12 Weeks
Level 2
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290Apple's Logic Pro X is one of the most powerful music production platforms available. This course explores the Logic music software, taking you through exercises and projects designed to strengthen your technical understanding of Logic Pro X as well as heighten your overall creative abilities in music production. The course begins with an overview of the Logic music software, including its windows and editors, navigation, key commands, screensets, and workflow. You'll then dive into MIDI editing, MIDI real-time control, audio recording and editing, and working with QuickTime video. The course examines the power behind Logic's software instruments, including the ES2, EXS-24, Sculpture, UltraBeat, and several other subtractive synthesizers and vintage instruments.
You'll study the elements of production design, such as creative considerations in composition and song form, and the arrangement tools in Logic that allow you to build and shape a song. You'll also study mixing tools and advanced mixing techniques in the Logic music software, such as setting up software instruments with multiple outputs, sidechaining, and mix automation. This course provides many critical listening examples, interactive activities, and "power user" tips and tricks for using Logic Pro X, which illustrate the extensive capabilities of this dynamic Logic music software.
By the end of the course, you will be able to:
- Work extensively with Logic Pro X
- Record and edit both MIDI and audio data
- Use and understand the various software instruments in Logic Pro X
- Work with sound design plug-ins in Logic Pro X
- Effectively mix a music project in Logic Pro X
- Produce two substantial music productions
Syllabus
Lesson 1: Introduction to Logic Pro X
- Creating a New Project in Logic Pro X
- Saving a Logic Pro X Project
- Logic Pro X Preferences
- Logic Pro X's Interface
- The Logic Pro X Main Window
- The Cursor Tools
- Customizing the Main Window
- The Editors: An Introduction
- Audio Editors
- Other Important Logic Pro X Windows
- Browsers and Lists
- The Note Pad and Apple Loops
- The Inspector
- Key Commands Give You Power!
- Key Command Presets
- Zoom Tools
- MIDI Recording
- Setting up the Metronome
- MIDI Overdub Recording
- MIDI Step Input
- Intro to Logic Pro's Software Instruments
- Drum Kit Designer
- The Library, Patches, and Presets
- File Organization in Logic Pro
- Uploading Your Logic Pro X Projects
- Assignment 1: Create a MIDI Sequence
Lesson 2: MIDI Recording and Editing
- MIDI and the Power of Editing
- Creating Music with MIDI
- Review of MIDI Channel Voice Messages
- Description of Each Message
- Why We Care!
- Editing in the Main Window: Overview
- Editing in the Main Window: Real Time MIDI Processing
- Editing MIDI Regions in the Main Window
- More with Cursor Tools
- MIDI Editing in the Piano Roll Editor: Overview
- MIDI Editing in the Piano Roll Editor: Velocity/MIDI Draw
- MIDI Editing in the Piano Roll Editor: The Edit and Functions Menus
- Workflow Features in the Piano Roll Editor
- MIDI Editing in the Event List Editor: Overview
- MIDI Editing in the Event List Editor: Editor
- MIDI Editing in the Event List Editor: Editing Ideas
- MIDI Editing in the Step Editor: Overview
- MIDI Editing in the Step Editor: Lanes
- MIDI Editing in the Step Editor: More MIDI Editing
- MIDI Editing in the Score Window: Overview
- MIDI Editing in the Score Window: Editor's Options
- MIDI Editing in the Score Window: Interpretation
- MIDI Editing in the Score Window: Staff Selection
