Logic Pro 8 User Manual To view the user manual, click a topic in the drawer on the side. Otherwise, click a link below.
Apple Inc. © 2007 Apple Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries.
1 Contents Preface 15 16 17 17 Logic Pro 8: Documentation and Resources Logic Pro 8 Documentation Conventions Logic Pro Onscreen Help Apple Websites Chapter 1 19 20 23 An Introduction to Logic Pro Creating Music in Logic Pro The Basics: Projects and Regions Chapter 2 27 28 48 51 55 57 Overview of the Logic Pro Interface A Tour of the Logic Pro Interface Common Features of Logic Pro Windows Interactions Between Arrange Window Areas Using Logic Pro Interface Elements Using the Computer Keyboard Cha
Chapter 4 81 81 88 95 95 96 99 Setting Up Your System Designing Your Music Production System Connecting Your Audio and MIDI Devices Using External MIDI Devices Using External Audio Effects Configuring Your Audio Hardware Using Distributed Audio Processing Chapter 5 105 105 108 109 110 115 117 Navigating Your Project Setting the Playhead Position Using the Transport Buttons Using Transport Key Commands Using Cycle Mode Using the Chase Events Function Customizing the Transport Bar Chapter 6 123 124
Chapter 8 155 155 156 157 158 166 170 171 172 176 177 Basic Operations Using the Mouse Entering Numerical Values Entering Text Working With Key Commands Working With Tools Working With Help Tags Using the Shortcut Menu Selection Techniques Working With the Clipboard Undoing and Redoing Editing Operations Chapter 9 179 181 182 183 190 190 191 191 193 195 196 197 199 200 200 204 205 206 Working With Tracks Configuring the Track Header Reclaiming Workspace Used by the Track Header Creating Tracks and Chan
Chapter 11 255 255 256 257 262 270 278 Adding Pre-Recorded Media Supported File Formats About Pre-Recorded Media Types Supported by Logic Pro Accessing Media Files in the Browser Finding Apple Loops in the Loop Browser Adding and Removing Audio Files Adding MIDI and Project Files Chapter 12 279 279 283 284 Getting to Know Regions What Are Regions? MIDI and Audio Regions Compared Handling Regions in the Audio Bin and Sample Editor Chapter 13 293 295 305 305 307 307 309 313 319 320 324 331 338 342 3
Chapter 15 391 392 394 394 395 Introduction to MIDI Editing Opening the Editors Hearing MIDI Events When Editing Editing MIDI Events in the Arrange Area Monitoring and Resetting MIDI Events Chapter 16 397 397 400 413 414 416 416 Editing MIDI Events in the Piano Roll Editor Learning the Piano Roll Editor Interface Creating and Editing Note Events Splitting Chords Using Hyper Draw Customizing the Piano Roll Editor Piano Roll Editor Shortcuts Chapter 17 417 419 427 434 Editing MIDI in the Hyper Editor
Chapter 21 487 488 490 491 493 494 495 496 501 501 501 502 504 518 518 Editing Audio in the Sample Editor Playing Audio Files Navigating Audio Files Changing the X and Y Axis Scales Displaying the Waveform as Sample Bits Making Selections Copying, Pasting, Deleting, and Cutting Destructive Audio Editing and Processing Adjusting the Project Tempo Sample Loop Functions Undoing Editing Steps in the Sample Editor Creating Manual Backups Working With the Digital Factory Using an External Sample Editor Using
552 552 553 553 553 554 554 560 562 562 566 574 579 Working With Sends Working With Channel Strip Settings Monitoring With Effect Plug-ins Arming Channel Strips Changing the Channel Input Format Setting the Automation Mode Handling Mixer Inputs and Outputs Adjusting Elements of Multiple Channel Strips Adjusting Channel Strips in Record or Playback Mode Working With Groups Channel Strip Types Customizing the Mixer Using the I/O Labels Window Chapter 26 581 582 585 588 589 594 594 596 600 Working With Aut
Chapter 29 625 625 630 630 632 634 635 636 638 639 640 640 Project and File Interchange Sharing Logic Pro Data Over a Network Backing Up Audio Files Backing Up and Sharing Projects Working With Standard MIDI Files Importing GarageBand Projects Working With OMF Files Working With OpenTL Files Opening, Importing, and Exporting AAF Files Importing and Exporting Final Cut Pro XML Files Exporting Regions Exporting Tracks as Audio Files Chapter 30 641 641 642 646 646 646 649 652 654 Advanced Tempo Operat
690 690 691 692 692 695 696 697 698 698 704 705 707 709 710 711 712 713 714 715 716 717 718 719 723 724 725 725 726 727 727 727 728 729 729 730 735 735 741 762 769 769 772 Editing Notes and Symbols: Basic Operations Using the Shortcut Menu Changing Several Objects Simultaneously Deleting Objects From the Score Editor Moving or Copying Objects With the Mouse Working With Aliases in the Score Editor Changing the Graphical Position of Objects Resizing Notes and Symbols Editing Notes and Symbols: Advanced Oper
774 774 774 775 775 775 776 776 776 776 781 784 788 790 792 793 795 Exporting the Score as a Graphic File Preparing the Export Exporting the Score Customizing the Score Editor’s Appearance Choosing a Color Mode Displaying Folders Displaying Global Tracks Displaying Instrument Names Project Settings for Score Display Global Score Settings Numbers & Names Guitar Tab Clefs & Signatures Layout MIDI Meaning Colors Score Preferences Chapter 34 797 798 799 800 801 802 803 805 Working With Video Using the M
Chapter 36 829 830 830 832 842 844 846 Synchronizing Logic Pro The Synchronization Master and Slave Relationship Using External Synchronization Synchronization Project Settings Displaying and Using SMPTE Positions MIDI Machine Control Synchronization Problems and Solutions Chapter 37 847 847 848 849 Working With Plug-in Latencies About Latency Working With the Low Latency Mode Working With Plug-in Delay Compensation Chapter 38 853 854 854 856 Working With Split Channel Audio File Formats Importing S
913 913 915 916 916 918 935 MIDI Click Object Internal Objects Alias Ornament Macros Faders Channel Strip Objects Chapter 40 939 940 940 940 941 943 944 950 951 952 952 952 953 953 957 963 966 969 969 969 970 970 Project Settings and Preferences Saving Project Settings and Preferences Project Settings Synchronization Settings Metronome Settings Recording Settings Tuning Settings Audio Settings MIDI Settings Score Project Settings Video Project Settings Assets Project Settings Preferences Global Preferen
Preface Logic Pro 8: Documentation and Resources Logic Pro 8 offers an extensive documentation collection that will help you to learn and make full use of all application features. Further information about Logic Pro, including data on updated versions and support texts, can be found on the Apple web site.
Important: All topics described in this manual were accurate at the date of printing. For up to date information on changes or additions made after printing, please refer to the Late-Breaking News document in the Logic Pro Help menu, and to the Update Info, included with each Logic Pro update. Logic Pro 8 Documentation Conventions The following section introduces you to conventions used throughout the Logic Pro 8 documentation.
Warnings A few warning messages are included for functions that are destructive, and could result in irretrievable data loss, or could cause damage to your equipment. Warnings are displayed as follows: Warning: Information on function or parameter. Please pay special attention to these entries, as they can save you from making costly mistakes. Logic Pro Onscreen Help The Logic Pro Help incorporates the Logic Pro 8 user documentation in electronic form.
Apple Service and Support Website This is the place to go for software updates and answers to the most frequently asked questions for all Apple products, including Logic Pro. You’ll also have access to product specifications, reference documentation, plus Apple and third-party product technical articles. To access Apple’s Service and Support web page: m Open your Internet browser, and type in http://www.apple.com/support. Other Websites  http://www.apple.
1 An Introduction to Logic Pro 1 Logic Pro is a sophisticated, fully-featured audio and MIDI application that provides all the tools you need to create professional-quality music productions. Logic Pro allows you to record audio and MIDI, edit audio loops plus MIDI and software instrument parts, add high-quality effects, and mix your music in stereo or Surround.
 Work in real time: You can work on Logic Pro projects in real time; adding to, and editing audio and MIDI parts while the project is playing, and hearing the results of your changes immediately.  Use existing loop libraries: Logic Pro directly supports Apple Loops files, and is compatible with a wide variety of existing audio file types, including those created in ReCycle.
MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are calculated on the Macintosh CPU, and played back through your audio interface or the Macintosh audio outputs. Not only can you record the notes of your performance, but you can also record and play back information such as synthesizer parameter changes—all in real time.
Mixing also entails the use of audio effects, which change, enhance, or suppress particular song components, adding up to a unified and polished final product. Logic Pro features numerous effects that can be used to turn your basic song into a professionally finished project. Logic Pro enables you to record, or automate, changes you make to track, instrument, and effect parameters, such as volume, pan, filters, and other controls.
The Basics: Projects and Regions This section will provide you with an introduction to the basic elements and terminology of a Logic Pro project. Detailed, step-by-step instructions on working with projects, regions, and events are provided in later chapters. If you are an experienced user, you may wish to skip ahead to “A Tour of the Logic Pro Interface” on page 28. Projects You start working in Logic Pro by creating a project, or opening an existing one.
The sub-folder structure of all projects is identical, making it easy and consistent to navigate both your projects and those of other Logic Pro users. Project Folder Project file (“song”) Movie Files folder Audio Files folder Project assets Sampler Instruments folder Impulse Responses folder Regions The main window of Logic Pro is known as the Arrange window. This is the window that you first see when you open the application, and a project is loaded.
Any audio file used in Logic Pro is automatically linked to at least one audio region that is, by default, the length of the entire audio file. You can freely create as many audio regions as you require. To give you an example of where this may be useful, imagine a live stereo drum track that runs for the duration of your project. During the second chorus, the drummer played perfectly, but was a little sloppy during all other chorus sections.
You can also edit individual events within a MIDI region. This is achieved by opening the region in one of the MIDI editors. These windows allow you to precisely alter the position, length, and pitch of MIDI note events. Other MIDI event types can also be altered in various ways. You may freely enter MIDI data with your MIDI keyboard, the mouse, and/or computer keyboard in these editors. More information on MIDI and MIDI event types can be found in Chapter 15, “Introduction to MIDI Editing,” on page 391.
2 Overview of the Logic Pro Interface 2 The Logic Pro interface features several areas, each specialized for particular tasks. The main workspace is the Arrange window, which can incorporate all areas and editors. This chapter introduces you to the Arrange window. You’ll learn how it interacts with other Logic Pro windows and editors. Detailed information about these editors and their functions can be found in cross referenced chapters.
A Tour of the Logic Pro Interface The following section will introduce you the various elements of the Logic Pro interface. This is principally a “getting to know you” exercise, where the fundamentals of each area are covered. Full details on all options, functions, and uses are covered in dedicated chapters that appear later in the user manual. The Arrange Window The Arrange window can incorporate all working areas and editors. It features a Toolbar at the top and a Transport bar at the bottom.
 Media or Lists area: Use the various tabs to locate and preview audio files (Browser tab), select effects, instruments, and their settings (Library tab), and more, when the Media button in the Arrange Toolbar is clicked. When the Lists button is clicked, you have the choice of viewing MIDI events (Event List), tempo events (Tempo List), and more. You can also enable the Media or Lists area via the Arrange window View menu (or use the corresponding key commands).
The Transport bar consists of three parts: Transport buttons Display area Mode buttons  Transport buttons: Used to navigate your project.  Display area: Provides information that helps with project navigation.  Mode buttons: Enable advanced recording and playback functions. You can alter the Transport bar by adding or removing buttons and displays, providing faster access to the functions you need most often. You can also open an independent SMPTE or Bar display window.
Media Area The Media area can be opened or closed by clicking on the Media button in the Toolbar. The Media area is where you manage all files associated with your project, including audio, video, and plug-in settings. It has four tabs: Â Audio Bin: Helps you to manage all audio files used in the project. Â Loop Browser: Used to search for loop files (Apple Loops, for example). Â Library This is where you search for (and can directly assign) plug-in, channel strip, and MIDI instrument settings.
 Name column: Displays all audio files in the current project by name. The disclosure triangle to the left of the file name reveals all regions associated with the selected audio file.  Info column: Displays audio file and region information. Horizontal bars indicate the overall audio file length. Colored sections of these bars indicate the location and size of regions within the audio file.
Getting to Know the Loop Browser The Loop Browser is designed to make finding Apple Loops intuitive and fast. You can search for loops by using keywords, perform text searches, preview loops, view information about loops, and limit the display to loops from a specific Jam Pack or loop library. Matching files are displayed in the Search Results list. When you find files you want to use, you can add them to your project by dragging them into the Arrange area.
The Sound Effects view offers effect-related category buttons such as Explosions, Foley, or People. Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genres, By Instruments, By Moods, and Favorites search criteria. Category columns  View buttons: Click to switch between the three views.
Getting to Know the Library The Library is a powerful tool that you can use to access the following file types. Â Channel strip settings (.cst) Â Plug-in settings (.pst) Â EXS instruments (.
Getting to Know the Browser The Browser allows you to navigate to, or search for all file types that can be used in Logic Pro, enabling easy access to (and use) of this data during production.
 Computer button: Displays the contents of the local hard disk, optical drive, and other storage media connected to your computer, if applicable.  Home button: Displays the contents of your home directory.  Project Folder button: Displays the contents of the current project folder.  View buttons: Switches the file list between column and list view modes.  Search field: Type text in the field to display files with a name that contains the search text.
Getting to Know the Event List The Event List presents a list of all events in your project, such as MIDI note events or region start events. Use it whenever you need to make precise alterations to recorded data, and where the graphic display of the other editors is not as well-suited to the task. You can restrict the types of events that are shown, making it easier to find specific event types. The Event List can display two types of data: Region related or event related.
 Event type buttons: Click to filter specific event types from the display, or add them (depending on the status of the Create and Filter buttons).  List area: Shows the actual list of events or regions, separated into columns. Details in Chapter 18, “Editing MIDI Events in the Event List.” Getting to Know the Marker List The Marker List displays all markers in the project. You can use it to create new markers, edit existing ones, and to select markers for text editing.
Getting to Know the Tempo List The Tempo List displays all tempo changes in the project. You can also use it to create new tempo events, or to edit existing ones. Create button Tempo list  Create button: Click to create a new tempo event.  Tempo list: Displays all tempo changes, and their position in a project.
Getting to Know the Signature List The Signature List shows all time and key signature events in the project. Score symbols, if present in the score of the project, are also shown. These include: Repeat signs and double bar lines (including end of score events), half/short bar lines, hidden bar lines and manually inserted bar lines. You can use the Signature List to create, copy, move, and delete time and key signature events.
The Inspector The Inspector can be displayed or hidden by clicking on the Inspector button in the Toolbar. The Inspector content depends on the area in key focus: Either the Arrange or one of the editing areas below it. The following screenshot shows the Inspector when the Arrange area is in key focus. Region Parameter box Track Parameter box Arrange channel strips  Track Parameter box: Used to alter various aspects of track channel strips.
 Arrange channel strips: The left-hand channel strip controls the output of the selected arrange track. The right-hand channel strip can vary, dependent on actions performed in the left channel strip. As examples, the right channel strip can display the first aux or output destination channel strip for the left-hand channel strip. This facility makes it quick and easy to set up flexible effects and audio routing schemes.
The Editing Area You can open the Mixer, Sample Editor, Piano Roll Editor, Score Editor, and Hyper Editor directly in the Arrange window by clicking the corresponding button at the bottom of the Arrange window. Here’s a brief overview of what each window offers. Getting to Know the Mixer The Mixer is where you mix your project. Each track is played back through a channel strip.
Getting to Know the Sample Editor The Sample Editor displays the contents of audio files as waveform graphics. You can use the Sample Editor to precisely edit audio files (and regions). The Sample Editor also features a number of useful destructive processing tools—these allow you to time stretch and pitch shift audio, change sample rates, extract MIDI grooves from the audio, and even quantize audio.
Getting to Know the Piano Roll Editor The Piano Roll Editor displays MIDI notes as beams on a grid. The piano keyboard to the left is aligned with the note pitches represented by each beam. Note length is indicated by the relative length of each beam. Note position is displayed from left to right—a ruler and vertical grid lines make it easy to see where notes begin and end. Note velocity (how hard a note is struck, and usually how loud) is indicated by color.
Details on Score Editor use can be found in Chapter 33, “Working With Notation,” on page 667. Getting to Know the Hyper Editor The Hyper Editor displays MIDI note or controller events as vertical beams, placed along a user-defined time grid. This makes the Hyper Editor the ideal place to: Â Add or edit controller data, such as note velocities. It makes some editing tasks— such as data scaling—much faster. Â Quickly create and edit MIDI drum parts.
Common Features of Logic Pro Windows All Logic Pro windows, including the Arrange area, feature a number of common elements. This consistent approach between windows makes your life easier, as you will find these elements in the same place throughout the application. Local Menu Bars A window’s local menu bar contains buttons that access functions which are specific to the window.
Catch, Link, and Hierarchy Buttons Most windows contains Catch, Link, and Hierarchy buttons. These are used to tie or associate Logic Pro windows, and can aid in navigating through different levels of your song structure. As an example of where this is useful, if you click on a region in the Arrange area, the contents of a linked window (the Piano Roll editor, for example) will update immediately to show the events within the region.
Global Tracks All linear editing windows also feature global tracks, which are displayed just below the Bar ruler, when opened. Click the disclosure triangle to the left of the Bar ruler (labeled Global tracks) to view the global tracks. Â Marker track: Contains markers, which are used to label bar positions and parts of the project. Their length, text, and color can be edited freely (for details, see “Working With Markers” on page 123). Â Tempo track: Contains all tempo changes in the project.
Interactions Between Arrange Window Areas The Arrange window contains various sections that interact with each other. These provide you with access to all files, editing methods, track and channel strip parameters in one place, making your workflow much faster. Please follow the steps outlined below to learn how these Arrange window elements work in harmony, to accelerate music production. To see how Arrange window areas interact: 1 Open the Media area by clicking the Media Browser button in the Toolbar.
The Sample Editor is shown, displaying the contents of the region you just created in the Arrange area. 5 Click the Audio Bin tab. The Audio Bin contains the audio file you just added to the project. 6 Click the Loops tab, then click a category button to see matching loops in the Loops tab’s Search Results list.
7 Select a loop with a green icon and drag it to a software instrument track in the Arrange area. Release the mouse button when the help tag displays position 1 1 1 1. A MIDI region will be created in the Arrange area. ∏ Tip: If no software instrument track exists, you can also drag the Apple Loop from the Loop Browser directly into the blank Arrange area. A track and corresponding channel strip are automatically created, and the Apple Loop is loaded.
11 Select the software instrument track, then click the Inspector button. The left channel strip displays the software instrument, and effect of the selected track. 12 Click the Library tab, and browse through the displayed channel strip settings. As this is a software instrument track/channel strip, only software instrument channel strip settings are shown in the Library. 13 Select one of the channel strip settings to load it. 14 Start playback again to audition the new sound.
Using Logic Pro Interface Elements You can access all of the buttons, switches, sliders, and menus discussed above with the mouse and computer keyboard. Use of these Logic Pro interface elements is outlined below: Checkboxes and Buttons Checkboxes are square boxes that are turned on when you click them, in order to activate an option (or function). Click the checkbox a second time to turn it off, and deactivate the option.
Pull-Down and Pop-Up Menus Pull-down menus open when you click on the desired menu item. Pop-up menus open when you click on certain input fields or buttons. In some menus, an arrow is shown beside one or more items, indicating a sub-menu. To choose an item from a sub-menu, move the mouse in the direction of the arrow, and then move vertically over the desired item. Click to activate the chosen command or setting.
Using the Computer Keyboard You can access most Logic Pro functions with key commands. Whenever this manual mentions a key command, this refers to a function or option that can be accessed with a computer keyboard keystroke (or keystroke combination, such a pressing both the Control and W keys on your keyboard). Use of key commands, rather than the mouse, can greatly accelerate your Logic Pro workflow.
3 Customizing Your Window Setup 3 Logic Pro allows you to customize your window setup to fit both your working style and the task at hand. While you will perform most of your work in the Arrange, you can open different combinations of windows (even several of the same type) and adjust each individually. It is also easy to save different window arrangements (called screensets, discussed in “Using Screensets” on page 78), and recall them by pressing a key.
m Choose Window > Cycle Through Windows (or use the corresponding key command). This assigns key focus to the next open window, if it is fully obscured by other windows. The Arrange window can obviously incorporate several other windows in different areas. These can be given key focus by clicking the background or title bar of the window (the area of the Arrange you want to use), or by using a tool in the window.
Floating Windows Floating windows are so named because they always float in the foreground, even above the key focus window (opening numerous float windows inevitably leads to them covering each other—just click on the desired one to move it to the foreground). In general, most of the Logic Pro helper windows, such as the Preferences or Project Settings windows, are floating windows.
Double-clicking an Arrange audio region opens the Sample Editor at the bottom of the Arrange window. Double-clicking an Arrange MIDI region opens the default editor at the bottom of the Arrange window. You can determine the default editor with the “Double-clicking a MIDI region opens” menu in the Global preferences window. Option–double-click on a region to open the default editor as a separate window.
Moving and Resizing Windows You can move and resize all open windows individually, even across multiple monitors. You can also alter the size of all window elements that feature the resize bar. The size relationship of the editing and Arrange areas within the Arrange window can also be adjusted, by clicking between them, and dragging vertically. The cursor changes to a Resize pointer. The vertical height of the Mixer area is memorized independently. All other editing areas share the same height.
To adjust the size of a window, do one of the following: m Drag the lower right-hand corner of the window, as with any window in the Finder. m Position the mouse pointer over the window edge. When the mouse pointer turns into the Resize pointer, drag in the desired direction. To adjust the size of window elements: 1 Move the mouse over the resize bar. 2 When the mouse pointer turns into the Resize pointer, drag the window element into the desired direction.
Working at Different Hierarchy Levels Logic Pro allows you to view projects at an overview level (Arrange level) and also at the microscopic level (editor level). These different hierarchical levels are designed for different types of tasks, such as arranging project sections or refining instrument parts, as examples. In many cases, you can switch between these different display levels directly, without needing to open or access another window.
Selecting the Working Area The scroll bars at the right and bottom edges of a window enable you to move through the working area in either the vertical or horizontal dimension. Scroll bar Scroll bar You can move the visible section by clicking the arrows, or dragging the scroller. There are two points to note: Â The size relationship of the scroller to the overall scroll bar length corresponds to the size of the visible section of the window, in relation to the overall window size.
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 gray area (in the scroll bar) above or below the vertical scroller, or to the left or right of the horizontal scroller.
While zooming, the top-left (and selected) event or region is kept in the visible area of the screen. In other words, the first selected region or event will be retained in the zoomed window. If no selected region or event is visible, zooming is centered around the playhead. It the playhead isn’t visible, the current center of the window will be retained. The horizontal and vertical zoom controls are located to the bottom-right of the working area of the window.
As you drag, the window contents will be zoomed. Zooming the Waveform of Audio Regions The Arrange area offers a unique Waveform Zoom tool, found to the left of the horizontal zoom slider. This allows you to visually resize the waveform, making it easier to determine hit points, which can be useful for some editing tasks. To zoom the waveform of audio regions: 1 Click-hold on the Waveform Zoom button, and a slider is shown.
You can do this repeatedly, if you need to zoom in further. ∏ Tip: You can access the Zoom tool when other tools are selected by holding ControlOption. Reverting to the Previous Zoom Setting Click on the background with the Zoom tool. This will return the zoom level to the original setting, or will backtrack through previous zoom steps if the tool was used multiple times. Zoom Navigation Key Commands You can set, and recall, up to thirty zoom level and window scroll-bar positions for each window.
Relationships Between Windows Logic Pro allows you to independently link or unlink windows, providing you with flexible viewing options. This enables you to set up two Event List windows for example, with one showing Arrange regions, and the other showing the contents of the regions. You can simply click on the desired region name to update the contents of the second event list.
 Same Level Link: When activated in a given window, this window always displays the same contents as the key focus window. The display updates whenever the selection (of data) in the key focus window changes. Here’s an example: Imagine the key focus window is a Piano Roll Editor. In Same Level Link mode, the Score Editor and Event List will display the same data in another form.  Content Link: This mode results in the window always showing the contents of the region selected in the key focus window.
Customizing the Transport Bar You can customize the Transport bar by adding or removing buttons and displays, allowing access to the functions you need most often. This in turn, has an impact on the size of the Transport window. You can also open an independent SMPTE or Bar display window. For more information, refer to “Customizing the Transport Bar” on page 117. Customizing the Arrange Window Toolbar You can customize the Toolbar by adding buttons for the commands you use most often.
To remove a Toolbar button: m Control-click (or right-click) the desired button, then choose Remove Item from the menu. To change the appearance of Toolbar items: m The shortcut menu and Show menu in the Customize Toolbar dialog also allow you to view Toolbar items as Icon & Text, Icon Only, or Text Only. Simply choose the preferred viewing option. When you resize the Arrange window, the Toolbar may not offer enough space to keep all buttons visible.
 Bar: Displays a Bar ruler, divided into bars, beats, divisions, and ticks. Dependent on the zoom settings (see “Zooming” on page 67), the bars are shown at the top edge in units of 1, 4, 8, or 16. Changes in time signature are also shown here. In the bottom third, there is a vertical line for each bar. The shorter lines represent one beat, but are not always visible (depending on the zoom setting).  Bar and Time: Displays the Bar ruler above the SMPTE ruler.
Displaying Global Tracks All linear editing windows can display global tracks just below the Bar ruler. You can limit the display to particular global tracks, resize, and move them. To hide or show global tracks, do one of the following ways: m Click the Global Tracks disclosure triangle to the left of the Bar ruler. m Choose View > Global Tracks (or use the Toggle Global Tracks key command).
 Click the Enable All or Disable All buttons to show or hide all global tracks, respectively. The choices made in the Configure Global Tracks dialog only affect the active window. Each window can have an independent global track display configuration. Note: You can also assign, and use, any of the following Toggle key commands for each individual global track: Marker, Transposition, Chord, Signature, Tempo, Beat Mapping, and Video.
Using Screensets You will position windows in a way that suits your working methods. This layout of various windows, including the display size, zoom levels, and position of each window (and other settings) is called a screenset. Once defined, you can save, and freely switch between different screensets, much as you might swap between different computer monitors.
2 Set the playhead to the point where you’d like the screenset to change. 3 Click the Create button in the Event List, then click the Meta Events button. The inserted meta event has a default value of 50 (Project Select). 4 Alter the number in the Num column from 50 to 49. This changes the name to screenset. 5 Input the desired screenset number in the Val column. You can stop screenset switching by muting the MIDI region that contains the meta 49 event.
2 In the Duplicate Screenset window that opens: Type in the target screenset number (the screenset number that you want to copy to), and enter a name. To rename the current screenset: m Choose Screensets > Rename (or use the corresponding key command), and type the desired name in the Rename Screenset window. Click the Auto Name button to automatically name the screenset. This defaults to the visible window names (“Arrange/Piano Roll” or “Arrange/Mixer” as examples).
4 Setting Up Your System 4 Logic Pro automatically finds and configures supported audio and MIDI hardware when first installed and run. There are many circumstances where you may wish to enhance or extend this basic automatic configuration. This chapter will help you to optimize your hardware for use with Logic Pro. It also includes a lot of background information about components your music production system can incorporate.
 Additional software that runs alongside, and integrates with, Logic Pro. This includes a range of ReWired applications and audio or MIDI software  Additional effect and instrument plug-ins, including those that are DSP-accelerated, such as PowerCore. Read this section if considering components that you want to integrate into your Logic Pro music production system. If you already have all components, and their integration meets your needs, feel free to skip this section.
Hard Drives and Storage Locations Music production generates a huge number of large files. These include samples for audio instruments, loop libraries, audio recordings, video files, and more. Consider buying a separate, large capacity hard drive (or several) for your audio files and sample libraries. You should also look at a reliable, high-capacity backup system, and should automate your backup routine, preferably as a daily occurrence.
MIDI Interface Your Macintosh computer does not provide MIDI in or outputs. If you want to use MIDI devices equipped with MIDI ports, a MIDI interface is required for communication with your computer. MIDI interfaces are generally connected to your Macintosh USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Macintosh.
Synthesizers and MIDI Controlled Effects Logic Pro provides plenty of software instruments and effects, and can also act as a host for Audio Unit plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Chapter 10, “Working With Instruments and Effects,” on page 207. You can also incorporate hardware MIDI instruments and MIDI controlled effects units to your Logic Pro music production system.
You should look at a dedicated set of reference monitors (speakers), and a matching reference amplifier. Many monitoring systems today have powered speakers, negating the need for a separate amplifier. Note: Reference monitors are specially designed speakers that offer a flat frequency response across a wide range (usually 20 Hz to 20 kHz). These are not your average home hi-fi speakers, and are usually only available from professional music and studio equipment dealers.
Multiple mixer outputs and a headphone distribution amplifier are also beneficial in group recording situations, as different signals can be sent to each performer. As examples: a click track to the drummer, a light drum mix and click track to the bass player, a composite mix to the vocalist and guitarist, with a touch of reverb for the singer, and so on. This different strokes approach is commonly used as it facilitates the best performances from each group member.
Connecting Your Audio and MIDI Devices You need to connect your external audio and MIDI devices to your computer to allow communication between Logic Pro and the devices. The following section introduces you to Macintosh expansion capabilities, audio and MIDI cabling, and other things you should consider when connecting audio and MIDI interfaces to your system.
There are two kinds of USB connectors: Â A connector, typically used to connect a device to a USB hub. Â B connector, typically used to connect devices together, and also to connect a device to a computer. Note: USB audio interfaces should always be directly connected to your computer, not via a hub or to the computer’s display, keyboard, or another peripheral.
1/4-Inch Audio 1/4-inch connectors (sometimes called phono or phone plugs) are used on a wide variety of professional and consumer musical equipment, including musical instruments and amplifiers, speakers, and external effects devices. They can be either balanced or unbalanced. Some devices require Tip-Ring-Sleeve (TRS) connectors. These three-contact connectors are used for balanced mono signals and unbalanced stereo signals.
Connecting Your Audio Interface Logic Pro supports plug and play for audio interfaces, making it possible to connect and switch on a new audio interface while Logic Pro is running. An alert appears when you connect a new device, and will prompt you to select and confirm the audio interface and driver that you would like to use. All digital audio interfaces can be susceptible to latency—a noticeable delay between the time the audio signal is produced, and when you hear it.
If the keyboard can generate its own sounds, you should also connect the MIDI Out port of the MIDI interface to the keyboard MIDI In port. If your MIDI interface offers more than one MIDI output, connect any other tone generators (or other MIDI devices, such as control surfaces that require bi-directional MIDI communication) to these.
Using Multi-Channel MIDI Devices Most modern MIDI tone generators can simultaneously receive MIDI data on multiple MIDI channels (multi-timbral MIDI devices). Each MIDI channel can be assigned a tone/ sound, such as piano, strings, bass, and so on. To take full advantage of the capabilities of each connected multi-timbral device, you need to use separate MIDI Out ports (from the computer MIDI interface to the MIDI In ports) for each device.
Not only does this allow you to play up to 64 different sounds simultaneously through your tone generators, it also allows full MIDI control for each channel of each device. This becomes increasingly important when arranging and orchestrating such a large number of instrument parts. If your computer offers several MIDI inputs, you can connect the MIDI outputs of other MIDI expanders and controllers to it.
Note: If you cannot find the Local Off function in the MIDI menu of your keyboard, consult its manual on sequencer use. Some keyboards allow you to select from: Local, MIDI, or Both for each of their Parts (individual MIDI channels/sounds in multi-timbral MIDI devices). The MIDI setting, if applicable to your keyboard, is the equivalent of Local Off.
Configuring Your Audio Hardware To use particular audio interfaces with Logic Pro, the driver for the device needs to be installed, activated, and configured correctly. Drivers are software programs that enable various pieces of hardware and software to be used with Mac OS X. This allows the device to be recognized by applications, such as Logic Pro, and enables data routing between software and hardware, in a format understood by both.
All information about the DAE and Direct TDM panes can be found in the Logic Pro 8 TDM Guide. Setting Up Core Audio Devices Logic Pro automatically recognizes any installed Core Audio hardware, and will use the default settings—as defined in the Audio MIDI Setup utility (Applications/Utilities/ Audio MIDI Setup). It can, however, be advantageous to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device.
Recording Delay This parameter allows you to delay the recording of audio by a certain fixed value, helping you to compensate for any information delays that are caused by the audio driver. Note: You should not normally need to touch this parameter. Universal Track Mode Universal Track Mode is switched on by default. It allows you to play back stereo and mono regions on a single track. It should be left on. You should only turn off Universal Track Mode if using DAE or TDM hardware.
Note: Larger buffer sizes increase latency. Dependent on CPU speed, buffer sizes that are too small might compromise real time audio processing. ReWire Behavior Use this menu to configure the ReWire behavior when sending MIDI data to a ReWire compatible software instrument: Â Playback mode: Use when playing back MIDI tracks via ReWire. This setting requires less CPU power. Â Live mode: Use when playing a ReWire instrument live. This setting uses more CPU resources, but has lower latency.
∏ Tip: If you plan to use a Macintosh solely as a Node machine, you may wish to place the Logic Pro Node application in the Startup Items folder. You may also consider the use of Apple Remote Desktop to control additional Macintosh computers from your primary system. In this scenario, your Node machines don’t need their own monitors or keyboards. Considerations for Distributed Audio Processing Distributed audio processing actually uses the built-in networking capabilities of Mac OS X.
Enabling Distributed Audio Processing The following presumes that you have correctly installed the Logic Pro Node application (and have an identical plug-in set) on all Node machines, and that it is running. To set up, and activate, nodes in Logic Pro: 1 Open the Nodes preferences by doing one of the following: Â Choose Preferences > Audio (or use the Open Audio Preferences key command), then click the Nodes tab.
The Track Node buttons have four possible status indicators: Disabled Enabled/Inactive Enabled/Active Sync Pending     Disabled: The track is calculated on the local host (in Logic Pro, as per usual). Enabled/Inactive: This track can potentially be calculated on the Node. Enabled/Active (glowing): The track is actually being calculated on the Node. Sync Pending: Data synchronization between the host and Node has not yet been established (if the Node is not running, for example).
What Can’t Be Processed on a Node The Node buttons are available for all audio and software instrument tracks. There are, however, some exceptions: Â EXS instruments: These are always calculated on the host. The reason for this is the potentially demanding transfer of samples via the network, resulting in a slowdown of audio processing over the network. The sample library needs to be present on the host computer itself.
5 Navigating Your Project 5 In this chapter, you will learn how to play, repeat, and move to different parts of your projects. Logic Pro offers a number of methods to control playback and navigate to different sections of your project. You can use the Transport bar, key commands, the Bar ruler, and can also take advantage of markers to tag sections of your project, and quickly move between them. The playhead indicates the current playback position.
To place the playhead in the Bar ruler: m Click the desired position in the lower third of the Bar ruler. Double-clicking on the bottom third of the Bar ruler repositions the playhead, and also toggles between playback (or record) and stop modes. The top of the Bar ruler contains two locators which are shown as a semi-transparent gray stripe when inactive, and a green stripe when Cycle mode is active.
The playhead will move to match the display position. Adjusting the first number in the Bar display will move the playhead by bars, and by hours in the SMPTE display. Adjusting the second number will move by beats in the Bar display, and by minutes in the SMPTE display, and so on at increasingly small divisions with the other values shown in the Position display.
2 Click the General tab, and turn on the Wide Playhead checkbox. Thick playhead Default playhead Using the Transport Buttons You can use the transport buttons in the Transport bar to control playback, or to set the playhead position. You can click the buttons to activate or deactivate functions, or better yet, make use of the corresponding key commands (computer keyboard shortcuts) to speed up your workflow. Note: The screenshot below shows all transport buttons.
 Play from Right Locator: Moves the playhead to the right locator position, and begins playback.  Play from Selection: Moves the playhead to the start point of the selected regions or events, and begins playback. Default key command: Shift-Enter.  Rewind and Fast Forward: A click on either button will move the playhead one bar forward or backward. Command-clicking moves the playhead to the next or previous marker. Click-holding either button will rewind or fast-forward.
 Shuttle Rewind and Shuttle Forward: Repeated key presses will increase the winding speed. Repeated hits of the opposing shuttle key will slow down the shuttle speed, and eventually change the winding direction. Shuttle disables Cycle mode. Shuttling is halted by the Stop command.  Go to Selection End: Moves the playhead to the end of the first selected region or event in the active window. Note: There are also as a large number of Go To key commands for markers available.
To switch Cycle mode on and off, do one of the following: m Click the Cycle button in the Transport bar (or use the Cycle Mode key command). m Click on the top part of the Bar ruler (on the gray locators stripe). How Logic Pro behaves in Cycle mode: Â The playhead jumps from the end of the cycle to the beginning. Â The Play command starts playback from the beginning of the cycle. Â To start playback from another position, hit Pause twice, or Pause and then Play.
To resize the cycle: m Grab the handles (triangles) at either end of the cycle to move the start or end points (you can even do this while Logic Pro is running.). Note: You can set either the start or end point of a cycle (whichever is closest) by Shiftclicking the desired position in the Bar ruler. This works even when the stripe is outside the visible range, or Cycle mode is switched off.
Using the Transport Bar Mode Buttons to Define Locators You can use the following commands, available as Transport bar buttons, to define the locator positions. You can click on the buttons to activate or deactivate functions, or better yet, make use of the corresponding key commands (computer keyboard shortcuts) to speed up your workflow. Note: The screenshot below shows all relevant buttons. The buttons available in the Transport bar of your project may differ, as you can customize the Transport bar.
Defining a Cycle With Markers Dragging a marker into the top part of the Bar ruler creates a cycle with the marker’s length. Details on creating and using markers is covered in Chapter 6, “Working With Markers,” on page 123. You can also use one of the following key commands: Â Set Locators by Marker and Enable Cycle: Sets the cycle to the currently selected marker and activates Cycle mode. The length of the cycle is determined by the marker length.
m If a (normal) Cycle area already exists, you can swap the left and right locator by clicking the Swap Left and Right Locators button in the Transport bar (or using the Swap Left and Right Locator key command). The Skip Cycle area is shown as a green candy striped area in the Bar ruler. When the playhead reaches the right locator position, it skips to the left locator (in essence, the right and left locators swap positions).
2 Click the Chase tab, then turn on the checkboxes of all events the Chase Events function should look for before the playback start point. You can choose from: Â Notes: Any notes due to start playing at the playback start point. Â Sustained: Any notes that are still playing at playback start point—due to a sustain pedal event. Â In “No Transpose” Instrument Channel Strips: Instrument channel strips (particularly drums) can be assigned No Transpose status in the Inspector.
To avoid triggering a sampler’s drum loops when chasing note events: 1 Activate the No Transpose parameter of your drum loop instrument, in the Track Parameter box of the Inspector. 2 Turn off the In ‘No Transpose’ Instrument Channel Strips option in the Project Settings > MIDI > Chase tab. These settings prevent your sampler’s drum loops from playing until they reach the next trigger note, whenever the project jumps to a new position.
To customize the Transport bar: 1 Control-click (or right-click) the Transport bar, and choose Customize Transport Bar from the menu. 2 Turn on or turn off the desired functions by clicking on the checkboxes in the Customize dialog. Transport Buttons This area contains checkboxes for buttons that literally transport the playhead through the project. Please see “Using the Transport Buttons” on page 108 (in this chapter) for an explanation of the individual functions and commands.
 Sample Rate or Punch Locators: Shows the current project sample rate, or punch recording in/out locators (when punch recording mode is enabled). As with other Transport bar display fields, you can set the sample rate or punch locators with the mouse or via direct numerical entry.  Tempo/Project End: The Tempo display indicates the current playback or recording speed. The Project End display shows the total number of bars or time. It behaves as stop playback/recording marker for the project.
 Move Locators Left by Cycle: Retains the existing cycle, but moves it to the left by the cycle length. As an example, if the cycle is 4 bars long, and spans bars 12 to 16, using this command will move the cycle four bars to the left, resulting in a cycle from bar 8 to 12.  Move Locators Right by Cycle: As above, but moves the cycle to the right.  Cycle: Enables or disables repeated playback or recording over a project section.
To open a new SMPTE or bar display window: m Control-click the display area of the Transport bar, and choose Open Giant Bar Display or Open Giant SMPTE Display, as required. A new, floating, transparent window will open. This can be freely positioned and resized. To resize the SMPTE or bar display window: 1 Move the cursor over one of the edges, or lower corners. 2 When the cursor changes into a Resize pointer, click-drag into the desired direction.
2 Choose one of the following settings in the Clock Format menu: Â Â Â Â Â Â Â Â Clock Format Clock Format Clock Format Clock Format Clock Format Clock Format Clock Format Clock Format 1 1 1 1 1. 1. 1. 1 1 1 1 0 1. 1. 1. 0 1 1. _ 1 1. 1. _ 1 1 1. _ 0 1. 1. _ 0 3 Choose one of the following settings in the Display SMPTE menu: Â Â Â Â Â Â Â Â With Bits: Subframes (SMPTE bits 0 to 79) are shown. Without Bits: Subframes are not shown. With Quarter Frames: Quarter frames are shown.
6 6 Working With Markers The main purpose of markers is to tag different parts of a project, and to enable the quick selection of these parts for playback, editing, and arranging. Markers serve as a kind of project road map, representing the form of a project graphically.
 Marker track: Displays markers as (optionally) colored sections. If the Marker track is hidden, you can see markers as short text strings in the Bar ruler of all linear editing windows. The main advantage of the Marker track over the marker display in the Bar ruler, is that it allows you to select, copy, move, or resize markers directly with the mouse. Click the disclosure triangle in the upper left corner of the Marker track name column to expand the track height, thereby displaying additional controls.
The Marker Text window is also available at the bottom of the Marker List window. It is known as the Marker Text area in the Marker List window. Using the Marker Shortcut Menu Many marker selection, editing, and other commands can be accessed by Controlclicking (or right-clicking) anywhere in the marker areas. Make use of this to accelerate your workflow.
 Click the Create button in the Marker List. m In any window: Choose Options > Marker > Create from the main menu bar (or use the Create Marker key command). The marker is created at the beginning of the nearest bar. If a marker already exists at a bar position (or up to a quarter note before or after it), no new marker will be created. The length of the marker automatically extends to the start point of the next marker, or to the end of the project or folder, if no ensuing markers exist.
Markers created in these ways are automatically assigned the names, bar position, length and color of the regions they are derived from. To create a marker that corresponds exactly to the length and position of a cycle: m Drag the cycle down into the Marker track or into the lower third of the Bar ruler. Dragging the cycle in the Bar ruler is limited to either horizontal or vertical movements.
Selecting Markers You can use the usual selection techniques to select markers. For more information, see “Selection Techniques” on page 172. Deleting Markers You can delete markers at any time. Once deleted, they no longer appear in the Bar ruler, Marker track, Marker List, or Marker Text window. To delete markers: m Do one of the following in the Marker track and Marker List: Â Click the markers with the Eraser tool.
