using different LFO
speeds between the different sounds to create an even
denser form of movement. 10
Big bass
Creating dubstep bass is a fascinating insight into how
you can use Logics powerful synthesizers in an
imaginative way. Of course, theres plenty more to be
explored by just looking at the synthesizers themselves,
including the powerful FM capabilities within the ES2
that we havent even touched on here, as well as a host
of other left-field effects possible with the EFM1 (as a
tip, try pressing the Randomize button).
Most importantly, though, its worth remembering
that the techniques described in this Workshop arent
the only ways in which you can produce dubstep bass
effects in Logic. Among the myriad other creative
possibilities you could explore are plug-ins such as the
AutoFilter, and, of course, other virtual instruments,
such as the EXS24. MTF
When it comes to
automating the LFO
movements on the
EFM1 you can use
the same technique
as used on the ES2.
10
MTF Technique Song structure
Song structuring
tools & techniques
On the disc
Being able to quickly adapt and refine your songs

structure is an essential part of producing music
in Logic. Mark Cousins gets close to the edit
he cornerstone of any effective piece of music

production has to be the structure of a track
defining how a song evolves and develops
its musical ideas over time. Its essential,
therefore, that your DAW has a range of song
structuring tools, ideally so that structural ideas
(whether an extended chorus, a new middle eight or a
shortened intro) can be executed in an intuitive and
efficient way. As youd expect, Logic is equipped with a
good number of these song structuring tools, but its
easy to overlook the subtlety in their operation and,
indeed, how the editing buttons can actively be used to
enhance the creative process.
In this Workshop, therefore, were going to explore
Logics principal song structuring tools features that
enable you to change the macro proprieties of a piece
of music, rather than the smaller details such as
individual notes. As well see, there are plenty of useful
tools and tips to be found, but also some important
caveats in their operation that, once understood, will
allow you to execute song restructuring without the
PRO TIP
Use Logics Skip Cycle feature
as a means of auditioning a
cut before you initiate it. You
can create a Skip in much the
same way as you place
locators to cycle, only this time
youll need to drag backwards
rather than forwards over the
timeline for any bars that you
want to skip.
To place unassigned editing buttons, drag them from the palette

of options into the toolbar.
focus
Tooling up
Before we get started, its worth taking time to ensure
that the toolbar is set up correctly, and, in particular,
whether weve got a full set of editing buttons assigned.
When it comes to structuring a song, the editing buttons
found at the top of the Arrange window are invaluable
tools. However, depending on what version of Logic
youre running and how youve configured your setup,
you can find some small variations in the default
toolbar setup. To ensure weve got our full assignment of
editing buttons, therefore, [Ctrl]+click anywhere on the
toolbar and select Customize Toolbar. 1
For this exercise we need access to the following
tools: Cut Section, Insert Section, Repeat Section,
Insert Silence and Split by Locators. To place any
unassigned editing buttons, drag them from the palette
of options that should have now opened into the
toolbar. Its worth noting that this arrangement will
form your default toolbar every time you open Logic, so
spend some time creating a spread of buttons that
matches your workflow. 2
Directors cut
When it comes to structuring a

song, Logic Pros editing buttons
are invaluable tools
1
fear of important details such as automation moves,

tempo changes and even midi notes getting lost in
the process.
To understand Logics structuring tools were going to

explore a number of different musical tasks to see how
we can best accomplish them. In the first example,
were going to remove a passage from our song (in this
case, bars 1317), shortening the overall track length
but also keeping any subsequent tempo changes and
automation moves in place. Before we make the edit,
Song structure Technique MTF
5
As an alternative to using the editing
buttons at the top of the Arrange window,
you can use a menu function to achieve
the same editing task.
therefore, check that you have the Global Track open

and that Automation view is enabled (View>Track
Automation), so that we can see how the entirety of the
songs data is being affected. To make the cut, set the
locators, then click on the Cut Section editing button
found in the top of the Arrange window. 3
If youve carried out the Cut Section correctly, Logic
should have removed the corresponding passage of
music and moved the accompanying automation moves
and tempo changes accordingly (indeed, Logic will ask
you if you want to erase the old automation data as part
of the move). The point to note here is that the changes
are applied globally in response to using the editing
buttons at the top of the Arrange area something that
will become more relevant as we move through the
subsequent tasks. In short, all data is moved,
irrespective of whats been selected. 4
As an alternative to using the editing buttons at the
top of the Arrange window, its also worth noting that
you can use a menu function to achieve the same
editing task (Region>Cut/Insert Time>Snip: Cut
Selection Between Locators). The point to note here is
that the cut is dependent on the currently selected
regions in other words, only the selected regions
between the two locators will be cut, with subsequent
data shuffled along as before. If you want the menu
function to behave like the editing button, therefore, you
need to invoke the Select All command first although,
of course, it might be that you want to apply only a
selective cut in the first place! 5
PRO TIP
Be wary of automation data if
you use any menu-based song
structuring command. The
problem relates to tracks
without regions that might
have automation on (like an
aux channel, for example). To
solve the problem, simply
insert an empty region over
the automation data before
you make the edit.
chorus, for example, or a double-length verse. To create

