![]() In slip mode and with A-Z shortcuts enabled, select the area of the clip or clips to be crossfaded and press the letter F. These clip groups can stay as they are, or can be ungrouped with the keystroke Shift + Option + U:įades and crossfades could not be easier. ![]() Second, this process can be done by selecting the grid, holding option and dragging the performance to the desired area of the song:įinally, a clip group can be created and flown to the other desired area(s) of the song by making the selection on the grid, using the keystroke Shift + Option + G, then holding option and dragging it to wherever it needs to land: The first example is selecting the appropriate areas of the grid and Command + D to duplicate: In this example, there are three ways to “fly” instrumentation or vocals while guaranteeing the exact timing of the original performance is maintained without having to switch modes or tools. Working with the grid is powerful and easy. In other words, it keeps the composition tasks contained to Logic and allows us to hit the nail with a hammer instead of a screw driver.Īfter the best take has been selected, locking it in to a comp playlist is also a one-button click:Īdditionally, if a “comp track” workflow is preferred (which I endorse), holding control and option while dragging the clip to the comp track will guarantee that the vocal maintains the exact timing with which it was performed, while simultaneously creating a copy of the clip (rather than destroying the take): Using our composition tool in this way allows us to keep a high level of flexibility and power each and every time we need to add a new drum or piece of instrumentation. Logic Pro should be incorporated into the workflow at two points: before the vocal has been recorded (while developing the basic instrumentation and drums for the demo) and after the vocal has been recorded (to add or reinforce melodic and rhythmic themes that occurred during the vocal sessions). It takes a few extra steps in order to get the vocal takes to the same complete flexibility that can be achieved with Pro Tools immediately. We want full control over our song, especially the lead vocal, and never allow the computer to tell us what to do. Logic attempts to keep up with a method called “Quick Swipe Comping”, which actually creates a scenario where the computer is finishing the vocal edits and crossfades for us. In Pro Tools, it’s much faster to isolate the area of the vocal to be used and move it seamlessly to the comp track or playlist. Examine a vocal comping task in Logic (using take folders) versus Pro Tools (using playlists). Logic does not handle audio-related processes as well as Pro Tools. ![]() In order to fully understand our tools, we also need to know where they lack.
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