Apple unveils biggest update to Logic since the launch of Logic Pro X 10.5
New Creative Tools for Electronic Music Production Make Logic Pro X 10.5 a Breakthrough Release for Musicians and Producers
Sampler and Quick Sampler
Optimized Performance for the Mac
The go-to plugin for wild, deranged, creative distortion: Berzerk Distortion 10 all-original distortion shapes, advanced feedback, pitch, dynamics, sidechaining and M/S options for versatile experimentation—plus the ‘Go Berzerk!’ button for randomized, unpredictable distortion madness.
Download your FREE plugin from Tuesday February 25, 2020 until Tuesday March 10, 2020. (WAVES ACCOUNT REQUIRED)
The go-to plugin for wild, deranged, creative distortion: 10 all-original distortion shapes, advanced feedback, pitch, dynamics, sidechaining and M/S options for versatile experimentation—plus the ‘Go Berzerk!’ button for randomized, unpredictable distortion madness.
When you’re producing a new beat, playing around with a synth line, or putting together song ideas on the fly, you often need that kick of inspiration, that sound which redefines the project and takes the music forward. We developed Berzerk to help you do that.
Our engineers began by collecting a large array of well-loved distortion units of all types: amps, tube devices, stomp boxes and old analog units. They then developed original custom wave shapes based on their all-time favorite distortion curves.
Berzerk includes 10 unique shapes, each with its own personality. Some transform the sound to add grit, dirt, character; others will blow your head off.
The ‘Go Berzerk!’ button creates random variations in each waveshape, letting you personalize the signal. Turn the Density knob to shift the waveshape in amplitude; but watch out—it might get loud!
The unique Feedback section is like an on-board analog synth. It can either run a tunable sine wave through the signal, producing interesting bass lines, melodies or rhythms; or it can oscillate while “riding” the input—think crazy synthesized vocal FX. It also includes a Speed knob to shape the groove, as well as octave, pitch, range and blend adjustments—all of which you can sidechain.
The Dynamics section sits before the distortion and twists the character of the generated harmonics. The “Up/Down” knob controls a gate/expander which, after setting the threshold, will affect the range of sound affected by the clipper. The “Rider” option rides the amount of gain hitting the distortion, giving you full dynamic control.
Berzerk also offers unique M/S processing, distorting just the mids or just the sides when needed; a master Temperature knob to control the overall color and feel of the output; and an overall mix knob.
When you want to conjure sounds you’ve never dreamed of—for your synths, drums, vocals, bass or guitars—it’s time to go Berzerk.
Smasher By Pulsar – Freebie alert
Straightforward but extreme “British mode” compression – a faithful emulation of a uniquely modified 1176. Free until 11th March (ilok account required)
All buttons in, all the time
Smasher is an unprecedented custom modification of the classic Urei 1176 compressor circuit, a unique formula that we stumbled upon while fine-tuning other algorithms. The original 1176 compressor hardware offered a selection of four ratios, but studio engineers soon discovered that pressing them all at once led to a distorted, explosive and highly compressed sound. It’s this “All buttons in” or “British” mode that Smasher was painstakingly designed to recreate. While remaining very close to the original circuitry, the modifications we’ve built into Smasher will add definition to transients and make your tone more aggressive. We love using it to enhance the ambience in drum busses, but there are many more creative uses too. Smasher won’t work on every single track, but where it does, it works magic. Smasher excels at raw and gritty sounds, calling to mind bands like Vulfpeck, The Whitefield Brothers and The Black Keys.
Why it’s unique Smasher By Pulsar
Based on an internal feedback configuration, FET compressor designs like the Urei 1176 are known for their super-quick attack times and a colorful tonal response that ranges from soft limiting to heavy saturation. When running in all-buttons-in mode, several things happen to the 1176’s circuit, including changes to the bias voltages. In Smasher, all these phenomena have been perfectly reproduced for the first time using our proprietary Topology Preservation Technology, bringing the full sonic capability of this classic effect to your DAW. With our unique Smasher By Pulsar tuning and its beautiful, uncomplicated interface, Smasher gives this mythical circuit a new personality.
How does it sound ?
Smasher can add thickness and grit to any drum or bass track, or completely crush a bus, producing an aggressive sound that’s impossible to achieve with other plugins.
On a drum buss
Smasher embues drum mixes with the typical sound of the 1176’s all-buttons-in mode. You get that signature delayed transient squashing and an explosive sound which instantly propels your drums to the front of the mix.
On a snare drum
Add body and sustain to bring out a snare’s tone. Try thickening your snare drum by reaching between -6 and -10dB of gain reduction, then mix a few percent of the resulting huge snare drum sound back into your original dry sound.