a simple repeat, therefore, use the locators to define
the area you want to duplicate and select the Repeat
Selection editing button at the top of the Arrange
window. Once initiated, the rest of the song will be
shifted by the desired number of bars, and the area
between the locators doubled in length. 7
If you want to relocate a verse/chorus to a new part
of the song (or duplicate part of the song in any number
of locations), youll want to make use of a combination
of the Cut Section and Insert Section editing buttons.
Firstly, use the locators and the Cut Section editing
button as a means of defining and removing the section
of the song you want to move. To relocate it, use the
playhead to mark the point of insertion and click on the
Insert Section editing button. Once pressed, the cut
portion of the song is spliced into the song, moving any
subsequent material further on in the arrangement. 8
Structural caveats
Although the various structural editing tools do a fine
job, its worth pointing out a caveat in relation to MIDI
information, particularly on regions
Silence is golden
Another useful option is the menu feature Region>Cut/
Insert Time>Insert Silence Between Locators (replicated
by the Insert Silence editing button). This is a great tool
for quickly inserting a portion of blank canvas into your
composition, adding the desired number of empty bars
defined by the locators and shifting all subsequent
material to the right of this empty space. Again, you
might want to differentiate between the onscreen
editing button (which applies the process to the entirety
of the song) and the use of the menu command (which
inserts silence only between the selected regions. 6
As well as cutting and inserting silence, it might be
that you want to repeat a given section within the
composition maybe adding a repeat of the last
| 117
MTF Technique Song structure
If you want to relocate a verse/

chorus to a new part of the song,
use a combination of the Cut
Section and Insert Section
editing buttons.
with long sustained notes. To illustrate the issue in

action, try inserting two bars of silence (using the Insert
Silence editing button) to occur over bars three and four.
Once youve created the silence, open the Synth Pad
region in the Piano Roll editor. Note that even though
the region has been resized, the note still plays for its
original duration. The issue, therefore, specifically
relates to MIDI notes held over the section that you
want to edit something that may or may not be a
problem given the track youre working on. 9
In situations where you think overlapping notes
might be an issue, its worth using the Split By Locators
editing button before you initiate any Silence, Cut or
Repeat editing functions. The advantages of splitting
the region first is that you get the option to spot any
overlapping notes, and, if so, determine what youd like
Logic to do to remedy the situation. Where overlapping
notes are found, youll be given the option to Shorten,
Split or Keep the notes. Of course, your choice will
largely be dictated by what you want to achieve.
Shorten, for example, would be the logical choice in
situations where you want to use the Insert Silence
editing button, whereas Split might be useful if you
want to carry the segment (with all of the notes intact)
over to a new position in the song. 10
The ability to fluidly restructure

a composition is an essential part
of creative workflow
workflow whereby parts of the song are manually
spliced and re-edited to form a new structure. Given the
way in which the editing tools intelligently grab the
entirety of the songs data (automation, tempo changes
and so on) theyre well worth using, enabling you to
quickly and confidently restructure a track. Ultimately,
unless youre completely sure of your arrangement and
structure before you begin recording, the ability to
restructure your composition in such a fluid way has to
be an essential part of your creative workflow.
Beyond the essentials weve explored here, there are
also several other creative ways in which you can
further extend your interaction with the structure of a
song. Options such as Folders which we partially
explore in this titles Mixdown Workshop can be called
into service as an alternative means of arranging a song;
going even further, you can use features such as the
Environments Touch Tracks to create live
arrangements triggered directly from a MIDI keyboard.
Whichever method you choose, though, youll
appreciate the more fluid approach to shaping a songs
structure not to mention the creative opportunities
that it brings. MTF
Free form
Despite their prominent position in the Arrange window,
its easy to overlook the powerful editing buttons and
instead turn to a more labour-intensive mouse-driven
10
If overlapping
notes are an
issue, use the
Split By
Locators editing
button before
you initiate any
other editing
functions.
focus
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MTF Technique iPad control
Controlling Logic
from your iPad
The recent explosion in touchscreen devices offers
the best way yet of getting tactile with Logic Pro.
Mark Cousins explores your options
approaches, with V-Control Pro mimicking the look and

feel of Logic Pro, and TouchOSC offering a more
open-ended, configurable solution.
Wireless world
ne of the many possibilities brought about

