Browsing Tag

Mixing & Mastering

BassGorilla Is Closing. Here’s Why.

You may know that we just finished our 5th Year Anniversary Remix Contest. We released the stems of finished tracks from three of our courses – a neuro dubstep track by Joe Ford, a future bass track by Killabyte and a glitch hop track by Slynk.

A shortlist of top entries will be announced in the next 24 to 48 hours, and the official winners will be announced on Monday 11th December. Prizes include a Moog Sub Phatty, Maschine Mikro, SubPac S2, and premium software tools from iZotope and FabFilter.


The last five years have been an amazing journey, but after careful consideration we’ve decided to close BassGorilla for the foreseeable future. Watch the video below to find out why.

If you’re surprised by this news and worried about missing out on the very best BassGorilla has to offer, there is some VERY good news – watch the video to find out more.

(After you watch this video, click here to find out how you can take advantage of this opportunity before we close)


Full details here:

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Free VST Plugins – Complete List

If you’re looking for a huge list of free VST plugins that you can use to create music with, you won’t find a better list than this one anywhere!

There are thousands of free VST plugins on the web. So many that you might not know where to begin. To make things easier for you, we have put together a huge list of VST plugins on this page. And yes, they’re all free!

VST, or Virtual Studio Technology, is like a recording studio inside your computer. It allows music creators to add instruments and studio quality sound to their tracks all from their home. These VST plugins are a lot like studio hardware, only they’re much more practical and in many cases, much more affordable.

Thankfully, there are a lot of free VST plugins available today. Enough that you can create and tweak your own music without spending a dime. In the following list, you will find free synth, compression, and limiter plugins, just to name a few!

We’ve broken the list down into different categories so you can find just what you’re looking for.

Free VST Synth Plugins

Liven your music up with these free VST synths. You are no doubt familiar with those pricey synthesizers you see in studio production. Now you can do everything you can with that equipment with these free synth plugins.

Now of course these synths won’t have the capability and power of a synth like Xfer Serum, but they do have some very nice oscillators and some great effects that make them very useable right out of the box.

Tyrell N6 – Racer with U-HE Engine
Helm – Polyphonic Synthesizer
Synth1 Synthesizer
Esfera Synthesizer
Burt 2.0 – Distortion Synthesizer

Free Effects Plugins

Take your tracks to the next level with these free effects plugins. Add glitch or electric sound effects to keep the beats flowing.

Amplio 2
Seism SFX
Spore SFX
Shadows SFX

Free VST Plugins For EQ

You can use these free EQ plugins to tune and shape your music. They work just like real equalizers. Just turn the digital knobs until you find the perfect balance of harmonics in your sounds.

Dust Equalizer
Luftikus – Analog EQ
Brainworx bx_cleansweep EQ
Marvel GEQ – Graphic EQ
SPL Free Ranger EQ
Elysia Niveau Filter EQ

Free Compression VST Plugins

Add depth and gain to your tracks with these free compression plugins. Just like an amplifier, you can adjust the depth, time, and gain within your music. These free compressors are great for dubstep.

Dancing Boy Compressor
Xfer Records OTT Compressor
Stereo Buss Compressor
NastyVCS Compressor
DepthCharge Compressor
WTComp Compressor

Free Reverb VST Plugins

Whether you want to make your tunes wet or dry or adjust the width and more, these free reverb plugins are for you.

Ambience Reverb
Abstract Reverb
Black Water Reverb
Wollo Spacer

Free Delay Plugins

These free delay plugins will let you make up for latency and add echoing to your songs. There are a lot of ways a delay can make your tracks stand out.

Valhalla Freq Echo
Stereo Touch
Sound Delay – Multi-Channel Delay
Latency Delay
ZA8 Dual Delay
Voxengo Sound Delay

Free VST Saturation Plugins

Make your music shine with some fine tuning of the bass and treble. These free saturation plugins give you all the options of high end equipment.

