Lesson 7 of 14Music ProductionIntermediate

Quantizing & flex-timing

2:05
Without wanting to make everything land too neatly on the beat, Dov decides to adjust the timing of the bass sound
Part of the courseComposition in Logic: Mixing, Finalising & Bouncing14 lessons (0h 33m)

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Dov WatermanYour guruDov Waterman

What's in the course

14 lessons (0h 33m) · 1 free
    • 01. Intro to mixing and automation

      Free lesson

      0:45

    • 02. Finessing your track

      2:52

    • 03. Approaching the mix - housekeeping and leveling

      6:42

    • 04. Widening the drum sound

      3:47

    • 05. Side-chaining

      2:42

    • 06. Pre-fade vs Post-fade metering

      2:45

    • 07. Quantizing & flex-timing

      You are here

      2:05

    • 08. Checking levels, adding compression

      1:18

    • 09. Creative processing & effects

      3:14

    • 10. ASSIGNMENT: Track Alternatives

      1:02

Lesson transcript

Music Lesson: Audio Editing Techniques

Okay, so I'm hearing just...
I'm gonna do a little bit of flex time audio on this because my bass seems to be slightly out of time.

Creation vs. Mixing Process

I'd normally reserve, I'm quite strict with keeping my processes,
the creation process in terms of sounds and everything,
and the mixing process, quite separate.

Any editing falls in the middle of this; you know, of the creation and the mixing side.
But occasionally I'll go in, you know, whilst I'm mixing and just tidy things up,
just clean things up a little bit.
So I'm just going to quickly do this.

Working with Kick Percussion

If I play that and give myself a kick percussion,
it's more just that section over here,
the first section. Let's have a quick look at that.

Okay, so drag this in a little bit.
Drag that... yeah, that sits a little bit better with the kick or with other bits of the cases.
Let's quickly hear it.

Final Adjustments

Okay, so I've got no side chaining on this bass.
I'm gonna just leave it like that.

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Meet your guru

Dov Waterman

Dov Waterman

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.

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