by the development of tablet PCs and
most notably the iPad is the notion of a
touchscreen remote controller for your DAW.
As any Mackie Control or Euphonix owner
will testify, hands-on control can have a transformative
effect on your workflow, and in that respect, the
multi-touch interfaces of devices such as the iPad are
perfect fodder for this kind of application. Most
importantly, though, its a surprisingly affordable
solution, with second-generation iPads being
drastically reduced in price and the required apps often
costing little more than a few pounds.
In this Workshop were going to take a look at the ins
and outs of controlling Logic Pro using an iPad. There
are several rival solutions available, although broadly
speaking, they all work along the same principles. For
the purposes of this exercise were going to take a look
at two of the best solutions weve seen so far:
Neyrincks V-Control Pro and Hexler.nets TouchOSC. In
many ways, these two apps represent two contrasting
PRO TIP
To avoid having to open Ney-Fi
every time you want to use
Logic, consider adding the
application to your list of Login
Items. You can find your list of
Login items as part of your
System Preferences (under
the Accounts section). Click on
the + icon to add an
application to the list.
Hands-on control can have a

transformative effect on workflow
and is surprisingly affordable
Before we start setting up the iPad, make sure that

youre running Logic Pro version 9.1.6 (or above). The
important point to note here is that since version 9.1.2
Logic has supported the Open Sound Control (OSC)
protocol, which enables various music studio devices to
communicate with each other over a wireless network.
In short, OSC is a form of wireless MIDI, but with a
significantly improved bandwidth capacity that makes
it perfect as a means of controlling a DAW using a
device such as the iPad. However, although OSC has
been supported since 9.1.2, most apps recommend
working with version 9.1.6 to make the integration as
seamless as possible.
The first solution were going to look at is V-Control,
which comes as both a free taster version and a more
feature-rich Pro version costing 24.99. If youre after a
basic remote controller for Logic, V-Control Free is well
worth exploring (and, indeed, this is what well use for
this Workshop). Of course, you have the option to
upgrade should you need the extended features found
in the Pro version. Once youve downloaded and
installed V-Control on your iPad (from www.neyrinck.
com), youll also need to download an application called
Ney-Fi to run on your studio Mac.
Taking control
As the first step to establishing a connection, run the
Ney-Fi app from the Applications folder of your Mac.
Ney-Fi should run in the background, displaying a small
1
2
3
V-Control works with a number of different DAWs, so youll need to ensure
that its configured to its Logic layout.
focus
iPad control Technique MTF
Select Logic Pro as your chosen

application, then select your desired
plug-in window from the palette of options
V-Control presents.
If youre after a basic remote

controller for Logic, V-Control
Free is well worth exploring
icon in the top right-hand corner of your menu bar. You
should also open Logic Pro so that its ready to see the
V-Control App once weve configured it correctly. 1
Now open V-Control on your iPad. Technically
speaking, the V-Control app can work with a number of
different DAWs, so youll first need to ensure that its
configured to its Logic layout. In the bottom left-hand
corner of the V-Control window is a button for the apps
settings. Under the DAW section, ensure that you have
Logic 9 selected. Once configured, V-Controls interface
changes to mimic the look and feel of Logics mixer. 2
Assuming that Ney-Fi is running and that V-Control
is set to its Logic 9 mode, Logic Pro should now
recognise the device, displaying a dialog box asking
whether you want to use a new OSC device as part of
Logics Control Surface setup. Click on Add to place the
iPad into your control surface setup. Once configured,
you dont need to repeat this installation process, as the
V-Control Pro profile will remain a permanent part of
your control surface setup. 3
You can see whats been achieved by looking under
Logics Control Surfaces Preferences Logic
Pro>Control Surfaces>Setup. V-Control looks and works
the same as any other control surface, and indeed, all
other OSC-based controller will ultimately appear under
the same location. At a later point you might also decide
to remove unwanted devices from this page (simply
highlight the device and select Edit>Delete from the
local menu) or add further devices to create an
extended control surface. 4
PRO TIP
Create custom layouts for
TouchOSC using the TouchOSC
Editor found on the hexler.net
website. To best understand
how to use the editor, take a
look at our MIDI controllers
Workshop. In theory you can
then build a MIDI/
OSC controller
thats
customised to
the way you
want to work.
set of transport controls and various function buttons

(punch in/out locators and so on) on the right-hand side
of the window. As with all OSC controllers, remember
that you can operate Logic from a distance, making
V-Control perfect as a remote control for your console or
for controlling Logic from your recording area. 5
At the moment, one area of V-Control thats unique is
the V-Window, which enables you to have a direct,
mirrored link with plug-in windows in your Logic
session. Open the V-Window via the button in the
bottom right-hand corner of V-Control. Once open, a
dialog box is used to navigate the various windows open
on your computer select Logic Pro as your chosen
application, then select your desired plug-in window
from the palette of options V-Control presents. 6
After choosing a window you have a pixel-perfect
representation of your plug-in in V-Controls V-Window.
Although plug-in editing is an option on V-Control Free,
you do have full parameter access in the Pro version,
enabling you to grab the ES2s cut-off control, for
example, or manually reposition an EQ curve. 7
Touch down
No exploration of iPad control would be complete
without a mention of Hexler.nets excellent
TouchOSC (2.99). Although
Mix and match

With V-Control up and running you have a fully featured
control surface at your disposal, with all the principal
features of the mixer and transport to hand. You can
move between banks using either a single-finger or
two-fingered swipe, moving either one channel at a time
or eight channels at a time respectively. The full version
contains plenty of extra features, including an extended
MTF Technique iPad control
7
8
TouchOSC doesnt need additional

applications running on your Mac, so
theres little to worry about in
respect to your desktop setup.
TouchOSC might not have the same visual appeal as

V-Control, it does have a significant advantage in
respect to user-configurability, with a dedicated app
TouchOSC Editor that you can use to create your own
custom-designed control surfaces. As a result,
TouchOSC has an expanding collection of creative
users, developing a range of layouts for audio
applications such as Max/MSP and Reaktor.
Unlike V-Control, TouchOSC doesnt need any
additional applications running on your Mac, so theres
little to worry about in respect to your desktop setup
beyond ensuring that your iPad and Mac both reside on
the same wireless network. When you first open
TouchOSC, though, youll need to configure the
TouchOSC connection from the Settings screen that is
first presented to you. Touch on the OSC:Not configured
tab to move you through to the OSC setup page. 8
Once youre rested on the OSC setup page, you
should be able to move the Enabled slider from its Off
position over to the On setting. Towards the bottom of
the setup screen youll then see all the available hosts
on your network, one of which should be the Mac on
which youre running Logic. Select this computer as your
chosen Host. 9
with a dialog asking you whether you want to use a new

OSC device in Control Surfaces setup. Click on Add to
place it in your setup; the new device will appear as part
of your Control Surfaces Setup screen. 10
Once TouchOSC is up and running youll realise what
a well-featured controller it is. The main mixer page, of
course, provides a bank of eight channel faders as well
as a master fader, transport controls and solo/mute
switches. Beyond the main mixer page theres also an
individual channel strip page complete with associated
aux sends and effect inserts, a dedicated EQ page and a
software instrument editor that works in much the
same way as Mackies old C4 controller. All things
considered, TouchOSC is an elegant and powerful
solution, even for those accustomed to dedicated
control surfaces costing hundreds of pounds. 11
The iPad generation

The explosion of touchscreen control surface solutions
now available for Logic Pro has meant that an even
greater number of musicians and engineers can break
free from the mouse and keyboard and start using a
more tactile means of interfacing with Logic. In many
ways, these simple touchscreen solutions are superior
to existing hardware offerings, as they can adapt to
other pieces of software and different ways of
controlling audio (and dont need wires). Indeed, having
always been a fan of listening to mixes from the next
room, its almost a revelation to actually be able to
tweak a mix from another part of the building. MTF
Good OSCillations
Once the OSC connection has been established you
should be able to open Logic Pro and set up TouchOSC
as a control surface in the same way as we did with
V-Control. Logic should see the device and prompt you
11
10
Once the OSC connection is

established you should be able to
open Logic Pro and set up
TouchOSC as a control surface in
the same way as V-Control.
focus
Super-size synth sounds Technique MTF
Creating super-size
synth sounds
Creating scale and impact in a synth sound requires
more ingenuity than simply activating the ES2s
Unison feature. Mark Cousins phattens up
configuration is more convoluted, it offers interesting

creative opportunities that can applied to a variety of
synth sounds, including basses, pads and leads.
Obesity epidemic
any modern forms of music, whether

dubstep, trance or hip hop, make use of
deliberately over-sized synth parts as a
key component in the arrangement of a
track. These big synth lines can cut
though a mix, and are often constructed from a rich
collection of detuned oscillators and plenty of
distortion. In theory, Logics ES2 is a prime candidate for
this kind of effect, especially given its powerful Unison
feature and built-in distortion. However, although the
Unison certainly increases the width and size of the
patch, it doesnt allow us to create the desired amount
of impact most musicians would like to achieve.
In this Workshop, were going to look at a scaleable
way of layering and fattening your basic synth sounds,
using multiple instances of the ES2 and some clever
routing to create a truly unique effect. Most importantly,
it enables you to take control of the depth and colour of
the layering effect, often in ways that are impossible to
achieve simply by activating the ES2s Unison button
(the cheats solution, in other words). Although the
On the disc
PRO TIP
Although weve created a MIDI
routing to control the three
synths, its still interesting to
explore automation applied to
each individual layer. By
automating different filter
movements, for example, or
differing amounts of LFO
modulation, you can make the
layering effect even more
dynamic and evolving.
Big synths are often constructed

from a rich collection of detuned
oscillators and distortion
The rudimentary building block for our super-big synth

effect comes from a basic ES2 patch, which we can
layer and adapt to create increasingly complex results.
Starting with the Basic Saw Init patch, try stacking each
of the three oscillators using sawtooth waveshapes,
with oscillators 2 and 3 tuned an octave above (+12
semitones) and below (-12 semitones) the first. Ensure
that the triangular mixer is set somewhere in the middle
to create an even blend, and detune oscillators 2 and 3
by a few cents to create an even fatter sound. 1
To complete the basic synth patch, there are a few
tweaks we need to do. First, ensure that the synth is set
to Mono mode so that playback is monophonic. Add a
small amount of Glide (around 17ms), and a touch of
filter movement by reducing the Cutoff (to around 0.50),
adding a small amount of Resonance (0.12) and making
sure that the filter is set to Fat mode. At this point we
could shortcut the exercise and activate the Unison
control. However, despite sounding big, the Unison
effect is unconvincing given its extreme width (the
sound appears to spread right across the soundstage)
and its somewhat generic layering effect. 2
Twos company
To create a more controllable and distinctive layering
effect, therefore, consider doubling the sound using
extra instances of the ES2, with each layer being a
1
2
3
Starting with the Basic Saw Init

patch, stack each of the three
oscillators using sawtooth
waveshapes, with oscillators 2
and 3 tuned an octave above (+12
semitones) and below (-12
semitones) the first.
MTF Technique Super-size synth sounds
7
Pan the instruments to create a controllable width to the
effect, keeping one patch central and the other two slightly
off-centre with a pan setting of +30 and -30 respectively.
slightly different twist on this basic three-oscillator

patch. We can create a duplicate of the first sound
using the local menu function Track>New with Duplicate
Setting. At this point, though, we need to consider how
we want to trigger the combined synths. One solution
would be to record-enable the two channels, which
would allow us to hear the two synths as we play live on
a keyboard; alternatively, we can create an alias of the
region copied onto the duplicate track. 3
A more elegant solution to layering, though, is to
create a small additional Environment routing. Open the
Environment window (Window>Environment) and
navigate to the mixer layer. Once youve found the mixer,
select New>Instrument and name the new Environment
object Saw Multi (or something of your own choosing).
Click-and-hold on the small triangular patching icon on
your new Environment object and drag a patch cord
over to the first mixer channel. Repeat the process with
the second synth part, so that two cables are patched
through to the two instances of the ES2. 4
To create a track for the new Environment object,
drag the instrument onto the track list. Logic will
confirm if you want to create a new track for the
Environment object select Create to accept. Now,
whenever youre resting on this instrument in the track
list, all MIDI data will be forwarded to the two instances
of the ES2. This setup also means that you now need
only a single MIDI region placed on this one track to
control the two synths. 5
Super-phat
Having layered the two synths, we need to consider how
we change the two sounds to create a thicker overall
result. The trick is to think of subtle tuning and filter
variations to create distinction between the two layers.
As a start, therefore, try changing the Glide time, so that
one of the synths is slower than the other when moving
to a new note. We could also increase the Analog control
to its full setting, creating wilder variations in pitch-drift
on the second synth. Its also worth playing with the
filter, so try moving over to Filter 1 using the blend
control, selecting the Band Reject filter (BR) and using
LFO 2 to slowly modulated its cutoff. 6
Having made one duplicate, why stop there? Create
another duplicate of the first track (remembering to
patch the additional layer via the Environment), this
focus
time with a different Analog setting and all three

oscillators set to square waves. Vary the Glide setting
again, but this time also let LFO1 modulate the pitch
(Pitch123) so that you create a subtle vibrato effect.
Finally, pan the three instruments to create a
controllable width to the effect, maybe keeping one
patch central and the other two slightly off-centre with
a pan setting of +30 and -30 respectively. Note how this
is much more controllable than the ES2s super-wide
Unison panning. 7
Shred master
PRO TIP
The Ensemble effect has long
been used as an alternative to
part-doubling and is worth
exploring alongside the
layering techniques weve
explored with the ES2. As with
the phaser, place the
Ensemble effect towards the
end of your FX path, before any
delay or reverb effects are
used to add ambience.
Having made three sumptuous layers of sound, the next

step might seem perverse, but what we want to do is
distort all three layers at once. In effect, what were
doing is sticking the three layers together, adding
further colour and intensity, but also marrying the
sounds to create one big super-synth. To do this, first
route the three ES2s to the same buss, changing their
output status from Output 12 to Bus 1. Open an
instance of Pedalboard over Bus 1 so that we can start
distorting the synth sounds en masse. 8
Super-size synth sounds Technique MTF
Once the Splitter is active

