Logic Pro X - Beat Mapping (part 2) - Live Drums; Guitar and Bass Video Lecture | Logic Pro X: A Practical Hands-on Course - Music

hello this is music tech help guy and
welcome to the second part of my beat
mapping tutorial in Logic Pro 10 in the
previous video I discussed the basics of
what beat mapping was and we beat mapped
an acoustic guitar so we could match up
the drummer plug-in to it in this video
I'm kind of going to do the opposite I'm
going to beat map some live drums then
use the new tempo map and grid to
quantize the playback of bass and guitar
actually to rhythm guitars to the drums
new beat map to just tighten up the song
a bit when we recorded this band they
didn't play to a click so rather than
try to unnaturally warp and use flex
time to sort of warp the flow of the
drums and try to lock it to the grid
we're just going to wrap the grid around
the drums and then use as a reference to
apply flex time to other instruments
alright so let's give this a listen and
I'll turn the click on halfway just you
can see how far off the grid this really
is
so you here and there it's not it's not
to the grid we just have our default BPM
of 120 what I'm going to do is this time
I'm I'm not actually going to try to
sense the tempo I'm just going to
manually beat map a good chunk of the
drums instead of trying to find get to a
close tempo because you may end up with
a band that is just their tempo absent
flow so much that you just can't do what
we did in the last video on an auto
detect and audio create those those beat
map markers so again the first thing
we're going to do is we're going to go
up to our global tracks or you hit G to
pull that up right click in here
somewhere and say show beat mapping one
important step that you're going to want
to make sure that you do before we start
beat mapping is to make sure that your
beat mapping transients are being shown
so on a stereo waveform they look like
this and on a mono waveform they look
like this without these markers you
can't snap the beat map to any specific
transient so on a track like this where
there's no beat marker transients what
you're going to do is you're going to go
over to beat mapping and go down to
analyze transients after that the
transients will be analyzed and the
transient markers will show up
so for this I'm going to use my overhead
track as a reference for the beat
mapping because the the overheads
basically contain the entire drum kit so
you're going to hear the kick the snare
the toms the cymbals and as well as the
hi-hat in those tracks they're just a
stereo pair of condenser mics so what
I'm going to do is open up my beat
mapping option just like we did in the
last video click on the overhead track
and again it's a little bit weird to do
this you kind of have to click in the
ruler and then pull down and over to the
left or to the right to map the beat to
where you want to go so we just pulled
this beat over to measure 2 so let's
listen to this so it sounds like the
next measure is right here I'm just
counting before basically so measure 3
is right here so we're going to pull
this over there so now we should have
four beats contained it than here and
here yep the best way to do is turn your
metronome on make sure it sounds ok and
again if you really really want to get
in here you can sort of like get in here
and do each individual beat if you want
to do that I really don't think that's
to nest to necessary with with this
group I'm going to do a couple more
measures let's do that right there it's
kind of hard to see but it's pretty
close on now let's do this one right
there we should be able to now just go
up to beat mapping here go to beats from
region like we did last time and this
time I am going to use a bar and since
our first couple of bars are on it
should be able to sense and put sense
where the bars are and put everything
where it should be
so we'll give this a shot and see if it
works if it doesn't well we'll just keep
doing some more manual editing let's
just listen to this with the metronome
on
yeah so it looks like we're good so now
I can close up my global tracks so I can
unsolo my overheads pull the volume back
down and just double check make sure
everything still sounds okay
cool we can turn our metronome off so
now what we're going to do is we're
going to use this new grid and temple
map to synchronize the bass and the
guitar is with flex time up to the drums
just to tighten up the whole mix so I'm
going to show you quickly how I'm going
to do that and then what I'm going to do
is I'll do it off-screen and I'll come
back with the finished product so
basically let's meet the bass for now
start the guitars go ahead and turn
flextime on right here for the guitars
let's turn flex time on as well it's
going to automatically go to polyphonic
that's what I want and that is a
god-awful color that's terrible to look
like to look at working with flex time
so let's choose a little nicer looking
here we go and what we're going to do is
what one thing I can do is I can
quantize these two the same that same
grid I'm going to quantize these two a
whole note so let's drag over one of
these go over to our region parameters
click on quantize and choose a11 which
is a whole note and would do the same
thing for this one so now our guitar is
locked in on the downbeats
but you're here there are some spots or
the you know the markers don't quite
line up so I may want to go through and
do some manual edits let me just switch
over to division mode here and sort of
manually sync some of these to the grid
but the magic here is that this new grid
that we have is not the the grid we had
before this is the grid that has been
created based on the tempo map of the
drums so any edits I make to this grid
are going to match up with the drums
grid so what I'm going to do is
off-screen I'm going to go through both
guitars tighten up some of the spots or
they seem like they're a little bit out
of time and I go through the base as
well quantize that to a whole note and
tighten up its rhythms and I'll be right
back
alright we're back and what I did is
like I said I went through both guitar
parts the bass part quantized to a whole
note just to get the downbeats in place
and then I went through and sort of the
the bigger notes the the bigger
transients I went through and I
quantized those to the grid so are both
of our left and right rhythm guitars as
well as our bass should match up with
the drums pretty well and match up with
each with each other as well so this is
going to tighten up the song overall so
let's just give this a let's give this a
quick listen
so it sounds pretty good it sounds a bit
tighter than before we really sort of
locked in some of the rhythms of the two
guitars and the bass with each other as
well as those rhythms locking in with
the drum groove without having to do any
sort of crazy flex time manipulation on
the drums and ultimately if you do do
that especially in a song where the
drummer didn't play to a click it's just
not going to turn out very well you're
going to end up with all these digital
artifacts that are in the end just going
to make the drum sound worse so what
we're doing is we're just accepting the
drummers groove and it's sort of
wrapping all the other instruments
around the drums groove so I hope you
guys enjoyed this short two part video
series on beat mapping and thanks for
watching hey guys if you'd like to see
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