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Los Angeles, CA (May 23, 2019)—Much has been made of the fact that virtually everything Billie Eilish has released with her co-writer, producer and older brother Finneas O’Connell was recorded in his bedroom at the family home. That’s hardly surprising when you consider her career trajectory, going from a song posted in late 2015 to Soundcloud for a dance class that blew up almost overnight to becoming the first artist born in the 21st century to have a Number-One album on the Billboard 200, in early April 2019.
Logic Pro X Audio And Music Production Pdf Download
In the intervening three and a half years, Eilish (full name: Billie Eilish Pirate Baird O’Connell) racked up one billion on-demand streams before releasing her debut full-length, When We All Fall Asleep, Where Do We Go?—Nielsen Music reported that she had passed 3.79 billion streams by April 25—and has seen 12 of the 14 album tracks, plus two other songs, hit Billboard’s Hot 100. Not bad for a 17-year-old who, incidentally, is now the youngest female ever to have a Number-One album in the UK.
This is an ideal scenario for the majority of us who use Logic Pro X in the same way and for the same kinds of music production, whenever we boot the software up to compose. Beyond Start-Up But we’re also moving beyond this start-up phase and will investigate some of the time-saving aspects of Logic Pro – some of the shortcuts and the key. Aug 27, 2020 Logic Pro X vs. Ableton Live: Pro music studio showdown. See how two of the biggest music-making Digital Audio Workstations - Apple's Logic Pro X 10.5 and Ableton's Live Suite 10.
“People have put a lot of emphasis on that room as part of our lineage,” says O’Connell on the phone from Australia during a tour leg on which he both opened for, as a solo artist, and performed with Eilish. “It was lovely to make an album there, but I think it’s really important to work wherever you are, or wherever you have your tools.”
This is no humblebrag bedroom studio that turns out to have been professionally outfitted. It’s just a regular bedroom, with a bed against one wall, where Eilish sat to record her vocals, facing a desk and bookshelves and O’Connell’s modest production setup: Apple Logic Pro X, a Universal Audio Apollo 8 interface and a pair of Yamaha HS5 nearfields with an H8S subwoofer. O’Connell, who turns 22 in July, has since moved out, setting up a duplicate, slightly upgraded collection of gear at his new home, including a pair of Yamaha HS8 monitors and an Apollo X.
As his sole reference, O’Connell says he didn’t really think about the way the bedroom sounded until he started recording elsewhere. “The bedroom has a very specific sound, very tight and intimate and closed and quiet. I love the way it makes vocals sound.”
Eilish’s next album could potentially sound a little different. “All of my solo material, I record at my new house. I’m sure Billie and I will start recording there whenever we get back into recording mode for the next record,” he says. “But even if we never record full albums there again, maybe sometimes there will be just a vocal that we feel we must record in that room just to make it sound that way.”
Eilish’s hip-hop-influenced yet pan-genre songs (she calls it simply “Billie Eilish music”) sometimes feature heavily effected vocals, and harmonies that are equal in level to the lead—not to mention sound effects such as an Easy-Bake oven, dentist drill and audience reaction. “Especially in a song like ‘Bad Guy,’ the thing that’s interesting isn’t necessarily the vocal melody on the verses; it’s that there’s three-part harmony and it’s the rhythm,” says O’Connell.
The secret behind some of those vocal effects is Logic Pro X’s Vocal Transformer plug-in, he reveals. “It’s really good at making a vocal sound crazy and unique. It’s not necessarily the most intuitive plug-in, but if you twiddle the knobs and change some dials, it makes things really interesting. That’s the plug-in I use on ‘Bad Guy’ for the ‘rattlesnake’ vocal.”
Other than that, he says, “I use really harsh tremolo a lot. It’s set to zero percent smooth, so it’s chopping the signal, and I’ll set it to eighth- or sixteenth-note values, then set the depth.”
When initially working together, a period that included the production of songs such as “Ocean Eyes,” “Six Feet Under” and “Bellyache,” O’Connell used an Audio-Technica AT2020 cardioid condenser mic on his sister’s vocals. More recently, he has been using a Neumann TLM 103 large diaphragm mic. “I recommend the TLM 103 to anyone; it’s such a good microphone.” But when he has some free time, he says, “I’ll probably do a microphone shootout somewhere and try a bunch of different things.”
In fact, he bought a pair of TLM 103s and hopes to use them to record his piano eventually, but for Eilish’s productions, he has always used virtual instruments, such as Keyscape by Spectrasonics. “It’s amazing, especially the Dark Indie upright pianos. My piano in my parents’ room is not situated well for recording. It’s more fun to write on it, then record on a MIDI keyboard, especially because I like tweaking MIDI parts, changing and perfecting them.”
O’Connell hands Eilish’s songs off to mixer Rob Kinelski. “Everything that I’ve sent that he’s mixed is pre-compressed and pre-panned, and all the reverbs and all the delays are pretty much already there. I’m not looking for Rob to ‘fix’ anything; he just makes it a little more balanced, because everything comes out of my bedroom at my parents’ house with too much bass. Rob and our mastering engineer, John Greenham, make sure our stuff sounds good everywhere.”
