Logic pro x guitar amp tutorial free. How To EQ Bass Guitar in Logic Pro X (w/ Presets)

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Logic Pro X: Making The Most Of Amp Designer.AmpliTube 4 – amp simulation and guitar gear modeling software

These tend to be loud and clean with a tight low-end and restrained distortion. Great for lush, reverb-saturated chords or strident solos.

It can be crunchy when overdriven, but most players favor it for clean tones. It excels at clean tones with a minimal overdrive.

This model is favored by blues and rock players. Tip: Although these amps tend toward a clean and tight sound, you can use a Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition. See Pedalboard distortion pedals. At medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used.

Captures the sound of a late s watt amp famed for its powerful, smooth distortion. Notes retain clarity, even at maximum gain. After four decades this remains a definitive rock tone. Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended. These heads can also sound good through small cabinets, or at clean, low-gain settings. The British Combos capture the brash, treble-rich sound associated with s British rock and pop.

The sonic signature of these amps is characterized by their high-end response, yet they are rarely harsh-sounding due to a mellow distortion and smooth compression. The tone is thicker, with stronger lows and milder highs than the other British Combos. Tip: You can often use higher Treble and Presence knob settings with the British Combos than with other amp types. If the British Blues Combo is too clean for your needs, combine it with the Pedalboard Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz stompbox for a heavy rock tone.

The late s amplifier heads and combos that inspired the Sunshine models are loud and aggressive, with full mid frequencies.

The Stadium amps are famed for their ability to play at extremely high levels without dissolving into an indistinct distortion. They retain crisp treble and superb note definition, even at maximum gain settings. It is a good choice for powerful pop-rock chords. From smooth, light crunch, to extreme shred sustain and over-the-top gain, this pedal has been a classic ever since its release in the early 80s. This pedal is a model of a beloved 80’s-era distortion pedal by a company known for making amps with amazing distortion.

This model packs a whole powerful amp into a single stomp box. This effect is a model of a classic high end compressor. It is capable of mild compression or intense signal slamming, and does it all with a tremendous amount of finesse.

This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that perfect tone. This is a clean sounding band graphic EQ. This stomp is an advanced filter effect.

It uses the envelope of the incoming signal to control a synthesizer style filter. It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects. This complex stomp effect uses an LFO to modulate the frequency of its filter. With the included BPM sync this is a very useful effect for creating interesting, moving guitar parts with a minimum amount of trouble.

Make your guitar sound like a sitar or like a synth-drone to create sonic textures nobody will think has been done with a guitar. A unique effect that can add synth-like drones and sustaining resonances to your parts. Set up the scale you want the resonances to sing on and control the notes with your controller to create arpeggios and steps while playing. A powerful and deep beat synced filter effect. This will make your guitars and bass parts to sound like a rhythmic synth, if you want it!

This effect is modeled after the classic wah pedal used by many of the top players from the 60’s and 70’s. In addition to the wah effect it also features an auto function, allowing it to be used easily without an external controller. This is a new exciting feature. This is a faithful rendition of a very sought-after wah pedal. Based on a multiple feedback opamp circuit, the pedal modeled here is a very expressive and unique wah pedal. This is considered to be one of the best sounding wah-wahs of all time.

Jimi Hendrix used many fuzz box units like this vintage model which adds to the powerful sound palette that AmpliTube 3 can offer. This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years.

This classic germanium transistor fuzz effect was the main fuzz box used by Jimi Hendrix. Often combined with a wah, this effect produced permanent sustain and endless distortion. Hendrix began using this fuzz box while playing in New York City before founding the Experience.

A highly sought-after, rare fuzz box, it was one of the first commercially available floor effect units, making its first appearance in One of the most flexible flangers ever made, the BF-2 delivers everything from classic tape flange to over-the-top sweeps, vibratos, chorus and more! Perfect for adding classic metal-style flange to your rig. It provides both analog Chorus and analog Vibrato effects, when in Chorus mode the modulation will be lush and slow, when in Vibrato effect the modulation will be faster and more noticeable.

While it has amazing warmth, it is also capable of very versatile chorus and ring modulation type sounds. Still, no flanger is more recognizable, making this perfect for hard-rock and metal tone. This effect is one of the most popular phase pedal of all times. Used by a wide range of first-class guitarists, this unit could add a little bit of shimmer to your solos or generate a smooth, watery effect while playing chords and muted strumming.

Try the Phaze Nine on bass, keyboards or vocals. This effect is a model of a classic analog phase shifter, capable of a range of phaser effects from gentle to outlandish swirling effects. You may wonder why it is called “small” when you hear it.

This effect is a 3 voice digital harmonizer effect. More than just a pitch shifter, this pedal will create 3 separate harmony voices with independent interval values based on a musical scale. Simply select the scale to use, select the voice and the desired pitch and play. The harmonized notes will be according to the selected scale. This stomp effect is modeled after a classic dual voice octave pedal. It will produce two additional sounds, one and two octaves below the direct signal.

This effect shifts the pitch of the incoming signal. This new pitch shifted signal is blended with the original sound to create harmony guitar leads or other types of dual pitch effects.

One of the most extreme effects of all time, the original Whammy is a costly vintage find these days. From classic shred to the most aggressive modern metal, this is an essential part of any extreme guitar rig. Add programmed rhythmic parts to your power chords and phrases with this powerful and creative beat synced slicing effect. Can be setup to create anything from the most amazing tremolos to the most complex rhythm effects that always stay in perfect sync with the beat.

This is an “auto volume” swell processor that can automatically create fantastic swell effects while playing without any manual intervention. Use it subtly to add groove to your rhythm parts or use it with deeper settings to create dreaming pads or string-like sounds. It recreates the original distortion circuit, adding upper octave harmonic content to the direct signal and creating as a result a unique overdrive effect.

Moving the octave knob will double your direct signal one octave below the direct signal. In this way you can make your melodic lines richer and fuller, expanding the frequency range.

When in Chorus mode the modulation will be lush and slow. When in Vibrato effect the modulation will be faster and more noticeable. This model is based on a classic analog delay with modulation stomp pedal. The auto option will produce the Wah effect automatically, meaning that there is no need for the manual intervention on the pedal position. This effect is modeled after a vintage compression stomp pedal and can deliver a strong sustain and powerful compression with lots of character.

This stomp is a highly developed filter effect. Essentially, it uses the envelope of the incoming signal to control a synthesizer filter. You can enhance your bass tone adding from simple auto Wah effects to extreme filtering effects. Perfect for those who want to create instead of copying, with a bit of experimentation, this pedal can deliver a huge range of unique tones. A classic volume control. A combination of a Fuzz-style distortion effect and a Wah pedal, this is two pedals in one.

A Classic analog Phase shift effect as heard on countless recordings since the s. The rate control knob alternately illuminates blue and red at the same rate as the phase shifting. BPM sync function allows for automated effect syncing to your DAW tempo, or set your tempo manually to add that dramatic tremolo sparkle or darkness to your tracks.

Two distinct wah voices give this model a huge range of “wah-ptions. Adjust your effect frequency range with the minimum and maximum knobs, and control the amount of effect applied with the “wah” control and volume level knobs. A very inspiring pedal that will also add dramatic effects to your bass lines. First introduced in the early s, this classic all-tube spring reverb unit is a must have accessory for all Surf players.

Blues and experimental players love it, too. The Fender Reverb is capable of producing an incredibly lush or intense crashing Reverb effect due to its post-guitar, pre-amplifier signal path and unique tube driven output. Increase your signal gain before it hits other effects and amplifier, or use it elsewhere in your pedalboard chain to create dramatic “attack” effects. This creative delay effect unit can be used to create interesting and unusual delay effects thanks to the 8 totally independent taps.

