How to Mix Piano Pt. 2

This type of music is all-round as it needs to be good in nearly any genre. Skip to content. A light sonic enhancer for vocal effects, acoustic instruments, and synthkits. Vitamin is perfect for adding a hint of brilliance to vocals… A review of Abbey Road Vinyl…. For the TG mastermasters…. La Touche Musicale can be downloaded free is a program that aims to introduce children to piano as they learn to play… The objective of this program is to create small pieces of piano music. A version of Toontrack EZKeys with seven enhancements.

What Is A Piano Plugin? I am a composer… I am looking for free piano music. The classic edition of Keyzone. I would like to recommend tional Studios Upright No. The Soundmagic Piano One offers the same sound as its predecessor. Is Truepianos Worth? The best toys to keep in the car…. Also, make sure not to rely on the downloadable presets too much. Let us know in the comments and once again, feel free to ask any questions if you need clarification on any of the steps we covered today.

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Lots of you have been telling me about your different solutions in the comments. How many record labels are you signed with? Decibel Peak decibelpeak. March 5, No Comments. Every engineer, producer or audio enthusiast has their own process for mixing, and there is in no way one best way to mix. There are a few best practices though, and so in this tutorial you will learn about 5 key areas of mixing in Logic Pro X:. Remember though, every rule is made to be broken, and what matters is the end result.

So, experiment a little and find what works for you. Chances are the names of your tracks are all over the place, like they are in our session. This is especially important when in the mixer view as the text display is fairly narrow. Our session is still looking pretty bland, so we are going to add a splash of color. Our session is pretty small at only 12 tracks, if you have a large session, color coding is vital.

Most people apply colors based on instrument type e. Hit X to bring up the mixer, select the tracks, and apply some color again. A static mix involves setting the volume or level for each track, and creating some stereo depth using pan. Hit X to bring up the mixer, and use the faders to balance out the volume of each track. For example, kick drums and bass guitar often battle for space in the low frequencies, while electric guitars and vocals can have issues in the mids.

Pay close attention to the Stereo Out track, which is the master output. Try to keep the level at around -6dB. Remember, 0dB is the ceiling, and once you start pushing levels above this, digital distortion occurs.

This is the pan pot panoramic potentiometer , and you will use it to position each track within the stereo field. Whereas the fader controls the level or volume of each track, pan controls whether the track appears in the left or right side of the mix, or anywhere in between.

Again, there are no hard and fast rules here, though typically lead vocals, bass, kick and snare are kept at centre. You should experiment with opening up the cymbals or overhead tracks as wide as possible, and if you have multiple guitar or keyboard tracks, try panning them left and right too.

Try sitting the guitars just inside the cymbals, or vice versa. If you have several vocal tracks, for example one lead vocal and two backing vocal harmonies, try panning the harmonies a little to either side of the stereo field for a thick sound. EQ is the process of manipulating the frequency spectrum of a track, and is used to either cut offensive frequencies, or boost desired ones.

It features low and high cuts, low and high shelves, and 4 bell peak type nodes. You can edit the peak frequency by simply clicking and holding a node and moving it left to right, and you can apply a boost or cut by dragging it up or down. You can also click and drag on the numerical equivalent at the bottom of the interface, or double click and enter a specific value. Where equalization is concerned with controlling the frequency range in a mix, compression is used to control the dynamic range of your tracks.

It can also be used to change the tonal character of an instrument. Certain guitar or bass notes may have been played more softly or louder than others, or your vocalist may have moved closer to or further away from the microphone during recording. As with equalizers, compressors are incredibly complex, as you can see from the number of controls in the above GUI.

Compressors work to control the dynamic range by compressing or turning down , audio signals when they go above a certain level. You use the controls of the compressor to set the point at which compression occurs, to what degree, and how quickly among other things. The five most important parameters to get the hang of are threshold, ratio, attack, release, and make up. The threshold controls the point at which the compressor kicks into action.

You can think of it like setting the ceiling. When the track level reaches above this ceiling the threshold , the compressor will engage and compress or turn down the audio. The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc. The higher the ratio, the more the compressor reacts.

At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2. The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release.

These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression.

Logic Pro X Tutorial: Get Mixing in a Powerful DAW – Produce Like A Pro

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Spatial Audio Transform your music into a spatial audio mix with expanded pan controls, enhanced surround-ready plug-ins, and the ability to export your project as a Dolby Atmos file, compatible with Apple Music.

More Sounds Adds more than instrument and audio patches and 50 vintage and modern drum kits, including a collection of samples. Work with an enhanced mixer that supports metering and panning for speaker configurations up to 7.

Position sounds within an immersive sound field using the new 3D Object Panner. Use the integrated Dolby Atmos renderer plug-in to visualize the 3D objects in your mix, and monitor in multi-channel mode for discrete speakers or binaural mode for headphones.

Access 13 plug-ins that have been expanded to support 7. Sound Packs feature slap house, modern ambient, and a collection of drum kits, bass samples, and loops. Adds a total of loops, 50 kits, and Patches. Additional Features Refined new design. Expanded tools for Step Sequencer that enable live step recording, melodic drum pattern editing, and more.

New in Logic New in Logic Pro Learn more Add Remix FX to perform creative effects like filters, gates, repeaters, and downsampling. Sampler Create sophisticated multi-sampled instrument using a drag and drop workflow. Learn more New modern design provides synthesis, mapping, and zone editing in a single window interface. Integrated zone editor offers detailed control over start, end and loop points. Mapping editor enables fast and flexible assignment of samples across the keyboard.

Flex Time has been integrated into Sampler allowing sounds to be played at the same length, regardless of pitch. Auto Sampler automates the process of converting MIDI-enabled hardware and software instruments into Sampler instruments. Supports all existing EXS24 instruments. Quick Sampler Import a single audio file to instantly build a playable sampled instrument. Learn more Quick Sampler automatically identifies the root note, optimal loop points, and trims silence from an imported sample.

Use Slice mode to chop a vocal or drum sample into multiple slices that can be triggered on a keyboard. Record live samples using a microphone, external hardware, or from any track or bus. Easily assign any instrument or third-party plug-in to a pad. Perform any sound chromatically to create bass lines or other melodic parts.

Step Sequencer Create and edit patterns with discrete control over velocity, repeat, chance, offset, step rate, skip and tie for each row. Then, you can start mixing with those plugins bypassed, and you can open them when you need. There is a stereo out bus; why would I use a mix bus?

Good question. I use it for a couple of reasons. Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix. So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume.

I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it. So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus. Then the mix bus goes to stereo out. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template.

You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB. And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back. There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression. And we came to the fun part, the effects!

I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later. Details always come later in the mix for me. This Logic Pro mixing template lets me do this easily. We have small, medium, plate, long, big, and a massive reverb on the mixing template. Every one of them has a different pre-delay and decay time. Small and medium are room reverbs; long and big are hall reverbs.

It has a different character, and I mainly use it on guitars and the percussive sounds. When I want to replicate a room, I use the small reverb. When I want to take everything in similar places, I use medium reverb.

When I want to use the reverb as an effect, I tend to use long, big, and massive ones. But you can always edit or put an EQ after them. In our previous post, we covered EQ and compression tips for mixing acoustic piano—one of the trickier instruments to work with in the mixing process. In an ideal setting, you would be recording piano in a well-treated room with natural reverb. You can often set up an overhead mic further away from the piano strings to capture some of that natural reverb.

Then in the mixing process you can mix in your reverb mic to the desired level.