Chorus
Lesson 34 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Chorus
Lesson 34 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
34. Chorus
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
Chorus
Hi. In this video, I'm gonna show you how you can use Logic Pro's chorus plug in to add fullness, richness and to thicken an existing recording. So let's have a listen to what we've got to. OK. So as you can see, I've done quite a lot of work to this vocal. It's nearly there, but it could do with just a bit more body, a bit more thickening. So I'm going to go to the end of my chain here and go to the modulation menu, go to chorus. OK. Here we go. So what a chorus does is it takes the signal, it duplicates it, it delays the duplicate and then the delay time of the duplicate is modulated with an lo and then it's sum back together with the original signal. So as the second version falls in and out of phase with the original signal, it can create new harmonic content and it can create a sense of motion to the recording. So let's actually hear what it sounds like on full mix. So what that means basically is what you've got here in the mix is the chorus version and the un chorus version just...
blended together so that you can assign the mix of affected and unaffected signal. Let's listen to the full affected signal. Now, the ok. So if you are listening to that in headphones, it probably would have felt like Peter's voice just went all in your head and started sort of traveling around your head in a way because we're using this as a stereo effect. So you're gonna get some modulation between left and right there, which is sometimes quite cool, especially for vocals. But obviously, we don't want to use it at this intensity because it completely removes it from the rest of the mix. We just want to thicken it up, add a bit of warmth to it without completely detaching it from the context of the mix. OK? But I'm gonna leave it on at 100% for a minute as I refine the rate and the intensity. So the intensity is basically the intensity of the LFO that is modulating the delay time of the duplicate version of the signal which gets some back together with the original. So the intensity is just going to intensify the depth at which it modulates the delay time. A food f I feel like a so cruel face. The moments of OK. So what I did there is I cranked up the intensity and I adjusted the rate of the modulation until I found it at a cool place when it was too high. It was just creating lots of artifacts and some side bands and stuff like that stuff that I didn't really want, I just wanted that three dimensional fill that almost modulated sounding effect to the vocal. And now I'm just gonna dial down the mix until I find a good balance between dry and wet so forth. So the so so far, I actually think that the effect, artistically speaking kind of works with the vocal in this style of vocal. At least the I could still hear a bit too much wobble in there. So I dial down the intensity a bit to, for um to great. So we're nearly there. I've just refined a few of the parameters until it gave the vocal a sense of body a sense of thickness and it actually helped it just sit in the mix ever so slightly better cos without it, you can actually notice when I turn off the chorus plug in that it seems to just pop out and detach a little bit from the mix with it on. It seems to just sit, be in the mix as opposed to popping at the top of it and being somewhere above it in some ways. So that's how we can use chorus to add a bit of warmth, to add a bit of richness to a recording and also help it, just sit in the mix ever so slightly better. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials