OK. I think let's move on now. And let's add uh a keyboard player. So we've got a new instrument session player. Keyboard player, let's create that. OK. So uh logic has spoken and we have got a keyboard part there. So I'm just gonna mute the classic electric piano that we originally had and I'm gonna just keep this keyboard going. And let's see how that sounds. I won of you. I know you feel it too. Never go will always. OK. Now, if you'll notice, I think what the keyboard player is playing is very lovely and very beautiful, but doesn't necessarily match the energy that the other parts are that, that we've created um are doing within this. So we need to adjust what the keyboard player is playing just to make it a little bit more energetic. Um uh and therefore to fit the energy of the drummer and the keyboard player. So, uh drummer and the bass. Sorry. So let's go here. We've got some different options here. We're gonna go for keyboard player, we're gonna go for broken cords. Let's see h...

ow that sounds. OK. That's loaded up. Now, we've got the keyboard player. Doing broken cords. Let's hear how that sounds. I love you. I know you feel it too. I never let you go. I will always blow. So I think that that's sounding better than it was. However, I kind of liked the sound of the electric piano that we already had. Um, just potentially, I feel like it, it didn't have the same complexity that this new session player has. So why don't we try changing the sound of the session player, keyboard player to the original electric piano sound? So if we go here, we select this button here and we go to vintage electric piano. Let's see how that sounds though. I want you to of you. I know you feel it too. Never let you go. Our fires will always glow. OK? Yeah, I'm happy with that sound now. It's a bit of a warmer tone and it fits more the genre that we're going for. Uh let's now um play around with this window here. Let's uh up the intensity I think. And then uh let's have a listen to that. I want you. I know you feel it too. Never let you. OK. I like that intensity probably for the chorus. So we're gonna drop it back down again and just maybe take the complexity down and see how that sounds. I want you to do of you. I know you feel it too. I never, you go. Our fire will always glow. OK. Now if we look in this window here, we can choose to whether we have both the left hand and the right hand of the keyboard player playing at one time. So the left hand will normally do more of the lower notes, the right hand will normally do more of the higher notes. So I wanna try it because we've already got a bass player in there. I wanna try it without the left hand. So without the lower notes. So I'm just gonna deselect the left hand and let's see how that sounds. I want you to know. In fact, I'm gonna solo the instrument so you can hear the difference cos I think that'll be helpful. Whereas with both the left and the right hand, you get more of the base notes as well. So I don't think we need those. Let's get rid of that left hand. So um and then we can edit what we're doing with the right hand here. So we can choose whether we want the right hand to be voicing the full chord. So all three notes of the chord triad or we can do slightly less. So we could do, let's try, for example, two voices. Let's see how that sounds. We can also change the, the movement range. So it's minimal right now. It could be a small or a medium or large range. Let's just try, change it to large range to see how different it is from minimal ok. I actually think that's really, really nice. I really like the first half of it. The rhythm that was in the first half, especially at the start. So, this part, I really just like that first bit. So, do you know what I'm gonna do? I'm going to make this section smaller and then we are gonna loop that section. So it's just doing what it did in the first half twice. Let's hear how that sounds now with the drummer and the bass player in as well. So we'll just solo all of those. Yeah, I'm quite happy with that. Right. Let's now move on to our chorus. So I'm gonna copy this region. We've already got, I'm gonna paste it in here and then we're going to make sure this isn't in the loop anymore and drag this out. And at this point, we are going to include back in the left hand, remember in a chorus, we wanna make it feel more intense, more vibrant, more exciting. So we're gonna bring back in more notes. We're going to increase the intensity, maybe increase the complexity as well. And let's have a listen to that and see how it sounds. OK. Let's have a look at this left hand as we didn't use it in the last section, uh We can change what note it's gonna be hitting the, in the voicing. So at the moment it's just doing the root notes, what happens if it did route fifth and octave. So not only the root note, but then also the fifth note within that cord and then also the octave. So an octave up from the root note, let's have a listen to that. So suddenly it's, it's becoming more dense in that left hand at the moment, it's just sustaining the notes which just holding it. What happens if we made it steady eights? How does that sound? Let's just listen to just the piano part so we can hear that. I quite like that rhythm, but I'm not sure. I like that combination of notes. So maybe we change the voicing back to root only and see how that sounds. OK? Maybe we want it slightly deeper. So let's go root an octave. OK. That's slightly better. Let's just see what the other ones sound like. Let's try complex. OK? I missed that rhythm that the steady eights was showing a so I'm gonna put that back in. I quite like that. Let's listen to it one more time. So let's now have a look at the uh this part of it where we can change the pattern of the rhythms. So we're on rhythm two. What happens if we change it to just one? Let's see how that sounds. OK? It sounds a little bit straighter to me. So uh I quite liked what two was doing. Let's just see what four does I quite like this kind of Syncopation. I think that works really well. So, I think we keep it as that and let's see if there's any other things we can do. Yes. Let's add some fills. Let's do a load of fills and make them complex and see how ridiculous it sounds. Let's make them even more complex. Let's add even more fills. Oh, that's quite nice. I quite like that. Let's hear how that sounds with the bass and the drums back in. Yeah, I'm happy with that. Let's see what it's like with the vocal in as well. So I'm gonna mute the original electric piano that we came up with to keep everything else in. I want you, you, I know you feel it too. Never. You will always. So I think that's sounding good. What I might do is potentially we've got this repeat of the star of this keyboard pile. Let's have a listen to it again. I know you feel it too. I'm wondering whether we just only have that in the second half of the verse. So what we're doing there is we're building momentum by gradually adding texture so that the start of the verse feels sparser. By the end, it feels busier and then it's a nice step up in momentum up to the chorus. So I'm going to make that not a loop anymore by pressing L and I'm just gonna drag it to the second half rather than the first half. Let's listen to it. Now, I want you to know that I love you. I know you feel it too. I never, you earth will always OK. I like that. I don't know if you've noticed this, but I feel like the end of the chorus feels a little bit empty and I'm wondering whether there's, we could do more to fill it in. I feel like we could repeat this final Paradise. Paradise that we've got here. So the way we do that is we can just copy that audio over. So first things first, we need to cut this audio file up on the vocal part. The way we can do that is using the marquee tool. So I like to use that the most. I find that the easiest to do. So I hold the command button and then I'm just gonna drag it from before when that Paradise comes in on the file and drag it to just after like that, I'm gonna double click and that now makes it a separate region and we can drag that a bit more easily. So I've pressed, I've got it selected and I'm gonna press the option key and then place it there and that now should hopefully have placed it in the second, the final bit of the chorus as well. So there we go, we've just come up with an upbeat version which is a bit more disco sounding um using the session player function in logic. In the next video we're gonna try doing a more down tempo uh ballad version. So I'll see you in the next one.

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Tomas George

Tomas is a UK Music Producer, Composer, Audio Engineer and Video Maker. He's been producing and writing music now for over twenty years, but especially loves teaching it online. Since 2016, he has created online courses about music, audio, and video production that hundreds of thousands of students from around the world have taken. <div><div><br></div></div>

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Peter Darling

Peter <span class="il">Darling</span> is a songwriter and composer operating mainly in the UK. His work has been featured internationally on radio, TV and internet for companies and shows such as Ariel, Queer Eye, Saturday Night Live, Lacoste, Timberland, and many many more. 

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topics covered in this class

Electronic Music Production Logic Pro Pro Audio Software Songwriting Vocals AI Creative Inspiration Writing

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Upbeat - Part 3: Keys - Arranging with Logic Pro 11's Session Players

Upbeat - Part 3: Keys - Arranging with Logic Pro 11's Session Players

Lesson Info

15. Upbeat - Part 3: Keys - Arranging with Logic Pro 11's Session Players

Lessons

Introduction and What You're Going to Learn

Let's Listen to the Two Versions of the Songs That We Create in this Course

AI Lyrics with Lyric Studio - Part 1: Verse 1

AI Lyrics with Lyric Studio - Part 2: Chorus

AI Lyrics with Lyric Studio - Part 3: Verse 2

AI Chord Sequence

How to Create AI Melodies with Melody Studio - Part 1: Verse 1

How to Create AI Melodies with Melody Studio - Part 2: Chorus

How to Create AI Melodies with Melody Studio - Part 3 Verse 2 + Importing MIDI

How to Create AI Vocals with Synth V Studio Basic - Part 1: Importing + Verse 1

How to Create AI Vocals with Synth V Studio Basic - Part 2: Verse 2

How to Create AI Vocals with Synth V Studio Basic - Part 3: Bouncing + Importing

Upbeat - Part 1: Drums - Arranging with Logic Pro 11's Session Players

Upbeat - Part 2: Bass - Arranging with Logic Pro 11's Session Players