Welcome you to the audio production session at WWDC 2004. My name is Phil Jackson, I'm the audio product specialist for Apple computers. And during this presentation what I'm going to do is show you how we can use Logic Pro 6 for audio music production on the Macintosh. It's really, this is something I really love to do and I really love to show people how this how this works.

Now, Before I actually start the presentation, I kind of got to get a gist or a feel of what type of people are in here, besides the people that are yawning. Any musicians in the house? Wow, excellent. Any non-musicians in the house? Like drummers? Think people like that? Okay. And how many video people do we have? Wow, so we've got a whole selection. I'm assuming that you've been enjoying the show, and that's fantastic.

Now, a friend of mine, Joseph Linasky, he did his presentation earlier, and he said that he allowed some question and answering during the presentation. I, on the other hand, don't allow that. So, we may do that. We may wait until the end. So, what I want to try and do is to help you guys understand exactly what Logic Pro 6 is all about. I want to take a step back and show you the way that maybe making music has been done for the last few years.

Now, music production has changed considerably over the last 10 years, thanks to the computers. The ability to take a simple melody or chord progression and just go with that, and shape it, and produce that into a finished song. It's just really, really incredible. And slowly, the computer has started to replace some of those larger devices within the recording studio, and has really allowed a lot more flexibility. So that's what I want to start with.

I wanted to sort of talk to you about how music used to be recorded in the old days. Not so much in the old days, maybe a little while ago, but... We start off with musical instruments, and we need musical instruments to create music, to make sound, to actually record music. And instruments can be anything from acoustic instruments, such as a piano, acoustic guitar, or an upright bass, to an electronic instrument or an orchestral instrument, maybe like an electric guitar and electric bass, or an organ or a synthesizer.

Now inherently, when you're in the recording studio and you want to make a nice large project, that requires a lot of work. That requires arranging and organizing multiple musicians and multiple instruments, and paying them and getting them into one room where we can actually go ahead and experiment with textures and sounds that are beyond what a particular band have within their players.

Phil Jackson And so that's been quite expensive. And so, some musical instruments is definitely something the computer has helped us with. It has given us much more of a palette of tools to work with. Phil Jackson So that's the musical aspect, the musical instrument aspect of it. The next one, microphones. Now we need microphones in the recording studio to help us get down the sound of these acoustic instruments. Phil Jackson We've got an acoustic guitar, we need to mic it up. That microphone gets plugged into a mixing console, and then straight on to the multi-track recorder.

Phil Jackson So let's talk about mixing consoles. Now the mixing console is inherently there to pre-amplify the microphones or the line instruments that we plug in. Phil Jackson It allows us to boost that signal, add some equalization, and then that will often go off and be recorded on the multi-track recorder.

Phil Jackson Now mixing consoles range in size. They can go from anywhere from a four-channel mixing device all the way up to something like a 96-input SSL like that, Phil Jackson which could essentially cost a million dollars plus. Phil Jackson Now the other nice thing about the mixing console is it allows us to take all of the tracks coming back from the multi-track so that we can listen to playback. Phil Jackson So we can mix and we can balance out that and we can listen to the arrangement and see exactly which musician's parts need to be replaced with real musician parts.

Phil Jackson So essentially that's the idea of the mixing console. And as I said, they can be very, very expensive. And a lot of them, like the SSL, on Phil Jackson Each of their channels, they'll have a dynamic section like a noise gate and a compressor. And they'll usually have a center master section that allows you total control over the volume of your speakers in the studio.

So, if I can get a new battery for this, this would be great. There we go. Multi-track recorders. Now, after everything's gone through the mixing console, it's going to go on to the multi-track recorder. A multi-track recorder is a little bit like the tape player that you have at home.

I don't have any tape players at home anymore, but use your imagination. One exception is a lot bigger, of course, and a lot more expensive. But the thing about a multi-track, it allows every instrument to have its own track. It allows us to stack and layer different instruments onto the multi-tape recorder.

Excuse me. Oh, thank you. I thought he was coming up to take over. I was going to say, I don't think I was sucking that bad. Oh, okay. So anyway, I was talking about the multi-track recorder. It allows you to layer up track after track after track, in essence making one vocalist sound like many.

Now, multi-track recorders come in various different sizes. They can come in a 4-track, 8-track, 16-track, 24-track. And sometimes when we need really, really big sessions, what we can do is we can synchronize these multi-tracks together. They can be synced or slaved together. Thank you. Let's have a look at that again. They can be synced or slaved together to double the track count.

And in the early part of the 90s, when digital multi-tracks first started appearing on the market, we then had single machines that could get as high as 48 tracks per single machine. So that's a multi-track recorder. Now, when you've done all of your recording and everything's sounding good, we usually go into what we call the mixing stage, and this allows us to take effects processors.

And effects processors can run the gamut of different types. They can range from subtle things to things that radically change the way something sounds. The way something sounds when it's recorded, or the way something sounds before it actually gets recorded. It really doesn't matter. But these things can range from simple things such as an equalizer, high, mid frequencies, low, mid, low end, to compressors and noise gates, to modulation effects like chorusing, flanging, and phasing, to echo systems and delays, all the way up to something maybe like a room simulator, a reverb unit, which can place an instrument or a person's voice in any type of room.

