Creating customised Project template in Logic 8

Date: 20/01/10
Duration: 5.5 hours

In the past every time I plan a new project personal or for someone else, I always started with a blank template. Logic's own templates were not to my liking and in the end it was always quicker for me to set up a blank than organising a Logic's templates to suit the project.
After watching a tutorial online on how to create a personalised templates I decided to make one for myself. I went about creating a template which will accommodate most projects whether it be a full band setup or a simple four track recording. This will save me time in the future from having to set up and all the specific busses for FX sends and returns and comp groups.

I began by naming all the relevant inputs and output on my sound card. This allowed me to quickly figure out the Logic's equivalent sends and returns on a single page.

Next I went about creating audio tracks for vocals, guitars, bass, drums and spares. I also created tracks for external instruments (i.e. Line 6 pod xt pro). I then created all the aux sends for fx (Lexicon MX300 etc). I created appropriate inputs for the pre-amp.

I then went about colour coding all the tracks so they are easily visible during recording and for recognizing.

 

Once I was satisfied everything was labeled correctly and all inputs & outputs were connected properly, I went about loading up certain plugins which control the hardware such as the Lexicon MX300 plugin. The software itself does not manipulate audio in any way but rather control the hardware via USB. This allows for tailored presets for projects to be loaded up instead of noting down hardware settings every time the systems are turned off.

 

After everything was in place, I saved as template (in file) and every time I open a new project I can call up my personalised template which has all the ins/outs & sends & returns and will no doubt save loads of time in the future.


Note: I had to reconfigure the patchbay to work better with the template layout and wiring. This was time consuming but will help make my work flow better in the future

Creating backing track for a choir + Recording vocals

Date of recording: 11th & 12th Jan 2010

Date of mixing: 13th Jan 2010

Total Duration: 10 hours

I have previously recorded backing music for a choir based in London and was approached by the same choir coordinator to record a another backing track. All members of the choir is Japanese and me being able to speak the language helped in the recording process. The original idea was just to record the backing track but after having finished it, we decided to add vocals (Soprano & Alto) thereby creating 2 version. One with and another without vocals.

Having recently acquired couple of new outboard gear (Focusrite Twin Track Pro & Lexicon MX300), I decided to make the most it. All instruments (Piano, Violin etc) were recorded using MIDI using the EXS24 inside Logic 8.

The vocals was recorded using AKG C214 microphone through the twin track pro into the MOTU soundcard. NO de-essing or compression was added during the recording (everything was done on the mixing stage).

After all the material was recorded, I moved into the mixing stage. One of the difficulties in this project was working with 2 sets of vocals. I have some experience in dealing with vocals but never with simultaneous vocal lines (2 vocals lines sang through the whole song). Finding the balance between the soprano style vocals and alto lines was not as easy as I originally though and a lot of work went into making them sound the best they could. I have read articles in magazines such as Sound on Sound specifically about vocal processing so I dug through my collection of magazines to find the specific article and read though it couple more times to digest everything.

I also did research online to find out which particular compressor for example are favored by the professionals. I found few that were constantly mentioned and luckily I have access to these compressors through the Focusrite Liquid Mix 16 which gives me the emulations of the originals. I could at least achieve similar results if settings were dialed in right. 

Optical compressors were recommended by many experienced engineers and producers alike specific models such as Electronix LA-2A are a favourite and I used it for one of the vocal lines.

In the process of mixing, I was finding it harder to make each instrument or vocal line stand out from the mix. Certain part of the song required a build up which wasn't coming through properly. I had to use automation to correct balances and pan each voicing so they can be heard more clearly on the track.

All compression was handled using the DSP on the Liquid Mix 16 and reverbs & delays by the Lexicon MX300. I ended up with 2 separate mixes which I eventually discarded one and to my best of ability finished the other.

Initial reaction of the choir coordinator was positive and I gave her the hard copy of the tracks to her to take with her. She will be in contact soon as she has played it in front of the choir in London and has practiced with it so it may be further improved or embellished.

Outboard rewiring & Composing

Date: 5 & 8th Jan 2010
Duration: 8 hours

Since acquiring new outboard equipment (Lexicon MX300 and Focusrite Twin trak Pro) I decided to rewire the outboard rack to make it more efficient and flexible.

I bought 2 sets of mono 1/4"jack wire looms and I rewired the whole thing. All inputs and most outputs (ones in use) were all connected to the patch bay for easy access.

Once I was happy everything was connected correctly and having tested it, I went about using the new outboard fx for a project I'm contributing for a friend.

 

I used the Lexicon MX300 on the vocals/guitar and also on the piano. I also used some on the snare drum.

To send the audio to the outboard, I created a auxiliary channel and sent audio through the soundcard to the outboard. The output from the fx unit came back into the soundcard through the analogue ins.

The mix project handed to me from my friend is recorded on the built in microphone of his Mac book. The quality leaves a lot to be desired and the vocals and guitar will be re-recorded when my new pre-amp arrives. The main objective was to create accompanying pieces to go with the vocals and guitar on the original recording.

I will post a another post in the future where I will re-record the whole song properly under more suitable conditions.

(Above is the rack completely rewired and the new outboard gear fitted)

Live recordings

Date: 30/12/09
Duration: 5 hours (so far, more to follow)

On my previous post I posted about the recordings I made and the PA duties I did at the gig. This post is about my progress so far on processing those recordings. This includes EQing, comping, volume automation etc. I have so far finished 3 out of 6 recordings. There were other recordings made at the gig but they were almost beyond saving (reasons stated in previous post).


I first had to import recordings made at the gig from my Boss BR-600 portable recorder onto my iMac. I exported the files in WAV format.

 

Once the files were on the imac, I transferred those files into a folder.

Once I transferred the audio into Logic, I began by listening to the track few times and finding any anomalies. I used automation to control the balance of the track throughout, areas where I thought were quieter than others I raised the volume and lowered the volume were there were undesirable noises (ie feedback, excessive string noises etc). When I was satisfied with the balance of the track, I used compression to make extra sure the balance of the track were kept at nominal as possible.

I used EQ to make the vocals on the track cut through better and to attenuate bass and high frequencies.

Because the track was a joint stereo, it limits much processing that can be done. Ideally it will be much easier to mix audio if all sound sources were kept on different tracks but with equipment available it was not possible (Boss BR-600 only allows for up to 2 tracks simultaneous stereo tack recording). Not having the separation meant any processing done to the track affects all sound sources and this made it difficult. There were also reverb/delay used on the vocals live. This meant it was difficult to add any more reverb or delay to the track without making the recording sound muddy.

Here is a link to one of the song which has been processed. The song is a cover played by one of the groups.

Here is the recording: