![]() It’s worth getting to grips with the relationship between the Live Loops grid and the main Tracks area too. Remix FX is another terrific facet of Logic Remote, designed to work across the main stereo bus and provide DJ-like sonic treatments. You can also use the Live Loops workflow to augment your track, perhaps by adding new loops for additional breakdown sections or recording new MIDI/audio cells.įrom a performance perspective, it makes sense to use Live Loops either with Apple’s own Logic Remote or with Novation’s Launchpad, largely because these controllers allow you to trigger multiple loops (across scenes) at once, rather than the single-cell point-and-click clumsiness that comes with a mouse. ![]() For example, Track-based automation will need to be converted to Region-based automation if you want parameter moves to exist within a cell. Although there’s a lot of similarity between the two production environments, there are differences between the two domains. The principle task in reverse-engineering a track for Live Loops is dividing an existing example into a series of loopable regions and then populating these cells accordingly. This makes it possible to juxtapose disparate components of your track, perhaps taking a hi-hat from the chorus, for example, and cutting it into a verse. What’s interesting though, is that you’re not restricted to playing only the loops from within the scene, as any one of the cells can be triggered at any stage. In a conventional sense, you could simply trigger your song scene by scene so that you step incrementally through a verse, chorus or middle-eight structure, for example. The marvellous thing about Live Loops is the way you can trigger and structure complex collection of cells with ease. The vertical axis represents a series of scenes, which is a convenient way of triggering multiple loops at the same time. The horizontal axis of the cell grid aligns with Logic’s tracks system so, while you can have multiple cells across the grid, only one can play from a given track at any one point. Each cell contains some form of musical information – an Apple Loop, an audio recording or a MIDI sequence – that can be triggered and looped indefinitely. ![]() The Live Loops concept is based around the notion of cells, arranged vertically and horizontally across the screen. If you’re less interested in live performance, this tutorial should still provide a valuable insight into the Live Loops workflow and, in particular, how you can move between the two parts of the application. What we’re exploring in this workshop, therefore, is how to reverse-engineer a track from Logic’s linear timeline to the non-linear Live Loops grid, as well as creative ways of triggering and rearranging your songs live on stage. ![]() Creatively, this means tracks can be as long (or as short) as the performer desires, with components of the song brought in and out in response to the audience’s reactions. Thanks to tools such as Logic Pro X’s recently added Live Loops though, more ambitious musicians have taken a more interactive slant, whereby their DAW effectively becomes an instrument in itself, with a series of musical cells triggered on the fly. Some simply use their DAW as little more than a playback device, perhaps adding a few ‘live’ instruments, tweaking the mix or making judicious use of the filter cutoff knob. Live electronic music, built either from loops or via pre-programmed sequences, sees artists adopt a range of onstage approaches.
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