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Jono Buchanan Music
Великобритания
Добавлен 31 дек 2021
Learn Logic Pro X
I’m Jono Buchanan.
I’m a composer, producer and lecturer in Electronic Music at the Guildhall School of Music & Drama in London.
Through this RUclips channel, I’m going to share my experiences of working with Logic Pro X.
There’ll be tips and tricks for beginners, those who have been working with Logic for a while and even seasoned, grizzled, gnarly professionals.
I’m a passionate believer in the idea that music technology can be a fantastically creative force.
Shall we?
Let’s.
I’m Jono Buchanan.
I’m a composer, producer and lecturer in Electronic Music at the Guildhall School of Music & Drama in London.
Through this RUclips channel, I’m going to share my experiences of working with Logic Pro X.
There’ll be tips and tricks for beginners, those who have been working with Logic for a while and even seasoned, grizzled, gnarly professionals.
I’m a passionate believer in the idea that music technology can be a fantastically creative force.
Shall we?
Let’s.
Logic Pro: Advanced Bass Articulations
In another episode, I’ve taken a look at the new Studio Piano instrument and this week, I’m turning my attention to Studio Bass which, like its Piano equivalent, offers a range of Bass control we’ve not seen before in Logic. We’ll have a quick tour of the interface before diving into what I think is Studio Bass’ best feature - the extended Articulations on offer. These are comprehensive, with long and easy-to-apply options for all of the Bass instruments. If Acoustic or Electric Bass is fundamental to the music you make, adding nuance and a musicality to your basslines has never been so intuitive.
00:00 Intro
00:40 Studio Bass interface
01:35 Upright Bass demo
02:37 Parameter options
04:17 Wha...
00:00 Intro
00:40 Studio Bass interface
01:35 Upright Bass demo
02:37 Parameter options
04:17 Wha...
Просмотров: 976
Видео
Logic Pro: A Piano Worth Waiting For
Просмотров 3,5 тыс.19 часов назад
As those of you who have watched my video about Logic 11’s Session Player additions will know, I have mixed feelings about that technology. However, their arrival has brought two new additions to Logic’s line up of instrument plug-ins; Studio Piano and Studio Bass. This week, I’m taking you on a tour of the 4 options within Studio Piano, offering a quick parameter tour of the options and puttin...
Logic Pro: MIDI In Part 2
Просмотров 1 тыс.14 дней назад
We’re heading back to Logic’s MIDI In capabilities this week. I’d highly recommend watching Part 1 of this mini-series before watching this episode, to fully understand how a whole instrument track can act as the MIDI In source for another. This time, we’re pushing things forward, by understanding that the MIDI FX of a source track can act as a global MIDI signal generator for other tracks. We’...
Logic Pro: Channel Strip Vocal Mixing
Просмотров 1,9 тыс.21 день назад
A single channel strip of a large format mixing desk offers a number of features designed to allow engineers to record sounds with optimum fidelity, or to carefully control a signal at the mix stage. Alongside Gain, Pan and a Volume Fader, you’ll find EQ and Compression modules too, and these are frequently referred to as the Channel Strip plug-ins, even if you’re mixing in Logic. In this episo...
Logic Pro: Stem Splitter
Просмотров 1,2 тыс.28 дней назад
The ability to split a single audio file into its constituent musical elements is a technological development which has been available in some DAWs and via third-party software for some time. And in Logic 11, it’s now available to us natively too. In this episode, I’ll show you how it works and, believe me, this is a function you’ll need less than 2 minutes to master. The parts which can be ext...
Logic Pro: Live Loops Relooped
Просмотров 1,3 тыс.Месяц назад
It’s easy to think of Live Loops as a kind of Ableton-lite and it’s certainly easy to think they’re only of value to dance music producers. In this video, I’m going to take a first step into re-imagining what Live Loops could be. Yes, we’re going to use sounds readily associated with EDM, but we’ll use those to experiment with loops of unusual and contrasting lengths, to begin to see what happe...
