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Creating your own EXS24 instruments can be a quick and intuitive process, opening a wealth of creative potential. Mark Cousins is caught mapping… While the EXS24 might not be the most elegant part of the Logic Pro X experience, it is certainly a superbly functional instrument and an essential part of the overall Logic workflow.

Mark Cousins is caught mapping…. While the EXS24 might not be the most elegant part of the Logic Pro X experience, it is certainly a superbly functional instrument and an essential part of the overall Logic workflow. Once saved, these newly created instruments can become an essential part of your sound palette, accessible across the entirety of your Logic projects. Mapping Success One key component that can confuse new users is the difference between the EXS24 instrument plug-in, which you instantiate into your track list or mixer, and the so-called EXS24 Instrument Editor.

In essence, the EXS24 Instrument plug-in is the front-end of the sampler, complete with a set of synthesiser-like controls that can be used to modify the sample playback — using envelope generators, for example, to shape the amplitude over time, or the filter to home in on harmonic information.

Creating a new instrument from scratch begins with an empty instance of the EXS To open the editor, press the small Edit button in the top right-hand corner of the EXS24 plug-in. From here, we can see a list of the samples used in our instrument, along with their relative position on the keyboard, the number of keys that they span across, as well as how they respond to velocity.

Zone Out Technically speaking, an EXS24 instrument is comprised of a series of zones, with each zone containing a sample of your choice. The importing process works intelligently, so that you could drag just one sample over a single note and have it mapped accordingly, or drag a collection of samples and have them auto-mapped across a series of consecutive keys.

Basic controls like volume and pan let you mix the samples — maybe panning some drum samples across the stereo image, for example, or sitting a reverberated snare sample behind a dry snare. Tuning controls can either be used correctively re-tuning a sampled bass note with poor intonation, for example or creatively, particularly in the example of re-tuning drum samples.

Other creative options include the option to reverse the sample playback, which is well worth using in conjunction with the in-built sample editor accessible via a drop-down menu in the Audio File column to adjust the start and end points. The Groups are listed down the left-hand side of the editor window, and work much the same as playlists in iTunes — simply select your required zones and drag them across into the Groups list.

In effect, the controls here — including filters, envelopes, LFOs, a modulation matrix and tuning functions — are applied globally across all the zones, making it a quick and easy way of changing the sound of the instrument en masse.

Ultimately, the quicker you can map the samples, the less interruption there is to your creative process, giving you more time to explore the creative potential of sampling in your music.

Data Management Remember to store all your sample data in a clear, organised way, arguably making some optimisation in respect to the speed of the hard drive which will affect how many voices you can stream. An external drive, connected via a fast connection protocol like FireWire or USB 3, or an additional internal drive, should be considered essential, reserved solely for the task of sample streaming.

This tutorial is endorsed by Point Blank. You can study sound to picture on their Music Production Diploma courses, with pro industry tutors. Apple Logic Pro Mixing. Soundcore Motion Boom Plus review: Getting the party started just got a whole lot easier.


Course For Logic Pro X EXS24 – Free download and software reviews – CNET Download.Pro Tools Structure Vs Logic exs24 –

Logic Pro’s venerable sampler, the EXS24, has lost some of its glamor Also, if the instrument was created by a company that no longer. Logic Pro X’s Sampler is a complete redesign of the classic EXS24 offers Logic users a sleek, modern tool for creating and editing.


Logic pro x exs24 no edit free. How To Tune Kicks In Logic X


More articles by this author. Joe is a musician, engineer, and producer in NYC. He’s also taught all aspects of recording and music technology at several NY audio schools, and has been writing articles for Recording magaz Read More. Create an account or login to get started! Audio is your ultimate daily resource covering the latest news, reviews, tutorials and interviews for digital music makers, by digital music makers. Log In Create Account.

A NonLinear Educating Company. Joe Albano details six of the best new features every producer should know about. Logic Pro logic pro 10 exs24 sampler sampler instrument. Joe Albano More articles by this author. Related Videos. Opening up the bassline MIDI part shows me that the key of this 8 bar section is ‘E’ it doesn’t matter whether the key is major or minor for our purposes , so this is the note I’ll want to tune the kick sample to.

Using Logic Pro X’s handy Tuner plugin shows me that the kick sample is roughly tuned to an ‘A’, so we’ll need to get from A to E to properly tune the kick for this section of my song. If you’re not using Logic, there are free tuning plugins available that will attempt to figure out the key of the audio being run through them, such as Melda Productions’ MAutoPitch available as part of their free plugin bundle. This process is notoriously tricky however, so these plugins will not be totally reliable and a fair amount of trial and error will always be necessary.

So, to get from A down to E, we need to move the kick’s pitch by 5 steps or semitones – moving back to Ultrabeat, we just need to drop the red pitch bar down by 5 semitones to achieve this. A little annoyingly, Ultrabeat always displays the root pitch of a sample as C, even though in this case we know it’s actually an A.

Thus, rather than dropping the pitch from A down to E, we in fact need to move it 5 steps from C, which is a G. Listening to the kick both before and after tuning really demonstrates the power of the process – here’s the loop with the kick in its original key:. Now we’ve heard the clear benefit of tuning our kicks, let’s move onto method 2.

Our first method of tuning a kick works great for relatively small shifts, say within about an octave, but we must bear in mind that this process does also affect the playback length of the sample. Tuning down results in a longer sample and tuning up, a shorter one. If we want to change pitch without affecting time, or the length of our sample, we’ll need to use something called a phase vocoder. My new Logic Pro Book is out!

You can post now and register later. If you have an account, sign in now to post with your account. Paste as plain text instead. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. I then go under the Group menu, choose New Group. Then in the Ungrouped, I press Command-A to select all the staccato samples and drag them into the newly created group.

I then rename the group Staccato and rename the first group legato, so that we now see that reflected. Next in the editor I switch from Zones view to Groups and I see that the ranges are not correct, as they show a low of C-2 and a high of G8. I adjust them to C2-E5.

Now we need to assign them to keyswitch notes. For reasons I cannot understand, under Type I see Group for legato and nothing for staccato, but by holding the mouse down on each, I change them to Note and they default to C I change the legato not to C0 and the staccato to C 0. Now when I hit the keyswitch notes and play, I hear the correct articulations.

The only problem is that the staccatos are too loud relative to the legatos. I drag the volume for the staccatos to And now I am happy. All that remains is for me to click the Red button in the upper left hand corner to exit the editor and when I do, Logic asks me if I want to save the instrument, which I do.

Using this method I can add more articulations, like trills, for example, and then create an Articulation Set for the instrument, and save it to my library. More articles by this author.


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