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Browse these ukulele lessons with great ratings from Thumbtack customers in Vancouver.
Phil did an exceptional job at our wedding. He played the steel drum at our outdoor wedding before the ceremony began. He played beautiful music of our choosing on the grand piano during our cocktail hour. Then D J'd the reception while playing a variety of live music on his keyboard and the steel drum. He played music of our choosing as well as requests from our guests. Phil knew exactly what to do and when to do it and performed with little or no direction. Our guests loved Phil and commented on how great he was. He provided and set up all his own professional quality sound and lighting equipment and even video taped his performance and the dancing. Thank you Phil for making our wedding so memorable.
My 10 year old son started taking piano lessons with Deanna Maio at Confident Voice Studios a couple of months ago, and she has done a terrific job connecting with him and helping him advance his piano practice. We highly recommend Deanna!
I took lessons with Kyle for about a year. My goal was develop a solid foundation so that I could learn on my own without picking up any bad habits. Matt definitely helped me reach that goal and then some. I feel pretty confident that I can learn new, challenging songs on my own now. If guitar lessons weren't so expensive, I would definitely have kept going. Kyle is an awesome teacher!
I had guitar lessons with Aaron for several years, and I highly recommend him as a teacher. Hes incredibly knowledgeable and very encouraging; he motivates you to do your best and takes a more creative, interesting approach to teach music (for example, I learned a lot about musical improvisation and composition, in addition to classical and spanish guitar techniques). He is one of the best teachers I have ever hadif you take lessons with him and are reasonably motivated, he will absolutely help you succeed in your musical goals.
I take bass lessons from Rory and he has great method of teaching with kids young and old. He dose not only teach me bass, but also a wide range of music theory and history. He is VERY knowledgeable in history, theory, and the science of music. He is a fun teacher and I always look forward to each lesson, knowing that one lesson wont be the same as another.
I highly recommend Tim Smith as a teacher in many areas of music. I am so elated to be taking cello lessons with this fine teacher! Tim is multi-talented and able to challenge me through every level of musical growth. I appreciate his individual teaching style which allows each student to progress at their own personal rate. He is flexible and accommodating with lesson times and his rates are right in line with the local teaching market.
When I was 16 I took guitar beginner guitar lessons with Elisa and absolutely loved it! I definitely recommend her to anyone looking for a music teacher. She was and is very supportive of my dream in music.
I originally went to Ky for harmonica lessons in Flagstaff after playing around with the instrument by myself for a couple of years. I wanted to learn how to play music with others. Ky tailored my lessons to me and taught me the basics. He played guitar along with me so I could get used to playing with people. Soon after, I picked up guitar and decided to see him for that as well. He was a great instructor for guitar too! Even for a complete beginner like me. He was very patient and helped me pick songs to master and skills to work on in areas where I needed improvement. Most of all, the lessons were fun and not frustrating! I walked out of each lesson feeling challenged, but accomplished and excited by the music we played. Ky is a very talented musician, teacher, and just a really cool, down to earth guy. Check him out!
I'm a beginning guitarist and have thoroughly enjoyed Rick as a teacher. He has a straightforward and relaxed teaching style. Rick willingly incorporates any song, artist, or style I mention in the lessons. One particular element of his teaching that benefits my progression a lot is music theory. Even though I don't immediately understand all he teaches, the gradual addition of these theory lessons is paying off.
Harley has been a great teacher, very patient and kind. My daughter really enjoys her ukulele lessons.
I found out about PK by watching him perform with the church and heard he taught music lessons. My son was really interested in learning how to play the drums so he begged me to get him a drum set. I agreed as long as he could prove he would stick with it, and we actually started lessons without a drum set. After a few lessons of learning basic patterns by hitting sticks on a practice pad, PK helped us look at our options for a starter kit (my son was 11 at the time) and we decided on a convertible kit that could be "muted" as needed. Thank God we did! My son was a bit reluctant to play the drums muted, though he really enjoyed learning to play songs with the kit loudly when appropriate, ultimately playing songs along with a cd/mp3 player in his room. I watched his confidence grow as he learned more patterns and beats to play, later with his friends at church. Very glad we took lessons from PK - I'd highly recommend it!
Hi! I'm Matt. I am a full-time music instructor with over 10 years experience. I have a bachelors degree in music performance, play in several working bands and am the author of The Guitar Theory Workbook. I offer instruction in: * Blues, rock, country, folk, classical, and jazz styles * Rhythm and lead playing (Yes, even you can play guitar solos.) * Finger-picking or using a pick * Use of scales and arpeggios * Sight reading * Ear training, music theory and proper technique * Even ukulele and Bass Guitar My #1 rule: Guitar lessons are for the students. That means, I do my absolute best to make sure the students learn what they want to learn. If I don't know how to play something that you want to learn, I will learn it expressly, so I can pass it on to you.
I teach ukulele to beginners and those who would like to learn to cover their favorite songs. We will cover chords, chord progression, fingerpicking, and strumming patterns. Lessons include tutorials of your favorite songs, so you can learn to play them with ease. Each lesson is tailored to the student, so you only learn what you want to learn. I provide ukuleles to use during the lesson but you can also bring your own. I offer tips on buying a ukulele too! I have played ukulele for almost 10 years. I have been a musician for over 25 years. I have a fun and easy teaching style and can help anyone learn how amazing the ukulele can be.
Music lessons for all ages in classical, blues, jazz, and popular music styles are offered by professional musicians with degrees in music and teaching experience. We have lessons for guitar, ukelele, piano, bass, and drums. Students have the opportunity to perform in student recitals, which are great for students to showcase their skills and gain confidence in themselves. Parents really love it!
I teach music and give instrument lessons. I teach guitar, bass guitar, ukulele, piano, and clarinet.
10 years teaching music, specializing in guitar and bass of any age, style, and level. theory, reading tabulature and/or sheet, to whatever level you wish to achieve.
I teach beginning through advanced guitar, either acoustic or electric, slide, finger-style, strumming, note and tab reading, music theory, composition, songwriting, and beginning to advanced chord forms. I also teach mandolin, ukelele, and banjo.
I teach private mandolin lessons, ranging from folk to classical styles. With my background in music theory and forty years of experience currently with over eighty students, I've developed a very effective method for mapping out harmonic structures to build improvisational skills.
We are located on historic North Mississippi Avenue in Portland. We offer guitar and ukulele lessons for beginner to intermediate players. We also offer high-quality recording and sound production in our studio space. We have an artist roster and management.


Here is the written music you’re graving if you’re interested to get Stars sheet music in Sheet Music Single format. I know you are. Stars is a terrific tune to play and practice so reserve this written music for you needs since you don’t learn this tune while browsing internet. This sheet music for Stars by Skillet is for Piano/Vocal/Chords so know sure to pick the sheet music for your needs.
Stars by Skillet songbook is part of genre and the sheet music is published by Jeff Tincher. The list pay for Stars sheet music is 5.99$ but there are campaign deals regularly so make sure to catch the latest offer for the sheet music. Make sure to also check the shipping time and area for this notes though worldwide shipping is usually available.


Sony Music EntertainmentLately, Mariah Carey‘s been using the hashtag #NotYet to tell her fans that they’ll have to wait a while longer before she’s fully in Christmas mode. But she’s still encouraging them to pre-order some new, limited-edition holiday merchandise that’s just become available.
“Pre order new ALL I WANT FOR CHRISTMAS IS YOU singles!!! You’ll get them in time for Christmas because… #notyet!!” she captioned a GIF of herself waving a sign promoting the singles.
One of the limited-edition singles is a CD featuring “All I Want for Christmas Is You,” as well as a never-released live performance of that song she did in 1994 at a benefit concert at New York’s Cathedral of St. John the Divine. The single also includes two different remixes of “All I Want for Christmas Is You,” as well as a performance of “Hero,” also from the St. John the Divine show.
And if you really want to go old school, there’s also a green or red cassette single available. It includes “All I Want for Christmas Is You,” as well as Mariah’s brand-new version of “Sugar Plum Fairy” and the “Anniversary Mix” of “Santa Claus Is Comin’ to Town.” The cassette package includes cut-out Christmas caricatures of Mariah and a lamb wearing a Santa hat. The same songs are also available on 7-inch vinyl.
Both singles ship December 20; the CD costs $2.98, while the cassette retails for $5.98.
The deluxe anniversary edition of Mariah’s 1994 album Merry Christmas is also available for order and will ship November 1.
Copyright © 2019, ABC Audio. All rights reserved.


New Approach Records is happy to present the new volume of our compilation “Poison”. This 4th volume is presented in a Triple CD edition with oversized booklet and includes a massive line up of participants. Also, for the first time we have a visual participation by Manuel Pereira with a full booklet of collage artwork specially made for the compilation.
As always, each participation is exclusive to the compilation and was recorded by each artist for “Poison”, based around the theme. This volume includes:
Edge of Decay


GUITAR AMP CONNECTION AND USE
In addition to gameplay and MIDI use, what makes your Squier® by Fender® Stratocaster® Guitar and Controller so revolutionary is that it’s also a fully functional electric guitar that can be played on its own through any guitar amplifier.
Simply plug one end of a standard guitar cable into the Squier by Fender Stratocaster Guitar and Controller’s recessed 1/4” output jack, and plug the other end into the amplifier, just as you would with any electric guitar (see the diagram below).
|Guitar to Amp Connection|
When played through a guitar amplifier, it is not necessary to engage the string mute or to turn the Squier by Fender Stratocaster Guitar and Controller on using the rear power switch. Just plug it in, turn it up and start playing.


La Bella 900B Žice za klasičnu gitaru
Medium tension strings that are designed to reduce finger noise.
String gauges: Black nylon: 28-32-40. Golden alloy: 30-35-43.
The 900B Golden Superior set contains black nylon trebles and polished golden alloy wound basses. Especially designed for the concert performer, the smooth surface on the basses allows the player to shift positions without any noise or squeak. Highly polished, these basses are recommended for both studio recording and live performances


I recently bought a piano for learning (by myself at the moment) and apart from doing basic exercises, I decided to start learning a piece to get a grip on music sheet reading as I go.
On the sheet I'm trying to play there are 2 sharp key signatures at the start of the line: higher C and higher F (pardon me if terms are not accurate). What caught my attention is that in this piece at higher octave C and F do not sound right without a sharp.
With that in mind, I am wondering if tonal signatures are specific to octave they are written on. For instance, in my case if higher C and F have sharp signatures, would every C and F in the section be a sharp or just the ones on the lines sharp signatures are written on?
Sheet I am trying to play in case my descriptions are hard to read.


Like The Kesh?
Watch & Listen
1-3 of 3 videos
Vivaldi Cello Concerto in G minor for two cellos RV531 (Adagio)
About The Kesh
Four classically trained musicians and friends who love to play. We play a range of instruments including: two cellos, two violins and flute
2 of 2 photos
Public liability insurance of £10 million
We can perform outdoors
We have vehicles we can use to travel to gigs
Baroque, Classical, Film / TV music, Folk, Traditional Irish folk, Ceilidh, Light music, Easy listening, Covers
The Beatles - Eleanor Rigby
Elvis - falling in love with you
John legend - all of me
Beyonce - love on top
Ed Sheeran - perfect
Christina Perry - a thousand years
Etta James - at last
Traditional - the wren
Traditional - ten penny bit
Traditional - Esme's joy
Traditional - THE KESH!!
Traditional - the frost is all over
Traditional - out on the ocean
Mozart - eine kleine nacht musik
Pachelbel - canon
Handel - largo
Saint Sean - the swan
Vivaldi - spring
Bach - prelude (cello solo)
Bach - Jesu, joy of man's desiring
Clarke - trumpet voluntary
Mendelssohn - wedding march
Delibes - flower duet
The mission - Gabriel's oboe
Pirates of the Carribbean - medley
Game of thrones - various themes
Howl's moving castle - medley
Do you have different line-up options?
Yes, we have a really flexible set of instruments so please do request if you have a certain sound you want to hear :)
What if my timings change after I've booked you?
No problem! We understand the big day can have some big changes & concerts are hard to keep on time! We are flexible and can adjust if you give us enough notice :)
How much time do you need to set up?
30 minutes. We are super speedy.
Can I pick the pieces you play from the set list?
For sure! All of those songs are in our regular 'pads' so we can play those any time, any place!
Do you bring all the equipment you need to perform?
Yes, don't worry about us! We bring everything that we need.
Can you learn specific pieces before the event?
We can, but there would be a small fee if we couldn't source the music for free. If we can, we're happy to put it in the song list.
What do your clients love most about your performances?
Our bright attitudes, playing and smiles!!!
Which venues have you performed at in the past?
Between all 4 of us too many to name :)
Which artists have you been most influenced by?
Vivaldi, Monteverdi, the vitamin string quartet.. a great deal!
What is the most high profile gig you've performed?
Every gig is high profile! We treat performance with the same enthusiasm and standard, whether we're playing our living room or the Sheldonian theatre!
Note: prices may vary based on travel distance. For an exact quote, click “Check availability”.
|Up to 1 hour||£400|
|Up to 2 hours||£600|
|Up to 3 hours||£900|
This is a unique but hugely popular &requested line up of flexible musicians. It includes combinations of guitar, vocals, percussion and strings. It's 4 people swapping and changing to create and capture a brilliant background atmosphere. Mainly playing pop songs, but still able to revert in classical string quartet, the 4 will then record your choice of song and send it to you as a recording as a momento of your special day.
4 verified reviews
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A distinguished member of the Better Records Orchestral Music Hall of Fame.
This London title has long been a favorite of ours here at Better Records, and this Blueback copy does not disappoint (except in the area of condition, see the notes below). Side one, much like the amazing Mozart record we listed today, is spacious and three-dimensional like you will not believe. I would rank it in the Top Five Per Cent of all classical recordings in respect of those qualities. You can hear into the soundstage on this pressing like few recordings you own, we guarantee it.
It’s another London winner. You may get tired of me saying it, but it has DEMO QUALITY SOUND as regards its imaging and soundstaing.
The presentation is just right as well. This smaller orchestra does not get lost in a big hall, but instead as the intimacy that’s required for this music, while still giving us some nice space and ambient cues from the hall they’re in.
This music is played at a moderate tempo, so those looking for excitement won’t find much here. These pieces are written to draw you in, not to knock you out, and that they do beautifully.
A++ sound but there is a mark that plays badly for about an eighth of an inch, ouch. String tone and texture is very good, not the best we’ve ever heard but quite good nonetheless.
Not quite as good as side one, with a bit more smear to the strings, and not as three-dimensional either. The second work on side two sounds better though, so the grades would be A+ for the first piece and A++ for the second.
I love the fact that on the back of the cover in the upper right hand corner is written the retail price of $5.98. There was a time when you could walk into the record store and buy a record like this for under six bucks! This is an evening’s worth of sublime music for what today would be the equivalent of a Subway sandwich.
Performed by the London Symphony Orchestra under the direction of Peter Maag.
Notturno in D Major
Serenata Notturna in D Major
Overture: Lucio Silla
Interludes from King Thamos


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The 10 Best Indian Bands Of All Time
20 Best Indian Indie songs that deserve to be on your playlist


Find the latest male and female stars of country music along with classic country music greats. Almost all Hit Trax country backing tracks include free lyrics. ... Top Songs for Country Midi Backing Tracks.
vanBasco's MIDI Search - Results. Type artist or song name: Results per page: Only show results containing Karaoke ... Index of /midis/karaoke-internacional-1/e1/Elton John Country Comfort.kar Country Comfort (85kb) 60's and 70's MIDIs ... EKN


If you have always been interested in learning guitars, and find it hard to get proper chords for popular songs, Capo Touch, the newly released iOS app by SuperMegaGroovy ensures that you get to practice your guitar, instead of spending time trying to transcribe the song or download unreliable chords from the net, which could be tedious and full of error.
Learn Guitar Easily : The Capo touch difference
Capo touch is based on the Eddy Award winning software, Capo 3 for Mac. It features the ability to slow down your music, transpose your keys, chord boxes in which you can choose the different chord shapes that best suits you, and synchronisation with your Capo 3 for Mac. Best of all, would be the auto chord detection, which is new to the Capo touch iOS app.
Read on below for Capo touch’s official description and the testimony from Mark Altecruse, a guitar teacher and member of the Hex Orchestra. Also included below is the video of Capo 3 in action. We can’t find any video of Capo touch yet.
Capo touch offers musicians the same power and versatility they have on the Mac with Capo 3 in an even more portable design. The app features the essential tools of instantly importing a song from your iTunes library, automatically detecting its chords, and showing how to play them using helpful guitar chord boxes. It can slow down the tempo without changing pitch while you learn, and transpose the song to any key with a simple pitch slider. Optional metronome, looping, EQ and “karaoke-style” voice reduction make Capo 3 and now Capo touch valuable tools for musicians whether in the studio, rehearsal or on tour.
â€œCapo is a remarkable app. I have been teaching guitar for many years and I often spend too much of the lesson time transcribing songs from MP3s my students bring to the lesson that they want to learn. Capo is an amazing tool as it will generate chord progressions from mp3 files quickly so I can spend the lesson time on chord voicing, solo’s and nuanceâ€”a huge advantage for the students and for me. I can’t wait for my students to start bringing Capo files to the lessons so we can spend all of our time creatingâ€”not copying.â€
â€”Mark Altecruse, Guitar teacher and member of Hex Orchestra


Pete Evick Signature
Delay + Boost
Built to meet the demands of full time touring guitarist Pete Evick, lead guitarist for The Bret Michaels Band. Pete required a delay pedal with enough vintage tone to keep his sound authentic, and enough gain control to boost his signal, and thicken his sound during solos.
The Delay control adjusts the delay time. The Mix control offers the user full control of the balance of wet and dry signal. The Repeats control determines the number of repeats. Full counter clock wise allows one repat to come through, while full clockwise allows endless repeats to create lush sonic landscapes. The Volume control acts as a master volume control and can range from dead silent to a boosted signal that will send your amp into an overdriven heaven.
- Delay, Mix, Repeats, and Level controls
- Operates on a standard 9 volt battery or a (negative tip) BOSS style adapter
- True Hardwire Bypass with grounded input for noise free operation
- Stomp switch built to withstand years of hard stomping shows
- Durable aluminum housing
- Super-Bright LED for easy onstage identification
- Proudly built by hand in Crossroads, Texas


Dance Studio Wall Mirrors: A Vital Tool for Dancers
Dance studio wall mirrors are crucial for any dance environment, offering instantaneous feedback to dancers striving to refine their movements. The strategic placement of a mirror can elevate a practice room to a professional-grade training area, where progress is visibly tracked and improved upon.
Key Advantages of Dance Studio Wall Mirrors
The inclusion of dance studio wall mirrors introduces numerous perks. Beyond enabling meticulous self-evaluation, they expand the perceived size of any room and enhance its appeal. These mirrors also amplify natural light, thus invigorating any rehearsal or personal practice session with an uplifting ambience.
Selecting the Ideal Dance Studio Wall Mirrors
Prioritizing endurance, image accuracy, and security is essential when choosing dance studio wall mirrors. Opt for mirrors designed to resist the rigors of dynamic routines while offering undistorted reflections. It’s crucial that the mirrors are large enough to capture the entirety of dancers’ movements during their exercises.
Proper Installation for Safety and Efficacy
Ensuring safe and effective installation of your dance studio wall mirrors is paramount. Secure mounting on walls helps avoid potential mishaps, while correct height and positioning guarantee that the mirrors serve their purpose well. Professional setup is suggested to achieve optimal stability and reliability.
Customizable Designs for Dance Studio Wall Mirrors
With a plethora of styles at hand, dance studio wall mirrors can be tailored to suit diverse settings. Full-wall installations or separate large panels offer flexibility in design. When outfitting your studio, consider features like ballet barres or even movable mirrored units for adaptive spaces.
Upkeep and Cleansing Tips
Regular care of dance studio wall mirrors ensures their lasting functionality. Gentle cleaning agents will help shed any residues like fingerprints or spots, maintaining the reflection quality needed by performers. Skip harsh chemicals to avoid scratches that could mar the mirror’s surface.
Investing in Quality Dance Studio Wall Mirrors
High-caliber dance studio wall mirrors make for a wise addition to a dancer’s routine, fostering introspection and progressive skill refinement—crucial elements of a dancer’s education. Consistent engagement with a pristine mirror can lead to technical prowess and an uplifted stage presence.
Safety Considerations for Dance Studio Wall Mirrors
When installing dance studio wall mirrors, safety takes precedence. Choose mirrors that feature toughened glass, smoothed borders, and reliable fixtures to ensure a secure environment within the dance setting.
Professional Ambience with Dance Studio Wall Mirrors
Equipping a studio with superior dance studio wall mirrors instantly reflects a commitment to quality and professionalism, resonating with students and aficionados who are serious about their dancing journey.
Optimizing Limited Spaces with Mirrors
Even in constrained studios, cleverly positioned dance studio wall mirrors can considerably augment the room, delivering the requisite visual feedback and optimizing the available area for both group and individual practices.
Concluding Thoughts: Dance Studio Wall Mirrors as a Training Necessity
In sum, dance studio wall mirrors are indispensable in the realm of dance training. Their contribution spans from improving spatial cognition to enhancing the aesthetic environment of a dance space. With attentive selection, setup, and care, these mirrors are invaluable aids for any dancer aiming for excellence.
- 5 Crucial Criteria for Choosing the Best Portable Dance Mirrors
- 5 Essential Facts about Dance Mirrors on Wheels for Dance Studios
- Discover the 7 Insights into Ballet Studio Mirrors and Dance Reflections
- 5 Essential Tips for Portable Ballet Mirror Selection
- Home Dance Mirrors Installation: 10 Essential Tips


Tonight is opening night for the Boston Ballet’s The Nutcracker. This classic holiday tradition is a wonderful way to introduce someone to the ballet. The music will be familiar and the story is easy to follow. The ballet and beautiful decorations at the Opera House will get you in the holiday spirit and turn an ordinary night into something special for you and whomever you bring with you.
Tickets can be quite affordable, starting at $37 and performances run through Sunday, December 30th. If you need some dinner or drink suggestions on where to go either before or after the ballet feel free to ask for recommendations. Be sure to watch the Boston Ballet video, “Nutcracker Prince vs. Mouse King”.


The Banjo of Ralph Stanley
taught by Ralph Stanley hosted by Mike Seeger
This intimate look at Ralph Stanley's pioneering banjo style begins with the first tunes he learned in the old-time clawhammer technique, and progresses through the three-finger bluegrass picking he helped make famous. Includes performances by Ralph and the Clinch Mountain Boys. Intermediate level. Includes tab. 90 minutes.
Publisher: Homespun Video
Item Number: HL 641906
Series: DVD/Instructional/Folk Instrmt
Prices and product availability are subject to change without notice.05012020


Piano four-hands - Early Advanced; Late Intermediate
4 Original Duets for Late Intermediate to Early Advanced Pianists. Arranged by Martha Mier. Duet or Duo; Piano Duet (1 Piano, 4 Hands). Jazz, Rags & Blues for Two. Advanced level piece for the Piano Duet event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Jazz, Blues and Rock. Collection. 24 pages. Published by Alfred Music (AP.22455).
Item Number: AP.22455
ISBN 0739034294. 9x12 inches.
Book 4 completes this series with 4 brand-new duets in jazz, rags and blues style. These duets are slightly longer than the duets in books 1 through 3, creating a satisfying performing experience for advancing students.
About Jazz, Rags & Blues
Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music.


The Singing Machine ISM103OBT Pedestal karaoke system is as close to pro-style as you get with a home karaoke set-up. Wirelessly stream your favorite music or songs with lyrics from any compatible Bluetooth device such as smartphone, tablet, or laptop. The Control Panel features built-in 7" TFT Color display for scrolling lyrics and traditional CDG player, two tower speakers accompany the set up for excellent sound quality and enhanced vocals with digital key controls, balance, and echo effect. Universal cradle holds your device in place in the right orientation. Power up and play it loud and proud.


Your Wedding Music
Special music changes a “nice wedding” into a lovely and elegant event. Yet, planning music is one of the duties we may put off until almost too late. The reasons: we may not feel confident to judge professional musical ability; or perhaps we can’t even name the selections we have heard and would like performed. In truth, working with professional musicans is easy! They do all the work.
Interviewing and planning sessions are delightful when you’re dealing with professionals. It doesn’t matter that you don’t know the names or can’t hum the tunes. They help you define the sounds you like for your ceremony and reception by giving “mini-concerts”, live or on tape and videos.
A variety of options are available: soloists in voice, piano, flute, harp, guitar, violin and cello; duets, trios and quartets; strolling musicians and keyboardists; bands specializing in old time, country, rock, big band, ethnic music, jazz and ragtime.
You can ease the music budget by asking your ceremony or dance musicians to play during the hospitality hour and dinner. (Musicians’ “extra hour” rates are usually lower than their initial performance rate.)
Music for dancing and entertainment later in your reception is essential. Good musicians will encourage your guests to hit the dance floor with songs they can’t resist.
Good music will make your ceremony and reception memorable. This will be the music that will remind you of your wedding day for the rest of your life. Its important to take the time to do it right.
© 2018 The Wedding Guide Magazine
The Wedding Guide Magazine is not responsible for products or services represented on this website.


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all choked up say anything sheet music
Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes transpose, capo hints, changing speed and much more. Some doped up Guard.


With iTunes Match, all your music — even songs you’ve imported from CDs — can be stored in iCloud. So you can access your music from all your devices and listen to your entire library, wherever you are.
$24.99 a year
A match made in iCloud.
With iTunes in the Cloud, the music you buy from the iTunes Store automatically appears on all your devices.1 And for music you haven’t purchased from iTunes, iTunes Match is the perfect solution. iTunes Match is built right into iTunes on your computer and the Music app on your iOS devices.2 It lets you store your entire collection in iCloud, even music you’ve imported from CDs or purchased somewhere other than iTunes. When it’s in iCloud, it’s available on all your devices. So you can enjoy all your music anywhere, anytime — on your iPhone, iPad, iPod touch, Mac, PC, or Apple TV.
How iTunes Match works.
iTunes determines which songs in your collection are available in the iTunes Store. Any music with a match is automatically added to iCloud for you to listen to anytime, on any device. Since there are more than 20 million songs in the iTunes Store, chances are your music is already in iCloud. And for the few songs that aren’t, iTunes uploads what it can’t match (which is much faster than uploading your entire music library). Even better, all the music iTunes matches plays back from iCloud at 256-Kbps AAC DRM-free quality — even if your original copy was of lower quality.
Once your music is in iCloud, you can stream it to any of your devices. Just browse the complete list of all your music stored in the cloud. To listen to a song, tap the iCloud icon next to it and your song starts playing. You can store up to 25,000 songs in iCloud (more if songs are purchased from the iTunes Store), but only what you want to play is stored on your device. So you have immediate access to a huge music library without taking up storage space.
1.1. Go to iTunes on your computer, choose iTunes Match in the sidebar, enter your Apple ID and password, and click Subscribe.
2.2. iTunes Match will start scanning and matching your library and uploading your music to iCloud right away.
3.3. When it’s finished, you’ll see an iCloud icon in your iTunes library next to those songs stored in the cloud.
4.4. To turn on iTunes Match on your iOS devices, go to Settings, tap Music, and turn on iTunes Match.
iTunes Match FAQs
Who can use iTunes Match?
Anyone with an Apple ID in the U.S and select other countries can use iTunes Match. You also need iTunes 10.5.1 or later on your Mac or PC and iOS 5.0.1 or later on your iPhone 3GS or later, iPod touch (3rd and 4th generation), or iPad.
Which music formats can iTunes Match handle?
You can match or upload music formats that can be played with iTunes. That includes AAC, MP3, WAV, AIFF, Apple Lossless, and more.
How many devices can iTunes Match support?
iTunes Match supports up to 10 devices — including your computer, iPhone, iPod touch, iPad, and Apple TV.
Will my playlists sync across devices?
Yes. When you create, edit, or delete a playlist on your Mac, PC, iPhone, or iPad, those changes will sync across any iTunes Match-enabled device you own. However, playlists with videos, voice memos, or PDF files will not sync.
Does iTunes Match stream or download songs?
On a computer, any songs stored in iCloud will stream over the air when played, though you can download them at any time by clicking the iCloud download button. iOS devices will start playing tracks from iCloud as they download and will store them so that you can listen to them later even if you don’t have a network connection. Apple TV only streams songs.
Will iTunes Match songs download over 3G on my iOS device?
Yes. Go to Settings > Store on your device. Turn on Use Cellular Data. If you’d rather download over Wi-Fi, turn it off.
What if I add new music to my library? Do I need to tell iTunes Match to scan it?
No. iTunes Match will automatically rescan for content, so you don’t have to. Although you can force a refresh by choosing Store > Update iTunes Match in iTunes.
What happens if I don’t resubscribe after the first year? Will I lose any upgraded songs?
No. Any songs you’ve upgraded or downloaded again are completely safe. The only thing you lose is the central storage — iCloud will no longer stream or download matched or uploaded songs to your devices.
How do I turn iTunes Match on?
On a Mac or PC, open iTunes and choose Store >Turn On iTunes Match. Then turn on your iOS devices, tap Settings > Music > Turn On iTunes Match. To turn on iTunes Match on Apple TV, go to Music > iCloud Library.
Does the Apple ID I use for iTunes Match have to be an iCloud account?
No. If you’ve been using a separate Apple ID for purchases, that Apple ID will also work for iTunes Match. You should use the Apple ID that is associated with the majority of your music purchases.
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Weather Alert 1/4/18 9:15 AM | As of now, all Broadway shows will play as scheduled today. Read more.
2720 6th Street
Lubbock, TX 79401 USA
Certain engagements and performances at this theatre may be canceled or postponed due to the evolving coronavirus situation. Those with tickets for canceled or postponed performances should contact their point of purchase for information. For questions regarding upcoming performance schedules, please contact the venue directly by visiting their official website.The 2,821 seat City Bank Auditorium is home to Lubbock's Broadway musical series presented by Civic Lubbock, Inc. and Celebrity Attractions. From Les Miserables to Cats to Hello Dolly, this is Lubbock's door to Broadway. The hall is designed for small concerts, recitals, speakers and full stage productions.


Bach Concertos - Grigoryan Brothers
Australia’s favourite guitarists, the Grigoryan Brothers, present their new album of Bach’s best-loved concertos, arranged for guitar duo and orchestra.
Win The Ultimate Rake Prize Pack!
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Acoustic guitar peg tuning
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Award winning Musican playing both acoustic and electric guitar performing roots, blues and a touch of R&B. Perking both and a solo guitarist and singer or with a band as appropriate to the venue. I've played many venues and at festivals. I have 2 ep's and a full length CD and am working on a new cd in the works now.
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East Bay Beat has memorable melodic riffs and a haunting groove your audience and ensemble will love. This dynamic piece makes no apologies for being a show stealer! Suitable for most concert and performance occasions, ensemble examinations and also as a concert finale.
Backing track featuring Rhythm Section also available.
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Level: Early Intermediate - Intermediate (UK Grades 3+ and USA Grade 2+)
Occasion: General Concert - Band Repertoire - Ensemble Examinations
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GAINAKO – Guardianship and Independence.Logic Pro – Resources – Apple
Playback stops and the playhead moves to the location you clicked. Continuously Repeating a Section Sometimes when you are working on a specific section of your project, you may want to repeat a section multiple times without stopping playback. You will continue building your project by adding a bass track. To determine which bass loop works best with your drums, you will use Cycle mode to continuously repeat bar 1 as you preview bass loops in the Loop Browser.
You need to adjust the cycle area so that it spans the same length as the drum region. To do so, you will first select the drum region, which was deselected in the previous exercise when you clicked the background of the workspace. The region is highlighted to indicate that it is selected.
In the control bar, the Cycle button is turned on, and in the ruler, the cycle area turns yellow, indicating that Cycle mode is enabled. The cycle area shows the section of the song that will repeat.
The start and end position of the cycle area, called left and right locators, match the start and end of the selected region, and the cycle area goes from bar 1 to bar 2.
The playhead starts moving, and your drums play. When the playhead reaches bar 2, it immediately jumps back to the beginning of bar 1 and continues playback. While your drums continue playing, you can preview some bass loops.
All keyword buttons are disabled. Only loops from the Hip Hop collection are displayed in the results list. The loops in the results list are sorted by increasing tempo. After a moment, Logic syncs the loop with the project and you can hear it playing, grooving along with the drums in your project.
Most of them are too synthetic for this project, but Skyline Bass seems to have the right sound and it works with your drums. A new track is automatically created for the new Skyline Bass region.
In the first bar, you can hear both the drum loop and the bass loop; then the drums drop off while the bass continues playing for three more bars. You can now hear the entire bass line, which is even more melodic than the limited preview you heard previously. As you work in Logic, keep saving your project at regular intervals to avoid losing any of your work.
And if you work with other musicians in your studio, they will love you for not interrupting the playback and ruining their creative flow every few bars! Building Up the Rhythm Section All the material you use for a project is contained in regions that are on tracks in the workspace. Creating an arrangement is a little like playing with building blocks—moving, copying, or repeating regions as needed to determine at which points specific instruments start and stop playing.
In this exercise, you will start building an arrangement with the drum and bass loops, and later add more loops to complete your project. First, you will loop both regions so they play continuously. The inspector appears. Region parameters for the selected region s are displayed in the Region inspector near the top. The Region inspector shows the parameters of the Good Life Beat region.
In the workspace, Good Life Beat is now looping until the end of the project. In the workspace, both the drum and the bass regions are now looping. The drums and bass are grooving together perfectly. For the next few exercises, in the control bar, click the Inspector button or press I and click the Apple Loops button or press O to turn those two areas on and off as needed. All keyword buttons are reset. A new track is created for the Fine Line Beat region.
Since Fine Line Beat is still selected, you can access its region parameters at the top of the inspector. The Fine Line Beat region is now looping in the workspace. Since Fine Line Beat will be used for the intro, you can move it to the top of the workspace.
The tracks are reordered with the new Fine Line Beat track at the top. To select multiple regions at once, you can click in the workspace background and drag the pointer over the regions. You can now move them both at the same time. The help tag displays positions and lengths in bars, beats, divisions, and ticks. You will often refer to a position or a length with those four numbers. A sixteenth note contains ticks. Note that by default, in the control bar, the LCD displays the position of the playhead using only the first two units, bars and beats.
However, Good Life Beat is a bit too loud. Now the two drum loops blend together. It feels sparse, but the beat is original enough to capture attention, which is the role of an intro.
Then at bar 5 both the Good Life Beat and Skyline Bass regions on tracks 2 and 3 come in, making the beat sound complete and introducing the melody. To be able to edit the Fine Line Beat region in the intro without affecting its loops to the right, you first have to copy the region to bar 5. When Option-dragging to copy regions, always make sure you release the mouse button first and the Option key last.
If you try to release both at the same time, you may sometimes release the Option key slightly before the mouse button without noticing, and then the region is moved instead of copied. The new Fine Line Beat. To create a break, you need to stop the region from looping.
To resize the region comfortably, you need to zoom in until you can clearly see the individual drum hits on the waveform. To use the zoom tool, you hold down Control and Option and then drag the area you want to magnify. The area you highlighted expands to fill the workspace, and you can clearly see individual drum hits on the waveform.
Zooming in and out efficiently to see exactly what you need takes practice. You can Control-Option-drag to zoom in multiple times and Control-Option-click the workspace multiple times to zoom back out through the same zoom levels. To create the break at the end of the Fine Line Beat region, you will drag its lower-right corner to the left until the final two drum hits are hidden.
The mouse pointer turns into a Resize pointer you can drag to determine where the region stops playing. The drum break creates a sudden void at the end of the intro, which reinforces the impact of the drums and bass.
But a void calls out to be filled! That break in the drum loop is the perfect time to capture the attention of the listener by introducing the bass a few notes earlier.
This time you will copy the bass region from bar 5 to bar 1, and resize the bass region in the intro from the left so it plays only the final few notes.
This time you will use the Z key to zoom in and out of the selection. The Skyline Bass. The workspace zooms out to display all the regions. You can use zoom sliders or key commands to fine-tune the zoom level.
The workspace zooms out horizontally, and you can see a few more bars in your ruler. In that case, the left edge of the region stays at the same position on your screen. When the playhead is offscreen, the content to the left of the workspace stays at the same position on your screen.
When zooming vertically with the zoom sliders or Command-Arrow keys, the selected region stays at the same position on your screen. If no regions are selected, the selected track stays at the same position on your screen. It works! You start with an original but commanding beat with kicks and handclaps—then all of a sudden, the bass announces the melody with a few pickup notes while the beat drops.
On the first beat of the next bar, all three tracks play the entire groove together. That little break at the end of the intro really calls attention to the layered drum and bass groove that starts after the intro.
Remember your newly acquired navigation and zooming skills. You will continue using them to finish this arrangement, and throughout the rest of this book and long after. Build Up the Arrangement Now that you have the rhythmic foundation of your project the drums and bass , you can continue building up the arrangement and avoid monotony by adding melodic elements.
Adding Lead Synths In the next exercise, you will add a couple of synth arpeggio loops. And rather than let them loop throughout the song, you will keep things moving by alternating between the two synth melodies. You already have a solid rhythmic section with bass and low kick drums, so now you are looking for rather clean and high-pitched sounds.
If necessary, adjust the zoom level in the workspace so you can comfortably drag both loops to two new tracks. You will resize the Deal Breaker Arpeggio region to make it one bar long, the same length as the Barricade Arpeggio region. You will now copy both regions so they play alternately. The two synths bring much-needed melody and movement to the song, and they work well in answering each other, each one successively playing its melody.
Currently, both synths sound as if they are coming from the center of the stereo field. To give them a little space, you can spread them apart acoustically by positioning them to either side of the stereo field.
If tracks are selected automatically when you select regions on those tracks, you can change this behavior in Logic preferences. The track selection is unaffected by the region selection. You can now hear the two synths playing from opposite sides of the stereo field, which adds dimension to the music and helps separate the two instruments. Creating a Break Until now, you have kept your project interesting by introducing new elements on a regular basis: the bass at the end of the intro, the drums at bar 5, a synth at bar 9, and another synth at bar But if you keep building your song by adding more elements, at some point those additions may backfire.
The song can become bloated, with the arrangement losing focus, the mix becoming muddy, and the listeners tuning out. Who wants that? By the end of the new synth section, the listeners are so used to hearing the drums and the bass that they may no longer pay attention to them. If you remove them, you can create a big impact. At the top of the Tracks area, look at the tool menus: The menu to the left corresponds to the tool assigned to the mouse pointer.
The menu to the right corresponds to the tool assigned to the mouse pointer when holding down Command. Currently, the left-click tool is assigned to the Pointer tool arrow icon and the Command-click tool is assigned to the Marquee tool crosshair icon.
Click it again to close it. The Loop Browser sometimes shows multiple loops with similar names, and that usually means that the loops all follow the same groove, they all follow the same chord progression, or they are meant to work together.
The results list shows loops containing Skyline in their names. The loops sound like they would all work great together because they all follow the same harmony and rhythm. You will now create the break by deleting the drums in track 2 and the bass in track 3 for the entire time the piano is playing. The Marquee tool places a white highlight rectangle around the selected section of the loops. The section of the loops selected by the Marquee tool is deleted.
Some loops are turned into regions before and after the empty space, so the tracks stop and resume playing at the beginning and end of the removed section. The mouse pointer turns into a Loop tool. Dragging offers the advantage of seeing the exact position in a help tag. The Fine Line Beat. The break brings much needed space and silence, interrupts the flow of the rhythmic section, and automatically shines a light on the two remaining elements: the drum loop and the piano.
After the break, the rhythmic section resumes, but the ending at bar 21 is too abrupt. You will finally shorten the new copy of the piano region so it ends with a sustaining note, which will work better for an ending. You have arranged your first song. Then two synths share the lead melody for a few bars before the bass and drums abruptly stop to leave room for a piano break.
Finally, the bass and drums groove returns, and the song finishes with a few sustained piano notes. Really nice! You will now quickly mix the song and later export it to share it. Mixing the Song Now that you have arranged your regions in the workspace, you can focus on the sound of each instrument and how they sound as an ensemble. Choosing Names and Icons for Tracks and Channel Strips You will open the Mixer and name your channel strips so you can easily determine which instrument they control.
You will then adjust the Volume faders and Pan knobs to change levels and stereo positions, and use plug-ins to process some of the instruments.
At the bottom of the main window, the Mixer opens. The channel strips are named after the Apple Loops that you previously dragged to the workplace. To more quickly locate instruments, you can assign the channel strips more descriptive names.
To edit the name on a track header and on its corresponding channel strip, you can double-click either and type the new name. A text entry box appears, and the current name—Fine Line Beat—is selected. Both the first channel strip in the Mixer and track 1 in the Tracks area are renamed Beat Loop.
A text entry box opens. This time you will enter a name and open the text entry box of the next track with a single key command. Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip.
Notice that track 2 has only a generic audio waveform icon. A shortcut menu displays icons organized in categories. A collection of various drum icons appears. The icon is now visible in the track header. The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment. When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating.
Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument!
Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes. You can see your new names at the bottom of the channel strips. You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips. You will learn about those options as needed.
In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options. With the Mixer open and occupying most of the main window, the workspace is much smaller. Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible. To remedy that, you will now adjust the locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments.
If necessary, scroll or zoom out in the workspace so you can see your entire arrangement. Remember: to see all your regions, click the background of the workspace and press Z. Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments. Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing.
Synth 2 is significantly louder than Synth 1. Continue adjusting the Volume fader until the Gain display reads The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays. Synth 2 is now quieter and closer to the level of Synth 1.
You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image. The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones. The two synths come back closer to the center of the stereo field.
Now they sound like they belong in the mix. Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments. In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano. When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used.
The Power button dims to indicate that the plug-in is off. You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant. The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character.
The bass amp also made the bass a bit louder. In fact, it is a little too loud now. You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano.
The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great. In the inspector, look at the peak level display on the Output channel strip. When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted.
In this project, the highest peak in the song is under 0 dB FS, and no distortion is created. In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds.
You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad. Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware. In this exercise, you will bounce the project to a stereo audio file.
By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions. You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website.
Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining. A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file.
When the progress bars disappear, your MP3 file is ready on your desktop. Logic Pro X is hidden, and you can see your desktop. To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family! Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain? Where is the workspace and what does it contain?
When multiple panes are open, how do you make sure the desired pane reacts to key commands? Describe two ways to adjust a numerical value in Logic. How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins? In the help tag, what are the units of the four numeric values used to determine the length and position of a region?
How many ticks are there in a sixteenth note? How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected. The Tracks area is in the center of the main window. It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions. The control bar is the row of buttons and displays at the top of your display.
It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project. Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key.
Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally. Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix.
You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project.
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.
Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac.
You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording. The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion.
The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves. To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate.
The sample rate identifies how many times per second the audio is digitally sampled. The bit depth identifies the number of data bits used to encode the value of each sample.
The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings. Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones. Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.
By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed.
The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium. Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface.
If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones. The Input Device is the device into which you plug your microphones or instruments.
If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices. If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window.
Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have.
Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording. When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track.
The New Tracks dialog appears. You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback. You will later take precautions to avoid feedback and then record-enable the track from the track header. A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel.
Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7.
More descriptive names will help you identify files in the future. The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector.
This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound. To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in.
Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. Amp Designer opens. Here, you can dial in a sound or choose a preset.
You can now hear your guitar processed through Amp Designer. Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters.
On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.
Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording. Working with a low-level recording is better than clipping the input. Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase. If the Gain knob is dimmed, it means that the feature is not supported by your audio interface.
Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping. When your signal peaks below —2. When it peaks between —2. When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea. The Tuner opens. Checking the Balance Now that the guitar is tuned, you can practice the performance and make sure that you can hear yourself and the other instruments comfortably.
If the guitar is now too loud or too soft in comparison to the other tracks, in the inspector, drag the volume fader on the Guitar channel strip to adjust the monitoring level, or drag the volume slider in the Guitar track header. Recording Audio You have set the desired sample rate, adjusted the recording and monitoring levels, inserted a plug-in to emulate the sound of a guitar amp, and tuned the instrument. You are now ready to start recording.
The playhead is positioned at bar If you need to adjust the position of the playhead, drag it left or right. The playhead and the LCD display in the control bar both turn red to indicate that Logic is recording. The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts.
You will learn how to alter both the metronome and the count-in settings later in this lesson. The new recording, Guitar 01, appears as a blue-shaded audio region. To the name of the track, Logic appends the number of the recording.
The playhead jumps to the beginning of the selected region and playback starts. If you are not happy with your new recording, you can delete it and start over. In the Finder, the audio file is moved from inside the project package to the Trash.
The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary. This alert appears only when you try to delete a recording made since you most recently opened the project. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear.
You will keep your recording so you can experiment with recording additional takes in the next exercise. Recording Additional Takes When recording a live performance, musicians can make mistakes. Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take.
To preserve multiple takes in Logic, you can record new performances over previous ones. The new recording in red appears to be recorded over the previous blue audio region.
Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below. By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface.
The take folder now contains three takes. It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. Recording in Cycle mode allows you to repeatedly record a single section, thereby creating a new take for each pass of the cycle.
When you stop recording, all the takes are saved inside a take folder. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible. Self publishing. Share Embed Flag. TAGS download logic ebook audio midi drum certification ebooks audiobook downloadable.
Do you know the secret to free website traffic? Insider knowledge. Veteran producer and composer David Nahmani uses step-by-step, project-based instructions and straightforward explanations to teach everything from basic music creation to sophisticated production techniques. You will create both acoustic and electronic virtual drum performances using Drummer tracks with Drum Kit Designer and Drum Machine Designer.
Focused lessons take you step by step through practical, real-world tasks. Lesson goals and time estimates help you plan your time. The Apple Pro Training Series is both a self-paced learning tool and the official curriculum of the Apple Training and Certification program. Upon completing the course material in this guide, you can become Apple Certified by passing the Logic Pro X To find an Apple Authorized Training Provider near you, please visit training.
More documents Similar magazines Info. Free Download Logic Pro X Focused lessons take you step by step Page 2: through practical, real-world tasks. Share from cover. Valhalla DSP. Vienna Symphonic Library. Xfer Records. XLN Audio. ADSR Sounds. Big Fish Audio. Carney Media Group Sounds. F9 Audio. Imperfect Samples. Sample Magic. Big Citi Loops. Prime Loops. Producer Loops. Splice Sounds. The Loop Loft.
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Antelope Audio. Dangerous Audio. Prism Sound. Logic Pro. Buy Logic Pro. Resources From support and training to tutorials and an online community of knowledgeable music pros, take your experience with Logic Pro to a new level. Support and Learning. Plug-ins and Content. Support and Learning Support Logic Pro Support Page Find up-to-date information about key topics as well as basic troubleshooting tips. MainStage Support Page Find up-to-date information about key topics as well as basic troubleshooting tips.
Audio A daily resource covering the latest news, reviews, tutorials, and interviews relating to Logic Pro. Groove3 Presenting full coverage and in-depth Logic Pro video tutorials from industry experts, Groove3 has a diverse catalog of lessons that cover all aspects of production with Logic Pro for every type of user — from beginner to advanced.
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Transform a loose performance into one that locks tight into the groove using region-based parameters for note velocity, timing, and dynamics. Live Loops is a dynamic way to create and arrange music in real time. Kick off your composition by adding loops, samples, or your recorded performances into a grid of cells.
Trigger different cells to play with your ideas without worrying about a timeline or arrangement. Once you find combinations that work well together you can create song sections, then move everything into the Tracks area to continue production and finish your song. Step Sequencer is inspired by classic drum machines and synthesizers. Using the Step Sequence editor, quickly build drum beats, bass lines, and melodic parts — and even automate your favorite plug-ins.
Add sophisticated variations to your pattern with a wide range of creative playback behaviors. Use Note Repeat to create rolling steps, Chance to randomize step playback, and Tie Steps Together to create longer notes. Get hands-on with a super-tactile experience in Live Loops via Launchpad — an 8×8 grid of expressive pads for cell control, dynamic note input, mixer control, and more.
Learn more about novation launchpad. Bring DJ-style effects and transitions to an individual track or an entire mix with a collection of stutters, echoes, filters, and gating effects. Create nuanced drum tracks, mix and match music while staying on tempo, and more.
As your song develops, Logic Pro helps you organize all your ideas and select the best ones. Group related tracks, audition alternate versions, and consolidate multiple tracks. Lightning-fast click-and-drag comping helps you build your best performance from multiple takes.
Quickly manipulate the timing and tempo of your recording with Flex Time. Easily move individual beats within a waveform to correct a drum, vocal, guitar, or any other kind of track without slicing and moving regions.
Edit the level and pitch of individual notes quickly and easily with Flex Pitch. Roll over any note and all parameters become available for tweaking. Play freely and stay on beat with Smart Tempo, a way to effortlessly mix and match music and beats without worrying about the original tempo. Record freely without a click track.
And easily combine and edit MIDI and audio tracks — from vinyl samples to live instruments to multitrack audio stems — with constant or variable tempo. Create organic-sounding acoustic drum tracks or electronic beats with the intelligent technology of Drummer.
You can choose from dozens of drummers across many musical genres, and direct their performances using simple controls. Edit the drum pattern in real time, including volume, complexity, and swing.
Drummer can even follow along to a specified track and adjust its playing accordingly — much like a live drummer would. Click and drag to choose the best sections of each take to create a seamless comp, complete with transition-smoothing crossfades. Save multiple comps and switch among them to pick the one you like best. Consolidate multiple related tracks into a single track.
Use a Summing Stack as a quick way to create submixes. Or create layered and split instruments. Create alternate versions of a track or multiple grouped tracks, and switch between them at any time to audition different options. Create, store, and select from different edits and arrangements of track regions to make it easier to experiment with various creative ideas.
Load any version to make changes without compromising your original. Assign any selection of channels to a track group, then control the levels or other parameters of all tracks in the group from any single channel in the group. Easily capture changes to any channel strip or plug-in parameter. Just enable automation, press Play, and make your changes. Make your songs and other audio productions sound their best with a complete collection of dynamics processors, EQs, and other production effects.
Use built-in Logic Pro plug-ins or any third-party Audio Unit effects to directly and permanently render effects in any portion of an audio file, or to multiple files at once. Transform MIDI performances into music notation in real time as you play, creating perfectly readable notation even from a performance that may be less than perfect.
Logic Pro makes scoring and sound design a snap. Share projects and tracks with AirDrop, Mail Drop, or a comprehensive set of features for exporting stems. Render, or bounce, a project to a single audio file — or to multiple audio files.
A project can be bounced to several different file formats simultaneously, and a surround project can be bounced to a set of surround audio files. Learn more about transitioning from GarageBand to Logic Pro. Learn more about mainstage. Download MainStage from the App Store. Buy education bundle now. Logic Pro. Buy Logic Pro. Logic Pro Ridiculously powerful.
Powerful creative tools for professional songwriting, beat-making, editing, and mixing. Integrated Dolby Atmos tools for mixing and exporting songs as spatial audio.


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