Arpeggiator Plug Pro Tools
If you're looking to supercharge Logic X's built-in arpeggiator and chord. 4 Excellent MIDI FX Arpeggiators and Sequencers for Logic Pro X. These plug-ins are. Owners of Pro Tools 8 + and AIEP qualify for a limited time $49.99 crossgrade price please contact softwaresales@airmusictech.com for more details. In this video overview Pro Tools Expert Deputy Editor shows you three new features found in SynthMaster 2.8. Free Pro Tools Plug-ins.
These days, the studio is as much a part of music making as the musician. Logic Pro X combines the best of both worlds: features to bring fresh musical ideas to life, and tools to derive the most from a performance.
In this course, Scott Hirsch takes you over the Logic learning curve, showing how to compose, record, edit, and mix great sounding tracks. First, get comfortable with the setup and workflow, and then learn how to record audio, MIDI, and virtual instruments. Scott shows how to use samples and Apple Loops, and conform their time and pitch to better fit a song.
Next, learn about editing and arranging techniques for both audio and MIDI data. Moving deeper into the program, Scott explains how to work with music notation and score to video. He wraps up the course with extensive information on mixing, exporting, and sharing your final tracks. Instructor. NYU professor Scott Hirsch is a sound designer, an editor for film and video, and an audio engineer.
Scott Hirsch is a sound designer, an editor and mixer for film and video, a musician, and an audio engineer. Scott's straightforward approach to teaching professional audio concepts, including applications such as Pro Tools, Logic Pro, and Reason, has brought indispensable knowledge and boundless creativity to his students. As a sound designer, editor, and mixer for film and video, his selected credits include sound design for the 2013 Tribeca Film Festival special jury mention, Stand Clear of the Closing Doors, and director Jonathan Caouette's short All Flowers in Time. He was the sound effects editor on the 2012 feature The Comedy, Sundance 2011 and IFC feature Septien, and Outfest 2013 outstanding screenwriting and best dramatic feature winner, Test.
Scott was the supervising sound editor and re-recording mixer on Cannes Film Festival 2012 and SXSW best short winner The Chair, Seattle Film Festival short film winner Mobile Homes, and cult favorite Plagues & Pleasures of the Salton Sea, as well as countless other narrative films and documentaries. Musically, he engineers and plays multiple instruments with the bands Hiss Golden Messenger, Family Band, and his own project Dunedin Dunedin. Scott received his master's degree in music technology from New York University, where he concentrated his studies on 3D and spatial audio.
He is an adjunct professor at NYU's Music Technology department and at Stephen F. Austin State University's Sound Recording Technology program. Scott is the coauthor of the Wiley/Sybex book Pro Tools速 7 Session Secrets: Professional Recipes for High-Octane Results. Related courses. By: Scott Hirsch Course.
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By: Todd Howard Course. 3h 37m 22s. Course Transcript If audition a lot of patches you will come across some that have some information in green in the midi FX part of the channel strip. I'm talking about right here where it says midi FX. In this movie I will explore one cool midi effect, the arpeggiator. Midi FX looking and act kind of like audio effect plugin processing below them in blue.
But actually no audio passes through them. They strictly alter and augment any incoming midi messages.
While earlier versions of Logic had the capacity to do this, Logic pro 10 is the first time we see midi effects used as real time inserts directly in a track. And it's a big payoff. One of the cool new MIDI effects to explore is the arpeggiator.
Arpeggiators go back to the beginnings of electronic music, and basically. They provide a way to alter a group of notes held as a chord into a rhythmic, sequenced arpeggio of notes. Let's make a new software instrument track and load the soft square lead patch. Now to the bottom here and make a new track. And we'll do software instrument, open library and we'll just go to synthesizer here, and we're going to choose under lead, we're going to choose soft square lead. Close the library. And on the soft square lead track, this is loaded up with a patch.
And the patch doesn't include anything yet in the MIDI Effects. But let's open the Smart Control for soft square lead and type b in our keyboard to enable the Smart Controls. You'll notice in the smart controls, I don't know if you've noticed this before, but in the top right, a little button with a group of what kind of looks like a mountain of MIDI notes. And if I hover over it, it tells me That's the arpeggiator. So, I'm going to click on that.
And the second I click on that, look what happened in our track inspector. The arpeggiator was automatically loaded into the MIDI effects. So there's our arpeggiator. Before I even open the arpeggiator, let's just check out how cool it is.
So, to hear the arpeggiator, I'm going to play a chord on my MIDI keyboard. (MUSIC) So I'm just holding down C, E, and G, a classic three note C chord.