X-Tube Amp Saturation

Free Distortion Plugins

Add fuzz and boost your tracks using these free distortion plugins. You’ll be able to tweak your music and give it an extra crunch.

Delta Modulator
Tube Amp
ClipShifter 2.3.3
TAL-Tube Amplifier
8-Bit Shaper

Free Limiter VST Plugins

With these free limiters, you have control over your music. You’ll be able to limit the volume or range to your liking.

Limiter Snapin
Limiter No6
A1StereoControl Limiter
ATKS Stereo Limiter
4L2 Limiter
SimpleSqueeze – One Knob Limiter

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10 Tips for Mastering Audio

In last article I have covered up some basic tips for getting that nice and clean mix. Now it is time to have a look at some mastering audio tips. Mastering is something like finalizing the track, making it sound good on all sound systems, speakers and headphones. It is also easier than mixing since you are only working with 1 track in you DAW, unlike mixing. Since we are living in digital age, it is also important to know you can master your track like a professional, but it takes alot of knowledge, altough it is definitely possible. Because earlier, lots of music producers didn’t have proper equipment to master their track. I have also read in some interview with label bosses that master of the demo has alot of effect on them. With that in mind, take time on mastering your demos for labels and learn from these tips.

1. Do not process your track to much

Mastering should be simple task that can be finished with few compressors and EQ’s. Try to tweak one compressor better, or try to do much better work with EQ. If it still doesn’t sound good, start over or have a look at your mix. Bad mix means bad master.

2. Monitoring is the most crucial part in mastering

Professional studios have very expensive set of speakers and headphones. They have also treated their room acoustics and have alot of monitoring equipment. I am not saying you should spend tons of money, but investing slightly better headphones and learning how to use spectrum analyzers effectively is a good head start. Also try to use meters for dynamics and loudness of your track. Voxengo Span is free plugin that is great spectrum analyzer and Blue Cats digital peak meter pro is good free meter that you can use to monitor loudness.

3. Learn to use compressors for punch in your mix

Compressor is a great tool to use for making your track full and rich. You can add a lot of punch in your mix and it can make your mix louder without overwhelming everything else. Learn it how to use it properly and you will profit alot.

4. Using EQ to boost frequencies

A lot of people think EQ’s are only for cutting frequencies, but that is not true. Boosting some highs and lows if needed will benefit your track in final stages.

5. Cut everything below 20 Hz and above 20 kHz

Since this part of frequency spectrum is unhearable we don’t need it. So simply cut it with EQ. By doing this you will get more space in your master for other, hearable frequencies. Altough you can experiment with frequencies below 20 Hz, since we can feel it, but on big sound systems. But you can try that stuff if you have monitors.

6. Don’t squash your mix

Many people today are fightning in loudness war. Putting limiter and squashing whole track will sacrifice your dynamics. Your goal in mastering is to get that balance between dynamics and loudness. RMS meters are great for monitoring that balance. Essentially, getting it closest to zero will result the best mix with nice dynamics and loud track. Sonalksis FreeG is also free RMS meter plugin that functions great.

7. Learn what part of spectrum is doing what

Try to train your ear and learn what will happen if you boost or cut too much some part frequency spectrum. It will help you to notice the problems in your master and you will work faster.

8. Analyze already mastered .wav tracks in your DAW from professionals

When I say this, I don’t mean that you should simply sit down and listen to the track. Take out those analyzers and meters, see what they are showing. Then you will know what you need to do to make your master sound better.

9. Put low part of spectrum in mono

Using mid/side EQ’ing you can mono all low frequencies. Bass needs to have weight and punch, if there is too much side frequencies it won’t have that.

10. Use A/B functions in plugins

A/B is great to compare few options while mastering quickly back and forth. Most of the plugins offer it and it is actually very useful.

That is pretty much it for mastering. It should be fast process, unlike mixing, few hours maximum. It is also best to take quick breaks to avoid ear fatigue. Also, you don’t need too much money to spend on pro equipment, nice pair of headphones and few free plugins can get you far enough. Learning how to use your tools and using them effectively will get you the final result you want.

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Announcing SKOPE’s Brand New Project

The enormously talented Bass Music producer SKOPE has been turning heads over the last few months with his incredible Drum & Bass productions under the moniker Malux.

He has applied his expert level sound design skills and notorious mix downs from mid tempo music to the ultra fast 170+ BPM tempo of drum and bass.

The result is an exceedingly high quality take on the drum and bass genre, with a number of dance floor rippers already signed to Inspected and Bad Taste Recordings, with support from and collaborations with Crissy Criss and Erb n Dub.

If you haven’t heard any of these masterpieces yet, listen below:

Announcing Our Brand New 4-Week Interactive Online Workshop With SKOPE / Malux

Over the years, dozens of producers have come to me asking for advice on how to create music at the level of SKOPE.

This led to SKOPE creating several video courses exclusively for BassGorilla, as well as doing a 4-week interactive workshop last year.

This coming November, SKOPE will be running his 2nd 4-week interactive online workshop for a select group of passionate music producers who are serious about elevating their skills.

You will have a total of 12 hours together with SKOPE in a virtual online room, where you can watch inside his workstation as he reveals his entire process for writing, producing, mixing and mastering a bass heavy song from start to finish.

Would would it mean to you to spend 12 hours with an expert among experts?


The depth of knowledge and skills you will acquire from this is unprecedented, because you will be able to watch him producing in real time while asking him questions along the way. Imagine how much your music will improve.

If you would like to get on the early bird list, so you can get news ahead of time, and possible early-bird pricing on this upcoming workshop, simply enter your email address below and we will notify you as soon as the course is open for enrolment, before anyone else is even notified about it.

Warning: Time is a factor…


Due to the nature of this interactive online course, we are limiting the amount of places available so that each person has ample opportunity to interact with SKOPE in the workshops.

If we hit full capacity from the early bird list subscribers, we  will not announce the class to the general public.

So it is in your best interested to join the early bird list right now, so you don’t miss out.

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The best Ableton Live Effects

The Best Ableton Live Audio Effects – And how to use them

Ableton Live has several wonderful plug-ins that you’d expect to find in any DAW. It’s compressor, EQ-8,
and glue compressor are regarded as some of the best in the market. Ableton Live also has, however,
several unique plugins that are unlike what many of its competitors offer and each one is capable of
being used to sculpt your sound in compelling ways. These three effects strike a blend between being
unique and useful, with some playing both roles very well. The goal of this article is to outline what they
are and what they do, and give you some guidance in getting started with the effect. Enjoy!


1Auto-Pan is a wonderful tool, and one of my favorite
stock plugins once I learned how powerful it is. At its most
basic, it is a simple plugin that helps you add stereo motion to
our tracks by causing the output signal to be modulated from
left to right. We can set several parameters, from choosing
how far to modulate it (100% means the signal goes full left,
then full right), the rate we modulate at (Hz and tempo-synced
options), phase options, and the shape of the wave and how
much “hardening” is applied to it.

A common misconception is that this plugin is actually “moving” the signal in the stereo field. In
fact, all it’s really doing is a bit of volume automation. When the signal moves left, the plugin is just
increasing the Left channel’s volume and decreasing the Right channel’s volume, for example. Knowing
that it simply performs volume automation, however, means that we can use it for other effects as well.
The key setting is the “phase” setting. When the phase is set to 180 degrees there is a full wave cycle
between the L/R channels, meaning that the two channels have opposing amplitudes (in this case,
opposite volumes). So when the L channel is peaking, the R channel is at its lowest. If we set the phase
control to 0 degrees, there is no difference between the channels and they are automated as one unit.
This allows us to create vocal stutters. As we increase the phase separation, some stereo effect will
return bit by bit. Attempt to play with different waveforms to get more of a feeling for this, and try
playing with the shape control (as this further modifies the wave applied in interesting fashions).

Auto Pan can also be used to automate between two completely separate audio tracks- like
bouncing between two different breakbeat samples, for example. We can do this by setting our first
Auto Pan plugin to create a stuttering effect on our first track. Generally, we should keep the
automation sharper and more noticeable so that things don’t clash in the next step. Then, simply copy
your Auto Pan instance on the first track to the second. The only change you’ll make is clicking the
“Normal” button in the lower left. This will invert the signal on the second track. It’s like we set our
phase to 180 degrees and made one track the Left channel and the other the Right. Now, it will seem
that we are rhythmically cutting between the two tracks. It’s a great way to add some backing rhythmic
complexity to your tracks, or increase the groove considerably!

Grain Delay


Grain Delay is definitely one of
the best Ableton Live audio effects-
and also one of the hardest to get
used to at first. Differing from
conventional delays, it slices the
incoming audio into a number of grains and then modulates the grains individually.

It appears to be a hard-to-use effect, but the effect is one that becomes far easier to understand and
use when given a bit of information and some time to experiment. The hardest thing to initially grasp can
be the XY modulation matrix, or the box that dominates most of the plugins presence on a channel. On this grid,
you can assign parameters to an axis by clicking a parameter. So clicking frequency on the left and spray
along the bottom makes the X (left/right) direction of the matrix control spray, and the Y (up/down)
control the frequency parameter. When not highlighted, the parameters can still be adjusted freely but
are independent of the movements of the matrix. Each parameter modulates the grains differently.
Spray adds random changes to delay time between individual grains, and at high settings will completely
change the source signal. In my experience, it produces a textured effect that can add some lovely
accent to sustained notes or long vocal samples (at the lower settings, of course). Frequency controls
the sampling rate of the effect, so the lowest value of 1Hz means that its sampling at a rate of 1Hz and
can be increased to sample 150 more grains per unit of time at 150Hz. The parameter labeled “pitch”
simply transposes the grains in pitch according to how it is set- “Random Pitch” is another matter,
however. This parameter does what it says, randomly varying the pitch of individual grains up and down
within a range set by “Random Pitch”. At low values it sounds somewhat like a chorus effect (as its
pretty much doing what a chorus does) but large values are good for waking you up, if you happened to
be falling asleep at your desk. The same warning applies to the feedback parameter, of course. This is
much the same as it is on other delays, controlling how much of the output signal is fed back to the
input and thus lengthening how long the delay lasts. At high values it can cause a runaway feedback
loop though, so be careful and watch out for your ears!

One of my favorite uses for this effect is to lightly apply it on some vocals, as it can really give
them some lovely texture and movement. I’ve found that leaving the pitch settings alone and adding a
touch of spray while keeping the frequency in the 8-15Hz range works well. Now that you know what
each parameter does, the best way to figure this plugin out is to just throw tons of different things
through it- vocals are a start, but drum tracks can be fun too. Pads can produce fascinating grainy
atmospheres, and pluckier synth leads get decimated in the neatest ways. This effect tends to be so
radically different from most other effects in the Ableton Live stock plugin pool that just about
everything you do with it will produce interesting results, even if some are a little less musically pleasing
than others. Do maybe consider wearing headphones and letting the dog outside however– the
feedback setting doesn’t mess around.

Multiband Dynamics

The Multiband Dynamics plugin in Ableton Live is a wonderfully capable multiband compressor
that comes stock with Ableton. Most compressors will compress and modify the entire input all at once.
The multiband compressor allows us to individually compress and boost/cut the three core audio bands
(Lows, Mids, Highs). Multiband compression is essential for good mastering, and really helps to bring out
the character of individual instruments and tracks in our music.


When first dropped onto a track, the three bands will be immediately apparent. The High and
Low bands can be turned on and off by hitting the corresponding buttons, whilst the little yellow
buttons to the right of these buttons enables and disables the dynamics processing element for that
channel. S is the usual solo button, and each channel has its own gain-in control. On the bottom, we can
choose to enable Soft Knee compression (meaning the compression is applied gradually near the
threshold) and choose between Peak and RMS modes (RMS is good for less intense audio, Peak is best
for controlling rapid transients or peaks). We can also change what frequencies make up each band,
with the sliders below “Low” and “High”. The mids will just always be whatever doesn’t go to the others.
From there, we can adjust the compression controls more in depth. In the lower right of the display we
can see the “T-B-A” buttons. T is for our time controls, affecting the attack and release settings of the
compression on that channel. The B and A sections both have threshold settings and ratio settings. The
threshold sets the level at which the compression ratio specified is applied. The ratio values here can be
pretty confusing at first, as positive ratios have differing effects on the B and A sections. For the “Below”
compression, a positive value will pull the audio up to the threshold level, and usually boosts it a bit past
this level. If set to extreme values, it may get weird and boost it way past the threshold, so don’t have
the volume up too high! Conversely, the “Above” compression pushes audio back down towards its
threshold value. It works more like a conventional limiter, so to speak.

With these two compression “types”, so to speak, we can exercise really fine control over our
audio across the three main frequency bands. An example scenario (much like the one covered in the
Glitch Hop Start-to-Finish course, if you’d like to see it in action) is to restore a bass sound’s highs and
mids. Often, when we create a bass sound we’ll find that it lacks content anywhere except the lows, or
that the FX-chain we apply considerably dampens these regions. This is perfectly okay if we want that
sort of sound, but sometimes we want those crispy highs and warm mids. By tweaking our compression
values to pull up the mids and highs, and limit the lows a bit, we can bring these regions up among the
low end and restore the sounds we miss to our audio.

I found out the hard way that applying compression after reverb will make your mastering
engineer quite cross. I can’t recommend it! However, the rule of “If It Sounds Good, It is Good”, trumps
all. And in the case of multiband compression, there is a certain type of sound that really benefits from
post-reverb compression: Snares. If we put a reverb on a Snare, we can face the inverse of the problem
mentioned in the example above. The highs can end up emphasized, and the low-mids and the
important (and delicious) transients can be buried. Multiband compression after a ‘verbed Snare has a
unique, and in my opinion, lovely sound. The reverb lengthens the tail of the sound and fattens it up
overall, and the multiband compression ensures we still get our punch!

Besides restoring any channel into a fairly level output, this plugin can also be used with effect
racks to split the audio into different ranges so that each can be processed separately. This allows us to
add FX best suited to the frequency ranges involved. Low frequencies and reverb usually add to create a
muddy mix, for example, so splitting it off can stop this. It can also be used as a more refined bus
compressor, applied on a group of drum sounds to “glue” together the group, while leaving us able to
adjust the compression and gain for each range independently. Essentially, this plugin can function as a
regular ol’ compressor, but when you think carefully about how to use its band-splitting and
compression to your advantage it can be used for focused loudness optimization and band-applied
effects without compromising definition. It’s a boring name, and it isn’t as exciting as the grain delay,
but I imagine it will quickly become one of your favorites.

I hope this article was helpful to you, and helps you find use for some of the best Ableton Live
audio effects. These usually don’t get as much love or recognition as some of the more standard audio
effects in Ableton Live, but I imagine that once you use them you’ll find a place for them in much of your
work. The Auto-pan tool has become one of my favorites, as the simple effect it applies can really do
wonders for a track. If I hadn’t looked around though, I probably would never have used it! So, get out
there and experiment like mad with the best Ableton Live has to offer.

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The Secret To Success As A Music Producer

[As you may know by now, yesterday we opened up 100 places to join the BassGorilla club as a Lifetime Member.

It’s no surprise that many of those places have been taken in the last 24 hours already… If you don’t want to miss out, go here to learn more.]

Today I want to share a story with you about something that I experienced a few years ago…

Back in 2012, I was desperate to get my music signed by a label and make an impact on more people.

To me, it was a personal goal that I was striving to achieve BADLY.


Because I wanted to prove to myself (and to my friends) that I was good enough to make the kind of music that record label owners would sign… I wanted my “TALENTS” to be recognized.

So I worked on my music extremely hard. I even took a full year off work to focus on my music. I kept approaching labels with my finished tracks.

But no matter how close I came, I would get NOWHERE.

Then, one day, I was feeling tired, stuck and frustrated.

So I reached out to someone. A person who had already accomplished the exact things I wanted to… A “mentor” if you will.

He took me under his wing and helped me to hone my music production skills. I made huge progress in a short space of time with his help.

Pretty soon, I released my first EP on a well respected record label and I hit the top 20 on BeatPort! I finally achieved what I wanted to, and I felt great!

So why am I sharing this story with YOU?

Very few people are born with special “talents”… Even those who go on to become world class athletes, nobel prize winning scientists, and yes, even famous music producers.

You see, skills can be learned and applied. It’s all about TAKING ACTION.

When we face resistance while trying to grow our skills, it’s easy to give up and think, “Oh well, it was never meant to be.”

That is a FATAL mistake if you want to succeed at anything in life. Any growth requires persistence.

But by far, the FASTEST way to accelerate your growth is to find someone who has already done what you want to achieve.

That person will show you the path to get there faster than trying to go it alone.

It was with this experience that I decided to create BassGorilla.

I wanted to create a place where anyone can access the knowledge and wisdom of proven experts, to accelerate their learning rapidly.

These days I’m so amazed when I see what our members are achieving. They grow from beginner / intermediate level, to advanced producers –

– getting their music signed,

– climbing the charts on BeatPort,

– getting recognized for their skills

…And that all comes from knowing how to make inspiring and amazing music!

Our “Backstage Pass” platform provides you with a treasure trove of the newest ways to make cutting-edge music, taught by cutting-edge producers…

For the next 7 days, we have a very exclusive opportunity available for a limited number of action takers.

Because we only want the most motivated and passionate producers to be a part of our community, we are limiting the number of available spots to just 100.

So if you’re serious about taking action to give your music a serious lift quickly, you’ll definitely want to take advantage of this.

Go here to learn more

Hope to see you on the inside very soon,


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Only 100 Of These Are Available…

Hey, it’s Luke here from BassGorilla.

In the last week, we’ve had over 1,149 people take part in the BassGorilla Resampling Challenge, and the results have been brilliant! 

The doors closed for new entries last night. Since then my team and I have been going through everyone’s entries. There have been some amazing tracks sent in! The winner of the Arturia Keylab midi keyboard will be announced next Monday. 

To follow up, we’ve opened up 100 places available for you to get a Lifetime membership to BassGorilla.

Go here to find out more about BassGorilla Lifetime Memberships

As you may know, BassGorilla’s Backstage Pass gives you access to the most cutting-edge music production methods, taught by world famous producers and industry professionals.

Usually, the only way to get access is through a monthly subscription, which means you lose access once you cancel your subscription. 

What does a Lifetime Membership do for you? 

Not only does it give you lifelong access to all current courses in our tutorial library, but all future courses as well! 

That means no subscriptions, no losing access when you cancel, plus lifelong access to our exclusive members-only community, so you can ask questions, get new ideas, make friends with like-minded producers and enjoy your experience on a much deeper level, for the rest of your life!

Why are we limiting it to 100 places only?

We’ve done this because of several reasons:

1. We only want the most motivated action takers to take advantage of this opportunity.

2. The pricing of our Lifetime Membership is ridiculously low, especially compared to the value you’ll get from it. We can’t afford to let more than 100 people get a Lifetime Membership, or it could hurt our business.

When Is The Deadline?

The doors close on Tuesday 26th July at 11:59PM Pacific time…


If 100 people join us before that date, we will close the doors before the deadline.

Who Is This For? Who Is It Not For? 

This is for you if you:

  • Want to give yourself an unfair advantage over other producers and accelerate your skills faster
  • Want to learn directly from proven experts, who regularly release EPs on labels and are often smashing the BeatPort charts 
  • Want to make more impact on more people with your music and possibly even get your music signed by a label in the future

This is not for people who:

  • Aren’t willing to learn new things
  • Don’t want to make professional quality music
  • Complain and blame others when they don’t succeed
  • Are not willing to try applying what they’ve learned to their own music

I hope to see you join the club soon!


P.S. I’ll let you know many places are available as we get closer to the deadline (Tuesday 26th July at 11:59PM Pacific time). If we get to 100 new lifetime members before then, we’ll close the doors early. So hurry! Join the club today, while there’s still time!

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How to Declutter Your Logic Pro Project

When creative ideas are flowing, we don’t think about how our Logic Pro
project file looks. We just want to get that great song idea out of our head
and into our ears, but what happens the day afterwards? What happens
when you look at your project and it looks a little something like this?


It’s a little overwhelming, right? Organization is an important part of making
your songs. Hopefully, these tips and tricks can help you get your project
spick and span!

Rename your tracks

I can’t tell you how many times I’ve worked on a mix down for another artist
and almost all of the tracks have “Inst 1” or “Massive Synth” This can
waste so much of your time by making you have to search for a specific
region/track on your project. Quickly glance at the photo below. Can you tell
what any of these regions are by first glance?


There are a few ways to fix this. Here’s the easiest way!

1. Select the track you want to rename. When selected, It will be a lighter
gray than the other tracks.


2. Double Click on the white text. Near the right of the track. The box
should turn black and you’ll be able to change the name of your track.

3. Select the regions in your track. (A white framing should surround the
selected regions).


4. Secondary click on the region. (control + click) A list of options should pop up.


5. Select Name and Color + Name Regions by Tracks

The regions should be named after the track. Repeat these steps on all of
the tracks you want to and they should look like this!


Much better! But don’t think this is all you can do to organize your Logic Pro
project! There are tons of ways to improve your workflow and most of them
take a matter of seconds to do! Now we move on to my personal favorite…


Most of the time, in Logic Pro projects, the color of the MIDI regions are
green and the Audio regions are blue. While this is fine, it can get kind of
overwhelming when looking at it.


I try to organize all of my tracks with a color and there are tons of ways to
do it! Typically, I like to organize my percussion with darker colors like blue
or purple and my vocals lighter colors like yellow. There are loads of ways
to customize the colors your tracks to help your workflow process. Here’s

1. Secondary click on the selected region you want to recolor and go to
Name and Color – Show/Hide Colors


2. Select the color you would like out of the selection.


3. Keep the color selection open. You can select different regions and
change the color from here.

After you finish recoloring your tracks, your Logic Pro project should looks
something like this.


Now, if you want to Solo the Drop Lead or Piano or any other sort of
instrument, it will be much easier to spot! Plus it looks a bit more pleasing
to the eye, rather than just the plain blue and green.

Since we’ve gotten our tracks named and colored to our pleasing, it’s time
to learn more about stack tracks!

Track Stacks

You’ve probably got your clothes organized by certain criteria. Shirts,
pants, etc. It makes it easier for us to dress ourselves when we’ve got our
clothes organized in groups for us to find them better. The same can work
for your projects in Logic Pro. The Track Stacks feature can help you do

There are 2 different kinds of Track Stacks.

Folding Stack – a basic track stack that lets you group tracks together. From
there you can mute, solo, and adjust the overall volume of the tracks

Summing Stack – a multipurpose track stack. This one has a few more
features. You can play back MIDIs, add plugins collectively to all of the

For this tutorial, it makes no difference which one you choose.

1. Select all of the tracks that you want to group together. You can select
multiple tracks by using command + click and selecting all the tracks
you want.


2. Select Whichever Track Stack type that you’d like to use.

3. Your Track Stack is now there in place of your original tracks. You can
minimize and maximize it as you please.


I use Track Stacks to tidy up my percussion tracks and my synths because
I have so many of them. You can see how mine looks here.

20 19

As you can see, I’ve got my several different stacks renamed and colored
using the steps from this tutorial! The Logic Pro project is a lot more
organized now and it only took a couple of minutes to do!


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