Module Digital Audio Production 2 - Final Practical Assignment
Lessons learned:
- Logic pro channel strips use 32 bit (or 64 bit) floating point data, and since floating point comes with a + or - bit you have about 1500dB headroom, it's therefore practically impossible to clip the channel and having the peak indicator turning red is not necessarily bad. It is of course advisable to keep the levels in check.
- The stereo out, which in stereo project you normally use to bounce your project, is 24 bit fixed and zero dBfs is the brick wall. That's why you need to keep it between -3 and -6 dBfs PEAK (not VU or RMS) to have a little headroom.
- Any metering you do is PRE-FADER. So you can have your level meter nserted in a stereo out plug-in slot, having it reading a little hot and you might decide to lower the stereo out fader a bit, only to discover that your bounce is still too hot...
- If you want to reduce your level in the stereo out, perhaps better to keep the stereo out fader at zero dB and insert a Gain tool in the stereo out strip (before the metering plug-in!). Even better is to keep the levels in your individual channel strips a tad lower.
- When you print your project in the bounce menu, for the love of $Deity, keep normalise unticked, otherwise the project will be analysed and the overall level adjusted so that the peak is at zero dBfs.
- When you have bounced your project, add it in your project on a new audio channel, just to check the levels. Keeps you from making silly mistakes, e.g. bouncing with the loop markers on or (some) channels muted. The bounce takes loops and muted channels into consideration.
An explanation about Amp Designer models in Logic Pro: Amp models
I used the high octane stack, with the mic changed to a SM57. Keep in mind that if you move the mic off axis you will lose quite a bit of treble.
Signal routing for the slap delay and the ping-pong delay:
Slap delay setup using the stock stereo delay:
Ping-pong delay, since logic 11 a built in effect in the stock stereo delay:
