My logic pro session specifics are as follows: I used a 4/4 meter, set the session at 81 bpm, and it's key at Bb minor. Some of the instruments that were used are: Grand piano (harmony), guitar (bass), sax, voice pad; a recorded audio from which I used a self-addressed rubber stamp for my fx sound. The voice pad is used as harmony support; it holds the main harmony and back beat together quite well. The harmony support tracks are split up and holds either different notes or have specific eq variations. The sax increments bring more 'of a brighter sensation to the session, as they appear on the track.

 

The harmony chords are all within the Bb minor scale; The 5 chords used within this session are:

Bbm, Ebm, Cm, Fm, and Abm. These chords bring out a mellow – serious type of feel. The type of vibe needed when telling a deep, descriptive story. At least half of these chords are voiced for the purpose of crafting the sound I desired. The melody notes are in the Bb minor scale as well – Ebm, Cm, Bbm, Dbm, and Fm. The Steinway grand piano is used for the main melody. I used a studio violin and an ES1 synth to support the main melody on the second half of this session; which added a nice touch towards the end. My goal was to create a melody that agrees with and complements the harmony sounds. To make the melody tracks more interesting, a 1/8th swing was used for the main melody which in turn was complimented by the support ES1 synth track.

 

The recorded audio for this session was, to say the least – interesting. I used my self-addressed rubber stamp to acquire the pumping – motion sound. I accomplished this by using my scarlet usb interface  sound card, and a sennheiser 835 microphone. Using the metronome set at a 2 bar count in, I simply pumped the rubber stamp twice to get my desired sound. Once the audio was trimmed, compressed, and eq'ed, I arranged the recording within the first 2 bars, then gave it a thorough listen. Once I added and tweaked a couple of dynamic inputs, the audio clips were duplicated as I saw fit. These dynamics include: exciter, Pshift, and phaser. The synth track was merely a duplicate of the main melody's notes, playing through an ES1 synth plugin. Just like any other instrument, I made the necessary adjustments to get the sound desired, in order to create a supportive track. One may notice that the ES1 melody track was bumped up an octave within the second half of this track. My kick, snare, and hat tracks all have external samples that were customized through person preferences: Using pitch, envelope, and several other parameters to yield my desired sounds.

 

Time processing is typically used within all of my logic pro sessions. Space design and stereo delay are the two I used this time around. Space designer was bused from my harmony, sax, and guitar (bass) tracks. This gives the assigned instruments a nice reverb/echo “fullness.” The stereo delay was used for my snare track in order to yield a specific 'tapping' effect. This delay gave my snare more 'personality' or a more intriguing sound, so to speak. I typically use a channel eq on all tracks, for the purpose of 'audio designing' and to avoid any bland sounds. Once I go through my mixing processes - adjusting the levels, pans, dynamics, etc., I then start the limiter (mastering) process. This plugin helps with avoiding any clipping and gives the overall track more of a 'glossy finished' end resulting sound.