Discover Steinberg's Cubase 5

Posted by Music Production And Djing Lessons on 12:38 AM. -

Cubase 5 is Steinberg‘s MIDI sequencer and digital audio workstation for Mac OSX and Windows (now including 64-bit), retailing for around USD$500. The product has played an important part in the history of professional audio software, and has introduced many of the innovations in DAW software we take for granted today.
This article was previously published on the AudioJungle blog, which has moved on to a new format in 2010. We’ll be bringing you an article from the AudioJungle archives each week.
The most controversial issue relating to Cubase is the use of USB dongles as a copy protection measure. Cubase forums often contain concerns from users about lost or broken dongles, others avoid the product altogether because of the dongle issue, and still others are intent on breaking the copy protection and have succeeded for most (but not all) versions of the program. Of course there are also many happy users of the program who don’t find the dongles a concern. Which camp do you find yourself in?
This is our eighth article in the series "Exploring Digital Audio Workstations". If you've missed the earlier articles, you can find them here:
Now let's have a look at Cubase.

 

History and Background

The history of Cubase begins with its precursor Pro 16 in 1984. It was a music program for the Commodore 64 and Apple II created by programs Karl Steinberg and Manfred Rürup in Hamburg Germany. The following year they introduced Pro 24 for the new 16-bit MIDI Atari STs, as well as an editor for the popular Ensoniq Mirage sampler.
Cubase itself started life as a MIDI sequencer for the Atari in April 1989. It was released for the Mac platform shortly afterwards. Originally the program was called Cubit, but its name was changed for copyright reasons. It featured score editing, groove quantizing, macro sound editing, and a host of other features. It was also the first sequencer to use an Arrange Page, which listed the tracks vertically and timeline horizontally, and we are very familiar with today.
Cubase got into audio early—in 1991—with the release of Cubase Audio for Mac. Cubase Audio integrated both MIDI and audio in its Arrange window, and Steinberg also provided the stand-alone program Time Bandit for more detailed audio editing. Cubase for Windows was released the following year.
Cubase VST with FX plug-ins was released for the Mac in 1996 and Windows in 1997. Ataris were in decline, and the idea of sequencer/editor plug-ins was starting to catch on. VSTi’s appeared in 1999, and Cubase VST 4.1 offered a new rack for virtual synths.
In 2003, Cubase SX2 was released, incorporating Nuendo’s recently developed audio engine, and in early 2005 Yamaha purchased Steinberg, making it an independent company in the Yamaha Group. This year Steinberg turns 25, and Cubase 5 was unveiled at the NAMM Show in January.
Cubase 5

Cubase 5 Features

Steinberg’s Cubase 5 Details page lists the following features:

Composing and Sequencing

  • The Key Editor allows entering, cutting, moving and transposing individual notes or whole chords, editing MIDI parameters, reworking a MIDI performance. With the In-place Editing function, you can also process MIDI parts directly in the Project Window in context with other tracks.
  • The Score Editor is a notation environment that lets you view your music in the form of scores, with support for many symbol, display and editing options, lyrics and remarks, drum notes, guitar tablature and lead sheets.
  • The Drum Editor is for constructing and reworking beats, rhythms and grooves as well as creating individual drum maps for every employed instrument.
  • The List Editor gives fast access to every aspect of a MIDI note.
  • MIDI plug-ins include Beat Designer, Arpeggiator, a MIDI pattern sequencer, a MIDI chord processor, a MIDI compressor and a Context Gate for selective MIDI data triggering/filtering.
  • The VST Expression feature allows integrated editing of articulations, with full control over multiple articulations in the Key and Score Editors.

Recording and Editing

  • The Steinberg audio engine delivers 32-bit floating-point resolution and 96 kHz sample rate.
  • The Sample Editor provides a range of functions that cover common editing tasks right down to the sample level.
  • The Control Room is a recording and monitoring environment with custom busses and setups for up to four studio sends for performers, full talkback and metronome integration, custom monitor setups and much more.

Mixing

  • Three mixer views allow you to show specific combinations of channels, channel types and zoom.
  • Cubase provides 256 physical inputs and outputs, 8 inserts per Channel, 64 FX sends as well as 256 groups/busses and unlimited routing between audio channels, busses, groups and FX returns.
  • Automation handling provides a dedicated automation panel for quick access to all automation functions.
  • Sidechain inputs are available on most VST3 plug-ins.
  • Channel Studio EQ includes multiple filter modes and characteristics.

Effects

  • Cubase 5 comes with 58 realtime effect processors, including EQ, Dynamics, Modulation, Reverb, Filters, Distortion and special effects.

Instruments and Content

  • Cubase 5 delivers rich virtual instruments: LoopMash, Groove Agent ONE,  HALion ONE, Prologue, Spector and Mystic.

User Comments

What do Cubase users think of the product? Here are some comments by users and reviewers that I found around the Net. I'd love to hear from you in the comments too.
  • “For first-time buyers looking for a complete production solution, Cubase 5 is up there with the best of ‘em, while for those coming from another DAW, features such as VariAudio and VST Expression are no doubt highly attractive.” (Musicradar.com)
  • “Cubase 5-0 could have been a lot worse.  In the balance, though, I am left with a positive feeling.  The new features push Cubase 5 past the realm of sound recording and into sound developing.  Lets face it, all sequencers record midi and audio, use plugins, soft synths, effects and allow you to mix and master.  But what tools do they give you to create something new and different?  LoopMash and VariAudio are a continuation of Cubase’s focus on audio manipulation.  It appears to be finding its niche.” (TweakHeadz Lab)
  • “For those with the cash, the full-blown Cubase 5 is more appealing than ever. Plug-ins aside, it no longer feels underpowered compared to Sonar, with VariAudio and Groove Agent ONE in particular filling some important gaps in its toolbox. As this old stalwart turns five once again, this time around we don’t envisage Steinberg going back to the drawing board any time soon.” (Ben Pitt, PC Pro)
  • “The problem for Steinberg is that Apple’s own Logic bundle offers so much more, and costs around £200 less. For newcomers there’s no contest – even with the new features in Cubase, Logic still wins easily. For established users, the decision isn’t quite so easy. If you already have years of time and hundreds of plug-ins invested in Cubase, there’s every reason to want this update. And for the few hundred people in the UK who can score orchestral music with dots on staves, the articulation features may be a real time-saver compared to other packages.” (Richard Wentk, Techradar.com)
  • “Introduced in 2006 to replace the SX/SL/SE designation, Cubase 4 was (and still is) viewed as a ‘lemon’ by many in the audio production world. In 2007, Steinberg tried to rectify the situation by releasing the Cubase 4.1 update. Although some of the bugs had been fixed with this update, there was still an alarming lack of DAW stability for Cubase users on both the Mac and PC platforms. For a music producer, there are few things more frustrating than a DAW that crashes repeatedly for reasons that are not fixable by the end user. With Cubase 5, Steinberg has put the instability issue to rest. Furthermore, there were some notable improvements made in Cubase 4 (such as the ability to change the order of channel insert effects via drag and drop and the introduction of instrument tracks) and all of those been carried over in Cubase 5.” (Clayton Warbeck, Suite 101.com)
  • “No complaints out of the 4 years i have used cubase, big jump from the vst32 version with sx and then to the sx2, haven’t really felt the need yet to go to the 3.0 upgrade although i will just to stay on top of the game of this EXCELLENT program!!! Cubase should never be underestimated of it’s power and stability.” (Recording Engineer/Instrumentalist/Producer, Nashville)
  • “The interface in Cubase has, for me, always been the best. I sometimes need to spend a few hours re creating MIDI lines with a pen tool and lining them up against the original audio. Cubase has such a liquidity in the screen, plus a cool targeting feature that seems to know just what and where you wish to edit, freely (not with quantization) lining things up to guide the eye while doing work with pin-point accuracy. That’s just one small but useful features I’ve always found so user friendly.” (Recording Artist, Engineer, Producer, London)
  • “The programmers at Steinberg have obviously been doing their homework. In the world of mix and match PC components, it is surprising that this group designed a product that plays nice with almost any combination of components. Having looked extensively at Cubase user forums, I have seen so few complaints regarding hardware compatibility problems. Compare that with ProTools, which requires certain expensive add-on hardware to run well. Plus, the company seems commited to solving any problems that do crop up. The look is both funcional and aesthetically pleasing, plus it’s very modifiable. The adjustment options take into account an amazing array of possible configuration needs. Again, with earlier versions (including SX1), if you installed poorly written free plugins, the program would sometimes choke on startup, leaving you to figure out which plugin was jamming it up. SX3 manages to load right up no matter what. (It’s probably better to buy good plugins anyway, but…) I never worry about whether the program will make it through the boot process.” (Performer, Composer, Producer, New Orleans)
What do you think of Cubase? Have you tried it? Do you love it or hate it? Let us know in the comments.

A friend brings you a multi-tracked session recorded with another DAW. Before diving in to the mix, send him looking for coffee and a newspaper, and take time to organize your project and optimize the work area. You will save time and gain in efficiency. Some say “Less is more.” Now let’s say “No stress, good mix!”

 

Step 1: Import the Audio Tracks

Before importing the audio files in the DAW, let’s have a look at those files. Are they WAV or AIFF? Are they OMF? The files’ format depends on the way your friend exported from his DAW.
OMF (Open Media Format): When importing this file format, the DAW recreates the same project and puts all the audio files along the timeline in the proper order with the correct track names. Note that this file format does not capture effects data.
WAV or AIFF: If the export of every track has been done with this file format, all the tracks have to start at the same point. Otherwise you won’t be able to line up the files at the same start point.
Start with an empty project. Hit <ctrl + N>, select your project folder and hit OK. Under the menu File, select Import Audio file and look in your hard disk to select the bounces.
If you import the tracks one by one, you will have to create an audio track beforehand. You can select all the tracks you need by holding the <ctrl> key on your keypad.
At this point, make the good choice in the Import Option windows:

Import Options window
Select “copy files to working directory”. All the audio files will be copied and stored in the audio folder of your project.
Selecting “Convert and copy to project if needed” will convert the audio files to the same sample rate and record format you previously set in the Project Setup.
Some Cubase users set the project at 32-bit floating point (adding extra 8 bits full of zero), arguing that all internal processing in the application are done at 32-bit floating point, which means there is no bit depth conversion during processing. The gain is not clear but the impact on the storage capacity is really clear!
Selecting “split channels” allows you to decide if you want separate a stereo track to two mono tracks.
The next window gives you the choice to insert the audio files on one track or insert on different tracks – select “different tracks”.

Insert objects option

Step 2: Organize the Tracks

We all remember our mother saying “Clean your room!” We thought she was wrong when we were young, but for a mix, she’s so right!
Let’s have a look at the project:

The Mix Project window
As you can see, all the tracks are completely disorganized. They appear in the order you selected them. Some guitar tracks are followed by keyboard tracks, drum track, vocal tracks, piano tracks, drum tracks again, and piano…
Set all the audio tracks in the common order most of the front of house engineers use: First, all the drums tracks (kick, snare top, snare bottom, hh, toms and oh), then the bass tracks, then guitars tracks, then the ‘extra’ instruments (keyboards, strings…) and finished with the vocals tracks.
To do so, drag and drop the kick drum track to the top of the track list. As you move a track on the track list, two green horizontal lines appear. Use the same technique with your project tracks.

Drag and drop the track.

Step 3: Rename the Tracks

Take the time to rename tracks as you want to. If there is only one kick drum track, why keep a track called “bounce kick-01″? Rename it “kick drum” for example. You just have to double click on the name in the track list to edit it.
At the same time, if you want to rename the track in the event display, select the track, click the Show Event Info Line icon in the toolbar and double click on the name under ‘File’.

Rename the track.

Step 4: Colorize the Tracks

You should add some colors to your tracks for easier overview.
You have two options:
  • Eat some pills and paint your tracks like a rainbow, really nice!
  • Or decide to colorize all the drum tracks in one particular color, bass tracks in another color, guitar tracks in a third color…
Select the first drum track (which should be the kick now), hold [ctrl + shift] and click on the last drum track. All the drum tracks are now selected. Choose and apply a color from the color selector in the toolbar located on the top right of the project window.

The colour selector.
At this point, all the tracks are organized, renamed and colorized.

Step 5: Group Channel Track

Using group channel tracks is very useful for mixing. By routing several audio channels to a group channel, you can submix them, apply the same effects and equalization to all of them. Let’s create these tracks and see the benefits.
In this example project we have 10 drums tracks, 2 bass tracks, 3 guitars tracks and 4 keyboards tracks. So we create four group channel tracks.
Do a right click in the track list, select “Add Group Channel Track”, set the count to 4, select Stereo and click OK.
Rename the group channel tracks as ‘Drums’, ‘Bass’, ‘Guitars’ and ‘Keyboard’, set the colors of your choice (the same as the corresponding audio tracks or different one) and place these four group channel tracks at the end of the track list as it is physically placed on an analogue mixing desk.
To route the output of an audio channel to a group, pull down the output routing pop-up and select the corresponding group.

Group Channel Track Routing.
If you want to route multiple audio channels to a group at once, select all the tracks needed, hold Shift+ALT and click on the output routing pop-up to select the group.

Step 6: Solo a Group

If you solo a group channel, all channels routed to the group will be automatically soloed as well. Soloing a channel routed to a group will automatically solo the group channel.
Note that if you solo a group or channel routed to that group, any channels which have AUX sends routed to other group channels, FX channels or output busses will be muted.
In the example below, the solo button on the drums group track has been activated.

The drums group track soloed.

Step 7: Mute a Group

If you mute a group channel, all channels routed to it will be muted as well.

The drums group muted.
You can change this functionality in the Preferences at the VST page.

“Group Channels: Mute Sources as well” option.
If you deactivate the option “Group Channels: Mute Sources as well”, muting a group channel will mute this group channel track but all channels that are routed directly to that group channel will remain unmuted. This means that if any of those channels have aux sends routed to other group channels, FX channels or output busses, those will still be heard.

The drums group track muted (Mute Sources as well deactivated).
Next time, we will continue to organize and prepare the project session. We still have to create folder tracks, check the phase cancellation on the snare, edit some audio tracks and set configurations of the mixer.
I think you need more coffee before you can finally put your fingers on the mixer…

Programming Rhythmical Gates in Logic Pro

Posted by Music Production And Djing Lessons on 3:05 AM. -

This is a subject I touched on briefly in a previous tutorial on gating and people were pretty interested in the technique. This tutorial aims to show the various ways of creating the effect in more detail.I’ve used Logic but this can be achieved in pretty much any DAW that supports native side chaining and has a gate plug-in.

Step 1: Feeding Your Gates

If you plan to use the techniques outlined in this tutorial you’ll have to ensure your DAW has a gate plug-in that supports native side chaining. To be honest most of the major players include this as a standard feature now, so it should be pretty easy to translate the methods I’ve used to your favourite app.
Routing audio to our various gate plug-ins is really not the challenging part of this technique, it relies more on what you feed your gate with and the settings used. To get an idea of what I’m talking about let’s get stuck in.

Step 2: Our Target Sound

At this point you want to think about the sound you want to gate. I find this works very well with sustained sounds, such as strings, pads and vocal effects. In this case I have opted for a synth/string sample.

The synth sample we’ll be treating.
Download audio file (2.mp3)
The untreated synth loop.

Step 3: The Trigger

The whole aim of the game here is to create a rhythmical, groove based effect so a good starting point is to use a percussion (or drum loop) as our trigger or source. I have chosen a well defined, simple loop to get things going.
Anything with sharp transients will work here, try and avoid anything too busy though as the gate will find it difficult to clamp down on the individual sounds.

The percussion loop we’ll use to trigger the gate.
Download audio file (3.mp3)
The raw percussion loop.
Download audio file (3b.mp3)
The two raw sounds mixed.

Step 4: Routing the Gate Effect

Now we can route the percussion loop into the gate via the side chain input. In Logic this is simply a case of using the drop down menu in the top right hand corner of the plug-in. You should now see the available source and amongst them the percussion loop.

Using the gates side chain function.

Step 5: Setting the Gate’s Parameters

With all the signal flowing in the right direction it’s time to setup the gate. Move the threshold up until you hear the peaks of the loop effecting your treated sound. You should hear the sound ‘flashing’ on and off in time with your trigger sound.

The gates parameters are set.
Download audio file (5.mp3)
The gate effect comes to life.
With the threshold set you can now adjust the attack and release settings. You’ll find that you can get away with a pretty fast attack time but the release might take a little more time to tweak. Try and time the recovery of the gate with the tempo of your project, this way things shouldn’t sound too choppy.
Download audio file (5b.mp3)
The gated string in isolation.

Step 6: Using Loop Slices or Audio Samples

Using a loop to trigger your gate is a great way to dial in a quick pattern but if you want something a little more ‘custom’ you could try slicing your audio and creating a new groove.
One of the easiest ways to do this is cut your existing loop into small sections and rearrange them. This gives you much more control over the gated pattern and can allow you to match the rest of your projects groove with ease.

The loop gets chopped to create a new groove.
Download audio file (6.mp3)
The loop slices in isolation.
Download audio file (6b.mp3)
The sliced loop and the new gated string.
Download audio file (6c.mp3)
… and finally the new gated string in isolation.

Step 7: Using a MIDI Part to Trigger Your Gate

If you have success with creating grooves using audio parts but crave even more control over your gate patterns you might want to try using a MIDI triggered sound. Using a soft sampler or drum machine can give you ultimate control and you can even experiment with release times and various different samples.

An Ultrabeat is used to playback percussion samples.

A simple drum pattern is programmed to trigger the gate.
Download audio file (7.mp3)
The MIDI part and gated effect.
Download audio file (7b.mp3)
… and the gated effect in isolation.


Media Files
2.mp3 (MP3 Audio, 385 KB)

Music Production

Posted by Music Production And Djing Lessons on 12:24 AM. -

Quick Tip: Add Rhythmic Variations with Gated Vocal Effects
July 22, 2010 at 4:21 PM

Gated Vocal effects are a cool way of adding extra rhythmic variations and dynamics to you tunes.
Especially, genres like progressive and psy trance make extensive use of those techniques enhancing the overall rhythm and adding a sense of spirituality, if you like. I am going to be showing you various ways of achieving this effect using Ableton Live 8.0.9 for this tutorial but the technique can easily be applied to any DAW.

Setting Up

I have two audio tracks, one playing a loop from one of my tunes and the other one a female vocal phrase.
Listen to the drum loop:
Download audio file (back-to-basics.mp3)
Listen to the vocal:
Download audio file (vocal.mp3)

Using Clip Envelopes

On the vocal audio file’s Envelope Editor select Clip from the Device Chooser, then Volume from the Control Chooser. Start drawing envelope steps in various quantization grid settings to modulate the clip volume. You can add varying envelope step heights depending on how much you want the volume being chopped up.
You can also adjust the envelope Breakpoints to control the attack and release of each volume modulation for smoother results. I’ve also highpassed the vocal to make it better sit in the mix.
Listen to the result:
Download audio file (loop-vocal1.mp3)

Using a Sampler Device

You can achieve the same effect by using a Sampler device or any sampler on any other DAW. Drag a Sampler instrument on a MIDI track, then drag and drop the vocal sample clip on the Sampler where it says “Drop Sample Here”.
Go to the Modulation tab and activate LFO 1. Set the LFO Type to Square, sync the LFO Rate to beat-time and drag the Vol parameter all the way up to 100% to have the LFO fully modulate the volume. You can even preview the effect by auditioning the sample by hitting C3 on your keyboard. The Beats parameter sets how fast the vocal sample will be gated according to the master BPM.
Now, you can program a MIDI clip playing note C3 and automating the LFO 1 Synced Rate parameter or any other parameter that you might see fit. The Vol < LFO parameter can also be modulated to temporarily deactivate the gated effect or add a varying degree of volume attack to the effect. In the example above I’ve modulated the above parameters using the clip’s envelope area.
Listen to an example:
Download audio file (loop-vocal2.mp3)