It could be a concert hall, it could be a church, it could be a parking garage, it could even be a hallway. It could be a mall like this one. And so that's the effects processors. Now the nice thing is all of this stuff that we've just looked at, the multitrack recorder, the mixing console, the effects processors, with the exception of the microphone, have all been rolled into one production system called Logic Audio. And what we can do is we can go through and look at some of the comparisons now.

Logic Pro 6 really gives you total integration in one package. And this has allowed musicians and drummers, and producers, to freely experiment more with the music that they're recording. In fact, the whole workflow of recording music has somewhat changed because of computers, because we can now do things while we're doing, while we're tracking, we can add EQ and we can add effects, rather than waiting to the entire end of the process, and just, "Okay, right, we're finished recording, let's send it off to an overly expensive guy to mix." So, let's take a look at it. Logic Pro 6 as a multitrack recorder for audio. Now, Logic is only limited by the audio hardware that you're using. So, for example, if you've got four inputs on your audio hardware, that's the maximum amount of tracks that you can record at any one time.

If you have 16 inputs, that's the maximum amount of tracks you can record at any one time. However, Logic Pro 6 can play back up to 256 tracks of digital audio at any one time. And that's with sample rates all the way up to 192 kilohertz, at 24-bit, pristine sound.

It also, like I say, sample rates up to 192, and always sample accurate playback. The difference between Logic and a regular multitrack is, there's a little picture here of the arrange window, is that Logic is a multitrack recorder for audio, but it's also a multitrack recorder for MIDI.

And for those of you who are not familiar with MIDI, MIDI stands for Musical Instrument Digital Interface, and it's just a protocol that allows synthesizers, let's say you've got a synthesizer over here and one over here, they allow them to talk and communicate. And inherently, that allows the computer to communicate with an external keyboard. So, for example, when you're recording a MIDI keyboard, we refer to this as sequencing, actually.

So recording audio, multitracking, recording MIDI, kind of sequencing, one of the same thing, but we don't actually record an audio signal, we record MIDI data. That MIDI data is played back in real time out to the device, which tells the device exactly which notes and which chords to play.

And of course, Logic offers non-destructive recording, which is something that you don't have in the analog world. If you accidentally hit record over the last tail end of an amazing vocal performance, you bet your bottom dollar that it will be gone for good, and also can be very expensive.

So, Logic Pro 6 has an integrated mixing console. Logic Pro 6 has a beautiful integrated mixing console. Every single channel that can be recorded in it, every single channel that can be recorded in Logic, or played back, has its own mute button, its own solo button for isolating it from the mix, has a volume faders, and of course, it has level meters. We also have many different types of channel strips.

We have audio channels, we have auxiliary channels, we have buses, we have input channels, we have output channels, just like in the analog world. Logic can operate every channel, either mono, stereo, or incomplete surround. Anyone out there mixing music for surround, Logic Pro 6 is definitely the way to go.

It has flexible routing capabilities and flexible DSP inserts. In fact, let me just stray one second. Thanks to the sheer power of the G5 and the Macintosh, it's allowed Logic Pro 6 to create a suite of unbelievable virtual instruments that can be played like any other synthesizer, and they range from simple sampled instruments, sampler, or sampled instruments, to instruments that are created via synthesis, and other instruments that are created via physical modeling.

And they really allow the single musician like myself or you to have many more textures and tones available to you for when you're actually writing and arranging music. And the nice thing about those instruments is they live on what we call audio instrument channels right here in the mixer, and they have their own set of volume, mutes, solos, panning, and DSP inserts for complete and total integration into the production process.

So that's fantastic. And of course, everything on the integrated mixing console is fully, fully automated. And we, just for my friend over there, Logic's got silky smooth EQ, I can tell you that. It's phenomenal. So what about Logic Pro 6 as a multi-effects processor? And there is the EQ right at the top. There are eight bands of silky smooth EQ.

As a multi-effects processor, Logic comes with over 50 amazing sounding effects. Now these particular effects, again, range the gamut from subtle to radical. So subtle being things like EQs, compression, multiband compression, and more radical being things like spectral gates and phasing, fast modulation, echo, room simulation. We have Space Designer, which is the plug-in right down here. This is a convolution reverb that's capable of taking any instrument into any environment.

It could be a room like this, it could be a church, it could be for use in post-production for video because you might have some dialogue that's going on inside of, say, a Volkswagen Beetle. And you need that voice to sound like it's inside of a Beetle. No good shooting a scene inside of a Beetle and having it sound like the guys are in a big parking garage. So Space Designerigner allows you to place any signal in any type of environment.

Now built right into the Core OS of the Mac is the Audio Unit Standard for plug-ins. And what this has allowed Logic to do, because it supports it, it's allowed all of these third-party people like yourselves to create amazing and innovative plug-ins that can immediately be integrated right alongside Logic's own plug-ins for even more of a wide variety of sounds and DSP.

So basically Logic Pro 6 is probably one of the most flexible music production systems available. And although we've just seen some of the analog counterparts, the multi-tracks and the mixes, and we've made those comparisons to Logic, there are many other aspects of Logic which make it truly a wonderful and inviting program to use for creating any type of music. And it could be just writing a song at home in your home studio, it could be writing a number one hit record, it could be scoring music for film and for television.

So Logic Pro 6, we talked a little bit about the instruments and let me show you them. There are nine of these instruments in all, all packed into one complete production system. And as I said before, the sample-based instruments at the top, we have the EXS24, it's a 24-bit sampler. It can load up a variety of instruments. It can load up a variety of different sound libraries. So you pretty much have access to thousands upon thousands of sounds, everything from a piano to an oboe, anything.

We also have plug-ins that create their sound via synthesis. The ES1, the single oscillator synthesizer, or the ES2, which is really, it's a real badass. It really is, and it's three oscillators, just sounds amazing. But we also have modeled instruments, and modeled instruments are a beautiful thing, and finally, for the first time, allow us to faithfully recreate some of the classic instruments that we have spent years and years listening every day on records and CDs. At the top we have the EVB3, which faithfully recreates the Hammond organ.

The EVD6, which models and recreates the classic Hohner D6 clavinet that was made famous by, I don't know, just called, Stevie, Stevie Wonder. And then down here we have the EVP-8. And then down here we have the EVP-8. Which faithfully recreates all of the classic pianos of the 70s.

So there are the virtual instruments. Logic also has integrated editing, because of course once you start the production process and you start recording MIDI and audio, you need something to edit them with. So Logic has a wonderful built-in event list editor that lets you edit all of your controller data and your note data via a numerical style editing. That's the event list.

Then we have the matrix editor, which gives you a sort of, more of a piano roll look. This is where you can have a vertical keyboard here that represents each of the notes on a horizontal line. And you can see where the note starts and you can see how long the note is. You can even see how hard that note or chord was pressed by referring to the colours, red being the loudest, blue being the quietest.

We also have the hyper editor and we also have an integrated score editor. Now I do want to say this about the score part of it, is it's not really just a score editor. Logic is a full-on score editor. It's a full-on page layout scoring program, which can be used either with the sequencer or independently of the sequencer.

So for example, I could put down a little melody in C and listen to that melody in C, yet I can have the score show me what it might look like scored for a trumpet in A flat. Those guys playing brass, they always like to blow their own horn. But anyway, so what we're looking at here is just an example of some printing out.

This is using the jazz font. On this particular example, City Nights. So full-on scoring. And this is great for arrangers and for musicians that are composing music and then needing to take printed notation out to a sound stage where you may record the final piece of music with an orchestra. And of course you would be recording it directly to Logic.

Logic Pro 6 is a professional desktop and portable solution. The G5, absolutely amazing, up to dual 2.5 GHz, will give you enough power for even the largest large scale production. And of course with the PowerBook, that's going to give you the portability and the mobility that you need to take a project out into the field and just start recording. You can finally take your entire recording studio to the client.

Essentially that alleviates so much equipment. I mean, I remember reading something about the Beatles when they wanted to actually take the tape machine out of the tape machine room and take it down the hallway to move it into the studio room. It took them like five days to get permission to move that big tape player, but now we can just take our power book and we can be recording it any place. Phil Jackson So Logic truly is an all-in-one solution that offers convenience, it offers economic values, it's a lot cheaper, more portable, and of course much more creative control over everything.

So at this particular point, what I'm going to do is I'm going to get on the computer and just give you an idea of exactly what I'm talking about. Is that alright? Don't all jump and say yes at once, will you? Alright, let's take a look at what we've got. So, let's switch the screen.

I've got a lot of equipment up here, so... So what we'll do is we'll start with a brief overview of the main arrangement, and this is the main arranged window within Logic, and this is where you do all of your sequencing and you do all of your editing.

You can think of this like your virtual canvas, for example. So, over here on the left-hand side, this is our track list, and as I said, when we're talking about multi-track logic, it's more than just audio. It is audio, it is virtual instruments, there are MIDI tracks. So, this is your track list right here, and that track list can be freely configured by you, the user, depending on the type of tracks that you want to record at any one particular time. Each track can be given a track name. We've got an icon, a mute, protect button, and a track number running at the side. On the left over here are what we call the parameters. They help you as you're actually creating your music.

At the top where it says MIDI through, we have playback parameters, and I'll talk a little bit about playback parameters in a little while. They're primarily used for editing, and we are, I'm not showing it right now, but we have a toolbox, which usually lives in the parameters, and we have instrument parameters, and then we have a channel strip, which is essentially the one channel strip from the particularly selected track. So, for example, the bass is selected, and that's showing the single channel from the virtual mixer.

Those parameters can be hidden. At the top we have a transport control, which has got our tempo and our time signature, and then along the top we have our timeline, and you can see the line right there. That is the SPL, or the song position line. That moves from left to right and indicates the current position of our arrangement.

And you can see the white bar at the top, that's what we call the cycle beam, and that allows us to just cycle around a particular section. If I'm working on something over and over again, I can go over and simply change how many bars I'm cycling around. The main body of the arrangement here, this is really like your virtual canvas, and you can see that we have some objects, because Logic is an object oriented sequencer.

It's essentially you move objects around, you manipulate these objects, and these are what the objects look like, and they can be of different varieties. So, for example, right there we have the guitar left and right. That's what we call an audio region. That's an audio file that's been recorded, and it can be identified because it has a waveform overview over the top.

The difference between an audio region and a MIDI region, sometimes referred to as an object, we do sometimes refer to these as objects, is that MIDI data, and they have a notation overview. Again, that helps to identify the difference between a MIDI track and an audio track. So let me just give you an example.

I'm just zooming in right here on my lead vocal track, and I'll just play this a little bit just to give you an idea. Some things are missing. In fact, what I'm going to do is I'm just going to take all of that and we'll just delete those. So let's just take a listen to what we've got here. We have a little vocal track.

So, this song is somewhat unfinished. It's got some vocals, it's got some guitar and some bass, but there are certain things that I want to sort of add to it. I might want to add some drums, I might want to add some bass, and things like that. So, what I want to first do is introduce you to those wonderful instruments that we talked about. So, the first one I'm going to talk about, I'm not going to actually use this one, but this is called the EVB-3. And this emulates the classic Hammond.

Let's see if we can get a bit more volume out of that. And let me just make sure, yeah. So how many people are actually familiar with the Hammond organ? Yeah, I mean, really it's one of the hardest instruments to recreate, especially the Leslie speaker. So for example, here's-- let's kick the Leslie speaker on.

Now this thing has got some amazing parameters. It's got all of the classic parameters that you'll find on the B3, including draw bars, so for example adjustments to our drawbars. We have all of the parameters for crafting this instrument from a brand new Hammond organ that just came out of the factory way back in 1950 to one that's been around the world and has been completely thrashed upon night after night after night. The tubes are old, the whole workings of the machine are old.

And we have plenty of parameters down here like the volume of the click, how much drawbar leakage we can hear in the sound. And all of that serves to age the B3 in many ways. And this is a modelled instrument. So for example, we can come up here and we can turn the growl on. We've got three types of distortion because sometimes the Hammond was a classic for growl.

Fantastic. Now the other nice thing is the reverb. One thing that made the Hammond so nice is the reverb unit would go through the Leslie. And for those of you who don't know what a Leslie is, it's a spinning speaker. It's essentially two spinning speakers. It's got a bass pointing down with a drum that revolves in one direction, and then it's got a tweeter at the top with a horn that revolves in the other direction.

And if I crank the reverb up, we can hear that. We can just hear that going through the Leslie. So faithfully recreates what is inherently one of the most magical instruments of all time. And of course we can simply call up different presets. Music All the way up to really thin sounding DAWs.

So, getting back to what I was saying in the beginning about instruments, about having to organize different musicians and different instruments all together in one room to create different arrangements. Again, you know, you've got Logic here, and you go, I want a Hammond. No problem. Call it up, and there it is, immediately ready. And it actually weighs a lot less than the original. So, what else do we have? Well, here's one of my favorites. This is the EVP-88. This is actually one of our first instruments that eMagic created.

And it's actually one of the more simple plug-ins. Essentially, let's, what I'm going to do here is I'm just going to call up a default patch, and just going to bring up the volume a little bit. So, we essentially have models of different types of pianos, and for those of you familiar with the electric piano, we have a suitcase piano.

My sustain pedal's not working. It's back to front, give me one second. See, let me just zip around this software, there we go, click some ports, polarity, let me just put that back to normal, there we go. So, that's a suitcase piano. We can turn this big knob here and we can have a model of a suitcase version 2, or the classic bright suitcase, or the Fender Road Stage 1 piano.

Can you hear that? Because I can't hear it. You know what I'm saying? It's about music. It's about sending these people out of here deaf. Okay, so that is the classic Stage 1. Of course there was a Stage Mark 2, which was just slightly different. Had a sort of bit more metallic feel to it, and we even have a classic Wurlitzer 200A, which is just a phenomenal sounding.

Now he's singing it, you know what I mean? You got some pliers? Where are we John? Um... So anyway, that's the classic Wurlitzer. Now, the nice thing about this, because it is modeled, we have some model parameters like the decay and the release. So for example, with the classic suitcase, I can change the release, I can bring that down, I can bring the decay up. It sounds exactly the same. Let's bring it down a bit.

So it's a very short and staccato sound now. We also have the ability to change the the tines, or the volume of the tines, or the bell as we call it. And also the damper. For those of you who don't know the intricate workings of an electric piano, they have a damper that when you let go of the keys, it comes down and rests. And sometimes you can actually hear that damper, if I crank it right up, we can... It's hard for you to hear, but it's just, again it adds to the realistic characteristics of this particular instrument.

And we have a stereo intensity, we have a stretch parameter, so if you were to play this, because this is a model, unlike a sampled instrument, so for example, there are no funny, strange envelopes or loop points to get in the way of what I call the pure tone. So for example, if I play an octave down low, We essentially have a pure tone. There's nothing cross-fading or destroying that tone like we would hear if it was sampled.

And because it is so pure, if we were to play this in conjunction with an acoustic piano, acoustic piano is manually tuned by a human ear, so we have a stretch function which allows us just to slightly vary it so that it will sit more pleasantly within the confines of a grand acoustic piano.

It has got an EQ, it's got a beautiful drive, it has an amazing phaser. Check this out, we'll just bring up the rate and the color just a little bit. and it's also got a beautiful tremolo. Let me just go through here and let's bring that down and let's bring up the tremolo. This is a stage mark one with the tremolo.

So if we wanted to take this, for example, I'm just going to call up a simple patch. Yeah, I'll just call up this patch. And what I'm going to do is, I'm just going to close this for a second. I'm going to come up here to my song.

