Logic Express 7 Reference Manual
Apple Computer, Inc. © 2004 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries.
1 Contents Preface 9 9 10 Logic Reference What Is Logic? About This Manual Chapter 1 13 13 14 16 21 32 33 35 36 44 49 51 60 62 67 68 70 70 Using Logic Using the Mouse Input Options Tools and the Toolbox Window Functions Edit Operations Selection Techniques General Functions of the Editors Key Commands Step Input Caps Lock Keyboard Song Administration Standard MIDI Files Apple Loops GarageBand File Import ReCycle Import OPEN TL Import Bouncing and POW-r Dithering Chapter 2 73 73 82 84 86 89 Transpo
101 107 116 120 122 124 127 128 132 MIDI Instruments MIDI Regions MIDI Region Playback Parameters Quantization Folders Aliases Time and Key Signature Editor Altering the Display Reset Functions Chapter 4 133 133 141 145 148 Audio in the Arrange Window Regions Audio Recording Functions Freeze Chapter 5 153 153 154 159 162 181 189 The Environment Environment—Introduction Basic Operation The MIDI Signal Path Environment Objects Faders Environment Exchange Chapter 6 191 192 194 211 218 221 Logic’s
247 Video Track Chapter 9 249 249 251 253 256 260 268 Audio Window Audio Window—Introduction Layout Display Operation File Administration Further Options Chapter 10 271 271 274 274 Audio Drivers The Audio Hardware and Drivers Dialog Audio Engine Realtime Sample Rate Conversion Chapter 11 275 275 277 280 288 291 Sample Editor Sample Editor—Introduction Display The Sample Edit Window in Use Functions Digital Factory Chapter 12 297 297 299 300 302 305 309 310 Event List Using the Event List Displa
Chapter 15 329 329 331 332 336 339 339 341 342 343 343 344 348 369 371 374 380 398 401 410 423 425 432 Score Editor Score Editor—Introduction Elements of the Score Edit Window Notation Concept General Appearance Input Methods in the Score Window Score Display Options—a Survey Printout Graphic Export Realtime MIDI Recording Step Input Mouse Input The Part Box Move, Copy, and Paste Editing or Deleting Notes and Symbols The Display Parameter Box Score Styles Note Attributes Instrument Sets and Score Displ
476 Preferences Chapter 21 487 488 490 495 498 500 Control Surface Support Installation Setup Window Parameters Control Surface Preferences Customizing Control Surfaces The Controller Assignments Window Glossary 501 Index 511 Contents 7
Preface Logic Reference Recent years have seen a revolution in the use of personal computers for creating music. Music projects that until recently would have required an array of professional studio equipment can now be completed in a home or project studio, using a personal computer and readily available resources.
• Make use of the integrated software instruments, including: ES1 and EXS24 or third- party Audio Unit instruments. • Load songs or channel strips from Apple’s GarageBand application, and edit them, making use of the additional processing and editing possibilities afforded by Logic. • Mix your MIDI and audio tracks, including effects and software-based instrument • • • • • settings, via a sophisticated total recall mix automation system.
The Onscreen Help system—accessible from Logic’s Help menu—is fundamentally the Reference Manuals in electronic form. It has the advantage of being at your fingertips when you need it, and is also searchable. Even if you’re the type who just doesn’t like reading manuals, we ask that you read the next section. It will provide you with essential information on the basic operation of Logic’s interface. Please note that all topics described herein were accurate at the date of printing.
1 Using Logic 1 The following chapter will guide you through Logic’s basic interface elements, file handling options and common input techniques. You will also learn about a number of shortcuts and features that will accelerate your workflow, and assist you while learning about Logic. Using the Mouse The mouse can be used in the following ways in Logic: Clicking Place the mouse pointer on the object (button, input field and so on) and press the mouse button once.
• If you press Option-Control, the mouse wheel can be used to zoom in/out in both directions. Note: Logic also supports mice with two wheels. The second wheel works like the first wheel, but with interchanged axes. Input Options This section discusses the various methods available for interaction with parameters, and data entry tasks. Mouse Input Checkboxes Checkboxes are square boxes that are “checked” when you click them, in order to activate an option (or function).
Using the Mouse for In/Decrementing Nearly all parameter values that can be set using the mouse as a slider (and even some of the pull-down menu parameters) may also be increased or decreased in single units by clicking on the top or bottom half of the value, while holding down Control. Numerical Input Double-clicking on a numerical parameter value opens an input field. The existing value is highlighted, and ready to be overwritten by a new entry.
Text Input You can input text names in the same way as numbers, but you only need to click a name field once to allow input. You can directly click on an object with the Text tool to rename it. Numbered Names Any number of selected Objects or Regions can be assigned same name. If the name ends with a number, this number will automatically be incremented by 1 for each subsequent Object or Region.
You can change the currently active tool by clicking on another tool in the Toolbox. The mouse pointer then adopts the shape of the tool you clicked on, allowing you to instantly identify the active tool by looking at the cursor graphic: the Eraser is used for deleting, the Scissors for cutting and the Glue Tool for merging Regions, as examples. To assign a tool to Command, click on the desired tool in the Toolbox, with Command depressed.
Using Key Commands Each tool can be selected via a specific key command. Key commands that switch to a specific tool toggle between this tool and the previously selected tool.
Pencil The Pencil is used to add new Regions. You can also select, drag, and alter the length of Regions while the Pencil tool is active. Scissors The Scissors tool is used to split Regions, allowing individual sections to be copied, moved or deleted. Text Tool The Text tool is used to name Regions, or add text to a musical score.
Glue Tool The Glue tool performs the reverse operation of the Scissors tool. All selected Regions are merged into a single Region, which is assigned the name and track position of the first Region on the time axis. Crosshair Tool The Crosshair is used to input a linear series of MIDI events in the Hyper Editor.
During operations involving events, the help tag looks something like this: From left to right, the values indicate: (name of ) operation, mouse (or event) position, event type, event MIDI channel, first data byte (note pitch, for example), second data byte (note velocity, for example), and event length (note length, for example). Window Functions The basic functions of the Logic windows are the same as those in other Macintosh applications.
Window Buttons The three buttons found at the top left of all windows (except the Transport) perform the following operations: • Left button (black dot): closes the window. • Center button (minus sign): minimizes the window, and places an icon on the Dock. The window can be restored by clicking on the icon in the Dock. • Right button (plus sign); resizes the window to the maximum screen size. A second click on the icon will restore the original window size.
Clicking the UDL button in the Event List moves you up one level in the hierarchy, just like the other editors. In the Event List, however, the form of the display remains the same but instead of a listing of individual events, you’ll see a list of Regions—along with their position, name, track number, and length. The MIDI Region that you were just editing will be selected in the list of Regions.
Use the Page Up, Page Down, Page Left, and Page Right key commands to scroll one page up, down, left, or right, as if you had clicked in the grey region (in the scroll bar) above/below the vertical scroll slider, or to the left/right of the horizontal scroll slider.
Clicking on the more closely spaced bars will reduce the zoom level. Clicking on the widely spaced bars will increase the zoom level. You can click-hold and drag the Zoom sliders to step through several zoom levels. Any relative size differences between tracks/objects will be retained when zooming. Command-clicking in the left/right (horizontal) or top/bottom (vertical) half of the Zoom slider decreases/increases the zoom factor by one step.
Concealing/Revealing the Parameters The View > Parameters function allows you to display or remove the entire area (which contains the Region parameters, Instrument parameters, and the Toolbox) to the left of the Arrange, Environment, and other edit windows. Hiding these parameters provides more space for the editing window itself. In many windows, you can hide and/or reveal further screen elements, such as the Toolbox. These display options are always available from the View menu.
Window Types There are two different types of windows in Logic: normal windows and float windows. The contents of all windows that belong to the current song are always updated, regardless of type. Normal Windows You can open as many normal windows as you want, including several of the same type. Even though the contents of all windows are constantly updated, only one of the windows ever has the status of being the “top”, or “active” window.
Float Windows Float windows are so named because they always “float” in the foreground, even above the topped normal window (if there are a lot of open float windows, they will inevitably cover each other up—just click on one to bring it to the foreground). The illustration above shows the Arrange window as float window. Float windows are recognizable by their narrower, gray title bar. Mouse operations can be carried out in the same way as in normal windows.
If the button featuring the walking man is lit, the window’s display follows the song position as the song plays. If the button is not lit, the display does not update, even when the song position line moves past the right edge of the visible portion of the window (Catch Clock Position). Note: If you move the visible section manually, Catch is automatically switched off, ensuring that the newly displayed section doesn’t then disappear.
You could also use Contents Link mode in an Arrange window, to display the contents of the folders in another Arrange window. Contents Catch By simultaneously switching on Catch and Contents Link, you activate Contents Catch mode. Initially, this is equivalent to Contents Link mode, but when the song position reaches the next Region on the same track, the contents of this Region are then displayed. You could use this mode in an Arrange window, much as you would in Contents Link mode.
Copying Screensets To copy the current Screenset to a destination Screenset, hold down Shift when you switch Screensets. Two digit Screensets are copied by holding Shift-Control 1+1, …, 9+9. You can also use menu functions to copy Screensets via the Clipboard: Switch to the Screenset you would like to copy, and select Windows > Screensets > Copy Screenset, then type in the Screenset number that you wish to copy to, and select Windows > Screensets > Paste Screenset.
Window Management Functions The Windows > Tile Windows function tiles all open windows, and makes them all the same size. The Windows > Stack Windows function stacks all open windows on top of one another, so that at least a part of the title bar is visible for each window, no matter which is the foreground window at the time. The Windows > Tile Windows horizontally function tiles all open windows, using all available horizontal space for each individual window (if possible).
The contents of the Clipboard are added at the current song position (if they are events or Regions). The song position is incremented by the length of the pasted Region/ event(s). In the Arrange window, the contents of the Clipboard are pasted to the selected track. If events are pasted into the Arrange window, either a new MIDI Region or Region is created, or the events are added to a selected MIDI Region. Any existing Regions remain unchanged.
Selecting Several Objects To select several non-contiguous objects, hold down Shift as you click them. As subsequent objects or events are selected, the previous selections are retained. This also works with horizontal or rubber band selection. Horizontal Selection To select all Regions on a track, click on the track name in the Track List.
General Functions of the Editors Logic’s MIDI editors allow the editing of events (MIDI messages). Logic’s MIDI editors include the Score, Matrix, and Hyper Editor, Event List and Transform windows. Opening Editors Double-clicking on a MIDI Region opens the Score Editor. There is a pull-down menu on the Preferences > Global > Editing page, which lets you select the editor that will be opened when you double-click on a MIDI Region. The options are: the Score, Event, Matrix, and Hyper Editor.
To apply the same quantization value to another series of selected events (even in other editor windows), select Functions > Quantize Again, or click (quickly) on the Q button a second time. Note Quantization Normally, all notes in a MIDI Region are quantized in accordance with the Quantization parameter value chosen in the Region Parameter box Reversing Note Quantization Note events can be returned to their original record positions, or moved manually, by selecting the off setting in the Quantization menu.
Special Keys Some keys have special functions: • The Shift, Control, Option, and Command modifier keys can only be used in conjunction with other keys. • The Backspace key has the fixed “delete selected objects” function. It can only be assigned to another function in conjunction with the modifier keys. • The key combinations assigned to the options in the main menu bar cannot be reassigned. The relevant key commands are displayed after the main menu items.
Key Commands List In the list shown to the left of the Key Commands window, the following applies: • Groups can be extended or collapsed by clicking on the disclosure triangle to the left. • Columns can be changed in width by dragging the separating lines between the headers (Command, Key, MIDI, and so on) • When the list has keyboard focus, physically pressing a key command (or key command combination) selects the appropriate function in the list.
Printing a Key Command List The Options > Copy Key Commands to Clipboard function copies the key commands into the Clipboard as text. From here, it’s a simple matter of pasting the results into any word processor, formatting as desired, and printing them out. The Copy to Clipboard function also takes into account the Show and Find function settings (see below). You could, therefore, export a certain group of key commands (those containing a particular character string, for example).
Find Function The Find field is used to find key commands by name or partial name: • The search is performed as you enter text. There is no need to press the Return key. • The Cancel button to the right (that appears as soon as any text is entered) clears any entered text, and displays all key commands. • The Find menu to the left (the magnifying glass) retains a history of recently used search terms. The Clear menu item erases the Find history.
MIDI • The uppermost box, the Status menu, displays the type of MIDI message that is used • • • • for the key command. Channel: Indicates the MIDI channel number of the incoming message. This parameter is disabled if the Status menu is set to unused. Data 1: This field indicates the first MIDI data byte. As an example: This field will show and allow the entry of a MIDI note value if the Status menu is set to Note. Data 2: This field indicates the second MIDI data byte.
The Learn New Assignment button allows you to “teach” Logic a new assignment for the selected key command. Click on the button, and use the desired control. Note: If you wish to set up assignments for an entire control surface, be it supported or unsupported, make use of the Preferences > Control Surfaces > Learn Assignment for xxx function. This is discussed in detail in the Control Surfaces chapter of this manual (see “Customizing Control Surfaces” on page 498).
To delete key assignments: 1 Activate the Learn by Key Label or Learn by Key Position button. 2 Use the mouse to select the function/key assignment that you want to delete. 3 Press Backspace. 4 To erase more assignments, repeat the second and third steps. 5 Deactivate the Learn by Key Label button. To assign a function to a MIDI message: 1 Activate the Learn MIDI button. 2 Select the desired function with the mouse. 3 Send the desired MIDI message from your controller.
4 If you want to make another assignment, repeat steps 2 and 3. Note: If you wish to set up assignments for an entire Control Surface, be it supported or unsupported, make use of the Control Surfaces > Learn Assignment for xxx option. This is discussed in detail in the Control Surfaces section of the manual (see “Customizing Control Surfaces” on page 498). Step Input The Step Input functions allow you to insert MIDI notes when Logic is not in a realtime Record mode.
Key Commands There is a set of key commands for the insertion of notes via the computer keyboard. To activate Step Input mode, the In button (see picture below) must be switched on in the selected MIDI editor. This mode (and the In button) is available in the Event, Matrix, and Score Editor. You will find the relevant key commands in the Keyboard Input section of the Key Commands window. MIDI Input When the In button is engaged, you can insert notes via an external MIDI keyboard.
Length and velocity are determined by the corresponding buttons in that window. If the buttons look like those shown in the illustrations below, a sixteenth note with a velocity setting of 96 would be inserted—this value (96) corresponds to the forte (f ) indicator. The eight available velocity values are represented by the traditional volume indicators ppp, pp, p, mp, mf, f, ff, and fff, which correspond to velocity values 16, 32, 48, 64, 80, 96, 112, and 127, respectively.
Input via the Computer Keyboard Note input with the computer keyboard follows the same principles as input via the on-screen keyboard (see “Input via Screen Keyboard” on page 45). Where it differs is that key commands are used for all functions, rather than choosing pitch, velocity, note length, and so on with mouse clicks. It is recommended that the Keyboard window should remain open when you first start using these functions, to make the learning process easier.
An example: If a G is inserted immediately after inserting a C, the G will be placed below the C. Inserting the C places the range beam between G (left end) and F# (right end), with the C in the center. Regardless of which note is chosen next, it will always be inserted inside this range. The range beam will, however, move as further notes are inserted, with the (range beam) center always aligned to the most recently inserted note.
Note: As you can use key assignments that are already in use for other functions, you should take care to avoid using keys that are assigned to functions that you might also want to use when working in step input mode. Input via MIDI Note input via MIDI works as per input via the on-screen keyboard (see “Input via Screen Keyboard” on page 45). Obviously, you press keys on your real-world MIDI keyboard, rather than clicking notes on the on-screen keyboard.
The Escape key sends an All Notes Off command, should you encounter hanging notes. The numeric keys (above the QWERTY keyboard) are used to define the octave for the MIDI keyboard. The two rows below the numeric keys function as the actual MIDI keyboard keys, starting with the note C, assigned to the alphabetical A key (or Q, as would be the case if using a French keyboard, for example). See the black and white keys in the picture above for details.
Song Administration All events, other objects and settings (apart from the preferences and key commands) are components of a song. Songs are handled in the main File menu. Projects The illustration above shows a typical Project folder file structure in Logic’s Open dialog.
• Preset Templates folder (/Library/Application Support/Logic/Song Templates/ Autoload or Autoload.lso) • User Templates folder (~/Library/Application Support/Logic/Song Templates/ Autoload or Autoload.lso) • the Application folder (Logic 6 series/Autoload or Autoload.lso). • If no Autoload Song exists in any of the aforementioned locations, or the Option key is pressed, the empty default song (besed on the .plist created by the Logic Setup Assistant) will be launched.
Project settings can be changed via the File > Project > Settings menu entry, which launches the following dialog: If Copy (or Move, see “Saving as Project” section below) is set for audio files, sampler instruments/samples the “copy” flag will be associated with that file type in the Project settings. Warning: If a new project is closed without saving it, you will be asked if the created files and folders should be deleted.
Copying or Moving the Project Folder If the project folder is moved or copied to another location, the files in the resulting folder will still be found correctly, provided that they are all in (or are in subfolders of ) the appropriate project subfolder—audio files are found in the Audio Files sub-folder, samples in the Samples sub-folder, sampler instruments in Sampler Instruments subfolder and so on.
Consolidate Project Settings The File > Project > Consolidate function launches the following dialog: As you can see, it is basically the same as the Save As Project dialog, but with the Song File pull-down menu missing. How Consolidate Works • If Consolidate is used on a saved song, the song will be moved into a newly created folder (named after the song). Following the consolidation, the usual Save As Project functions (copying or moving files) can be performed.
About Templates A template is a song file that is stored in either of two specific locations (see below). Any song file may act as a template. You can view templates much like having multiple Autoload Songs. The advantage of using templates is that not all projects have the same needs, so customizing several songs to meet these needs offers an ideal “starting point” for different jobs. As examples: • A template that is software instrument-focussed, for Dance projects.
Direct Access to Your Current Songs You can open any of your most recently opened songs directly without the usual file selection dialog by selecting File > Open Recent. Different Songs Open at the Same Time If you have several songs open at once, you can switch the currently active song from the Windows menu—the active song is the one marked with a tick.
Song Information Window The Song Information window can be opened via Options > Song Information. It contains information about various aspects of your song. This information might not be directly useful for you, but you may be asked to provide this information (in case there is problem with a specific song) by the Support Team. Saving Songs When you select File > Save (or Command-S), the current song will be saved—with its current name intact.
Automatic Backup Files When you save a song, Logic will first make a safety copy of the previous file. You can switch off this function in the Global preferences (Preferences > Global), and also set the number of backup files that will be made—up to 100. This function allows you to store up to 100 earlier versions of your song, thereby retaining a complete record of your song’s development.
Standard MIDI Files Standard MIDI files are not specific to a particular sequencer program, or type of computer. They contain the following information: • MIDI events, including time positions and channel assignments • Names of the individual tracks • Tempo changes • Copyright marks Logic supports the importing and exporting of Standard MIDI file formats 0 and 1: • Format 0 can contain one track. • Format 1 can contain multiple tracks.
Saving Standard MIDI Files If you want to play a Logic song on another sequencer, you can do so by saving it as a Standard MIDI File. Consult the other sequencer’s instruction manual to see what Standard MIDI File formats it can read. Any sequencer should be able to interpret at least the type 0 file format.
Apple Loops Logic ships with a number of Apple Loops. Apple Loops are musical phrases that can be repeated seamlessly. In comparison to “normal” audio loops, Apple Loops have a significant advantage: they can be transposed and (automatically) time stretched. Logic allows you to import Apple Loops, using the Loop Browser. You can also create your own Apple Loops with the Apple Loops Utility. The Loop Browser The Loop Browser allows the import of Apple Loops.
The Scale pull-down menu offers Minor, Major, Neither, and Good For Both options. Use of these options limits the search for Apple Loops to the selected Scale type, within the chosen category. As an example, if Country, Acoustic, and Relaxed categories were selected, you would be presented with twenty files that matched your choices. Selection of the Minor Scale option would reduce this list to ten possible Apple Loops, making the task of auditioning and selecting the most appropriate material faster.
The Apple Loops that feature the green icon can also be added to audio tracks, where they behave exactly like their blue icon counterparts. They may further be added to all Audio Instrument and MIDI tracks. On such tracks, these files they can be edited like other MIDI Regions, including individual note editing.
Property Tags • Number of Beats field: Displays the number of beats in the file. • File Type button: sets the file type, which can be One-shot (One-shots are audio files not suitable for repetition) or Looped. • Key pop-up menu: Sets the key of the file. • Scale Type pop-up menu: Sets the file’s scale type. The choices are Major, Minor, Good for Both, and Neither. • Time Signature pop-up menu: Sets the file’s time signature. The choices are 4/4, 3/4, 5/4, 6/8, and 7/8.
• Sensitivity slider: Sets the degree of sensitivity for transient detection. When you increase the sensitivity of transient detection, the Apple Loops Utility considers points of higher amplitude in the waveform as transients, regardless of whether or not they occur at a beat value. When you open a file in the Apple Loops Utility, it looks for transients at every 16th note position, based on the file’s tempo and number of beats tags.
There are two additional buttons at the bottom of the window, the Assets button and the Save button. • Assets button: Shows and hides the Assets drawer. • Save button: Saves your changes to the currently selected files in the Assets drawer. GarageBand File Import Logic supports the importing of GarageBand files via the File > Open menu option. On opening the file: • Logic will automatically create the required number, and type, of tracks to mirror those used in the GarageBand song.
ReCycle Import ReCycle is the name of a software application by manufacturer Propellerhead, which mainly serves as an editing and production tool for loops (repeatedly looped audio samples). ReCycle uses specific file formats that can be imported by Logic. Recognized ReCycle File Formats Logic can import the following file formats: Old ReCycle File • File Suffix: .rcy • Abbreviation: RCSO Old ReCycle export file • File Suffix: .rex • Abbreviation: REX ReCycle 2.0 file • File Suffix: .
The size of the transferred audio region is limited to 10 MB, due to the fact that the Clipboard resides in the computer’s RAM. 10 MB, however, should be sufficient for most ReCycle loops (an eight bar stereo loop in 4/4 at 70 bpm uses approximately 5 MB, for example).
OPEN TL Import Logic has the ability to import song contents using theOpenTL (Open Track List) file format. The OpenTL format is mainly used for data exchange with Tascam hard disk recorders, such as the MX2424. It only supports the exchange of audio data (audio media and the use of this audio media in a song)—MIDI and automation data will be ignored when using the export functions. To import an OpenTL file, choose File > Import. A file selector opens, which allows you to choose OpenTL files.
POW-r offers three distinct dithering modes. • No Dithering: No dithering is applied. • POW-r #1: uses a special dithering curve to minimize quantization noise. • POW-r #2: (Noise Shaping): uses additional noise shaping over a wide frequency range, which can extend the dynamic range by 5 to 10 dB. • POW-r #3: (Noise Shaping): uses additional, optimized noise shaping which can extend the dynamic range by 20 dB within the 2 to 4 kHz range—the range the human ear is most sensitive to.
2 Transport 2 In this section, you will learn how to move to different parts of the song, start and limit passages, and to isolate and audition specific portions and components within the song. In short, you’ll learn all about Logic’s Transport window. This also includes a brief introduction to Logic’s recording functions. The Transport Window The Transport window is used to control and display Logic’s recording and playback functions.
Position display, Locators (see “Position Display” on page 76) Tempo and Time Signature display (see “Tempo/Free Memory” on page 77) MIDI Input—Output/Song End (see “MIDI Monitor/Song End” on page 78) Note: As a floating window, the Transport window is always in the foreground, and can not be covered by other (non-floating) windows. All display fields in the Transport window (apart from the song name) can be used for data input.
The Transport Bar in Other Windows You can also configure a fixed Transport window in the Arrange and Matrix windows. Select View > Transport and a Transport field appears in the top left corner of the window. The number of visible buttons and displays is dependent on the size of the area available. You can adjust this area by click-holding on the intersection of the Track List, Arrange area and Bar Ruler (the cursor will change to a four-headed arrow), and dragging.
SMPTE View Offset This menu option launches the Song Settings > Synchronization > General tab, allowing you to define the Bar Position and/or SMPTE time for both the actual song position and the SMPTE view offset. Position Display The current song position is shown in two formats: Above: SMPTE time Hours: Minutes: Seconds: Frames/Subframes. Below: bar position Bar—Beat—Division—Ticks. A beat corresponds to the denominator in the time signature, a division is a freelydefinable part of a beat.
Tempo/Free Memory Tempo Tempo is displayed as quarter notes per minute, or beats per minute (bpm). It ranges from 5 to 9999 bpm, and is adjustable to four decimal places after the whole value. Programming Tempo Changes This functionality is described in the Tempo chapter (see “Display and Functions” on page 447). Free Memory Below the Tempo display, you will see the amount of free memory (events) available in the record buffer. You can increase the amount of free memory by reconfiguring the memory.
Time Signature Changes If you alter the bar numerator or denominator in the Transport window, a time signature is created at the start of the bar occupied by the current song position. This is shown in the Bar Ruler, to the left of the bar number and in the Global Signature track, if visible. A time signature change does not affect the absolute positions of any existing time signature events that are already inserted.
Panic Function Click on the MIDI monitor to silence any hanging notes. If this doesn’t work, doubleclicking on it will initiate a Full Panic reset, which should do the trick (see “Reset Functions” on page 132). Song Title The title of the active song is shown below the MIDI monitor. Song End Below the song title, you’ll see a numerical field that indicates the song end position. As soon as Logic reaches this position, it will stop automatically, except when recording.
Play Starts playback at the current position, or from the left locator position when in Cycle mode. You can use the Play from beginning key command to start playback at the beginning of the song. Stop Ends recording or playback—the sequencer stops. If the sequencer is already stopped, pressing stop moves the song position line to the song start point, or to the left locator position if Cycle mode is active. Rewind/Forward If the sequencer is stopped, these buttons work as you would expect.
Mode Buttons The mode buttons do not immediately trigger an action. Rather, they switch operating states. The relevant button will illuminate to indicate that the mode is activated. Cycle, Autodrop, and Replace Autodrop Cycle Replace More information about the Cycle switch can be found in the Cycle Mode section (see “Cycle Mode” on page 84). For more details about Autodrop (see “Autodrop” on page 88), and the Replace switch (see “Options” on page 87).
• direct access to the tempo editors (see “Display and Functions” on page 447). • direct access to the Synchronization settings. Metronome This button (default: C) is used to turn the metronome on and off. Logic remembers the Metronome status for recording and playback. Click-holding the Metronome button offers pull-down menu access to the Recording and Metronome Settings. The Bar Ruler There is a Bar Ruler at the top of the Arrange, Matrix, Hyper, and Score windows.
Start and End Markers The song start point is normally at position 1 1 1 1. You can move the song start point to an earlier position for playing upbeats or program change commands, by grabbing and dragging it with the mouse. The position display in the top left of the window will indicate where it is. The song end (default: bar 201) can be set using the same method, or with the numerical Song End display (see “MIDI Monitor/Song End” on page 78).
Numerically Selecting Goto Position opens the dialog box shown above, allowing you to input the song position numerically. The last division used (bar position or SMPTE time) is automatically selected, with the last input value as a default. As the numbers are registered from the left, it is enough just to enter the bar number. In the Score Window, you can set the SPL position directly by clicking into a staff at the desired point while pressing Option.
How Logic behaves in Cycle mode: • The Song Position Line jumps from the end of the Cycle to the beginning. • When this happens, the playback from Environment Objects that are generating notes is interrupted. • The Play command starts playback from the beginning of the Cycle. • To start playback from another position, hit Pause twice, or Pauseand then Play.
• The Set rounded Locators & Play key command achieves the same result, but also starts playback. Skip Cycle You can skip a passage in play mode, which is useful for trying out the musical effect of various transitions. m To set up Skip Cycle: Drag the Skip Cycle area from right to left in the Bar Ruler. If a (normal) Cycle area already exists, just move the left locator to the right of the right locator. The Skip Cycle area is shown as a very thin strip at the top edge of the Bar Ruler.
Count-In The Count-in and Record Pre-roll values can be defined in File > Song Settings > Recording (see “Metronome Settings” on page 466). This is often useful if the section of the song (just before the part you’re recording) lacks the sort of rhythmic information necessary to play new parts in time, but there’s plenty of rhythmic material, once the section you’re recording to gets going. Options Record Toggle—Record Repeat The Record Toggle key command switches between playback and record mode.
Cycle and Replace During a cycle recording in Replace mode, existing Regions are deleted during the first cycle pass—from the punch-in point to either; a punch-out point or the end of the Cycle. When the second cycle pass begins, recording continues, but no further Regions are deleted. If you want to replace the end of an existing Region, you don’t need to stop recording before the second cycle pass begins: the start of the existing Region remains intact.
Setting Autodrop Numerically The positions of the Autodrop locators are displayed numerically, to the right of the Cycle locators on the Transport window. These positions can be altered by using the mouse as a slider, or by direct numerical entry in this display window. Recording in Autodrop Mode To make an autodrop recording, place Logic in Record mode at any position before the drop-in point.
The Chase Events function searches all MIDI Regions at the playback start point. It looks for a selection of the following before the playback start point: • any notes due to start playing at the playback start point. • any notes that are still playing at playback start point—held-down sustain pedal (Chase sustained Notes). • program changes. • pitch-bend information. • continuous controllers 0 to 15. • continuous “switch” controllers 64 to 71. • all other controllers (all other Controls).
3 Arrange Window 3 The Arrange window is the heart of Logic. It is the view that you will see most often when working with the program. You will learn all about the different interface elements, functions, and features of the Arrange window in this section. You will also discover how to handle both MIDI and audio tracks plus a number of other important techniques. Overview The Arrange area is where all MIDI and audio information is recorded, on horizontal tracks.
To the left of the Arrange area is the Track List (see “Tracks” on page 92). This is where you determine which (Audio) Object should play the MIDI or audio information on each track. You can make various settings for these Objects in the Object Parameter box in the lower left corner. As the Regions are arranged graphically, you can also use specialized mouse tools from the Toolbox to help you perform different operations.
Overview There are basically three types of tracks: • Audio tracks: for playback, recording, and automation of audio signals. • Audio Instrument tracks: for playback, recording, and automation of MIDI data sent to software instruments. • MIDI tracks: for playback, recording, and automation of MIDI data sent to external MIDI devices. In addition to these tracks, there are also tracks with very specific functions, such as the Global tracks (see “Global Tracks” on page 239).
Note: Strictly speaking, tracks don’t need to be routed to an instrument or audio channel, as you can assign any Environment Object to the output of a track. The track data could conceivably be sent to a folder, or directly to a MIDI port (a MIDI Region). Obviously, audio data would not be understood by a MIDI sound module, so there is no point in routing a track that contains audio data (in a Region) to an instrument.
Icon Color The small, monochromatic icons adopt the color of their “parent” Audio Object or MIDI Instrument Object—which is also used for newly recorded Regions in the Arrange window. The high resolution Arrange icons have their own color and, therefore, cannot adopt the color of the “parent” Object. Selecting a Track You can select a track by clicking on its name or icon in the Track List.
Note: If you hold down Option before grabbing the track number, no extra Regions on the track will be selected. If no Regions were selected in the first place, an empty track with the same track instrument is created at the destination position. If the Cycle function is switched on, all Regions in the Cycle area are moved from the old track to the new track. The musical result is not any different, because the new track is played by the same track instrument.
Name While Creating a Track When you create a track (by double-clicking below the bottom track in the Track List) you can hold down Command at the same time to open the input box for the track name. Deleting Track Names To delete a track name, select Track > Delete Track Name. You can also double-click on the track name while holding down Command. This opens the text input field for the track name. The name can be deleted using Backspace. The instrument name will then appear in the Track List again.
Soloing Tracks Both MIDI and audio tracks (and folders) offer Track Solo buttons to the left side of the Track List, between the track number and the icon. Soloing a track isolates it while playing—and mutes all other tracks. To show or hide the yellow Track Solo buttons, select View > Track Solo Buttons. Activating any Track Solo button enables Solo Lock mode (see “Solo and Solo Lock” on page 81), if necessary, and adds all Regions on that track to the Solo Lock Group. The button turns yellow when active.
Selecting an Instrument Click-holding on an Instrument’s name (or icon) in the Track List opens a hierarchical pull-down menu. The sub menus of this pull-down menu correspond to the Environment layers (see “Layers” on page 154) of your song. This is where you select and assign Instruments to a track.
If the Track Protect button is not visible in the Track List, you can switch it on via the Arrange menu View > Track Protect Buttons. Clicking on the Lock button(s) toggles between locked and unlocked mode. If you hold Command while clicking on a Track Protect button in the Track List, all tracks in the currently-selected display level (or folder) are protected. If they were already protected, they will be unprotected.
The Arrange channel strip allows you to access all of the mixer channel functions (volume, pan, sends, inserts, and so on) directly from the Arrange window. Any adjustments you make to a track’s Arrange channel strip will be reflected in the corresponding Track Mixer and Environment channel strip as well.
The Instrument Parameters The Instrument’s Object Parameter box is located at the bottom left corner of the Arrange window. The Instrument parameters belong to the Instrument Object, not to the track per se, so if you alter the parameters here, it will affect all tracks playing (addressing) the Instrument. Note: The Instrument’s Object Parameter box in the Arrange window is identical to the corresponding Object Parameter box for the same Instrument in the Environment.
Hiding an Instrument The small box to the left of the icon determines whether the instrument appears in the instrument selection pop-up menu of the track list. You will generally always have this checked for Instrument Objects. Note: This option is primarily used to reduce the size of the instrument pop-up menu, by hiding other Environment Objects, such as faders or MIDI ports.
If the MIDI channel is set to All, you can edit the parameters of the whole multi instrument. A useful facility for globally changing the MIDI port, for example. Adjusting the Sound of a Track The Program, Volume, and Pan parameters transmit program changes, volume controllers (#7) and pan controllers (#10) respectively. If the respective box is unchecked, the default value of the MIDI device itself is used. The corresponding value is only transmitted if you place a check in the box, by clicking in it.
3 Activate the Record button in the Transport bar. 4 Move the Song Position Line to the desired song position. 5 Select the desired sound (program) and/or the volume/pan setting you want to use. 6 Activate the Program (or Volume and Pan) checkbox(es). Each selected event will be sent and recorded. 7 Click the Stop button in the Transport bar to exit recording mode. The values of the Program, Volume, and Pan parameters will not be updated every time such control change events are played back.
No Reset If the box next to the No Reset parameter is checked, no reset messages will be sent to this instrument. This can be useful if controllers are being used for non-musical purposes, for example when an Instrument is used for mixer automation. The Preferences > MIDI > Reset Messages window controls what reset messages are normally sent, but these messages are not sent to “No Reset” instruments. Style The Style parameter is located at the bottom of the Parameter box.
MIDI Regions MIDI Regions are containers for the MIDI events within them. Containers for audio data are referred to as Audio Regions (or simply Regions). Audio Regions can be compared (see “MIDI and Audio Regions Compared” on page 140) to MIDI Regions as far as how they are used and edited. The purpose of MIDI Regions is to make things clearer and easier to deal with. They also correspond to the musical convention of treating a phrase or a riff as a single unit.
Deleting MIDI Regions You can delete all selected MIDI Regions by clicking on them with the Eraser tool, or by pressing Backspace. You can also delete any non-selected MIDI Region by clicking on it with the Eraser. Retrieving Deleted MIDI Regions Should you accidentally delete a MIDI Region, you can restore it by selecting Edit > Undo (Command-Z) immediately after making the error. Drag Menu Before looking at moving and editing Regions in the following sections, we’d like to cover the Drag pull-down menu.
Moving Regions Regions may be moved by grabbing and dragging them with the mouse pointer. You can move Regions along the timeline and from one track to another. You can also move them between two Arrange windows. Note: If Hyper Draw is enabled for the Region, you’ll need to grab above the blue area in order to move it. Tying Regions by Length Change The Region > Tie Regions by Length Change option lengthens the selected Region(s), making them end exactly at the startpoint of the next Region on the track.
Adjustment Used to determine whether you want a copy to begin exactly at the end of the original or the previous copy (setting: None), or whether you want the startpoint to be “quantized”. In most cases, the Auto setting will be suitable. “as” This parameter determines whether the repeats are copies or aliases of the original. Altering the Length of Regions Grab the Region at the bottom right corner, with the pointer or pencil tool, to move the endpoint of the Region to the desired position.
Note: You can make a rhythmic MIDI Region play in “half-time” by stretching it to twice the original length, or in “double-time” by shortening the length to half the original length. … to Adjust It to Fit Its Contents The MIDI > Set Optimal Region Sizes function reduces or increases the length of a Region, making it just large enough to contain the events (or Regions, if a Folder) within it. The Region borders are rounded to the nearest bar.
Dividing MIDI Regions Click on the Scissors (see “The Tools” on page 18) in the Toolbox. Now click-hold on the desired MIDI Region(s). The help tag shows the current mouse position. When you release the mouse button, all selected MIDI Regions are cut at the position shown in the help tag. The grid is based on the Display Format value. This value is displayed and is adjustable in the Transport window, just below the Time Signature indicator.
Merging MIDI Regions You can merge two or more selected MIDI Regions into a single MIDI Region, by clicking on one of them with the Glue tool (see “The Tools” on page 18). The function of the Glue tool is the same as Region > Merge > Regions. This merges all selected MIDI Regions—even those on different tracks—into a single MIDI Region. All events from each individual MIDI Region retain their original time positions.
Muting Regions Often, when arranging, you’ll want to test musical ideas by muting certain Regions. This is what the Mute tool (see “The Tools” on page 18) is designed for. You can mute individual or selected Regions by clicking on them with the mute tool. Clicking a muted Region reverses this state (unmuting). Muted Regions are indicated by a dot that precedes the Region name, and are shaded (dependent on the Preferences > Display > Arrange > Muted Regions are textured setting).
Naming a Region Click the Region with the Text tool (see “The Tools” on page 18), and a text input box will appear. Enter the desired name and press Enter, or click another Region or the Arrange area background to exit text input mode. The same applies if entering a name in the Region Parameter box. Multiple Naming Select a group of Regions (with the rubber band, for example), and click one of them with the Text tool. A text input box will appear, allowing you to name the Region.
MIDI Region Playback Parameters The Region Parameter box is located to the left of the track list, above the Toolbox. Displaying Region Parameters When you select a Region, its parameters are automatically displayed in the Region Parameter box. If the Region Parameter box isn’t visible, select View > Parameters. None of these parameters alter the original data of the Region, they only affect playback. Note: The Region parameters also apply to folders, affecting all Regions within them.
Editing Several Regions Simultaneously If several Regions are selected, the number of selected Regions is displayed, in place of a Region name. If you alter any Region parameter, all selected Regions will be affected. If a given parameter (Transpose, for example) is set differently in the individual Regions, a “*” appears in the Parameter field. You can alter this parameter for all selected Regions, and the value differential will be retained (relative alteration).
If you want to transpose by octaves, click on the arrows to the right of the Transpose parameter. This opens a pull-down menu that allows direct octave transpositions. To guard against drum notes, and so on being transposed, the MIDI Instrument’s Object Parameter box contains a No Transpose checkbox. If you place a check in this box, the transpose parameter is ignored in all MIDI Regions played by this Instrument. Velocity, Dynamics, and Gate Time Velocity Value range: ±99.
Delay Value range: −999 to 9999 ticks. Normal value: 0 This parameter alters the time position of selected Regions. Positive values correspond to a delay (laid-back playing style or dragging), negative values cause a pre-delay (driving or rushing). The units are ticks. A tick is the smallest time resolution in a sequencer, which is 1/ 3840th note in Logic. On the right side of the delay value field you can use the mouse as slider to input the value.
• The delay in outputting the voice is not constant as it is dependent on the order of notes arriving serially at the sound generator. You should therefore try pre-delaying rhythmically important tracks by as little as one tick—it can work wonders! Fixing/Neutralizing MIDI Region Parameters You can normalize the MIDI Region parameter settings of all selected MIDI Regions and Folders with the MIDI > Region Parameters > Normalize Region Parameters command.
The Apply Quantization Settings Destructively (see “Applying the Quantization Settings” on page 122”) command overwrites the original position with the playback position. The same thing happens if you manually change a note in one of the editors. Which Events Can Be Quantized? Region parameter quantization only works on notes, not on other types of events like controllers.
Odd Quantization The 9-Tuplet setting means novetuplets (1 bar = 9 beats), 7-Tuplet is septuplets (1 bar = 7 beats), 5-Tuplet/4 is quarter quintuplets (1 bar = 5 beats), and 5-Tuplet/8 is eighth quintuplets (1 bar = 10 beats). Applying the Quantization Settings In the same way that other Region parameters can be normalized, the quantization settings can also be applied permanently to stored data. To do this, use the Apply Quantization Settings Destructively key command.
In the same way, your entire song, including all tracks and Regions, could itself be a folder, appearing as a grey beam in another song. In this way, you could arrange several songs for a concert. This is not all that folders can do. You could use folders to represent the parts of a song (choruses and verses).
Exiting a Folder To change to a higher display level of the Arrange window, double-click on the background. Moving Regions Into Folders …is as easy as drag-and-drop. Drag the Region(s) from the original track onto the folder at the desired position and release the mouse. If the folder does not already contain a track with the same instrument as the original track, Logic creates one. When you look inside the folder, you will see the Region at the drop position.
If the data in the original Region is altered, this immediately affects all aliases of the Region. In fact, this is the whole point of aliases. As an example, if a riff or phrase keeps recurring throughout a song, it makes sense to use aliases, rather than have full copies of the original eat up your storage space. Furthermore, when using aliases, if you feel something is not quite right, you only need to alter the original, and the correction will automatically take effect throughout the whole song.
“Don’t Clear” cancels the erase procedure, while “Clear” deletes the Region. If you do this, it makes no sense to keep the aliases after you’ve deleted the original. As Logic doesn’t do this for you, you could end up with “orphan” aliases—aliases without an original. Although such Regions serve no useful purpose, Logic doesn’t automatically delete them, as you might decide to assign them to new originals at a later stage.
Time and Key Signature Editor The Time and Key Signature Editor window allows you to copy, move, and delete time signature changes, key signature changes and global score symbols (repeat signs, special barlines and so on). Choose Signature/Key Change List Editor from the Options menu to open this window. This editor is very similar in use to the Event List editor, except that new list entries can only be created by copying existing ones.
• Copied list entries are inserted into the list, and an entry box for the bar position of the first inserted list event will open. Type in the desired bar position and close the box by pressing Return. Subsequent list entries are inserted at bar positions that correspond to their original distance from the first copied list entry. Moving and Deleting List Entries All list entries in this window (except the initial time signature and key indication at the top of the list) can be moved or deleted.
Record Enable Button Allows you to show/hide the Record Enable buttons. Track Protect Button Shows/hides the Track Protect Buttons. Track Freeze Button Shows/hides the Track Freeze Buttons. Track Instrument Channel When on, this option displays an abbreviated Track Instrument label. Instrument Icon Selecting Instrument Icon shows/hides the track instrument icons. Instrument Icon (Large) Selecting Instrument Icon (Large) allows the display of large track instrument icons.
Instrument and Track Name Stacked on Each Other If you zoom in far enough vertically, you will be shown both names, one above the other: the instrument name (in bold) on top, and the track name below. This even occurs if one of the names is hidden. Sorting the Tracks You can sort tracks by grabbing the desired track number and moving it vertically. You can use the right edge of the track list for sorting as well.
