Before recording a single note:
Create a project template in Logic Pro with:
Track layout: drums, bass, rhythm guitar, lead guitar, vocals, etc.
Routing: all instrument tracks → busses (e.g., drum bus, guitar bus, vocal bus).
Common plugins preloaded (EQ, compressors, reverb sends).
Color coding and naming conventions.
Use consistent session settings (sample rate, bit depth, tempo grid).
Make a “Production Notes” sheet for each song with:
Tempo and key
Arrangement notes
Reference tracks
Performance notes
This keeps your workflow fast and uniform — critical when doing 30 songs.
A logical order minimizes rework and builds a solid foundation.
Scratch Track
Record a simple guide guitar + vocal to a click track.
Helps you line up the arrangement and tempo for the drummer.
Drums (Logic Drummer)
Build the Logic Drummer performance based on your scratch.
Fine-tune the groove, fills, and dynamics to match the song’s feel.
Consider printing the drums as audio once finalized.
Bass
Record bass next, locking in tightly with the drums.
Use minimal processing while tracking (maybe a DI + amp sim).
Rhythm Guitars
Record your main guitars next. Double-track left/right for width.
Keep them tight with the rhythm section.
Lead Guitars / Additional Instruments
Vocals
Do main vocals last, once the mix feels cohesive.
Add backing vocals and harmonies afterward.
Keep it clean.
Use minimal effects on input — maybe light compression on
vocals or bass for dynamics control.
Monitor with effects, but record dry.
Use Logic’s plugins for monitoring reverb, delay, or amp sims, but don’t
print them yet (unless it’s part of the sound).
This is where 90% of your processing should happen:
Per Track:
EQ: Cut unwanted frequencies, enhance clarity.
Compression: Balance dynamics (light on vocals, more on drums/bass).
Saturation: Adds warmth or glue.
Reverb/Delay: Use sends to shared FX buses.
Automation: Bring sections to life.
Busses:
Route similar instruments to a bus (e.g., guitars, drums).
Apply bus compression, EQ, and subtle glue.
Master Bus (During Mix):
Light compression (e.g., 1-2 dB gain reduction).
Gentle EQ for tonal balance.
Do not master heavily here.
Mix in batches (e.g., 5–6 songs per week).
Use reference tracks to check tonal balance.
Take breaks — fresh ears prevent over-EQing or over-compressing.
Save mix presets for consistency (vocal chain, drum chain, etc.).
Once you’re happy with a mix:
Bounce a high-resolution stereo mix (24-bit WAV, no limiter or master bus compression if sending for mastering).
Name properly (e.g., “SongName_mix_v3.wav”).
Check on multiple systems: headphones, car, speakers.
Optional:
If you’ll master yourself:
Start with the bounced stereo mix.
Use a separate Logic project for mastering.
Chain:
EQ (broad tonal shaping)
Multiband compression (gentle)
Saturation/tape (optional warmth)
Limiter (final loudness target: around -9 to -12 LUFS for streaming)
Metering plugin (Loudness, True Peak)
If you’re releasing publicly, consider sending to a professional mastering engineer, at least for a few key tracks, to set a tonal reference for the rest.
Ensure all songs have consistent loudness, tonal balance, and spacing.
Tag metadata (title, artist, album, year).
Export final masters as 24-bit WAVs for archival and 16-bit WAVs/FLAC for distribution.
Back up everything — both project and bounces.
Recording order:
Scratch → Drums → Bass → Guitars → Vocals → Overdubs
Processing order:
Minimal input FX → Full mixing FX → Light mix bus processing → Mastering
(separate session)
Bounced track workflow:
Final mix (no limiter) → Master session → Export master → Metadata +
backup
Because your busses and template are ready, the key is to keep sessions fast and consistent.
Load your template and save a new copy →
SongName_v1.logicx
Import or record a scratch take (guitar + vocal) to a click.
Program or tweak the Logic Drummer track:
Match groove, intensity, and fills to the scratch.
Bounce or freeze when finalized (keeps CPU light).
Record bass live, locked to drums.
Use a DI + amp sim chain from your template.
Aim for tightness, not tone perfection yet.
Record rhythm guitars, double-tracked if appropriate.
Record lead guitars / overdubs.
Record vocals last, once the instrumentation feels stable.
💡 Tip:
When tracking, resist the urge to “mix as you go.” Keep rough balancing
and light monitoring effects only — EQ/filter out mud, maybe gentle
compression for comfort, but no deep mixing decisions yet.
Since you’re handling a full album-length set, consistency and efficiency matter more than chasing perfection on each track.
Create a mix reference session:
Choose your best 2–3 songs, mix them fully.
Once you love the sound, save all channel strip presets and bus settings.
Use this as your sonic blueprint for the others.
Work in groups:
Mix in sets of 4–5 songs that share vibe or instrumentation.
Here’s a practical “when” guide:
| Stage | Processing Type | Timing | Notes |
|---|---|---|---|
| Tracking | Light compression, HPF, DI/amp sim | Pre-mix | Comfort/tone shaping only |
| Mixing | EQ, compression, transient shaping, reverb, delay | Post-record | Core tone and depth decisions |
| Bus Processing | Glue compression, subtle EQ, tape/console sim | End of mix | Cohesion & warmth |
| Master Bus | Limiter (light), EQ (broad), metering | Final mix | Demo-level balance; final polish happens in mastering |
| Mastering | EQ, multiband, limiting | Post-bounce | Consistent loudness and tonal match across all songs |
Quick reference for Logic stock tools (assuming you’ll mix in Logic):
EQ: HPF ~80Hz, gentle dip ~300Hz if muddy, presence boost 3–5kHz.
Compression: Logic’s Compressor (Opto or FET). Aim for 3–5dB GR.
De-ess: Logic DeEsser2.
Reverb: Plate for main space, small room or slapback for depth.
Automation: Subtle volume rides after compression.
EQ: HPF up to ~100Hz, notch harshness (2–4kHz if needed).
Compression: Often light, if any; focus on panning and balance.
Doubling: L/R panned for rhythm, center for leads.
EQ: HPF ~40Hz, boost 80–100Hz if thin, cut 250Hz if muddy.
Compression: 4–6dB GR with slow attack/fast release for punch.
Saturation: Subtle tape or analog warmth adds fullness.
Bounce to audio and treat like real drums:
EQ kick/snare/overheads separately if needed.
Add bus compression (2–3dB GR) for glue.
Parallel compression can add energy.
When you’re happy with a mix:
Remove or bypass any mixbus limiter/compressor
that’s not part of the “sound.”
(Leave mild bus glue if it’s baked into the tone.)
Bounce stereo mix:
Format: 24-bit WAV
Dither: Off
Normalize: Off
Name it clearly →
SongName_Mix_v1.wav
Then either:
Open a new Logic project for mastering:
Import all final mixes.
Match loudness (use LUFS meter).
Apply gentle EQ, compression, limiter per song.
Check transitions and loudness consistency.
Bounce final masters at -1.0 dBTP, -10 to -12 LUFS for streaming.
Export 24-bit WAVs (no limiter, no master FX).
Provide notes about desired loudness/feel and any reference track.
Track your progress: Make a spreadsheet with columns for each stage (recorded / edited / mixed / mastered).
Batch similar work: e.g., record all bass parts in one session.
Ear reset: Don’t mix more than 2–3 songs per day; fatigue kills perspective.
Reference constantly: Compare your mix loudness and tone to pro tracks.
Back up every session.
Record scratch → drums → bass → guitars → vocals.
Keep recordings clean; add tone later.
Mix in batches, reusing your best mix as a reference.
Minimal master bus FX; final mastering in separate session.
Bounce 24-bit WAVs, keep consistent loudness across all songs.
Goal: Get every song ready to record efficiently.
Week 1
Organize all your songs:
Confirm key, tempo, structure.
Note any changes you want before recording.
Finalize Logic template (bus routing, naming, FX sends).
Create a master session folder structure:
/Projects/SongName/Logic/Audio/ExportsBuild Logic Drummer presets for a few representative grooves.
Week 2
Record or import scratch tracks for all 30 songs.
Set tempo maps and markers.
Refine drum performances for the first 10 songs (batch #1).
✅ By end of Week 2: Every song is session-ready with tempo map and scratch track.
Goal: Record all live parts cleanly and consistently.
Week 3–4: Batch #1 (Songs 1–10)
Drums finalized (Logic Drummer)
Record bass + rhythm guitars
Record main vocals
Quick comping/cleanup
Week 5–6: Batch #2 (Songs 11–20)
Repeat the same flow.
You’ll be faster now — keep tones consistent.
Start light editing as you go (tighten timing, tune vocals if needed).
✅ By end of Week 6: 20 songs tracked and cleaned up.
Goal: Finish all recording and polish performances.
Week 7
Record Batch #3 (Songs 21–30)
Add overdubs, leads, harmonies across all songs.
Week 8
Review all recordings for consistency.
Freeze/commit CPU-heavy tracks (amp sims, FX).
Export stems if needed for mixing backup.
✅ By end of Week 8: All songs recorded, organized, and session-ready for mixing.
Goal: Mix all 30 songs efficiently and consistently.
Week 9
Choose one or two songs to mix to completion.
Use them as sonic references for the rest.
Save track/bus presets for reuse.
Week 10
Mix the rest in batches of 5–6 songs per block.
Focus on balance and tone; don’t chase perfection.
Check mixes on headphones, monitors, and phone.
✅ By end of Week 10: 30 rough mixes done, 5–10 final-quality mixes ready.
Goal: Final polish and consistency across all songs.
Week 11
Master the first 5 tracks yourself or send them to mastering engineer.
Match LUFS and tonal balance across the set.
Build mastering chain preset in a new Logic session.
Week 12
Finish mastering all songs.
Tag metadata and export final WAVs/FLAC.
Back up everything to two drives/cloud.
Optional: build sequencing for album or EP groupings.
✅ By end of Week 12:
All 30 songs tracked, mixed, mastered, and ready for
release/distribution.
Batch similar work: e.g. record all bass parts over two long sessions.
Daily targets: 2–3 songs per day for small tasks (e.g. drum editing or vocal tuning).
“Freeze point” rule: Once you move a song to mixing, no arrangement changes.
Reference often: Use your first 2–3 mixed songs as a tonal guide for the rest.
Breaks: Rest your ears every 1–2 hours.
If your goal is releasing rather than just finishing:
Release in 3 EPs of 10 songs spaced 2–3 months apart.
This keeps momentum and avoids overwhelming listeners.
You can master all 30 now, but promote in stages.
Do they form a single narrative or emotional arc, or are they standalone moments?
Is there a theme — lyrically, tonally, or atmospherically — tying them together?
Would it make sense to group them into smaller releases (EPs, sides, or seasons)?
Do I know what I want the listener to feel during each song?
Does my performance (especially vocals) match that energy?
If someone played three songs in a row, would they immediately know it’s me?
Am I using a recognizable palette of sounds (guitar tones, vocal treatment, etc.) that defines the project?
Not all 30 may fit on one record — are there outliers that might shine more as singles?
Which ones best represent where I’m at artistically right now?
Am I referencing mixes against one another?
Are levels, reverb tones, and overall EQ balance matching from track to track?
Am I mixing for clarity and natural feel, or a more produced, polished sound?
Do I have 2–3 reference tracks I can compare to?
Are all songs following the same structure/tempo range?
Could a few benefit from acoustic versions, alternate keys, or stripped arrangements?
Are my inputs consistent and clean?
Am I leaving ~6dB of headroom on the master bus before bouncing for mastering?
Have I checked my room EQ or used reference headphones?
Am I compensating for any known bias (e.g., bass-heavy room, bright monitors)?
Portfolio / demos for pitching?
Self-release (Spotify, Bandcamp, etc.)?
Physical album?
Artistic archive for yourself?
The answer changes how you approach mastering, distribution, and even song selection.
How will I present the songs — live performance, videos, visual album, etc.?
What kind of imagery or visual identity matches the sound?
Do I have a clear quality benchmark, or will I risk endlessly tweaking?
Am I okay with a bit of imperfection if it preserves energy and authenticity?
Do I have 1–2 trusted listeners who understand my vision (not just musicians)?
At what stage will I share early mixes for perspective?
These are questions more on the “artistry” side — the ones that make great albums stand apart:
What does “finished” mean emotionally, not just sonically?
Are there songs I’m keeping out of sentimentality rather than strength?
If I could only release 10 of these, which tell the truest story about who I am right now?
Does this song convey the feeling I intended? ✅ / ❌
Is the vocal performance authentic and expressive? ✅ / ❌
Are the dynamics and energy consistent throughout? ✅ / ❌
Does each section serve the song (intro, verse, chorus, bridge, outro)? ✅ / ❌
Are there any repetitive sections that could be shortened or varied? ✅ / ❌
Is there a clear focal point in the song (hook, riff, or lyric)? ✅ / ❌
Does this mix feel like it belongs with the other songs I’ve finished? ✅ / ❌
Are guitar, bass, drums, and vocals balanced and cohesive? ✅ / ❌
Do any instruments clash or mask each other? ✅ / ❌
Are levels and panning consistent and clear? ✅ / ❌
Is EQ applied tastefully (no harsh peaks or muddy frequencies)? ✅ / ❌
Does the song leave ~6dB headroom for mastering? ✅ / ❌
Any unwanted clicks, pops, or timing issues fixed? ✅ / ❌
How does this song sound compared to my reference tracks?
Tone: too bright / too dark / balanced
Energy: too weak / just right / too aggressive
Is this mix emotionally satisfying without overprocessing? ✅ / ❌
Could this song stand alone as a release? ✅ / ❌
Any last tweaks before moving to mastering? ✅ / ❌
Write 1–2 sentences summarizing your gut feeling about the mix.
Track what works well and what you want to replicate for future songs.
💡 Pro Tips for Using the Checklist
Use it immediately after mixing — your ears are still fresh.
Don’t try to fix everything at once — mark issues and batch-fix them later.
Keep a “song score”: a simple 1–5 rating for how satisfied you are with each song; this helps prioritize final tweaks.
Consistency is king: by referencing previous audits, you’ll keep the 30-song collection cohesive.