Using a Simpler Device

For those that only have Simpler, they can still use the same method to process their vocals. Just activate the LFO and set similar values as before. The Volume > LFO depth setting is located at the right of the Simple device just underneath Volume.

Using a Gate Device

Using a Gate device you can achieve similar results. You are going to need an extra MIDI channel so you can drop an Operator instrument (or any other instrument as a matter of fact) to act as the sidechain input for the Gate device. Remove the clip volume envelopes on the audio track we initially had from Step 1 and drop a Gate device. Open the external Sidechain input and select the Operator track from the drop-down list. Set the MIDI track’s Audio To to Sends Only to mute the Operator’s output and enter some MIDI notes inside a clip. When the clip is played any MIDI notes will activate the Gate sidechain making the vocal audible whereas no MIDI notes will silence the signal. For smoother volume changes, play around with the Attack setting on the Gate. I’ve added a bit of reverb on the vocal for some extra space.
Listen to an example:
Download audio file (loop-vocal3.mp3)
Since, delay effects are also appropriate for this kind of thing, here is another sample with some delay added as well.
Listen to an example:
Download audio file (loop-vocal4.mp3)
Another thing you can do is create various MIDI clips with repeated 1/16, 1/32, etc length values and fire them up during a live performance to create varying rhythmic effects drawing only one long note to one of the clips so that you can switch back to the un-gated vocal sample. Or you can create a super rack where you can combine various parameters easily.
Download the Play Pack for this tutorial (5.8 MB)
Contents
  • Ableton Live Source Files


Media Files
back-to-basics.mp3 (MP3 Audio, 218 KB)

How to Create & Use Custom Groove Templates in Logic
July 22, 2010 at 3:04 AM
Groove templates can be very useful when making music, and Logic makes it quite easy for you to make your own and use them in your projects. However a little homework is required and there are a few tricks to doing it right. That’s what this tutorial is all about.
I would like to mention that I am not going to provide the project file for this tutorial. If you do it right, this has to be done only once. So if I do include the project files, it would make the tutorial redundant.
For the uninitiated, a groove template is made using a MIDI pattern that has been quantized with a certain groove. Therefore a prerequisite to this tutorial is that you have some other source for a “groove” at hand. For example a drum machine or a sequencer other that Logic (like Ableton Live). This may seem strange but there small differences in the groove quantization.
I will be using Ableton Live to create the source MIDI files which we will later use in Logic. Again, you can use any sequencer or plugin that can add groove to MIDI sequences. (a plugin that can do this is GURU by fxpansion)
Let’s get started.

Step 1

Open Ableton Live and create an Instrument Track. Now drop a “Simpler” instrument on the track and drop the “Click Attack” sample provided on Simpler (this is only for monitoring purposes). Double click in any cell of the instrument channel to create a MIDI region.

Step 2

At the bottom left corner, right click/crtl click on the “1/16″ and select 1/8 in the popup menu to change the grid.
You could use 1/16 notes too, but I’m sticking to 1/8 notes for the purpose of the tutorial. Once you learn how it’s done, you can create MIDI sequences with different grooves based on both, 1/8th and 1/16th notes.

Step 3

Now double click after the first grid line to create a MIDI note. In this case it makes no difference which note you are using since this has nothing to do with tone or pitch.
Do this for all 8 divisions of the grid, or simply use the shortcut “Command-D” seven times (Ctrl-D in case of windows).
Play the MIDI clip to hear how it sounds without any groove applied. This way it will be easier to hear the difference once you apply a groove to the sequence.

