Logic Pro 9 User Manual
Copyright © 2009 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Logic Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc.
Contents Preface 17 17 18 19 Welcome to Logic Pro About Logic Pro About the Logic Pro Documentation Additional Resources Chapter 1 21 Introducing Logic Pro 21 Creating Music in Logic Pro 23 Understanding the Basics of Projects and Regions Chapter 2 27 27 34 42 43 43 45 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
Chapter 4 87 88 90 93 97 98 100 105 108 108 109 110 111 114 Customizing Your Window Setup Understanding the Window Types Opening and Closing Windows Moving and Resizing Windows Working at Different Hierarchy Levels Selecting the Working Area Zooming the Working Area Understanding Relationships Between Windows Hiding or Showing the Transport Bar Customizing the Arrange Toolbar Hiding or Revealing the Inspector Adjusting the Bar Ruler Display Displaying Global Tracks Using Screensets Chapter 5 119 120
163 166 166 167 174 175 183 186 189 Opening Projects Opening and Creating Projects Automatically Previewing Projects with Quick Look Importing Data and Settings from Other Projects Checking and Repairing Projects Setting Project Properties Managing Projects Saving Projects Closing and Quitting Chapter 8 191 191 192 193 194 202 209 210 211 216 217 Basic Operations Using the Mouse Entering Numerical Values Entering Text Working with Key Commands Working with Tools Working with Help Tags Using the Shortcut
255 Bouncing Regions and Tracks in Place 6 Chapter 10 261 261 266 272 277 279 281 288 289 290 295 309 311 313 Working with Instruments and Effects Getting to Know the Arrange Channel Strips Working with Plug-ins Working with Channel Strip Configurations Opening, Closing, and Resizing Plug-in Windows Adjusting Plug-in Parameters Using Common Plug-in Window Functions Using the Library to Choose Plug-in Settings Understanding the Library Folder and Menu Structure Learning About Effect Routings Working with
Chapter 14 387 393 394 398 401 402 404 404 408 411 412 413 413 415 419 424 Resizing Regions Cutting, Copying, and Pasting Regions Adding or Removing Arrangement Passages Creating Region Aliases Creating Region Clones Converting Regions to a New Sampler Track Creating Multiple Copies of Regions Creating Region Loops Dividing Regions Demixing MIDI Regions Merging Regions (General Tools and Commands) Merging MIDI Regions Merging Audio Regions Working with Folders Creating Crossfades and Fades on Audio Region
467 468 468 470 471 Turning MIDI Thru Off When Recording Using Advanced Recording Commands Coloring Takes While Recording Marking a Good Take While Recording MIDI Step Input Recording Chapter 15 479 480 480 482 484 485 490 491 494 496 498 501 505 509 513 516 520 521 Editing Audio Take Recordings Getting to Know Take Folders Previewing Take Folder Recordings Toggling Take Folder Editing Mode Creating Comps Editing Comps Resizing Take Regions Cutting Take Folders and Take Regions Moving Take Folders an
552 556 567 567 568 568 570 570 572 573 574 579 581 584 586 589 591 591 593 Making Selections in the Sample Editor Audio Editing and Processing in the Sample Editor Adjusting the Project Tempo in the Sample Editor Using Sample Editor Loop Functions Undoing Edit Steps in the Sample Editor Creating Manual Backups in the Sample Editor Customizing Waveform Amplitude Scale in the Sample Editor Customizing the Ruler in the Sample Editor Customizing Waveform Display in the Sample Editor Getting to Know the Sample
623 Finding and Replacing Orphaned Audio Files 10 Chapter 21 627 628 628 629 631 633 635 636 638 Quantizing Audio and MIDI Understanding Region- and Event-based Quantization Understanding the Quantize Grid Options Fine-Tuning the Quantize Grid Options Quantizing Audio or MIDI Regions Quantizing Phase-Locked Audio Tracks Quantizing MIDI Regions Permanently Quantizing MIDI Events Working with Groove Templates Chapter 22 645 645 646 649 649 651 Introduction to MIDI Editing Getting to Know the MIDI Edito
Chapter 26 725 725 726 727 738 744 745 745 Editing MIDI Events in the Transform Window Getting to Know the Transform Window Choosing and Using Transform Sets Learning About the Transform Presets Using the Transform Window Parameters Creating Your Own Transform Sets Importing Transform Sets From Other Projects Usage Examples Chapter 27 751 752 754 755 756 758 759 763 764 765 770 771 774 782 783 789 793 798 799 799 800 803 804 804 805 Mixing Opening the Mixer Getting to Know the Mixer Understanding Chann
819 821 822 822 824 824 826 830 Copying and Moving Automation Data Editing Track Automation Data in the Track Header Snapping Automation to Grid Positions Offsetting Automation Editing Track Automation Data in the Event List Writing Track Automation with External Controllers Using Hyper Draw in the Arrange Area Conversion of Automation Data Chapter 29 831 831 832 833 834 844 844 Bouncing Your Project Creating a Bounce Routing Channel Strips to an Output Defining the Bounce Range Defining Parameters
916 919 941 942 949 949 950 951 956 956 962 983 989 994 995 Working with Chords Working with Chord Grids Working with Tablature Markings Working with Time and Key Signatures Transcribing MIDI Recordings Default Settings for New MIDI Regions Selecting Multiple Regions in the Score Editor Display Parameters Hidden MIDI Regions Using Note Attributes to Change Individual Notes Working with Staff Styles Using Score Sets to Create Scores and Parts Preparing the Score Layout for Printing Exporting the Score as a
1042 1043 1045 1045 Beat Mapping Audio Regions Automatic Beat Mapping of Regions Beat Mapping to Scene Markers Beat Mapping to Markers Chapter 35 1047 1048 1049 1050 1052 Editing Transposition with the Chord and Transposition Tracks Opening the Chord and Transposition Tracks Understanding How MIDI Events and Apple Loops Are Transposed Creating and Editing Transposition and Chord Events Using the Chord Track to Analyze MIDI Regions Chapter 36 1055 1055 1056 1057 1060 1064 1072 1075 Working in the
1138 MIDI Click Objects 1140 Internal Objects 1142 Channel Strip Objects Chapter 38 1147 1147 1149 1150 1151 1153 Working with Video Opening a Movie Using the Movie Window Using the Video Track Working with Movie Scene Markers Handling QuickTime Movie Audio Tracks Chapter 39 1155 1156 1159 1160 1166 1167 1168 1170 1171 1175 1176 1177 1180 1180 1182 1185 Working with Surround Knowing the Surround Formats Supported by Logic Pro Understanding the Channels Used by Surround Formats Configuring Logic Pro for
1205 Exporting Split Channel Files 16 Chapter 43 1207 1207 1209 1209 1220 1222 1224 1230 1232 1236 1259 1261 Project Settings in Logic Pro Accessing Project Settings Saving Project Settings Synchronization Project Settings Metronome Settings Recording Settings Tuning Settings Audio Settings MIDI Settings Score Settings Video Project Settings Assets Project Settings Chapter 44 1263 1263 1264 1265 1273 1288 1293 1298 1300 1301 1303 1305 Preferences in Logic Pro Accessing Preferences Saving Preferences
Preface Welcome to Logic Pro Logic Pro is a sophisticated, fully featured audio and MIDI application that provides all the tools you need to create professional-quality music productions. This preface covers the following: • About Logic Pro (p. 17) • About the Logic Pro Documentation (p. 18) • Additional Resources (p. 19) About Logic Pro Logic Pro allows you to record and edit both audio and MIDI, add high-quality effects, and mix your music in stereo or Surround.
• Mix your MIDI and audio tracks, including effects and software instrument settings, via a sophisticated total recall mix automation system. Logic Pro includes high-quality effects that you can use in your projects. You can also install and use third-party Audio Units effects and instruments. • Bounce (mix down) all audio data, including instruments, effects and mix automation settings, to stereo or multiple Surround format files for mastering or further processing.
• Logic Studio Working with Apogee Hardware: This onscreen manual describes the use of Apogee hardware with Logic Pro. Additional Resources Along with the documentation that comes with Logic Studio, there are a variety of other resources you can use to find out more. Release Notes and New Features Documents Each application offers detailed documentation that covers new or changed features and functions.
Introducing Logic Pro 1 This chapter gives you a conceptual overview of Logic Pro and provides an example of a common workflow when creating music in the application. This chapter covers the following: • Creating Music in Logic Pro (p. 21) • Understanding the Basics of Projects and Regions (p. 23) Creating Music in Logic Pro Logic Pro can be used in a variety of ways, ranging from the simple to the incredibly sophisticated.
MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are played back through your audio interface or the Mac 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. Audio recordings can be made by playing an instrument (such as a guitar) or singing into a microphone, for example.
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 allows you to record, or automate, changes you make to track, instrument, and effect parameters, such as volume, pan, filters, and other controls.
A Logic Pro project file contains all MIDI events and parameter settings, information about the audio and video files to be played, and all edits to MIDI and audio data. It is important to note that the project file points to your audio and video files, which are stored as separate entities on your hard disk. You have the choice of including these, and other file types, in the project folder.
Audio Regions and Audio Files Audio regions refer to (point to) an underlying audio file. Audio regions are used as playback markers (start and end points) that can be as long as the entire audio file, or only a few seconds long, playing a small portion of the audio file that they point to. Audio file Audio region 1 Audio region 2 Audio region 3 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.
MIDI Regions and Events MIDI regions, by comparison, 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 as part of the project. MIDI region MIDI note events MIDI controller events The MIDI data events stored within MIDI regions include note, controller, program change, and other information.
Setting Up Your System 2 Logic Pro automatically finds and configures supported audio and MIDI hardware when first installed and opened. There are many circumstances in which you may want 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 background information about components your music production system can incorporate. This chapter covers the following: • Designing Your Music Production System (p.
• External MIDI control surfaces and keyboards. Even external MIDI-controlled lighting can be driven by Logic Pro. • Amplification and speakers for stereo or multi-channel surround mixes • Additional software that runs alongside, and integrates with, Logic Pro. This includes a range of ReWire applications and audio or MIDI software.
Hard Disk 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 disk 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 Mac computer does not provide MIDI inputs 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 Mac USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Mac.
Note: This control surface plug-in requires additional hardware that is not included with Logic Pro. Synthesizers and MIDI-Controlled Effects Logic Pro provides plenty of software instruments and effects, and can also act as a host for Audio Units plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Working with Instruments and Effects.
To facilitate this, an amplifier and speakers are required. You can certainly use headphones, connected to the headphone jack of your audio interface, or the home hi-fi to monitor Logic Pro playback, but this is not recommended in the long term. 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.
Microphone inputs differ from line-level inputs in that they provide power (known as phantom power), which is used to amplify the incoming signal from condenser microphones.
Note: Condenser microphones require power to function. This can be provided by a separate pre-amplifier or a phantom powered mixing console. 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 sections introduce you to Mac 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 FireWire connectors: a 4-pin connector (typically found on video equipment such as camcorders or decks) and a 6-pin connector (used for computer equipment). However, some newer video equipment uses the 6-pin connector, and some video interfaces use the 4-pin connector. See your equipment’s documentation for more information.
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. USB (Universal Serial Bus) PCI Express PCIe (Peripheral Component Interconnect Express) interfaces, unlike FireWire and USB interfaces, require that you install a dedicated card in your computer.
1/4-inch (6.35 mm) Audio 1/4-inch (6.35 mm) 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.
AES/EBU The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for transferring digital audio typically uses XLR connectors in professional studio environments. The data protocol is essentially identical to S/PDIF. XLR connector TOSLINK Optical and ADAT Lightpipe TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal formats, although most devices support only one of these formats: • S/PDIF (stereo digital) • AC-3 and DTS (5.
Connecting Your MIDI Keyboard and Modules If using a simple MIDI master keyboard without internal tone generation facilities, you only need to connect the MIDI Out port of the keyboard to a MIDI In port on your MIDI interface, using a MIDI cable. Keyboard Out port In port MIDI interface Computer 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 the MIDI interface connected to your computer only offers one MIDI output, you need to connect the MIDI In of the second tone generator to the keyboard MIDI Thru port. A third device can be connected to the MIDI Thru of the second unit, and so on. Keyboard MIDI Thru port Out port In port In port Tone generator 2 In port In port Out port MIDI interface Computer Tone generator 3 The MIDI Thru port replicates the signals coming into the MIDI In port of the device.
As such, all data sent on MIDI channel 1 will be sent to all four of the daisy-chained MIDI tone generators. Each MIDI tone generator will play the incoming data with the sound assigned to channel 1, which may be: • Bagpipes on module 1 • A drumkit on module 2 • A helicopter effect on module 3 and so on While this would be colorful, it would hardly be musical, unless your tastes lean towards the avant-garde. The same applies to the other 15 MIDI channels.
For example, if you buy a new keyboard that is to be used without a sequencer, and connect it to an amplifier, you would expect the device to make a sound when you press its keys—in other words, the keyboard is directly connected to the sound generator. When using the MIDI keyboard with Logic Pro, however, this is not desirable.
Using External Audio Effects If you want to send audio to an external (MIDI-controlled) audio effect device, you need to insert the I/O (In/Out) plug-in into one of the Insert slots of the audio channel strip you want to process. For further information, see Working with External Audio Effects. Note: It is only practical to use the In/Out plug-in for external device routing when you have an audio interface equipped with multiple in and out ports.
µ Click the Preferences button in the Arrange toolbar, choose Audio from the pop-up menu, then click the Devices tab. The Devices pane contains three further tabs: Core Audio, DAE, and Direct TDM. In Mac OS X, all audio devices (with the exception of DAE and Direct TDM devices)are accessed via Core Audio, an integral part of the operating system. Core Audio is a high-performance, low-latency audio system that allows audio interface hardware to be used by several applications at the same time.
All information about the DAE and Direct TDM panes can be found in the Logic Pro TDM Guide. Setting Up Core Audio Devices Logic Pro automatically recognizes any installed Core Audio hardware, and uses 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.
Networking Considerations The primary (host) computer will be a Macintosh computer with an Intel core processor, equipped with a Gigabit Ethernet port. Ideally, node machines need one or more Intel processors (a Gigabit Ethernet port is standard on all Intel Mac computers). If you want to run multiple nodes, a Gigabit Ethernet switch is required. It is recommended that you only use the network for distributed audio processing when Nodes are active—other activities will affect performance.
• Click the Preferences button in the Arrange toolbar, choose Audio from the pop-up menu, then click the Nodes tab. 2 Select the Enable Logic Nodes checkbox, and select computers in the list below: • Selected (active) Nodes are used by the host (Logic Pro system). • Dimmed (inactive) Nodes are due to one of the following: • The machine is not connected to the network. • The machine does not have the Logic Pro Node application running. • The machine is in use by other hosts.
The Track Node buttons have four possible status indicators: Disabled Enabled and inactive Enabled and active Sync pending • Disabled: The track is calculated on the local host (in Logic Pro, as per usual). • Enabled and inactive: This track can potentially be calculated on the Node. • Enabled and 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: • 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.
Overview of the Logic Pro Interface 3 The Logic Pro interface features several areas, each specialized for particular tasks. This chapter introduces you to the Arrange window, which can incorporate all areas and editors. You’ll learn how it interacts with other Logic Pro windows and editors. You are encouraged to open Logic Pro to view these windows and editors, and to familiarize yourself with them. Click and explore the various parts of the Logic Pro interface as they are discussed.
Opening Logic Pro There are several ways to open Logic Pro. To open Logic Pro Do one of the following: µ Double-click the Logic Pro icon in the Finder > Applications folder. µ µ Click the Logic Pro icon in your Dock. Double-click a Logic Pro project file. When you open Logic Pro for the first time, the Templates dialog is displayed, allowing you to select a template for the project type you want to create. (For more information on the Templates dialog, see Creating Projects.
The following is an overview of the main elements in the Arrange window: Click this button to display the Toolbar. Click this button to display the Lists area. Arrange window Click this button to display the Inspector. Transport bar Inspector Arrange area Click these buttons to display one of the editors. Click this button to display the Notes area.
• Clicking the Hyper Editor button (above the Transport bar) displays the parameters of the currently selected hyper definition (selected row within the Hyper Editor). • Notes area: This is where you’ll find tabs to view or edit project and track notes, when the Notes button in the toolbar is clicked. • Lists area: This is where you’ll find various tabs to view MIDI events (Event List), tempo events (Tempo List), and more, when the Lists button in the toolbar is clicked.
• Track list: This is where you set the destination channel strip for playback of the MIDI or audio regions on each horizontal track lane. The headers of each track list lane can display the track name, icon, and several track buttons. Using the Toolbar The toolbar appears at the top of the Arrange window and contains buttons for frequently used commands. It can be displayed or hidden by clicking the button in the top-right corner of the Arrange window.
Using the Inspector The Inspector can be displayed or hidden by clicking the Inspector button in the Arrange toolbar. The horizontal size of the Inspector cannot be altered. The content displayed in the Inspector depends on the area in key focus: either the Arrange area or one of the editing areas below it. In situations where the area in key focus does not provide a parameter area, the Inspector for the Arrange area is displayed.
The following image shows the Inspector when the Arrange area is in key focus. Region Parameter box Track Parameter box Arrange channel strips • Region Parameter box: Used to set playback parameters, such as transposition and quantization, for individual or multiple regions on track lanes. None of the parameters in the Region Parameter box actually alters the original data in the region. They only affect the way the region (and events within the region) are played back.
• Arrange channel strips: The left channel strip controls the output of the selected arrange track. The righ channel strip can vary, depending on actions performed in the left channel strip. For example, the right channel strip can display the first aux or output destination channel strip for the left channel strip. This feature makes it quick and easy to set up flexible effects and audio routing schemes.
You can add, edit, delete, and rename audio files and regions in the Bin. All audio files and regions can be dragged directly from the Bin into the Arrange area, where you can edit, move, and copy them. You can also add files that aren’t yet used in the arrangement to the Bin, allowing easy access during project construction. Name column Info column Play button Loop button • Name column: Displays all audio files in the current project by name.
When you open the Audio Bin as an independent window and resize it, the Bin’s Info column can display waveform overviews of audio files and regions.
Introducing the Loop Browser The Loop Browser is designed to make finding Apple Loops intuitive and efficient. 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.
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.
Introducing the Library The Library is a powerful tool that you can use to access the following file types. • Channel strip settings (.cst) • Plug-in settings (.pst) • EXS instruments (.
Introducing the File Browser The File Browser allows you to navigate to, or search for, all file types that can be used in Logic Pro, giving you easy access to (and use of ) this data during production.
• Path menu: Displays the levels of the file path to the current location, allowing you to move back to a previous level. • 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 button: Displays the contents of the current project folder. • View buttons: Switches the file list between Column and List view.
Working in the Notes Area The Notes area can be opened or closed by clicking the Notes button in the Arrange toolbar. It provides two independent tabs that show the following information: • Project Notes: Displays notes that are associated with the project. • Track Notes: Displays notes that are associated with individual tracks.
Introducing Project Notes The Project pane displays project-specific notes, of which there can only be one set per project. You can use this pane to create, edit, or delete project notes. • Project Text area: Enter project-specific text here. • Project Text Edit button: Activates project text editing mode. • Project name field: Displays the project name. Introducing Track Notes The Track pane displays track-specific notes, of which there can only be one set per channel strip object.
Working in the Lists Area The Lists area can be opened or closed by clicking the Lists button in the Arrange toolbar. It provides four independent tabs that show a listing of the following types of data: • Event List: Displays regions or MIDI events in the project. • Marker List: Lists all markers in the project. • Tempo List: Displays all tempo changes in the project. • Signature List: Shows all time signature and key change events in the project.
The Event List can display two types of data: region-related or event-related. The information that is displayed depends on the current hierarchy level—in other words, whether you are viewing information at the Arrange level, or looking inside one or more MIDI regions in the Arrange area. Further information about the display hierarchy can be found in Working at Different Hierarchy Levels.
Introducing 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. It also serves as a navigation aid—you can click a marker name to jump to (move the playhead to) that marker position. Create button Marker Text Area button Marker List area Marker Text Edit button Marker Text area • Create button: Creates a new marker. • Marker List area: Displays all markers in your project.
Introducing 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. • Additional Info button: Displays all additional tempo changes located on a tempo curve, and their position in a project.
You can use the Signature List to create, copy, move, and delete time and key signature events. The initial time and key signature of the project is always displayed at the top of the list, without bar position indicators. Working in the Editing Area You can open the following editing areas directly in the Arrange window by clicking the corresponding button at the bottom of the window.
Introducing the Mixer The Mixer is where you mix your project. Each track is played back through a channel strip. You can adjust the level and pan position of a channel strip, add effects, mute and solo tracks, and send the output of a channel strip to other channel strip types, such as output and auxiliary channel strips. Channel strips and channel strip controls View buttons Filter buttons • Channel strips: Use to process audio or MIDI information that is routed from arrange tracks.
Introducing 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.
Introducing 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 using the Score Editor can be found in Working with Notation. Introducing 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: • Add or edit controller data, such as note velocities. It makes some editing tasks—such as data scaling—much faster. • Quickly create and edit MIDI drum parts.
Local Menu Bars A window’s local menu bar contains buttons that access functions specific to the window. For example, the Score Editor provides an enharmonic shift function, which is relevant to notation, but not to Piano Roll editing. Local menu bar Tool Menus The tools available in the Tool menus of each window are specific to tasks performed in the window. For example, the Arrange area provides tools for different arrangement tasks, such as cutting or moving regions, and automation editing.
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 project structure. For example, if you click a region in the Arrange area, the contents of a linked window (the Piano Roll Editor, for example) update immediately to show the events within the region.
Global Tracks All linear editing windows 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. • 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 further information, see Working with Markers. • Tempo track: Contains all tempo changes in the project.
• Chord track: Contains chord symbols that can be derived from MIDI regions or created with the mouse. These chord symbols may also be inserted into the score. The root note of the chords determines the transposition (pitch shifting) of all Apple Loops, and can also affect the playback of MIDI regions. For further information, see Editing Transposition with the Chord and Transposition Tracks. • Transposition track: Shows global transposition events.
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 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 Loop Browser’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.
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. 8 Click the Piano Roll button at the bottom of the Arrange area. The Piano Roll Editor is shown, displaying the contents of the region you just created in the Arrange area.
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. Because 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.
Checkboxes and Buttons Checkboxes are square boxes that are selected 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. Some buttons behave in a similar fashion, in that the function they represent is temporarily enabled (while the button is clicked, and usually illuminated). A second click on the button disables the function. Examples of these types of buttons include the Mute and Solo buttons.
If you want to select an item that is outside the visible section of the menu, move the mouse over the arrow at the top or bottom edge of the menu. The menu will scroll. Shortcut Menus Shortcut menus (also called contextual menus) are accessed by Control-clicking or right-clicking in different areas of various Logic Pro windows. These offer a number of selection, editing, and other area-specific commands, providing quick access to commonly used functions.
Once you have a good understanding of Logic Pro fundamentals, and how you like to work, you can freely assign your own set of key commands. Logic Pro functions and options that can be assigned to key commands can also be assigned to MIDI commands, sent from your MIDI controller. More detail on these advanced topics can be found in Working with Key Commands.
Customizing Your Window Setup 4 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 window, 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), and recall them by pressing a key.
Understanding the Window Types There are two different types of windows in Logic Pro: normal windows and floating windows. Working in Normal Windows You can open as many normal windows as you like, including several of the same type. Even though the contents of all windows are constantly updated, only one window is ever the top, or active, window. This is the window that is in the foreground when several normal windows overlap. It is referred to as having key focus.
Key focus areas within windows—such as the Arrange window—are indicated by a white focus frame around the focused area. To assign key focus to a window or area Do one of the following: µ Choose Window > Cycle Through Windows (or use the corresponding key command). This command assigns key focus to the next open window, if it is fully obscured by other windows. µ Click the window title bar, or within the working area.
The Preferences and Project Settings windows are examples of floating windows. Floating windows are usually recognizable by their narrower, gray title bar (except the plug-in window, which has a different title bar style). Mouse operations performed in floating windows behave in the same way as in normal windows. Handling Background Windows Background windows are not fully obscured, and can be identified by a dimmed title bar and a faded name.
To open a window Do one of the following: µ Choose Window > [window type] (Arrange, Score, and so on) in the main menu bar (or use the corresponding key command). Each window type has a corresponding key command that opens the window, without using the mouse. For example, Command-1 opens the Arrange window, Command-2 opens the Mixer, and so on. The key command designations are shown beside each window name in the Window menu.
µ Drag a button at the bottom of the Arrange window. The button changes to the editor window as you drag it. µ Double-click an audio region in the Arrange area to open the Sample Editor at the bottom of the Arrange window. µ Double-click a MIDI region in the Arrange area to open the default editor at the bottom of the Arrange window.
µ Click the close button at the top-left corner of the window. µ Option-click the close button to close all windows of the active project. Note: If you close all open windows of a project, Logic Pro assumes that you want to close the project, and asks if you want to save your changes. 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.
Here is an example of a possible window setup: Imagine you want to edit the MIDI notes of various MIDI regions. You may want to increase the height of the Piano Roll Editor to work at a high zoom level, thus decreasing the height of the Arrange area. You would then reduce the Arrange area zoom level, because it only needs to be used for region selection duties. Resize pointer µ 94 To move a window Click and hold the title bar and drag the window to a new position.
To adjust the size of a window Do one of the following: µ Drag the lower-right corner of the window, as with any window in the Finder. µ Position the mouse pointer over the window edge. When the mouse pointer turns into the Resize pointer, drag in any 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.
To minimize a window Do one of the following: µ Select the window, then choose Window > Minimize (or use the Minimize Window key command, default assignment: Command-M). µ Click the minimize button (the middle button of the three window controls) in the top-left corner of the window. An icon (a minimized version of the window) is placed in the Dock. The window can be restored by clicking the icon in the Dock.
µ Set the default size for plug-in windows in the Logic Pro > Preferences > Display > Mixer pane. This scaling applies to all plug-ins. Working at Different Hierarchy Levels Logic Pro allows you to view projects at an overview level (Arrange level) and also at a microscopic level (editor level). These different hierarchical levels are designed for different types of tasks, such as arranging project sections or refining instrument parts.
In the Piano Roll and Hyper Editors, a step up the display hierarchy shows the events of all regions in the Arrange area. Clicking the Hierarchy button in the Event List moves you up one level in the display hierarchy, just like the other editors. In the Event List, however, the display remains much the same but shows a list of regions, rather than a list of individual events, along with region positions, names, track numbers, and lengths.
You can move the visible section by clicking the scroll arrows, or dragging the scroller. There are two points to note: • 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. • The visible section changes as you move the scroller.
To scroll both vertically and horizontally at the same time Do one of the following: µ Press Shift-Control, click-hold the Arrange window background, then drag it in the desired direction. µ Click-hold the Arrange window background with the third mouse button (the mouse wheel, for example), then drag in the desired direction. The distance of the mouse pointer from the initial clicked position determines the scrolling speed.
µ To zoom in Click the widely spaced bars to increase the zoom level. You can drag the zoom sliders to step through several zoom levels. Any relative size differences between tracks are retained when zooming. Command-clicking a value in the zoom control sets the zoom slider to the respective zoom level. Zooming with the Playhead The playhead can be used to zoom in and out on the working display area. To zoom with the playhead 1 Click-hold in the lower section of the Bar ruler.
• Left or right on the horizontal scroll bar As you drag, the window contents zoom. Zooming with the Trackpad The trackpad can be used to zoom in and out on the working display area. µ To increase the zoom level Pinch open on the trackpad using two fingers. µ To decrease the zoom level Pinch close on the trackpad using two fingers. Zooming with the Waveform Zoom Button Next to the Arrange area’s horizontal zoom control, you can find the Waveform Zoom button.
To change the zoom level using the Waveform Zoom button 1 Click-hold the Waveform Zoom button. A slider appears. 2 Drag the slider. As you do, the waveform shown in all audio regions, and in the Beat Mapping track, is increased or decreased in size. Note: This is a purely visual function. The amplitude (level) of the waveform is not affected.
Zooming In on One Section of the Screen To enlarge a section of the screen to fill the whole window, drag to select the area with the Zoom tool. 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 down the Control and Option keys. Storing and Recalling Zoom Settings You can store three different zoom settings for each window using the Save as Zoom 1–3 key commands.
Note: When a marquee selection is active, using this key command changes the current zoom level to fit the marquee selection. • Zoom to fit Selection vertically, store Navigation Snapshot: Displays the current selection as large as possible vertically, and saves it in the navigation path. • Zoom to fit Locators, store Navigation Snapshot: Displays the current locator area as large as possible, and saves it in the navigation path.
• Other windows (No Link, Same Level Link, or Content Link) Working in Catch Mode When you work in Catch mode, the visible section of a window follows the playhead during playback or recording. Simply click the Catch button. If the button is disabled, the display does not update, even when the playhead moves past the right edge of the visible portion of the window.
• Content Link: This mode results in the window always showing the contents of the region selected in the key focus window. The display is therefore always one level below that of the top window. For example, if the Arrange area is the active window, any opened MIDI editor window will show the events of the selected MIDI region. Selecting a different MIDI region in the Arrange area will update the display of the linked editor to show the contents of the newly selected region.
Hiding or Showing the Transport Bar It is possible to hide the entire Transport bar, providing more workspace for regions, editors, and other data. To hide or show the Transport bar Do one of the following: µ µ Choose View > Transport (or use the Hide/Show Transport key command). Position the pointer in the space between the Arrange area and Transport bar. When the mouse pointer turns into the Resize pointer, drag upward or downward.
2 Drag the buttons you want to add from the Customize Toolbar dialog to any empty area along the top of the window. If you drag a button to a location between two existing buttons, they move to make space for the new button. Note: You can also drag the entire default set from the bottom of the Customize Toolbar dialog, if your customizations don’t work out as well as you’d hoped. 3 Click Done when finished.
To hide or show the Inspector in the Arrange window Do one of the following: µ Choose View > Inspector (or use the Hide/Show Inspector key command, default assignment: I). µ Click the Inspector button in the Arrange toolbar. µ To hide or show the Inspector in the editing windows Choose View > Inspector (or use the Hide/Show Inspector key command, default assignment: I).
• Time and Bar: Displays the Bar ruler above the SMPTE ruler. The appearance of the Bar ruler can be changed by clicking the small note or clock icon at the right edge of the ruler. This opens a menu of alternate Bar and (SMPTE) Time display settings. You can choose between time and bar linear views. µ To activate a time linear view Choose the Time, or Time and Bar setting from the menu. µ To activate a bar linear view Choose the Bar, or Bar and Time setting from the menu.
Hiding or Showing Global Tracks It is possible to hide or show global tracks in general, or to hide or show particular items in global tracks. To hide or show global tracks Do one of the following: µ Choose View > Global Tracks (or use the Toggle Global Tracks key command, default assignment: G). µ Click the Global Tracks disclosure triangle to the left of the Bar ruler.
µ Control-click (or right-click) anywhere in the global tracks header area, choose Configure Global Tracks from the shortcut menu (or use the corresponding key command, default assignment: Option-G), then select the corresponding checkboxes. The choices made in the Global Tracks Configuration dialog only affect the active window. Each window can have an independent global track display configuration. Tip: Click the Enable All or Disable All buttons to show or hide all global tracks, respectively.
µ To resize the entire global tracks area Position the mouse pointer over the dividing line between the global tracks and the arrange tracks, then drag up or down. µ To change the order of global tracks Grab anywhere (except on the control elements) in the header area of the global track you want to move, then drag up or down. The display order of global tracks is saved independently for each window.
Note: Screensets 1 to 9 can be recalled by freely defined key commands, not only the number keys on your computer keyboard. This allows you to use the number keys for other purposes, such as opening or closing windows. The 1 to 9 key commands are called Recall Screenset 1–9 in the Key Commands window. To switch a screenset automatically 1 Select the MIDI region into which you want to insert the meta event. 2 Set the playhead to the point where you want the screenset to change.
Important: The File > New command deactivates all screenset locks. To copy screensets 1 Switch to the screenset you want to copy, and choose Screensets > Duplicate from the main menu bar (or use the Duplicate Screenset key command). The Duplicate Screenset dialog appears. 2 Enter the target screenset number (the screenset number that you want to copy to), and type a name. 3 Click OK.
µ To delete the current screenset Choose Screensets > Delete from the main menu bar (or use the Delete Screenset key command). Importing Screensets from Another Project You can import screensets from another project. To import all screensets from another project 1 Do one of the following: • Choose File > Project Settings > Import Project Settings (or use the corresponding key command, default assignment: Option-Command-I).
Navigating Your Project 5 Logic Pro offers a number of project playback and navigation controls. You can use the Transport bar, key commands, and 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. This chapter concentrates on the use of the Transport bar and Bar ruler for navigation. Information on the use of markers can be found in Working with Markers.
Setting the Playhead Position The playhead is a vertical line that indicates the current position in all horizontal, time-based windows. It is positioned: • In the lower half of the Bar ruler when one ruler is displayed Playhead • At the top of the Bar ruler when two rulers are displayed Playhead For more information about changing the number of rulers used, see Adjusting the Bar Ruler Display.
Setting the Playhead with the Position Display The Transport bar’s Position display shows the current playhead position in two formats: • SMPTE Time: The upper row displays the playhead position in SMPTE time format—hours : minutes : seconds : frames / subframes. • Musical division of time: The lower row displays the playhead position in bars, beats, division, and ticks. A beat corresponds to the denominator in the time signature. The division value is set in the Transport bar, below the time signature.
When typing in a full position using the Bar display, for example, you should type in the following manner: • 3 Space 3 Space 2 Space 2, Return key to exit text entry mode. • 3.3.2.2, Return key to exit text entry mode. If you simply type in 3322, followed by the Return key, the playhead moves to bar 3322, rather than bar 3, beat 3, division 2, tick 2. This allows you to quickly navigate to the beginning of a bar by inputting the first digit.
• Click the Preferences button in the Arrange toolbar, then choose Display from the menu. 2 Click the General tab, and select the Wide Playhead checkbox. 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.
• Play from Left Window Edge: Plays from the leftmost point of the visible display area in the active window. • Play from Left Locator: Moves the playhead to the left locator position, and begins playback. • 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 assignment: Shift-Return.
Tip: The Space bar can be used to start or stop playback of audio files or regions in the Sample Editor, Audio Bin, and Loop Browser, when these windows have key focus. • Play from Previous Bar: Starts playback at the start of the previous bar. • Stop or Play from Last Position: Stops playback at the current playhead position, or starts playback from the last playhead position, depending on the play or stop status when the command is used.
• Jump Between Cycle- and Project Start if stopped: Toggles the playhead between the cycle area start position and the project start position, when Logic Pro is stopped. Only applies if there is an active cycle area. • Jump Between Selected Region- and Project Start if stopped: Toggles the playhead between the start position of the first selected region and the project start position, when Logic Pro is stopped. Only applies if a region or folder is selected.
A long click offers the following functions: Fast Rewind Fast Forward Stop Note: The Apple Remote is compatible with Apple products that have a built-in Infrared (IR) receiver. Front Row is not available while Logic Pro is open. Using Cycle Mode You can use Cycle mode to repeatedly play a selected passage.
The cycle area is defined by the position of the left and right locators. When Cycle mode is disabled, the left and right locators disappear and the cycle area is dimmed. To turn Cycle mode on and off Do one of the following: µ Click the Cycle button in the Transport bar (or use the Cycle Mode key command, default assignment: C). µ Click the top part of the Bar ruler (on the gray locators stripe). In Cycle mode: • The playhead jumps from the end of the cycle to the beginning.
µ To resize a cycle 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 open). Note: You can set either the start or end point of a cycle (whichever is closest) by Shift-clicking a position in the Bar ruler. This works even when the stripe is outside the visible range, or Cycle mode is turned off.
This has no impact on the Bar ruler display mode. µ Click the small down arrow icon to the right of the Bar ruler, and choose either Bar mode or Time mode. This updates the Transport bar Locator display accordingly. Using the Shortcut Menu to Define a Cycle You can access a shortcut menu from the Cycle button in the Transport bar.
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 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 Working with Markers. You can also use one of the following key commands: • 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.
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). Using the Chase Events Function If you start playback in the middle of a project, some events might not be heard (such as notes, sustain pedal events, and pitch bend events that start before the point where playback begins).
2 Click the Chase tab, then select the checkboxes of all events that the Chase Events function should look for before the playback start point. See Chase Settings for full details. There is a potential problem when chasing notes that are used to trigger a drum loop in a sampler. Unless you are lucky enough to start the MIDI region precisely at the beginning of the sample loop, the sample will be triggered at the wrong time and will play out of sync with other regions (at least until the next trigger note).
The No Transpose parameter actually prevents transposition by the region playback parameters, which is also not desirable for drum sounds or loops. Customizing the Transport Bar The Transport bar offers a default set of buttons, displays, and sliders. These are the most commonly used, and most useful, options for the majority of users.
2 Turn on or turn off individual functions by selecting the checkboxes in the Customize dialog. 3 Choose the appropriate option, as follows: • Click the Cancel button to cancel the action. • Click the OK button to confirm the action. • Click the Save As Default button to save your current user layout, which is then applied whenever you create an empty new project, open a new Arrange window, or click the Restore Defaults button. • Click the Restore Defaults button to apply your saved user layout.
Transport Buttons This area of the Transport bar contains buttons that literally transport the playhead through the project. For an explanation of the individual functions and commands, see Using the Transport Buttons. Display Area This area of the Transport bar primarily informs you of the playhead and locator positions, but can also be used to navigate through the project.
• Signature/Division: The (Time) Signature display indicates the current playback or recording time signature in a standard musical format; 4/4, 5/4, and so on. The Division display determines the current display (and editing) resolution. A value of /16 means that a 4/4 bar is divided into 16 sub-sections, or 4 sub beats for each beat in the bar. • MIDI Activity (In/Out): The display indicates incoming and outgoing MIDI data. The MIDI In display (top) will show chord names for incoming MIDI note data.
• Move Locators Backwards by Cycle Length and Move Locators Forward by Cycle Length: Retains the existing cycle, but moves it to the left or to the right by the cycle length. For example, if the cycle is 4 bars long, and spans bars 12 to 16, using the Move Locators Backwards by Cycle Length command moves the cycle four bars to the left, resulting in a cycle from bar 8 to 12. • Cycle: Enables or disables repeated playback or recording over a project section.
µ To open a new SMPTE or Bar Display window Control-click (or right-click) the Transport bar display area, and choose Open Giant Bar Display or Open Giant SMPTE Display, as required. A new, floating window opens. This window can be freely positioned and resized. Tip: Control-clicking the window allows you to quickly select the option to switch between the Giant Bar Display and Giant SMPTE Display, as required.
To access the Use SMPTE View Offset setting on an individual basis Do one of the following: µ Control-click (or right-click) any open Transport bar display area. µ Control-click (or right-click) any open Giant SMPTE display area. Customizing the Bar, SMPTE, and Tempo Display You can customize the Bar, SMPTE, and Tempo display in the Display preferences.
2 Choose one of the following settings in the Clock Format menu: • Clock Format: 1 1 1 1 • Clock Format: 1. 1. 1. 1 • Clock Format: 1 1 1 0 • Clock Format: 1. 1. 1. 0 • Clock Format: 1 1 _1 • Clock Format: 1. 1. _1 • Clock Format: 1 1 _0 • Clock Format: 1. 1. _0 3 Choose one of the following settings in the Display SMPTE menu: • With Bits: Subframes (SMPTE bits 0 to 79) are shown. • Without Bits: Subframes are not shown. • With Quarter Frames: Quarter frames are shown.
Working with Markers 6 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. Apart from the text functions, markers can also be regarded as storage areas for locator positions—each of which can be individually named. This chapter covers the following: • Opening Marker Areas and Windows (p.
Opening Marker Areas and Windows There are many ways to interact with, create, and delete markers in Logic Pro. You can see and edit markers in the following window areas: Marker track Marker List Marker Text area • 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.
µ To open the Marker List as a tab in the Arrange window Click the Lists button at the top-right corner of the Arrange toolbar, then click the Marker tab (or use the Toggle Marker List key command, default assignment: K). To open the Marker List as a separate window Do one of the following: µ Choose Options > Marker > Open Marker List (or use the Open Marker List key command, default assignment: Option-M). µ Drag the Marker tab, which changes to the Marker List window as you drag it.
Creating Markers You can create markers at any project position. This section describes all marker creation options. Tip: You can use the Create Marker key commands to add markers on the fly during playback. To create a marker at the beginning of the nearest bar Do one of the following: µ In the Marker track: • Set the playhead to the desired position, then click the Create button. • Select the Pencil tool, and click the desired position.
µ In any window: Choose Options > Marker > Create from the main menu bar (or use the Create Marker key command, default assignment: Shift-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 is 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. µ To create a marker that corresponds exactly to the length and position of a cycle 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.
• When you hold Shift, after click-holding the cycle, the cycle can be moved horizontally, and then dragged to the marker area in one go. Note: When you hold Shift, before clicking the cycle, the nearest cycle border is set to the clicked position. Copying Markers This section describes the copy marker options. To copy a marker Do one of the following: µ In the Marker track: Option-drag the marker, or use the standard Copy (Command-C) and Paste (Command-V) commands.
• Select the markers, then choose Edit > Delete (or use the corresponding key command, default assignment: Delete). µ In the Bar ruler: Hold down Command, grab the marker you want to delete, and drag it out of the Bar ruler. Release the mouse button when the pointer turns into a hand holding two arrows. µ At the current project position: Choose Options > Marker > Delete (or use the Delete Marker key command, default assignment: Command-Down Arrow).
2 Type the marker name in the text field. To edit a marker name in the Marker track 1 Do one of the following: • Choose Options > Marker > Rename Marker (or use the corresponding key command, default assignment: Command-Return). • Select the Text tool, then click a marker. • Double-click the marker. 2 Type the marker name in the text field. To edit a marker name in the Marker List 1 Do one of the following: • Select the marker name and click the Marker Text Edit button.
2 Type the new marker name in the Marker Text area. To edit a marker name in the Marker Text window 1 Open the marker in the Marker Text window. 2 Do one of the following: • Click the Marker Text Edit button. • Double-click in the Marker Text area. 3 Type the new marker name in the Marker Text area. The first paragraph in the window is used as the marker name.
Note: If you use Return to create paragraphs in the Marker Text window or area, the first paragraph of the text is 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 is also 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, for example.
3 Choose 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: µ µ µ In the Marker track: Drag it to the left or right. In the Bar ruler: Command-drag the marker to the left or right.
This locks (fixes) the SMPTE position of markers. To indicate this status, a lock symbol is displayed at the beginning of the marker name. 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.
µ To adjust a marker to fit a cycle Drag a cycle onto an existing marker (with a right or left border—or both—that falls inside the cycle boundaries). Dragging the cycle area in the Bar ruler is limited to either horizontal or vertical movements. This ensures that you do not accidentally: • Move the cycle when creating markers (by dragging the cycle into the lower third of the Bar ruler or into the Marker track). • Create markers when moving the cycle.
µ Use the Go to Marker Number 1 to 20 key commands (20 different commands). The marker numbers in these commands refer to the (serial) order of all markers in the project. µ Use the Go to Marker key command to open a window that allows you to type in any marker number. This moves the playhead to the beginning of the chosen marker. µ To move to the next or previous marker Use the Go to Previous Marker and Go to Next Marker key commands.
Switching Between Marker Alternatives You can use up to nine different marker variations per project. To switch between the different marker alternatives Do one of the following: µ µ µ Choose Options > Marker Alternatives in the Marker List, then choose a Marker List. Choose a number from the Alternative pop-up menu in the Marker List. Choose a number from the Alternative pop-up menu in the Marker track.
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. This chapter covers the following: • Learning About Projects (p. 159) • Creating Projects (p. 160) • Opening Projects (p. 163) • Opening and Creating Projects Automatically (p. 166) • Previewing Projects with Quick Look (p. 166) • Importing Data and Settings from Other Projects (p.
When you create a new project (or use the Save function, in general), you can choose to also save all associated files (assets). 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). 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 a template in the Templates dialog. The Templates dialog is broken down into two areas: Collection and Template. • Click a collection folder to display the associated template in the Template area. • Click a template to load it. A Save As dialog opens automatically.
3 Browse to the location where you want to store the project, then type a name for the project in the name field. 4 Select the Include Assets checkbox if you want to include the audio and other files in the project folder. (See Handling Project Assets.) Tip: It is recommended that you select 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 want to save in the project folder. You can change these settings at any time by choosing File > Project Settings > Assets. Details on these project assets are found in Handling Project Assets. 6 Click Save. • A named folder—containing several sub-folders, depending on selections made in steps 3 and 4—is created at the target location.
If a project is already loaded, you are asked if the currently loaded project should be closed or not. You can disable this prompt by deselecting the Logic Pro > Preferences > General > Project Handling > “When opening a project, ask to ‘Close current project(s)?’” option. The Open dialog features a File Type pop-up menu, which allows you to choose from the following options: • All Logic Document Types: Displays all document types supported by Logic Pro.
3 Browse to and select the file, then click Open. µ To open a recent project 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. Tip: If you set the Startup Action in the Project Handling preferences to the Open Most Recent Project option, Logic Pro loads your last project automatically on startup. See Opening and Creating Projects Automatically.
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 > General > Project Handling pane. • Do Nothing: Logic Pro opens and requires you to create a new project, or open an existing project or template. • Open Most Recent Project: Automatically opens the project you were working on when you last quit Logic Pro.
To preview a project with Quick Look Do one of the following: µ µ Browse to a project file in the Finder, then click the Quick Look button. µ Browse to a project file in the Browser tab of the Media area, Control-click (or right-click) the file, then choose Quick Look from the shortcut menu. Browse to a project file in the Browser tab of the Media area, then choose Quick Look in the Actions menu. A thumbnail image of the selected project file is displayed in Quick Look.
You can also import the following settings from another project: • Screensets • Transform sets • Hyper sets • Score sets • Score staff styles • Score text styles • Score settings • Sync settings • Metronome settings • Record settings • Tuning settings • Audio settings • MIDI settings • Video settings • Asset settings For details, see Importing Settings from Another Project.
You choose the data to be imported from the source project using the following Track Import view, which is displayed in the Media Browser tab.
Tip: You can customize the column view by Control-clicking (or right-clicking) the table header, then disabling or enabling the columns. You can also change the column order by dragging the column headers. These settings are automatically stored in the Preferences when Logic Pro is closed, and apply to all projects. • Num: Displays the track number for all tracks available in the Arrange area. Remains empty for those channel strips that are not part of the Arrange track list.
2 Navigate to, and select, the required project file. • If using the Browser tab, an Import button appears at the bottom-right corner of the tab. Note: You can use the Quick Look feature to preview the selected project file. For details, see Previewing Projects with Quick Look. • If using the Import dialog, the Import button becomes active. 3 Click the Import button, or double-click the project file.
The Browser tab updates to show a track import view. 4 Select the data that you want to import by selecting the relevant checkboxes. Tip: Press the Right Arrow key to select all checkboxes of the selected line, or the Left Arrow key to deselect them.
5 Do one of the following: • Click the Add button to add the selected data to the current project (or hold down the Command key while pressing the Down Arrow key). The tracks are added below the selected track in the Arrange area. • Click the Replace button to replace the data of the currently selected track with the selected data from the other project. Note: The Replace function only works when data on a single row is selected—not with multiple row selections.
• Click the Settings button in the Arrange toolbar, then choose Import Project Settings. • Click the Browser tab in the Media area. 2 Navigate to, and select, the required project file. Note: If navigating in the Browser tab, you can use the Quick Look feature to preview the selected project file. For details, see Previewing Projects with Quick Look. 3 Click the Import button.
µ To reconfigure the memory Click the Reorganize Memory button in the Project Information window. At the same time, the current project is checked for any signs of damage, structural problems, and unused blocks. If any unused blocks are found—which normally shouldn’t happen—you will be able to remove these, and repair the project. Note: This reorganization is also carried out automatically after saving or loading a project.
µ Click the Sample Rate display in the Transport bar, then choose a sample rate from the pop-up menu. Note: If your Transport bar does not include the Sample Rate display, Control-click it and choose Customize Transport Bar from the shortcut menu. Select the Sample Rate or Punch Locators checkbox in the Customize Transport Bar dialog. You may find that audio files in your project do not match the newly selected sample rate.
To set the project tempo Do one of the following: µ In the Transport bar, do one of the following: • Click-hold the tempo value, and drag up or down. • Double-click the tempo value, and type a new value in the text field. µ In the Tempo List, do one of the following: • Click-hold the tempo value, and drag up or down. • Double-click the tempo value, and type a new value in the text field. µ Open the Tempo track, and drag the tempo line up or down with the Pointer tool.
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.
You can set the time signature of the project in the Transport bar, the Signature List, or the Signature track. The Transport bar displays the time signature in the following format: numerator : bar denominator : division value. Numerator Bar denominator Division value 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.
µ Open the Signature track, and double-click the value shown. Set the Numerator and Denominator values (and other settings, if desired). For more information on time signatures, refer to Working with Time and Key Signatures. 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.
µ Set the value in the Transport bar’s numerical Project End display (by click-dragging or double-clicking the value). Project End display Note: If your Transport bar does not include the Project End display, Control-click it and choose Customize Transport Bar in the shortcut menu. Select the Tempo/Project End checkbox in the Customize Transport Bar pane. As soon as Logic Pro reaches the project end point, it stops automatically, except when recording.
Click the Dim Master Volume button to the left of the Master Volume slider, or the Dim button in the Master channel strip, to turn on Dim Volume mode. This sets the playback volume to the Dim value set in the Logic Pro > Preferences > Audio > General pane. Click the button again to deactivate Dim Volume mode, and set the playback volume to the current Master Volume slider, or Master channel strip, value.
µ Click the Settings button in the Arrange toolbar, then choose Assets from the pop-up menu. • Select any of the copy checkboxes to copy the respective file types into the project folder. • Select 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.
The following should be taken into account when copying or moving project folders: • When a project is saved with Include Assets selected, and the recording path is pointing to a location inside the project folder, the recording path is relative. This means that the recording path for the audio data moves with the project, making it possible to move the project folder in the Finder or use the Save As command.
To consolidate your project 1 Choose File > Project > Consolidate (or use the Consolidate Project key command). 2 Choose a menu option for the different file types in the Consolidate dialog, to either move, leave, or copy the existing files. The two buttons in the lower-left corner of the window make project consolidation quick and easy. • Click “Copy all” to set all menus to the Copy option. • Click “Move all” to set all menus to the Move option.
Saving Projects When you choose File > Save (or use the corresponding key command, default assignment: Command-S), the current project is saved with its current name intact. If you don’t want to overwrite the most recent version of the project file saved with this name (which will happen if you use File > Save or Command-S), make use of the File > Save As or File > Save a Copy As commands.
You can define the number of project backups you want to keep by changing the Auto Backup setting in the Logic Pro > Preferences > General > Project Handling pane.
Saving a Project as a Template You can save a project as a template, creating starting points for new projects. Not all projects have the same needs, so customizing several projects to meet these needs offers an ideal starting point for different jobs. For example: • A template that is software instrument–focussed, for dance music projects. This would feature 32 software instrument tracks, and maybe 8 audio tracks.
Closing and Quitting The following tasks describe how to close an open window, an active project, or the entire Logic Pro application. µ To close an open window Choose File > Close (or use the corresponding key command, default assignment: Command-W). Only the uppermost window closes, not the whole project. The project is only properly closed when all windows are closed.
Basic Operations 8 There are a number of techniques to choose from when making selections and editing items in Logic Pro. In this chapter, you’ll learn about basic operating, selection, and editing techniques, as well as a number of shortcuts and features that help to accelerate your workflow. This chapter covers the following: • Using the Mouse (p. 191) • Entering Numerical Values (p. 192) • Entering Text (p. 193) • Working with Key Commands (p. 194) • Working with Tools (p.
Grabbing or Clicking and Holding The same as clicking an element, but you keep the mouse button held down. Moving or Dragging Grab the element and move the mouse (keeping the mouse button held down) to the desired position. Right-Clicking The same as clicking, but you press the right mouse button, if available. This opens a shortcut menu, the Tool menu, or selects an assigned tool.
2 Type in 45, followed by the Return key. The playhead moves to the beginning of bar 45. You can also use the mouse to make a partial selection in an input field, so that only the highlighted part is overwritten. As long as the input field is open, the computer keyboard can only be used for data entry, and cannot be used for key commands (with the exception of the main menu functions).
Any number of selected objects (such as regions) can be assigned the same name. If the name ends with a number, this number is automatically incremented by 1 for each subsequent object. This allows you to quickly, and uniquely, name all of the regions on a track, for example. Note: To turn off automatic numbering, place a space after the number at the end of the name you type in. All selected objects will then end with the same number.
µ Click the Preferences button in the Arrange toolbar, then choose Key Commands from the shortcut menu. Tip: Holding down Control while choosing a command in a menu opens the Key Commands window, with the respective command selected. This also works with shortcut menus. Key Commands list Key and Assignment columns Search field Key combination area Learn buttons Delete button Assignments area Learn button Delete assignment button • Key Commands list: Lists all available key commands.
Understanding Key Command Groups and Hierarchies The global key commands are always functional, regardless of the currently active window. Non-global commands require the corresponding window to have key focus (in the foreground, or on top of other windows). This allows you to assign the same key command (or combination of keys) to different functions in different windows. Important: There is a hierarchy of key command classes, which are not merely separated into global and local key commands.
• Save a new key command set: Enter a new filename in the Save As field, then click the Save button. Note: All key command sets are available from the Options > Presets menu, if you saved them to the default location. Saving key commands is also recommended for backup purposes. Following are some recommendations for when you might want to do this: • Export your user key command set (using the above procedure) whenever you make changes to it.
Finding Key Commands You can use the Key Command window’s search field to find key commands by name or partial name: • The search is performed as you enter text. There is no need to press the Return key, unless you want 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 Search menu to the left (the magnifying glass) retains a history of recently used search terms.
Assigning Key Commands to Computer Keys This section shows you how you assign particular computer keyboard keys to Logic Pro functions. To assign a function to a key 1 Select a command in the Command column. 2 Click the Learn by Key Label button. 3 Press the desired key, along with the desired modifier key or keys (Shift, Control, Option, or Command). 4 If you want to make another assignment, repeat steps 1 to 3. 5 Click the Learn by Key Label button again.
• 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). In circumstances where an existing local key command combination is used, when assigning a new global key command, a warning message appears.
The Assignments field displays the learned assignment. This may show one or all of the following: • The name of the control surface—or the MIDI string, if the assignment is from an unsupported control surface. • The name of the control. • The zone and mode that the assignment belongs to, if applicable. Note: The Learn New Assignment button is automatically turned off when the entire message has been received.
Printing a Key Command List You can use the Options > Copy Key Commands to Clipboard function to copy your key command assignments into the Clipboard as text. From here, it’s a simple matter of pasting the results into any word processor, formatting as desired, and printing them. The Copy to Clipboard command only copies the currently visible key command assignments. You could, therefore, export a certain group of key commands (those containing a particular character string, for example).
Tools are accessed in the Tool menus, found in the upper-right corner of all windows that allow direct region, event, or file editing and handling operations. Assigning the Left-Click and Command-Click Tools You can freely assign tools to the Left-click and Command-click Tool menus. The mouse pointer adopts the shape of the active tool, allowing you to instantly identify it by looking at the pointer graphic.
The Command-click tool is available when the Command key is pressed while editing. Release the Command key to revert to the Left-click tool.
• Opens Tool Menu: Right-clicking in the working area of the active window opens the Tool menu with the Pointer tool (and not the currently selected tool) located under the mouse pointer position. Choose a tool by clicking it. When the Tool menu is open, you can also use the key shown next to a tool to select it. Note: When you choose a tool from the Tool menu by right-clicking, the tool is assigned to the left mouse button.
• Opens Shortcut Menu: Right-clicking in the working area of the active window displays a menu that offers a number of area-specific selection and editing commands. See Using the Shortcut Menu for details. Setting the Pointer Tool Behavior You can set two different behaviors for the Pointer tool when using it in the Arrange window.
• Marquee Tool Click Zones: When this checkbox is selected, placing the mouse pointer over the lower half of a region (with the exception of the lower-left and lower-right edges) activates the Marquee cursor and behavior. Using Key Commands to Select Tools You can also use the following key commands to select tools: • Set Next Tool and Set Previous Tool: Switch to the neighboring tool in the active window. • Show Tool menu: Open the Tool menu at the pointer position.
Within the working area, you can use the Pointer tool for: • Selecting individual or multiple events, regions, or other elements by clicking them. See Using Selection Techniques. • Moving (by grabbing and dragging). • Copying (by Option-dragging). • Changing lengths (by grabbing the bottom-right or bottom-left corner and dragging). • Looping regions (by grabbing the upper-right corner and dragging). Pencil Tool The Pencil tool is used to add new regions or events.
Flex Tool The Flex tool provides you with quick access to fundamental flex editing functionality, without having to turn on Flex view in the Arrange window. Working with Help Tags A help tag appears just below the mouse pointer position—for as long as the mouse button is held down—when using many of the tools. The help tag provides useful feedback on the operation you are performing.
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) Using the Shortcut Menu Control-clicking anywhere in the Arrange window, Piano Roll Editor, and all List Editors, opens a shortcut menu (also known as a contextual menu) that can be used for a number of selection and editing tasks.
Using 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 in a user-assigned selection color. A region or event selected in one window is also selected in all other windows that display that region or event.
Selecting Multiple Elements You will often need to select multiple regions, events, or other elements, in order to move, process, or copy them, for example. To select or deselect all elements in a window Do one of the following: µ Choose Edit > Select All (or use the corresponding key command, default assignment: Command-A). µ Choose Edit > Deselect All (or use the corresponding key command, default assignment: Shift-Command-A).
To select all events (of a specified event definition) in the Hyper Editor Do one of the following: µ Click the event definition name. µ Choose Edit > Select All Following of Same Track (or use the Select All Following of Same Track/Pitch key command, default assignment: Option-Shift-F). All events after the selected event are selected. To select all notes of a certain pitch in the Piano Roll Editor Do one of the following: µ Click the relevant key on the Piano Roll keyboard.
Selecting Following Regions or Events To select all regions or events that follow the currently selected region or event (or, if none are currently selected, to select all regions or events after the playhead position), choose Edit > Select All Following (or use the corresponding key command, default assignment: Shift-F). Note: When a marquee selection is active, using this key command extends the marquee selection—over all tracks within a marquee selection—to the project end point.
• Edit > Select Equal Colored Regions: If you have selected a region or event of a certain color, you can use this command to select all regions or events of the same color (or use the Select Equal Colored Regions/Events key command, default assignment: Shift-C). This is a useful option when replacing song sections and other group editing tasks. • “Deselect All Regions except on selected Track” key command: Deselects any regions not on the currently selected track.
All other events on these two channels are selected. Selecting Regions or Events with an Equal Subposition You can select all regions and events with a certain relative position, such as all snare drums on the off-beat. Select a region or event at the desired relative position, and choose Edit > Select Equal Subpositions (or use the corresponding key command, default assignment: Shift-P). All regions or events with the same relative position are selected.
Paste at Original Position This command works in a similar way to Paste, but the regions or events in the Clipboard are always pasted to the position they were originally cut from, regardless of the current playhead position (which is where regions or events would be placed with the standard Paste function). Paste Replace This function only works in the Arrange window and editors. It resembles Paste, but all existing regions or events in a given location are replaced by the regions or events being pasted.
µ To open the Undo History window Choose Edit > Undo History (or use the corresponding key command, default assignment: Option-Z). The Undo History window 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. µ To undo or redo multiple steps Click any entry to undo or redo all steps between the clicked and highlighted entries. µ To undo or redo an isolated step Command-click the step.
µ To erase the Undo History Choose Edit > Delete Undo History. Warning: Take care with this command. No undos or redos are possible for the deleted steps, once the Undo History has been erased.
Working with Tracks 9 Tracks contain the audio regions and MIDI regions of a project. This chapter provides information on all aspects of creating and handling tracks in Logic Pro. This chapter covers the following: • Understanding Tracks and Channel Strips (p. 222) • Configuring the Track Header (p. 224) • Reclaiming Workspace Used by the Track Header (p. 226) • Creating Tracks and Channel Strips (p. 227) • Creating Tracks Only (p. 232) • Deleting Tracks in the Arrange Area (p.
Understanding Tracks and Channel Strips 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 strip 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. For more information, see Working with Folders.
Track type Assigned to Mixer Track used for Folder Not assigned Used as lanes for folder regions. Folder regions are simply containers for other regions and are not assigned to a Mixer channel strip. As you can see, each track type handles different sorts of data and has a special purpose. This is due to the routing of each track to a specific channel strip type in the Mixer. The parameters of a track are displayed in the Inspector’s Track Parameter box.
Configuring the Track Header The track header of each track (shown in the Arrange area’s track list) displays a number of buttons beside the track name and icon. By default, these include the Record Enable, Mute, and Solo buttons on all tracks; audio tracks also display the Input Monitoring button.
The Track Header Configuration dialog offers the following elements: • Control Surface Bars checkbox: Select this checkbox to view the control surface bars in the track header. These bars indicate tracks that are accessed by control surfaces connected to your system. Each control surface can be assigned a different color in the Device Parameter box. For more information, see the Logic Pro Control Surfaces Support manual.
• Buttons section: Select the checkboxes of the buttons you want to display in the track header. • Track Color Bars checkbox: Select this checkbox to show a thin color strip at the right edge of each track. This is a visual aid that can help you to keep track of regions that have been moved between tracks. Reclaiming Workspace Used by the Track Header Displaying all of the buttons, icons, track names, and so on can result in a lot of information being shown in the track header.
To hide or show the Inspector in the Arrange window Do one of the following: µ Choose View > Inspector (or use the Hide/Show Inspector key command, default assignment: I). µ Click the Inspector button in the Arrange toolbar. Creating Tracks and Channel Strips 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.
To create one or more new tracks (and channel strips) 1 Do one of the following: • Choose Track > New in the Arrange area’s local menu bar (or use the New Tracks key command, default assignment: Option-Command-N). • Click the Create Track button above the track list in the Arrange area. 2 In the New Tracks dialog, enter the number of tracks you want to create, then choose the type. 3 Select the Open Library checkbox (if not already selected) to automatically open the Library tab in the Media area.
Using the New Tracks Dialog The options in the New Tracks dialog vary, depending on the type of track that is being generated. Audio Tracks You can modify the following parameters in the New Tracks dialog when creating new audio tracks: • Driver pop-up menu: This pop-up menu allows you to select the audio hardware driver to use for your newly created tracks. If you use only one hardware playback device, this pop-up menu won’t appear.
Software Instrument Tracks You can modify the following parameters in the New Tracks dialog when creating new software instrument tracks: • Multi-timbral checkbox: Select to create up to 16 tracks with ascending MIDI channel settings (starting from MIDI channel 1, on the first track, MIDI channel 2 on the second track, and so on).
Tip: Once tracks are created, you can quickly reassign them to the sub-channels of any MIDI multi-instrument object with the Library, or by Control-clicking (or right-clicking) the track list, and making your choice from the Reassign Track shortcut menu. Full details on setting up external MIDI sound modules and keyboards are found in Setting Up External MIDI Instruments.
Creating Tracks Only 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 Strip Assignment There may be situations in which you want to have multiple copies of a track that address the same Mixer channel strip. For example, you may want to create multiple tracks that address a software instrument, such as the EXS24 mkII, with a drum kit loaded.
Creating a Track with the Next Channel Strip/MIDI Channel The Track > New with Next Channel Strip/Instrument command (which has a corresponding key command) can either create a new track, or a new track and a new channel strip. The behavior of the command is dependent on the selected track type: • If the selected track is an audio or software instrument track, the command creates a new track below the selected track, and assigns the next channel strip to it.
Creating Tracks for Selected Regions The Track > New for Selected Regions function creates a new track for the selected regions on a track. The selected regions are moved to the new track, and removed from the source track. All new tracks use the same channel strip assignment as the original track. If you use this command when multiple regions are selected across several tracks, a new track is created for each source track.
Selecting Tracks in the Arrange Area You can select a track by clicking its name or icon in the track list. This action selects all regions on the track (or selects the regions that fall within the defined cycle, if Cycle mode is turned on). Tip: If you Option-click a track, the track is selected without affecting the existing selection of regions (on the selected track, or others).
Naming Tracks in the Arrange Area You can use the Track Header Configuration dialog to determine which track names are displayed in the track header. To choose the track names you want to view 1 Open the Track Header Configuration dialog by doing one of the following: • Choose View > Configure Track Header in the Arrange area (or use the corresponding key command). • Control-click (or right-click) any track header in the track list, then choose Configure Track Header from the shortcut menu.
• If you did none of the above, the channel strip name is displayed. • Track Name: This option allows you to manually enter a track name in the track list. • Channel Strip Setting Name • Software Instrument Setting Name • Channel Strip Name • Channel Strip Type and Number 3 Select the Allow Two Lines checkbox if you want to view two track names in the track header, then choose a name option from the second pop-up menu.
To create a track name Do one of the following: µ Choose Track > Create Track Name, then enter a name in the text input field that appears. µ Double-click the track name in the track list, then enter a name in the text input field that appears. Tip: Use the Tab key in the track list when you want to create several track names in a row. After entering text in the text input field, you can press the Tab key to confirm the current edit and activate the next track for editing.
Assigning Tracks in the Arrange Area In general, you create new tracks when you want to record or play back new regions. Corresponding channel strips are automatically created in the Mixer. In some situations, however, you may want to reassign an existing track to a different channel strip; for example, reassigning the output of a software instrument track to another instrument channel strip.
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, for example. Environment objects are software representations of individual data-processing elements. Some examples of Environment objects include arpeggiators, knobs, faders, chord memorizers, and channel splitters.
The pointer changes to an index finger. 2 Click and drag to zoom in or out on the track. The individual track zoom factor, compared to the overall window zoom level, is shown in the help tag while the mouse button is held down. Tip: You can zoom all MIDI or audio tracks of your project at the same time by holding down the Command key while zooming. Pressing Shift while zooming a track resets all tracks to the default zoom setting.
Assigning Track Icons in the Track Parameter Box Logic Pro offers high-resolution, scalable (from 128 x 128 pixels downward), and user-definable track icons. µ To assign an icon to a track Click an existing track icon in the Track Parameter box, and choose the icon you want from the grid. You can create your own icons for tracks. User-created icons are saved in the following folder: ~/Library/Application Support/Logic/Images/Icons.
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. µ To open the Logic Pro package Control-click (or right-click) the Logic Pro icon in the Finder, then choose Show Package Contents from the shortcut menu. Muting Tracks in the Arrange Area You can use a track’s Mute button to stop it from playing. Use the Track Header Configuration dialog to show or hide the track Mute buttons.
A bullet to the left of the track number indicates that the track is muted. A second click cancels the mute state. You can also use the Toggle Track Mute key command (default assignment: Control-M) to mute a track. Muting Multiple Tracks in the Arrange Area It is possible to mute multiple tracks at the same time. To mute multiple tracks Do one of the following: µ Hold down the Command key while clicking a Track Mute button.
• Unmuted regions are indicated by a gray surrounding frame (no dot precedes the region name). Soloing Tracks in the Arrange Area 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 dialog to show or hide the track Solo Buttons.
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. µ To solo a track when the Track Solo buttons are hidden Click the Solo button on the Transport bar, then click the track. Soloing Multiple Tracks in the Arrange Area It is possible to solo multiple tracks at one time. To solo multiple tracks Do one of the following: µ Click and hold a Track Solo button, then drag the pointer up or down.
Tip: The Freeze function also works with DSP hardware such as the PowerCore, LiquidMix, Duende, and UAD devices. This compatibility allows you to combine Logic Pro instruments and effects with those provided by the DSP hardware, even if the processing capacity of your computer, the DSP hardware, or both, are exceeded. The Freeze function always bounces the complete channel signal.
To freeze a track 1 Click the Freeze button in the track header. Note: If the Freeze button is not visible, you can display it using the Track Header Configuration dialog. 2 Choose the required Freeze Mode parameter in the Inspector’s Track Parameter box: • Source Only: Freezes the track signal before it is fed into the first effect plug-in. Choosing this mode turns the Freeze button blue. Note: This Freeze Mode is useful when using CPU-demanding software instruments or flex modes.
Understanding the Freeze Process During the Freeze process, the playhead follows the currently rendered position. A floating progress bar window is also displayed. Freeze files are always rendered between the project start and end marks. It is recommended that you check the project end mark in the Bar ruler before starting a Freeze process. Tip: You should adjust the end mark of the project to include feedback-dependent delay repetitions or reverb tails.
You can now perform your edits, and activate the Freeze button again, if required. Working with Freeze Files The temporary freeze files are saved in a folder named Freeze Files which is created in the root directory of your project folder. You usually won’t need to access these freeze files directly. Logic Pro manages these freeze files automatically in the background.
3 Click the global Hide View button, and all tracks whose Hide buttons have been activated disappear from the Arrange window. The H in the global Hide View button is highlighted, indicating that one or more tracks (with active Hide buttons) are hidden. µ To show hidden tracks Simply reactivate the Hide View button when you want to see the hidden tracks again. There are also a couple of menu functions and key commands that relate to the Hide Tracks feature.
Clicking a Track Protect button toggles between Locked and Unlocked modes. Command-clicking a Track Protect button in the track list protects all tracks in the currently selected display level (or folder). If tracks were already protected, they will be unprotected.
The following changes take place in the Arrange window: • All files on the selected audio track are analyzed for transients, if not previously done. Detected transients are displayed as yellow lines. The selected track is vertically zoomed. • A software instrument track is created below the selected audio track, and the EXS24 is inserted into the Instrument slot. • The Library tab is opened in the Media area with the focus set to the EXS24, allowing you to choose the sound that best matches the project.
3 Set the following parameters, as required: • Instrument pop-up menu: Choose the instrument that you want to process from: kick, snare, tom, or other instrument. • Mode buttons: Choose between the following two modes. • Replacement: The new sound replaces the original, and all regions on the original track are muted. • Doubling: The new sound is added to the original, without muting the original. • Relative Threshold slider: Define a threshold for generating transients.
• Timing Offset slider: Shift the position of trigger notes earlier (negative values move them to the left) or later (positive values move them to the right). This value should normally be set to 0.0 ms (which places the MIDI trigger notes exactly at transient timing positions), but may need to be adjusted when using your own, or third-party, instruments. • “Set average attack time” button: Set the average slicing position offset of all regions on the source audio track. 4 Click OK to confirm the action.
To bounce regions in place 1 Select one or more regions on an audio or software instrument track. 2 Do one of the following: • Choose Region > Bounce Regions in Place (or use the corresponding key command). • Control-click (or right-click) the selected regions, then choose Bounce Regions in Place from the shortcut menu. The Bounce Regions in Place dialog appears. 3 Define the following parameters, as required. • Name field: Define a name for the bounce file in the text field.
• Mute: Mutes the source region after processing the bounce file. • Delete: Deletes the source region from the original track after processing the bounce file. • Include Instrument Multi-Outputs checkbox: Select this checkbox to include aux channel strips with multi-output signals of the software instrument in the bounce process. Otherwise, only the channel strips of tracks with selected regions are bounced.
The Bounce Track in Place dialog appears. 3 Define the following parameters, as required. • Name field: Define a name for the bounce file in the text field. The name defaults to the region name of the first selected region, with the extension _bip added at the end. • Destination buttons: Define the track on which the bounce file is placed. You have two options. • New Track: Creates a new audio track below the selected track, and places the bounce file on that track.
• Overload Protection Only: Allows downward normalization in case of overloads—levels above 0 dB, which would lead to clipping—but no normalization in case of lower levels. • On: Allows full bidirectional normalization. • Restore Defaults button: Click this button to set all parameters in the dialog to their default settings. 4 Click OK to trigger an in place bounce of the selected track(s).
• Include Volume/Pan Automation checkbox: Select this checkbox to have volume and pan automation performed during the bounce process, with their result influencing the bounce file. Otherwise, the volume and pan automation is simply copied, not performed. • Normalize pop-up menu: Choose between three states of normalization. • Off: Turns off normalization.
Working with Instruments and Effects 10 Logic Pro offers an extensive range of software instrument 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.
The Arrange (and Mixer) channel strips deal with audio and instrument (software or MIDI) tracks shown in the Arrange area, plus auxiliary (aux) and output channel strips. Each track in the Arrange window is represented and controlled by a channel strip. Put another way, the arrange tracks are routed to specific channel strips: • Audio channel strips control the playback and recording of audio signals on audio tracks. • Instrument channel strips allow you to use and control software instruments.
• An aux channel strip, which is used for a variety of signal routing purposes For example, if Send slot 1 of the left channel strip is routed to Bus 4, the fourth auxiliary channel strip is shown. Clicking Send slot 2 on the left channel strip (routed to Bus 7) updates the right channel strip to show the seventh aux channel strip. Selecting a particular output in the Output slot of the left channel strip displays the chosen output channel strip to the right.
Setting Channel Strip Input Format The channel strip input format determines the mono, stereo, or surround status of the channel strip. Note that software instrument and external MIDI channel strips do not have a format button. Mono Stereo Left Right Surround • Mono: One circle represents a mono input format. The level meter shows a single column. • Stereo: Two, interlocked circles represent a stereo input format.
µ To set the channel strip input format for the selected audio track Click-hold the button directly below the channel strip’s level meter, and choose the input format from the menu that appears. Tip: On a stereo or mono channel strip, you can simply click the button to switch between mono or stereo. Setting Channel Strip Volume Level and Pan/Balance Position You can set a channel strip’s volume level and pan/balance position.
µ To set the Pan or Balance position Drag the control up or down or left or right. Pan/Balance control Option-click the Pan or Balance control to reset it to the centered (0) position. When a channel strip output is set to Surround, the Pan or Balance knob is replaced by a Surround Panner. Full details on using surround channel strips, effects, and the surround panner are found in Working with Surround.
The Audio Units format also offers two further plug-in types: • Generators • MIDI-controlled effects As the name suggests, Generator Audio Units plug-ins generate audio signals. In contrast to software instruments, however, they do not require a MIDI note message to be triggered. Audio Units MIDI-controlled effects can be controlled via MIDI, unlike standard audio effect plug-ins. As such, they are used differently.
A menu appears, showing all available effect plug-ins, sorted into different categories. 2 Browse through the categories and choose a plug-in name by clicking it. A plug-in version that matches the chosen channel strip input format is loaded. You also have the option of choosing a mono or mono-to-stereo version of the plug-in, for example, by clicking the appropriate entry. Logic Pro effect plug-ins are displayed in various categories such as Delay and Reverb.
µ To insert software instrument, Audio Units Generator, or MIDI-controlled effects Click the Instrument slot of an instrument channel strip, then choose the software instrument plug-in, Audio Units 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 opens automatically.
To use the Hand tool in the Arrange channel strips, hold down the Command key when the pointer is placed over an Insert or Instrument slot. To use the Hand tool in the Mixer, hold down the Command key. µ To move a plug-in to another Insert or Instrument slot With the Hand tool selected, drag the plug-in name (blue label) in any used Insert or Instrument slot to an unused target slot.
Knowing Where Different Plug-in Types Can Be Used Keep the following in mind when inserting plug-ins into channel strips: • 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. These channel strips feature an Instrument slot, directly above the Output slot, which is used for software instrument insertion.
µ On channel strips where Insert slot 1 is used: Option-double-click the EQ area to insert the Channel EQ as the first plug-in, and move all existing plug-ins of the channel strip one slot down (and redirect their automation data accordingly, if necessary). Double-clicking the EQ area on channel strips with an occupied Insert slot 1 inserts the Channel EQ into the next available (unused) slot. You can freely insert the Channel EQ into any Insert slot as you can other plug-ins.
Loading or Removing Entire Channel Strip Configurations The Library tab in the Media area allows you to load multiple plug-ins (inclusive of their parameter settings) into a channel strip. You can also do the same thing by clicking the Setting button at the top of channel strips.
The Library displays all channel strip settings available for the selected track or channel strip, sorted into category menus. 3 Browse through the category menus, then click the setting name to insert all associated plug-ins into the selected channel strip. µ To return to the previously loaded channel strip setting Click the Revert button at the bottom of the Library tab.
• Next Channel Strip or Plug-in Setting or EXS Instrument • Previous Channel Strip or Plug-in Setting or EXS Instrument The previous or next channel strip setting shown in the list is loaded. This feature is handy when trying to find the right delay or clavinet sound, for example. µ To delete a channel strip setting Click the Setting button at the top of a channel strip, then choose Delete Channel Strip Setting from the menu.
You can remotely switch between channel strip settings by sending MIDI program change messages. This allows you to select your favorite sounds (consisting of a complete channel strip setting that can contain a software instrument and effect plug-ins) by pushing a button on your MIDI keyboard. This feature is named channel strip performances, and is designed for live use of Logic Pro. Important: Only program change messages sent on MIDI channel 1 will switch between channel strip performances.
All saved performance settings appear in the Performances folder of the Channel Strip Settings menu. Opening, Closing, and Resizing Plug-in Windows 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 opens automatically when you insert a plug-in. This behavior can be overridden by deselecting the “Open plug-in window on insertion” checkbox in the Logic Pro > Preferences > Display > Mixer pane. µ To close a plug-in window Click the close button at the top-left corner of the plug-in window. Note: Closing the plug-in window does not deactivate the plug-in. µ µ To open a closed plug-in window Double-click an assigned Insert or Instrument slot.
µ Set the default size for plug-in windows in the Logic Pro > Preferences > Display > Mixer pane. This scaling applies to all plug-ins. Adjusting Plug-in Parameters This section briefly describes common parameter elements you will find in Logic Pro plug-in windows. Full details on the parameters of each individual plug-in can be found in the Logic Studio Instruments and Logic Studio Effects manuals. µ To switch plug-in window buttons Click the button.
To adjust a parameter slider Do one of the following: µ Drag the slider vertically or horizontally. µ Command-click anywhere in the slider’s value range to set it to the clicked value. To adjust rotary knobs Do one of the following: µ Drag the rotary knob vertically. µ Command-click anywhere in the value circle surrounding the knob to set it to the clicked value. To adjust numerical fields Do one of the following: 280 µ µ Drag the field’s numerical value vertically.
µ To reset any parameter to its default (or centered) value Option-click the parameter. µ To make finer parameter adjustments Hold down the Shift key before dragging a control. You can also use the mouse wheel to adjust Logic Pro plug-in parameters. To adjust plug-in parameters with the mouse wheel 1 Select a Logic Pro plug-in parameter by clicking it. 2 Move the mouse wheel. Tip: You can also use the trackpad of any portable computer instead of the mouse wheel.
When the Link Button Is Switched Off You can open several plug-in windows simultaneously, and these do not update to reflect any track or plug-in choices you may make. Each open plug-in window does, of course, continue to show all parameter updates and changes. Turning Link off is handy when you want to compare the settings of two plug-ins, or adjust the parameters of several open plug-in windows at the same time.
The Settings area appears to the right of the Bypass button. • Next and Previous Setting buttons: Click to load the previous or next plug-in setting. • Settings field: Displays the name of the current plug-in setting. Click to access the Settings menu. • Compare button: Click to compare a changed plug-in setting with the setting saved with the project. • Copy and Paste buttons: Click to copy or paste a plug-in setting.
• Choose the Load Setting command. A dialog opens. Only settings for compatible plug-in types are shown. Each plug-in has its own set of parameters, and therefore its own file format. Note: You can also choose plug-in settings from the Library tab of the Media area in the Arrange window. See Using the Library to Choose Plug-in Settings.
The Compare button compares the tweaked setting with the reference setting that was stored when you last saved your project—even if you have saved the setting since opening the project. This approach means that you can quickly change the reference setting by saving the project. µ µ To revert to a plug-in’s factory default setting Choose Reset Setting from the Settings menu.
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. For 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.
Side Chaining Plug-ins All plug-ins that support side chain inputs feature an additional Side Chain menu at the right of the plug-in window header. This allows you to route any audio, input, or aux channel strip into the plug-in, via a side chain. To route an instrument channel strip as the side chain signal (alternative approach) 1 Click the instrument channel strip’s Send slot, and choose an unused Bus from the pop-up menu. This creates an aux channel strip.
Hiding and Showing Extended Parameters Some Logic Pro plug-ins may have additional parameters that don’t appear in the Editor view (the graphical interface of the plug-in). This is indicated by a disclosure triangle that appears at the bottom-left corner of the plug-in window. If no disclosure triangle is visible, the plug-in has no additional parameters. µ To hide or reveal the extended parameters Click the disclosure triangle at the bottom of the plug-in window.
3 Click the Insert or Instrument slot of the desired plug-in on the Arrange channel strip. The Library displays all settings available for the chosen plug-in type, sorted into category menus. Examples for the Compressor plug-in include Drum Compressors, Instrument Compressors, and Vocal Compressors. 4 Click the appropriate category menu, then click a setting name to change the setting for the selected plug-in.
Learning About Effect Routings There are two ways of sending audio to effects: via an insert, or via an aux send. Using Insert Effects When a plug-in is inserted directly into a channel strip, it is termed an insert effect. All of the signal is processed, or, put another way, 100 percent of the signal flows through the effect. This 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.
Using Send Effects When you use send effects, a controlled amount of the signal is sent to the effect. Sends are typically used for effects that you want to apply to several signals at the same time. Send effects are also called bus effects, bus send or bus returns, auxiliary send or auxiliary returns, or simply send or returns. In Logic Pro, the send effect is placed in an Insert slot of an aux channel strip.
Similarly, you can completely change the effects configuration for multiple sent channel strips by choosing different effects for the aux channel strip. For computationally intensive effects such as reverb, it’s always advisable to insert them into an aux channel strip. Chorus, Flanger, and delay effects should also be inserted into an aux, if they are going to be used on more than one track.
2 Drag the Send knob to set the amount of signal that you want to send to the aux channel strip. As you do so, the (send amount) value is shown on the Send slot. The send amount, when set to 100%, routes the entire signal from the audio or instrument channel strip to the aux channel. (See Using Pre Fader, Post Fader, and Post Pan Sends.) 3 Insert the effect plug-ins you want, and set the required level, pan, and output settings for the destination aux channel strip.
A post fader signal level, routed to a send, changes along with Volume fader movements. If you are using the send to route a signal from the channel strip to a reverb inserted on an auxiliary channel strip, this means that the relationship between the original signal and the effect signal remains constant. When you pull the channel strip’s Volume fader all the way down, the reverb disappears as well. This setting is generally the most useful, and is the default in Logic Pro.
µ To activate or deactivate the Low Latency Safe function for a particular send Click-hold the appropriate Send slot, then choose Low Latency Safe from the menu. Note that the signal path of the send signal (beyond the send) is not subject to low latency processing, and will be delayed in accordance with the current plug-in latency compensation setting. Given this behavior, use of the Low Latency Safe setting on sends routed to effects such as distortion, modulation, or rhythmic delays is not ideal.
Tip: Many of the setup and routing tasks described in this section can be done once, and saved with a template. This means that all of these preliminary tasks can be bypassed the next time you load the template, so you can concentrate on creating music. For details, see Saving a Project as a Template. Setting Up External MIDI Instruments There are several ways that you can set up and use external MIDI keyboards and modules with Logic Pro. The best way to illustrate these is with working examples.
Choose Window > Environment (or use the Open Environment key command, default assignment: Command-8) to look at this object. Another thing that happens in the background is the automatic creation of Mixer channel strips for each of the multi-instrument sub-channels. Click the Mixer button at the bottom of the Arrange window, and click the All button in the Mixer’s menu bar. You’ll see 16 channel strips, assigned to GM Device 1 to 16 (plus a couple of others for audio channel strips).
3 Click GM Device in the left column of the Library tab. Sixteen entries appear 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 to open the Track Parameter box, if not already open. There are two parameters of particular note here: Port and Channel. (See Setting External MIDI Channel Strip Parameters.) 5 Choose All from the Port pop-up menu. All of your MIDI interface Out ports are listed; for example, Port 1 (Unitor 8), Port 2 (Unitor 8), MIDI1 (mLan Network).
To reassign tracks to channels using the Library tab 1 Click the New Tracks button (the plus sign above the track list) in the Arrange window. 2 In the New Tracks dialog, enter a value greater than “1” in the Number field, choose the External MIDI option, then click the Create button. 3 Select one of the new tracks, then choose a Port and sub-channel entry in the Library tab. • If you choose a sub-channel of the GM Device, you reassign the selected track to this sub-channel.
Note: There are diagonal lines running through each of the 16 sub-channel boxes. The Port and Channel parameters are shown to the left of the Environment window. 4 Click the Port pop-up menu, then choose a new MIDI Out port for the Multi Instr. object. Make sure that this port is different from the one used by the GM Device object. 5 Activate each sub-channel by clicking each sub-channel box. As you do, the diagonal line disappears from each.
• If you use the Track Parameter box Transposition parameter, the entire EXS24 mkII drum kit (instrument channel strip 1) will be affected. This will result in all regions on the six tracks being played back by other drum samples. Common Instrument Parameters The following parameters are available for both software instrument and MIDI instrument channel strips. • Icon: The icon used by the instrument can be changed to suit your tastes or needs. Click the icon, then choose another from the menu.
• No Reset: Turn on the No Reset parameter to prevent reset messages from being sent to this channel strip. This can be useful if controllers are being used for nonmusical purposes, such as mixer automation. The Logic Pro > Preferences > MIDI > Reset Messages pane determines what reset messages are normally sent, but these messages are not sent to No Reset instruments.
• Program, Volume, and Pan: Transmit program changes, volume controller (CC #7), and pan controller (CC #10) information. If the respective box is unselected, the default value of the MIDI device itself is used. A program change (a preset or patch number in your MIDI module) can be selected on the right, via a pop-up menu. When dealing with multi-instrument sub-channels, sounds can be selected from a pop-up menu by name. As an alternative, you can double-click the track name (GM Device 1, for example).
Inserting Program Change, Volume, and Pan as MIDI Events 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 (selected) settings in the Track Parameter box(es) are added as events.
7 Insert the effects in the Insert slots of the channel strip. As the track is routed to an instrument channel strip (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: • You can take advantage of the sounds and synthesis engine of your MIDI module, with no overhead on your system processor (apart from the effects used on the channel strip).
The Record button of selected software instrument tracks gives visual feedback of the current state of a software instrument: Instrument in live mode Selected instrument, not yet in live mode Switching Instruments to Software Instrument Live Mode When you select a software instrument track, it does not immediately switch into Live or Performance mode.
Tuning Software Instruments The File > Project Settings > Tuning > Software Instrument Pitch parameter remotely controls the main tuning parameter for all software instruments (the ES1 or EXS24 mkII, for example) by ±50 cents. By default, it is set to concert pitch A at 440 Hz. Simply drag the slider to the value you want. As you do, the cent and Hz values update. Note: Some Audio Units instruments do not recognize this remote command.
2 Click the Hermode Tuning (HMT) button. A No HMT checkbox appears in the Track Parameter box of all instrument channel strips. 3 Select this checkbox to prevent the selected software instrument track from following the global Hermode Tuning scale. This feature is ideal for an EXS drum kit that you don’t want tuned like your melodic software instrument parts, for example. Working with ReWire Applications Logic Pro acts as a host for ReWire applications such as Propellerhead Reason.
Important: Start Logic Pro first, then start your ReWire application(s). When these applications are open alongside Logic Pro, synchronized audio information is routed out of them into aux channel strips in the Logic Pro Mixer, where it can be combined with other tracks, run through effects, and bounced to new audio files. In essence, the output of these ReWire programs is handled in much the same way as you handle internal Logic Pro audio data.
2 Choose Options > Create New Auxiliary Channel Strips in the Mixer’s local menu bar. 3 Create as many aux channel strips as required, with the appropriate Format, Input, and Output settings. For this example, create a stereo channel strip, routed to Input/Outputs 1–2. 4 Choose the ReWire channel in the Input menu of the aux channel strip. Individual RW Channel entries are available in the Channel menu.
2 Connect the output (or output pair) of your effects unit with an input (pair) on your audio interface. Note: These can be either analog or digital connections if your audio interface and effects unit are equipped with either, or both. 3 Click an Insert slot of the channel strip you want to process with the external effects unit, then choose Utility > I/O. 4 In the I/O plug-in window, choose both the Output and Input (shown as numbers) that your effects unit is connected to.
Using Plug-ins from Other Manufacturers Logic Pro can act as a host for (compliant, correctly installed and authorized) Audio Units effect and instrument plug-ins from other manufacturers. Logic Pro can also control TDM plug-ins when Pro Tools audio hardware is used. Details on the use of TDM plug-ins can be found in the Logic Pro TDM Guide. Important: Logic Pro cannot act as a host for plug-ins in VST or RTAS format. There are, however, utilities such as the VST to Audio Units Adapter (http://www.
You can see the results of the validation scan (for all Audio Units and “wrapped” VST plug-ins) in the Compatibility column of the Audio Units Manager window. Important: The first thing you should do is check the manufacturer’s website for updated versions of Audio Units plug-ins that fail validation. µ To open the Audio Units Manager Choose Logic Pro > Preferences > Audio Units Manager in the main menu bar (or use the Audio Units Manager key command).
If you encounter problems with manually activated failed plug-ins, click the Disable Failed Audio Units button in the Audio Units Manager window. Warning: Use of plug-ins that have failed the validation can negatively affect the test results of subsequently scanned plug-ins. They can also prevent Logic Pro from opening, cause it to quit unexpectedly, or even lead to data loss (destroyed project files).
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 deselect 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.
Adding Prerecorded Media 11 Prerecorded media plays an important role in modern audio production. Combining existing audio loops and other files provides a quick method for laying down project foundations. Logic Pro comes with a large collection of audio loops, offering a great starting point for many of your projects. This chapter explains how you can add prerecorded media in Logic Pro, including audio and MIDI files, Apple Loops, and other common loop formats.
Logic Pro also supports Broadcast Wave files, which can contain timestamp information. Files that provide timestamp information can be recognized by a clock symbol, shown alongside the audio region name in the Audio Bin. The file extension of broadcast wave files is .wav, allowing them to be read by any application that supports the standard wave file format. In such programs, the additional Broadcast Wave file information is ignored.
ReCycle Files ReCycle (REX, RCY) files are generated in Propellerhead ReCycle software. These are similar to Apple Loops audio files, in that they contain a number of slices, and match the project tempo. When imported, a small folder that contains several regions—one for each slice—is created. Each of these slice regions can be handled like any audio region. ReCycle files, unlike Apple Loops files, do not follow the project key.
Navigating in the Browser You can switch the Browser between two views: List view and Column view. List view Column view • List view displays folders and their contents in a list. You open a folder by double-clicking it. • Column view exposes the contents of a folder in new frames to the right of the selected folder. You only need to click a folder once to open it. µ To switch between List view and Column view Click the List button to access List view. Click the Column button to access Column view.
µ To navigate in the Browser using the bookmark buttons Click one of the bookmark buttons: Computer, Home, or Project. • 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 pop-up menu 1 Click the Path pop-up menu to display the path taken to the current folder or file.
Restricting the search to a particular folder or volume speeds things up. 2 Type the search term into the search field and press Return. Tip: For example, typing in “80s,” with Macintosh HD chosen in the Path pop-up menu, results in a number of Apple Loops files being displayed in the view area. µ To sort the search results Click any of the column titles to sort the file list by name, date, or size. You can resize columns by dragging the vertical lines between column titles.
2 Choose any search term from the menu to display the search results. µ To clear all recent search terms Click the magnifying glass icon at the left side of the search field, then choose Clear Recent Searches from the pop-up menu. To perform an advanced search 1 Click the Path pop-up menu (alone, or in conjunction with the Computer, Home, and Project buttons) to determine what you want to search. 2 Click the plus (+) icon to the right of the search field. This expands the search area.
µ To remove a single advanced condition row Click the minus (–) icon beside the row. This feature is handy when you’ve been a little too specific in your searches, and have received no search results. Note: The row is hidden and deactivated, rather than removed completely. It can be restored by clicking the + icon to the right of the row. µ To return to a basic search, when several advanced condition rows are shown Click the – icon to the right of the search field.
First menu Second menu Additional pop-up menus/fields Format is, is not Pop-up menu, in which you can choose between the following options: AIFF, Apple Loops, WAV (BWF), Apple Lossless, AAC, MP3, CAF, Sound Designer I, Sound Designer II, Logic Project, MIDI File, ReCycle, OMF File, AAF File, Open TL File, XML File, Notator SL Song Note that AIFF format searches do not include Apple Loops.
µ To access the Loop Browser in the Arrange window Click the Media button in the Arrange toolbar, then click the Loop tab (or use the Toggle Loop Browser key command, default assignment: O). Understanding Green and Blue Apple Loops The Loop Browser contains two types of Apple Loops: those featuring a blue sound wave icon and those with a green note icon.
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 Loops 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). The 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. Setting Limitations Before Browsing for Apple Loops When thousands of loops are installed on your hard disks, finding a particular Apple Loops file can be a rather daunting prospect.
µ To limit the Loop Browser display to a particular time signature Choose a time signature from the Signature pop-up menu. Browsing for Apple Loops There are three browsing views available in the Loop Browser: Column view, Music view, and Sound Effects view. µ To switch between browsing views Click one of the view buttons at the top-right corner of the Loop Browser. The left button activates Column view, the middle button activates Music view, and the third button Sound Effects view.
Column view offers a standard Mac OS X column file directory 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 any of the category folders shown in the left column. In this example, By Genres is chosen. 2 Click Electronic in the second column. 3 Click Beats in the third column.
The value in brackets indicates the number of files that fall into this subcategory (Beats). The files are shown in the file list below. To browse for Apple Loops in Music view and Sound Effects view 1 Click any of the category buttons. The file list displays all Apple Loops that fall into the chosen category. The number of matching files is shown at the bottom of the Loop Browser. 2 Click another category button. The file list updates to display all Apple Loops that fall into both categories.
As you can see from this example, the use of multiple category buttons makes it easy to restrict the number of Apple Loops that are shown in the file list. This, in turn, makes the task of finding an Apple Loops file that has a particular vibe or flavor much simpler. µ To clear all category selections Click the Reset button to clear all selected category buttons. You can replace a displayed category via the shortcut menu that opens when you Control-click (or right-click) any category button.
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. µ To stop playback Click the speaker icon to the left of the selected Apple Loops filename. Sorting Apple Loops You can sort the results of your Apple Loops search or browsing using the following categories: • Name column: Displays Apple Loops by name. • Tempo column: Displays Apple Loops by tempo. • Key column: Displays Apple Loops by key.
Creating a Collection of Your Favorite Apple Loops The Fav (Favorites) column offers a checkbox for every displayed loop. Simply select this box to add the loop to the Favorites category. This feature is ideal for compiling a collection of Apple Loops that you use regularly. As a producer of dance floor music, you may often construct projects by starting with drum loops.
Adding and Removing Audio Files You can add audio directly to the Arrange area, or to the Audio Bin, using any of the methods covered in this section. • 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.
4 Click the Play button to preview the selected audio file. The Play button is renamed Stop. Click it to halt playback. 5 Click the Open button to add the file to the selected track, at the playhead position, in the Arrange. µ To add an audio file to your arrangement by dragging Drag the file directly onto an audio track in the Arrange area from either the Browser, Loop Browser, or the Finder. You can drag audio files onto all track types, but playback is only possible on audio tracks.
• Copy audio file names to track names: Uses the filenames to rename tracks. This option is only available when used in conjunction with the “Create new tracks” and “Use existing tracks” functions. • Create new audio regions: Adds the files to the Arrange area, and creates a new audio region for each. A numeric value is appended to each audio region in the Arrange area, and a new region is created for each file in the Audio Bin. For example, a region called folk-04 will become a new region called folk-04.1.
The dialog below opens. 2 Browse to and select an audio file. You can audition it by clicking the Play button. 3 Click the Add button. The file is shown in the file view area below. 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.
To remove one or more files from the current project 1 Select the filenames in the Audio Bin. 2 Press Delete. The file is deleted from the project, but not from the hard disk. The only way that you can totally remove an audio file from a project is in the Audio Bin. Removing an audio region in the Arrange area (Eraser tool, pressing Delete) does not remove it from the project—it merely removes the reference to the audio file.
Audio regions that point to compressed audio files are denoted by the following symbol: Compressed audio file symbol To convert compressed AAC, MP3, and Apple Lossless audio files Do one of the following: µ Select the audio regions pointing to an audio file in the Arrange area, then choose Audio > Convert Regions to New Audio Files in the local Arrange area menu (or use the Convert Regions to New Audio Files key command, default assignment: Option-Command-F).
The calculation of audio file overview data is shown in a window. This calculation occurs in the background, allowing you to continue working in Logic Pro. Selecting 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.
2 Choose settings in the Import ReCycle file dialog, then click OK. • Don’t Fix: Imports the file as is. All slices of the file overlap, to match the tempo of Logic Pro. • 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.
Note: If you move the ReCycle file folder to another audio track, the audio channel strip destination (of the track inside the folder) does not change accordingly. You need to open the folder and change the audio channel strip destination manually, to hear the ReCycle audio data. To convert a ReCycle file to an Apple Loops file Do one of the following: µ µ Use the Render to Apple Loop option in the ReCycle file import dialog.
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 describes the similarities and differences between audio and MIDI regions, and provides advanced information on region handling. Details on using regions to construct your projects can be found in Creating Your Arrangement. This chapter covers the following: • What Are Regions? (p. 345) • MIDI and Audio Regions Compared (p.
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. You do this in the Sample Editor and Audio Bin. Details can be found in Managing Audio Files. 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. Alias and Cloned 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.
Feature MIDI regions Audio regions Quantize parameter available Yes Yes, for flex-enabled audio regions. Q-Swing parameter available Yes Yes, for flex-enabled audio regions. Loop option available Yes Yes Transposition parameter available Yes No, but you can use the Time Machine and Pitch Shifting functions (in the Sample Editor and Arrange window). Audio Apple Loops can be transposed.
Feature MIDI regions Audio regions Left corner may be dragged to conceal data at beginning No Yes Have a variable musical reference point No Yes, a variable anchor. This affects all regions derived from a given audio file, and can change the position of the audio, relative to the time axis of the sequencer.
The Sample Editor opens, with the entire region selected. Managing Regions in the Audio Bin The Audio Bin lists all audio files and regions that have been added to, or recorded in, your project. This section covers region handling options available in the Audio Bin tab and the Audio Bin window. Note: The audio file operations and options of the Audio Bin are discussed in Managing Audio Files, although some of the basics are covered here.
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 cannot be performed in the Audio Bin tab. If you need to make these types of adjustments, use the Audio Bin window.
µ µ To open the Audio Bin window Choose Window > Audio Bin (or use the Open Bin key command, default assignment: Command-9). To view a region associated with an audio file Click the disclosure triangle beside the audio filename. All regions are listed below the parent audio filename. • 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.
µ To check the number of times a region is used in your arrangement Choose View > Show Region Use Count. 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 you like 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.
Warning: If any of the deleted regions exist in the Arrange area, they are removed as well. You should therefore be careful when deleting a region (or parent audio file). The Undo function is always available, however, should you inadvertently remove a required region. 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.
Playback starts at the click point. This allows you to play specific sections. Playback stops as soon as you release the mouse button. Note: This only works in the Audio Bin window. Resizing a Region You can resize regions in the Audio Bin window, the Sample Editor, and the Arrange window. This section concentrates on the Audio Bin and Sample Editor options. Note: Full details on all Arrange window region editing options are found in Creating Your Arrangement.
Snapping Edits to Zero Crossings If Edit > Snap Edits to Zero Crossings is turned on, adjustments to the start or end position of a region are snapped to the nearest point where the waveform crosses the zero axis. Put another way, there are certain crossover points in a sample (a drum loop, for example) that are closely matched in level to other points in a sample. If two closely matched points are used for the start and end points of the sample, the loop plays back without noticeable glitches in the audio.
In many cases, the anchor should be placed on the amplitude peaks, rather than at the start of the sound’s attack phase. A good example is recordings of brass instruments, which may take some time to build to a peak. Moving the anchor to these peaks forces the region to snap to the grid of your arrangement, using the anchor as the pivot point. The flexible zoom settings allow you to be as precise as needed, going right down to the level of single bits, at the highest magnification factor.
Updating the Audio Region Arrangement Position When you change the anchor point in the Sample Editor, you can use the Compensate Region Position feature to ensure that the position of a given audio region stays at the same place in the arrangement. To turn the Compensate Region Position feature on or off 1 Click the title bar of the Sample Editor, to make sure that it has key focus. 2 Choose Edit > Compensate Region Position.
The Audio Bin tab shows the status of locked audio regions (in the column between the file/region Name and Info columns), but you can’t lock or unlock audio regions in the Audio Bin tab.
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 project. Most arranging and editing techniques work identically for both audio and MIDI regions. Apple Loops are also handled in a similar fashion. Where handling differs, variations are pointed out in the appropriate sections of this chapter.
• Creating Multiple Copies of Regions (p. 404) • Creating Region Loops (p. 404) • Dividing Regions (p. 408) • Demixing MIDI Regions (p. 411) • Merging Regions (General Tools and Commands) (p. 412) • Merging MIDI Regions (p. 413) • Merging Audio Regions (p. 413) • Working with Folders (p. 415) • Creating Crossfades and Fades on Audio Regions (p. 419) • Setting Region Parameters (p. 424) Getting to Know the Arrange Area The Arrange area provides a visual overview of your project structure.
To alter the Arrange area background color 1 Open the Display preferences by doing one of the following: • Choose Logic Pro > Preferences > Display (or use the Open Display preferences key command). • Click the Preferences button in the Arrange toolbar, then choose Display from the pop-up menu. 2 Click the Arrange tab, then choose Bright from the Background Color pop-up menu. 3 Alternately, choose Custom from the pop-up menu, then click the color field to the right.
4 In the Colors window that opens, create a custom color by using the color palette wheel and contrast and opacity sliders. 5 Click the close button at the top-left corner of the window to close the Colors window and assign your custom Arrange area background color. 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.
µ To snap regions to a grid Choose one of the following values in the Snap pop-up menu (at the top of the Arrange area): • Smart: Edit operations snap to the nearest bar, beat, sub beat, and so on, depending on the current Bar ruler division value, and the zoom level. • Bar: Edit operations snap to the nearest bar. • Beat: Edit operations snap to the nearest beat in a bar. • Division: Edit operations snap to the nearest division value. (This is the time signature shown in the Transport and Bar ruler.
µ To snap to an absolute, not relative, position Choose the Snap to Absolute Value option from the Snap pop-up menu (at the top of the Arrange area). A tick appears to the left of this option when it is active. This feature works in conjunction with the chosen snap grid division. For example, if Bar is chosen in the Snap pop-up menu, when Snap to Absolute Value is active, moving a region (from position 1.2.1.16) to around bar 2 results in the region being snapped to position 2.1.1.
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 result in larger grid units. In these situations, either alter the zoom level, or hold down the Control key to actually use the chosen Snap value. Using Control-Shift breaks the 1:1 relationship between the mouse and region (or edit tool) movements.
µ To change the drag mode Choose one of the following settings from the Drag pop-up menu (at the top of the Arrange area): • Overlap: This mode is the default, and allows you to drag a region over another one. The original region borders are preserved. • 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) is reduced in length so that no overlap occurs.
Note: Only one audio region can be played at a time through a track’s channel strip. When two audio regions overlap each other on a track, the later region has priority. Scrubbing Your Arrangement Scrubbing allows you to hear the audio and MIDI signals of regions at the playhead position, helping you to find a particular sonic event. This makes it easy to zero in on a particular kick or snare hit, for example, before cutting an audio region.
Using Shortcut Menus Many selection, editing, and other commands can be accessed by Control-clicking (or right-clicking) anywhere in the Arrange area. Make use of this feature to accelerate your workflow. Note: To use the Control-click (right-click) feature, choose Logic Pro > Preferences > General > Editing pane and choose Opens Shortcut Menu from the Right Mouse Button pop-up menu. Muting Regions Often, when arranging, you’ll want to test musical ideas by muting certain regions.
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. µ To solo a region with the Solo tool Click and hold the region you want to solo with the Solo tool. Solo tool The region (outlined in yellow) is heard in isolation from the click point until you release the mouse button, which stops solo playback. To solo several regions with the Solo tool 1 Select the regions with the Pointer tool.
2 Drag to select or Shift-select the regions you want to solo with the Pointer tool. Selected regions have a yellow outline. Clicking the Solo button on the Transport bar again (or using the Solo Mode key command) turns off Solo mode, allowing you to hear all regions again. On occasion, you may want to lock the solo status of several regions.
To name a region with the Text tool 1 Select the Text tool. Text tool 2 Click a region with the Text tool. A text input box appears. 3 Type in a name and press Return, or click another region or the Arrange area background to exit the text input box. To name a region using the Region Parameter box 1 Double-click the top line of the Region Parameter box in the Inspector. A text input field appears, allowing you to edit the region name.
To assign the same name to multiple regions 1 Select a group of regions (drag to select or Shift-click) with the Pointer tool. 2 Do one of the following: • Select the Text tool, then click any of the selected regions with the Text tool. • Double-click the top line of the Region Parameter box (displaying x selected, with x indicating the number of selected regions). A text input box appears. 3 Type in a name and press Return, or click another region or the Arrange area background to exit the text input box.
To assign regions the name of their parent track 1 Select the track name in the track list. All regions on the track are automatically selected. 2 Choose Region > Name Regions by Tracks/Channel Strips (or use the corresponding key command, default assignment: Shift-Option-N) in the Arrange area. The track name is assigned to all selected regions. Assigning Colors to Regions Color is useful for identifying sections of your arrangement, or particular track types.
c Click the OK button to replace the color square in the Color palette, and close the Colors window. Note: While custom colors are memorized for all projects, you can always reset the Color palette to its original colors. To do this, Control-click the palette, then choose Reset Colors. To assign channel strip colors to regions 1 Select the regions. Tip: If all regions are on a single track, click the track name in the track list to select all regions.
Selecting Parts of a Region You can select and edit parts of one or more regions, using either of the following: • The Marquee tool, which looks like a crosshair Marquee tool • The Bar ruler marquee stripe, a thin marquee stripe shown at the top of the Bar ruler Marquee stripe Only the area that falls inside the marquee is selected.
2 Drag the marquee rectangle to make selections—independent of existing region boundaries. To make a marquee selection using the marquee stripe 1 Click the note icon at the right end of the Bar ruler, and choose the Marquee Stripe setting from the pop-up menu. 2 Drag in this area of the Bar ruler to create a marquee stripe selection area (also shown on selected arrange tracks). µ To remove a marquee selection Click outside the marquee selection.
To move the entire marquee selection Do one of the following: µ Press Shift–Left Arrow key, the default Select First, or Shift Marquee Selection Left key command. µ Press Shift–Right Arrow key, the default Select Last, or Shift Marquee Selection Right key command. µ To snap to the finest possible resolution in the chosen Snap mode Hold down the Control and Shift keys while making your marquee selection.
Using the Marquee Selection to Create Track Automation Nodes When you edit automation data that is spanned by a marquee selection, two automation nodes are automatically created at the left border, and two at the right border, of the marquee selection. This provides a quick way to define and create automation data by converting the marquee selection into automation nodes. Adding, Recording, and Removing Regions Adding and recording regions is essential for project creation.
2 Do one of the following: • Click one of the regions with the Eraser tool. • Choose Edit > Delete (or press the Delete key). 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. All selected regions are deleted, and the next region is automatically selected. Note: Removing audio regions and MIDI regions from the Arrange has different consequences. See Restoring Removed Regions.
To restore a deleted audio region Do one of the following: µ µ Choose Edit > Undo History, and click the appropriate step. 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. µ To move one or more regions Select the regions and drag them to a new position.
Note: You can override this direction-limiting preference by holding down the Shift key while moving regions. Changing the Playback Position of Regions Numerically You can edit the playback position of a region (and its length) numerically. You do this in the Event List, configured to view regions at the Arrange level. (See Changing the Event List View Level.
µ Choose the View > Event Position and Length in SMPTE Units setting in the Event List (or use the corresponding key command, default assignment: Shift-R). This setting allows you to set the required SMPTE positions when synchronizing music to picture. You can also display, and adjust, the end points of regions as a SMPTE value.
Nudging Regions with Key Commands By predefining a nudge value, you can move selected regions according to this value. Set the nudge value using the following key commands: • Set Nudge Value to Tick • Set Nudge Value to Division • Set Nudge Value to Beat • Set Nudge Value to Bar • Set Nudge Value to SMPTE Frame • Set Nudge Value to 0.
• Nudge Region/Event Position Right by Nudge Value • Nudge Region/Event Position Left by Nudge Value • Nudge Region/Event Position Right by Sample • Nudge Region/Event Position Left by Sample • Nudge Region/Event Position Right by 1 ms • Nudge Region/Event Position Left by 1 ms • Nudge Region/Event Position Right by 10 ms • Nudge Region/Event Position Left by 10 ms The selected regions are shifted one step right (+1) or left (–1), by whatever unit is referred to in the particular command name.
The Delay parameter in the Inspector is mainly used for creative musical purposes, such as rhythmically offsetting musical parts (regions). It can also be used to fix timing problems that may occur for a variety of reasons. Some examples of these are: • The attack phase of the sound is too slow. A good musician will automatically compensate for this by playing the notes slightly early. With very slow sounds, you may need a pre-delay of over 100 ms to even them out.
Note: If Hyper Draw or automation is activated, you need to grab the left or right side of the region title area. To simultaneously resize two adjacent regions 1 Select the Pointer or Pencil tool, then place the cursor over the upper-left or upper-right corner of two side-by-side regions. The cursor changes to the Junction pointer. Note: If there is a gap between the regions, the Loop tool is shown when the mouse pointer is moved over the upper-right corner of the earlier region.
µ To resize an Arrange audio region from the Sample Editor Directly edit the start and end markers in the Region row at the bottom of the Sample Editor. This action affects the size of the corresponding Arrange region immediately. To resize and replace an Arrange audio region from the Sample Editor 1 Select the portion of the audio file in the Sample Editor by dragging directly across the waveform display. 2 Choose Edit > Selection > Region in the Sample Editor (or use the corresponding key command).
Adjusting the Start or End Point of MIDI Regions You can move the left corner beyond the first event in a MIDI region. This action hides events from the beginning of the MIDI region, but these hidden events will continue to play back. If you actually want to remove the information from the start of a MIDI region, you need to cut it and mute or delete the new start segment (new MIDI region).
To reduce the length of overlapping regions on a track 1 Select the overlapping regions on a track, or select all regions on a track by clicking the track name in the track list. 2 Choose Region > Remove Overlaps (or use the corresponding key command). This function searches all selected regions on a track for overlaps. If an overlap is found, the earlier (in time) region is reduced in length, thus removing the overlap.
• Set the value in the Transport bar’s Locator fields. 2 Select the 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 assignment: Shift-L). 3 Choose Region > Trim Regions to Fill within Locators (or use the corresponding key command). This function lengthens all selected regions (within the locator boundaries), closing the gaps between them.
You can choose the time stretching and compression algorithm used for this function in the Arrange area’s Audio > Time Stretching Algorithm menu. Details on each algorithm are found in Using the Sample Editor’s “Time and Pitch Machine”. Time Stretching Multiple Regions Modifier keys have an impact on how time stretching or compression works when multiple regions are selected.
µ To copy a region (method 1) Option-drag the region to the desired Arrange position. If Hyper Draw or automation is activated, you need to grab the region name area in order to copy it. To copy a region (method 2) 1 Select the region, then choose Edit > Copy (or use the Copy key command, default assignment: Command-C). This action copies the selected region to the Clipboard. 2 Set the playhead position by clicking the Bar ruler.
You can also insert a gap into your arrangement—creating several blank bars, for use as a middle eight, to create space for another chorus or verse, or perhaps a bridge. As with cutting time, all existing tempo changes and so on are moved accordingly (to the right by the number of inserted bars). You can also use the standard Edit menu commands—Cut, Copy, and Paste—to remove or reuse a section of your arrangement, such as a chorus, from one location to another.
To remove gaps between regions 1 Select the regions. 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. To remove a section of your arrangement using the locators 1 Set the locators to span the section you want to remove (bars 5 to 8, for example).
• To cut selected regions that fall between the locators: Choose Region > Cut/Insert Time > Snip: Cut Section Between Locators (or use the corresponding key command). Any regions that span the cycle area (for example, a 16-bar long region that starts at bar 1 and ends at the start of bar 17) are cut. The section between the locators (bars 5 to 8) is deleted from all selected regions. (In fact, it is copied to the Clipboard and removed from the arrangement.
All selected regions are cut at the left locator, and a passage of one cycle length is inserted. Regions currently in the Clipboard are then pasted at the playhead position. Tip: The Splice command is perfect when you want to insert a part (a chorus, for example) at another point in your arrangement. To ensure all tracks are shifted, including tempo, time signature changes, and markers, make sure you select everything beforehand (using Command-A or Shift-I).
Understanding the Parent-Alias Region Relationship If the data in the original region is altered, all aliases of the region are affected immediately. Aliases are useful in the following situations: • If a riff or phrase reoccurs throughout an arrangement, it’s quicker to use aliases, rather than creating copies of the original region. • If a part is not quite right, you only need to alter the original, and the correction takes effect automatically throughout the whole arrangement.
The alias appears on the selected track, beginning at the current playhead position. If several regions are selected, their relative time and track positions are retained. The selected track is the destination track for the first region along the timeline. You can also use the Repeat Regions command. (See Creating Multiple Copies of Regions.) Reassigning MIDI Region Aliases You can assign a new original region to an existing alias.
µ To delete all orphan aliases Choose MIDI > Alias > Delete All Orphan Aliases (or use the corresponding 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 are identical to those of the original region referenced by the alias, but its playback parameters are those of the alias.
2 In the dialog that appears, set the 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.
The dialog that appears looks something like the following: 3 Choose whether you want to create zones from regions or transient markers: • Regions: Converts the entire selected region, or regions, into an EXS zone. • Transient Markers: Converts only those sections between transient markers into an EXS zone. Note: If you create zones from transient markers, a transient detection process is performed on the audio region(s), if not previously done. 4 Enter the EXS instrument name in the text input field.
Note: The EXS instrument is saved to the project folder, independent of the File > Project Settings > Assets > “Copy EXS instruments to project folder” setting. The EXS samples, however, are only saved to the project folder if the File > Project Settings > Assets > “Copy EXS samples to project folder” setting is turned on. Creating Multiple Copies of Regions You can make multiple copies of both audio and MIDI regions using the Repeat Regions command.
Loop repeats are displayed as extended segments of the original region, but are displayed with less color. Each segment is the same length as the original region, and changes if the length of the original region is changed. Tip: If you want to create polyrhythmic structures, try experimenting with the length of the original region. To loop a region with the Loop parameter 1 Select the region in the Arrange area.
2 Select (turn on) the Loop option in the Region Parameter box of the Inspector (or use the “Loop Regions/Folders on/off” key command, default assignment: L). The region is looped until it encounters another region on the same track (or the project or folder ends). µ To turn off the Loop parameter Select the Loop option in the Region Parameter box (or use the “Loop Regions/Folders on/off” key command, default assignment: L).
2 Drag the end of the region to the right 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 Loop parameter in the Region Parameter box is automatically activated. Note: Deactivating the Loop parameter resets the manually created loop length.
2 Choose Region > Loops > Convert to Aliases (or use the Convert Loops to Aliases key command). MIDI region loop repeats are converted into aliases. Audio region loop repeats are converted into cloned audio regions. As such, any alterations to the length of the original region affect all aliases and cloned regions. Dividing Regions You can divide one or more selected regions with the Scissors tool. To divide one or more regions 1 Select the regions you want to divide. 2 Select the Scissors tool.
µ To divide a region into several portions with the same length Hold down the Option key while cutting a region with the Scissors tool. A plus symbol appears next to the Scissors tool, and the help tag shows Divide Multiple. The selected region is cut into several pieces—each the same length as the first segment. For example, to divide a 16-bar region into eight 2-bar regions, cut the region at the start of bar 3, while holding down the Option key.
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 the Command key. To divide regions at the playhead position 1 Select the regions you want to divide.
Demixing MIDI Regions You can split MIDI regions (or Standard MIDI File Formats 1 or 0) by event channels or note pitches. To split MIDI regions by event channels 1 Select the MIDI regions you want to split. 2 Do one of the following: • Choose MIDI > Separate MIDI Events > by Event Channel (or use the Separate MIDI Region by MIDI Channel key command). • Control-click (or right-click) the MIDI region, then choose MIDI > Separate by MIDI Channel from the shortcut menu.
Merging Regions (General Tools and Commands) You can merge two or more selected regions (of the same type—audio or MIDI) into a single region, making region handling easier, or as a creative option. To merge two or more regions with the Glue tool 1 Select the Glue tool. Glue tool 2 Click the regions that you want to merge. (If necessary, use the Shift key during selection.) To merge two or more regions with the Merge Regions command 1 Select the regions you want to merge with the Pointer tool.
2 Choose Region > Merge > Regions per Tracks (or use the “Merge Regions per Tracks” key command). The selected regions are combined into one region per track. For example, if tracks 1 to 4 have regions that you want to merge, you can make your region selections in each track lane, press Shift-J, and four merged regions are created—one for each track. Merging MIDI Regions When you merge MIDI regions: • All events from each individual MIDI region retain their original time positions.
No Mixdown Situation If there are several regions (mono or stereo) in a row on the same track that have been cut out of one region with the Scissors tool, no mixdown happens. In this situation, a single region is created over the entire area. This delivers the desired result, without using any additional disk space. Note: Logic Pro can recognize associated regions, even if there are gaps between them.
The Crossfade parameters are defined in the General Audio preferences pane, which can be opened either by choosing Logic Pro > Preferences > Audio > General (or use the Audio Crossfade Options for Merge key command). There are two faders: • Crossfade Time [ms]: This is the length of the entire crossfade. To turn off the crossfade, set this value to zero. • Crossfade Curve: To obtain a linear crossfade, set this value to zero. Other values (positive or negative), produce various exponential fades.
When opened, folders look just like the Arrange area and track list in a project. All regions in the folder are routed to, and played by, the channel strips set in the folder’s track list, just 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 that instrument.
If all selected regions are located on the same track, the folder is created on that very track, and not on a separate folder track. Note: When moving a folder with just one content track between tracks of matching type, the content always plays back via the channel strip of the hosting track. If no region is selected, Logic Pro creates an empty folder. It contains no regions—just tracks assigned to all channel strips from the current level. To unpack a folder 1 Select the folder.
You should ensure that the folder is selected before using the command. If a MIDI region is selected, the Event List editor (showing the MIDI region content) is opened. Double-clicking a folder track name in the track list opens the Mixer. To exit a folder Do one of the following: µ Double-click the (folder) Arrange area background (or use the Go Out of Folder or Region key command). µ Click the Hierarchy button at the left end of the Arrange area’s local menu bar. The help tag shows Leave Folder.
2 Enter the folder that you want to remove the region from in one of the two Arrange areas. 3 Drag the region from the folder into the other Arrange area. You can also cut a region from a folder, using the Edit > Cut command. This transfers the region to the Clipboard. You can then copy the region to the desired Arrange area position using the Edit > Paste command. Creating an Alias Folder You can create a copy of a folder that contains aliases and clones of the regions in the original folder.
Creating Fades A fade in starts at the beginning of an audio region, and a fade out occurs at the end of the region. Fades are only visible if you are sufficiently zoomed in to see the waveform in the audio region. You can either use the Crossfade tool or the parameters in the Inspector’s Region Parameter box to create fades. To create a fade in or fade out with the Crossfade tool 1 Select the Crossfade tool. Crossfade tool 2 Do one of the following: • Drag over the start or end point of an audio region.
2 Set the value for the Fade In or Fade Out setting in the Region Parameter box. Use the mouse as a slider, or double-click and type in the value. As you do so, a fade is created at the beginning or end of the selected regions. Note: The fade value determines the length of the fade, so a higher value results in a longer fade time, and a lower value, a shorter fade. Editing and Deleting Fades You can change an existing fade, the fade curve shape, the fade type, and the fade playback speed.
µ Select a region, then edit the Fade In or Fade Out value in the Region Parameter box. When you change an existing fade, the curve shape of the previous fade is retained. Changing the Fade Curve Shape You can change the fade curve shape with the Crossfade tool, or by modifying the parameters in the Inspector’s Region Parameter box. To adjust the fade curve shape Do one of the following: µ µ Drag the curve line with the Crossfade tool.
Changing the Fade Type You can choose between four different fade types, in the Inspector’s Region Parameter box or in the Arrange area: • Out (Fade Out): Creates a standard fade out whenever the Crossfade tool or Fade parameter is used. • X (Crossfade): Crossfades the selected region with the following region when you use the Crossfade tool or Fade parameter. • EqP (Equal Power): Results in an Equal Power crossfade.
µ Choose the Slow Down parameter, and modify the value accordingly. Deleting a Fade You can delete a fade with the Crossfade tool, or by modifying the parameters in the Inspector’s Region Parameter box. To delete a fade Do one of the following: µ µ µ Control-click an existing fade area, then choose Remove Fade from the shortcut menu. Option-click an existing fade area with the Crossfade tool. Set the Fade In or Fade Out parameter in the Region Parameter box to 0.
• Loop: The playback of all region types can be continuously repeated by selecting the Loop checkbox, or through use of the Loop tool. (See Creating Region Loops.) • Delay: The playback of all region types can be delayed or advanced (this can be a positive or negative value) by ticks, or a musical format variable; for example, 1/96, 1/16, 1/192, and so on. (For more information, see Shifting the Playback Position of Regions.
Audio Region Parameters Audio region parameters vary, depending on the type of audio region selected: basically, this is broken down into standard audio regions and Apple Loops. The Fade and Gain parameters are only available when standard audio regions are selected. • Gain: This parameter adjusts the volume of individual audio regions by the chosen amount.
• Velocity: All notes in the relevant MIDI region are offset by the selected value. Positive values add to the originally recorded velocity, and negative ones subtract from it, although naturally it is impossible to go outside the limits defined by the MIDI Standard (0–127). If you select a velocity offset that exceeds the maximum or minimum possible value for a particular note, that note will play at the extreme possible range.
• Advanced Quantization: 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. 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.
Recording in Logic Pro 14 This chapter covers all aspects of audio and MIDI recording in Logic Pro. You’ll learn how to make use of several workflow features—including take recording, multitrack recording, and replace recording. You’ll also learn about Logic Pro’s MIDI step input features, which allow you to insert MIDI notes when not in a real-time recording mode. This chapter covers the following: • Checking Hardware Connections and Settings for Recording (p. 430) • Setting the Project Sample Rate (p.
• MIDI Replace Recording (p. 464) • Retrospective Recording of MIDI Regions (p. 465) • Switching Instruments to Software Instrument Live Mode (p. 466) • Filtering MIDI Events When Recording (p. 466) • Turning MIDI Thru Off When Recording (p. 467) • Using Advanced Recording Commands (p. 468) • Coloring Takes While Recording (p. 468) • Marking a Good Take While Recording (p. 470) • MIDI Step Input Recording (p.
µ Click the Sample Rate display in the Transport bar, and choose the desired sample rate from the pop-up menu. Note: If you can’t see the Sample Rate display, you need to either turn off the Autopunch button in the Transport bar or select the “Sample Rate or Punch Locators” checkbox in the Customize Transport Bar dialog.
2 Click the Devices tab, then click the Core Audio tab. 3 Turn on or off the 24 Bit Recording option.
Setting Up the Metronome for Recording If you would like to hear the metronome—which makes a regular click—while recording, you can set this up in the Metronome project settings window. MIDI Click object settings KlopfGeist settings To open the Metronome project settings window Do one of the following: µ Choose File > Project Settings > Metronome (or use the Open Metronome Project Settings key command). µ Click the Settings button in the Arrange toolbar, and choose Metronome from the pop-up menu.
The Metronome Project Settings window combines all settings for: • KlopfGeist: This is a software instrument metronome sound source found in the plug-in menu of Instrument slots. Logic Pro automatically creates instrument channel strip 256 (with KlopfGeist inserted) when the Software Click Instrument (KlopfGeist) checkbox is selected. Deselect the checkbox to turn off the option.
For details about the Metronome project settings, see Metronome Settings. Enabling Software Monitoring for Recording The Software Monitoring function allows you to monitor incoming audio through any effect plug-ins that are inserted into an armed audio channel strip. Audio inputs must be assigned on the record-enabled channel strips for software monitoring to function. It is important to note that the effect plug-ins are monitored but not recorded, which can be useful during a recording session.
4 Insert the desired effect plug-in into the audio channel strip, and start recording. The effect will be part of the monitor mix, but it will not be recorded. Using Auto Input Monitoring for Recording If Auto Input Monitoring is turned on, you will hear the input signal only during the actual recording—before and afterwards you’ll hear the previously recorded audio on the track, while Logic Pro is running. This helps you to judge punch-in and punch-out points when you are punch recording.
Tip: You can leave the Input Monitoring button turned on before, after, and during recording. When the Input Monitoring button is turned on, the Record Enable button and the Auto Input Monitoring feature do not affect software monitoring—that is, you can always hear incoming audio. When you are punch recording, however, you should use the Auto Input Monitoring feature rather than the Input Monitoring buttons.
You can set a different recording folder for each project. You can also define different paths for each audio hardware system that is running. For example, Core Audio could use the internal Macintosh hard disk and your DAE hardware could be set to use an external FireWire hard drive. Note: When you manually set a recording path outside the current project folder, the recording path is “absolute.
To choose the recording file type 1 Open Audio preferences by doing one of the following: • Choose Logic Pro > Preferences > Audio (or use the Open Audio Preferences key command). • Click the Preferences button in the Arrange toolbar, and choose Audio from the pop-up menu. 2 Click the General tab. 3 Choose the file type in the Recording File Type pop-up menu.
Setting the Recording Format Logic Pro allows you to set the recording format of channel strips, as follows: Mono Stereo Left Right Surround • Mono: One circle represents a mono input format. The level meter shows a single column. • Stereo: Two interlocked circles represent a stereo input format. The level meter divides into two independent columns. • Left: Two circles, the left one filled, indicate a left channel input format.
Record-Enabling Tracks You can make recordings only on record-enabled—or armed—tracks, irrespective of which arrange track is selected in the track list. There are a number of ways to enable tracks for recording. You can enable tracks individually, or you can enable tracks collectively—if they each have unique inputs. You can also enable several tracks that are routed to the same channel strip. On occasion, you may need to enable audio and MIDI tracks simultaneously.
To disable a record-enabled audio track Do one of the following: µ µ µ Click the (red) Record Enable button a second time—in either the track list or Mixer. Use the Record Enable Track key command, default assignment: Control-R. To disable all record-enabled audio tracks Option-click the (red/flashing) Record Enable button of any record-enabled audio track. Record-Enabling MIDI Tracks You can enable one or more software instrument tracks for recording.
• Multitrack recording: You can record audio to multiple tracks simultaneously. See Audio Multitrack Recording. • Punch recording: You can record audio at defined project positions—which is done by setting manual or automatic punch-in and punch-out locators. See Audio Punch Recording. • Replace recording: You can replace an original recording, or a portion of it, with a new recording—which is generally combined with punch recording. See Audio Replace Recording.
2 Click the Record button in the Transport bar (or use the corresponding key command, default assignment: *). You will hear the count-in, if it is defined in File > Project Settings > Recording. During recording, a progress indicator displays the remaining recording time and the elapsed time. 3 Click the Stop button in the Transport bar (or press the Space bar) to stop recording.
Imagine a guitar solo being performed and recorded multiple times over the same section of a project. The first recording appears as a single take region on the selected arrange track—just like recording a single audio take. When a recording takes place over this existing audio region, a take folder is created—occupying a single audio arrange track—and both regions are added to this folder. Each subsequent recording over the same section is added to the take folder.
2 Set a cycle area by doing one of the following: • Drag the left and right locators in the top part of the Bar ruler. • Use the locator fields in the Transport bar. 3 Click the Record button in the Transport bar (or use the corresponding key command, default assignment: *). Note: Recording automatically starts at the beginning of the defined cycle area, so you don’t need to set the playhead position. Record as many cycle passes as you wish.
5 Open the take folder by doing one of the following: • Click the disclosure triangle in the top-left corner of the take folder (or use the Un/disclose Take Folder key command). • Double-click the take folder. Recording Additional Audio Takes After recording single or multiple audio takes to a single arrange track, you can continue to record additional takes on the same track. • You can record over an existing region, or regions. • You can record over an existing take folder, or take folders.
An overlapping audio region is created in real time along the track until you stop recording. 3 Stop recording by clicking the Stop button in the Transport bar (or press the Space bar). The result is a closed take folder that contains both audio recordings on a single audio arrange track. The longer of the two regions determines the take folder size. When you record over multiple existing audio regions, a take folder is also created with all regions packed inside.
Audio Multitrack Recording You can record audio to multiple tracks simultaneously. This is done by record-enabling the required arrange tracks, then starting to record. This allows you to record several instruments at once, placing each instrument on a separate arrange track. To record to multiple tracks simultaneously 1 Click the Record Enable button on each arrange track you want to record to. Important: You cannot record-enable tracks that are set to the same input.
• Autopunch: Involves the use of predefined punch-in and punch-out points to start and stop recording. Note: Only record-enabled tracks are affected by punch recording. Audio Punch Recording on the Fly You can use a key command during playback to engage recording—in real time, or “on the fly.” You use the key command again during recording to re-engage playback.
The Autopunch feature can be used for audio, software instrument, or MIDI tracks. To record in Autopunch mode 1 Turn on the Autopunch button in the Transport bar. The left and right autopunch locators serve as punch-in and punch-out points. The autopunch recording area is indicated by a red stripe in the middle third of the Bar ruler. If both Cycle and Autopunch modes are active, you see a pair of locators in the autopunch area.
Logic Pro will begin recording approximately one bar before the punch-in locator. This allows the start point of the region to be adjusted later, enabling you to hear the lead-in, if desired. You can also recover the beginning of the recording if the performer slightly anticipates the autopunch area. Any such adjustments to the lead-in portion of the region do not change the position of the recording, relative to the time axis of the project.
5 Stop recording by clicking the Stop button in the Transport bar (or press the Space bar). When you are cycle recording in Replace mode, existing regions (or portions of them) are deleted only during the first cycle pass—from the punch-in point to either the punch-out point or the end of the cycle. When the second cycle pass begins, recording continues, but no further regions (or portions of them) are deleted.
• Merge recording: You can record over an existing MIDI region, merging the recordings as one. See MIDI Merge Recording. • Replace recording: You can replace an original recording, or a portion of it, with a new recording. See MIDI Replace Recording. MIDI regions are recorded in real time, or using a number of “step input” methods, on software instrument and external MIDI tracks. For details about these methods, see MIDI Step Input Recording.
The recording appears as a single MIDI region on the selected arrange track, with the data appearing instantaneously. While recording, you can change the record track by selecting a new track with the mouse, or using the Select Previous Track or Select Next Track key commands (default assignments: Up Arrow or Down Arrow). Note: If you paused recording (by clicking the Pause button in the Transport bar), you can resume recording by clicking either the Pause or Play button.
2 Open the Overlapping Recordings pop-up menu and choose “Create take folders.” 3 Turn on Cycle mode by doing one of the following: • Click the Cycle button in the Transport bar (or use the Cycle Mode key command, default assignment: C). • Click in the top part of the Bar ruler.
4 Set a cycle area by doing one of the following: • Drag the left and right locators in the top part of the Bar ruler. • Modify the locator fields in the Transport bar. 5 Click the Record button in the Transport bar (or use the corresponding key command, default assignment: *). Record as many cycle passes as you wish. When the second cycle pass ends and the third cycle pass begins, a take folder is created on the arrange track. Each subsequent cycle pass is then added to this take folder.
• Double-click the take folder. Recording Additional MIDI Takes After recording single or multiple MIDI takes to an arrange track, you can continue to record additional takes on the same track. • You can record over an existing region, or regions. • You can record over an existing take folder, or take folders. Note: You need to choose File > Project Settings > Recording, then open the Overlapping Recordings pop-up menu and choose “Create take folders.
Only the actual recording of MIDI events qualifies them as overlapping. For example, imagine that you are recording over existing take folders 1, 2, and 3. You don’t play any MIDI events before the start, or after the end of take folder 2. This will result in the new recording being added as a further take of take folder 2. Logic Pro will even tolerate note-off events in the first bar of take folder 3, without merging take folders 2 and 3.
You now have a new MIDI region on each of the record-enabled tracks. There are two operating modes available for simultaneous recording of multiple MIDI tracks: layer recording and multiplayer recording. • When layer recording: Incoming MIDI events are sent to all record-enabled MIDI tracks. You can listen to all selected instruments before, and during, recording. • A MIDI region is created on the selected track after recording.
To record several MIDI tracks in Cycle mode 1 Open the Recording project settings window by doing one of the following: • Choose File > Project Settings > Recording (or use the Open Recording Project Settings key command, default assignment: Option-*). • Click the Settings button in the Arrange toolbar, and choose Recording from the pop-up menu. • Control-click (or right-click) the Record button in the Transport bar, and choose Recording Settings from the pop-up menu.
You also have the option to mute each previous track while recording. To record several MIDI tracks, and mute each previous track, in Cycle mode 1 Open the Recording project settings by doing one of the following: • Choose File > Project Settings > Recording (or use the Open Recording Project Settings key command, default assignment: Option-*). • Click the Settings button in the Arrange toolbar, and choose Recording from the pop-up menu.
When you stop recording, you can work with each newly recorded region independently of the others. MIDI Merge Recording You can incorporate newly recorded data into an existing (and selected) MIDI region, with the intention of combining the recordings. To combine several recording takes into one MIDI region 1 Open the Recording project settings by doing one of the following: • Choose File > Project Settings > Recording (or use the Open Recording Project Settings key command, default assignment: Option-*).
• Click the Settings button in the Arrange toolbar, and choose Recording from the pop-up menu. • Control-click (or right-click) the Record button in the Transport bar, and choose Recording Settings from the pop-up menu. 2 Open the Overlapping Recordings pop-up menu and choose “Merge only in Cycle record.” MIDI region recording will behave as usual, with new regions created for each recording.
2 Open the Overlapping Recordings pop-up menu and choose “Merge with selected regions.” 3 Click the Replace button in the Transport bar. Tip: You can also use the Merge/Replace combination in conjunction with the Autopunch and Cycle functions. Retrospective Recording of MIDI Regions If you played a great solo while playback was running, but you weren’t in record mode—don’t worry. Simply use the “Capture as Recording” key command (default assignment: Control-*).
Switching Instruments to Software Instrument Live Mode When you select a (software) instrument track, it does not immediately switch into live or performance mode. You must send a MIDI event before live mode is activated, which takes around 100 ms to engage, and this is more than enough to destroy the timing of your first played note.
3 Select the checkboxes that correspond to the MIDI event types you would like to filter at the Logic Pro sequencer input. Turning MIDI Thru Off When Recording When an External MIDI instrument track is selected in the Arrange area, its Record Enable button is automatically turned on, and the instrument will pass events through the computer (MIDI Thru function). You can turn off the MIDI Thru function by deactivating the Record Enable button.
3 Open the Instrument Without MIDI Thru Function pop-up menu, and choose the desired instrument. Using Advanced Recording Commands You can use several advanced recording commands to speed up the recording process. • Record/Record Toggle: When this command is used while recording (to toggle between playback and record mode), recording is temporarily suspended, but playback continues. Use it again to resume recording from the current playhead position.
µ To color a take in an open or closed take folder while recording Click the desired color in the Color palette, which you access in one of the following ways: • Choose View > Colors in the Arrange window (or use the Open Color Palette key command, default assignment: Option-C). • Click the Colors button in the Arrange toolbar. You can also color audio takes automatically while recording.
When this setting is selected, audio take folders use the color chosen from the Color palette for the first take, but different colors for each of the following takes in that take folder. All colors used in an audio take folder are chosen from the same color row in the Color palette, advancing by a predefined number of columns after each take. Marking a Good Take While Recording You can mark a good take during recording.
MIDI Step Input Recording The Step Input features allow you to insert MIDI notes when Logic Pro is not in a real-time recording mode. You can use Step Input to create note runs that may be too fast for you to play, or to replicate sheet music that’s too difficult for you to play.
Using the Step Input Keyboard You can open the Step Input Keyboard window by choosing Options > Step Input Keyboard. Sustain Inserted Notes button Chord button Note length buttons Channel pop-up menu Velocity buttons Quantize button Keys Dot button Triplet button • Keys: Click to insert a note of the desired pitch. The insert range bar above the keyboard updates to display the selected octave. • Note length and velocity buttons: Determine the length or velocity of the inserted note.
4 Click a key in the Step Input Keyboard to insert a note of the key’s pitch. A note of the chosen pitch, note length, and velocity is inserted, and the playhead automatically advances to the end of the inserted note. The next note can be inserted immediately, following the step above. Chord mode prevents the playhead from moving after the insertion of a note, allowing you to insert as many notes as desired at the same bar position.
When you are creating a system for these key command assignments, consider the following approaches: • Lay out these commands on the computer keyboard to resemble a piano keyboard (C D E F G A B in one row, next to each other, and C# D# F# G# A# above these at corresponding positions). • Assign alphabetical keys to pitches of the C major scale—in accordance with their note names—especially when you are defining key commands for only the 7 pitches of the C major scale as discussed above.
Triplets, Dotted Note Groups The “Next three notes are triplets” key command is self-explanatory. The rhythmic value of the triplets corresponds to the currently selected note value in the Step Input Keyboard window. If an eighth note is selected, an eighth-note triplet will be created. After three notes have been inserted, binary values will be inserted, unless the command is reused. The “Next two notes are a dotted group” key command works in a similar way, but it has a special feature.
Using the Caps Lock Keyboard for MIDI Step Input The Caps Lock Keyboard enables you to use the computer keyboard as a real-time virtual MIDI keyboard. You can also use it for MIDI Step Input. This makes it ideal for situations where no external MIDI or USB keyboard is available, such as when you’re traveling with your portable Mac computer. The Caps Lock Keyboard spans more than ten octaves and even includes support for sustain and velocity information.
The Space bar provides a Sustain function—played with your thumbs rather than your feet. You can trigger new notes or switch between octave or velocity values while notes are sustained. The current octave and velocity values of MIDI notes are displayed at the upper edge of the Caps Lock Keyboard window. A Transparency fader is also available for this window, making visualization clearer or allowing the window to be “ghosted” over the background.
Editing Audio Take Recordings 15 Imagine a scenario where you have recorded multiple performances of a vocal solo over the same section of a project. In this chapter, you’ll learn how to select the best parts from the different performances, piecing them together into a single master take. This process of combining multiple take recordings into a single perfect composition is referred to as comping and is achieved by using the Quick Swipe Comping feature.
Getting to Know Take Folders You will typically encounter the following elements in an open audio take folder: Quick Swipe Comping button Disclosure triangle Take Folder pop-up menu Comp sections Take Take lane Take folder • Take folder: Contains multiple take performances, which are recorded over the same section of the project. • Take lane: Contains a single take, which can be made up of one or more take regions.
To open a take folder and preview the recordings 1 Open the take folder by doing one of the following: • Click the disclosure triangle in the top-left corner of the take folder (or use the Un/disclose Take Folder key command). • Double-click the take folder. 2 During playback, do one of the following: • Option-click the header area of takes if the active take folder is in Quick Swipe Comping editing mode. • Click the header area of takes if the active take folder is not in Quick Swipe Comping editing mode.
The following key commands enable you to step through take recordings in an open or closed take folder: • Select Previous Take or Comp: Moves back through the selection of takes and comps as listed in the take folder’s pop-up menu. • Select Next Take or Comp: Moves forward through the selection of takes and comps as listed in the take folder’s pop-up menu. Note: These commands also work for multiple take folder selections.
To toggle take folder editing mode Do one of the following: µ Click the arrow in the top-right corner of the take folder, then choose Quick Swipe Comping from the pop-up menu (or use the Toggle Take Folder Quick Swipe Comping Mode key command). µ Click the Quick Swipe Comping button in the top-right corner of the take folder.
Creating Comps You can use quick swipe comping techniques to select the best parts from several take recordings, combining these parts into one master take. Note: Quick swipe comping is possible only if your chosen take folder is in Quick Swipe Comping mode. For details, see Toggling Take Folder Editing Mode. µ To combine sections of different take regions into a comp Select take region sections by dragging over them with the Pointer or Pencil tool.
The comp sections, located in the top lane of the take folder, reflect the combined selections from all take regions. The vertical lines in the waveform overview indicate the transitions between the different take region sections. For details about how to edit your comps, see Editing Comps. Editing Comps You can edit comps by changing the start or end points of take region sections, by moving a selected comp area to the left or right, or by alternating selected comp areas between take lanes.
Extending a take region section (dragging the start point to the left or the end point to the right) automatically shortens adjacent sections on other take regions. Shortening a take region section (dragging the start point to the right or the end point to the left) automatically extends adjacent sections on other take regions. This ensures that you do not create silence between different take region sections.
µ To move a selected comp area to the left or right Place the pointer over the center of a take region’s selected area, then drag when the pointer changes to a two-headed arrow. This moves the selection area, while at the same time extending or shortening any adjacent take region selections.
µ To alternate selected comp areas between take lanes Click an unselected area of a take region to make that particular area active and part of the comp. This automatically deselects the same area in another take region. This is a quick way to compare a comp area on one take region with the same comp area on another take region. You can remove take region sections, or entire take regions, from the comp sections at the top of the take folder.
µ To remove a take region section from the comp sections Shift-click the take region section. µ To remove an entire take region from the comp sections Shift-click the take region header area. Note: If the take region does not contain any comp selections, all unselected areas in other take regions are selected in the take region you click.
Resizing Take Regions You can edit the start and end points of take regions, which allows you to remove the bad part of an otherwise good take. You can do this when a take region is bordered by an adjacent take region. Resizing a take region in this situation may also impact the length of the adjacent take region. To resize take regions, you need to make sure your chosen take folder is not in Quick Swipe Comping mode. For details, see Toggling Take Folder Editing Mode.
µ To edit a take region’s start or end point when bordered by another take region Place the pointer over the top-left or top-right edge of the take regions, then drag when you see the Junction pointer. Extending a take region (dragging the start point to the left or the end point to the right) automatically shortens the adjacent take region. Shortening a take region (dragging the start point to the right or the end point to the left) automatically extends the adjacent take regions.
µ To cut a take folder Click the take folder using the Scissors tool. This cuts the take folder at the clicked position, while also cutting all takes inside the take folder at the same position. Your track lane contains multiple take folders and your take lanes contain multiple take regions, all of which can be edited independently of each other. µ To cut multiple take folders Select multiple take folders, then click any one of them using the Scissors tool.
µ To cut a take region Click the take region using the Scissors tool. You now have multiple take regions on the same take lane. You can also make cuts of equal intervals across a single take region. µ To make multiple cuts across a take region Option-click the take region using the Scissors tool.
The first cut occurs at the clicked position, with all further cuts occurring at equal intervals up to the take region end point.
You can also move take regions between take lanes. µ To move take regions between take lanes Drag the take region to another take lane. Note: Empty take lanes are automatically removed. µ To create a new take lane for a take region Drag the take region onto the take folder, at a position where it will overlap with a take region in the currently active take.
A new take lane is created directly under the take folder, and the take region is added as a new take. Duplicating Comps or Creating New Comps After creating a comp, it’s a good idea to save it so that you can easily return to it at a later point.
µ To save the current comp Click the arrow in the top right of the take folder, then choose Duplicate Comp from the pop-up menu (or use the Duplicate Comp key command). This saves the current comp, adding it to the list of comps in the pop-up menu. You can also create a new comp from the currently active take.
µ To create a new comp from the active take Click the arrow in the top right of the take folder, then choose Create New Comp from the pop-up menu (or use the Create New Comp key command). This saves the current take as a new comp named Comp X: Comp X, adding it to the list of comps in the pop-up menu. By default, new comps are saved as Comp X: Comp X. For details about renaming, see Renaming Takes or Comps. Renaming Takes or Comps You can rename both takes and comps.
To rename a take 1 Click the arrow in the top right of the take folder, then choose the take you want to rename from the pop-up menu. 2 Click the arrow in the top right of the take folder, then choose Rename Take from the pop-up menu (or use the “Rename Take or Comp” key command).
3 Type the new name in the dialog that opens, then click OK. Tip: You can also click a take region with the Text tool, and type a new name in the text input field that appears. To rename a comp 1 Click the arrow in the top right of the take folder, then choose the comp you want to rename from the pop-up menu.
2 Click the arrow in the top right of the take folder, then choose Rename Comp from the pop-up menu (or use the “Rename Take or Comp” key command). 3 Type the new name in the dialog that opens, then click OK. Deleting Takes or Comps You can delete takes or comps from take folders at any time. When deleted, they no longer appear in the take folder’s list of takes and comps. Any comp selections using deleted takes are also removed.
To delete a take 1 Click the arrow in the top right of the take folder, then choose the take that you want to delete from the pop-up menu. 2 Delete the take by doing one of the following: • Click the arrow in the top right of the take folder, then choose Delete Take from the pop-up menu (or use the “Delete Take or Comp” key command).
• Click the take using the Eraser tool. • Press the Delete key. To delete a comp 1 Click the arrow in the top right of the take folder, then choose the comp that you want to delete from the pop-up menu.
2 Click the arrow in the top right of the take folder, then choose Delete Comp from the pop-up menu (or use the “Delete Take or Comp” key command). You can also delete all comps in a take folder except the currently active comp. To delete all but the current comp 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the comp that you want to keep.
2 Click the arrow in the top right of the take folder, then choose “Delete all other Comps” from the pop-up menu. All comps, with the exception of the currently active comp, are deleted. Note: This command is available only when a take folder contains more than one comp and when a comp is active. Exporting Takes or Comps to New Tracks You can export an active take or comp from a take folder to a new track, leaving the original take folder content intact.
To export an active take to a new track 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the take you want to export. 2 Click the arrow in the top right of the take folder, then choose “Export active Take to New Track” from the pop-up menu (or use the “Export Active Take or Comp to New Track” key command).
This copies the active take to a new track, which is created below the take folder track. The exported take can be made up of one or more take regions. The content of the original take folder remains intact.
To export an active comp to a new track 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the comp you want to export. 2 Click the arrow in the top right of the take folder, then choose “Export active Comp to New Track” from the pop-up menu (or use the “Export Active Take or Comp to New Track” key command).
This copies the active comp to a new track, which is created below the take folder track. The content of the original take folder remains intact. Moving Takes or Comps to New Tracks You can move an active take or comp from a take folder to a new track, which removes the take or comp from the original take folder.
To move an active take to a new track 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the take you want to move. 2 Click the arrow in the top right of the take folder, then choose “Move active Take to New Track” from the pop-up menu (or use the “Move Active Take or Comp to New Track” key command).
This moves the active take to a new track, which is created below the take folder track. This take is no longer available in the original take folder. To move an active comp to a new track 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the comp you want to move.
2 Click the arrow in the top right of the take folder, then choose “Move active Comp to New Track” from the pop-up menu (or use the “Move Active Take or Comp to New Track” key command).
This moves the active comp to a new track, which is created below the take folder track. This comp is no longer available in the original take folder. Flattening and Merging Take Folders You can flatten a take folder, which replaces the take folder with multiple regions that represent the current comp selections. All take region sections not used in the current comp are deleted.
To flatten a take folder 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the comp you want to keep. 2 Click the arrow in the top right of the take folder, then choose Flatten from the pop-up menu (or use the Flatten Take Folder key command).
This replaces the take folder with multiple regions that represent the current comp selections. You can also flatten a take folder and merge the results. This replaces the take folder with a single region that represents the current comp selections. All take region sections not used in the current comp are deleted. To flatten and merge a take folder 1 Click the arrow in the top right of the take folder to open the pop-up menu, then choose the comp you want to keep.
2 Click the arrow in the top right of the take folder, then choose “Flatten and Merge” from the pop-up menu (or use the “Flatten and Merge Take Folder” key command). The take folder is replaced with multiple regions that represent the current comp selections, and all take region sections not used in the current comp are deleted. The new regions are then merged to create a new audio file in the Arrange area.
To unpack take folders Do one of the following: µ Choose Region > Folder > Unpack Take Folder in the Arrange area’s local menu bar (or use the corresponding key command, default assignment: Control-Command-U). µ Control-click (or right-click) the take folder header area, then choose Folder > Unpack Take Folder from the pop-up menu. µ Click the arrow in the top-right corner of the take folder, then choose Unpack from the pop-up menu.
This command—Unpack Take Folder, or Unpack—uses the original channel strip for all new tracks. All takes and comps, with the exception of the currently active comp, are muted. This ensures that the playback result remains unchanged. Any edits made to one of these tracks will be reflected in all others.
µ Click the arrow in the top-right corner of the take folder, then choose “Unpack to New Tracks” from the pop-up menu. Note: The latter option affects only the chosen take folder, not all selected take folders.
This command—“Unpack Take Folder to New Tracks,” or “Unpack to New Tracks”—uses different channel strips for each new track, but automatically assigns the original channel strip setting to all of them. None of the takes or comps is muted. Edits can be made to each of the tracks independently of the others. Packing Regions into a Take Folder You can select multiple regions and pack them all into a single take folder. Each region appears as an individual take in the resulting take folder.
• If the selected regions are placed one after the other on a single track, the newly created take folder defaults to one automatically created comp. • If only one region is packed into a take folder, it is selected as the take and no comp is created. Opening Take Folders in the Sample Editor Although you can open take regions in the Sample Editor, the take regions are locked, making it impossible to move the anchor or redefine start or end points.
Flex Time Editing 16 Flex Time editing—similar to what is often referred to as elastic audio in other applications—is a nondestructive form of audio editing in Logic Pro. It is a process that allows you to correct a single note or the timing of an entire region, all within the Arrange window. Flex Time editing greatly simplifies the process required for altering the timing of audio material.
• Using the Flex Tool (p. 539) • Using Varispeed to Alter Playback Speed and Pitch (p. 543) Turning on Flex View To edit the timing of your audio files, you need to turn on Flex view in the Arrange area. To turn on Flex view Do one of the following: µ Choose View > Flex View in the Arrange area’s local View menu (or use the Hide/Show Flex View key command). µ Click the Flex View button in the Arrange toolbar (if visible).
To assign a flex mode to an audio track Do one of the following: µ Click the Flex Mode button in the arrange track list, then choose a mode from the pop-up menu. µ Select the Flex Mode parameter in the Track Parameter box, then choose a mode from the pop-up menu. The flex mode you choose is assigned to all audio regions or audio take folders across the track. Note: When you set the flex mode for a track, the Freeze Mode parameter in the Track Parameter box switches from Pre Fader to Source Only.
After assigning a flex mode to an audio track, you have the option of isolating individual regions—or take regions in the case of take folders—from the effects of the chosen flex mode algorithm. You do this by turning off the flex mode for the individual regions or take regions. µ To turn off the flex mode for individual regions, or take regions, on an audio track Select a region or take region on the chosen track, then deselect the Flex checkbox in the Inspector’s Region Parameter box.
Getting to Know the Flex Modes Flex modes determine how the audio material is processed, and each flex mode is best suited to a specific type of audio material. Rhythmic, Monophonic, and Polyphonic flex modes are named based on the type of material they are best suited for. Slicing, Tempophone, and Speed are so named to indicate the specialized process they apply.
Rhythmic Rhythmic flex mode time stretches the material, looping audio between slices in order to fill any gaps. This mode is most suitable for nonmonophonic material, such as rhythmic guitars, keyboard parts, and Apple Loops. • Loop Length: Sets the length of the looped section at the end of a slice that is used for time expansion. • Decay: Defines a decay value for the looped area.
• Crossfade: Adjusts the crossfade length from 0.00, which produces hard artifacts, to the full grain length of 1.00, which tends to sound softer. Speed Speed flex mode time stretches material by playing the source material faster or slower, including pitch change. Because of the pitch shifting, this flex mode is mainly useful for percussive material, but it can be used on all material for interesting creative effects.
• Tempo markers: Displayed as blue lines, tempo markers denote a tempo change at that point in the audio region and continue to maintain that tempo change during time-stretching activities. A tempo marker located at the end of an audio region indicates that the region follows the project tempo; changing the tempo does not change the length of that region. For details, see Moving Flex Markers and Time Stretching. Working with Flex Markers Flex markers allow you to alter the timing of audio material.
• If you click in the area where a transient marker does not exist (note the change of mouse pointer), the flex marker is created at the clicked position. Note: You can drag a flex marker—and thereby edit the timing of the material—immediately after you create it. This action alters the timing of the audio material between that flex marker and the preceding and following flex markers, or the region start and end positions if there are no preceding and following flex markers.
• If you click in the area where a transient marker does not exist (note the change of mouse pointer), three flex markers are created in these positions: • At the clicked position • On the previous transient marker • On the following transient marker µ Drag a selection in the region with the Marquee tool, then click it with the Pointer tool.
Moving Flex Markers and Time Stretching When you move flex markers, the audio material will be time-stretched, but the results depend on which flex marker you move and where you move it. Consider the following two examples: • When you move a flex marker to the left: The audio material is time-compressed up to the preceding flex marker, the preceding tempo marker, or the region start position.
If you move a flex marker to the left and the flex marker crosses the previous flex marker, the previous flex marker jumps back to the previous transient marker. This allows you to extend the Flex Time editing range to the left. The same behavior occurs if a flex marker crosses a tempo marker. If you move a flex marker to the right and the flex marker crosses the following flex marker, the following flex marker jumps forward to the next transient marker.
Note: Time compression or expansion may lead to reduced sound quality. However, if Slicing mode is selected, the audio itself is never time-compressed or expanded, so the sound quality is retained. • Red: High-speed sections, where time compression equals or exceeds factor 8—time-stretching factor 0.125—turn from green to red and come with a warning.
To delete multiple flex markers Do one of the following: µ Drag across multiple flex markers with the Eraser tool. Important: Make sure to use the Eraser tool in the body of the waveform only. Clicking the region header with the Eraser deletes the entire region. µ Control-click (or right-click) the region background, then choose Delete All Flex Markers from the shortcut menu. It is also possible to delete only those flex markers that were created manually, leaving quantize markers intact.
2 Click in the upper half of the selection area with the Pointer tool, then drag the highlighted area—between the second and third flex markers—in either direction. This process allows you to compress or expand the audio material between the first and second flex markers or between the third and fourth flex markers. Nothing happens to the audio material between the second and third flex markers.
This action time stretches the entire contents of the region equally, as follows: • It compresses the audio material if you drag the region corner to the left. • It expands the audio material if you drag the region corner to the right. Snapping Flex Markers to Transient Markers You can snap a flex marker’s position in one audio region to a transient marker’s position in another audio region.
A yellow guideline appears in the other track region as you jump from transient to transient. 2 Release the mouse button to snap the flex marker to the highlighted transient marker. Splitting Audio Regions at Transient Marker Positions You can split an audio region into multiple regions at its transient marker positions.
You can use the Flex tool for the following Flex Time editing activities: To create flex markers and time stretch Do one of the following: µ Using the Flex tool, place the pointer over the region body, then drag when you see the following pointer: This creates three flex markers, as follows: • On the transient marker • On the previous transient marker • On the following transient marker The shaded area in the image shows the flex marker positions.
µ Using the Flex tool, place the pointer over the region body, then drag when you see the following pointer: This creates three flex markers, as follows: • At the clicked position • On the previous transient marker • On the following transient marker The shaded area in the image shows the flex marker positions. You are compressing or expanding the audio material between the middle flex marker and the other two.
µ Make a selection in the region with the Marquee tool, then drag it.
To time stretch using region borders Do one of the following: µ Drag the left or right edge of the region header. µ Hold down Option while dragging the region’s lower-right corner. Using Varispeed to Alter Playback Speed and Pitch You can use the Varispeed mode to speed up or slow down a project between −50% and +100%—which equals between 50% and 200% of the original tempo. Note: Varispeed affects the entire project, not just the flex-enabled audio tracks.
µ To turn Varispeed mode on or off Click the Varispeed button in the Transport bar (or use the Toggle Varispeed key command). When enabled, the Varispeed button and display glow orange. Note: If you don’t see the Varispeed button and display, Control-click the Transport bar, choose Customize Transport Bar from the shortcut menu, and select the Varispeed checkbox in the Display section. The Varispeed mode has the following controls: • Varispeed button: Turns Varispeed mode on or off.
Editing Audio in the Sample Editor 17 You can use the Arrange area or the Sample Editor to make incredibly fine adjustments to audio files. In this chapter you will see why the Sample Editor is the ideal tool for removing pops and clicks in audio material, setting accurate crossover points for looped playback, correcting phase cancelation errors, and much more. You will also take a look at transient markers, which denote significant points—or transients—in an audio file.
• Customizing Waveform Amplitude Scale in the Sample Editor (p. 570) • Customizing the Ruler in the Sample Editor (p. 570) • Customizing Waveform Display in the Sample Editor (p. 572) • Getting to Know the Sample Editor’s Digital Factory (p. 573) • Using the Sample Editor’s “Time and Pitch Machine” (p. 574) • Using the Sample Editor’s Groove Machine (p. 579) • Using the Sample Editor’s Audio Energizer (p. 581) • Using the Sample Editor’s Silencer (p. 584) • Using the Sample Editor’s “Audio to Score” (p.
µ Drag the Sample Editor button, which changes to the Sample Editor window as you drag it. Note: For the Sample Editor to always display the contents of the region selected in the Arrange area, Content Link mode needs to be enabled. This is done by turning on the Link button in the upper-left corner of the Sample Editor area or window. Getting to Know the Sample Editor This section provides an overview of the Sample Editor’s screen elements.
• Waveform display: Provides a detailed view of the waveform area selected in the waveform overview. • Transient Editing Mode button: Activates or deactivates Transient Editing mode. When activated, the button glows orange and two further buttons appear to the right. It also changes the default tool set for the Sample Editor. • Prelisten button: Starts and stops playback. • Cycle button: Loops playback of the selected area. • Info display: Displays the start point and length of the selected area.
To control playback using the Prelisten button 1 Control-click (or right-click) the Prelisten button, and choose an option from the shortcut menu: • Auto-select Channel Strip: The audio channel strip assigned to the selected arrange track is used for playback. • Prelisten Channel Strip: The Environment’s Prelisten channel strip is used for playback. You can access the Prelisten channel strip in the Environment’s Mixer layer. It is located to the right of the highest numbered audio channel strip.
µ To scrub audio Click-hold the ruler and move the pointer. The audio playback will follow the speed and direction of your pointer. This helps you to quickly locate a particular position within an audio file. To continuously repeat the selected area 1 Enable the Cycle button. 2 Enable the Prelisten button (or use the Play/Stop Selection key command, default assignment: Space bar). You can change the start and end points of the selected area during looped playback.
Navigating Audio Files in the Sample Editor The Sample Editor offers a number of navigation features that make it easy to move to specific parts of an audio file—making selection and editing far simpler, faster, and more accurate. Clicking the waveform overview displays the selected area (surrounding the playhead position) in the waveform display. The scroll bars and zoom controls are used in the same way as in other windows.
Making Selections in the Sample Editor Editing and processing audio in the Sample Editor is possible only after you select an area within the waveform display. Any editing or processing you carry out will only affect the selected area. The start point and length of the current selected area are shown in the info display—above the waveform overview. The format of the information is based on the setting chosen in the View menu. For details, see Customizing the Ruler in the Sample Editor.
µ To select a particular section of an audio file Click-hold the start or end of the area you want to select in the waveform display, then drag to the right or left. The start point and length are displayed (as sample words) in a help tag while you make your selection. To extend an existing selection area Do one of the following: µ µ Choose Edit > Select All Previous (or use the corresponding key command). Choose Edit > Select All Following (or use the corresponding key command).
To change the start or end point of an existing selection Do one of the following: µ µ Shift-click in the waveform display to move the start or end point. Shift-click-drag the start or end point of the selected area in the waveform display. Using either method, the proximity of your click—to the start or end of the selected area—determines whether you change the start or end point boundary.
µ To select a section of an audio file between two transient markers Double-click the area of the waveform display between the two transient markers. You can also use the following commands, available when you choose Edit > Set in the Sample Editor: • Selection Start To Previous Transient: The selection start is extended to the left, up to the preceding transient marker. • Selection Start To Next Transient: The selection start is shortened to the right, up to the following transient marker.
Audio Editing and Processing in the Sample Editor The following section covers the use of several standard audio editing and processing commands or functions. For advanced audio processing options, see Getting to Know the Sample Editor’s Digital Factory. Most of the audio editing and processing activities in the Sample Editor are destructive. Destructive activities modify the data of the original audio file, as opposed to just editing its playback parameters.
Using Transient Markers to Edit in the Sample Editor You can use transient markers to edit selected areas of an audio file, or the entire file, in the Sample Editor. For this you need to be in Transient Editing mode. Note: When you are working in Transient Editing mode in the Sample Editor, the Command-click tool changes default value, from the Hand tool to the Pencil tool.
When you turn on Transient Editing mode, the audio file is analyzed for transient events, and all detected transients are marked in the audio file. Detected transients The level of transient detection confidence is based on the clarity of the transients. If an audio file does not have clear, sharp transients, transients will be detected with a lower level of confidence. However, you can choose to display more or less transients using the plus (+) and minus (−) buttons in the Sample Editor.
• − button: Decreases the number of transients in the selected area of the audio file, or across the entire audio file. You can also use the “Decrease Number of Transients” key command, default assignment: Command-minus (−). There may also be situations where you need to add or move transient markers within audio files. The following explains how to create, move, delete, and detect transient markers in the Sample Editor.
µ To move a transient marker in an audio file Drag an existing transient marker to another position. Note: The new position may or may not snap to zero crossings, depending on whether “Snap Edits to Zero Crossings” is selected in the Edit menu. You can also Control-click (or right-click) to open a shortcut menu and choose “Snap Edits to Zero Crossings.” To delete transient markers from an audio file Do one of the following: µ µ µ µ Double-click individual markers with the Pointer or Pencil tool.
This detects transients across the audio file, overwriting (after you confirm the action) any manually added or edited transients. Note: You can also detect transients in factory audio Apple Loops. This saves a copy of the audio Apple Loop to the project’s Audio Files folder. Using the Pencil Tool to Edit in the Sample Editor You can use the Pencil tool to correct clicks and pops in your audio, by drawing in the waveform display.
As long as the mouse button is held down, the drawn waveform can be replaced by the original waveform—by moving the pointer to the left. Trimming Audio Files in the Sample Editor The Trim function is used to edit areas of the audio file that are not selected. You can use the Trim command to remove unimportant passages—generally silence—from the start and end of your audio files. Trim can also be used to remove portions of audio files that are not used by regions.
2 Choose the desired settings in the Change Gain dialog: • Set the required level change in the Change Relative fields by clicking the up or down arrows in either field, or by directly typing values in either field. You can use the percentage or decibel field to indicate the amount of increase or decrease you want. • Click the Search Maximum button to search for the highest peak level. This automatically sets a value that is used to alter the level of the audio 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 afterward, say with an EQ.
Tip: If you use the Silence function (see Silencing an Audio File Selection in the Sample Editor) to remove unwanted background noise from silent passages, small jumps in volume can sometimes appear at the silence start and end points. If this happens, zoom in and select a small area surrounding—just before and after—the start point of the signal, and then use the fade-in function. To adjust the fade curves 1 Open the Function Settings window by choosing Functions > Settings.
3 Select the S Curve checkboxes if you want to create s-shaped curves. These settings are automatically stored in Logic Pro preferences when Logic Pro is closed, and they apply to all projects. Tip: The Arrange window’s Crossfade tool offers a further, flexible, nondestructive fade option (see Creating Crossfades and Fades on Audio Regions). Reversing an Audio File Selection in the Sample Editor The Reverse command is most commonly used on an entire audio file—to reverse a cymbal sound, for example.
Tip: You can also use the Invert function to decode mono/stereo recordings, but it’s far easier to use the Direction Mixer plug-in for this task. For more information about this plug-in, see the Logic Pro Effects manual. Removing DC Offsets in the Sample Editor Some audio interface hardware can layer direct current (DC) over the audio signal. This results in a vertical shift in the waveform position, which can be clearly seen in the Sample Editor.
Undoing Edit Steps in the Sample Editor Most Sample Editor functions are destructive, changing the files stored on your hard drive. You can, of course, use the Undo feature if things do not go your way. µ µ To compare (or undo) your edits with the original audio file Choose Edit > Undo (or use the corresponding key command, default assignment: Command-Z). To cancel a destructive edit that is taking place Press Command-Period.
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. The dialog also features an “Add resulting files to Bin” option, allowing you to add the file to the Audio Bin, following the save. 3 Browse to the location (such as a hard drive and folder) that you want to store the audio file in, then type a name for the audio file in the Save As field. 4 Click Save.
Customizing Waveform Amplitude Scale in the Sample Editor You can customize the waveform’s amplitude scale (plotted along the vertical axis) in the Sample Editor, so that it is displayed in percentage units or sample units. Percentage units Sample units µ To display the amplitude scale in percentage units Enable the View > Amplitude Percentage setting. µ To display the amplitude scale in sample units Enable the View > Amplitude Sample Value setting.
To enter relative display mode Do one of the following: µ µ Open the Sample Editor from the Audio Bin (double-click the region in the Audio Bin). Click the Link button to activate Link mode in the Sample Editor, and select a region in the Audio Bin. The start position of the section is automatically assigned to the 0 value, or a value of 1 1 1 1 if set to Bars/Beats. The scale unit lines are dotted.
Time is measured from the start of the project, which is assigned a value of 0, or a value of 1 1 1 1 if set to Bars/Beats. In this viewing mode, the absolute (project) time is shown in the ruler. Changing the Sample Editor Ruler’s Time Scale Display Any changes you make to the ruler’s time scale display will also affect the info display. µ To change the time scale Choose one of the following scaling units from the View menu: • Samples: Displays the number of sample words.
Note: You need to zoom the waveform display to high magnification levels for this to work. Getting to Know the Sample Editor’s Digital Factory The Sample Editor has a number of audio processing tools, collectively known as the Digital Factory . The Digital Factory tools can be accessed through the Factory menu, which contains four machine menu items in the upper part and three other items that are functions in the lower part.
Using the Sample Editor’s “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—the vocal characteristics of the pitch-shifted audio. Pitch shifting without formant correction causes a phenomenon commonly known as the Mickey Mouse effect.
The “Time and Pitch Machine” contains Mode and Algorithm, Tempo, and Pitch parameters. Mode and Algorithm Tempo parameters Pitch parameters You don’t need to enter, or adjust, all of the “Time and Pitch Machine” parameters. Most are linked, so an adjustment to the Tempo parameter will result in changes to the Length values, and vice versa.
• Algorithm menu: You can choose the algorithm that is best suited to the audio material you want to process: • Version 5: Inherited from Logic 5, this algorithm can be used on most types of audio material. It imparts a particular color on processed audio, which may be a useful creative option. • Any Material: Is able to handle most types of audio material. • Monophonic: A specialized algorithm for monophonic material—an individual voice, or brass or woodwind instrument, for example.
Setting Tempo Parameters in the “Time and Pitch Machine” The Tempo section is divided into two columns: The Original column displays the current values of the selected area in the audio file, and the Destination column is where you set the desired tempo parameters. • Tempo Change: Determines the tempo alteration, displayed as a percentage (no original value is shown). • Tempo: Displays the tempo in bpm (beats per minute).
• Harmonic Correction: When audio is transposed, not only is the fundamental pitch transposed, but all of the formants are shifted as well—as though the whole instrument or singer is being reduced or enlarged. This, of course, is not natural. Voices transposed up will sound like Mickey Mouse, or like Darth Vader if transposed down. These artifacts can be circumvented by using Harmonic Correction. Select the Harmonic Correction checkbox to leave the formants in the transposed material unchanged.
Using the Sample Editor’s Groove Machine You can use the Groove Machine to alter the feel, swing, or groove of digital audio material, in percentage steps. In other words, this tool can quantize straight audio! You can also strictly quantize audio that “grooves a little too much” with the Quantize Engine (see Using the Sample Editor’s Quantize Engine). Opening the Sample Editor’s Groove Machine You need to select an area within an audio file before you can open the Groove Machine.
Setting Groove Machine Parameters Here are the parameters in the Groove Machine: • Swing: Sets the swing factor. At 50% there is no change—you generally achieve the best results with values around 55% to 65%. • Based on Period: You can determine whether the audio material should be quantized on the basis of 1/8-note, or 1/16-note swing. • Down Beat Level and Off Beat Level: Determine whether the down beats, or off beats, in the audio material should be raised or lowered.
Using the Sample Editor’s Audio Energizer You can use the Audio Energizer to increase the perceived volume of audio material while altering the sound as little as possible, and without causing clipping. Digital distortion, which would be the inevitable result of simply increasing the level, is prevented when you use this algorithm. You could compare the effect to an analog tape that has been saturated with a high recording level.
2 Choose Factory > Audio Energizer (or use the corresponding key command).
Setting Audio Energizer Parameters Here are the parameters in the Audio Energizer: • Factor: Sets the amount of average level boost. A value of 0% means no alteration, while higher values produce an increase in energy. The setting you make here will depend on the audio material, situation, and personal taste. • Begin by trying values in the 40% to 100% range. • Values below 10% will have little effect. • Values over 100% can lead to undesirable alterations in the sound, depending on the material.
Using the Sample Editor’s Silencer You can use the Silencer to perform two different functions, either separately or together. These are: • Spike Reduction: Identifies, and reduces, signals such as pops and clicks. • Noise Reduction: Lowers the level of any noise in the signal, such as tape noise. The Silencer function is optimized for normalized data. Low-level material should be normalized before processing.
Applying Spike Reduction in the Silencer The aim of Spike Reduction is to identify and reduce signals such as pops, clicks, or digital spikes, in order to reconstruct a hypothetical original signal. You use the following parameters to do this. Note: When you are applying Spike Reduction, it is recommended that you turn off the Noise Reduction function. This ensures that only the Spike Reduction function is used.
The process of Noise Reduction is single-ended, meaning it affects material that is already recorded, and there is no need to decode the signal during playback. Even noise present in the original signal can be processed. Note: When you are applying Noise Reduction, it is recommended that you turn off the Spike Reduction function. This ensures that only the Noise Reduction function is used. • Strength slider: Determines the strength of the reduction level used on noise in the audio file.
Opening the Sample Editor’s “Audio to Score” You need to select an area within an audio file before you can open “Audio to Score.” To open “Audio to Score” 1 Select the destination MIDI or software instrument track in the Arrange area. The MIDI region generated by the “Audio to Score” function will be placed on this track. 2 Select the area of the audio region in the Sample Editor that you want to process through “Audio to Score.
Setting “Audio to Score” Parameters Here are the parameters in Audio to Score. You may need to experiment with different parameter values, and even make several attempts to determine the optimum settings for a particular audio recording. • Preset: Contains various presets for “Audio to Score” parameters, which are suited to specific types of audio material. In addition to 11 presets, there are also 4 User presets. • Granulation: Determines the time span of louder components in the audio material.
• Velocity Threshold: Sets the threshold level. All signals that fall below this value are ignored. In most cases, you should choose a value of 1, except when processing very dense, loud material with soft background noises. • Minimum Quality: You can choose between normal and high-quality processing: • Normal: Is more tolerant of audio trigger points that aren’t perfectly in tune, but it can generate wrong notes. • High: Accepts and uses only audio trigger points of a clearly identifiable pitch.
2 Choose Factory > Quantize Engine (or use the corresponding key command, default assignment: Control-Q). Setting Quantize Engine Parameters The parameters in the Quantize Engine are almost identical to those in “Audio to Score” (see Setting “Audio to Score” Parameters). This section describes only the parameters that differ from the “Audio to Score” function. • Preset: Choose a preset that best matches the characteristics of your audio material.
• Quantize by: Open this pop-up menu to choose the required quantization grid. The same values available for MIDI data (including user quantization templates) are found here. • Maximum Range: Sets the maximum time (in milliseconds) that an audio peak can deviate from a quantization point—in the chosen quantization grid template (in the “Quantize by” pop-up menu). • Small values are suitable for quantizing audio material with a similar groove.
2 Click the Sample Editor tab, then click the Set button below the External Sample Editor section. A dialog opens where you can find and select an external sample editing program. µ To open a selected audio file in the external sample editor Choose Options > Audio > “Open in [external sample editor]” (or use the corresponding key command). The external sample editor opens, allowing you to perform edits on the audio file.
Using AudioSuite Plug-ins The Sample Editor allows the use of AudioSuite plug-ins. These plug-ins work destructively—the result of the editing process is written into the audio file. Note: AudioSuite plug-ins can be used only with hardware addressed by the DAE (Digidesign Audio Engine). Any properly installed AudioSuite plug-in will be displayed in the AudioSuite menu. When you choose AudioSuite > Buffer Size, you can set the buffer size of the Preview mode.
Working with Tempo and Audio Regions 18 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 changes. 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.
Note: Bounced files can only follow the project tempo if the “Add resulting files to Audio Bin” option was selected in the Bounce dialog, prior to the bounce or export. • Audio files exported from Logic Pro (7.0 and later) Note: Exported files can only follow the project tempo if the “Add resulting files to Audio Bin” option was selected in the Export dialog, prior to the bounce or export. Imported ReCycle files can also follow the project tempo. (See Adding ReCycle Files to Your Project.
Note: The Follow Tempo option does not create an Apple Loops file. Apple Loops follow chord changes; if you record a solo over an arrangement consisting of Apple Loops with transposition changes over time, you might want to select Follow Tempo for your solo, but you won’t be happy with the double transpositions that will occur. You also have the option of converting imported audio to Apple Loops.
The locator range should closely match the length of the region—usually to the nearest bar. 4 Choose Options > Tempo > Adjust Tempo using Region Length and Locators (or use the corresponding key command, default assignment: Command-T). A dialog asks 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. 5 Do one of the following: • Click Globally to adjust the tempo of the complete project to the audio region.
Time Stretching Regions Logic Pro allows you to time stretch audio regions directly in the Arrange area, using menu or key commands. Time stretching an audio region changes its tempo and length, but not its pitch. When applying these functions to a region in the Arrange area, a new file—reflecting the tempo and length changes—is created, leaving the original intact. Both new and old files are accessible in the Audio Bin.
4 Choose Audio > Time Stretch Region to Locators to expand or compress the selected audio region to fit between the locators. The region start point is not changed by this function, so it doesn’t matter if the locators are not directly above the region. µ To adjust the region length to the nearest bar Choose Audio > Time Stretch Region to Nearest Bar. This command adjusts the length of the selected region to the closest whole bar.
Using Beat Detection to Create Tempo Changes You can use beat detection to find the average tempo of one or multiple selected audio or MIDI regions. The beat detection process detects a maximum of five tempi across the region(s), providing an indication, from high to low, of the reliability of each estimate. The most reliable value—at the top of the list—is selected by default. It is possible to modify this average tempo value using a multiplier, divisor, or decimal rounding.
The selected regions are analyzed; the results appear in a dialog that looks something like the following. 3 Set the following parameters, as required. • Create Tempo Change radio button group: You have the following three options when creating the tempo change. • Globally: Uses the resulting tempo across the project. • At Selection Start and End: Uses the resulting tempo up to the region selection end point, then changes back to the previously valid tempo.
4 Click the Advanced Options disclosure triangle and set the following parameters, as required: • Adjust Value By sliders: Define a ratio (multiplier and divisor) for the selected detection result. A ratio of 2:1 multiplies the value by two, while a ratio of 1:2 divides the value by two. • Rounding pop-up menu: Choose one of the following rounding values: Integer, 1 Decimal, 2 Decimals, 3 Decimals, or Off. This value is used to modify the Resulting Tempo value.
µ To remove tempo information from an audio file Choose Options > Tempo > Remove Tempo Information from Audio File in the main menu bar. Then you can export the current tempo information to the audio file. µ To export tempo information to an audio file Choose Options > Tempo > Export Tempo Information to Audio File in the main menu bar. As an example: Imagine the situation where you have an audio recording that wasn’t recorded to a metronome click, and therefore contains slight tempo variations.
Removing Silent Passages from Audio Regions 19 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. This process takes place in the Strip Silence window. This chapter covers the following: • Opening the Strip Silence Window (p.
Getting to Know the Strip Silence Window The main parameters of the Strip Silence window are as follows: • Threshold: Use to define the amplitude level that a passage must exceed, in order to be defined as a region. In terms of the number and length of regions created by the process, this is the most important parameter. As a general rule: a higher Threshold value leads to numerous short regions. Low values create fewer large regions.
• Search Zero Crossings: Select this checkbox to automatically snap the region start and end points to the nearest waveform zero crossings. Removing Silent Passages from a Selected Region This section outlines the steps involved in the Strip Silence process. For full details about the parameters, see Getting to Know the Strip Silence Window.
Automatic Anchor Creation When you create new regions with Strip Silence, a separate anchor—based on the division value set in the Transport (1/16, 1/8, and so on)—is automatically created for each new region. These rounded anchor values are shown in the help tag when you move any of the newly created regions, rather than an absolute anchor point that is placed at a particular sample position. If you require this sort of precision, open the regions in the Sample Editor, and adjust the anchor point manually.
Using Strip Silence to Create Segments for Drum Loops Dividing drum loops into small segments is a good way of perfectly synchronizing them. For example, in audio passages where the bass drum and snare are completely separate, you can often use Strip Silence to isolate each individual beat.
Managing Audio Files 20 This chapter describes all audio file management functions available in Logic Pro. While several individual file management functions are found in the Sample Editor and the Arrange window, most audio file management takes place in the Audio Bin. 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. µ To sort audio files Choose any of the following View > “Files sorted by” criteria to reorganize the listing of audio files: • 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 following image, you see a Guitars and Vocals group, with several files in each. Guitars group Vocals group Separating files into categories simplifies handling, particularly if all files are similarly named. For example, audio imported from another application may be named “audio01,” “audio02,” “audio03,” and so on, regardless of whether a vocal, guitar, or drum part.
2 Choose View > Create Group (or Control-click the Audio Bin or use the corresponding key command). 3 Type a 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. 2 Do one of the following: • Choose View > Group Files by > Location to create groups that are alphabetically sorted by the names of the parent folders of selected files.
To open or close one or more groups Do one of the following: µ Click the disclosure triangle to the left of a group name. This expands or collapses the clicked group. µ Option-click the disclosure triangle to the left of any group name.
This expands or collapses all groups, including the audio files in the Option-clicked group. µ 616 To open or close all audio files in a group Option-click the disclosure triangle to the left of any audio file within a group.
This expands or collapses all audio files in the Option-clicked group, without affecting other groups. µ To select all files in a group Option-click a group name to select all files in the group. µ To delete a group Select a group, then choose View > Delete Selected Groups (or press Delete). The audio files of deleted groups reappear in the upper level of the Audio Bin list. Renaming Audio Files To rename audio files in the Audio Bin, double-click the filename in the list.
• If the file is half of a split stereo pair, Logic Pro automatically assigns the new name to the other half of the stereo pair. • Logic Pro also renames any backup files on the same disk drive. If you rename a stereo file, Logic Pro automatically assigns the new name to up to five files (the mono files used in Logic Pro, their backups, and the stereo file). In this situation, it’s a good idea to store all files in the same location.
Logic Pro updates the path information for all open projects that use a given audio file. This makes projects easier to manage when moving audio files. After you move files to a new location, save each open project to update all audio file storage references. Warning: Be very careful when using this function as files are removed from their original location. Other projects may use the same audio files.
3 Choose settings in the “Copy/convert file as” dialog: You can set the sample rate, bit depth, file format, stereo conversion, and dither type for the destination file. 4 Browse to and choose the target folder for the new audio files. You can also create a new folder, by clicking the New Folder button. 5 If you’re only copying one file, you can enter a name for the new audio file. When simultaneously copying several audio files, existing filenames are used for the copies derived from them.
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 settings in the Save A Copy As dialog. You can set the sample rate, bit depth, file format, stereo conversion, and dither type for the destination file.
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 option. Optimize Files can be used on any number of audio files. 2 Choose Audio File > Optimize Files (or use the corresponding key command, default assignment: Control-O) in the Audio Bin.
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. Exporting Tracks as Audio Files It is also possible to export one or more tracks (all audio regions on tracks) to a new audio file, or several audio files—one for each arrange track. For full details about these features, see Exporting Individual or Multiple Tracks as Audio Files.
• You have renamed the files in the Finder, or renamed them in the Audio Bin of another project. • You have deleted the files. In these situations, Logic Pro opens a dialog similar to this one: You can respond in any of the following ways: • Skip All: Click this button if you know that more than one audio file no longer exists, or was renamed. Otherwise, you need to use the Skip button for each individual missing/renamed file.
• Double-click the exclamation mark beside the audio filename in the Audio Bin tab. • Choose Audio File > Update File Information in the Audio Bin. 2 Click Locate in the dialog, and another dialog opens (containing the name of the audio file being searched for in the title bar), allowing you to locate and load the necessary audio file.
Quantizing Audio and MIDI 21 Quantization is the rhythmic correction of audio or MIDI to a specific time grid. Any inaccurately played audio material—centered around transient markers—or MIDI notes are moved to the nearest position on this grid, as shown below. Unquantized note events 1 2 3 4 1 2 3 4 Quantized note events, aligned to the nearest beat position 1 2 3 4 1 2 3 4 This chapter covers the following: • Understanding Region- and Event-based Quantization (p.
Understanding Region- and Event-based Quantization Region-based quantization is a process that affects all transient markers in an audio region or all note events in a MIDI region. You have the choice of quantizing audio or MIDI regions, or a mixed selection of audio and MIDI regions. Note: Region-based quantization does not work on other MIDI data event types, such as MIDI controllers. Event-based quantization is the quantization of individual MIDI events (not only note events) within a MIDI region.
• Swing quantization: The 8F Swing, 8E Swing, 8D Swing, 8C Swing, 8B Swing, 8A Swing, and 16F-to-16A Swing settings delay the position of every second point in the quantization grid by a fixed percentage. The 8 or 16 denotes an eighth- or sixteenth-note quantize value. You can also manually alter the swing factor of any quantize value. • Quantization off: The off (3840) setting plays the notes at the finest possible timing resolution: 1/3840 note, which is unquantized playback, in practical terms.
The Q-Swing field is located just below the Quantize pop-up menu, and the rest of the quantization options listed below are in the Advanced Quantization section. They can be applied to any quantization value (except “off”). Q-Swing parameter Q-Swing parameter Audio region advanced quantization parameters MIDI region advanced quantization parameters Note: Not all advanced quantization parameters are available for audio regions.
Tip: To obtain the best Q-Range results, use a low, even quantize value, such as 1/4 note. Set the Q-Range parameter to compensate for the maximum error in the recording. • Q-Flam: Spreads out notes with the same time position—chords. Positive values produce an ascending (upward) arpeggio, negative values a descending (downward) arpeggio. The position of the first note—either the bottom or top note, assuming that all notes start at the same position—in the arpeggio is unaltered.
You can also quantize sections of the same audio or MIDI region differently. To quantize various parts of a region differently 1 Divide the region with the Scissors tool, and then use different quantization settings on each segment—each new region. 2 Recombine the segments of the original region with the Glue tool. This maintains the quantize values of each segment. When you quantize audio, white lines are automatically added to the selected audio regions.
Important: Unlike other region playback parameters (Delay, Transposition, and so on), the value chosen from the Quantize pop-up menu affects the way notes are displayed in the MIDI editors. Thus you can see the effect of the chosen Quantize value by looking at the note positions in the Piano Roll Editor, for example. Unquantized MIDI events Quantized MIDI events Region quantization affects the whole audio or MIDI region.
3 In the Group Settings window, select the Editing (Selection) checkbox, followed by the Phase-Locked Audio checkbox. The group is now enabled for phase-locked editing. 4 Close the Group Settings window. When you enable a group of audio tracks for phase-locked editing, a Q button appears in the track header of each track in the group. This button serves the same purpose as the Q-Reference checkbox in the Inspector’s Track Parameter box.
This triggers a process where quantize markers are automatically placed on top of the existing transient markers. You can easily differentiate between quantize markers and normal flex markers, as quantize markers don’t have an orange handle at the top. 6 Remove tracks that shouldn’t be referenced for quantization by doing one of the following: • Turn off the Q button in the track header. • Select the track, and deselect the Q-Reference checkbox in the Inspector’s Track Parameter box.
Quantizing MIDI Events Event-based quantization can be applied to any individual MIDI event (not just note events) within a MIDI region. Individual event quantization is performed in the MIDI editors. The menu bars of the Piano Roll Editor and the Event List include a Quantize pop-up menu and a Quantize button. This is a separate quantization function, which can be applied to selected events rather than entire regions.
This pop-up menu contains the same grid values that are in the Quantize pop-up menu of the Region Parameter box, shown in the Inspector. 2 Do one of the following, depending on the options available in the window: • Choose Functions > Quantize Selected Events, or use the corresponding key command (Score Editor, Piano Roll Editor, and Event List). • Select the events that you want to quantize, then click the Quantize button (Piano Roll Editor and Event List).
2 Do one of the following, depending on the options available in the editor: • Choose Functions > Undo Quantization, or use the corresponding key command (Score Editor, Piano Roll Editor, and Event List). • Choose the “off” setting in the Quantize pop-up menu, then click the Quantize button (Piano Roll Editor and Event List). • Option-click the Quantize button (Piano Roll Editor and Event List). • Option-click one of the selected notes with the Quantize tool (Score and Piano Roll Editors).
Tip: Two-bar MIDI regions work particularly well as models for this function, but you can use MIDI regions of any length. Make sure that the source MIDI region actually contains a note at every desired quantization value. 2 Open the Quantize pop-up menu in the Inspector’s Region Parameter box, and choose a quantization value. 3 Open the Quantize pop-up menu again, and choose Make Groove Template (or use the corresponding key command).
Important: The source audio or MIDI region used for a groove template must remain in your project if you want to use the groove template. If you delete the source region from the project, the groove template name is not removed from the Quantize pop-up menu, but you cannot use this quantization value. If you choose the groove template name from the Quantize pop-up menu, nothing will happen.
3 To add them to the Quantize pop-up menu, select a groove template and then choose Make Groove Template from the Quantize pop-up menu of the Region Parameter box. Note: The quantization templates are saved with the project and can be used, even when the project is played on another computer that doesn’t have the corresponding DNA Groove Templates on its hard disk. Creating an Audio-to-MIDI Groove Template You can create MIDI groove templates from digital audio material.
• Granulation (ms): Determines the time span of louder components in the audio material. Logic Pro uses these peak signals (or transients) to derive information for velocity points in the groove template. The most useful values are usually between 50 and 200 ms, depending on the tempo of the audio material. • Attack Range (ms): Tells Logic Pro how long the attack phases of the sounds in the audio material are.
While the “Audio to MIDI Groove Template” tab is still open, notice that there are three fields at the bottom of the Sample Editor—labeled Audio, Quantize, and Result. • Audio: Displays the quantization points identified in the audio file. • Quantize: Shows the quantization points selected in the Basis Quantize pop-up menu. • Result: Shows the quantization positions in the new groove template, which are produced by the combination of the two values above.
Introduction to MIDI Editing 22 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.
• Event List: Shows all MIDI event types as a list. This is the editor to use when you need to make precise changes to any aspect of a MIDI event. • Transform window: This is not really an editor, in the same way that the other windows are. You use the Transform window for MIDI-processing tasks, using mathematical variables. While this might sound a little overwhelming, you can use the Transform window to create a crescendo in a region, double or halve the speed of notes in a region, and more.
• Disabled: Double-clicking a MIDI region (either the same one or another) opens the chosen editor in a separate window, displaying the newly clicked region. In general, you access the editors directly in the Arrange window, but it can be useful to have multiple copies of the same editor open at the same time; for example, two Event Lists—one set to display at the Arrange level (showing regions), and the other displaying events within the regions.
µ Drag the Event List tab in the Lists area, which changes to a separate window as you drag it. To access the Transform window Do one of the following: µ Choose Window > Transform (or use the Open Transform key command, default assignment: Command-4). µ When in a MIDI editing window: Choose Functions > Transform. You can define which editor opens when you double-click a MIDI region.
2 Click the Editing tab, then choose the preferred editor from the “Double-clicking a MIDI Region opens” pop-up menu. Hearing MIDI Events When Editing 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. µ To hear MIDI event edits in real time Click the MIDI Out button at the top-left corner of each editor window.
µ To create an empty MIDI region Click at the desired position on a software instrument track lane with the Pencil tool. This inserts an empty MIDI region, allowing you to manually enter events into it. 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.
• Deleting or moving portions of regions (and therefore the events) with the Marquee tool. • Adjusting the playback of all events in a region by altering the region playback parameters. Monitoring and Resetting MIDI Events The top line of the Transport bar’s MIDI Activity display shows the last MIDI message received. The bottom line shows the most recently transmitted MIDI message. The display is mainly used for checking MIDI connections.
This transmits control change message #121, with a value of 0 (reset all controllers), on all MIDI channels and outputs used by defined instruments. This neutralizes all MIDI controllers, such as modulation or pitch bends. µ To set all MIDI channels to their maximum volume Choose Options > Send to MIDI > Maximum Volume (or use the Send Maximum Volume key command). This transmits a control change message #7 (main volume), with a value of 127, on all MIDI channels and outputs used by defined instruments.
Editing MIDI Events in the Piano Roll Editor 23 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. (See Displaying Multiple MIDI Regions in the Piano Roll Editor.) You will generally work on one region at a time in the Piano Roll Editor, however.
To open the Piano Roll Editor as a separate window Do one of the following: µ Choose Window > Piano Roll (or use the Open Piano Roll key command, default assignment: Command-6). µ Drag the Piano Roll button, which changes to the Piano Roll Editor window as you drag it. Getting to Know the Piano Roll Editor MIDI note events are represented by horizontal rectangles, aligned on a grid of horizontal and vertical lines.
• 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.
Understanding Note Velocities Each note event features a horizontal line that runs through the rectangle. The length of the line—in relation to the total length of the note—corresponds to the velocity value of the note (up to the maximum value of 127). Velocity denotes how hard the MIDI keyboard was struck when the note was recorded. This also usually indicates how loud the note is, within the range of 127 possible values, with 127 being the “loudest.
When the Link Button Is Turned Off You can select several regions, either one after the other or simultaneously, and the Piano Roll Editor does not update to reflect the content of these regions. Using the Shortcut Menu in the Piano Roll Editor Many selection, editing, and other commands can be accessed by Control-clicking (or right-clicking) anywhere in the Piano Roll Editor background area or directly on a MIDI note event. Make use of this to accelerate your workflow.
µ To snap events to a grid Choose one of the following values in the Snap menu at the top of the Piano Roll Editor: • Smart: Edit operations snap to the nearest bar, beat, sub beat, and so on, depending on the current Bar ruler division value and the zoom level. • Bar: Edit operations snap to the nearest bar. • Beat: Edit operations snap to the nearest beat in a bar. • Division: Edit operations snap to the nearest division (this is the time signature shown in the Transport bar and Bar ruler).
The Snap menu setting applies to the following edit operations: • Moving and copying events • Resizing events • Cutting events • Moving, adding, and resizing markers • Setting cycle boundaries You can temporarily override the snap grid, allowing finer edits and adjustments. To override the snap grid Do one of the following: µ Hold Control while performing the editing operation. The division value chosen in the Transport bar (1/16, for example) determines the editing grid scale.
When no notes are selected, the info display shows the name of the most recently selected MIDI region. Creating Notes in the Piano Roll Editor You will often create note events with the mouse in the Piano Roll Editor, to replace a deleted note or to add a note to a chord or region. This feature is also handy when a keyboard is unavailable, or even when one is available, because it’s faster to insert a note with the mouse. You can also create note events with your computer keyboard.
• Click the original note with the Pencil tool. Note: Editing an existing note also defines it as the default note. 2 Click a position in the Piano Roll Editor background with the Pencil tool. The new note’s channel, velocity, and length are identical to the original (or edited) note. Deleting Notes in the Piano Roll Editor You can delete selected notes by pressing Delete, or clicking them with the Eraser.
Events of the same type, but on different MIDI channels, are not viewed as being identical. The “same time position” includes two notes that are output simultaneously because of the current quantization setting. Full details on all quantization options are described in Quantizing Audio and MIDI. To delete events inside or outside the locators 1 Set the left and right locator positions as desired. 2 Do one of the following: • Choose Functions > Delete MIDI Events > Inside Locators.
Important: A Redo list is not displayed until an Undo operation has been performed. The Redo list appears below the Undo items. The first item that can be redone is indicated by gray text. To undo or redo an isolated step 1 Command-click the step. A warning dialog opens. 2 Click Apply to undo or redo the step. Click Cancel to abort the step. This procedure will undo or redo an isolated step without influencing all steps between the clicked and higlighted (most recent) entries.
2 Click the Editing tab, then select the Limit Dragging to One Direction in Piano Roll and Score checkbox. When active, this option helps you to avoid accidental transpositions of notes when moving them horizontally, or changing the position of notes when you’re trying to change their pitch. The initial movement—vertical or horizontal—restricts further movements to this plane, while the mouse button is held. Release the mouse button and click the event to move in the other direction.
• Nudge Region/Event Position Left by Bar • Nudge Region/Event Position Right by Nudge Value • Nudge Region/Event Position Left by Nudge Value • Nudge Region/Event Position Right by Sample • Nudge Region/Event Position Left by Sample • Nudge Region/Event Position Right by 1 ms • Nudge Region/Event Position Left by 1 ms • Nudge Region/Event Position Right by 10 ms • Nudge Region/Event Position Left by 10 ms The selected events are shifted one step right or left, by whatever unit is referred to in the particu
µ To change the start point (and length) of a note Position the Pointer or Pencil tool over the lower-left edge of a note event, then drag when the tool icon changes to the length change icon. A help tag informs you about the precise start point and length of the note while dragging. Note: The original end point of the note is retained when adjusting the start point.
• Note Overlap Correction for Repeated Notes: This command removes overlaps for all selected notes, but only if the following overlapped notes have the same note number (are of the same pitch). The Overlap Correction functions view vertically stacked notes (notes in the same location, but of different pitches) as a chord.
To copy or move notes Do one of the following: µ Hold down Option while dragging the notes to the new position. Tip: You can use this method to copy or move notes between two Piano Roll Editor windows (showing different regions, for example), or even between the Piano Roll Editor windows of different projects. µ Use one of the following clipboard commands: • Edit > Copy (or Command-C) to copy notes into the Clipboard. • Edit > Cut (or Command-X) to move notes into the Clipboard.
Using the Copy MIDI Events Settings The following describes the settings found in the Copy MIDI Events dialog. • Mode pop-up menu: Determines how MIDI events are copied or moved. You can choose from the following options: • Copy Merge: The copied data is blended with any data present at the destination position. • Copy Replace: The data at the destination position is deleted, and replaced with the copied data.
Protecting the Position of Events in the Piano Roll Editor There are times when you will want to protect certain events from being moved. For 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.
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. Of course, this will alter the velocity relationship of this note to the other notes. µ To assign the same velocity value to all selected notes Hold down Option-Shift while dragging one of the notes with the Velocity tool.
To change the color of notes Do one of the following: µ µ Choose the required color assignment from the Piano Roll Editor’s View menu. Control-click (or right-click) the Piano Roll Editor’s background, then choose the required color assignment from the shortcut menu. Splitting Chords in the Piano Roll Editor The following functions divide chords horizontally (by pitch), making the Piano Roll Editor the ideal place to perform chord-splitting tasks.
For more information on the Functions > Note Events > Assign Channels Based on Score Split command, see Using a Split Point. Using Hyper Draw in the Piano Roll Editor You can directly create and edit MIDI controller information in the Piano Roll Editor. These types of edits are made easier when you can see the notes that will be affected. To view and create controller events 1 Open a Hyper Draw display in the Piano Roll Editor by doing one of the following: • Choose a View > Hyper Draw command.
2 Click at different points in the gray area to create Hyper Draw nodes. A connecting line is automatically created between the nodes. µ To resize the Hyper Draw area Grab, and vertically move the dividing line that separates it from the Piano Roll grid area. For more information, see Using Hyper Draw in the Arrange Area.
Customizing the Piano Roll Editor You can customize the appearance of the Piano Roll Editor by modifying Piano Roll Display preferences—such as background color, brightness, line display, and so on. To open Piano Roll Display preferences Do one of the following: µ Choose Logic Pro > Preferences > Display (or use the Open Display Preferences key command), then click the Piano Roll tab.
Note: If using an independent Piano Roll Editor window, double-clicking an event opens an independent Event List window. µ To quickly open the Score Editor Option-double-click any event. The Score Editor opens in a new window. The Piano Roll Editor remains docked in the Arrange window’s editing area.
Editing MIDI in the Hyper Editor 24 The Hyper Editor is a graphical editor that can be used to create or edit MIDI note and controller data. In this chapter, you’ll learn how to use the Hyper Editor to view and edit different MIDI event types, shown as vertical beams along a timeline within a region. This chapter covers the following: • Opening the Hyper Editor (p. 677) • Getting to Know the Hyper Editor (p. 679) • Creating and Editing Events in the Hyper Editor (p.
µ 678 Drag the Hyper Editor button, which changes to the Hyper Editor window as you drag it.
Getting to Know the Hyper Editor The main elements of the Hyper Editor are as follows: Hyper Set menu Event Event Definition Parameter Box Event definitions • Event: Each beam displayed in the Hyper Editor 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. For full details, see Creating and Editing Events in the Hyper Editor.
You can, of course, record events with a MIDI keyboard, and then refine your performances in the Hyper Editor. Changing the Grid and Beam Display The Grid parameter in the Event Definition Parameter box of the Inspector is important when creating events in the Hyper Editor. Newly created events are automatically added at grid positions.
You can also alter the width and style of event beams to make event creation and editing easier. µ To set the width of event beams Choose a Pen Width value in the Event Definition Parameter box. The exact event position is always marked by the left edge of the beam, regardless of the beam width. When you set the Pen Width parameter to Note Length, note event beams are displayed at their actual length. The Status parameter must be set to Note for this to work.
• 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 add an event 1 Select the Pencil tool. 2 Click a time position on the appropriate event definition lane. 3 Drag up or down to alter the event value before you release the mouse button.
To create multiple events in a linear fashion 1 Select the Line tool. Line tool 2 Click a 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 see the line trailing behind the Line tool pointer, with the exact position and event value shown in a help tag. 4 Click the end point to create several event beams, aligned along the line.
As you do so, you see the line trailing behind the Line tool pointer, with the exact position and event value shown in a help tag. 4 Shift-click the end point. This immediately draws another line from the end point of the original line. To create new events when other events already exist in a lane 1 Select the Line tool. Line tool 2 Click a position on the appropriate event definition lane. A help tag appears, showing the exact position and event value in the top line.
This is ideal when adding events with the Pencil, as all are assigned the value of the previously selected event. This allows you to draw a succession of events with the same value—perfect for drawing in a row of 16th note hi-hats, for example. To assign a fixed event value 1 Select 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 it.
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 Delete. For more information about similar and equal events, see Selecting Similar or Identical Objects, Regions, or Events. You can also delete events by choosing one of the Delete MIDI Events commands from the Hyper Editor’s local menu bar.
µ To alter individual event values 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. µ To alter several contiguous event values Drag across the events with the Pointer tool. The current value is shown in a help tag as you drag across each event. To alter the values of multiple events 1 Use any selection technique to select the events you want to edit. 2 Grab one of the grouped (and highlighted) beams, and drag vertically.
Moving Events via Key Commands Editing can be accelerated by assigning, and using, the following key commands to move one or more events.
• Edit > Paste (or Command-V) pastes the events at the current playhead position, at their original pitch. You can also perform advanced copy and move operations within the Hyper Editor. These allow you to directly swap events, or to merge a group of events from one section of a region to the same, or another, region, as examples. For more information, see Advanced Note Copy and Move Options. Protecting the Position of Events There are times where you will want to protect certain events from being moved.
Selecting and Creating Event Definitions You can select an event definition by clicking the name column with the Pointer or Pencil tool. This allows you to create new definitions, and to view and change the event definition parameters in the Inspector (see Using the Event Definition Parameter Box). You can quickly move between event definitions using the Select Next Hyper Definition or Select Previous Hyper Definition key commands.
2 Select the Auto Define checkbox in the Hyper Editor’s Inspector (or use the Toggle Auto Define key command, default assignment: Control-A). 3 Choose Hyper > Create Event Definition in the Hyper Editor (or use the Create Event Definition key command, default assignment: Option-Command-N). If the hyper set already contains a matching event definition (controller #71 Resonance, from the example), Logic Pro won’t create a superfluous double definition.
Tip: It’s a good idea to create a new hyper set before creating a group of new definitions. For more information, see Creating a Hyper Set. Copying, Deleting, and Rearranging Event Definitions The following procedures make the creation and organization of hyper sets much easier and faster. To copy an event definition between two hyper sets 1 Select the event definition that you want to copy. 2 Choose Hyper > Copy Event Definition (or use the corresponding key command, default assignment: Control-C).
µ To rearrange the order of event definition lanes Grab the name of the event definition you want to move, and drag it (vertically) to the new position. Converting Event Definitions You can redefine an event definition (along with all events). The values of the events are retained, but the event type is changed to the new event definition. To convert an event definition and all events 1 Select the event definition you want to convert.
On the left (Convert), you can see the parameters of the selected event definition, and on the right you can define the parameters of the destination event type. The current settings (of the source) are used as default values for the destination. Select the Quantize Events checkbox to quantize the event positions to the Grid value chosen in the right parameter field. If any Delay value is shown on the right, this is taken into account by the quantization.
• C- Press (Channel Pressure): To define a lane for channel pressure (also known as aftertouch, a feature of many synthesizers that adds vibrato, for example, when you press down on MIDI keyboard keys that are already held). • P-Press (Polyphonic Pressure): As above, but each note can be independently modulated.
If Control is chosen in the Status line, you can use a pop-up menu shown in the First Data Byte parameter line to determine the controller type (controller number). Similarly, if Meta or Fader is chosen in the Status line, the First Data Byte pop-up menu determines the meta or fader event type (meta or fader message number).
Setting the MIDI Channel Number A checkbox appears to the right of Channel. To the right of this checkbox you can set a MIDI channel number, by dragging vertically. If you select this box (turn it on), the display is restricted to events on the set channel. If the box is unselected, the channel parameter is ignored, and matching events on all channels are displayed.
• GM Drum Kit: Offers lanes that match the note names of the General MIDI (GM) drum map. This is perfect for creating drum (or other instrument) parts, by penciling or drawing in note events. This is similar to the use of pattern-based drum machines, where each beat is manually entered on a grid. µ To switch between the MIDI Controls and GM Drum Kit hyper sets Choose a hyper set from the Hyper Set pop-up menu in the Inspector. This is also how you switch between any hyper sets that you create.
Creating a Hyper Set To create a new hyper set, choose Hyper > Create Hyper Set (or use the Hyper Set menu, or corresponding key command). The preset event definition in the new hyper set is the Volume controller (#7). Any alterations that you make, such as adding or redefining event definitions, or adjusting the vertical zoom setting, are automatically stored in the current hyper set (as with screensets).
A dotted line links the two instrument lanes in the the left edge of the column. 3 Click the dots of each lane to turn off hi-hat mode. All lanes in a hi-hat group must be vertically adjacent to each other. If you want to group several events in nonadjacent lanes, simply move them by dragging the names up or down the Hyper Editor window. If you add an event to any lane in a hi-hat group, all existing events at this time position are deleted.
µ Choose Delete Hyper Set from the Hyper Set pop-up menu in the Inspector. Loading a Hyper Set You can switch the Hyper Editor display to the desired event types by loading a saved Hyper Set. µ To load a hyper set Choose a hyper set from the Hyper Set pop-up menu in the Inspector.
Editing MIDI Events in the Event List 25 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 a region, 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.
Getting to Know the Event List All functions and options are shown at the top of the Event List area. The events themselves are shown in the list area below. µ To open the Event List as a tab in the Arrange window Click the Lists button at the top-right corner of the Arrange toolbar, and click the Event tab (or use the Toggle Event List key command, default assignment: E).
µ Drag the Event tab, which changes to the Event List window as you drag it. Changing the Event List View Level By default, the Event List shows all events in the selected MIDI region.
The Event List can also display a list of all regions (and folders) in the Arrange window. µ To view a list of Arrange regions (and folders) Click the Hierarchy button at the top-left corner of the Event List window. This button is only accessible when the Event List view is showing the contents of a region (it’s showing events, in other words). µ To view the events within a region Double-click the name of the region with the Pointer tool. Its contents (the events) are shown in the list.
As a practical example of where these facilities could be used: Imagine a lead synthesizer solo that spans eight bars. You went crazy with the pitch bend while recording, but have found that every pitch bend event with a value of 55 sounds out of tune with the pad sound on another track.
This is particularly important for editing SysEx messages. When examining note events in the Event List, you will also notice Rel Vel (release velocity or note off messages), which can be edited directly. Score layout information is also included in the list when additional info is shown. You can edit this in the Event List if you like, 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.
To view events outside the display area Do one of the following: µ µ µ Use the event type buttons to filter the list, thus reducing the number of displayed events. Drag the scroll bar to the right of the list area. Choose View > Scroll to Selection (or use the corresponding key command). Note: When a marquee selection is active, using this key command moves the visible section of the edit window to mirror the marquee selection.
You can use these filter buttons alone, or in conjunction with, specific selection commands available in the Edit menu and as key commands. These include: • Select All (default key command assignment: Command-A): Selects all visible events. • Select All Following (default key command assignment: Shift-F): Selects all events after (below) the currently selected event.
Important: Events can only be created in an existing region. If no region is selected, or exists, on the selected arrange track, an alert appears. To duplicate an existing event 1 Click the original (source) event name in the Status column with the Pencil tool. 2 An input box appears. Use it to enter the position for the duplicate event. If you press Return, the duplicate appears at the same position as the original.
Protecting the Position of Events There are situations when you will want to protect certain events from being moved. For 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.
In some instances, clicking the information in the Num(ber) or Val(ue) column opens a pop-up menu, allowing you to choose an option. For example, clicking the Num(ber) column of a MIDI controller event (Control is shown in the Status column) opens 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.
µ Click-hold the specific position unit, and drag vertically. Release the mouse button when you’re done. If another editor, such as the Piano Roll Editor, is open, you will see the note event move as you change the value. As soon as you alter the position of an event, the list is automatically resorted. The currently selected event remains highlighted. To change the length of an event Do one of the following: µ Double-click the length/info indicator (in the Length/Info column), and type in a new value.
If a parameter of one of several selected events is altered, it affects the same parameter in all events within the selection group. When you alter parameter values in a group of selected events, the relative differences between parameter values remain unchanged. Parameter values can only be altered until the (same) parameter value of one of the selected events has reached its maximum or minimum value.
• Unselected Within Selection: Erases all unselected MIDI events within a selection, such as between locators. Soloing and Renaming Regions or Folders Although the Solo tool can be used to hear events in isolation, it is most useful when viewing a list of Arrange window regions or folders (Event List at Arrange-level view). µ To solo a region, folder (or event) Choose the Solo tool from the Tool menu, and click-hold the region or folder name (or event) in the Status column.
Note Events Note events are used to trigger (play) software instruments and external MIDI sound modules or keyboards. • Num(ber): MIDI note number (or pitch). The range is from C −2 (note #0) to G8 (note #127). Middle C is note #60. It’s known as C3 in MIDI terminology. On some keyboards and synthesizer modules (notably those made by Korg and Roland), the note range is from C −1 (note #0) to G9 (#127). Middle C is called C4 on such devices.
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. µ To view release velocity data Click 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.
• Other manufacturers use various methods of dividing internal memory locations into groups (or banks) and sounds. The most common is divisions into 8 groups of 8 sounds, each numbered 1 to 8. These devices respond to program numbers 0 to 63 by addressing storage locations 11 to 88. The instruction manuals for these devices should contain conversion tables to assist you. • Num(ber): Bank select. Normally you will see this symbol (-), which means no bank select message will be sent.
Poly Pressure Events Poly(phonic) pressure events are generated by mechanical pressure sensors beneath each individual key on some MIDI keyboards. The resulting sound modulation only affects the particular note that is pressed harder (after the initial keystrike). Only a few keyboards offer this capability. • Num(ber): Displays the MIDI note name (C3, G4, and so on). • Val(ue): Displays the amount of pressure on the key (0 to 127).
Meta Events Meta events are control messages that are specific to Logic Pro. They are used to automate specific Logic Pro functions, and to organize and arrange Score Editor elements (particular notation symbols and formatting) which can’t be represented by MIDI events. The Num(ber) determines the meta event function, and Val(ue) determines the value that is sent. You should only ever insert and edit the following Num(ber) column values in the Event List.
• The type or name of the selected event or region • The recorded MIDI channel and first data byte (if an event), the name of notes, and the second data byte (if it exists for the event type) • Length of the selected event or region in bars, beats, divisions, and ticks µ µ To open an Event Float window Choose Options > Event Float in the main menu bar (or use the Toggle Event Float key command, default assignment: Option-E).
Editing MIDI Events in the Transform Window 26 The Transform window allows you to define a set of conditions and operations that are used to select and alter specific MIDI events. This chapter covers the following: • Getting to Know the Transform Window (p. 725) • Choosing and Using Transform Sets (p. 726) • Learning About the Transform Presets (p. 727) • Using the Transform Window Parameters (p. 738) • Creating Your Own Transform Sets (p. 744) • Importing Transform Sets From Other Projects (p.
A number of preset transform sets are available for many common editing tasks. These may be all you’ll ever require, but should the need arise, you can freely create and save your own transform sets, and recall them later. Tip: The Environment contains a similar transformer object that you can use for real-time transformations of MIDI events. For details, see Transformer Objects.
Depending on your needs, it may be worthwhile spending some time creating your own transform sets. These can be freely configured and saved as part of a project. (Doing this in your template projects makes your transform sets available in all projects.) Your transform sets will appear at the bottom of the Presets menu (see Creating Your Own Transform Sets). To use a transform preset 1 Select the MIDI regions or events that you want to transform.
Random Pitch Sets a random pitch for note events. Change the Pitch condition values to alter your selection range. Random Velocity Sets a random velocity for note events. Change the Velocity condition values to alter your selection range.
Random Pitch, Velocity, Length Sets a random pitch, velocity, and length for note events. Change the Pitch, Velocity, and Length condition values to alter your selection ranges. Crescendo Used to gradually increase the velocities of a group of notes from low to high values (or vice versa—decrescendo or diminuendo). • Select the area (Position column) that contains the note events that you want to perform a crescendo on. • Set the 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 assumes 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 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). 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. • Change the Add operation value to the desired amount (in semitone steps). • 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. Examples toward the end of the chapter (see Usage Examples) give you an idea of how each can be used, but these are only the tip of the iceberg. Ultimately, your imagination and creativity are the only restrictions on how MIDI events can be manipulated in the Transform window.
• Delete selected events: Choose this mode to delete selected events. This mode allows you to use the Transform window as a programmable erase function. All events that match the conditions are deleted, and all other events remain unchanged. The operation settings are irrelevant in this mode. • Copy selected events, then apply operations: Choose this mode to retain the selected events in their original form, copy them, and apply the operations.
µ To set all other selection conditions Click the pop-up menus (in each column that is needed) to define the selection criteria for events. One or two value fields appear below the pop-up menu, unless Map is chosen. You can assign one of the following value conditions for each of the parameter columns: • “=”: The event must be equal to the value in the field, for the condition to be fulfilled. For example, only note C#3 events will meet the condition.
• Fix: The event type is altered. Choose a new event type in the pop-up menu that appears below the Status Operations menu. Choices include fader, meta, note, poly pressure, control change, program change, channel pressure, or pitch bend. This effectively converts one type of event to another. Note: When you convert note events, two events are created: one for the note on event, and one for the note off event.
• Mul: The parameter value is multiplied by the set value (accurate to four decimal places). The effect, and use, of this operation is best illustrated by the Half Speed preset. • Div: The parameter value is divided by the set value (accurate to four decimal places). The effect, and use, of this operation is best illustrated by the Double Speed preset. • Scale: The parameter value is multiplied by the top value, and the bottom value is then added. This is a combination of Mul and Add.
Using the Map 128 vertical bars reflect the full MIDI value range (from 0 to 127), and provide a visual overview of the transformation. Essentially, each bar represents a particular MIDI value, which can be mapped to a different value. The type of event, and operations, are determined in the Selection Conditions and Operations areas. For example: • Each of the bars could represent a MIDI note number (from 0 to 127) value.
Exchanging Parameter Values You can reroute the value of each of the three event parameters—Channel, Data Byte 1, and Data Byte 2—to the value of a different parameter from this group. µ To replace the source (Condition value) with the target parameter value Click the dots on the lines between the Selection Conditions and Operations areas. Repeated clicks cycle between different targets. Note: The value is exchanged before the operation is performed.
This transform set now appears at the bottom of the Presets list in all Transform windows for this project. You should consider saving your user transform sets in one or more template projects. This way, they will always be available to you in all future projects. Tip: Renaming an existing transform set creates a new transform set that is identical to the original. The existing (source) transform set is retained.
To add a mod wheel controller event (#1) with a value that matches the note’s velocity 1 Choose the following settings in the Transform window: • Mode menu: Copy selected events, then apply operations. • Selection Conditions area: Set Status to Note. • Operations area: • Set Position to Add and enter a value of 1 in the field below it. • Set Status to Fix and choose Control in the menu below it. • Set Pitch to Fix and enter a value of 1 in the field below it.
To convert MIDI note events to MIDI controller 1 events 1 Choose the following settings in the Transform window: • Mode menu: Apply operations to selected events. • Selection Conditions area: Set Status to Note. • Operations area: • Set Status to Fix, and choose Control in the menu below it. • Set Pitch to Fix, and enter a value of 1 in the field below it.
• 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. Tip: To restrict the randomness to one direction—up or down, as opposed to both—use the other Random Option, which limits the range that notes fall into.
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. To create an ascending pitch pattern from notes of one pitch 1 Choose the following settings in the Transform window: • Mode menu: Apply operations to selected events.
Mixing 27 The Mixer is an area in Logic Pro where you refine the sound of each musical element in your project, creating a unified mix. This chapter covers how to control the sound, level, and positioning of channel strip signals in the Mixer. It also briefly discusses automation, an integral part of Logic Pro’s mixing features. For details, see Working with Automation. This chapter covers the following: • Opening the Mixer (p. 752) • Getting to Know the Mixer (p.
• Assigning Colors to Channel Strips in the Mixer (p. 804) • Renaming Tracks in the Mixer (p. 804) • Linking Control Surfaces to the Mixer (p. 805) Opening the Mixer There are several ways to open the Mixer in Logic Pro. µ To open the Mixer as a pane in the Arrange window Click the Mixer button at the bottom of the Arrange window (or use the Toggle Mixer key command, default assignment: X).
µ Drag the Mixer button, which changes to the Mixer window as you drag it.
Getting to Know the Mixer The main elements of the Mixer are as follows: Channel strips and channel strip controls View buttons Filter buttons • Channel strips: Use to process audio or MIDI information that is routed from Arrange tracks. For more information, see Understanding Channel Strip Types in the Mixer. • Channel strip controls: Use to adjust the level and other aspects of the audio signal played through the channel strip.
Understanding Channel Strip Types in the Mixer The Mixer displays the following channel strip types: Audio channel strips Instrument channel strips MIDI channel strips Aux channel strips Master channel strip Output channel strip • Audio channel strips: Control the playback and recording of audio signals on audio tracks. All data on the audio track is automatically routed to the audio channel strip assigned in the Arrange track list.
• Master channel strip: A global level control for all output channel strips. The master channel strip changes the gain of all output channel strips without affecting the level relationships between them. This is very helpful as a proportional output volume control and is particularly useful in Logic Pro surround mode where you can use it to create fades in the complete surround mix. • MIDI channel strips: Control external MIDI tracks.
• Channel EQ: Allows you to add an EQ effect to sculpt the sound of the channel strip signal before applying other effects. You double-click the EQ area to insert the Channel EQ in the first Insert slot. • Insert slots: Allow you to insert up to 15 effect plug-ins into each audio, instrument, aux, and output channel strip. • Send slots: Used to route a channel strip’s signal to an aux channel strip. Sends are commonly used to apply the same effect or effects to several signals.
Understanding the Basic Mixing Stages Although there are no rules for mixing—except those learned from experience and a good ear—mixing generally takes place in the stages listed below. The structure of the sections in this chapter follows the same basic workflow. You may, however, find yourself moving back and forth between stages as you work on the mix. Stage 1: Making Preparations Take some time to prepare and preview your arrangement before you start mixing.
Working with Mixer Groups Prior to mixing, you may find it useful to define some logical channel strip groups. Logic Pro allows you to create a maximum of 32 groups and it’s possible for a channel strip to be a member of multiple groups. You could, for example, group all drum channel strips under one drum group. This would enable you to control the group meters (volume, pan, and so on) using a single control, while still maintaining the relative parameter values of each channel strip.
The Group Settings window contains the following settings: • “Groups active” checkbox: Enables all groups. • On checkbox: Enables a particular group. • Name field: Double-click to enter the name of the selected group. • H checkbox: Hides all tracks belonging to a particular group. Note: If the Hide Track buttons of grouped tracks are in different states, the H checkbox displays “–”.
• Mute checkbox: Changing the mute state of one channel strip changes the mute state of all channel strips in the group. • Input checkbox: Changing the input state of one channel strip changes the input state of all channel strips in the group. • Pan checkbox: Changing the pan control of one channel strip in the group changes the pan control of all channel strips in the group. Note: The channel strips continue to maintain their relative pan positions.
When you choose an inactive group, the Group Settings window opens automatically. If you choose a group that is already in use, the Group Settings window does not open (see Getting to Know the Mixer Group Settings). µ To assign a channel strip to multiple groups Press Shift while choosing a group in the Group menu. The Group slot displays the channel strip’s group membership.
While Group Clutch is activated, all Group slots change color—from yellow (normal) to a light gray (all groups temporarily disabled). Automating Mixer Groups When you are automating your mix functions (volume, pan, mute, and so on), any channel strip group member can act as the mix automation master for that group. When you use that group member to write an automation parameter value, it is also written for the other group members, depending on their automation mode.
Soloing Channel Strips Use the channel strip solo function to play a channel strip, or several channel strips, in isolation. This enables you to check for issues such as clicks, pops, or overload. Note: The channel strip solo function is also useful when you are setting channel strip levels and setting the Pan, Balance, or Surround Position. µ To solo a channel strip Click the channel strip’s Solo button (marked with an S).
Logic Pro intelligently scans the entire signal path, leaving the aux channel strip open. This automatic mute suppression applies only to internal send effects. If you are using external effect units via aux channel strips, the scan will keep effect master sends open. Logic Pro, however, cannot know which of the channel strips you are using as send effect returns for external effect units.
When setting channel strip levels, you use the following channel strip elements: Peak level display Volume fader Level meter • Peak level display: Numerical display that updates during playback to show the highest peak level reached. • Volume fader: Sets a channel strip’s playback or monitoring volume. • Level meter: Displays a channel strip’s playback or input monitoring level.
Signal clipping occurs when too loud a signal is fed through the output channel strip, thereby exceeding the limit of what can be accurately reproduced, resulting in distorted sound. When a signal clips, the value shown in the peak level display is highlighted in red.
To avoid clipping 1 Check the red value shown in the peak level display of the channel strip, which indicates clipping. In the figure below, 1.7 dB is shown in the clip indicator when the Volume fader is set to a value of 2.2 dB. 2 Drag the Volume fader down to a value of 0.5 or so. Tip: You may find, however, that a Volume fader value of −1.2 sounds best in the context of the overall mix, and clips only once (by 0.3 dB) during playback. If this is the case, it is nothing to worry about.
Understanding a Channel Strip’s Level Meter All channel strips feature segmented level meters that display the playback or input monitoring level. The input monitoring level is displayed when you arm an audio track in preparation for recording. The colors of the level meter segments provide an at-a-glance overview of individual channel strip monitoring levels: • Amber and yellow: These signals are safe, and will not clip the channel strip output.
To change the level meter scale 1 Open Display preferences by doing one of the following: • Choose Logic Pro > Preferences > Display (or use the Open Display Preferences key command). • Click the Preferences button in the Arrange toolbar, then choose Display from the pop-up menu. 2 Click the Mixer tab, then choose a value in the Scale pop-up menu. • Exponential: Provides higher display resolution in the upper range.
