- Editing noisey audio files with Remove Silence in Logic Pro X - 9to5Mac
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Well, Logic Pro and Pro Tools are like a hammer and a screwdriver. You pick up the hammer, but then reach for a screw. You hold the screw to the wall and begin hitting it with the hammer, trying to drive it in. Might it go in far enough to actually hang the plaque and accomplish the task?
Was it much more difficult, frustrating, unstable and possibly painful if you whacked your thumb a few times? For the next plaque, you reach for a nail this time…but then pick up the screw driver and start hitting the nail with the handle.
Same experience, right? It might actually get far enough into the wall to hang the plaque, but there was an easier, faster, more efficient way to accomplish the task sitting in the tool box…. Logic Pro is an outstanding application for composition and writing with MIDI, using things such as virtual instruments, samplers and loops.
Using Logic Pro as our tool for these processes is fast and efficient. Might we be able to get the composition and writing portion of our record done in Pro Tools? Maybe…but it will be clunky along the way and the plaque might hang a little crooked. Its features are centered around these kind of operations and make life easy for those who understand how to apply this powerful tool.
Might we be able to cut, copy, paste, comp, nudge, duplicate, stutter, crossfade, rearrange, edit and mix in Logic Pro in a fast and efficient manner? Maybe…but we will have to clean up pieces of the wall that fell to the floor when we were trying to hang the plaque…and its probably still crooked. The first step in avoiding a frustrating experience during production is understanding how these tools should be employed.
However, there is much more to consider when examining the multi-DAW workflow. No one has ever accused me of being the most talented person in the world. In fact, they are absolutely correct to withhold such praise from me and my endeavors.
The attribute with which I have garnered the most respect is that of being a craftsman. A craftsman in our trade has an incredible amount of detailed knowledge, a discerning ear, a vast supply of experience, a psychic amount of foresight and microscopic laser focus while maintaining a big picture view of the project and approach.
Another part of being an incredible craftsman, regardless of industry, is understanding the tools of the trade. Arguably our most important tool is the digital audio workstation.
Synonymous with any tool of any industry, there are a litany of manufacturers, options, features and the like. So how did we arrive at this Golden Age of the DAW and how should we navigate this increasingly complicated environment in order to maximize our recordings and productions? The digital audio workstation, herein referred to as the DAW, was created many years ago as a stereo audio editor.
Apples to apples, this is the equivalent of humans discovering fire. The DAW rapidly evolved to become a recording console inside of a computer, which would equate to our first attempts at harnessing fire in order to cook food. Rather than wholly focusing on the operation, similarities and differences between a console and a DAW, we will examine a much more modern application: how the multi-DAW environment can be harnessed, practiced, exercised and professionally navigated with efficiency and effectiveness.
Some musicians, producers and engineers use the DAW with which they find the most comfort, then stick with it through thick and thin, even as some tasks become cumbersome and frustrating.
So here we are: each DAW approaches the aforementioned processes in a different way because none of them want to be too much like another, yet they all must provide solutions for these very common production tasks to be completed.
So why are some better than others for certain production tasks that we all must accomplish? For this reason, many professional producers and engineers at the top of our industry have adopted a multi-DAW workflow. This is worthy of an in-depth exploration. This process is not limited to programming drums and making beats, but also includes tasks such as: capturing virtual instrument and sampler performances during composition, tracking and comping vocals and instrumentation, nudging and correcting the timing of a performance, healing errors or hiccups that happened during the recording process, subgrouping, automating, mixing and delivering a final master to a record company or individual client.
What is a type beat? There are numerous websites that have created a rich marketplace for type beats listed at the bottom. Notable songs that were born from type beats have and continue to reach key charts and metrics. However, there is a philosophical divide between the first two generations of hip hop and the modern third generation of rappers and producers who are utilizing the type beat approach. He says:. If you want to talk about the origins, it came from the concept of subgenres and moods.
It became a marketing scheme to get discovered based on search results. Type Beat Producer Curtiss King elaborates :. What did they all have in common? The use of high-ranking search terms through a process called Search Engine Optimization. The cultural divide concerning type beats rages, and is often categorized as generational.
Young, modern producers see it as a form of income, brand building and exposure. An article on Genius asks:. Now you can lease or buy an instrumental of your choice for an affordable amount.
An article on Fandom says:. In an article for Medium , columnist Shkyd says:. Originality has always been at the forefront of my musical campaign, sometimes to a fault. The struggle seems to fall between their insatiable thirst for remaining relevant to the current wave of their peers while also being disgusted by the idea of those same peers clout-chasing the waves they create.
Some legends allow this evolution to inspire them, while others allow it to make them bitter. I simply chose to play ball. I chose to aggressively go against the grain because I knew that I wanted something different out of my production career.