- Screensets and Workflow
- Project Management and Workflow
- The Project Management Menu
- Files and Project Management
- Assignment 2: MIDI Editing
Lesson 3: Introduction to Software Instruments in Logic
- Subtractive Synthesis: Overview
- Subtractive Synthesis: Oscillators
- Subtractive Synthesis: Filters
- Subtractive Synthesis: Envelopes
- Subtractive Synthesis: Modulation and Control
- The Logic Pro Subtractive Synthesis Instruments
- The Retro Synth
- The ES1
- More on the ES1
- The ES2: The Full Power of a Subtractive Synthesizer, Overview
- The ES2: The Full Power of a Subtractive Synthesizer, Simple Operations
- The ES2: The Full Power of a Subtractive Synthesizer, Modulations
- The EXS24: Overview
- The EXS24: Creating a Software Instrument Track
- The EXS24: Hierarchy/Editing
- Logic Pro’s Vintage Instruments
- The Vintage Electric Piano
- The Vintage Clav
- The Vintage B3: Overview
- The Vintage B3: B3 Features
- The Vintage B3: Split
- The Vintage B3: Rotor Cabinet
- The Vintage B3: Effects
- Assignment 3: Software Instruments
Lesson 4: MIDI Real-Time Control
- MIDI Sequencing and Musical Expression: Overview
- Controlling Logic Pro’s Software Synthesizers In Real Time
- MIDI and Expressive Control
- Recording Pitch Bend and Mod Wheel Events
- Editing MIDI Events in the Event List Editor
- Editing MIDI Events in the Step Editor
- Editing MIDI Events in the Piano Roll Editor
- Automation View in the Main Window
- Doing More With MIDI CC Messages
- The MIDI Spec and MIDI Control Change (CC) Messages: Overview
- Working with MIDI CCs and the ES1
- Setting Up the EXS24 for MIDI Control
- Setting up the ES2 for MIDI control
- Using Aftertouch
- Hardware MIDI Controllers and Logic Pro X
- Shaping Your Sounds with Logic Pro X Automation
- Recording Region Automation in Logic Pro X
- Drawing and Editing Region Automation
- Assignment 4: Real-Time Control
Lesson 5: Working with Grooves
- Groove: What's the Deal with Grooves?
- Groove: Some Aspects of Groove
- Creating Drum Beats from Scratch
- Drum Kit Designer
- Programming Drum Beats
- Editing MIDI Grooves by Hand
- MIDI Quantization
- Region-Based Quantization Parameters
- Advanced Quantization Parameters
- Event-Based Quantization
- Manual Editing After Quantization
- UltraBeat Part I
- UltraBeat Part II
- Working with Ultrabeat Patterns
- Triggering Ultrabeat Patterns in a Project
- Drummer Tracks
- Creating Variations with Presets
- Tweaking Your Drummer Track Performances
- Following Other Tracks
- Working with Arrangement and Form in Logic Pro
- Region Display and Track Header Options
- Track Headers
- Region Aliases
- Using Markers
- Arrangement Markers
- Assignment 5: MIDI Composition
Lesson 6: Introduction to Mixing
- Music Production and Mixing
- Mixing Habits and Tips
- Mixing Electronic Music
- Digital Audio Meters
- Getting Started and Getting Organized
- Setting Up a Basic Mix Balance
- Project Organization
- EQ in Mixing: Overview
- EQ in Mixing: EQ Techniques
- EQ in Mixing: Ideas
- Other EQs in Logic Pro X
- Dynamics Processors in Mixing
- Logic Pro X's Compressor
- Limiters
- Reverb in Mixing: Overview
- Reverb in Mixing: ChromaVerb
- Reverb in Mixing: Tips
- Delays in Mixing
- Tape Delay
- Stereo Delay and Echo
- Working with Delays in Mixing
- Modulation Delay Effects: Flanging
- Modulation Delay Effects: Chorusing
- Some Thoughts on Using Flanging and Chorusing in a Mix
- Mix Automation: Overview
- Mix Automation: Working with Logic Pro X Automation
- Mix Automation: Ideas
- Adding a Mix Limiter
- The Adaptive Limiter
- Calling it DONE!