If you want to edit a marker name when creating it, hold Control-Option-Command while clicking on the desired Marker track position: A text field will open, allowing you to type the desired name. Press Return to complete the naming operation. You can also Control–Shift–Command–double-click the Bar ruler (if the Marker track isn’t visible). To edit a marker name in the Bar ruler: 1 Do one of the following: Â Choose Options > Marker > Quick Edit Marker (or use the corresponding key command).
Note: If you use Return to create paragraphs in the Marker Text window or area, the first paragraph of the text will be displayed in a separate title line (of the marker) in the Marker track. Unlike the marker display in the Bar ruler, all text below the first paragraph will also be displayed in the Marker track, depending on available space (you might want to change the height of the Marker track to view all text). This can be used for musical or technical notes, as an example.
3 Choose the desired settings in the Font window. Editing Markers Markers can be edited in various ways. Common tasks include changing marker positions, coloring markers, and adjusting marker lengths. To change the position of a marker, do one of the following: m In the Marker track: Drag it to the left or right. m In the Bar ruler: Command-drag the marker to the left or right.
These markers always retain their absolute time position: if the project tempo is changed, the bar positions will change to keep the markers at the same SMPTE positions. ∏ Tip: You can also lock/unlock the SMPTE positions of markers from the Arrange area’s Region menu, and the Functions menu of the Piano Roll and Hyper Editor windows, if you enable the display of global tracks.
∏ Tip: When you hold Shift, after click-holding on the cycle, the cycle can be moved horizontally, and then dragged onto a marker in one go. Note: When you hold Shift, before clicking on the cycle, the nearest cycle border is set to the clicked position. To assign a color to a marker: m Select a marker in the Marker track, choose View > Colors, then click the desired color in the palette. If dark colors are used, the marker text will automatically be shown in an inverse color.
To create a cycle from a marker, do one of the following: m Drag a marker up into the top third of the Bar ruler. This will set a cycle with the same position and length as the marker. If Logic Pro is stopped when performing this action, the playhead will be placed at the start point of the cycle.
7 Working With Projects 7 Logic Pro projects provide flexible options for storing and retrieving your music productions. This chapter will provide you with information on all aspects of creating and handling Logic Pro projects. Learning About Projects Logic Pro requires a project to be opened or created before you can begin working. This is similar to using a word processing application, that requires a document to be opened before you can begin typing.
Logic Pro creates a project folder that contains the project file, along with separate folders for files used in the project (audio files and so on). Project Folder Project file (“song”) Movie Files folder Audio Files folder Project assets Sampler Instruments folder Impulse Responses folder The choice of saving projects without assets minimizes the memory requirements for project storage, allowing you to transport them easily to other Logic-based studios— either physically or as email attachments.
2 Choose the desired template in the Templates dialog. The Templates dialog is broken down into two areas: Collection and Template. Â Click a collection folder to display the associated template in the Templates area. Â Click a template to load it. A Save As dialog will automatically launch. 3 Browse to the location where you want to store the project, then type a name for the project in the name field.
∏ Tip: It is recommended that you enable the Include Assets checkbox, as this makes the project “safe,” allowing you to move or copy the project folder without losing any file references that point to items within the folder. 5 Click the Advanced Options disclosure triangle to view, and choose the file types you would like to save in the project folder. You can change these settings at any time by choosing File > Project Settings > Assets.
Opening Projects Logic Pro requires a project to be opened before you can commence working. A project can also consist of data created in other applications, including songs from earlier versions of Logic Pro or Final Cut Pro XML files, as examples. To open an existing project, do the following: 1 Choose File > Open (or use the corresponding key command, default: Command-O). If a project is already loaded, you will be asked if the currently-loaded project should be closed or not.
2 To limit your view to certain file types in the file selector box, choose the desired file type in the File Type menu. Choose All Logic Document Types to see, and access, all supported file types. 3 Browse to, and select, the desired file, then click Open. To open a recent project: m Choose the project name directly from the File > Open Recent menu. This bypasses the Open dialog. You can clear all items in the Open Recent menu by choosing Clear Menu.
Opening and Creating Projects Automatically You can configure Logic Pro to open or create projects automatically—on startup—by choosing a startup action in the Logic Pro > Preferences > Global > Project Handling tab. Â Do Nothing: As the name suggests, this does nothing. Logic Pro is opened and requires you to create a new project, or open an existing project or template. Â Open Most Recent Project: Automatically opens the project you were working on when you last quit Logic Pro.
 Score settings (all project settings that pertain to the score, such as Numbers & Names or Clefs & Signatures.)  Score text styles To import settings from another project: 1 Choose File > Project Settings > Import Settings (or use the Import Settings key command). 2 Select the desired settings by clicking the checkboxes at the bottom of the Import Settings window. 3 Browse to, and select, the desired source project (the one that you wish to import from).
To open the Project Information window: m Choose Options > Project Information. The Project Information window also provides the Reorganize Memory function which allows you to increase the amount of free memory, and to rectify a number of potential project corruptions or problems. To reconfigure the memory: m Click the Reorganize Memory button in the Project Information window. At the same time, the current project will be checked for any signs of damage, structural problems, and unused blocks.
To set the project sample rate, do one of the following: m Choose File > Project Settings > Audio (or use the Open Audio Project Settings key command), then choose the desired sample rate in the Sample Rate menu. m Click the Sample Rate display in the Transport bar, then choose the desired sample rate from the pop-up menu. Note: If your Transport bar does not include the Sample Rate display, Control-click on it and choose Customize Transport Bar in the pop-up menu.
Example: A project was created with audio hardware set to operate at 96 kHz. Moving this project to a notebook computer, or setup that does not support the original project’s sample rate, will commonly result in the wrong playback speed. The native real time sample rate conversion facility will counteract this effect, allowing correct playback of the project on the laptop, at any sample rate. Note: High sample rates not only eat drive space, but also result in more CPU load.
Setting the Project Time Signature The time signature defines how many beats a bar contains in the Bar ruler and what note value constitutes one beat. Time signatures do not affect the playback of your project, but determine the editing grid in the Arrange area and MIDI editors as you can see in the following images. Both show the same MIDI region, with the first at a time signature of 2/8, and the second at 6/8.
The division value defines the division in all position displays (such as in the event editors), and forms the grid for various length and placement operations. The division value is normally set to 1/16 notes, but has a value range of 1/4 to 1/192 note. If the note value of the division is equal to or greater than the bar denominator, the third value of the position display is automatically removed.
Setting the Start and End Points of a Project A project normally starts at position 1 1 1 1. You can move the project start point to an earlier position, allowing upbeats or program change commands to be played before the first downbeat. To define a project’s start point: m Drag the project start marker in the Bar ruler to the left or right. To define a project’s end point, do one of the following: m Drag the project end marker in the Bar ruler to the left or right.
Important: This slider not only sets the playback level of your project, but also affects the overall level of your mix. Click the speaker symbol to the right of the Master Level slider to set the master slider to 0 dB. Click the speaker symbol to the left of the Master Level slider to turn on Dim Level mode: This sets the playback volume to the Dim Level value set in the Logic Pro > Audio > General preferences.
m Click the Settings button in the Toolbar, then choose Assets from the pop-up menu. Â Turn on any of the copy checkboxes to copy the respective file types into the project folder. Â Turn on the “Convert audio file sample rate when importing” checkbox to automatically convert the sample rate of all imported files (with a different sample rate) to match the project sample rate.
Cleaning Up Projects Should there be any unused project files in your project folder, make use of the File > Project > Clean Up command. If any unused files are found, the following dialog will be displayed: Turn on the checkboxes in the first column to choose files for removal. The name and path of the file to be deleted is shown in the last two columns. Only files with active checkboxes in the first column will be deleted. All unchecked entries will remain as they are.
2 Choose the desired menu option for the different file types in the Consolidate dialog, to either move, leave, or copy the existing files. The two shortcut buttons at the lower left of the window make project consolidation quick and easy. Â Click Copy All to set all menus to the copy option. Â Click Move All to set all menus to the move option. 3 Activate the “Delete empty folders after moving” checkbox to remove the empty folders in the source project, after files have been moved to the target project.
Automatic Backup Files When you save a project, Logic Pro will automatically make a safety copy (a backup) of the project file. Backup files are saved in the project folder, and are named after the project, but feature the “~” character after the project name. Reverting to the Saved Version Any time you make a mistake, you can undo it by choosing Edit > Undo (Command Z).
You can create collections under My Templates by creating sub-folders in the ~/Library/ Application Support/Logic/Project Templates folder. This can be done in the Finder, or with the Create Folder button in the Save As Template dialog. When all user templates are placed in sub-folders, the sub-folder names will be shown below the factory collections. ∏ Tip: You can add a descriptive text to your templates by adding a comment to the project file in the Finder.
8 Basic Operations 8 The following chapter will introduce you to the basic operating, selection, and editing techniques available in Logic Pro. You will learn about input techniques, correcting errors, and a number of shortcuts and features that will accelerate your workflow, and assist you while learning about Logic Pro. Using the Mouse If you’re unfamiliar with mouse use in Logic Pro, which differs from mouse use in other applications, the following section will be of use.
Modifier-Clicking or Dragging Many commands, functions, additional tools, or finer adjustments are accessed by holding a modifier key: Control, Shift, Option, or Command while clicking or dragging. As examples: Option-dragging a region will copy it. Option-clicking on a fader or knob will reset it to its default, or centered, value. Mouse Wheel Events You can use the mouse wheel to scroll vertically in Logic Pro.
Here are some of the possible methods. You can type in: Â Decimals: 1, 01, 2, 3, 4, 127, … Â Hexadecimals: $1, $01, $2, $3, $A, $0A, $7F Â Notes: “C3”, “C#3”, “Cb3”, “C##2” (equivalent to D2), “Dbb2” (equivalent to C2). If you double-click on the note “E3”, you can enter a decimal value such as “64” or a hex value of “$40” instead of the note name. Â ASCII Code: You can also input numbers as ASCII code: just place a ` or " in front of the selected key, and the ASCII code will be input as a number.
Working With Key Commands You can execute nearly every Logic Pro function with a key command or MIDI message. Whenever this manual mentions a key command, this refers to a function, command, or option that can be accessed by either: a computer keyboard keystroke (or keystroke combination—such as Option-R—which opens the Recording project settings), or a MIDI message. Use of key commands, rather than the mouse, can greatly accelerate your workflow.
Whenever you install Logic Pro updates, your personal key commands will remain unaltered. Note: Almost all key commands are user-definable. Some of the default assignments for standard commands such as Undo, Save, Quit, New, Open, Cut, Copy, and Paste follow Mac OS X conventions, and probably shouldn’t be altered. Some keys are “hardwired” to specific functions or commands, and can not be changed. These are dimmed in the key command listing, to indicate this fixed status. See the section below.
∏ Tip: Pressing Control—and choosing a command in a menu—opens the Key Commands window, with the respective command selected. This also works with shortcut menus. Key and Assignment columns Key combination area Find field Learn buttons Key Commands list Learn button Assignments area  Key Commands list: Lists all available key commands. The bullet indicates key commands that are not available as menu items.
Important: There is a hierarchy of key command classes, which are not merely separated into global and local key commands. As an example, there is a key command class that applies to all windows that display regions. This class has higher priority than global key commands, but a lower priority than local (Arrange, Score, Piano Roll, and so on) window key commands. Choosing Key Command Sets The Options menu offers commands that allow you to switch between key command sets, or import and export them.
 The search is performed as you enter text. There is no need to press the Return key, unless you wish to retain a history of key command searches.  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.
To clarify the difference between these two functions, here’s a short comparison: Â If you use the Learn by Key Label function, and define only one key command for the key, it will be used, no matter which of the two keys (either number 7 key, for example) is pressed. Â If you use the Learn by Key Position function, and define two key commands (one for the alphanumeric keyboard, one for the numeric keypad), then the appropriate key command will be used (one for each number 7 key, for example).
Assigning Key Commands to Control Surfaces The Learn New Assignment button allows you to assign control surface messages to particular commands—effectively teaching Logic Pro to understand these messages. To learn a controller assignment: 1 Click the Learn New Assignment button. 2 Select the command in the Command column. 3 Send the desired MIDI message from your controller. The Assignments field displays the learned assignment.
If you want to assign functions—other than key commands—to a control surface, make use of the Controller Assignments window. You can open it by double-clicking on a row in the assignment section, or choosing Logic Pro > Preferences > Control Surfaces > Learn Assignment for xxx command (Open Controller Assignments key command). This is detailed in the Control Surfaces Support manual. Initializing Key Assignments You can reset all key commands to their default assignments.
Working With Tools Each editor provides different tools—that are suitable for the tasks performed in the window. Tools are only effective in the working area of the window in which they are chosen. You can define individual tools for each window. A tool (the Scissors, for example) basically affects the regions or events that you click on. If multiple regions are selected, they are all affected by the tool (the Scissors would cut all selected regions at the same playhead position).
Assigning the Right Mouse Button If you have a suitable mouse, you can also assign the right mouse button to any of the following:  A third tool  Tool menu  Shortcut menu (default) To set the behavior of the right mouse button: 1 Open the Global preferences by doing one of the following:  Choose Logic Pro > Preferences > Global (or use the corresponding key command).  Click the Toolbar Preferences button, then choose Global from the pop-up menu.
 Opens Tool Menu: Right-clicking in the working area of the active window opens the Tool menu at the mouse cursor position. Simply choose the desired tool by clicking on it. When the Tool menu is open, you can also use the key shown next to a tool to select it.  Opens Shortcut Menu: Right-clicking in the working area of the active window will display a menu that offers a number of area-specific selection and editing commands (see “Using the Shortcut Menu” on page 171).
Learning About Common Tools The following section describes the most common tools available in Logic Pro. Tools that are specific to particular editing windows are covered in the respective chapters. Pointer Tool The Pointer is the default tool when Logic Pro is first opened. The mouse cursor also takes on this shape outside the working area, when making a menu selection or entering a value.
Glue Tool The Glue tool performs the reverse operation of the Scissors tool. All selected regions or events are merged into a single region or event. Solo Tool Click-holding a region with the Solo tool allows you to listen to the selected region or event in isolation. Moving the mouse horizontally also outputs (scrubs) any events the cursor touches. Mute Tool Clicking an event or region with the Mute tool prevents it from playing.
 Length of the region. During operations involving events, the help tag looks something like this: From left to right, the values indicate:  Name of the operation.  Mouse (or event) position.  Event type.  Event MIDI channel.  First data byte (note pitch, for example).  Second data byte (note velocity, for example).  Event length (note length, for example).
Selection Techniques Whenever you want to perform an operation on one or more regions or events (or other elements, such as Mixer channel strips), you first need to select them. Selected elements, regions, or events are: displayed in an inverted color scheme, with a highlighted name, or will flash (note events in the Score Editor, for example). A region or event selected in one window will also be selected in all other windows that display that region or event.
Selecting Several Regions, Events, and Other Elements You will often need to select multiple regions, events, or other elements, in order to move, process, or copy them, for example.
m Choose Edit > Select All Following of Same Pitch (or use the corresponding key command). Important: The selection techniques covered above only affect regions or events that fall within the cycle area defined in the Bar ruler, when Cycle mode is on. Making Rubber-Band Selections To select consecutive regions or events (or other elements, such as Mixer channel strips), click on the background and drag a rubber-band over them.
Selecting Regions or Events Within the Locators Choose Edit > Select Inside Locators (default key command: Shift-I) to select all regions or events lying wholly, or partly, inside the locator positions. Edit > Deselect Outside Locators (or the corresponding key command) deselects all regions or events outside the locators. Region or event selections within the locator boundaries are unchanged.
Selecting Events With the Same MIDI Channel Following selection of an event, you may select all other events that share the same MIDI channel by using the Edit > Select Equal Channels command (default key command: Shift-K). As an example: Imagine you’re editing a MIDI region that contains volume and pan controller information for 16 MIDI channels. To select all events on channels 1 and 3: 1 Shift-select one event on channel 1 and another event on channel 3.
Cut All selected elements are removed from their current position, and placed in the Clipboard. Any existing content in the Clipboard is overwritten in the process (default key command: Command-X). Copy A copy of all selected elements is placed in the Clipboard. The selected elements are left in place. As with Cut, the contents of the Clipboard are overwritten (default key command: Command-C). Paste All content from the Clipboard is copied into the window with key focus.
To open the Undo History window: m Choose Edit > Undo History (or use the corresponding key command, default: Option-Z). The Undo History shows you a list of all actions that can be undone. The most recent step (editing operation), which will be the first to be undone, is selected. To undo or redo multiple steps: m Click on any entry to undo or redo all steps between the clicked and highlighted entries. To undo or redo an isolated step: m Command-click on the desired step.
9 Working With Tracks 9 Tracks contain the audio regions and MIDI regions of a project. Tracks are listed from top to bottom in the Arrange track list and extend horizontally across the Arrange area in lanes. Each track is assigned to a particular channel in the Mixer. In other words, the output of a track is sent to a channel strip. If a track is not sent to a channel strip, regions on it will not be heard. Note: The exception to this rule is folder tracks.
Once assigned to a particular type of mixer channel, the functionality of the track is limited as follows: Track type Assigned to Mixer Track used for Audio Audio channels Playback, recording, and automation of audio regions. Instrument Instrument channels Playback, recording, and automation of MIDI data sent to software instruments MIDI MIDI channels Playback, recording, and automation of MIDI data sent to external MIDI devices Folder Not assigned Used as lanes for folder regions.
Configuring the Track Header The track header of each track (shown in the Arrange area’s track list) can display a number of buttons beside the track name and icon. By default, this includes the Record Enable, Mute, and Solo buttons on all tracks, with the Input Monitoring button also shown on audio tracks.
 Track Numbers/Level Meters: Turn on this checkbox to display a track’s number. During playback, a small level meter replaces the track number. For external MIDI or software instrument tracks, this meter indicates the velocity of the recording, and turns red to denote a maximum velocity value. For audio tracks, the level meter denotes the output level.  Track Icons: Click to display or hide the track icons in the track header.
Creating Tracks and Channels If you want to record or play back MIDI, software instrument, or audio data in Logic Pro, you must first create a track. Corresponding channel strips are automatically created in the Mixer. If channels of a particular type (audio channels, for example) already exist in the Mixer, newly created tracks will be assigned to these matching channels. Important: Some of the track creation options create new channels, and others do not. Each is used for a different type of task.
Track and Channel Creation Commands The commands and methods discussed in this section will create both tracks and corresponding channel strips. To create one or more new tracks (and channels): 1 Do one of the following: Â Choose Track > New in the Arrange area’s local menu bar (or use the Create New Tracks key command). Â Click the Create Track button (the button with the plus icon above the track list).
External MIDI Track Creation in the New Tracks Dialog External MIDI tracks offer no additional options, but if External MIDI is chosen in the New Tracks dialog, the following applies: Â A new MIDI multi instrument object will be created in the Environment for the first track, and the track will be assigned to sub-channel 1. Â Subsequent tracks will be assigned to sub-channels of the MIDI multi instrument object (up to the maximum of 16).
 Ascending checkbox: Enable to assign these inputs—in order, from lowest to highest—to each track, when multiple tracks are created. This option has no effect when a single track is created. Should you create more tracks than you have inputs— creating 8 tracks, when using a 4 input device, for example—tracks 1 and 5 will be assigned to Input 1, tracks 2 and 6 will be assigned Input 2, tracks 3 and 7 will be assigned Input 3, tracks 4 and 8 will be assigned Input 4.
Transferring a Channel Strip Setting to a New Track You can create a new track that uses the same channel strip assignment and settings as the selected track. This is a quick and easy way to create a duplicate of an existing track and channel strip, without replicating the data on the track. To transfer the channel assignment to a new track: 1 Select the source track (the one with the channel strip and settings that you want to duplicate).
Track Creation Commands The commands and methods discussed in this section only create new tracks. The current (selected track) channel strip is used as the target for the new track. Creating a Track With the Same Channel Assignment There may be situations where you would like to have multiple copies of a track that address the same Mixer channel. As an example: You may want to create multiple tracks that address a software instrument, such as the EXS24 mkII, with a drum kit loaded.
Copying Tracks and Moving Regions Hold down Option when moving a track vertically (click-drag the track number) to create a copy of the track at the destination position. All selected regions on the source track are moved to the new track. Note: If you hold down Option before grabbing the track number, no further regions on the track will be selected. If no regions were selected in the first place, an empty track (assigned to the same channel as the original track) is created at the destination position.
 If you want to create individual tracks for the two track a regions (now on track a copy), simply select the a copy track, which will automatically select all regions on the track, and repeat the command. Deleting Tracks If you delete a track, the channel strip assigned to the track is also deleted, and removed from the Mixer (unless assigned to another track that is in use). To delete a track, do one of the following: m Select the track, then choose Track > Delete.
Rearranging Tracks You may want to shuffle the position of tracks in the track list on occasion, to visually group related tracks (string section or percussion parts, for example). To change the position of a track in the track list: m Move the cursor over the track number. When the mouse pointer changes to a hand graphic, click the track number, and drag it up or down the track list. When you’ve reached the desired position, release the mouse button.
To determine the track names you want to view: 1 Open the Track Configuration dialog by doing one of the following: Â Choose View > Configure Track Header in the Arrange area. Â Control-click on any track header in the track list, then choose Configure Track Header from the pop-up menu. 2 Choose the desired track name option in the first pop-up menu. 3 Enable the checkbox of the second pop-up menu to view two track names, then choose the desired name option.
To delete a track name, do one of the following: m Choose Track > Delete Track Name. m Double-click on the track name to open the track name input box, and press Backspace to delete the name. The track (instrument or audio) channel strip name will then be used as the default name shown in the track list (and for newly recorded regions). Important: AutoName must be selected in the Track Configuration header for this functionality to work.
 If you want to use a track for MIDI region recording or playback (via a MIDI sound generator), choose a MIDI Instr. > Model/Instrument name channel strip as the track destination. Assigning Tracks to Environment Objects Strictly speaking, tracks don’t need to be routed to an instrument or audio channel strip, as you can assign any Environment object as the track destination. The track data could conceivably be sent to a fader object, or directly to a MIDI port, as examples.
Special Destinations In addition to the normal channel strips, there are two other possible track output destinations: Â No Output: Tracks assigned as No Output send no data. This can be useful in situations where you want to store data (such as SysEx) that you don’t wish to send from Logic Pro. Â Folder: This setting is used when you want the track to play a folder region (see “Using Folders” on page 338). Normal regions will not play on a track set up for folder playback.
Zooming Tracks With Key Commands You can assign, and use, the following key commands to zoom tracks: Â Individual Track Zoom In and Individual Track Zoom Out: Increases or decreases the “individual track zoom” factor of the selected track by one. Â Toggle Individual Track Zoom: Switches the selected track between its individual zoom level and the window zoom level. This would be useful for zooming in on a track to edit its automation data.
Note: If this number is identical to the number of one of the built-in Logic Pro icons, the icon found in the user folder is given priority. You also have the option of directly replacing the built-in Logic Pro icons, which are found in the /Contents/Resources/Images folder in the Logic Pro package. To open the Logic Pro package: m Right-click the Logic Pro icon in the Finder, and choose the Show Package Contents item from the pop-up menu.
Muting When the Mute Buttons Are Hidden If the Mute buttons are hidden—to save space—you can still mute a track to the left of the track number. If you move the mouse to the left edge of the track list by the track number, the mouse pointer turns into a hand; a brief mouse click mutes the track (or cancels the mute if the track is already muted). Muted tracks are indicated by a bullet beside the track name. You can also use the Toggle Track Mute key command (default: Control-M) to mute a track.
Soloing Tracks Both MIDI and audio tracks (and folders) offer Track Solo buttons. Soloing a track isolates it while playing—and mutes all other tracks. Use the Track Header Configuration window to show or hide the track Solo Buttons. In a practical, musical situation, it can be useful to hear several tracks in isolation (bass and drum parts, for example) to make it easier to fit other musical parts.
Soloing When the Track Solo Buttons Are Hidden If the Track Solo buttons are hidden—to save space—you can still solo a track with the Solo button on the Transport bar. Simply press the Transport Solo button, and click on the desired track. Soloing Multiple Tracks If you hold down Shift while the Transport Solo button is active, and click on the desired track names, you will solo them (when the track Solo buttons are hidden).
The Freeze function always bounces the complete channel signal. If you are using more than one track for the same audio or instrument channel in the Arrange, then all (sub)tracks of this channel will be frozen, and cannot be edited independently. In other words, it is the channel strip that is frozen, not the track.
How to Freeze a Track It’s extremely easy to freeze a track: simply activate the Freeze button—the button that features a small ice crystal icon (white when active). Use the Track Header configuration window to show or hide the Track Freeze buttons. If you hold Command while clicking on a Freeze button in the track list, all tracks that contain data in the currently-selected display level (or folder) will be frozen. If the Freeze buttons were already enabled, they will be disabled.
Working With Frozen Tracks Once a track is frozen: Â It is not possible to cut and rearrange freeze files in any way, nor is it possible to mix the freeze files with their originals on a single track—you can use one or the other, not both! Â It is also not possible to record audio on frozen tracks. In fact, the Record Enable button is hidden when a track is frozen. Â You can not edit any instrument or plug-in parameters (or related automation data).
Refresh Freeze Files The Options > Audio > Refresh All Freeze Files command refreshes the current freeze files. This may become necessary when global changes are made that also affect the playback of the frozen tracks (tempo changes, for example). Hiding Tracks If there are tracks in the Arrange area that do not need to be visible (useful when working on very large arrangements), you can use the Hide Track function to hide them. Hidden tracks play back as per usual.
Hide Menu and Key Commands There are a a couple of menu functions and key commands that relate to the Hide Tracks feature. Even when the global Hide View button is deactivated, you can still hide an individual track with the View > Hide Current Track and Select Next Track command (default key command: Control-H). View > Unhide all Tracks (default key command: Shift-Control-H) will reset the Hide buttons of each track, making them all visible. Note: Hiding tracks does not affect their playback in any way.
Using Track Button Slide Activation Track buttons on arrange tracks (Solo, Mute, Hide, Track Protect, Node, Freeze) support slide activation, which is similar to running your finger across several channel strip buttons on good hardware mixing consoles. As a usage example of slide activation in Logic Pro, click-hold on the Mute button of one track, and drag the mouse up or down. The Mute buttons of all swiped tracks will switch to the same state.
10 Working With Instruments and Effects 10 Logic Pro offers an extensive range of software instruments and effect processing plug-ins that are inserted into channel strips. You can also make use of external MIDI instruments and effects units. This chapter covers all important steps required for instrument and effect use in Logic Pro.
A Quick Mixer and Channel Strip Primer Before discussing the use of plug-ins, a basic understanding of some key channel strip functions is required. Full details on all channel strip and Mixer functions can be found in Chapter 25, “Mixing,” on page 541. The Mixer and Arrange channel strips deal with audio and instrument (software or MIDI) tracks shown in the Arrange window, plus auxiliary and output channels. Each track in the Arrange is represented and controlled by a channel strip.
The destination will be either: Â An output channel strip, which represents a physical audio output (or output pair) of your audio interface. Â An auxiliary channel strip (this is where you insert send effects). For example, if send 1 of the left-hand channel strip is routed to auxiliary channel 4, the fourth auxiliary channel strip will be shown. Clicking Send slot 2 on the left-hand channel strip (routed to auxiliary 7) will update the right-hand channel to show the seventh aux channel strip.
Before continuing, there are three main things you need to know about audio or instrument channel strips: the channel input format, the Pan control, and the Level fader. Channel Strip Settings menu Insert slot Send slot Instrument slot Output slot Pan/Balance control Level fader Format button Setting the Channel Input Format The channel input format determines the mono, stereo, or surround status of the channel. Software instrument and external MIDI channels do not have a format button.
To set the channel strip input format for the selected audio track: m Click-hold the button directly below the level meter on the Arrange channel strip, and choose the desired input format from the menu. ∏ Tip: On a stereo or mono channel, you can simply click the button to switch between mono or stereo. Mono Stereo Left Right Surround  Mono: One circle represents a mono input format. The level meter shows a single column.  Stereo: Two, interlocked circles represents a stereo input format.
Setting the Channel Pan or Balance and Playback Level You use the Pan control and Level fader to set a channel’s pan position and playback level. To set the pan position (for mono input format channels) or balance (for stereo format channels), do one of the following: m Click-hold on the center of the Pan control, and drag vertically. Â Drag upwards to move the pan or balance towards the right channel. Â Drag downwards to move the pan or balance towards the left channel.
Note: Logic Pro also supports the non real time AudioSuite plug-in format in the Sample Editor window. For details, please see “Using AudioSuite Plug-ins” on page 518. Details on the use of TDM plug-ins can be found in the Logic Pro 8 TDM Guide. Where Different Plug-in Types Can Be Used  Effect plug-ins can be placed in the Insert slots of all audio channel strip types (audio, instrument, auxiliary, output).  Software instruments can only be inserted into instrument channel strips.
To insert a software instrument, Audio Unit Generator, or MIDI controlled effect: m Click the Instrument slot of an Instrument channel strip, and choose the desired software instrument, Audio Unit Generator, or MIDI controlled effect (name and type) from the Plug-in menu. ∏ Tip: You can simply choose an instrument name to insert the instrument in stereo on a stereo format channel. The plug-in window of the chosen instrument, effect, or generator is opened automatically.
The Plug-in menu offers additional information about an output configuration. As examples: Â Instrument Name: Multi Output (2 x stereo, 4 x mono) Â Instrument Name: Multi Output (4 x stereo) Note: Not all instruments (Logic Pro or third-party) are multi-output capable. If the instrument does not provide a Multi Output option, it is not equipped with multiple output facilities. To insert and set up a multi output instrument: 1 Choose the desired multi output instance in the Plug-in menu.
3 Open the Mixer, and click the + button of the instrument channel that you have inserted the multi output instrument in (Ultrabeat, for example). Note: The + button only appears on multi output instrument channels. An aux channel strip appears to the right of the instrument channel, already assigned to the inserted multi output instrument. 4 Repeatedly click the + button to create more aux channels, for all stereo or mono outputs available to the instrument plug-in.
Using the Channel EQ The Channel EQ is an insert effect, like any other. In most mixing situations, it is used as the first effect on a channel, allowing you to sculpt the sound of the channel signal before applying other effect types. To insert the Channel EQ, do one of the following: m On channel strips where Insert slot 1 is not used: Double-click the EQ area on the upper portion of the channel strip to place the Channel EQ in the first Insert slot.
Important: Select the plug-in name (shown on a blue label) in any used Insert or Instrument slot, and drag it to the desired (unused) target slot. During the drag and drop operation, the potential destination is displayed as an orange rectangle (empty slot) or line (when placing an effect between two Insert slots, see below). To copy a plug-in to another slot: m With the Hand tool selected, Option-drag the plug-in name from any used slot to the desired unused target slot.
Loading and Removing Entire Channel Strip Configurations The Library tab in the Media area allows you to load and save multiple plug-ins (inclusive of their parameter settings) into a channel strip. You can also do the same thing by clicking on the Settings button found at the top of channel strips. You can use this facility in a number of ways, such as: Â Setting up and storing complex multi-effect configurations—on any type of channel.
2 Click the Library tab in the Media area to view the Library. Click the Arrange Toolbar Media button if the area is not visible. The Library displays all channel strip settings available for the selected channel strip, sorted into category menus. 3 Browse through the category menus, then click on the desired setting name to insert all associated plug-ins into the selected channel strip. To reset a channel strip setting: m Choose Reset Channel Strip from the Channel Strip Settings menu.
m Use one of the following key commands:  Next Channel Strip Setting  Previous Channel Strip Setting  Next Channel Strip or Plug-in Setting or EXS Instrument  Previous Channel Strip or Plug-in Setting or EXS Instrument This will load the previous or next channel strip setting shown in the list. This feature is handy when trying to find the right delay or clavinet sound, for example.
Channel strip performances can be used for all audio channel strip types. They are saved in the Performances subfolder (in ~/Library/Application Support/Logic/Channel Strip Settings/Channel Strip name). The performance names start with the corresponding program change number (as examples: 001Piano, 045FlangeGuitar, 111ArcoCelloHall). There are 128 performances (corresponding to 128 available program change events).
Using the Plug-in Window Hands-on operation of plug-ins takes place in the plug-in window. This window allows access to all plug-in parameters. Each instance of a plug-in has its own plug-in window, allowing each to have discrete settings. The plug-in window is automatically opened when you insert a plug-in. This behavior can be overridden by turning off the “Open Plug-in window on insertion” checkbox in the Logic Pro > Preferences > Audio > General tab.
It switches to the next or previous option, or will be turned on or off. To adjust a parameter slider: m Click-hold anywhere on the slider and drag up, down, left, or right. m Command-click anywhere in the slider’s value range to set it to the clicked value. To adjust rotary knobs: m Click-hold on the center of the rotary knob and drag the mouse up and down. m Command-click anywhere in the value circle surrounding the knob to set it to the clicked value.
To adjust plug-in parameters with the mouse wheel: 1 Select the desired Logic Pro plug-in parameter by clicking on it. 2 Move the mouse wheel. ∏ Tip: You can also use the mouse pad of a MacBook or PowerBook instead of the mouse wheel. Common Plug-in Window Functions The header area at the top of the plug-in window is common to all plug-ins. It offers a number of important functions for plug-in use. To hide or show the plug-in window header: m Click the icon at the top right of the plug-in window.
Bypassing Plug-ins If you want to deactivate a plug-in, but don’t want to delete it or remove it from a channel, you can bypass it. Bypassed plug-ins do not drain system resources. To bypass a plug-in, do one of the following: m Click on the Bypass button at the left of the plug-in window header. m Option-click the appropriate Insert or Instrument slot on the desired channel strip (in the Mixer or Inspector).
To load a setting: 1 Open the Settings menu (of the plug-in window, not the Channel Strip Settings menu) by clicking the Settings field. 2 Do one of the following: Â Browse to, and choose the setting you want to use from the menu or category submenus. Â Choose the Load Setting command. When used, a file selector box will open. Only settings for compatible plug-in types are shown. Each plug-in has its own set of parameters, and therefore its own file format.
Replacing Setting-Compatible Plug-ins When you replace a plug-in with another plug-in that is setting-compatible, the new plug-in automatically uses the setting of the replaced plug-in. As an example: When you replace an ES2-based GarageBand instrument with the ES2, the inserted ES2 uses the same setting as the replaced ES2-based GarageBand instrument. It also works for most EXS-based GarageBand instruments, with two exceptions: Hybrid Morph and Hybrid Basic.
To save a setting, do one of the following in the Settings menu: m Choose Save Setting: Saves the current plug-in parameter values as the setting. This will overwrite the existing setting. m Choose Save Setting As: Allows you to name and save a setting, inclusive of a folder location. You may also create a new folder in the Save As dialog, if you wish. Note: The folder location (existing or newly-created) must be in the associated plug-in folder.
Switching the Plug-in Window View Mode Plug-in parameters can be viewed in two forms: Controls view and Editor view. The Editor view shows the plug-in’s graphical interface, if it offers one. The Controls view displays all plug-in functions as a set of horizontal sliders, with numerical fields to the left of each parameter. These fields are used for both the display and entry of data values.
The signal peaks of the side chain input (the sent instrument signal), combined with the Threshold parameter of the plug-in, determine when the plug-in is triggered. Some Side Chaining Examples  A sustained pad sound is sent through a noise gate, which is triggered by a drum track being used as the side chain input signal. This results in a rhythmic pad sound which follows the signal peaks of the drum track.
Using the Library to Choose Plug-in Settings An alternative to using the Settings menu found in the plug-in window header is the Library tab of the Media area. To load a plug-in setting from the Library: 1 Click the Media button on the Arrange window Toolbar, if the Media Area is not visible, then click the Library tab. 2 Select the Arrange track that is routed to the channel strip that you want to adjust the settings of.
Learning About Effect Routings There are two ways of sending audio to effects: via an insert, or via an aux send. Insert Effects When a plug-in is inserted directly into a channel, it is termed an insert effect. All of the signal is processed, or put another way, 100% of the signal flows through the effect. This one hundred percent behavior is suitable for equalizers or dynamic effects, such as compressors. If you have enough processing capacity, you can use up to 15 insert effects on each channel strip.
For computationally-intensive effects such as reverb, it’s always advisable to insert them into an aux channel. Chorus, flanger, and delay effects should also be inserted into an aux, if they are going to be used on more than one track. In some cases, however, it may make musical sense to patch an effect such as a delay or chorus, directly into the Insert slot of an individual channel. This allows you to use precise settings, and colors, on individual elements of your mix.
∏ Tip: This is easiest to accomplish with the Arrange channel strips in the Inspector: The left channel strip is the source (the audio channel from the example), and the right channel strip is the destination (the aux channel) for the source. If you work in the Mixer, you can double-click a Send slot to jump to the allocated aux channel. To remove a send: m Click an active Send slot, then choose No Send from the menu. To bypass a send: m Option-click the Send slot. The Send slot background turns gray.
If you choose Post Pan, the signal is not only post fader, but also post pan. This means that the pan position of the send signal on the aux (which needs to be stereo or multichannel) will follow the Pan/Balance, or Surround Panner position of the channel strip. To select one of these options in Logic Pro: m Click on a used Send slot, and choose Post Pan, Post, or Pre at the top of the menu.
Working With Instruments This section deals with the use of software instruments and external MIDI sound generators. Both software and external MIDI instrument tracks are handled in an almost identical fashion. In fact, the MIDI regions on tracks routed to either type of channel (software instrument or External MIDI) can be used interchangeably.
When you create a new External MIDI track in a project, Logic Pro will automatically generate a new External MIDI Multi Instrument object. This is placed on the MIDI Instr. layer of the Environment window. Choose Window > Environment to take a look at this object (see Chapter 39, “Working in the Environment,” on page 857 for details). Another thing that happens in the background is the automatic creation of Mixer channel strips for each of the Multi Instrument sub-channels.
3 Click GM Device in the left column of the Library tab, and you’ll see 16 entries in the right column: 1 (Grand Piano), 2 (Polysynth), and so on. 4 Click the disclosure triangle to the left of the GM Device 1 entry in the Inspector (if the Track Parameter box is not already open). If the Inspector isn’t visible, click the Inspector button in the Arrange Toolbar. There are two parameters of particular note here: Port and Channel (see “Setting External MIDI Channel Parameters” on page 244).
6 You’ll note that the Channel parameter is set to 1. Create a few new External MIDI tracks by following steps 1 and 2. You’ll note that these new tracks are called GM Device 2, GM Device 3, GM Device 4, and so on. Click on each of these tracks in the track list, and keep an eye on the Channel parameter in the Track Parameter box of the Inspector. Each of these tracks is routed to a sub-channel of the GM Device Multi Instrument object.
4 The newly created multi instrument object is called (Multi Instr.). You can rename it later (usually after your synthesizer name; JV5080, Microwave, and so on). Â You will note that there are diagonal lines running through each of the 16 subchannel boxes. Â Also note that the Port and Channel parameters are shown to the left of the Environment window. 5 Click on the Port menu, and choose a new MIDI Out port for the Multi Instr. object.
Setting Channel Parameters for Instruments When you choose a track that is assigned to either a MIDI or software instrument channel strip, the Inspector’s Track Parameter box displays the parameters outlined in this section. Changes to these parameters affect the entire channel strip, and all tracks routed to the channel strip are affected. This is an important distinction to make, as some parameters, such as transposition are available as both a channel and region parameter.
Velocity The Velocity parameter allows you to increase or decrease the note on velocities of all note events by an amount between –99 and 99. Key Limit The two note values of the Key Limit parameter define a pitch range. All notes outside this range are ignored by the instrument. Vel Limit The two values of the Vel Limit parameter define a velocity range. All notes with a velocity that falls outside this range will not be played by the instrument.
Setting Software Instrument Channel Parameters The following parameters are specific to instrument channel strips. MIDI Channel This parameter sets the MIDI channel used by the software instrument. Value as This switches the channel strip displays (meters and other parameters) between decibel (dB) and numerical (Num) values. The decibel display is the default. Setting External MIDI Channel Parameters The following parameters are specific to External MIDI channel strips.
You can’t actually change the receive channel of a sub-channel in the multitimbral synthesizer. This is only possible in a few models (and is not particularly useful when using Logic Pro, at any rate). If the MIDI channel is set to All, you can edit the parameters of the whole multi instrument object. A useful facility for globally changing the MIDI port (Port A, B, and so on), for example.
Adding Program Change, Volume, and Pan Settings to a MIDI Region The MIDI > Insert Instrument MIDI Settings as Events command allows you to insert the program change, volume, and pan settings (from the Track Parameter box in the Inspector) as actual MIDI events into one, or more, selected MIDI regions. The events are placed a quarter note before the beginning of the relevant MIDI regions. Only the activated (checked) settings in the Track Parameter box(es) are added as events.
As the track is routed to an instrument channel (which is being used for an external MIDI sound module), it behaves just like a standard software instrument track, which means that you can record and play back MIDI regions on it—with the following benefits: Â You can take advantage of the sounds and synthesis engine of your MIDI module, with no overhead on your Macintosh CPU (apart from the effects used on the channel).
Why Live Mode is Necessary Live mode instruments need to stay in live mode while the audio engine is running (when Logic Pro is in play or record mode), as switching a software instrument track out of live mode will create a gap (or noise) in the audio stream. Obviously, this is unacceptable. Software instruments that are live (ready for playing) require considerably more CPU power than those that are merely playing back existing regions.
Note: Some Audio Unit instruments do not recognize this remote command. No Hermode Tuning Logic Pro allows all software instruments to be globally tuned to different tempered scales, including Hermode Tuning (see “What Is Hermode Tuning?” on page 947). There may, however, be occasions where you want individual software instruments to be exempt from this global tuning system.
Beyond routing the outputs of ReWired applications into Logic Pro, you can also directly play, record, and play back the software instruments available in these programs. Propellerhead Reason, for example, is the software equivalent of a rack of synthesizers and samplers. You can directly play each synthesizer in the Reason rack, and can record these parts as MIDI regions on Logic Pro tracks, much as you would with Logic Pro’s internal, or external MIDI, instruments.
Setting the ReWire Behavior In Logic Pro > Preferences > Audio > Devices, you can choose between the following modes when using ReWired applications: Â Playback Mode (Less CPU Load): Use this mode when streaming channels via ReWire. This setting requires less CPU power, and should be used when playing back tracks in ReWired applications. Â Live Mode (Higher CPU Load): Use this mode when you want to play a ReWire instrument (an instrument running in an external ReWired application) in real time.
Some Tips for Using External Effects Some audio interfaces feature their own routing software, which you may need to use to set up the chosen inputs and outputs for this type of use. Please consult the documentation provided by your audio interface manufacturer. Most hardware effects units are MIDI controlled. If this is the case with your effects unit, you can connect its MIDI input and output cables to your MIDI interface.
To open the Audio Units Manager: m Choose Logic Pro > Preferences > Audio Units Manager in the main menu bar (or use the Start Audio Units Manager key command). The results of the test are shown in the Compatibility column. Important: The first thing you should do is check the manufacturer’s website for updated versions of Audio Units plug-ins that fail validation.
