Relative Touch Automation
Lesson 38 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Relative Touch Automation
Lesson 38 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
38. Relative Touch Automation
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
Relative Touch Automation
Hi, welcome back to this video where we're going to further explore the various automation options that are available to us. We mixing in logic pro. So in the last video I showed you how to use trim touch automation. So touch is where we just added to the automation that's already there. And then trim is just where we trimmed the touch automation to even further this peak here. For example, what I'm gonna show you now is if we switch over to relative automation now and then we do the same again. But I'm actually going to decrease this peak here by grabbing the fader. Let's see what that looks like rushes past my face and through. So I'm grabbing the fader now. OK. So I was actually a bit late there. However, the most immediate most noticeable difference is this new automation that I've created is on a different line. It hasn't trimmed the same line of automation as I did before when I used trim touch. So when you use relative, you actually get a new automation curve that offsets the ot...
her one which is actually really, really useful because both of these lines are automating the same thing. However, this one, so let's say that this one goes down to minus five and this one goes up to plus 10, the new value would be plus five. OK. So you can use this curve to offset the other curve. So if I for example, create some nodes here and then just bump this one up ever so slightly, it's the equivalent of this one just being slightly more shallow, slightly less deep. So you're using this curve, this relative curve to offset the other one. Obviously, in this case, I used it a bit too heavily on this peak, but also a bit too late. So I'm actually gonna do that again. Rushes past my face and through for the briefest of moments, I feel like I'm flying. There you go. So what I did was I just simply listened, I try not to look too much and just as that lyric was about to happen, I grabbed the fade, I just pulled it down ever so slightly just so that it softens that peak just a bit there, which has worked for me because I think it sounds great. Now rushes past my face and through for the briefest of moments. I feel like I'm flying. OK. So there's still a little bit where he says flying just seems to pop out just ever so slightly too much. So I'm just going to make another adjustment with that and I'm gonna focus on that lyric when I grab that fader rushes past my face and through for the briefest of moments, I feel like I'm flying. OK. I think I feel good about that. I'm just going to double check it. It's the moments I feel like I'm flying great. It's pretty much offset the original peak, but I still have that ever so slight bump in the lyric there, which I quite like. So that's how relative works, especially when you use it with touch. This is one of the ways that I would do it most frequently, either trim touch or relative touch. Either way. Sometimes I prefer not to have two lanes of automation cos I wanna keep it simple. So I'll just use trim touch but sometimes having the second lane where I can go in a different direction and explore it and then have the option to delete that automation afterwards and still have my original trim automation. Still there is also sometimes the most ideal solution. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials