Apple Logic Pro 7 TDM Guide Manual do Utilizador

To view the user manual, click a topic in the drawer on the side.Otherwise, click a link below.mLate-Breaking NewsmInstruments and EffectsmNew Feature

10 ContentsChapter 29 625 Project and File Interchange625 Sharing Logic Pro Data Over a Network630 Backing Up Audio Files630 Backing Up and Sharing Pr

100 Chapter 4 Setting Up Your System∏ Tip: If you plan to use a Macintosh solely as a Node machine, you may wish to place the Logic Pro Node appli

1000 Glossarytransform set A collection of transform operations (performed in the Transform window) can be saved as a transform set. Saved transform

Glossary 1001VU meter Abbreviation for Volume Unit meter. An analog meter used to monitor audio levels.WAV, WAVE The primary audio file format used

1002 GlossaryZoom tool This tool allows you to zoom in on any part of the active Logic Pro window. You can choose this tool from the Toolbox, or acti

1003IndexIndex5.1 (ITU 775) format 8096.1 (ES/EX) format 8097.1 (3/4.1) format 8107.1 (SDDS—Sony Dynamic Digital Sound) format 810AAAC. See

1004 Index Apple websites 17arpeggiator object 897Arrange areachanging background 294displaying grid 293Drag menu 297editing automation data 589

Index 1005 pitch shifting 505playback of compressed formats 274pop and click removal 496quantizing 509, 516reducing noise 512removing DC offset

1006 Index backupaudio file 503, 630reverting to 503on .Mac account 625creating 627restoring 627project 630automatic safety copy 153Balance/Pan

Index 1007 Catch function 71, 976CD burning 611cent 976Change Display Only mode (Chord track) 665Change Gain command 497Channel EQ 217channel sp

1008 Index Content Link mode 72context menu. See shortcut menucontrol change event 448controllerdescribed 977resetting 396using for automation 59

Index 1009 Dim Level preference 149Direct TDM 96Discard Recording and Return to Last Play Position 364distributed audio processing 99division valu

Chapter 4 Setting Up Your System 101Enabling Distributed Audio ProcessingThe following presumes that you have correctly installed the Logic Pro Nod

1010 Index Event ListAdditional Info button 439aftertouch event 450control change event 448creating event 442deleting event 446displaying release

Index 1011 First Data Byte checkbox (Hyper Editor) 431Fixed Value checkbox (Hyper Editor) 422folder (region) 281, 338, 982adding region 341creatin

1012 Index editing eventlength 423value 425event definition. See event definitionFirst Data Byte checkbox 431Fixed Value checkbox 422grid 419hi h

Index 1013 Kkeyboard object 895key command 57Append Track to Track List 188Apply Quantization Settings Destructively 458Automation Event List 594

1014 Index Key Commands window 159Learn by Key Label button 162Learn by Key Position button 162Learn New Assignment button 164opening 159key sign

Index 1015 as absolute position 134editing 132in SMPTE units 134locking to SMPTE position 131moving 131naming 128navigatingmoving to next/previo

1016 Index selecting 423, 441identical 404inside a range 485similar 404sendingpan 396program 396used MIDI instrument settings 396volume 396sol

Index 1017 MIDI event 446multiple tracks 198note event 413of particular pitch 413region 299selected notes/regions/folders 299track 197tracks wi

1018 Index moving global object 693moving object 692impact of display quantization 693restricting movement to one direction 693with key commands

Index 1019 tying to other event data 407Note Force Legato function 409note head (notation) 683Note Overlap Correction function 409Note Velocity mo

102 Chapter 4 Setting Up Your SystemThe Track Node buttons have four possible status indicators:Â Disabled: The track is calculated on the local h

1020 Index from previous bar 109from selection 109pausing 109shuttling 110starting 109stopping 109playheadadjusting size 107moving by note leng

Index 1021 Score 795Sharing 626Video 805Prelisten channel strip 938preset. See plug-in settingProcess Buffer Range preference 98program change ev

1022 Index in Cycle and Replace mode 372maximum file size 359monitoring 356–358mono 360overview 351preparations 352project tempo 372recording f

Index 1023 by specific grid amount 311limiting to horizontal/vertical axis 309numerically 310onto selected track 313to playhead position 311movin

1024 Index navigating 490overview 45, 487Pencil tool 496playback 488controlling with overview 489key commands 489looping 488resizing region 28

Index 1025 importing/exporting 539searchingalias 326Apple Loops 270audio file used in project 539key command 161Logic-related file 259peak in au

1026 Index display in Event List 310, 445display in Marker List 134display in Transport bar 106customizing 122resizing 120frame ratedetecting aut

Index 1027 LCRS format 808master channel strip 827multi-channel effects 825bypassing channels 826configuring 826linking channels 826plug-in head

1028 Index moving to current playhead position 644, 647recording 646tempo fader object 654Tempo Interpreter window 652–653opening 652parameters

Index 1029 soloing 199multiple 200Track Mute/Solo setting 199sorting 191transferring channel strip setting to new track 187unfreezing 203unhidin

Chapter 4 Setting Up Your System 103What Can’t Be Processed on a NodeThe Node buttons are available for all audio and software instrument tracks. T

1030 Index Unpack Take Folder commands 378USB (Universal Serial Bus) 88USB keyboard 94VVariable Bit Rate encoding 608, 610velocity, described 100

5 1055 Navigating Your ProjectIn this chapter, you will learn how to play, repeat, and move to different parts of your projects.Logic Pro offers

106 Chapter 5 Navigating Your ProjectTo place the playhead in the Bar ruler:m Click the desired position in the lower third of the Bar ruler.Double

Chapter 5 Navigating Your Project 107The playhead will move to match the display position. Adjusting the first number in the Bar display will move

108 Chapter 5 Navigating Your Project2 Click the General tab, and turn on the Wide Playhead checkbox. Using the Transport ButtonsYou can use the tr

Chapter 5 Navigating Your Project 109 Play from Right Locator: Moves the playhead to the right locator position, and begins playback. Play from

Contents 11690 Editing Notes and Symbols: Basic Operations690 Using the Shortcut Menu691 Changing Several Objects Simultaneously692 Deleting Objects

110 Chapter 5 Navigating Your Project Shuttle Rewind and Shuttle Forward: Repeated key presses will increase the winding speed. Repeated hits of

Chapter 5 Navigating Your Project 111To switch Cycle mode on and off, do one of the following:m Click the Cycle button in the Transport bar (or use

112 Chapter 5 Navigating Your ProjectTo resize the cycle:m Grab the handles (triangles) at either end of the cycle to move the start or end points

Chapter 5 Navigating Your Project 113Using the Transport Bar Mode Buttons to Define LocatorsYou can use the following commands, available as Transp

114 Chapter 5 Navigating Your ProjectDefining a Cycle With MarkersDragging a marker into the top part of the Bar ruler creates a cycle with the mar

Chapter 5 Navigating Your Project 115m If a (normal) Cycle area already exists, you can swap the left and right locator by clicking the Swap Left a

116 Chapter 5 Navigating Your Project2 Click the Chase tab, then turn on the checkboxes of all events the Chase Events function should look for bef

Chapter 5 Navigating Your Project 117To avoid triggering a sampler’s drum loops when chasing note events:1 Activate the No Transpose parameter of y

118 Chapter 5 Navigating Your ProjectTo customize the Transport bar:1 Control-click (or right-click) the Transport bar, and choose Customize Transp

Chapter 5 Navigating Your Project 119Â Sample Rate or Punch Locators: Shows the current project sample rate, or punch recording in/out locators (w

12 Contents774 Exporting the Score as a Graphic File774 Preparing the Export774 Exporting the Score775 Customizing the Score Editor’s Appearance775 Ch

120 Chapter 5 Navigating Your Project Move Locators Left by Cycle: Retains the existing cycle, but moves it to the left by the cycle length. As a

Chapter 5 Navigating Your Project 121To open a new SMPTE or bar display window:m Control-click the display area of the Transport bar, and choose Op

122 Chapter 5 Navigating Your Project2 Choose one of the following settings in the Clock Format menu:Â Clock Format 1 1 1 1Â Clock Format 1. 1

6 1236 Working With MarkersThe main purpose of markers is to tag different parts of a project, and to enable the quick selection of these parts f

124 Chapter 6 Working With Markers Marker track: Displays markers as (optionally) colored sections. If the Marker track is hidden, you can see ma

Chapter 6 Working With Markers 125The Marker Text window is also available at the bottom of the Marker List window. It is known as the Marker Text

126 Chapter 6 Working With Markers Click the Create button in the Marker List.m In any window: Choose Options > Marker > Create from the ma

Chapter 6 Working With Markers 127Markers created in these ways are automatically assigned the names, bar position, length and color of the regions

128 Chapter 6 Working With MarkersSelecting MarkersYou can use the usual selection techniques to select markers. For more information, see “Selecti

Chapter 6 Working With Markers 129If you want to edit a marker name when creating it, hold Control-Option-Command while clicking on the desired Mar

Contents 13Chapter 36 829 Synchronizing Logic Pro830 The Synchronization Master and Slave Relationship830 Using External Synchronization832 Synchroniz

130 Chapter 6 Working With MarkersNote: If you use Return to create paragraphs in the Marker Text window or area, the first paragraph of the text

Chapter 6 Working With Markers 1313 Choose the desired settings in the Font window.Editing MarkersMarkers can be edited in various ways. Common tas

132 Chapter 6 Working With MarkersThese markers always retain their absolute time position: if the project tempo is changed, the bar positions wil

Chapter 6 Working With Markers 133∏ Tip: When you hold Shift, after click-holding on the cycle, the cycle can be moved horizontally, and then drag

134 Chapter 6 Working With MarkersTo create a cycle from a marker, do one of the following:m Drag a marker up into the top third of the Bar ruler.T

7 1357 Working With ProjectsLogic Pro projects provide flexible options for storing and retrieving your music productions.This chapter will provi

136 Chapter 7 Working With ProjectsLogic Pro creates a project folder that contains the project file, along with separate folders for files used in

Chapter 7 Working With Projects 1372 Choose the desired template in the Templates dialog. The Templates dialog is broken down into two areas: Coll

138 Chapter 7 Working With Projects∏ Tip: It is recommended that you enable the Include Assets checkbox, as this makes the project “safe,” allowin

Chapter 7 Working With Projects 139Opening ProjectsLogic Pro requires a project to be opened before you can commence working.A project can also con

14 Contents913 MIDI Click Object913 Internal Objects915 Alias916 Ornament916 Macros918 Faders935 Channel Strip ObjectsChapter 40 939 Project Settings

140 Chapter 7 Working With Projects2 To limit your view to certain file types in the file selector box, choose the desired file type in the File Ty

Chapter 7 Working With Projects 141Opening and Creating Projects AutomaticallyYou can configure Logic Pro to open or create projects automatically—

142 Chapter 7 Working With Projects Score settings (all project settings that pertain to the score, such as Numbers & Names or Clefs & Sig

Chapter 7 Working With Projects 143To open the Project Information window:m Choose Options > Project Information. The Project Information window

144 Chapter 7 Working With ProjectsTo set the project sample rate, do one of the following:m Choose File > Project Settings > Audio (or use t

Chapter 7 Working With Projects 145Example: A project was created with audio hardware set to operate at 96 kHz. Moving this project to a notebook

146 Chapter 7 Working With ProjectsSetting the Project Time SignatureThe time signature defines how many beats a bar contains in the Bar ruler and

Chapter 7 Working With Projects 147The division value defines the division in all position displays (such as in the event editors), and forms the g

148 Chapter 7 Working With ProjectsSetting the Start and End Points of a ProjectA project normally starts at position 1 1 1 1. You can move the pro

Chapter 7 Working With Projects 149Important: This slider not only sets the playback level of your project, but also affects the overall level of

15PrefaceLogic Pro 8: Documentation and ResourcesLogic Pro 8 offers an extensive documentation collection that will help you to learn and make

150 Chapter 7 Working With Projectsm Click the Settings button in the Toolbar, then choose Assets from the pop-up menu. Turn on any of the copy ch

Chapter 7 Working With Projects 151Cleaning Up ProjectsShould there be any unused project files in your project folder, make use of the File > P

152 Chapter 7 Working With Projects2 Choose the desired menu option for the different file types in the Consolidate dialog, to either move, leave,

Chapter 7 Working With Projects 153Automatic Backup FilesWhen you save a project, Logic Pro will automatically make a safety copy (a backup) of the

154 Chapter 7 Working With ProjectsYou can create collections under My Templates by creating sub-folders in the ~/Library/Application Support/Logic

8 1558 Basic OperationsThe following chapter will introduce you to the basic operating, selection, and editing techniques available in Logic Pro.

156 Chapter 8 Basic OperationsModifier-Clicking or DraggingMany commands, functions, additional tools, or finer adjustments are accessed by holding

Chapter 8 Basic Operations 157Here are some of the possible methods. You can type in:Â Decimals: 1, 01, 2, 3, 4, 127, …Â Hexadecimals: $1, $01, $

158 Chapter 8 Basic OperationsWorking With Key CommandsYou can execute nearly every Logic Pro function with a key command or MIDI message. Whenever

Chapter 8 Basic Operations 159Whenever you install Logic Pro updates, your personal key commands will remain unaltered.Note: Almost all key comman

16 Preface Logic Pro 8: Documentation and ResourcesImportant: All topics described in this manual were accurate at the date of printing. For up t

160 Chapter 8 Basic Operations∏ Tip: Pressing Control—and choosing a command in a menu—opens the Key Commands window, with the respective command

Chapter 8 Basic Operations 161Important: There is a hierarchy of key command classes, which are not merely separated into global and local key com

162 Chapter 8 Basic Operations The search is performed as you enter text. There is no need to press the Return key, unless you wish to retain a hi

Chapter 8 Basic Operations 163To clarify the difference between these two functions, here’s a short comparison:Â If you use the Learn by Key Label

164 Chapter 8 Basic OperationsAssigning Key Commands to Control SurfacesThe Learn New Assignment button allows you to assign control surface messag

Chapter 8 Basic Operations 165If you want to assign functions—other than key commands—to a control surface, make use of the Controller Assignments

166 Chapter 8 Basic OperationsWorking With ToolsEach editor provides different tools—that are suitable for the tasks performed in the window.Tools

Chapter 8 Basic Operations 167Assigning the Right Mouse ButtonIf you have a suitable mouse, you can also assign the right mouse button to any of th

168 Chapter 8 Basic Operations Opens Tool Menu: Right-clicking in the working area of the active window opens the Tool menu at the mouse cursor p

Chapter 8 Basic Operations 169Learning About Common ToolsThe following section describes the most common tools available in Logic Pro. Tools that a

Preface Logic Pro 8: Documentation and Resources 17WarningsA few warning messages are included for functions that are destructive, and could resul

170 Chapter 8 Basic OperationsGlue ToolThe Glue tool performs the reverse operation of the Scissors tool. All selected regions or events are merged

Chapter 8 Basic Operations 171Â Length of the region.During operations involving events, the help tag looks something like this:From left to right,

172 Chapter 8 Basic OperationsSelection TechniquesWhenever you want to perform an operation on one or more regions or events (or other elements, su

Chapter 8 Basic Operations 173Selecting Several Regions, Events, and Other ElementsYou will often need to select multiple regions, events, or other

174 Chapter 8 Basic Operationsm Choose Edit > Select All Following of Same Pitch (or use the corresponding key command).Important: The selectio

Chapter 8 Basic Operations 175Selecting Regions or Events Within the LocatorsChoose Edit > Select Inside Locators (default key command: Shift-I

176 Chapter 8 Basic OperationsSelecting Events With the Same MIDI ChannelFollowing selection of an event, you may select all other events that shar

Chapter 8 Basic Operations 177CutAll selected elements are removed from their current position, and placed in the Clipboard. Any existing content i

178 Chapter 8 Basic OperationsTo open the Undo History window:m Choose Edit > Undo History (or use the corresponding key command, default: Opti

9 1799 Working With TracksTracks contain the audio regions and MIDI regions of a project.Tracks are listed from top to bottom in the Arrange trac

18 Preface Logic Pro 8: Documentation and ResourcesApple Service and Support WebsiteThis is the place to go for software updates and answers to th

180 Chapter 9 Working With TracksOnce assigned to a particular type of mixer channel, the functionality of the track is limited as follows:As you c

Chapter 9 Working With Tracks 181Configuring the Track HeaderThe track header of each track (shown in the Arrange area’s track list) can display a

182 Chapter 9 Working With Tracks Track Numbers/Level Meters: Turn on this checkbox to display a track’s number. During playback, a small level m

Chapter 9 Working With Tracks 183Creating Tracks and ChannelsIf you want to record or play back MIDI, software instrument, or audio data in Logic P

184 Chapter 9 Working With TracksTrack and Channel Creation CommandsThe commands and methods discussed in this section will create both tracks and

Chapter 9 Working With Tracks 185External MIDI Track Creation in the New Tracks DialogExternal MIDI tracks offer no additional options, but if Exte

186 Chapter 9 Working With Tracks Ascending checkbox: Enable to assign these inputs—in order, from lowest to highest—to each track, when multiple

Chapter 9 Working With Tracks 187Transferring a Channel Strip Setting to a New TrackYou can create a new track that uses the same channel strip ass

188 Chapter 9 Working With TracksTrack Creation CommandsThe commands and methods discussed in this section only create new tracks. The current (sel

Chapter 9 Working With Tracks 189Copying Tracks and Moving RegionsHold down Option when moving a track vertically (click-drag the track number) to

1 191 An Introduction to Logic ProLogic Pro is a sophisticated, fully-featured audio and MIDI application that provides all the tools you need to

190 Chapter 9 Working With Tracks If you want to create individual tracks for the two track a regions (now on track a copy), simply select the a c

Chapter 9 Working With Tracks 191Rearranging TracksYou may want to shuffle the position of tracks in the track list on occasion, to visually group

192 Chapter 9 Working With TracksTo determine the track names you want to view:1 Open the Track Configuration dialog by doing one of the following:

Chapter 9 Working With Tracks 193To delete a track name, do one of the following:m Choose Track > Delete Track Name.m Double-click on the track

194 Chapter 9 Working With Tracks If you want to use a track for MIDI region recording or playback (via a MIDI sound generator), choose a MIDI Ins

Chapter 9 Working With Tracks 195Special DestinationsIn addition to the normal channel strips, there are two other possible track output destinatio

196 Chapter 9 Working With TracksZooming Tracks With Key Commands You can assign, and use, the following key commands to zoom tracks:Â Individual T

Chapter 9 Working With Tracks 197Note: If this number is identical to the number of one of the built-in Logic Pro icons, the icon found in the use

198 Chapter 9 Working With TracksMuting When the Mute Buttons Are HiddenIf the Mute buttons are hidden—to save space—you can still mute a track to

Chapter 9 Working With Tracks 199Soloing TracksBoth MIDI and audio tracks (and folders) offer Track Solo buttons. Soloing a track isolates it while

 Apple Inc.© 2007 Apple Inc. All rights reserved.Under the copyright laws, this manual may not be copied, in whole or in part, without the written c

20 Chapter 1 An Introduction to Logic Pro Work in real time: You can work on Logic Pro projects in real time; adding to, and editing audio and MI

200 Chapter 9 Working With TracksSoloing When the Track Solo Buttons Are HiddenIf the Track Solo buttons are hidden—to save space—you can still sol

Chapter 9 Working With Tracks 201The Freeze function always bounces the complete channel signal. If you are using more than one track for the same

202 Chapter 9 Working With TracksHow to Freeze a TrackIt’s extremely easy to freeze a track: simply activate the Freeze button—the button that fea

Chapter 9 Working With Tracks 203Working With Frozen TracksOnce a track is frozen:Â It is not possible to cut and rearrange freeze files in any way

204 Chapter 9 Working With TracksRefresh Freeze FilesThe Options > Audio > Refresh All Freeze Files command refreshes the current freeze file

Chapter 9 Working With Tracks 205Hide Menu and Key CommandsThere are a a couple of menu functions and key commands that relate to the Hide Tracks f

206 Chapter 9 Working With TracksUsing Track Button Slide ActivationTrack buttons on arrange tracks (Solo, Mute, Hide, Track Protect, Node, Freeze)

10 20710 Working With Instruments and EffectsLogic Pro offers an extensive range of software instruments and effect processing plug-ins that are

208 Chapter 10 Working With Instruments and EffectsA Quick Mixer and Channel Strip PrimerBefore discussing the use of plug-ins, a basic understandi

Chapter 10 Working With Instruments and Effects 209The destination will be either:Â An output channel strip, which represents a physical audio outp

Chapter 1 An Introduction to Logic Pro 21MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers

210 Chapter 10 Working With Instruments and EffectsBefore continuing, there are three main things you need to know about audio or instrument channe

Chapter 10 Working With Instruments and Effects 211To set the channel strip input format for the selected audio track:m Click-hold the button direc

212 Chapter 10 Working With Instruments and EffectsSetting the Channel Pan or Balance and Playback LevelYou use the Pan control and Level fader to

Chapter 10 Working With Instruments and Effects 213Note: Logic Pro also supports the non real time AudioSuite plug-in format in the Sample Editor

214 Chapter 10 Working With Instruments and EffectsTo insert a software instrument, Audio Unit Generator, or MIDI controlled effect:m Click the Ins

Chapter 10 Working With Instruments and Effects 215The Plug-in menu offers additional information about an output configuration. As examples:Â Inst

216 Chapter 10 Working With Instruments and Effects3 Open the Mixer, and click the + button of the instrument channel that you have inserted the mu

Chapter 10 Working With Instruments and Effects 217Using the Channel EQThe Channel EQ is an insert effect, like any other. In most mixing situation

218 Chapter 10 Working With Instruments and EffectsImportant: Select the plug-in name (shown on a blue label) in any used Insert or Instrument slo

Chapter 10 Working With Instruments and Effects 219Loading and Removing Entire Channel Strip ConfigurationsThe Library tab in the Media area allows

22 Chapter 1 An Introduction to Logic ProMixing also entails the use of audio effects, which change, enhance, or suppress particular song component

220 Chapter 10 Working With Instruments and Effects2 Click the Library tab in the Media area to view the Library. Click the Arrange Toolbar Media b

Chapter 10 Working With Instruments and Effects 221m Use one of the following key commands: Next Channel Strip Setting Previous Channel Strip Set

222 Chapter 10 Working With Instruments and EffectsChannel strip performances can be used for all audio channel strip types. They are saved in the

Chapter 10 Working With Instruments and Effects 223Using the Plug-in WindowHands-on operation of plug-ins takes place in the plug-in window. This w

224 Chapter 10 Working With Instruments and EffectsIt switches to the next or previous option, or will be turned on or off. To adjust a parameter s

Chapter 10 Working With Instruments and Effects 225To adjust plug-in parameters with the mouse wheel:1 Select the desired Logic Pro plug-in paramet

226 Chapter 10 Working With Instruments and EffectsBypassing Plug-insIf you want to deactivate a plug-in, but don’t want to delete it or remove it

Chapter 10 Working With Instruments and Effects 227To load a setting:1 Open the Settings menu (of the plug-in window, not the Channel Strip Setting

228 Chapter 10 Working With Instruments and EffectsReplacing Setting-Compatible Plug-insWhen you replace a plug-in with another plug-in that is set

Chapter 10 Working With Instruments and Effects 229To save a setting, do one of the following in the Settings menu:m Choose Save Setting: Saves th

Chapter 1 An Introduction to Logic Pro 23The Basics: Projects and RegionsThis section will provide you with an introduction to the basic elements

230 Chapter 10 Working With Instruments and EffectsSwitching the Plug-in Window View ModePlug-in parameters can be viewed in two forms: Controls v

Chapter 10 Working With Instruments and Effects 231The signal peaks of the side chain input (the sent instrument signal), combined with the Thresho

232 Chapter 10 Working With Instruments and EffectsUsing the Library to Choose Plug-in SettingsAn alternative to using the Settings menu found in t

Chapter 10 Working With Instruments and Effects 233Learning About Effect RoutingsThere are two ways of sending audio to effects: via an insert, or

234 Chapter 10 Working With Instruments and EffectsFor computationally-intensive effects such as reverb, it’s always advisable to insert them into

Chapter 10 Working With Instruments and Effects 235∏ Tip: This is easiest to accomplish with the Arrange channel strips in the Inspector: The lef

236 Chapter 10 Working With Instruments and EffectsIf you choose Post Pan, the signal is not only post fader, but also post pan. This means that th

Chapter 10 Working With Instruments and Effects 237Working With InstrumentsThis section deals with the use of software instruments and external MID

238 Chapter 10 Working With Instruments and EffectsWhen you create a new External MIDI track in a project, Logic Pro will automatically generate a

Chapter 10 Working With Instruments and Effects 2393 Click GM Device in the left column of the Library tab, and you’ll see 16 entries in the right

24 Chapter 1 An Introduction to Logic ProThe sub-folder structure of all projects is identical, making it easy and consistent to navigate both your

240 Chapter 10 Working With Instruments and Effects6 You’ll note that the Channel parameter is set to 1. Create a few new External MIDI tracks by f

Chapter 10 Working With Instruments and Effects 2414 The newly created multi instrument object is called (Multi Instr.). You can rename it later (u

242 Chapter 10 Working With Instruments and EffectsSetting Channel Parameters for InstrumentsWhen you choose a track that is assigned to either a M

Chapter 10 Working With Instruments and Effects 243VelocityThe Velocity parameter allows you to increase or decrease the note on velocities of all

244 Chapter 10 Working With Instruments and EffectsSetting Software Instrument Channel ParametersThe following parameters are specific to instrumen

Chapter 10 Working With Instruments and Effects 245You can’t actually change the receive channel of a sub-channel in the multitimbral synthesizer.

246 Chapter 10 Working With Instruments and EffectsAdding Program Change, Volume, and Pan Settings to a MIDI RegionThe MIDI > Insert Instrument

Chapter 10 Working With Instruments and Effects 247As the track is routed to an instrument channel (which is being used for an external MIDI sound

248 Chapter 10 Working With Instruments and EffectsWhy Live Mode is NecessaryLive mode instruments need to stay in live mode while the audio engine

Chapter 10 Working With Instruments and Effects 249Note: Some Audio Unit instruments do not recognize this remote command.No Hermode TuningLogic P

Chapter 1 An Introduction to Logic Pro 25Any audio file used in Logic Pro is automatically linked to at least one audio region that is, by default,

250 Chapter 10 Working With Instruments and EffectsBeyond routing the outputs of ReWired applications into Logic Pro, you can also directly play, r

Chapter 10 Working With Instruments and Effects 251Setting the ReWire BehaviorIn Logic Pro > Preferences > Audio > Devices, you can choose

252 Chapter 10 Working With Instruments and EffectsSome Tips for Using External EffectsSome audio interfaces feature their own routing software, wh

Chapter 10 Working With Instruments and Effects 253To open the Audio Units Manager:m Choose Logic Pro > Preferences > Audio Units Manager in

254 Chapter 10 Working With Instruments and EffectsDisabling Plug-insThe Audio Units Manager also allows you to disable Audio Units plug-ins that y

11 25511 Adding Pre-Recorded MediaPre-recorded media plays an important role in modern audio production. Combining existing audio loops and other

256 Chapter 11 Adding Pre-Recorded MediaLogic Pro can also import Standard MIDI files (type 0 and 1), GarageBand, OMF Interchange, AAF, OpenTL, and

Chapter 11 Adding Pre-Recorded Media 257Apple LoopsApple Loops are audio files that contain additional identification information; time and date, c

258 Chapter 11 Adding Pre-Recorded MediaNavigating in the BrowserYou can switch the Browser between two views: List and Browser view. Â List view

Chapter 11 Adding Pre-Recorded Media 259 Computer: Shows all volumes (hard disks, CDs, or DVDs) in, or attached to, the computer. Home: Shows a

26 Chapter 1 An Introduction to Logic ProYou can also edit individual events within a MIDI region. This is achieved by opening the region in one of

260 Chapter 11 Adding Pre-Recorded MediaAs an example, typing in 80s, with Macintosh HD chosen in the Path menu will result in a number of Apple Lo

Chapter 11 Adding Pre-Recorded Media 261By default, the Match menu specifies that all of the advanced search conditions that you specify must be me

262 Chapter 11 Adding Pre-Recorded MediaFurther Information on Conditional SearchesIt goes without saying that searching for a particular file in t

Chapter 11 Adding Pre-Recorded Media 263Two important data types that Apple Loops may include are metadata tags and transient markers. Logic Pro us

264 Chapter 11 Adding Pre-Recorded MediaGreen and blue Apple Loops can be added to audio tracks, or directly to an empty Arrange area or track. In

Chapter 11 Adding Pre-Recorded Media 265When you place Software Instrument Apple Loops on audio tracks, they are imported as audio regions (and beh

266 Chapter 11 Adding Pre-Recorded MediaTo limit the Loop Browser display to a particular time signature:m Choose the desired time signature from t

Chapter 11 Adding Pre-Recorded Media 267Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genre

268 Chapter 11 Adding Pre-Recorded Media2 Click another category button. The file list updates to display all Apple Loops that fall into both categ

Chapter 11 Adding Pre-Recorded Media 269To adjust the playback level:m Drag the level fader at the bottom of the file view area.To adjust the playb

2 272 Overview of the Logic Pro InterfaceThe Logic Pro interface features several areas, each specialized for particular tasks. The main workspac

270 Chapter 11 Adding Pre-Recorded MediaThese loops can be easily replaced or added to as your project advances, but the use of favorites may form

Chapter 11 Adding Pre-Recorded Media 271ReCycle files are handled differently. Details in “Adding ReCycle Files to Your Project” on page 276. Addin

272 Chapter 11 Adding Pre-Recorded MediaWith Automatic Track and Channel CreationYou can drag audio files directly into a blank Arrange window (wit

Chapter 11 Adding Pre-Recorded Media 273Adding and Removing Project Audio FilesThe Audio Bin acts as a central repository for all audio files added

274 Chapter 11 Adding Pre-Recorded Media4 Browse to, and select, another audio file, and click the Add button.5 Repeat the process until all desire

Chapter 11 Adding Pre-Recorded Media 275Note: It is not possible to assign fades to compressed audio files, nor can you destructively edit them. A

276 Chapter 11 Adding Pre-Recorded MediaEnabling the “Faster overview calculation” option considerably speeds up the calculation, at the cost of sl

Chapter 11 Adding Pre-Recorded Media 277Â Add tracks: Distributes the slices across multiple audio tracks, allowing you to adjust the position or

278 Chapter 11 Adding Pre-Recorded MediaMoving Audio Between Logic Pro and ReCycleYou can transfer data from Logic Pro to ReCycle, and back, withou

12 27912 Getting to Know RegionsWhen audio or MIDI files are added to, or recorded in, the Arrange area, they are displayed as regions.This chapt

28 Chapter 2 Overview of the Logic Pro InterfaceA Tour of the Logic Pro InterfaceThe following section will introduce you the various elements of t

280 Chapter 12 Getting to Know RegionsAudio Regions and Audio FilesAudio regions simply refer to (point to) an underlying audio file. Audio regions

Chapter 12 Getting to Know Regions 281It is, of course, possible to directly edit, copy, move, and manage audio files. This is achieved in the Samp

282 Chapter 12 Getting to Know RegionsWhen opened, folders look just like the Arrange area and track list of a project.Cloned and Alias RegionsAlia

Chapter 12 Getting to Know Regions 283MIDI and Audio Regions ComparedThe following overview sums up the main differences between audio and MIDI reg

284 Chapter 12 Getting to Know RegionsThe fundamental functions (such as a freely determinable position and length, the ability to create complex a

Chapter 12 Getting to Know Regions 285Which Audio Bin Should You Use?The Audio Bin tab is ideal for quickly adding files to the Arrange area, as it

286 Chapter 12 Getting to Know RegionsTo open the Audio Bin:m Choose Window > Audio Bin (or use the corresponding key command, default: Command

Chapter 12 Getting to Know Regions 287Creating and Removing RegionsWhen you add an audio file to your project, Logic Pro automatically creates a re

288 Chapter 12 Getting to Know RegionsAuditioning Regions in the Audio BinThe playback modes outlined below only apply to regions in the Audio Bin

Chapter 12 Getting to Know Regions 289Resizing a RegionYou can resize regions in the Audio Bin window, the Sample Editor, and the Arrange. This sec

Chapter 2 Overview of the Logic Pro Interface 29Â Media or Lists area: Use the various tabs to locate and preview audio files (Browser tab), selec

290 Chapter 12 Getting to Know RegionsTo snap audio edits to zero crossings:1 Click on the title bar of either the Audio Bin or Sample Editor to gi

Chapter 12 Getting to Know Regions 291You can edit the anchor of a region in the Audio Bin window and Sample Editor. The anchor is represented by a

292 Chapter 12 Getting to Know RegionsProtecting RegionsYou can protect regions against accidental alterations to start and end points, or the anch

13 29313 Creating Your ArrangementOnce you have added your audio and MIDI regions to the Arrange area, you can edit and reorganize them to create

294 Chapter 13 Creating Your ArrangementTo alter the Arrange area background color:1 Open the Display preferences by doing one of the following:Â C

Chapter 13 Creating Your Arrangement 295Making Region Edits Faster and EasierThis section provides information on several options that can accelera

296 Chapter 13 Creating Your ArrangementThe Snap functionality is relative, which means that the edit operation will be snapped to the nearest bar,

Chapter 13 Creating Your Arrangement 297In cases where the zoom level is extremely low (macroscopic), and a fine Snap value (such as Division or Fr

298 Chapter 13 Creating Your Arrangement No Overlap: Use in situations where you don’t want regions to overlap. In this mode, the first region (t

Chapter 13 Creating Your Arrangement 2993 Grab the playhead in the Arrange or Bar ruler, and move it back and forth through the parts of the projec

3 1 Contents Preface 15 Logic Pro 8: Documentation and Resources16 Logic Pro 8 Documentation Conventions 17 Logic Pro Onscreen Help 17 Apple

30 Chapter 2 Overview of the Logic Pro InterfaceThe Transport bar consists of three parts: Transport buttons: Used to navigate your project. Dis

300 Chapter 13 Creating Your ArrangementMuted regions are indicated by a dot that precedes the region name.Clicking muted regions with the Mute too

Chapter 13 Creating Your Arrangement 301When the Solo function is activated, the Bar ruler is shaded in yellow, making it easy to see that Solo mod

302 Chapter 13 Creating Your ArrangementNaming a RegionIdentifying regions by name can make arranging much easier. This can be done on a per-region

Chapter 13 Creating Your Arrangement 303Â Select the Text tool, then click any of the selected regions with the Text tool. Â Click the top line of

304 Chapter 13 Creating Your ArrangementAssigning Colors to RegionsColor is useful for identifying sections of your arrangement, or particular trac

Chapter 13 Creating Your Arrangement 305Using the Shortcut MenuMany selection, editing, and other commands can be accessed by Control or right-clic

306 Chapter 13 Creating Your ArrangementTo use the Marquee tool:1 Select the Marquee tool.2 Click-hold on the Arrange area background or on regions

Chapter 13 Creating Your Arrangement 307To set locators with a marquee selection:m Choose the Region > Set Locators by Regions function (or key

308 Chapter 13 Creating Your ArrangementTo remove all muted regions from your arrangement:1 Select all muted regions by choosing Edit > Select M

Chapter 13 Creating Your Arrangement 309To restore a deleted audio region, either:m Choose Edit > Undo History, and click on the appropriate ste

Chapter 2 Overview of the Logic Pro Interface 31Media AreaThe Media area can be opened or closed by clicking on the Media button in the Toolbar. Th

310 Chapter 13 Creating Your ArrangementChanging the Playback Position of Regions NumericallyYou can edit the playback position of a region (and it

Chapter 13 Creating Your Arrangement 311Moving Regions to the Current Playhead PositionYou can use the Pickup Clock (Move Event to Playhead Positio

312 Chapter 13 Creating Your Arrangement Nudge Region/Event Position Left by Division Nudge Region/Event Position Right by Beat Nudge Region/Eve

Chapter 13 Creating Your Arrangement 313Moving Regions to a TrackThe Region > Move Selected Regions to Current Track command (also available as

314 Chapter 13 Creating Your ArrangementNote: You cannot make an audio region longer than the underlying audio file when using either of the resiz

Chapter 13 Creating Your Arrangement 315Adjusting the Grid to Zero CrossingsIf Audio > Search Zero Crossings is turned on, any length adjustment

316 Chapter 13 Creating Your ArrangementSetting Region Start and End Points to the Playhead PositionYou can move the start or end point of a select

Chapter 13 Creating Your Arrangement 317To tie selected regions between locators:1 Set the left and right locator positions by doing one of the fol

318 Chapter 13 Creating Your ArrangementTo time stretch or compress audio regions:m Option-drag the end of an audio region.This stretches or compre

Chapter 13 Creating Your Arrangement 319Cutting, Copying, and Pasting RegionsYou can select, remove, or replicate one or more regions from one part

32 Chapter 2 Overview of the Logic Pro Interface Name column: Displays all audio files in the current project by name. The disclosure triangle to

320 Chapter 13 Creating Your ArrangementWhen you copy an audio region, a new region is automatically created in the Audio Bin. The new region will

Chapter 13 Creating Your Arrangement 321Using the Arrange Section Editing ButtonsThe Arrange Toolbar features a number of section editing buttons t

322 Chapter 13 Creating Your Arrangement2 Choose Region > Tie Regions by Position Change (or use the Tie Regions by Position Change key command)

Chapter 13 Creating Your Arrangement 323To use the example 16 bar region. It is cut into two regions: One spanning bars 1 to 4. The other is now

324 Chapter 13 Creating Your Arrangement3 Choose Region > Cut/Insert Time > Snip: Repeat Section Between Locators (or use the corresponding k

Chapter 13 Creating Your Arrangement 325Â Aliases can be individually named. Alias region names are shown in italics. If you name an alias region,

326 Chapter 13 Creating Your ArrangementReassigning MIDI Region AliasesYou can assign a new original region to an existing alias. This is exception

Chapter 13 Creating Your Arrangement 327To delete all orphan aliases:m Choose MIDI > Alias > Delete All Orphan Aliases (or use the Delete All

328 Chapter 13 Creating Your Arrangement2 In the dialog: Set the desired sample rate, bit depth, file format, stereo conversion, and dither type f

Chapter 13 Creating Your Arrangement 329Looping RegionsThe Loop function enables you to repeat a region automatically, without needing to copy it.

Chapter 2 Overview of the Logic Pro Interface 33Getting to Know the Loop BrowserThe Loop Browser is designed to make finding Apple Loops intuitive

330 Chapter 13 Creating Your ArrangementTo loop a region with the mouse:1 Move the cursor to the end of the region that you want to loop. The curso

Chapter 13 Creating Your Arrangement 331The advantage of real copies is that they can be independently resized. This may be useful in situations wh

332 Chapter 13 Creating Your ArrangementTo make finer resolution divisions (overriding the current Snap value):m Hold Control after you have select

Chapter 13 Creating Your Arrangement 3333 Choose Region > Split/Demix > Split Regions by Locators (or use the corresponding key command). All

334 Chapter 13 Creating Your Arrangement Split: Divides overlapping notes across the two MIDI regions; two notes are created, with the same pitch

Chapter 13 Creating Your Arrangement 335To create several merge files—each on their own track:1 Select the regions that you want to merge on each t

336 Chapter 13 Creating Your ArrangementMerging Audio RegionsMerging audio regions is a non-destructive operation, as Logic Pro always creates a ne

Chapter 13 Creating Your Arrangement 337Mixdown of Audio Regions on a TrackIf several overlapping audio regions are selected on a single track, no

338 Chapter 13 Creating Your Arrangement Each of these regions is created on a track with an instrument channel that matches the MIDI channel.  I

Chapter 13 Creating Your Arrangement 339All regions in the folder are routed to, and played by, the channel strips set in the folder’s track list—a

34 Chapter 2 Overview of the Logic Pro InterfaceThe Sound Effects view offers effect-related category buttons such as Explosions, Foley, or People.

340 Chapter 13 Creating Your ArrangementTo unpack a folder:1 Select the folder.2 Choose one of the following commands:Â Choose Region > Folder &

Chapter 13 Creating Your Arrangement 341Adding and Removing RegionsYou can easily add regions to, or remove regions from, an existing folder. This

342 Chapter 13 Creating Your ArrangementCreating an Alias FolderYou can create a copy of a folder that contains aliases and clones of the regions i

Chapter 13 Creating Your Arrangement 343Creating Fades With the Fade ToolAs you’d perhaps expect, a fade in starts at the beginning, and a fade out

344 Chapter 13 Creating Your ArrangementTo adjust the fade curve shape:m Hold Control and Shift while using the Crossfade tool. In the example belo

Chapter 13 Creating Your Arrangement 345To adjust the fade curve shape:m Edit the Curve value in the Region Parameter box. The fade curve is instan

346 Chapter 13 Creating Your ArrangementSetting Region ParametersThe parameters displayed in the Inspector’s Region Parameter box depend on the reg

Chapter 13 Creating Your Arrangement 347Editing Several Regions SimultaneouslyIf several regions are selected, the number of selected regions is di

348 Chapter 13 Creating Your ArrangementTranspositionAll note events contained in the MIDI region are transposed up or down by the selected amount

Chapter 13 Creating Your Arrangement 349Gate TimeThe term gate time stems from the technology used in analog synthesizers, and refers to the time b

Chapter 2 Overview of the Logic Pro Interface 35Getting to Know the LibraryThe Library is a powerful tool that you can use to access the following

14 35114 Recording in Logic ProThis chapter covers all aspects of audio and MIDI recording in Logic Pro.You will learn how to set up Logic Pro fo

352 Chapter 14 Recording in Logic ProNote: The Software Monitoring checkbox must be enabled in the Audio preferences to hear incoming audio throug

Chapter 14 Recording in Logic Pro 353To set a project’s sample rate, do one of the following:m Choose File > Project Settings > Audio (or use

354 Chapter 14 Recording in Logic ProPlayback of 96 kHz (or higher rate) audio files places a far greater throughput burden on your system, and use

Chapter 14 Recording in Logic Pro 355m Control-click the Metronome button in the Transport, and choose Metronome Settings from the pop-up menu.The

356 Chapter 14 Recording in Logic Pro3 Click the Recording button at the top of the Project Settings window, to open the Recording project settings

Chapter 14 Recording in Logic Pro 357Auto Input MonitoringIf Auto Input Monitoring is switched on, you will only hear the input signal during the a

358 Chapter 14 Recording in Logic Pro∏ Tip: As a general workflow tip, you can leave the Input Monitoring button turned on, before, after, and dur

Chapter 14 Recording in Logic Pro 359You can set a different “recording” folder for each project. You can also define different paths for each audi

36 Chapter 2 Overview of the Logic Pro InterfaceGetting to Know the BrowserThe Browser allows you to navigate to, or search for all file types that

360 Chapter 14 Recording in Logic ProAudio Recording NamesThe track name is used as the default file name for a recording. Subsequent recordings ma

Chapter 14 Recording in Logic Pro 361Â Left: Two circles, left one filled, indicates a left channel input format. When this input format is chosen

362 Chapter 14 Recording in Logic ProNote: If these buttons are not visible in the track list, choose View > Configure Track Header. In the dia

Chapter 14 Recording in Logic Pro 363Standard Recording With a Count-inYou can start recording at any point in a project by setting the playhead to

364 Chapter 14 Recording in Logic Pro Record/Record Toggle: When used while recording, recording is temporarily suspended, but playback continues

Chapter 14 Recording in Logic Pro 365The preparation for take recording is identical to that for audio recording. No special setup is required, so

366 Chapter 14 Recording in Logic Pro Manually stopping a recording after the first bar of a cycle repeat (a four bar recording is stopped half-wa

Chapter 14 Recording in Logic Pro 367Viewing the Contents of the Take FolderYou may need to access the contents of the take folder during take reco

368 Chapter 14 Recording in Logic ProTo select different takes when viewing a closed take folder:m Choose the desired take from the Take Folder men

Chapter 14 Recording in Logic Pro 369Note: If you attempt to edit one of the (pre-group) edited tracks, Logic Pro will offer to remove it from the

Chapter 2 Overview of the Logic Pro Interface 37Â Computer button: Displays the contents of the local hard disk, optical drive, and other storage

370 Chapter 14 Recording in Logic Pro Choose Options > Audio > Punch on the Fly in the main menu bar (or use the Toggle Punch on the Fly key

Chapter 14 Recording in Logic Pro 371Â Use the autopunch locator fields in the Transport to set the Autopunch area numerically. Please note that th

372 Chapter 14 Recording in Logic ProReplace Mode RecordingIn Replace mode, newly recorded data is stored in a new region, as per a standard record

Chapter 14 Recording in Logic Pro 373Note: Follow Tempo is not available for take folders. If you want a take folder recording to follow the proje

374 Chapter 14 Recording in Logic ProCreating CompsCompiling various sections of different takes is known as comping or creating a comp. Logic Pro

Chapter 14 Recording in Logic Pro 375The top track in the take folder displays a composite waveform overview of all selected take sections. The ver

376 Chapter 14 Recording in Logic ProTo move the selected comp area to the left or right:m Click-drag it (a two headed arrow icon is shown).To move

Chapter 14 Recording in Logic Pro 377Flatten and Flatten and MergeThe Take Folder menu—accessed by clicking the arrow at the top right corner of th

378 Chapter 14 Recording in Logic Pro If the selected regions are placed after each other on a single track, the take folder will default to one a

Chapter 14 Recording in Logic Pro 379General recording info such as recording commands, configuration of the Transport bar Recording button, settin

38 Chapter 2 Overview of the Logic Pro InterfaceGetting to Know the Event ListThe Event List presents a list of all events in your project, such as

380 Chapter 14 Recording in Logic Pro2 Choose “Create take folders” in the Overlapping recordings menu (see “How MIDI Take Recording Works” on page

Chapter 14 Recording in Logic Pro 381Â Recording over multiple existing MIDI regions will merge them (per track) before creating the take folder. A

382 Chapter 14 Recording in Logic ProMIDI region recording will behave as per usual, with new regions created for each recording. When the Transpor

Chapter 14 Recording in Logic Pro 383You should ensure that each of your MIDI controllers transmit on different channels. If this is not possible,

384 Chapter 14 Recording in Logic ProSwitching MIDI Thru OffWhen an External MIDI instrument track is selected in the Arrange, its Record Enable bu

Chapter 14 Recording in Logic Pro 385Activating MIDI Step Input ModeMIDI Step Input mode is available in the Event List, Piano Roll, and Score Edit

386 Chapter 14 Recording in Logic Pro Channel field: Determines the MIDI channel of an inserted note. The channel settings of individual notes us

Chapter 14 Recording in Logic Pro 387Rather than assigning key commands to all twelve pitches, you also have the option of defining key commands fo

388 Chapter 14 Recording in Logic ProRests, Correction, Moving Forward and BackThe Rest key command moves the playhead forward (in accordance with

Chapter 14 Recording in Logic Pro 389It is recommended that you keep the Step Input Keyboard window open when first using these functions, to make

Chapter 2 Overview of the Logic Pro Interface 39Â Event type buttons: Click to filter specific event types from the display, or add them (dependin

390 Chapter 14 Recording in Logic ProThe lowest row of letter keys sets the velocity for MIDI notes. There are preset values—ranging from pianissim

15 39115 Introduction to MIDI EditingThis chapter provides an overview of where you can best edit different types of MIDI events in Logic Pro.Log

392 Chapter 15 Introduction to MIDI EditingOpening the EditorsAll editors can be opened from the Window menu. This launches the editor in a separat

Chapter 15 Introduction to MIDI Editing 393To access the Event List in the Arrange window, do one of the following:m Click the Lists button at the

394 Chapter 15 Introduction to MIDI EditingHearing MIDI Events When EditingIt goes without saying that MIDI editing is made much easier if you can

Chapter 15 Introduction to MIDI Editing 395Copying Events via the Clipboard in the Arrange AreaYou can use the Clipboard to add MIDI events directl

396 Chapter 15 Introduction to MIDI EditingTo stop hung notes:m Double-click on the MIDI Activity display in the Transport bar (or use the Send Dis

16 39716 Editing MIDI Events in the Piano Roll EditorThe Piano Roll Editor shows the note events of a MIDI region as horizontal rectangles. This

398 Chapter 16 Editing MIDI Events in the Piano Roll Editor The vertical position of note events indicates their pitch, with those nearer the top

Chapter 16 Editing MIDI Events in the Piano Roll Editor 399Note: When View > Region Colors is activated, the notes will be displayed in the col

4 Contents Chapter 4 81 Setting Up Your System81 Designing Your Music Production System 88 Connecting Your Audio and MIDI Devices 95 Using External M

40 Chapter 2 Overview of the Logic Pro InterfaceGetting to Know the Tempo ListThe Tempo List displays all tempo changes in the project. You can als

400 Chapter 16 Editing MIDI Events in the Piano Roll EditorCreating and Editing Note EventsHandling note events in the Piano Roll Editor is very si

Chapter 16 Editing MIDI Events in the Piano Roll Editor 401To snap to an absolute, not relative, position:m Choose the Snap to Absolute Value setti

402 Chapter 16 Editing MIDI Events in the Piano Roll EditorUsing the Shortcut MenuMany selection, editing, and other commands can be accessed by ri

Chapter 16 Editing MIDI Events in the Piano Roll Editor 403To create a note event:1 Select the Pencil tool.2 Click at the desired position in the P

404 Chapter 16 Editing MIDI Events in the Piano Roll EditorTo delete similar or equal events:1 Select one of the notes you want to delete.2 Choose

Chapter 16 Editing MIDI Events in the Piano Roll Editor 405To delete unselected events within the selection:m Choose Functions > Delete MIDI Eve

406 Chapter 16 Editing MIDI Events in the Piano Roll EditorMoving NotesYou can move selected notes by grabbing them (near the middle) and dragging

Chapter 16 Editing MIDI Events in the Piano Roll Editor 407Moving Events via Key CommandsEditing can be greatly accelerated by assigning, and using

408 Chapter 16 Editing MIDI Events in the Piano Roll EditorChanging the Length of NotesYou can use the Pointer, Finger, or Pencil tool to alter not

Chapter 16 Editing MIDI Events in the Piano Roll Editor 409Advanced Note Length FunctionsThe Functions > Note Events sub-menu in the Piano Roll

Chapter 2 Overview of the Logic Pro Interface 41Getting to Know the Signature ListThe Signature List shows all time and key signature events in the

410 Chapter 16 Editing MIDI Events in the Piano Roll EditorIf Logic Pro finds a chord, the following dialog is shown:Â Click the Delete button to e

Chapter 16 Editing MIDI Events in the Piano Roll Editor 4113 Choose Functions > Copy MIDI Events. The Copy MIDI events dialog opens.4 Choose the

412 Chapter 16 Editing MIDI Events in the Piano Roll EditorProtecting the Position of EventsThere are times where you will want to protect certain

Chapter 16 Editing MIDI Events in the Piano Roll Editor 413All selected notes can be altered simultaneously; the differences in their respective ve

414 Chapter 16 Editing MIDI Events in the Piano Roll EditorTo select the top or bottom note of one or more selected chords:m Choose Functions >

Chapter 16 Editing MIDI Events in the Piano Roll Editor 415 Choose the desired View > Hyper Draw command. Click the Hyper Draw button at the l

416 Chapter 16 Editing MIDI Events in the Piano Roll EditorFor more information see “Using Hyper Draw” on page 596.Customizing the Piano Roll Edito

17 41717 Editing MIDI in the Hyper EditorYou can use the Hyper Editor to view and edit different MIDI event types, shown as vertical beams along

418 Chapter 17 Editing MIDI in the Hyper EditorYou can save groups of event definitions (several lanes that you have defined) as hyper sets (see “W

Chapter 17 Editing MIDI in the Hyper Editor 419Each note event lane in the example is restricted to the display and control of a single note pitch.

42 Chapter 2 Overview of the Logic Pro InterfaceThe InspectorThe Inspector can be displayed or hidden by clicking on the Inspector button in the To

420 Chapter 17 Editing MIDI in the Hyper Editor∏ Tip: When editing or constructing complex rhythm patterns, it can be useful to create several eve

Chapter 17 Editing MIDI in the Hyper Editor 421To change the style of beams displayed:m Choose the desired setting in the Style menu. Â No Frames:

422 Chapter 17 Editing MIDI in the Hyper EditorTo create multiple events in a linear fashion:1 Select the Line tool.2 Click at the desired position

Chapter 17 Editing MIDI in the Hyper Editor 423To assign a fixed event value:1 Enable the Fix Value checkbox in the Inspector.2 Click any existing

424 Chapter 17 Editing MIDI in the Hyper EditorTo delete several contiguous events in a lane:m Drag across the events with the Eraser tool.To delet

Chapter 17 Editing MIDI in the Hyper Editor 425This will undo or redo an isolated step without influencing all steps between the clicked and higlig

426 Chapter 17 Editing MIDI in the Hyper EditorMoving Events via Key CommandsEditing can be accelerated by assigning, and using, the following key

Chapter 17 Editing MIDI in the Hyper Editor 427Protecting the Position of EventsThere are times where you will want to protect certain events from

428 Chapter 17 Editing MIDI in the Hyper EditorTo create a new event definition:1 Select an event definition lane by clicking on one of the names s

Chapter 17 Editing MIDI in the Hyper Editor 4292 Do one of the following Choose Hyper > Create Multiple Event Definitions (or use the correspon

Chapter 2 Overview of the Logic Pro Interface 43Â Arrange channel strips: The left-hand channel strip controls the output of the selected arrange

430 Chapter 17 Editing MIDI in the Hyper EditorTo delete event definitions:m Select the desired event definitions, then choose Hyper > Delete Ev

Chapter 17 Editing MIDI in the Hyper Editor 431 P-Press (Polyphonic Pressure): As above, but each note can be independently modulated. Program C

432 Chapter 17 Editing MIDI in the Hyper EditorIf channel aftertouch (C-Press), or program change events (Program) are chosen in the Status line, t

Chapter 17 Editing MIDI in the Hyper Editor 433MIDI ChannelNext to Channel, you’ll see a checkbox, and to the right of this you can set a MIDI chan

434 Chapter 17 Editing MIDI in the Hyper EditorEnable the Quantize Events checkbox to quantize the event positions to the Grid value chosen in the

Chapter 17 Editing MIDI in the Hyper Editor 435Creating a GM Drum Hyper SetGeneral MIDI has an established keyboard assignment pattern (a MIDI note

436 Chapter 17 Editing MIDI in the Hyper EditorYou can create as many hi hat groups as needed in a hyper set, but they must all be separated by at

18 43718 Editing MIDI Events in the Event ListThe Event List is the most powerful, flexible, and complete MIDI editor in Logic Pro.All MIDI event

438 Chapter 18 Editing MIDI Events in the Event ListLearning and Using the Event List InterfaceAll functions and options are shown at the top of th

Chapter 18 Editing MIDI Events in the Event List 439Filtering Event TypesWhen viewing events in the selected MIDI region or regions, you can make u

44 Chapter 2 Overview of the Logic Pro InterfaceThe Editing AreaYou can open the Mixer, Sample Editor, Piano Roll Editor, Score Editor, and Hyper E

440 Chapter 18 Editing MIDI Events in the Event ListScore layout information is also included in the list when additional info is shown. You can ed

Chapter 18 Editing MIDI Events in the Event List 441To make a selection (and navigate the list) with the Left or Right Arrow key:m Press the Left A

442 Chapter 18 Editing MIDI Events in the Event ListCreating EventsThe Event List accepts real time and step recording of MIDI events, as described

Chapter 18 Editing MIDI Events in the Event List 443Copying and Moving EventsYou can perform advanced copy and move operations within the Event Lis

444 Chapter 18 Editing MIDI Events in the Event ListIn some instances, clicking on the information in the Num(ber) or Val(ue) column will open a po

Chapter 18 Editing MIDI Events in the Event List 445Changing the Appearance of the Position and Length ColumnsNot every project is bar/beat oriente

446 Chapter 18 Editing MIDI Events in the Event ListNote: It is possible to select different event types, and simultaneously alter the Num(ber) or

Chapter 18 Editing MIDI Events in the Event List 447To rename a region or folder:1 Choose the Text tool from the Tool menu, and click on the region

448 Chapter 18 Editing MIDI Events in the Event ListMapped Instrument NotesIf the edited MIDI region is played through a mapped instrument, the nam

Chapter 18 Editing MIDI Events in the Event List 449Â Val(ue): Value of the controller. Continuous controllers have a range of 0 to 127. Switch co

Chapter 2 Overview of the Logic Pro Interface 45Getting to Know the Sample EditorThe Sample Editor displays the contents of audio files as waveform

450 Chapter 18 Editing MIDI Events in the Event ListThis allows you to address the different sound banks (preset, internal, card, and so on) of con

Chapter 18 Editing MIDI Events in the Event List 451SysEx EventsSystem exclusive data (SysEx) is unique to individual MIDI devices. You can record

452 Chapter 18 Editing MIDI Events in the Event List Num = 48 (Switch Fader): This will send MIDI events to a particular output number (Val) on a

19 45319 Quantizing MIDI EventsQuantization is the rhythmic correction of notes to a specific time grid. Any inaccurately played notes are moved

454 Chapter 19 Quantizing MIDI EventsImportant: Event-based quantization destructively alters the position of all MIDI event types, except note ev

Chapter 19 Quantizing MIDI Events 455Â Triplet Quantization: The 1/3, 1/6, 1/12, 1/24, 1/48, and 1/96 note settings quantize the MIDI region to tr

456 Chapter 19 Quantizing MIDI EventsSome Points to Note When Using Region QuantizationThe quantization grid always begins at the start of a MIDI r

Chapter 19 Quantizing MIDI Events 457The following quantization options appear below the standard set of region parameters. They can be applied to

458 Chapter 19 Quantizing MIDI Events Q-Velocity: This parameter (expressed as a percentage) determines the amount that the velocity values of qu

Chapter 19 Quantizing MIDI Events 459Event and Note QuantizationThe menu bar of the Piano Roll Editor and Event List offer a Quantization menu and

46 Chapter 2 Overview of the Logic Pro InterfaceGetting to Know the Piano Roll EditorThe Piano Roll Editor displays MIDI notes as beams on a grid.

460 Chapter 19 Quantizing MIDI Events Select the events that you want to quantize, then click the Quantize button (Piano Roll and Event List Edito

Chapter 19 Quantizing MIDI Events 461Creating Groove TemplatesYou can create quantization grids based on the rhythms of other MIDI regions. These a

462 Chapter 19 Quantizing MIDI EventsThis deletes the selected source MIDI region from the list of possible quantization templates, thus removing i

Chapter 19 Quantizing MIDI Events 4632 Double-click on the region to open the Sample Editor, or select the Sample Editor tab at the bottom of the A

464 Chapter 19 Quantizing MIDI Events Time Correction: This parameter allows you to compensate for any time delays that may occur when external s

20 46520 Editing MIDI Events in the Transform WindowThe Transform window allows you to define a set of conditions and operations that are used to

466 Chapter 20 Editing MIDI Events in the Transform WindowTo open the Transform window, do one of the following:m Choose Window > Transform from

Chapter 20 Editing MIDI Events in the Transform Window 4673 In the Mode menu, choose how you want to transform the selected events within the regio

468 Chapter 20 Editing MIDI Events in the Transform Window Set the desired velocity values in the Operations area, ranging from 1 to 127.  If you

Chapter 20 Editing MIDI Events in the Transform Window 469This preset is a great creative option for drum regions. The following example presumes t

Chapter 2 Overview of the Logic Pro Interface 47Details on Score Editor use can be found in Chapter 33, “Working With Notation,” on page 667.Gettin

470 Chapter 20 Editing MIDI Events in the Transform WindowHumanizeAdds a random value to the position, velocity, and length of selected note events

Chapter 20 Editing MIDI Events in the Transform Window 471Reverse PitchInverts the pitch of all note events.Change the Flip operation value to set

472 Chapter 20 Editing MIDI Events in the Transform WindowExponential VelocityAlters the scaling of the velocity curve. This preset is of particula

Chapter 20 Editing MIDI Events in the Transform Window 473Velocity LimiterLimits the velocity to a maximum value. This is perfect for transforming

474 Chapter 20 Editing MIDI Events in the Transform WindowMaximum Note LengthSets the maximum length of all note events. Change the Length value fi

Chapter 20 Editing MIDI Events in the Transform Window 475Quantize Note LengthQuantizes the note length. This preset actually quantizes the note en

476 Chapter 20 Editing MIDI Events in the Transform WindowGlobal ParametersThese parameters globally affect the Transform window appearance and ope

Chapter 20 Editing MIDI Events in the Transform Window 477The condition is considered to be fulfilled when an event matches the defined effective r

478 Chapter 20 Editing MIDI Events in the Transform WindowDefining OperationsThe Operations area is used to define the changes you would like to ma

Chapter 20 Editing MIDI Events in the Transform Window 479Â Max: Parameter values that exceed the set value are replaced by it. Smaller event para

48 Chapter 2 Overview of the Logic Pro InterfaceCommon Features of Logic Pro WindowsAll Logic Pro windows, including the Arrange area, feature a nu

480 Chapter 20 Editing MIDI Events in the Transform Window Rel.Cres: This only works if the Inside Position selection condition is selected. The

Chapter 20 Editing MIDI Events in the Transform Window 481Some Points to Note About the MapThe map is only visible when chosen in one of the Operat

482 Chapter 20 Editing MIDI Events in the Transform WindowCreating Your Own Transform SetsYou can store your own transform settings in a user trans

Chapter 20 Editing MIDI Events in the Transform Window 4836 Save your project or template.Usage ExamplesThe following section provides several usag

484 Chapter 20 Editing MIDI Events in the Transform Window3 Choose Note from the pop-up menu below.4 Choose the Fix setting in the Velocity menu of

Chapter 20 Editing MIDI Events in the Transform Window 485 Mode menu: Apply operations to selected events, Selection Conditions area: Set Statu

486 Chapter 20 Editing MIDI Events in the Transform Window Selection Conditions area: Set Status to Control. Set Data Byte 1 to a value of 7.2 C

21 48721 Editing Audio in the Sample EditorYou can precisely select, refine, and process audio recordings in the Sample Editor.The Sample Editor

488 Chapter 21 Editing Audio in the Sample EditorPlaying Audio FilesThere are various ways to play back the audio sections visible in the Sample Ed

Chapter 21 Editing Audio in the Sample Editor 489You can change the start and end points of the selected area while looped playback is happening. T

Chapter 2 Overview of the Logic Pro Interface 49Catch, Link, and Hierarchy ButtonsMost windows contains Catch, Link, and Hierarchy buttons. These a

490 Chapter 21 Editing Audio in the Sample EditorNavigating Audio FilesThe Sample Editor offers a number of navigation facilities that make it easy

Chapter 21 Editing Audio in the Sample Editor 491Changing the X and Y Axis ScalesThe Sample Editor’s vertical Y axis scale can show the waveform am

492 Chapter 21 Editing Audio in the Sample EditorAbsolute and Relative TimeThe different axis scales in the Sample Editor can be displayed in two w

Chapter 21 Editing Audio in the Sample Editor 493m Activate Link mode in the Sample Editor, and select a region in the Arrange area.Time is measure

494 Chapter 21 Editing Audio in the Sample EditorMaking SelectionsSample Editor commands only affect the currently selected area of the audio file.

Chapter 21 Editing Audio in the Sample Editor 495∏ Tip: If you hold down Option-Shift, the more distant selection boundary is changed (rather than

496 Chapter 21 Editing Audio in the Sample EditorDestructive Audio Editing and ProcessingThe following section covers the use of several standard a

Chapter 21 Editing Audio in the Sample Editor 497As long as the mouse button is held down, the drawn waveform can be replaced by the original wavef

498 Chapter 21 Editing Audio in the Sample Editor Choose Functions > Fade Out (default key command: Control-O) to fade passages out automatica

Chapter 21 Editing Audio in the Sample Editor 499Reversing the Selected Area of an Audio FileThe Reverse command is most commonly used on an entire

Contents 5 Chapter 8 155 Basic Operations155 Using the Mouse 156 Entering Numerical Values 157 Entering Text 158 Working With Key Commands 166 Workin

50 Chapter 2 Overview of the Logic Pro InterfaceGlobal TracksAll linear editing windows also feature global tracks, which are displayed just below

500 Chapter 21 Editing Audio in the Sample EditorYou can set the desired maximum level in the Function Settings window, which you can open by choos

Chapter 21 Editing Audio in the Sample Editor 501To center the waveform around the zero amplitude line:m Choose Functions > Remove DC Offset.Adj

502 Chapter 21 Editing Audio in the Sample EditorSetting Undo PreferencesYou can configure the Sample Editor’s undo functionality in the Preference

Chapter 21 Editing Audio in the Sample Editor 503To duplicate the audio file you’re working on:m Choose Audio File > Create Backup (default key

504 Chapter 21 Editing Audio in the Sample EditorTo save the selected area as a new audio file:m Choose Audio File > Save Selection As (or use t

Chapter 21 Editing Audio in the Sample Editor 505Using the Time and Pitch MachineYou can use the Time and Pitch Machine to radically alter the time

506 Chapter 21 Editing Audio in the Sample Editorm Click the Time and Pitch Machine tab if another Digital Factory processor is visible.You don’t n

Chapter 21 Editing Audio in the Sample Editor 507Â Rhythmic Material: Use this algorithm on rhythmic material—can be drums and percussion, but les

508 Chapter 21 Editing Audio in the Sample EditorLength in SMPTEDisplays the length of the selected area in SMPTE time format.Length in BarsDisplay

Chapter 21 Editing Audio in the Sample Editor 509HarmonicIf Harmonic Correction is turned on, you can also use the Harmonic (Shift) parameter to in

Chapter 2 Overview of the Logic Pro Interface 51Interactions Between Arrange Window AreasThe Arrange window contains various sections that interact

510 Chapter 21 Editing Audio in the Sample Editorm Click the Groove Machine tab if another Digital Factory processor is visible. SwingThis paramete

Chapter 21 Editing Audio in the Sample Editor 511You could compare the effect to an analog tape which has been saturated with a high recording leve

512 Chapter 21 Editing Audio in the Sample Editor Values over 200% are not recommended with normalized files, because they will have detrimental e

Chapter 21 Editing Audio in the Sample Editor 513The process is single ended, meaning it affects material which is already recorded, and there is n

514 Chapter 21 Editing Audio in the Sample Editor The Re-build setting completely replaces the (often unusable) original signal with an artificial

Chapter 21 Editing Audio in the Sample Editor 5153 Set the desired parameter values in the Audio to Score tab.4 Click the Process button.A Score Ed

516 Chapter 21 Editing Audio in the Sample EditorMinimum QualityYou can choose between normal or high quality processing in this pop-up menu. Â The

Chapter 21 Editing Audio in the Sample Editor 517To use the Quantize Engine on an audio region:1 Select the audio region that you want to quantize

518 Chapter 21 Editing Audio in the Sample EditorAudio to MIDI Groove TemplateFor detailed information on the Audio to MIDI Groove Template functio

22 51922 Removing Silent Passages From Audio RegionsYou can use the Strip Silence function to automatically remove silent passages from audio reg

52 Chapter 2 Overview of the Logic Pro InterfaceThe Sample Editor is shown, displaying the contents of the region you just created in the Arrange a

520 Chapter 22 Removing Silent Passages From Audio RegionsOptimizing Synchronization Over Long Time-SpansDifferent computers, different synchroniza

Chapter 22 Removing Silent Passages From Audio Regions 521Using Strip SilenceThis section outlines the steps, and parameters, involved in the Strip

522 Chapter 22 Removing Silent Passages From Audio Regions Post Release Time: Use this parameter to define an automatic release time for the end

23 52323 Adjusting the Tempo of Audio RegionsThe length of imported audio regions and the project tempo are directly linked. If you change the te

524 Chapter 23 Adjusting the Tempo of Audio RegionsTo convert a selected audio region into an Apple Loop, please use either of the following option

Chapter 23 Adjusting the Tempo of Audio Regions 525A dialog will ask if you want to change the tempo of the entire project, or create a tempo chang

526 Chapter 23 Adjusting the Tempo of Audio RegionsTo adjust the region length to the nearest bar:m Choose Audio > Adjust Region Length to Neare

Chapter 23 Adjusting the Tempo of Audio Regions 527To make recorded audio files follow the project tempo (and first key signature):m Select the aud

24 52924 Managing Audio FilesMost audio file management takes place in the Audio Bin. Several individual file management functions are found in t

Chapter 2 Overview of the Logic Pro Interface 537 Select a loop with a green icon and drag it to a software instrument track in the Arrange area. R

530 Chapter 24 Managing Audio FilesSorting Audio FilesInformation on every currently loaded audio file is shown in the Info column of the Audio Bin

Chapter 24 Managing Audio Files 531Grouping Files in the Audio BinYou can group audio files together, making handling of large numbers of files eas

532 Chapter 24 Managing Audio FilesTo group audio files:1 Select the files you want to group in the Audio Bin. 2 Choose View > Create Group (or

Chapter 24 Managing Audio Files 533Note: If existing groups have been created, a dialog will ask if you want to add all files to one of these grou

534 Chapter 24 Managing Audio FilesMoving Audio FilesThe Audio Bin’s Audio File > Move File(s) command (default key command assignment: Control

Chapter 24 Managing Audio Files 535Copying or Converting Audio FilesYou can create copies of audio files in a different hard disk (or other storage

536 Chapter 24 Managing Audio FilesNote: If a file of the same name exists in the target location, Logic Pro asks whether or not you want to repla

Chapter 24 Managing Audio Files 537Optimizing Audio FilesBeyond deleting unused audio files, Logic Pro also allows you to delete unused portions of

538 Chapter 24 Managing Audio Files4 If you’re only saving one region, you can enter a name for the new audio file. The Hide Extension checkbox hid

Chapter 24 Managing Audio Files 539Dealing With SDII FilesLogic Pro allows you to access the regions in SoundDesigner II files. (The SDII data form

54 Chapter 2 Overview of the Logic Pro Interface11 Select the software instrument track, then click the Inspector button.The left channel strip dis

540 Chapter 24 Managing Audio Files Skip: Use this function if you know that this audio file no longer exists, or was renamed. This button change

25 54125 MixingOnce you’re happy with the project arrangement, the Mixer is used to refine the overall sound, levels, and spatial positioning of

542 Chapter 25 MixingTo open the Mixer as a separate window:m Choose Window > Mixer (or use the matching key command, default: Command-2). The

Chapter 25 Mixing 543Â The master channel strip is a global level control for all output channels. You can view it as the main volume control for L

544 Chapter 25 MixingYou will regularly find that the settings chosen for instruments and effects can be improved by changing a few parameters, to

Chapter 25 Mixing 545Channel Strip ElementsThe controls displayed on a channel strip vary with the channel strip type.The table below indicates the

546 Chapter 25 MixingTwo additional channel types not shown in the table—input and bus (see “Channel Strip Objects” on page 935)—are primarily reta

Chapter 25 Mixing 547Quickly Switching Between Two LevelsYou can use the following key commands to switch the level of all channel strips of a spec

548 Chapter 25 MixingThe level meters can be switched between a Sectional dB-linear scale, and an Exponential scale. Exponential provides higher di

Chapter 25 Mixing 549Clipping occurs when too much (too loud a) signal is fed through a channel strip, thereby exceeding the limit of what can be a

Chapter 2 Overview of the Logic Pro Interface 55Using Logic Pro Interface ElementsYou can access all of the buttons, switches, sliders, and menus d

550 Chapter 25 MixingSoloing and Muting ChannelsSoloing or muting channels enables you to hear musical parts in isolation, or in conjunction with o

Chapter 25 Mixing 551To make a channel strip solo safe:m Control-click an inactive Solo button.The channel strip is not muted when you solo another

552 Chapter 25 MixingAdding Effects: Using InsertsInsert slots are shown, and used, in the same way on all channel strip types (except the master

Chapter 25 Mixing 553Monitoring With Effect Plug-insThe Software Monitoring function allows you to hear incoming audio through effects plug-ins ins

554 Chapter 25 MixingSetting the Automation ModeYou can set the automation mode of a channel strip in the Automation menu. For full details on all

Chapter 25 Mixing 555Using the Binaural PannerThe Binaural Panner is a psychoacoustic processor that is able to simulate arbitrary sound source pos

556 Chapter 25 MixingThe Binaural Panner WindowThe panning effect is controlled by positioning the panning pucks on the panning plane at the top of

Chapter 25 Mixing 557 Size: Determines the size of the plane or sphere (expressed as the radius of the circular plane). Doppler button: Click t

558 Chapter 25 MixingThe Binaural Post-Processing Plug-inThe Binaural Post-Processing plug-in is available in aux and output channels. This plug-in

Chapter 25 Mixing 559Binaural Hearing—Binaural Recording—Binaural PanningAn important part of mixing audio signals is the placement of individual s

56 Chapter 2 Overview of the Logic Pro InterfacePull-Down and Pop-Up MenusPull-down menus open when you click on the desired menu item. Pop-up menu

560 Chapter 25 MixingSurroundLogic Pro allows mixdowns in several surround formats, even if your audio hardware only offers two outputs. Obviously,

Chapter 25 Mixing 561To adjust the Level slider on all selected channels:m Drag the Level slider of any selected channel. All level changes are rel

562 Chapter 25 MixingTo adjust the input and output routing of all selected channels:m Click on any selected channel’s Input or Output slot, and ma

Chapter 25 Mixing 563You can create up to 32 groups. Each channel can be a member of multiple groups.To assign a channel to a group:1 Click the Gro

564 Chapter 25 MixingDefining Group SettingsYou can define the behavior of each group in the Group Settings window. Enable checkbox: Click to com

Chapter 25 Mixing 565Â Pan checkbox: The panorama setting of all member channels is linked. As per volume, their initial relationships are maintai

566 Chapter 25 MixingChannel Strip TypesChannel strips are the building blocks of the Mixer. In the following section, you will learn about the dif

Chapter 25 Mixing 567After inserting a software instrument plug-in, the instrument channel can be accessed, or driven, if you prefer, by MIDI regio

568 Chapter 25 Mixing The third way to create aux channels is by clicking on the plus button at the left-hand side of the Mixer window, or by choo

Chapter 25 Mixing 569Using Aux Channels for External Audio ProcessingYou can route audio signals to external devices via the individual outputs of

Chapter 2 Overview of the Logic Pro Interface 57Using the Computer KeyboardYou can access most Logic Pro functions with key commands. Whenever this

570 Chapter 25 MixingMaster ChannelThe master channel strip changes the gain of all output channels. It acts as a separate attenuator stage; the le

Chapter 25 Mixing 571Switch on all settings in the View > MIDI Track Components menu of the Mixer, so you can see all of the parameters describe

572 Chapter 25 MixingMuting a ChannelThe Mute button switches the volume of the channel between zero and the current Level fader position. In pract

Chapter 25 Mixing 573Â Chorus Depth (Controller Number 93): This knob controls the depth of the chorus effect. The further right you turn the knob

574 Chapter 25 MixingMoving to Particular Types of Channel StripsYou can choose one of the commands in the View > Scroll To menu to scroll the M

Chapter 25 Mixing 575 The channel strip which is assigned to the selected arrange track. If the selected track is a multi output software instrum

576 Chapter 25 Mixing Same Instrument Tracks: Enable to show (or disable, to filter) Arrange window tracks that address the same instrument chann

Chapter 25 Mixing 577Customizing the Display of Channel StripsYou can individually switch the display of the following audio channel strip componen

578 Chapter 25 MixingDisplaying Folder TracksThe Mixer can display the channel strips associated with the contents of folder tracks, or tracks on t

Chapter 25 Mixing 579Using the I/O Labels WindowYou can use the I/O Labels window to define names for all channel strip Input, Output, and Send men

580 Chapter 25 MixingTo revert to default channel I/O labels, do one of the following:m Click the corresponding button in the Channel column.m Choo

26 58126 Working With AutomationLogic Pro features a sophisticated, yet simple to use, track-based automation system that allows you to create an

582 Chapter 26 Working With AutomationDisplaying Track AutomationTrack automation data is displayed on a transparent gray shaded area—an automation

Chapter 26 Working With Automation 583Automation can only be displayed when a track is of a sufficient height. Turning on track automation will aut

584 Chapter 26 Working With AutomationTo hide all automation parameters on all tracks, do one of the following:m Choose View > Track Automation

Chapter 26 Working With Automation 585To view all recorded automation data on sub-tracks:m Option-click the (closed) triangle to open up to 30 auto

586 Chapter 26 Working With AutomationTo set the same automation mode for selected channel strips:1 Choose the desired channel strips by Shift-clic

Chapter 26 Working With Automation 587TouchTouch mode plays back automation data in the same fashion as Read mode.Should a channel strip or an exte

588 Chapter 26 Working With AutomationYou’ll rarely need the Write mode when working with the track automation features of Logic Pro. It’s mainly t

Chapter 26 Working With Automation 589Editing Track Automation in the Arrange AreaYou can edit track automation data directly in the Arrange area.S

3 593 Customizing Your Window SetupLogic Pro allows you to customize your window setup to fit both your working style and the task at hand. While

590 Chapter 26 Working With AutomationTo freely draw automation:m Draw the desired automation lines (and curves) with the Pencil tool.Nodes will be

Chapter 26 Working With Automation 591You can also delete multiple nodes by doing one of the following:Â Shift–Option–double-click anywhere on an a

592 Chapter 26 Working With AutomationA dialog will ask if you want to convert, or “copy and convert,” the source parameter data into automation da

Chapter 26 Working With Automation 593Snapping Automation to Grid PositionsYou can snap both track-based and HyperDraw (region-based) automation to

594 Chapter 26 Working With AutomationEditing Track Automation Data in an Event ListLogic Pro allows track automation data to be altered in a dedic

Chapter 26 Working With Automation 595Using Automation Quick AccessThe Automation Quick Access feature makes track automation extremely fast and si

596 Chapter 26 Working With AutomationUsing Hyper DrawHyper Draw works much like track automation, with a couple of key differences:Â Hyper Draw da

Chapter 26 Working With Automation 597If activated in the Piano Roll or Score Editor, a gray Hyper Draw section is displayed below the editing area

598 Chapter 26 Working With AutomationUsing the Autodefine ModeThe Autodefine mode sets the Hyper Draw parameters automatically, making the first e

Chapter 26 Working With Automation 599Using the Note Velocity ModeHyper Draw also offers the Note Velocity mode, which is perfect for creating cres

6 Contents Chapter 11 255 Adding Pre-Recorded Media255 Supported File Formats 256 About Pre-Recorded Media Types Supported by Logic Pro 257 Accessing

60 Chapter 3 Customizing Your Window Setupm Choose Window > Cycle Through Windows (or use the corresponding key command). This assigns key focus

600 Chapter 26 Working With AutomationUsing Hyper Draw Key CommandsThe following Arrange window key commands can speed up use of Hyper Draw:Â Hyper

27 60127 Bouncing Your ProjectYou can render all or specific channels to one or more audio files, and even burn directly to CD or DVD with the Bo

602 Chapter 27 Bouncing Your ProjectCreating a BounceThis section outlines the basic steps required to create a bounced audio file. Detailed descri

Chapter 27 Bouncing Your Project 603Defining the Bounce RangeBefore bouncing, it is best to define a range of your project that you would like to b

604 Chapter 27 Bouncing Your ProjectDestinationYou can choose from several destination file formats for your audio bounce:Â PCM file: SDII, AIFF,

Chapter 27 Bouncing Your Project 605As you adjust the Start and End position parameters, you are shown the hard disk space requirements for the bou

606 Chapter 27 Bouncing Your ProjectPCM Options in the Bounce WindowChoose the PCM name (and activate the checkbox) in the Destination pane to acce

Chapter 27 Bouncing Your Project 607All surround outputs are bounced simultaneously, regardless of which output channel Bounce button is clicked (o

608 Chapter 27 Bouncing Your ProjectChoose the MP3 name (and activate the checkbox) in the Destination pane to access the following options:Bit Rat

Chapter 27 Bouncing Your Project 609Filter Frequencies Below 10 HzWhen this option is checked (the default), frequencies below 10 Hz (which are usu

Chapter 3 Customizing Your Window Setup 61Floating WindowsFloating windows are so named because they always float in the foreground, even above the

610 Chapter 27 Bouncing Your ProjectM4A: AAC Format OptionsChoose the M4A: AAC name (and activate the checkbox) in the Destination field to access

Chapter 27 Bouncing Your Project 611Burn OptionsChoose the Burn: (CDDA or DVD-A) name (and activate the checkbox) in the Destination pane to access

612 Chapter 27 Bouncing Your ProjectSpeedThe first time you use the Speed pull-down menu, a request is made to the burning mechanism, which may tak

Chapter 27 Bouncing Your Project 613Setting the Bounce File Name and FolderBy default, bounce files are:Â Named after the chosen output channel str

614 Chapter 27 Bouncing Your ProjectThe dithering mode which will sound best to you is primarily dependent on the audio material, and your personal

28 61528 Creating Apple LoopsYou can save both audio and software instrument regions as Apple Loops in Logic Pro. For audio regions, a default se

616 Chapter 28 Creating Apple LoopsRead the following section if you want to create Apple Loops in Logic Pro. Information on “Creating Apple Loops

Chapter 28 Creating Apple Loops 617Note: One-shots do not follow the project tempo and key. This is useful if you want to add discrete, non-musica

618 Chapter 28 Creating Apple LoopsSend Effects in Software Instrument Apple LoopsIf you create a SIAL from a region on a software instrument track

Chapter 28 Creating Apple Loops 619Â The audio recording was recorded at the project tempo, but not cut correctly. In this situation, you can reduc

62 Chapter 3 Customizing Your Window SetupDouble-clicking an Arrange audio region opens the Sample Editor at the bottom of the Arrange window. Doub

620 Chapter 28 Creating Apple LoopsThe ReCycle files are converted to Apple Loops (the slice points are converted to transient positions) and copie

Chapter 28 Creating Apple Loops 621Global Tracks and Apple LoopsYou can use the global tracks to change global events such as tempo, time signature

622 Chapter 28 Creating Apple LoopsThere is, however, a solution:1 Cut the (audio) Apple Loop at the precise positions of any chord changes.2 Match

Chapter 28 Creating Apple Loops 623Apple Loops Transpose to the Wrong OctaveTransposing an Apple Loop to a higher pitch may result in the loop bein

624 Chapter 28 Creating Apple LoopsThis will export the Apple Loop as a new audio file with all plug-in effect processing of the track/channel on w

29 62529 Project and File InterchangeMoving project data between programs and devices in your own or external studios is commonplace these days.

626 Chapter 29 Project and File Interchange Over the Internet—using .Mac (requires a .Mac account).You can share and back up the following data ty

Chapter 29 Project and File Interchange 627To share your data:m Turn on the appropriate checkboxes in the Bonjour or .Mac columns. .Mac column: A

628 Chapter 29 Project and File InterchangeNote: If the Restore process is interrupted for some reason (network problems), the pre-restore data is

Chapter 29 Project and File Interchange 629Settings shared by other users appear as follows in the Library:Â Bonjour folder: Shows all shared sett

Chapter 3 Customizing Your Window Setup 63Moving and Resizing WindowsYou can move and resize all open windows individually, even across multiple mo

630 Chapter 29 Project and File InterchangeTo refresh the Library:m Choose Refresh Library in the Action menu of the Library. This refreshes both t

Chapter 29 Project and File Interchange 631The File > Save as Project function allows you to save a project with all associated files. These are

632 Chapter 29 Project and File Interchangem Click the Settings button in the Arrange Toolbar, then choose Assets from the menu.Working With Standa

Chapter 29 Project and File Interchange 633If a project is loaded, a dialog will ask if you want to create a new environment or copy the current en

634 Chapter 29 Project and File InterchangeNote: As Standard MIDI file type 0 format files can only save one MIDI region, you must also merge all

Chapter 29 Project and File Interchange 635Once the GarageBand project is loaded into Logic Pro, you may freely change parts, mixing levels, instru

636 Chapter 29 Project and File Interchange Dithering: When exporting 24 bit recordings as 16 bit audio files that are included in the OMF file,

Chapter 29 Project and File Interchange 6374 Next, Logic Pro will ask if the project’s SMPTE start time should be added to event start positions. I

638 Chapter 29 Project and File InterchangeThis solves the problem of the project on the Tascam machine starting at a large time value, but less th

Chapter 29 Project and File Interchange 639Importing and Exporting Final Cut Pro XML FilesThe Final Cut Pro XML format is used to import and export

64 Chapter 3 Customizing Your Window SetupTo adjust the size of a window, do one of the following:m Drag the lower right-hand corner of the window,

640 Chapter 29 Project and File InterchangeExporting RegionsThe File > Export menu also features several Export functions for regions and tracks

30 64130 Advanced Tempo OperationsLogic Pro provides several different tools and methods for the creation and editing of tempo events.This chapte

642 Chapter 30 Advanced Tempo OperationsUsing the Tempo TrackTempo changes are controlled by tempo events, which are stored in a special Tempo trac

Chapter 30 Advanced Tempo Operations 643m Click at the desired position with the Pencil tool. Keep an eye on the help tag when using the Pencil too

644 Chapter 30 Advanced Tempo OperationsWhen set to 1/16, there will be four tempo changes per quarter note, 1/1 will only generate one tempo chang

Chapter 30 Advanced Tempo Operations 645To manually define the maximum and minimum ranges of the tempo display, do one of the following:m Grab the

646 Chapter 30 Advanced Tempo OperationsTo copy all tempo events from one tempo alternative to another:m Hold Option, and choose the target tempo a

Chapter 30 Advanced Tempo Operations 647m Choose Options > Tempo > Open Tempo List (or use the Open Tempo List key command).Creating and Edit

648 Chapter 30 Advanced Tempo OperationsTo copy tempo changes from a passage:1 Set the locators to the passage containing the correct tempo change.

Chapter 30 Advanced Tempo Operations 649When working with a video file stored on a connected hard disk, Logic Pro will (generally) not be receiving

Chapter 3 Customizing Your Window Setup 65Working at Different Hierarchy LevelsLogic Pro allows you to view projects at an overview level (Arrange

650 Chapter 30 Advanced Tempo OperationsChoosing a Tempo OperationThe Operation menu provides several interesting tempo change editing functions, w

Chapter 30 Advanced Tempo Operations 651Create Constant TempoThe Create Constant Tempo operation creates a constant tempo in any selected area. The

652 Chapter 30 Advanced Tempo OperationsUsing the Tempo InterpreterYou can use the computer keyboard or incoming MIDI events to set the project tem

Chapter 30 Advanced Tempo Operations 653Window This parameter determines the time span (or window) that tap notes can be entered (set in ticks, or

654 Chapter 30 Advanced Tempo OperationsUsing the Tempo FaderYou can create a real time tempo fader in the Environment window by choosing New >

31 65531 Beat Mapping RegionsYou will generally play to a metronome click when recording in Logic Pro. There are, however, instances where you’ll

656 Chapter 31 Beat Mapping Regions MIDI regions recorded without a click will be displayed in a musically meaningful way in the Score Editor. Ad

Chapter 31 Beat Mapping Regions 657A second, slightly darker, yellow line—which is still connected to the same position in the Bar ruler—will appea

658 Chapter 31 Beat Mapping RegionsBeat Mapping With Audio RegionsThis works in a similar fashion to that described above for MIDI regions. The mai

Chapter 31 Beat Mapping Regions 659On occasion, your recordings may contain (MIDI note) events that fall onto musically useful positions, and shoul

66 Chapter 3 Customizing Your Window SetupSelecting the Working AreaThe scroll bars at the right and bottom edges of a window enable you to move th

660 Chapter 31 Beat Mapping RegionsBeat Mapping to Scene MarkersIf the global Video track is visible, a QuickTime movie is loaded, and the Detect C

32 66132 Editing Transposition With the Chord and Transposition TrackYou can use the Transposition and Chord track to edit the playback transposi

662 Chapter 32 Editing Transposition With the Chord and Transposition TrackHow MIDI Events and Apple Loops Are TransposedTransposition events (and

Chapter 32 Editing Transposition With the Chord and Transposition Track 663MIDI events will only be transposed if the No Transpose checkbox is inac

664 Chapter 32 Editing Transposition With the Chord and Transposition TrackTo create a chord event in the Chord track:m Click with the Pencil tool

Chapter 32 Editing Transposition With the Chord and Transposition Track 665Analyzing MIDI RegionsYou can use the Analyze button in the Chord track

666 Chapter 32 Editing Transposition With the Chord and Transposition TrackInserting Chord Symbols in the ScoreThe chord symbols displayed in the C

33 66733 Working With NotationThe Score Editor allows you to view and edit MIDI regions as traditional music notation.This chapter covers the too

668 Chapter 33 Working With NotationLearning About the Score EditorThe Score Editor displays MIDI regions as staffs, played by track instruments. E

Chapter 33 Working With Notation 669A High Level Workflow ExampleThis section is designed to provide an overview of how you would approach the crea

Chapter 3 Customizing Your Window Setup 67Use the Page Up, Page Down, Page Left, and Page Right key commands to scroll one page up, down, left, or

670 Chapter 33 Working With NotationImportant: Score display parameters have absolutely no effect on MIDI playback, just on the way MIDI data is s

Chapter 33 Working With Notation 671Step 4: Inputting Events, Symbols, and TextFew scores consist solely of note (and rest) events.The Part box co

672 Chapter 33 Working With NotationTo switch between the default score display (called the linear view) and Page view:m Click the Page view button

Chapter 33 Working With Notation 673Â Hyper Draw (see “Using Hyper Draw in the Score Editor” on page 677) allows you to insert and edit MIDI events

674 Chapter 33 Working With NotationPreparing for step input:1 Make the following adjustments to the display settings for the selected MIDI region:

Chapter 33 Working With Notation 675When working in full score view (when more than one MIDI region is displayed), and inserting objects between th

676 Chapter 33 Working With NotationTo display the Insert Defaults settings:m Click anywhere on the background of the working area. When inserting

Chapter 33 Working With Notation 677You may make the multiple MIDI region selection in either the Arrange area or the Score Editor. Shift-click all

678 Chapter 33 Working With Notation2 Click at different points in the gray area to create Hyper Draw nodes. A connecting line is automatically cre

Chapter 33 Working With Notation 679Note: Any symbol can be selected and inserted from any group panel, at any time. The group rearrangement funct

68 Chapter 3 Customizing Your Window SetupWhile zooming, the top-left (and selected) event or region is kept in the visible area of the screen. In

680 Chapter 33 Working With NotationThe palettes can have different shapes, depending on the modifier pressed while opening a floating palette with

Chapter 33 Working With Notation 681Further key commands can also change the selection inside the Part box:Â Next Partbox Symbol and Previous Partb

682 Chapter 33 Working With NotationSustain Pedal SymbolsThese two symbols are the only score symbols—apart from notes—that directly represent MIDI

Chapter 33 Working With Notation 683Dynamic SymbolsThese symbols can be inserted at any position in the score. They are purely graphic symbols, and

684 Chapter 33 Working With NotationIf you combine this feature with Attributes > Stem > Hide, you can completely hide these notes in the pri

Chapter 33 Working With Notation 685Slurs, CrescendiThese symbols are graphic only, and have no impact on MIDI playback. To insert a slur or cresce

686 Chapter 33 Working With NotationTime SignaturesTime signatures inserted in the Score Editor globally affect all MIDI regions, on all display le

Chapter 33 Working With Notation 687Trills, Tremolo, and so onThe symbols in this group can be positioned anywhere, and are not attached to notes.

688 Chapter 33 Working With NotationText Objects, Chord SymbolsYou will find descriptions of the extensive range of text objects and chord symbols

Chapter 33 Working With Notation 689Note: The tempo indicators in the Transport bar and the Tempo List always refer to quarter notes, even if a ti

Chapter 3 Customizing Your Window Setup 69As you drag, the window contents will be zoomed.Zooming the Waveform of Audio RegionsThe Arrange area off

690 Chapter 33 Working With NotationPage Break and Line Break SymbolsBreak symbols (and No Line Break and No Page Break objects) can be inserted as

Chapter 33 Working With Notation 691Changing Several Objects SimultaneouslyIf several objects are selected, this is indicated in the Event Paramete

692 Chapter 33 Working With NotationDeleting Objects From the Score EditorYou can only delete events that are actually displayed in the Score Edito

Chapter 33 Working With Notation 693Note: You can not use the Option-drag method to copy or move events between MIDI regions in the Score Editor.

694 Chapter 33 Working With NotationCopying Objects via the ClipboardWhen you copy objects via the Clipboard, the first object is pasted at the tar

Chapter 33 Working With Notation 695∏ Tip: You can use these commands in combination with the Select Similar function, to quickly copy all dynamic

696 Chapter 33 Working With NotationEditing AliasesYou can directly edit the notes and symbols in an alias if the Allow Alias Editing checkbox in F

Chapter 33 Working With Notation 697Note: The bar position determines playback timing—as this is the actual MIDI event position. Remember that the

698 Chapter 33 Working With NotationEditing Notes and Symbols: Advanced OperationsThis section covers more advanced usage of notes and other objec

Chapter 33 Working With Notation 699To change the length of a note:m Select the note, then do one of the following:Â Edit the Length parameter in t

Contents 7Chapter 15 391 Introduction to MIDI Editing392 Opening the Editors394 Hearing MIDI Events When Editing394 Editing MIDI Events in the Arrange

70 Chapter 3 Customizing Your Window SetupYou can do this repeatedly, if you need to zoom in further.∏ Tip: You can access the Zoom tool when othe

700 Chapter 33 Working With NotationTo change the tied note display with a user rest:m If you don’t like the way particular tied notes are displaye

Chapter 33 Working With Notation 701To change the display of existing notes:1 Drag the N-tuplet symbol onto the first note. The target note must be

702 Chapter 33 Working With NotationTo insert N-tuplets with the mouse:1 Insert the first note at the desired position.2 Drag the N-tuplet symbol o

Chapter 33 Working With Notation 703Creating Grace Notes and Independent NotesIndependent notes are notes that aren’t included in the automatic rhy

704 Chapter 33 Working With NotationCreating and Inserting RestsIn certain situations, you may want to insert rests manually. These manually insert

Chapter 33 Working With Notation 705To change the rest type or duration:m Double-click on the rest symbol in the score with the Pointer tool.In the

706 Chapter 33 Working With NotationTo change an existing clef:1 Double-click the clef. 2 Select the desired clef in the selection box shown below.

Chapter 33 Working With Notation 707Editing Slurs and CrescendiGiven their nature, slur and crescendi objects are edited in a very different way to

708 Chapter 33 Working With NotationParticular Attributes of Certain Symbols Crescendo: The tip determines the general position. At the upper rig

Chapter 33 Working With Notation 709Editing Repeat Signs and Bar LinesRepeat signs and bar lines cannot be moved with the mouse. You can, however,

Chapter 3 Customizing Your Window Setup 71Relationships Between WindowsLogic Pro allows you to independently link or unlink windows, providing you

710 Chapter 33 Working With NotationThe Alternate Repeat Symbols (for the whole project) option in File > Project Settings > Score > Globa

Chapter 33 Working With Notation 711Inserting TextYou can add text in the same way as other score symbols: By dragging the desired object from the

712 Chapter 33 Working With NotationEach text object (except text in the header, or at—or outside—the page margins) is saved as a meta event within

Chapter 33 Working With Notation 713Setting Special Text Object ParametersYou can set the following options for the selected text object in the Eve

714 Chapter 33 Working With NotationLearning About Text StylesAll text elements refer to user-definable format settings called text styles. A text

Chapter 33 Working With Notation 715Â Repeat Endings: The text style for anything written into the repeat ending boxes (usually just numbers, but

716 Chapter 33 Working With NotationWorking With Global TextGlobal text objects appear in all score sets of a project (score, parts, and so on), al

Chapter 33 Working With Notation 717Global Text ParametersWhen a global text object is selected, the Event Parameter box contains some additional p

718 Chapter 33 Working With NotationThese automatic text objects can be inserted as both global text (in the margin areas), or as text objects that

Chapter 33 Working With Notation 719Setting All Words and Syllables to the Same HeightIf you don’t enter the lyrics in one continuous process, it i

72 Chapter 3 Customizing Your Window Setup Same Level Link: When activated in a given window, this window always displays the same contents as th

720 Chapter 33 Working With NotationNote: Ensure that you insert chord symbols at the correct bar position. Watch the help tag while inserting the

Chapter 33 Working With Notation 721m Double-click directly on one of the extensions. A text cursor will appear in the extension line, allowing you

722 Chapter 33 Working With Notation Choose Attributes > Accidentals > Enharmonic Shift: # (or use the Enharmonic Shift: # key command, defa

Chapter 33 Working With Notation 723Working With Time and Key SignaturesSignatures are global events, which affect all tracks in your project. You

724 Chapter 33 Working With NotationCreating Time SignaturesYou can create as many time signatures as needed in a project. To create a time signatu

Chapter 33 Working With Notation 725Creating Key SignaturesYou can create as many key signatures as needed in your project. To create a key signatu

726 Chapter 33 Working With NotationCopying SignaturesYou can copy time signatures and key signatures in the Signature List, or Signature track. It

Chapter 33 Working With Notation 727Editing SignaturesYou can edit existing signatures in the Score Editor and Signature track by double-clicking o

728 Chapter 33 Working With NotationIf the signature track is not tall enough to show the Alternative menu, drag the lower lane line.2 Insert the d

Chapter 33 Working With Notation 729Default Settings for New MIDI RegionsIf a new MIDI region is created with the Pencil tool in the Arrange area,

Chapter 3 Customizing Your Window Setup 73Customizing the Transport BarYou can customize the Transport bar by adding or removing buttons and displa

730 Chapter 33 Working With Notation Click an instrument name, in the column between the parameters and score, to select all regions for that part

Chapter 33 Working With Notation 731Binary values always correspond to the note value with the same denominator—as an example: 32 corresponds to t

732 Chapter 33 Working With NotationChoosing a Quantize Value for Swing NotationFor regular swing notation, 8,12 should be used as Quantize paramet

Chapter 33 Working With Notation 733You can use note attributes to switch Interpretation on and off for each individual note, overriding the Displa

734 Chapter 33 Working With NotationThis trick works for all notes, not just syncopated ones (see “Creating Tied Notes” on page 699). In polyphonic

Chapter 33 Working With Notation 735Max DotsThis parameter determines the maximum number of dots that Logic Pro will allow for the display of singl

736 Chapter 33 Working With NotationNote: Please ensure that the Note Attributes setting is chosen in the “Double-click note to open” menu of the

Chapter 33 Working With Notation 737Changing the Horizontal Position of NotesYou can set the horizontal position of each note, individually.To chan

738 Chapter 33 Working With Notation Hide Accidental Guide AccidentalChanging the Stem Direction and LengthBy default, a note’s stem direction an

Chapter 33 Working With Notation 739 Unbeam Selected Notes Default BeamsChanging the Voice or Staff AssignmentYou can change the voice or staff a

74 Chapter 3 Customizing Your Window SetupTo remove a Toolbar button:m Control-click (or right-click) the desired button, then choose Remove Item f

740 Chapter 33 Working With NotationChanging the Interpretation of NotesBy default, note interpretation matches the setting chosen in the Display P

Chapter 33 Working With Notation 741Note: As note attributes, these settings have priority over the staff style settings, but they only apply if t

742 Chapter 33 Working With NotationTo assign a staff style (predefined or user-created) to a MIDI region:1 Select the MIDI region.2 Choose the des

Chapter 33 Working With Notation 743Predefined Staff StylesLogic Pro contains a number pre-defined staff styles. The table lists them all, and thei

744 Chapter 33 Working With NotationCreating Your Own Staff StylesYou can create new staff styles, and edit, delete, and duplicate existing staff s

Chapter 33 Working With Notation 745Â Hierarchy button: Click to switch the Staff Style window between single staff style view and list views (the

746 Chapter 33 Working With NotationCreating a New Staff StyleIn single view, you can create a new staff style by choosing New > Single Staff St

Chapter 33 Working With Notation 747Adding Staffs to a Staff StyleYou can add a staff to your staff style. This allows you to create a two-staff pi

748 Chapter 33 Working With NotationCopying Voices or Staffs Into Other Staff StylesYou can copy one (or several) voices and staffs, inclusive of t

Chapter 33 Working With Notation 7496 Choose Edit > Paste (or use the Paste key command, default assignment: Command-V).Automatic Staff Style C

Chapter 3 Customizing Your Window Setup 75Â Bar: Displays a Bar ruler, divided into bars, beats, divisions, and ticks. Dependent on the zoom setti

750 Chapter 33 Working With NotationBrackets and Bar Line ConnectionsYou can only edit this parameter in styles with multiple staffs: It lets you

Chapter 33 Working With Notation 751Â The staff size you should use in full scores depends on the number of staffs in the score, and the size and f

752 Chapter 33 Working With NotationRestThe automatic rest display can be switched off (Hide), or set to display beat slashes (slash) instead of re

Chapter 33 Working With Notation 753Assigning Notes to Voices and StaffsYou can use two different methods for assigning notes to voices and staffs:

754 Chapter 33 Working With NotationSplitting MIDI Channels AutomaticallyIf you record polyphonic voices as separate passes in real time, you can s

Chapter 33 Working With Notation 755Notes below the line are moved to the MIDI channel below their current assignment.3 If you make a mistake, just

756 Chapter 33 Working With NotationAn advantage of this approach is that you don’t need to worry about MIDI channels during recording or input, an

Chapter 33 Working With Notation 757Cross Staff BeamingMusic for keyboard instruments or harp (which is notated in two staffs) sometimes contains p

758 Chapter 33 Working With Notation Select all notes, and change their MIDI channel to match that of the upper voice (in the Event Parameter box)

Chapter 33 Working With Notation 759Mapped staff styles allow you to assign individual voices to drum groups. Drum groups use specific drum notatio

76 Chapter 3 Customizing Your Window SetupDisplaying Global TracksAll linear editing windows can display global tracks just below the Bar ruler. Yo

760 Chapter 33 Working With Notation2 In the Head menu, choose the shape of the note head for notes triggered by this particular pitch. A note must

Chapter 33 Working With Notation 7615 Create a new mapped staff style by choosing New > Mapped Style in the Staff Style window, and inserting al

762 Chapter 33 Working With NotationUsing Score Sets to Create Scores and PartsYou can use score sets to determine which instrument tracks should b

Chapter 33 Working With Notation 763The Score Set WindowYou can create and edit score sets in the Score Set window. To open the Score Set window, d

764 Chapter 33 Working With NotationFull NameA click on any line in this column opens an entry field that contains the default “@(reference)”. If y

Chapter 33 Working With Notation 765Bar line connections can also be edited directly in the score. Just click on the upper end of a bar line to con

766 Chapter 33 Working With NotationEditing Score SetsOnce you have created a score set, you can change the assignment of instrument entries, add i

Chapter 33 Working With Notation 767The Scale parameter affects: All staffs The distance between the staffs All symbols associated with staffs (

768 Chapter 33 Working With NotationTo determine the layout parameters used by a score set:m In the Score Set window, choose the desired setting fr

Chapter 33 Working With Notation 769Printing the ScoreThis section covers the display options available when readying a score for printing, and als

Chapter 3 Customizing Your Window Setup 77Â Click the Enable All or Disable All buttons to show or hide all global tracks, respectively. The choice

770 Chapter 33 Working With NotationSetting BreaksYou can set line, link, and page breaks individually for each score set, and also for each of the

Chapter 33 Working With Notation 771Page Breaks You can use the Page Break symbols to insert a page break. This moves all bars that follow the page

772 Chapter 33 Working With NotationChanging the Margin and Header Values in Page Print ViewYou can change the Margin and Header Space project sett

Chapter 33 Working With Notation 773To print your score:1 Choose the appropriate paper size and format in the File > Page Setup window.2 Ensure

774 Chapter 33 Working With NotationExporting the Score as a Graphic FileYou can save a part of a Logic Pro score page (or a whole page) as an imag

Chapter 33 Working With Notation 775Customizing the Score Editor’s AppearanceThe following section outlines the various options for changing the ge

776 Chapter 33 Working With NotationDisplaying Global TracksEnable the View > Global tracks setting to view the global tracks in the Score Edito

Chapter 33 Working With Notation 777m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Global tab. m Ch

778 Chapter 33 Working With NotationTop, Bottom, Left, and Right MarginThese values show the margin distances to the outer border of the printable

Chapter 33 Working With Notation 779Constant Spacing and Proportional SpacingThese parameters determine the amount of horizontal distance between n

78 Chapter 3 Customizing Your Window SetupUsing ScreensetsYou will position windows in a way that suits your working methods. This layout of variou

780 Chapter 33 Working With NotationDefault Pedal PositionThis determines the vertical position of automatic pedal symbols (those created when you

Chapter 33 Working With Notation 781Numbers & NamesThese settings affect the automatic display of page numbers, bar numbers, and instrument nam

782 Chapter 33 Working With NotationPage Number ParametersThe Page Numbers checkbox must be activated for the following parameters to have an effec

Chapter 33 Working With Notation 783Â “\ s” for the name of the currently shown display level, which can be the MIDI region or folder name (or even

784 Chapter 33 Working With NotationTop/Bottom Staff onlyIn full scores, the bar number is only displayed above the top staff, if this option is ac

Chapter 33 Working With Notation 785m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click Guitar Tab. m Choose

786 Chapter 33 Working With Notation Bass String buttons: Click to determine the display of the lowest string. It may be the same as other string

Chapter 33 Working With Notation 787Note: As most Guitar-to-MIDI-Converters send notes (played on different strings) on different MIDI channels, t

788 Chapter 33 Working With NotationClefs & SignaturesThese are general display options for clefs, key signatures, and time signatures. To open

Chapter 33 Working With Notation 789Smaller Clef ChangesClef changes (whether caused by a change of staff style, or by a new clef inserted from the

Chapter 3 Customizing Your Window Setup 792 Set the playhead to the point where you’d like the screenset to change.3 Click the Create button in the

790 Chapter 33 Working With NotationOctave Symbol ParametersThese settings enable you to edit the text string (and text formatting) of the differen

Chapter 33 Working With Notation 791Note: If you have a high resolution printer, you should try to use smaller line thickness settings (2, or mayb

792 Chapter 33 Working With NotationMIDI MeaningThe settings in the MIDI Meaning tab determine if, and to what extent, the insertion of the listed

Chapter 33 Working With Notation 793How the MIDI Meaning Functions WorksThe MIDI Meaning functions are most useful when you’re inserting notes with

794 Chapter 33 Working With Notationm Use the Settings: Score Colors key command. The color palettes are used by different color modes (see “Choosi

Chapter 33 Working With Notation 795Score PreferencesThe Score preference settings are global, and affect all project files. They can, however, be

796 Chapter 33 Working With Notation Choose Font: This pop-up menu allows you to choose from any installed scoring (symbol) fonts, such as the So

34 79734 Working With VideoLogic Pro allows QuickTime movie files to be synchronously viewed, making film and TV scoring quick and easy.You can o

798 Chapter 34 Working With VideoTo open a QuickTime movie, do one of the following:m Choose Options > Movie > Open Movie command (or use the

Chapter 34 Working With Video 799Resizing the Movie WindowYou can resize the Movie window by dragging its lower right corner.Control-clicking the m

8 ContentsChapter 21 487 Editing Audio in the Sample Editor488 Playing Audio Files490 Navigating Audio Files491 Changing the X and Y Axis Scales493 Di

80 Chapter 3 Customizing Your Window Setup2 In the Duplicate Screenset window that opens: Type in the target screenset number (the screenset numbe

800 Chapter 34 Working With VideoChanging Video Track SettingsThe settings of the Video track can be adjusted in Logic Pro > Preferences > Vi

Chapter 34 Working With Video 801Creating Scene MarkersYou can use the Create Scene Markers function to search the movie for significant content ch

802 Chapter 34 Working With VideoHandling QuickTime Movie Audio TracksOnce a movie has been opened in a project, you can make use of the Import Aud

Chapter 34 Working With Video 8032 Choose the desired format options for the bounced audio file, and click OK.3 In the ensuing file selector box, e

804 Chapter 34 Working With Video DVCPRO HD: Choose this option to output the QuickTime video file to a DVCPRO HD device, which is connected to y

Chapter 34 Working With Video 805Activating Follow TempoTurn on the Follow Tempo checkbox and set a basis tempo in the field below to make the Quic

35 80735 Working With SurroundLogic Pro offers extensive surround processing and mixing functions—for all major surround formats.This chapter wil

808 Chapter 35 Working With SurroundSurround Formats Supported by Logic ProThis section outlines the supported surround formats, and provides detai

Chapter 35 Working With Surround 8095.1 (ITU 775)5.1 (ITU 775) is used for a few surround standards. This is the most common of the surround format

4 814 Setting Up Your SystemLogic Pro automatically finds and configures supported audio and MIDI hardware when first installed and run. There ar

810 Chapter 35 Working With Surround7.1 (3/4.1)7.1 (3/4.1) uses the same speaker configuration as 5.1, but adds two additional side channels (left

Chapter 35 Working With Surround 811Channels Used By Surround FormatsTable Key: L = (Front) Left Lc = Left Center C = Center Rc = Right CenterÂ

812 Chapter 35 Working With SurroundConfiguring Logic Pro for SurroundBefore you can create a project in surround, you need to tell Logic Pro which

Chapter 35 Working With Surround 813Note: The surround format chosen here only alters the layout/routing of channels to speakers in the assignment

814 Chapter 35 Working With SurroundTo change the bounce extensions:1 Click the Bounce Extensions tab.2 Click in any of the active fields, and type

Chapter 35 Working With Surround 815Setting the Project Surround FormatYou can determine the surround format you want to use for a project in the A

816 Chapter 35 Working With SurroundSetting the Channel Input FormatThe channel input format determines the mono, stereo, or surround status of the

Chapter 35 Working With Surround 817Changing the Appearance of Surround Level MetersYou can use the Channel Order menu in the General Display prefe

818 Chapter 35 Working With SurroundSetting the Output Format of a Channel StripYou can set the output of all audio, instrument, input, output, and

Chapter 35 Working With Surround 819Audio ChannelsThe channel strip of an empty audio track is automatically set to the format of the first audio f

82 Chapter 4 Setting Up Your System Additional software that runs alongside, and integrates with, Logic Pro. This includes a range of ReWired appl

820 Chapter 35 Working With SurroundUsing the Mono to Surround PannerIf the source input is set to mono, the Mono to Surround Panner appears.The mo

Chapter 35 Working With Surround 821Â A number of speaker icons, that surround the circular grid. You can change the channel surround format direct

822 Chapter 35 Working With SurroundThe separation square is visible if the extended parameter section is open. If the extended parameter section i

Chapter 35 Working With Surround 823Surround BalancerIf the source is set to surround, the surround panner acts as a surround balance control.Sourc

824 Chapter 35 Working With SurroundTo insert plug-ins that do not match the channel format:m Option-click a channel Insert slot.The Plug-in menu w

Chapter 35 Working With Surround 825Working With Multi-Channel EffectsEffects that are not available as true surround effects can be inserted as mu

826 Chapter 35 Working With SurroundConfiguring Multi-Channel EffectsThe Configuration tab allows you to determine how parameter changes affect the

Chapter 35 Working With Surround 827Working With Side ChainsWhen inserting a side chain capable plug-in, the side chain source (selected in the plu

828 Chapter 35 Working With SurroundBouncing Surround Audio FilesBouncing a surround mix can create more audio files than your usual stereo bounce.

36 82936 Synchronizing Logic ProLogic Pro can be synchronized with external hardware and software via a number of different synchronization proto

Chapter 4 Setting Up Your System 83Hard Drives and Storage LocationsMusic production generates a huge number of large files. These include samples

830 Chapter 36 Synchronizing Logic ProThe Synchronization Master and Slave RelationshipIn all synchronization situations, regardless of the simplic

Chapter 36 Synchronizing Logic Pro 831Using the Sync ButtonYou can use the Sync button to turn external synchronization on or off at any time, with

832 Chapter 36 Synchronizing Logic ProYou can, however, manually set the format in the File > Project Settings > Synchronization > General

Chapter 36 Synchronizing Logic Pro 833GeneralThe General tab of the Synchronization project settings offers the following synchronization parameter

834 Chapter 36 Synchronizing Logic ProFrame RateThis is where you set the frame rate (in fps, frames per second). This frame rate applies to both t

Chapter 36 Synchronizing Logic Pro 835Validate MTCThe Validate MTC menu allows you to specify how often Logic Pro checks for incoming time code, in

836 Chapter 36 Synchronizing Logic ProAudioUse the Audio tab of the Synchronization project settings to keep your audio and MIDI tracks synchronize

Chapter 36 Synchronizing Logic Pro 837Audio Sync ModeThis is where you define how each individual piece of audio hardware should be synchronized to

838 Chapter 36 Synchronizing Logic ProMIDIThe MIDI tab of the Synchronization project settings configures Logic Pro to send time code via MIDI, whe

Chapter 36 Synchronizing Logic Pro 839Transmit MTC (MIDI Time Code)The checkbox activates transmission of MIDI time code. The menu determines the M

84 Chapter 4 Setting Up Your SystemMIDI InterfaceYour Macintosh computer does not provide MIDI in or outputs. If you want to use MIDI devices equip

840 Chapter 36 Synchronizing Logic ProSome synchronizers send Full Frame Messages (instead of MTC) to locate the slave device (Logic Pro in this ca

Chapter 36 Synchronizing Logic Pro 841SMPTE TypeThis is where you define the SMPTE format that you want to use:Â LTC : Longitudinal (also called L

842 Chapter 36 Synchronizing Logic ProDisplaying and Using SMPTE PositionsThe Bar ruler of each linear editing window can independently display a S

Chapter 36 Synchronizing Logic Pro 843To lock an object to its current SMPTE position:1 Select the desired object.2 Do one of the following:Â In th

844 Chapter 36 Synchronizing Logic ProMIDI Machine ControlMMC is a set of MIDI commands that Logic Pro uses to control the transport functions of a

Chapter 36 Synchronizing Logic Pro 845Â The Record button in the Transport bar sends the record strobe command to the tape machine. This also puts

846 Chapter 36 Synchronizing Logic ProSynchronization Problems and SolutionsGiven the number of different synchronization types that are available,

37 84737 Working With Plug-in LatenciesAudio processed through plug-ins is subject to small timing delays, known as latency.Fortunately, Logic Pr

848 Chapter 37 Working With Plug-in LatenciesWorking With the Low Latency ModeThe Low Latency mode allows you to limit the maximum delay time cause

Chapter 37 Working With Plug-in Latencies 849Working With Plug-in Delay CompensationThe Compensation menu in the Logic Pro > Preferences > Au

Chapter 4 Setting Up Your System 85Synthesizers and MIDI Controlled EffectsLogic Pro provides plenty of software instruments and effects, and can a

850 Chapter 37 Working With Plug-in LatenciesWith plug-in delay compensation set to All, Logic Pro shifts the bass track forward by 10 ms, thus syn

Chapter 37 Working With Plug-in Latencies 851For these same reasons, you may encounter increased latency if playing software instrument tracks live

852 Chapter 37 Working With Plug-in LatenciesIf you are recording audio, another strategy would be to disable the Software Monitoring checkbox in t

38 85338 Working With Split Channel Audio File FormatsYou can store multi-channel audio as interleaved or split channel audio files. An interleav

854 Chapter 38 Working With Split Channel Audio File Formats Importing Split Channel FilesNothing special needs to be done to import either split o

Chapter 38 Working With Split Channel Audio File Formats 855 Disconnecting Split Stereo FilesBoth sides of a split stereo file are normally edited

856 Chapter 38 Working With Split Channel Audio File Formats Exporting Split Channel FilesYou can bounce stereo files from Logic Pro—in interleaved

39 85739 Working in the EnvironmentThe Environment controls all MIDI input and output, and also allows you to integrate and process the data of M

858 Chapter 39 Working in the EnvironmentUsing the EnvironmentThis section outlines all general concepts and techniques needed to use the Environme

Chapter 39 Working in the Environment 859Most objects can be remotely controlled by other MIDI events (using the sliders or modulation wheel of you

86 Chapter 4 Setting Up Your SystemYou should look at a dedicated set of reference monitors (speakers), and a matching reference amplifier. Many mo

860 Chapter 39 Working in the EnvironmentTo switch between layers:m Click the arrow button next to the Layer menu, and choose the desired layer fro

Chapter 39 Working in the Environment 861The position (and existence) of the first two layers—All Objects and Global Objects—is protected, and they

862 Chapter 39 Working in the EnvironmentCustomizing the Environment DisplayYou can customize the display of the Environment, using the options in

Chapter 39 Working in the Environment 863Viewing a Frameless Environment WindowThere may be occasions where you would like to have access to partic

864 Chapter 39 Working in the Environment MIDI Thru tool: Clicking an object in the Environment with the MIDI Thru tool assigns the object to the

Chapter 39 Working in the Environment 8654 Choose Edit > Paste (or use the corresponding key command, default: Command-V).Note: If any objects

866 Chapter 39 Working in the EnvironmentTidying Up Moved or Copied ObjectsObjects can be freely placed, which is flexible, but can lead to overlap

Chapter 39 Working in the Environment 867To set the size of the selected object to its default value:m Choose Options > Clean up > Size by De

868 Chapter 39 Working in the EnvironmentThe MIDI Signal PathBefore any MIDI events received at your computer’s MIDI inputs can be recorded by Logi

Chapter 39 Working in the Environment 869As an example, the output of an Arrange track (the note events in a MIDI region) routed to (software) inst

Chapter 4 Setting Up Your System 87Multiple mixer outputs and a headphone distribution amplifier are also beneficial in group recording situations,

870 Chapter 39 Working in the EnvironmentTo make a direct output connection:m Click the Port menu in the object’s Parameter box, and choose the des

Chapter 39 Working in the Environment 871CablingThe cabling between Environment objects provides control over the entire MIDI signal path. A cable

872 Chapter 39 Working in the EnvironmentTo make a connection between two objects—method 2:1 Option-click the triangle, which will open a hierarchi

Chapter 39 Working in the Environment 873Once an output from an object is used (cabled to another object), another output triangle automatically ap

874 Chapter 39 Working in the Environment2 Next, grab one of the cables and plug it into the new destination object. The following dialog is shown:

Chapter 39 Working in the Environment 875Common Environment Object ParametersEach Environment object has several parameters that control its operat

876 Chapter 39 Working in the EnvironmentOpening and Closing the Object Parameter BoxBy clicking the triangle at the top left, you can hide all par

Chapter 39 Working in the Environment 877Icon Click the icon in the Object Parameter box to choose an icon to represent the object in the Environme

878 Chapter 39 Working in the EnvironmentYou can also move selections of Environment objects (inclusive of cabling) between projects by dragging or

Chapter 39 Working in the Environment 879Note: This complex task involves a lot of guess work on Logic Pro’s part, and the results almost always r

88 Chapter 4 Setting Up Your SystemConnecting Your Audio and MIDI DevicesYou need to connect your external audio and MIDI devices to your computer

880 Chapter 39 Working in the EnvironmentLogic Pro maintains an internal list of all Environment objects. An object’s position in the list is its U

