Logic Pro | The Virtual Shoebox — Curating Your Ideas in Logic Pro X:

Creating music is not unlike the work researchers do. Carefully hunting for useful tidbits, storing them away as the broader topic develops, and then forming a system to catalogue them for later retrieval. At the top level of the creative process is the generation of fresh ideas. They will most likely begin conception as fragments of ideas based on some aspects of either harmony, melody, some new samples, virtual instruments, or loops. I consider this to be the macro level of ideation. The top level of the pyramid.

I have been using “packages” for my Logic Pro X projects since I started. I remembered too many horror stories of people losing the assets for a project when they move things around. Project alternatives have been my go to device.

I will now re-think using folder-based projects. Copies (versions) of a project can be saved without creating yet another copy of all of the audio files in the project. I still will consolidate audio and make sure all of the assets are stored in the folder.

I can document my project and versions with a simple “option drag” of the Logic project file into my Scrivener binder. There I have the index cards and all of the other reference material that I might want. I still treat it as a giant “ideas” folder, but all of the bits are well contained, and possibly well documented.

Lesson 2 Recording Audio — Logic Pro X 10.4 — Apple Pro Training Series: Professional Music Production:

In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.

Next up in the course. I will go ahead and plug in the guitar and work through the tuning exercise, along with some comping. It’s not something that I would normally do (guitar), but I have one…so…

How to Choose a Reverb for Music Production:

But before we begin, one caveat: there is no such thing as a bad reverb. One reverb may work incredibly well on one instrument while sounding disastrously bad on another. And furthermore, the same reverb may sound great on a guitar on one song, and create a very muddy mix on the same guitar on another song. Making the decision as to which reverb to select is personal. This guide is meant to be an idea-sparking tool to help you in the process.

Always good to share…

Q. When should I use mono reverb as opposed to stereo reverb? |:

I’m not really sure when it’s best to use mono reverb effects — and how to pan the reverb when doing so — and when to use stereo reverb. Can you de-confuse my mind a little?

Mike Senior provides excellent advice as usual.