Step 4

Once the notes are drawn, locate the “Clip” section towards the bottom left of the screen. (It’s right beside the “Status Bar”.) Here you will find the Groove drop-down menu and right next to the word “Groove” a small round “Hot Swap” button. Click the Hot Swap Button to reveal the Groove Library.
Now you can see all the grooves from various sources that you can apply to your MIDI patterns within Live. Ironically there is also a folder of Logic grooves you can use in Live. For the purpose of this tutorial, we will chose the MPC folder which uses grooves generated using the legendary AKAI MPC sampler. (I suggest experimenting with the others later.)

Step 5

Now double click on any of the MPC 8 Swing grooves to hear how they sound with the pattern you created earlier. Experiment to hear what they sound like and make notes since you can make templates out of all the grooves that work well with your music.
In the case of this tutorial, we will use the “MPC 8 Swing-60”. To apply the selected groove to the MIDI clip, click on “Commit” right below the Groove drop-down menu in the Clip section. The quantization will visually change on the right side to show the applied change. You should also be able to hear the difference.

Step 6

We now need to export this MIDI data so that it can be used by Logic. To do this, simply right click / ctrl click on the MIDI clip and select “Export MIDI Clip” in the menu. Save the file in an easily accessible location since it will be needed soon. I also suggest naming it depending on the groove used, for example: mpc8-60.mid. This will avoid confusion when using the files later.
This process can be repeated for all the chosen grooves and also using the 1/16 grid. By the end of this you should have your own pool of usable MIDI grooves that can now be converted to Groove Templates in Logic.

Step 7

Once this is done it’s time to open Logic and start a new project. If you use a “Project Template” or “Autoload” in your workflow, I suggest incorporating the next part into the Template and saving it. If you do not use a template, now would be a good time to start. The reason for this is that Logic will not remember your groove templates across projects or even within the same project if it is not being used.

Step 8

Import or drag and drop all the MIDI files that you created using Live and organize them in the arrange window. Rename the tracks to exactly how you want them to appear in the Quantize menu before saving them as Groove Templates. Once the tracks have been renamed select all the MIDI regions that were imported containing groove information , right click / ctrl click on the selection, scroll down to “Name & Color” and chose “Name Regions by Tracks” in the sub-menu.

Step 9

Finally we get to creating the actual groove template in Logic. This is a really simple step. Just select a track which has a MIDI region with groove information and in the “Inspector”, found at the top left of the page, click on the arrows next to “Quantize”.
The menu that appears will have all the default logic quantization values and at the bottom of the list an option to “Make Groove Template”. Clicking one that adds the groove template to the list and it is ready for use. Using the templates is easy. Just click on any other midi track to which you want to apply the groove and go back to the quantization menu and select a groove from the list. The groove templates will also be available in the Piano Roll editor.

Step 10

Now that we are done with the creation of Groove Templates, it’s time to clean up and organize. First of all, remove all the virtual instruments that were created on the instrument tracks when the MIDI files were imported. This is very important! You could also choose to not send them to the stereo output (by assigning them to “No Output”), but this is not essential.

Step 11

Select all the MIDI regions you used as groove templates and right click / ctrl click on the selection, scroll down to the last option in the drop-down menu and select “Pack Folder” from the resultant sub-menu. You may want to rename the folder at this time following the same steps as renaming a MIDI region.

Step 12

On top of the Arrange window, immediately to the left of the “Edit” button is a button with the letter “H” on it. Clicking on this button turns it green and reveals a smaller “H” button on all the tracks in the Arrange window. Click on the small “H” corresponding to the folder track containing the MIDI grooves. This will also turn green once activated. Now simply click on the larger “H” next to the “Edit” button and the track will be hidden from view in the arrange window. The button will also turn orange to indicate that the project has hidden tracks.

Step 13

All that remains now is to save all this work. As mentioned earlier, those that started this exercise within their Autoload or Default Template should save it as a part of the template. For those that haven’t been using templates, save this project as a Template.
By doing this, the Custom Groove Templates that were added to the Quantize list will appear on every new project.
Have fun creating your own pool of Groove Templates for Logic.