Arrangement Markers and Drummer Tracks

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One of the things that I love to do when working with Logic is to use Arrangement Markers to help generate Drummer Tracks. Arrangement markers are used to identify different sections of the song (Intro, Verse, Chorus, etc.). When building up a new song, I like to record a scratch/guide track (guitar or piano) and then add arrangement markers. Once that’s done I’ll add a Drummer Track. I found that adding the Drummer track _after_ the markers are laid out will cause the Drummer track follow the arrangement in terms of dynamics/parts/fills. Usually I’ll need to dial in which Drummer and/or Kit to use, edit some breaks, fills, etc. but often I’m surprised as to how close the generated track gets to what I want to use. Is it perfect? No, nothing compares to having a real drummer with great gear, in an awesome room, collaborating with you. But in terms of getting new ideas down quickly it’s fantastic!

Logic

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Really stoked about the latest update to Logic Pro X, 10.4. A lot of great new features (Smart Tempo, Studio Horns and Strings, 2 new Drummers, “Undo” for the Mixer and Plug-Ins, Automation updates, UI updates and more).

But it is the new ChromaVerb (a fantastic reverb), EQ (Vintage Graphic/Tube/Console EQs) and Camel Audio (Step FX and Phat FX) plug-ins that I’m digging the most. I found that even only using the “Drive” setting of the “Vintage Console EQ”, bypassing the EQ section altogether, audio tracks sounded fuller and richer. And the ChromaVerb is beautiful and natural sounding/feeling to me.

Eli Krantzberg did a great tutorial for this update on Groove3.com.

Compression

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I enjoyed Brian Lee White’s EQ course on Lynda.com so much that I decided to do his Audio Foundations: Compression and Dynamic Processing class as well. It’s another really great class presented clearly and methodically.

Particularly liked the idea of using gradual compression from multiple compressors to get a more natural sound. E.g. using a limiter to address only the peaks with the threshold and output linked followed by a compressor using a low ratio to create body on the average level of the track while using another compressor to give a touch of color (e.g. gain cranked on a vintage styled plug-in set to a low ratio setting).

Marvin Gaye

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My mom had a great record collection. While I was growing up in the 70’s and 80’s she’d play a lot of the “crooners” (Frank Sinatra, Glenn Yarborough, Dean Martin, Neal Diamond, etc.), some jazz (Miles Davis, Dave Brubeck, Glenn Miller), a ton of R&B/Soul (Aretha Franklin, Earth Wind and Fire, Issac Hayes, The O’Jays, Gladys Knight & the Pips, Blood Sweat & Tears, etc) as well as a bit of rock and country (The Beatles, Pink Floyd, Johnny Cash).

But it was Marvin Gaye’s “What’s Going On” album that made me realize that music really is something special. Between Marvin’s beautiful voice and powerful lyrics, James Jamerson’s fantastic bass playing, the arrangement of the songs and their production, this album left an indelible mark on me. To this day it still moves me at the deepest level.

Thank you, mom, for bringing such amazing music into my life.

EQ

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Really enjoyed the Audio Foundations: EQ and Filters course on Lynda.com. Brian Lee White is a great instructor and did a fantastic job. Highly recommended if you have ever wanted to understand how EQ can affect your tracks/mixes.

One idea he brought up that I’m looking forward to trying out in particular is to use two different types of EQ on a track. A transparent one for corrections (cutting) and a vintage styled one for added color (boosting).