Disabling Plug-ins The Audio Units Manager also allows you to disable Audio Units plug-ins that you don’t want to use in Logic Pro, even if they pass the validation scan. Simply uncheck the corresponding checkbox in the Logic or Nodes column to disable any plug-in. You can store your choice of Audio Units plug-ins by clicking the Done button.
11 Adding Pre-Recorded Media 11 Pre-recorded media plays an important role in modern audio production. Combining existing audio loops and other files provides a quick method for laying down song foundations. Logic Pro ships with a large collection of audio loops, offering a great starting point for many of your projects. This chapter explains how you can add pre-recorded media in Logic Pro, including audio and MIDI files, Apple Loops, and other common loop formats.
Logic Pro can also import Standard MIDI files (type 0 and 1), GarageBand, OMF Interchange, AAF, OpenTL, and XML files. These file types are usually used to exchange projects, however, and are therefore outside the scope of this chapter. Full details on importing these file types can be found in Chapter 29, “Project and File Interchange,” on page 625. About Pre-Recorded Media Types Supported by Logic Pro The following section describes all media file types supported by Logic Pro.
Apple Loops Apple Loops are audio files that contain additional identification information; time and date, category, mood, key and tempo, amongst others. They also contain a number of transient markers, which break them down into small time slices. The standout advantage of Apple Loop audio files is their ability to automatically match the tempo and key of a Logic Pro project. A second Apple Loop file type is also supported by Logic Pro.
Navigating in the Browser You can switch the Browser between two views: List and Browser view. List view Browser view  List view displays folders and their contents in a list. You enter a folder by doubleclicking it.  Browser view exposes the contents of a folder in new frames to the right of the selected folder. You only need to click once on a folder to enter it. To switch between List and Browser view: m Click on the Browser button to access the Browser view.
 Computer: Shows all volumes (hard disks, CDs, or DVDs) in, or attached to, the computer.  Home: Shows all folders in your home folder.  Project: Shows the contents of your project folder. To navigate in the Browser using the Path menu: 1 Click the Path menu to display the path taken to the current folder or file. 2 Click one of the entries in the Path menu to navigate back to clicked folder. To step backwards or forward through the navigation history: m Click the Back button or the Forward button.
As an example, typing in 80s, with Macintosh HD chosen in the Path menu will result in a number of Apple Loop files being displayed in the view area. To sort the search results: m Click on any of the column titles to sort the file list by name, date, or size. ∏ Tip: You can resize columns by dragging the vertical lines between column titles. To clear a search term: m Click on the small X icon at the right-hand side of the Search field.
By default, the Match menu specifies that all of the advanced search conditions that you specify must be met, in order to display matching files. You can set the Match menu to any if you want to display all files that match one of the specified conditions. 3 Click the File Type menu, and change this to Format. Note that the right-hand menu updates (AIFF is displayed) to reflect the left-hand menu selection. 4 Click the + icon to the right of the AIFF menu.
Further Information on Conditional Searches It goes without saying that searching for a particular file in the Browser can be much faster than navigating to it. You can define up to ten advanced condition rows to refine your searches. The search rows offer the following conditions. First menu Second menu Additional menus/fields Comment contains, does not contain, is, is not, starts with, ends with Input field File Type is, is not Menu, in which you can choose between Audio, Movie, Project.
Two important data types that Apple Loops may include are metadata tags and transient markers. Logic Pro uses metadata tags to help locate files when using the Search features of the Loop Browser. Transient markers indicate where beats occur in the file. Logic Pro uses this information, in conjunction with the metadata tags, to match the file’s tempo and key to the project tempo and key, thus ensuring the best possible playback quality.
Green and blue Apple Loops can be added to audio tracks, or directly to an empty Arrange area or track. In the Arrange area, they look like normal audio regions, but can be easily identified by the Apple Loop symbol in the upper right corner. They differ from standard audio regions in that they follow the project key and tempo.
When you place Software Instrument Apple Loops on audio tracks, they are imported as audio regions (and behave like blue Apple Loops). Processing load is reduced when green Apple Loops are added to audio tracks. Note: Blue Apple Loops will not play if placed on instrument tracks. Before Browsing or Searching for Apple Loops When thousands of loops are installed on your hard disks, this can make finding a particular Apple Loop a rather daunting prospect.
To limit the Loop Browser display to a particular time signature: m Choose the desired time signature from the Signature pop-up menu. Browsing for Apple Loops There are three browsing views available in the Loop Browser. These are the: Column view, Music view, and Sound Effects view. To switch between browsing modes: m Click on one of the view buttons at the top right of the Loop Browser.
Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genres, By Instruments, By Moods, and Favorites search criteria. Category columns To browse for Apple Loops in Column view: 1 Click on any of the category folders shown in the left column of the folder view area. In this example, By Genres is chosen. 2 Click on Electronic in the second column. 3 Click on Beats in the third column.
2 Click another category button. The file list updates to display all Apple Loops that fall into both categories. 3 Click on other category button to further refine categorization. The number of files that match all three criteria (Guitars, Acoustic, and Country) will be further reduced. Note: A second click on any chosen category button will deselect it.
To adjust the playback level: m Drag the level fader at the bottom of the file view area. To adjust the playback key: m Click the “Play in:” menu to the right of the level fader at the bottom of the file view area, and choose the desired key. This defaults to the project key, but you can also choose to audition the loop in its original key or any key from C to B. To stop playback: m Click on the speaker icon to the left of the selected Apple Loop name.
These loops can be easily replaced or added to as your project advances, but the use of favorites may form a great starting point for many of your songs. Searching for Apple Loops The Search field is used to find Apple Loops by name or partial name. It works in conjunction with the options discussed in “Before Browsing or Searching for Apple Loops” on page 265. Find menu Cancel button To search for an Apple Loop: m Type the desired search term into the Search text field, and press the Return key.
ReCycle files are handled differently. Details in “Adding ReCycle Files to Your Project” on page 276. Adding Audio Files to Your Arrangement You can use any of the following methods to add audio files directly to your arrangement: Â You can Shift-click at any position on an Arrange audio track with the Pencil tool. Â You can use the Import Audio File command.
With Automatic Track and Channel Creation You can drag audio files directly into a blank Arrange window (with no tracks), or to a blank area below existing tracks. An audio track and corresponding channel strip are automatically created, and an audio region (that is the full length of the file) is placed on the track. In addition, the file is added to the Audio Bin, and the corresponding region is automatically created.
Adding and Removing Project Audio Files The Audio Bin acts as a central repository for all audio files added to the project, whether or not they are used in the Arrange area. This is useful for keeping all takes associated with the project in one location, even if not all are actually used in the final production. All audio file addition methods covered above will automatically place the files in the Audio Bin.
4 Browse to, and select, another audio file, and click the Add button. 5 Repeat the process until all desired files are in the file view area. 6 If you accidentally add a file, select it in the file view area, and click the Remove button. Note: You can also add all files in a folder by selecting the folder and clicking the Add All button. If you accidentally add all files from the wrong folder, press the Remove All button to remove them from the list. This does not remove them from the hard disk.
Note: It is not possible to assign fades to compressed audio files, nor can you destructively edit them.
Enabling the “Faster overview calculation” option considerably speeds up the calculation, at the cost of slowing down other operations, but not blocking user interaction completely. Logic Pro remembers the state of the “Faster overview calculation” option between projects. You can manually refresh the overview of selected files with Options > Audio > Refresh Overview(s) in situations where you have replaced file recordings (and used regions), or made edits in an external sample editor.
 Add tracks: Distributes the slices across multiple audio tracks, allowing you to adjust the position or delete slices freely. The “Number of Additional Audio Tracks” field determines how many tracks are used for the distribution of the slices. These tracks are in addition to the original track that the ReCycle file was added to.  Crossfade: All slices of the file are imported to the same track, and are automatically crossfaded.
Moving Audio Between Logic Pro and ReCycle You can transfer data from Logic Pro to ReCycle, and back, without using any file selector dialogs. To copy audio regions into the Clipboard for use in ReCycle: 1 Select an audio region in the Arrange area. 2 Choose Audio > Copy as ReCycle Loop in the Arrange menu. The data of the selected audio region is copied into the Clipboard.
12 Getting to Know Regions 12 When audio or MIDI files are added to, or recorded in, the Arrange area, they are displayed as regions. This chapter covers the similarities and differences between audio and MIDI regions, and provides advanced information on region handling. Details on using regions to construct your songs can be found in Chapter 13, “Creating Your Arrangement,” on page 293.
Audio Regions and Audio Files Audio regions simply refer to (point to) an underlying audio file. Audio regions are merely used as playback markers (start and end points) that can be as long as the entire audio file, or may only be a few seconds long, playing a small portion of the audio file that the (region) start and end markers encompass.
It is, of course, possible to directly edit, copy, move, and manage audio files. This is achieved in the Sample Editor and Audio Bin. Details found in Chapter 24, “Managing Audio Files,” on page 529. MIDI Regions and Events MIDI regions actually contain MIDI data events. They are not related to information stored in external files. MIDI regions can be saved as individual files, but they can also be, and generally are, stored with the Logic project.
When opened, folders look just like the Arrange area and track list of a project. Cloned and Alias Regions Aliases can be created for MIDI regions and folder regions. A MIDI or folder region alias is like an alias in the Finder. It looks like a region, but contains no actual data. It is just a reference to the data of the original region—a virtual reflection of the original. You can easily recognize an alias because its name is written in italics.
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. Feature MIDI regions Audio regions Composed of discrete data Yes No. Audio regions are just references to parts of audio files.
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, folder regions, or copies of these, and alias or cloned regions).
Which Audio Bin Should You Use? The Audio Bin tab is ideal for quickly adding files to the Arrange area, as it doesn’t obscure your workspace. A bar is shown for each audio file, which represents the overall length of the file. A colored area within the bar represents the region length. Tasks such as resizing or moving regions within the audio file can not be performed in the Audio Bin tab. If you need to make these types of adjustments, use the Audio Bin window.
To open the Audio Bin: m Choose Window > Audio Bin (or use the corresponding key command, default: Command-9). To view a region associated with an audio file: m Click the disclosure triangle beside the audio file name. All regions are listed below the parent audio file name. Â Regions that are used in the Arrange area are indicated by a colored bar to the right of the region name. The bar color is derived from the Arrange region color.
Creating and Removing Regions When you add an audio file to your project, Logic Pro automatically creates a region that encompasses the entire file length. You can create as many regions as desired from the same audio file. There are no length limitations to regions, as long as they don’t exceed the length of the source audio file.
Auditioning Regions in the Audio Bin The playback modes outlined below only apply to regions in the Audio Bin (when the window has key focus), and have no effect on project playback. To play an entire region: 1 Highlight the region name in the list. 2 Click the speaker button at the bottom of the Audio Bin (or press the Space bar) to start playback. Click the button (or press the Space bar) again to stop playback. Note: The Environment’s Prelisten channel is used for monitoring in the Sample Editor.
Resizing a Region You can resize regions in the Audio Bin window, the Sample Editor, and the Arrange. This section concentrates on the Audio Bin and Sample Editor options. Note: Full details on all Arrange window region editing options are found in Chapter 13, “Creating Your Arrangement,” on page 293. To resize a region in the Audio Bin window, do one of the following: m Click-hold the lower third of the left or right region boundary, and drag in the desired direction.
To snap audio edits to zero crossings: 1 Click on the title bar of either the Audio Bin or Sample Editor to give the window key focus. 2 Enable Edit > Search Zero Crossings (or use the Search Zero Crossings key command). Note: The Search Zero Crossings option can be set independently for the Sample Editor and Audio Bin. Moving a Region Within an Audio File You can also move an entire region within an audio file in the Audio Bin window.
You can edit the anchor of a region in the Audio Bin window and Sample Editor. The anchor is represented by a black indicator (orange in the Sample Editor) below the region waveform. Anchor Anchor To move the anchor in the Sample Editor or Audio Bin window: m Grab the small indicator below the region, then move the anchor to the desired position. Any changes to the anchor point will change the relative position of the audio region in the project.
Protecting Regions You can protect regions against accidental alterations to start and end points, or the anchor position, by locking them in the Audio Bin window. To protect region start, end, and anchor positions: m In the Audio Bin window, click the padlock icon beside a region to close (lock) it. Click a second time to unlock the region. Unprotected region Protected region If locked, you can play the region, but can’t edit it.
13 Creating Your Arrangement 13 Once you have added your audio and MIDI regions to the Arrange area, you can edit and reorganize them to create an overall arrangement, or song. The Arrange area provides a visual overview of your song structure: it shows when audio and MIDI regions start to play, and their duration. You control when and how regions play by moving, cutting, copying, resizing, and joining them in the Arrange area.
To alter the Arrange area background color: 1 Open the Display preferences by doing one of the following: Â Choose Logic Pro > Preferences > Display (or use the Open Display preferences key command). Â Click the Preferences button in the Arrange Toolbar, and choose Display from the menu. 2 Click the Arrange tab in the Preferences window. 3 Choose Bright in the Background Color menu. 4 Alternately, choose Custom from the menu, and click the color field to the right.
Making Region Edits Faster and Easier This section provides information on several options that can accelerate and simplify region editing, helping you to focus on the musical aspects of your arrangement. Snapping Region Edits to Time Positions You move and resize regions in the Arrange area because you want them to start and end at a specific point in time. As an example: In a music-based project, you may want to align the start points of regions with measures and beats.
The Snap functionality is relative, which means that the edit operation will be snapped to the nearest bar, beat, and so on—retaining the region’s distance from its original position. As an example, if a region is placed at position 1.2.1.16, and you move this region forward to around bar 2 (with the Snap menu set to Bar), it will automatically snap to position 2.2.1.16—rather than 2.1.1.1 (the bar 2 start point). You can override relative snaps with the Snap to Absolute Value option.
In cases where the zoom level is extremely low (macroscopic), and a fine Snap value (such as Division or Frames) is chosen, normal mouse movements will result in larger grid units. In these situations, either alter the zoom level, or hold Control to actually use the chosen Snap value. Using Control-Shift breaks the 1:1 relationship between mouse cursor and region (or edit tool) movements.
 No Overlap: Use in situations where you don’t want regions to overlap. In this mode, the first region (the one positioned earlier on the track) will be reduced in length so that no overlap occurs.  X-Fade: In this mode, Logic Pro automatically crossfades two audio regions when they are moved to an overlapping position. Note: This option does not work for MIDI regions or Apple Loop regions.
3 Grab the playhead in the Arrange or Bar ruler, and move it back and forth through the parts of the project you want to hear, at the speed you want to scrub the section (or use the Scrub Rewind and Scrub Forward key commands). Audio and MIDI data playback is perfectly synchronized when scrubbing. Note: Scrubbing is automatically activated when you’re dividing regions (with the Scissors tool) in the Arrange, making it easier to identify the cut position.
Muted regions are indicated by a dot that precedes the region name. Clicking muted regions with the Mute tool, or selecting them and using the “Mute/ unmute selected Notes/Regions/Folder” key command reverses this state (unmuting). Soloing Regions Soloing allows you to hear one or more selected regions in isolation, making it easier to identify particular elements that may need to be edited. To solo a region with the Solo tool: 1 Select the Solo tool.
When the Solo function is activated, the Bar ruler is shaded in yellow, making it easy to see that Solo mode is engaged. 2 Rubber-band or Shift-select the regions you want to solo with the Pointer tool. Selected regions have a yellow outline. Click the Transport Solo button again (or use the Solo Mode key command) to turn off Solo mode, and hear all regions again. Using Solo Lock On occasion, you may want to lock the solo status of several regions.
Naming a Region Identifying regions by name can make arranging much easier. This can be done on a per-region basis, or you can name several regions simultaneously. To name a region with the Text tool: 1 Select the Text tool. Text tool 2 Click on a region with the Text tool. A text input box will appear. 3 Type in the desired name and press Return, or click another region or the Arrange area background to exit the text input box.
 Select the Text tool, then click any of the selected regions with the Text tool.  Click the top line of the Region Parameter box (displaying x selected: x indicates the number of selected regions). A text input box will appear. 3 Type in the desired name and press Return, or click another region or the Arrange area background to exit the text input box. All regions are assigned the same name.
Assigning Colors to Regions Color is useful for identifying sections of your arrangement, or particular track types. Newly recorded or added regions initially adopt the color of the track channel strip. By default: Â Audio track channel strips are blue. Â Software instrument channel strips are green. Â ReWire and external MIDI channel strips are red. Â Auxiliary, Input, and Output channel strips are yellow.
Using the Shortcut Menu Many selection, editing, and other commands can be accessed by Control or rightclicking anywhere in the Arrange area. Make use of this to accelerate your workflow. Note: Right-click functionality is dependent on the Right Mouse Button: Opens Shortcut Menu option being chosen in the Logic Pro > Preferences > Global > Editing tab. Selecting Regions You must select a region before you can perform any edits, functions, or operations on it.
To use the Marquee tool: 1 Select the Marquee tool. 2 Click-hold on the Arrange area background or on regions to begin your selection, which is indicated by a shaded selection rectangle. 3 Drag the marquee rectangle to make selections—independent of existing region boundaries. 4 Release the mouse button. Only the area that falls inside the marquee is selected.
To set locators with a marquee selection: m Choose the Region > Set Locators by Regions function (or key command). This sets the locators to the marquee selection boundaries, rather than the whole region. To remove all parts of regions outside the marquee selection: m Use the Crop Regions outside Marquee Selection key command. This removes all unselected areas from regions which are partly marquee-selected.
To remove all muted regions from your arrangement: 1 Select all muted regions by choosing Edit > Select Muted Regions/Events (or using the Select Muted Regions/Events key command, default: Shift-M). 2 Do one of the following: Â Click one of the regions with the Eraser tool. Â Choose Edit > Delete (or press Backspace). To delete all selected regions, and automatically select the next one: 1 Select the region (or regions) you want to delete. 2 Use the Delete and Select Next Region/Event key command.
To restore a deleted audio region, either: m Choose Edit > Undo History, and click on the appropriate step. m Manually add it back into the Arrange area from the Audio Bin. Moving Regions You can move regions horizontally on tracks, and vertically between tracks. You can also move regions between two Arrange windows, or even between different projects. To move one or more regions: m Select the desired regions and drag them to a new position.
Changing the Playback Position of Regions Numerically You can edit the playback position of a region (and its length) numerically. This can be done in the Event List, configured to view regions at the Arrange level (see “Changing the Event List View Level” on page 438). To move regions by adjusting positions in the Event List: 1 Open the Event List by doing one of the following: Â Choose Window > Event List. Â Click the Lists button in the Arrange Toolbar, and click the Event List tab.
Moving Regions to the Current Playhead Position You can use the Pickup Clock (Move Event to Playhead Position) key command to move the selected region (or the first of several selected regions) to the current playhead position. If more than one region is selected, all subsequent regions are moved. Note: If you use this command on audio regions, the anchor of the region is placed at the current playhead position (see “Editing the Audio Region Anchor” on page 290).
       Nudge Region/Event Position Left by Division Nudge Region/Event Position Right by Beat Nudge Region/Event Position Left by Beat Nudge Region/Event Position Right by Bar Nudge Region/Event Position Left by Bar Nudge Region/Event Position Right by Nudge Value Nudge Region/Event Position Left by Nudge Value The selected regions are shifted one step right (+1) or left (–1), by whatever unit is referred to in the particular command name.
Moving Regions to a Track The Region > Move Selected Regions to Current Track command (also available as a key command, default: Shift-Command-T) moves all selected regions (from different tracks) onto the selected track. The time positions of all regions are retained. Resizing Regions You can reduce or extend the length of any region by dragging the start or end point of the region, thus determining what part of the source (audio file or MIDI events) is played back in your project.
Note: You cannot make an audio region longer than the underlying audio file when using either of the resize operations covered above. Adjusting the Start Point of Audio Regions Adjusting the start point of an audio region may also move the region anchor point, thus affecting its temporal reference point, and making it play back out of sync with other tracks. It is better, and simpler, to move the entire region to the right, if you want playback to start later.
Adjusting the Grid to Zero Crossings If Audio > Search Zero Crossings is turned on, any length adjustments to audio region start or end points will snap to the nearest zero crossing point of the waveform. The disadvantage of this option is that altered start or end points never land exactly on the selected musical grid. Should this ever cause a problem, you can simply switch off the Audio > Search Zero Crossings setting.
Setting Region Start and End Points to the Playhead Position You can move the start or end point of a selected region to the current playhead position with the following key commands:  Set Region/Event Start to Playhead Position  Set Region/Event End to Playhead Position Note: The anchor point is also moved when using Set Region/Event Start to Playhead Position on an audio region.
To tie selected regions between locators: 1 Set the left and right locator positions by doing one of the following: Â Drag from left to right across the desired portion of the Bar ruler. Â Set the desired value in the Transport’s Locator fields. 2 Select the desired regions within the locator boundaries. ∏ Tip: You can quickly select all regions inside the locators by choosing Edit > Select Inside Locators (or using the corresponding key command, default: Shift-I).
To time stretch or compress audio regions: m Option-drag the end of an audio region. This stretches or compresses the audio by the amount that the region is altered in length, and replaces the original region with a new PCM audio file (in the original file format, or AIFF, if the original was not PCM). Note: The current Snap menu setting has an impact on length changes.
Cutting, Copying, and Pasting Regions You can select, remove, or replicate one or more regions from one part of an arrangement to another. In fact, you can use the Cut, Copy, and Paste commands between the arrangements of two projects, if you wish. To cut a region: m Select the region, then choose Edit > Cut (or use the Cut key command, default: Command-X). This removes the region from the Arrange and places it in the Clipboard.
When you copy an audio region, a new region is automatically created in the Audio Bin. The new region will retain the name of the original, with a sequential number added. As an example, kickingloop.1 will be the name of a region copy, if the original region is called kickingloop. A second copy will be named kickingloop.2, a third kickingloop.3, and so on.
Using the Arrange Section Editing Buttons The Arrange Toolbar features a number of section editing buttons that can be used to perform some of the operations covered below. Whenever these Toolbar buttons are used, the operation will affect all regions that fall between the locators, regardless of the selection status of regions in this area. If you want to perform these operations on selected regions within the locators, you should not use the Arrange Toolbar buttons.
2 Choose Region > Tie Regions by Position Change (or use the Tie Regions by Position Change key command). The first region remains unchanged, and all subsequent regions are moved to the left. Note: You can use this feature to speed up the playback of spoken word recordings that have been processed with strip silence (by closing the gaps between words). To remove a section of your arrangement, using the locators: 1 Set the locators to span the section you want to remove (bar 5 to 8, for example).
To use the example 16 bar region. It is cut into two regions: Â One spanning bars 1 to 4. Â The other is now an 8 bar long region that is placed from bar 5 to the start of bar 13. ∏ Tip: The Snip command is ideal for situations where you want to remove an entire section of your arrangement, such as a chorus. To insert a cut section into your arrangement: 1 Follow the steps outlined above. 2 Set the playhead to the position that you want to insert the cut section.
3 Choose Region > Cut/Insert Time > Snip: Repeat Section Between Locators (or use the corresponding key command). The portions of all regions that are wholly, or partially, encompassed by the locators will be copied, and pasted to the right locator position. Repeating Regions Logic Pro provides a number of ways to repeat a region, through use of loops, aliases, and clones. These options make arranging faster and simpler. Using MIDI Region Aliases An alias in Logic Pro is like an alias in the Finder.
 Aliases can be individually named. Alias region names are shown in italics. If you name an alias region, its parent region name will be shown below the alias name (provided that the zoom level is adequate). Any changes made to the parent region name will be reflected on all alias regions. Note: MIDI region aliases can not be edited. If you double-click on an alias, Logic Pro assumes that you either; want to edit the original, or turn the alias into a real region.
Reassigning MIDI Region Aliases You can assign a new original region to an existing alias. This is exceptionally handy for arranging tasks where the structure is right, but the part is wrong. You can certainly copy a region to the appropriate position on a new track, create an alias, mute the existing region, and hit play, or use the far simpler method below: To re-assign an alias: 1 Select both the alias and the intended new original region.
To delete all orphan aliases: m Choose MIDI > Alias > Delete All Orphan Aliases (or use the Delete All Orphan Aliases key command). Converting an Alias Into a Real Region You can use MIDI > Alias > Convert to a Region Copy (or the Convert Alias to a Region Copy key command) to make a real region from an alias; its contents will be identical to those of the original region referenced by the alias, but its playback parameters will be those of the alias.
2 In the dialog: Set the desired sample rate, bit depth, file format, stereo conversion, and dither type for the destination files. The new audio files are created in the same folder as your original audio file. The files are also added to the Audio Bin, and all references to these new arrange regions are changed—to correspond with the newly created files.
Looping Regions The Loop function enables you to repeat a region automatically, without needing to copy it. A looped region will repeat until it encounters another region on the same track, or the project ends. A loop will also terminate at the end marker of a folder, if the looped region is inside a folder (see “Using Folders” on page 338). Loop repeats are displayed as extended segments of the original region.
To loop a region with the mouse: 1 Move the cursor to the end of the region that you want to loop. The cursor will change into a circular arrow (the loop length editing tool) when positioned in the upper area of the region. 2 Click-hold and drag the end of the region to the right, as desired, to set the length of the looped region. The loop repeats are shown as segments (of the same length as the original region) within the overall looped region.
The advantage of real copies is that they can be independently resized. This may be useful in situations where you would like to resize a few loop copies among hundreds that span the song length. To convert a loop into aliases or clones: 1 Select the original region. 2 Choose Region > Loops > Convert to Aliases (or use the corresponding key command). MIDI region loop repeats are converted into aliases. Audio region loop repeats are converted into cloned audio regions.
To make finer resolution divisions (overriding the current Snap value): m Hold Control after you have selected the region with the Scissors to divide in the division value (1/16th, 1/32nd, and so on, as shown in the Transport). m Hold Control-Shift to divide regions with even more precision (ticks or samples). The newly created segments of an audio region are named after the original, with a sequential number appended to the end of the name.
3 Choose Region > Split/Demix > Split Regions by Locators (or use the corresponding key command). All selected regions located wholly, or partly, between the locators are cut at the left and right locator positions. All regions created between the locator positions as a result of the split operation, are then automatically selected. ∏ Tip: You can achieve the same effect by defining a cycle with the mouse in the Bar ruler, while holding down Command.
 Split: Divides overlapping notes across the two MIDI regions; two notes are created, with the same pitch and velocity as the original, and with the same total length as the original note. About Zero Crossings When Dividing Audio Regions The Audio > Search Zero Crossings setting in the local Arrange menu has no effect when dividing audio regions, using any of the methods outlined above.
To create several merge files—each on their own track: 1 Select the regions that you want to merge on each track with the Pointer tool. Shift-clicking, rubber-band selection, or Command-A may be useful for this. 2 Choose Region > Merge > Regions per Tracks (or use the corresponding key command). The selected regions are combined into one region per track. As an example, tracks 1 to 4 have regions that you’d like to merge.
Merging Audio Regions Merging audio regions is a non-destructive operation, as Logic Pro always creates a new file for the merged audio material (sometimes called a mixdown). This new audio file is stored (in the project folder) on your hard drive and is automatically added to the Audio Bin. The merged region replaces the original regions.
Mixdown of Audio Regions on a Track If several overlapping audio regions 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. The selected regions are then mixed together, with no changes to volume, and without clip scanning. If there are empty sections between two regions, these are added into the new audio file—as silent passages.
 Each of these regions is created on a track with an instrument channel that matches the MIDI channel.  If no such tracks exist, new tracks are created for each channel. To split MIDI regions by note pitches: 1 Select the desired MIDI regions. 2 Choose Region > Split/Demix > Demix by Note Pitch (or use the corresponding key command). Logic Pro searches the selected MIDI regions for notes with different note numbers.  A different MIDI region of the same length is created for every note number found.
All regions in the folder are routed to, and played by, the channel strips set in the folder’s track list—as they would at the top level of the Arrange window. Note: If you drag a folder to a track that is set to an instrument channel strip, its entire contents (all MIDI regions within the folder) are played by this instrument. This usually only makes sense if the folder contains tracks for a given instrument or instrument type, such as a drum kit or generic string sound.
To unpack a folder: 1 Select the folder. 2 Choose one of the following commands: Â Choose Region > Folder > Unpack Folder command. The Arrange window will update to display the contents (the tracks and regions) of the folder. Â Choose Region > Folder > Unpack Folders (Create New Tracks), or use the corresponding key command. Logic Pro will create new tracks on the same level that the folder was located on (below the former folder track). Â Choose Region > Folder > Unpack Folders (Use existing tracks).
Adding and Removing Regions You can easily add regions to, or remove regions from, an existing folder. This is fairly commonplace as you will often experiment with your arrangement, and find that you need to add or remove parts. To move regions into a folder: m At the top level of the Arrange hierarchy (outside the folder): Drag the desired regions onto the folder, at the desired position. If the folder does not already contain a track that uses the same channel as the source region, Logic Pro creates one.
Creating an Alias Folder You can create a copy of a folder that contains aliases and clones of the regions in the original folder. The advantage is that, within this folder, you can (for example) mute regions, and alter program, instrument, or playback parameters, as desired. This provides you with an alternate mix folder—don’t forget that folders can be muted and soloed, like other regions—allowing you to quickly switch between different arrangement versions. To create an alias folder: 1 Select a folder.
Creating Fades With the Fade Tool As you’d perhaps expect, a fade in starts at the beginning, and a fade out occurs at the end of an audio region. Fades are only visible if you are sufficiently zoomed in to see the waveform in the audio region. Important: You can not create fades on Apple Loop files, represented as regions in the Arrange window. In fact, the Fade parameters are not shown in the Inspector when an Apple Loop region is selected. To create a fade in or fade out: 1 Select the Crossfade tool.
To adjust the fade curve shape: m Hold Control and Shift while using the Crossfade tool. In the example below, a positive Curve is shown for both the fade in and fade out. In the example below, a negative Curve is shown for the fade in, and a linear fade (no curve) is shown for the fade out. Creating and Modifying Fades in the Region Parameter Box You can also create and edit fades in the Region Parameter box. To create a fade or crossfade: 1 Select the desired regions.
To adjust the fade curve shape: m Edit the Curve value in the Region Parameter box. The fade curve is instantly reflected in the region. Changing the Fade Type If you click the Fade Type menu (the up/down arrow beside the Fade parameter in the Inspector), you’ll see four options: Â Out (default): Creates a standard fade out whenever the Fade tool or Fade parameter is used. Â X: Crossfades the selected region with the following region when you use the Fade tool or Fade parameter.
Setting Region Parameters The parameters displayed in the Inspector’s Region Parameter box depend on the region type selected in the Arrange area. There are parameters that are: Â Available for audio and MIDI regions. Â Only available for audio regions. Â Only available for MIDI regions. Note: The MIDI region parameters also apply to folders, and globally affect all MIDI 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 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).
Transposition All note events contained in the MIDI region are transposed up or down by the selected amount during playback. Even complete folders can be instantly transposed in this way. If several individual MIDI regions within the folder have already been transposed, the relative differences between them are retained. If you want to transpose by octaves, click on the arrows to the right of the Transposition parameter. This opens a pop-up menu that allows direct octave transpositions.
Gate Time The term gate time stems from the technology used in analog synthesizers, and refers to the time between pressing and releasing a key. This parameter affects the absolute note duration or length. This should not be confused with the musical note value, which normally refers to the amount of time until the next note. The practical effect is to make the notes in the region more staccato or legato. The parameter range is related to the original note lengths. Fix produces extreme staccato.
14 Recording in Logic Pro 14 This chapter covers all aspects of audio and MIDI recording in Logic Pro. You will learn how to set up Logic Pro for audio and MIDI recording, and how to make use of several workflow features. These include cycle, multiple take, and punch recording methods. Recording Audio This section covers all information related to audio recording.
Note: The Software Monitoring checkbox must be enabled in the Audio preferences to hear incoming audio through Logic Pro (whether you are recording or not). 7 Click the Record button on the Transport, and start playing or singing. 8 Press Stop to end recording. Preparations for Recording You should check the setup of your system prior to recording.
To set a project’s sample rate, do one of the following: m Choose File > Project Settings > Audio (or use the Open Audio Project Settings key command), and choose the desired sample rate in the Sample Rate menu. m Click the Sample Rate display in the Transport bar, and choose the desired sample rate from the pop-up menu. If you can’t see the Sample Rate display, this is probably because it has been replaced with the punch locators.
Playback of 96 kHz (or higher rate) audio files places a far greater throughput burden on your system, and uses much more hard disk space. Recording at a 44.1 kHz sampling rate and 24 bit depth is recommended for most situations. Setting the Bit Depth Logic Pro defaults to 16 bit audio file recording. If you have suitable audio hardware, 24 bit recordings offer a significant improvement in the available dynamic range. 24 bit files use one and a half times the disk space of comparable 16 bit files.
m Control-click the Metronome button in the Transport, and choose Metronome Settings from the pop-up menu. The Metronome Project Settings window combines all settings for: Â A software instrument metronome sound source called KlopfGeist, which is turned on by default. You can disable it with the Software Click Instrument (KlopfGeist) checkbox. Â The Environment’s MIDI Click object (see “MIDI Click Object” on page 913). You can specify the MIDI Port it is sent to (All, by default).
3 Click the Recording button at the top of the Project Settings window, to open the Recording project settings. 4 Enable the Count-in radio button (active by default). 5 Choose the desired count-in period that will precede recording. These options are available in the pop-up menu. Â None: The recording begins with no count-in. Â x Bars: X bars of count-in. Â x/4: The count-in time signature may be set here. These settings are useful when the count-in (and, presumably the recording) falls across a bar line.
Auto Input Monitoring If Auto Input Monitoring is switched on, you will only hear the input signal during the actual recording—before and afterwards, you’ll hear the previously recorded audio on the track, while the sequencer is running. This helps you to judge punch in and punch out points when punch recording. If Auto Input Monitoring is switched off, you will always hear the input signal.
∏ Tip: As a general workflow tip, you can leave the Input Monitoring button turned on, before, after, and during recording. When the Input Monitoring button is switched on, the Record Enable button or Auto Input Monitoring facility do not affect software monitoring. When punch recording, however, you should use the Auto Input Monitoring function rather than the Input Monitoring buttons. Possible Problems With Input Monitoring You should note that input monitoring always involves a little latency.
You can set a different “recording” folder for each project. You can also define different paths for each audio hardware system that is running (if applicable to your Logic Pro system). As an example, Core Audio could use the internal Macintosh hard disk and your DAE hardware could be set to use an external FireWire hard drive. You define the recording folder in the Recording project settings.
Audio Recording Names The track name is used as the default file name for a recording. Subsequent recordings made on this track will be assigned an ascending numerical suffix. “Audio 1” will be named “Audio 1_01”, “Audio 1_02”, and so on. If the track is not named, the name of the channel strip that the track is routed to will be used. You can rename tracks in the Arrange track list and Mixer windows (see “Naming Tracks” on page 191 and “Renaming Tracks in the Mixer Window” on page 577).
 Left: Two circles, left one filled, indicates a left channel input format. When this input format is chosen, only the left channel of a stereo audio file is played back. The level meter shows a single column.  Right: Two circles, right one filled, indicates a right channel input format. When this input format is chosen, only the right channel of a stereo audio file is played back. The level meter shows a single column.  Surround: Five circles indicates the surround channel input format.
Note: If these buttons are not visible in the track list, choose View > Configure Track Header. In the dialog, click the Record Enable checkbox. If this checkbox is active, but the switch is still not visible, you should activate the relevant audio hardware in Logic Pro > Preferences > Audio > Audio Hardware & Drivers. To disable a record enabled track: m Click the (illuminated) Record Enable button a second time in either the track list or Mixer.
Standard Recording With a Count-in You can start recording at any point in a project by setting the playhead to the desired location. Presuming that the recording tracks are correctly set up (the desired audio hardware inputs are connected, adjusted, and selected as the input source on the channel), and the track is armed: To start recording: m Click the Record button on the Transport or (or use the Record key command, default: *). The count-in x defined in File > Project Settings > Recording is heard.
 Record/Record Toggle: When used while recording, recording is temporarily suspended, but playback continues. Use this command again, to resume recording from the current playhead position.  Record/Record Repeat: When used while recording, the running recording is deleted, the playhead is moved back to the (recording) start position, and a new recording begins immediately.
The preparation for take recording is identical to that for audio recording. No special setup is required, so you can start take recording as you would for any audio recording. See “Standard Recording With a Count-in” on page 363. The first take appears as an audio region, as per usual. Once a recording takes place over an existing region (the second pass of a cycle recording ends, and the third cycle begins, or you manually stop recording after the first bar, for example), a take folder is created.
 Manually stopping a recording after the first bar of a cycle repeat (a four bar recording is stopped half-way through bar two, on the fourth pass of a cycle recording, as an example) will automatically create a “comp” consisting of the last take and the second last take. Note: Take recordings that are longer than one bar, but not the full length of the take folder (or region) are automatically “comped.
Viewing the Contents of the Take Folder You may need to access the contents of the take folder during take recording (to delete a take, for example). To open a take folder, do one of the following: m Click the disclosure triangle on the upper left corner of a take folder. m Double-click the take folder. The contents of the take folder will be displayed on temporary Arrange track sub lanes—below the take folder itself. The most recently completed (or nearly completed) take is selected by default.
To select different takes when viewing a closed take folder: m Choose the desired take from the Take Folder menu, that opens when you click the arrow at the top right corner of the take folder. The waveform data of the selected take is displayed in the take folder. Creating Comps in Real Time You can mark good take sections while recording, resulting in a perfect comp immediately after recording has finished.
Note: If you attempt to edit one of the (pre-group) edited tracks, Logic Pro will offer to remove it from the edit group. Coloring Takes While Recording Selected take folders (or take regions in an open take folder) can be independently colored, as you would with standard regions or folders, when Logic Pro is not recording.
 Choose Options > Audio > Punch on the Fly in the main menu bar (or use the Toggle Punch on the Fly key command). 2 Start playback and use the Record Toggle key command at the point where you want to start recording. Audio recording will start immediately. Recording can be halted at any time, by pressing Stop or by using the Record Toggle key command a second time. If you use the latter option, recording ends, but playback will continue.
 Use the autopunch locator fields in the Transport to set the Autopunch area numerically. Please note that the Sample Rate or Punch Locators setting in the Customize Transport Bar dialog must be active, before you can see and set the Autopunch locators (to the right of the standard locators).  Alter the Autopunch range graphically in the Bar ruler, just as you would with a cycle. 3 Place the playhead at any position before the punch-in point. 4 Start recording. 5 Stop recording.
Replace Mode Recording In Replace mode, newly recorded data is stored in a new region, as per a standard recording. In addition, any existing region on the destination track is cut at the punch in and out points of the recording, and data between these points is deleted. To activate Replace mode: m Switch on the Replace button on the Transport.
Note: Follow Tempo is not available for take folders. If you want a take folder recording to follow the project tempo, you need to flatten and merge it (see “Flatten and Flatten and Merge” on page 377). Audio regions created in another project, or audio files imported from another application, can not automatically adjust to the project tempo (the Follow Tempo checkbox is not shown in the Region Parameter box).
Creating Comps Compiling various sections of different takes is known as comping or creating a comp. Logic Pro provides special options which fundamentally streamline this standard editing practice by allowing comps to be created without having to make cuts or mute tracks and regions. The different take sections of a comp are automatically crossfaded between each other, in accordance with the default crossfade settings. These are defined in the General Audio preferences tab.
The top track in the take folder displays a composite waveform overview of all selected take sections. The vertical lines in the waveform overview indicate the transitions between different takes. m In a closed take folder, you can quickly replace a take section by Control-clicking the folder section, and choosing a different take from the pop-up menu. Important: Before performing any edits on a comp, you should save it (see below). Any subsequent changes will automatically create a new comp.
To move the selected comp area to the left or right: m Click-drag it (a two headed arrow icon is shown). To move a selected comp area to another take: m Click on the waveform of an unselected area to move the existing “comp” from another take. This is a quick way to compare a comp area on one take with the same comp area on another take. To remove a comp selection: m Shift-click the comp. To remove all comp sections from a take: m Shift-click in the region header of a take.
Flatten and Flatten and Merge The Take Folder menu—accessed by clicking the arrow at the top right corner of the take folder—allows you to flatten and merge take folders. Â Flatten: Replaces the take folder with regions that represent the current comp selections. This allows you to move individual sections back or forth in time. Â Flatten and Merge: Creates a new audio file which replaces the take folder in the Arrange.
 If the selected regions are placed after each other on a single track, the take folder will default to one automatically created comp. Playback is unaffected. If only one region is “packed,” it is selected as the take, and no comp is created. In situations where the newly created take folder overlaps other (initially unselected) regions (which would change the playback result of these unselected regions), Logic Pro creates a new audio track for the take folder.
General recording info such as recording commands, configuration of the Transport bar Recording button, setting count-ins, and so on, is covered in “Recording Audio,” from page 351 onwards. Recording MIDI Regions in Real Time You can record a single MIDI region or multiple MIDI take regions on a track. If recording multiple MIDI take regions, they can be reviewed after recording, and used as you see fit. You can also assemble a composite MIDI region by using segments of several MIDI regions.
2 Choose “Create take folders” in the Overlapping recordings menu (see “How MIDI Take Recording Works” on page 380). 3 Set a cycle by dragging from left to the right in the Arrange Bar ruler (or use the locator fields in the Transport). 4 Start recording. 5 Allow Logic Pro to continue running. After reaching the right cycle boundary, the playhead will jump back to the left cycle boundary. Logic Pro will create a new MIDI take folder.
 Recording over multiple existing MIDI regions will merge them (per track) before creating the take folder. All existing MIDI regions will appear as the first take, while new recordings will appear as the second, third, and so on takes.  Recording over multiple existing MIDI take folders will flatten them individually, and merge them per track, before creating a new take folder (which spans the combined length of all take folders).
MIDI region recording will behave as per usual, with new regions created for each recording. When the Transport’s Cycle button is turned on, however, all MIDI region recording will result in a single, merged region. Retrospective Recording of MIDI Regions If you played a great solo while playback was running, but weren’t in record mode— don’t worry. Simply use the Capture as Recording key command.
You should ensure that each of your MIDI controllers transmit on different channels. If this is not possible, simply use different inputs on your MIDI interface, and change the MIDI channel of each input, using a transformer object between the Physical Input and Sequencer Input (see “Physical Input and Sequencer Input Objects” on page 911).
Switching MIDI Thru Off When an External MIDI instrument track is selected in the Arrange, its Record Enable button is automatically switched on, and the instrument will pass events through the computer (MIDI Thru function). You can switch off the MIDI Thru function by simply deactivating the Record Enable button. There are, however, situations where you may want to record to a track that is not automatically routed to a MIDI port. As an example, when performing a system exclusive (SyEx) dump from a device.
Activating MIDI Step Input Mode MIDI Step Input mode is available in the Event List, Piano Roll, and Score Editors. To activate Step Input mode: m Click the In button found next to the local menu bar of the Event List, Piano Roll, or Score Editor. Disengage the button to exit Step Input mode. Using the Step Input Keyboard You can open the Step Input Keyboard window by choosing Options > Step Input Keyboard.