Chapter 39 Working in the Environment 881m Click the Environment background with the Pencil tool.A standard instrument is created, and its paramete

882 Chapter 39 Working in the EnvironmentTo the left of the program number, directly to the right of the checkbox, you’ll see the Bank Select param

Chapter 39 Working in the Environment 883Style The Style parameter can be set to any of the available staff styles. Whenever a region is created on

884 Chapter 39 Working in the EnvironmentTo create a new multi instrument object:m Choose New > Multi Instrument (or use the New Multi Instrumen

Chapter 39 Working in the Environment 885The Sub-Instrument’s Parameter BoxThe sub-instrument parameters are the same as those of standard instrume

886 Chapter 39 Working in the EnvironmentDepending on whether or not you have activated the sub-instrument’s Program parameter, the following infor

Chapter 39 Working in the Environment 887Different bank select formats are used by different MIDI instrument manufacturers—please consult your MIDI

888 Chapter 39 Working in the EnvironmentYou can create MIDI events here as you would in the Event List, by cutting, copying, inserting, and editin

Chapter 39 Working in the Environment 889 Assigned its own MIDI channel Sent to one of up to 16 output cables (this allows you to create a single

Chapter 4 Setting Up Your System 89There are two kinds of USB connectors: A connector, typically used to connect a device to a USB hub. B connect

890 Chapter 39 Working in the EnvironmentIf a MIDI region (on a track routed to a mapped instrument object) is displayed in the Piano Roll Editor,

Chapter 39 Working in the Environment 891Cabling Mapped InstrumentsYou can send individual notes from a mapped instrument object to (up to) 16 diff

892 Chapter 39 Working in the EnvironmentGM MixerThe GM mixer is a collection of 16 fader modules, configured to emulate a virtual mixing desk for

Chapter 39 Working in the Environment 893LegendThe Legend parameter switches the display of the legend along the left edge of the GM Mixer on and o

894 Chapter 39 Working in the EnvironmentAdjusting the Level of a ChannelThe Level fader controls the output level of a MIDI channel. Adjusting it

Chapter 39 Working in the Environment 895MMC Record ButtonsThe MMC record buttons object allows you to control the record enable status of external

896 Chapter 39 Working in the EnvironmentMonitor ObjectA monitor objects displays all events (MIDI and meta) passing through it. It remembers the l

Chapter 39 Working in the Environment 897ArpeggiatorAn arpeggiator object turns chords into arpeggios. It plays the currently held notes—individual

898 Chapter 39 Working in the Environment Auto: Up or down, depending on whether the second chord note arrived before, or after, the first chord

Chapter 39 Working in the Environment 899Controller BaseAll ten parameters of the arpeggiator object can be remote-controlled with MIDI continuous

Contents 9552 Working With Sends552 Working With Channel Strip Settings553 Monitoring With Effect Plug-ins553 Arming Channel Strips553 Changing the Ch

90 Chapter 4 Setting Up Your System1/4-Inch Audio1/4-inch connectors (sometimes called phono or phone plugs) are used on a wide variety of professi

900 Chapter 39 Working in the Environment3 Cable the output of the transformer object into this newly created instrument (which, in essence, is sim

Chapter 39 Working in the Environment 901Copy matching events and apply operationAll MIDI events which conform to the condition are copied, and the

902 Chapter 39 Working in the Environment The channel controls the action to be taken: Channel 1: The changed SysEx message is sent. Channel 2:

Chapter 39 Working in the Environment 903 Meta event #125 sets the first (top) condition value. Meta event #124 sets the second (bottom) conditio

904 Chapter 39 Working in the EnvironmentDelay Line ObjectA delay line object repeats (echoes) MIDI events passing through it—at intervals ranging

Chapter 39 Working in the Environment 905Voice Limiter ObjectA voice limiter object restricts the number of MIDI notes (1 to 32) that can be held s

906 Chapter 39 Working in the EnvironmentChord Memorizer ObjectA chord memorizer maps individual notes to chords. You can assign one chord to each

Chapter 39 Working in the Environment 907Working in the Chord Memorizer WindowDouble-clicking on a chord memorizer opens the Chord Memorizer window

908 Chapter 39 Working in the EnvironmentWhen you’ve entered the desired notes for your chord, deactivate the Listen checkbox and play a new input

Chapter 39 Working in the Environment 909Using the Touch Tracks WindowYou open the Touch Tracks window by double-clicking on a touch tracks object.

Chapter 4 Setting Up Your System 91Connecting Your Audio InterfaceLogic Pro supports plug and play for audio interfaces, making it possible to conn

910 Chapter 39 Working in the EnvironmentWhen you create a touch tracks object by dragging a region into the Environment, C3 triggers the region at

Chapter 39 Working in the Environment 911Physical Input and Sequencer Input ObjectsThe Physical Input object represents the physical inputs of your

912 Chapter 39 Working in the EnvironmentPhysical Input ObjectThe Physical Input object receives MIDI signals from the inputs of the MIDI interface

Chapter 39 Working in the Environment 913MIDI Click ObjectThe MIDI Click object is used to create note events at bar, beat, and division intervals.

914 Chapter 39 Working in the EnvironmentInternal objects have an input, but no output. They therefore act like extra output ports, which are hard-

Chapter 39 Working in the Environment 915Â Bus: Lets you choose the ReWire Bus from all available ReWire busses. If a ReWire application provides

916 Chapter 39 Working in the EnvironmentOne situation where you might use an alias assigner is when switching a delay line alias between different

Chapter 39 Working in the Environment 917Logic Pro will enclose all selected objects in a frame with a gray background. If some of the objects sele

918 Chapter 39 Working in the EnvironmentMacro ParametersMacros have the following parameters:Auto FaderIf you select a group of faders, and create

Chapter 39 Working in the Environment 919The auto style fader—the default style if you create a fader with a key command—changes styles as you alte

92 Chapter 4 Setting Up Your SystemIf the keyboard can generate its own sounds, you should also connect the MIDI Out port of the MIDI interface to

920 Chapter 39 Working in the EnvironmentThe default appearance of the text fader is like a value field that can be scrolled. Double-click to open

Chapter 39 Working in the Environment 921Names With NumbersIf you name one object in a selected group of objects with a name that ends in a numeral

922 Chapter 39 Working in the EnvironmentRecording and Playback of Fader MovementsAs with the channel strips in the Mixer, you can record fader obj

Chapter 39 Working in the Environment 923ButtonsButton style faders can only send two possible values: the minimum and maximum values of their ran

924 Chapter 39 Working in the EnvironmentText Fader RangeThe Range parameter determines the number of names that can be entered into a text style f

Chapter 39 Working in the Environment 925Â -1- (0 to 127): Defines the first data byte of the event. In some cases, such as pitch bend, this is an

926 Chapter 39 Working in the EnvironmentFor text style faders, the first name always corresponds to the low end of the range, and subsequent names

Chapter 39 Working in the Environment 92714 Bit Used in conjunction with pitch bend, this allows 2-byte (fine tuning) pitch bend events. Used wit

928 Chapter 39 Working in the EnvironmentThe vector style fader replaces these with Vert and Horz definitions, which determine the MIDI events that

Chapter 39 Working in the Environment 929To create an alias assigner, either:m Choose New > Fader > Specials > Alias Assigner.m Change an

Chapter 4 Setting Up Your System 93Using Multi-Channel MIDI DevicesMost modern MIDI tone generators can simultaneously receive MIDI data on multipl

930 Chapter 39 Working in the EnvironmentMeta Event FadersMeta faders generate special meta events, which are used to control certain Logic Pro fun

Chapter 39 Working in the Environment 931Go to Marker, Screenset, or ProjectChoosing New > Fader > Special > Go to Marker creates a fader

932 Chapter 39 Working in the EnvironmentAn important thing to remember about the SysEx fader is that only selected events will have their value al

Chapter 39 Working in the Environment 933A generic SysEx message appears. The first data byte in the top line (directly after the word SysEx in th

934 Chapter 39 Working in the Environment2 Choose the desired options in the Checksum and Value menus (found in the lower right corner of the windo

Chapter 39 Working in the Environment 935The unused bits of the transfer in nibbles (X in 0XXXNNNN) are sent with the information at the relevant p

936 Chapter 39 Working in the EnvironmentThe Mixer channel strips and Arrange channel strips are simply remote controls for the underlying channel

Chapter 39 Working in the Environment 937ChannelClick the visible channel name (Audio 1, for example), and choose the channel strip type from the s

938 Chapter 39 Working in the EnvironmentInput ChannelYou can only create input channel strip objects in the Environment. In general, you will not

40 93940 Project Settings and PreferencesThe project settings and preferences allow you to define many of Logic Pro’s basic operating parameters.

94 Chapter 4 Setting Up Your SystemNot only does this allow you to play up to 64 different sounds simultaneously through your tone generators, it a

940 Chapter 40 Project Settings and PreferencesSaving Project Settings and PreferencesThe project settings are stored with the project file. If you

Chapter 40 Project Settings and Preferences 941Metronome SettingsThe Metronome project settings combine all speaker click, MIDI click, and KlopfGei

942 Chapter 40 Project Settings and PreferencesSoftware Click Instrument (KlopfGeist) Settings Software Click Instrument (KlopfGeist) checkbox: C

Chapter 40 Project Settings and Preferences 943Recording SettingsThe Recording project settings determine how Logic Pro responds while in record mo

944 Chapter 40 Project Settings and PreferencesOverlapping RecordingsThis pop-up menu provides the following settings:Â Create take folders: As th

Chapter 40 Project Settings and Preferences 945About TuningBefore looking at the Tuning settings, some basics and background information.About Alte

946 Chapter 40 Project Settings and PreferencesAs you can see from the table above, there’s a problem! Although the laws of physics dictate that th

Chapter 40 Project Settings and Preferences 947Â Convenience: Retuning an instrument to a temperament that is better suited for a particular piece

948 Chapter 40 Project Settings and PreferencesTuning Project SettingsThe Tuning project setting parameters are listed below.TuneThis parameter det

Chapter 40 Project Settings and Preferences 949The Fixed Tuning scales are ideal for a number of Baroque and Medieval instruments, and styles of mu

Chapter 4 Setting Up Your System 95Note: If you cannot find the Local Off function in the MIDI menu of your keyboard, consult its manual on sequen

950 Chapter 40 Project Settings and PreferencesAudio SettingsThe Audio project settings determine audio-specific project parameters.Automatic Manag

Chapter 40 Project Settings and Preferences 951MIDI SettingsThe MIDI project settings determine the behavior of the MIDI inputs and outputs. The MI

952 Chapter 40 Project Settings and PreferencesIf your master keyboard does not have a Local Off setting, you can use this feature to avoid unwante

Chapter 40 Project Settings and Preferences 953PreferencesThe settings made in the Preferences window are saved in a general preference file, store

954 Chapter 40 Project Settings and PreferencesStartup ActionThe Startup Action menu allows you to choose from a number of project options—that hap

Chapter 40 Project Settings and Preferences 955Editing Preferences Right Mouse Button: This pop-up menu determines the right mouse button behavio

956 Chapter 40 Project Settings and Preferences If you activate the option, you can cut the looped area of regions (using the Scissors or Marquee

Chapter 40 Project Settings and Preferences 957Catch Preferences Catch when Logic starts: Every time you start playback (including paused playbac

958 Chapter 40 Project Settings and PreferencesTo open the Audio preferences, do one of the following:m Choose Logic Pro > Preferences > Audi

Chapter 40 Project Settings and Preferences 959Sample Accurate AutomationAs the name implies, sample accurate automation is the most precise type o

96 Chapter 4 Setting Up Your SystemConfiguring Your Audio HardwareTo use particular audio interfaces with Logic Pro, the driver for the device need

960 Chapter 40 Project Settings and PreferencesLow Latency Mode Checkbox and Limit SliderYou need to turn on the Low Latency Mode checkbox, in orde

Chapter 40 Project Settings and Preferences 961Â Number of Undo Steps: Determines the maximum number of undo steps that are retained. Â Store undo

962 Chapter 40 Project Settings and Preferences Use Variable Bit Rate Encoding (VBR): Variable Bit Rate encoding compresses simpler passages more

Chapter 40 Project Settings and Preferences 963MIDI PreferencesThese tabs determine how Logic Pro communicates with your MIDI interface and other a

964 Chapter 40 Project Settings and PreferencesSync Preferences All MIDI Output Delay field: Delays or advances the MIDI output for all ports, al

Chapter 40 Project Settings and Preferences 965 MMC standard messages: The MIDI MMC specification is strictly followed. Old Fostex Format: The

966 Chapter 40 Project Settings and PreferencesDisplay PreferencesThese preferences alter the general appearance of Logic Pro.To open the Display p

Chapter 40 Project Settings and Preferences 967Level Meters Section Scale menu: Switches level meters between a Sectional dB-linear scale, and an

968 Chapter 40 Project Settings and PreferencesOther PreferencesThese preferences affect the appearance of specific windows.Environment: Allow ‘Al

Chapter 40 Project Settings and Preferences 969Score PreferencesThe Score Preferences are described in detail in the Score chapter (see “Score Pref

Chapter 4 Setting Up Your System 97All information about the DAE and Direct TDM panes can be found in the Logic Pro 8 TDM Guide. Setting Up Core Au

970 Chapter 40 Project Settings and PreferencesControl Surfaces PreferencesThe Control Surface preferences are discussed in the Control Surfaces Su

971GlossaryGlossaryAAC Abbreviation for Advanced Audio Codec. A compression and decompression algorithm and file format for audio data.AAF Abb

972 GlossaryALAC Abbreviation for Apple Lossless Audio Codec, an encoding/decoding algorithm that delivers lossless audio compression.alias A pointe

Glossary 973attenuate The act of lowering the level of an audio signal (see boosting and cutting).Audio Bin Window (or tab in the Media area of the

974 GlossaryAutopunch function Autopunch refers to an automatic entry and exit of record mode at predefined positions. Autopunch mode is most commonl

Glossary 975binaural hearing A description of the way human beings process audio positioning information, allowing the direction of a signal source t

976 Glossarycable In Logic Pro, the term is used to describe the virtual cables that represent a MIDI connection between Environment objects.CAF Abb

Glossary 977chorus effect Effect achieved by layering two identical sounds with a delay, and slightly modulating the delay time of one, or both, of t

978 Glossarycontrol surface A hardware device that communicates with Logic Pro via MIDI (or USB, FireWire, or via a networking connection). It can be

Glossary 979dB Abbreviation for decibels, a unit of measurement that describes the relationships of voltage levels, intensity, or power, particularly

98 Chapter 4 Setting Up Your SystemRecording DelayThis parameter allows you to delay the recording of audio by a certain fixed value, helping you t

980 Glossarydivision value Adjustable value (shown in notes) for the grid used in displays and operations. Third number displayed in the Transport ba

Glossary 981Environment The Logic Pro Environment graphically reflects the relationships between hardware devices outside your computer and virtual d

982 Glossaryfilter slope The filter slope is the steepness, or severity, of filter attenuation (level reduction). As examples, a filter slope of 6 dB

Glossary 983global tracks Global tracks are available at the top of all linear editing windows. They allow you to view, create, and edit markers, tem

984 GlossaryHyper Editor Graphical editor that can be used to create or edit MIDI note and controller data. The Hyper Editor is ideal for drawing dru

Glossary 985interface 1) A hardware component such as a MIDI or audio device that allows Logic Pro to interface (connect) with the outside world. You

986 Glossarylocal menu bar Menu in a window that only contains functions that are relevant to that particular window.Local Off mode Operating mode

Glossary 987master channel strip Channel strip in the Mixer that acts as a separate attenuator stage, changing the gain of all output channel strips

988 GlossaryMIDI Multi mode Multi-timbral operating mode on a MIDI sound module where different sounds can be controlled (polyphonically) on differen

Glossary 989MP3 Abbreviation for MPEG-2 Audio Layer 3. A compressed audio file format, frequently used to distribute audio files over the Internet. M

Chapter 4 Setting Up Your System 99Note: Larger buffer sizes increase latency. Dependent on CPU speed, buffer sizes that are too small might compr

990 Glossaryobject The term is used to refer to the graphical representation of elements in the Logic Pro Environment. These elements can be used to

Glossary 991peak 1) The highest level in an audio signal. 2) Portions of a digital audio signal that exceed 0 dB, resulting in clipping. You can use

992 Glossarypreset Set of plug-in parameter values that can be loaded, saved, copied, or pasted via the Settings menu in the plug-in window header. S

Glossary 993real-time effects Effects that can be applied to regions in real time, during playback. Real-time effects can be used on any Macintosh co

994 Glossaryrouting Generally refers to the way audio is sent through processing units. Also often used to describe specific input and output assignm

Glossary 995Score Editor Logic Pro editor that deals with standard musical notation. MIDI note events are represented as quavers, crotchets, minims,

996 Glossaryside chain A side chain is effectively an alternate input signal—usually routed into an effect—that is used to control an effect paramete

Glossary 997S/P-DIF Short for Sony/Philips Digital Interface, a standard transmission format for professional stereo digital audio signals. The forma

998 Glossarysurround Surround indicates playback systems that make use of multiple speakers. The most common surround format is 5.1 channels (front l

Glossary 999tempo The playback speed of a piece of music, measured in beats per minute. Logic Pro allows you to create and edit tempo changes in the