For example, imagine the concert stage in front of you. Where are the key players—drummer, bass player, singer, and so on—positioned? Begin by placing your channel strip signals in the positions you would normally hear them at a concert. This should be your starting point, even though you may move the players around later in the process. The main objective is to place the instruments out of each other’s way so they can be heard.
The following sections explain how you can route effects in many different ways, enabling you to create complex mixing scenarios. Sonically, the result of using effects as effect processors sounds nothing like the result of using send effects. Take the example of using a common effects combo, such as Reverb-Chorus-Delay. Inserting the effects directly into the channel strip signal results in a very different sound when compared to adding an effect send/return loop to the channel strip signal.
Routing Audio in the Mixer via Send Effects You use send effects when you want to isolate effect plug-ins from a channel strip’s signal flow, or when you want to use the same effect on more than one channel strip. By creating a send, you split the channel strip’s signal in two. The channel strip’s main signal continues its route to the chosen output. The other part of the signal is routed down a parallel path, via a bus to an aux channel strip.
You can create up to eight sends on each audio, instrument, or aux channel strip. The behavior of sends is the same across Mixer and Arrange channel strips. For details about working with send effects, see Using Send Effects. Controlling Signal Flow in the Mixer You can control signal flow in the Mixer using aux channel strips, output channel strips, or multi-output instruments. You use aux channel strips to create subgroups or to route a signal to multiple destinations.
Enter a number, then choose settings from the Format, Input, and Output pop-up menus, and click Create. Using Aux Channel Strips in the Mixer You use aux channel strips to create subgroups, for submixing purposes. You also use them to route a signal to multiple output destinations. For details about how to create aux channel strips, see Creating Aux Channel Strips in the Mixer. Creating Mix Subgroups You can group several channel strips and route them via a single bus to a single aux channel strip.
4 Use the aux channel strip controls to process the submix—adding inserts, setting level and pan, and so on. Sending Signals to Multiple Destinations You can route a signal to several output destinations, using aux channel strips. For example, you might have a main signal with the output destination set to external speakers. At the same time, you would like to hear the signal as a separate headphone mix, including some additional effects.
Logic Pro supports the multiple outputs of the EXS24 mkII, Ultrabeat, and all Audio Unit instruments. One or more multi-output options may be displayed in addition to the mono and stereo versions shown in the instrument plug-in menu.
2 Within the instrument interface, you need to set up the output routing for individual sounds or samples. This is generally done using a menu with entries such as Main, 34, 56, and so on. 3 In the Mixer, click the Add (+) button of the instrument channel strip that you have inserted the multi-output instrument in—such as Ultrabeat. Note: The Add button (+) appears only on multi-output instrument channel strips.
An aux channel strip appears to the right of the instrument channel strip, already assigned to the inserted multi-output instrument. 4 Repeatedly click the Add button (+) to create more aux channel strips, for all stereo or mono outputs available to the instrument plug-in. You should create only as many aux channel strips as required for the number of outputs used by the multi-output instrument.
When using output channel strips in this way, you cannot apply any further send effects to the signal flow, as you would using aux channel strips. You can, however, control settings and insert effect plug-ins using the individual controls of the output channel strip. Unlike aux channel strips, output channel strips do not have Send slots.
To define the stereo output 1 Open Audio preferences by doing one of the following: • Choose Logic Pro > Preferences > Audio (or use the Open Audio Preferences key command). • Click the Preferences button in the Arrange toolbar, then choose Audio from the pop-up menu. 2 Click the I/O Assignments tab, then the Output tab. 3 Choose an output pair from the Output pop-up menu in the Stereo section. The Mirroring checkbox becomes available for all chosen output pairs, with the exception of Output 1-2.
µ To define a channel strip’s mono output Open the Output slot of a channel strip, and choose the required mono output from the Output > Mono pop-up menu. Using Surround Panning in the Mixer Logic Pro allows mixdowns in several surround formats, even if your audio hardware offers only two outputs. Because it would be difficult to mix or record in surround format without being able to hear the result, it is best to not select this option if you’re monitoring or mixing through stereo speakers.
Using Binaural Panning in the Mixer Binaural panning allows the direction of a signal source to be recognized—in front, behind, above, below, and to the left or right of the listening position—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.
2 Double-click the Binaural Pan control to open the Binaural Panner window. This window behaves much like a plug-in window; it can be closed by clicking the close button in the top-left corner, and it can be linked using the Link button. Note: The Binaural Panner window is available only in mono to stereo and stereo to stereo format.
Getting to Know the Binaural Panner Window You control the panning effect in the Binaural Panner by positioning the panning pucks on the panning plane at the top of the window, and by adjusting some additional parameters. Following are descriptions of the window’s main elements. Pucks Panning plane 3D image Mode buttons Size field Doppler button Extended parameters Click the disclosure triangle to reveal these extended parameters.
• Doppler button: Enables or disables the Doppler effect—a change in the pitch of a signal perceived by a person who is moving relative to the source of the signal. • Extended parameters: Click the disclosure triangle to reveal additional parameters for headphone playback and for when you are in Planar mode. Using the Binaural Panner Window This section describes how to use the Binaural Panner window.
• If set to Spherical, the results are placed on a virtual sphere. If it helps, imagine the sphere as a virtual head. When the “direction puck” is placed in the top half of the circular plane, the sound is in front of the listener. As the direction puck is moved toward the lower half of the plane, the sound passes up, and over your head, and ends up behind you. 4 Set the size of the plane or sphere by doing one of the following: • Drag the Size field value up or down.
Using the Binaural Post-Processing Plug-in The Binaural Post-Processing plug-in is available in aux and output channel strips. This plug-in 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. For details about this plug-in, see the Logic Pro Effects manual.
As you are unlikely to have the technology required to make binaural recordings, your best chance of simulating binaural signals is by processing the sound signal on playback. This is known as the head-related transfer function (HRTF), which approximates the change that a signal undergoes on its way from the source to the eardrum. Working with MIDI Channel Strips in the Mixer This section deals with the MIDI channel strips of the Mixer, as well as those of the GM Mixer (see GM Mixer Objects).
Open the View menu in the Mixer and choose MIDI Channel Strip Components, then choose all of the items that appear in the submenu—Instrument Name, Program, Bank, Assign 1 to 5—so you will be able to see all of the parameters described below. The basic channel strip Level, Pan, and Mute controls are always shown on MIDI channel strips. Program Bank Assign 1 to 5 • Bank fields: If your sound source “understands” bank select events, you can choose the bank number for each of the MIDI channel strips.
• Program button: Allows you to select a sound by name—click it to open a menu that contains either GM sound names (the default setting) or sound names created or imported by the user. Each channel strip has its own menu, whose content can vary depending on the Bank number selected in the Bank fields. • Assign 1 to 5: Choose to display up to five knobs that you can freely assign to any MIDI controller number.
To assign a controller to one of the knobs 1 Click the label above the knob. 2 Choose a controller from the menu. Saving and Restoring MIDI Channel Strip Settings MIDI channel strip settings in the Mixer directly affect the Track Parameter box in the Arrange window’s inspector. The current settings of all channel strips are saved with the project.
To configure GS or XG effects 1 Choose a standard from the pop-up menu. Depending on your selection, other pop-up menus and fields for the extended effects appear. 2 Select a reverb or chorus effect from the second pop-up menu. 3 Drag the Time field vertically to set the reverb or delay time. Customizing the Mixer You can customize the Mixer in a number of ways to suit your own mixing needs. You can switch the Mixer between three different views, and refine these views even further using Filter buttons.
• Output channel strips—used as a routing destination for the original channel strip (or for other displayed channel strips)—shown in ascending order • The master channel strip Using Arrange View In Arrange view, the Mixer displays all channel strips that correspond to tracks—audio, instrument, or external MIDI—used in the Arrange window, and their signal flow. Note: The signal flow is visible only if the Add Signal Flow Channel Strips command is chosen from the Mixer’s View menu.
µ To automatically create a track for a selected channel strip in the Arrange area In the Mixer, choose Options > “Create Arrange Tracks for Selected Channel Strips.” Note: This function cannot be used to duplicate Arrange tracks. If the selected channel strip is already available as an Arrange track, the Arrange track will be selected and shown in the visible window area.
Note: To view channel strips associated with folder tracks, make sure Folder Tracks is chosen in the Mixer’s View menu. Folder track To enter the folder track Do one of the following: µ µ µ Double-click the folder track in the Mixer. Double-click the folder region in the Arrange area. Select the folder, then use the “Go Into Folder or Region” key command. The Mixer now displays only those channel strips that are in the folder track.
Viewing Track Notes in the Mixer Track-specific notes can be viewed, created, and edited in the Mixer area, as well as in the Notes area (see Working in the Notes Area). Unlike track notes in the Notes area, however, track notes in the Mixer area cannot be changed in regard to formatting. And only the first line of text from a track note in the Notes area is displayed in the Mixer area. You cannot view or edit any text after the first line break.
Using Link Modes in the Mixer The Link mode options—No Link, Same Level Link, and Content Link—allow you to define how information is displayed in the Mixer when working with folder tracks in the Arrange area. µ To set any of these modes Control-click (or right-click) the Link button in the Mixer, then choose the mode you want from the shortcut menu: • No Link: The Mixer does not follow display level changes when selecting, entering, or exiting folder tracks in the Arrange area.
To create new I/O labels for the Input, Output, and Send menus of channel strips 1 Click the button in the User column, aligned on the Channel row (Output 12, for example). 2 Double-click the “-” in the Long (name) column and type a new name for Output 12 (MLAN 12, for example). Click outside the row, or press Return. 3 Repeat the process for the Short (name) column (type 12, for example). The short name is used in the Send slots.
To copy a mixer setup 1 Select the project that contains the setup you want to copy. 2 Open the Mixer. 3 Choose Options > Copy Audio Configuration. To paste a mixer setup 1 Select the target project. 2 Open the Mixer. 3 Choose Options > Paste Audio Configuration. Adjusting Elements of Multiple Mixer Channel Strips You can select multiple channel strips in the Mixer, thereby creating a temporary group so that you can quickly adjust a number of settings for all selected channel strips at one time.
To deselect multiple channel strips Do one of the following: µ µ Choose the Deselect All command from the Mixer’s Edit menu. Click any unselected or selected channel strip in the Mixer. The clicked channel strip is then selected. µ µ Click the Mixer background. Click a track in the Arrange area that is not already selected in the Mixer. The clicked track is then selected in the Mixer. Adjusting Mixer Parameter Controls You can adjust some parameter controls on several channel strips simultaneously.
The Record Enable buttons of all selected channel strips (typically, audio channel strips) switch to the new mode. Note: Only channel strips with different input sources can be record-enabled simultaneously. Adjusting Mixer Plug-in Settings You can adjust some plug-in settings on several channel strips simultaneously. µ To choose an effect or instrument for all selected channel strips Click an unused Insert or Instrument slot on any of the selected channel strips, and make your choice from the list.
µ To adjust the send destination of all selected channel strips Click an unused Send slot on any of the selected channel strips, and choose from the list of Bus destinations (aux channel strips). The corresponding Send slots of all selected channel strips will be routed to the chosen destination. µ To adjust the input or output routing of all selected channel strips Click the Input or Output slot on any of the selected channel strips, and choose a setting form the menu.
µ To move to a specific channel strip type Open the View menu and choose Scroll To, then choose a command from the submenu (Outputs, for example). The entire Mixer view will shift to display the first of these channel strips at the right of the visible Mixer area. Tip: When you double-click the Output slot of any audio channel strip, you jump to the assigned Output channel strip fader, thus accelerating navigation in the Mixer.
The new name is applied to all selected channel strips. Note: If the track name ends with a number, this number will automatically be incremented by 1 for each subsequent channel strip. To turn off automatic numbering, place a space after the number at the end of the name you type. All selected channel strips will then end with the same number.
Working with Automation 28 Logic Pro features a sophisticated, yet simple-to-use, track-based 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, among others. You can automate all mix functions in Logic Pro, without restriction.
• Offsetting Automation (p. 822) • Editing Track Automation Data in the Event List (p. 824) • Writing Track Automation with External Controllers (p. 824) • Using Hyper Draw in the Arrange Area (p. 826) • Conversion of Automation Data (p. 830) 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 gray automation area appears on all tracks, and the Automation Parameter menu is displayed in the track header. This allows you to choose the visible automation parameter. It is automatically set to Volume. Automation Parameter menu Automation can only be displayed when a track is of a sufficient height. Turning on track automation automatically sets a suitable vertical zoom level. µ To resize one or more tracks Drag the lower-left corner of a track header (in the track list) to resize it.
This can be the Volume fader, pan pot, or any other parameter of the track’s channel strip. The parameters are represented by the following preset colors when displayed as a curve in the automation track: • Yellow for Volume automation • Green for Pan automation • Yellow for Solo automation Only parameters that actually control something in the selected track’s channel strip (or its plug-ins) are displayed in the Automation Parameter menu.
2 Click the Arrange tab, then adjust the Regions and Other Data sliders in the Automation Transparency section. You also have the option of viewing each automation parameter on its own subtrack, making it easier to see what is being controlled. µ To view automation data on subtracks Click the disclosure triangle to the lower left of a track name. This opens a separate automation sub-lane, below the track.
µ To view all recorded automation data on subtracks Option-click the (closed) triangle to open up to 30 automation subtracks, which will display existing (already recorded) automation data. Only as many automation subtracks as required will open, so if you have recorded automation data for ten parameters, nine subtracks will open. The active automation parameter remains on the top track. Option-click the open triangle to collapse all automation subtracks.
µ To set the same automation mode for all tracks Press Option, and choose an automation mode in the Automation Mode menu in the Mixer or Arrange channel strip. To set the same automation mode for selected channel strips 1 Choose channel strips by Shift-clicking their names in the Mixer. 2 Choose an automation mode in the Automation Mode menu of one of the selected channel strips.
If a channel strip or an external (touch-sensitive) automation controller is touched, the existing track automation data of the active parameter is replaced by any controller movements—for as long as the fader or knob is touched. When you release the controller, the automation parameter returns to its original (recorded) value. The time required by a parameter to return to its previously recorded setting is set via Logic Pro > Preferences > Automation > Ramp Time.
2 Select checkboxes in the “Write Automation for” section. The Write Mode Changes To menu determines the mode that Logic Pro switches to after a Write operation has been executed. 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 Track > Track Automation > Delete all Automation on Selected Track (or Delete All Automation, respectively).
• Choose a parameter in the arrange track list, and move the value slider to the right of the track list, with one of the write modes turned on. • Move the faders or knobs of a connected hardware controller, with one of the write modes turned on. See Writing Track Automation with External Controllers. • Use the Pointer tool or Pencil tool to draw your automation data. When one of the write modes is active, you can record track automation data when Logic Pro is in record or playback mode.
• Click outside of all track automation lanes (on the Arrange area background) to deselect all automation data. • Drag a selected area to move all selected nodes (and connecting lines). Moved automation data automatically erases any data that exists in the destination area. • Shift-dragging allows a rectangular selection. The selected area will toggle. • Option-clicking, when no automation data is selected, selects all data behind (following) the current mouse position, allowing you to drag this selection.
Nodes will be created along the line. You can create one or two nodes on each side of a rectangular selection area. µ To create one node on each side of a rectangular selection area Hold down the Option and Shift keys while dragging with the Pointer tool to make a rectangular selection. µ To create two nodes on each side of a rectangular selection area Hold down the Option, Control, and Shift keys while dragging with the Pointer tool to make a rectangular selection.
• Delete All Automation on Selected Track: Removes all types of automation data from the selected track (default key command assignment: Shift-Control-Command-Delete). • Delete Orphaned Automation on Selected Track: Removes all orphaned automation data from the selected track. Automation data can be orphaned when copied between tracks. • Delete All Automation: Removes all types of automation data from all tracks.
Note: Moving automation data that resides on a grouped track, and with the relevant checkboxes selected in the Group Settings window (volume, pan, sends), will also move automation data that exists in the same area on other tracks in the group. The relative parameter values of each track are maintained. You can move regions with, or independent from, track automation data.
A dialog asks if you want to convert, or “copy and convert,” the source parameter data into automation data for the destination parameter. The “copy and convert” option 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 µ To bend an automation line Drag an automation line with the Automation Curve tool.
To adjust the track automation data for an entire automation lane Do one of the following: µ Hold down Command while dragging vertically in the numerical value display. µ Hold down Command while dragging vertically in the value slider. Note: When you hold down Command, a short-click in the numerical value display or the value slider selects the current parameter automation data on that track.
To offset your automation when Snap Automation is active 1 Open Automation preferences by doing one of the following: • Choose Automation Snap Offset in the Snap menu. • Choose Logic Pro > Preferences > Automation (or use the corresponding key command). • Click the Preferences button in the Arrange toolbar, then choose Automation from the menu. 2 Adjust the Snap Offset parameter in tick values (these can be either positive or negative).
Editing Track Automation Data in the Event List Logic Pro allows track automation data to be altered in a dedicated Event List window, which can only be opened via the Automation Event List key command (default assignment: 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.
Enabling and Disabling Automation Quick Access If you choose the modulation wheel for Automation Quick Access, you might want to switch between using it for Automation Quick Access and normal modulation wheel duties—as MIDI controller 1. This is most efficiently done with the Toggle Automation Quick Access key command (default assignment: Control-Option-Command-A).
µ To activate Hyper Draw for the currently selected regions or events in the Arrange area, Piano Roll, or Score Editor Choose an event type directly from the View > Hyper Draw menu. The chosen event type is displayed as a controller number, or by name, in the upper-left corner of the Hyper Draw area. You can choose different Hyper Draw parameters for each MIDI region in the Arrange area, if needed. You can use multiple types of Hyper Draw information for each region.
µ To set the MIDI Channel Choose a channel number from the View > Hyper Draw > Channel submenu. The chosen channel number is also displayed alongside the event type. µ To define other MIDI controllers in Hyper Draw Choose View > Hyper Draw > Other, and select the number of the controller and the MIDI channel in the Hyper Draw window. Use this option if you want to use Hyper Draw to edit a controller that isn’t directly available in the Hyper Draw menu.
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. The (End Line) help tag is shown, along with a green line, which can be visually positioned onscreen. Keep an eye on the help tag while moving the line. 3 Click an end point—both vertical and horizontal—to automatically scale all note velocities, aligned with the inserted line.
• 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. This allows you to move control data from regions in the Arrange area to the track-based automation system, or the reverse.
Bouncing Your Project 29 You can render all or specific channels to one or more audio files, and even burn directly to a CD or DVD with the Bounce function. The Bounce process allows you to create an audio file (in several different file formats simultaneously), or multiple surround audio files, based on all channel strips routed to the selected output channel strip. All parameters, including volume, pan, and effects, are recorded as part of the bounce file.
Stage 2: Define the Bounce Range Define the bounce range. See Defining the Bounce Range. Stage 3: Set the Bounce Parameters Set the parameters in the Bounce window. See Defining Parameters in the Bounce Window. Stage 4: Set the Bounce Filename and Folder Enter a destination name and folder for the bounce files. See Setting the Bounce Filename and Folder. Stage 5: Perform the Bounce Click the Bounce (or Bounce & Burn) button in the Bounce window.
Defining the Bounce Range Before bouncing, it is best to define the range of the project that you want to bounce. The default values for the Start and End position fields in the Bounce window encompass the entire Logic Pro project if no regions are selected, or if the Cycle function is inactive. • If the Cycle function is engaged, the bounce start and end positions match the locator positions.
Defining Parameters in the Bounce Window After routing channel strips to an output (see Routing Channel Strips to an Output) and defining a bounce range (see Defining the Bounce Range), you should define the bounce parameters in the Bounce window. To open the Bounce window Do one of the following: µ µ 834 Choose File > Bounce from the main menu bar to bounce output channel strips 1 and 2. Click the Bounce button on the relevant output channel strip.
Setting Global Parameters in the Bounce Window Several global options are available in the Bounce window, regardless of the file types being bounced. • Destination pane: You activate an option in the Destination pane by clicking its name and selecting its checkbox. You can select multiple checkboxes, if you like. If you do so, multiple files are created, with the appropriate file extension: filename.aif, filename.mp3, filename.m4a.
• Start and End fields: These fields define the boundaries of the project segment that you want to write to the bounce file. The defaults for these fields are set in the following way: • If the Cycle function is engaged, the boundaries are set to the locator positions. • If a selection is made in the Arrange window, the boundaries are set to the selected area. • If neither of the above is valid, the boundaries encompass the entire Logic Pro project.
• Normalize pop-up menu: You can choose between the following three states: • Off: Normalization is turned off. • Overload Protection Only: Downward normalization takes place in case of overloads (levels above 0 dB, which would lead to clipping), but no normalization takes place for lower levels. • On: The incoming audio is scanned for the highest amplitude peak. The level of this peak is increased to the maximum possible level (without clipping), and all other incoming audio is increased by this amount.
• Dithering pop-up menu: Dithering is recommended when bouncing 24-bit recordings into 16-bit files. • Surround Bounce checkbox: Select this checkbox to bounce all outputs in the project surround format (File > Project Settings > Audio > Surround Format). Each surround channel is bounced to a separate file. All surround outputs are bounced simultaneously, regardless of which output channel’s Bounce button is clicked (or if the Bounce window was opened via File > Bounce).
If the PCM option is unselected in the Destination pane, a temporary PCM file is bounced as a source for encoding to MP3/M4A: AAC or burning to a CD, according to the options selected in the PCM pane. Selecting the MP3 option in the Destination pane automatically disables the PCM > Surround option (following a warning message). This is because the MP3 format does not support surround. Split Stereo format is, however, possible, even if the encoded MP3 file is set to Joint Stereo mode.
• Quality pop-up menu: Keep this set to Highest (the default) whenever possible. Reducing the quality accelerates the conversion process, but at the expense of audio quality. • “Use best encoding” checkbox: Like the Quality parameter, if you deselect this option, you gain encoding speed at the price of audio quality. This should always be selected, unless conversion time is an issue.
Select the “Use default values” checkbox to display default settings for certain Content column entries. For example, the Project Title and Tempo (Beats Per Minute) are automatically filled in. Selecting the “Use default values” checkbox also sets the Initial Key pop-up menu to the first entry shown in the global Signature track. This is “default: C” if no key has been set for the project. You can choose another key from the menu.
• “Add to iTunes library” checkbox: Adds the encoded file to the iTunes library. Choosing the M4A: AAC option in the Destination pane disables PCM > Surround (following a warning message). Split Stereo is, however, possible. If the selected sample rate is higher than 48 kHz, a copy of the bounced PCM file is created (with an automatic sample rate conversion to 48 kHz) before encoding. This conversion takes place because the M4A: AAC format does not support sampling rates higher than 48 kHz.
Simulate Write Only The “Simulate write only” option, as the name suggests, simulates a CD/DVD burn, but does not write data to the blank media. This can be used either alone or in conjunction with the “Write as multi session” option (if burning a CD). Write As Multi Session The “Write as multi session” option is only available when CDDA is chosen in the Mode pop-up menu. This option allows you to add a data session to the same CD at a later date—to add the project folder, for example.
Setting the Bounce Filename and Folder By default, bounce files are: • 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. • Saved in the Bounces sub-folder of the project folder, but you can choose any folder on any volume. To set the bounce filename and folder 1 Type a new filename in the Save As field to change the default filename.
You can choose between the following dithering modes: • None: No dithering is applied. • POWr #1 (Dithering): A special dithering curve is used to minimize quantization noise. • POWr #2 (Noise Shaping): Additional noise shaping is used over a wide frequency range, which can extend the dynamic range of the bounce file by 5–10 dB.
Creating Apple Loops 30 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. 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.
Creating Apple Loops in Logic Pro When you save a region as an Apple Loops file in Logic Pro, the region is added to the loop library and appears in the Loop Browser, allowing it to be used in other projects. The tempo information of the project is used to tag the transients of user-created Apple Loops. This function works best if your audio files match the project tempo as precisely as possible.
• Set the file type, which can be One-shot or Looped. If the length of the audio file is not precisely trimmed to contain a number of whole bars, One-shot is selected automatically, and the file type buttons are dimmed (and inaccessible). Note: One-shots do not follow the project tempo and key. This is useful if you want to add discrete, nonmusical sounds (such as sound effects) to the loop library.
Because one-shots are handled like normal audio files, the usual stereo or mono region symbol is shown alongside the filename (rather than the Apple Loops symbol). If you want to create a looped Apple Loops file from an audio file that does not match the project tempo, you should use the Apple Loops Utility. The Apple Loops Utility allows you to define the intended length of the loop, regardless of the project tempo, by manually setting the Number of Beats and Time Signature tags.
You can use one of the following options to ensure that loops created from software instrument regions will sound the same as the original regions: • Drag your SIAL (the original of which was assigned to bus sends) to an audio track instead of an instrument track. When you create a software instrument loop, the audio file that is rendered will include any bus processing. This will sound identical to the original.
There are two possible reasons for the wrong length: • The audio recording was recorded at the project tempo, but not cut correctly. In this situation, you can reduce the length of the recording using the Shorten button. The purpose of the Shorten button is to cut off small areas before the first bar/beat and after the last bar/beat of a region.
3 In the Add Region to Apple Loops Library dialog that appears: • Type in a name for the loop, choose the scale, genre, instrument category, instrument name, and appropriate mood descriptions—to simplify searches. • Set the file type, which can be One-shot or Looped. If the length of the audio file is not precisely trimmed to contain a number of whole bars, One-shot is selected automatically, and the file type buttons are dimmed (and inaccessible). Note: One-shots do not follow the project tempo and key.
As an alternative, you can use the Batch Convert function found in the Browser to simultaneously convert multiple ReCycle files into Apple Loops. To convert multiple ReCycle files into Apple Loops 1 Select the ReCycle files in the Browser. 2 Open the action menu, and choose Convert ReCycle Files to Apple Loops. 3 In the dialog that appears, select a location for the converted files.
Adding Acid Loops to the Loop Browser The Loop Browser also displays Acid Loops. Acid Loops don’t contain tags like Apple Loops. In Acid Loops, this information is derived from the surrounding folder structure (especially the names of folders), which must comply with certain standards. This means that it’s not possible to drag an individual Acid Loops file into the Loop Browser. As such, you need to drag the entire CD (or folder) that contains the Acid Loops into the Loop Browser.
The Change Display Only mode does not work with Apple Loops used on audio tracks. This shouldn’t pose a problem, as you won’t normally need this function when working with Apple Loops. There is one exception, however: some Apple Loops contain chord progressions. These chord progressions are not displayed in the Chord track. Unfortunately, you can’t use the Chord track’s Change Display Only mode to match the displayed chords to what is actually being heard.
The global Transpose track transposes Apple Loops used on audio tracks by a maximum of that great when transposed over a greater range. This is also true for the Transposition parameter of the Region Parameter box. Apple Loops Transpose to the Wrong Octave Transposing an Apple Loops file to a higher pitch may result in the loop being played back at a lower pitch, and vice versa.
If you want to turn an Apple Loops file into an audio file that uses the project’s tempo and key settings, select the loop (or loops) and choose File > Export > Region as Audio File. Be sure to select the “Add resulting files to Audio Bin” checkbox to use the new file in your current project. This will export the Apple Loops file as a new audio file with all plug-in effect processing of the track/channel on which the Apple Loops file is placed.
Working with Notation 31 The Score Editor allows you to view and edit MIDI regions as traditional music notation. This chapter will not teach you music theory, nor how to read or write music notation. Its purpose is to introduce you to the way Logic Pro allows you to create, edit, lay out, and print music—in notation form. This chapter covers the following: • Opening the Score Editor (p. 860) • Getting to Know the Score Editor (p. 862) • Understanding the Basic Scoring Stages (p.
• Selecting Multiple Regions in the Score Editor (p. 950) • Display Parameters (p. 951) • Hidden MIDI Regions (p. 956) • Using Note Attributes to Change Individual Notes (p. 956) • Working with Staff Styles (p. 962) • Using Score Sets to Create Scores and Parts (p. 983) • Preparing the Score Layout for Printing (p. 989) • Exporting the Score as a Graphic File (p. 994) • Customizing the Score Editor’s Appearance (p. 995) Opening the Score Editor There are several ways to open the Score Editor in Logic Pro.
µ Drag the Score button, which changes to the Score Editor window as you drag it. µ Hold down the Option key and double-click any event in the Piano Roll Editor.
Getting to Know the Score Editor The main elements of the Score Editor are as follows: Event parameter box Display parameter box Part box • Display Parameter box: Allows you to modify the rhythmic display of MIDI regions, without altering playback. • Event Parameter box: Allows you to change the appearance and positioning of objects. • Part box: Contains groups of objects that can be inserted into the score.
• Stage 4: Inputting Events, Symbols, and Text • Stage 5: Editing the Whole Score • Stage 6: Printing a Score Stage 1: Getting Notes into the Score There are basically three ways you can do this: • Real-time recording from your MIDI keyboard. (See Entering Notes and Symbols Using Real-Time Recording.) • Step recording, using either your MIDI keyboard or the Caps Lock keyboard. (See Entering Notes and Symbols Using Step Input.) • Manual entry with the computer keyboard or mouse.
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.
This function can also be used on multiple selected notes, which is useful on those rare occasions when the display settings don’t deliver acceptable results. Stage 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.
µ To switch between the default score display (called the Linear Score view) and Page Score view Click the Page View button (to the left of the Layout menu button). Tip: You should use Linear Score view for editing, as screen redraws are much faster, especially on slower computers. Page Score view should only be used for layout work, in preparation for printing. Further details on Page Score view can be found in Customizing the Score Editor’s Appearance.
• Fast input of symbols by assignment to selected notes with key commands. These are available for some symbols that are attached to notes (accents, jazz symbols, and so on), and slurs or crescendi. • Hyper Draw 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). See Creating and Editing Controller Events Using Hyper Draw for more information.
• The Display Quantize setting should be set to the smallest note value that you intend to insert. (See Quantize.) 2 Set the first playhead insert position by Option-clicking the staff at the appropriate point. The selected position is displayed in the help tag while the mouse button is pressed. This function is especially helpful in Page Score view, where no Bar ruler is displayed. Note: You can only set the playhead position when Logic Pro is stopped.
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 appropriate MIDI region. The target MIDI region is automatically selected (green 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.
µ To display the Insert Defaults settings Click anywhere in the background of the working area. When inserting events into a staff that uses a polyphonic staff style, only MIDI channels that correspond to those of the voices can be used. (See Adding Staffs to a Staff Style.) 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 can make the multiple MIDI region selection in either the Arrange area or the Score Editor. Shift-click (or drag to select) all applicable regions or staffs. Following selection, the top line of the Display Parameter box indicates 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 cannot be inserted into individual, selected staffs.
µ To resize the Hyper Draw area Grab and vertically move the dividing line that separates the Hyper Draw area from the Score Editor area. For more information, see Using Hyper Draw in the Arrange Area. Note: Hyper Draw can only be used in Linear Score view, and when a single MIDI region is displayed. If you switch to another view (Page Score view, or Full Score view), the Hyper Draw area disappears.
µ To change the arrangement of groups Click one of the squares in the Part Box Group menu. The corresponding group moves to the top of the panel, allowing easy access to its elements. Note: Any element 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. µ To lock Part box group positions Choose View > Partbox > Lock Group Positions.
The palette windows can have different shapes, depending on the modifier key you hold down while double-clicking a Part Box Group menu square: • Normal (Control key) • Vertical (Option key) • Horizontal (Command key) 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.
• Three times selects the dotted value. • Four times returns to the original value. Further key commands can also change the selection inside the Part box: • 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.
Note Objects in the Part Box The Part Box Group menu square that represents notes, in the top section of the Part box, is divided into three parts: notes, dotted notes, and triplet notes. These correspond to three note object groups. µ To move the note, dotted note, or triplet note group to the top of the group panel Click the corresponding symbol (note, dot, or 3) within the note square. Inserting any of these symbols creates a MIDI note event, of the exact note length value.
Sustain Pedal Symbols in the Part Box 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 in the Part Box Dynamic 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 Head Symbols in the Part Box 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 attaches it to all notes in the selection. Altered note heads do not affect MIDI playback.
The gray note head makes a note’s head, and associated ties, invisible. This note is displayed with a gray note head onscreen, allowing further edits. Nothing but the stem is visible in the printout. Invisible note head If you combine this feature with the Attributes > Stem > Hide command, you can completely hide these notes in the printed score. Symbols Attached to Notes in the Part Box This group contains symbols that usually only refer to one note at a time.
Note: The symbols in this Part box group can affect the velocity and playback length of notes they are assigned to. µ To make these symbols affect playback Define the effect of each symbol, separately, in the File > Project Settings > Score > MIDI Meaning pane. (See MIDI Meaning Settings.) Slurs and Crescendi Objects in the Part Box These symbols are graphic only, and have no impact on MIDI playback. To insert a slur or crescendi object 1 Drag the object to the intended (left) starting point.
Key Signature Symbols in the Part Box Key signatures inserted in the Score Editor (or global Signature track or Signature List) affect all instruments on all display levels. This is reflected both visually and in MIDI playback. Natural symbols are automatically displayed with a new key signature, when necessary (when changing from A flat major to F major or A major, for example).
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 objects, the Time Signature dialog opens, allowing you to set the time signature. For more information see Working with Time and Key Signatures.
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 and Bar Repeat Signs in the Part Box Rests are displayed automatically in Logic Pro. Existing notes and automatic rests always add up to complete bars, which match the given time signature.
D.S., D.C., Segno, and Coda Signs in the Part Box 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 in the Part Box You can insert these symbols at any position. The font, size, and style of the tempo indicator is determined in the Text Style window. (See Working with Text Styles.
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 in the Part Box Jazz symbols, as the name suggests, are typically used for jazz notation. They generally indicate a particular playing technique or style, emphasis, or mode. µ To assign any of these symbols to a note Drag the symbol onto a note head.
Page and Line Break Symbols in the Part Box Break symbols (and No Line Break and No Page Break objects) can be inserted as events. Once inserted, they cannot 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.
General Editing in the Score Editor This section covers basic editing methods that are used in the Score Editor. For general MIDI editing information, see Introduction to MIDI Editing. Using Shortcut Menus in the Score Editor Many selection, editing, and other commands can be accessed by Control-clicking in the Score Editor. Make use of these shortcut menus to accelerate your workflow.
• Absolute Change (all values set to an equal value): Hold down Option while grabbing the “*” with the mouse, and use the mouse as a slider. As soon as you move the mouse, the parameter is set to the same value for all selected objects. This allows you to set all notes of a chord to the same length or velocity, or set all selected objects to the same height (Vertical Pos), for example.
µ To restrict movement to one direction (vertical or horizontal) Hold down the Shift key while dragging. There is also a general preference for this constraint: Logic Pro > Preferences > General > Editing > Limit Dragging to One Direction In: Piano Roll and Score. The Impact of the Display Quantization Parameter Movement along the time axis (horizontal) is affected by the display quantization grid (Quantize) setting.
To paste the Clipboard contents into several regions 1 Select all appropriate regions (either in the Arrange area or Score Editor) by Shift-clicking the staffs/regions, or dragging to select adjacent regions. The Display Parameter box title line always indicates the number of regions that are currently selected. (See Transcribing MIDI Recordings.) 2 Choose Edit > Paste Multiple (or use the Paste Multiple key command.
To delete an object Do one of the following: µ µ Select the object, then choose Edit > Delete (or press the Delete key). Click the object with the Eraser tool. Note: Repeat signs and special bar lines cannot be selected. They can only be deleted with the Eraser tool. Repeating Events in the Score Editor The Repeat Events command is especially useful for copying complete bars (or multiple copies), without setting any bar positions.
An alias can be assigned a staff style different from its parent region. (For information on staff styles, see Working with Staff Styles.) For example, imagine a melody that you want to be played in unison by several instruments: • You can set up a melody to be played in unison by several instruments by creating several aliases of a regular MIDI region (the melody).
Using the Layout Tool The Layout tool (located in the Score Editor’s Tool menu) is used to graphically move events in the Score Editor, in order to optimize the display without altering the timing of MIDI events. • Symbols and text: When symbol or text objects are moved with the Layout tool, the bar position is retained. The Horizontal Position and Vertical Position parameters, however, are changed (as indicated in the help tag during the process).
Resizing Notes and Symbols in the Score Editor You can change the size of any notes, and most symbols, with the Resize tool (located in the Score Editor’s Tool menu). µ To change an object’s size Grab the object with the Resize tool, and move the mouse up or down. µ To reset an object to its original size Double-click it with the Resize tool (and click OK in the dialog).
µ Grab one (or several) notes with the Velocity tool, and move the mouse up or down. The value change can be seen in the help tag, and can also be heard if the MIDI Out button is activated. Tip: Grabbing a note with the Pointer tool—while holding down the Option and Control keys—activates the Velocity tool, saving you a trip to the Tool menu. Once you release these modifier keys, the pointer returns to its previous shape and function.
Creating and Editing Tied Notes in the Score Editor Notes that are displayed as several graphical notes, connected with ties, only represent one actual MIDI note event. Ties cannot be inserted directly into Logic Pro, but are created and displayed automatically, according to the length of the MIDI note. As such, you need to approach the creation of ties as follows: To create tied notes 1 Insert a note value that is shorter than the one you want to insert.
Creating and Editing N-Tuplets in the Score Editor The symbol for N-tuplets is found in the triplet group. N-tuplets are groups of notes that are evenly spaced (by condensing or expanding them) over a specific time period. The most common tuplet is the triplet, a group of three notes; for example, a group of three eighth notes played within the space of one quarter note. N-tuplet symbol Depending on the situation, Logic Pro usually recognizes and notates regular triplets correctly.
• Tuplet note values: Choose from 1/8, 1/16, 1/32 (and so on) tuplets. • Hide Bracket: The bracket is not displayed. • Hide Numbers: The N-tuplet’s number will not be printed. It will, however, be displayed in parentheses. This is necessary for further edits to the N-tuplet. • Show Denominator: The N-tuplet display also contains the denominator (the second number in the dialog). This is 5:4 in the example above. • Direction: The direction of the bracket and number.
The method described above also allows you to create N-tuplets which contain rests or syncopated note values (double length). Tip: If you want an N-tuplet to begin with a rest, you first need to insert a user rest from the Part box, then drag the N-tuplet symbol onto the rest. Automatically displayed rests cannot function as starting points for N-tuplets. µ To edit tuplets Double-click the N-tuplet number, then select settings in the Tuplet window.
• Independent Grace: These are always displayed as miniature eighth notes, with a slash across the stem, and a tie. The tie direction, stem direction, enharmonic interpretation, accidental distance, and note head can be changed. Both types of independent notes can only appear as single notes, without beams to other notes.
• They can be moved vertically. Automatic rests cannot be moved. • They can be resized with the Resize tool. Automatic rests cannot be resized. Using Multi Bar Rests in the Score Editor Rests with a duration of several bars can be indicated by these two symbols. Modern rest Church rest These are most suitable for single instrument parts. Note: In the Full Score view (where multiple regions or staffs are displayed), they are only visible when all staffs contain multi bar rests at the same position.
Note: Church rests cannot be longer than nine bars. If this length is exceeded, the modern symbol automatically replaces the church rest. Multi bar rests cannot be moved with the mouse. You can, however, change their bar position in the Event List or Event Float window. You can also alter the length of the rest (shown in the VAL column) in these windows. Using Beat Slashes in the Score Editor Beat slashes can be used in place of automatic rests, or they can be manually inserted.
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). • Choose File > Project Settings > Score (or use the corresponding key command), then click the Clefs and Signatures tab. • Click the Settings button in the Arrange toolbar, choose Score from the menu, then click the Clefs and Signatures tab. 2 Choose a value in the Smaller Clef Changes pop-up menu.
These commands place the corresponding object below or above (Slur Up) the currently selected notes. The start point is determined by the first selected note; the length of the object, by the most recently selected note. The shape and vertical position of each object is determined by the settings of the most recently edited object of the same type. Changing the Position of Objects in the Score Editor All Slurs and Crescendi can be moved by dragging the mouse from the object’s leftmost starting point.
Particular Attributes of Certain Symbols Certain symbols contain particular attributes: • Crescendo: The tip determines the general position. At the upper-right end, length and opening angle can be adjusted. At the lower-right end, 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 in the Score Editor 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.
1st and 2nd Endings Following the insertion of one of the repeat endings, text entry mode is automatically activated. The default text is “1.” and “2.” If suitable, confirm with Return. If unsuitable, you can freely enter any text into these brackets. The bracket that defaults to “2.” is open—without a vertical end line, like the “1.” ending. Because the text can be changed, you also can create a 2nd ending with a vertical line, for example.
To insert text in the score 1 Select a text object in the Part box. 2 Do one of the following: • Drag the text object to the desired position. • Select the Text tool (or use the Set Text Tool key command), then click the position where you want the text to appear. An insertion point appears at the target position. (If you choose one of the automatic text objects, the respective text is inserted automatically.) 3 Enter text with the computer keyboard.
Each text object (except text in the header, or at or outside of 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 number value: 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).
µ To open the Text Styles window Choose Text > Text Styles in the Score Editor. The first 15 lines contain the default text styles, which exist in every project (but can be edited, according to your needs). Below these are user-created text styles. User text styles are saved with the project file, allowing them to be different for each project. Each line shows the name, and an example, of the text style.
• Tempo Symbols: Used for the display of numbers in tempo symbols. (See Tempo and Swing Symbols in the Part Box.) • Octave Symbols: Used for the display of octave symbols. (See Clefs & Signatures Settings.) • Note Heads: Used for the display of note heads. • Guitar Grid Fingerings: Used for the display of guitar grid markings. • Guitar Markings: Used for the display of guitar markings. • Fingerings: Used for the display of fingering markings.
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. The position of global text does not relate to bar positions (unlike regular text objects), but is defined as a graphic position on the page. Given this behavior, global text can only be inserted and seen in Page Score view.
When a global text object is selected, the Event Parameter box contains some additional parameters: • Align pop-up menu: Although alignments relating to bar positions are shown in the pop-up menu, they cannot be chosen here. • Pages pop-up menu: Defines the pages that the global text object will be displayed on. You can choose between the following options: • 1: The text will only be displayed on the first page. • 2: The text will be displayed on all pages except the first one.
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 or regions). For 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. Working with Lyrics You can use the lyric object to quickly add lyrics to a song.
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, to select all lyric objects. 3 Use the Align Object Positions Vertically key command. Note: You don’t want to use this method if there are multiple lines of lyrics for different verses.
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: • First, enter the root, then the extensions, then—after typing a slash—the (optional) additional bass note. • As soon as you enter a number, everything following it is placed in the upper extension line.
µ Double-click one of the extensions. An insertion point appears in the extension line, allowing you to edit the extension the same way you do regular text. The appearance of chord symbols can be edited in the Text Styles window by changing the text styles assigned to the chord root and extensions. (For more information about text styles, see Working with Text Styles.) To change the appearance of chord symbols 1 Open the Text Styles window by choosing Text > Text Styles in the Score Editor.
Transposing Chord Symbols Chord symbols inserted into transposing staff styles are transposed automatically, just like notes. Furthermore, if the Transposition parameter (for playback transposition) in the Region Parameter box is changed, all chord symbols in the MIDI region are affected accordingly.
The Chord Grid Library window consists of two or three tabbed pages, depending on which method you use to open the window. These tabbed pages are the Instrument Editor, Chord Grid Selector, and Chord Grid Editor. To open the Chord Grid Library Do one of the following: µ µ µ µ µ Choose Logic Pro > Preferences > Chord Grid Library in the main menu bar. Click the Preferences button in the Arrange toolbar, then choose Chord Grid Library from the pop-up menu.
Getting to Know the Instrument Editor The Instrument Editor pane allows you to view, create, and edit instrument tunings and chord grid libraries. You can also import and export chord grid libraries. The Instrument Editor pane includes the following parameters: • Name column: Displays the instrument tuning name. Can be edited by double-clicking. • Library column: Displays the chord grid library name. Can be edited by double-clicking. • Tuning column: Displays the instrument tuning.
Getting to Know the Chord Grid Selector The Chord Grid Selector allows you to select and filter individual chord grids from your instrument tunings and chord grid libraries. This pane includes the following parameters: Instrument Parameters • Name pop-up menu: Choose the name of the instrument tuning you want to use. • Tuning field: Displays the default tuning for the chosen instrument. • Number of Strings field: Displays the default number of strings for the chosen instrument.