- Assignment 6: Mixing
Lesson 7: Audio Recording in Logic Pro X
- The Ins and Outs of Audio Interfaces
- Typical Features of Audio Interfaces
- Audio Interfaces and Monitoring
- Latency and the Buffer Size
- Creating Audio Tracks
- Input and Output Settings
- Getting Ready to Record
- Audio File Management
- Other Logic Pro X Recording Options
- Basic Considerations for Good Audio Recording
- More Audio Recording Considerations
- Overdub Recording
- Latency and Audio Recording
- Amp Designer and Bass Amp Designer
- Audio Editing in Logic Pro X
- Fades
- Recording and Editing Multiple Takes
- Quick Swipe Editing
- Assignment 7: Project 2 - Audio Recording in Logic Pro X (Part 1)
Lesson 8: Advanced Audio Editing in Logic Pro X
- Nondestructive and Destructive Audio Editing
- Managing Audio in Logic Pro X - The Project Audio Browser
- Working with the Track Editor
- Track Editor Specifics
- Flex Time Editing
- Flex Time in More Detail
- Flex Time Algorithms
- Time Stretching with Flex Markers
- Time Stretching Using Marquee Selections
- Bouncing Regions with Flex Time Processing
- Working in the Audio File Editor
- Audio Editing and Time Stretching (Non-Flex)
- Managing Your Project Audio
- Assignment 8: Project 2 - Audio Recording in Logic Pro X (Part 2)
Lesson 9: Production Techniques in Logic Pro X
- Tempo Changes and the Tempo Track
- Creating and Editing Tempo Tracks in Logic Pro X
- The Tempo List Editor
- Smart Tempo
- Creating a Tempo Map from a MIDI Performance
- Creating a Tempo Track from an Audio Recording
- Working with Apple Loops
- Apple Loops and Tempo
- Quantizing Audio with Flex Time
- Importing and Working with Audio Loops
- Setting the Project Tempo to the Tempo of the Loop
- Doing More with Grooves
- Creating and Using Groove Templates
- Extracting Grooves from Drummer Tracks
- Working with MIDI Plug-Ins
- The MIDI Signal Chain
- Arpeggiator and Chord Trigger
- Modifier and Randomizer
- Assignment 9: The Final Project (Part 1)
Lesson 10: Exploring New Instruments in Logic Pro X
- Overview of Alchemy
- Finding Sounds
- Simple View
- The Control Knobs
- X/Y Pads
- ADSR Knobs
- Transform Pads
- Assigning the Modulation Wheel
- Working With Alchemy
- Smart Controls
- Customizing Smart Controls
- Saving a Smart Control Layout
- Flex Pitch
- Flex Pitch in the Tracks Area of the Main Window
- Flex Pitch in the Track Editor
- Some Sound Shaping Plug-Ins to Explore
- Auto Filter
- Distortion
- Assignment 10: The Final Project (Part 2)
Lesson 11: Advanced Mixing Techniques in Logic Pro
- Software Instruments: Multiple Outputs and Mixing Options
- Setting Up Individual Outputs on Ultrabeat
- More with Dynamics Processors
- Channel Strip Groups = Mix Control
- Group Settings
- Advanced Dynamics Processing Techniques in Logic Pro X
- Externally Keyed Compressors: Sidechaining
- More on Externally Keyed Compressors
- Image Adjustment in Mixing
- Stereo Spread
- Track Stacks
- Space Designer and Convolution Reverb
- Delay Designer
- Doing More with Delay Designer
- More with Mix Automation: Sends and Plugin Automation
- Mix Bus Processing Revisited
- Mix Compressor Guidelines
- Assignment 11: The Final Project (Part 3)
Lesson 12: Working with QuickTime Movies
- Quicktime Movies and Logic Pro X: Overview
- Quicktime Movies and Logic Pro X: Formats
- Quicktime Movies and Logic Pro X: Handling Size
- Video and Frame Rates: Overview
- Video and Frame Rates: Explanation
- Video and Frame Rates: SMPTE
- Setting Up the Project: Overview
- Setting Up the Project: Opening and Saving
- Setting Up the Project: Displaying the Movie
- Setting Up the Project: SMPTE vs. Bars
- Setting Up the Project: Subframes
- Setting Up the Project: Screensets
- Setting Up the Project: Navigating the Movie
- Setting Up the Project: Thumbnails
- Creating Markers: Makers
- Creating Markers: Adding Markers Manually
- Creating Markers: Locking Markers to SMPTE Position
- Working With Tempo: Approaches to Tempo
- Working With Tempo: More Approaches
- Working With Tempo: Using the Tempo Track
- Working With Tempo: Tempo List
- Working With Tempo: Getting Started with the Music
- Working With Tempo: Techniques
- Working With Tempo: Bouncing the Sound Mix to the Movie
- Assignment 12: Scoring a QuickTime Movie
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Some prior experience with Logic is required, including recording MIDI and audio. Students should have a basic ability to create music productions, including a working knowledge of musical terms and concepts, such as basic chords and scales.
Textbook(s)
- Logic Pro - Apple Pro Training Series: Professional Music Production by David Nahmani (Peachpit Press, 2022)
- Note: The previous version of the book, Logic Pro X 10.5 - Apple Pro Training Series: Professional Music Production, is also acceptable
- Logic Pro User Guide (all 3 volumes free)
Software
- Logic Pro 10.5 or higher
Hardware
- MIDI keyboard controller
- Audio interface
- XLR microphone and cable
- One of the following studio monitoring options (both recommended):
- Studio monitors (pair), such as JBL 305Ps or better, as well as necessary cables
- Over-ear studio headphones, such as Sennheiser HD 600, Sony MDR-7506, Philips SHP9500, Audio-Technica ATH-M50x, etc.
Important Technical/System Considerations
- At least 40 GB of unused storage space to install all additional Logic content packages
Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.
Mac Users
PC Users
All Users
- Latest version of Google Chrome
- Zoom meeting software
- Webcam
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Instructors
Author
Jeff is a professor in Berklee's Synthesis and the Music Production and Engineering Departments. A composer, audio engineer, educator and multi-instrumentalist, he has created scores for the ESPN, New England Sports Network (including music for the Bruins and Red Sox), Avid, Sony, Polaroid, Sharp, Reebok, Lotus, and others. He works primarily in his own facility, Coral Sea Music. As an audio engineer, Jeff has worked on projects for such artists as the Boston Symphony Orchestra, San Francisco Symphony Orchestra, NBC-TV, Andre Previn, Itzhak Perlman, Jessye Norman, and Dawn Upshaw, as well as labels such as EMI, Philips, Nonesuch, and many others. Specializing in digital audio production, Jeff works with technologies such as Sonic Solutions, high-resolution audio (96k/24bit), HDCD encoding, and mastering as well as forensic audio and restoration tools. Jeff holds a M. A. in Composition from University of California, Davis, and a D. M. A. at Boston University, where his primary area of concentration was electronic and electro-acoustic composition. He has been published in Berklee Today, Electronic Musician magazine, and various Internet e-zines.
Author & Instructor
David Doms, Associate Professor in the Music Synthesis Department at Berklee College of Music, has a long history of teaching MIDI and music synthesis. At Berklee, he teaches "Advanced Digital Sampling," "Advanced MIDI Systems," and "MIDI systems," and before coming to Berklee, he spent ten years at the New England Institute of Art teaching music synthesis and MIDI.
He has composed and produced TV and radio commercials for regional and national broadcast, corporate video, and film, including music for NBC, Fox TV, Xerox, and Gillette. He is a published songwriter with Warner-Chappell and DSM. As a producer, musician, and songwriter, his work has appeared on numerous releases, including Down Avenue (RCA), Robin Lane, Charles Pettigrew (formerly of Charles and Eddie), Laurie Geltman, and Ivan DePrume. His current project, Dreamtime9, is a combination of fuel-injected jazz/blues-based songs, integrated with ambient laptop and spoken word. David holds a Bachelor of Music from Boston University. He performs regularly in the Boston area and is working on a new release with Dreamtime9. Read Less
Instructor
Ralph Kinscheck is a teacher, keyboardist, audio engineer, video producer, technician, and entrepreneur. As an Apple Certified Logic Master Trainer, he has taught classes, given clinics, and worked with a variety of clients, from local studio owners to editors from NESN, Comcast, and Hasbro. He currently works in Berklee's Electronic Production and Design department where he helps students and faculty use music technology hardware and software. He is also a co-founder of the Boston Logic User's Group.
Ralph has been in the music industry for over 30 years, performing live and in the studio as a keyboardist. Since 1998, he has run the music production company, Kinscheck Productions (KiP). His latest project is an album released on his own Jharck Records label entitled Grace with Jazz on Top. Kinscheck has run sound for events all over Boston, done sound design for various independent film releases, worked as a video editor and videographer, and served as a technician for various studios and independent producers. Read Less
Instructor
Collin Russell is a composer and sound designer, as well as an Assistant Professor of Electronic Production and Design at Berklee College of Music. A specialist in modular synthesis and through-composed electronic music, he enjoys composing pieces for film and modern dance.
Russell has worked in the electronic music instrument industry for nearly a decade and is currently a product consultant and manual author for Instruō Modular, a modular synthesizer manufacturer. Additionally, he is an editor and contributing writer for Bjooks, a music technology book publisher.
He also founded Grainbow Sound and works with the post-production company Audiobrew as a composer, sound designer, and voice actor.
What's Next?
When taken for credit, Producing Music with Logic can be applied towards the completion of these related programs:
Related Certificate Programs
Related Degree Majors
Related Music Career Role
Employers look for skills learned in this course, when hiring for the following music career role:
Questions?
Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.
