Creativity starts with a good template

With
Dov WatermanDov Waterman shows how a well-organised Logic template, with sounds grouped into folder tracks and buses, lets you start writing fast instead of setting up from scratch.
What's in the course
9 lessons (0h 51m) · 1 free
01. Welcome to the course & Dov's take on creativity
3:29

02. Intro to the writing process
0:23

03. Case study - Dov's track Witches' Whisper
3:22

04. Creativity starts with a good template
You are here5:08

05. Creative automation
6:20

06. Creative sound design and more automation
15:23

07. Working with orchestral sounds
4:09

08. Working with synth elements
12:15

09. CHALLENGE #1: SMART CONTROLS & AUTOMATION
0:55
Lesson transcript
Music Lesson: Creative Sound Design
As I mentioned in previous videos, you need to make use of this creative time you have.
Initial Ideas
So, what I did with this track was really come up with sound ideas first. I started with a lot of sound design elements. Here's the breakdown of my approach:
- Template Structure:
- I group my sections into folder tracks, as shown in previous videos.
- This template is greatly tweaked, and I generally utilize two or three templates, especially for this type of music, tweaking them quite a lot.
Horror Template
- This specific template is my horror template.
- In it, I have grouped various sound elements:
- Hits and Impact Sounds
- Sound Effects
- Hits and Risers
- Low Drums
- Strings and Woodwinds
- Vocal Samples: These are more sound designer-type samples that I've processed and manipulated.
Additionally, I include:
- Orchestral Effects
- Pads
- Soundscapes
- Synths
- Arpeggios (Arps)
We'll look at these elements in depth, especially my use of various virtual and outboard synthesizers as sound design tools, rather than in a pop or rock context.
Exploring the Hits and Impacts Folder
Now, I'm going to quickly open my hits and impacts folder.
Recap of the Template
To recap my template:
- I've grouped all these elements into folder tracks.
- They are summing folder tracks.
For example, the hits and impacts track is grouped into Bus 3 in my mixer.
Dynamic Control
I've applied a compressor over the entire bit because there are quite a lot of dynamics, as you'll hear.
Listening to the Track
Now, I'm going to solo this out and play the track from start to finish, so you can hear how it sounds. Here it goes.
Important Note
Just to clarify, the levels were not mastered. This is not the mastered version; I sent them an unmastered version to the production house.
- It has been mixed by someone else because I didn't have the time to get it to them beforehand.
However, you will get the feel of it. There's a lot of sound design intertwined with orchestral and vocal elements.
9 lessons
0h 51m of structured video lessons
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Meet your guru

Meet your guru
Dov Waterman is a composer, pianist and producer. He has written and designed sound for films including After Earth, Terminator Genisys, Transformers: The Last Knight and The Snowman, and works as a sample-library audio editor and sound designer with companies such as Native Instruments and SonoKinetic.
His Composition in Logic series walks through building a track end to end in Logic Pro - from templates and workflow to synthesis and beat programming, MIDI effects, editing and the final mix - for producers who want to turn their ideas into finished records.