• Left-Handed checkbox: Change the chord grid view to suit left-handed users. Other Parameters • Playback button: Click to listen to a selected chord grid. • Action pop-up menu: Choose how the chord grid strings are played back and at what tempo. • Chord: All strings are played back simultaneously. • Arpeggio Up, Arpeggio Down: Each string is played back one after the other. • Slow, Medium, Fast: Playback tempo. • Delete button: Click to delete a non-factory chord grid.
• Number of Strings field: Displays the default number of strings for the chosen instrument. • Capo pop-up menu: Choose the fret on which to place the Capo. Choose “0” to play at the original chord, “1” to place a Capo on the first fret, and so on. Chord Parameters • Name field: Enter a name for the chord grid. • Root Note pop-up menu: Choose a root note for the chord grid. • Bass Note pop-up menu: Choose a bass note for the chord grid. • Chord Type pop-up menu: Choose a chord type for the chord grid.
To insert a chord grid symbol 1 Do one of the following: • Drag a chord grid symbol from the Part box into the score. • Choose a chord grid symbol in the Part box, then click within the Score Editor with the Pencil tool. Either technique opens the Chord Grid Selector pane in the Chord Grid Library window. 2 Select the chord you want to insert. 3 Click OK.
After inserting chord grid symbols in your score, you can edit their size and position accordingly. µ To change the scale of a chord grid symbol Control-click (or right-click) a chord grid symbol, then choose one of the following from the shortcut menu: • Scale: reduced • Scale: normal • Scale: enlarged The scaling values are based on the Grid scaling and Chord scaling settings in the File > Project Settings > Score > Chords & Grids pane.
µ To align selected chord grid symbols vertically Select multiple chord grid symbols, Control-click (or right-click) any one of them, then choose Align Object Positions Vertically. The selected chord grid symbols are aligned vertically. To align all chord grid symbols vertically 1 Control-click (or right-click) a chord grid symbol, then choose Align Object Positions Vertically. You are asked if you want to align all similar objects to this one. 2 Click OK. All chord grid symbols are aligned vertically.
µ To modify the chord of an existing chord grid symbol Double-click the chord grid symbol, choose another in the Chord Grid Selector, then click OK. Creating and Editing Chord Grids in the Chord Grid Editor You have many possibilities when creating new chord grids from scratch, or when modifying existing chord grids. For full details about any of the parameters mentioned in this section, see Getting to Know the Chord Grid Editor.
µ To display higher frets in the chord grid view Click 1st to open a pop-up menu, then choose another fret number. Creating, Editing, and Deleting Fingering Dots You can create, edit, and delete fingering dots on a chord grid. µ To create a fingering dot Click the string and fret. A black dot is created.
To move an existing fingering dot Do one of the following: 930 µ Click another fret on the same string. µ Drag the dot to a new fret position.
µ To define the finger number on a fingering dot Control-click (or right-click) a dot, then choose a number between 0 and 5. To create an optional fingering dot Do one of the following: µ Option-click a string to create an optional dot. If another real dot exists on the same string, the real dot remains.
µ Option-click an existing dot to change it to an optional dot. An empty string is shown as a result. To delete a fingering dot Do one of the following: µ 932 Select a dot so that it turns green, then press the Delete key.
µ Click the area at the top of the string. The result is the same using either approach: the string is open. Creating, Editing, and Deleting Barres You can create, edit, and delete barres on a chord grid.
To create a barre Do one of the following: 934 µ Drag the left or right edge of an existing dot to the right or left. µ Place the pointer over a string, then drag to the left or right. µ To move an existing barre Drag the barre to a new fret position.
µ To delete a barre Select a barre so that it turns green, then press the Delete key. Muting and Unmuting Strings You can mute and unmute strings on a chord grid. µ To mute a string Click the area at the top of the string.
The string is muted. µ 936 To unmute a string Click the area at the top of the string.
The string is open. Creating, Renaming, and Deleting Chord Grid Libraries You can create a new chord grid library for an existing instrument tuning, or you can create a new chord grid library for a new instrument tuning. You do this from the Instrument Editor tab.
• Choose Layout > Chord Grid Library in the Score Editor’s menu bar, then click the Instrument Editor tab. 2 Click the Create button. 3 In the Create Library dialog that appears, define the following parameters: • Library Name field : Type in a name for the chord grid library. • Tuning pop-up menu: Choose the instrument tuning in which you want to add the library. • Number of Strings pop-up menu: Leave this at the default setting.
3 In the Create Library dialog that appears, define the following parameters: • Library Name field: Type in a name for the chord grid library. • Tuning pop-up menu: Leave this at the default setting. • Number of Strings pop-up menu: Choose the number of strings. 4 Click Create to add a new instrument tuning, also containing the newly created chord grid library. You can also rename and delete chord grid libraries.
Importing and Exporting Chord Grid Libraries You can import and export chord grid libraries from the Instrument Editor tab. To import a chord grid library 1 Open the Instrument Editor pane by doing one of the following: • Choose Logic Pro > Preferences > Chord Grid Library in the main menu bar, then click the Instrument Editor tab. • Click the Preferences button in the Arrange toolbar, choose Chord Grid Library from the pop-up menu, then click the Instrument Editor tab.
4 Enter a name for the library, and browse to the location in which to save it. 5 Click Save. Working with Tablature Markings The following is an overview of the tablature markings that you can use in your score. These are located in the Part box. • Hammering: Placement is at the top of the tablature view. • Pull-off: Placement is at the top of the tablature view. • Tap: Placement is at the top of the tablature view. • Slide: Placement is at the top of the tablature view.
• Up/Downstroke: Placement is at the top of the tablature view. • Ties: Placement is within the tablature view. • Line Up/Down: Placement is within the tablature view. • Slide Up/Down: Placement is within the tablature view. • Bend Up/Down: Placement is within the tablature view. • Pluck fingers (right hand): Placement is at the bottom of the tablature view. • Palm Mute: Placement is at the bottom of the tablature view. • Let Ring: Placement is at the bottom of the tablature view.
To view the Signature List Do one of the following: µ µ Choose Options > Open Signature List. Shift-double-click in the Signature track. The Signature List displays time and key signatures in a list style editor, along with other global score symbols such as repeat signs, double bar lines, and so on. Time Signatures A time signature determines the number of beats in a bar (shown in the Bar ruler), thus defining the editing grid in the Arrange area and MIDI editors.
Note: If you perform this procedure when the track height is reduced, a time signature change is created. • The Beat Grouping text field allows you to determine the grouping of beats in compound time signatures. It is sufficient to enter the numbers—223, for example. This becomes “2+2+3” automatically. The total number of beats in the bar is calculated automatically by the sum in this field.
To create a key signature Do one of the following: µ Click a position in the Signature track’s key signature area with the Pencil tool, then choose a key in the Key Signature window. Note: You can disable the use of double flats and sharps by deselecting the “Disable bb, x” checkbox. µ In the Score Editor, double-click a staff between the clef and time signature, then choose a key in the Key Signature window. You can also drag the key signature from the Part box to the appropriate bar position.
Copying Signatures You can copy time signatures and key signatures in the Signature List or Signature track. You can also 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. µ To copy signatures in a project via the drag and drop method Press Option, then drag the signature (in the Signature track) to the target bar position.
If you make a cut in the middle of a bar—in a section where the time signature doesn’t change—two corresponding shorter measures are inserted, with the original time signature resuming after the cut. Likewise, it is also possible to merge two subsequent measures into one longer measure, by using the Glue tool in the Signature track. Deleting Signatures You can delete all signatures in a project, except the initial time and key signature.
µ Choose a number from the Alternative pop-up menu in the Signature List. µ Choose a number from the Alternative pop-up menu in the Signature track. For full details about inserting signatures, see Creating Time Signatures and Creating Key Signatures. µ To switch between signature alternatives Choose the appropriate number from the Alternative pop-up menu in the Signature track or Signature List. All MIDI regions are affected, resulting in the appropriate changes to your score.
Transcribing MIDI Recordings Traditional music notation is only an approximate description of the musical content in a piece. The actual performance depends heavily on the interpretation of notes by musicians. Quarter notes, for example, are hardly ever held for exactly one beat. The rhythmic interpretation of MIDI regions (recorded in real time, to a metronome click) presents a similar problem, especially when you consider that Logic Pro records MIDI events at a resolution of 960 ticks per quarter note.
When simultaneously changing the settings of several selected MIDI regions, the top line of the Display Parameter box indicates the number of regions or objects (if the selection includes folders) currently selected (“3 Regions sel.,” for example), instead of the MIDI region name. If these regions have differing values for any of the parameters, a “*” is displayed in the corresponding parameter line. If you change this value, all selected regions are set to the same value for that particular parameter.
Display Parameters This section outlines all of the display parameters available in the Score Editor. To reiterate the point, these only affect the appearance of events in the score, not the playback of events. Quantize This parameter applies visual quantization to notes: it determines the shortest note value that can be displayed in the currently selected MIDI region. (The exception is artificial N-tuplets; see Creating and Editing N-Tuplets in the Score Editor.
Quantize setting Corresponding note length 192 1/128-note triplets 384 1/256-note triplets When binary display quantizations are used, automatic triplets are not displayed at all (except for triplets inserted with the mouse, using an N-tuplet object). Important: A hybrid quantization value must be assigned to the Quantize parameter, to enable the automatic display of triplets. Quantize Default Setting The Quantize parameter’s Default option can only be set with the Insert Defaults.
Fixing the Score Quantize Value The Functions > Quantization > Fix Displayed Note Positions and Fix Displayed Note Positions and Durations commands can be used to fix the display quantization of all MIDI events in the project. These commands may be useful for exporting projects (complete with display Quantize settings) to other notation programs that don’t feature display quantization.
• Defeat Interpretation Syncopation If Syncopation is enabled, each (MIDI) note is notated as one graphic note (not displayed as several tied notes), regardless of position—if possible. (This also depends on the Max. Dots setting—see Max Dots.) If this isn’t possible, the note is graphically divided into the minimum possible number of notes, connected by ties. This function is usually used for the display of syncopated notes.
When set to off, the score display shows the lengths of the notes fairly precisely. The music is definitely harder to read this way, however. The effect can be seen in the following example, which shows the same MIDI region, first without, then with, overlap correction: No Overlap should only be deactivated in rare cases.
Score This parameter is accessed via the Inspector’s Region Parameter box. If Score is turned off here, the MIDI region is not displayed in the score at all. This is mainly used to prevent the score display of particular regions—namely those that only contain MIDI events which can’t be displayed in the score, such as controller or SysEx data. Hidden MIDI Regions In some situations, certain MIDI regions will not be displayed in the Score Editor.
To change note attributes Do one of the following: µ Double-click note head to open the Note Attributes window. Only one note can be changed at a time in the Note Attributes window. µ Select one or more notes, then choose the appropriate command from the Attributes menu. The Attributes menu (and corresponding key commands) allows a group of selected notes to be assigned new attributes. You can also change specific note attributes via the Part box, and with tools.
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: µ µ Drag the note horizontally with the Layout tool. Choose a value from the Horizontal Position pop-up menu in 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 pane of the Score project settings.
• Flats To Sharps • Sharps To Flats • Force Accidental • 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 Do one of the following: µ Choose a value from the Stem Direction pop-up menu in the Note Attributes window. Note: The stem length cannot be changed in the Note Attributes window.
Changing the Beaming of Notes By default, the beaming of notes depends on the chosen time signature, the Beat Grouping setting in the Time Signature dialog, and the staff style’s Beam parameter. To change the beaming of notes Do one of the following: µ Choose one of the following items in the Attributes > Beaming menu: • Beam Selected Notes: Forces a beam to the following note. • Unbeam Selected Notes: Interrupts the beam to the following note. • Default Beams: Uses the default setting.
Changing the Syncopation of Notes By default, note syncopation is set in accordance with the setting in the Display Parameter box. To change a note’s Syncopation setting Do one of the following: µ µ µ Choose a setting from the Attributes > Syncopation menu. Choose a setting from the Syncopation pop-up menu in the Note Attributes window.
• Independent Grace Changing the Color of a Note You can assign different colors to individual notes, in accordance with the three color palettes. To assign a color to a note 1 Select the note. 2 Choose one of the 16 colors in the Attributes > Colors menu. You can also enable the Velocity or Pitch Color mode in this menu. Pitch colors can be diatonically or chromatically mapped. Note velocity colors match particular MIDI velocity ranges.
Assigning Staff Styles to MIDI Regions You can assign a different staff style to each individual MIDI region. In most circumstances, the predefined staff styles will meet your needs (see Knowing the Predefined Staff Styles). Changing staff styles allows you to quickly: • Create parts for transposing instruments. • Display the same MIDI region at different sizes—perhaps to print a full score, and individual parts for the different instruments. • Change between different display forms in one staff.
Note: Auto Style can only be chosen in the Arrange area’s Track Parameter box, and does not appear in the list of staff styles in the Score Editor’s Display Parameter box. Knowing the Predefined Staff Styles Logic Pro contains a number of predefined staff styles.
Staff style Clef type Transposition Viola Alto clef - Violoncello Bass clef - # Drums Percussion Clef Mapped Getting to Know the Staff Style Window The main elements of the Staff Style window are as follows: Name box Hierarchy button Tools Link button Staff parameters Voice parameters Assign parameters • Link button: If the Link button is activated while the Staff Style window is open, you always see the parameters of the currently selected MIDI region’s staff style.
• Voice parameters: The parameters for independent voices. Each line below the word Voice represents one independent voice. The term voice only relates to the simultaneous display of rhythmically independent, polyphonic passages in the music—not the number of notes that can be displayed simultaneously. One voice can consist of as many simultaneous notes (chords) as you like.
A staff style includes the following editable parameters: • Number of staffs (for the display of one MIDI region) • For polyphonic, multiple staff styles: Configuration of brackets and bar lines that connect the staffs • For every staff: Staff size, distance to the next (higher and lower) staffs, number of independent (polyphonic) voices in the staff, clef, display transposition, key signature on/off • For every independent (polyphonic) voice: Automatic rest display on/off, stem direction of notes, tie dire
To copy a staff style and assign it to a selected MIDI region 1 Select a MIDI region in the Score Editor. 2 Click the Style parameter in the Display Parameter box, and choose ****DUPLICATE!**** from the pop-up menu. Any of these methods results in a new style, named after the staff style it is derived from, with “*copied” appended to its name. This text can be edited in the name box of the Staff Style window. Adding Staffs to a Staff Style You can add a staff to your staff style.
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 vertically in the margin column to the left of the staff numbers. The selection is indicated by a dark gray vertical beam. 2 Choose Edit > Copy (or use the corresponding key command, default assignment: Command-C).
5 Click the Import button. All staff styles from the other project are imported into the current one. To copy particular staff styles from other projects 1 In the project that contains the staff styles you want to copy, open the Staff Style window. (Single view is displayed.) 2 Double-click in the space below the staff style parameters to display a listing of all staff styles. 3 Select the staff styles you want to copy.
Name Double-clicking in the name box to the left of the Staff and Voice columns allows you to enter a new staff style name. About Key Range Notes that fall outside the key range (defined to the left of the Staff Style window) are not displayed in the Score Editor. This allows you to hide notes that are used for key-switching duties (for example, VSL sample libraries loaded into the EXS24 mkII).
Size Use this parameter to determine the size of the staff, and the notes and symbols (including slurs and ties) it contains. There are 16 sizes available (0–15). Here are some size recommendations: • For regular instrument parts and lead sheets, use size 7 or 8. • 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 Automatic Key Transposition project setting affects the whole project, but still indicates the nontransposed basic key signature. Hide Key suppresses any key signature display. Rest The automatic rest display can be turned off (Hide), or set to display beat slashes (slash) instead of rests. This is useful for rhythm section parts, and improvised solos.
Head Controls the appearance of note heads. You can choose to display note heads as normal, show note names or finger names, or hide the note heads completely. Assign Parameters The Chan and Split parameters of the Staff Style window are covered in detail in Assigning Notes to Voices and Staffs. Assigning Notes to Voices and Staffs You can use two different methods to assign notes to voices and staffs: define a fixed split point, or use MIDI channels for each voice of a staff.
In addition, you can also use Score Editor functions designed to speed up the process of changing the MIDI channel settings of notes, in order to assign them to the specific voices. These include the Auto Split preference and the Voice Separation tool. 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.
2 Draw a line (between notes) where you want to separate the voices. Notes below the line are moved to the MIDI channel below their current assignment. 3 If you make a mistake, move the mouse back slightly to the left. The separation line is erased 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 features to meet specific notation needs.
One solution is to use a staff style with a main voice and a secondary voice. The parameters for the main voice should be set as you would a nonpolyphonic style. The secondary voice is set to channel 16, and is displayed without automatic rests: • The stem, tie, and tuplet directions for the main voice are set to Auto, which is necessary for the proper notation of unison parts. No MIDI channel is defined for the main voice, so all notes with a channel other than 16 are assigned to the main voice.
You can, of course, also insert notes directly into polyphonic staffs without turning on the Explode Polyphony setting. In this situation, inserted notes are assigned the MIDI channel set in the Insert Defaults of the Event Parameter box (but only if that particular channel is used by one of the voices in the staff ). Changing the Staff Assignment of Symbols There is a Staff parameter in the Event Parameter box for most symbols inserted into multiple staff styles.
To beam notes that do not belong to the same staff 1 Change the voice assignments for the notes that you want to connect with beams (in the lower staff ) by doing one of the following: • Draw a line below these notes with the Voice Separation tool. • 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.
Note: As always, rests are displayed automatically in Logic Pro, as per the Rest settings in the staff style. Given the cross staff beaming situation described above, however, most (or all) notes belong to the voice of the top staff, and the lower staff will contain rests—some even at positions occupied by notes. To avoid this potential issue, use a staff style where the automatic rest display is deactivated for the bottom staff’s voice.
Prior to defining the details of a mapped staff style, you should set up all drum groups, note head shapes, and relative note position parameters in the Mapped Instrument window. To create a mapped staff style for drum notation 1 Create a mapped instrument in the Environment, then double-click its icon. For details about creating mapped instruments, see Mapped Instrument Objects. The Mapped Instrument window opens.
These options allow you to have two different MIDI notes (different bass drum sounds, for example) displayed in the same way in the score, or on the same line, but with different note heads. 5 Create a new mapped staff style by choosing New > Mapped Style in the Staff Style window, and inserting all staffs, voices, and drum groups as described above, and in Working with Staff Styles.
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: • Produce both the full score and individual parts (such as particular groups of instruments). • Arrange the (vertical) order of instrument tracks in the score, independent of the order of tracks in the Arrange area.
Getting to Know 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: µ Choose the Open Score Set window command in the Score Set menu (or use the Open Score Set Window key command, default assignment: Control-Option-Command-I). µ Choose Layout > Score Sets in the Score Editor.
Full Name Click any line in this column to open an entry field that contains the default “@(reference).” If you don’t change this, the name of the track’s instrument is 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.
Brackets and bar lines can also be interrupted between staffs, allowing you to form groups of connected instruments in a score. If you want to delete a line or bracket, grab the corresponding symbol at its end point (bottom), and drag it upward, until it disappears. You can use the same method to shorten lines. Bar line connections can also be edited directly in the score. Click the upper end of a bar line to connect it to the next (higher) staff. Repeating the procedure disconnects the bar lines.
Editing Score Sets Once you have created a score set, you can change the assignment of instrument entries, add instruments, or change their order. µ µ To assign another instrument to an existing score set entry Click-hold the name of the instrument you want to replace in the Instrument column, then choose an instrument from the pop-up menu. To add an instrument to the middle of the list Set the insert mark to the desired position, then choose New > Add Instrument Entry.
Scaling doesn’t take place on instrument parts that were created by Option-clicking the Score Set pop-up menu and choosing the instrument from the pop-up menu (as described below; see Filtering Single Instruments from the Score). As such, you can use the same staff styles for full scores and parts: in extracted parts, the staffs appear at their original size; in the full score, their size is defined by the Scale parameter.
For the default All Instruments set, the score settings are always used, except when a single MIDI region is displayed. In this situation, the part settings are used. Filtering Single Instruments from the Score You can quickly extract a single instrument from the score, by choosing it from the pop-up menu that appears when you Option-click the Score Set pop-up menu. This way, you don’t need to create a score set for every instrument in order to produce parts.
To switch to Page Score view Do one of the following: µ µ Choose View > Page View in the Score Editor (or use the corresponding key command). Click the Page View button in the Score Editor’s upper-left corner. You should use Linear Score view for editing, as screen redraws are much faster, especially on slower computers. You can jump directly to any page using the View > Go to Page menu item (or corresponding key command), when working in Page Score view.
Note: If you drag more bars into a line than would be displayed when employing the automatic line break function, overlapping notes and symbols may result. µ To move one or more bars of a staff system down into the next staff In Page Score view, grab the bar with the Layout tool and drag it down (the pointer changes to a hand with a downward-pointing thumb), then release the mouse button.
Editing Local Margins You can move the left and right margin of each individual staff system with the Layout tool, so that they do not align horizontally with the page margins. Like manual line breaks, these local margins are also saved as part of the current score set, allowing different settings for each score set.
• 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. Only the setting (score or part) that is currently displayed is affected. Using External Symbol Fonts for Display and Printout You can use the Sonata font from Adobe, the Jazzfont, and the Swingfont (not included with Logic Pro), instead of the internal Logic Pro score font, for display and printout of notes and symbols.
3 Start printing by choosing File > Print (or using the corresponding key command, default assignment: Command-P). A dialog, which may vary slightly from printer to printer, is shown. Choose from the available options, such as which page numbers you want to print, the number of copies, or click the PDF button to “print to” (Save as) a PDF file. 4 Make your selections, then click the Print button.
To export the score as an image 1 Select the Camera tool. 2 Drag across the part of the score section you want to export. A selection rectangle appears as you do this. As soon as you release the mouse button, Logic Pro creates a PDF file (or copies the selection to the Clipboard, depending on the Camera Tool setting you chose), encompassing the area you dragged the Camera tool over. Note: This function is only available in Page Score view.
Displaying Folders If the current display level allows more than one MIDI region to be viewed simultaneously (linked or unlinked), the View > Explode Folders setting affects how things are shown. Unlike the other editors, the Score Editor can display (or even print) the contents of different display (Folder) levels at once. If the current display level contains folders, their contents are also displayed in the score.
Changing the Length of Duration Bars You can change the length of duration bars displayed in the Score Editor. µ To change the length of duration bars Place the pointer over the end point of the duration bar, then drag horizontally when the pointer turns into the length change icon. Displaying Guide Lines You can show an object’s exact time position by displaying guide lines in the Score Editor (show exactly the relation of symbols, staves, and time positions).
Project and File Interchange 32 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 features that allow you to use parts of, or entire, projects in other applications, such as Final Cut Pro, Soundtrack Pro, and Pro Tools.
Sharing Logic Pro Data over a Network Logic Pro allows you to share or back up your data over a network, making it easier to collaborate on projects with other Logic Pro users.
Sharing is essentially broken down into two tasks: • Data Access: Browse your, or other user, data on a local network or a MobileMe account. • Data Sharing: Share your data over a local network or via a MobileMe account. You can access data shared on a MobileMe account even when the user who provided the data is not online. When data is shared over a local network, the user who provided the data—or more accurately, the computer (user account) that the shared data originated from—must be online.
• When you try to back up/share data from another computer, a warning dialog explains that only the master computer can “push” data. This dialog includes an option to make the current computer the new master. • When you deselect the “Backup all my settings on MobileMe” preference on the master computer, all backup data is removed from MobileMe and the “master” is set as undefined. To restore a backup of your personal data 1 Click the Restore Backup button. A confirmation dialog opens.
By default, all items of the matching data type (plug-in or channel strip settings) are marked as shared. µ To disable or enable sharing on a per setting or folder basis Control-click individual settings or folders, and turn on or off the Share via MobileMe and Share via Bonjour options as applicable. Note: When the sharing status of a folder is turned on or off for either Bonjour or MobileMe, all items in the folder are switched to the same state.
You have the choice of your own account (this accesses the backup folder) or another account (which accesses the Public folder). • Input the name of the MobileMe account. Tip: You can access your own public MobileMe folder by choosing another account, and typing in your own username. 3 Click OK when you are done. Note: Data accessed through MobileMe is downloaded in an on-demand fashion, and is only stored (on the local hard disk) if you decide to do so.
2 Click the Create button in the dialog. Note: Use this feature before performing a destructive editing operation in the Sample Editor, as it provides a “fallback” position if the audio processing produces unfavorable results. To restore the backed-up file in the Sample Editor 1 Choose Audio File > Revert to Backup (or use the corresponding key command, default assignment: Control-Option-Command-B). 2 Click the Paste button in the dialog.
They either: • Stay where they are (if the respective “Copy” checkbox is deselected). • Are copied into the project folder (if the “Copy” checkbox is selected). µ To choose project assets Select the “Copy external audio files to project folder” checkbox to create copies of these files in your project folder. µ Select the “Copy EXS instruments to project folder” and “Copy EXS samples to project folder” checkboxes to do just that.
• Format 1 can contain multiple tracks, each with independent data. Neither format recognizes any division of a track (into several MIDI regions, for example). Importing Standard MIDI Files An import only loads MIDI region data (notes, controller, SysEx, pitchbend, specific meta events) into an opened project, with global data (such as tempo events, signatures, chords, track names, SMPTE start, and so on) being ignored. Important: To import the global data, you must open the MIDI file.
The MIDI file is loaded as a new project that contains all MIDI events—inclusive of time positions and channel assignments, names of individual tracks, names and positions of markers, tempo changes, and copyright marks. The copyright mark is read as marker text. Note: As a default behavior, Logic Pro automatically creates software instrument tracks for each MIDI track, and assigns an appropriate GarageBand instrument to each, when you open a MIDI file.
3 Choose the destination directory, enter a name, then click Save. The selected MIDI regions are saved as a Format 1 MIDI file. Note: Remember that most hardware sequencers can only read MS-DOS formatted disks, so limit your filename to an 8.3 character name; for example, “proj0001.MID.” µ To save a MIDI region in file format 0 Select the “‘Export MIDI File…’ saves single MIDI Regions as Format 0” checkbox in the Project Handling tab of the General preference pane (Logic Pro > Preferences > General).
Working with OMF Files The OMF (Open Media Framework, also known as OMFI—Open Media Framework Interchange) file format is typically used to exchange data with Digidesign Pro Tools software. The OMF format only supports the exchange of audio data (audio media and the use of this audio media in a project)—MIDI and automation data is ignored when using the export functions.
Importing and Opening OMF Files The following procedure is identical for both importing and opening OMF files. Importing a file copies the OMF data into the current project, whereas opening an OMF file creates a new project. To import or open an OMF file 1 Do one of the following: • Choose File > Import (or use the corresponding key command, default assignment: Command-I). • Choose File > Open (or use the corresponding key command, default assignment: Command-O).
3 Click Create to have all exported files placed in one folder, which is named after the exported file. This is the convention used by the Tascam MX recorders, so it is recommended. 4 Next, Logic Pro asks 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.
Set the start time of first imported event to start of project? If you choose Set, the first audio part imported is placed precisely at the project start position. This solves the problem of the project on the Tascam machine starting at a large time value, but less than one 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.
To import an AAF file Do one of the following: µ Choose File > Import (or use the corresponding key command), then choose the AAF file in the Import dialog. µ Locate the AAF file in the Browser, then click the Open button. To open an AAF file 1 Choose File > Open. 2 Choose the AAF file in the Open dialog. Working with 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.
Working with Soundtrack Pro STAP Files Soundtrack Pro can be used as an alternative to the internal Sample Editor of Logic Pro. To edit audio files in Soundtrack Pro 1 Open Audio Preferences by doing one of the following: • Choose Logic Pro > Preferences > Audio (or use the Open Audio Preferences key command). • Click the Preferences button in the Arrange toolbar, then choose Audio from the pop-up menu.
The audio file is opened as a new audio file project in Soundtrack Pro. The new audio file project is automatically named after the original audio file, with the file extension .stap. 4 Edit the audio file in Soundtrack Pro. Note: Do not flatten the file. 5 Save the file to your chosen location, specified in the Save dialog. Soundtrack Pro saves both an STAP file and a flattened version of the file in the original location. 6 Switch back to Logic Pro.
3 Define the following parameters, as required. • Save As: Enter a name for the new audio file. • File selector: Browse to, and choose the target folder for the new audio file. • New Folder: Click this button to create a new folder. • Hide Extension: Select this checkbox to hide file extensions—.wav, .aif, and so on. • Save Format: Choose a file format for the new audio file—SDII, AIFF, or WAVE. • Bit Depth: Define the bit depth for the new audio file—8 Bit, 16 Bit, 24 Bit, or 32 Bit (float).
• One File per Channel Strip: Creates additional bounce files for each aux channel strip that has a multi-output of the selected track’s multi output software instrument as Input source. • Bypass Effect Plug-ins: Select this checkbox to disable all plug-ins on the source track. • Include Audio Tail: Select this checkbox to extend the length of the created file to include any instrument release and potential effect tail (reverb, delay, and so on).
3 Define the following parameters, as required. • Save As: Enter a name for the new audio file. • File selector: Browse to, and choose the target folder for the new audio file. • New Folder: Click this button to create a new folder. • Hide Extension: Select this checkbox to hide file extensions—.wav, .aif, and so on. • Save Format: Choose a file format for the new audio file—SDII, AIFF, or WAVE. • Bit Depth: Define the bit depth for the new audio file—8 Bit, 16 Bit, 24 Bit, or 32 Bit (float).
• One File per Channel Strip: Creates additional bounce files for each aux channel strip that has a multi-output of the selected track’s multi output software instrument as Input source. • Bypass Effect Plug-ins: Select this checkbox to disable all plug-ins on the source track. • Include Audio Tail: Select this checkbox to extend the length of the created file to include any instrument release and potential effect tail (reverb, delay, and so on).
2 Define the following parameters, as required. • Save As: Enter a name for the new audio file. • File selector: Browse to and choose the target folder for the new audio file. • New Folder: Click this button to create a new folder. • Hide Extension: Select this checkbox to hide file extensions—.wav, .aif, and so on. • Save Format: Choose a file format for the new audio file—SDII, AIFF, or WAVE. • Bit Depth: Define the bit depth for the new audio file—8 Bit, 16 Bit, 24 Bit, or 32 Bit (float).
• One File per Channel Strip: Creates additional bounce files for each aux channel strip that has a multi-output of the selected track’s multi-output software instrument as Input source. • Bypass Effect Plug-ins: Select this checkbox to disable all plug-ins on the source track. • Include Audio Tail: Select this checkbox to extend the length of the created file to include any instrument release and potential effect tail (reverb, delay, and so on).
Advanced Tempo Operations 33 Logic Pro provides several different tools and methods for creating and editing tempo events. Tempo can be changed or edited in the Transport bar, the global Tempo track, the Tempo List (in the Lists area), with a tempo fader in the Environment, or with the Tempo Operations window. In most cases, the global Tempo track or Tempo List will be your first port of call.
To change the format of the tempo display 1 Open Display preferences by doing one of the following: • Choose Logic Pro > Preferences > Display (or use the Open Display Preferences key command). • Click the Preferences button in the Arrange toolbar, then choose Display from the pop-up menu. 2 Choose an option from the Display Tempo As pop-up menu in the General pane. Using the Tempo Track Tempo changes are controlled by tempo events, which are stored in a special Tempo track.
The Tempo track displays tempo changes as nodes: dots connected by lines. By default, these dots are followed by horizontal lines that continue to the next node, which is aligned with a project position (shown in the Bar ruler). At this point, a vertical line is connected to the node of the ensuing tempo change. This creates a series of hills and valleys that represent the project tempo.
Creating Tempo Curves in the Tempo Track To create a continuous transition between two tempi, click-hold and drag the tip of the right angle line (the corner) above or below the second node. A curve or diagonal line results (a Move Curve Node help tag is shown), which can be dragged—horizontally or vertically—to alter the curve shape. You’ll find that this is quite similar to drawing track automation curves with the mouse.
The display range (the scale shown to the left) of the tempo track is automatically adjusted when you choose a value that exceeds the current minimum or maximum value. Note: To prevent unintentional changes, nodes are restricted to either vertical or horizontal movement for each operation. Put another way, you can either change the value of a tempo change event or the position of a tempo change event, but not both at once.
µ Double-click either range value and type a 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. Switching Between Tempo Alternatives in the Tempo Track The Alternative pop-up menu in the Tempo track allows you to switch between different tempo maps.
Given this behavior, you should avoid making changes in the Tempo track after using Beat Mapping functions. If you do so, the timing derived from the Beat Mapping functions will be destroyed. For more information about the Beat Mapping track, see Beat Mapping Regions. Recording Tempo Changes in Logic Pro All tempo changes made when Logic Pro is in record mode are automatically stored as tempo events on the Tempo track.
Using the Tempo List The Tempo List displays all tempo events in your project. You can open the Tempo List as a tab in the Arrange window, or as an independent window. µ To open the Tempo List as a tab in the Arrange window Click the Lists button at the top-right corner of the Arrange toolbar, and click the Tempo tab (or use the Toggle Tempo List key command, default assignment: T).
µ Drag the Tempo tab, which changes to the Tempo List window as you drag it. Creating and Editing Events in the Tempo List The layout and use of the Tempo List are very similar to those of 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 Editing MIDI Events in the Event List. To create a tempo event in the Tempo List 1 Move the playhead to the desired project position.
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. Note: When a marquee selection is active, using this key command sets the marquee selection to match the locators. 3 Copy the tempo events to the Clipboard (default key command assignment: Command-C). 4 Deselect all tempo events (by clicking the background). 5 Paste the tempo events from the Clipboard (default key command assignment: Command-V).
• Try out different tempo variations To switch between the different Tempo Lists Do one of the following: µ µ Choose Options > Tempo Alternatives, and choose a Tempo List. Choose a Tempo List from the Alternative pop-up menu. Using the Tempo Operations Window The Tempo Operations window is used to edit existing tempo changes, and to create new ones.
Creating Tempo Curves in the Tempo Operations Window 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. To create a tempo change in the Tempo Operations window 1 Use the Position or Time field to define the area that the tempo change should take place across: the left field sets the curve start point and the right field, the curve end point. 2 Enter start and end tempos in the Tempo line.
Scaling Tempo Changes in the Tempo Operations Window The Scale Existing Tempo operation alters existing tempo changes proportionally (scales them). This allows you to speed up an entire project section, without losing the relationships between any subsequent tempo changes within the area. Scaling is done by percentage. Positive percentage values speed up sections, and negative ones slow them down.
If Logic Pro “hears” a Tap Tempo command, it automatically follows this tempo. The parameters that control how Logic Pro responds to tap tempo commands can be found in the Tempo Interpreter window. To open the Tempo Interpreter window Do one of the following: µ Choose Options > Tempo > Tempo Interpreter (or use the Open Tempo Interpreter key command). µ Control-click the Sync button in the Transport bar (if visible), and choose Open Tempo Interpreter from the shortcut menu.
• Tempo Response: This parameter sets the sensitivity to tempo changes: the larger the value, the greater the sensitivity. You should set this value to 4, for most situations. If you find that your tap timing is imprecise, but want Logic Pro to play at a relatively constant tempo, reduce this value to 2 or so. • Max. Tempo Change: Use this parameter to set the maximum tempo change possible per tap (in bpm).
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.
Beat Mapping Regions 34 You will generally play to a metronome click when recording in Logic Pro. There are, however, instances when you’ll want to record without a click, playing rubato, or at least not at a strict same tempo throughout. Another situation may be when 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.
Assuming accurate beat mapping, everything will be in time with the metronome tempo, affording you a number of advantages for further project development: • The metronome click can be used when recording additional regions. • Quantize functions can be applied to newly recorded regions. • Loops (both MIDI and Apple Loops) will automatically adjust to the tempo when used in the arrangement. • MIDI regions recorded without a click will be displayed in a musically meaningful way in the Score Editor.
Once selected, short horizontal lines appear at the lower edge of the Beat Mapping track. These represent the notes in the selected regions. 2 Starting from the left, click-hold the first bar position in the Bar ruler that you want to assign to a MIDI note. A yellow vertical line appears. 3 With the mouse button still held, drag the cursor down toward the line that represents the chosen note. A second, slightly darker, yellow line—which is still connected to the same position in the Bar ruler—appears.
Beat Mapping Audio Regions Beat mapping audio regions works in a similar fashion as it does 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).
There are a number of ways to improve the beat mapping accuracy of audio regions. When you click the Detect button in the Beat Mapping track, detected transients are displayed above a certain visibility threshold. It is possible to adjust this threshold using the − and + buttons in the Beat Mapping track. • Clicking the − button decreases the number of displayed transients. • Clicking the + button increases the number of displayed transients.
To use the automatic Beat Mapping feature 1 Select the region you want to make the project tempo display to, then click the Beats from Region button in the Beat Mapping track. The Set Beats by Guide Region(s) dialog opens. 2 Choose the most appropriate note value in the Note Value pop-up menu. The Note Value defines the timing resolution that is used to create the map.
Tip: If using the “Tolerate missing or additional events” algorithm, assign the respective transient manually before using the Beats from Region function, as this will ensure that a certain beat is always part of the beat mapping process. The resulting map will always contain this manually mapped position. If Logic Pro is not able to find a consistent tempo, you should try the following: Manually map (up to) two significant beats and click the Beats from Region button again.
Editing Transposition with the Chord and Transposition Tracks 35 You can use the Chord and Transposition tracks 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.
• Creating and Editing Transposition and Chord Events (p. 1050) • Using the Chord Track to Analyze MIDI Regions (p. 1052) Opening the Chord and Transposition Tracks The Chord and Transposition tracks are opened in the global tracks area. If these tracks are not visible, see Displaying Global Tracks. To open the Chord track 1 Click the disclosure triangle in the Global Tracks header area. 2 Click the disclosure triangle for the Chord track. You can also assign, and use, the Toggle Chord Track key command.
Understanding 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. For 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.
Transposition events only affect MIDI events already in your project. They do not affect MIDI events that you create or record after editing the transposition events. MIDI events will only be transposed if the No Transpose checkbox is unselected in the respective Track Parameter boxes. Apple Loops Apple Loops can contain information about the key they are in, and can be transposed automatically.
µ To create a chord event in the Chord track Click a position in the Chord track with the Pencil tool, and define a chord symbol in the Define Chord dialog. µ To edit a chord event Double-click the event, and make changes to the chord symbol properties in the Define Chord dialog. µ To select a chord or transposition event Click the chord or transposition event with the Pointer tool. Use Shift-click or drag to select multiple events.
µ Click the event with the Eraser tool. Transposition events can be copied using the standard Copy and Paste procedures or by dragging them with the mouse while holding Option. You can also copy or move multiple transposition events simultaneously, which can be useful for repeated project sections. Using the Chord Track to Analyze MIDI Regions You can use the Analyze button in the Chord track to analyze the chords in a MIDI region.
µ To insert chords from the Chord track into the Score Editor Select the staff that you want 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. Double-clicking such a chord opens the Define Chord dialog of the Chord track.
Working in the Environment 36 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. When you create new instrument or external MIDI tracks (as discussed in Working with Instruments), Logic Pro automatically generates Mixer channel strips, and also creates and configures any Environment objects that are needed for basic input and output.
µ To open the Environment window Choose Window > Environment (or use the Open Environment key command, default assignment: Command-8). You can also use the Toggle Environment key command to: • Bring an open Environment window to the front. • Open an Environment window. • Close an Environment window, if it is the active window. Getting to Know 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.
You determine the MIDI signal flow by connecting Environment objects with virtual cables. For full details, see Creating Your MIDI Signal Path. The connection of objects with virtual cables makes it easy to follow the signal flow, but also allows near limitless routing and MIDI data processing possibilities. Use your imagination, and logically plan (and implement) the signal path, to take advantage of the functionality offered by each object type.
Understanding Protected Layers The position (and existence) of the first two layers—All Objects and Global Objects—is protected, and they cannot be deleted. • All Objects: This layer displays all objects in the Environment. The objects in this layer are normally shown as a list. You can choose the Options > Go to Layer of Object command, in the Environment menu, to switch to the selected object’s layer.
2 Press Return to confirm the new name. To delete a layer 1 Do one of the following: • Choose Options > Layer > Delete (or use the Delete Layer key command). • Choose Delete Layer from the Layer pop-up menu. An alert appears, to warn against the unwitting deletion of all objects on the layer. 2 Click Delete to complete the operation. Switching Between Layers You can switch between layers and switch back to the most recently opened layer.
Working with Objects As with all windows, you interact with onscreen elements and data by using different tools. The Environment window Tool menu offer the standard Pointer, Pencil, and Eraser tools found in other windows. These are used to select, create, and delete objects in the Environment. In addition, the following tools are available in the Environment: • Text tool: Clicking an object with the Text tool allows you to rename it.
Moving Objects You can move objects by grabbing their icon or name, and dragging them to a new position on the layer. The surface of keyboard and fader objects is used for their operation. You must therefore either grab the name (if available), or the positioning bar to the right of the object in order to move them. If you hold down Shift, you can also grab keyboard or fader objects by their surface. Positioning bar Note: You can Shift-click any Environment object to select and move it.
2 Select the objects you want to move in the first Environment window, and drag them from one window to the other. Tip: You can also use this method to copy objects between layers (by holding Option). Copying Objects You can copy an object on a layer by Option-dragging it with the Pointer tool. To copy an object between layers using the Clipboard 1 Select the objects that you want to move and choose Edit > Copy (or use the corresponding key command, default assignment: Command-C).
• Object move up • Object move down µ To align several selected objects horizontally or vertically Choose Options > Clean up > Align Objects (or use the corresponding key command). The top-left object stays where it is. The position of the next object determines whether the objects are aligned in a column or a row. If it is to the right of the top-left object, all objects are aligned horizontally (row). If it is below the top-left object, all objects are aligned vertically (column).
Using Advanced Selection Commands You can make moving and copying tasks faster and easier by using the selection commands outlined below. • Selecting All Used Instruments: The Edit > Select Used Instruments function selects all objects that are assigned to the selected track in the Arrange window (or tracks that contain regions), or are connected to such objects via cables.
• Sequencer Input object: This represents the door into Logic Pro for incoming MIDI events. In Logic Pro, incoming MIDI events (which arrive at the Sequencer Input object) are always directed to the selected track in the Arrange area’s track list, where they can be recorded in MIDI regions. The events played by the track region are mixed with incoming events (if any), and sent to the Environment object that the track is routed to.
For 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.
µ To make a direct output connection Click the Port menu in the object’s Parameter box, and choose a MIDI output. The Port menu lists all MIDI Outputs, plus the following options: • The Off setting completely disables the connection to the MIDI interface port. • 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 Environment Objects 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, turn off cable coloring, and render them in gray with the View > Colored Cables function.
• No: Your cabling takes place, but the direct output assignment remains intact. This means that the source object is connected to two destinations—one to another object via the cable, and one via the direct output assignment. • Remove: Your cabling occurs, and the direct output assignment is removed. (This is the default selection, because you generally won’t want an object connected to two different destinations.
A cable connection to another layer looks like this: To remove a cable connection Do one of the following: µ µ µ µ Click the cable with the Eraser tool. Select the cable and press Delete. Grab the cable, and plug it back into (drag it over) the triangle of the source object. Use Edit > Clear Cables Only to remove all selected cables, without also clearing any objects that happen to be selected.
To route the signal of special output objects (outlined above) to several destinations 1 Create a monitor object (see Monitor Objects) by choosing New > Monitor. 2 Plug the cable from the desired object output into the monitor object. 3 Cable from the monitor object to as many other destinations as you’d like. The monitor object allows you to view the MIDI events flowing through it. To select a common destination for several existing cables 1 Select the cables.
2 Select the destination object and choose Edit > Copy. 3 Select the other objects that you want to connect to the same destination, and choose Options > Apply Buffer Template to > Cable(s). You can copy more complex cabling configurations this way, too. Just ensure that the type(s) of objects in the group that you want to copy matches the type(s) of objects in the group that you apply the buffer template to.
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. µ To import an Environment patch that is spread across several Environment layers Choose Options > Import Environment > Merge. All Environment objects from the source project are added to the Environment of the destination project. Merged objects are placed on the same layer as their source.