But notice what happens, it starts arpeggiating out in sequence. (MUSIC) And if I play the song. (MUSIC) it's in rhythm. And if I add another note. (MUSIC) And another note. (MUSIC) Playing all of those notes out in a sequenced arpeggiation.
So that, in a nutshell, is the power of the arpeggiator. But let's look in the actual midi effects to check it out. This is the arpeggiator tool here. And there's some nuances that we'll go over how to alter it. So right now we're in what we call live mode which means, as logic plays, whatever group of notes we hold down as we just did, our arpeggiator out. We can change a few things about the way this goes down.
First of all, we have latch mode up here. I turn that on, now I hit the chord (SOUND) and I don't have to keep my hand on the keyboard so it's just (SOUND).
Forever latching out, that C chord (SOUND). Going to actually turn down the instrument a little bit, so. Still kind of hear it, but I want to be able to talk over it a little better. Even though we're in latch mode, I could go over and change the chord and it'll still latch out the next chord. Did like an A minor. (SOUND) G, back to C. The next thing we can do here is alter the timing.
Notice it's tapping out at a rate of sixteenth notes. I can go in here and change it to say, eighth notes. Dotted eighth notes. Even 32nd notes. It's kind of a cool sound. Ahci driver for windows 2003 server.
Let's go back to 16. You can also change the knob and do the same thing that way with a knob instead of going to the menu. The next area is the way the notes are ordered. If you notice. When I started the chord it goes upwards. So it goes from C to E to G. I can change this to go downwards, so it's going G, E, C.
I can also make it go down and then up. (SOUND) This one here acts when you add another note on.
(SOUND) More interesting pattern when I added a couple of notes to an already made chord. Now we go back to the regular C chord and you'll hear how it's a little bit different. (SOUND) And this one here is my favourite. It's the randomizer. So when I click on this one, it's going to tap out the chords in a random sequence.
(SOUND) Constantly changing. In fact, you can alter the variation with this variation control if you don't like what you're currently getting. If you like one of these you can click the hand and it automatically will stay in that pattern.
(SOUND) And you can go back to random. (SOUND) We can also change the octave range, which is a cool thing to do.
It'll actually move up and down using these same notes. And check this out. (SOUND) Throwing in other octaves. (SOUND) Up to four octaves.
(SOUND) Very cool. So now I'm going to click the Play button to stop the playback.
So that's Live mode. Basically you can turn on Latch or not, play a chord and you have all these different patterns, all these different rates at your disposal. Now I just want to quickly go into grid mode and we can see how that works. Now in grid mode there actually some pre sets in here that are pretty cool and basically makes the arpeggiator more like a sequencer. If you remember the ultra beat movie we had a sequencer going on and we sort of had a grid where we can tap out.
Or draw in different notes, according to, in this case, a 16th note grid. But let's just look at some of the customized grid patterns first. So, for example, let's check out Grooving Pulse 2. You can see it actually adds in a four beat grid. But there are varying velocities. The height of the actual column is the velocity.
And let's see what this sounds like. (SOUND) See the interesting thing about a grid is once we start playing back, especially if you have an odd numbered grid, if you have like 5 beats but then our song is in 4 4 time. It'll start to repeat out in different interesting patterns over the course of the song. So let's actually keep it in this create a movie octave range down a little bit and I want to play it along with the song and see what we get. (MUSIC) So this is interesting because again it has five beats so it doesn't always repeat on the exact same spot within each musical bar. And then you notice when I started playing I had to, once again, hit a chord, and it automatically latched.
But if follows this grid and it follows these velocity patterns, too. So this movie has provided a window into the arpeggiator tool. This is an awesome way to reference some old school techniques via the new midi effects plugins in Logic Pro ten. And you can add some rhythmic substance to your song. In the following movie we'll explore another midi effect, the Cord Trigger. Practice while you learn with exercise files.
Watch this course anytime, anywhere. Course Contents. Introduction Introduction.
1. Getting Started with Logic Pro X 1. Getting Started with Logic Pro X. 2. Establishing a Workflow 2.
Establishing a Workflow. 3.
Making Music with Logic 3. Making Music with Logic. 4. Recording MIDI 4.
Recording MIDI. 5. Editing and Arranging MIDI 5. Editing and Arranging MIDI. 6.
Composing with Samples and Apple Loops, and Exploring Tempo and Pitch 6. Composing with Samples and Apple Loops, and Exploring Tempo and Pitch. 7.
Recording Audio 7. Recording Audio. 8. Editing and Arranging Audio 8. Editing and Arranging Audio. 9. Working with Notation 9.
Working with Notation. 10. Working with Picture and to and from FCP 10. Working with Picture and to and from FCP.