You can create grooving rhythm patterns by combining more taps with a specific time signature, and you can mix this up with psychedelic reverse tape effects you are able to set for each tap. It became famous through its use with keyboards. Filters allowed for low-pass, bandpass, and high-pass filter response which could be triggered from low to high frequency or vice versa. The T-Rex Mudhoney is designed for those looking for an in-your-face wall of sound jumping out of the speakers.

The boost button and the tone knob give you the ability to dial in any sound you like from ultra fuzz to smooth jazz sounds. With the boost function bypassed, the Mudhoney delivers moderate gain and a rich, smooth sound that many jazz guitarists prefer. The boost button engages a high gain circuit for a more aggressive sound. With its astonishingly warm tone it is the perfect mix of controls that delivers everything the most demanding guitarists could ask for in a delay. The Replica is used by guitar heroes from Pete Townsend to John Mayer to deliver their classic sounds.

It can also produce crazy and innovative tones never heard before. With its detailed “Wave” and “Shape” controls, it is one of the most versatile tremolo stomp boxes available. The Shape control sets the rise and fall time of the tremolo how fast or slow the volume increases and decreases.

This adds some very different variations to the tremolo effect: with a quick swell and a slow drop, the effect is percussive like a piano. Conversely, with a slow swell and a sudden drop, the result is reminiscent of a tape played backwards. The Power Grid is a high gain, solid state distortion pedal capable of a myriad of tones thanks to a three-band active EQ section.

It is perfect for all styles of rock. The pedal is designed to provide powerful overdrive and distortion suitable for all kinds of rhythm and lead playing thanks to five stages of discrete Class A circuitry. This raw horsepower is managed by a multi-element gain and volume control system that provides very fine control. The tone is further refined with three bands of active EQ. Each band allows for up to 12dB of boost or cut at selectable frequencies for maximum control.

The booster stomp box used by Slash. It boosts your signal up to 20 dB. It’s perfect for solos, punchy rhythm parts or to drive effects harder for more dynamics and sensitivity. The chorus stomp box used by Slash offering great control and flexibility. Used in one of the most famous song in the history of Rock: Paradise City. Adds fuzz to your signal and then duplicates it two octaves down. This is one of the most evil and vicious pedals! The gate stomp box used by Slash.

It gates out noise slowly when notes are being held and quickly when they are stopped short. Three filter cut-off points are available: Hiss, Mid, or Full Band.

The digital delay stomp box used by Slash. Based on one of the most famous modern digital delays. This doesn’t sound too obviously compressed but adds a bit of life to the guitar sound.

Placing a compressor early on in the signal path will help smooth out the ‘spimky’ DI signal. As any amp or pedal designer with tell you, EQ is a powerful pre-treatment, as the overdrive section of an amp or pedal will react differently according to the EQ of the input.

I’m planning to use a Dual Mono amplifier for this example so I’ve put a Dual Mono Channel EQ after the compressor, dialling in a few dB of mid-range boost between 1 and 2. If you make the centre frequency a little different on the two channels, that will also help create a bigger stereo image.

Using mid—boost EQ in this way helps sharpen up the amp sound without making it ‘fizzy’. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as plug-ins that cause long delays when active.

After recording, click off the Low Latency button and all your tardy plug-ins and buses come back to life. Using buses is no problem if you are treating a dry guitar track you’ve already recorded, but if you want to hear something like the final sound as you record, bus sends are probably not the way to go.

Which amplifiers you choose depends on the sound you’re out to achieve, but a useful tactic is to choose an amplifier and speaker combination that delivers a bright attack for one channel with perhaps a warmer sound that has more body to it for the other. By mixing them using the amplifier output level controls, you should be able to get a solid sound that still has a well-defined attack. One often—overlooked feature of Logic’s guitar amplifiers is that if you click EQ above the tone controls, you’ll see a menu offering alternative EQ types, and they all sound distinctly different.