 Channel field: Determines the MIDI channel of an inserted note. The channel settings of individual notes usually have no effect on the playback channel, and therefore the sound, of the MIDI region. The channel settings of individual notes are mainly used for polyphonic score display.  Chord button: When active, you can insert notes of different pitches and lengths. These are “stacked” at the same position, resulting in a chord. The playhead does not advance until the Chord button is deactivated.
Rather than assigning key commands to all twelve pitches, you also have the option of defining key commands for the seven pitches of the C major scale. These can be used in conjunction with the Next Note Will be Sharp and Next Note Will be Flat key commands, allowing you to insert the other pitches.
Rests, Correction, Moving Forward and Back The Rest key command moves the playhead forward (in accordance with the currently set note value) without inserting a note, thereby creating a rest. The Step Backwards and Step Forward key commands also move the playhead forward or back by the length of the selected note value. The Delete key command will delete the most recently inserted note, and move the playhead back to the position where the note (previously) began.
It is recommended that you keep the Step Input Keyboard window open when first using these functions, to make the learning process easier. Once familiar, you can leave the Step Input Keyboard window closed as it is an aid, not a requirement, for MIDI step input. It is also recommended that you make use of the Input key commands (see “Step Input With Key Commands” on page 386) to quickly switch values such as the note length, or to determine the insert position.
The lowest row of letter keys sets the velocity for MIDI notes. There are preset values— ranging from pianissimo to forte fortissimo. Each value can be finely adjusted via the two keys to the right of this row (these are assigned to the comma and period keys on an English QWERTY keyboard). This keyboard configuration allows you to send any MIDI velocity value from 1 to 127. The Space bar provides a Sustain function—played with your thumbs rather than your feet.
15 Introduction to MIDI Editing 15 This chapter provides an overview of where you can best edit different types of MIDI events in Logic Pro. Logic Pro offers several MIDI event editors: the Score, Piano Roll, and Hyper Editors, and the Event List and Transform window. Each editor provides a different view of MIDI events and offers unique editing functions. These differences make particular MIDI editing tasks easier, and you will often switch between multiple editors to get a part just right.
Opening the Editors All editors can be opened from the Window menu. This launches the editor in a separate window. To open an editor from the Window menu: m Choose the editor window name from the Window menu (or use the corresponding key command).
To access the Event List in the Arrange window, do one of the following: m Click the Lists button at the right-hand side of the Arrange window Toolbar, then click the Event List tab. m Use the Toggle Event List key command (default assignment: E). m Double-click on a MIDI region (see below). The contents (the events) of the selected MIDI region are shown in the Event List, to the right of the Arrange window.
Hearing MIDI Events When Editing It goes without saying that MIDI editing is made much easier if you can hear every event and edit you make, whether you are scrolling through the Event List (automatic selection) or transposing a note by dragging it. To hear MIDI event edits in real time: m Click the MIDI Out button at the top left of each editor window. This is an independent setting for each editor, which will transmit MIDI events whenever they are added, selected, or edited.
Copying Events via the Clipboard in the Arrange Area You can use the Clipboard to add MIDI events directly to the selected track in the Arrange area, at the current playhead position. This also works for events from another project. To copy MIDI events in the Arrange area: 1 Select the events you want to copy in one of the event editors. 2 Choose Edit > Copy (or use the Copy key command, default: Command-C). 3 Select the track (and MIDI region, if applicable) you want to copy the events to.
To stop hung notes: m Double-click on the MIDI Activity display in the Transport bar (or use the Send Discrete Note Offs key command). Separate Note Off messages will be sent for every note, on all channels of every MIDI port, which should do the trick! To stop unwanted modulation: m Choose Options > Send to MIDI > Reset Controllers (or use the corresponding key command).
16 Editing MIDI Events in the Piano Roll Editor 16 The Piano Roll Editor shows the note events of a MIDI region as horizontal rectangles. This resembles the holes cut in paper pianola rolls. The Piano Roll Editor can display the MIDI note events of one MIDI region, or all MIDI regions in a folder or project, if desired (see “Displaying and Editing Multiple MIDI Regions” on page 399). You will generally work on one region at a time in the Piano Roll Editor, however.
 The vertical position of note events indicates their pitch, with those nearer the top of the Piano Roll grid being higher in pitch. Chords are displayed as a vertical stack of note rectangles. The alignment of notes in chords is not always identical, as not all notes in a chord may be struck, or end, at the same time.
Note: When View > Region Colors is activated, the notes will be displayed in the color of the MIDI regions that contain them. This makes notes easier to identify when viewing the notes of multiple regions. Displaying and Editing Multiple MIDI Regions The Piano Roll Editor can simultaneously display the contents of all MIDI regions in a folder, all regions in a project, or several selected MIDI regions.
Creating and Editing Note Events Handling note events in the Piano Roll Editor is very similar to region handling in the Arrange area. Many of the same techniques used to lengthen, cut, and move regions apply to note events, so you should find much of this section familiar. Snapping Edits to Time Positions You move and resize events in the Piano Roll Editor because you want them to start and end at a specific point in time.
To snap to an absolute, not relative, position: m Choose the Snap to Absolute Value setting in the Snap menu. A tick will appear to the left when enabled. This feature works in conjunction with the chosen snap grid format. To explain, if Bar is chosen in the Snap menu, when Snap to Absolute Value is active, moving an event (from position 1.2.1.16) to around bar 2 will result in it being snapped to position 2.1.1.1 (the bar 2 start point), rather than its relative position (2.2.1.16).
Using the Shortcut Menu Many selection, editing, and other commands can be accessed by right-clicking anywhere in the Piano Roll Editor. Make use of this to accelerate your workflow. Note: The right-click shortcut menu can only be accessed if the Right Mouse Button: Opens Shortcut Menu pop-up menu option is chosen in the Logic Pro > Preferences > Global > Editing tab. Selecting Notes You must select note events before you can edit them.
To create a note event: 1 Select the Pencil tool. 2 Click at the desired position in the Piano Roll Editor. The note that is created will match the length of the most recently inserted note. To create a note event of the desired length: m Click-hold at the desired position in the Piano Roll Editor with the Pencil tool, then drag to the right or left. A help tag will indicate the length change in real time.
To delete similar or equal events: 1 Select one of the notes you want to delete. 2 Choose Edit > Select Similar Events or Edit > Select Equal Events (notes of the same pitch, for example), and then delete the selected events by pressing Backspace. For more information about similar and equal events, see “Selecting Similar or Identical Objects, Regions, or Events” on page 175. You can also delete events by choosing one of the Delete MIDI Events commands from the Piano Roll Editor’s local menu bar.
To delete unselected events within the selection: m Choose Functions > Delete MIDI Events > Unselected Within Selection. All unselected notes between the (start point of the) first, and the (end point of the) last selected note are deleted. To delete all selected events and select the next one: 1 Select the event you want to delete. 2 Use the Delete and Select Next Region/Event key command.
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 current position and pitch are shown in a help tag while dragging. The deviation from the original pitch is shown as a positive or negative number of semitone steps at the bottom left of the help tag. The original pitch remains in the info display of the Piano Roll Editor.
Moving Events via Key Commands Editing can be greatly accelerated by assigning, and using, the following key commands to move one or more events.
Changing the Length of Notes You can use the Pointer, Finger, or Pencil tool to alter note lengths. ∏ Tip: It’s advisable to use the Pointer or Finger tool, as these avoid the accidental creation of new notes, which is possible with the Pencil tool. To alter the end point (and length) of a note: 1 Position the Pointer, Finger, or Pencil tool over the lower right-hand edge of a note event. The tool icon will change to a length change icon when positioned correctly.
Advanced Note Length Functions The Functions > Note Events sub-menu in the Piano Roll Editor menu bar contains commands that change the length of selected notes. These changes are influenced by the notes surrounding or overlapping them. This is ideal for tidying up the start and end points of notes. To remove note overlaps: 1 Select the notes you wish to affect.
If Logic Pro finds a chord, the following dialog is shown: Â Click the Delete button to erase any incorrect notes in a poorly played monophonic line. Â Click the Keep button to even out (shorten) the start points and durations of all (intentionally played/recorded) notes in chords. To convert sustain pedal events to note lengths: m Choose the Functions > Note Events > Sustain Pedal to Note Length command.
3 Choose Functions > Copy MIDI Events. The Copy MIDI events dialog opens. 4 Choose the desired settings in the Copy MIDI Events dialog: Â Mode menu: Determines how MIDI events are copied or moved. You can choose from the following options: Â Copy Merge: The copied data is blended with any data present at the destination position. Â Copy Replace: The data at the destination position is deleted, and replaced with the copied data.
Protecting the Position of Events There are times where you will want to protect certain events from being moved. As an example, several note events may be used to trigger footstep samples that match an actor walking down a corridor, in a video soundtrack. You have already created the music for this scene, but have been asked to increase the tempo to match several cuts of different camera angles in the corridor.
All selected notes can be altered simultaneously; the differences in their respective velocity values will be retained. If the velocity value of any of the selected notes reaches an extreme value (0 or 127), none of the other selected notes can be adjusted further. You can override this behavior by holding Option while dragging. This allows you to continue altering the velocity values until the selected (clicked) note reaches an extreme value.
To select the top or bottom note of one or more selected chords: m Choose Functions > Note Events > Select Highest Notes to select the highest notes in the chords. m Choose Functions > Note Events > Select Lowest Notes to select the lowest notes in the chord(s). The latter command may be perfect for separating a walking bass line in a piano region, as an example.
 Choose the desired View > Hyper Draw command.  Click the Hyper Draw button at the lower-left corner of the Piano Roll Editor, then choose the desired MIDI controller by clicking the arrow button to the left. The selected controller type (volume, for example) is shown in a gray field below the Piano Roll grid. 2 Click at different points in the gray area to create Hyper Draw nodes. A connecting line is automatically created between the nodes.
For more information see “Using Hyper Draw” on page 596. Customizing the Piano Roll Editor The View menu offers various options that allow you to customize the display of the Piano Roll Editor. Â Bright Background: Switches between a bright and dark background. Â Piano Roll Colors: Opens the Display preferences, allowing you to adjust the colors of the Piano Roll grid, background, lines, and so on for both the bright, and dark background views. For further information see “Other Preferences” on page 968.
17 Editing MIDI in the Hyper Editor 17 You can use the Hyper Editor to view and edit different MIDI event types, shown as vertical beams along a timeline within a region. Each beam represents an event. The value of the event is denoted by its height, providing an at-a-glance view of one, or dozens, of different events and their values.
You can save groups of event definitions (several lanes that you have defined) as hyper sets (see “Working With Hyper Sets” on page 434). Hyper sets are accessed via an Inspector menu. The Hyper Editor features two default hyper sets: MIDI Controls and the GM Drum Kit. The MIDI Controls hyper set provides hyper definition lanes for Volume, Pan, Modulation, and several other commonly used controller types. The GM Drum Kit hyper set offers lanes that match the note names of the General MIDI (GM) drum map.
Each note event lane in the example is restricted to the display and control of a single note pitch. By default, each beam that represents note events can be adjusted in level, by dragging vertically with the Pointer tool. Within the same hyper set, you could create two event definition lanes that control the filter cutoff and filter resonance parameters of the lead synthesizer, enabling you to create or precisely edit filter tweaks.
∏ Tip: When editing or constructing complex rhythm patterns, it can be useful to create several event definitions (see “Selecting and Creating Event Definitions” on page 427) for one drum note, each with a different quantization grid. As an example, if there are two lanes for a snare drum, one with a 1/16th and the other with a 1/96th grid, you can use the Pencil tool to add individual hits in the coarser grid, and drum rolls in the finer grid.
To change the style of beams displayed: m Choose the desired setting in the Style menu. Â No Frames: Shows the value of the event as a colored beam. Â Framed Values: Shows a hollow frame beam that is the full height of the event definition lane. The value of the event is displayed as a colored beam within the frame beam. Framed Value event No Frame event Creating Events The Hyper Editor provides several unique methods for the creation (and editing) of MIDI events.
To create multiple events in a linear fashion: 1 Select the Line tool. Line tool 2 Click at the desired position, on the appropriate event definition lane. A help tag appears, showing the exact position and event value in the top line. 3 Move the mouse to the desired end point of the line (to the right or left). As you do so, you will see the line trailing behind the Line tool pointer, with the exact position and event value shown in a help tag.
To assign a fixed event value: 1 Enable the Fix Value checkbox in the Inspector. 2 Click any existing event with the Pencil tool to use its value as a preset. In fix value mode, it is impossible to alter an event value by clicking on it. Note: When adding events with the Line tool in fix value mode, the preset value is always used as the starting value of the line.
To delete several contiguous events in a lane: m Drag across the events with the Eraser tool. To delete several non-contiguous events: m Select the events you want to remove, then press Backspace. To delete similar or equal events: 1 Select one of the notes you want to delete. 2 Choose Edit > Select Similar Events or Edit > Select Equal Events (notes of the same pitch, for example), and then delete the selected events by pressing Backspace.
This will undo or redo an isolated step without influencing all steps between the clicked and higlighted (most recent) entries. Changing Event Values Events can be altered individually or as a group. When adjusted as a group, the absolute differences between the event values remain constant. To alter individual event values: m Grab the event beam (with the Pointer or Pencil tool), and drag vertically. The current value is shown in a help tag as you drag.
Moving Events via Key Commands Editing can be accelerated by assigning, and using, the following key commands to move one or more events.
Protecting the Position of Events There are times where you will want to protect certain events from being moved. As an example, several note events may be used to trigger footstep samples that match an actor walking down a corridor, in a video soundtrack. You have already created the music for this scene, but have been asked to increase the tempo to match several cuts of different camera angles in the corridor.
To create a new event definition: 1 Select an event definition lane by clicking on one of the names shown. The selected lane is highlighted. 2 Choose Hyper > Create Event Definition (or use the corresponding key command, default: Option-Command-N). This creates a new event definition lane. The original, and all subsequent, event definition lanes are moved downwards. The new event definition parameters are identical to the originally selected event definition.
2 Do one of the following  Choose Hyper > Create Multiple Event Definitions (or use the corresponding key command), then click the Selected button in the dialog.  Choose Hyper > Create Hyper Set for Current Events (or use the corresponding key command). This creates a new hyper set that contains event definition lanes for each of the selected event types. This is especially useful for quick hyper set creation of all Hyper Draw (MIDI controller) events in a region.
To delete event definitions: m Select the desired event definitions, then choose Hyper > Delete Event Definition (or use the corresponding key command, default: Control-Backspace). To reorganize the order of event definition lanes: m Grab the name of the event definition you want to move, and drag it (vertically) to the desired position. Changing Event Definitions You use the Event Definition Parameter box in the Inspector to alter the settings of the selected event definition lane.
 P-Press (Polyphonic Pressure): As above, but each note can be independently modulated.  Program Change: To define a lane that is used to create and send MIDI program change events, allowing you to switch between sounds (electric piano and clavinet, for example) midway through a region.  Pitch Bend: To define a lane for pitch bend information. Important: The choice made in the Status line directly affects the behavior (and appearance) of the First Data Byte parameter.
If channel aftertouch (C-Press), or program change events (Program) are chosen in the Status line, the First Data Byte parameter setting is ignored, and the first data byte is displayed as a beam height. When pitch bend data (PitchBd) is chosen in the Status line, the First Data Byte parameter setting is also ignored, because both data bytes are used to display the beam height.
MIDI Channel Next to Channel, you’ll see a checkbox, and to the right of this you can set a MIDI channel number, by dragging vertically. If you click this box (turn it on), the display is restricted to events on the set channel. If the box is unchecked, the channel parameter is ignored, and matching events on all channels are displayed.
Enable the Quantize Events checkbox to quantize the event positions to the Grid value chosen in the right-hand parameter field. If any Delay value is shown on the right, this is taken into account by the quantization. If you simply open the Convert Definition dialog, change the Grid value in the righthand field, turn on the Quantize Events checkbox (and make no further alterations), the event positions of the selected event definition lane will be quantized.
Creating a GM Drum Hyper Set General MIDI has an established keyboard assignment pattern (a MIDI note map) for drum and percussion sounds. This mapping standard is often followed in non GM, GS, or XG compliant sound modules, samplers, and synthesizers. In some cases, however, you will need to make a few changes.
You can create as many hi hat groups as needed in a hyper set, but they must all be separated by at least one line in which hi hat mode is switched off. Naming a Hyper Set By default, a new hyper set is named MIDI Controls or GM Drum Kit. To re-name a hyper set: m Double-click the name shown in the Hyper Set menu of the Inspector, type in the desired name and press Return.
18 Editing MIDI Events in the Event List 18 The Event List is the most powerful, flexible, and complete MIDI editor in Logic Pro. All MIDI event types are displayed as an alphanumerical list in the Event List. All aspects of events—start and end points, length, channel, and values—can be altered in this window. You can view all events in one or more regions, and can filter the list to restrict this view to one or more event types, such as notes, pitch bend events, or both, for example.
Learning and Using the Event List Interface All functions and options are shown at the top of the Event List area. The events themselves are shown in the list area below. To open or close the Event List, either: m Press the E key (the default Toggle Event List key command). m Click the Lists button at the top right of the Arrange Toolbar, and click the Event tab, if it’s not already active. The lists area is displayed (or hidden, if already open) on the right side of the Arrange window.
Filtering Event Types When viewing events in the selected MIDI region or regions, you can make use of the event type buttons to filter the display. These buttons hide specific event types from the list below, thus limiting the view to events that you want to edit. Important: All selection, editing, and processing functions performed in the Event List only affect the displayed events, which protects any non-visible events from changes you may make.
Score layout information is also included in the list when additional info is shown. You can edit this in the Event List if you wish, but it is handled far more efficiently in the Score Editor. Note: The Additional Info button is only visible when the Filter button is on. Once activated, the enhanced event list will be shown (in Filter or Create mode) until the Additional Info button is turned off.
To make a selection (and navigate the list) with the Left or Right Arrow key: m Press the Left Arrow key to select the previous event, or the right Arrow key to select the next event. Hold down the respective Arrow key to scroll through the list. To select multiple events with the arrow keys: m Hold Shift and press the Left or Right Arrow keys. Keep the Arrow key held down to select multiple events (with Shift held).
Creating Events The Event List accepts real time and step recording of MIDI events, as described in Chapter 14, “Recording in Logic Pro,” on page 351. You can also manually add events. To add an event manually: 1 Move the playhead to the desired insert position. The current playhead position will be used as the insert position if not moved. 2 Click the Create button. 3 Click the desired event type button. The event is added at the playhead position, and is automatically selected.
Copying and Moving Events You can perform advanced copy and move operations within the Event List. These allow you to directly swap events, or to merge a group of notes from one section of a region to the same, or another, region, as examples. For more information, see “Advanced Note Copy and Move Options” on page 410. Protecting the Position of Events There are situations where you will want to protect certain events from being moved.
In some instances, clicking on the information in the Num(ber) or Val(ue) column will open a pop-up menu, allowing you to choose an option. As an example, clicking on the Num(ber) column of a MIDI controller event (Control is shown in the Status column) will open a pop-up menu of numbered and named standard MIDI controller types. These include: Controller numbers 3 = Solo, 7 = Volume, 10 = Pan, and so on.
Changing the Appearance of the Position and Length Columns Not every project is bar/beat oriented. These View menu commands may make changing the position and length of events much easier when you’re working with film or video, for example. Â View > Event Position and Length in SMPTE Units: Choose to display the position and length columns in SMPTE units.
Note: It is possible to select different event types, and simultaneously alter the Num(ber) or Val(ue) parameters. Needless to say, this can lead to unexpected, and disastrous, results. It is highly recommended that you make use of the event filtering buttons to hide non-matching event types. The enhanced selection functions may also be of use when creating or editing groups of events. Deleting and Muting Events These two functions go hand in hand.
To rename a region or folder: 1 Choose the Text tool from the Tool menu, and click on the region or folder name in the Status column. 2 Type in the desired name, and press Return to exit the text field. The corresponding region or folder is renamed in the Arrange window. Note: The Text tool has no effect on events, as these cannot be renamed. Learning About Event Types This section covers the different types of events that can be viewed, and changed, in the Event List.
Mapped Instrument Notes If the edited MIDI region is played through a mapped instrument, the names defined for each individual note appear in the Status column. A small note symbol to the left of each name aids in identifying these named events as note events. Viewing and Changing Note Release Velocity You can edit the release velocity of a note event when the Additional Info button is active. To view release velocity data: m Turn on the Additional Info button (only available in filter mode).
 Val(ue): Value of the controller. Continuous controllers have a range of 0 to 127. Switch controllers (CC#64—CC#90) transfer two states: off (val = 0) and on (any value between 1 and 127). Pitch Bend Events Pitch bend events are used to continuously vary the pitch. They are usually generated by a centered pitch bend wheel or joystick on your keyboard.  Num(ber): Fine pitch bend division (LSB: Least Significant Byte). Many keyboards transmit a value of 0.
This allows you to address the different sound banks (preset, internal, card, and so on) of connected MIDI keyboards and modules. The synthesizer must be able to recognize controller 32 as bank select, but unfortunately this standard is not used by all manufacturers. If you have any problems with bank select, check your synthesizer’s manual to see whether, and how, it responds to bank select commands.
SysEx Events System exclusive data (SysEx) is unique to individual MIDI devices. You can record these events by using the dump utilities of your synthesizers. This enables you to save patch information, or other data, outside of the MIDI device (in a Logic project or MIDI file). The arrows in front and behind EOX are used to add or remove bytes. Warning: Editing SysEx Events requires a thorough understanding of the data format used by the MIDI device in question.
 Num = 48 (Switch Fader): This will send MIDI events to a particular output number (Val) on a cable switcher (see the Environment chapter for details). You first need to connect a cable between a track instrument and the cable switcher in question.  Num = 49 (Go to screenset): This event selects a screenset. Val determines the screenset number.  Num = 50 (Project Select): This event will switch projects on a MIDI data filer/player. Val determines the stored project number.
19 19 Quantizing MIDI Events Quantization is the rhythmic correction of notes to a specific time grid. Any inaccurately played notes are moved to the nearest position on this grid. As an example, if the shortest notes in a passage are 1/16th notes, you would use 1/ 16th quantization to move all notes to their ideal rhythmic position on the grid. This will only work, however, if no note was played more than 1/32nd from an ideal position.
Important: Event-based quantization destructively alters the position of all MIDI event types, except note events. Quantizing Regions You can quantize selected MIDI regions by changing the value of the Quantize parameter in the Region Parameter box of the Inspector. Region-based quantization only works on notes, not on other MIDI data event types, such as MIDI controllers. The Quantize parameter determines the division of the quantization grid.
 Triplet Quantization: The 1/3, 1/6, 1/12, 1/24, 1/48, and 1/96 note settings quantize the MIDI region to triplet note values. A 1/6 note is equivalent to a quarter triplet, 1/ 12 note to an eighth triplet, 1/24 note to a sixteenth triplet and 1/48 note to a thirtysecond triplet.  Mixed Quantization: The 8 & 12 setting corresponds to eighths and eighth triplets, 16 & 12 to sixteenths and eighth triplets and 16 & 24 to sixteenths and sixteenth triplets.
Some Points to Note When Using Region Quantization The quantization grid always begins at the start of a MIDI region. If the MIDI region does not start at the beginning of a bar, neither does the quantization grid. If you alter the start point of a MIDI region, you also alter the quantization grid. Important: Unlike other region playback parameters (Delay, Transposition, and so on), Quantize affects the way notes are displayed in the MIDI editors.
The following quantization options appear below the standard set of region parameters. They can be applied to any quantization value (except Off ). Â Q-Swing: This percentage value alters the position of every second point in the current quantization grid. Values over 50% delay the beats. Values under 50% predelay them. The most practical settings fall between 50% and 75%, imparting a swing feel to strictly quantized (or tightly-played) MIDI regions.
 Q-Velocity: This parameter (expressed as a percentage) determines the amount that the velocity values of quantized notes are affected by the velocity values of a template MIDI region (see “Creating Groove Templates” on page 461). At a value of 0%, the notes retain their original velocity. At 100%, they adopt the velocity values of the template. Negative values alter the velocity, making the deviation from the template even greater.
Event and Note Quantization The menu bar of the Piano Roll Editor and Event List offer a Quantization menu and Quantize button. This is a separate quantization function, which can be applied to selected events, rather than entire regions. Quantization menu Quantize button The Piano Roll Editor also offers a Quantize tool. Further quantize operations are also available in the Transform window. These can be applied to events in one or more selected regions that match very specific criteria.
 Select the events that you want to quantize, then click the Quantize button (Piano Roll and Event List Editors). The most recently selected (or active) quantize value is used on all selected events.  Select the Quantize tool, then click all notes you want to quantize (Score and Piano Roll Editors). The most recently selected (or active) quantize value is used on all selected notes.
Creating Groove Templates You can create quantization grids based on the rhythms of other MIDI regions. These are referred to as groove templates. Groove templates make it possible to capture the small timing deviations which give a MIDI region its feel, and apply them to other MIDI regions.
This deletes the selected source MIDI region from the list of possible quantization templates, thus removing it from the Quantization menu. It does not remove the region. Using Groove Templates Across Projects If you wish to create and retain a number of quantization templates for use in several projects, follow these steps: To use a groove template in several projects: 1 Copy or create your source MIDI regions in one project. 2 Name these regions as desired, with the Text tool.
2 Double-click on the region to open the Sample Editor, or select the Sample Editor tab at the bottom of the Arrange window. 3 Choose Factory > Audio to MIDI Groove Template (default key command: Control-M). 4 Choose the desired settings in the Audio to MIDI Groove Template tab: Â Preset menu: This menu contains various presets for the Audio to MIDI parameters, which are suited to specific types of audio material. You can use these presets as starting points for your own processing.
 Time Correction: This parameter allows you to compensate for any time delays that may occur when external samplers or synthesizers are triggered by MIDI notes. These time delays are sometimes very noticeable, particularly if the connected device is playing a MIDI region (that was quantized with an Audio-to-MIDI groove template) at the same time as the original audio material. You should be able to compensate for this effect by using settings between –20 ms and 0 ms.
20 Editing MIDI Events in the Transform Window 20 The Transform window allows you to define a set of conditions and operations that are used to select, and alter, specific MIDI events. The Transform window is so-named because it transforms MIDI events—based on conditions, operations, and values chosen by you—into different types of events, or events with different values.
To open the Transform window, do one of the following: m Choose Window > Transform from the main menu bar (or use the corresponding key command, default: Command-4). m If you want to transform events (that you have selected in one of the MIDI editors) choose a preset from the Functions > Transform menu. You can certainly choose the Window > Transform command while you are in a MIDI editor, but you will need to manually select a preset.
3 In the Mode menu, choose how you want to transform the selected events within the regions. 4 Set the desired selection conditions. 5 Define the operations you want to perform. Note: You can click on the “Hide unused parameters” checkbox (turn it off ) to show all conditions and operations, allowing you to make more advanced choices. 6 Do one of the following: Â Click the Select Only button to select all events that meet the selection conditions. The events will not be transformed.
 Set the desired velocity values in the Operations area, ranging from 1 to 127.  If you want a less dynamic crescendo, set a smaller value range.  To perform a diminuendo, set a higher value in the top Velocity field, and a lower value in the bottom field. Scale 14 Bit PitchBd Scales pitch bend data, keeping the 14 bit information intact. The length of pitch bend events is expressed as a decimal value ranging from –8192 to 8191, and this is the 14 bit information that is retained.
This preset is a great creative option for drum regions. The following example presumes that a “four-on-the-floor” kick, snare, hi-hat, and other percussion sounds region is being viewed in the Hyper Editor. To experiment with the Double Speed preset in the Hyper Editor: 1 Click on the name column of one of the drum sounds. This selects all note events of a particular pitch in the region. 2 Change the Length field to a value that does not match the Position field, or vice versa.
Humanize Adds a random value to the position, velocity, and length of selected note events. This preset is useful on rhythmic parts, such as clavinet or piano accompaniments, and drum and percussion regions (or events). It can add life to strictly quantized material, or notes that were manually entered (see “MIDI Step Input Recording” on page 384). Alter the values for Position, Velocity, or Length to increase or decrease the random factor for each of these event parameters.
Reverse Pitch Inverts the pitch of all note events. Change the Flip operation value to set a pivot point note number, around which note event pitches will be reversed. Transposition Transposes all note events. Â Change the Add operation value to the desired amount (in semitone steps). Â You can achieve downward transpositions by setting a negative value in this field.
Exponential Velocity Alters the scaling of the velocity curve. This preset is of particular use on software or MIDI instrument parts. Velocity is generally used to control the initial volume of instruments, but is often used to trigger filter envelopes, making the sound brighter or darker. Transforming regions is much faster than changing the velocity scaling or filter parameters of your MIDI or software instruments. Change the Velocity value field in the Operations area to change the velocity curve.
Velocity Limiter Limits the velocity to a maximum value. This is perfect for transforming instrument parts that are too strident, by limiting the velocity. Change the Max operation field value to limit the velocity to a maximum value. This is instantly reflected in the map area below. Fixed Note Length Creates constant note lengths. Useful on many instruments, particularly drums and other rhythmic parts, such as pianos, clavinets, and basses.
Maximum Note Length Sets the maximum length of all note events. Change the Length value field in the Operations area to define the maximum note length. Existing note lengths—which are shorter than the length defined here—are retained. Events that are longer than the defined value are shortened. Minimum Note Length Sets the minimum note length. Change the Min value field in the Operations area to define the minimum note length.
Quantize Note Length Quantizes the note length. This preset actually quantizes the note end position. Change the Length value field—in the Operations area—to define the length that note end positions will be quantized to. Using the Transform Window Parameters This section discusses the use of the individual Transform window elements, providing an overview of what each option does.
Global Parameters These parameters globally affect the Transform window appearance and operating mode. Â Mode menu: Choose one of the following settings menu options to determine how events are transformed. Â Apply operations to selected events: Choose this mode to apply the operations to all selected events. The selected events are determined by the selection conditions. Â Apply operations and delete unselected events: Choose this mode to transform the selected events, and delete all non-selected events.
The condition is considered to be fulfilled when an event matches the defined effective range, and values, of all event parameters. These ranges and values are determined in the pop-up menus and fields found under each of the event parameter columns. To choose the event type: m Click on the Status pop-up menu to determine which events will be selected. You have a choice of just two settings here: Â All: All event types fulfil the condition.
Defining Operations The Operations area is used to define the changes you would like to make—to events that meet the selection conditions. As with the selection condition pop-up menus, you choose an operation in the appropriate event parameter columns. One or two value fields may appear, dependent on the chosen operation.
 Max: Parameter values that exceed the set value are replaced by it. Smaller event parameter values remain unaltered. This could be used to restrict filter resonance modulation events above a value of 100, for example, resulting in a softer filter sound.  Flip: All parameter values that match the conditions are reversed around a pivot point (the value defined here). Events above this value are moved by the same distance below it and vice versa.
 Rel.Cres: This only works if the Inside Position selection condition is selected. The effect is similar to that achieved by Crescendo, but the previous values of the parameters being altered are taken into account when the crescendo is created, preserving the relative feel of the original.  Use Map: The set map will be used when this operation is selected (see below). To set the values for an operation: m Use the mouse as a slider, or directly type the desired value into the field.
Some Points to Note About the Map The map is only visible when chosen in one of the Operations pop-up menus. Appropriate selection conditions must also be set, or the map will not be shown. The map is universal, which means that it remaps one MIDI value to another. It does not know what type of MIDI data is sent to it. It is only concerned with the value of the data. This means that one map can be used to simultaneously alter the pitch, velocity, and length values of incoming note events, for example.
Creating Your Own Transform Sets You can store your own transform settings in a user transform set. To create a user transform set: 1 Choose **Create Initialized User Set** from the Presets pop-up menu. 2 Set the desired conditions. 3 Set the desired operations. 4 Switch on the “Hide unused parameters” checkbox. This helps to avoid changes to conditions and operations that aren’t required for (or may mess up) your transform set. 5 Click on New Parameter Set (Number) in the Presets menu.
6 Save your project or template. Usage Examples The following section provides several usage examples for the Transform window. To add a mod wheel controller event (#1), with a value that matches the note’s velocity: This is automatically placed one tick after each note start and end, thus avoiding potential conflicts with the note events themselves.
3 Choose Note from the pop-up menu below. 4 Choose the Fix setting in the Velocity menu of the Operations area. 5 Change the amount to 127 in the value field below the Velocity menu. To convert MIDI note events to MIDI controller 1 events: 1 Choose the following settings in the Transform window: Â Mode menu: Apply operations to selected events. Â Selection Conditions area: Set Status to Note. Â Operations area: Â Set Status to Fix, and choose Control in the menu below it.
 Mode menu: Apply operations to selected events,  Selection Conditions area: Set Status to Note.  Operations area: Set Pitch to +–Random, and set the max deviation from the root note in the field below. If you set a value of 12, you’ll achieve a deviation of one octave up and one down (two octaves, around the root note, in other words). 2 Click Select and Operate.
 Selection Conditions area:  Set Status to Control.  Set Data Byte 1 to a value of 7. 2 Click Select And Operate. To delete all controller events from a region: 1 Choose the following settings in the Transform window:  Mode menu: Delete selected events.  Selection Conditions area: Set Status to Control. 2 Select the MIDI region you want to transform, then click Select and Operate.
21 21 Editing Audio in the Sample Editor You can precisely select, refine, and process audio recordings in the Sample Editor. The Sample Editor allows you to make incredibly accurate adjustments to audio files, right down to individual samples. This makes it the ideal tool for the removal of pops and clicks in audio material, or setting accurate crossover points for looped playback.
Playing Audio Files There are various ways to play back the audio sections visible in the Sample Editor, allowing you to hear audio during edits. Playback occurs independently of the project playhead position. If you’d like to hear the selected audio passage in the context of the project, just use the Transport playback controls, as usual. The Mixer’s Prelisten channel is used for monitoring in the Sample Editor.
You can change the start and end points of the selected area while looped playback is happening. This makes it easy to edit the start and end points of a drum loop, for example, until it loops perfectly. When you’re satisfied with the loop, you can make the selected area a new region with the Edit > Selection → Region function. To control playback with the overview: m Simply click-hold at the point you want playback to begin. Release the mouse button to stop playback.
Navigating Audio Files The Sample Editor offers a number of navigation facilities that make it easy to move to, and enhance the view of, specific parts of an audio file—making selection and editing far simpler, faster, and more accurate. The scroll bars along the bottom and right edges of the Sample Editor scroll through the detailed waveform display in the usual way. The zoom controls are also used in the same fashion as in other windows.
Changing the X and Y Axis Scales The Sample Editor’s vertical Y axis scale can show the waveform amplitude in percentage units or in sample units. Percentage scale Sample units scale To display the amplitude scale in sample units: m Enable the View > Amplitude Sample Value setting. To display the amplitude scale in percentage units: m Enable the View > Amplitude Percentage setting. You can also access the amplitude view settings by Control-clicking on the amplitude scale itself.
Absolute and Relative Time The different axis scales in the Sample Editor can be displayed in two ways: Â By reference to the time axis of the project (absolute position) Â By reference to the beginning of the audio file (relative position) The units in the ruler (between the overview and the waveform display) are displayed with dotted lines when viewing the relative position. To enter the relative display mode, do one of the following: m Open the Sample Editor from the Audio Bin.
m Activate Link mode in the Sample Editor, and select a region in the Arrange area. Time is measured from the start of the project, which is assigned a value of zero (or position: 1 1 1 1 in bar/beat terms). In this viewing mode, the absolute (project) time is shown in the ruler. Displaying the 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.
Making Selections Sample Editor commands only affect the currently selected area of the audio file. The start point, and length, of the current selection area are shown in the info display above the overview. Info display The format of the information shown in the start point and length display fields matches the chosen View menu display settings. ∏ Tip: Make use of the navigation options discussed in the previous section to accelerate selection.
∏ Tip: If you hold down Option-Shift, the more distant selection boundary is changed (rather than the nearer). To move the selection area: m Option-click, and drag to shift the whole selection, without changing its length. To define the selection area using a region: 1 Select a region in the Audio Bin or Arrange area. 2 Choose Edit > Region → Selection. This function is useful if you want to reselect the entire region for cycled playback, after performing a number of edits, for example.
Destructive Audio Editing and Processing The following section covers the use of several standard audio processing commands and tasks. These include normalizing, reversing, fading, and changing the level of audio files. Advanced audio processing options are discussed in “Working With the Digital Factory” on page 504. You are normally asked to confirm all sample editing functions executed with a key command.
As long as the mouse button is held down, the drawn waveform can be replaced by the original waveform—by moving the mouse to the left. Changing the Level of an Audio File You can use the Change Gain command to change the level of an audio file. You would typically use it on an entire audio file, but can certainly boost portions of it. To raise or lower the level of the selected audio file (or area) by a specific amount: 1 Choose Functions > Change Gain.
 Choose Functions > Fade Out (default key command: Control-O) to fade passages out automatically. ∏ Tip: If you use the Silence function (see “Silencing an Audio File Section” on page 498) to remove unwanted background noise from silent passages, small jumps in volume can sometimes appear at the silence start and end points. In this situation, zoom in, and select a small area surrounding (just before and after) the start point of the signal, then use the fade-in function.
Reversing the Selected Area of an Audio File The Reverse command is most commonly used on an entire audio file, to reverse a cymbal sound, for example. It can also be used as a creative option on selected portions of audio files. As an example, the reverb tail at the end of a file can be reversed, copied, and pasted to the beginning of the file.
You can set the desired maximum level in the Function Settings window, which you can open by choosing Functions > Settings (or by clicking the Settings button in the Normalize dialog). Set the desired maximum level (as a percentage or in decibels) in one of the Peak at fields. ∏ Tip: You should not choose 100% (0 dB) in these fields, as this may result in clipping should you wish to increase the gain of the overall signal afterwards, say with an EQ.
To center the waveform around the zero amplitude line: m Choose Functions > Remove DC Offset. Adjusting the Project Tempo Just like automatic tempo matching functions in the Arrange, the Functions > Adjust Tempo by Selection and Locators command adjusts the project tempo, in accordance with the current locator positions and selection area in the Sample Editor.
Setting Undo Preferences You can configure the Sample Editor’s undo functionality in the Preferences > Audio > Sample Editor tab: Â Clear Undo History when quitting: Switch this on to automatically delete the Undo History for all edited audio files, when you quit Logic Pro. Â Record selection changes in Undo History: Switch on if you wish to undo and redo changes to selected areas in the Sample Editor.
To duplicate the audio file you’re working on: m Choose Audio File > Create Backup (default key command: Command-B) This creates a copy of the audio file (with the extension .dup) in the same folder as the source file. To revert to a backup file: m Choose Audio File > Revert to Backup (default key command: Shift-Command-B). This function completely replaces the current audio file with the backup (provided one exists, of course). Important: You can not reverse this function with Undo.
To save the selected area as a new audio file: m Choose Audio File > Save Selection As (or use the corresponding key command, default: Shift-Command-S). The Save Selection As dialog offers the same file conversion menus as the Save A Copy As dialog. You can also choose to add the file to the Audio Bin, following the save. Working With the Digital Factory The Sample Editor features a number of audio processing tools, collectively known as the Digital Factory.
Using the Time and Pitch Machine You can use the Time and Pitch Machine to radically alter the time structure of audio files, including time compression or 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.
m Click the Time and Pitch Machine tab if another Digital Factory processor is visible. You don’t need to enter, or adjust, all of the Time and Pitch Machine parameters to get a good result. Most are linked, so an adjustment to the Tempo parameter will result in changes to the Length values, and vice-versa. Choosing the Mode and Algorithm The Time and Pitch Machine’s Mode and Algorithm menus define the operating mode, and algorithm, used when performing the time stretch or pitch shift.
 Rhythmic Material: Use this algorithm on rhythmic material—can be drums and percussion, but less obviously; rhythm guitar, clavinet, and piano comp parts.  Beats Only: This algorithm perfectly maintains the timing of percussive material. It should be your first choice for all kinds of dry drum loops.  Universal: This high-quality algorithm is able to handle any kind of audio material, and is generally recommended for most time stretching tasks.
Length in SMPTE Displays the length of the selected area in SMPTE time format. Length in Bars Displays the length of the selected area in musical values (bars, beats, divisions, and ticks). If you have already adjusted the project tempo to match 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.
Harmonic If Harmonic Correction is turned on, you can also use the Harmonic (Shift) parameter to independently alter timbre. The units are shown in cents—100 cents per semitone. Â If you select the same value in both the Harmonic and Transposition fields, no correction occurs, and the result is as if Harmonic Correction is switched Off. Â If you set Harmonic to zero, the formants don’t change. This avoids the unwanted side effects of traditional pitch shift algorithms.
m Click the Groove Machine tab if another Digital Factory processor is visible. Swing This parameter is used to set the swing factor. At 50% there is no change—you will generally achieve the best results with values around 55% to 65%. Based on Period You can determine whether the audio material should be edited (quantized) on the basis of eighth note, or sixteenth note swing.
You could compare the effect to an analog tape which has been saturated with a high recording level. The distortion factor and effect on the audio material is much lower than that of analog tape saturation, however. Here’s an example of the effect.
 Values over 200% are not recommended with normalized files, because they will have detrimental effects on the sound and its dynamics. They can also greatly increase the required computation time. On non-normalized audio data, however, even high values can be effective because the overall level is initially increased to its maximum, without affecting the dynamic range. Attack and Decay These parameters control the steepness of the algorithm’s filter.
The process is single ended, meaning it affects material which is already recorded, and there is no need to decode the signal during playback. This means that even noise present in the original signal can be processed. To use noise reduction: 1 Turn the Spike Reduction function off, by moving the Sensitivity slider to the extreme right. This ensures that only the Noise Reduction function is used. 2 Drag the Strength slider to the desired position. Â Off means no edit. Â Min is the smallest possible edit.
 The Re-build setting completely replaces the (often unusable) original signal with an artificially generated estimate of the original signal, at the identified points. This synthesized signal is created by analyzing the audio material surrounding these points. All of these algorithms filter the original signal at the identified spike points. 4 Click the Process button to execute the function. Experiment with the parameters.
3 Set the desired parameter values in the Audio to Score tab. 4 Click the Process button. A Score Editor window, containing the transcription of the audio file, opens automatically. Setting the Audio to Score Parameters The following section outlines the parameters you can set in the Audio to Score tab. Preset This menu contains various presets for the Audio to Score parameters, which are suited to specific types of audio material. You can use these presets as starting points for your own processing.
Minimum Quality You can choose between normal or high quality processing in this pop-up menu. Â The Normal setting is more tolerant of audio trigger points that aren’t perfectly in tune, but it can generate wrong notes. Â When set to High, only audio trigger points of a clearly identifiable pitch will be accepted and used. Indistinct trigger points are replaced by notes with a pitch of C3 and MIDI channel 3. These are labeled as an “undetected mark.
To use the Quantize Engine on an audio region: 1 Select the audio region that you want to quantize in the Arrange area. 2 In the Sample Editor, choose Factory > Quantize Engine. 3 Set the desired parameters in the Quantize Engine tab. 4 Click the Process button. Setting the Quantize Engine Parameters The parameters available to the Quantize Engine are almost identical to those available for the Audio to Score function (see “Converting Audio to MIDI: Using Audio to Score” on page 514).
Audio to MIDI Groove Template For detailed information on the Audio to MIDI Groove Template function, see “Creating an Audio to MIDI Groove Template” on page 462. Using an External Sample Editor You can configure Logic Pro to open an audio region or file in an external sample editing application. To use an external sample editing application: m Click the Set button below the Logic Pro > Preferences > Audio > Sample Editor > External Sample Editor preference.
22 Removing Silent Passages From Audio Regions 22 You can use the Strip Silence function to automatically remove silent passages from audio regions. The basic premise of the Strip Silence process is simple: all amplitude values below a threshold value are interpreted as silence, and removed. New regions are created from the remaining passages.
Optimizing Synchronization Over Long Time-Spans Different computers, different synchronization sources (internal or SMPTE code), different tape machines and—in theory—even different samplers or hard disk recording systems, will exhibit slight variations in clock speed. Changing just one component can lead to a loss of synchronization between recorded audio material and MIDI. This is particularly applicable to long audio regions.
Using Strip Silence This section outlines the steps, and parameters, involved in the Strip Silence process. To remove silent passages from a selected region: 1 Do one of the following: Â In the Arrange area, choose Audio > Strip Silence (or use the Strip Silence key command, default: Control-X). Â In the Audio Bin window, choose Options > Strip Silence (or use the Strip Silence key command, default: Control-X).
 Post Release Time: Use this parameter to define an automatic release time for the end points of all regions. You can avoid abrupt cut offs to amplitudes that fade out gradually (particularly if you have set a high Threshold value). As examples: Cymbals, open hi hats, snares with long reverb tails, vocals, and so on. The Post Release Time parameter does not allow overlaps. This means that region end points cannot extend beyond the start point of the following region.
23 Adjusting the Tempo of Audio Regions 23 The length of imported audio regions and the project tempo are directly linked. If you change the tempo at a particular project position, the length of regions at, and after, this position will change. You won’t hear a difference in the playback speed of the imported audio, but all MIDI or software instrument regions will be out-of-sync with all audio regions.
To convert a selected audio region into an Apple Loop, please use either of the following options: m Choose Region > Add to Apple Loops Library in the Arrange area. This method sets transients that are based on the project’s tempo information. For more details, see “Creating Apple Loops in Logic Pro” on page 616. m Choose Audio > Open in Apple Loops Utility in the Arrange area. This functionality allows you to set the transients manually—independent of the project tempo.
A dialog will ask if you want to change the tempo of the entire project, or create a tempo change for the section of the project occupied by the selected region. 4 Do one of the following: Â Click Globally to adjust the tempo of the complete project to the audio region. Â Click Create to create a tempo change that spans the length of the audio region. The project tempo is recalculated to conform with the audio length (and locators).
To adjust the region length to the nearest bar: m Choose Audio > Adjust Region Length to Nearest Bar. This adjusts the length of the selected region to the closest whole bar. This function is ideal for fitting previously trimmed drum loops into projects where there is a small tempo discrepancy between loop and project. Using the Follow Tempo Function Audio files recorded in Logic Pro can follow the project tempo—inclusive of tempo changes—set in the global tracks.
To make recorded audio files follow the project tempo (and first key signature): m Select the audio region in the Arrange area, and turn on the Follow Tempo option in the Region Parameter box in the Inspector. The Follow Tempo option is synchronized for all regions that make use of the same audio file.
24 Managing Audio Files 24 Most audio file management takes place in the Audio Bin. Several individual file management functions are found in the Sample Editor and Arrange window. This chapter covers all audio file management facilities available in Logic Pro. These options help you to keep track of your audio files, and make tasks such as file copying, moving, renaming, and backing up both easy and efficient.
Sorting Audio Files Information on every currently loaded audio file is shown in the Info column of the Audio Bin. You can switch this display on or off by choosing View > Show File Info. To sort audio files: m Choose any of the following View > “Files sorted by” criteria to reorganize the listing of audio files: Â Â Â Â None: The audio files are listed in the order that they were loaded or recorded. Name: The audio files are listed in alphabetical order.
Grouping Files in the Audio Bin You can group audio files together, making handling of large numbers of files easier and faster. In the image, you will see a Guitars and Vocals group, with several files in each. Guitars group Vocals group This separation into categories simplifies handling, particularly if all files are similarly named. As an example, audio imported from another application may be named “audio01”, “audio02”, “audio03”, and so on, regardless of whether a vocal, guitar, or drum part.
To group audio files: 1 Select the files you want to group in the Audio Bin. 2 Choose View > Create Group (or use the Create Group key command). 3 Type the desired group name in the Group Name field (labeled “Enter name for new group”), then press Return. To group audio files by their location, attributes, or selection status: 1 Select the files you want to group in the Audio Bin.
Note: If existing groups have been created, a dialog will ask if you want to add all files to one of these groupings, thereby deleting the existing groups, or if you would like to only add files that are not yet group members. Click the appropriate button. To open or close one or more groups: m Click on the disclosure triangle to the left of a group name to open or close it. m Option-click on the disclosure triangle to the left of any group name to open or close all groups.
Moving Audio Files The Audio Bin’s Audio File > Move File(s) command (default key command assignment: Control-M) enables you to move selected audio files to another location on your system. If the source drive or partition is the same as the target drive or partition, the files are simply moved to the other folder. This is a very quick and convenient way of organizing the drive and the project. This function is useful when you want to move all audio files used in a project to a new folder, for example.
Copying or Converting Audio Files You can create copies of audio files in a different hard disk (or other storage medium) location. The source files remain in their original storage location, unlike the Move File(s) function discussed above. To copy or convert audio files in the Audio Bin: 1 Select the desired file or files. Note: You can not use this command to convert compressed multi-channel files (AAC, ALAC, MP3). 2 Choose Audio File > Copy/Convert File(s) in the Audio Bin.
Note: If a file of the same name exists in the target location, Logic Pro asks whether or not you want to replace it. Click Replace to do so, or type in a different name, and click Save. To copy or convert audio files in the Sample Editor: 1 Choose Audio File > Save A Copy As. 2 Choose the desired settings in the Save A Copy As dialog. You can set the desired sample rate, bit depth, file format, stereo conversion, and dither type for the destination file.
Optimizing Audio Files Beyond deleting unused audio files, Logic Pro also allows you to delete unused portions of audio files. This usually frees up a lot of wasted space on the hard disk. To delete sections of audio files that are no longer used in the project: 1 Select the audio files that you want to optimize in the Audio Bin. The Edit > Select Used menu should be your first port of call. Optimize Files can be used on any number of audio files.
4 If you’re only saving one region, you can enter a name for the new audio file. The Hide Extension checkbox hides or shows file extensions (wav, aif, and so on) in the Save As field. 5 Click the Save button. Note: If you want to simultaneously save several regions as audio files, you should name the regions before using the Save Region(s) as command, as existing region names are applied to the audio files derived from them.
Dealing With SDII Files Logic Pro allows you to access the regions in SoundDesigner II files. (The SDII data format lets you store region definitions). You can import the regions of SDII files into the Audio Bin. This is useful if you want to play regions from a long recording made in Pro Tools. To import SDII regions: 1 Select an audio file in the Audio Bin. 2 Choose Audio File > Import SDII Regions (or use the corresponding key command, default: Control-I).
 Skip: 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.  Manually: You can manually define where to search for the file. A file selector, containing the names of the audio files being searched for, appears onscreen. If more than one file with a matching name is found, you can select the correct file in a dialog box.
25 Mixing 25 Once you’re happy with the project arrangement, the Mixer is used to refine the overall sound, levels, and spatial positioning of your tracks. This chapter covers the use of the Mixer, and also touches on automation facilities. The latter forms an integral part of Logic Pro’s mixing facilities, with detailed information available in Chapter 26, “Working With Automation,” on page 581.
To open the Mixer as a separate window: m Choose Window > Mixer (or use the matching key command, default: Command-2). The Mixer displays channel strips that correspond with audio and instrument (software or MIDI) tracks shown in the Arrange area, plus the master channel, auxiliary, and output channels. Additional channel strip types, such as busses and inputs, can also be shown, but their inclusion is primarily for compatibility with projects created in earlier Logic Pro versions.
 The master channel strip is a global level control for all output channels. You can view it as the main volume control for Logic Pro. Important: Mixer channels are generated automatically when you create new audio, instrument, or external MIDI tracks in the Arrange window, provided that File > Project Settings > Audio > Automatic Management of Channel Strip Objects is turned on (it is turned on by default, and should be left on in most cases).
You will regularly find that the settings chosen for instruments and effects can be improved by changing a few parameters, to “tighten up” parts, or provide a looser feel, or perhaps to radically change the tonal color of the chorus, for example. You may often completely swap one instrument sound for another, replace effects configurations for tracks, or use tracks without effects (“dry”).
Channel Strip Elements The controls displayed on a channel strip vary with the channel strip type.
Element Audio Instrument Aux Output Master Channel Strip Settings menu X X X X X Channel EQ X X X X Insert slots X X X X Sends X X X Input slot X X X Output slot X X X Group menu X X X X X Automation Mode menu X X X X X Pan/Balance control X X X X Level meter X X X X Clip detector X X X X Level fader X X X X X Mute button X X X X X Solo button X X X (Input) Format button X Input Monitoring button X Record Enable button X X Bo
Quickly Switching Between Two Levels You can use the following key commands to switch the level of all channel strips of a specific type between two different level values. Each channel may be set to any value for both toggle positions, allowing you to quickly switch between two basic mixes.
The level meters can be switched between a Sectional dB-linear scale, and an Exponential scale. Exponential provides higher display resolution in the upper range. Sectional dB-linear provides the best possible display resolution across the entire level range. Both metering systems display a range from –60 to 0 dBfs.
Clipping occurs when too much (too loud a) signal is fed through a channel strip, thereby exceeding the limit of what can be accurately reproduced, resulting in a distorted sound known as clipping. Up to + 6 dB will be shown. If a track clips now and then, it doesn’t really matter—as long as the master channel (output destination for the channel) doesn’t clip. Clicking on any clip detector will reset all clip detectors. The Clear Overload Flag in Audio Channel Display key command has the same effect.
Soloing and Muting Channels Soloing or muting channels enables you to hear musical parts in isolation, or in conjunction with other selected parts. This simplifies particular tasks, such as setting precise equalization parameters. Soloing Channels All channel strips feature a Solo button (denoted by an S). Click it to mute all other channel strips that access the same hardware device driver. The solo button turns yellow, and the M on the Mute buttons of all muted (non-soloed) channels will flash.
To make a channel strip solo safe: m Control-click an inactive Solo button. The channel strip is not muted when you solo another channel. Solo safe status is indicated by a red slash on the solo button. A second Control-click defeats the solo safe status. Muting Channels You can mute any channel strip by clicking the Mute button (marked with an M). Pressing the button a second time restores the previous level. You can mute several channels by clicking on their respective Mute buttons.
Adding Effects: Using Inserts Insert slots are shown, and used, in the same way on all channel strip types (except the master channel strip). If you have enough computer processing capacity, you can insert up to 15 effect plug-ins per channel strip. An extra blank Insert is created, as soon as all of the currently displayed Insert slots are used, up to the maximum allowed.
Monitoring With Effect Plug-ins The Software Monitoring function allows you to hear incoming audio through effects plug-ins inserted into an armed audio channel. Audio inputs must be assigned on these record-enabled tracks for software monitoring functionality. You can also use the Input Monitoring buttons to monitor audio tracks that are not armed. Simply enable the Input Monitoring button on a channel strip. This works when Logic Pro is stopped or playing.
Setting the Automation Mode You can set the automation mode of a channel strip in the Automation menu. For full details on all automation modes, and use of the automation system, please see Chapter 26, “Working With Automation,” on page 581. Handling Mixer Inputs and Outputs The Input slot of audio channel strips allows you to choose the physical inputs of your audio hardware. This input (or input pair) supplies an audio signal to the track when recording.
Using the Binaural Panner The Binaural Panner is a psychoacoustic processor that is able to simulate arbitrary sound source positions (including up and down information) by means of a standard stereo signal. This emulates human hearing, which is capable of interpreting positional information (where a sound is coming from), despite the fact that only two “receivers” (your ears) are used to capture the sound. The signal that results from Binaural Panner use is best suited for headphone playback.
The Binaural Panner Window The panning effect is controlled by positioning the panning pucks on the panning plane at the top of the window, and adjusting a few additional parameters. To position signals on the panning plane: 1 Drag the left or right puck to make the stereo image wider or narrower. The two are linked. The panning pucks also work on a second axis—up and down— relative to the direction puck.
 Size: Determines the size of the plane or sphere (expressed as the radius of the circular plane).  Doppler button: Click to enable or disable the Doppler effect. The Doppler effect— put very simply—is a change in the pitch of a signal perceived by a person who is moving, relative to the source of the signal. Using the Extended Parameters  Global: Diffuse-Field: Turn this parameter on (default) to ensure a neutral sound for headphone playback, utilizing diffuse-field compensation.
The Binaural Post-Processing Plug-in The Binaural Post-Processing plug-in is available in aux and output channels. This plugin allows you to apply various compensation modes on a stereo bus or output (through which several, or all, binaural signals are routed). This saves CPU power, and makes it easy to switch between compensation modes: The Compensation menu offers the following choices: Â Headphone FF - optimized for front direction: Setting for headphone playback, utilizing free-field compensation.
Binaural Hearing—Binaural Recording—Binaural Panning An important part of mixing audio signals is the placement of individual sound sources at different spatial positions. Most common recording and mixing techniques simply send a given signal (at different levels) to the available loudspeakers—two for stereo, or more for quadraphonic or surround setups—in order to create a virtual sound stage.
Surround Logic Pro allows mixdowns in several surround formats, even if your audio hardware only offers two outputs. Obviously, it would be difficult to mix or record in surround with this limitation, so you’re probably best served not selecting this option if you’re using stereo hardware. All track, instrument, and aux channels can be individually set to different surround formats.
To adjust the Level slider on all selected channels: m Drag the Level slider of any selected channel. All level changes are relative and logarithmic. To explain: Movements are dBproportional, with the mix ratio of the selected channels remaining constant. Put another way, if channel 1 is set to 90 dB and channel 2 is set to 60 dB, reducing either Level fader will retain the relative distance between the channels: Â At half the original level, channel 1 will be at 45 dB and channel 2 at 30 dB.
To adjust the input and output routing of all selected channels: m Click on any selected channel’s Input or Output slot, and make your choice from the list. All selected channels will be set to the chosen input or output. To adjust the automation mode and group setting of all selected channels: m Click any selected channel’s Automation mode or Group menu, and make your selection from the list. All selected channels will be switched to the chosen setting.
You can create up to 32 groups. Each channel can be a member of multiple groups. To assign a channel to a group: 1 Click the Group slot to open the Group menu. 2 Choose one of the 32 groups. When you choose an inactive group number, the Group Settings window will open automatically (see next section). Individual channels can belong to more than one group. To add a channel to an additional group: m Press Shift while choosing a group in the Group menu.
Defining Group Settings You can define the behavior of each group in the Group Settings window. Â Enable checkbox: Click to completely enable or disable a group. Disabled groups appear in black. Â Name field: Click to name the selected group. As examples: Strings, Drum Sub-Mix, and so on. Â Region Selection (Edit) checkbox: Selecting a region on one group member track selects the same horizontal range of all group member tracks.
 Pan checkbox: The panorama setting of all member channels is linked. As per volume, their initial relationships are maintained.  Send 1 to 8 checkboxes: You can link the Send knobs individually for Send slots 1 to 8. Different initial levels will be maintained. A Note on Group Automation Any group member can act as a master for mix automation of an automated parameter, such as volume.
Channel Strip Types Channel strips are the building blocks of the Mixer. In the following section, you will learn about the differences between channel strip types, and how you can use them. Audio channel strips Instrument channel strips Aux channel strips Output channel strip Master channel strip MIDI channel strips Audio Channel The audio channel strip is used for playback and recording of the audio signals (in regions) on Arrange window audio tracks.
After inserting a software instrument plug-in, the instrument channel can be accessed, or driven, if you prefer, by MIDI regions on one or more Arrange window tracks. These tracks are routed to the instrument channel. Software instruments inserted into an instrument channel can, of course, also be played directly from a MIDI keyboard, provided that a corresponding Arrange track (one that is routed to the instrument channel) is selected.
 The third way to create aux channels is by clicking on the plus button at the lefthand side of the Mixer window, or by choosing Options > Create New Auxiliary Channel Strips. Both methods launch the dialog shown below. This is very similar to the New Tracks dialog shown in the Arrange window. Simply type in the desired number, set the required format, input and output routings, and click the Create button.
Using Aux Channels for External Audio Processing You can route audio signals to external devices via the individual outputs of the audio hardware. This allows you to change their level and pan settings, and apply plug-ins, if you wish. This is achieved through use of the I/O plug-in. The advantage of inserting the I/O plug-in into an aux channel, is that any effects units (or hardware mixing consoles) integrated into the Logic Pro Mixer, become available to all track and instrument channels via sends.
Master Channel The master channel strip changes the gain of all output channels. It acts as a separate attenuator stage; the level relationships between output channels are not affected. This is very helpful as a proportional output volume control and is particularly useful for surround mode in Logic Pro (fades of the complete surround mix).
Switch on all settings in the View > MIDI Track Components menu of the Mixer, so you can see all of the parameters described below. The basic channel Level, Pan, and Mute controls are always shown on MIDI channel strips. Instrument Name Program Bank Assign 1 to 5 Â Instrument Name: Displays the name of the instrument object assigned to the MIDI channel strip. Â Program button: Allows you to select a sound by name—click it to open a menu that contains all GM sound names. Each channel has its own menu.
Muting a Channel The Mute button switches the volume of the channel between zero and the current Level 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 Level fader position (and value) is used. To mute or unmute a channel: m Click the Mute button of the desired channel. Controlling the Pan Position The Pan knob allows you to directly control the pan position of the sound. Controller 10 is sent via your MIDI interface.
 Chorus Depth (Controller Number 93): This knob controls the depth of the chorus effect. The further right you turn the knob, the stronger the effect becomes.  LPF Frequency (Controller Number 74): This knob controls the overtone content of the sound. Higher values make the sound brighter. Saving and Restoring MIDI Channel Strip Settings in the Mixer The Mixer MIDI channel settings directly affect the Track Parameter box shown in the Arrange window Inspector.
Moving to Particular Types of Channel Strips You can choose one of the commands in the View > Scroll To menu to scroll the Mixer display to the selected channel type, when multiple channel types are visible. This feature is handy when your Mixer view contains dozens, or hundreds, of channel strips. To move to specific channel strip types: m Choose the desired command in the View > Scroll To menu (Outputs, for example).
 The channel strip which is assigned to the selected arrange track.  If the selected track is a multi output software instrument: The aux channel strips assigned to the individual output signals are displayed beside the software instrument channel strip. These are placed in ascending order, in accordance with the output number.
 Same Instrument Tracks: Enable to show (or disable, to filter) Arrange window tracks that address the same instrument channel strip. These tracks have redundant settings for volume, pan, and so on (as they address the same channel strip), so it’s usually unnecessary to display more than one channel strip for each track. All View The All view can display channel strips that don’t exist in the track list of the Arrange area. In this situation, it’s impossible to select such tracks for recording.
Customizing the Display of Channel Strips You can individually switch the display of the following audio channel strip components on or off, by enabling or displaying the corresponding setting in the View menu:  EQ Thumbnails  Inserts  Sends  I/O  Track Name  Track Number You can also switch the display of the MIDI channel strip components on or off, by enabling or disabling the respective setting in the View > MIDI Track Components menu:  Instrument name  Program (change numbers)  Bank (select num
Displaying Folder Tracks The Mixer can display the channel strips associated with the contents of folder tracks, or tracks on the highest Arrange window display level. Folder track If a folder track is selected—or the Arrange is showing the contents of a folder when you open the Mixer—it will only show the channel strips associated with the tracks within the folder.
Using the I/O Labels Window You can use the I/O Labels window to define names for all channel strip Input, Output, and Send menu items, which can be used in place of defaults such as; “Input 1” or “Output 8”. To open the I/O Labels window: m Do one of the following: Â Choose Options > Audio > I/O Labels in the main menu bar. Â Choose Options > I/O Labels in the Mixer window. Choose the desired Device from the menu, if you have multiple audio interfaces.
To revert to default channel I/O labels, do one of the following: m Click the corresponding button in the Channel column. m Choose the desired Reset menu command to reset the following channel strip types to their “default” names (as shown in the Channel column): Â Â Â Â All Labels Input Labels Output Labels Bus Labels To use the I/O labels provided by the hardware driver: m Click the corresponding button in the Provided by Driver column.
26 Working With Automation 26 Logic Pro features a sophisticated, yet simple to use, trackbased automation system that allows you to create and play back fully automated mixes. Mix automation refers to recording, editing, and playing back the movements of faders, knobs, and switches on a mixing console—providing real time control of volume, pan, EQ, and aux send controls, amongst others. You can automate all mix functions in Logic Pro, without restriction.
Displaying Track Automation Track automation data is displayed on a transparent gray shaded area—an automation track—that runs the length of your project. The audio waveforms of audio regions, and notes in MIDI regions, can be seen at a reduced contrast level in the shaded area. The automation data is represented by colored curves, dots (known as nodes) and lines that are shown in the gray area. Numerical values are also automatically displayed at each node on automation tracks.
Automation can only be displayed when a track is of a sufficient height. Turning on track automation will automatically set a suitable vertical zoom level. To resize one or more tracks: m Click-drag the lower-left corner of a track header (the track list) to resize it. Alternately, you can use the vertical zoom bars to resize all tracks, if automation is not visible. This can happen if you have manually resized a track, or changed the zoom level after activating automation.
To hide all automation parameters on all tracks, do one of the following: m Choose View > Track Automation (or use the View Track Automation key command, default: A). m Click the Automation button in the Toolbar (if visible). Viewing the Automation Data of Multiple Parameters The automation track shows all automation data (not only the currently active parameter) at a lower contrast level. Volume is a muted yellow, Pan is a muted shade of green, and so on.
To view all recorded automation data on sub-tracks: m Option-click the (closed) triangle to open up to 30 automation sub-tracks, which will display existing (already recorded) automation data. Only as many automation sub-tracks as required will open, so if you have recorded automation data for ten parameters, nine sub-tracks will be opened. The active automation parameter remains on the top track. Option-click the open triangle to collapse all automation sub-tracks.
To set the same automation mode for selected channel strips: 1 Choose the desired channel strips by Shift-clicking on their names in the Mixer. 2 Choose the desired automation mode in the Automation Mode menu of one of the selected channel strips. Setting the Automation Mode Via Key Commands You can also set the automation mode with the following key commands.
Touch Touch mode plays back automation data in the same fashion as Read mode. Should a channel strip or an external (touch-sensitive) automation controller be touched, the existing track automation data of the active parameter will be replaced by any controller movements—for as long as the fader or knob is touched. When you release the controller, the automation parameter will return to its original (recorded) value.
You’ll rarely need the Write mode when working with the track automation features of Logic Pro. It’s mainly there to complete the selection of automation modes. It’s easier to erase automation data by choosing Options > Track Automation > Delete All Automation Data of Current Track (or Delete All Automation Data of All Tracks, respectively). In earlier analog mix automation systems, Write mode was the only way to erase automation data from tape when beginning a new project.
Editing Track Automation in the Arrange Area You can edit track automation data directly in the Arrange area. Selecting Automation Nodes and Lines You can use the Automation Select tool to rubber band any selection (of nodes) in the automation data. Automation Select tool  Click on a region to select all currently visible automation events that fall within the region borders.  Shift-click to select other areas, in addition to an existing selection.
To freely draw automation: m Draw the desired automation lines (and curves) with the Pencil tool. Nodes will be created along the line. To create a new node on each side of a rubber band area: m Option-Shift-click and drag with the Pointer tool to make a rubber band selection. This creates a new node on each side of the rubber band area. ∏ Tip: With Option-Control-Shift held, two new nodes will be created on each side.
You can also delete multiple nodes by doing one of the following: Â Shift–Option–double-click anywhere on an automation track to open a dialog that allows all automation data (of the current type) to be deleted. This is as per the Delete All Automation Data of Current Track command. Â Press Backspace to delete a selection of automation nodes. Ensure that no regions are selected when using this function.
A dialog will ask if you want to convert, or “copy and convert,” the source parameter data into automation data for the destination parameter. A “copy and convert” results in the source parameter automation data being retained, and replicated for the destination parameter. You can use the Automation Curve tool to bend the line between two nodes, or any selection. Automation Curve tool To bend an automation line: m Drag the desired automation line with the Automation Curve tool.
Snapping Automation to Grid Positions You can snap both track-based and HyperDraw (region-based) automation to grid positions. To automatically snap automation nodes to the chosen Snap grid value: m Enable Snap Automation in the Snap menu. Note: Automation edits always snap to an absolute position, regardless of whether or not the Snap to Absolute Value option is enabled.
Editing Track Automation Data in an Event List Logic Pro allows track automation data to be altered in a dedicated event editor window, which can only be opened via the Automation Event List key command (default: Control-Command-E). Each automation event is displayed as a MIDI controller event, and can be adjusted in length, value, and so on.
Using Automation Quick Access The Automation Quick Access 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 active automation parameter of the selected track in the Arrange window.
Using Hyper Draw Hyper Draw works much like track automation, with a couple of key differences: Â Hyper Draw data is restricted to MIDI regions. Â Hyper Draw data uses MIDI controller values (rather than the internal meta events used by the track automation system), which are represented as lines between nodes. You can edit nodes and lines in a similar way to track automation data.
If activated in the Piano Roll or Score Editor, a gray Hyper Draw section is displayed below the editing area. Hyper Draw menu Hyper Draw button The Piano Roll and Score Editor feature a Hyper Draw button at the lower left corner. Click this button to open or close the Hyper Draw section. When the gray Hyper Draw area is visible, you can choose the desired controller type from the menu (Down Arrow) shown to the left of the Hyper Draw scale. To switch off Hyper Draw: Choose View > Hyper Draw > Disable.
Using the Autodefine Mode The Autodefine mode sets the Hyper Draw parameters automatically, making the first event in the region visible. Autodefine is not limited to switching the Hyper Draw display to the first incoming controller, but it can also respond to other types of events as well. It responds in this order:  Controller  Aftertouch  Pitch Bend  Program Change  Note Velocity Recording of MIDI Automation Data You can record MIDI automation just like regular MIDI events.
Using the Note Velocity Mode Hyper Draw also offers the Note Velocity mode, which is perfect for creating crescendos or diminuendos across a range of notes. You can use it at any point in a region (on a note in the Piano Roll window, for example). To use the Note Velocity mode: 1 Choose View > Hyper Draw > Note Velocity. Piano Roll Editor in Note Velocity mode 2 Click, and hold until you see the (Start Line) help tag, and release the mouse button.
Using Hyper Draw Key Commands The following Arrange window key commands can speed up use of Hyper Draw:  Hyper Draw: Disable  Hyper Draw: Volume  Hyper Draw: Pan  Hyper Draw: Modulation  Hyper Draw: Pitch Bend  Hyper Draw: Note Velocity  Hyper Draw: Other …  Hyper Draw: Autodefine Conversion of Automation Data You can convert track automation data into MIDI controller events (Hyper Draw data, in other words), and vice-versa.
27 Bouncing Your Project 27 You can render all or specific channels to one or more audio files, and even burn directly to CD or DVD with the Bounce function. Output channels feature Bounce buttons. Bounces for output channels 1 and 2 can also be initiated by choosing File > Bounce from any Logic Pro window (although the Arrange would be the most appropriate).
Creating a Bounce This section outlines the basic steps required to create a bounced audio file. Detailed descriptions of each step follow. To create a bounce file: 1 Route all channels that you want to bounce to a particular output channel (see the following section). 2 Define the desired bounce range (see “Defining the Bounce Range” on page 603). 3 Do one of the following: Â Click the Bounce button on the desired output channel.
Defining the Bounce Range Before bouncing, it is best to define a range of your project that you would like to bounce. The default values for the Start and End position fields in the Bounce window will encompass the entire Logic Pro project if no regions are selected, or the Cycle function is inactive. Â If the Cycle function is engaged, the bounce start and end positions will match the locator positions.
Destination You can choose from several destination file formats for your audio bounce:  PCM file: SDII, AIFF, (Broadcast) Wave, or CAF format  Compressed file: MP3 or M4A: AAC All options are activated by simply clicking in the desired checkboxes. You can select multiple checkboxes, if you wish. If you do so, multiple files will be created, with the appropriate file extension: filename.aif, filename.mp3, filename.m4a.
As you adjust the Start and End position parameters, you are shown the hard disk space requirements for the bounced file above the Cancel and Bounce (Bounce & Burn) buttons. (Bounce) Mode  Realtime: Creates the bounce file in real time. Use it whenever you wish to bounce audio and instrument tracks, plus external MIDI sound sources that are routed into the Logic Pro Mixer via aux channels.
PCM Options in the Bounce Window Choose the PCM name (and activate the checkbox) in the Destination pane to access the following options: File Format Choose from the SDII, AIFF, (Broadcast) Wave, or CAF format. PCM files in these formats can be automatically added to the Audio Bin by enabling the Add to Audio Bin checkbox. Resolution This is where you define the resolution of the bounced file. The options are 16 Bit (for CD delivery), 8 Bit (for multimedia productions,) or 24 Bit (for mastering to DVD).
All surround outputs are bounced simultaneously, regardless of which output channel Bounce button is clicked (or if the Bounce window was launched via File > Bounce). The Logic Pro > Preferences > Audio > Surround tab accesses the surround settings. Â You can determine the surround output assignments in the Output tab. Â The Bounce Extensions tab displays the extensions that are added to the file names resulting from a surround bounce. Click on the various fields to edit the extensions.
Choose the MP3 name (and activate the checkbox) in the Destination pane to access the following options: Bit Rate (Mono/Stereo) MP3 bit rates are selectable between 32 kbps and 320 kbps, but default to 80 kbps mono, and 160 kbps stereo. These rates offer acceptable quality and good file compression.
Filter Frequencies Below 10 Hz When this option is checked (the default), frequencies below 10 Hz (which are usually not reproduced by speakers, and are not audible to human ears at any rate) will be removed. This leaves slightly more data bandwidth for the frequencies that we can hear, resulting in an improvement of the perceived quality. Only uncheck this option if you’re experimenting with subsonic test tones, or exporting MP3s for whales! Stereo Mode You can select Joint Stereo or Normal stereo mode.
M4A: AAC Format Options Choose the M4A: AAC name (and activate the checkbox) in the Destination field to access the following options: Encoding Choose Advanced Audio Codec (AAC) or Apple Lossless to determine how your .m4a (commonly referred to as MP4) file will be encoded. Both encoding algorithms provide high quality audio, with the AAC format using a higher compression ratio, resulting in smaller file sizes. Bit Rate You can choose a rate between 16 kbps and 320 kbps.
Burn Options Choose the Burn: (CDDA or DVD-A) name (and activate the checkbox) in the Destination pane to access the following options: Logic Pro can directly burn Red Book audio to blank CDs or DVD-Audio to blank DVDs. Â When CDDA is chosen: If the selected sample rate (chosen in the PCM panel) is 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.
Speed The first time you use the Speed pull-down menu, a request is made to the burning mechanism, which may take a while. Once the scan is complete, you may freely select from the available speeds. Dithering (Only Available When CDDA is Chosen in the Mode Menu) Use of the Dithering parameter is recommended when bouncing 24 bit recordings into 16 bit files. Note: If you attempt to switch the PCM Resolution to 16 Bit when in DVD-A Burn Mode, DVD burning is automatically disabled (following a warning).
Setting the Bounce File Name and Folder By default, bounce files are: Â Named after the chosen output channel strip (the Bounce button you clicked), or Output 1-2, if the Bounce window was opened with the File > Bounce command. Â Saved in the Bounces sub-folder of the project folder, but you can choose any folder on any Volume. To set the bounce file name and folder: 1 Simply type the desired file name in the Save As: field to change the default file name, and choose another folder, if you like.
The dithering mode which will sound best to you is primarily dependent on the audio material, and your personal taste. Audition the audio material with each of the dithering modes to determine the right setting. In some cases, you may find that the best results are achieved by using no dithering at all! Important: Dithering the same audio signal multiple times should be avoided.
28 Creating Apple Loops 28 You can save both audio and software instrument regions as Apple Loops in Logic Pro. For audio regions, a default set of transients—based on the project’s tempo information—is automatically created. For more information on this method, see the following section. You can also use the Apple Loops Utility to create Apple Loops from audio regions. The Apple Loops Utility is a companion application to Logic Pro that allows you to manage metadata tags and transients in audio files.
Read the following section if you want to create Apple Loops in Logic Pro. Information on “Creating Apple Loops in the Apple Loops Utility” can be found on page 618. Creating Apple Loops in Logic Pro When you save a region as an Apple Loop in Logic Pro, the region is added to the loop library and appears in the Loop Browser, allowing its use in other projects. The tempo information of the project is used to tag the transients of user-created Apple Loops.
Note: One-shots do not follow the project tempo and key. This is useful if you want to add discrete, non-musical sounds (such as sound effects) to the loop library. It would generally not be desirable to have such sounds affected by the tempo and key properties of the project. These types of loops still contain metadata tags, allowing easy searching and categorization in the Loop Browser. 4 Click Create. The loop is added to the Loop Browser.
Send Effects in Software Instrument Apple Loops If you create a SIAL from a region on a software instrument track that uses sends to bus effects, and then drag the saved loop to another (empty) instrument track, the new loop will sound different to the original source region. This happens because the effects sends in the original track are not saved with the loop.
 The audio recording was recorded at the project tempo, but not cut correctly. In this situation, you can reduce the length of the recording, via the dialog.  The loop uses a different tempo. In this case, you can set the length of the audio loop in the “Loop length” box and choose “Use set length”. For more information on the Apple Loops Utility, please refer to the Apple Loops Utility User Manual. Converting ReCycle Files Into Apple Loops Logic Pro allows you to convert ReCycle files into Apple Loops.
The ReCycle files are converted to Apple Loops (the slice points are converted to transient positions) and copied to the chosen location. Adding Apple Loops to the Loop Browser Logic Pro must index Apple Loops before they are shown in the Loop Browser. Loops can reside in any directory, but you need to tell Logic Pro where to find them. To add Apple Loops to the Loop Browser: 1 Open a Finder window alongside Logic Pro. 2 Navigate to the folder that contains the Apple Loops.
Global Tracks and Apple Loops You can use the global tracks to change global events such as tempo, time signature, and key during a project. The following section summarizes how these changes in the global tracks affect the playback of Apple Loops. Tempo and Beat Mapping Track Apple Loops adjust automatically to the tempo of these tracks. Signature Track Apple Loops can contain information about their original key, and can be transposed automatically.
There is, however, a solution: 1 Cut the (audio) Apple Loop at the precise positions of any chord changes. 2 Match the chords displayed in the Chord Track with the chord progression in the cut Apple Loop files by manually entering the chords of each section in the Chord track. The individual Apple Loop parts will then be transposed accordingly.
Apple Loops Transpose to the Wrong Octave Transposing an Apple Loop to a higher pitch may result in the loop being played back at a lower pitch, and vice-versa. Example: If an Apple Loop is transposed to sound seven semitones higher, it will actually play back five semitones lower. This is harmonically-correct transposition, but it’s probably not to the intended octave. Transposing audio material is a technically complicated process which always implies a certain loss in quality.
This will export the Apple Loop as a new audio file with all plug-in effect processing of the track/channel on which the Apple Loop is placed. To export the Apple Loop without these effects, bypass them before exporting the region. You should note that although this new file will play at your project’s current tempo and key, it can’t follow subsequent tempo or key changes like other Apple Loops; such files are fixed at the project tempo and key—in use when the file was exported.
29 Project and File Interchange 29 Moving project data between programs and devices in your own or external studios is commonplace these days. Unfortunately, not every application or device talks the same language. Logic Pro is compatible with a huge number of applications and devices, courtesy of advanced export and import facilities that allow you to use parts of, or entire, projects in other applications, such as Final Cut Pro and Pro Tools.
 Over the Internet—using .Mac (requires a .Mac account). You can share and back up the following data types:  Plug-in settings  Channel strip settings  Key command Sets Note: Due to potential licensing issues with sample libraries, you can not share EXS instruments, Ultrabeat, or Space Designer settings. Setting Sharing Preferences You use the Sharing preferences to define which settings you want to share, and to back up your data on .Mac.
To share your data: m Turn on the appropriate checkboxes in the Bonjour or .Mac columns. Â .Mac column: All settings of the enabled type on your personal iDisk in /Public/ MusicAudioData are shared. Â Bonjour column: All settings of the enabled type in the corresponding ~/Library/ Application Support/Logic folders are shared. Note: Your .Mac URL can be accessed through a web browser, if you want to browse outside of Logic Pro. Typically, this address will take the following form: http://idisk.mac.
Note: If the Restore process is interrupted for some reason (network problems), the pre-restore data is retained, ensuring that you don’t wipe out all of your settings, or end up with a partially restored collection. The same behavior occurs when one of the folders on the .Mac account is empty.
Settings shared by other users appear as follows in the Library: Â Bonjour folder: Shows all shared settings on the local network. Â .Mac folder: Shows all settings of .Mac accounts you are connected to. To connect to a .Mac account: 1 Choose Connect to .Mac in the Action menu of the Library. 2 Do the following in the Connect to .Mac account: Â Select the .Mac account you want to connect to.
To refresh the Library: m Choose Refresh Library in the Action menu of the Library. This refreshes both the local library and the .Mac accounts you are connected to. Sharing Key Commands You can access shared key command sets in the Key Commands window. To browse for shared key command: m Choose Options > Presets, then browse the .Mac or Bonjour folders.
The File > Save as Project function allows you to save a project with all associated files. These are collectively known as the project assets. Activation of the Include Assets checkbox in the Save As dialog will include the file types chosen in the Advanced Options. The Advanced Option checkboxes determine how files imported from external locations (locations outside the project folder) should be handled. They either: Â Stay where they are (if the respective “Copy” checkbox is turned off ).
m Click the Settings button in the Arrange Toolbar, then choose Assets from the menu. Working With Standard MIDI Files Standard MIDI files are not specific to a particular sequencing program, hardware sequencer, or type of computer.
If a project is loaded, a dialog will ask if you want to create a new environment or copy the current environment for the MIDI file. 2 Do one of the following: Â Click Copy to replicate the existing environment. The tracks of the MIDI file are automatically assigned to suitable instruments. Â Click New to load the environment of the default project template.
Note: As Standard MIDI file type 0 format files can only save one MIDI region, you must also merge all MIDI regions into one if you want to export in file format 0. You can do this by choosing Region > Merge > Regions. 7 Insert all instrument MIDI settings as events by choosing MIDI > Insert Instrument MIDI settings as Events. To save MIDI regions as a Standard MIDI file: 1 Select all of the required MIDI regions.
Once the GarageBand project is loaded into Logic Pro, you may freely change parts, mixing levels, instrument, and effect parameters as in any Logic Pro project. Note: You can not open Logic Pro projects in GarageBand, nor can you export a Logic Pro project in a format that can be read by GarageBand (apart from as an audio file). Working With OMF Files The OMF file format is typically used to exchange data with Digidesign Pro Tools software.
 Dithering: When exporting 24 bit recordings as 16 bit audio files that are included in the OMF file, dithering is recommended (see “Bouncing and POW-r Dithering” on page 613). Importing and Opening OMF Files The following procedure is identical for both importing and opening OMF files. Importing copies the OMF data into the current project, whereas opening an OMF file will create a new project.
4 Next, Logic Pro will ask if the project’s SMPTE start time should be added to event start positions. In this scenario, audio parts in the resulting OpenTL file will have the same SMPTE start time as in the Logic project. If you click Don’t Add, the part positions are calculated relative to the project start position (an audio part that starts at bar 1 will have a start time of 00:00:00:00.00). 5 At the next step, Logic Pro will ask if a copy of all audio files should be made.
This solves the problem of the project on the Tascam machine starting at a large time value, but less than 1 hour (such as 59 minutes). In this situation, you can’t immediately see the imported audio parts because they may be imported beyond the project’s end point, and almost certainly outside the visible window area. Opening, Importing, and Exporting AAF Files AAF (Advanced Authoring Format) is used by other DAW applications such as Pro Tools.
Importing and Exporting Final Cut Pro XML Files The Final Cut Pro XML format is used to import and export audio data between Final Cut Pro and Logic Pro. The Final Cut Pro XML format supports automation data. To export the current project as a Final Cut Pro/XML file: m Choose File > Export > Project to Final Cut Pro/XML. This will launch a standard file selector dialog, allowing you to name the export file. Note: Audio Instrument tracks are always bounced to audio files. MIDI tracks are ignored.
Exporting Regions The File > Export menu also features several Export functions for regions and tracks. These allow you to render audio or software instrument tracks with all active effects and automation data (except volume and pan) into a new audio file. Note: Rendering with no volume and pan automation is generally desirable, as the export functions are most commonly used to transfer your tracks or regions to an external application for processing, mixing, or editing.
30 Advanced Tempo Operations 30 Logic Pro provides several different tools and methods for the creation and editing of tempo events. This chapter discusses these tools, and covers the relationship between tempo events and MIDI and audio regions. Tempo can be changed or edited in the Transport bar, the global Tempo track, the Tempo List (in the Lists area), with the Tempo fader in the Environment, or with the Tempo Operations window.
Using the Tempo Track Tempo changes are controlled by tempo events, which are stored in a special Tempo track. This track can be displayed in the Arrange, Piano Roll, Hyper, and Score Editor windows. The Tempo track applies to the whole project. The tempo track also determines the relationship between incoming time code and the current playhead position. To view the Tempo track, do one of the following: m Choose View > Global Tracks (or use the corresponding key command, default: G).
m Click at the desired position with the Pencil tool. Keep an eye on the help tag when using the Pencil tool, and don’t release the mouse button until the intended tempo and position are indicated. No help tag appears when the Pointer double-click method is used. m Hold Control-Option-Command and click at the desired position in the Tempo track. A text field opens, allowing you to type in the desired bpm value. Press Return, and a tempo event of this value will be created.
When set to 1/16, there will be four tempo changes per quarter note, 1/1 will only generate one tempo change per bar, which will result in a coarser transition. A different resolution can be defined for each node. To delete a tempo curve: m Click the handling node (at the tip of the right angle) with the Eraser tool, or doubleclick on it with the Pointer. Moving, Altering, and Copying Tempo Changes To move a tempo change event, grab the node (or the line to the right) and drag it left or right.
To manually define the maximum and minimum ranges of the tempo display, do one of the following: m Grab the maximum and minimum values in the tempo scale and drag them vertically. m Double-click on either range value and type the desired numerical value into the text field. These user-defined values are displayed in yellow. If you want to return to the automatic scaling mode, use the procedure described above, and leave the text fields empty.
To copy all tempo events from one tempo alternative to another: m Hold Option, and choose the target tempo alternative from the pop-up menu. This creates a replica tempo map, which can be adjusted slightly, allowing you to experiment with small tempo variations, while retaining a fallback map. The Relationship Between the Tempo and Beat Mapping Track Actions performed in the Beat Mapping track result in changes to the Tempo track.
m Choose Options > Tempo > Open Tempo List (or use the Open Tempo List key command). Creating and Editing Events in the Tempo List The layout, and way you use the Tempo List, are very similar to the Event List. The following section only outlines the most important Tempo List operations. For more information on general (and identical) Event List operations, see Chapter 18, “Editing MIDI Events in the Event List,” on page 437.
To copy tempo changes from a passage: 1 Set the locators to the passage containing the correct tempo change. 2 Choose Edit > Select Inside Locators. 3 Copy the tempo events to the Clipboard (Command-C). 4 Deselect all tempo events (by clicking the background). 5 Paste the tempo events from the Clipboard (Command-V). 6 The paste position will default to the current playhead position, but this can be changed.
When working with a video file stored on a connected hard disk, Logic Pro will (generally) not be receiving an external synchronization signal. Even in this situation, you can leave the Detect checkbox turned on. When Logic Pro is the master synchronization device, however, you do not want it to accept incoming time code signals. In this situation, turn off the Detect checkbox, and choose a suitable rate from the Frame Rate pop-up menu.
Choosing a Tempo Operation The Operation menu provides several interesting tempo change editing functions, which also alter the sync reference. The lock symbol allows certain parameters to be fixed, preventing them from being changed. Create Tempo Curve The Create Tempo Curve operation lets you create numerous tempo change events with just a few parameters, and provides a smooth overall change in tempo.
Create Constant Tempo The Create Constant Tempo operation creates a constant tempo in any selected area. The default setting assigns an average tempo for the selected project section (based on existing tempo change events). If you want to remove all tempo variations between two points, without changing the SMPTE time for the right-most position, just click the Apply button. Don’t forget the “Continue with new Tempo” checkbox, which retains the new tempo or returns to the initial tempo.
Using the Tempo Interpreter You can use the computer keyboard or incoming MIDI events to set the project tempo. Put another way, Logic Pro will chase a manual synchronization signal (also known as human sync). This method of synchronization is fairly loose, in that if the manual sync impulses stop coming in, Logic Pro will continue at the last tempo it received. You use the Tap Tempo command to generate tempo timing events, by literally tapping a computer or MIDI keyboard key.
Window This parameter determines the time span (or window) that tap notes can be entered (set in ticks, or 1/3840 note). Only taps made within this time window are used to determine the tempo. Any taps outside it are ignored. Â The narrower the window, the more effectively Logic Pro will be able to withstand the influence (on the tempo) of any taps that fall between the note values—set with the Tap Step parameter. Â The larger the window is set, the easier it becomes to create drastic tempo changes.
Using the Tempo Fader You can create a real time tempo fader in the Environment window by choosing New > Fader > Specials > Tempo Control. This fader can control the project tempo (using Meta event #100). There is no need to connect this fader to anything, unless you want to record its output. A tempo fader has a range of possible values from 50 to 177 bpm.
31 Beat Mapping Regions 31 You will generally play to a metronome click when recording in Logic Pro. There are, however, instances where you’ll want to record without a click, playing rubato, or at least not at a strict same tempo throughout. Another situation may be where you have an existing audio recording—that wasn’t recorded to a metronome click, and therefore contains slight tempo variations—that you want to add additional tracks to.
 MIDI regions recorded without a click will be displayed in a musically meaningful way in the Score Editor.  Additional MIDI regions can also be created via the Step Input function, without sounding too stiff. This looser feel is due to the parts being played back with all of the tempo changes created by the beat mapping process. By default, the global Marker, Signature, and Tempo tracks are visible when you enable the display of global tracks.
A second, slightly darker, yellow line—which is still connected to the same position in the Bar ruler—will appear. This line will follow the movement of the mouse cursor into the lower part of the track, forming an angle. Once this line is connected to the desired note, release the mouse button. Logic Pro will automatically calculate, and insert, a tempo change—which can be seen in the Tempo track.
Beat Mapping With Audio Regions This works in a similar fashion to that described above for MIDI regions. The main difference is that Logic Pro must first analyze audio regions in order to find rhythmically prominent spots, which can subsequently be linked to a bar position. Logic Pro searches for transients when analyzing audio regions. Transients are positions where the audio recording becomes a lot louder—over a very short time span (a signal spike, in other words).
On occasion, your recordings may contain (MIDI note) events that fall onto musically useful positions, and should remain there when beat mapping is used for audio recordings. Such situations are catered for by the inclusion of the Protect MIDI option, found in the track header of the Beat Mapping track. Simply activate this option to keep existing MIDI events at their current positions when beat mapping.
Beat Mapping to Scene Markers If the global Video track is visible, a QuickTime movie is loaded, and the Detect Cuts function (in the Video track) is used, the detected scene markers appear as available mapping positions (vertical lines) at the bottom of the Beat Mapping track. You can easily define a scene cut position as the first downbeat of a bar—by allocating it to the bar position, as described above.
32 Editing Transposition With the Chord and Transposition Track 32 You can use the Transposition and Chord track to edit the playback transposition of MIDI events and Apple Loops over time. The Transposition track contains nodes that are connected by vertical and horizontal lines. Each node represents a global transposition event, which determines the global transposition value until the playhead reaches the next transposition event during playback.
How MIDI Events and Apple Loops Are Transposed Transposition events (and their chord counterparts) pitch-shift MIDI events and Apple Loops. MIDI Events Transposition events change the actual MIDI events themselves. As an example: If you create a MIDI region that contains a C3 note event, copy the MIDI region, and then create a transposition event of +2 at the start of the copied MIDI region, the transposition event changes the note event to a D3.
MIDI events will only be transposed if the No Transpose checkbox is inactive in the respective Track Parameter boxes. Apple Loops Apple Loops can contain information about the key they are in, and can be transposed automatically. Regular audio regions (audio regions that are not Apple Loops) will not be affected. Nor will Apple Loops that do not have a key definition (drum loops, for example). For full details, see the Chord track description in the Apple Loops chapter on page 621.
To create a chord event in the Chord track: m Click with the Pencil tool at the desired position in the Chord track, then define in chord symbol in the Define Chord dialog. If you want to edit a chord event, just double-click on it. The Define Chord dialog will open, allowing free changes to the chord symbol properties. To select a chord or transposition event: m Click the chord or transposition event with the Pointer tool. Use Shift-click or the rubberband selection method to select multiple events.
Analyzing MIDI Regions You can use the Analyze button in the Chord track to analyze the chords in a MIDI region. Select the desired MIDI region (preferably one containing complete chords) and click the Analyze button in the Chord track header. The MIDI region will be analyzed, with the resulting chords appearing in the Chord track. This also works for several subsequent regions. Alternatively, you can drag the desired regions onto the Chord track.
Inserting Chord Symbols in the Score The chord symbols displayed in the Chord track can be inserted into the Score Editor (and printed): To insert chords from the Chord track into the Score Editor: m Select the staff that you would like to use for the chord symbols in the Score Editor, then choose Functions > Insert Chords From Global Chord Track. Inserted chord symbols are displayed in blue (printout will be black), and can only be moved within the boundaries of the chord on the Chord track.
33 Working With Notation 33 The Score Editor allows you to view and edit MIDI regions as traditional music notation. This chapter covers the tools and features available for score and lyric entry, editing, layout, and printing. Following a general Score Editor overview, you’ll learn how to: Â Input notes, musical symbols, and text in the score. Â Use the extensive display settings to transcribe MIDI recordings. Â Edit notes and musical symbols in your score. Â Lay out and print your score.
Learning About the Score Editor The Score Editor displays MIDI regions as staffs, played by track instruments. Display Parameter box Event Parameter box Part box Each staff or (Arrange area) track can contain an unlimited number of MIDI regions. If the MIDI regions on one track directly follow one another in the Arrange area (with no gaps between them), they are displayed as one continuous staff in the score—unless you have limited the view to a single MIDI region, by engaging Content Link mode.
A High Level Workflow Example This section is designed to provide an overview of how you would approach the creation of a musical score in Logic Pro. Step 1: Getting Notes into the Score There are basically three ways you can do this: Â Real time recording from your MIDI keyboard (see “Recording MIDI” on page 378). Â Step recording, using either your MIDI keyboard or the Caps Lock keyboard (see “MIDI Step Input Recording” on page 384).
Important: Score display parameters have absolutely no effect on MIDI playback, just on the way MIDI data is shown in the Score Editor. This separate notation display system allows you to adjust the look of the notation, without changing the original MIDI region data (and therefore, the performance). You can further control the display by selecting or creating staff styles, text styles, and score sets, that best fit your music.
Step 4: Inputting Events, Symbols, and Text Few scores consist solely of note (and rest) events. The Part box contains a number of symbols (pedal markings, slurs, and so on) that can be inserted into the score by dragging them into position with the mouse. The Part box also contains all types of note events, clefs, bar line markers, and more. Again, these can easily be added by drag and dropping (see “Working With the Part Box” on page 678).
To switch between the default score display (called the linear view) and Page view: m Click the Page view button (to the left of the Layout menu button). ∏ Tip: You should use the linear view for editing, as screen redraws are much faster, especially on slower computers. Page view should only be used for layout work, in preparation for printing. Further details on Page view can be found in “Customizing the Score Editor’s Appearance” on page 775.
 Hyper Draw (see “Using Hyper Draw in the Score Editor” on page 677) allows you to insert and edit MIDI events that aren’t normally displayed in the Score Editor, such as continuous controller data (volume, pitch bend, and so on). The display of input notes (and symbols) depends on the Score Editor’s display settings, especially those in the Display Parameter box (see “Transcribing MIDI Recordings” on page 728), and the note attributes (see “Using Note Attributes to Change Individual Notes” on page 735).
Preparing for step input: 1 Make the following adjustments to the display settings for the selected MIDI region: Â Interpretation should be turned off (see “Interpretation” on page 732). Â The Display Quantize setting should be set to the smallest note value that you intend to insert (see “Quantize” on page 730). 2 Set the first playhead insert position by Option-clicking the staff at the desired point. The selected position is displayed in the help tag while the mouse button is pressed.
When working in full score view (when more than one MIDI region is displayed), and inserting objects between the staffs (such as dynamic symbols), you should make sure that these symbols have been inserted into the desired MIDI region. The target MIDI region is automatically selected (blue staff lines) once the object has been inserted. You can also see the name of the selected region in the top line of the Display Parameter box.
To display the Insert Defaults settings: m Click anywhere on the background of the working area. When inserting events into a staff which uses a polyphonic staff style (see “Adding Staffs to a Staff Style” on page 747), only MIDI channels that correspond to those of the voices can be used. Many symbols display a MIDI channel in the Event List. For most objects, the MIDI channel determines the staff (theoretically, up to 16) that the symbol belongs to, in polyphonic staff styles.
You may make the multiple MIDI region selection in either the Arrange area or the Score Editor. Shift-click all desired regions or staffs, or use the rubber band selection method. Following selection, the top line of the Display Parameter box will indicate the number of staffs (regions) that have been chosen. Note: Key changes, signature changes, and global signs are automatically inserted into all staffs of the project, and can not be inserted into individual, selected staffs.
2 Click at different points in the gray area to create Hyper Draw nodes. A connecting line is automatically created between the nodes. To resize the Hyper Draw area: m Grab, and vertically move the dividing line that separates it from the Score Editor area. For more information see “Using Hyper Draw” on page 596. Note: Hyper Draw can only be activated in linear score view, and when a single MIDI region is displayed. If you switch to another mode (Page view, or full score), the Hyper Draw area disappears.
Note: Any symbol can be selected and inserted from any group panel, at any time. The group rearrangement function simply makes it easier to work with the Part box, especially on smaller screens, or when using small Score Editor windows. To lock Part box group positions: m Choose View > Partbox > Lock Group Positions. Choose the command a second time to unlock group positions. To show only the symbols of the currently selected group in the Part box: m Disable the View > Part box > Show All Groups setting.
The palettes can have different shapes, depending on the modifier pressed while opening a floating palette with a double-click: Â Normal (Control) Â Vertical (Option) Â Horizontal (Command) The default shape of palette windows (opened with a simple double-click) can be predefined in the Logic Pro > Preferences > Score > Floating Palette View pop-up menu. Selecting Part Box Objects With Key Commands The following unassigned key commands select the corresponding note values in the Part box.
Further key commands can also change the selection inside the Part box: Â Next Partbox Symbol and Previous Partbox Symbol: The Next Partbox Symbol key command selects the symbol to the right of the selected object. The Previous Partbox Symbol key command selects the object to the left. When the last object in a group is reached, selection cycles back to the first object in the group.
Sustain Pedal Symbols These two symbols are the only score symbols—apart from notes—that directly represent MIDI events (MIDI controller #64, sustain pedal on and off ), and thus affect MIDI playback. Logic Pro intelligently inserts the on or off version of the symbol, depending on the status of the type that preceded it (a sustain off always follows a sustain on, and vice versa).
Dynamic Symbols These symbols can be inserted at any position in the score. They are purely graphic symbols, and have no effect on the playback of regions they are placed in. Note Heads If you drag one of these symbols onto a note, 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 combine this feature with Attributes > Stem > Hide, you can completely hide these notes in the printed score. Symbols Attached to Notes This group contains symbols which usually only refer to one note at a time. This includes fermatas, accents, phrasing symbols, and bow markings, for example (trills are in a separate group). To assign any of these symbols to a note: m Drag the desired symbol onto a note head (watch the help tag to ensure accurate placement).
Slurs, Crescendi These symbols are graphic only, and have no impact on MIDI playback. To insert a slur or crescendi object: 1 Drag it to the intended (left) starting point. 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). 2 Grab and drag these handles to change the object’s shape You can also use several key commands to quickly input slurs, crescendo, and decrescendo symbols.
Time Signatures Time signatures inserted in the Score Editor globally affect all MIDI regions, on all display levels. Time signature changes only affect the display, however, not playback. 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, the Time Signature dialog box opens, allowing you to set the desired time signature.
Trills, Tremolo, and so on The symbols in this group can be positioned anywhere, and are not attached to notes. The trill line and arpeggio lines can be set to any length, by dragging their end points. The trill line can also span line breaks. The accidental symbols in this Part box group are purely graphical, and do not affect the MIDI playback of notes. They are mainly intended as a supplement to trill symbols. Rests, Bar Repeat Signs Rests are displayed automatically in Logic Pro.
Text Objects, Chord Symbols You will find descriptions of the extensive range of text objects and chord symbols in “Working With Text” on page 710. 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. They can be resized with the Resize tool. Tempo and Swing Symbols You can insert these symbols at any position.
Note: The tempo indicators in the Transport bar and the Tempo List always refer to quarter notes, even if a time signature with another denominator is used. As such, the displayed tempo differs, depending on the symbol being used. Jazz Symbols Jazz symbols, as the name suggests, are typically used for Jazz notation. They generally indicate a particular playing technique or style, emphasis, or mode.
Page Break and Line Break Symbols Break symbols (and No Line Break and No Page Break objects) can be inserted as events. Once inserted, they can not be moved automatically (when you alter the Layout project settings, resize the window, and so on). You can overrule the Line Break, Page Break, No Line Break, and No Page Break events with the Layout tool. Line breaks and individual staff margins can be determined for each score set, and also for each of the extracted parts.
Changing Several Objects Simultaneously If several objects are selected, this is indicated in the Event Parameter box title line, as follows: “X Notes/Symbols/Events/Texts/Chords selected”. “X” indicates the number of selected objects. The terms Notes, Texts, and Chords are only used if the current selection is limited to objects of that particular type. If—as in most cases—parameter fields are visible while multiple events are selected, all corresponding values can be edited simultaneously.
Deleting Objects From the Score Editor You can only delete events that are actually displayed in the Score Editor. As an example, if you erase notes from a real-time recording in the Score Editor, MIDI controller events or pitch bend data that was recorded with these notes will not be deleted. To delete an object, do one of the following: m Click the object with the Eraser tool. m Select the object, then choose Edit > Delete (or press the Backspace key).
Note: You can not use the Option-drag method to copy or move events between MIDI regions in the Score Editor. You can, however, copy and paste (see “Copying Objects via the Clipboard” on page 694) between regions/staffs. To restrict movement to one direction (vertical or horizontal): m Hold Shift while dragging. There is also a general preference for this: Logic Pro > Preferences > Global > Editing > Limit Dragging to One Direction In: Piano Roll and Score.
Copying Objects via the Clipboard When you copy objects via the Clipboard, the first object is pasted at the target bar position. The relative positioning of other copied objects (to the first object) is retained. You can simultaneously paste the Clipboard contents into several regions, at the original position.
∏ Tip: You can use these commands in combination with the Select Similar function, to quickly copy all dynamic symbols from one staff into other staffs/instruments, for example. Repeating Events The Repeat Events command is especially useful for copying complete bars (or multiple copies), without setting any bar positions. As an example, to copy a bar that begins with a rest on one: 1 Select all notes and symbols. 2 Choose Edit > Repeat Events (or use the Repeat Regions/Events key command).
Editing Aliases You can directly edit the notes and symbols in an alias if the Allow Alias Editing checkbox in File > Project Settings > Score > Global is switched on. Note: Changes to aliases alter the data of the original MIDI region (and all aliases created from it), because only the original region can actually contain MIDI data. If Allow Alias Editing is switched off and you try to edit an alias, this dialog appears.
Note: The bar position determines playback timing—as this is the actual MIDI event position. Remember that the Score Editor is primarily designed to deliver notation, and that most (but not all) editing functions are graphical, rather than physical, in nature. Changing the Graphical Position of Symbols and Text You can change the graphical position of Score Editor objects in the Event Parameter box by editing the Vertical Pos. and Horizontal Pos. parameters. Â Vertical Pos.
Editing Notes and Symbols: Advanced Operations This section covers more advanced usage of notes and other objects in the Part box. Editing Notes Given the different types of notes (tuplets, dotted, grace notes, and so on), this section outlines a number of note-related editing operations that will help you to get your score looking just right. Note: If your editing requirements extend beyond those covered in this section, see “Using Note Attributes to Change Individual Notes” on page 735.
To change the length of a note: m Select the note, then do one of the following: Â Edit the Length parameter in the Event Parameter box (shown as bars, beats, and ticks). Â Use one of the Nudge Region/Event Length key commands. To change the pitch of a note: m Select the note, then do one of the following: Â Drag it to the desired staff line (keep an eye on the help tag). Â Edit the Pitch value in the Event Parameter box. Â Use the Event Transpose +1 or the Event Transpose –1 key command.
To change the tied note display with a user rest: m 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 use a shorter one (an eighth note rest), if possible. 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.
To change the display of existing notes: 1 Drag the N-tuplet symbol onto the first note. The target note must be indicated in the help tag, before you release the mouse button. The Tuplet window will open, allowing you to define the N-tuplet attributes: Â Â Â Â Â Â Â Â Â ∏ Tuplet note number: The number of tuplet notes is defined in the upper left field. Tuplet denominator: The value shown in the upper right numerical field. Tuplet note values: Choose from 1/8, 1/16, 1/32 (and so on) tuplets.
To insert N-tuplets with the mouse: 1 Insert the first note at the desired position. 2 Drag the N-tuplet symbol onto it. If you hold down Option as you insert the N-tuplet symbol, the most-recently inserted N-tuplet settings will be used, without the dialog. 3 Define the required settings in the N-tuplet window. The display will initially show a series of rests—the number of which corresponds to the N-tuplet value. You can insert other notes at these rest positions.
Creating Grace Notes and Independent Notes Independent notes are notes that aren’t included in the automatic rhythmic (and graphic) display calculation of a measure, but are still played back via MIDI. There are two types: Independent note Independent grace note  Independent: These are displayed at their original length, as long as they are binary or dotted note values that can be displayed as a single (not tied!) note.
Creating and Inserting Rests In certain situations, you may want to insert rests manually. These manually inserted rests (also called user rests) can be used if you don’t like the way a particular automatic rest is displayed. As examples: to avoid dotted rests, or for the syncopated display of rests, even when Syncopation (see “Syncopation” on page 733) is turned off.
To change the rest type or duration: m Double-click on the rest symbol in the score with the Pointer tool. In the dialog that opens, choose the shape (modern or church) and activate or deactivate the automatic length function. You can only determine the length (in the Bars field), if Auto Length is switched off. Note: Church rests can not be longer than nine bars. If this length is exceeded, the modern symbol automatically replaces the church rest. Multi bar rests can not be moved with the mouse.
To change an existing clef: 1 Double-click the clef. 2 Select the desired clef in the selection box shown below. Note: The same applies to the basic clef of a region, but changing this clef affects the staff style itself, as well as all regions that use the same staff style. To change the size of clef changes: 1 Open the Clefs and Signatures project settings by doing one of the following  Choose Layout > Clefs and Signatures (or use the Settings: Clefs and Signatures key command).
Editing Slurs and Crescendi Given their nature, slur and crescendi objects are edited in a very different way to other Part box symbols. Fast Slur and Crescendo Input With Key Commands You can use the following key commands to quickly input slurs, crescendo, and decrescendo symbols:  Insert: Slur Up  Insert: Slur Down  Insert: Crescendo  Insert: Decrescendo These commands place the corresponding object below or above (Slur Up) the currently selected notes.
Particular Attributes of Certain Symbols  Crescendo: The tip determines the general position. At the upper right end, length and opening angle can be adjusted. At the lower right, length and overall angle can be altered.  Decrescendo: At the upper left end you can alter the bar position, and opening angle. At the lower left end, bar position, and overall angle can be set. At the tip (right end), vertical position and length are adjusted.
Editing Repeat Signs and Bar Lines Repeat signs and bar lines cannot be moved with the mouse. You can, however, move these symbols (along with time and key signatures) to a certain extent, in the Arrange window. Once a region is selected in the Arrange window, alterations to its end point (or position) will affect existing repeat signs and bar lines in the score. Inserting, deleting, and moving key and/or time signatures in the Arrange window global tracks also have an impact on these score elements.
The Alternate Repeat Symbols (for the whole project) option in File > Project Settings > Score > Global activates a real book style display of repeat signs. Bar Repeat Signs The one or two bar repeat symbols replace all notes and rests in the corresponding measures. All other symbols remain visible. This does not affect MIDI playback, so hidden notes can still be heard. These signs can only be moved in the Event List or Event Float window.
Inserting Text You can add text in the same way as other score symbols: By dragging the desired object from the Part box to the score. Alternately, you can use the Text tool to enter text. To insert text in the score: 1 Select the desired text object in the Part box. 2 Do one of the following: Â Drag the text object to the desired position. Â Select the Text tool (or use the Set Text Tool key command), then click at the desired position. A flashing text cursor appears at the target position.
Each text object (except text in the header, or at—or outside—the page margins) is saved as a meta event within a particular MIDI region, at a certain bar position. This position can be seen in the help tag, as you insert the text object. Text events are also visible in the Event List, allowing you to change their position, but not the text itself. Score text event ∏ Tip: You can simultaneously add text to several staffs.
Setting Special Text Object Parameters You can set the following options for the selected text object in the Event Parameter box: Staff Only relevant in multiple staff styles. It determines the staff that the text object is assigned to. The Vertical Pos. parameter indicates the vertical distance to the top line of the staff. The Horizontal Pos. indicates the graphical horizontal deviation of the selected text object from its actual bar position (also in relation to the Align parameter).
Learning About Text Styles All text elements refer to user-definable format settings called text styles. A text style contains all text attributes, such as font, size, and style, which saves you the time and effort of manually setting them whenever you insert a new text object. About the Text Styles Window All text styles used in a project are listed in the Text Styles 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. The Root covers the root and (optional) extra bass note in chord symbols. The Chord Extension is used for everything 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 Tab” on page 784).
Working With Global Text Global text objects appear in all score sets of a project (score, parts, and so on), although they are inserted just once. Score sets determine which instrument tracks are included in the score display. Each project can contain as many score sets as required. Full details on score sets can be found in “Using Score Sets to Create Scores and Parts” on page 762.
Global Text Parameters When a global text object is selected, the Event Parameter box contains some additional parameters: Pages Defines the pages that the global text object will be displayed on. You can choose between the following options: Â 1: The text will only be displayed on the first page. Â 2: The text will be displayed on all pages except the first one. Â Odd: The text will be displayed on all pages with odd numbers. Â Even: The text will be displayed on all pages with even numbers.
These automatic text objects can be inserted as both global text (in the margin areas), or as text objects that are related to a bar position (in one of the staffs/regions). As an example: You can insert the INSTR object as a global object—to display the name of the current score set on all pages. The appearance, and exact positioning, of these objects can be set in the Event Parameter box.
Setting All Words and Syllables to the Same Height If you don’t enter the lyrics in one continuous process, it is unlikely that the lyric objects will be set to the same vertical position (they won’t be aligned). To quickly align all Lyric objects: 1 Select at least one lyric object. 2 Choose Edit > Select Similar Objects, which will select all lyric objects. 3 Use the Align Object Positions Vertically key command.
Note: Ensure that you insert chord symbols at the correct bar position. Watch the help tag while inserting the chord object. 2 Enter the text for the chord. A chord symbol can include a root note, a separate bass note, and two lines of extensions. As you enter the text for the chord in the Score Editor, you can influence the way the inserted text is distributed: Â First, enter the root, then the extensions, then—after typing a slash—the (optional) additional bass note.
m Double-click directly on one of the extensions. A text cursor will appear in the extension line, allowing you to edit the extension as per regular text. The appearance of chord symbols can be edited in the Text Styles window (see “Working With Text Styles” on page 715), by changing the text styles assigned to the chord root and extensions. To change the appearance of chord symbols: 1 Open the Text Styles window by choosing Text > Text Styles in the Score Editor.
 Choose Attributes > Accidentals > Enharmonic Shift: # (or use the Enharmonic Shift: # key command, default: Shift-H).  Choose Attributes > Accidentals > Enharmonic Shift: b (or use the Enharmonic Shift: b key command, default: Shift-B). Transposition of Chord Symbols Chord symbols inserted into transposing staff styles are automatically transposed, just like notes.
Working With Time and Key Signatures Signatures are global events, which affect all tracks in your project. You can view and edit time and key signatures in the Signature track, in the Signature List, and in the Score Editor. Note: The Signature track must be visible—and must not be protected—in order to select and copy signatures. To view the Signature track: m Choose View > Global Tracks.
Creating Time Signatures You can create as many time signatures as needed in a project. To create a time signature change, do one of the following: m Move the playhead to the target bar, and set the new time signature in the Transport bar. m In the Score Editor, drag the desired time signature from the Part box to the target bar position. m Set the Signature track to a sufficient height, so that it displays both the key and time signature areas.
Creating Key Signatures You can create as many key signatures as needed in your project. To create a key signature, do one of the following: m Click the desired position in the Signature track’s key signature area with the Pencil tool, then choose the desired key in the Key Signature window. Note: You can disable the use of double flats and sharps by activating the “Disable bb, x” checkbox.
Copying Signatures You can copy time signatures and key signatures in the Signature List, or Signature track. It is also possible to copy all time and key signatures from one project to another. Subsequent signatures are inserted at bar positions that correspond to their original distance from the first copied signature. To copy signatures in a project via drag and drop: m Press Option, then drag the signature (in the Signature track) to the target bar position.
Editing Signatures You can edit existing signatures in the Score Editor and Signature track by doubleclicking on them. The Time or Key Signature window appears, allowing you to make the desired changes. Moves are achieved by selecting, and dragging, signatures. Editing Time Signatures by Cutting and Merging Bars You can use the Scissors tool in the Signature track to cut bars. As an example; to divide one 5/4 measure into a 3/4 and a 2/4 measure, cut it at the fourth beat of the 5/4 bar.
If the signature track is not tall enough to show the Alternative menu, drag the lower lane line. 2 Insert the desired signatures, using the methods outlined above. No save operation is necessary. To switch between signature alternatives: m Choose the desired number from the Alternative pop-up menu. All MIDI regions are affected, resulting in the appropriate changes to your score.
Default Settings for New MIDI Regions If a new MIDI region is created with the Pencil tool in the Arrange area, or through MIDI recording, Logic Pro applies a set of default parameters to it. These defaults can be seen and edited in the Display Parameter box, when no MIDI region (no staff ) is selected. The title line shows Insert Defaults to indicate this status. These settings will remain as set, until you quit Logic Pro, but can be changed at any time.
 Click an instrument name, in the column between the parameters and score, to select all regions for that particular instrument track (even regions spread across different tracks that are assigned to the same software or MIDI instrument channel), at the current display level. Remember, the instrument name column is only displayed if View > Instrument Names is activated. Display Parameters This section outlines all of the display parameters available in the Score Editor.
Binary values always correspond to the note value with the same denominator—as an example: 32 corresponds to thirty-second notes, and so on. Ternary values refer to triplets.
Choosing a Quantize Value for Swing Notation For regular swing notation, 8,12 should be used as Quantize parameter. This enables the display of eighth-note triplets, and also displays two uneven notes on one beat (dotted eighth and sixteenth), as regular eighth notes. For double-time passages containing sixteenth notes, you either need to: Â Cut the MIDI region in the Arrange area, and assign a higher quantize value to the new MIDI region (that contains the double-time figure).
You can use note attributes to switch Interpretation on and off for each individual note, overriding the Display Parameter box setting (see “Using Note Attributes to Change Individual Notes” on page 735). To switch interpretation on or off for a selected note, do one of the following: m Choose Attributes > Interpretation, then choose the desired setting. m Double-click the note, then choose the desired setting in the Note Attributes window.
This trick works for all notes, not just syncopated ones (see “Creating Tied Notes” on page 699). In polyphonic staff styles, the MIDI channel of the rest and the corresponding note must be identical. No Overlap No Overlap, when turned on, prevents the overlapped display of notes in melodies that are played with an exaggerated legato.
Max Dots This parameter determines the maximum number of dots that Logic Pro will allow for the display of single notes. Unwanted dotted notes or rests can be changed by inserting user rests (which remain invisible, if notes). Take a look at the information on changing the way notes with ties are displayed (see “Creating Tied Notes” on page 699). Score This parameter is accessed via the Arrange window’s Region Parameter box (only visible if the View > Extended Region Parameters setting is enabled).
Note: Please ensure that the Note Attributes setting is chosen in the “Double-click note to open” menu of the Logic Pro > Preferences > Score window. It is on by default. To change note attributes, do one of the following: m Double-click a note head to launch the Note Attributes window. Only one note can be changed at a time in the Note Attributes window. m Select one or more notes, and choose the desired command from the Attributes menu.
Changing the Horizontal Position of Notes You can set the horizontal position of each note, individually. To change a note’s horizontal position, do one of the following: m Click-hold the note with the Layout tool, and drag to the left or right. m Choose the desired value in the Horizontal Position menu of the Note Attributes window. Changing the Position of Accidentals This note attribute defines the deviation from the Acc./Note Distance value, chosen in the Layout tab of the Score project settings.
 Hide Accidental  Guide Accidental Changing the Stem Direction and Length By default, a note’s stem direction and length depends on the respective setting in the Staff Style window. To change a note’s stem direction and length: m Choose the desired value in the Stem Direction menu of the Note Attributes window. Note: The stem length can not be changed in the Note Attributes window. m Choose the respective item in the Attributes > Stems menu.
 Unbeam Selected Notes  Default Beams Changing the Voice or Staff Assignment You can change the voice or staff assignment for cross staff beaming in the Attributes > Ties menu (see “Advanced Staff Style Usage” on page 756). You can choose between the following options (requires a polyphonic multi staff style):  Default Staff: According to voice assignment.  Staff Above Voice: Moves the selected notes to the staff above the assigned voice.
Changing the Interpretation of Notes By default, note interpretation matches the setting chosen in the Display Parameter box. To change a note’s Interpretation setting, do one of the following: m Choose the desired setting in the Attributes > Interpretation menu. m Choose the desired setting in the Interpretation menu of the Note Attributes window.
Note: As note attributes, these settings have priority over the staff style settings, but they only apply if the color mode is set to Normal in the Score Editor’s View > Colors menu. Resetting Note Attributes You can reset all note attributes to their default settings by choosing Attributes > Reset All Attributes (or using the Reset Note Attributes key command).
To assign a staff style (predefined or user-created) to a MIDI region: 1 Select the MIDI region. 2 Choose the desired staff style from the Style parameter pop-up menu in the Display Parameter box. You can also simultaneously assign a staff style to several selected regions.
Predefined Staff Styles Logic Pro contains a number pre-defined staff styles.
Creating Your Own Staff Styles You can create new staff styles, and edit, delete, and duplicate existing staff styles in the Staff Style window. A staff style includes the following editable parameters: Â Number of staffs (for the display of one MIDI region). Â For polyphonic, multiple staff styles: configuration of brackets and bar lines that connect the staffs.
 Hierarchy button: Click to switch the Staff Style window between single staff style view and list views (the latter shows a list of all available staff styles).  Tools: Contains the Pointer tool, the Pencil tool (for creating new staffs and voices) and the Eraser tool (for deleting staff styles, staffs, or voices).  Name box: The field shows the name of the selected staff style. Click the arrow button next to it to open a pop-up menu that lists all styles available in the current project.
Creating a New Staff Style In single view, you can create a new staff style by choosing New > Single Staff Style or New > Dual Staff Style. The parameters of styles created this way are very basic, and need to be edited (see below) to meet your requirements, in most cases. The default name of styles created in this fashion is “*New Style”. A double-click on the name box opens a text entry field, where any name can be typed in.
Adding Staffs to a Staff Style You can add a staff to your staff style. This allows you to create a two-staff piano style from a single staff style, for example. Each staff is represented by a number in the first column. These numbers are assigned automatically, and cannot be changed. To add a staff to a staff style: m Determine the staff insert position by clicking in the narrow column to the left of the staff numbers in the Staff Style window, then choose New > Insert Staff.
Copying Voices or Staffs Into Other Staff Styles You can copy one (or several) voices and staffs, inclusive of their parameters, into other staff styles. To copy a voice or staff into another staff style: 1 Select the voices or staffs you want to copy, by dragging the mouse vertically in the margin column to the left of the staff numbers. The selection will be indicated by a dark gray vertical beam. 2 Choose Edit > Copy (or use the Copy key command, default: Command-C).
6 Choose Edit > Paste (or use the Paste key command, default assignment: Command-V). Automatic Staff Style Copying If you copy a MIDI region from one project to another, and the staff style used by the original MIDI region doesn’t exist in the target project file, it is automatically copied, along with the MIDI region. Deleting Voices or Staffs From a Staff Style To delete voices or staffs from a staff style, select them and press Backspace, or choose Edit > Delete.
Brackets and Bar Line Connections You can only edit this parameter in styles with multiple staffs: It lets you determine which staffs are bracketed (two bracket types available) or connected by bar lines (only at the beginning of each staff line, or at every bar line). Simply click-drag in the corresponding column until you see the appropriate display, for any of these connections.
 The staff size you should use in full scores depends on the number of staffs in the score, and the size and format of the paper being used. When using A4 or US letter paper: full orchestra: 2, big band: 3, wind quintet: 4. Note: The size of all staffs in a score set can also be affected by the Scale parameter (see “Using Score Sets to Create Scores and Parts” on page 762) in the Score Set window. This makes it possible to use the same sizes for both the whole score, and parts of a piece.
Rest The automatic rest display can be switched off (Hide), or set to display beat slashes (slash) instead of rests. This is useful for rhythm section parts, and improvised solos. In this situation, the number of slashes per bar is determined by the nominator in the time signature (4 slashes in 4/4-time, 6 slashes in 6/8-time, and so on). Inserted notes and symbols are still displayed, but automatic rests are only shown if shorter than one beat.
Assigning Notes to Voices and Staffs You can use two different methods for assigning notes to voices and staffs: by defining a fixed split point, or MIDI channels for each voice of a staff. Using a Split Point You can use a fixed split point to assign notes to voices. 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. Notes below it are assigned to the lower cross the border.
Splitting MIDI Channels Automatically If you record polyphonic voices as separate passes in real time, you can set your keyboard or MIDI controller to the appropriate MIDI channel for each voice. This saves you from editing the channels after the fact. The same applies to step input. Alternately, you can automatically split MIDI notes using the “Auto split notes in multi staff chord styles” Score preference.
Notes below the line are moved to the MIDI channel below their current assignment. 3 If you make a mistake, just move the mouse back slightly to the left This erases the separation line to the right of the tool, allowing you to try again. Staff Style Examples The following sections illustrate how you can use the staff style facilities to meet specific notation needs.
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.
Cross Staff Beaming Music for keyboard instruments or harp (which is notated in two staffs) sometimes contains passages where notes in the upper and lower staff (played by the left and right hand) are connected with a beam, to emphasize the continuing musical phrase. Cross staff beamed notes In the Score Editor, notes can only be connected with beams if they belong to the same voice. Notes that belong to the same voice, however, will be displayed in the same staff.
 Select all notes, and change their MIDI channel to match that of the upper voice (in the Event Parameter box). All notes are displayed in the upper staff, probably accompanied by a lot of ledger lines. 2 Select the notes that you want to define a beaming connection for, then choose Attributes > Beaming > Beam Selected (or use the corresponding key command).
Mapped staff styles allow you to assign individual voices to drum groups. Drum groups use specific drum notation head shapes to display note events. You can define the respective drum note head shapes in a Mapped Instrument window. The best way to create drum notation for an existing MIDI region, is to open the Score Editor (to display the MIDI region), the Mapped Instrument window, and the Staff Style window. This way, you can directly see how parameter changes affect the score display.
2 In the Head menu, choose the shape of the note head for notes triggered by this particular pitch. A note must be assigned to a drum group to be displayed in a mapped staff style. If it’s not, it won’t be visible. 3 Choose a drum group in the Group menu. A number of groups are pre-defined for the most commonly used drum sounds (Kick, Snare, Hi-Hat, Toms, Cymbals, and so on).
5 Create a new mapped staff style by choosing New > Mapped Style in the Staff Style window, and inserting all desired staffs, voices, and drum groups—as described above, and in “Working With Staff Styles” on page 741. Â Staff section: Everything is identical to non-mapped staff styles (with the exception of the missing Transpose and Key parameters, which wouldn’t make sense here).
Using Score Sets to Create Scores and Parts You can use score sets to determine which instrument tracks should be included in the score display. Each project can contain as many score sets as required. Score sets allow you to: Â Produce both the full score and individual parts (such as particular groups of instruments). Â Arrange the (vertical) order of instrument tracks in the score, independent of the order of tracks in the Arrange area.
The Score Set Window You can create and edit score sets in the Score Set window. To open the Score Set window, do one of the following: m Choose the Open Score Set window command in the Score Set menu (or use the Open Score Set window key command, default: Control-Command-I). m Choose Layout > Score Sets in the Score Editor. If you open the Score Set window when the default All Instruments score set is selected, a warning indicates that the All Instruments score set cannot be edited.
Full Name A click on any line in this column opens an entry field that contains the default “@(reference)”. If you don’t change this, the name of the track’s instrument will be used as the name for the instrument in the score. As the track’s instrument name is often identical to the corresponding synthesizer patch (Solo Strings High, for example), you’ll probably want to assign another name here. This name is automatically displayed in the score as the full name: “Violin 1”, for example.
Bar line connections can also be edited directly in the score. Just click on the upper end of a bar line to connect it to the next (higher) staff. Repeating the procedure disconnects the bar lines. Creating and Deleting Score Sets When you open a Score Editor window, while several regions are selected in the Arrange area, Logic Pro automatically creates and displays a score set that only contains the instruments of the selected regions.
Editing Score Sets Once you have created a score set, you can change the assignment of instrument entries, add instruments, or change their order. To assign another instrument to an existing score set entry: m Click-hold the name of the instrument you want to replace in the Instrument column, then choose the desired instrument from the pop-up menu. To add an instrument to the middle of the list: m Set the insert mark to the desired position, then choose New > Add Instrument Entry.
The Scale parameter affects:  All staffs  The distance between the staffs  All symbols associated with staffs (all notes, rests, and other symbols)  All local text, including lyrics  Slur and Tie thickness The Scale parameter does not affect global text objects (header text, text inserted outside the margins) and text such as page numbers, and so on.
To determine the layout parameters used by a score set: m In the Score Set window, choose the desired setting from the Format menu. For the default All Instruments set, the score settings will always be used, except when a single MIDI region is displayed. In this situation, the part settings will be used. Filtering Single Instruments You can quickly extract a single instrument from the score, by choosing it from the pop-up menu that appears when you Option-click on the Score Set menu.
Printing the Score This section covers the display options available when readying a score for printing, and also concentrates on a number of global layout facilities that will help you to get the score (and your sheet music) looking just right. Preparing the Score Layout for Printing This (and the following) section outlines a number of changes you can make to the overall score layout. These primarily involve display customizations, and use of the Score project settings or preferences.
Setting Breaks You can set line, link, and page breaks individually for each score set, and also for each of the extracted parts. Logic Pro saves breaks with the project file. Line Breaks The automatic line break calculations are based on the Spacing and Max.Bars/Line settings in the Global Score project settings. The Maximum Bars/Line project setting determines the maximum number of bars Logic Pro will allow in one staff or staff system.
Page Breaks You can use the Page Break symbols to insert a page break. This moves all bars that follow the page break insertion point to the following page. All preceding, and following, bars are automatically adjusted in accordance with the Score project settings (discussed in the Line Breaks section above). All staffs in the score are affected.
Changing the Margin and Header Values in Page Print View You can change the Margin and Header Space project settings directly with the mouse in Page Print view. To change the margin and header space values with the mouse: 1 Turn on the following settings in the Score Editor’s View menu:  Page View  Page Display Options > Print View  Page Display Options > Show Margins 2 Set the margin values by dragging the orange lines. 3 Set the header space value by dragging the purple line.
To print your score: 1 Choose the appropriate paper size and format in the File > Page Setup window. 2 Ensure that the Score Editor (containing the intended print view) is the active window. 3 Start printing by choosing File > Print (or using the corresponding key command, default: Command-P). A dialog box, which may vary slightly from printer to printer, is shown.
Exporting the Score as a Graphic File You can save a part of a Logic Pro score page (or a whole page) as an image (PDF format), or copy it into the Clipboard. This allows you to paste it into graphic editing programs, or documents created in word processing or desktop publishing applications. Preparing the Export Before you export the score as an image, you should choose the appropriate Camera Tool settings in the Logic Pro > Preferences > Score pane.
Customizing the Score Editor’s Appearance The following section outlines the various options for changing the general appearance of the Score Editor. The different view modes can accelerate editing, or are required for particular operations. Choosing a Color Mode The settings in the Score Editor’s View > Colors menu set the color mode for the active Score Editor window. These settings have priority over all other color settings.
Displaying Global Tracks Enable the View > Global tracks setting to view the global tracks in the Score Editor. You can only enable this setting in linear view mode. The Configure Global Tracks command allows you to choose which global track types are shown. Displaying Instrument Names Enable the View > Instrument Names setting to show the names of (used) track instruments, to the left of the score display. Project Settings for Score Display There are seven pages of score-related project settings.
m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Global tab. m Choose Layout > Global Format in the Score Editor. m Use the Settings: Global Format key command (default: Control-Option-Command-F). m Double-click on the page margins in Page view. Distance values can be displayed in inches or centimeters in the Global Score settings tab.
Top, Bottom, Left, and Right Margin These values show the margin distances to the outer border of the printable area on the page. A “Top Margin 0.0 inches” value means that printing will start as close to the top of the paper as the selected printer driver will allow. This also means that the size of the printable area can vary between printers, although the difference should be minimal. Margins are only visible in Page Print view, where they are displayed as orange lines on the screen.
Constant Spacing and Proportional Spacing These parameters determine the amount of horizontal distance between notes. Â Constant Spacing affects the distance from note to note, regardless of rhythmic value. Â Proportional Spacing 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.
Default Pedal Position This determines the vertical position of automatic pedal symbols (those created when you use the MIDI sustain pedal during a real time recording). If this parameter is set to zero, recorded MIDI sustain pedal events are hidden in the score. Pedal marks that you manually insert from the Part box are not affected by this parameter. “Open” Single Staffs Displays single staffs without vertical lines at their start point (left side of the clef ).
Numbers & Names These settings affect the automatic display of page numbers, bar numbers, and instrument names in the score. To open the Numbers & Names Score project settings: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the Numbers & Names tab (if is not already displayed). m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Numbers & Names tab.
Page Number Parameters The Page Numbers checkbox must be activated for the following parameters to have an effect. Horizontal Position Alters the horizontal alignment on the page. Choose from: Â Alternating: Alternating, beginning on the right side. Â Left, Right, or Centered: These are self-explanatory. Â Rev. Alternating: Alternating, beginning on the left side. Vertical Position Alters the vertical alignment on the page. You can choose either: Top or Bottom.
 “\ s” for the name of the currently shown display level, which can be the MIDI region or folder name (or even the project name, on the highest level).  “\ d” for the current date (at the time of printout). Bar Number Parameters The Bar Numbers checkbox must be activated for the following parameters to have an effect.
Top/Bottom Staff only In full scores, the bar number is only displayed above the top staff, if this option is activated (a negative Vertical Position value results in the number being shown below the bottom staff ). Instrument Name Parameters The Instrument Names checkbox must be activated for the following parameters to have an effect.
m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click Guitar Tab. m Choose Layout > Guitar Tablature. m Use the Settings: Guitar Tablature key command. m Double-click on the TAB clef, at the beginning of any staff that uses tablature in the score. Twelve different tuning sets can be defined. Each of them corresponds to one line in this tab.
 Bass String buttons: Click to determine the display of the lowest string. It may be the same as other strings, or slightly thicker.  Circle 1/1, 1/2 Notes checkbox: If this option is activated, half and whole notes will be displayed with a circle around the fret number. As the note head is always a number, there would be no visible difference between a half note and a quarter note, if this parameter wasn’t available.
Note: As most Guitar-to-MIDI-Converters send notes (played on different strings) on different MIDI channels, the Channel and Inv. Channel modes are suitable if you’re using a MIDI guitar to record MIDI regions. The tablature notation is displayed exactly as the music was played during recording. Inv. Channel –1 and Inv. Channel –2 These modes should be used when recording and notating electric bass parts with Guitar-to-MIDI-Converters. Â “–2” is designed for four-string bass.
Clefs & Signatures These are general display options for clefs, key signatures, and time signatures. To open the Clefs and Signatures project settings, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the Clefs & Signatures tab (if is not already displayed). m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Clefs & Signatures tab.
Smaller Clef Changes Clef changes (whether caused by a change of staff style, or by a new clef inserted from the Part box) can be displayed at a smaller size than the clefs at the beginning of staffs, depending on this setting. Automatic Key Transposition This setting enables the automatic transposition of key signatures in transposing staff styles. It will usually be activated. An exception would be for the notation of atonal music.
Octave Symbol Parameters These settings enable you to edit the text string (and text formatting) of the different octave symbols. Simply click on the appropriate field, and type in the desired text. Click the Choose button to select a different font, font face, or size. Layout The Layout tab is where you can define a number of display settings for the whole project, such as staff line thickness, stem length, distance between notes and ties, or notes and dots, and so on.
Note: If you have a high resolution printer, you should try to use smaller line thickness settings (2, or maybe even 1). Smaller staff lines, in particular, look much better. The other parameter settings are more a matter of personal preference. These changes are only visible at high zoom levels on the screen. To really judge the results, try some printouts with different settings.
MIDI Meaning The settings in the MIDI Meaning tab determine if, and to what extent, the insertion of the listed symbols affect the MIDI playback of notes (that these symbols are attached to). To open the MIDI Meaning tab, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the MIDI Meaning tab (if is not already displayed).
How the MIDI Meaning Functions Works The MIDI Meaning functions are most useful when you’re inserting notes with the mouse. This makes it possible to work as if writing music on paper. Â First, you write/insert the notes. They will all have the same velocity, and identical rhythmic note values will have exactly the same length. Â Accents and phrasing marks are then attached to some of the notes, which changes the velocity and (playback) length of these notes.
m Use the Settings: Score Colors key command. The color palettes are used by different color modes (see “Choosing a Color Mode” on page 775). Clicking on any color opens the standard Colors window, allowing this particular color to be changed. Colors are saved with the project, and can be different for each project. There are three palettes, and some additional options in this window: Â Pitch Colors: Each note of the octave is assigned a color. They are arranged like piano keys.
Score Preferences The Score preference settings are global, and affect all project files. They can, however, be changed at any time, with an immediate effect on all open projects. All preferences are automatically saved when you exit Logic Pro. To open the Score preferences, do one of the following: m Choose Logic Pro > Preferences > Score from the main menu bar (or use the Open Score Preferences key command). m Click the Preferences button in the Arrange Toolbar, and choose Score.
 Choose Font: This pop-up menu allows you to choose from any installed scoring (symbol) fonts, such as the Sonata font.  Camera Tool: Write to: Choose either the Clipboard or a PDF File as the destination for image exports with the Camera tool (see “Exporting the Score as a Graphic File” on page 774).
34 Working With Video 34 Logic Pro allows QuickTime movie files to be synchronously viewed, making film and TV scoring quick and easy. You can open a QuickTime movie in a separate Movie window, or can display the single frames of a QuickTime movie in the global Video track. When a movie is opened in a project, the upper part of the Inspector shows a closed Movie area—which can be opened by clicking the disclosure triangle.
To open a QuickTime movie, do one of the following: m Choose Options > Movie > Open Movie command (or use the corresponding key command, default: Option-Command-O). m Click the Open Movie button in the global Video Track. m Click at any position on the Video track with the Pencil tool. m Locate and select the movie file in the Browser, then click the Open button. The video is opened in the floating Movie window, in its correct aspect ratio.
Resizing the Movie Window You can resize the Movie window by dragging its lower right corner. Control-clicking the movie itself (the actual image) opens a shortcut menu, where you can set various image formats. You can also select one of the following: Â Original Size: Displays the movie in its original size. Â Fullscreen: Expands the Movie window to fill the full screen. Â Keep Aspect Ratio: If enabled, the proportions of the image are retained when resizing the Movie window.
Changing Video Track Settings The settings of the Video track can be adjusted in Logic Pro > Preferences > Video. Â Cache Resolution pop-up menu: Choose the resolution of the thumbnails held in the temporary internal memory (cache). Higher resolutions display more detail, but take up more space in the cache. Â Maximum Cache Size slider: Sets the amount of memory reserved for the thumbnail cache. 40 MB is recommended for medium resolution. Use a higher value for higher resolutions.
Creating Scene Markers You can use the Create Scene Markers function to search the movie for significant content changes (scene cuts), and automatically generate scene markers for each of them. The Create Scene Markers function uses a fixed threshold value, which works quite well for most types of movies (cartoons, real life, CGI, and so on). To search a movie for scene cuts, do one of the following: m Choose the desired movie range in the Options > Movie > Create Scene Markers menu.
Handling QuickTime Movie Audio Tracks Once a movie has been opened in a project, you can make use of the Import Audio from Movie, or Export Audio to Movie commands—found in the Options > Movie menu. You can adjust the audio level and output device in the Video project settings (see “Changing the Sound Output Device and Level” on page 804).
2 Choose the desired format options for the bounced audio file, and click OK. 3 In the ensuing file selector box, enter a name and target folder for the movie, and click Save. A dialog appears, allowing you to choose which of the original movie’s audio tracks should be used in the new movie. 4 Select the audio track that you want to retain in the new movie, then click OK.
 DVCPRO HD: Choose this option to output the QuickTime video file to a DVCPRO HD device, which is connected to your system.  Digital Cinema Desktop: Choose this option to preview your video on any available display unit that is connected to an AGP graphics card. (Displays connected to a PCI graphics card cannot be used by Digital Cinema Desktop.) If you have two computer displays, one can be used to view the Logic Pro interface, while the other can be used as a dedicated video monitor.
Activating Follow Tempo Turn on the Follow Tempo checkbox and set a basis tempo in the field below to make the QuickTime movie run at the chosen tempo value until it receives a tempo change message (from the Tempo track). Video Preferences The Video preferences determine how Logic Pro handles video memory and video hardware settings. You can also make timing adjustments here.
35 Working With Surround 35 Logic Pro offers extensive surround processing and mixing functions—for all major surround formats. This chapter will introduce you to all surround processing options in Logic Pro. To work with surround in Logic Pro you will need: Â An audio interface that has the number of output channels required by the chosen surround format. As an example, six outputs if the 5.1 surround format is used.
Surround Formats Supported by Logic Pro This section outlines the supported surround formats, and provides details on the channels used by each. Quadraphonic Four full bandwidth channels, arranged as front left and right and rear left and right (left surround and right surround). Old format used for music delivery. Mike Oldfield’s “Tubular Bells” is probably the most popular release in this format.
5.1 (ITU 775) 5.1 (ITU 775) is used for a few surround standards. This is the most common of the surround formats, and is the one you are most likely to use. The 5.1 channels are left, center, right, left surround (left rear), right surround (right rear), and LFE. 0° C R L –30° +30° –110° +110° Mixing position Rs Ls 6.1 (ES/EX) The 6.1 (ES/EX) format is used for Dolby Digital EX or DTS ES. The 6.1 channels are left, center, right, left surround, surround (rear center), right surround, and LFE.
7.1 (3/4.1) 7.1 (3/4.1) uses the same speaker configuration as 5.1, but adds two additional side channels (left mid and right mid), placed directly to the left and right of the listening position. It is designed for a big cinema, in other words. 0° C L R –30° –70° Lm +70° Mixing position –110° LFE +30° Rm +110° Ls Rs 7.1 (SDDS—Sony Dynamic Digital Sound) 7.1 (SDDS—Sony Dynamic Digital Sound) adds two additional speakers to 5.1 (left center and right center). As with the other 7.
Channels Used By Surround Formats Surround format L Lc C Rc R Lm Rm Quadraphonic X LCRS (Pro Logic) X X X 5.1 (ITU 775) X X X X 6.1 (ES/EX) X X X X 7.1 (3/4.1) X 7.
Configuring Logic Pro for Surround Before you can create a project in surround, you need to tell Logic Pro which outputs of your interface are connected to which speaker. If actually recording in surround, you’ll also need to define what inputs of your audio interface will be used. This is done in the Input and Output tabs of the Surround preferences. To open the Surround preferences, do one of the following: m Choose Logic Pro > Preferences > Audio, then click the Surround tab.
Note: The surround format chosen here only alters the layout/routing of channels to speakers in the assignment section. The actual project surround format is determined by the Surround format Audio project setting (see “Setting the Project Surround Format” on page 815). To determine what speakers the Logic Pro outputs are sent to, do one of the following in the Output tab: m Choose the desired output of your audio interface from each of the active pop-up menus; Left, Center, Right, and so on.
To change the bounce extensions: 1 Click the Bounce Extensions tab. 2 Click in any of the active fields, and type in the new extension name. As examples: The default left extension “.L” could be renamed to “.Left”, or the left surround extension “.Ls” could be changed to “.LSurr”. Don’t forget the period before the extension! If you change your mind, simply click the Reset Extensions button to revert to the defaults.
Setting the Project Surround Format You can determine the surround format you want to use for a project in the Audio project settings. By default, a new project is set to 5.1. To determine the project surround format: 1 Open the Audio project settings by doing one of the following: Â Choose File > Project Settings > Audio (or use the corresponding key command, default: Option-P) Â Click the Setting Toolbar button, and choose Audio in the pop-up menu.
Setting the Channel Input Format The channel input format determines the mono, stereo, or surround status of the channel. To set the channel strip input format for the selected audio track: m Click-hold the button directly below the level meter on the Arrange channel strip, and choose the desired input format from the menu. The symbol on the button indicates the current status as follows: Mono Stereo Left Right Surround  Mono: One circle represents a mono input format.
Changing the Appearance of Surround Level Meters You can use the Channel Order menu in the General Display preferences to determine the order of channels in multi-channel (surround) level meters. You can choose between the following options.
Setting the Output Format of a Channel Strip You can set the output of all audio, instrument, input, output, and aux channels to the chosen project surround format. To set a channel strip output to surround: m Click-hold the Output slot of the desired channel strip, and choose Surround in the pop-up menu. The Pan control of the channel strip is replaced by a two-dimensional surround control.
Audio Channels The channel strip of an empty audio track is automatically set to the format of the first audio file added to it. If you add an audio file to a track assigned to a different output format (adding a stereo file to a track routed to a surround output, for example), the audio file is automatically up or down mixed to match the output format of the channel strip. Note: The highest possible surround format is determined by the project surround format.
Using the Mono to Surround Panner If the source input is set to mono, the Mono to Surround Panner appears. The most obvious element of the Surround Panner window is the surround field. You can use it to control the surround routing of the input signal to the speaker outputs. The level sliders and fields (shown below the surround field) provide independent control of the Center and LFE channel levels. The extended parameters allow you to precisely control the separation between channels.
 A number of speaker icons, that surround the circular grid. You can change the channel surround format directly in the Surround Panner window by clicking on the speaker icons. This will activate or deactivate the respective channels. Blue speakers indicate active channels, and gray speaker icons denote inactive channels.  The blue dot controls the routing of the signal to the speaker outputs. You can drag the blue dot in the surround field.
The separation square is visible if the extended parameter section is open. If the extended parameter section is closed, it will remain visible if any of the separation values does not equal 1.00. It also stays visible when the default values are reached by editing the square graphically. Closing the extended parameter section (with all separation values at 100%) will make the square disappear.
Surround Balancer If the source is set to surround, the surround panner acts as a surround balance control. Source channels are passed on to their respective output channels without any crosspanning or mixing. The pan control is represented by a single puck, which affects the multi-channel source signal as a whole. In other words, only the relative volume balance of the source signal is changed. The separation parameters are not available in this surround panner mode.
To insert plug-ins that do not match the channel format: m Option-click a channel Insert slot. The Plug-in menu will display all formats the plug-in has to offer, rather than being limited to the matching format. Any down or up mixing that may be necessary will happen automatically. Â The default format of software instruments is stereo (if available). Mono and the project surround format are offered as additional formats.
Working With Multi-Channel Effects Effects that are not available as true surround effects can be inserted as multi-channel effects on surround channels: Logic Pro matches the surround format of a channel by automatically providing the required number of stereo and mono instances of the plug-in. Learning About the Advanced Plug-in Header Multi-channel effect plug-ins offer an advanced plug-in header. It can include a tab for each effect instance, an LFE tab, and a Configuration tab.
Configuring Multi-Channel Effects The Configuration tab allows you to determine how parameter changes affect the plug-in instances. Link menu Bypass button  Link menu: Determines which effects are linked. If you link effects, parameter changes apply to all effects in the linked group. You can choose between three groups: A, B, and C. Channels set to none (“–”) operate independently. Each group features its own tab.  Bypass button: Click to bypass the channel: It is routed around the effect.
Working With Side Chains When inserting a side chain capable plug-in, the side chain source (selected in the plug-in header) is routed to all surround instances. The detection circuits of grouped plug-in instances are linked, and react as one unit. This ensures that the spatial surround image is not skewed or deformed. Note: This is also true when no side chain input is selected.
Bouncing Surround Audio Files Bouncing a surround mix can create more audio files than your usual stereo bounce. Each file is identified by a unique extension. Setting the Bounce Extensions The Bounce Extensions preference tab lets you define the file name extensions that will be added to the files resulting from a surround bounce. See page 814, for steps. To perform a surround bounce: 1 Do one of the following: Â Click the Bounce button at the bottom right of any output (or the surround Master) channel.
36 Synchronizing Logic Pro 36 Logic Pro can be synchronized with external hardware and software via a number of different synchronization protocols. This chapter discusses the use of Logic Pro—as both synchronization master and slave—in a number of different situations. Logic Pro supports the following synchronization protocols: Â MIDI Time Code (MTC): Translation of a SMPTE time code signal into a MIDI standard time code signal. Â MIDI Clock: Short MIDI message for clock signals.
The Synchronization Master and Slave Relationship In all synchronization situations, regardless of the simplicity or complexity of your studio configuration, the following rules apply: Â There can only be one synchronization master. Â The synchronization master sends time code information (synchronization signals) to one or more synchronization slaves. Logic Pro is capable of acting as master or slave, as are many devices.
Using the Sync Button You can use the Sync button to turn external synchronization on or off at any time, without changing the selected synchronization source. This allows you to temporarily disengage Logic Pro (running as a slave) from an external synchronization master device. This could prove useful if you need to quickly edit a MIDI region while the external synchronization source (tape machine, VTR, and so on) is still running, for example.
You can, however, manually set the format in the File > Project Settings > Synchronization > General > Frame Rate pop-up menu. Note: MIDI Time Code (MTC) is the MIDI equivalent of the audio-based SMPTE (Society of Motion Picture and Television Engineers) time code format. Synchronization Project Settings The Synchronization project settings allow you to specify all parameters relevant for synchronization.
General The General tab of the Synchronization project settings offers the following synchronization parameters (used when running Logic Pro as a slave). Sync Mode This parameter defines the master (time code type) that Logic Pro is synchronized to: Â Internal: The internal timer of Logic Pro. Logic Pro is the master. External devices can be synchronized via MIDI Clock or MTC (the relevant settings are made in the MIDI tab). Â MTC: MIDI Time Code mode. Logic Pro runs as a slave.
Frame Rate This is where you set the frame rate (in fps, frames per second). This frame rate applies to both transmitted and received time code. Frame rate Typically used for 24 fps Film, high definition video. 25 fps PAL video/television broadcasts. 30 fps (drop frame) NTSC video/television broadcast; rarely used. 30 fps High definition video; early black-and white NTSC video; older rate that is rarely used today. 29.97 fps (drop frame) NTSC video/television broadcasts. 29.
Validate MTC The Validate MTC menu allows you to specify how often Logic Pro checks for incoming time code, in order to ensure synchronization integrity. In general, you should leave this menu option on the “always” setting. There are some devices, however, that generate time code pulses that may require a specific number of frames to be set, in order to maintain synchronization. The “never, Jam Sync” setting basically sets Logic Pro to free-wheel if the synchronization signal is lost.
Audio Use the Audio tab of the Synchronization project settings to keep your audio and MIDI tracks synchronized. Current Sync Status  MTC (fps): This real time display shows the deviation between the incoming MTC, and its nominal frame rate. If the deviation is significant, make sure that the right frame rate is set in the General tab of the Synchronization project settings. If in doubt, set the frame rate to 24 fps and switch on “Auto detect format of MTC”.
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. There are two pop-up menus available, for Core Audio and DAE/TDM hardware. Use one or both, as applicable to the hardware installed on your system.
MIDI The MIDI tab of the Synchronization project settings configures Logic Pro to send time code via MIDI, when running (record or play mode). This enables you to synchronize external devices as slaves to Logic Pro, which acts as the master. Transmit MIDI Clock The checkboxes activate transmission of MIDI Clock. The two Destination menus allow you to determine two discrete MIDI output ports for the MIDI Clock signal. Every time you start, a Song Position Pointer (SPP) message is also sent.
Transmit MTC (MIDI Time Code) The checkbox activates transmission of MIDI time code. The menu determines the MIDI output port for the MTC signal. If you can avoid it, you shouldn’t send MTC to all ports, as it is very data-intensive. If possible, use a MIDI port that isn’t being used for anything else. Transmit MMC (MIDI Machine Control) Turn on this checkbox to enable transmission of MIDI Machine Control (see “MIDI Machine Control” on page 844).
Some synchronizers send Full Frame Messages (instead of MTC) to locate the slave device (Logic Pro in this case) to a new position, without implicitly starting playback. This is useful when in slow shuttle or single frame advance modes with video machines, because the slave device is perfectly located, without being in playback mode. MIDI Sync Preferences Button The MIDI Sync Preferences button opens the Sync tab of the MIDI preferences (see “MIDI Preferences” on page 963).
SMPTE Type This is where you define the SMPTE format that you want to use: Â LTC: Longitudinal (also called Linear) Time Code is written to a tape track. Â VITC: Vertical Interval (or Vertically Integrated) Time Code is written invisibly to a video tape. Freewheel You can set the freewheel time (in frames) for LTC and VITC. The freewheel parameter affects the SMPTE reader, and specifies how long the synchronizer continues transferring MTC to the sequencer, after time code ceases to be read.
Displaying and Using SMPTE Positions The Bar ruler of each linear editing window can independently display a SMPTE time ruler or bar/beat ruler. For further information, see “Adjusting the Bar Ruler Display” on page 74. Choosing View > Event Position and Length in SMPTE Units in the Event List switches the display of all positions and lengths to SMPTE times, rather than bar/beat values.
To lock an object to its current SMPTE position: 1 Select the desired object. 2 Do one of the following: Â In the Event List, Hyper and Piano Roll Editor: Choose Functions > Lock SMPTE Position. Â In the Arrange window: Choose Region > Lock SMPTE Position. Â Use the Lock SMPTE Position key command. Note: Copies of locked objects do not preserve their locked status, whether copied or pasted via the Clipboard, or by Option-dragging. To unlock the SMPTE position of a locked object: 1 Select the desired object.
MIDI Machine Control MMC is a set of MIDI commands that Logic Pro uses to control the transport functions of any MMC-capable tape machine. The recording process can also be controlled and automated from Logic Pro via MMC. This tape machine then provides the SMPTE signal that Logic Pro uses as a synchronization source (with Logic Pro as the slave). You can control connected devices from Logic Pro by using the normal transport functions (including direct positioning and cycle jumps).
 The Record button in the Transport bar sends the record strobe command to the tape machine. This also puts Logic Pro into MIDI record mode, and sends an MMC Play command to the tape machine. Logic Pro doesn’t start until it receives time code back from the MMC device.  If you use the Autopunch function, the tape machine goes into record mode at the punch in locator, and stops recording at the punch out locator positions.
Synchronization Problems and Solutions Given the number of different synchronization types that are available, and different implementations by various manufacturers, you may occasionally encounter timing issues when running Logic Pro synchronously with other devices or applications. This section will help you to overcome some common synchronization problems.
37 Working With Plug-in Latencies 37 Audio processed through plug-ins is subject to small timing delays, known as latency. Fortunately, Logic Pro provides a number of advanced features that can compensate for these timing differences, ensuring that all track and channel output is perfectly synchronized. This chapter discusses the technical aspects of plug-in latency, and how to circumvent these timing anomalies in Logic Pro.
Working With the Low Latency Mode The Low Latency mode allows you to limit the maximum delay time caused by plugins. Plug-ins will be bypassed to ensure that the maximum delay that can occur across the entire signal flow (of the current track) remains under the chosen value.
Working With Plug-in Delay Compensation The Compensation menu in the Logic Pro > Preferences > Audio > General tab allows you to either disable plug-in delay compensation (Off ), or activate it for: Â Audio and software instrument tracks. Â All channels (audio, instrument, aux, output, bus, and ReWire).
With plug-in delay compensation set to All, Logic Pro shifts the bass track forward by 10 ms, thus synchronizing the bass and drum tracks. Logic Pro will then delay both streams routed to the output channel by 30 ms, aligning them with the guitar tracks. The aux channel that the vocals are streamed to is also delayed by 15 ms, aligning it with the drum and guitar streams (in other words, the 15 ms delay is increased to 30 ms). The precise calculations required for each stream are handled automatically.
For these same reasons, you may encounter increased latency if playing software instrument tracks live, when plug-in delay compensation is set to All. This issue can be mitigated to some extent by using the Low Latency mode (see “Working With the Low Latency Mode” on page 848). Dealing With Latency Issues To avoid these potential pitfalls, you should try to complete any audio and software instrument recording before inserting latency-inducing plug-ins.
If you are recording audio, another strategy would be to disable the Software Monitoring checkbox in the Logic Pro > Preferences > Audio > Drivers tab. This would necessitate monitoring your recording via an external mixer. When Logic Pro is not providing software monitoring of incoming audio, it can correctly position audio recordings—even when full delay compensation is active. Obviously, you can’t use external monitoring when recording software instruments.
38 Working With Split Channel Audio File Formats 38 You can store multi-channel audio as interleaved or split channel audio files. An interleaved audio file contains all channel information, stored in an alternating single “stream.” Â For stereo files, this would be left channel, right channel, left, right, and so on. Â For surround files, this would be channel 1, channel 2, channel 3, and so on, then back to channel 1. Put into the context of a 5.
Importing Split Channel Files Nothing special needs to be done to import either split or interleaved files into Logic Pro. What happens when you do import such files is slightly different, depending on the audio interface hardware in use. If You Are Using Core Audio Hardware in Logic Pro When split channel files are imported, they are automatically converted to interleaved files. If you want to add several split channel files simultaneously, Logic Pro asks whether all files should be converted at once.
Disconnecting Split Stereo Files Both sides of a split stereo file are normally edited together, as discussed above. On occasion, however, you may need to edit one side individually. To disconnect a split stereo file: 1 Select (either side of ) the split stereo file in the Audio Bin. 2 Choose Edit > Disconnect Selected Split Stereo File. You can now edit both sides of the recording as individual mono files. This function will only disconnect one split stereo file at a time.
Exporting Split Channel Files You can bounce stereo files from Logic Pro—in interleaved or split stereo formats. Surround files can be bounced as interleaved, or multiple mono files. Essentially, there are only two parameters of importance for creating split format files in the Bounce window: Â File Type pop-up menu: Choose Split. Â Surround Bounce checkbox: Turn this on when performing a surround bounce (either interleaved or split).
39 Working in the Environment 39 The Environment controls all MIDI input and output, and also allows you to integrate and process the data of MIDI and software instruments. This chapter will help you to understand how the Environment window works, and how to use objects to alter MIDI data in real time. It is not essential to know about—or even open—the Environment window in order to make music with the instruments of Logic Pro or your external MIDI sound generators and keyboards.
Using the Environment This section outlines all general concepts and techniques needed to use the Environment. If you require detailed descriptions of the Environment objects, please see “The Environment Objects” on page 880. An Introduction to the Environment The Environment refers to the virtual environment of Logic Pro inside your computer. It was developed to allow complete control over your MIDI setup. The Environment window provides a virtual view of your MIDI studio.
Most objects can be remotely controlled by other MIDI events (using the sliders or modulation wheel of your keyboard, for example). You can even record these movements, if you wish. In addition, there are specialized objects which can split a MIDI signal into different channels, make pre-programmed alterations, or even re-route the signal path.
To switch between layers: m Click the arrow button next to the Layer menu, and choose the desired layer from the menu. To switch back to the most recently opened layer: m Choose Options > Go to Previous Layer (or use the Go to Previous Layer key command) in the Environment. To create a new layer, do one of the following: m Choose Create Layer from the Layer menu (or use the corresponding key command). m Choose Options > Layer > Create.
The position (and existence) of the first two layers—All Objects and Global Objects—is protected, and they can not be deleted: Â All Objects: This layer displays all objects in the Environment. The objects in this layer are normally shown as a list. Â If you turn off the Logic Pro > Preferences > Display > Other > “Allow ‘All Objects’ layer” option, the All Objects layer will disappear from the Layer menu. Enable this preference if you need access to the All Objects layer.
Customizing the Environment Display You can customize the display of the Environment, using the options in the View menu. To hide the Inspector, which contains the Layer menu and Object Parameter box: m Choose View > Inspector (or use the corresponding key command, default: I). This will create more room onscreen for the Environment workspace display. To view objects graphically or as a list: m Choose View > By Text to switch between the graphical display of objects to a listing.
Viewing a Frameless Environment Window There may be occasions where you would like to have access to particular Environment objects while working in the Arrange window. As an example, a few buttons that are used to control a tape machine. Rather than needing to open (or indeed viewing) a full Environment window every time you need to control the tape machine, you can create a mini window that floats on top of other windows. Typically, this would be the approach: 1 Create a new layer.
 MIDI Thru tool: Clicking an object in the Environment with the MIDI Thru tool assigns the object to the selected track in the Arrange window. Creating and Deleting Objects Choose an object type from the New menu to create an object of this type on the current layer. You can also use the corresponding key commands. Clicking on a layer background with the Pencil tool creates a new instrument object. To delete objects, do one of the following: m Click the object with the Eraser tool.
4 Choose Edit > Paste (or use the corresponding key command, default: Command-V). Note: If any objects are selected when attempting to paste objects to the current layer, a dialog asks if you want to “Replace current selection? No/Replace”. If you press Enter or click Replace, the selected objects will be replaced by the objects in the Clipboard. The existing cabling remains intact. To drag objects to a different layer: 1 Open a second Environment window that displays the target layer.
Tidying Up Moved or Copied Objects Objects can be freely placed, which is flexible, but can lead to overlaps or misalignments—particularly when pasting between layers. Fortunately, you can quickly clean up object positions. To snap objects to a grid: m Enable 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.
To set the size of the selected object to its default value: m Choose Options > Clean up > Size by Default. You can also use the following key commands to decrease or increase the width or height of all selected objects by 1 pixel  Object Width –1 Pixel  Object Width +1 Pixel  Object Height –1 Pixel  Object Height +1 Pixel Special Selection Commands You can make moving and copying tasks faster and easier by using the selection commands outlined below.
The MIDI Signal Path Before any MIDI events received at your computer’s MIDI inputs can be recorded by Logic Pro, there must be a connection between two Environment objects, namely the: Â Physical Input object: This represents the MIDI In port(s) of your MIDI interface. Â Sequencer Input object: This represents the door in to Logic Pro for incoming MIDI events.
As an example, the output of an Arrange track (the note events in a MIDI region) routed to (software) instrument channel 1 can be arpeggiated. To do this, you would create an arpeggiator object (this will be easiest on the Mixer layer of the Environment), assign the arpeggiator to the Arrange track (Control-click the track header to access the Track Assignment menu, and browse to the arpeggiator object), then cable the arpeggiator out to instrument channel 1.
To make a direct output connection: m Click the Port menu in the object’s Parameter box, and choose the desired MIDI output. The Port menu lists all MIDI Outputs, plus the following options. Â The Off setting completely disables the connection to the MIDI interface port. Â The All option routes the object’s output to all available MIDI ports. This may be useful if the device is sending a pulse, for example.
Cabling The cabling between Environment objects provides control over the entire MIDI signal path. A cable is normally shown as a gray or colored line between a source and destination object. Cables are assigned the same color as the source object, which makes following the signal path much easier. You can, however, switch off cable coloring, and render them in gray with the View > Colored Cables function. Objects always have an (invisible) input on the left, and an output on the right-hand side.
To make a connection between two objects—method 2: 1 Option-click the triangle, which will open a hierarchical menu. 2 Browse to the layer that the destination object is on, and choose the object name. A cable connection will be created between the two objects. This method is ideal for creating connections between layers, but can also be useful when a large number of closely-spaced objects exist on a single layer.
Once an output from an object is used (cabled to another object), another output triangle automatically appears. 2 Use the second output triangle to create a second cable connection to a further destination object. Once this is done, a third output triangle will appear, and so on. Some objects have special outputs, and are exceptions to this rule. This includes channel splitters (see “Channel Splitter Object” on page 896), which features several— functionally different—outputs.
2 Next, grab one of the cables and plug it into the new destination object. The following dialog is shown: 3 Click Connect, or press Enter. Cabling Serially and in Parallel You can cable objects in series or in parallel. Cabling objects in series is handy for quickly connecting groups of faders used to control a MIDI mixing console, for example. To cable a group of objects serially: m Select all objects you want to cable, then choose Options > Cable serially.
Common Environment Object Parameters Each Environment object has several parameters that control its operation. These parameters can be viewed and changed in the Object Parameter box, shown in the Inspector when an object is selected. Object Parameter box The Object Parameter box also appears in the Arrange window Inspector when you select a track assigned to the object. These are the same parameters—changes in one location will be reflected in the other.
Opening and Closing the Object Parameter Box By clicking the triangle at the top left, you can hide all parameters except the object name and type. This reduces the box to its minimum vertical size. You can also hide or show the Inspector by choosing View > Inspector (default key command: I). Common Parameters The following parameters are shared by all object types: Name The name of the object is shown next to the triangle, and can be selected for editing by clicking on it.
Icon Click the icon in the Object Parameter box to choose an icon to represent the object in the Environment and Arrange window track list. Exchanging Environments One of the main advantages of the Environment is the ability to customize Logic Pro to fully control your MIDI studio. This can, however, present a problem when sharing projects with other musicians, or using different studio setups. It also presents a problem when you return to older projects after you’ve changed your studio.
You can also move selections of Environment objects (inclusive of cabling) between projects by dragging or copy and pasting. This is made even simpler by first combining the objects into a macro. To import an Environment patch that is spread across several Environment layers: m Choose Options > Import Environment > Merge. All Environment objects from the source project will be added to the Environment of the destination project.
Note: This complex task involves a lot of guess work on Logic Pro’s part, and the results almost always require some manual fine tuning on your part. Replacement by Assignment The most flexible (and most time consuming) method of exchanging Environments is to manually choose whether each Environment object is kept, deleted, or replaced. If you choose to replace an object, you must also define the replacement object. This method is accessed via Options > Import Environment > Custom.
Logic Pro maintains an internal list of all Environment objects. An object’s position in the list is its Unique ID—as long as the object is not deleted, its Unique ID never changes. When objects are deleted, their position in this list becomes available for a new object. Whenever an object is added to the Environment, it is placed in the first available position on the list (if there are no empty positions, it is added to the end of the list).
m Click the Environment background with the Pencil tool. A standard instrument is created, and its parameters are displayed in the Inspector. Here, you can set a number of playback parameters, including program bank and number, initial volume and pan, transposition, velocity scaling, and MIDI delay. Port Use to set a direct connection to one of your MIDI output ports. Remember that you can also directly cable an instrument object to (or from) other Environment objects, allowing MIDI processing.
To the left of the program number, directly to the right of the checkbox, you’ll see the Bank Select parameter. If your MIDI sound source recognizes bank select messages (check the device manual), you will be able to switch between sound banks. If your sound source responds to the standard Bank Select message (Controller #32), you will be able to use this parameter directly. If not, you may define your own Bank Select commands (see “Defining Custom Bank Selects” on page 887).
Style The Style parameter can be set to any of the available staff styles. Whenever a region is created on one of the instrument’s tracks, it will be assigned the staff style displayed here. If the Auto style is chosen (the default), Logic Pro will pick an appropriate style based on the pitch range of the notes in the region. For more information on staff styles, see “Working With Staff Styles” on page 741.
To create a new multi instrument object: m Choose New > Multi Instrument (or use the New Multi Instrument key command). The Multi Instrument’s Parameter Box The multi instrument parameters are, as mentioned, identical to those of the standard instrument object (see “Standard Instruments” on page 880). The settings you make here apply globally to all sub-channels. To view the multi instrument’s Parameter box: m Click the icon or name field at the top of the multi instrument object.
The Sub-Instrument’s Parameter Box The sub-instrument parameters are the same as those of standard instrument objects (see “Standard Instruments” on page 880). The only parameter you can not change is the MIDI channel. If you try to change the channel, you’ll see the following warning: You can, however, change the channel in the Arrange window’s Track Parameter box to any sub-instrument of the multi instrument, and the track will be assigned to the selected sub-instrument.
Depending on whether or not you have activated the sub-instrument’s Program parameter, the following information will appear in the Arrange area’s track list: Â The name of the multi instrument and channel number (if the parameter is not activated). Â The short name, channel number, and program name (if the parameter is activated). Program Names There are 128 program names in the Multi Instrument window. A total of 15 banks of 128 program names are available.
Different bank select formats are used by different MIDI instrument manufacturers— please consult your MIDI instrument’s manual to see whether or not it supports bank select messages, and if so, what format it uses. With modern synths, there’s a good chance the format will match one of the top items in the menu: either controller# 32 or controller# 0. There are also presets to accommodate several of the more common types of synth.
You can create MIDI events here as you would in the Event List, by cutting, copying, inserting, and editing (see Chapter 18, “Editing MIDI Events in the Event List,” on page 437). The only difference is that you enter the desired bank number, rather than a time position. 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.
 Assigned its own MIDI channel  Sent to one of up to 16 output cables (this allows you to create a single instrument that addresses multiple sound sources).  Given its own notation parameters: note head shape, relative vertical position in the staff, and drum group assignment (see “Drum Notation With Mapped Staff Styles” on page 758. The Mapped Instrument’s Parameter Box The mapped instrument’s parameters are a subset of the standard instrument (see “Standard Instruments” on page 880) parameters.
If a MIDI region (on a track routed to a mapped instrument object) is displayed in the Piano Roll Editor, the names of the notes being played will appear on the vertical keyboard. Output Note This column is used to set the output note. This is done by either:  Double-clicking on the note description and editing the text  Dragging the beam to the right of the output note name. MIDI notes are sent while changing the value, allowing you to hear what you’re doing.
Cabling Mapped Instruments You can send individual notes from a mapped instrument object to (up to) 16 different output cables, enabling you to play sounds from different sound sources. If you select a cable that doesn’t exist, the note will not be sent out. Initialize > Output Cables resets all cables to #1 (the top outlet of the Mapped Instrument). Notation Parameters The last three columns define the notation parameters of individual notes. Â Head: This pop-up menu allows you to change the note head.
GM Mixer The GM mixer is a collection of 16 fader modules, configured to emulate a virtual mixing desk for 16 MIDI channels. Each module has controls for volume, mute, preset, bank, and four assignable knobs (one of which is typically used for pan). There are optional controls for standard XG and GS effects. To create a new GM mixer: m Choose New > GM Mixer. The GM mixer is intended for controlling the 16 channels of a MIDI device which conforms to the GM, XG, or GS standard.
Legend The Legend parameter switches the display of the legend along the left edge of the GM Mixer on and off. The Legend not only indicates what the rows of controls do, it is used to set the function of the top four rows of knobs. After the GM mixer is set up, you can hide the legend to save space. Bank The Bank parameter hides or shows the bank MSB/LSB display at the bottom of the GM mixer. You can save space by hiding the bank display, unless you need to select program banks numerically.
Adjusting the Level of a Channel The Level fader controls the output level of a MIDI channel. Adjusting it sends controller 7 via your MIDI interface. To adjust the output level of a channel: m Drag the Level fader up or down. Muting a Channel The Mute button switches the volume of the channel between zero and the current Level 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 Level fader position (and value) is used.
MMC Record Buttons The MMC record buttons object allows you to control the record enable status of external MMC-compatible recording devices (see “MIDI Machine Control” on page 844). To create an MMC record buttons object: m Choose New > MMC Record buttons. Resizing the object allows you to determine the layout and number of track record buttons.
Monitor Object A monitor objects displays 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. Clicking anywhere in the body of the monitor clears all events. To create a monitor object: m Choose New > Monitor (or use the New Monitor key command). Monitors are very handy as both testing and branching devices.
Arpeggiator An arpeggiator object turns chords into arpeggios. It plays the currently held notes— individually—in a selectable pattern (up, down, random, and so on), and at a selectable speed that ranges between whole-notes and 768th-notes. To create a new arpeggiator: m Choose New > Arpeggiator (or use the New Arpeggiator key command. An arpeggiator features parameters for direction, velocity, speed (Resolution), note length, start quantize (Snap), repeats, octaves, and velocity offset (Crescendo).
 Auto: Up or down, depending on whether the second chord note arrived before, or after, the first chord note.  Up/Down2: Up and down—highest and lowest notes don’t repeat.  Random: Notes play in random order.  All: All notes play at once (useful when Repeat is on). Velocity Determines the velocity values of the arpeggiated notes. You can choose between the following settings:  1 to 127: Fixed velocities  Original: The velocities of the recorded notes are retained.
Controller Base All ten parameters of the arpeggiator object can be remote-controlled with MIDI continuous controller events. The Controller Base parameter determines the controller number for the first parameter (Direction). The other parameters will be controlled by subsequent controller numbers. When Controller Base is set to Off, MIDI control of the arpeggiator is disabled. Transformer Object You can use a transformer object to select, filter, and alter MIDI events in real time.
3 Cable the output of the transformer object into this newly created instrument (which, in essence, is simply acting as a MIDI output port. Configuring a Transformer Object Double-clicking a transformer icon opens the Transformer window, where you can set the conditions and operations. Setting the Operation Mode Use the pop-up menu at the top of the Transformer window, to define how a transformer handeles MIDI events. You can choose between the operation modes outlined below.
Copy matching events and apply operation All MIDI events which conform to the condition are copied, and the copy is processed. The original and transformed copy (plus any MIDI events that don’t conform to the condition) are passed through. The unchanged original is parsed (processed) before the transformed copy. Copy matching events and apply operation (reverse order) This is the same as above, except the original is parsed after the processed copy.
 The channel controls the action to be taken:  Channel 1: The changed SysEx message is sent.  Channel 2: The changed SysEx message is not sent.  Channel 3: The unchanged SysEx message is sent.  Channels 4 to 16: No meaning (reserved for future use). The “Filter non-matching” checkbox prevents incoming MIDI events (that don’t control the SysEx message) from being passed through. Typically, you will want this feature turned on, to prevent interloping controller data from invading the SysEx data stream.
 Meta event #125 sets the first (top) condition value.  Meta event #124 sets the second (bottom) condition value (if available). Note: Transformers can also process meta events, as long as they are not the meta events listed above. Note that all numerical condition and operation parameters that are used (conditions not set to All and operations not set to Thru) will be affected by the same meta event. The status condition and operation are not affected by meta events.
Delay Line Object A delay line object repeats (echoes) MIDI events passing through it—at intervals ranging from one tick to 256 whole notes. To create a new delay line object: m Choose New > Delay Line. As with the arpeggiator, you will need to place a delay line object in the MIDI signal path, and Logic Pro must be in play mode. The echoes of each incoming event are sent—sequentially—to each cabled output of the delay line object; event 1 to cable 1, event 2 to cable 2, and so on.
Voice Limiter Object A voice limiter object restricts the number of MIDI notes (1 to 32) that can be held simultaneously. It does this by note stealing—newly arriving notes will cause (some of the) currently held notes to be turned off, once the voice limit is reached. To create a new voice limiter: m Choose New > Voice Limiter (or use the New Voice Limiter key command).