On a bass
Since bass often requires a combination of compression and saturation, Smasher is the ideal tool to get it dirty, letting you control precisely how much grit to add. Use the Mix knob to add just a small amount of fuzzy saturation.
On lead vocals
Please don’t try this at home.
CPU Intel Core i3 / i5 / i7 / i9 / Xeon or AMD Quad-Core minimum Memory 4 GB RAM 1 GB free disk space Operating System Windows 7 with SP1 64 bit Windows 8.1 64 bit Windows 10 64 bit GPU OpengGL 2.0 compatible GPU Monitor Resolution: minimum 1024×768, recommended 1920×1080 Refresh rate: 60 Hz
CPU Intel Core i3 / i5 / i7 / Xeon Memory 4 GB RAM 1 GB free disk space Operating System 10.10 – 10.15 GPU OpengGL 2.0 compatible GPU Monitor Resolution: minimum 1024×768, recommended 1920×1080 Refresh rate: 60 Hz
How to Record an electric guitar without an Amplifier -Direct Recording
Week 1 assignment
My name is Jonatan Rosales from Benalmdena, Spain. Im doing a course «The modern Musician Specialisation» at Coursera by Berklee college of music.
In this lesson I will be teaching How to Record an Electric Guitar o Bass without an amplifier, known as Direct Recording.
This is the gear I will be using for lesson is:
-Electric guitar (Gibson Les paul Studio)
-A 1/4 inch TS cable
-A Foucsrite Saffire Pro 24 dsp
-A firewire 400 to 800 cable
-A Macbook Pro computer
-A set of Sony MDR 7506 headphones
-Daw Logic Pro X
-Guitar Amp software plugin by Logic
I’m going to show you how to record a guitar or bass without an amplifier using an external audio interface with a instrument input connected to a macbook pro, Using Logic pro X as a DAW.
The Guitar uses pickups to get the strings vibrations into voltage variation, the pickup of a guitar or bass is an input transducer.
Type of cable
To get the signal from the guitar to the Audio interface I will be using a 1/4 TS cable, the TS cable has two segments, a tip and a sleeve. We call this a»single conductor cable» were the signal is sent along the single conductor, and the outer sleeve is there to prevent noise from getting into the cable. this type of cable is also known as «instrument cable».
A good thing to have in consideration is to use a short TS cable when recording because it can produce noise, the longer the TS cable is, the more probability you will end having some issues with noise. If you are in a situation were the recording from is far from the Audio interface, is better to use a short TS cable connected to a DI box and then connectt in the output of the DI box an XLR cable to reach the audio interface, that will prevent noise.
I have to say that my audio interface has a designed specific two instrument inputs that lets me plug in directly into the audio interface.
Before connecting the cable to the Audio interface make sure you put down to 0 all the all the volumen controls and gain, to prevent any clips that could damage your speakers. Once is connected then you can set the levels.
Connecting the cable to the Audio interface and Set volumen and gain control to 0
The reason why I bought this audio interface is because is mobile, compact, versatile, with a very low latency. It also has a great tool that is call VRM “virtual reference monitor”. What it does is to emulate different environments (studio, home studio, living room) and is able to emulate the most iconic studio monitor or home HIFI on your headphones.
If possible is always better to monitor the instrument outside the computer to prevent delay / latency.
Firewire 400 / 800
In the Audio Interface is where all the magic is happening, the analog signal is converted (AD conversion) into digital (sampling) then the signal flow goes through the Firewire 400/800 cable as a binary stream from the Audio interface and enters in my DAW: Logic pro X.
Logic Pro X
To choose a virtual guitar amp (by Logic Pro X) In the Audio track I go to Audio FX and choose:
Amp and Pedals > Amp Designer
Latency / delay
To choose the right Hardware and improve latency I go to In the top bar Logic Pro X main menu click on:
Logic pro X> Preferences > Audio > Output Device: choose Saffire, and the same for Input Device.
Logic pro X > Preferences > Audio > and Lower the I/O Buffer Size.
As a result you will se that the resulting latency has gone down.
Low Latency Mode
This is useful when recording audio tracks, especially if you have many affects and plugins on each channel. In this case there is a good tool call “low latency mode” click on it and it will turn into orange color.
This function stops or bypasses all the plugins and it helps to improve the DAW performance of the CPU and Ram Memory available.
Now I’m ready to record, I check that the levels on the Audio interface are correct. When I play the track back from Logic pro X the audio goes from the audio track to the main output of Logic Pro X.
Now the sound exits the computer through the 400/800 firewire cable and goes to the Saffire interface where I can monitor the sound in my Headphones.