This is my verse. So I'm just going to zoom out a little bit. Let's take off the automation of this track. And, let's say I want to actually just go ahead and record a little, just a simple line. Nothing extravagant. We're just going to record. Love is so good.

If I make a mistake I can stop and go again. I can actually come down just a little bit. And you can see once I stop recording, as bad as that performance was, it gives me a MIDI sequence right there in the arrange window, which I can zoom in, and I can come over here and I can quantize that to correct those mistakes that I made, and do some other editing to it.

So I'll leave that for now. Let me show you another instrument, the EVD-6, yet another modeled instrument. Now the modeling of this particular instrument is done using a string. It kind of models the characteristics of a stringed instrument, in this case, a clavinet. So for example, it can sound like this.

Or we could change that to sound a little bit more like, say, a guitar. Makes me feel like singing a Michael Bolton song. Yes, who needs that? We can add some tape delay over here. We can see that we were talking about the channel strip in Logic before. You can see that the EBD 6 is right down here. That is the actual instrument, and then up here I have some effect slots, so I can add a delay to that. And also some modulation to really enhance that sound.

And we can also mute that, and we can come down here. It's got wonderful effects built in. It has got an incredible phaser built in, the same phaser that is used all throughout Logic. Also a wow-wow pedal, a classic guitar wow-wow is built right in. So let's see. Let's get that up.

Classic. And of course that can be automated. We can create auto-wow patches. Phenomenal. I actually like to use the EVD-6 just to give me a bit more sort of rhythmic stuff. For example, I might come down here and enhance that piano part that I've just put down. Okay, so here's my piano part, I just want to add a little... Just a little bit of sort of chicken picking. ♪ Love was so good ♪ Stop playing, of course then I'm left again with an object here, but this time I could potentially just loop it over and over again so it keeps repeating.

I've actually got some echo on that via Ascend. The actual EVD 6 is panned slightly to the left, and the echo slightly on the right, just to give me a slight stereo imaging. So that's the EVD-6, absolutely phenomenal. Let's take a look now at, quickly, at the ES-1. The ES-1 is one of our synthesized plug-ins. This is a single oscillator synth plug-in. It actually has a sub-oscillator right down here. So there's the classic sawtooth square wave with pulse width modulation. We've got the mixer, which lets us mix between the main oscillator and the sub-oscillator.

A very simple signal path goes through a drive, which can be driven into a filter, a four-stage filter with a 24 dB slope, 12 dB slope, 18 dB slope. How many people actually know what that means? Mate, could you tell me? So we even have our classic fat slope, and usually when you slope by as much as 24, you lose a lot of the bottom end to the sound, so our fat filter allows us to reclaim some of that lost bass. Absolutely... Amazing, my god, I'm drooling, can't believe it. Here's another bass. Wow, just incredible. Let's have a listen to a little lead sound.

And of course, what a difference if you just add a little bit of delay. So that's the ES-1. Absolutely incredible. It does have a built-in ADSR for adjusting your attack, decay and release. I'll just quickly show you that. I'll call up this bass patch. I can change. And of course there's a router right in the middle because we have an LFO, so we can assign the LFO to trigger anything from pitch, pulse width, our cutoff frequency, our resonance, and we also can affect the sound via velocity. So we could, the harder we play, I could assign that cutoff right there. So for example, let's try this. I'll bring back down my envelope.

So now the quieter I play, that reflects the bottom right here, which is zero. We're selecting cutoff. So this is the range as I play harder, which will increase the cutoff. So that's the ES-1. Let's take a look at this bad boy because this really is one of the simplest UI designs I've ever seen.

Where do I begin? Let me select the track down here. I've got a simple brass pad, just a simple sort of 80s. Music And if you really listen to the attack, it really kind of spits a bit. Now, this is a three oscillator synth. We've got one, two, three oscillators, and we've got all of the classic waveforms that you would normally expect.

The difference on the second and the third is, the second and the third, their waveforms, like the square wave, can be synced to number one, so that you can create that kind of syncing sound. Just over here to the right of the oscillators, we have a triangular mixer, which allows us to mix between the three different oscillators. On the left-hand side of that, we have the tonal control, like so.

Let me just call up a default patch for a second. Maybe I can just borrow Manfred for one second. Can you just come over and play this for me while I tweak and show what can only be considered the most wonderful crowd ever at WWDC? I just want to quickly show them here, for example. So if I stick that right up here, I'm only hearing oscillator one. And I can pick a digital sine wave. any one of a hundred digital sine waves.

But the difference is, with oscillator 1, I've also got FM right here at the top. It looks like that. I can slide that, it doesn't really do much, but what that is, is the FM side of oscillator 1. It needs to modulate itself off something else. So for example, let me show you this. So if I go to oscillator 2, let me just turn oscillator 1 off. Oh, let me do that again. Look at that. Wow. Oh, that's fantastic, that is. Let me just try it on that one, Dad.

Okay, so what I'm going to do is just pick a digital waveform down here. Can you play it for a second? So I'll just choose pulse 5. Now what I'm going to do is I'm going to put that back over here to 1. Now when I slide it, it will modulate the FM on that second oscillator.

"That's the nature of that classic sound. And then it's going to come through here to a dual filter that can either be put into series or parallel. So for example, this is in series, that's in parallel. Can I do that again dad? Look at that, that's fantastic. We have a blend mode that lets us blend between the two filters. And we have low, high, Peak, Band Reject and Band Pass, and also the classic 12, 16, slopes, as well as resonance. We can mix between the two.

Over here, we come to the distortion section that allows us to add distortion. either dark or bright. And we've got a chorus flange and a phaser. Now, the thing about most analog synthesizers is they are indeed... Where you going? I'm finished yet mate, I'm telling you! Come on! The thing about most analog synthesizers is that they're very analog, and they do analog inherent things, like for example, when you used to switch them on, they would sort of, the oscillators would go in and out of tune.

So, we have this analog thing here which reproduces that kind of feel, so yeah, just... sends it a little bit out of tune, just again to give it that analog fatness. Then the other nice thing about analog synthesizers is it used to let you play in unison, didn't it? Remember Unison? Yeah, she was a really nice girl.

We can come over here and switch Unison on, which essentially doubles the notes, so now give us... And of course you're hearing this with absolutely no effects. Thank you, mate. Round of applause for Manfred. He's German! He's come over from Germany. He's been staying with me for a week, and I haven't shown him anywhere. I'm showing him a damn thing. I've been sat in the house working on my demo.

So that's the ES2. A couple of other things about the ES2. It has an extensive modulation matrix right here in the center section, which allows you to route any parameter to any knob or slider on your keyboard. It has also got three LFOs. One is a polyphonic LFO, one is a monophonic LFO, and then we have three envelopes, a single one there. We have one that can be used for the filter section, and one over here that can be used for the actual amplitude.

So for example, I could take that, bring down the filter, come down here in the modulation matrix, and you can see here that cutoff 1 and 2, which is fine, cutoff 1 and 2, is being affected by envelope 2. So for example, if I want to do a modulation, I can do a modulation, and then I can do a modulation. So for example, if I bring this up, the attack of envelope 2.

opens up that filter as it builds along. So I want to put down a simple brass part, let's do that. I'm going to come up here and select my brass again and let's just put it down. So I'm going to take off my automation. There we go. Make sure, just come up an octave, there we go, up the volume. All I'm using here is just a standard keyboard controller, nothing fancy, nothing really that expensive. They come in all sorts of sizes and models and weighted keys and non-weighted keys.

You can also use the ES2 for some beautiful things like pads, I mean, and we can open up the filter just by bringing up the modulation wheel. Of course we can then bring up the volume simply by taking the automation off. So that's the ES-2, absolutely capable of producing some earth-shaking basses, rich, warm, analog sounds.

I want to come back now to one particular instrument which I wanted to do first but I actually left till last because I want to record some drums with this. And this is the EXS24. This is the sampler, built-in sampler. It is one of the most popular samplers of all time. One of the reasons it's so popular... Do you need a pillow? You sure? Okay.

I've got one for you. What's nice about it is that it can load up sample libraries, not just made specifically for the EXS. This can load up sound fonts if you happen to have a PC, and you've got sound fonts that you want to load up into the EXS24, that's not a problem. That will convert your sound fonts.

Phil Jackson If you have an old boat anchor of an Akai sampler in a rack, you know, one of those big heavy things, or even more so a Kurzweil, then you can simply take all of your Akai CDs that you have purchased over the years and convert those. The other nice thing too, is anyone familiar with Giga Sampler?

I can't play that, can I? Now, the thing about this piano is it uses a different set of samples for when the sustain pedal is up. What happened there? Something's... Let's try that again.

And it has a completely different set of samples for when I step back down on the... So what you actually hear is the sound body of the piano resonating. I'll give you for example, it has another set of samples which change when we actually let go of the keys. One set of samples, second set of samples.

Now it doesn't sound like... Why would you put a second set of samples on the release? Well you might put it on for this reason. For example, when you let go of the keys of a piano, the body of the piano resonates. So if I take the release samples and for example I just bring them down in volume, it will essentially give this piano a sort of dead sound.

"No reverb, no reverb. Ok, so... Now listen to what happens when I whack that up to +12. Just to accentuate it a little bit. It sounds exactly the same." A little bit different. You can hear that natural reverberation. And that's the performance factor of the EXS24. The other nice thing about the EXS24, let's go back here, is for example on this string sound here, the modulation wheel is changing the samples from, say, a sort of legato sound like this. And when I pull it back down to the front, more staccato.

So, beautiful, and that's, same thing can be said for what we call key switching. For example, here's a violin that uses key switching. So for example, There's a note. Now, when I hit certain notes at the bottom, it doesn't actually play anything. It just serves to switch the sample. So, for example, if I hit C1, I have a... When I hit C sharp, it gives me staccato. And when I hit D... Just like the cartoons running around. And we can go back. We also have tremolo. And trills.

Wow, I feel so animated. So as you can see, as a performance tool, it allows you to perform with much... Thank you very much. allows you to perform with much more flexibility and expression. Now, the EXS obviously does much more than just strings, and much more than just pianos. It will also allow me to do drums. Here, I have an EXS loaded up with some drums.

So if I want to record some drums, I can close my plug-in window. I'm going to move over here to my introduction. Just here. I'm going to mute this piano for a second. There we go. And so, what I want to do is I want to record some drums over and over again, so I'm going to check my recording options. Auto create track in the cycle mode, which is good. So... Just allows me, if I make a mistake, I can start again. I'm going to shorten that by four bars. There we go. Select a track below it.