11. Working in Surround 11. Working in Surround.
Pro Tools Plugins
12. Mixing and Mastering 12. Mixing and Mastering.
13. Exporting, Sharing, and Other Application Workflows 13. Exporting, Sharing, and Other Application Workflows. Conclusion Conclusion.
Hi All, Does anybody know of a good arpeggiator Plug in that can be used with Logic? I'm looking for something with an actual visual user interface that can be slotted straight into an plug-in insert. It would also be handy if it could record patterns possibly I hear you saying 'But Logic has had a very powerful arp for years'.
Yes but it is a horrible interface. I don't want to patch the environment everytime (or even the first time) I need an arp quickly to try out an instrument patch etc. By the time I've faffed about in the environment, I could have played something in, quantised it and looped it - which is not the point. G5 Quad, Mac OS X (10.4.6) Posted on Jul 1, 2008 8:27 PM. Hey Shaun, thanks for your help. I agree, Albino has an awesome arp - as does Reason.
I guess the downside with both of these is that you can really only use the apr to operate on sound sources within those apps / plugs. I'm looking for something that can operate on any logic instrument.
Additionally, using something like Reason to arp a string patch (via rewire?) in Logic feels like using a hammer to crack eggs. The Hypercyclic suggestion was a pretty good one.
Have have since spent some time with it. I guess the downside there is that it is really a gater and not an arpeggiator.
There is virtually no way with it that you affect pitch changes or turn chords played on a keyboard into an arpeggio from what I can see. I have returned to the arp in the Logic environment and am getting good results even if the UI does kinda blow. Thanks for your interest and help. Jul 2, 2008 9:04 PM. Hi all I've had Logic since version 3.5 and have to own up - 'life's too short and italian salami is long!' (as per the famous quote). I stopped attempting to get the arp to do its stuff around 1998!
My first serious investment around 1984 was an Emu II and its simple arpegiator changed the way I built my rhythm tracks. After all this time - does anyone have a good link to an easy, concise explanation (or existing template?) to set up the current version? I had a peek at the manual and it still seems the most ridiculously over complicated thing to set up. Anyone know why after all these years, and Logic has such a wondrous array of plugs, do we still need a degree in astro-physics to use the arp? Surely it's time for a Logic 'ARP plug' guys? Best Dick Aug 5, 2008 1:31 AM. I don't understand what's so difficult about the arp.
Yes, I understand that many people are thinking backwards ('I have my instrument I'm playing, I just want to turn the ARP on') but that's a failure of comprehension, more than anything else. The way any regular arpeggiator works is this: Play some notes on the keyboard - Arp module interprets the played notes, and generates it's own notes in response to this and the tempo etc - These arp-generated notes get played by the sound generator Logic works exactly the same. We play our incoming notes into Logic - these come through the environment and to the selected track. Now, these notes have got to be modified by the arpeggiator before being sent to the instrument that plays the notes (we can't add an arp after the instrument, because then the instrument would be playing the notes we play, and wouldn't ever see any arpeggiated notes).
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So we'll create an arpeggiator object with the settings we want, and assign it to the selected track. So now our played notes get sent, via the selected arrange track, to the arpeggiator, which generates the actual arpeggiated notes. The last thing we've got to do is cable the output of the arpeggiator to our destination instrument, the one that you want to play the notes Played Notes - Arpeggiated notes - Instrument. It's really not rocket science. I think the fundamental problem here is people don't understand some key Logic concepts - that incoming MIDI info goes to the selected track, and every track has an environment object assigned to it - whether it's an 'audio track' object, a 'software instrument' object, a MIDI 'instrument' object, or any of the other environment objects - this 'connects' the output of an arrange track with some audio or MIDI behaviour. Also, new users in this day and age may actually not be used to connecting devices up via MIDI, and so connecting the output of one device to the input of another (like how you cable things up in the environment) may not be intuitive for them.
Many of these people are just connecting up a USB keyboard to their computer, playing the keys and expecting it to work, without understanding what is going on. The environment is really a matter of chains - incoming data at one end, objects along the way that modify that data, until it reaches the destination. In this case, our destination is an instrument which finally plays the notes it receives.
Aug 5, 2008 3:27 AM. Thanks Bee Jay I really appreciate your input and see where you're coming from re: plugs being of no use to input midi data into instruments via the keyboard. Is there some sort of environment template somewhere that might help with an initial arp startup? I scored my first movie in 1984, & started work with a VCS3 synth and Teac 4 track studio as early as 1976. Cabling / head demagging etc etc (yes I am really that old and still working!!). But as I now do mostly big classic movie scores, just never got my head around the Logic arp environment - but would love to! Best wishes Dick Aug 5, 2008 6:03 AM.
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