Region Display Contents Visible in MIDI Regions If you vertically zoom the display, you will be able to see the actual events contained within MIDI Regions. MIDI Regions show notes or controller events, folders show the Regions they contain, and aliases show the name and position of the original. The View > Region Content option allows you to see a display of contents, at large enough zoom settings. If you uncheck this option, the contents will not be displayed, no matter what the zoom setting.
Reset Functions To switch off stuck notes, click on the MIDI monitor in the Transport window, or hit Stop twice in rapid succession. In both cases, reset messages are sent, as defined in Preferences > MIDI > Reset Messages (see “Interface Language” on page 484). For Hanging Notes—Panic Function If the notes continue to sound, then your sound sources may not be able to respond to “All Notes Off” messages.
4 Audio in the Arrange Window 4 This chapter discusses the importing, creation, editing, and handling of Audio Regions in the Arrange window. You will also learn a number of automated recording techniques, discover crossfading, looping, and tempo matching. Further to this, you’ll find out about the Freeze facility, which allows you to create projects that are beyond the real time capabilities of your computer. Regions Creating Regions MIDI Regions are containers for MIDI events in the Arrange window.
Multiple File Dragging You can drag multiple audio files from the Audio window or a Finder window into the Arrange window. To do so, simply rubber band contiguous files, or command-click noncontiguous audio files in the Finder or Audio window, and drag them to the desired Arrange window position. The following dialog will be launched: • Create new tracks—creates new tracks for each dragged file, using the next available • • • • Audio Object.
Editing Regions Dividing Regions When you divide a Region using the Scissors tool, you create two new Regions. The newly created segments of the Region are named after the original, with a sequential number appended to the end of the name. Region Display The Arrange window displays the actual waveform of an audio file, all the way down to single sample resolution (at higher zoom levels).
Copying Regions Creating New Regions Copies of Audio Regions are made in exactly the same way as MIDI Regions—by dragging them while holding down Option. This automatically creates a new Region in the Audio window. The new Region will retain the name of the original, with a sequential number added. This allows you to alter the start and endpoints of the copied Region independently of the original. It is comparable to a genuine copy of a MIDI Region, which is created in the same way.
Moving Audio Regions You can grab Audio Regions in the Arrange window with the mouse, and move them around, just like MIDI Regions. If you hold down Control while moving Regions, you can move them in steps of one division (in sixteenths, for example). If you hold down Control and Shift while moving Regions, you can move them by single ticks (maximum resolution). You can also use the Delay parameter in the Region Parameter box to shift the playback position of Regions.
You can edit a Region’s start and endpoints far more accurately with the Sample Editor, which can be opened by double-clicking on the Region. Simply slide the “S” and “E” markers to change the Start and End points of the region. While moving the Start point, use the Option-key, to ensure that the Anchor (and therefore the timing of the audio, relative to the rest of the arrangement), remains unchanged. The Anchor must be positioned inside the Region.
Delay Just as with MIDI Regions, you can advance or delay the playback of Audio Regions, the smallest available units being ticks. The Region Anchor The Anchor is an Audio Region’s temporal reference point. When you move an Audio Region, it’s not the start point that is displayed in the help tag (as with MIDI Regions)— it’s the Anchor point. As an example, to guarantee perfect synchronization between a one-bar drum loop and your MIDI Regions, the Anchor must be assigned to a well-defined musical point.
MIDI and Audio Regions Compared The following overview sums up the main differences between Audio and MIDI Regions. There are some notes at the bottom of the table to clarify the most important points.
Only Audio Regions have the flexible reference point provided by the Anchor. The fundamental functions (such as a freely determinable position and length, the ability to create complex arrangements with the aid of folders, and the ability to name, mute, and solo) are generally available to all types of Regions (MIDI Regions, Audio Regions, Folders, and Aliases).
• If you select a MIDI track, you’ll record MIDI events. • If you select an Audio Instrument track, you’ll also record MIDI events. • If you select an Audio track, you’ll record on all tracks that have been armed (record enabled). • Space is reserved on the hard disk for armed tracks, and will no longer be available for Undo files. For this reason, Logic will automatically disarm audio tracks when editing in the Sample Editor, or if the hard disk is nearly full.
Punch-In Recording You can actually engage recording while in playback mode—“on the fly”. To do this, start playback and press Shift-asterisk (the key command for Record Toggle) at the point where you want to start recording. Audio recording will start immediately. Recording can be stopped at any time, by pressing Stop in the usual way, or by pressing Shiftasterisk again. If you use this second option, recording ceases, but the sequencer will continue to play.
Audio Cycle Recording You can make audio recordings even when “Cycle” is switched on. A new track is created for every cycle repeat. All newly-created tracks are played by the same Audio Object. This prevents the different “takes” from being played simultaneously. If you stop recording just after a full cycle has ended, no new Region is created for the cycle that has just begun. The audio material is not lost, but is recorded after the last Region in the audio file.
Stereo Recordings For information on creating stereo recordings, please read the appropriate Mixers, Effects, and Audio Objects sections; Stereo Objects (see “Stereo Objects” on page 203) and Channel Strips (see “Logic’s Mixing Facilities” on page 191) and the section on Faders and Level Adjustment (see “Level” on page 200). Stereo recordings will normally be saved as Interleaved Stereo files.
Construct a Cycle in the Arrange window Bar Ruler. Set the length to match the intended musical length of the Region. The drum loop is one bar long, so you should set a Cycle length of one bar, to match. Once the Cycle is set to the desired musical length in the Bar Ruler, you’ll note that the current length of the Region will be different to that of the Cycle. Select Options > Tempo > Adjust Tempo using Region Length and Locators. The default key command is “T”.
• The two resulting mixdown files would be identical to the original audio files (in the areas used for the Regions). If you don’t need the unused areas of the audio files, select “Optimize Files”. “Mixdown” of Regions in a Track If several Regions that overlap each other are selected on a single track, no mixdown occurs. You are asked to create a new audio file, which is named after the first Region on the track.
There are two parameters: Crossfade Time [ms]: This is the length of the entire crossfade. To switch off the crossfade, set this value to zero. Crossfade Curve: To obtain a linear crossfade, set this value to zero. Other values (positive or negative), produce various exponential fades. The fade-outs and fade-ins are always symmetrical, to avoid deviations in level. The preset values are: Time = 20 ms, Curve = 0 (linear).
Freeze was made for very CPU-intensive processes, which are generally (from higher to lower demand) outlined as follows: • Software synthesizers with a complex voice architecture • Plug-ins with a complex structure (reverbs, filter banks or FFT-based effects) • Software synthesizers with a simple voice architecture • Software sampler with active filter • Software sampler with deactivated filter • Plug-ins with a simple structure As long as your computer is able to calculate all active processes in real time
Freeze files are always rendered between the song start and end marks—it is recommended that you check the song end mark in the Bar Ruler before starting a Freeze process. Please note that the end mark should be adjusted to include feedbackdependent delay repetitions or reverb tails. Empty areas (digital zero) at the end of freeze files will automatically be removed after the Freeze process.
It is also not possible to record audio on frozen tracks. In fact, the Record button will be hidden when a track is frozen. Freeze Files The temporary freeze files are saved in a folder named “Freeze Files” which is created in the root directory of your project folder. Usually, you won’t need to access these freeze files directly.
5 The Environment 5 The Environment is Logic’s “brain”. It allows you to control all MIDI input and output. Beyond basic input and output handling, the Environment can be used to process MIDI data in real time, and can even be used to create processing “machines”, such as virtual rhythm generators and step sequencers, or complex synthesizer editors. Environment—Introduction The Environment refers to Logic’s “virtual” environment inside your computer.
Opening the Environment Window To open an Environment window, select Windows > Environment (default key command: Command-8). Double-clicking on an instrument in the track list of the Arrange window also opens an Environment window, to the layer containing the corresponding Instrument Object. When the Environment window opens, the Object that represents the track Instrument you double-clicked will be highlighted. Basic Operation Layers Layers are “display levels” of the Environment window.
Creating Layers Selecting **Create!** from the layer pull-down menu creates a new, empty layer called “(unnamed)”, at the end of the list. You can add a new layer above the current position in the list by selecting Options > Layer > Insert. Naming Layers Double-clicking on the layer box opens a text field, allowing you to enter a name for the current layer. Deleting Layers You can remove the current layer from the list by selecting Options > Layer > Delete.
Protecting Cabling and Object Positions You can prevent the accidental alteration of the position, size, and cable connections of all Objects by selecting View > Protect Cabling/Positions. Background If the cabling and Object positions are protected, and the cables are hidden, the background color changes. This usually looks better for virtual mixing desks and fader setups. List Display Selecting View > by Text switches the graphic display of the layers to a list display.
Snapping Objects to a Grid Select View > Snap Positions to align the Objects to an invisible grid. It’s a good idea to leave snap positions switched on. You only need to switch it off if you want to manually move an Object by a few pixels. Aligning Objects … … in a row or column To align several selected Objects horizontally or vertically, select the Options > Clean up > Align Objects function. The top left Object stays where it is.
Assigning an Object to the Selected Track You can assign any Environment Object to the selected Arrange window track by clicking on the Object with the MIDI Thru tool. Remember: Logic’s MIDI Thru function diverts all incoming MIDI events to the Environment Object assigned to the selected track.
The MIDI Signal Path Before any MIDI events received at your computer’s MIDI inputs can be recorded by Logic, there must be a connection between two Environment Objects, namely: the physical input and the sequencer input. In the sequencer, the events are always directed to the selected track, where they can be recorded. The events played by the track are mixed with any incoming events and sent to the Environment Object assigned to the track in the Arrange window’s track list.
Breaking the Direct Output Assignment To break the direct output assignment, set the Port parameter to off, the top entry in the pull-down menu. Cabling The cabling between Environment Objects provides control over the entire MIDI signal path. A cable is normally shown as a gray line between a source and destination Object. Objects always have an input on the left, and an output on the right-hand side. The output of an Object is shown as a small triangle, pointing to the right.
A cable connection to another layer looks like this: Deleting Cables To remove a cable connection, click the cable with the eraser, or select the cable and press Backspace. You can also remove a cable by grabbing it and plugging it back into the input of its source Object. You can use Edit > Clear Cables only to remove all selected cables, without also clearing any Objects that happen to be selected.
To select a common destination for several existing cables, first select the cables. (If the cables are already leading to a common destination, the simplest way of doing this is to select the destination Object.) Next, grab one of the cables and plug it into the new destination Object. A dialog box will appear, asking “Do you want to connect all selected cables with new Destination? No/Connect”. Click Connect, or press Enter.
If the box is not checked, the Object will not appear in the Instrument List, and a diagonal line through the icon is shown. This will not hide the Object or its icon in the Environment. You should only check the icon box if the Object will be used as a track instrument, or you need to connect cables to its outputs by using the instrument selection menu. Color You can change the color of an Object via the View > Colors local menu, which opens a palette of various colors.
Prg, Vol, and Pan The Prg, Vol, and Pan parameters transmit program changes, volume controller (#7) and pan controller (#10) data. You can edit the values of any of these parameters, but no data will be sent until you check the corresponding box (by clicking on it). If the box is already checked, any value alterations will be sent immediately, and the values will also be sent whenever the track is selected.
No Transpose If the box next to the No Transpose parameter is checked, all Regions on any tracks played by this instrument are protected from transposition. In other words, the “transpose” Region parameter is ignored. This is very useful for instruments assigned to drum or other multi-timbral samples, as transposition will cause the sounds (rather than the pitches) to change in these instruments. No Reset If the box next to the No Reset parameter is checked, no reset messages will be sent to the instrument.
Multi-instruments have 15 name banks—each of which will hold 128 preset names. If the multi-instrument’s program parameter is checked, selecting names in the name bank will send MIDI program change messages to the corresponding port and channel. You will generally use multi-instruments to address multi-timbral synths or samplers in your studio. A multi-timbral synth is one that can receive on several MIDI channels at once—playing back a different sound on each channel.
Activating and Selecting Sub-Channels To select a sub-channel for a specific MIDI channel number, click the appropriately numbered button on the multi-instrument Object. The first time you click it, the subchannel is activated, making it available from the Instrument List. To avoid menu clutter, you should only activate as many sub-channels as you actually need. As with any other Environment Objects, you can remove sub-channels from the Instrument List, by unchecking the icon box.
Multi Instrument Window Double-clicking on a multi-instrument opens the multi-instrument window: Name and Short Name At the top left, under Device Name, you can enter the full name of the multi-instrument. To the top right, under Short Device Name, you can also enter a short name. This short name is used in the Arrange window track list, when the program name is displayed.
If the Prg box in the selected sub-channel’s Parameter box is checked, you can send a program change message by selecting a program name in the multi-instrument window (either by clicking, or using your computer’s arrow keys). Banks On the left, above the program names, you can choose one of 15 available sound banks (0 to 14) via a pull-down menu. The top item (“No Bank specified. Names of Bank 0 used.
The letter in parentheses next to the bank number allows you to control the order of transmission, when a bank select requires more than one message. As an example: Here, the Bank Select command “Bank 1” was set up to send three events: first, (a) a controller #32 message with a value of 1, then (b) a controller #0 message with a value of 0 and finally, (c) a SysEx message. If there are no events defined for a particular bank, a standard Bank Select message will be sent for that bank.
A mapped instrument is useful for drum programming.
Most of the GM Mixer’s set up is done in the mixer itself, but there are also a few parameters in its Parameter box. Cha/Port Like other instrument Objects, the GM Mixer can also have a direct MIDI output connection. This is set in the line below the channel in the Parameter box. The Channel parameter determines the channel number of the lowest GM Mixer module. You can use this, together with resizing the GM Mixer window, to create sub-mixers for any continuous string of channels (3 to 7, for example).
Monitor Object The monitor Object displays all MIDI events passing through it, and retains the last 32 such events. You will need to resize it to see more than 5 events at a time. To create a monitor Object, select New > Monitor. The monitor shows all events (MIDI and meta) passing through it. It remembers the last 32 events, with the newest events shown at the bottom of the list. You can resize it to show from 1 to 32 events. (You can make it even bigger, if desired).
Arpeggiator Object The arpeggiator turns chords into arpeggios. It plays the currently held notes— individuallyin a selectable pattern (up, down, random, and so on), and at a selectable speed that ranges between whole-notes and 768th-notes. The arpeggiator features a number of useful parameters including; note-length, repeat on/off and octave doubling. All of its parameters can be changed in real time through the use of MIDI controller messages.
• Rand: Notes play in random order • All: All notes play at once (useful when repeat is on) Vel (+1) Velocity values of the arpeggiated notes. • 1 to 127: Fixed velocities, • Orig: the velocities of the recorded notes are retained, • Rand: random velocities between 1 and the original value. Lim (Low: +2, High: +3) This is where you can define the pitch range (between C-2 and G8) for the chord arpeggiation. Any chord notes outside this range are passed directly to the output.
Delay Line Object The delay line echoes MIDI events passing through it—at intervals ranging from one tick to 256 whole notes. There are parameters for the number of echoes, (echo) transposition and velocity offset. The echoes of each incoming event are cycled through each cabled output of the delay line. Important: Logic’s transport must be running for the delay line to work. To create a new Delay Object, select New > Delay Line. This Object repeats any MIDI events, much like a delay line effect.
Physical Input/Sequencer Input Objects The physical input Object represents the physical inputs of your MIDI interface; the sequencer input represents Logic’s MIDI input. You can only have one of each of these Objects in the Environment. The default sequencer input Object is named “to Recording & Thru”. To create either type of input Object, select New > Physical Input or New > Sequencer Input. To make use of an existing Object, drag it onto the relevant layer. This will not affect its cabling.
MIDI Metronome Click The MIDI metronome click Object is used to create note events at bar, beat, and division intervals. These can be sent to either; a MIDI port or the internal speaker. There is a button on the Transport that turns the MIDI metronome click on and off. A long click on this button will allow you to open the File > Song Settings > Metronome (see “Metronome Settings” on page 466). In this pane, you can also set the MIDI metronome click to play during recording and/or playback.
This software synth is 16-part multi-timbral. As usual, you can switch sounds via program changes; these are arranged according the GM table. Channel 10 is always set to drum sounds, with GM key assignments. The QuickTime synthesizer reacts to notes and program change commands, as well as to pitch bend (±2 semitones) and the main volume controller (#7). The first note is used to initialize the relevant MIDI channel of the QuickTime synthesizer, and is not played.
• Playback mode: use this mode when playing back MIDI tracks via ReWire. This setting requires less CPU power. • Live mode: use this mode when playing a ReWire instrument live. This setting requires more CPU power. MIDI Outs Port Objects represent the MIDI output(s) of your MIDI interface(s). You can also use them to address the internal synth on your soundcard (if applicable). To create a port Object choose New > MIDI Out Port.
Faders Faders—Overview To create a new fader, select New > Fader > … A sub-menu appears, where you may select the style of fader you want. The style of a fader determines it’s onscreen appearance (slider, knob, menu, numerical) and how it responds to the mouse (click and drag, double-click and type a number, click, and select from a menu). The Auto style fader—the default style if you create a fader with a key command—changes styles as you alter its shape and size.
The text-style fader behaves like a pop-up menu. If double-clicked, a window will open, allowing you to enter text for each of the menu positions. A checkbox enables the names to be scrolled, rather than chosen from a menu. Fader Operation Normally, you’ll grab the surface of a fader, and drag it vertically or horizontally, depending on it’s style. Knobs can be dragged either vertically or horizontally. When the fader features a numerical display, you can grab this number and use the mouse as a slider.
Special Functions Grouping Faders If you select several faders and move one of them, all selected faders will move proportionately. As long as all faders remain selected, their relative positions will be retained (even after one or more of the faders has reached its minimum or maximum position). Moving the fader group with Option pressed changes all values in a linear fashion (the absolute value differences are maintained).
Fader Styles The fader’s style is shown in the line under the icon. It can be changed by clicking on the current style name, and selecting the new style from the pop-up menu. Remember that a fader’s style does not usually affect its function—you can select the most convenient style for the desired use of the Object. The following section provides notes on some of the fader styles: Vertical/Mute This is exactly like the Vertical 4 fader style, with an added mute switch.
Text Text faders function like Numerical faders, but can display text for each of the 128 possible MIDI values (0 to 127). Double-clicking on the surface of a text fader opens the text fader window. Clicking on a position in this window will cause the corresponding fader value to be sent. (This is similar to selecting programs by name in the multi-instrument window). Double-click on a position in this window to type in the desired text.
Fader Functions: MIDI Events Each fader has an In and an Out definition. The In definition determines the types of MIDI events that can remote control the fader (the event types it reacts to). The Out definition determines the types of MIDI events the fader sends out. (A fader can, therefore, convert one type of MIDI event to another). Most MIDI events consist of three bytes. The first byte indicates the type and channel of the MIDI event (a note on channel 3, for example).
Note On The -1- parameter sets the pitch, and the fader position sets the velocity. This is most useful as an In definition—for trapping specific notes and converting them to other MIDI events, or simply monitoring their velocity. If you move a fader with an Out definition set to Note On, a note-off MIDI event will immediately follow the note-on. This might be useful for creating onscreen drum pads from button style faders, for example.
Num The fader value is displayed directly as a number (0 to 127). Pan Fader value 64 is displayed as “0”; smaller values appear as negative numbers and larger values as positive numbers (−64 to 63). Hz, Oct, dB, ms These display formats are tailored to various DSP functions. bpm An offset of 50 is added to the fader value. This displays the correct tempo settings for the special tempo control fader.
14 Bit Used in conjunction with pitch bend, this allows 2-byte (fine tuning) pitch bend events. Used with controller messages, this causes the fader to send two MIDI controller messages—one for the MSB and one for the LSB. For the 14 Bit setting to work, the fader’s In and Out definitions must be the same. For controllers, the MSB uses the In definition controller number, and the LSB uses the controller number 32 higher. This conforms to the MIDI standard for sending 14-bit controller data.
6 Logic’s Mixing Facilities 6 Logic provides you with different Mixer windows, designed to make mixing a painless and intuitive process. Logic’s two major Mixer windows—the Audio Mixer and the Track Mixer—are the topic of this chapter. We will first have a close look at the specific characteristics of the Audio Mixer. Before we move on to the Track Mixer, we will provide you with detailed information on Audio Objects, which are the building blocks of the Audio and Track Mixers.
Audio Mixer The Audio Mixer is one of the Environment layers in the default song (the template loaded by Logic after launching). To open it, select Audio > Audio Mixer, or go to the Environment (Windows > Environment or Command-8), and choose Audio from the Layer menu. Note: If you press Option while opening a Mixer window, the Mixers will appear as float windows. The specification and size of the Audio Mixer depends on the hardware used; it configures itself when you start Logic, or create a new song.
Connections The signal within the various Audio Objects requires no cabling, or any kind of manual connection. The signal is routed via the corresponding slots in the Audio Object. As an example: the Send slots connect a Track or Instrument Object to the Bus Object; the Output slot connects the various Objects to an Output Object. Logic’s virtual audio mixer resembles the routing and connection options of traditional mixing consoles.
When you select Audio Object types, you’ll notice the following text styles are used: • Outline: This indicates that the Object is not available. This happens when a song was produced on a system with more tracks than yours (track 9 on an 8-track system, for example). • Normal: This is used for Objects that haven’t been defined in the Environment, and are therefore not in use. • Bold: Objects in bold have been defined in the Environment, and are in use.
• Mute: Click the Mute button on any selected channel. The Mute buttons of all selected channels will switch to the new mode. • Solo: Click the Solo button on any selected channel. The Solo buttons of all selected channels will switch to the new mode. • Record Enable: Click the Record enable button on any selected channel.
Elements of the Audio Object Here is an overview of all Audio Object elements. The list shows what elements are available in the different types of Audio Objects.