Logic Pro: Chromaglow
Просмотров 2,1 тыс.Месяц назад
This week, I’m taking a deep dive into all things ChromaGlow, the Saturation plug-in introduced with Logic 11. I’ll explain what Saturation is and how it differs from Logic’s other Distortion options. Then I’ll take you on a tour of the parameters, looking at the Models and their sub-division options, available via the ’Style’ drop-down menu. Then we’ll look at how great ChromaGlow’s filters so...
Logic Pro: MIDI In Part 1
Просмотров 1,9 тыс.Месяц назад
In this episode, we’re going to take a first look at Logic’s MIDI In routing capabilities. Logic 11 introduced the option to route MIDI internally, using one sound as a MIDI Trigger for another. And as we’ll see in this episode, this has some very interesting implications when we start making MIDI data a little more involved. I’ll walk you through the steps I’m taking to create a basic MIDI reg...
Logic Pro: Creating White Noise Mayhem!
Просмотров 1,2 тыс.2 месяца назад
Logic Pro: Creating White Noise Mayhem!
Join Us - LIVE STREAM - Wed 19th June @8pm UK
Просмотров 4532 месяца назад
Join Us - LIVE STREAM - Wed 19th June @8pm UK
Logic Pro: Creating Mix Space (Pads Edition)
Просмотров 2,1 тыс.2 месяца назад
Logic Pro: Creating Mix Space (Pads Edition)
Logic Pro X: Adding Patterns To The Loop Library
Просмотров 1,5 тыс.2 месяца назад
Logic Pro X: Adding Patterns To The Loop Library
Logic Pro X: Why The Order Of FX Matters
Просмотров 2,7 тыс.3 месяца назад
Logic Pro X: Why The Order Of FX Matters
Logic Pro X: Subtractive Synthesis Part 2
Просмотров 1,3 тыс.3 месяца назад
Logic Pro X: Subtractive Synthesis Part 2
Logic Pro X: Introduction to Subtractive Synthesis Part 1
Просмотров 1,9 тыс.3 месяца назад
Logic Pro X: Introduction to Subtractive Synthesis Part 1
LOGIC PRO X - Ear Candy Instrumental
Просмотров 3,1 тыс.4 месяца назад
LOGIC PRO X - Ear Candy Instrumental
LOGIC PRO X - External Synths and Varispeed
Просмотров 1,3 тыс.4 месяца назад
LOGIC PRO X - External Synths and Varispeed
LOGIC PRO X - Working With External Synths
Просмотров 4,1 тыс.4 месяца назад
LOGIC PRO X - Working With External Synths
LOGIC PRO X - Orchestral Programming Part 4: Brass and Woodwinds
Просмотров 2,1 тыс.5 месяцев назад
LOGIC PRO X - Orchestral Programming Part 4: Brass and Woodwinds
LOGIC PRO X - Adding Automation Lanes To Pattern Sequences
Просмотров 1,6 тыс.5 месяцев назад
LOGIC PRO X - Adding Automation Lanes To Pattern Sequences
LOGIC PRO X - Slip Tool editing for Beat Programming
Просмотров 3,1 тыс.5 месяцев назад
LOGIC PRO X - Slip Tool editing for Beat Programming
LOGIC PRO X - Orchestral Programming Part 3: Templates
Просмотров 3,7 тыс.6 месяцев назад
LOGIC PRO X - Orchestral Programming Part 3: Templates
LOGIC PRO X - Beat Breaker on Vocals
Просмотров 2,6 тыс.6 месяцев назад
LOGIC PRO X - Beat Breaker on Vocals
LOGIC PRO X - Orchestral Development : Orchestral Programming Part 2
Просмотров 4,1 тыс.6 месяцев назад
LOGIC PRO X - Orchestral Development : Orchestral Programming Part 2
best explanation on the internet that makes understand the use cases to newbe. Please let us know as hardware analog are awesome but have limitations if we can combine the sound IN REAL TIME (playing the synth) of another digital synth in logic and the analogic synth(for ex minilogue xd) via a trackstack so that we can improvise new sonorities
But how do you play articulations in real time instead of manufacturing a part after the fact with tons of tedious editing?
Via Key Switches from Note C0 upwards.
Christ on a biscuit, once again the mysteries of the track window unfold before me. Had been looking for articulation in the piano roll. Did not know I had to load it in. What would I do without you, Jono👌🏻
You're welcome, Daniel!
Thank you so much JB!
You’re welcome!
Hpw to convert all. Pattren into multi track audio files for mixing
If you're working with Drum Machine Designer, this Instrument is arranged as a Track Stack in Logic's Main Page. Click the arrow next to the Drum Machine Designer kit name so that the Stack opens to reveal the Lanes for each piece of the kit. Click on the first of these tracks (probably the Kick) and then hold down Command before clicking on each sequential Track until all of the ones you're using are selected. Then go to File > Export and about two-thirds of the way down the list you'll see (x) Tracks As Audio Files. The x will be whichever number of Tracks you've selected. In the following window, don't Normalize the Volume of the Tracks as you Export them.
Remember to hit 👍
👍😉
Another great one. Thank you. It’s a pity there isn’t a more “natural” way to apply these articulations. Going note by note with a mouse on the piano roll makes it tough get a feel for how to apply each articulation. Maybe if they could be triggered and recorded using a midi controller (perhaps with the pads) someone could play around until they found something that felt right. Is that possible? As a purely philosophical comment. I don’t like the idea of programming bass to make it “sound real” or “sound human”. It’s sound. It’s real. If it’s monotonous and inexpressive then it sucks. But my opinion is that it’s a mistake to try and make a virtual instrument trick someone into sounding “real”. Anything that makes sound is a real instrument. And faking something never makes for interesting music. But this video is useful, because these articulations can be used to make the bass part more expressive and interesting.
Hi Andrew. Thanks as always for your thoughtful insight. I haven't explored the way that Apple do Articulation Switching for their own Sampled Instruments as they arrive 'pre-loaded' but I suspect they're Key Switches, which means that if you have a multi-octave controller keyboard, or you want to map those Articulations to a set of pads, you can play them in real time, which will save having to do it in post-production. I broadly agree with you in terms of what you've said about 'authenticity' and 'real-sounding' approaches to Sampled Instruments, though I think there is a difference between working with sounds which are taken from recordings of real instruments (sampled instruments, in other words) and much more evidently electronic sounds. You're right, everything is sound, but in some ways those tools have been created for slightly different purposes in most musical contexts. And in the world of media music where samples are a time-saving and budget-necessary choice, learning how to make them sound 'authentic' is part and parcel of the job. Every composer would tell you they'd far rather turn their Studio Bass and Orchestral arrangements into live recordings but there are many reasons why this isn't always possible. But I certainly agree that Instruments like Studio Bass should be thought of for far more than their ability to 'sound real'.
@@jonobuchananmusic I agree with all this. Thank you.
I keep trying to do the glissando effect but it doesn’t seem to work is there a setting i might have missed that you turned on? I think my problem might be with the forced legato but i’m really getting stuck
Hi. Which sample library are you using?
@@jonobuchananmusic i was just using the base logic pro sounds.. violins 1 i believe
Thanks for this very instructive video, Jono! This new bass gives us a lot of possibilities which I certainly will be using from now on. Thanks again!
Great, many thanks BF.
I hope studio acoustic guitar will be available soon
That does seem like a likely addition to the Studio Instruments at some stage!
Wonderful - At one point I thought you were going to go all Mick Karn ( Japan ) on us 😃 . Great Stuff JB
Thanks Lee. Ha! Next time... ; )
Very interesting articulations. This video reminded me to revisit the articulations on some of the studio strings, which aren't too bad for a beginner orchestral programmer. Thanks Jono. Oh and by the way ..... Jazz. NIce I do love a double bass, my profile pic is the give away! ruclips.net/video/MsQYzpOHpik/видео.html. (couldn't resist)
It’s a good thing that we can’t create a fully convincing live player with samples and a battery of articulations. But, it’s also a good thing that we can introduce human elements into sampled instruments if only because it causes us to make decisions which require a deeper understanding of what real musicians do. But also, in certain circumstances, close enough works. I’ve done a fair share of pre-recorded incidental music for small, low-budget theatrical productions using sampled instruments. Just one example: I scored a show with several scenes in Paris for which I created a French cafe trio featuring an accordion. I took an accordion lesson, telling my teacher that I just needed to get a feel for the instrument so that I could maximize the human qualities in my sampled recordings. I worked out my melodies on a borrowed accordion, playing them very badly but establishing accordion phrasing and dynamics. Then I replicated those phrases and articulations on my sampled accordion, playing them on a keyboard. Would live have been better? Without question, of course. Not in the budget. There’s an ad from 50s American TV which ended with, “Only her hairdresser knows for sure.” I was able to make the scenes work. Like your bass line. As always, thanks for your excellent instruction. Cheers.
Thanks so much for sharing that experience, Gary. I couldn't agree more. Whenever the 'real thing' is available, it will always improve productions immeasurably. But sadly, for all kinds of reasons (usually deadlines and budget), we do have to make do with samples. And if driving those a little harder by learning their nuances carefully helps, great! I completely agree that the added benefit is getting to know the capabilities of that instrument a little better too.
Useful as always. You are our benefactor. You prove that expensive plugins are not necessary for production. ❤️ In fact, I really like plugins. I have over 2 thousand 😂 of them, but I am increasingly inclined to use plugins from Logic and a few dozen from outside.
Hello! I hope all's good with you. And thanks as always for the kind words. There's no doubt that focusing on one set of plug-ins does force us all to learn their capabilities fully. And if we then apply that knowledge to third-party plug-ins, that's all good too!
yeay
Thanks!
Awesome. Thanks Jono.
My pleasure! Thanks Ben.
Hi, Jono. So I’m having an issue that is similar but a little different then the issue that your experiencing. It’s a little hard to explain but I’ll try my best to explain it to the best of my ability. So as of right now, I have Logic Pro opened and I’m currently creating a song. I have 2 tracks made. 1 for the beat & 1 for my main vocal. And down below in my mixer, I have 6 mixer tracks being shown. 1. The Beat 2. My main vocal 3. My Reverb Send Track 4. My Noise Gate Send Track and then 5. The Stereo Out Track with #6 being the Master Slot Track. Inside of my main vocal track (Audio FX Slots) I have a Channel EQ, DeEsser 2, Compressor and Auto-Tune. Mind you, my vocal track is completely empty…Without anything being recorded under the vocal track, For some odd reason (inside of my headphones) Me actively singing with (Input monitoring) on, the left side of my headphones where my Input Sound is being played back through is noticeably a lot louder then the right side. So long story short, with everything I describe of my studio session right now, the left side of my headphone speaker is a lot louder than the right side and it’s not my headphones themselves, I’ve checked. It’s literally just the track itself, I noticed it would simultaneously fade over as I added each (Audio FX) to my (Audio Effect Slot)…Any Answer on why this is happening and the best solution of how to fix it without messing anything up?
Hi. There are several reasons why this might be happening, so this one is tough to diagnose via text! But, my best guess is that it sounds as though the Audio Track you're using to record your vocals is a stereo track and that your microphone is plugged into Input 1 (ie the left side of that stereo track), which means that the left channel is loud and the right channel is quiet(er). If you're recording vocals with a single microphone (which is how most vocal recordings are made), remove all of the Insert Effects on your current vocal Audio track and then click the button to the left of the Input routing at the top of the channel strip for your Vocal channel so that it's a mono track, which looks like a single circle. If that doesn't fix the problem, bypass all of the effects channels and make a recording of your voice. Play this back, solo'd, and check whether, on playback, the sound is biased to the left. If it's not, turn on the first Insert effect you're using and see if this biases it towards the left. Keep repeating this process with each subsequent plug-in to see if any of them are introducing a treatment which is biased to the left-hand side. But my best guess is that you're working with a stereo track which, for vocals, you don't need to be. I hope that helps.
