Trim-Touch Automation
Lesson 37 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Trim-Touch Automation
Lesson 37 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
37. Trim-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
Trim-Touch Automation
Hi. In this video, I'm gonna give you an overview of the other automation modes that are available to us in logic pro 10. So this peak here I created using touch automation. So I let it play and then I grabbed the fader around here, pushed it upwards just over here. So I pushed it upwards and downwards just like that to create this peak in the data here. And then when I let go, it continued to read the automation that was already there. However, if I was to do the same again, like over here, for example, but use latch, let's see the difference rushes past my face and through my head. So grabbing the fader, pushing it down again, letting go the moment I feel like I'm flying. OK. So even though I let go of the fader at around here, it continued to write the value that I let go at which is different to touch. When I let go of the fader. When using touch, it just continues to read the data that's already there. So that would not have been ideal for me in that scenario. So I'm just gonna un...
do that and There we go. I'm back to where I was. And now if I tried right now, sometimes when you switch to, right, it actually gives you a warning about this one. Rightfully. So cos it's a little bit dangerous. The difference is if I move the fader to minus 10, for example, and then just hit play f see that I switched it to right. I pressed play and it just wrote the value that I left the fader at throughout the course of the track that I played up to when I pressed stop. So right is usually not the ideal solution either, but that's fine. I'm just gonna undo that for a moment. And what I am gonna show you now is trim and relative. So let's say for example, that at this moment just around here, I wanted to trim down this area by about, I don't know two DB right now it's on minus one. So normally I'd have to think just in normal touch mode. OK? Pull it down to minus three if you want two DB difference, but I don't wanna have to do that. I actually just wanna trim the value that's already there. So to get to minus three, I could just do minus two after minus one there. So what I'm gonna do is switch from touch to trim touch. So I've selected trim and touch there. You see how trim and relative they're like subsets of these modes here and what I'm gonna do is I'm just gonna pull down ever so slightly here by a couple of DB just to pull it down and not replace the values there with the exact value that I land on. I just wanna trim. Ok. Rushes past my face and through. So in the gut, the fighter. Now grief is the moment. So I poured it down by about two DB and then sort of pushed it back up again and it just trimmed the values that were already there. So if I didn't use trim, it would have gone to like minus two and possibly been a bit higher in places. But with trim on, instead of doing, instead of replacing minus one with minus two, it actually added them together. So, so instead of ending up at minus 2.6 it would have ended up at minus two or something like that. So trim is very useful. I could do it again if I wanted to really increase the peak here just by a couple of DB. Ok. So I'm just gonna do that. Now you see down here now it says zero. So I know if I push it up by two DB around here, it will actually just add two DB to the values that are at the top of that peak rushes past my face and through for the briefest of moments, I feel like I'm flying. Ok. So that was very subtle. I pushed it up by about one DB if even that just to add to the very peak there of my automation, which I'm very happy with. So trim touch is, is really good. It's very useful in mixing when you just want to create these little moments, but also trim them ever so slightly after you've wrote them the first time around. So you don't always have to rewrite what you are doing. You could just trim it and just fine tune it. So that's how we use trim touch when automating in Logic Pro 10. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials