Logic Pro X - Video Tutorial 04 - Autopunch; Quick Swipe Comping; Low Latency Mode; Control Bar Video Lecture | Logic Pro X: A Practical Hands-on Course - Music

hello this is music tech help guy
welcome to episode 4 of my Logic Pro 10
video tutorial series in this video
we'll be taking a look at some of the
basic audio recording techniques in
logic 10 including low latency mode and
auto punch but we'll also take a look at
a basic editing function called quick
swipe comping in the previous video one
of the topics that we discussed was IO
buffer an i/o buffer size and how that
affects our recording how that affects
latency one thing I wanted to show you
is that in this video I'm intentionally
using a higher buffer size because I
want to demonstrate a mode in logic
called low latency mode which optimizes
the amount of latency regardless of what
buffer size you have selected like I
said before two of the main functions
I'm going to show you today are low
latency mode and auto punch and in order
to access those you have to right click
up here and choose customize control bar
so we're going to add these icons to our
control bar so what you do is make sure
that auto punch is selected and then
also make sure that low latency mode is
selected and it'll add an icon for both
of those to the control bar
now that both of those have been added
to the control bar you can turn on low
latency mode here and essentially what
this does is it optimizes the latency
regardless of what IO buffer size you've
selected so in my case I chose 1024
which would normally result in about 50
milliseconds of latency so with low
latency mode on it reduces the latency
so I can go ahead and record even though
I've set my buffer to a higher value
another function of low latency mode is
to temporarily bypass plugins that are
causing too much latency so before we
start recording let's turn on input
monitoring and double check that we're
getting signal from the guitar
all right so it looks like we're getting
signal just fine from the guitar and one
quick thing I want to go over with you
real quick is your monitoring volume
versus your gain on your audio interface
if you come down to your lower left
corner you'll see the channel strip for
the track that you've selected and
you'll also see the volume fader for
that track now the volume fader here
doesn't actually control the gain of the
file that you're recording all it does
is it controls how much added gain or in
my case I'm going to pull the gain down
how much reduced gain you're removing or
adding to that track so you're
controlling the output of the track but
you're not actually changing how loud
the file you record it is in order to do
that you know I actually have to raise
or lower the gain also nose trim on your
audio interface so let's take a listen
to a guitar recording I made in advance
and you'll notice that some of the notes
aren't right they're out of time and
then we'll learn how to correct those
using auto punch
all right so let's take a listen to that
just one more time the bad note seemed
to start it about measure 8 so let's
start a little couple measures early and
that will start it measures 6
all right so the bad note started about
measure 8 and the recording doesn't
really come back into sync again until
about measure 12
so rather than rerecord this entire
passage we're going to use a function
called Auto punch which allows us to dub
in a new take on top of the previous
take and then edit the two together to
create a flawless composite take so
let's turn on Auto punch in the control
bar this is the icon for auto punch and
after we turn that on you'll see that a
red bar has appeared in our ruler and
this red bar is our auto punch range our
punch range rather and so it designates
where we're going to record and dub in
the new material so I'm going to set it
from measure 6 to to measure 12 and what
you can do is you can set your playhead
anywhere you want before the punch range
and when you hit record it won't
actually record there it will only
record where the punch range is so you
could say start at measure 2 here and
then start playing along with the song
to get the field right but then logic
won't start recording until you actually
get to that punch range so let's give
this a shot I'm going to redub the
material from measure 6 to measure 12
I'm actually going to start playing
right from the get-go but you're not
going to actually hear my guitar until
the punch range starts at measure 6
all right so what I did there is I
started playing before the punch range
and then I played through the punch
range and after the punch range but the
only thing that was actually grabbed in
the recording was that punch range for
measure six to measure 12 so when he
record a recording on top of a
pre-existing region what happens is you
get a take folder and that's what we're
looking at right now on top you see the
composite take of the two recordings
together in the middle ec my second take
what I just recorded just now and then
at the bottom you see take one which is
the original take that I had before take
folders are really cool because they
allow us to piece together different
takes to create a flawless composite
take in a process called comping so we
can take take one here and then add take
two to it do a little bit bit of editing
and render in place and it will have a
perfect take so if you double click on
the take the top of the take folder it
will collapse all of the takes into it
and there's no need to have Auto punch
and and a low latency mode on anymore so
let's turn those off next let's fine
tune our edits to make this truly a
seamless take and you'll notice that
logic is already edited our new take in
to our previous take and these edit
points are not really optimal because
they've been cropped right on top of a
loud point in a waveform which that's
bad when you edit two waveforms together
you want to find an area of low
amplitude to join them so I'm just going
to open the take folder again and zoom
in a bit and again to open the take
folder you just double click on the top
part of it and we're going to use a
feature called quick swipe comping which
allows us to grab this little white line
here and we can pull it to the left or
to the right to set where we want the
endpoint of the edit to be so I'm just
going to pull this to the right and put
it in between two waveforms so that it's
less noticeable in a more seamless edit
so now that we've fixed the endpoint of
the punch let's go to the right and
we're going to fix the out point of the
punch to again make this a more seamless
edit so same thing as before you just
grab the little white line a gray gray
line
this time pull it to the left and we're
going to put it in between two waveforms
at an area of low amplitude so if i zoom
out here you'll be able to see the
entire take and what's shown in gray is
not being used and what's shown in blue
is being used as part of the take one of
the other great things about quick swipe
comping is that those edit points are
automatically cross-faded so there's no
need to go back and manually crossfade
them alright so now that we've got our
take put together let's listen to it one
last time just so we can see what it
sounds like and it should sound like a
flawless seamless take almost like I
played it perfect the first time and I'm
not saying there isn't any merit to just
practicing and getting getting the
entire take right but this function
definitely makes editing a heck of a lot
easier
all right now that we've double-checked
our take and it sounds great
we just need to render this into a new
file one of the things to keep in mind
is that all of these edit points the
more of these you have the more
processing power the more system
resources are used up so one way to
alleviate that load on your processor is
again to render this all as a new file
so we're going to do this with a
function called flatten and merge and
the way you find this is you click on
this little a icon up here pulls down a
drop down menu and you click on flatten
and merge and what flatten merge does is
it consolidates the two takes together
and also adds crossfades at all of the
edit points so we can have that seamless
take that we wanted so after you click
on flatten and merge it renders all the
takes into a new file so that the
computer doesn't have to process each of
those edit points anymore in the next
couple episodes we'll continue to look
at some of logics audio recording
techniques so we'll talk about things
like cycle record another type of punch
called quick punch and some other things
as well so I hope you enjoyed the video
and thanks for watching