If the amp sound is too dull or too edgy, try a different EQ. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone. Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. Speakers make a huge difference to the sound and, in very general terms, the smaller speakers tend to sound thinner and brighter whereas the larger ones have more low end and less ‘edge’ to the sound.

There’s also a huge difference between the various 12—inch speaker types, with the mic type and position offering yet more variation.

As a rule, putting the mic close to the centre of the speaker cone gives the brightest sound whereas moving it away and to one side gives a warmer sound. The SM57 model has a bright, slightly nasal character while the ribbon mic model has the warmest sound. For bluesy overdrive tones, adding just a small amount of dirt using a pedal at the input combined with a modest amount of amplifier gain will usually get you close to where you need to be.

Logic pro x guitar amp tutorial free. Logic Pro X: Making The Most Of Amp Designer

They logic pro x guitar amp tutorial free virtually the same interface, but lgic Logic provides much more opportunities for professionals. Just plug apm guitar with an instrument cable to an audio interface connected to your computer.

After recording, you will see a blue box with frer waveform — this will be your recorded track. Even though it is professional software, it has a pretty simple and user-friendly interface.

Besides that, the main advantages of this DAW are the advanced audio editing functions, lots of loops, virtual instruments, and built-in plug-ins for any needs and tastes. Therefore, ttuorial can safely learn how to produce music at a high level. The main task here cree to make sure that your DAW is synchronized with the audio interface. It will depend icloud control panel windows 10 on the goal you need to achieve.

For example, do you want to get a clean DI track and process it with your plugins? Or do you have a good-sounding amp and cabinet and want to capture just that sound? The Audio function allows you to capture the clean signal from your electric, electroacoustic, or bass guitar. Press Audio to record an electric loyic as a clean DI.

And there you have it. You will see a blue box with a waveform on it. It will be your recorded electric guitar audio. It is important to note that having a DI signal for your guitar will always be guitxr because it is easy to edit. In addition, it gives you a lot of options for further manipulation of your guitar tone. For example, you can run it through your favorite amp sim plugin and achieve your desired sound. You can also create a new track thanks to the Guitar or Bass function. Here you can experiment with virtual guitar amps, cabinets, and tuutorial distances.

Also at our disposal is a pedalboard with just a massive selection loogic guitar effects pedals. You have to listen and experiment.

The frer factors that will affect your sound tree the Pedalboard and Amp Designer plugins. The pedalboard, as in reality, should be placed at the ,ogic of your guitar chain. Logic provides virtual effects of many types, from distortion to compressors.

Just build your sequence with what works best for you. The Amp Designer plugin should go after Pedalboard. Here, you will choose between different types of virtual amps based on their legendary physical copies.

You can combine the amp with various cabinets and microphones, which will also affect the character of the sound. The ability to record a guitar through Guitar or Bass is a great zmp to immerse yourself in the sound experimentation that Logic Fres X offers with its built-in plugins.

You can switch between presets, change their settings and achieve what you want. That is, you also need to adjust the gain, adjust the metronome, and press Rec.

The main difference is the presence of logic pro x guitar amp tutorial free guitar tone library. If you record a guitar part перейти на страницу the preset, its base is still a clean DI signal. So if you remove all effects, you get the same audio track as in the logic pro x guitar amp tutorial free option. If you have a physical amp that you love the sound of, you can also record an electric guitar in Giitar Pro X.

But this method is more complicated and requires additional physical equipment. The point is that in this case, you can record the guitar directly, without a cabinet. So be careful; turning on a guitar head without a cabinet can damage your amplifier! The load box can replace the guitar cabinet on the way to your audio interface and provide the ability to get a guitar amp signal. The thing is, if your guitar amp is overdriven, your waveform will look almost like one solid straight line.

In this case, it will rree difficult for logic pro x guitar amp tutorial free to find the correct ffree to edit the parts during the production. Otherwise, you need another piece of physical equipment нажмите для продолжения a DI box. With it, you can get two signals simultaneously: from a guitar amp and a clean DI. It will help you later navigate where the transients are and edit the overdriven signal. This method is the most advanced and is still used in professional recording studios.