More information about the parameters of the Channel EQ can be found in the Logic Pro 7 Plug-In Reference. Inserts If you have enough processing capacity, you can use up to 4 Inserts per Audio Object. An extra blank Insert is created, as soon as all of the currently displayed insert slots are used, up to the maximum allowed. The Insert pull-down menu displays all available Logic plug-ins, as well as all correctly installed Audio Units plug-ins.
As there are obviously different classes of Audio Objects, a number of sub-folders (Audio, Instrument, Aux, and so on) are automatically created in the /Applications/ Logic/Channel Strip Settings folder when you first save a Channel Strip setting. Channel Strip settings are identified by the “cst” file extension. Important: Please do not attempt to change the Channel Strip Settings folder structure.
Post and Pre Fader Aux Sends Sends in analog mixers are positioned either before (“pre”) or after (“post”) the fader. To select one of these options in Logic, click-hold the Send slot. The Bus menu opens, and you may select either Post or Pre at the top of the list. A post fader signal level, routed to the Send, changes along with volume fader movements.
Output Routing The slot directly below the Input slot determines where the signal of the Audio Object (mixer channel) will be sent. The number of outputs that are available is determined by the audio hardware in use. Hold Option while selecting the inputs or outputs of a single channel to change all selected Audio Objects simultaneously. (See also “Multiple Selection of Audio Objects” on page 194.) Please note that inputs are only changed on (selected) Audio Objects of the same status: mono or stereo.
The playback level is also displayed to the left of the track number in the Arrange window, if View > Track Numbers/Level Meters is selected. Peak Hold As with conventional mixing desk meters, peak values are “held” on the display for a few seconds, making them easier to read. The most recent maximum level is always reliably displayed, even if your CPU power is insufficient for a smooth real time display of levels.
When multiple Audio Objects are selected, changing their level by moving one fader is dB-proportional. The mixing ratio of the selected channels remains constant. An independent monitoring level is available when a Track Object is record enabled. After arming the track, set the fader to the desired level. The original level will be restored when the Object is disarmed. The global Toggle (Mute) Audio Tracks key command switches the levels of all Audio Objects between two different values.
Control-clicking an inactive solo switch makes an Audio Object “solo safe”. This prevents it from being muted when you solo another channel. “Solo safe” status is indicated by an X on the solo button. A second Control-click defeats the solo safe status. Mute Button You can mute any Audio Object by pressing the button marked with an M. Pressing the button a second time restores the previous level. Stereo Objects All Audio Object types (Track, Input, and Output) may be configured as stereo.
Any combination of stereo and mono recordings is permitted. As an example, you can set both tracks 1 and 2 to stereo, and use tracks 3 and 4 for mono recordings, if you wish. Whatever parameters you adjust for stereo Objects, the changes affect both sides equally. The pan control becomes a balance control. Track Arming The Record Enable button (see below) “arms” a track, making it ready for recording. Once armed, the Record Enable button flashes red. It remains constantly lit during the actual recording.
2 Set the parameters in the Bounce dialog window (see below). 3 Press the Bounce button in the Bounce dialog window. 4 The ensuing file selector allows you to enter a destination folder and name for the bounced file. Note: Mono bouncing is possible when the Output Object is set to mono. In this situation, a mono audio file is generated. Global Options in the Bounce Dialog Window Several global options are available in the Bounce Dialog window, regardless of the file type(s) being bounced.
• Offline: Accelerates the bounce process—depending on the complexity of your arrangement and available CPU processing power. It also allows the bouncing of complex arrangements that would normally exceed the power of your CPU, if trying to play them in real time. Offline bouncing, however, is limited to internal sources (audio or Audio Instrument tracks). The MIDI tracks and Input Objects of Logic’s Mixer are deactivated during offline bouncing.
MP3 Options in the Bounce Dialog Window Logic allows the bouncing of MP3 (MPEG-2-Layer-3) format files. This well-known data reduction format for digital audio signals was developed by the Fraunhofer Institute, and allows high compression rates while maintaining quite good audio quality (depending on the compression rate). MP3 is the current standard for audio file exchange via the Internet.
Filter Frequencies Below 10 Hz When this option is checked, frequencies below 10 Hz (which are usually not reproduced by speakers, and are not audible to human ears at any rate) will be removed, leaving slightly more data bandwidth for the frequencies that we can hear, resulting in an improvement of the perceived “quality”. Only uncheck this if you’re experimenting with subsonic test tones, or exporting MP3s for whales! Stereo Mode You can select joint stereo or normal stereo mode.
AAC Sound Settings Compressor Selects the compression algorithm used for AAC encoding. By default, this is MPEG-4 Audio. Rate A number of predefined sample rates are available in this pop-up menu, ranging from 8000 kHz to 48,000 kHz. Size These radio buttons allow you to select either an 8 or 16 bit output file. Use These radio buttons allow you to select either a mono or stereo output file. Options The Options switch launches the MPEG-4 Audio Compressor window, discussed below.
Burn Options Logic can directly burn Red Book audio to blank CDs. Should the selected sample rate be higher than 44.1 kHz, a copy of the bounced PCM file is created—with an automatic sample rate conversion to 44.1 kHz before encoding. This conversion takes place because the CD Audio format (Red Book) does not support sampling rates higher than 48 kHz. Note: Should your system contain multiple CD burners, the first one detected is used.
Audio Object Types The following section introduces you to Logic’s different Audio Object types. Track Object The Track Object is used for playing back and recording audio signals in the Arrange window. You also control the signal of recorded tracks via the different elements of the Track Object. The number of tracks available depends on the CPU power of your computer. You can limit the number of tracks via the Audio > Audio Driver > Max.
It is possible to combine pre-processing and monitoring with effects. You can, for example, destructively record a signal with compression by inserting a compressor into the respective input channel, while simultaneously monitoring the compressed input signal with a reverb (inserted on the track channel) that is not recorded. The Audio > Audio Hardware & Drivers > Software Monitoring preference must be enabled if you wish to monitor/record with effects.
Audio Instrument Object The Instrument Object allows you to use virtual Software Instruments within Logic. Currently, the following are supported: Logic’s own suite of software instruments and AU compatible instruments. Logic supports up to 64 discrete Audio Instrument channels, dependent on available CPU resources and system RAM.
The Audio Instrument Object features the following elements (see “Elements of the Audio Object” on page 196): Inserts, Bus Sends, Input, Output, Automation, Pan, Level, and Level meter, Mute/Solo. Accessing Multiple Outputs Logic supports the EXS24, UltraBeat, and AU-compatible instruments that are capable of addressing multiple outputs. In addition to the “Mono” and “Stereo” submenus of the Audio Instrument menu, a “Multi Channel” submenu lists all Instruments that offer multiple outputs.
As an example, if a channel is called “Mix”, it has no specific function related to that name as far as Logic is concerned. It’s up to you to decide what to do with whatever channel. If there is no Audio Object for a ReWire return created in the Environment, no audio is transferred between a ReWired application and Logic. How does this work in practice with ReBirth, for example? In this scenario, you will find two channels called “Mix L” and “Mix R” within Logic.
Output Objects also provide the Bounce (see “Bounce” on page 204) function, which can be used for either; recording all audio into one stereo audio file (comparable to a master tape), or to merge several tracks (including all plug-ins and so on) into one stereo or mono track (depending on whether the Output Object is set to mono or stereo).
Effects such as reverb and delay are generally used as bus inserts. These Bus Objects are usually addressed with the send knobs of the audio channels, and act as effect returns. These busses are routed to an Output Object. In the default song, the pre-set Bus Objects have been named “Returns”. The Bus Object features the following elements (see “Elements of the Audio Object” on page 196): Inserts, Automation, Pan, Level, and Level meter, Mute, Stereo/Mono.
Aux channels can also be displayed in the Track Mixer. Note: If the Aux channels are used as tracks in the Arrange window, ensure that the view filter of the Track Mixer is set to show Aux channels by activating the Aux button (track view). Activate the Aux and Global button (global view) if the Aux Objects are only used as Environment Objects (in other words, they’re not used as Arrange window tracks).
Display Modes The Track Mixer has two display modes: Global and Track view. In Global view, all MIDI instruments and all Audio Objects that exist in the Environment are displayed as mixer channels. In Track view, Logic creates a mixer based on all tracks currently assigned in the Arrange window track list. It contains as many channels as there are tracks. The channels are laid out in the same order as in the Arrange window.
The Global view can display tracks that don’t exist in the current arrangement or recording folder. In this situation, it’s impossible to select such tracks for recording. If you double-click on one of these tracks, it will automatically be created (and selected) in the current recording folder. View Options The View menu is used to customize the display to suit your requirements.
Note: If the current Track Mixer view does not contain the Output or Bus Object, Global view will automatically be enabled. The appropriate view filter (Output/Bus) will also be enabled, ensuring that the selected Object type is visible. The MIDI channel strips have little “LEDs”, which turn green for Note On events, and yellow for all other MIDI information. Send All Mixer Data The selection of Options > Send All Mixer Data transmits all currently visible mixer knobs and fader settings to MIDI.
Extended GM, GS, and XG Functions In addition to the GM Standard, there are extended standards created by Roland (GS) and Yamaha (XG). GS and XG mode allow you to select different effect programs, and to control the level of the reverb and chorus effects. 1 Click-hold the GM field on the right side of the Mixer window. A pull-down menu appears. 2 Select the extended standard (GS or XG). Depending on your selection, the controllers for the extended effects will appear.
Mute The Mute button switches the volume of the channel between zero and the current fader position. In practice, this means that if the button is “down”, the channel is muted. If you switch the Mute button off, the current fader position (and value) is used. If you want to mute a channel: 1 Click the Mute button of the desired channel. 2 Click the button again to reactivate the channel. Pan The Pan knob allows you to directly control the pan position of the sound.
LPF Frequency (Controller Number 74) This knob controls the overtone content of the sound. Higher values make the sound brighter.
7 Automation 7 Logic features a very sophisticated, yet simple to use, track-based automation system that allows you to create and play back fully automated mixes. In addition, Logic offers a range of automation features that complement the trackbased automation system. These can be used in isolation, or in conjunction. Automation—Introduction “Automation” is the ability of a mixing desk to record, edit, and play back the movements of its volume faders.
There are three ways of writing and editing automation data in a track: • Moving the on-screen faders and controls using different automation modes. • Drawing automation data with Hyper Draw (see “Hyper Draw Functions” on page 234). • Using Logic Control or another control surface. Track Based Automation is the recommended method for all automation tasks. It is sample accurate, and therefore, very precise.
Track Based Automation Display Select View > Track Automation to display Track Based Automation data in the Arrange window. This is also available as a key command. As long as this function is unchecked, Regions appear as per usual. The gray shaded Track Automation area is only displayed when the vertical zoom is set to a sufficient height, as is the case with Region Based Automation (Hyper Draw).
Viewing Multiple Parameters Background Display of Other Parameters The background of the automation track shows all other automation data (not the currently selected parameter) at a lower contrast level—when the track is at a sufficient zoom level. Volume is beige (dark yellow), Pan is dark green, everything else is dark blue. Automation Modes You can independently select the automation mode of every channel strip in the Track Mixer or Audio Mixer.
Latch Latch basically works like Touch, but the current value will replace any existing automation data, after releasing the fader—when Logic is in playback (or record) mode. To finish, or to end parameter editing, stop playback (or recording). Write In Write Mode, existing Track Automation data is erased as the Song Position Line passes it. If you move any of the Mixer’s controls, this movement will be recorded—if you don’t, existing data passed by the SPL is simply deleted.
Switching Automation Modes for All Channels Simultaneously Hold Command when switching the mode of a channel strip, and all channel strips that were previously set to the same automation mode will switch to the selected mode. Writing Track Automation Data You have the following write options for Track Automation data: • Move any fader or control of the selected channel strip—in the Track Mixer or Environment Mixer—with the automation mode (see “Automation Modes” on page 228) set to Touch, Latch, or Write.
Editing of Track Automation Data in an Event List Logic allows Track Automation data to be edited in a dedicated event editor. You can also open the folder which contains the (normally invisible) Track Automation data. As a core element of the program, Logic will always display every event as plain text in an Event Edit window. Please note, however, that this functionality won’t be needed in normal music production situations, and is a real “expert” function.
Automation Quick Access This feature makes Track Automation extremely fast and simple if you only have one hardware MIDI controller available (one fader on your MIDI keyboard, or maybe just the Modulation wheel). You can use this single hardware controller to access (and automate) the currently visible Automation parameter of the selected Track in the Arrange window. Setting Up Automation Quick Access Open the Automation Settings dialog: Options > Track Automation > Track Automation Settings.
• Moving any Environment Fader (see “Recording and Playback of Fader Movements” on page 183) records the fader’s MIDI events to the currently selected track. • External MIDI controllers can also be used to create and record events. (Please note that it is currently not possible to use Logic Control for this purpose, due to it’s high fader resolution). In audio channel strips, all settings (including plug-in parameters) can be recorded as MIDI controller data.
Hyper Draw for Regions Region Automation is switched on for the selected Region by choosing a certain event type via View > Hyper Draw > … This type of Hyper Draw is also available in the Matrix window (see “Hyper Draw in the Matrix Window” on page 327)and the Score window (see “Hyper Draw in the Score Edit Window” on page 347), where a blue Hyper Draw section is added below the editing area. You must set a large enough vertical zoom resolution in order to see the Hyper Draw curves.
• A long Shift-click allows a rubber-band selection. The selected area will toggle. • Moved automation data will automatically erase any data which exists in the destination area. Relative and Absolute Value Changes of Selections There are two choices available when changing the values of a selection of nodes: • Clicking on a line or node enables you to change all values by the same absolute amount.
MIDI Channel The View > Hyper Draw > Channel … menu item allows you to define the MIDI channel used for event display and editing. The chosen channel number will also displayed alongside the event type. Hyper Draw—Note Velocity Once active—by selecting View > Hyper Draw > Note Velocity—click-holding at any point in a Hyper Draw window will activate the note velocity line tool, much like that found in the HyperEdit window.
Moving from Region Data to Track Automation Move Current Region Data To Track Automation Moves the currently visible Region data (Volume, for example) to the Track Based Automation system. Move All Region Control Data To Track Automation Moves all Region Based automation data to the Track Based Automation system. Moving from Track Automation to Region Data This option only moves Track Based Automation data that falls within the boundaries of the selected Region.
8 Global Tracks 8 Global Tracks provide a perfect way to view and edit global events, such as Tempo, which affect all tracks in the arrangement. Global tracks can be displayed in the following windows, just below the Bar Ruler: • Arrange window • Matrix Editor • Score Editor (in linear view) • Hyper Editor There are several types of Global tracks: • Tempo track: contains all tempo changes of a song.
Display Options for Global Tracks Global tracks are displayed or hidden by repeated use of the View > Global Tracks menu option. The View > Global Track Components submenu lists the individual Global track types. You may use these submenu items to toggle the display of each track type, one by one, or all at once with the Show All/Hide All options. Following the use of any of the Components commands, the View > Global Tracks command will only toggle the display of components previously chosen in the submenu.
Selecting and Moving Global Events Global events are selected with a simple click, and are moved and/or changed by dragging them with the mouse. We recommend that you keep an eye on the help tag while doing so. Multiple selection is achieved by Shift-clicking on the desired events. This can even be done in combination with the selection of Regions on Arrange tracks. To select several subsequent events on the same Global track, you can use the rubber band selection method, while holding the Control key.
Tempo Track The Tempo track displays tempo changes as nodes: dots connected by lines. By default, these dots are followed by horizontal lines that (at the bar position of the next tempo change) form right angles with vertical lines, connected to the node of the ensuing tempo change. Note: If there is enough space in the Tempo track, the tempo will be indicated numerically (in bpm) alongside each node.
m To delete a tempo curve: Click the handling node (at the tip of the right angle) with the Eraser tool, or doubleclick on it. Moving and Copying Tempo Changes To move a tempo change, grab its node (or the line leading away from it) and drag it left or right. To copy it, do the same while holding Option. To prevent unintentional changes, moving a node is restricted to either vertical or horizontal movement. Put another way, you can either change the tempo value or its position, but not both at once.
Signature Track The Signature track shows all time and key signatures of a song. These can be created in either the Score Editor or directly in the Signature track: Click at the desired position using the Pencil tool. A dialog window will open, allowing you to set the time or key signature. Insertion of the event occurs after closing the dialog with the OK button. If you perform this procedure when the track height is reduced, a time signature change will be created.
Handling Signature Changes Events on the Signature track can be selected, moved, deleted, and copied (drag them while pressing Option or use the standard Copy and Paste commands). Multiple selections are possible, even in conjunction with Regions, which is very useful when complete parts of a song, containing signature changes, are to be copied. In this situation, the Edit > Select Inside Locators option can be helpful.
Note: All Apple Loops and MIDI Regions will be pitch-shifted accordingly. MIDI Regions will only be transposed if the No Transpose checkbox is deactivated in their respective Object Parameter boxes. The “zero position” of the Transposition track is determined by the current key signature in the Signature track. If the key signature changes during a song, the “zero position” of the Transposition track changes accordingly. “Regular” Audio Regions (Audio Regions that are not Apple Loops) will not be affected.
The scale range for the display of transposition events is adjusted automatically: The upper and lower boundaries of the Transposition track are labeled in the Track List. Dragging a node or line beyond the current maximum or minimum values will result in an automatic adjustment of the range.
9 Audio Window 9 The Audio window provides an overview of all audio files used in the current song. It also offers a number of simple editing and conversion facilities that simplify audio file handling. While many of the Audio window’s tasks can be performed elsewhere in Logic, it offers a number of unique features that are discussed in this chapter.
By default, recordings made in Logic are stored in the Sound Designer II format. You can change the recording format to AIFF or WAV via Audio > Audio Preferences… > Recording File Type. Sound Designer I files can also be imported, played back and edited destructively in the Sample Editor, but Logic will neither record nor bounce this file type. Audio files imported into a Logic song can be at any supported bit depth and sample rate. Logic supports bit depths of 16, 20, and 24 bits, and sample rates of 44.
Regions can be moved with the mouse into the Arrange window. The portion of the audio file represented by the Region is then played at the desired song position. Layout Overview On the left side of the Audio window, you’ll see a thin column. At the top, you’ll see the mode buttons (see “The Mode Buttons” on page 251), and at the bottom, the tools. The column to the right lists the audio files, and their Regions, by name.
Playing From a Specific Position Click-hold the desired Region in the waveform display with the mouse. Playback starts at the click point. This allows you to play specific sections. Playback stops as soon as you release the button. Playing the Whole Region If you want to play an entire Region, highlight its name in the list. Now click the button featuring the speaker symbol to start playback. Click the button again to stop playback.
Display The Audio List The list provides an overview of all audio files used in the current song, and the Regions derived from them. This is where audio files can be added, removed, deleted, or renamed. Regions can also be created, deleted, and renamed. Hiding and Showing Regions Following the addition of an audio file, you will see the file name in the Audio window, in large print. This takes up minimal screen space, and shows as many currently used files as your zoom setting and monitor size will allow.
Show Length as… > Bars/Beats… The Region is displayed in musical units: bars:beats:divisions:ticks. If the tempo, time signature or division settings are altered, the display is automatically recalculated. Displaying Information About Audio Files Information on every currently loaded audio file can be displayed, from left to right, in the Region waveform display, as follows: Sample rate (Hz), Bit Depth (Bit), Mono, or Stereo status (Cha), file size (kByte) and file path or folder (Location).
The Waveform Display Outside the Region Logic defaults to showing the waveforms outside the defined Region area in light gray. You can alter the display by Option–click-holding inside the Region. A pull-down menu will appear, containing the following options: None No waveform display outside the Regions. Bright Waveform display outside the Regions colored light gray. Middle Waveform display outside the Regions colored mid gray. Dark Waveform display outside the Regions colored dark gray.
Double-clicking this window opens a dialog box that offers the following options: • If you stop the calculation by clicking Abort, you can still play the audio file—but it will not be easy to edit without an overview! • Continue performs the overview calculation in the background, as per usual. • Clicking Finish transfers the calculation to the foreground, speeding it up considerably. The disadvantage is that you can’t use your Mac for anything else, until the overview calculation is finished.
Edit Commands All standard edit commands are available in the Audio window. As usual, they only apply to the currently selected items (audio files or Regions). The Cut, Copy, and Paste commands only apply to the exchange of items between two different songs. An audio file can only appear once in a song’s list of audio files, and therefore, cannot be copied within a song. Cut The selected audio files or Regions are cut, and moved to the Clipboard. They are removed from the Audio window.
Deleting a Region You can use the Eraser tool to delete one or more Regions. If any of these Regions exist in the Arrange window, they will be removed as well. You should, therefore, be careful when using this tool. The Undo function is always available, however, should you inadvertently remove a required Region. You can also delete any selected Regions by pressing Backspace.
Making Fine Adjustments The graphic display in the Audio window is optimized for quick and simple organization of audio files and Regions. This involves displaying as many things as possible simultaneously in the window. Given this, the finest resolution for positioning the start and end pointers, or the Anchor, is limited to units of 256 samples. This is usually adequate, particularly if search zero crossings is switched on.
File Administration Record File Defining the Record Path Every recording in the Arrange window creates a new audio file. To keep track of your recordings, you should tell Logic where the data is to be written before you start recording. You can also define a file name for the audio files that are recorded—a kind of working title—which Logic will automatically keep using, by appending a series of numbers to the file name for each subsequent recording.
Maximum Recording Time (Recommended): xxx Minutes This parameter defines the maximum recording time for new audio files, in minutes; this determines the size of the temporary recording file. Before any recording can take place, a file large enough to hold it must be created on the hard disk. You can switch this option off, which will create a record file with the size of all available free space on the currently selected hard disk.
When You Enter the Recording Time Remember… The display of the remaining memory and the maximum recording time depends on the following factors: • the number of tracks that you want to record simultaneously. • the sample rate. If you are starting Logic for the first time, this display refers to recording a single mono track. After every recording, Logic makes any unused memory available for more recording. It is always advisable to choose a much smaller value than the maximum possible recording time.
