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Free mixing template for Logic Pro and how to use it
logic-pro-x-free-templates.Free Vocal Presets & Free Recording, Mixing, and Mastering Templates. –
Here we go. A monstrous list of free templates. Be aware that most websites do require you to register or follow them in order to access their free content.
Templates are available by genre, instrument, as remixes, and for mastering. Templates will have instruments loaded, effects loaded, and all of the presets will be included. Once you load a template you will find everything so perfectly organized all you need to do is start creating music. /19418.txt are designed by using the DAW specific plugins and settings.
Making the template universal. On occasion, you will find templates that include presets for 3rd party plugins. These 3rd party plugins are not included in the template. Whether you are a new tree or a seasoned pro, templates are a great tool to stay up to speed on the latest innovations in audio production.
Depending upon the version of Logic you are using. Below are a couple of ways to go. This logic pro x vocal mixing template free worth a mention. There are some good ones. Logic pro x vocal mixing template free if you got a dollar.
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When I first started mixing, I was always trying new things and techniques, and the mixing process was always different, even though some things were always the same. Now I regularly update my Logic Pro mixing template to my needs, and I update it when I buy a new plugin, and I use it for every single mixing project.
For example, I always had to change the sample rate, control bar display, and ruler settings. After some time, I started using bus groups on my mixes, and I realized that I was spending a lot of time preparing my mixing projects and trying to get the best reverb sound for the material.
This little stuff takes time, and it kills creativity. If you want to learn more about how to save time for creativity by preparing your mixing project beforehand, you can read this article. On the contrary, it will add value, giving you the creative time you need. The most unnecessary thing for me is to change the settings of this control bar and the ruler. So I always have the same setting on my mixing and production projects.
I always work on 48 kHz because I want to have a little headroom. So I have to constantly change the sample rate settings from the project settings section before I start working. I have this in my template, so I always have a quick look at the sample rate of my project, and I can always change it quickly, which I use a lot. I always want to see the tempo and the key of the song.
Because I change them a lot, and I forget them after a while. Also, you should set your tempo so your reverb and delay effects can work based on your tempo.
I always want to see the CPU usage so that I can be careful about my plugin usage. Some plugins can drain your CPU, so you have to keep an eye on this.
If it gets worse, I try to freeze my channels to keep adding big plugins to the project. Sometimes I have to figure out something, so I open a piano plugin to play with the song, and once in a while, I record extra back vocals. You can do this when Low Latency Mode is on. This one also saves lives. Sometimes I decide if there are any needs for a pad synth or some extra sub frequencies from a synthesizer.
And the last thing that I want is to forget what I just found. This setting continuously records what you play on your MIDI, so you can always find the best part of your improvisation. I discovered this one later, but I love it. Because it helps a lot to see the timing on the ruler with the bars. It was a habit when I was using Pro Tools, and I was missing that feature.
I always think of the channels in groups because it helps to understand the song. For example, when you download a channels multitrack file and import it to your mixing project, it can be scary at first. Also, you can process the same kind of sounds together if you use those bus groups.
For example, I always tend to compress the drums together to get the most energy out of them. Therefore, I have to route all of them to a bus group. Having that group from the beginning is perfect for me. The bus routings are on the second page of the buses, so your primary bus names can stay the same. You can see it below:. Set the bus groups from the beginning of a mix project, and delete the unnecessary ones.
So this is why I put a VCA type compressor on the drum bus group. You can always tweak it to your liking, and I encourage you to do so because every song is different. But if you want energetic drums, this compressor will help you a lot. Sometimes I want a big, powerful sound from drums. When I want that, I use the Drum Crush bus. It compresses the signal to hell and adds some distortion to make it even more powerful.
I put there a compressor and an overdrive plugin, but you can always use its variations. For example, if you have something like a tape machine, you can add it with your favorite settings on every bus group, so you can always reach them with just a click.
Then, you can start mixing with those plugins bypassed, and you can open them when you need. There is a stereo out bus; why would I use a mix bus? Good question. I use it for a couple of reasons. Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix. So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume. I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it.
So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus. Then the mix bus goes to stereo out. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template.
You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB. And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back. There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression.
And we came to the fun part, the effects! I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later. Details always come later in the mix for me. This Logic Pro mixing template lets me do this easily. We have small, medium, plate, long, big, and a massive reverb on the mixing template. Every one of them has a different pre-delay and decay time.
Small and medium are room reverbs; long and big are hall reverbs. It has a different character, and I mainly use it on guitars and the percussive sounds. When I want to replicate a room, I use the small reverb. When I want to take everything in similar places, I use medium reverb. When I want to use the reverb as an effect, I tend to use long, big, and massive ones. But you can always edit or put an EQ after them. We have a half note, quarter note, eighth note, and a slap delay. Echo is also an eight-note delay, but it has a longer feedback time and a reverb, which I mostly use on synths or guitar solos.
And lastly, we have a doubler effect. You can use it on the lead vocal gently to give it more power and width. Your effects on different buses, so you can send those effects to each other. Be creative and do whatever you want with them.
For example, I always send delays to reverbs, so they go back in the mix. But I know you can be more creative than that. You can download the Logic Pro Mixing Template here. Please let me know if you have any questions, or issues with it. Happy mixing! What is mixing and what do mixing engineers do? Mixing routine: how do I prepare a mixing session? What LUFS level should your master be to sound best everywhere? Free mixing template for Logic Pro and how to use it.
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