Oh, no. What have we done? We’re on Twitter.@loudcolorla
We work with creatives of all stripes. There seems to be a pervasive talent amongst us that can also work to our detriment: We’re hard on ourselves. Our expectations for our work has an often insurmountable standard. Why? We know that excellence takes a rigorous disposition. This becomes a problem if we start beating ourselves up.
Around the studio at Loud Color LA, we have reminders everywhere to be your own biggest fan. Not in any self-aggrandizing way. But to look at ourselves and our work through the eyes of a causal observer who could look at what we get to do every day and think, “Wow. Now that’s something I wish I could do.” The picture above is from our Studio A Mixroom. The message changes from time to time, but at the moment, it simply reads “Ur my hero!” It’s cheesy as hell, and we love it. It makes me smile every time I read it. And it reminds me that little me would look at my life today and think, “Wow. I hope someday, I get to be like that guy.”
It’s not a popular thing to say in pro mix engineer circles, but I love mixing commercials, trailers and promos in Logic Pro X. The industry standard for most post houses is, of course, Pro Tools. So why am I such a fan of LPX?
First and foremost: flexibility! Usually, I’m up against the clock for a client, and I’m not just mixing. I’m recording foley, layering sounds, and synthesizing sounds from scratch. The latter is huge here. Pro Tools, for all its strengths, lacks the efficient workflow for anything involving midi, CC automation and complex sound design. Logic Pro is built with VST’s in mind. One of my biggest go-to’s is Xfer Records’ Serum. It’s incredibly simple to use if you come from the more complex world of extreme modular routing, FM synthesis and the like.
When I need a big, bass-y impact hit, I’m not always reaching for my sample library. Often, I’m layering from a sample-based VST such as Kontakt and a time-variable collection like Rise & Hit, along with a sub oscillator from Serum or Native Instruments’ Massive.
Another reason I love mixing in LPX? Speed. Holy cow. In my humble opinion, nothing beats the buss and aux routing flexibility inherent to Logic Pro. I should add here that familiarity plays a huge factor. In the end, anything that can be accomplished in Pro Tools can be accomplished in a multitude of other DAW’s. In the end, it just comes down to what you’re used to.