you can change the wiring
schematic at the top of the
interface to create a
parallel routing with two
independent paths for the
two distortions.
Following the layered methodology, were going to

create a parallel distortion in Pedalboard, coupling two
contrasting tones of distortion. Drag-and-drop two
distortion pedals into your line of FX pedals (weve
selected Grinder and Rawk in our example, but you
could use any of the distortion pedals), and place a
Splitter pedal at the start of the FX path. Once the
Splitter is active you can change the wiring schematic
at the top of the interface to create a parallel routing
with two independent paths for the two distortions. 9
Fat blaster
Having created the basic effect, the only limit now is
your imagination. One simple but effective next stage is
to think about additional effects that go after the
layered distortion. For some instant Daft Punkism, try
adding the Phase Tripper after the Mixer pedal has
combined the two distortions. You can also add Logics
other spatial effects such as reverb and delay using
an aux send inserted into the buss fader. 10
One criticism of the Pedalboard distortion is the fact
that it can suck out some of the bottom from the signal.
As an interesting workaround, therefore, you can create
a new aux send from the original instrument tracks,
arguably creating a new parallel processing channel
from the main distortion. In our example, try creating a
routing only from the two extremes of the soundstage,
leaving the centre instrument as is, and ensure that
both aux sends are set to Post Pan (this way, the
panning is preserved). Now bleed in an amount of the
channel using the aux 3 fader, or even apply additional

plug-ins the Bitcrusher, for example to add another
processing layer to the result. 11
As the icing on the cake and to ensure that your
big synth sound has plenty of space in the mix
consider adding some sidechained compression using
the kick drum as the key. If you want a detailed look at
this process, its worth exploring our Workshop on
sidechain compression. For now, though, route all the
synth elements (including reverbs and delay) over to
Bus 4. Instantiate a compressor over Bus 4, setting its
mode to VCA, attack to 0.0ms and release to around
140ms. With Audio 1 selected as the sidechain input,
adjust the threshold so that the compressor pumps in
time with the kick drum. 12
Layer cake
Although weve created a specific effect, its interesting
to note how the general methodology can be adjusted
to work with different sounds and effects, and, in
particular, how dynamic patch layering can create some
unique production effects. Indeed, listen to any
commercial release and its often surprising how a
limited number of musical parts are used to best effect,
with much of the depth and interest coming from the
way in which sounds are layered and processed in the
mix. Thinking more about strategic sound layering,
therefore, and how you can apply effects in more
distinctive ways, might be more productive than adding
increasing amounts of musical information. MTF
For some instant Daft

Punkism, try adding the
Phase Tripper after the
Mixer pedal has combined
the two distortions.
10
11
12
MTF Technique Flex Time
Getting creative
with Flex Time
On the disc
Flex Times Tempophone and Speed modes have

unusual creative applications that go far beyond
simple time-correction. Mark Cousins investigates
lex Time was Logic Pro 9s most significant

addition, bringing an unprecedented degree of
tempo-elasticity in respect to audio. The
feature was predominantly sold as a fix-it
tool a means of changing the phrasing on a
vocal, for example, or quantizing an acoustic drum
recording to a MIDI track. Over the course of time,
though, Flex Time has also revealed some interesting
creative applications, arguably through the deliberate
abuse of its features. From extreme granular stretching
effects through to subtle pitch- and tempomanipulation effects, theres a lot more to Flex Time
than first meets the eye.
In this Workshop, therefore, were going to explore a
couple of our favourite Flex Time transformation
effects. Although were using just a simple drum loop for
the purposes of this particular exercise, its well worth
remembering that the techniques can also be applied to
all manner of pitched and non-pitched sounds, whether
its vocals, synths, guitars or something else. And if you
want a more balanced overview of Flex Times
PRO TIP
Transient markers (which are
used by Flex Time to
manipulate an audio
recording) are created as soon
as you place a track into one of
the six different Flex modes. If
Logic has created too few or
too many transient markers
open the Sample Editor and
click on either the plus or
minus icons accordingly.
Flex Time can be applied to all

manner of sounds, whether its
vocals, synths or guitars
conventional applications, be sure to check out Music

Tech Magazine Issue 79s (October 2009) original Flex
Time Workshop.
Flexible friend
Open the demo project included on the coverdisc and
you will find a simple drum loop duplicated across two
tracks. For now, mute the loop on track 1 (were keeping
this as our un-Flexed version) and move down to track
2. To start Flexing the audio, enable the Flex Time view
found under the local menu item View>Flex Time. The
Flex Time view displays the current Flex assignments
for our Logic project on a track-by-track basis. At the
moment, none of the tracks is active, so both tracks are
set to off. 1
To enable Flex Time we need to assign one of the six
different Flex modes to the track in question. Click on
the current Flex Time assignment on track 2 (currently
set to off) and change its setting to Speed. The different
Flex modes designate how Logic deals with the
elasticity of the audio file. In a conventional application
of Flex Time, a user will opt from the Rhythmic,
Monophonic and Polyphonic modes. By selecting
Speed, though, Flex Time will apply any tempoelasticity by either speeding up or slowing down the
playback speed, much like an old reel-to-reel tape
machine on varispeed. 2
Slow coach
One of the simplest and most effective applications of
Flex Time is a simple double-time/half-time
transformation. Try this on the drums, first by cutting
the loop in half, then clicking on the top right-hand
1
2
By selecting Speed, Flex Time will apply any tempoelasticity by either speeding up or slowing down the
playback speed, much like an old reel-to-reel tape
machine on varispeed.
focus
Flex Time Technique MTF
3
4
5
Playing back the region should reveal
the drums drastically altered in
respect to both pitch and timing. Try
playing this against the original drums.
corner of the region so as to resize it to twice its normal

length note how the waveform shading changes to
orange to reflect its stretched status. Playing back the
region should reveal the drums drastically altered in
respect to both pitch and timing. Try playing this against
the original drums, with the stretched version effectively
creating a grungy sub-loop to the first track. 3
Taking Flex Time a stage further, we can also look at
creating a form of random drum fill that occurs over the
main drums. Take the drum region that we stretched by
two bars and reduce the stretch so that the region lasts
a total of three bars in effect, creating a 50%
tempo-stretch. Note how the main hits now fall towards
unusual musical sub-divisions (not the downbeats and
upbeats, in other words), although, as youd expect, this
unusual stretching effect also sounds distinctly
out-of-time with the original drum track. 4
To address the inherent musical problems of our
50% stretch, move up to the Region Properties as part
of the Inspector and select 1/16 from the dropdown
Quantize menu. Intriguingly, Logic will now adjust the
division between beats so that each of the transient
markers now falls on a beat. Play the two loops
together, and it almost sounds like theres another
drummer playing free-form over the first loop. The
different timbres (caused by one of the loops being
pitched 50% lower) helps to create distinction between
the two parts, and you can always edit the newer loop
so that the fill elements occur on chosen beats. 5
PRO TIP
Modifying an audio region
using either Speed or
Tempophone modes creates
some interesting timbral
shifts, many of which can be
further enhanced by the lo-fi
wonder of the Bitcrusher
plug-in. Use the 12-bit mode
with a touch of Downsampling
to mimic the sound of early
samplers like the AKAI S900.
desired hit. Move the start of the next region so that you
create an empty space for the stretch to occur over (up
to the start of next main beat, in other words). 6
To apply the stretch, click on the top right-hand
corner of the region as we did in the first exercise. You
should now be able to resize the region so that it
extends the 1/16th edit to fill the rest of the beat, with
the colour of the edited section changing to orange to
indicate that youve made the change. Playing back the
region should reveal the timestretching effect, which
works particularly well layered on the previous Flexed
drums. As well as drums, its worth trying the
Tempophone stretch on dubstep synth wobbles, which
really suit the digital graininess this form of Flex Time
delivers. Its also good on vocals, as you can produce
some radical glitch effects by stretching words to two
or three times their original length. 7
Glue it down
Having made your transformations, its worth noting the
variety of ways by which you can make your edits more
permanent, both in respect to saving some CPU activity
A stretch in time
From a sound designers perspective, one of the most
interesting Flex Time modes is Tempophone. The
Tempophone mode mimics the grainy sound of an
original Tempophon, a primitive tape-based device that
modified speed independently of pitch. In short,
Tempophone is a lo-fi version of timestretch that lends
any sound an instant Josh Wink Higher State Of
Consciousness effect.
In the next example we want to create a form of
extreme timestretch effect, but applied to only one or
two beats within the bar. Well apply the
transformations to the drums on track 1, so start by
changing its Flex mode to Tempophone. Decide what
beat you want to stretch (one of the principal hits works
best) and cut the region so that you single out the
| 127
MTF Technique Flex Time
To apply the stretch, click on the top right-hand

corner of the region. You should now be able to
resize the region so that it extends the 1/16th edit
to fill the rest of the beat.
(Flex Time can hit your computers DSP resources quite

hard) and also making the region more portable. With
the edits in place, you have three choices, and each has
its own pros and cons.
If youre interested in preserving CPU resources,
consider Freezing the track so that Logic stores an
offline bounce of the edits and reads this from your
hard drive rather than rendering them in real time. If you
make subsequent changes, Logic will simply re-Freeze
the track, which usually takes no more than a few
seconds. To Freeze a track, click on the Freeze icon in
the track list (if you cant see this, [Ctrl]-click on the
track list and make sure the Freeze option is selected).
Note the additional Freeze Mode parameter as part of
Track Proprieties (found in the Inspector). In most cases,
Source Only is best, keeping the Flex Time edits offline
but the subsequent plug-in effects real-time. 8
If youre 100% happy with the edits, its worth
considering using the Bounce in Place feature, which
creates a new track and new audio file for your Flex
Time edits. To apply the Bounce in Place, simply
highlight the region(s) and choose Region>Bounce
Regions in Place. The immediate advantage here is that
you have an easy-to-handle audio region, which is
beneficial when lots of complicated edits have been
carried out. Interestingly, though, it also opens up
additional possibilities of double-Flexing, whereby a
loop that has already been Flexed in one mode (Speed,
for example) is bounced and then stretched using an
alternative mode (such as Slicing or Tempophone). 9
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The final extension to Flex Time is to consider using

the Convert Regions to New Sampler Track feature
(found under the Audio menu), which creates a new
EXS24 instrument and accompanying MIDI data based
on the information contained in the audio region.
Usefully, the feature takes account of any Flex Time
edits that youve already made, which is particularly
interesting when you factor in some of the extreme
Tempophone effects that we created earlier on in the
Workshop. I also find the EXS24 tempo-slicing more
tempo-flexible than Flex Times Slicing mode, so its
well worth turning to if you need to move drums
between radically different tempos. 10
Time machine
Although Flex Time has been an invaluable tool for
addressing tempo-related issues, its interesting to note
how some of its more enjoyable and rewarding
applications actually come from its deliberate abuse.
Flex modes such as Tempophone and Speed werent
added as a means of creating the smoothest, most
glitch-free tempo transformations, but instead were
clearly designed as a means of having a little fun with
the Flex Time technology.
As weve already hinted at, theres a lot more to
Flexing than just drums, so its worth seeing how Flex
Time can be applied to a number of different
instruments and effects in your sound palette (anyone
for Tempophoned reverb, for example?), so start
experimenting and see what you can create. MTF
10
Use the Convert Regions to New

Sampler Track feature, which
creates a new EXS24 instrument
and accompanying MIDI data
based on the information
contained in the audio region.
focus
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LOGIC-COURSES.COM
More than 50 minutes of videos looking
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de-essing, and auxiliary sends.
MACPROVIDEO
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a drum beat, dealing with audio sync issues
when working with movie files, and vocoding
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LOOPTV
Three quick but useful videos from
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sample packs and channel strip settings into
you projects. Plus, some top studio tips from
drum n bass producer DJ Fracture.
PLUGIN BOUTIQUE
Super producer Dom Kane and the
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cutting-edge third-party plug-ins that can
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Faturator, Sinevibes Diffusion and Audio
Realisms ABL2 TB303 emulator.
LOOPMASTERS FREE SAMPLES

A high-quality collection of royalty-free
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MTF DVD 26 Logic Pro 9 Volume 3
MTF DVD 26
PROMOTIONAL
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More than 900MB of

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On the disc
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MusicTech Focus: Logic Pro 9 Volume 3

22 essential Logic Workshops

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focus Logic Pro 9 Volume 3

Logic Pro 9 Volume 3

132 pages of pure Logic Pro 9 know-how,

Complement Logics built-in

All exclusive pro insight

MTF Issue 26 Full listings

Gear Round Ups

025 | Feature Extending Logic

054 | Round Up Monitors

106 | Workshop Stereo

focus Logic Pro 9 Volume 3

MTF Technique M/S processing

Logic Pro 9 Workshop

Middle and side

Unlocking the powers of M/S could transform your

flexible routing and signal processing can be applied in

iddle and side (M/S) processing is one of

Lets work along the principle

Logics Direction Mixer is a

6 | Logic Pro 9 Volume 3

To fully understand the wonders of M/S its well worth

M/S processing Technique MTF

Wed recommend using one of

for now) and listen to the Mid in isolation. Notice how

Seeing a new side

focus Logic Pro 9 Volume 3

MTF Technique M/S processing

later on in the Workshop. For now, though, our M/S

Although we could dive in at this point and initiate

Use bx_solo to separate a L/R mix into Mid

8 | Logic Pro 9 Volume 3

M/S processing Technique MTF

lifting up the kick and the acoustic bass around 80Hz.

As you can see here, there are

Of course, the fact that the Mid channel is

focus Logic Pro 9 Volume 3

MTF Technique Piano Roll Editor

Logic Pro 9 Workshop

lthough Logic includes a number of MIDI

clicking on a note in the current sequence. As an

Its interesting to note how a revised look at how you

10 | Logic Pro 9 Volume 3

Piano Roll Editor Technique MTF

As well as moving note information

The Piano Rolls Functions menu

With the notes highlighted, select Edit>Select Equal