Loop-Based Sampling; Logic's Workflow Options

Logic has quite a few workflow choices for loop-based sampling, depending on what you want to achieve. If you're going to do this stuff a lot, learning and assigning some key commands will speed things up considerably.

The following describes various methods for using rhythmic loop samples (non-Rex, non-Acid or Apple loops) in your Logic project, having them keep to your project's tempo, and using the various Arrange and sample playback options in Logic.

Any and all suggestions for improving these suggested workflows are welcome!

STEP ONE, PREP:

You have to do this part no matter what.

Since it's not a rex file or an Acid/Apple loop, you'll need to find its tempo. Drag the file into the Arrange creating a new track, somewhere starting on a bar after the end of your song. For now, lets say it's bar 56.

Use the "Set Locators" command and then press Play. Listen to the loop and count the number of bars. Lets say it's 2 bars long. If the loop is 4/4, make sure your time signature is 4/4. If not create a new time sig event at bar 55 or something.

Grab the right end of the locator stripe and set its length to 2 bars. Make sure your region is selected.

Now use the "Adjust Tempo Using Region Length and Locators" command. Click "Create" in the dialog so you don't change the tempo of the whole song.

Now you can choose an option:

OPTION 1: (Way simple)

Select the region. Enable Flex. In the track header choose "Rhythmic" from the dropdown.

You can now move this region anywhere in your song and it will follow tempo.

OPTION 2: (Simple)

Right-click the region and select Export-Add to Apple Loops Library. Set the attributes in the dialog.

Open the loop browser and view "My Loops". Find it and drag it in to your song. It will now follow tempo in your project.

OPTION 3: (Still simple!)

Select the region. Enable Flex. In the track header choose "Slicing" from the dropdown.

Double click it to open it in the Sample Editor. Increase/decrease the transient marker sensitivity with the +/_ buttons.

Use the Eraser tool to delete other unwanted transient markers.

Right-click the region and select "Slice at Transient Markers".

You can now move or copy those regions "en masse" anywhere in your song and they will follow tempo. Or slide them around, rearrange, etc.

OPTION 4: (Still simple.)

Select the region and double click it to open it in the Sample Editor.

Use the command "Detect Transients".

Increase/decrease the transient marker sensitivity with the +/_ buttons.

Use the Eraser tool to delete other unwanted transient markers. Or move them, etc.

In the Arrange, right-click the region and choose the Convert-"Convert Regions to New Sampler Track" command.

In the dialog, select "Create zones from: Transient Markers" and choose a starting note. (I recommend C1, not C-1.)

A new EXS Sampler instrument is created and a MIDI region is placed on the new EXS track. Move this region anywhere you like on that track and it will follow tempo. Or open it in the Piano Roll and hack away at it. Or mess with the EXS filters and envelopes.

OPTION 5: (Not so simple, but really powerful.)

Follow the instructions above for slicing the region at the transient markers.

Select all the slices and use the Audio-"Convert Regions to New Audio Files" command.

After the conversion, and with the regions still selected, right click and choose the Convert-"Convert Regions to New Sampler Track" command.

In the dialog, select "Create zones from: Regions" and choose a starting note. (I recommend C1, not C-1.)

A new EXS Sampler instrument is created and a MIDI region is placed on the new EXS track.

Open the EXS plug-in and save it as a preset. Open the EXS Editor. From the Instrument menu choose "Export Sampler Instrument and Sample Files". Name it and save it.

Create a new instrument track and load Ultrabeat, load the drag and drop preset, then click Import and choose that .exs instrument file you just saved.

Click the file names in the right column to audition each slice. Drag the voices you want over to the left column to assign them to a pad.

Now you can step sequence them, layer each with oscillators, LFO's, envelope filters, ring modulation or whatever kind of wack synthesis your heart may desire.

Happy Sampling!

Hi,

I have (no, I should say, had) what I felt was a great workflow and have created a ton of loop based music drawn from real life band performances, done without a click (and improvised music!). I've been with Logic from 1.0 and up to 7.0 I was fast and creative with my work.

In the last year or so, I finally bit the bullet, went to L9 (skipped L8) and was looking forward to beat mapping, flex, convert to sampler track, etc...

But to be honest, there was too much to learn, and it was taking time away from my music making. I did get into Apple loops (not so great, IMHO), convert to sampler track (my fave!) , but flex freaked me out.

Your great summary has restored my confidence - this is EXACTLY the kind of succinct, concise instruction that a guy like me needs.

Thank you so much! Very appreciated!

John