In this case, you can capture not only the sound of your favorite guitar head but also the speakers of the cabinet. But like the previous one, you will need additional physical equipment.

The most important thing here is the microphone. It can be either a dynamic or a condenser microphone. It all depends on what you have.

Note that the industry standard, in this case, is considered a dynamic mic Shure SM Many believe that it can give you the most transparent and tugorial rich guitar sound from the speaker. Sony sound forge audio studio 10- 30 day free trial free how do you set it up right? This method of recording will give you plenty of адрес страницы. For example, use a second mic for room ambiance.

You can even capture the sound of a guitar with more than three microphones. But remember that just like in the previous method, you will also get a straight waveform signal, which will be challenging to edit.

Therefore, the DI box can serve as a good tool for you here as well. Logic Logic pro x guitar amp tutorial free X is a professional and fee audio workstation where you can easily record an electric guitar in several ways.

It is suitable dji go for windows download free for professionals and beginners. It all depends on what kind of equipment you have.

If you want to try all the features of the built-in Logic plugins, record your guitar with logic pro x guitar amp tutorial free available presets. If you gujtar a clean signal, record with Audio and then reamp with your favorite plugin.

Or, of course, you can record guitar directly into your 3-rd party amp sim. This DAW is also ideal for more experienced musicians and producers who want to capture the sound of a particular guitar amp and cabinet. Are Tube Amps Worth It? Tube vs Solid-State Amps. How often guitar necks need здесь Yes, But Is It Safe? Does a Preamp Improve Sound Quality? Do headphones get logic pro x guitar amp tutorial free with age? Does Heat Damage Headphones?

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Should Drums Be in Mono or Stereo? Kick, Snare, Clap and Percussions. Ilarion Ivanenko is a remote mixing and mastering engineer from Ukraine, a швец, adobe indesign cs6 software free download free download действительно with more than 15 years of experience.

Specializes in rock, metal, progressive and the frew genres. So how do you record an electric guitar in Logic Pro X? Ссылка на продолжение Ivanenko. Are you interested in new audio plugins? Subscribe to us and let us know if you want us to start developing plugins for you!

Logic Pro X: Making The Most Of Amp Designer

Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used. Captures the sound of a late s watt amp famed for its powerful, smooth distortion.

Notes retain clarity, even at maximum gain. After four decades this remains a definitive rock tone. Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended. These heads can also sound good through small cabinets, or at clean, low-gain settings.

The British Combos capture the brash, treble-rich sound associated with s British rock and pop. The sonic signature of these amps is characterized by their high-end response, yet they are rarely harsh-sounding due to a mellow distortion and smooth compression. The tone is thicker, with stronger lows and milder highs than the other British Combos.

Tip: You can often use higher Treble and Presence knob settings with the British Combos than with other amp types. If the British Blues Combo is too clean for your needs, combine it with the Pedalboard Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz stompbox for a heavy rock tone.

The late s amplifier heads and combos that inspired the Sunshine models are loud and aggressive, with full mid frequencies. The Stadium amps are famed for their ability to play at extremely high levels without dissolving into an indistinct distortion. They retain crisp treble and superb note definition, even at maximum gain settings. It is a good choice for powerful pop-rock chords. If the tone is too dark, use a high Treble knob setting to open up the sound. It is brighter than the Sunshine Stack head and has tonal qualities similar to the s British Combo.

A good choice if you need power and clarity. Tip: The Stadium amps can be slow to distort, so most famous users have paired them with aggressive fuzz pedals. The Metal Stack models are inspired by the powerful, high gain amplifier heads favored by modern hard rock and metal musicians. Their signature tones range from heavy distortion to extremely heavy distortion.

These models are ideal if you want powerful lows, harsh highs, and long sustain in your guitar tones. A powerful high-gain amp that is ideal for heavy rock and metal.

Use the Mids knob to set the right amount of scoop or boost. Although a powerful, high-gain amp, this model offers a smooth transition between gain settings and natural compression.