You can also drag and drop audio files from the Finder directly into the Arrange. A corresponding entry will automatically appear in the Audio window. Removing Audio Files To remove an audio file from the current song, select its name in the Audio window and press Backspace. This does not delete the file from the hard disk.
Further File Functions Saving a Region as an Individual Audio File If you want to create one (or more) independent audio files from selected Regions, use the Audio File > Save Region(s) as function. Use the file selector to choose the target folder for the new audio files. If you’re only editing one Region (or two paired Regions from a stereo recording), you can also enter a name for the new audio file.
Be very careful when using this function. A different song may use the same audio files. The next time you start the other song, you will need to locate the files that you have moved. Logic updates the path information for all open songs that use a given audio file. This makes it easier to move (and reopen) audio files. Following the move of files to the new location, save all open songs to transfer/update all storage reference(s).
The use of DOS-formatted hard disks with your Mac OS computer is not recommended, as its audio performance is significantly worse than the performance of an HFS+ drive. To transfer an entire Logic song from Logic Mac to Logic Windows, open the Audio window and copy all audio files onto the MS-DOS drive (or the PC network drive, if available) as .WAV files. The song file (exported as a Logic 4.8 song) itself can be read directly on both platforms.
Converting Different Split Stereo Formats Logic treats audio files with a name that ends in “.L” or “.R” as stereo files. These “name extensions” are used by ProTools, Session, or SoundDesigner II to identify “split stereo” files. Logic’s file management functions, such as Rename, Create, or Revert to Backup can also identify these name extensions. Manual Stereo Conversion Convert to SDII Stereo This command converts two (split-stereo) audio files into a single stereo file—in the SDII format.
Search The current volume is searched for filenames. If the search is unsuccessful, Logic asks you if you want to search other volumes for these files. This enables you to assemble songs, even if you have copied or moved the relevant files onto other media. Skip (Don’t search for this file). Use this function if you know that this audio file no longer exists, or was renamed. This button changes to “Skip All” if further audio files aren’t found. Skip All (for Several Files) (Don’t search for any more files).
Varipitch/Varispeed Synchronization The real time sample rate conversion facility allows Logic’s audio engine to follow an external MTC signal (“MTC continuous”), while maintaining the correct playback pitch and speed. This even works when recording in MTC-slave mode.
10 Audio Drivers 10 To use particular audio hardware with Logic, the hardware’s driver needs to be activated and configured correctly. This chapter explains how this is done. Drivers are software programs used to enable various pieces of hardware and software. This allows them to be recognized by other computer programs, and to have the appropriate data routed to and from them, in a format they can understand.
Enable Click this box to enable the Core Audio driver. Note: In situations where the preferred hardware is unavailable, such as when opening a song created in the studio on your PowerBook, or your audio interface is not connected or turned off, Logic will automatically select the built-in audio hardware of your Macintosh. Driver Allows you to choose between any Core Audio Driver installed in your system, including the internal sound output.
Universal Track Mode Universal Track Mode allows you to play back adjacent stereo and mono Regions on a single track. Even-numbered Audio Objects won’t be regarded as the right channels of the odd-numbered stereo Audio Objects to their left, and every Audio Object has its own mono/stereo switch. Dependent on whether a mono or stereo Region is played back, the pan knob will behave as a Balance or Pan control.
ReWire Behavior When sending MIDI data to a ReWire compatible software instrument, you can choose between four modes: • Playback mode: use when playing back MIDI tracks via ReWire. This setting requires less CPU power. • Live mode: use when playing a ReWire instrument live. This settings requires more CPU power. Audio Engine The Audio Engine is the part of Logic that processes and controls all audio data for playback, recording, mixing, and effects.
11 Sample Editor 11 The Sample Editor is used to perform extremely precise destructive edits on audio files. The Sample Editor features a number of useful processing tools—collectively known as the Digital Factory. These allow you to time stretch and pitch shift audio and change sample rates. Sample Editor—Introduction The Sample Edit window offers an enormous number of data-editing functions, which are used to process individual audio files. You can edit mono, as well as stereo files.
Opening the Sample Edit Window There are various ways of opening a Sample Edit window: • Select Audio > Sample Editor. • Press Command-0. • Double-click on any audio Region in the Arrange window; this opens the selected Region in the Sample Editor. • Double-click on any Region in the Audio window. If no Region is selected, Logic will ask if you’d like to load a new file into the Sample Edit window.
Display Waveform Overview Between the Sample Edit window’s title strip and Bar Ruler, you’ll see the overview. This display always shows the full length of the currently selected audio file, regardless of the zoom resolution. Please note that the overview is not scaled; a kick drum sample lasting 0.3 seconds could take up the same space as a choral passage lasting 15 minutes. During playback, the current position is indicated by a vertical line that moves in real time.
Link Mode Link mode ensures that any Audio Regions selected in the Arrange window are displayed in the Sample Edit window. Link mode is turned off and on by clicking the “linked chain” switch, or the corresponding key command. If you often work in Link mode, give this a try: open a Sample Edit window and switch on Link mode. Now close the window, and Logic will retain this status. Double-click on the Region you wish to view, and you’ll see that the display in both windows is linked.
View > SMPTE Time Shows the scale in SMPTE time (in Hours:Minutes:Seconds: Frames). The time scale begins at the song start point (with the SMPTE offset, if applicable). When you use this scale, the absolute SMPTE value of the source clock is shown on the X axis. View > Bars/Beats… Shows the scale in Bars, Beats, Divisions, and Ticks, just like the Bar Ruler in the other time-related windows. The “zero point” is represented by “1 1 1 1”, but lengths are measured from “0 0 0 0”.
Display Waveform as Sample Bits You can switch from the usual representation of the waveform, to one that shows the structure of the recorded digital data, at high magnification levels on the detailed waveform display. You do this by selecting View > Show as Sample & Hold. This can be useful when eliminating clicks and pops from your recordings, for example.
Playback From a Certain Position If you double-click at any position on the time axis, the audio file will play back from this point, to the end of the current selection. If you double-click on a point beyond the selected area, the audio file will play until its endpoint is reached. Checking the Position of the Anchor The Play/Stop Region to Anchor and Play/Stop Region from Anchor key commands allow you to check the Region Anchor position, by listening to the parts just before and after the Anchor.
GoTo Commands The scroll bars along the bottom and right edges of the Sample Edit window scroll through the detailed waveform display in the usual way. If you’re trying to reach a specific point in the audio file, some of the keyboard shortcuts listed below may be of use to you. You can define your own keystrokes for these commands in the Key Commands window (see “Key Commands” on page 36). These commands move the corresponding point to the center of the waveform display.
The start point and length are displayed in a separate help tag while making a selection. The format is sample words. The Relationship Between Selections and Regions When you open the Sample Edit window by double-clicking on a Region, the Sample Edit waveform display will open with the entire Region selected. Changing the selection has no direct effect on the borders of the actual audio Region. The playback monitor only plays back the current selection.
Editing Regions in the Sample Editor If accuracy is what you need, you should edit the start and end points of Regions in the Sample Edit window, not the Audio window. The same goes for any adjustments you make to the Anchor, which in many cases should really be placed on the amplitude peaks, rather than at the start of the attack phase of the sound. A good example would be recordings of brass instruments, which may take some time to build to a peak.
Editing Commands The Sample Edit window features the usual Cut, Copy, Paste, Clear, and Undo commands in the Edit menu (or from the keyboard). All of these commands (except Copy) actually change the data of the audio file itself; in other words, they behave destructively. Cut Cuts a selected passage out of an audio file, and copies it to the Clipboard. All following audio sections move forward to fill the gap.
Note: As normalization is generally the last step in sample editing, this parameter (if active) can destroy the undo history. As a safety feature, a warning pops up if an undo history exists (and the switch is on), providing you with the opportunity to create an undo file. • Number of Undo Steps—limits the maximum number of recorded undo steps. Use the mouse as a slider to adjust the step value.
Audio File > Revert to Backup This function completely replaces the current audio file with the backup (provided one exists, of course). A warning message informs you of the creation date of the backup file, before the current file is replaced. You cannot reverse this function with Undo. Audio File > Save A Copy As Copies the current audio file to the location of your choice. Audio File > Save Selection As Saves the current selection as an independent audio file.
Functions This section describes various Sample Edit window functions that are ideal for polishing audio recordings. You can use these to add the finishing touches to your work. Each of the commands only affects the currently selected portion of audio. If you want to use them to alter the whole audio file, use the Select All function beforehand. All of the functions described in this section are destructive, and change the files stored on your hard drive. You can, of course, use the Undo function.
If you click on Search Maximum, the highest peak level is determined, and a value is then calculated for use when normalizing the audio file. results in absolute: displays the maximum level that will be achieved by changing the gain (by the amount shown in the Change relative: box). You should never make a gain change that results in a value over 100%, as this will result in digital clipping. Click Change (or press Return) to perform the gain change.
Reverse Functions > Reverse reverses the selected audio passage. Trim Functions > Trim erases all Regions that aren’t selected. Use it to remove unimportant passages from the start and end of your audio files. Make sure that the areas you are about to delete do not contain any Regions that you may need. Regions outside the selection will be lost, and Regions that fall partly outside will be shortened.
Digital Factory Operation The Digital Factory functions are accessed via the Sample Edit window’s Factory menu. • Open the Sample Editor by double-clicking a Region in the Arrange, or the Audio window. This selects the whole Region. • Or: select the area to be edited. • Or: press Command-A, to edit the whole audio file. The Digital Factory functions always affect the selected area. • Select Factory > … • Make the desired settings in the float window that appears. • You can start playback if you wish.
Time and Pitch Machine The Time Machine allows you to radically alter the time structure of audio files, including time compression/expansion, and pitch transposition. When changing the pitch, you can also correct any alteration of the formants. Pitch shifting without formant correction causes a phenomenon commonly known as the “Mickey Mouse” effect.
Tempo Tempo in bpm (beats per minute). Make sure you set the right length in bars, or the correct original tempo will not be shown on the left! Length (Samples) Length in samples. Length (SMPTE) Length in SMPTE time. Length (Bars) Length in bars. If you have already adjusted the song tempo to the Region that you’re about to edit, the original value will automatically be set correctly. If not, you need to manually enter the original length here.
Also remember that the quality of the result depends greatly on the source material. Don’t let this keep you from experimenting. Feel free to try extreme settings for compression/expansion or transposition. In such cases, the result may not always be what you expect, but it might be just the “effect” you’re looking for. You can move the ball in the 3-dimensional display with the mouse.
Audio Energizer The purpose of the Audio Energizer is to increase the perceived volume of audio material, while altering the sound as little as possible, and without causing clipping. Digital distortion (which would be the inevitable result of simply increasing the level, and which sounds very unpleasant) is avoided by using this algorithm. You could compare the effect to that of an analog tape which is saturated by a high recording level.
The Attack and Release parameters control the steepness of the algorithm’s filter. You can try increasing these values to double or four times the default, if the result sounds too “digital” or “raw”. This can happen if small elements among the main events in the original signal are boosted. As an example, the reverb portion of a sound can become louder. The perceived loudness of the overall audio material is increased.
12 Event List 12 The Event List displays MIDI data in the form of an alphanumerical “list”, combining all of the data editing functions of the other editors. The Event List, while not as “pretty” as other Logic editing windows, is extremely powerful. This chapter discusses the many specific uses where the Event List is your best choice for data handling and editing.
You can also open it by double-clicking on a Region if you have selected Doubleclicking a MIDI Region opens Event List in Preferences > Global > Editing. Structure The standard buttons are supplemented by two scroll arrows, that help you move through the list. The event type buttons allow you to filter specific event types from the display, and access or add them (by Command-clicking on them). Beneath the Toolbox is the quantization grid selection field for the event quantize function.
Display The event type buttons allow you to “filter” the display, removing individual event types from the Event List, limiting the view to the specific types of events you’re interested in. Click the desired button with any tool (except the pencil). If a button is grayed out, that event type will not be displayed. All functions only affect the displayed events, thus protecting any non-displayed events from any alterations you may make. Here is a short overview of the filter buttons.
Operation Scrolling Clicking either of the scroll arrows moves the display up or down by one event. The event at the position marker is always selected (the existing selection changes as you scroll). The scrolling speed can be varied by vertically moving the mouse. The Scroll to Next/Previous Event key command is also available from the Event window, and has the same end result. If the MIDI Out button is switched on, every newly selected event will be played.
Event Editing Adding Events To add an event, click on the desired event type button with the pencil (or any other tool, while holding down Command). The event is then added at the current song position, and is automatically selected. Duplicating Events To duplicate an existing event (to alter the parameter value of the copy, for example) click on the original event with the pencil. An input box appears—use it to enter the position for the newly-duplicated event.
Flexible Relative Value Alteration If you want to continue altering a parameter value in a multiple selection (even if one of the values in the selection has reached its maximum or minimum value), hold down Option while moving the mouse, or press Return to confirm a numerical input. Absolute Value Alteration If you want to set a parameter to the same value for all selected events, hold down Shift-Option, while using the mouse as a slider, or press Return to confirm a numerical input.
Status This is where you can see the event type, as specified by the status byte of a MIDI message. You cannot directly edit this parameter. Cha The MIDI channel used to record an event. Remember that this MIDI channel will be replaced by the Channel parameter of the playback instrument, during playback. The event is only output to the recorded MIDI channel when the Channel parameter is set to All.
… on Arrange Level When you click on the UDL button, or double-click the background area above or below the list entries (if visible), you move up one level in the Folder/Region hierarchy. This allows you to see all Regions in the current song (or folder). On the Arrange level, the list has the following columns: Position The start of the Region. Name Name of the Region. Double-clicking on the Folder name switches you to the display of its contents.
Event Type Structure Note Events Num MIDI note number (note #). The range is from C-2 (note #: 0) to G8 (note #: 127). Middle C is note # 60. It’s known as C3 in MIDI terminology. On some keyboards/synth modules (notably those made by Korg and Roland), the note range is C-1 (#0) to G9 (#127). In these cases middle C is called C4. In the Preferences > Display Preferences page, you can reference the display to the description that is most frequently used by your devices (Display middle C as…).
Program Change Events Program change events can be transmitted to connected MIDI devices for patch selection. These may be sounds in a synthesizer, programs in an effects unit, or snapshots in an automated mixing desk. Val A program number between 0 and 127. Some manufacturers (such as Yamaha) number the programs in their devices from 1 to 128, not 0 to 127. In this situation, you need to subtract 1 from the program number shown on the device itself.
Pitchbend Events Pitch bend events are used to continuously vary the pitch. They are usually generated by a centered pitchbend wheel or joystick on your keyboard. Num Fine pitch bend division (LSB). Many keyboards transmit a value of 0. If the pitch bend wheel has an 8-bit resolution, you will see values of 0 or 64 here. Val The effective pitch value (MSB) of 0 to 127. A value of 64 corresponds to the mid-way setting of the wheel.
Val Value of the controller. Continuous controllers have a range of 0 to 127. Switch controllers (#64—#90), transfer only two states; off (val=0) and on (val anything between 1 and 127). Aftertouch Events Aftertouch (or channel pressure) events are generated by a mechanical pressure sensor beneath the keyboard. The resulting sound modulation affects all notes on that particular MIDI channel. Num This column is empty for aftertouch events, as they only have one data byte.
SysEx Events System Exclusive Data (SysEx) is exclusive to individual MIDI devices. You can record these events using the dump utilities of your synthesizers, allowing you to save patch information outside the MIDI device. The arrows in front and behind the word EOX are used to add or remove bytes. Editing SysEx Events requires a thorough understanding of the data format used by the MIDI device in question. Incorrect edits can lead to the corruption or loss of sound data.
Event Float Window The event float window can be accessed from most other windows. Select Options > Event Float (or the Open Event Float key command) to open an Event Float window. This provides information on the currently-selected object, and can be compared to a single line of the Event List. You can edit all parameters in this window.
13 Hyper Editor 13 The Hyper Editor is a graphical editor that can be used to create or edit MIDI note and controller data. This editor is unique in that it makes some editing tasks—such as data scaling—much faster. The Hyper Editor is also ideal for “drawing” in drum and other parts. Hyper Editor—Introduction Usage The Hyper Editor has many uses. The main ones are creating and editing drum MIDI Regions, and graphically editing controller data.
Structure The structure of the Hyper Editor window resembles that of the Arrange window: there is the horizontal Bar Ruler at the top, and the optional transport panel in the top left corner. On the left is the optional parameter area and the event name column, and to the right of that, the editing area, which can be likened to the arrangement area of the Arrange window.
Hyper > Create Hyper Set For Current Events creates a new hyper set, consisting of the the currently selected event types. This is especially nice if you want to create a hyper set for all event types that you have created in a conventional Region Hyper Draw. You can open the Event Editor, select everything, deselect the note events, open the Hyper Editor and use Hyper > Create Hyper Set For Current Events. All used event types can then be edited in the Hyper Editor.
Creating Event Definitions Creating an Event Definition When you select Hyper > Create Event Definition, a new event definition is added, at the position of the currently selected event definition. Initially, it has the same parameters as the original. The event definitions beneath it are moved downwards. Automatically Creating Event Definitions If you select an event in another opened editor window, you can automatically create an equivalent event definition by checking the Auto Define checkbox.
Copy/Convert Event Definitions Hyper Sets: Copying Event Definitions Select the event definition that you want to copy, and select Hyper > Copy Event Definition. Switch to the destination hyper set, and select Hyper > Paste Event Definition. Converting Event Definitions You can redefine an event definition (along with all events). The values of the events are retained, but the event type is changed to the new event definition.
Event Definition Parameter Box The Event Definition Parameter box is where you make the settings for the currently selected event definition line. The most important parameters are Status and -1-. Opening the Event Definition Parameter Box You can show (or hide) the entire left parameter area by checking (or unchecking) View > Parameters. You can close or open the Parameter box by clicking the triangle in the top left corner.
Beam Width You can set the width of the event beams from 1 to 16, using the Pen-width parameter. Regardless of the beam width, the exact event position is always marked by the left edge of the beam. When set to the maximum value (Penwidth = 16), note events are displayed with their actual length. Beam Display The Style parameter allows you to select from four different color display variations, for the beams. Styles 5 to 8 are the same as 1 to 4, but the selected events flash when you highlight them.
First Data Byte The bottom line shows the -1- parameter, where you can determine the first data byte of the displayed event. As an example, if Note is set as the event status, you can determine the pitch (note #) that should be displayed in this event definition line. If the edited MIDI Region is played by a mapped instrument, a pull-down menu that features the names of the input notes (drum sound names) appears here.
Hi Hat Mode In hi hat mode, event definitions can be grouped together. Only one event from each group can be played at any time position. A typical use is for preventing different hi hat notes (open, closed, pedal) from being inserted at the same position. To define a hi hat group, click in any of the lines at the left edge of the name column. Click here once again to switch hi hat mode off for the line. All lines in a hi hat group must be vertically adjacent to each other.
Moving and Copying Events When moving selected events, you also need to hold down Shift. To copy events, use Option as per usual. Both operations allow you to move events to other event definition lines. The events will be converted automatically. Altering Event Values You can alter individual values by grabbing the event beam (with the pointer or pencil). As you change the event value, the current value is shown in a help tag.
This creates one event at every grid value. With very flat slopes, or very fine grids, the individual grid positions remain unoccupied if the value to be added is the same as the value of the previous event. This reduces the data-flow along the MIDI bus, without reducing the resolution of the controller. When defining the Grid parameter to add a succession of controllers use the motto, “as coarse as possible and as fine as necessary” to minimize data output.
14 Matrix Editor 14 The Matrix Editor allows MIDI note events to be handled in much the same fashion as Regions in the Arrange window. This editor is often called the “piano roll” editor as it represents note events as beams that resemble the holes cut in the paper of pianola piano rolls. It is an exceptionally easy to use tool for the creation and editing of MIDI note data. Matrix Editor—Introduction The Matrix Editor is used to graphically edit note events.
Opening the Matrix Editor To open a Matrix Editor window that shows the contents of the selected MIDI Region, select Windows > Open Matrix Edit (Command-6) or a user-defined key command (Open Matrix Editor). The optional parameter field to the left contains the standard buttons and the Toolbox. A Bar Ruler is shown at the top edge, much like the Arrange window (and the Hyper and Score Editors). Below the Toolbox, you’ll find a field that allows you to define the sub-division of the grid.
If you change the velocity of MIDI notes with the V tool, you will notice that the color of selected notes changes in real time. Chord Recognition When selecting multiple overlapping notes in the Matrix editor, the information section in the upper left corner displays the chord name. Editing Notes You can use the same intuitive editing functions available for Regions in the Arrange window. There are also some editing options (see “Edit Operations” on page 32) that are available in all editor windows.
Moving Notes You can move selected notes by grabbing them (near the middle) and dragging them. If you move notes vertically, they will be transposed, and if you move them horizontally, they will be moved in time. The target position and pitch are shown in the help tag while the mouse button is held down. When you move notes horizontally, they snap to the resolution of the Bar Ruler, and the setting of the zoom function.
Making Notes the Same Length If you want to make several selected notes the same length, hold down Option-Shift (as in the Event List, when making several parameters the same value). What Tools to Use You can use either the mouse pointer or the pencil when altering note lengths. It’s advisable to use the pointer, as this avoids the accidental creation of new notes, possible with the pencil. It can sometimes be difficult to grab the bottom right corner of very short notes.
15 Score Editor 15 The Score Editor offers extensive score layout and printing facilities, allowing the transcription of everything from simple melody lines to full symphonic scores. This chapter outlines all of the tools and features available for Score and Lyric entry, editing, layout, and printing.
• As a MIDI editor for users who prefer to use traditional music notation as an interface for MIDI sequencing. Input, editing, copying, or deleting of MIDI events and changing their musical position can be done directly in the Score window. You can also change between different display levels (view single or multiple parts at once). • To prepare and produce printed music. The number of staves in a score is only limited by the paper size. Each staff can contain up to 16 independent (“polyphonic”) voices.