Somewhat important: The Valve, Punch and Transparent options do not work with Intel Macs.
That is indeed important to know. Many thanks Adrian and sorry to hear that's the case. The only 'official' minimum system requirement is Ventura 13.5 or newer. Which OS are you running?
@@jonobuchananmusic Sonoma 14.5, 2018, 3.2 GHz 6-Core Intel Core i7
@@AdrianLesher That's really frustrating. Are there other features in Logic 11 which your machine isn't able to access?
Hi there Jono, I am presently taking your course (orchestration) on line in Teachables and I am having real problems doing a simple command you seem to do very easily in your Logic Pro project. It's the part where you copy a region into another midi track and then add another region from another track into it to edit both music lines. You say to select and copy the first region to the new midi instrument track and then just select and copy the next one in the track below and drag it into the same new instrument track and do command J to insert the 2 regions into one track and then be able to edit them in the editor. I have tried for an hour to do that and I get an error message saying I can't join them because there is only one region. So it seems like whatever I am doing, the second region is not appearing in the track with the first one. What I did to get around is duplicate both tracks and regions into new tracks and regions and then I was able to select them both and join them. I then have to delete the duplicates which is kind of a drag... Anyways, I did not find a place where I can interact with you in the course so I am reaching out in this video. Thanks
Firstly, thank you so much for signing up for the Teachable course. I hope that it's proving useful to you. Secondly, there is a Community page on Teachable where you can post any queries, comments or join in any discussions, including starting a topic of your own. I don't mind answering questions here on RUclips at all but I'm hoping that, over time, the Community page will become a valuable place where everyone can help, advice and get the information they need, as the range of courses there expands and the questions become specific to those courses. The link to the Community page is here: jbmusic.community.teachable.com/ Now, let's see if we can get this issue fixed! As you have said, it's important to note the difference between Tracks and Regions. In many of the musical examples on the course, I've joined together two Regions and, if I've read your question correctly, this is the technique which isn't quite working for you. Everything I'm about to suggest will only take 2 minutes, so please try this to see if it works. Open up a new, completely empty Logic Project. Create a Software Instrument track for any instrument you like and then press 'T', which will bring up the Toolbox. Select the Pencil Tool and click anywhere on that first track to create a new, empty Region. It will only be a Bar long and it won't contain any notes. Then, still using the Pencil Tool, create another empty Region a few bars later, leaving a gap between the two Regions. And then create one more Region on the same track a few bars later again. Now you should have 3 regions, all separated by a few empty Bars. Press 'T' again and select the Pointer Tool. From the error message you're getting, it feels like this next part is going to be most relevant to your query, as it sounds like you only have one Region selected before you're trying to join two Regions. To join Regions 1 and 2, you need to select them both whilst NOT selecting Region 3. There are a couple of ways you can do this. The first is to click once on the first Region, hold down Shift and then click on the second Region. This will highlight the first two but leave the third one un-highlighted. Let go of 'Shift'. If you then press Command-J, Regions 1 and 2 will join together and the gap between them will become part of the Region, meaning you'll have one long region, followed by your original third Region. To practice joining these again, click anywhere (apart from on either of the Regions) in the Main Page to de-select the Regions, then click on the first long Region, hold down Shift, select the short second Region to highlight it and then let go of Shift again. Now use Command-J to join them. Hopefully all of that works. But that's all on one track! Press Command-Z to undo a few steps until you've got your 3 empty Regions back as they were when you created them. Create a new Track by pressing + at the top of the Tracks area. Again, select any Software Instrument. Next, you're going to copy the first Region on Track 1 to Track 2. To do this, click once on the first Region to highlight it. Then hold down 'Option' and don't let go. Use your mouse to drag the first Region down to the second track and you'll get a copy of it directly underneath the first Region on Track 1. Only when you've finished dragging it with your Mouse or Trackpad can you let go of 'Option'. If you do that too soon, you'll move the Region instead of copying it. Do the same thing with the third Region - copy it to Track 2. Then, let's Join together the copied Regions 1 and 3 on Track 2. This time we're going to select them in a different way, rather than using the Pointer Tool to click and select Regions. I want you to use your Mouse to click and hold anywhere you like in the empty Main Page area under your two Tracks. In that dark grey empty space below your regions, click and hold down your Mouse button whilst dragging outwards. This will create a 'box' which you'll see as a blue area as you drag outwards. Let go of your Mouse click and it will vanish and you'll need to click and start again. Anything which you 'click and drag over' with a blue Box like this will auto-select. So I'd like you to select those two new Regions on Track 2 using a highlight Box, until they're both highlighted. Then, let go of your Mouse and use Command-J to join them together. Hopefully you can now return to your main project and use these techniques. If not, please let me know via the Community Page in Teachable and I'll happily help you out.
@@jonobuchananmusic Thank you very much for this and hopefully it will work. By the way, I just love your course! The delivery and contents are amazing so I am hooked to teachable!
@@danielel9191 Thank you so much. Do let me know if you need any more help and feel free to start a new thread in the Community Page on Teachable if you'd like to about this or any other topic relating to the course.
It amazes me how you glide around that mini keys keyboard.
Thanks so much!
@@jonobuchananmusic I'm a guitarist but have enough piano skills to use in recording....but mini keys I never quite got on with.
I spent a day and a half with studio piano immediately after it came out. I was really hoping it was going to be an improvement. It sounded pretty good. But I was significantly disappointed by it. It wasn't really any better than what I already had. Not nearly as good. Then I compared it to what I already had. That sounded a lot better than studio piano, and what might be surprising about that is what I typically use as my standard lead instrument is the standard pianos in Logic. I've found ways to make them sound much better than the raw versions of the patches, or the gussied up samples in studio piano. In particular, if you take the Steinway grand, which is a Steinway D, and layer that with the Bosendorfer, lower the gain by 4.6 dB on that, use the velocity processor to change the dynamics of both to match, pan the Steinway six clicks to the left and the Bosey 8 clicks to the right, that blows studio piano completely out of the water. (There are a couple notes that are too soft or too loud in those patches as delivered, so the best way to cure that is go into the sampler and fix each note to where it really should be, then save that.) The Steinway by itself sounds a little harsh in the fourth octave, but when you layer the Bosey underneath, which has more of a woody, mellow sound, you get a piano sound that has the attack of the Steinway and the body of the Bosendorfer, and it sounds light years better than either of them by themselves, if EQ-ed properly. Other than the upright, the pianos in studio piano are all just standard Steinways. And they don't sound really any different from the Steinway that's been a part of Logic for over a decade, because they aren't any different. It wouldn't surprise me if they aren't using the exact same samples. All studio piano does is put a pretty interface over the top. Pretty much the same thing studio strings does. The already existing pianos in Logic are already 'stereo miced' in that as the keys get higher from middle C, every three keys are a click panned farther to the right in MIDI, and in the notes below middle C every three keys are a click panned further to the left in MIDI. If you want them to sound like one mic, completely monaural, that can happen very easily. You don't need studio piano to do that. In anything other than just solo piano, especially any mix that has any sort of density (and it doesn't have to be that dense), the bells and whistles, pedal noise, key noise, release samples, sympathetic resonance, etc. do nothing but clutter the mix and make it less clear. Pedal noise, key noise, and release samples are actually defects.They are therefore essentially useless in almost all genres. And if you really want sympathetic resonance, you can layer in the Electro Harmonix patch which simulates that beautifully, and allows you to control how much there is. and if you want the clickiness of key noise to give it a little more attack, you can easily and effectively add that using the Enveloper plug-in. And all the other things, panning, compression, delay, reverb, etc., are all still available whether you use studio piano or not. Arpegiator? Please. Nothing could be more boring than that. It's about as sophisticated and creative as a drum machine from 1982. The only valid use for that would be to cure insomnia. It's in no way a shortcut to creativity, because there are no shortcuts. There are other acoustic piano patches that also are very good and can be used, but those are not in studio piano and those are not in Logic. If you want an acoustic piano as a lead instrument, sometimes a better choice is The Grandeur, which has harmonics almost like a female soprano voice. It just soars above, and cuts through the densest mix. It's well worth the hundred bucks. Sometimes I'll layer that into that combination I mentioned earlier of Steinway and Bosey. That's 1000 times better than studio piano could ever dream of being. There are eleven velocity layers. Not two. There are over 2,500 samples. When they recorded The Grandeur they blocked off traffic for blocks in London for weeks (which is why $100 seems like a bargain). I also have a patch from Korg called 'compressed piano' which has a nice tack piano sound to it. But studio piano? Meh.
Thanks for sharing your experiences/choices. I’m by no means suggesting Studio Piano is a silver bullet but I do think that it has some qualities which I don’t hear in Logic’s other piano options, particularly its upright piano. But it’s a range of opinions which keeps the creative world turning!
I find that the more tracks I have, the more likely a mix is to clip, and yet the overall LUFS are pretty low. I'm so confused about why this happens or how to fix it.
Sorry you’re having that problem. This is something I’ll happily revisit in future episodes. Remember that there are a lot of ways of measuring volume, some of which are transitory and others of which are averaged over a long period of time, including the entire length of a track. So it’s absolutely possible to have temporary spikes which clip at the same time as a relatively low average LUFS reading. A range of dynamics tools exist for regulating volume (alongside volume Automation itself), which can help tame spikes.
Never cease to amaze me mi Hermano! Gracias 🙏🏼
De nada! 🙏
@@jonobuchananmusic I love your Spanish mi Amigo! 🇲🇽
Save yourself the hassle; buy Ableton Live or Maschine. You can set a scale and play without thinking.
Thank you very much, Jono! Great video! Until now I hadn't noticed the existence of the Studio Piano and Studio Bass... Thanks for your very clear presentation of the possibilities of the Studio Piano!
You’re welcome BF! Hope the Studio Piano proves useful.
There's so many options out there. It's so useful when you point out the gems offered in Logic. Off I go to check out this instrument with a new perspective. Merci!!
De rien! Merci à vous!
Excellent 👏🏼
🙏
The only way your tips could be hotter is if you did them shirtless.🔥
It's all wonderful, but i can't click on Stem splitter. I don't know what to do.
Sorry to hear that. Do you mean you can see ‘Stem Splitter’ in the menu but you can’t select it, or that it’s not present in the menu? Stem Splitter was introduced with LP11, so any previous versions won’t include it. If you’re using LP11, I’m sure we can get it working for you!
It would be nice to have a piano plugin that can have a sustain built in that you could control.
Hi. If you have a sustain pedal, plug it in, press it down and don't let go! If not, go to Track > Other > New Track With Same Channel. That will create a second track routed to the same instrument. On that second track, create a region with the Pencil Tool which lasts for the entire duration of your track and then open that region, open Automation (in the Piano Roll Display) and use the drop-down menu to select MIDI CC#64, which is Sustain. Draw a single point/node at 127 which will last for the entire duration of that region. Then, on the track above (the original piano track) play whatever you like and the sustain pedal will be permanently 'on'. Or create the Sustain on/off messages you want in post-production, having recorded the piano part you want.
@@jonobuchananmusic Great, thanks for the detailed solution.
Studio Piano and Studio Bass are some of my favorite additions to LP11, right after Stem Splitter and the improved MIDI routing. Really good sounding instruments. Vintage Upright being my fav piano from that selection :)
Agree with all of that! Thank you.
Awesome tip ☝🏼🧐 Amazing like always mi Amigo 👊🏼
You're most welcome! Thanks, as always.
@@jonobuchananmusic It is exiting every time I see you pop up on RUclips. You inspire me, I go into my studio and test all your tips and they all work beautifully. I hope to be as good as you one day Jono, thank you for making me want to be better and better every day! Gracias mi Amigo! 🙏🏼
Cheers, Jono! I completely missed the Studio Piano. Still dont think I've found a Piano library that fits.
Hi Chris. This one is a step in the right direction without being a magic bullet. Depending on what you want, I would definitely recommend the Woodchester piano plug-in, alongside Soundiron’s Emotional Piano.
Another great video, Jono. Thank you!
Cheers Matt!
Thanks again Jono for pointing out things I overlook and present them like you do!
Pleasure!
I hadn’t paid this any attention. This is great. Thank you.
You’re very welcome. Thanks Andrew.
great overview! thanks,
Thanks so much, Michael.
Nice work Jono - cheers mate!
You’re welcome!
It would be nice to have this in MainStage.
As I'm not a regular MainStage user, I must confess I wasn't aware that it hadn't already been ported across. I'm sure it won't be long before it's there.
There is a kind of percussive element to the upright piano with the arp & warped space, sounds cosmic ! Oooooof indeed.... :). Thanks Jono.
Thanks John!
I wish Logic had a good old fashioned upright piano. The kind of piano you used to see in peoples parlours back in the “old days “. They’re always slightly flaky, even a tad out of tune. But I’ve never found anything like it in Logic. They’re always emulations of big, expensive grands.
I broadly agree with you but, as highlighted towards the end of this video, the new Upright Piano within Studio Piano is a nice addition. Could they have also added a felt-style piano (like Una Corda or Noire)? Absolutely - and I hope they do in time. But this new one does have a slightly dusty 'found' piano quality, at least more than Logic's other Pianos, so it's a step in the right direction. And the Mono Mic is useful in this area too. I hope you enjoy experimenting with it.
Can obviously go check myself, but it’s late and I am tired. But! Can the key and pedal noises be modulated or latched, perhaps..? Sounded weird/inhuman when each key strike was exactly the same strength. Feel now that I have expressed the thought, a I’ll remember it in the morning. Lovely video. Could perhaps have been more of a marked contrast between your shirt and your hair😋♥️🙏🏻
There is an upright…..you can honkytonk it up a bit with effects..
It never occurred to me to delve into Studio Piano in this way. Genius! 😮 Thank you 👍
Enjoy it Peter. It's a really useful new instrument.
Again, thanks for the information. I have experimented with the session players , but didn’t realize they are using new instruments. That, and internal midi routing and chord tracks have been drowned out by the “AI” noise. I also think the last update made Logic a lot more stable.
Agreed on all fronts. There are lots of good things in Logic 11 which were indeed hiding behind the headline noise. It was important to address those things first but it's great now to be able to shine some light on some really useful developments.
Wonderful! Can't wait to play around with it. Those chord progressions were wonderful, Jono Buchanan! Are they from a particular composition or did you do them just for the lesson?
That's very kind, Jennifer. Just a little bit of improvisation led by where the piano took me. They're - for me - Logic's most inspiring pianos (so far) to play. Hope all's wonderful with you.
Sounds great and lush.You play with real feel.
Thank you!
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Love this!!!!
Great, thanks!
Brilliant as ever and will incorporate this for my El Retsof productions . Great tutorial . I've just stumbled on a sort of self generating synth using the randomiser and using the pattern regions etc ( took some tweaking ). Logic's Midi Fx are great once you go out of the comfort zone and take the time . Thank you JB
That sounds great, Lee. You’re absolutely right, the MIDI FX can do amazing things and coupled to the MIDI In options, things can get creatively wild! Thanks so much, as always.
Jono! This is glorious! Omg, this whole tutorial blew my mind. You are an excellent teacher. I have watched it at least 5 times trying to absorb everything. The final result is just jaw dropping. After about the second play through, I decided to follow your tutorial step-by-step and recreate it on my own. I have taken some liberties with it and made it my own by recording bass, guitar, and drums for it. I just want to know if I can publish it. I don't want to break any copyright laws and would love to have your blessing.
Hi John. Glad it was helpful! Absolutely, go right ahead. Thanks for asking.
Amazing
Thanks!