Logic Pro’s score editor is a powerful tool for preparing parts and scores for recording sessions, but it is its own beast and quite different from Sibelius or Finale (Which are in turn, quite different from each other).
A handy link to the technique articles for Logic Pro
When it comes to playing Hammond B-3 organ in a rock band, there’s a lot of history to be aware of. If you’ve been playing a B-3 or clone in a band, you’re probably familiar with at least some of the most commonly used settings. Back in the 1950’s and 1960’s, some jazz organists in particular, liked to keep their organ settings a secret. Make sure to check out the Hammond settings of those players that came before you, as there are many secrets there to be discovered. Here are a few of my own secret settings I’ve picked up over the years — with some for beginners and some for more advanced players. The following examples should serve mainly as starting points for your own organ explorations. I am constantly tweaking my sound during a performance, nudging drawbars in and out as I play. As you get to know the B3 terrain better, you will be too! (Audio note: All audio examples here were recorded on an actual 1971 Hammond B-3 with Trek reverb going into a Leslie 122 speaker).
Inter-plugin communication is a technology developed here at iZotope that allows our plug-ins to interact and share invaluable information with one another across a session, helping you produce, mix, and master with better results.
Not only does iZotope make these excellent tools, they provide a large library of documentation and practical guides to the mixing and mastering processes.
We’ve stressed the importance of mixing vocals time and time again! Because lyrics are what average listeners immediately identify with, making a singer sound great should almost always be a priority. Amongst other tools, the perfect vocal compressor for the job can really elevate the overall sound of your mix!
Video is “Mixing Vocals to Sit Properly in the Mix”.