![]() Others create multiple templates to cover various creation/mixing/mastering scenarios. Which environment is more inviting? Why decorate from scratch each time you enter when you almost always need the same furnishings? Some users prefer having one or two general work templates. Think of a template as the equivalent of walking into a fully furnished room instead of a bare room with four white walls. Logic provides templates and over time you can develop and save your own templates. These project templates include the basic tracks, sends, busses, effects, and instruments that you may need for a specific project. ![]() Logic provides a simple window for creating a new project by starting from a list of preset templates. These are factory preset templates that include many of the basic tracks you will need to begin a session in a particular style or with a particular workflow. This window usually includes a list of pre-set sessions with names like “Hip-Hop Beat,” “Vocal Tracking,” “Band Recording,” etc. When you first launch your DAW, the first window at launch usually prompts you to either create a new session or open an existing project. This way, time is saved by not having to repeat everyday, time-consuming, set-up tasks over and over again. The fundamental underlying idea is to put into place the basic and commonly-used elements you will likely need while leaving enough room on the canvas to develop each project further. Tear off a sheet, use it, and there is always another ready for next time. ![]() The metaphor is that of a pad of paper with a pre-designed letterhead and logo. In the early days of desktop production, templates were called stationary pads. Working in a digital environment, however, we can mitigate this “blank page” syndrome by using templates. But first, set up that send, create the busses, set up the routing, load up the plug-ins, tweak the parameters, dial in the levels, etc. As mixing engineers, we may have a great picture in our minds of the final mix. Then what? Create a track, call up an instrument, set up a headphone mix, a click track, a count-in, and so on. When we have an idea we want to put down, first we have to boot up our DAW. He can also be found hosting AuroraCast, his long-format podcast.As musicians, we are often in a similar predicament. He also creates videos and communicates to his peers via his Discord, YouTube, and Patreon channels. When not composing or producing music, Mike enjoys lecturing at the University of Northampton leading students through industry and production modules. ![]() In addition to his music work, he has produced and released records for a number of independent artists.Īs a lifelong enthusiast in immersive sound and multidimensional art forms, Michael is currently interested to learn what potential we now have as musicians and producers to utilise Dolby Atmos from our personal computers, without the need for expensive monitoring systems and large spaces. He has composed music and designed sound for a number of films, trailers, TV shows, documentaries, animations, commercials, companies, and more. Bell is an award-winning film music composer, ambient sound designer, sound engineer, record producer, and the CEO/Founder of Aurora Eclipse Productions Ltd.
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