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Hello Logic users, Mike here. If you have a well crafted project template in Logic Pro X you will have an amazing way to speed up the start of a new track, and the workflow when composing, producing, mixing etc. The first thing I recommend you to do, is to create the fundamental instrument groups in your project template.
Well for several reasons. But mainly because you will have an organized sequencer with all tracks in their respective group folder. And also because it will help you in the mixing process, where mixing groups is essential both to speed up the mixing workflow, as well as get better separation and clarity in your final mix.
So what instrument groups should you create? Well, this is completely up to you. But ask yourself this:. Or do you want to group instruments based on their specific purpose in the composition One group for rhythmic instruments, another for the main theme, perhaps a group for transition sounds etc. Both kits and individual percussion instruments and sounds.
Which can range anywhere from acoustic drum kits, to electronic drum kits, to orchestral percussion, and basically any type of percussive sounds including synthesized percussion and sound design hits.
The instruments and sounds I have in here are all focused on the low-end frequency range. For example: electric, acoustic and synth basses. As well as orchestral instruments in the low-range like double basses, tubas, contra bassoons, and sometimes even low cellos. The point is that I do this to help in the mixing process, because I will have all the low-end focused instruments and sounds in this group.
These are all the instruments that add drive, pulse and energy to the composition, but are not purely percussion based. Meaning these can play notes, harmonies or even chords. Basically every instrument that is backing the main themes, melodies and so on. This means instruments playing parts like chords, harmonies, arpeggios and so on, that supports the main theme of the music.
Because in this group I will have the tracks and parts playing the main themes, leading melodies, motifs, hooks and riffs. The things you hum along to when you hear the music. This can be transitions effects or sound design elements. It can be sounds that add atmosphere and ambience. Basically all the extra details that will spice up the final music composition. So now it is your turn. Take action, and start your new master template in Logic Pro X, by creating the main instrument groups that make sense for your way of composing and producing music.
After you have created your instrument groups in well named folders, I recommend setting up all the main send effect busses you will use. Personally I only have reverbs and delays as send effects, but I do have several versions of each of these effects so I can choose the proper one for any track in my mix.
My first send effect is a huge reverb that I usually base on a cathedral type reverb preset or similar with a very long decay time, anywhere from around 7 to 15 seconds long. I mainly use it for background ambience, sound effects, pads or any type of sound I really want to push far into the background of the mix. The next send effect is a concert hall reverb which I use when I want to get a deep and lush room sound. I usually choose a decay of the hall preset around 3,5 to 4 seconds.
Next I have a scoring stage reverb with a room tone decay around 1. This is very important for more focused cinematic instruments and sounds in the mix. For example the low-end orchestral sounds, as well as the main theme. Then I have plate reverb with a warm setting which is great on vocals, big drums, guitars or any instrument I want to add some warmth and depth to.
For this specific plate reverb I have a preset with around 2 seconds decay time. And I also heavily filter out the high-end to make the reverb very warm and lush. The final reverb send effect I have is a smaller room. I often use a studio reverb preset, with a decay time between 0. Sometimes even lower. This is mainly to add some depth and space to a sound without drenching it in reverb. Then I have straight quarter note delay effect, on a warm tape setting with heavy low and high-pass filtering.
I mainly use this delay as an effect type echo. Basically adding depth without smearing the sound as much as reverb does. I have done this so that I will clearly see what type of send effects I send to in all the sends of all my channels in the mix.
Now it is time for you to take action, and create all your main send effects in your master Logic Pro X template. Be sure to name them well, order them in the send effect chain, and wisely choose and shape the preset of each send effect. Now when it comes to insert effects I recommend going easy. You can always add more later, but this is the starting template you are creating after all. Personally I only add insert effects on the channel groups in my project template, not the individual tracks.
Think about what insert effects you will always use, because that is the purpose of your master project template. Having everything added, organized and connected that you will always have for every new track you compose and produce.
Personally I like to use mostly native Logic effect plugins in the master template, and then switch some of them out in the mixing stage. Now it is time for you to take action, and add all the main insert effects in your master template. Make sure to only add the most essential effects, and I recommend focusing on the channel groups for your main insert effects. I personally do the mastering inside the same project as I compose and produce my tracks. That is why I want to have the mastering chain already set up with the main effects added on the master stereo output.
What effects you add here, and in what order, is very individual. However, the fundamental purpose of mastering is to shape the tone and character of the final sound, polish the EQ range, transients etc. And finally shape the dynamics and loudness level. To give you some ideas for creating your own mastering effect chain, I will now share how I currently have mine setup:. Now, as a final tip I recommend keeping all the plugins on the master chain turned off when you compose and produce your track, and only turn them on while you are actually in the mastering stage.
Because these plugins will otherwise steal CPU power, and even more importantly, your focus on the actual composition.
Now it is time for you to take action, and create your final mastering chain with all the effects on the master stereo output. Adding colors to your tracks and regions is a great way to keep things organized, and give you a clear overview of your project.
I personally like to have a system for my color theme. Meaning I use the same kind of colors for the same kinds of tracks. This way I can open up any project that I worked on, and instantly see all the bass parts, percussion parts, melody parts etc. What you choose as your color theme is of course completely up to you. But I recommend using your groups as the starting point. And I also recommend going with your intuition. What color do you intuitively associate with drums? Use that color.
And then you do this for each group in your master project template. Power Tip : You can also add variations of the main group color for the individual tracks inside each group. Naming your tracks and regions in a clear way, and using your own personal system for it, is also very important for a clear overview in any project you work on.
Personally I always use capital letters for the track names, because I want to be able to see them clearly on my retina screen. I find the most essential things to include in the track name is the instrument type, plus a short description of the sound its and main purpose in the composition. Example 1: Cellos Ens Short Means the instrument type is cello, in an ensemble, and the main purpose is to play short notes. For example: staccato and spiccato articulations. Example 2: Violin Solo Theme The instrument type is a violin, in solo, and the main purpose is to play the main melodic theme.
For example: sustains and legato articulations. Example 3: Brass Ens Accents Means the instrument type is a full brass section, in an ensemble, and the main purpose is to play accents. Which means short note articulations with emphasis on the start, like marcato, stabs etc. The main point in creating your own naming system, is to come up with a way to describe any track in any project briefly and clearly to yourself.
So that you instantly can understand what each track in your composition is all about. Power Tip : If you want to get really fancy, you can even name the individual regions on a track. Personally I mostly leave the regions with the same name as the track they are on, but sometimes I add a region name to show something more specific about a particular performance.
Now it is time for you to take action, and create your own naming system, in a way that suits your way of describing the tracks in your project. A great thing in Logic Pro X, is that you can customize your track headers in the sequencer. There are many features to choose to add, or exclude from the track headers. Next you need to decide what you want to include. For example, do you really need a panning knob and volume fader on the track headers?
I personally use the track inspector and the mixer for making adjustments, so I have skipped those. However, I do use the freeze function a lot, so I want to have that button available in the track headers. I also use track alternatives, so I have added that as well. Personally I like to keep the project layout as clean and minimal as possible, to avoid cluttering the workspace.
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