Elements of the Score Edit Window Here’s an overview of the Score Edit window’s elements. Along the Left-Hand Side: Buttons for Catch, Link, MIDI In, MIDI Out, and Page Edit view Instrument Set Box Display Parameter box Event Parameter box Toolbox Part box (groups and individual) Along the Top Margin: • Bar Ruler (linear view only) • Zoom symbols • Menus The Main Working Area: Optionally shows: • Instrument name display column on the left side.
Positioning the SPL Directly in the Score The Song Position Line can be set directly in the Score window by Option-clicking a staff at the desired position. This function is only available when the sequencer is stopped. It is especially helpful in Page view, where no Bar Ruler is displayed. The selected position is displayed in the Help Tag while the mouse button is pressed. Notation Concept MIDI sequencing and score display are closely related in Logic.
The Part Box contains a number of symbols that can be inserted into the score by dragging them into position with the mouse. The printed result always corresponds to what you see in the selected Score window (Page Edit view must be activated). Layout work should be done in page and print view, after all of the notes (and most of the symbols) have been recorded or inserted.
An alias can be assigned a different Score Style than its parent Region. As an example, a melody played in unison by several instruments can be handled as a regular MIDI Region, and several aliases. Different Score Styles can be used for the different instruments, including transposing Score Styles. If you decide to change something in the melody, you don’t need to edit all copies of it. Just make the change in the parent MIDI Region, which will automatically be reflected in all of it’s aliases.
When you open a new Score window with several MIDI Regions selected in the Arrange window, an Instrument Set will automatically be created and displayed in the Score window. This Instrument Set only contains the instruments of the selected MIDI Regions. Score Styles Each Score Style (see “Basics” on page 380) contains a collection of score settings. Their function could be compared to that of text formats in word processors and layout programs.
• Stem direction, tie direction, and beaming, independent of the settings in the Score Style being used. • Display as an Independent Note, which excludes the note from the measure’s overall rhythmic calculation. • Horizontal graphic offset from the default position. • Change of accidental distance. • Change of note size, and form of the note head. General Appearance View Menu You can activate and deactivate the following display options by selecting the corresponding menu entries.
You can jump directly to any page, using the Go to Page key command, when working in Page view mode. The Song Position Line is automatically set to the beginning of the selected page, unless the sequencer is running when you execute the command. In this situation, Catch mode will be turned off. In Page View mode, Logic will automatically display as many pages next to each other as possible, according to the size of the Score Edit window and current zoom level.
Parameters Hides/Shows the left column of the Score window (Display Parameter box, Event Parameter box, Part box, and so on). Instrument Names Hides/Shows the names of (used) track instruments, to the left of the score display. Page Rulers Hides/Shows rulers in Page Edit view. Measurement units can be centimeters or inches. White Background Switches between a white and colored background.
• Explode Folders (see “View Menu” on page 336) on or off • Explode Polyphony (see “View Menu” on page 336) on or off • Hyper Draw (see “Hyper Draw in the Score Edit Window” on page 347) on or off Input Methods in the Score Window There are several ways to input notes and symbols in the Score window: • Real time MIDI recording (notes and sustain pedal markings only) • MIDI step input (notes only) • Mouse input from the Part box (notes, text, and all symbols) • Insertion of copied events (all, except global
• • • • • Extended Layout Parameters Numbers & Names Guitar Tablature… Text Styles… Score Styles… (see “Basics” on page 380) Settings that can be assigned differently for each Score window, allowing different score displays within the same song file: • Display levels: Content Linked, Linked, or Not Linked • Explode Folders • Instrument Set (see “Instrument Sets and Score Display Levels” on page 401): selection and order of the displayed instruments • Explode Polyphony • Linear view or Page Edit view (prin
Printout It is important that you first choose the appropriate paper size and format in the File > Page Setup menu. The Score window (containing the intended print view) must be the active window. Start printing by selecting File > Print, or use the corresponding key command (default: Command-P). A dialog box, which will vary slightly from printer to printer, is shown. Depending on the printer, there may be some additional options, such as which page numbers you would like to print, or the number of copies.
Graphic Export There are two ways to export Logic’s notation into other programs, as graphic images: PICT Export Using the Camera Tool You can save a part of a Logic score page (or a whole page) as an image (PICT format), and paste it into documents created with other programs (word processing and DTP software). Use the Camera tool to select the desired score section, using the “rubber band” selection technique.
Realtime MIDI Recording Although real time MIDI recording is usually done in the Arrange window, you can also start recording directly from the Score window. You must first select the destination track in the Arrange window’s track column. This can be done directly from the Score window, by clicking on a staff that belongs to the desired track.
• Simultaneous step input into several Regions is not possible. If more than one MIDI Region is selected, the notes will be inserted into only one of them. • If several Regions follow one another on the same Arrange track (even those with gaps in-between them), you can step input notes from one MIDI Region to the next. As soon as the SPL reaches the beginning of the next MIDI Region, Logic will automatically insert the notes into it.
MIDI Channel and Velocity of Inserted Objects The MIDI channel and velocity of objects inserted with the mouse are determined by the Insert Defaults settings in the Event Parameter box. These are visible (and can be edited), when no object is selected. Click anywhere in the background of the working area to display the Insert Defaults settings. Ensure that “Insert Defaults” is displayed in the top line of the Event Parameter box.
You can move any note, and most symbols, to any desired position, by editing its numeric bar position in the Event List, or the Event Float Window (see “Event Float Window” on page 310). As an example, if you want to insert a half note on “two” in 4/4 time, place it on “one” or “three”, and change the position to “two” in the Event Float.
Make sure that the bar position really is identical to the graphic display position when inserting symbols. As an example: If you work with small Spacing parameters (in Layout > Global Format), a “Forte” symbol placed under a note on one may be interpreted as being on two, with a negative hor. pos value because you placed it a little bit too far to the right. This won’t make any difference as long as you stay on that particular display level.
Hyper Draw can only be activated in Linear view, and when a single MIDI Region is displayed. If you switch to another mode (Page Edit view, or full score), the Hyper Draw area disappears. The view settings are stored, however, so when you return to single MIDI Region and Linear view, the previous Hyper Draw setting is recalled. The Hyper Draw display is horizontally scaled, in relation to the score display above it. Its height can be changed, by dragging the horizontal borderline with the mouse.
Note: To select an object, you can also click-hold on one of the squares that represent the Part box groups: a pull-down menu containing all of that group’s symbols will appear. m Direct Insertion of a selected symbol: if the desired symbol is already selected (indicated by its inverted display in the Part box), click the desired position in the staff with the pencil tool. If you click-hold the mouse button, you will be holding the previously selected symbol.
• Part box 1/8 Note • Part box 1/16 Note • Part box 1/32 Note If you execute any of these twice in succession, the corresponding triplet value is selected, three times selects the dotted value, and four times returns to the original value. Further key commands can also change the selection inside the Part box: • Next Part box Symbol • Previous Part box Symbol Next moves the selection (similar to a text cursor) to the right, Previous to the left.
Notes The square that represents notes, in the top section of the Part box, is divided into three parts. This is because note values are organized into three sub-groups. Each can be brought to the top of the group panel by clicking on the corresponding symbol within the note square (note, dot, or 3). Inserting any of these symbols creates a MIDI note event, of the exact note length value. For display purposes, however, all of these MIDI notes are interpreted by Logic as if they were recorded in real time.
Changing the Way Notes With Ties Are Displayed If you don’t like the way particular tied notes are displayed, you can change the display by inserting a user rest at the position you want to see a graphic note. The rest’s length is not important, but you should preferably use a shorter one (an eighth note rest). Watch the Help Tag, for exact positioning. As soon as the rest is inserted, it will no longer be visible in the score display, but the note display will change accordingly.
Hide Numbers: the N-tuplet’s number will not be printed. It will be displayed in parentheses onscreen. This is necessary for further edits to the N-tuplet. Show Denominator: the N-tuplet display also contains the denominator (the second number in the dialog box). This would be 5:4 in the example above. Direction: the direction of bracket and number. Auto refers to the setting in the Score Style being used.
Editing Automatically Displayed Triplets Triplets are usually displayed automatically (depending on the Qua parameter in the Display Parameter box). If you want to change the way triplets are displayed, you can simply double-click the “3”, which opens the N-tuplet dialog box (allowing you to change the settings), and converts the automatic triplet to an N-tuplet. This also useful for hiding the numbers and brackets of “normal” triplets.
• If you want to insert an Independent Note directly, Option-select a note with the mouse from the Part box, and drag it to the desired position. Independent Grace Notes cannot be inserted directly. They need to be created by converting regular or Independent notes. In most situations, you will need to create additional graphic distance between the Grace Note and the note it is associated with.
When you insert a “C-clef”, please watch the Help Tag carefully, as this clef can be positioned at five different heights, depending on the register (alto, tenor clef, and so on). If you want to change an existing clef, double-click on it. This opens the following selection box. (The same applies to the “basic” clef of a MIDI Region, but changing this clef affects the Score Style itself, as well as all Regions that use the same Score Style).
Note Heads If you drag one of these symbols onto a note (watch the Help Tag: the destination note must be indicated), the note head changes to that of the selected symbol. If multiple notes are selected, dragging the note head onto any one of the notes will attach it to all notes in the selection. Altered note heads do not affect MIDI playback. If you want to return an altered note head to a standard display, use the same method, with the black, round note head selected.
Quick Assignment With Key Commands Some symbols feature user-definable key commands (see “Key Commands” on page 36), which automatically assign the corresponding symbol to all currently selected notes: Hint: working with these key commands can be even faster when you also use the Select Next Event/Select Previous Event, and Toggle next/previous Object (Event) key commands. The two latter commands include the following or previous event in the current selection, or reverse that inclusion.
Slurs, Crescendi Input Insert these objects at the intended (left) starting point. They can then be edited to their desired shape. After insertion, the object remains selected, and small black square “handles” are visible at its end points (or along its length, in the case of slurs). You can drag these “handles” with the mouse, to change the object’s shape.
Change of Length All of these symbols can be as long as desired, and can be displayed across line and page breaks, in several parts. • As an example; if you want to extend a slur to a position which is not visible in the Score window (in Linear view), you can grab its right end, and pull the cursor to the right border of the Score window: the score will automatically scroll. As soon as the desired end position for the slur appears in the window, move the mouse a little to the left, to stop the scrolling.
Precise Positioning It’s advisable to work at high zoom levels when positioning slurs. You can quickly switch to an extremely zoomed display by holding down Control while rubber band selecting an area of the score. This activates the magnifying glass tool, and the selected area is displayed at maximum zoom level. Do all your positioning and layout work at this zoom level, and return to the regular view by Control-clicking on any free spot.
Deleting a Key Signature Change This is done by either clicking directly on the key signature change with the eraser tool, or by selecting it and pressing Backspace. Moving and Copying Key Signature Changes As key signatures are global symbols, they cannot be moved or copied as easily as other objects. Further editing of time signatures is possible with the help of the Time/Key Change List Editor (see “Time and Key Signature Editor” on page 127).
Compound Time Signatures Apart from 2/4, 3/4, 4/4, 6/8 and the alternative display options for 4/4 and 2/2, there are also Part box objects for freely definable time signatures (A/B), and compound time signatures (A+B/C). When you insert one of these, a dialog box opens: • The Nominator can be anything between 1 and 32, the Denominator can be 1, 2, 4, 8, 16, or 32. • The Beat Grouping entry field will open when you select A+B/C, allowing you to determine the grouping of beats in compound time signatures.
The display of time signatures and time signature changes is also dependent on the Layout > Clefs & Signatures settings (see “Clefs & Signatures” on page 416). All time and key signatures of a song can be copied into another song (see “Time Signature and Division” on page 77). Repeat Signs and Bar Lines These objects can be inserted at any “visible” bar position (at the position of any graphically displayed note or rest). Usually, however, these objects are used at the beginning or end of bars.
1st and 2nd Endings Following the insertion of one of the repeat endings, text entry mode is automatically activated. The default text is “1.” and “2.”. If suitable, confirm with Return. If unsuitable, you can freely enter any text into these brackets. The bracket which defaults to “2.” is open—without a vertical end line, like the “1.” ending. As the text can be changed, you also can create a 2nd ending with a vertical line, for example.
Rests, Bar Repeat Signs Automatic Rest Display Rests are displayed automatically in Logic. This is done in a way whereby existing notes and automatic rests always add up to complete bars, that match the given time signature. The only exception to this is when a Score Style with a deactivated rest display (hide Rest) or with Beat Slashes (instead of rests) is used. Manually Inserted Rests In certain situations, you might want to insert rests manually.
“Church rests” (the older form of display) default to a length value of 2 bars. The default length of “normal” multi bar rests is Auto (a value of 0 in the Event List). This means that the rest’s duration is calculated automatically, according to the position of the next note, user rest, or global symbol (repeat signs, double bar lines and so on).
D.S., D.C., Segno, Coda Signs These symbols can be inserted at any position in the score. They are graphic symbols, and do not affect MIDI playback. Their size can be changed with the Sizing tool. Tempo and Swing Symbols These symbols can be inserted at any position. The font, size, and style of the tempo indicator itself is determined in the Text Style (see “Text Styles” on page 425) window (Text Style Tempo Symbols).
Move, Copy, and Paste Moving or copying of complete Regions (or major parts of a MIDI Region) should generally be done in the Arrange window. Despite this advice, most of the following Score window functions work similarly to Logic’s other editors.
Via the Clipboard These functions work the same way as in many other software programs, and in other Logic windows. Paste inserts the Clipboard’s contents (a note) into the selected MIDI Region at the current song position, as indicated in the Transport Window (see “The Transport Window” on page 73). You need to set the Song Position Line to the desired destination position before pasting.
This is the ideal method for copying an entire musical phrase, including all symbols, to the staves of other instruments. All destination staves need to be selected for Paste Multiple to work. These commands can be very useful when used in combination with Select Similar, while copying all dynamic symbols from one staff into other staves/instruments, for example. Repeat Objects This dialog box (see “Copying Regions” on page 109) can be opened from the local Edit menu, or with a key command.
Pulling the note to the right or left changes the displayed distance from the adjacent notes or rests. The bar position (and playback) are unaltered. This is used to create space for a grace note, or for an arpeggio line, as examples. Symbols, when moved with the Layout tool, retain their bar position, but the hor.pos and vert.pos parameters are changed, as indicated in the Help Tag during the process. There is a shortcut for this tool: press Control while grabbing the note to activate the Layout tool.
Vert.pos/hor.pos • vert.pos determines the height/vertical position. Zero means a position exactly on the top line of the staff, in most cases. Positive values are above, negative values below it. • hor.pos determines the horizontal graphical offset of the object’s bar position. A value of zero corresponds to the left edge of a note, at that particular position.
There are also key commands that set the vert.pos and hor.pos parameters of all selected objects to the same value: • Align Object Positions Vertically • Align Object Positions Horizontally • Align Object Positions (affects both parameters) These key commands set all objects to the value of the first selected object. If only one object is selected when you use one of these key commands, a dialog appears, allowing you to decide if the parameters of all similar objects should be set to the same value.
The Display Parameter box settings not only affect the display of notes recorded in real time, but also that of notes inserted with the mouse, or via step input. If you insert a short note, such as a 32nd note, it can only be displayed at its original length if Qua is set to 32 or shorter. If Qua is set to 8, the 32nd note will be displayed as an eighth note (although it will still be played back as a 32nd note).
• Clicking on the title line in the Event Parameter box selects all Regions that are visible in the current display. • Clicking an instrument name, in the column between the parameters and score, selects all Regions for that particular Track Instrument (even Regions spread across different tracks assigned to the instrument), at the current display level. Remember, the instrument name column is only displayed if View > Instrument Names is activated.
Qua—Display Quantization This parameter determines the shortest note value that can be displayed in the currently selected MIDI Region (exception: “artificial” N-tuplets, see the “Artificial” NTuplets to Bypass Display Quantization section (see “N-Tuplets” on page 352)). The Qua value is selected from a pull-down menu, which contains all available display quantization options.
A few examples: a global value of 1/8 will result in an 8,12 Qua setting for new Regions, a global value of 1/12 will become Qua = 4,12, a global value of 1/16 will result in Qua = 16,24, 1/24 in 8,24 and so on. Note, however, if a particular Qua value has already been set in the Insert Defaults (shown in the Display Parameter box whenever no MIDI Region is selected), all new Regions will be assigned this value, regardless of the Global Display Value in the Transport window.
Syncopation If Syncopation is switched on, each (MIDI) note will be notated as one graphic note (not displayed as several tied notes), regardless of its position—if this is possible. (This also depends on the Max. Dots setting, see below) If this isn’t possible, the note is (graphically) divided into the minimum possible number of notes, connected by ties. This facility is usually used for the display of syncopated notes.
No Overlap should only be deactivated in rare cases. If, for example, a piano player arpeggiates a chord and holds the notes, the score displays the following result with No Overlap on: Although you can’t see that all notes continue to sound here, the result looks like this if No Overlap is deactivated: The solution typically involves switching No Overlap on, and using sustain pedal markings.
• For polyphonic, multi-staff Score Styles: configuration of brackets and bar lines that connect the staves.
Predefined Styles Here is a complete list of Logic’s preset Score Styles, and their parameters: Score Style Clef Type Transposition Bass1 Stave(s) Bass Clef — Piano 2 Stave(s) Treble/Bass Clef — Treble 1 Stave(s) Treble Clef — Treble +8 1 Stave(s) Treble (+8) Clef −1 octave Treble −8 1 Stave(s) Treble (−8) Clef +1 octave Alto Sax 1 Stave(s) Treble Clef Eb (+9) Guitar Tablature Display Guitar Mix Tablature Display and 1 Stave Treble (−8) Clef Baritone Sax 1 Stave(s) Bass Clef Eb (+21
Reminder: Regions that directly follow each other (without gaps) on the same Arrange window track, are displayed as one continuous staff in Page Edit view, but can still use different Score Styles. Automatic Score Style Assignment for New Sequences When you create a new MIDI Region, either by making a real time recording or with the pencil tool in the Arrange window, the MIDI Region will be assigned the Score Style selected in the bottom line of the Instrument Parameter box of the active track instrument.
Name Box/Style Selector The field below the Toolbox shows the name of the currently selected Score Style. Click-hold it to open a pull-down menu that lists all Styles available in the current song. Switch to another Score Style by selecting the desired entry, and releasing the mouse button. Parameter Groups The Score Style Parameters are grouped horizontally in three main sections (top line): Staff, Voice, and Assign. Staff: The Parameters for staves.
Handling Score Styles Copying Score Styles Between Songs At some point, you’ll probably want to use Score Styles that exist in another song. There are two methods for copying Score Styles between songs: Importing All Score Styles from Another Song Select Options > Import Settings in the Score window. In the resulting dialog box, activate Score Styles only, and click on Import. This imports all Score Styles from another song into the current one.
• directly in the Score window, by using the Style pull-down menu in the Display Parameter box, again selecting “***DUPLICATE!****” at the bottom of the list. This is the fastest method, as the new Score Style is automatically assigned to the currently selected MIDI Region. Any of these methods will result in a new Style named after the Score Style it is derived from, with “*copied” appended to its name. This text can be edited in the name box of the Score Style window.
These editing procedures change the settings of the corresponding Score Style. This means that all Regions which use the same Score Style will be affected, which is not always what you might want. To prevent this, use the fast creation method for new Styles, based on existing ones. Size The size of the staff, and the notes and symbols it contains. There are 16 sizes available (0–15). Here are some size recommendations: for regular instrument parts and lead sheets, use size 7 or 8.
Note: The abovementioned Automatic Key Transposition option has a similar effect on the whole song. At a song level, however, the non-transposed basic key signature is still indicated, and Hide Key suppresses any key signature display. Rest The automatic rest display can be switched off (HIDE), or set to display Beat Slashes instead of rests. This is useful for rhythm section parts, and improvised solos.
Editing Two-Stave Score Styles (2 staves, with one Voice in each) The most obvious example of a multi-staff Score Style is a two-staff piano system. When working with multiple staves and/or Voices in a Score Style, the following parameters also become relevant: Number of Staves Each staff is represented by a number in the first column. These numbers are assigned automatically, and cannot be changed. An additional staff can be created in two ways: • New > Insert Staff.
Voice Separation Method Additional staves are always treated as additional Voices. There are two different methods for assigning notes to voices. The appropriate parameters are found to the far right of the Score Style window, below the Assign header: • A fixed split point (between two lines in the Split column). This is a defined pitch, which determines the absolute border between two Voices. Notes above it, or at the same pitch, are assigned to the upper Voice.
• Changing the MIDI channel using the Nudge Event Channel +1 and Nudge Event Channel −1 key commands. Hint: these can be especially useful when used in combination with the Select Next/ Previous Event key commands, which allow you to move the selection from note to note. • Using the Voice Separation tool: this tool allows you to draw a separation line between the notes, thereby assigning them to the MIDI channels of the Voices.
Editing Single-Staff Polyphonic Styles (With Several Independent Voices) Polyphonic Score Styles are required when rhythmically different melodic lines need to be displayed in the same staff. Theoretically, up to 16 independent Voices are possible. There are two possible ways to add another Voice to a staff in the Score Style window: • Menu New > Insert Voice.
Reminder: if you want to record an additional Voice into an existing MIDI Region, select the Region, and activate the Merge New Recording With Selected Sequence option in the Song Settings > Recording Options. You could also record two separate Regions, using different MIDI channels, and merge them later. Mouse Input Mouse input into polyphonic Score Styles is very easy, if you activate View > Explode Polyphony (also available as a key command).
An advantage of this approach is that you don’t need to worry about MIDI channels during recording or input, and notes won’t disappear unintentionally. There is, however, the disadvantage that the Voice Separation tool cannot be used to assign notes to Voices. Other applications for this method would include; the display of beamed grace notes, occasional polyphony in a guitar part, or the indication of rhythmic accents above or below beat slashes in rhythm section parts.
To change the Voice assignments for the notes in the lower staff, you can either; use the Voice Separation Tool to draw a line below these notes or, select all notes, and change their MIDI channel to match that of the upper Voice (in the Event Parameter box). Following this, all notes will be displayed in the upper staff, probably accompanied by a lot of ledger lines. The next step is to define the beaming connections, as desired.
Copying Voices or Staves Copying Voices or Staves Into Other Score Styles The Copy and Paste commands (Edit menu or key commands) allow you to transfer one (or several) voices and/or staves, inclusive of their parameters, into other Score Styles. Select the Voices you want to copy, by dragging the mouse vertically in the margin column to the left of the stave numbers. The selection will be indicated by a dark grey vertical beam. Now, select Edit > Copy (X).
Group Each MIDI note can be assigned to a Drum Group via a pull-down menu. A number of groups are pre-defined for the most commonly used drum sounds (Kick, Snare, Hi hat, Toms, Cymbals, and so on). If you want to define a new Drum Group for another instrument sound (such as Tambourine), select one of the New Groups in the pull-down menu, and double-click on it. This opens an entry field, allowing you to determine a name for the new Drum Group.
• The Staves-Voices-Drum Groups hierarchy runs from left to right, and is shown by horizontal lines, which indicate the borders between these elements: each Drum Group belongs to the Voice at the same horizontal position. The Pos. parameter affects the vertical positioning of all notes of the corresponding Drum Group. The value shown here is an offset, which is added/subtracted to the relative positions defined for the individual notes in the Drum Map Editor.
Reset Note Attributes This command (Attributes menu or key command) resets all Note Attributes to their default settings. Note that this also affects symbols directly attached to notes (accents, fermatas, Jazz symbols, and so on), which will be erased by a Note Attributes reset. List of All Note Attributes The following list shows all Note Attributes and provides information on accessing and altering various attribute options.
Options: • Stems: default: according to the default setting • Stems: up • Stems: down • Stems: hide: hides a note’s stem, and the corresponding beam or flag • Stem End: Default Length: default setting • Stem End: Move Up: moves the stem end upwards; depending on the direction.
• Defeat Syncopation: defeats syncopated display Interpretation (Default setting in the Display Parameter box) • In the Note Attributes window (Interpretation) • Menu Attributes > Interpretation • With key commands Options: • Default Interpretation: according to the default setting • Force Interpretation: forces Interpretation mode • Defeat Interpretation: defeats Interpretation mode Independent: Display as Independent Note or Single Grace Note (Default setting “Not Independent”) • Menu Attributes > Indepe
Content Catch: similar to Content Linked, but Catch is also activated. Only one MIDI Region is displayed at a time, but the display changes to the next MIDI Region on the same track, according to the current bar position, during playback. Linked: (single click on the Link symbol) The Score window shows the same display (folder) level as the Arrange window. This is most relevant if you work with Folders.
Special Cases Concerning Score Display In some situations, certain MIDI Regions will not be displayed in the Score window, no matter what the Display Level or Instrument Set settings are. These cases include: • Muted MIDI Regions, if Hide Muted Sequences is activated in Layout > Global Format. • MIDI Regions on muted tracks, if Hide Muted Tracks is activated in Layout > Global Format.
The Instrument Set Window The Instrument Set window can be opened with: • Double-click on the Instrument Set Box • Menu Layout > Instrument Sets… • Key command Open Instrument Set Window If you have opened the Instrument Set window while the default “ALL INSTS.” set was displayed, a warning indicates that the “ALL INSTS.” Instrument Set cannot be edited. In the Instrument Set window, select New > New Complete Set.
In most cases, it’s more convenient to create a new Instrument Set with New > New Complete Set, as all instruments currently used in the Arrange window are automatically included. You can, however, also select New > New Empty Set, into which you can insert the desired instruments, one-by-one. Other options in this menu are: Duplicate Set; which creates a copy of the currently visible Instrument Set, for use as a basis for another set, and New Set of Selected Insts.
Name of Instrument Set The name of an Instrument Set can be edited by double-clicking on the name in the left column of the Instrument Set window, which opens a text entry field. Click-holding on the name box allows you to switch to another Instrument Set, by selecting it from the resulting pull-down menu.
Automatic Display of Selected Instruments when Opening the Score Window Opening a new Score window, while several Regions are selected in the Arrange window, automatically creates and displays an Instrument Set that only contains the instruments of the selected Regions. In other words, the Create Instrument Set From Selection function is automatically performed whenever a Score window is opened, and Regions on more than one track are selected in the Arrange window.
Scaling doesn’t happen to parts extracted using the Instrument Filter function described above. As such, you can use the same Score Styles for full scores and parts: in extracted parts, the staves will appear at their original size, in the full score, their size is defined by the Scaling parameter. Separate Layout Options for Parts and Score In the Global Format dialog window (Layout menu) there are separate page layout parameters for score and parts.
Logic stores the line breaks for each Instrument Set individually. This also applies to all parts created with the Instrument Filter function. These are all stored with the song file. Restriction to Local Movement When you move a bar with the Layout tool as described, all manually edited line breaks in subsequent lines are deleted, and the (automatic) line breaks are automatically recalculated from that line downwards.
Song Settings for Score Display There are six pages of score settings in the Song Settings dialog box. You can switch between these and the other Song Settings dialog box pages directly, by using the pop-up menu on the page. In addition to the methods mentioned below, you can also select these pages in the global Options > Settings > menu. These settings affect the whole song (in all Instrument Sets). They are saved with the song file, allowing each song to have different settings.
Margins are only visible in Page Edit view, where they are displayed as green lines on the screen. These lines are not printed. It is also possible to change them directly, by dragging them with the mouse in the score. Like the global page margins, the left and right borders of stave systems can also be edited individually. To change the left/right border of a staff system, simply use the Layout tool to click and drag the border to the desired position.
Constant/Proportional Spacing: Note Distance These parameters determine the amount of horizontal distance between notes. Constant Spacing affects the distance from note to note, regardless of rhythmic value. Proportional Spacing also takes the note durations into consideration. If you only use Proportional Spacing (and set Constant to 0), every bar receives (more or less) the same amount of (horizontal) space. A whole note uses as much space as four quarter notes.
These parameters work relatively to a particular scoring situation, which is why no explicit instructions on settings can be given. Again, it is essential to try different combinations when working on the final layout of a piece. “Open” Single Staves Displays single staves without vertical lines at their start point (left side of the clef ). Justify Last Staff Lengthens the last line (the last staff system, in full scores) to the right page margin.
Numbers & Names These settings affect the automatic display of page numbers, bar numbers, and instrument names in the score. To open this window, select: • Layout > Numbers & Names… • Key command Settings: Numbers & Names • Double-click on any bar or page number Automatic page and bar number display, and automatic display of instrument names can be switched on and off for the whole song, by activating/deactivating the corresponding check boxes in this window.
Vert. Distance The vertical distance to the highest or lowest possible printing position on the page (dependent on whether Vert.Position is set to top or bottom). Hide 1st Page Number Prevents display and printout of the page number on the first page (all others are displayed and printed). Prefix Allows you to enter text which will be displayed with every page number. Example: if you use the prefix “Page”, the word “Page”, followed by a space and the actual page number will be displayed on each page.
Hide Bar Numbers in Linear View Does exactly what it says. Linear View refers to non-Page View. Top/Bottom Staff only In full scores, the bar number is only displayed above the top staff, if this option is activated (a negative Vert.Pos. value results in the number below the bottom staff ). Count Mult. Rests Displays the first and last bar number below multiple rests. This makes sense if a negative Vert.Position value is chosen, causing the bar numbers to be shown below the staves.
The following display options are available for Clefs, Key Signatures, and Time Signatures: • Every Staff • First Staff on Every Page • First Staff on Page 1 • Hide All • Display Warnings at Line Breaks: this causes “warning” clefs, time signatures, or key signature changes to be displayed at the end a staff or stave system, if the actual change is at the beginning of the subsequent staff or stave system.
For Time Signatures/Barlines Hide Barlines This option allows you to hide all barlines, which can be useful for educational material, gregorian plain chant notation, and other special situations. Only automatically displayed barlines are hidden, so it’s still possible to insert barlines from the Part box, including the “regular” bar line, which will be displayed and printed. Octave Symbols These settings enable you to edit the text string and text format of the different octave symbols.
Chord Symbol Alignment determines the general horizontal alignment of chord symbols (see “Handling Chord Symbols” on page 433) with an Align parameter set to def (default), in relation to their bar position. Chord Symbol Accidental Scale changes the accidental size, in relation to the font size setting: Positive values result in an increased size, negative values in a diminished size of chord symbol accidentals. Clicking on Factory Defaults resets all parameters to their default settings.
1 to 6: the pitches that the “open” strings are tuned to. Other common parameters: Font, Size, and Face for the display of fret numbers. Alignment of the numbers to the stem: to the side, or centered (can be switched by clicking on this box). Bass String: the display of the lowest string: may be the same as the other strings, or a bit thicker. (can be switched by clicking on this box) 1/1, 1/2 Notes: if this option is activated, half and whole notes will be displayed with a circle around the fret number.
Inv. Chan Like Channel, but counted from the highest string (1) to the lowest (6 and above). This way of numbering the strings is generally used in traditional guitar literature. As most Guitar-To-MIDI-Converters send notes on different MIDI channels, according to the played strings, the last two modes are suitable if you use such an instrument to record MIDI Regions. In this situation, the tablature notation is displayed exactly as the music was played during recording. Inv.Ch-1, Inv.
MIDI Meaning The settings in this window determine, if and to what extent, the insertion of the symbols listed here affect the MIDI playback of notes that these symbols are attached to. The window is opened from the Layout > MIDI Meaning menu. Two parameters can be determined for each symbol listed here. These symbols change the MIDI output of all notes they are attached to: Velocity This value is added to, or subtracted from the original velocity value of the corresponding note.
Color Layout > Colors opens the color palette for the currently active song: These color palettes are used by different coloring modes. Clicking on any color opens the standard color editing window, allowing this particular color to be changed. Colors are saved with the song, and can be different in each song. They can be imported from any other song via Options > Import Settings > Score Settings.
Show Sequence Selection Colored If this option is activated, the stave lines of the currently selected MIDI Region are displayed in color (blue), all other Regions are displayed with black lines. This can be useful when changing the display parameters of Regions, as the parameters in the Display Parameter box (see “The Display Parameter Box” on page 374) only refer to the currently selected MIDI Region/s. If it is not activated, all staves will be displayed in black, whether selected or not.
Text: Input and Display Text Styles All text elements in Logic refer to user-definable default settings called Text Styles. You can assign any of the predefined Text Styles to text inserted into the score. This saves you from setting all text attributes, such as font, size, style, and so on, every time you insert a new text object. Text Styles All Text Styles used in a song are listed in the Text Style window. This window allows you to edit existing Text Styles, or create new ones.
Repeat Endings The Text Style for anything written into the repeat ending boxes (usually just numbers, but text can also be entered). Chord Root, Chord Extension Used for the display of chord symbols. Root concerns the root and the (optional) extra bass note in chord symbols, and Extension is anything else. Multiple Rests The Text Style for the number above multiple rests. Tablature Used for the display of fret numbers in guitar tablature (see “Guitar Tablature” on page 419).
Music Fonts as Fonts for Text Styles Musical Symbol Fonts do not contain letters. They only contain musical symbols. Text objects that use these fonts in Text Styles can be used for free positioning of musical symbols anywhere in the score. (Such as special percussion symbols). Text Input To insert text in the score, you need to get a Text object from the Part box, and drag it to the desired position with the mouse. During this procedure, the mouse cursor becomes the Text tool.
Stave Only relevant in multi-stave Score Styles. It determines the staff that the Text object is assigned to. The vert.pos parameter measures the vertical distance to the top line of the staff, which is indicated here. The hor.pos indicates the graphical horizontal deviation of the selected text object from its actual bar position (also in relation to the Align parameter). Lyric On Defines the text object as a Lyric Event (song text).
Editing Text If a Text object is selected, its parameters can be edited in the Event Parameter box. If you want to edit the text itself, either click on it with the Text tool or double-click on it with the pointer tool. The flashing text cursor will reappear. Deleting Text Objects As with all other objects, selected Text objects (or selected text inside a Text object) can be deleted by pressing Backspace.
Style, Size These work as per regular Text objects. Positioning of Global Text Following insertion into one of the margin areas, Global Text can be moved anywhere on the page with the mouse. The regular mouse cursor (the Pointer tool) only allows vertical movement of a Global Text object. Hold down Option to move it horizontally.
Lyrics There is a Part box object named LYRIC, which is designed for lyric entry. You should select the Text Style that you want to use for lyric entry prior to commencing lyric input. This is done in the Event Parameter box, with no object selected (indicated by “Default Inserts” in the title line of the box). Just click on any empty spot in the Score window, to deselect everything. Now drag the LYRIC object below the first note of the melody, or click at that position with the Text tool.
Note: It is important that Lyric objects are assigned to the right MIDI Region, if you’re working in a full score display (Remember: selected staves are displayed with blue stave lines). It’s generally recommended that you insert lyrics in linear view, and single MIDI Region display mode—especially if inserting more than one verse. In linear view, it’s also easier to rubber band select several Lyric objects, to change all of their positions, for example.
• If you write letters before a number (FMAJ7/9, for example), Logic places the letters in the lower line, and everything after the first number in the upper line. • You can influence this automatic placement by entering a comma in the text: everything before the comma will be placed in the lower line, and everything after it, into the upper line. Only one comma can be used. If multiple commas are entered, only the first one is relevant, and the others are ignored.
German Chord Symbols: “H” Instead of “B” If the German Chord Symbols option is activated in the Global Format dialog window, the note “B” in chord symbols is globally displayed with its German name “H”. The English “B flat” is written as “B”, according to its German name. This option is activated automatically, as soon as the letter “H” is used during chord symbol input.
Rhythm Section Parts To create typical rhythm section parts with chord symbols and Beat Slashes, select a Score Style with a Rest parameter set to “Slash”.
16 The Transform Window 16 The Transform window is a very powerful non-real time processing tool. It enables very specific data event changes to one or multiple MIDI Regions, through the use of user-defined conditions. This window allows you to select, say, all note events with a velocity that falls between 80 and 86 to be adjusted to a fixed volume of 93. This can be done on one or a thousand MIDI Regions.
Opening the Transform Window Select Windows > Open Transform (Command-4) to open a new Transform window. Effective Range The Transform window is only used to edit events. As with other editors in Logic, the operations are only performed on selected events. These might be: • All selected events (in one of the editors), • All events in selected Regions, or • All events in selected folders. You can use the link button in the top left corner to link the effective range with other windows.
Select and Operate This is a combination of both actions: the events are selected in accordance with the Conditions, and are then transformed as per the Operations settings. The title bar shows how many events have been selected and/or transformed after each action. Use of Select only, followed by further selections in an editor, allows more refined (and/ or safer) transformations—activated with Operate only.
Imagine you want to add a mod wheel controller event (#1) 10 ticks before each note, with a value that matches the note’s velocity. To do this, you set Status = Note in Conditions. In Operations, set the Position to Add and enter a value of 10 in the field below it. Set Status as Fix Control and Pitch (-1-) as Fix 1.
The All setting in the top box means that all values fulfil the conditions, making all other boxes in the same column superfluous. Conditions for the Status You have a choice of just two settings here, All (means all event types fulfil the condition) and “=”. Clicking in the box below opens a pull-down menu, where you can select; note, poly pressure, control change, program change, channel pressure, or pitch bend.
Exchanging Parameter Values You can replace the value of each of the three event parameters: Cha, -1-/Pitch and -2-/ Vel with the value of a different parameter from this group. Click on the lines between the Conditions and Operations fields to change the source for the parameter value. Note that the value is exchanged first, and then the operation is performed.
Min Parameter values lower than the set value are replaced by it. Larger parameter values remain unaltered. Max Parameter values that exceed the set value are replaced by it. Smaller parameter values remain unaltered. Flip The parameter values are reversed around a set point. Values above this amount are moved to the same distance below it and vice versa. Mul The parameter value is multiplied by the set value (4 decimal places). Div The parameter value is divided by the set value (4 decimal places).
Exponent. The parameter value is scaled exponentially. The extreme values (0 and 127) remain unaltered. The set value determines the shape of the curve. Positive values result in the exponential scaling of data (increasing input values remain lower for longer, and then rise quickly), and negative values result in the logarithmic scaling of data (decreasing input values remain higher for longer, and then drop off more quickly).
Recalling Presets Individual Transform sets can be selected directly via Functions > Transform submenu in the Event, Matrix, and Hyper Editor windows.
17 Tempo 17 Logic provides several different tools and methods to create and edit tempo events. This chapter discusses these tools, and covers the possible interactions between tempo events and MIDI and Audio Regions. Display and Functions Tempo Display If your song has a tempo that stays the same throughout, you can set this constant tempo in the Transport window. The current tempo is always displayed here, even if you’re using programmed tempo changes or external synchronization.
Adjusting the Tempo to Fit Regions The Options > Tempo Adjust Tempo using Region Length and Locators command adjusts the MIDI tempo, making the length of the selected Audio Region exactly match the distance between the locators (Cycle area).
5 Paste the tempo events from the Clipboard (Command-V). 6 A position input box appears at the first tempo event, allowing you to alter the bar position. If the first tempo change is not at the start of the bar in the passage, be sure to alter the bar number, and leave the beat, sub beat and frame or tick values unaltered. 7 Press Enter. The copied tempo changes will be selected, and you can undo the operation if necessary. Other Functions The entries in the tempo list interact with and affect each other.
18 Synchronization 18 Logic can be synchronized with external hardware and software via a number of different synchronization protocols. This chapter discusses the synchronization of Logic—as both synchronization master and slave—in a number of different situations. Functions Switching on External Sync Activation of the Transport Sync button synchronizes Logic to the chosen sync source. You can use the Sync button to turn off external sync at any time, without changing your selected sync source.
MTC Interpretation As the MIDI standard only supports four of the possible six time code formats (the 30 fps and 29.97 fps formats cannot be differentiated), Logic needs to decide which format is “intended”, when it encounters incoming time code: Incoming MTC format is interpreted as: • 24 fps–24 fps • 25 fps–25 fps • 30 drop fps–29.97 drop fps • 30 fps–30 fps In other words, the much more commonly used 29.
Synchronization Window Overview You can open this window from the Arrange window using File > Song Settings > Synchronization, or by click-holding the Sync button in the Transport window. At the top, there are tabs for selecting the various pages: General, Audio, MIDI, Unitor. General This page of the synchronization window contains the major synchronization parameters for running Logic as a slave.
Auto Enable external Sync When this option is activated, Logic runs as the master (Internal sync mode), until it receives a synchronization signal—either in the form of MTC, Clock/SPP, or from the tempo interpreter. Logic automatically locks to the first synchronization signal it receives. Please ensure that different synchronization signals don’t arrive simultaneously—there can only be one time code master. Frame Rate This is where you set the frame rate (in “fps”, frames per second).
Validate MTC This pull-down menu option allows you to specify how often Logic checks for incoming time code, in order to ensure synchronization. In general, you should leave this option set to always. There are some devices, however, that generate timecode pulses that may require a specific number of frames to be set, in order to maintain synchronization. The never, Jam Sync option basically sets Logic to “free-wheel” if synchronization is lost.
Audio Sync Mode This is where you define how each individual piece of audio hardware should be synchronized to an external time code master. Not all audio hardware can work in every sync mode described below. This is particularly dependent on whether or not the hardware’s sample rate can be controlled. MTC Continuous Audio regions are started in sync, and the sample rate is continuously regulated in accordance with variations in the time code master signal.
If MIDI Clock is transmitted to all ports, the events are only sent once from the computer to the interface. If you address individual ports, one event needs to be sent for each port, placing a higher strain on the bandwidth of all ports. Transmit MIDI Clock Delay This parameter allows you to delay the transmitted time code. Negative values mean that the MIDI Clock signal is transmitted earlier. This enables you to compensate for any reaction delays in external MIDI Clock slaves.
Logic ignores these messages when incoming external MTC (MIDI Time Code) commands are detected. Logic also obeys so-called “full frame messages”, and sets Logic’s song position line to a new location, without starting playback. Once again, incoming MTC data has higher priority, if conflicting information is received. Some synchronizers send “Full Frame Messages” (instead of MTC) to locate the slave device (Logic in this case) to a new position, without implicitly starting playback.
TV Format Allows you to define the television format for time code burn-in: PAL: The video format used in Europe. If you are working with video in SECAM Norm, select PAL. NTSC: The video format used in the USA and Canada. You don’t just need this setting when writing and reading VITC. If you’re working with LTC, and you want to generate a video picture a with burned-in SMPTE time, you also need to set the correct format here.
Sync Problems and Solutions Faulty Digital Synchronization If Logic is synchronized to external wordclock (Audio Sync Mode: External/free), you must ensure that a valid digital signal is always available. If you encounter error messages such as “Sample Rate xxx kHz recognized” it may be that the DAT recorder (or whatever clock source you have connected to your audio hardware’s digital input) does not transmit wordclock in stop or pause mode (or has switched itself off ).
19 Video 19 Logic supports the viewing of QuickTime video files in the Arrange Video track, making film and TV scoring quick and easy. You can also view QuickTime video files in a separate window. This chapter covers the use of video files in Logic. Synchronizing QuickTime Movies QuickTime is a Macintosh standard for digitized, data-compressed films which can run in individual windows. If you want to play these films, Quicktime must be installed on your system.
Working With Movies In the QuickTime window, you can enter the SMPTE offset of the film in the Movie Start row. This is independent of the SMPTE offset for the song. Grabbing and dragging the position slider at the bottom of the video, or using the forward/rewind buttons to the right, moves the film to any position, and Logic will “chase” to the corresponding song position. All QuickTime transport functions interact with those of Logic.
Synchronization Methods The Continguous Sync option allows you to switch between the following sync methods: When Continguous Sync is turned on, Logic controls the playback speed of the movie, keeping music and pictures in sync at all times. If the film has a soundtrack, the audio signal will be transposed slightly, if necessary, by means of sample rate conversion. This sync method is possibly more precise, but requires greater processing power.
20 Song Settings and Preferences 20 The Song Settings and Preferences allow you to define many of Logic’s basic operating parameters. This section explains each of these menu items individually. Unless otherwise indicated, the descriptions of the various options apply when the selection box next to the option is checked (in other words, when it’s active). Song Settings and Preferences are accessible via the File > Song Settings and Logic > Preferences menu items.
Saving of Song Settings and Preferences The Song Settings are stored with the song file. If you want to start Logic with certain settings, simply make the desired settings in your Autoload song or a Template. The Preferences are saved whenever you quit Logic. There are several Preference files, which are stored separately in the $/User/Library/Preferences folder. Logic preference files all begin with “com.apple.Logic”. Note: All choices made in the Song Settings window are specific to the saved song.
Output (assignment): Provided the audio hardware used by Logic offers more than two outputs, this field allows the routing of the Klopfgeist metronome sound to a different set of hardware outputs. Note: Klopfgeist is a software instrument found in the Mono plug-in menu of Audio Instrument channels. Klopfgeist is inserted on Audio Instrument channel #64, by default. Logic will automatically create Audio Instrument channel #64 (with Klopfgeist inserted) when the Klopfgeist checkbox is activated.
Recording Settings This page can be reached in various ways: by key command (default: Option-R), the File > Song Settings > Recording menu option, or from the Recording menu item, accessible by click-holding on the Metronome or Record buttons of the Transport. The Recording Song Settings determine how Logic responds while in record mode. You can enable/disable some checkboxes via the computer keyboard, by using the keys indicated in brackets after the function name.
MIDI data reduction Controller events are thinned out during recording, to reduce the data load on the MIDI bus during playback. This improves the timing of dense arrangements when using interfaces with only a few MIDI ports. The function actually reduces the duration of controller events, using an intelligent algorithm which retains the value at the end of a succession of controller messages. Tuning Settings A real-time tuning system is available for use with Logic’s software instruments.
For the rest of the scale: Tune the next fifth up: 150 × 3 = 450/2 = 225 (which is more than an octave above the starting pitch, so you need to drop it another octave to 112.5. Note Frequency (Hz) Notes C 100 × 1.5/2 C# 106.7871 divide by 2 to stay in octave D 112.5 divide by 2 to stay in octave D# 120.1355 divide by 2 to stay in octave E 126.5625 divide by 2 to stay in octave F (E#) 135.1524 F# 142.3828 divide by 2 to stay in octave G 150 (× 1.5) divided by two G# 160.
Every temperament has its own “character”, and a given piece of music may sound fine in one key, but awful in another. Transposing a piece to a new key can completely change its character. Careful attention must be paid to the selection of temperaments for authentic performances of historic keyboard music. The wrong choice could result in an unsatisfactory and historically inaccurate musical experience.
This mode tunes keys to different degrees of scaled tuning, and delivers a “key signature character”. When playing mostly white keys (in the Pure setting, and with C as the Root Key), C major will be the main focus, and tuning will be scaled to that chord. An A major chord that is played immediately after a C major (and is therefore subject to C major scaled tuning) will be affected somewhat by the scaled tuning effect, but will not sound completely tempered.
MIDI Remote Global button for controlling Logic via MIDI Commands. Clicking on the Configure button will launch the Key Commands window (see “To assign a function to a MIDI message:” on page 43). General: MIDI Thru SysEx with MIDI Thru function Incoming SysEx messages are passed through the computer to the MIDI output(s), along with other MIDI data. This is particularly important when using hardware programmers, as only then will you be able to immediately monitor the changes to the synth you are editing.
• • • • Control Changes (such as the modulation wheel of a MIDI keyboard). Aftertouch events (channel pressure). Polyphonic Aftertouch (polyphonic key pressure). System Exclusive data (such as patch dumps from synthesizers). Chase This MIDI Song Settings panel is used to alter the Chase Events (see “Chase Events” on page 89) settings. You can reach this page via the main menu File > Song Settings > Chase Events option.
64–71 “Switch” controllers 64 to 71 are chased. These include: sustain, sostenuto, hold 2, soft pedal, and portamento. All other All other controller numbers are chased. Aftertouch (Channel) Aftertouch data is chased. Polyphonic Aftertouch Polyphonic Aftertouch data, generated by pressure sensors under the individual keys of the keyboard controller, is chased. System Exclusive The most recent SysEx message(s) in the Regions (before the current playback start point) are transmitted.
Send full MIDI Reset before Chasing A full MIDI reset (for all ports and all MIDI channels) is sent before any event chasing begins. Score Settings All Score Song Settings are described in the Score Section (see “Song Settings for Score Display” on page 410). Preferences The settings made in Logic’s Preferences panels are saved as a number of files in the $/ User/Library/Preferences folder. Keyboard shortcuts (key commands) are saved in a separate file in the same folder.
Auto Backup: This pull-down menu switches on, and controls the automatic backup (see “Saving Songs” on page 58) function. The menu options are self-explanatory. Global Preferences: Editing Right Mouse Button: This pull-down menu determines the right mouse behavior. Options are: Is Assignable to a Tool, which allows any tool to be assigned to the right mouse button. The Opens Toolbox option does just that, when the right mouse button is clicked.
Smooth Cycle Algorithm This improves the timing of cycle jumps, making it easier to set the length of sample loops while in Cycle mode—although this is somewhat mitigated through the use of Apple Loops. If your computer has a very slow CPU, this setting reduces the processing performance for graphic operations. In general, you’ll want to keep this on, whenever possible, especially if you’re working in a style which involves frequent cycling of musical sections.
Audio Preferences Audio Preferences: General Create Overview after recording To allow you to view new recordings of audio files in the Arrange window, Logic has to create an overview. Before it can do this, the whole audio file has to be read, which can be time-consuming, depending on the amount of data involved. If you want to continue working in the Arrange window without the waveform display, you can switch off the creation of the overview after the recording.
Audio Preferences: Display Display Color in Audio Window If audio regions in the Arrange window are very brightly colored, it can sometimes be difficult to make out the waveform display in the Audio window. You can, therefore revert to a black and white display here. New Style Audio Objects This setting toggles the look of the Audio Objects between the old and new (since V 3.0) style.
Audio Preferences: MP3 Bit Rate (Mono/Stereo) The bit rates are selectable between 8 kbps and 320 kbps, but default to 80 kbps mono, and 160 kbps stereo. These rates offer acceptable quality and good file compression. If you can afford the extra file size, we recommend selecting 96 kbps for mono and 192 kbps for stereo streams for better audio quality. You can, of course, choose even higher rates, but the quality improvement in bit rates above 96/192 kbps is minimal.
MIDI Preferences This page handles Logic’s communication with your MIDI interface and other programs. All active CoreMIDI Drivers are automatically available in Logic. There is no need for further settings. MIDI Preferences: General Use UME (Unified Virtual and Classic MIDI Engine) The Unified Virtual and Classic MIDI Engine unifies the Classic MIDI Engine (used for hardware MIDI devices) with the use of Virtual MIDI Instruments (software instruments).
Note: If your devices can follow MTC (MIDI Time Code), you should leave this option unchecked, and make use of Logic’s MTC functions. MIDI Time Code (MTC): Pickup Delay This parameter should generally be set to zero to ensure the quickest possible pickup time while Logic is in MTC sync mode. There are, however, some devices which seem to transmit imprecise MTC commands when first started.
Display Preferences These parameters alter the general appearance of Logic. Before we take a look at them, we’d like to cover a global setting. Namely changing the: Interface Language Logic features a Mac OS X compliant method to set the dialog language: To set Logic’s interface language: 1 Select the Logic application in the Finder. 2 Press Command-I (to open the Information dialog). 3 Select/Flip open the “Languages” section. 4 Choose the preferred language, and uncheck all other languages.
Display Preferences: Other Environment: Allow ‘All Objects’ layer option A layer, showing every Object in your Environment, is accessible from the Layer menu in the Environment. If this checkbox is not selected, the “All Objects” layer will not be available. Matrix Background Colors: Background Type These radio buttons allow you to select a Dark or Light Matrix editor background color. By default, a Light color scheme is selected.
Automation Preferences The Automation preferences globally affect all Automation tracks. Move Automation with Regions: This pull-down menu allows you to select what happens to Track Automation data when you move Regions. You can choose between Never, Always, and Ask, which should be self-explanatory. Ask is the default setting. Ramp Time: The time required by a parameter to return to its previously recorded setting, is selected via this panel.
21 Control Surface Support 21 Logic offers dedicated support for several surfaces plus the option to program unsupported devices. Control surfaces are hardware units that enable the operation of Logic using faders, rotary knobs, switches, and displays. There are a number of simple control surfaces that feature conventional faders and no displays. More progressive units are equipped with motor faders, rotary encoders, LED rings, and programmable displays.
Installation Control Surface Plug-ins Dedicated control surface support is achieved through the use of special plug-in files. These files are automatically added when Logic is installed. They are located in the Contents > MIDI Device Plug-ins sub-folder of the Logic application bundle (to view the bundle contents, Control or right-click on the Logic application icon, and choose Show Package Contents from the menu).
The Install Window The Install window is used to automatically scan for devices, or to install them manually. Selecting the Models First, select the desired devices in the Install window before you scan or manually add them. You may select one or more models. If you select more than one model, Logic performs the desired operation for each model in turn. Logic displays the icon of the selected device beneath the buttons. • To select just one model, select it by clicking on the name.
Setup Window Parameters Device Parameters Each control surface unit must be connected to an independent MIDI In and Out port. The automatic setup or Scan procedure should have automatically found, and set, the correct MIDI In/Out port settings for each unit. In the event that the MIDI In or Out port identification is incorrect, you can manually select the appropriate one for the unit.
Note: The exact elements displayed, and thus their positions, depend on the selected SMPTE or bar/beat display option defined in Logic’s Preferences. Track View Mode This parameter determines which tracks or channels are displayed: • Mixer—displays channels in their order of appearance in the Track Mixer window (while Global mode is disabled). Instruments/channels used by multiple tracks are merged into one channel.
EQ Band EQ Band allows you to select the current band in the EQ Multi Channel View. EQ Parameter Related to the selected band, defined by the EQ Band parameter. This determines the current EQ Assignment behavior for the encoders in EQ Multi Channel View: • Frequency—Determines the frequency of the selected band. • Gain—Changes the gain of the selected EQ band. For the Low Cut and High Cut bands of the Channel EQ, this parameter controls the slope. • Q—Changes the Q factor of the selected band.
Instrument Parameter Page Determines the parameter index (counted from 1) which is assigned to the left-most encoder when editing a software instrument. The next Instrument parameter is assigned to encoder #2, and so on. With Split Mode enabled, this applies to Split Upper. Inst Parameter Page (Split Lower) As with Instrument Parameter Page, but for Split Lower. Insert Slot Determines the current insert slot number for both selecting a plug-in (in plug-in Channel Strip View) and editing its parameters.
Other Parameters Track Name Format Changes the track name display to show the track name alone, or the track name, and it’s track number. As an example, a track named “Audio1” may actually be placed on track 12 in the Arrange window. When a value of #:Name is toggled, “Audio1” would be displayed as “12:Au1”. Parameter Page Shift Mode Defines whether the parameter is shifted by an entire “page” or by one parameter.
Control Surface Preferences The Control Surface preferences window is accessible via the Logic Menu > Preferences > Control Surfaces > Preferences menu. General Resolution of Relative Controls This defines the default resolution of controls that change values in a relative manner. The default is 128 steps. As an example: adjusting the Sample Delay (value range 0 to 4000 ms) in/decreases the value by 40 ms with every encoder rotation “tick”, if resolution is set to 100.
Multiple Controls per Parameter These parameters determine whether one, or multiple, encoders are used per parameter when editing effect plug-ins or software instruments. When multiple encoders are used per parameter, the encoders are subdivided into groups (for example 1/2, 3/4, 5/6, 7/8). The first encoder of each sub-division controls the parameter shown in the display. The remaining encoder(s) are inactive.
Controller Assignments The Controller Assignments button launches the Controller Assignments Editor. Setup The Setup button launches the Control Surfaces Setup window. Help Tags Control Surfaces that have freely programmable displays which cover multiple controls in one row, can use Control Surfaces help tags. These help tags are similar to Logic’s help tags, showing additional information during operation.
Show Value Units For: Allows you to adjust whether parameter values will be appended by the measurement “unit”, where applicable—“Hz” or “%”, for example. You can set this option separately for Instrument/Plug-in parameters and Volume and other parameters. If you can do without the value units, the display is less cluttered. Note: This parameter only applies while editing. Customizing Control Surfaces Logic allows you to program new assignments for unsupported control surfaces.
Note: After about 5 ms, the Learn New Assignment button is automatically deactivated to prevent recording of a button release message. It is also possible to assign a key command to a button/key release message: 1 Press and hold the desired button/key before you enable the Learn New Assignment button. 2 When you release the button/key, the selected key command is assigned to the button release message. To delete a key command assignment: 1 Select the desired key command in the Key Commands window.
The Controller Assignments Window The Controller Assignments window is opened via the Logic > Preferences > Control Surfaces > Controller Assignments menu item. It allows you to edit all assignments of the Controller Assignments table. This table is a part of the Control Surfaces Preferences and is stored (along with all other control surface support settings) in the ~/Library/Preferences/com.apple.Logic.express.cs file.
Glossayr Glossary amplifier Device which controls the level of a signal. amplitude This term is used to describe the amount of a signal. If you have an audio signal, amplitude refers to the sound’s volume, measured in decibels (dB). analog signal A description of data that consists of a constantly varying voltage level, that represents audio information. Analog signals must be digitized, or captured, for use in Logic. Compare with digital. Arrange window The heart of Logic.
Audio Region Chosen area of an audio file which is registered in the Audio window for use in the song and, can be placed on audio tracks in the Arrange window, just like a MIDI Region can be placed on MIDI tracks. Audio Regions are aliases (or pointers) to portions of audio files. They can be as short as a single sample, or as long as the audio file itself. You can use all of Logic’s tools to edit Audio Regions.
bounce To process recorded or streamed MIDI and/or Audio Regions with any applied effects, such as delay or compression, combining them into one audio file. In Logic, you can choose between Realtime and Offline bouncing. Offline bouncing is faster, but doesn’t allow you to apply live automation or record real time audio input. Bounce button You can bounce the output of any Output Object to an audio file by clicking the Object’s Bounce button. See also bounce.
DA converter or DAC Short for digital/analog converter; a device that changes an analog signal into a digital signal. DAW Acronym for Digital Audio Workstation. A computer used for recording, mixing, and producing audio files. dB Abbreviation for decibels, a unit of measurement that describes the relationships of voltage levels, intensity, or power, particularly in audio systems. default The preset parameter value.
dynamic range The dynamic range of a sound system is the difference in level between the highest signal peak that can be reproduced by the system (or device in the system) and the amplitude of the highest spectral component of the noise floor. The dynamic range is the difference between the loudest and softest signals that the system can reproduce. It is measured in decibels (dB). See decibels. editor Window for editing MIDI or audio data.
Insert slot A point on Logic’s Mixers where you can patch in (insert) an effect plug-in. All audio channel types in Logic’s Track and Audio Mixers offer effect insert slots. interface 1) A hardware component such as a MIDI or audio device that allows Logic to “interface” (connect) with the outside world. You need an audio or MIDI interface to get sound/MIDI into and out of your computer. Also see audio interface. 2) A term that is used to describe Logic’s graphical elements that can be interacted with.
mono Short for monophonic sound reproduction. The process of mixing audio channels into a single track, using equal amounts of the left and right audio channel signals. Compare with stereo. MTC See MIDI Time Code. mute Switch off an Audio Object or track’s audio output. You can mute a track by clicking the Track Mute button in the Track List. The output of an Audio Object is disabled by clicking the Mute button at the bottom of the channel strip.
Region Regions can be found in the tracks of the Arrange window: They are rectangular beams that act as containers for audio or MIDI data. There are three different types of Regions: Audio Regions, MIDI Regions, and Folder Regions. Also see: Audio Region, MIDI Region and Folder. routing Generally refers to the way audio is sent through processing units. Also often used to describe specific input and output assignments. sample A digital recording of a sound at a particular instant in time.
Solo tool Click-holding on individual Regions or events with the Solo tool temporarily allows them to be heard in isolation. All other objects are muted. song Main Logic file, containing all MIDI events and parameter settings (including mixer automation data) plus information about the audio files to be played. stereo Short for stereophonic sound reproduction of two different audio channels. Compare with mono. synthesizer A device (hardware or software) that is used to generate sounds.
A AAC 208 Active MIDI Transmission 120 aftertouch 501 alias 124 amplifier 501 amplitude 501 analog 501 Anchor point 275 Apple Loops 62 adding to song 64 Apple Loops Utility 64 Tags pane 64 Transients pane 65 blue sound wave icon 63 green note icon 63 Loop Browser 62 Key pull-down menu 63 locating files 62 Search field 63 Arrange channel strip 100 resizing 101 Arrange window 91, 501 audio file adding multiple simultaneously 134 opening 92 viewing level meter 93 Track Freeze button 149 Track Mute button 97 Tr
Audio Unit.
DC Offset removing 290 decibel. See dB Delete Backspace key 108 eraser tool 108 deleting event 35 De-Quantize function 36 Deselect Global Tracks function 241 destructive 504 dialog 504 digital 504 digital audio workstation. See DAW digital signal processing.
G GarageBand 67 Channel Strip setting 67 Instruments 67 opening GarageBand song in Logic 67 Global track 239 Deselect Global Tracks function 241 displaying 240 key command 240 global event 240 copying 241 creating 240 deleting 241 selecting 241 reordering 240 Signature track 244 Tempo track 242 Transposition track 245 typ 239 Video track 247 Glue tool 20 Go into Folder or Region key command 23 Goto Position key command 84 Goto Selection Start/End key command 33 grid overriding during editing operation 111,
Mute Track 97 Play from beginning 80 printing list of 39 Save as Zoom 1–3 25 saving 36 Select Next Track 95 Select Previous Track 95 Set rounded Locators by Objects key command 76 special keys 37 Toggle Loop 117 Turn Loops to Aliases 117 Undo 32 key signature 127 L latency 506 Layout tool 19 legato forcing 118 level meter hiding/showing in Arrange window 201 Link function 29 Locator 76 Set Locators & Play key command 85 Set Locators by Objects key command 85 Set rounded Locators by Objects & Play key comma
N naming Region 115 multiple 115 New dialog 51 Create Project Folder option 51 Next note will be flat key command 47 Next note will be sharp key command 47 Next three notes are triplets key command 48 Next two notes are a dotted group key command 48 normalizing Region parameter 120 Notation beaming 394 chord 432 clef 355 color 423 date 367 diatonic 351 display 339, 401 display box 374 display correction 377, 378 display syncopation 379 dots 380 drum 396 dynamic 356 edit 329, 371 fonts 341 grace note 354 gro
piano roll editor 323 playback 507 Play from beginning key command 80 Play button 80 Plug-in window 507 opening as non-float window 197 placing on the Dock 197 Pointer 18 POW-r dithering 70 Preferences 465, 476 Audio 479 Display 480 Drivers 479 General 479 Sample Editor 285, 480 Universal Track Mode (UMT) option 203 Display Wide Song Position Line option 83 Global Caps Lock Keyboard 50 Editing 477 ’Export MIDI File…’ save single Regions as File Format 0 option 61 Hide Windows of inactive song preference 57
Live mode 180 Playback mode 180 routing 508 S sample destructive editing 288 dipslaying as sample bits 280 displaying as sample bit 280 increasing level 295 looping 281 loop smoothing 284 moving 287 phase invert 289 pitch shift 292 processing 291 removing noise 289 resizing 282 reverse 290 time stretch 292 view scale 278 sample-accurat editing 280 sample-accurate editing 284 Sample Editor 275 Anchor Point 275 opening 276 stereo file 276 sample rate 508 sample rate conversion 274, 296 Save as Zoom 1–3 key c
rubber band 34 several objects 34 toggling selection status 34 Selection Parameter box 282 Select next/previous Object key command 33 Select Next Track key command 95 Select previous/next track key command 86 Select Previous Track key command 95 Send 198 adjusting multiple Send level knobs simultanously 195 adjusting Send level/amount 198 bypassing 198 creating 198 normalizing Send level 198 post/pre fader 199 removing 198 Send slot adjusting multiple simultaneously 195 Sequencer sync 451 sequencer 508 exte
Standard MIDI file 60 bank select 60 format 0 60 format 1 60 loading 60 saving 61 Step backwards key command 48 Step forward key command 48 Step Input 44 In button 45 input via MIDI 49 Keyboard window 45 key commands 47 via computer keyboard 47 Stereo create object 203 Stereo audio region left channel playback 203 right channel playback 203 Stop button 80 Synchronization Quicktime 463 synchronization 451 audio 455 general 453 locking Logic to external sync 451 receiving 451, 452 recording 451 tape machine 4
Track List 509 Track Mixer 218 Filter button 191, 219 Folder 220 Global view 219 MIDI channel strip 221 opening as float window 218 Track view 219 view 219 track number hiding/showing in Arrange window 201 Track Protect button 100 Track Solo button 98 Transport viewing 25 view Transport in other windows 75 transport Transport window 73 Transport window 73 adjusting siize 75 altering display 75 closing 74 inputting data 74 Legend option 75 Locator left 76 right 76 Metronome button 82 MIDI monitor 78 automati
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