It is a good choice for fast soloing and for two- or three-note chords. An aggressive-sounding amp with spiky highs and noisy harmonics, especially at high gain settings. Use the Turbo Stack when you need a guitar tone that cuts through a mix. Tip: Combining the Turbo Stack with distortion and fuzz pedals can diminish the edgy tone. A dry sound is often the best choice for high-impact riffs.

The combos and utility models in this category are versatile amps that you can use for a wide variety of musical styles. These models use multiple gain stages to generate smooth, sustain-heavy distortion and bold, bright, clean sounds. It excels at clean and crunch tones, making it a good choice when you want an old-fashioned flavor but with the crisp highs and defined lows of a modern amplifier.

This model has very sensitive tone controls that can deliver countless guitar tones. Despite their limited features and budget workmanship, these amps are the secret behind the sound of many rock, blues, and punk players. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone.

Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. Speakers make a huge difference to the sound and, in very general terms, the smaller speakers tend to sound thinner and brighter whereas the larger ones have more low end and less ‘edge’ to the sound. There’s also a huge difference between the various 12—inch speaker types, with the mic type and position offering yet more variation.

For a clean sound I’ll often pick something like a Fender or Vox amp model on one channel and a clean preamp on the other channel, with the speaker emulation bypassed on the clean preamp channel.

Mixing a clean DI’ed sound with an amp emulation sometimes gets you a sweeter clean sound than using an amp emulation on its own. If you don’t want the two sounds panned hard left and right, you can use another instance of Logic’s Direction Mixer plug-in, after the Amp Designer, to narrow the stereo field or even collapse it to mono. Try using different delay settings for the left and right channels, to give you a wider guitar sound.

For those big rock solos, delay often works better than reverb, and if you put a Dual Mono version of Logic’s Tape Delay after the amplifier, you can then use the Deviation control to the right of the delay knob to shift the delay time slightly away from the tempo-locked value. I also tend to set the LFO modulation to be slightly different on the two sides too. This could go anywhere after the amp plug-in, though I generally put it directly after the amp.

Set each channel to percent wet, select the Timing mode as Pitch Tracking for one side and Manual for the other, then set the Manual channel’s Delay slider to around 15ms. This spreads both the pitch and timing of the two amplifiers very slightly, producing a decent double-tracked sound. The Rotor Cabinet plug-in is great for adding a bit of warmth to your sound when set to its ‘Brake’ mode.

Another useful trick that you can use if the finished guitar sound still comes across as too hard or edgy is to insert Logic’s Rotary Speaker plug-in, but set the speed control to its Brake position so there’s no modulation.

This adds a lovely warm character to the sound. You can experiment further by changing the rotary speaker type in the box just above and to the left of the picture of the speaker. They all sounds very different, though I usually find that one of the the first three sounds best.

If you’re an old hippy like me, turn the speaker motor back on and enjoy the swirls. I’m sure there are lots of other strategies that can be employed to create usable guitar tones — after all, every guitarist has their own ideal sound in their head, which is what makes the electric guitar a truly unique instrument. The ones described here work for me most of the time and when I come up with a chain of plug-ins that gives me a useful sound, I save it as a channel preset so I can call it up again when needed.

If you were disillusioned by the presets, give these simple techniques a try as I’m sure you’ll come up with something useful. Buy PDF version. Previous article Next article. New forum posts Re: Anyone ever used a Nail Bar? Advice on getting my guitar serviced.

How To EQ Bass Guitar in Logic Pro X (w/ Presets)

In this video you’ll learn: Foolproof microphone placements for electric guitar amps Setting up Logic Pro and your audio interface for. This model has very sensitive tone controls that can deliver countless guitar tones. Pawnshop Combo. A 1 x 8” combo based on the inexpensive amps sold in. This allows you to send your DI’ed guitar to different left/right processing a rule, amp modelling works well enough for clean sounds and also for.