You can drop out of record, and I can solo. Just those objects. Now those objects have been quantized on the way, and that means, okay, you set Logic by clicking here and coming up to the playback parameters, and you can see that we have 16 swing enabled. So basically Logic's saying, okay, got a real hack playing the keyboard, he's playing stuff in out of time, I just need to correct it all for him so he sounds good. And that's exactly what it's done on those three objects. I can take that off and you can hear it in its original glory.

And that's the nice thing about Logic, because everything about Logic is non-destructive. It doesn't matter if you quantize stuff on the way in, or you do it after the fact. It will always preserve your original performance. So, again, that can be 16ths. We could swing it a little bit.

And I'll just put that back down to 16B. Now once that object has been recorded, we can do a number of different things with it. Of course it stops right here at bar 20. Now maybe I want that to repeat over and over again. For example, this is my kick, which I can name as my kick. This one down here I'm soloing right now is my hat, and right here is my snare drum.

If I want those to repeat over and over again, I can just simply loop them like so, and they will repeat to the end of the song or until they run into another object. Okay, now I also have another EXS with a different snare drum on it. So I can simply move these things around.

I can say, okay, let's drop this to this track, which is just another channel with the same instrument on it, but this time it's got a compressor and an EQ on it, and some reverb. So for example, so... Okay? And that is going to bus 8, and I do want to check something on my track mixer here.

Global. Well I've got nothing going to bus eight, so let's just do that. So let me show you how I would do that. I'm going to come here, I'm going to say input bus eight, there we go. I'm going to bring up a mono to stereo reverb, space designer.

I'm going to call up, let's call up this patch right here, vocal, let's just use vocal plate, small, there we go. And make sure that the, that's on max. So now this channel receives bus eight, goes out of output one and two, so now that should give me reverb.

Here we go. So I can come down and I can move my hi-hat down to another track to give me a less than electronic hi-hat. "I'll just move that down to conserve space and I'll just delete that track, that track, that track. So now I've got some drums.

Let's just have a listen." Logic also deals with audio. How do I get audio files in besides just recording them? Well, let's say I want to deal with some drum loops. What I can do is, I'm going to come over here to Screen Set 7. Logic has 99 screen sets, and don't be confused by screen sets, they're not that complicated. They just allow you to quickly jump from one view, like this view, to a view which is a little bit sort of zoomed in, to even something that, you know, maybe has an instrument open.

You have 99 of these, and they're just recalled by simply tapping a number. So I want to bring in an audio loop so I'm going to go to the finder here, here's my finder and I'm going to grab this drum loop right here, just go back to Logic and I'm going to come along and just drop it right here, just there. And let's take a listen to that. It's just a four on the floor loop. And let's bring it up in volume a little.

Let's take a listen with the other drums. And... They're not really grooving, because this is a four on the floor groove, and the drums I recorded had very much a syncopated bass drum. So, for example, what I'm going to do here is, I'm just going to take this bass drum... And because it's looped, I'm going to turn the loop off just so you can see what's happening here. If I grab the right hand side of it, I can simply hide.

So that's just going to give me one kick. Now I can make copies of that and say, OK, well maybe put one there, and put one there like so. Or I can simply just loop that one. And that gives me a four on the floor. Or I can stretch it out a little bit. And let's take a listen with these.

So again, four on the floor. There we go. Take that solo off and take a listen with the loop. Logic also reads Rex files. Rex files are a similar type of audio files, but the difference between these types of files is Rex files allow you to change the tempo of your song after the fact. With this particular loop that I just put in there, that loop is a certain tempo.

It just happens to be at 124. But I could, for instance, bring in this conga loop right here. I can drop that there, and I'm going to say bring that in without crossfades. Hit OK. And it brings in a folder full of little sliced audio there. And that will allow me to change the tempo if I desire. So again, I'm just going to loop that. And there's the conga.

I'm going to bring one more loop in. Okay, this is called Killer Loop. I'm just going to grab that, just going to drop that right here, and this time, again, I don't want crossfades. So, now I have another loop which I will also loop. My original drum loop, which is an audio file, I'll loop that now. So now my rhythm section is really coming together. I want to do some editing to these parts I've recorded. For example, the brass stabs. I want those in the beginning.

Now I don't want to hear her just make my heart go. She's just not moving me, so I'm just going to mute her for now. I can't be doing with it, you know what I mean? I also want to bring in the pad, so I'm just going to slide the pad in there. Don't move the automation. I'm going to make a copy of the piano. I'm going to make another copy of the piano here. I don't want the clavinet to start, so I'm going to move that to here.

There is a little tag line on this piano, two bars that I want to add, so I'm just going to come here, I'm just going to use the marquee tool and clip that out. In fact, I don't even need to clip it out, I can simply highlight it like so, and then just hold the option key down and just make a copy like that.

It gives me my little two bar tag line right here, then I continue on, make a copy of that and just simply loop it. My arrangement is starting to come together. I want to do, what about editing across multiple tracks? Well, let's come back here to the beginning. So before she comes in with that "Love was so cool, I want a little stop." ♪ ♪ Just here.

So again I'm going to take the marquee tool, I'm just going to go across those tracks like so, and then just delete them like so, and so that gives me a nice little stop. You can see that I've also got to stop right here as I come into my verse.