O’Connell has been using Justin Hergett, a Grammy-nominated mixer and engineer who has long worked with Tony Maserati as chief engineer of Mirrorball Entertainment’s Outfit 27 team, to mix his solo work, as well as projects with artists such as Ashe, whose four-song EP he executive produced. “Hergett is really fast,” he says. “It’s fun to go into the room with the mixer and watch what they do; he’s always been very nice about letting me do that.”
While Finneas O’Connell can now afford to employ a mixer and mastering engineer on his productions, it wasn’t always that way. But lack of a budget should not be a barrier to anyone starting out in the business, he says.
Take “Ocean Eyes,” for example—the song that went viral and caught the attention of the management team and record label now behind Eilish. “It was mixed and mastered by me and uploaded to Soundcloud. And that song saved our lives,” says O’Connell.
“When I was starting to make music, I thought I had to pay a bunch of people to do all my things professionally and that that would be the only way I would ever have any success. It’s really important for kids to not think that there’s something intangible and out of reach for them. The truth is that you just have to make a song that people like.”
Billie Eilish • https://site.billieeilish.com
Finneas • www.finneasofficial.com
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Logic Pro X: Audio and Music Production
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Book Description
From initial demos to mixing and mastering, seasoned authors Mark Cousins and Russ Hepworth-Sawyer show you how to get the most from Logic Pro X. Daniel reference bible malayalam free download. By exploring the essential workflow and the creative possibilities offered by Logic’s virtual instruments and effects, Logic Pro X: Audio and Music Production leads you through the music creation and production process, giving you all the tips and tricks used by the pros to create release-quality recordings.
Using full color screenshots throughout, alongside related boxouts that expand on the key concepts, Logic Pro X: Audio and Music Production is an informative and easy-to-read guide to using Logic Pro X.
Key features include:
Production FAQs – Instructional Walkthroughs and Knowledgebases present information clearly and answer common production–specific problems.
Methods – Professional techniques for recording and editing in Logic Pro X – whether you’re dealing with real musicians or cutting-edge virtual instruments.
Workflow – Use Logic Pro X’s tools and functions in an optimal way.
Website – Access audio examples, samples (Apple Loops), Logic projects, sampler instruments, and instrument patches at www.focalpress.com/cw/cousins
Logic Pro X: Audio and Music Production covers more than just the software; it will help you make the most out of every recording session and will illuminate and inspire your creative and sonic endeavors!
Table of Contents
Chapter 1: The Logic Concept; Chapter 2:Logic’s Interface; Chapter 3: Getting Connected; Chapter 4: Starting a Project; Chapter 5: Audio Regions and Editing; Chapter 6: MIDI Sequencing and Instrument Plug-Ins; Chapter 7: Creative Sound Design; Chapter 8: Mixing in Logic; Chapter 9: Mastering in Logic; Chapter 10: Logic and Multimedia Production; Chapter 11: Optimizing Logic
Author(s)
Biography
Mark Cousins works as a composer and sound engineer (www.cousins-saunders.co.uk), as well as being a long-serving contributor to MusicTech magazine, where he writes the regular Logic Pro X column. His music is used worldwide on television, radio and film, and has been featured on hit shows like The Apprentice, Top Gear and CSI:NY. As well as having works performed and recorded by the City of Prague Philharmonic Orchestra and the Bulgarian Film Orchestra and Choir, Mark has also had his music used in commercials for McDonald’s, Diet Coke, Stella Artois, Liptons, Strongbow and BT.
Russ Hepworth-Sawyer is a sound engineer and producer with two decades’ experience of all things audio and is a member of the Association of Professional Recording Services, a Fellow of the RSA (Royal Society for the encouragement of Arts, Manufactures and Commerce), and a board member of the Music Producer’s Guild where he helped form their Mastering Group. Through MOTTOsound (www.mottosound.co.uk), Russ works freelance in the industry as a mastering engineer, writer, and consultant. Russ currently lectures part-time for York St John University and has taught extensively in Higher Education institutions in the UK. He has written for MusicTech Magazine, Pro Sound News Europe and Sound On Sound and has written many titles for Focal Press.
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Logic Pro X Audio And Music Production Pdf 2016
Reviews
'It seems everything about the application is covered somewhere in the book, from file-saving structures and organisation, to in-depth exploration of the EXS24 sampler; from synthesis and the built-in synthesisers, to working with movie files. And more..here is no better system on offer to musicians wanting to take their song from scratch demo to finished recording than Logic Pro, and this book will help those musicians as well as producers and mixers alike become true Logic ninjas, putting the stress of trying to understand the software behind them.' -- Ben Trigg, Musicians' Republic
Logic Pro X Audio And Music Production Pdf Download
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- eResourcesThis page provides additional content, templates, plug-in settings and instrumental patches for Logic Pro X:
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Logic Pro X Audio And Music Production Pdf Online
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