Chord Memorizer Object A chord memorizer maps individual notes to chords. You can assign one chord to each pitch class (to C, C#, D, and so on). The octave of the incoming note determines the octave of the resulting chord. A chord can have zero to twelve notes in it. (Zero and one note chords can be useful for creating scale-filters and scale-correctors).
Working in the Chord Memorizer Window Double-clicking on a chord memorizer opens the Chord Memorizer window, where you can set up chord definitions. The top keyboard is used to input and display the incoming note, and the lower keyboard is used to input and display the assigned chords. Notes can be entered with the mouse, or a MIDI keyboard. Remember to only use notes that fall within the Key Limit range on the top keyboard.
When you’ve entered the desired notes for your chord, deactivate the Listen checkbox and play a new input note, or close the Chord Memorizer window. Touch Tracks Object A touch tracks object allows you to trigger MIDI regions or folders with single notes. This can be used to create a new arrangement in real time, ideal for live performances. You can not use touch tracks to trigger audio. In the following section, any references to regions mean folders and MIDI regions, not audio regions.
Using the Touch Tracks Window You open the Touch Tracks window by double-clicking on a touch tracks object. This window is similar to the Mapped Instrument window (see “Mapped Instruments” on page 888)—the input note is selected via the keyboard on the left, and the output region assignment and parameters are set in the columns of the corresponding row. A vertical gray line means that the setting is the same as the line above.
When you create a touch tracks object by dragging a region into the Environment, C3 triggers the region at its normal pitch, and all other keys trigger it—transposed relative to C3. Velocity In the Velocity column, you can set the sensitivity of regions to the velocity value of the trigger note: by 100% (very sensitive), 50% (somewhat sensitive) or off (not velocity sensitive). Trigger Modes The Trigger column determines how region playback is handled: Â Multi: Playing the trigger note starts the region.
Physical Input and Sequencer Input Objects The Physical Input object represents the physical inputs of your MIDI interface; the Sequencer Input object represents the MIDI input of Logic Pro. You can only have one of each of these objects in the Environment. To create a Physical Input object: m Choose New > Physical Input. To create a Sequencer Input object: m Choose New > Sequencer Input. To make use of an existing object, drag it onto the relevant layer. This will not affect its cabling.
Physical Input Object The Physical Input object receives MIDI signals from the inputs of the MIDI interface(s) connected to your computer. This object has a total of 65 outputs. The outputs follow the input assignment of all connected MIDI interfaces. The top output (SUM) carries the MIDI events for all individual outputs that are not cabled separately. Remote control events are intercepted at the Physical Input object, and are not passed through to its outputs.
MIDI Click Object The MIDI 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. To create a MIDI Click object: m Choose New > MIDI Metronome Click in the local Environment menu. Each project can have only one MIDI Click object. You only need to create a MIDI Click object if the one that existed when the project was created has been deleted.
Internal objects have an input, but no output. They therefore act like extra output ports, which are hard-wired to the relevant sound generator (software instrument or application). Apple QuickTime The QuickTime system extension offers a software-based GM sound generator. The QuickTime Musical Instruments file must be present on your system. To create a virtual representation of the QuickTime synth: m Choose New > Internal > Apple QuickTime. This software synth is 16-part multi-timbral.
 Bus: Lets you choose the ReWire Bus from all available ReWire busses. If a ReWire application provides bus names, they will be shown. If using Reason, the names of the instruments available in the Reason Rack will be shown from Bus 6 upwards, in place of numbers.  Channel: Sets the MIDI channel of the ReWire object. Alias You can create an alias of any Environment object, and it will behave exactly like the original.
One situation where you might use an alias assigner is when switching a delay line alias between different originals (different delay line objects), each set to different delay times. This method is one of several ways to provide MIDI control over delay time. Alias Parameters Aliases share the parameters of their parent (original) objects, but they also have their own, special parameters: Reference The Reference menu is used to select the original on which the alias is based.
Logic Pro will enclose all selected objects in a frame with a gray background. If some of the objects selected when creating a macro have cables leading to unselected objects, these cables will be deleted when the macro is created. A warning will notify you of this. In this situation, the macro is made from a copy of the original selection of objects, and the original collection of objects remains unchanged.
Macro Parameters Macros have the following parameters: Auto Fader If you select a group of faders, and create a macro from them, checking this box will make them behave as if they were cabled serially. Show All This checkbox determines which objects remain visible when integrated into a macro. When checked, all objects will be visible (assuming the macro is not resized to hide some of them). When unchecked, only fader, monitors, ornament, and keyboard objects will be visible.
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 type of fader determines what events the fader sends out and responds to. In two cases, however, the fader doesn’t send out events at all: Â The cable switcher routes events to its different outputs. Clicking on a cable switcher object makes it step sequentially through the outputs.
The default appearance of the text fader is like a value field that can be scrolled. Double-click to open a window that allows you to enter text for each menu position. Enable the Behaves as Menu checkbox to use the text fader as a pop-up menu. A vector fader allows you to scroll in two directions, and sends out two values—one corresponding to the vertical position, and the other to the horizontal position.
Names With Numbers If you name one object in a selected group of objects with a name that ends in a numeral, the remaining objects will adopt the name, but with sequentially increasing numbers. As an example: Selecting several objects and naming one of them “Object 1” will result in the ensuing objects being renamed as “Object 2”, “Object 3”, “Object 4”, and so on. Special Functions This section outlines several behaviors and commands that enhance the use of fader objects.
Recording and Playback of Fader Movements As with the channel strips in the Mixer, you can record fader object movements to tracks, and play them back. Recording Fader Movements You don’t need any special cabling to record the data generated by a fader. All data generated by faders is recorded on the selected track when Logic Pro is in record or record/pause mode. Playing Back Fader Movements Any fader will react to incoming events that match its Input definition.
Buttons Button style faders can only send two possible values: the minimum and maximum values of their range. Â When on, the maximum value is sent. Â When off, the minimum value is sent. If the minimum and maximum range parameters are set to the same value, the button sends this value each time it is clicked. 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.
Text Fader Range The Range parameter determines the number of names that can be entered into a text style fader object. If you set a text style fader’s range to 0, 1 you can only enter two values. You should always set the minimum necessary range for a text fader, as this saves memory. In any case, remember that the first name corresponds to the lowest value in the range (not necessarily 0), and the last name corresponds to the highest value (not necessarily 127).
 -1- (0 to 127): Defines the first data byte of the event. In some cases, such as pitch bend, this is an actual data value. In other cases (MIDI controllers), this indicates the controller type (volume, pan, and so on, as examples). In other cases, such as aftertouch, this byte is unused.
For text style faders, the first name always corresponds to the low end of the range, and subsequent names correspond to incremental range values, up to the top range. The number of names that can be entered into the window is limited by the range. Val As This parameter determines the way that numerical values are displayed by the fader: Â Num: The fader value is displayed as a number (0 to 127).
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 (Most Significant Byte) and one for the LSB (Least Significant Byte). Note: The fader’s Input and Output definitions must be the same or the 14 Bit setting will not work. For controllers, the MSB uses the Input definition controller number, and the LSB uses the controller number 32 higher.
The vector style fader replaces these with Vert and Horz definitions, which determine the MIDI events that correspond to vertical and horizontal motion. If corresponding MIDI events are received by the vector style fader, its crosshair display will update accordingly. 4-Channel Vector Mode If you set a vector fader’s Vert and Horz definitions to the same MIDI event (the same MIDI controller and channel), the vector fader will send out four MIDI events each time the crosshair is moved.
To create an alias assigner, either: m Choose New > Fader > Specials > Alias Assigner. m Change an existing fader’s Output definition to Switch/Meta, and set its -1- value to 46. To create a meta type fader, either: m Choose it from the New > Fader > Specials menu. m Change an existing fader’s Output definition to Switch/Meta, and set its -1- value to the desired meta event number. Cable Switchers Cable Switcher objects route events, rather than generating them.
Meta Event Faders Meta faders generate special meta events, which are used to control certain Logic Pro functions, but have no MIDI meaning, and are never sent to the MIDI output. In some cases (such as Go to Screenset, Go to Project, and so on), you do not need to cable meta faders into another object for them to work. Even in these cases, you can use cabling to process meta events in the Environment, and alter their effect.
Go to Marker, Screenset, or Project Choosing New > Fader > Special > Go to Marker creates a fader which allows you to enter a marker number (Meta event 51). The playhead moves instantly to the chosen marker number. Markers are numbered sequentially, throughout the project, even if you have renamed them (from the default numbers assigned when each marker was created).
An important thing to remember about the SysEx fader is that only selected events will have their value altered by the fader value, when the SysEx fader window is closed. Events that are not selected will be sent exactly as they appear in the window. The value shown in the Val column (of selected events) is altered, if normal MIDI events (controllers, program change, aftertouch, and so on).
A generic SysEx message appears. Â The first data byte in the top line (directly after the word SysEx in the Num column) is the manufacturer’s ID. This may be several data bytes long (as there are more than 128 manufacturers of MIDI devices).
2 Choose the desired options in the Checksum and Value menus (found in the lower right corner of the window) to set the format of these bytes. Checksum Format A checksum can be created in any of the following formats:  Roland  Yamaha  Regular Checksum  2’s complement  1’s complement If you don’t know which one works with your MIDI device, try “off” (= no checksum) first or “2’s complement”. Value Byte Position Position allows you to determine the position of the value byte.
Value option Result 2 ASCII M The value is sent in two nibbles, the most significant nibble first; the nibbles are sent in ASCII format for the hex value. As an example, the value $7F (= 127 in decimal) will be transmitted as a 7 and F. 3 ASCII M same as 2 ASCII M, but in 3 nibbles. 4 ASCII M same as 2 ASCII M, but in 4 nibbles. The unused bits of the transfer in nibbles (X in 0XXXNNNN) are sent with the information at the relevant positions of the SysEx strings.
The Mixer channel strips and Arrange channel strips are simply remote controls for the underlying channel strip objects in the Environment Mixer layer. Their inclusion in these other windows makes your workflow faster and easier. As mentioned near the beginning of this chapter, the Arrange channel strips are cut down versions of the corresponding channel strip objects in the Environment.
Channel Click the visible channel name (Audio 1, for example), and choose the channel strip type from the sub-menus. This is how you can reassign a (newly-created or existing) channel strip object (an audio channel strip is the default for new objects) to other channel strip types. You can choose from: Â Audio: The default channel strip type, used as the destination for Arrange audio tracks.
Input Channel You can only create input channel strip objects in the Environment. In general, you will not need to do so, as all audio hardware inputs are automatically seen by audio channel strips, and can be monitored and recorded. It is primarily included for compatibility with older Logic Pro versions, and for use with certain audio hardware devices. The Input channel strip allows you to directly route and control signals from your audio hardware’s inputs.
40 Project Settings and Preferences 40 The project settings and preferences allow you to define many of Logic Pro’s basic operating parameters. This section explains each of these options. Unless otherwise indicated, the descriptions of the various parameters apply when the selection box beside the option is checked (in other words, when it’s active).
Saving Project Settings and Preferences The project settings are stored with the project file. If you want to start Logic Pro with certain settings, simply adjust the desired settings in your default template, and save it. Project settings can be transferred between projects, through the use of several import functions. You can use these to accelerate template creation, or when you would like to integrate aspects (such as score text styles) from another project into the one you’re currently working on.
Metronome Settings The Metronome project settings combine all speaker click, MIDI click, and KlopfGeist— a virtual metronome sound source—parameters. (See the KlopfGeist chapter in the Logic Studio Instruments and Effects manual for details). KlopfGeist can be used in addition to, or in place of, the speaker and MIDI click sources. To open the Metronome project settings, do one of the following: m Choose File > Project Settings > Metronome (or use the corresponding key command).
Software Click Instrument (KlopfGeist) Settings  Software Click Instrument (KlopfGeist) checkbox: Click to activate or deactivate the KlopfGeist metronome. It is active by default.  Bar, Beat, and Division checkboxes: Switch on to generate separate note events for bars, beats, and divisions.  Note and Velocity parameters: Define the note number, and velocity, of generated notes.
Recording Settings The Recording project settings determine how Logic Pro responds while in record mode. To open the Recording project settings, do one of the following: m Choose File > Project Settings > Recording (or use the corresponding key command, default: Option-*). m Click the Toolbar Settings button, then choose Recording from the menu. m Control-click the Record button in the Transport bar, then choose Recording Settings from the menu.
Overlapping Recordings This pop-up menu provides the following settings: Â Create take folders: As the name suggests, a new take folder is created when recording over an existing MIDI region. Details on take recording and handling are covered in “Recording MIDI Regions in Real Time” on page 379. Â Merge with selected regions: Newly-recorded data is merged with all selected regions, to form a single region. This takes place after each recording is completed.
About Tuning Before looking at the Tuning settings, some basics and background information. About Alternate Tunings The twelve tone scale used in Western music is a development that took centuries. Hidden in-between these twelve notes are a number of other microtones—different frequency intervals between tones. To explain, by looking at the harmonic series: Imagine that you have a starting (or fundamental) frequency of 100 Hz (100 vibrations per second). The first harmonic is double that, or 200 Hz.
Note Frequency (Hz) A 168.75 A# 180.2032 B 189.8438 C 202.7287 Notes As you can see from the table above, there’s a problem! Although the laws of physics dictate that the octave above C (100 Hz) is C (at 200 Hz), the practical exercise of a (C to C) circle of perfectly tuned fifths results in a C at 202.7287 Hz. This is not a mathematical error. If this was a real instrument, the results would be clear.
 Convenience: Retuning an instrument to a temperament that is better suited for a particular piece of music is a hassle. Many instruments are not capable of being alternately tuned (fretted string instruments, for example).  Portability: All Western musical pieces can be performed (adequately) on an instrument tuned to equal temperament. Obviously, some of the nuances may be missing in pieces that were originally performed in another temperament.
Tuning Project Settings The Tuning project setting parameters are listed below. Tune This parameter determines the global tuning of all software instruments. The default is concert pitch A (440 Hz). Detuning is in cent (1/100th of a semitone) steps. Alternate Tuning Scales Activation of alternate tuning scales is achieved by clicking the appropriate radio button in the Software Instrument Scale section.
The Fixed Tuning scales are ideal for a number of Baroque and Medieval instruments, and styles of music. User Each semitone can be detuned (moved away) from equal temperament in semitone steps. To do so, just click-drag—vertically—on each semitone box until the desired value is reached. Alternately, you can double-click in each semitone box, and type in a value. Press Enter or click on another box to exit the text entry mode. The Reset button resets all of your tuning adjustments to their default values.
Audio Settings The Audio project settings determine audio-specific project parameters. Automatic Management of Channel Strip Objects This option (active by default) makes setting up, and using, tracks and channel strips a transparent experience. It automatically creates and manages channel strips when new tracks are created. You should only deactivate this setting when you need to make manual changes to channel strips in the Environment window.
MIDI Settings The MIDI project settings determine the behavior of the MIDI inputs and outputs. The MIDI project settings comprise the General, Input Filter, and Chase tabs. General Tab Send After Loading Project  Used instrument MIDI settings checkbox: Sends the active instrument MIDI settings automatically after loading a project (see “Adding Program Change, Volume, and Pan Settings to a MIDI Region” on page 246).
If your master keyboard does not have a Local Off setting, you can use this feature to avoid unwanted note doubling when recording: Â With multi timbral sound sources, assign the instrument (usually channel 1) which plays the part that is heard when playing with the computer turned off. Â With mono timbral sound sources, assign the instrument which represents the sound generating part of your master keyboard.
Preferences The settings made in the Preferences window are saved in a general preference file, stored in the ~/Library/Preferences/Logic folder. Preference settings apply to all projects. A separate preference file, also stored in the same location, is made for control surfaces. Note: You can’t open either preference file directly. Any changes must be made in Logic Pro. If you accidentally or intentionally erase the preference files, Logic Pro will create new preferences files the next time it is opened.
Startup Action The Startup Action menu allows you to choose from a number of project options—that happen automatically when Logic Pro is opened. You can choose from: Â Do Nothing: As the name suggests, this does nothing. Logic Pro is opened and requires you to create a new project, or open an existing project or template. Â Open Most Recent Project: Automatically opens the project you were working on when you last closed Logic Pro.
Editing Preferences  Right Mouse Button: This pop-up menu determines the right mouse button behavior, assuming you have a suitable mouse. By default, this is assigned to Opens Shortcut Menu (which can also be accessed by Control-clicking with the left mouse button). The Is Assignable to a Tool setting allows any tool to be assigned to the right mouse button. The Opens Tool menu setting does just that, when the right mouse button is clicked.
 If you activate the option, you can cut the looped area of regions (using the Scissors or Marquee tool, or Split by Playhead commands). Logic Pro automatically creates regions after—and, if necessary—before the cut, ensuring that these areas remain identical. This allows you to split looped regions without altering playback in the looped area.  If the “SmartLoop handling of Scissor and Split by playhead option is switched off, you can not cut looped areas.
Catch Preferences  Catch when Logic starts: Every time you start playback (including paused playback), the Catch function is automatically switched on, in all windows.  Catch when moving playhead: Activation of this option ensures that whenever you move the playhead, the Catch function is automatically switched on. This makes it easier to perform edits—as moving the playhead in the Arrange will be reflected in the open editor window, and vice-versa.
To open the Audio preferences, do one of the following: m Choose Logic Pro > Preferences > Audio (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose Audio from the pop-up menu. Device Preferences The Device preferences determine how your audio interface hardware is addressed by Logic Pro. Details are found in “Configuring Your Audio Hardware” on page 96.
Sample Accurate Automation As the name implies, sample accurate automation is the most precise type of automation. It places higher overheads on system resources, which may affect performance (dependent on the nature of your projects, and available computing power). This is most likely to happen during heavy project sections—where a lot of software instruments and effects are in use. Logic Pro offers three settings: Â Off: Minimal overhead on system performance for automation playback.
Low Latency Mode Checkbox and Limit Slider You need to turn on the Low Latency Mode checkbox, in order to activate Low Latency mode, and to use the Limit slider. The Limit slider determines a maximum amount of allowable delay that can be caused by plug-ins when Low Latency mode is enabled (by clicking the Low Latency Mode button on the Transport). In Low Latency mode, plugins are bypassed, to ensure that all delays (across the entire signal flow of the current track) remain under the Limit slider value.
 Number of Undo Steps: Determines the maximum number of undo steps that are retained.  Store undo files in project folder: Activate this preference if you would like the edited audio files to be stored in a sub-folder of the current project. This is switched on by default if the project is saved with its assets.  Global Undo File Path: All files (used by the Undo History) are saved into a global location—a user-defined folder—if the “Store undo files in project folder option” is not switched on.
 Use Variable Bit Rate Encoding (VBR): Variable Bit Rate encoding compresses simpler passages more heavily than harmonically rich passages, generally resulting in better quality MP3s. Unfortunately, not all MP3 players can accurately decode VBR-encoded MP3s, which is why this option is off by default. If you know that the audience for your MP3 can decode VBR-encoded MP3s, you can switch this option on.  Quality: Keep this set to Highest whenever possible.
MIDI Preferences These tabs determine how Logic Pro communicates with your MIDI interface and other applications or devices. All active Core MIDI drivers are automatically made available to Logic Pro. There is no need for further settings. To open the MIDI preferences, do one of the following: m Choose Logic Pro > Preferences > MIDI (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose MIDI from the pop-up menu.
Sync Preferences  All MIDI Output Delay field: Delays or advances the MIDI output for all ports, allowing you to compensate for any timing differences between MIDI tracks and audio or (software) instrument tracks.  MIDI Clock: Allow Song Position Pointer while playing: Song Position Pointer data is not normally sent while the sequencer is in play mode (this is in accordance with the MIDI Standard). This option allows Logic Pro to send SPP while the sequencer is running.
     MMC standard messages: The MIDI MMC specification is strictly followed.  Old Fostex Format: The old Fostex format is used for MIDI Machine Control. Output ID (Transport): The All checkbox sends MMC to all ports. The field to the right allows you to specify an output port ID. Input ID (Transport): The All checkbox sends MMC to all ports. The field to the right allows you to specify an input port ID.
Display Preferences These preferences alter the general appearance of Logic Pro. To open the Display preferences, do one of the following: m Choose Logic Pro > Preferences > Display (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose Display from the popup menu. General Preferences This tab allows you to alter the appearance of several onscreen components that are used throughout the program.
Level Meters Section  Scale menu: Switches level meters between a Sectional dB-linear scale, and an Exponential scale. Exponential provides higher display resolution in the upper range of the meter. Sectional dB-linear provides the best possible display resolution across the entire level range.  Channel Order menu: Determines the order of channels in multi-channel (surround) level meters. Displays Section  Display Middle C As Menu: This menu affects the description of notes in the editors.
Other Preferences These preferences affect the appearance of specific windows. Environment: Allow ‘All Objects’ Layer A layer, showing every object in your Environment, is accessible from the Layer menu in the Environment. If this checkbox is not active, the All Objects layer will not be available. Piano Roll Background Colors: Background Type These radio buttons allow you to select a dark or bright Piano Roll Editor background color.
Score Preferences The Score Preferences are described in detail in the Score chapter (see “Score Preferences” on page 795). Video Preferences All Video preferences are covered in the Video chapter (see Chapter , “Video Preferences,” on page 805). Automation Preferences The Automation preferences globally affect all automation tracks. To open the Automation preferences, do one of the following: m Choose Logic Pro > Preferences > Automation (or use the corresponding key command).
Control Surfaces Preferences The Control Surface preferences are discussed in the Control Surfaces Support document. Sharing Preferences The Sharing preferences are covered in “Setting Sharing Preferences” on page 626.
Glossary Glossary AAC Abbreviation for Advanced Audio Codec. A compression and decompression algorithm and file format for audio data. AAF Abbreviation for Advanced Authoring Format. A cross-platform project exchange file format that you can use to import multiple audio tracks, inclusive of references to tracks, time positions, and volume automation. accelerando A gradual increase in tempo (see tempo).
ALAC Abbreviation for Apple Lossless Audio Codec, an encoding/decoding algorithm that delivers lossless audio compression. alias A pointer to a MIDI region in the Arrange area. An alias does not contain any data. It simply points to the data of the original MIDI region. You can create an alias by Shift-Option-dragging the original MIDI region to a new location. An alias can not be edited directly. Any change to the original region will be reflected in the alias.
attenuate The act of lowering the level of an audio signal (see boosting and cutting). Audio Bin Window (or tab in the Media area of the Arrange window) used for project audio file and region management, and conversion, tasks. See Media area. audio file Any digital recording of sound, stored on your hard drive. You can store audio files in the AIFF, WAV, Sound Designer II (SDII), and CAF formats in Logic Pro. All recorded and bounced WAV files are in Broadcast Wave format.
Autopunch function Autopunch refers to an automatic entry and exit of record mode at predefined positions. Autopunch mode is most commonly used to re-record a badly played section of an otherwise flawless recording. The advantage is that you can concentrate on playing, not the mechanics of driving Logic Pro. Autopunch is activated by clicking the Autopunch button in the Transport bar.
binaural hearing A description of the way human beings process audio positioning information, allowing the direction of a signal source to be recognized (in front, behind, above, below, and to the left or right of the listening position). binaural panning A process that emulates binaural hearing. bit depth The number of bits used by a digital recording or digital device. The number of bits in each sample determines the (theoretical) maximum dynamic range of the audio data, regardless of sample rate.
cable In Logic Pro, the term is used to describe the virtual cables that represent a MIDI connection between Environment objects. CAF Abbreviation for Core Audio Format. This file format can be used as a container for compressed or uncompressed audio files of (almost) any size, sample rate, or bit depth. The CAF file format can handle audio recordings of around 3 hours in length (at a 44.1 kHz sample rate—shorter at higher sample rates).
chorus effect Effect achieved by layering two identical sounds with a delay, and slightly modulating the delay time of one, or both, of the sounds. This makes the audio signal routed through the effect sound thicker and richer, giving the illusion of multiple voices. click Metronome, or metronome sound. Clipboard The Clipboard is an invisible area of memory, into which you cut or copy selected data, using the Edit menu. Data stored in the Clipboard can be pasted to different positions.
control surface A hardware device that communicates with Logic Pro via MIDI (or USB, FireWire, or via a networking connection). It can be used to write automation data and control Logic Pro parameters, such as mixing levels and panning, effects and instruments, plus transport and navigation functions, amongst others. Controls view All Logic Pro plug-ins (and Audio Units) offer a non-graphical alternative to the Editor views of effect and instrument parameters.
dB Abbreviation for decibels, a unit of measurement that describes the relationships of voltage levels, intensity, or power, particularly in audio systems. DC offset An error that can result in direct current (DC) being layered over the audio signal, resulting in a vertical shift in the waveform position shown in the Sample Editor. decay An envelope parameter that determines the time it takes for a signal to fall from the maximum attack level to the sustain level. See envelope.
division value Adjustable value (shown in notes) for the grid used in displays and operations. Third number displayed in the Transport bar’s Position display. The division value is set in the Transport bar, below the time signature. Drag menu A pop-up menu found in the local menu of linear editing windows. It determines the behavior of regions or events when dragged to an overlapping position. drag & drop Grabbing objects with the mouse, moving them, and releasing the mouse button.
Environment The Logic Pro Environment graphically reflects the relationships between hardware devices outside your computer and virtual devices within your computer. 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 layer A page in the Environment, used to organize objects.
filter slope The filter slope is the steepness, or severity, of filter attenuation (level reduction). As examples, a filter slope of 6 dB per octave would sound much softer than a filter slope of 12 dB per octave. Find field In many Logic Pro windows you find a field with rounded corners and a magnifying glass to the left. This field allows you to perform text searches. As examples, the Find fields in the Key Commands window or Loop Browser.
global tracks Global tracks are available at the top of all linear editing windows. They allow you to view, create, and edit markers, tempo events, and key changes, plus beat mapping and other operations. Glue tool This tool can be used to merge regions or events by simply clicking on two (or more) of them. GM Abbreviation for General MIDI.
Hyper Editor Graphical editor that can be used to create or edit MIDI note and controller data. The Hyper Editor is ideal for drawing drum parts and creating crescendi, amongst other tasks. See entry below and also see event definition. hyper set All simultaneously displayed event definitions in the Hyper Editor are collectively referred to as a hyper set. Also see event definition. icon Small graphic symbol. In Logic Pro, an icon may be assigned to each track.
interface 1) A hardware component such as a MIDI or audio device that allows Logic Pro to interface (connect) with the outside world. You need an audio or MIDI interface to get sound or MIDI into and out of your computer. Also see audio interface. 2) A term that is used to describe graphical elements within Logic Pro that you can interact with. An example would be the Arrange, where graphical interface elements such as regions are interacted with to create a project, within the overall Logic Pro interface.
local menu bar Menu in a window that only contains functions that are relevant to that particular window. Local Off mode Operating mode on a MIDI keyboard where the keyboard does not directly play its own integrated sound generator. This is useful when using it as a master keyboard for Logic Pro. locators Lower two sets of numbers, displayed to the right of the position indicators in the Transport bar. The number on top is the left locator; the number below is the right locator.
master channel strip Channel strip in the Mixer that acts as a separate attenuator stage, changing the gain of all output channel strips without affecting the level relationships between them. Media area Area shown at the right-hand side of the Arrange window when the Media button is clicked in the Arrange Toolbar. Contains the Bin, Loops, Library, and Browser tabs, providing access to all media types supported by Logic Pro.
MIDI Multi mode Multi-timbral operating mode on a MIDI sound module where different sounds can be controlled (polyphonically) on different MIDI channels. A multi mode sound module behaves like several polyphonic sound modules. General MIDI describes a 16-part multi mode (the ability to control 16 different parts individually). Most modern sound generators support multi mode. In Logic Pro, multi mode sound modules are addressed via multi instrument objects.
MP3 Abbreviation for MPEG-2 Audio Layer 3. A compressed audio file format, frequently used to distribute audio files over the Internet. MTC See MIDI Time Code. multi instrument object An object in the Logic Pro Environment that represents a multi timbral hardware or software device that reacts to MIDI. The multi instrument object is essentially 16 instrument objects rolled into a single package. Each of these, called sub-instrument, has a fixed MIDI channel. All sub-channels share the same MIDI port.
object The term is used to refer to the graphical representation of elements in the Logic Pro Environment. These elements can be used to create and process MIDI data in real time, and can even be used to create processing machines, such as virtual rhythm generators or step sequencers. Examples of Environment objects include instruments, multi instruments, faders and arpeggiators, amongst others. The Environment Mixer layer contains objects that process audio data.
peak 1) The highest level in an audio signal. 2) Portions of a digital audio signal that exceed 0 dB, resulting in clipping. You can use the Logic Pro level meter facilities to locate peaks and remove or avoid clipping. The Search Peak command in the Sample Editor Functions menu searches for the sample bit with the greatest amplitude value. Pencil tool Tool used to create empty MIDI regions in the Arrange. It can also be used to add audio regions to the Arrange, when used in conjunction with the Shift key.
preset Set of plug-in parameter values that can be loaded, saved, copied, or pasted via the Settings menu in the plug-in window header. See setting and Settings menu. pressure See aftertouch project The Logic Pro “song” document, that contains pointers to audio files and regions, plus actual MIDI data (in MIDI regions). Further settings and preferences are also stored with the project document.
real-time effects Effects that can be applied to regions in real time, during playback. Real-time effects can be used on any Macintosh computer qualified to run Logic Pro. recording The act of capturing a performance as audio or MIDI data into Logic Pro. The term is also commonly used when referring to the actual data (in Logic Pro, this is delineated by the use of the words region or file to make things clearer when discussing recordings).
routing Generally refers to the way audio is sent through processing units. Also often used to describe specific input and output assignments. rubber band selection Technique for selecting consecutive regions, objects, or events by click-holding and dragging the mouse cursor around the desired items. A rubber band selection envelope (an outline) will expand from the starting position of the mouse cursor. All objects touched or enclosed by the rubber band selection envelope will be selected.
Score Editor Logic Pro editor that deals with standard musical notation. MIDI note events are represented as quavers, crotchets, minims, and so on. The Score Editor allows you to adjust and edit the layout of the score, and print it. score set A collection of various staff styles, staffs, and other elements shown in the Score Editor can be saved as a score set.
side chain A side chain is effectively an alternate input signal—usually routed into an effect—that is used to control an effect parameter. As an example, you could use a side chained track containing a drum loop to act as the control signal for a gate inserted on a sustained pad track, creating a rhythmic gating effect of the pad sound. Signature track Global track that shows all time and key signatures of a project. Signature List A Logic Pro window that lists all time and key signatures of a project.
S/P-DIF Short for Sony/Philips Digital Interface, a standard transmission format for professional stereo digital audio signals. The format is similar to AES/EBU, but uses 75 ohm coaxial or optical connectors and cabling. Depending on the type of devices involved, AES/EBU and S/P-DIF coaxial interfaces can communicate directly. Most digital audio interfaces available today will feature S/P-DIF connectors.
surround Surround indicates playback systems that make use of multiple speakers. The most common surround format is 5.1 channels (front left, front center, front right, left surround, right surround, and an LFE, or subwoofer, channel), typically used in home theater systems and in cinemas. Logic Pro supports all common surround formats, and provides surround recording, plug-in, and mixing facilities.
tempo The playback speed of a piece of music, measured in beats per minute. Logic Pro allows you to create and edit tempo changes in the Tempo track. tempo change An event inserted into the Tempo track (as a node) that indicates a change in tempo at a particular bar/beat position. Tempo track One of the global tracks that displays tempo changes as nodes. tick The smallest unit of timing resolution in a MIDI sequencer. In Logic Pro, this is 1/ 3840th of a note.
transform set A collection of transform operations (performed in the Transform window) can be saved as a transform set. Saved transform sets can be quickly accessed via the Presets menu at the top left of the Transform window. You may also import transform sets from other projects. See entry below. Transform window Logic Pro editor that lets you define a set of conditions and operations that are used to select and manipulate specific MIDI events.
VU meter Abbreviation for Volume Unit meter. An analog meter used to monitor audio levels. WAV, WAVE The primary audio file format used by Windows-compatible computers. In Logic Pro, all recorded and bounced WAV files are in Broadcast Wave format, which includes high-resolution timestamp information that stores positional information. This makes it easy to align these files in other audio and video applications. waveform A visual representation of an audio signal.
Zoom tool This tool allows you to zoom in on any part of the active Logic Pro window. You can choose this tool from the Toolbox, or activate it when using other tools by holding down the Control key and clicking.
5.1 (ITU 775) format 809 6.1 (ES/EX) format 809 7.1 (3/4.1) format 810 7.1 (SDDS—Sony Dynamic Digital Sound) format 810 A AAC.
Apple websites 17 arpeggiator object 897 Arrange area changing background 294 displaying grid 293 Drag menu 297 editing automation data 589 editing MIDI events 394 editing regions 295–349 overview 30 shortcut menu 305 Snap menu 295 overriding snap grid 296 time stretching regions 317, 525 Arrange channel strips 43, 208 Hand tool 218 arrangement inserting cut section 323 inserting gap 321 removing gap 321 removing section 322 repeating section 323 Arrange view (Mixer) 575 Arrange window Audio Bin.
pitch shifting 505 playback of compressed formats 274 pop and click removal 496 quantizing 509, 516 reducing noise 512 removing DC offset 500 removing from project 274, 287 removing silent passages 519 renaming 533 reversing 499 reversing phase 500 saving copy 503 sample loop settings in file header 501 selection as audio file 504 searching 259 file previously used in project 539 peak 490 silence 490 silencing selection 498 smoothing 496 sorting 530 supported formats 255 time stamp 311 time stretching 505,
backup audio file 503, 630 reverting to 503 on .Mac account 625 creating 627 restoring 627 project 630 automatic safety copy 153 Balance/Pan control 212, 549 bank select message 882, 887 bar, described 974 bar line (notation).
Catch function 71, 976 CD burning 611 cent 976 Change Display Only mode (Chord track) 665 Change Gain command 497 Channel EQ 217 channel splitter object 896 channel strip 976 adjusting multiple 561 assigning color 577 audio. See audio channel strip auxiliary. See auxiliary channel strip Balance/Pan control 212, 549 Channel EQ thumbnail 217 Channel Strip Settings menu 219 Clip Detector 548 creating 183–187 customizing display 577 Group slot.
Content Link mode 72 context menu.
Dim Level preference 149 Direct TDM 96 Discard Recording and Return to Last Play Position 364 distributed audio processing 99 division value 106, 147, 980 DNA Groove Template. See groove template documentation 15 conventions 16 websites 17 Dolby Pro Logic format 808 double-clicking 155 Double-clicking a MIDI Region opens menu 393 Down Mixer plug-in 824 dragging (mouse use) 155 Drag menu 297 driver 980 drum hi hat mode 435 notation 758 drum loop, isolating individual beats 519 drum-mode device 888 DSP.
Event List Additional Info button 439 aftertouch event 450 control change event 448 creating event 442 deleting event 446 displaying release velocity 439, 448 displaying score layout information 440 display of mapped instrument notes 448 duplicating event 442 editing event 443 length 444 position 444 type 445 filtering event types 439 length as absolute position 445 meta event 451 muting event 446 note event 447 opening as window 392 from Piano Roll Editor 416 in Arrange window 393, 438 overview 437 pasting
First Data Byte checkbox (Hyper Editor) 431 Fixed Value checkbox (Hyper Editor) 422 folder (region) 281, 338, 982 adding region 341 creating alias 342 displaying in Mixer 578 displaying in Score Editor 775 entering 340 exiting 340 naming 447 packing 339 removing region 341 soloing 446 unpacking 340 folder track 180 Follow Tempo function 372, 526 Format button 210 forwarding 109 frame rate detecting automatically 648, 834 setting 834 Freeze function 200, 982 freeze files 203 refreshing freeze files 204 From
editing event length 423 value 425 event definition.
K keyboard object 895 key command 57 Append Track to Track List 188 Apply Quantization Settings Destructively 458 Automation Event List 594 Capture as Recording 382 Clear Overload Flag in Audio Channel Display 549 Close Project without Saving 154 Close Window 62 Configure Global Tracks 76 Delete and Select Next Region/Event 405 Deselect All Regions Except on Selected Track 175 Duplicate Screenset 79 Event Channel -1 176 Event Position and Length in SMPTE Units 75 Go Into Folder or Region 65, 340 Go to Marke
Key Commands window 159 Learn by Key Label button 162 Learn by Key Position button 162 Learn New Assignment button 164 opening 159 key signature 723 alternative 727 copying 726 creating 725 deleting 727 editing 727 in Part box 685 selecting 725 KlopfGeist.
as absolute position 134 editing 132 in SMPTE units 134 locking to SMPTE position 131 moving 131 naming 128 navigating moving to next/previous 133 moving to particular marker number 133 playback at start position 133 playhead to marker 133 selecting 128 text 124 changing appearance 130 Marker List 124 customizing display 134 opening 124 overview 39 Marker Text area/window 124 Marker track From Regions button 126 opening 124 Marquee tool 305 master channel strip 570 in surround projects 827 Master Level slid
selecting 423, 441 identical 404 inside a range 485 similar 404 sending pan 396 program 396 used MIDI instrument settings 396 volume 396 soloing 446 SysEx event 451 tempo doubling 468 halving 469 transforming 465–486 transposing in Transform window 471 with Chord/Transposition track 662 velocity changing randomly 484 increasing gradually 467 limiting 473 MIDI instrument (external) processing with Logic effects 246 setting Inspector parameters 244 setting up 237 MIDI interface 84 MIDI keyboard 84 Local Off f
MIDI event 446 multiple tracks 198 note event 413 of particular pitch 413 region 299 selected notes/regions/folders 299 track 197 tracks with same destination 198 N naming audio file 533 comp 376 Environment layer 860 event definition 432 folder 447 hyper set 436 marker 128 region 302, 447 after track 303 multiple 302 score set 763 screenset 80 take 376 track 191 native processing 989 New Tracks dialog 184 Node application 99–103 Audio Unit effects 100 Audio Unit instruments 103 enabling 101 Ethernet netwo
moving global object 693 moving object 692 impact of display quantization 693 restricting movement to one direction 693 with key commands 693 moving symbol attached to note 693 No Overlap setting 734 note beaming 738, 757 changing individual 736 color 740 hiding key switch notes 749 horizontal position 737 in Part box 681 length 699 maximum number of dotes 735 pitch 699 resizing 736 staff assignment 739 velocity 698 voice assignment 739 note attributes.
tying to other event data 407 Note Force Legato function 409 note head (notation) 683 Note Overlap Correction function 409 Note Velocity mode 599 No Transpose checkbox 243 NTSC 841 Number of Undo Steps preference 177 numerical input 156 O Object Parameter box 875, 990 OMF file exporting 635 importing/opening 636 one-shot 616 onscreen help 17 opening AAF file 638 GarageBand project 634 movie file 798 old songs 140 OMF file 636 Open TL file 637 project 139 Standard MIDI file 632 Open TL file exporting 636 im
from previous bar 109 from selection 109 pausing 109 shuttling 110 starting 109 stopping 109 playhead adjusting size 107 moving by note length 388 positioning 105 at beginning of project 108 at last play position 109 at locator 108, 109 at marker 107, 133 at selection end 110 at selection start 108 numerically 106, 108 plug-in adding 213–214 configurations that do not match channel input format 212 in surround 823 adjusting parameter 223 high resolution 224 resetting 224 with mouse wheel 225 bypassing 226 e
Score 795 Sharing 626 Video 805 Prelisten channel strip 938 preset.
in Cycle and Replace mode 372 maximum file size 359 monitoring 356–358 mono 360 overview 351 preparations 352 project tempo 372 recording folder 358 Replace function 372 sample rate 352 starting 363 stereo 360 surround 360 takes.
by specific grid amount 311 limiting to horizontal/vertical axis 309 numerically 310 onto selected track 313 to playhead position 311 moving into folder 341 muting 299 naming 302, 447 after track 303 multiple 302 quantizing.
navigating 490 overview 45, 487 Pencil tool 496 playback 488 controlling with overview 489 key commands 489 looping 488 resizing region 289, 314 Sample Loop commands 501 scrubbing 489 searching peak 490 searching silence 490 selecting 494 audio file section 494 changing selection area 494 entire audio file 494 stereo file 45 undoing edits 501 using external 518 Sample Loop commands 501 sample rate 143, 994 matching file with project sample rate 144, 150 when recording 352 sampling 994 saturation 511, 994 Sa
importing/exporting 539 searching alias 326 Apple Loops 270 audio file used in project 539 key command 161 Logic-related file 259 peak in audio file 490 zero crossings 289, 315 sectional dB-linear level meter scale 548 selecting 172 all following objects 174 all objects 173 all objects on a track 173 empty regions 175 events with the same MIDI channel 176 identical objects 175 individual objects 172 inside the locator positions 175 muted regions/events 175 next/previous track 190 note event highest/lowest i
display in Event List 310, 445 display in Marker List 134 display in Transport bar 106 customizing 122 resizing 120 frame rate detecting automatically 648 setting 648 locking position event 427, 443, 842 marker 131 note event 412 region 842 LTC 841 positioning bar to frame 843 object to frame 842 setting offset 804, 835 time code counter parameters 841 VITC 841 SMPTE time ruler 74 Snap menu Arrange area 295 automation settings 593 in Piano Roll Editor 400, 401 overriding snap grid 296 software instrument.
LCRS format 808 master channel strip 827 multi-channel effects 825 bypassing channels 826 configuring 826 linking channels 826 plug-in header 825 side chains 827 order of multi-channel level meters 817 preferences 812 Quadrophonic format 808 setting channel input format 816 setting project format 815 supported formats 808–811 used channels 811 Surround Balancer 823 Surround Panner 819–823 level controls 821 mono to surround 820 opening as window 819 separation controls 821 stereo to surround 822 surround to
moving to current playhead position 644, 647 recording 646 tempo fader object 654 Tempo Interpreter window 652–653 opening 652 parameters 652 Tempo List 646–649 opening 646 overview 40 shortcut menu 648 SMPTE Frame Rate menu 648 Tempo Operations window 649–651 choosing tempo operation 650 opening 649 tempo symbol (notation) 688 Tempo track 642–646 adjusting display range 644 Apple Loops 621 displaying 642 relationship to Beat Mapping track 646 resizing 642 Resolution menu 643 Tempo Alternative menu 645 text
soloing 199 multiple 200 Track Mute/Solo setting 199 sorting 191 transferring channel strip setting to new track 187 unfreezing 203 unhiding 205 zooming 195 automatically 195 with key commands 196 track button 182 Freeze 202 Hide 204 Mute 197 Node 101 Protect 205 Slide Activation function 206 Solo 199 track color bar 182 track control bar 181 track header 181 track level meter 182 track list described 999 resizing 182 Track Mute/Solo setting 197, 199 track number 182 Track Parameter box 42, 180, 242–245, 87
Unpack Take Folder commands 378 USB (Universal Serial Bus) 88 USB keyboard 94 V Variable Bit Rate encoding 608, 610 velocity, described 1000 Velocity tool 412, 1000 video.