Jazze Pha is a veteran record producer from Atlanta, GA. One out of a million producers really crack into the industry. We have a much higher percentage of users that are actually making a living setting up their own online business.
Online beat sales is a volume game—DJ Pain 1 uploads at least two beats every week—and if you have regular customers, that money can add up over time. Menace has yet another fear about the type beat explosion.
Otherwise the hit can be bigger than the artist or the producer. These are additional websites and communities not previously mentioned that offer type beat opportunities:.
Activate your musical instincts. Click here or fill out the form below to start a conversation with one of our highly trained admissions representatives to find out how we can help YOU take your music to the next level. The popularity of working with loops and one-shots in a digital audio workstation has never been higher. Modern record producers spend hours, even days, searching for loops and sounds to use that properly convey their emotion to a listener.
This process is the result of a rise in digital, subscription-based or one-time purchase loop and sound services. After a producer has obtained a batch of sounds or loops to incorporate into a production, the first step in putting them to work is to load them into the DAW.
For producers who use Logic Pro X, an option to incorporate these sounds and loops is to use the Untagged Loops feature. Untagged Loops do not have the tags, and embedded information of Apple Loops, so they do not possess the same functionality, time and pitch stretching capabilities. So what are Untagged Loops?
The big advantages of creating an Untagged Loops library are having quick access to inspiring sounds and the ability to use any audio file in this fashion including original recordings. After a batch of inspiring sounds have been collected, make sure to stay organized.
This will further enhance your ability to think creatively, as opposed to stopping and searching for files. Create instrument-specific folders, then narrow it down further by attributes. For example, you may have a folder hierarchy that looks a bit like this:. These folders or individual files can be added into the Untagged Loops tab and then incorporated into your workflow.
After you have obtained a batch of loops that are going to fit well with your personal creativity, there are three ways to add them to a Logic Pro X session. When using this method, remember that only folders can be added if you want to add an individual loop and prevent a frustrating experience, scroll down to method two.
Logic will recognize the procedure and verify that these loops with be time-stretched to match the bpm of the project. The Untagged Loops tab will appear and the files will now be accessible from the Loops browser. First, navigate one Finder window to the Untagged Loops Browser and another Finder window to the loop s to be added;.
The individual loop now appears next to the previously added folder in the Untagged Loops tab. Drag a loop or folder containing loops into the Untagged Loops tab of the Loop Browser. Note: The Untagged Loops tab will not be visible until loops have been added using one of the previous two methods. Also, be aware that this will permanently move the file to the Untagged Loops folder and vacate its original location.
The loop now appears in the Untagged Loops tab. If you are still having trouble with these three steps, consider finding a music production mentor who can help make the experience less frustrating.
Click on the file or on the play button at the bottom of the Loop Browser to audition. Adjust the volume slider accordingly. Next, drap the loop from the Untagged Loops browser to the audio track.
In other words, Logic will analyze the file automatically for you, and then using the visual aid provided, we can adjust the Threshold, Minimum Time, Pre-Attack, and Post-Release settings to ensure it is only removing the parts of the file we want. At which point, the audio region will then get automatically chopped up — the original performance otherwise untouched — into new regions with all of the unwanted or noisy areas in the original selection removed.
Threshold is how we adjust the sensitivity. It is used to define the amplitude or loudness a waveform must exceed in order to be considered a region, as opposed to noise that will be removed. In other words, you can use this control in tandem with the visual aid to determine what parts of the audio region to keep and what to remove represented by the grayed-out portions as seen above. You can think of the following three perimeters as ways to fine-tune the setting you have made on the Threshold.
Minimum Time to accept as Silence is used to define the length of time an area of your selected audio region must be under the set Threshold to be considered noise. Pre-Attack Time and Post-Release Tim e allow us to adjust to beginning and end point of each of the newly created regions. We can use these controls to add a little bit of extra time before and after the new regions in order to ensure none of the good stuff gets deleted or chopped off with the rest of the unwanted noise.
Note: None of the selections or alterations made via the Remove Silence in Logic will change the timing or position of the audio in the project. The Search Zero Crossing check box is also notable. It will bump the edges of the newly created regions, based on your Pre-Attack and Post-Release settings, to the nearest zero crossing.
Once you have the four settings the way you like based on the visual feedback, simply hit the OK button in the lower-right corner to complete the job. The original region selection will then automatically be chopped in to new regions and is otherwise left on the track just as it was beforehand. One quick key command, a few minor adjustments, and all the noise in the selection is gone.
Logic will also remember your settings the next time you open the Remove Silence window, which makes for even faster edits, especially when dealing with similarly recorded audio files.
You can also simply drag the edges of the newly created regions if some of the edits need to be reconsidered at a later point in production.
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