Right there in the chorus, this is the chorus, I'm just going to put the pad again. So I'm just going to take the pad and just hold the option key down and move that to there. I don't want to copy the automation. Now what about if I want to make some edits to audio? Well that's also quite simple. I'm just going to come here and I'm going to find my snare drum, which is right here, and bring down that reverb, it's too much. So I want to do something with the lead vocal in my introduction right here. I've got a little synth introduction.

So I want to do a couple of things. I want to take the verse, so I'm going to take this verse right here, just going to make a copy of that right up to the top of the song. Do you want to copy the automation data? Yeah, I'll, never, I'll just say never. So here we go. It'll build the new fade files. Love was so good, could receive the trouble ahead. And what I'm going to do is just come over here, and on this last one, I'm going to cut this up.

So I'm just going to trim that like, oops. Just going to grab the corner of that, trim that to there. You can see the fade. I can take that fade off, like so. I can add a longer fade, like so. And I can make a simple copy of that, like so. I'll make this copy of the word baby, just to give me a bit of a composite. There we go.

Okay, and then the last thing I want to do here is I want to take two bars of this phrase here. I'm going to take that phrase there, make a copy of that over here, but this time I'm going to drop it on the track below. I'm going to make a copy of that to there, copy of that to there. This time what I'm going to do, I'm just going to come here, take out these effects so you can hear it.

So I want to get rid of that, so I'm just going to get rid of it like so. And again, I'll put a fade, just zoom in, put a little fade on it like so. Let this play through, and then I'll also snip the end of that off like so.

Now what about effects? How do we add effects to things like this? Well, I'll give you an example here. Let me go to the verse one second. Here's the verse. Let's take a listen to the lead vocal on its own actually. Again, I'm using Cycle. ♪ But could we see the trouble ahead ♪ So we have the basic compressor. You see I've got a compressor right here.

And if we unmute that, bring the threshold up, the compressor will just smooth that vocal out. "But could we see the trouble ahead? I wish I could." You can also add EQ. I've got an analyzer. "Have I read the thoughts inside your head? Did you go crazy?" A little bit of AM radio there. You can even put some distortion on it.

And of course, I can have total shelving. Or a regular vocal. I'm boosting 200 which gives it that wood feel. I love things that got wood. So that's the EQ, and then we have Space Design. I talked about this before. Space Design is a convolution reverb that, via a convolution method, you can actually take a reading of a room, convolve that, and it will give you an impulse response file right there in the middle, which is a representation of a particular room, and that room could be something like, for example, a small vocal plate.

You can even half the sampling rate to give it twice, make it twice as long, but also give it even a bit more of a warmer feel, because darker e-boards have a warmer feel.

It also does many other things like for example, I can give myself a stereo spread, slap back. Double Imaging And then using Sends I can add some delay and some more reverb. Here's another quick example. On this edit that I made right here we can use effects to radically change the sound of something. So for example, here I've got my edited vocal. Okay, so I'm going to add a spectral gate. This is a spectral gate. Listen to this. That sort of gives me a gate all the other frequencies in this particular patch is giving me a sort of chirping effect.

Um, could also be a tremolo, which is just giving me a stutter effect. Add those together. Let's try that again. Oh, that one, there we go. And then I can add a tape delay. And the nice thing about the tape delay is if you push the feedback up, you can send it into distortion.

And that's nice because now I can give myself some creative control. I can come to the top of the song. Here it is. We can see the edit that we made just here. There it is. I'll just zoom in a little bit. I'll make sure that the track is in touch mode. And what I want to do is use that feedback to fill the gaps between here. So we'll do it like this.

"You know what I'm going to do is just, yeah, you'll hear it, it doesn't matter. Here we go." You can see that just records those movements. Thank you very much indeed. And of course I can then go into any of these and just make breakpoint movements like so. I can take any sort of tool and make curves or S-shapes.

I can paint a really nice little picture there, if I really want. And then, usually, throughout this actual demonstration I've been sort of showing you, you know, obviously the same editing applies to MIDI and audio. But for example, I had switched off the automation of certain instruments like the piano, and I can come back and put that into read mode, because read allows it to read the automation that we've put down there. So sometimes, within the context of a mix, when we solo it, it's a little bit on the quiet side. But let's just take a listen.

the volume up with that. Now there is no bass on this so what I'm going to do is I'm just going to finish this up by record enabling this track right here. We'll just make it large so that we can see it. We'll go to the top of the song and make sure that my bass is working.

I've got my monitor right here. In the real world this is exactly how it works. We've got an actual instrument, my electric bass guitar. As I said before I'm not really a musician, I'm just a drummer so bear with me. I'm just going to back up here to my intro and hit record. Just to show you it's working. Wait for it to come around and here we go.

That's it basically, that's the gist of it, you know what I mean? And so, just to quickly come back, it will rebuild the waveform, and then right here in the solo, let's see... I actually made a mistake. I should have gone... I can just cut that out. Let's drop it out of record, there we go.

And we'll just split that, one click, gets rid of that region. Come over here, we'll just highlight We're going to highlight that two bar section right there, make a copy of that, stick it there, make an adjustment to the end, and we've fixed it. And of course it's extremely hard for you to hear in this particular room, but I think you get the idea.