Note: This complex task involves a lot of guesswork on the part of Logic Pro, and the results almost always require some manual fine-tuning on your part. Replacing Environments 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.
Tip: You can prevent the accidental alteration of the position, size, and cable connections of all objects by choosing View > Protect Cabling/Positions. If the cabling and object positions are protected, and the cables are hidden, the background color changes. This usually looks better for virtual mixing desks and fader setups. µ To view colored cables Choose View > Colored Cables. Cable colors are derived from the color of the source object (the object that the cable runs from, into another object).
This creates the mini Environment window, which floats above other windows. 5 Position it as desired (above the Arrange window would be the most obvious use), and press Shift-L to lock this as a screenset. 6 Choose this screenset to access the tape controls whenever you need them.
Environment Objects Reference 37 This chapter is designed as a reference to help you learn about the different Environment objects you can use in Logic Pro. You’ll learn about each type of Environment object, what each one is designed to do, and how to use the parameters of the object. Note: If you need information about the general concepts and techniques required to use the Environment, see Working in the Environment. This chapter covers the following: • Opening the Object Parameter Box (p.
• Chord Memorizer Objects (p. 1133) • Physical Input Objects (p. 1136) • Sequencer Input Objects (p. 1137) • MIDI Click Objects (p. 1138) • Internal Objects (p. 1140) • Channel Strip Objects (p. 1142) Opening the Object Parameter Box There are several ways to open the Object Parameter box in the Environment. To open or close the Object Parameter box Do one of the following: µ Click the triangle at the top-left corner of the Object Parameter box to hide all parameters, except for the object name and type.
An Object Parameter box containing a reduced parameter set is shown for audio channel strips when displayed in the Arrange window. The full parameter set for these objects is only available in the Mixer layer of the Environment window. There are two main reasons why the Arrange window and Environment representations of audio channnel strips differ: to save onscreen space, and to provide the tools you need for music creation, rather than setup tasks.
If the checkbox is not selected, the object and its icon will still appear in the Environment. You should only select the Icon checkbox if the object will be used as a track destination. Icon Click the icon (next to the checkbox) in the Object Parameter box to choose an icon to represent the object in the Environment and Arrange window track list.
• Channel: Sets the MIDI channel for the instrument’s output. If you set this parameter to All, all events are sent with their original channel settings. • Program, Volume, and Pan: The Program, Volume, and Pan parameters transmit program changes, volume controller (#7), and pan controller (#10) data. No data is sent until you select the corresponding checkbox. If the box is already selected, any value alterations are sent immediately, and the values are also sent whenever the track is selected.
• No Reset: If the No Reset parameter is active, no reset messages are sent to the instrument. This can be useful if controllers are being used for nonmusical purposes, such as when using the instrument object for Mixer automation tasks. The Logic Pro > Preferences > MIDI > Reset Messages settings determine what reset messages are sent. These messages are not sent to No Reset instruments. • Style: The Style parameter can be set to any of the available staff styles.
You will generally use multi-instrument objects to address multi-timbral hardware synthesizers or samplers. A multi-timbral sound module is one that can receive on several MIDI channels at once, playing back a different sound on each channel simultaneously. As most modern MIDI devices are multi-timbral, the multi-instrument will probably be the most commonly used instrument object in your Environment.
Program Names There are 128 program names in the Multi-Instrument window. A total of 15 banks of 128 program names are available. There are several ways of entering program names: • By double-clicking the name (via the text input field). • By copying (via the Clipboard) from a different multi-instrument, or from a word-processing program. The Clipboard functions for a whole sound bank are available in the Options pop-up menu.
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 synths. If your synth doesn’t use one of the formats listed, you can define your own bank select messages (see Custom Bank Selects).
Cabling Directly to a Sub-Channel To connect the output of an Environment object directly to the input of a sub-channel, Option-click the source object’s output triangle and choose the sub-channel in the Reassign Track Object menu. (See Cabling Environment Objects.) Note: You cannot drag a cable to a sub-channel. Any dragged cables can only be connected to the entire multi-instrument object, not one of its sub-channels.
• 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 Using Drum Notation with Mapped Staff Styles.) The Mapped Instrument Parameter Box The mapped instrument’s parameters are a subset of the standard instrument parameters.
• The names of GM Standard drum sounds by choosing Initialize > Names as General MIDI. 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 appear on the vertical keyboard. Output Note This column is used to set the output note.
Velocity Use to set a velocity offset that is added to, or subtracted from, the velocity of the incoming note. Drag the number vertically to create a velocity offset. You can also click the specific point on the beam. The Initialize > Output Velocities command resets all velocity offsets to 0 (no offset). Channel Use to set the MIDI channel of individual notes. This allows you to play individual sounds from different drum sets in the same sound generator. You will normally use the Base setting.
Custom Bank Selects Logic Pro provides 15 bank numbers (0 to 14) for each standard instrument, multi-instrument (including sub-channels), or mapped instrument object. You can create custom lists, consisting of as many events (of any kind, even SysEx) as you like, for each of these banks. Whenever you change the bank manually, or send a standard bank change message from Logic Pro, the entire list for that bank is transmitted to your sound module.
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. If there are no events defined for a particular bank, a standard bank select message is sent for that bank. For bank messages that need a channel (MIDI controller messages, for example), the channel of the instrument is used. This feature is especially useful for multi-instruments, as you only need to create one set of bank messages for all 16 sub-channels.
µ Choose New > Touch Tracks from the Environment menu. To use a touch tracks object Do one of the following: µ µ Assign the touch tracks object to an arrange track. Place the touch tracks object anywhere in the MIDI signal path. Here are some things to remember: • Only the touch tracks input has meaning—trigger notes must appear here. Although the object features an output triangle, it has no use, as events never appear here.
The Touch Tracks Window Double-clicking a touch tracks object opens the Touch Tracks window. This window is similar to the Mapped Instrument window. 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. For details about mapped instruments, see Mapped Instrument Objects. A vertical gray line means that the setting is the same as the line above.
Transpos (Transposition) When you drag a region to a key in the Touch Tracks window, that key triggers the region at its original pitch (without transposition). If you want to transpose the region, you can set the amount in the Transpos column. If a key range is selected when you drag the region into the Touch Tracks window, incremental transpositions are set automatically for adjacent keys (within the key range).
Fader Objects Faders are used to send MIDI events by clicking or dragging them. Faders come in different forms (knobs, sliders, numerical, and buttons). Fader objects respond to incoming MIDI events. µ To create a new fader Choose New > Fader. A submenu appears, in which you select the style of fader you want. There’s also a submenu at the bottom named Special, used to select various special fader types (cable switcher, meta-fader, and so on).
Don’t worry about choosing the wrong fader style or type from the New menu; you have complete control of a fader’s style and type via the Object Parameter box. Using Faders Normally, you grab the surface of a fader and drag it vertically or horizontally, depending on its style. When using the fader itself as a slider, you may notice that values jump in larger increments, depending on the size of the fader and dragging speed.
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. The fader must, of course, be in the MIDI signal path. Typically, you would accomplish this by cabling the track instrument into the fader.
• The Options > Apply Buffer Template to > “Definition, channel increment” increases the channel number from object to object, beginning with the top-left object. It is not necessary for the selected objects to have the same Input or Output definition as the template. • The Options > Apply Buffer Template to > “Definition, number increment” increases the first data byte of the definition (controller number, for example).
Buttons Button style faders can only send two possible values: the minimum and maximum values of their range. • When on, the maximum value is sent. • 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 the surface of a text fader opens the Text Fader window.
• Behave as Menu: Select the Behave as Menu checkbox to make the text fader act like a pop-up menu. When this box is unselected, the text fader acts like a scrolling menu. • 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.
• -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). In other cases, such as aftertouch, this byte is unused. Setting the -1- Parameter and Fader Position This section outlines each of the -1- parameter options, and explains how the fader position affects them (for both the Input and Output definitions).
Value As This parameter determines the way that numerical values are displayed by the fader. • Number: The fader value is displayed as a number (0 to 127). • Pan: Fader value 64 is displayed as “0”; smaller values appear as negative numbers and larger values as positive numbers (–64 to 63). • Hz, Octave, dB, ms: These display formats are tailored to various DSP functions. • bpm: An offset of 50 is added to the fader value. This displays the correct tempo settings for the Special > Tempo Control fader.
For controllers, the MSB uses the Input definition controller number, and the LSB uses the controller number 32 or higher. This conforms to the MIDI standard for sending 14-bit controller data. When this filter setting is chosen, the fader’s Range can be set to a maximum value of 16,383. A fader value of 8192 represents no pitch bend. • Feedback: When the Feedback parameter is turned off (unselected), the fader automatically prevents feedback loops resulting from circular cabling.
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 sends out four MIDI events each time the crosshair is moved. These are the same MIDI event (a controller, for example), sent on four consecutive MIDI channels, starting with the channel set in the Vert definition.
µ Change an existing fader’s Output definition to Switch/Meta, and set its -1- value to 46. To create a meta type fader Do one of the following: µ µ Choose it from the New > Fader > Specials menu. 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 generate them. Any kind of MIDI or meta event can be routed by a cable switcher.
Data values of 126 and 127 have a special effect. • An event with a value of 127 increases the output number. If you’re on the switcher’s last output when this event is received, you’ll jump back to the first output. This is just like clicking the fader. • An event with a value of 126 decreases the output number. If you’re on the switcher’s first output when this event is received, you’ll jump to the last output.
Meta event Controlled Logic Pro function 125 Set transformer condition minimum (top) parameter, if any. (This applies to all conditions not set to All.) 126 Set transformer operation maximum (bottom) parameter, if any. (This applies to all operations not set to Thru.) 127 Set transformer operation minimum (top) parameter, if any. (This applies to all operations not set to Thru.) For more about meta events 124 to 127, see Using Meta Events to Control Condition and Operation Values.
The positions of events in the list only control the order in which they are sent—they are not sent at specific times, nor with any delay between them. The SysEx fader type is primarily designed to send MIDI System Exclusive (SysEx) messages—messages that are exclusive to individual manufacturers’ MIDI devices. There are a number of features in the SysEx fader window that facilitate the creation of SysEx messages.
The corresponding SysEx message is displayed and the MIDI In button turns off automatically. A second way of entering SysEx messages in the SysEx fader window is to type the SysEx string into the Event List. (Consult your MIDI device manual for SysEx documentation.) µ To manually enter SysEx strings Click the Create button, then click the SysEx button. A generic SysEx message appears. • The first data byte in the top line (directly after the word SysEx in the Num column) is the manufacturer’s ID.
Although you can have any number of messages (of any kind) in the SysEx fader’s Event List, there is only one fader value, and all selected messages adopt this value. You can use a similar method to create any kind of MIDI or meta event in the SysEx fader window. Command-clicking any of the eight event type buttons (Note, Program Number, Pitch Bend, Controller, Channel Pressure, Poly Pressure, SysEx, and Meta Event) creates a new event of that type.
Value option Result One Byte The value is sent as one byte. MSB/LSB The value is sent in two bytes, with the MSB (most significant byte) first. LSB/MSB The value is sent in two bytes, with the LSB (least significant byte) first. BCD 4 LSB The value is sent as Binary Coded Decimal in four bytes, in the order 1, 10, 100, 1000. BCD 4 MSB The value is sent as Binary Coded Decimal in four bytes, in the order 1000, 100, 10, 1.
• Shift-Option-dragging any fader in the group changes all faders to the same value. Sending Fader Values You can use Options > Send All Fader Values (or use the Send All Current Fader Values key command) to make all fader objects send their current values. Use Options > Send Selected Fader Values (or use the corresponding key command, default assignment: Control-V) to make all selected fader objects send their current values.
This creates a meta fader, with a -1- definition set to 46. To use the alias assigner, cable its top output to the alias, and cable subsequent outputs to the various originals that you want to assign to the alias. If you set the alias assigner’s maximum range to match the number of originals and its minimum range to 1, you can then connect the next cable to a new alias, and subsequent cables to originals for the alias. In this way, the alias assigner can be used to assign multiple aliases simultaneously.
For faders, the Channel parameter causes the alias to act as if the original fader’s Input and Output definitions are both set to the specified channel. (An All setting results in no change.) Share Name and Share Size When selected, the alias shares the size and name of the original. If unselected, it can be resized and given its own name. Ornament Objects Ornaments are simply solid backgrounds behind other Environment objects.
The GM mixer is intended for controlling the 16 channels of a MIDI device which conforms to the GM, XG, or GS standard. This includes the GM set of 128 program names (with variation banks for XG or GS), MSB/LSB bank select messages, and standard controller names (#1 for mod wheel, #2 for breath, #7 for volume, #10 for pan, #11 for expression, and so on). The Parameter Box of the GM Mixer Most of the GM mixer’s setup is done in the mixer itself, but there are also a few parameters in its Parameter box.
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. Working with the GM Mixer Channel Strips The MIDI channel strips work as a remote control for the mixing parameters of the controlled sound modules and synthesizers (volume and pan, for example).
2 Choose the controller you want from the menu that appears. Extended GM, GS, and XG Functions In addition to the GM Standard, there are extended standards created by Roland (GS) and Yamaha (XG). GS and XG mode allow you to select different effect programs, and to control the level of the reverb and chorus effects. µ To display the GS or XG effects Choose GS/XG Effect Controls from the local View menu in the Mixer.
Keyboard Objects You can use a keyboard object to create notes with the mouse. A keyboard object also displays all notes passing through it. In this sense, you can think of it as a real-time, MIDI note on monitor. Although you can record the output of the keyboard in Logic Pro, its main purpose is for testing and monitoring in the Environment. µ To create a keyboard object Choose New > Keyboard (or use the New Keyboard key command).
µ To create a monitor object Choose New > Monitor (or use the New Monitor key command). Monitors are useful as both testing and branching devices. When coupled with objects that have functionally different outputs (channel splitters and mapped instruments, for example), monitor objects can be used to attach more than one output cable to the same function. Macro Objects Macros are not actually Environment objects. Rather, they are collections of other Environment objects and their cabling.
Logic Pro encloses all selected objects in a frame with a gray background. If some of the objects selected when a macro is being created have cables leading to unselected objects, these cables are deleted when the macro is created. A warning notifies 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. Macros are limited in size.
Macro Parameters Macros have the following parameters: • Auto Fader checkbox: If you select a group of faders and create a macro from them, selecting this box makes them behave as if they were cabled serially. • Show All checkbox: This checkbox determines which objects remain visible when integrated into a macro. When selected, all objects are visible (assuming the macro is not resized to hide some of them). When unselected, only fader, monitors, ornament, and keyboard objects are visible.
An arpeggiator features parameters for direction, velocity, speed (Resolution), note length, start quantize (Snap), repeats, octaves, and velocity offset (Crescendo). All parameters can be MIDI-controlled in real time, which adds immensely to its versatility. To use an arpeggiator object, you must place it in the MIDI signal path, and Logic Pro must be open. (For technical reasons, the arpeggiator resets on cycle jumps.
• Snap To: Unless this value is set to None, the arpeggiator waits for Logic Pro to reach the next indicated note division before starting the arpeggio. This is useful for rhythmically synchronizing the arpeggio with other MIDI data. • Repeat : Selecting this option continues the arpeggio for as long as the chord is held down. If the option is unselected, the arpeggio only plays through once. • Octaves : The arpeggio can be repeated over 1 to 10 octaves.
Events that do not meet the conditions may pass unchanged to the output, or may be discarded. The transformer can also make copies of matching events before altering them, and can split the selected (matching) events from the unselected ones, via its two top cables. You must place the transformer in the MIDI signal path in order to use it. To alter the output of an instrument 1 Cable the instrument output into the transformer (removing the instrument’s internal port assignment in the process).
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 handles MIDI events. You can choose between the operation modes outlined below. Apply Operation and Let Non-Matching Events Pass Thru MIDI events that match the condition are processed.
Copy Matching Events and Apply Operation (Reverse Order) This is the same as above, except the original is parsed after the processed copy. You might want to use this when converting note events to pan controllers, for example. This causes the pan message to be sent before the note. (Many synths don’t alter the pan position of notes that are currently playing.) Condition Splitter (True → Top Cable) Events that match the conditions are altered by the operations, and sent to a transformer’s top output.
• The data byte 2 value sets the value of the data byte. • 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.
Meta events 122 to 127 affect transformer parameters. • Meta event #127 sets the first (top) operation value. • Meta event #126 sets the second (bottom) operation value (if available). • 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.
Delay Line Objects A delay line object repeats (echoes) MIDI events passing through it, at intervals ranging from one tick to 256 whole notes. µ To create a new delay line object Choose New > Delay Line. As with the arpeggiator, you need to place a delay line object in the MIDI signal path, and Logic Pro must be in playback 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.
• Transposition pop-up menu: Defines the transposition of note events per repeat. • Velocity field: Defines the change in the velocity values of note events per repeat. Voice Limiter Objects 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 cause (some of the) currently held notes to be turned off, once the voice limit is reached.
Channel Splitter Objects A channel splitter routes MIDI events by channel. Every MIDI event received at the channel splitter input is automatically routed to the output that corresponds to its MIDI channel. If no cable is connected to the corresponding output channel, the event is rerouted to the SUM output (at the top). µ To create a new channel splitter object Choose New > Channel Splitter (or use the New Channel Splitter key command).
µ To create a new chord memorizer Choose New > Chord Memorizer from the local Environment menu (or use the New Chord Memorizer key command). The Chord Memorizer Parameter Box You can set the following parameters in a chord memorizer’s Object Parameter box: • Channel field: All chord notes are sent to the defined channel. • Key Limit field: Notes within this range are mapped to chords. Notes outside the range are passed through unaltered.
Working in the Chord Memorizer Window Double-clicking 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.
2 Select the Listen checkbox in the Chord Memorizer window. The lower keyboard is inverted, indicating its readiness to record. 3 Play the notes of the desired chord. You can play them one at a time, or as a chord. If you make a mistake, deselect the Listen checkbox, then select it again to start over. When you’ve entered the notes for your chord, deselect the Listen checkbox and play a new input note, or close the Chord Memorizer window.
µ To create a Physical Input object Choose New > Physical Input. To make use of an existing object, drag it onto the relevant layer. This does not affect its cabling. Sequencer Input Objects The Sequencer Input object represents the MIDI input of Logic Pro. You can only have one of these objects in the Environment. MIDI events arrive at Arrange window tracks through the Sequencer Input object. If nothing is cabled into the Sequencer Input object, nothing can be recorded in Logic Pro.
By default, the Sequencer Input object records on the MIDI channel (or channels) that the keyboard or MIDI controller (which is sending the MIDI events) is set to. If you turn on the Sequencer Input object’s Channelize parameter, the MIDI channel assigned to the MIDI object (of the selected arrange track) is used, and recorded.
µ To create a MIDI Click object Choose New > MIDI Metronome Click. 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. There is a button on the Transport bar that turns the MIDI Click on and off. Control-click this button, then choose Metronome Settings from the shortcut menu. This opens the Metronome project settings. For details, see Metronome Settings.
Internal Objects Internal objects include instruments located inside your Mac computer (such as software synthesizers and other musical applications). Although communication with sound sources inside the computer does not actually use MIDI, it still conforms to the MIDI communication protocol. 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).
µ To manually create a ReWire object in the Environment Choose New > Internal > ReWire. Apart from common parameters, the Rewire object offers three settings: • Device pop-up menu: This setting refers to the ReWire application(s) that Logic Pro can connect to. If one or more ReWire applications are open, the Device parameter displays the names of these applications. • Bus pop-up menu: Lets you choose the ReWire bus from all available ReWire busses.
Channel Strip Objects The Environment’s channel strip object is the building block of the Environment’s Mixer layer, the Mixer, and the Arrange channel strips. For details about channel strip types, see Understanding Channel Strip Types in the Mixer. Mixer layer channel strip object Arrange channel strip object Mixer channel strip object The audio and (software) instrument tracks you see in the Arrange window are actually routed to channel strip objects on the Environment Mixer layer.
The Arrange channel strips contain a reduced parameter set of the corresponding channel strip objects in the Environment. The channel strips shown in the Mixer window are more configurable, but the only place you can access all channel strip options is the Environment Mixer layer. Important: If File > Project Settings > Audio > Automatic Management of Channel Strip objects is active (it is on, by default), you cannot create channel strips in the Environment.
• Aux: Auxilliary channel strip, used as send returns for all channel strips (via Sends), as subgroup channels, and as individual output destinations for multi-channel software instruments (EXS24 mkII, for example). • Instrument: Used as the destination for arrange (software) instrument tracks. • Output: These channel strips represent the physical outputs of your audio interface. You can choose either mono or stereo (paired) outputs.
Input channel strips can be used as live inputs that can stream audio signals from external sources (such as MIDI synthesizers and sound modules) into a stereo mix (by bouncing an output channel strip). Note: An alternative to using input channel strips in this way is the use of the I/O plug-in; you can also click the Input Monitoring button on an audio channel strip and choose the input(s) you want to monitor or record via the Input slot.
Working with Video 38 Logic Pro allows QuickTime movie files to be synchronously viewed, making film and TV scoring quick and easy. This chapter covers the following: • Opening a Movie (p. 1147) • Using the Movie Window (p. 1149) • Using the Video Track (p. 1150) • Working with Movie Scene Markers (p. 1151) • Handling QuickTime Movie Audio Tracks (p.
Note: You will need a fast hard processor to ensure smooth movie playback. If you want to record and edit your own QuickTime movie (using iMovie or Final Cut Pro or Final Cut Express) from a video recorder or digital camera, you may need specialized hardware. Important: You cannot record or edit video in Logic Pro. You can, however, replace the soundtrack of a movie file with music, Foley, and dialogue arranged in Logic Pro.
Using the Movie Window You can drag the position slider at the bottom of the Movie window, or use the QuickTime transport buttons to the right, to navigate to any position in the video file. Logic Pro (the playhead) will “chase” to the corresponding project position. All QuickTime transport functions interact with those of Logic Pro. To resize the Movie window Do one of the following: µ µ Drag its lower-right corner.
• Fullscreen: Expands the Movie window to fill the full screen. • Keep Aspect Ratio: If enabled, the proportions of the image are retained when resizing the Movie window. • Center: Choosing this option places the video image in the center of your screen. Using the Video Track The global Video track displays the loaded QuickTime movie as thumbnails. If the Video track is not visible, see Displaying Global Tracks.
Video track settings can be adjusted in the Video preferences window. For further details about these preferences, see Video Preferences in Logic Pro. Working with Movie Scene Markers Scene markers are SMPTE-locked markers: they remain at the same absolute time position, regardless of any tempo changes, and they are automatically deleted if the current movie is removed from the project. Scene markers are identified by a movie frame symbol.
µ To search a movie for scene cuts Choose a movie range in the Options > Marker > Create Movie Scene Markers menu. The Auto Range setting follows the decision path outlined below, when determining which part will be evaluated: • Marquee selection • Cycled project part • Selected regions • All—if none of the above criteria are met To quickly search a movie for scene cuts, using the Auto Range setting Do one of the following: µ Click the Detect Cuts button in the Video track.
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 File menu. You can adjust the audio level and output device in the Video project settings (see Video Project Settings). Importing Audio Tracks From QuickTime Movies You can import audio from QuickTime movies to your project. To import audio from a movie 1 Select the required audio tracks.
• Control-click (or right-click) the global Video track area, and choose Export Audio to Movie from the shortcut menu. 2 Choose format options for the bounced audio file, and click OK. 3 In the dialog that appears, enter a name and target folder for the movie, and click Save. Another dialog opens, 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, and click OK.
Working with Surround 39 Logic Pro offers extensive surround processing and mixing functions, for all major surround formats. All audio signals can be positionally mixed, allowing you to place them anywhere in the surround field. You can insert surround plug-ins into audio and instrument channel strips, which can be routed to surround auxes or outputs. Logic Pro records incoming multi-channel audio as interleaved multi-channel files, when creating a surround project.
• Using the Down Mixer Plug-in (p. 1176) • Working with Multi-Channel Effects (p. 1177) • Working with the Surround Master (p. 1180) • Bouncing Surround Audio Files (p. 1180) • Positioning Your Speakers (p. 1182) • Encoding Surround Bounce Files (p. 1185) Knowing the Surround Formats Supported by Logic Pro This section outlines the supported surround formats. • Quadraphonic Surround Format • LCRS Surround Format • 5.1 (ITU 775) Surround Format • 6.1 (ES/EX) Surround Format • 7.1 (3/4.
LCRS Surround Format LCRS stands for left, center, right, and surround channel. This is the original Dolby Pro Logic format. The surround channel (placed directly behind the listener) is a bandwidth-limited (the treble content is reduced) monophonic channel. 0° C R L –30° +30° Mixing position +180° S 5.1 (ITU 775) Surround Format 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.
6.1 (ES/EX) Surround Format 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. 0° C R L –30° LFE +30° –110° +110° Mixing position Ls Rs +180° S 7.1 (3/4.1) Surround Format 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.
7.1 (SDDS-Sony Dynamic Digital Sound) Surround Format 7.1 (SDDS—Sony Dynamic Digital Sound) adds two additional speakers to 5.1 (left center and right center). As with the other 7.1 format, this is designed for use in a large cinema, equipped with Sony decoding and playback hardware. 0° C Lc L Rc –45° –135° LFE R –22.5° +22.
µ µ µ µ Ls = Left Surround (Rear Left) S = Surround (Rear Center) Rs = Right Surround (Rear Right) LFE = Low Frequency Effects 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 Output and Input panes of the Audio > I/O Assignment preferences.
µ Click the Preferences button in the Arrange toolbar, choose Audio from the menu, then click the I/O Assignments tab.
Setting the Surround Preferences The I/O Assignments tab features three sub-tabs: Output, Bounce Extensions, and Input. All three tabs are linked, but can be adjusted independently. Note: As a general rule, the default settings for each surround format should meet your needs in all but the rarest circumstances. To set the surround channel assignment 1 Click either the Output or Input tab.
2 Choose the surround format you want to work in from the Show As pop-up menu. This automatically sets the input and output channel pop-up menus in the assignment sections of both the Output and Input tabs. 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 setting in Audio project settings (see Setting the Project Surround Format).
µ Click one of the three Initialize buttons below the Show As pop-up menu. • Default: Click to activate the default setup of Logic Pro. For example, for the 5.1 format, this means that output 1 is routed to the left speaker, output 2 to the right one, output 3 is assigned to left surround, output 4 to right surround, output 5 to the center speaker, and output 6 to the LFE channel. • ITU: Click to assign the International Telecommunications Union standard, used by many professionals.
µ Click one of the three Initialize buttons below the Show As pop-up menu. • Default: Click to activate the default setup of Logic Pro. For example, for the 5.1 format, this means that input 1 is routed to the left speaker, input 2 to the right one, input 3 is assigned to left surround, input 4 to right surround, input 5 to the center speaker, and input 6 to the LFE channel. • ITU: Click to assign the International Telecommunications Union standard, used by many professionals.
To change the bounce extensions 1 Click the Bounce Extensions tab. 2 Enter a new extension name in any of the active fields. For example, 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, click the Reset Extensions button to revert to default entries. Note: Changing the extension has no impact on the files—it simply makes them easier to identify.
To determine the project surround format 1 Open the Audio project settings by doing one of the following: • Choose File > Project Settings > Audio (or use the Open Audio Project Settings key command, default assignment: Option-U). • Click the Settings button in the Arrange toolbar, and choose Audio from the pop-up menu. 2 Choose a format from the Surround Format pop-up menu. Tip: Save a project that has been set up for surround format work as a template.
• Stereo: Two interlocked circles represent a stereo input format. The level meter divides into two independent columns when a stereo input format is chosen. • Left: Two circles, left one filled, indicate 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, indicate a right channel input format.
µ To set a channel strip’s output format to surround Click-hold the Output slot of the channel strip, and choose Surround from the pop-up menu. The Pan control of the channel strip is replaced by a two-dimensional surround control. The loudspeakers are represented by colored dots and the pan position is indicated by a white dot that can be grabbed and moved. To set the output format of multiple channel strips to surround 1 Select all channel strips that you want to set to surround output.
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 downmixed to match the output format of the channel strip. Note: The highest possible surround format is determined by the project surround format. Instrument Channel Strips Instrument channel strips automatically adopt the channel format of the inserted instrument.
2 Click the Mixer tab, and choose an option from the Channel Order pop-up menu in the Level Meters area. Note: The setting you choose here does not apply to metering plug-ins, such as the Levelmeter or Multimeter. Working with the Surround Panner You use the Surround Panner to place track output signals at specific speaker positions. You can manipulate the Surround Panner directly in the Mixer or Arrange channel strip, but it is far better to open it in a separate window.
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 surround the circular grid. You can change the channel surround format directly in the Surround Panner window by clicking the speaker icons. This activates or deactivates 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 remains 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%) makes the square disappear.
Using the Surround Balancer If the source is set to surround, the Surround Panner acts as a Surround Balancer control. Source channels are passed on to their respective output channels without any cross-panning 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.
Tip: It is possible to release the mouse pointer on the plug-in name, instead of navigating all the way through the hierarchy to the channel format. This automatically opens the plug-in using the default channel strip format. µ To insert plug-ins that do not match the channel format Option-click a channel strip Insert slot. The Plug-in menu displays all formats the plug-in has to offer, rather than being limited to the matching format. Any down- or upmixing that may be necessary will happen automatically.
Channel mapping, panning, and mixing are handled behind-the-scenes. You do, however, have some control over the mix: • Dest Format pop-up menu: This pop-up menu allows you to choose the surround destination format: To Quad, To LCRS, To Stereo. • Generic level sliders: These sliders control the respective channel levels. The number, and names, of sliders depends on the chosen plug-in format.
• LR, C, and Ls-Rs shown on three separate tabs denotes left/right stereo, center mono, left/right surround in stereo. Each effect tab is, in essence, a discrete effect unit for each channel (or channel pair). As such, you can have different plug-in parameters for the LR tab, the C tab, the Ls-Rs tab, and the LFE tab. When you save plug-in settings, the parameter values of each tab are saved. You can assign these different mono or stereo configurations in the Configuration tab.
When a multi-channel plug-in is first inserted into a surround channel, it is automatically preconfigured to match the channel’s surround format, and to make the best use of the plug-in’s capabilities. For example, a plug-in with mono and stereo capabilities is inserted into a 5.1 bus. It is preconfigured as two stereo pairs, with the addition of a mono center and mono LFE channel. The necessary links and tabs are created automatically.
Working with the Surround Master When you set the output of a channel strip to surround, a surround master channel strip is automatically created in the Mixer. The surround master channel strip processes the signals routed to the outputs, as configured in the Surround preferences (taking the project’s surround format into account, of course). You can insert surround effect plug-ins into the master channel strip.
Note: Use the Bounce Extensions preference tab to define filename extensions that will be added to the files resulting from a surround bounce. For further details, see Setting the Surround Preferences. To perform a surround bounce to CDDA (CD Digital Audio) 1 Do one of the following: • Click the Bounce button at the bottom-right corner of any output (or the surround master) channel strip. • Choose File > Bounce from the main menu bar (or use the corresponding key command).
Positioning Your Speakers The physical positioning of speakers is key to creating mixes that translate well to other surround playback systems. As the 5.1 format is the most widely used, this section will only cover 5.1 speaker placement. Much of this information can be applied to the other formats. Positioning the Front Speakers The International Telecommunications Union (ITU) created a 5.
Positioning the Surround Speakers The rear speakers (surround channels) should ideally be placed at the same distance from your listening position as the front speakers, at an angle of around 110 degrees from the front center speaker. This angle is a compromise between producing an all-encompassing sound stage (at 90 degrees) and the best rear-quadrant imaging (at 135 degrees).
The reason, put simply, is due to the way human beings “hear.” Most people with undamaged hearing can easily identify where a sound is coming from: to the left, right, in front, or behind them. Certain sounds, however, are very difficult to “position,” in relation to the listening position. For example: • A gunshot or car backfiring: These are hard to place because the sound is both loud and quick.
The center speaker is usually used for “dialogue,” and “incidental music/effects,” tracks in films. Its level should be fairly close to that of the left and right speakers, but can be increased a little to enhance the intelligibility of dialogue. In general, you should aim to have the sound from all front speakers arriving “evenly” at the listening position at the same time. The level of surround speakers and the subwoofer (LFE) is also critical.
SACD: Super Audio Compact Disc Basically, the Sony-Philips version of DVD-A. SACD audio is stored in a format called Direct Stream Digital, which has a sampling rate of 2.8224 MHz. SACD discs must contain a stereo mix, but usually also offer a 5.1 mix (although this is optional). Pro Logic II Pro Logic II uses two full-range rear channels, unlike the original Pro Logic (LCRS) format. It does not, however, use the LFE channel. In other words, this is a 5.
Synchronizing Logic Pro 40 Logic Pro can be synchronized with external hardware and software via a number of different synchronization protocols. In this chapter, you’ll take a detailed look at these protocols. This chapter covers the following: • Understanding the Synchronization Protocols (p. 1187) • The Synchronization Master and Slave Relationship (p. 1188) • Using External Synchronization (p. 1188) • Displaying and Using SMPTE Positions (p. 1190) • MIDI Machine Control (p.
Tip: Logic Pro also supports manual or “human” sync, when slaved. This is not a synchronization protocol per se, but enables Logic Pro to follow tempo changes in real time. As an example, it could chase a live drummer. See Using the Tempo Interpreter Window. The Synchronization Master and Slave Relationship In all synchronization situations, regardless of the simplicity or complexity of your studio configuration, the following rules apply: • There can only be one synchronization master.
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. 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.
Note: When using Pickup Clock with audio regions, it is the region’s anchor (not the region start point) that is moved to the playhead position. Fixing Objects to Frames In situations where you’re working with synchronized film, you often want specific sound effects to play at a specific SMPTE time, rather than a particular bar position. If the tempo of the piece needs to be altered at a later stage, the SMPTE time location of events that have already been positioned will change.
To avoid having to do this by trial and error 1 Open the Tempo List (see Using the Tempo List). 2 Create a tempo event at the desired bar position. 3 Set a time position for this tempo event in the SMPTE Position column. The preceding tempo event is automatically adjusted, to generate the correct bar and time position for the inserted tempo event. 4 If you want to keep the same tempo for the following passage, delete the tempo event you inserted.
Each arrange track can act as a tape (control) track, by selecting an instrument with the tape deck icon (#305). You only need to create one instrument with the tape deck icon, and you can then assign that same instrument to as many tracks as needed, to control your external recorder. It’s a good idea to group these tracks together in their own folder. These tracks must be placed at the top of the Arrange window track list. If you pack them into a folder, this must be the first track in the list.
• Following an MMC-controlled recording, Logic Pro automatically creates an empty MIDI region on the tape track. This is to let you know that a recording has taken place on the tape machine. This applies to all MMC recordings, including those controlled by the Autopunch function. If you activate several tape tracks (by Shift-clicking), the corresponding number of regions are created. If a MIDI region with an identical start point already exists on a tape track, no new MIDI region is created on that track.
If MIDI and Audio Are Not Synchronized Open the File > Project Settings > Synchronization > Audio tab and select the MTC Continuous or MTC Trigger + Auto Speed Detection mode. If your audio hardware doesn’t support either mode, you should cut extremely long regions into shorter sections. If MIDI and SMPTE Are Not Synchronized Check all frame rate settings. The frame rate of all connected devices must be identical, including the time code on the tape machine, the synchronizer, and in Logic Pro itself.
Working with Plug-in Latencies 41 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 strip output is perfectly synchronized. This chapter discusses the technical aspects of plug-in latency, and how to circumvent these timing anomalies in Logic Pro.
The audio interface input and output latency is handled by the settings in the Logic Pro > Preferences > Audio > Devices pane (see Configuring Your Audio Hardware). Internal latencies introduced by plug-ins are dealt with in a different way, which is the focus of this chapter. Working in Low Latency Mode Low Latency mode allows you to limit the maximum delay time caused by plug-ins.
2 Set the Limit slider to the desired value.
As an example: Imagine a simple song with a few bass, guitar, vocal, and drum tracks. The bass track is routed through an audio channel that contains an effect that introduces a latency of 10 ms. All guitar tracks are routed to an aux channel that contains several inserted effects. The combined latency introduced by these effects is 30 milliseconds (ms). The vocals are routed through another aux channel that has a set of effects that introduce 15 ms of latency.
There are, however, some limitations if you use plug-in latency compensation with live tracks. Shifting prerecorded instrument and audio tracks forward in time is possible when the audio is streaming live. So, recording while plug-in latency compensation is set to instruments and tracks will work fine—as long as you do not try to record through latency-inducing plug-ins: A live track cannot be shifted forward in time (as Logic Pro can’t position live audio before it happens).
The last thing to do is to get around the latency introduced by plug-ins on aux and output channels. 3 Bypass any latency-inducing plug-ins on auxes and outputs. At this point, all audio streams will be synchronized, allowing you to proceed with your recording. When you’ve finished recording, reenable all latency-inducing plug-ins, and switch the latency compensation setting to All. Note: In the All mode, bypassing plug-ins on busses, auxes, and outputs will not eliminate the latency that they create.
Working with Split Channel Audio File Formats 42 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.”For stereo files, this would be left channel, right channel, left, right, and so on. 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 import such files differs slightly, 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.
You can now edit both sides of the recording as individual mono files. This function only disconnects one split stereo file at a time. Important: If you want to reconnect the files, don’t define any new regions. µ To reconnect all split stereo files in your project Choose Edit > Reconnect All Split Stereo Files in the Audio Bin. Logic Pro reconnects all disconnected stereo files in the project. Only files that were previously part of a split stereo “pair” are reconnected.
Interleaved or Split Bounce File? In some cases you might need to bounce to a different format than the one you’re working with. • Interleaved bounce: Bounce to Interleaved when you want to use the file in another audio application that supports interleaved files (most audio applications or devices do). • Split channel bounce: Perform a split channel bounce when you want to use the file in Pro Tools software, or another application that only supports the “split stereo” format.
Project Settings in Logic Pro 43 The Project Settings window allows you to define many of the basic operating parameters of Logic Pro. This chapter explains each of these options. Note: Unless otherwise indicated, the descriptions of the various parameters apply when the selection box beside the option is selected (in other words, when it’s active). This chapter covers the following: • Accessing Project Settings (p. 1207) • Saving Project Settings (p. 1209) • Synchronization Project Settings (p.
The Project Settings window features a number of icons and tabbed panes. These behave much like menus and submenus. To adjust a given setting, select the icon you want, then the appropriate tab. Once the pane or window is shown, activate or deactivate the setting, or make your selection from a pop-up menu. Close the window once you’ve made your selections. In some instances, you’ll find a button that links to related parameters in the Preferences window, and vice versa.
Saving Project Settings Project settings are saved with each project, which means that different projects can have different project settings. You can save your preferred settings in a default template, which can be used to automatically create a new project when you open Logic Pro. For full details, see Opening and Creating Projects Automatically. Project settings can be transferred between projects, through the use of several import functions.
To open the Synchronization project settings Do one of the following: µ Choose File > Project Settings > Synchronization (or use the Open Synchronization Project Settings key command, default assignment: Option-Y). µ Click the Settings button in the Arrange toolbar, then choose Synchronization from the pop-up menu. µ Control-click the Sync button in the Transport bar, then choose Synchronization Settings from the shortcut menu.
• MTC: MIDI Time Code mode. Logic Pro runs as a slave. MIDI time code can either arrive at a MIDI In port, or be generated by a MIDI interface that translates it from incoming SMPTE time code (the Unitor8, for example). • Manual: Tempo Interpreter mode. Logic Pro runs as a slave to impulses that are recognized as valid beats by the Tempo Interpreter. The Tempo Interpreter can be controlled by MIDI events, or a key on the computer keyboard. See Using the Tempo Interpreter Window.
Logic Pro automatically interprets frame rates of “approximately 30 fps” as either 29.97 (drop frame) or 30 fps (non drop), depending on whether or not the drop frame format is used. This interpretation will usually be correct, because these two formats are used as a standard. The “Auto detect format of MTC” option only switches to 29.97 (drop frame) or 30 fps (non drop) if one of the other conventional formats was previously set.
Audio Synchronization Settings Use the parameters in the Audio pane of the Synchronization project settings to keep your audio and MIDI tracks synchronized. Current Sync Status Settings • MTC slider: 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 pane of the Synchronization project settings.
• Deviation slider: This display shows the current phase deviation of the Word Clock from the time code master—in other words, the deviation between audio and MIDI. Varying time code signals shown in this display indicate how Logic Pro regulates the sample rate of the hardware when in MTC Continuous sync mode. Even large time code variations result in no deviation between audio and MIDI synchronization. Your audio hardware must be capable of continuously variable sample rates for this to function.
• MTC Trigger + Auto Speed Detection: Similar to MTC Trigger (see below), but the tempo of the time code master is constantly monitored while Logic Pro is open. The next time you start Logic Pro, it will use an adapted sample rate. This mode keeps long regions in better sync with the time code master, although not as closely as MTC Continuous. It does, however, use a constant sample rate, which is not affected by variations in the time code master signal.
MIDI Synchronization Settings The MIDI pane configures Logic Pro to send time code via MIDI, when it is in playback or record mode. This pane lets you synchronize external slave devices to Logic Pro, which acts as the master. MIDI Clock Settings • Transmit MIDI Clock: Destination 1 checkbox: Allows you to activate MIDI Clock transmission. Every time you start, a Song Position Pointer (SPP) message is also sent.
• Transmit MIDI Clock: Destination 1 pop-up menu: Allows you to determine the first discrete MIDI output port for the MIDI Clock signal. • Transmit MIDI Clock: Destination 2 checkbox: Allows you to activate MIDI Clock transmission. See further details above. • Transmit MIDI Clock: Destination 2 pop-up menu: Allows you to determine the second discrete MIDI output port for the MIDI Clock signal. • “Delay transmission by” slider: Allows you to delay the transmission of MIDI Clock signals.
Logic Pro also obeys Full Frame Messages, and sets the playhead to a new location, without starting playback. Once again, incoming MTC data has higher priority, if conflicting information is received. Some synchronizers send Full Frame Messages (instead of MTC) to locate the slave device (Logic Pro in this case) to a new position, without implicitly starting playback.
• SMPTE Mode Refresh checkbox: Activates Refresh mode, where fresh time code is generated, in sync with received time code. Refresh mode works with both VITC and LTC (see below). You should always use Refresh mode whenever you need to copy an LTC track, because you cannot directly copy LTC without a considerable loss of quality. When copying entire multitrack tapes, you should patch all tracks directly, but refresh the time code track via the Unitor8.
Metronome Settings The Metronome project settings combine all parameters for speaker click, MIDI click, and KlopfGeist—a virtual metronome sound source. KlopfGeist can be used in addition to, or in place of, the speaker and MIDI click sources. Note: KlopfGeist is a software instrument found in the Plug-in menu of instrument channel strips. KlopfGeist is inserted into instrument channel 256 by default.
MIDI Click Settings • Bar checkbox: Select to generate separate note events for bars. • Beat checkbox: Select to generate separate note events for beats. • Division checkbox: Select to generate separate note events for divisions. • Channel fields: Define the MIDI channel of generated notes. • Note fields: Define the note number of generated notes. • Velocity fields: Define the 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: µ Choose File > Project Settings > Recording (or use the Open Recording Project Settings key command, default: Option-*). µ Click the Settings button in the Arrange toolbar, then choose Recording from the pop-up menu. µ Control-click the Record button in the Transport bar, then choose Recording Settings from the shortcut menu.
• x Bar: The recording begins with a count-in of between 1 Bar and 6 Bars (chosen from the pop-up menu). • x/4: The count-in’s time signature can be set here. These settings are useful when the count-in falls across a bar change. • “Allow tempo change recording” checkbox: All tempo changes made while in record mode are recorded. For details on editing these tempo recordings, see Advanced Tempo Operations.
Core Audio Recording Settings • Recording Folder file path: Enables you to record all audio data into a single location. If your working methods are geared toward projects, all recordings (and other project assets) are saved in the project folder itself. • Set button: Click to set a universal recording folder, and choose or create a new folder location in the dialog. Tuning Settings Logic Pro includes a real-time tuning system, for use with the included software instruments.
Software Instrument Pitch Settings • Tune slider: 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. Software Instrument Scale Settings • Software Instrument Scale buttons: Select the appropriate button in the Software Instrument Scale section to activate alternate tuning scales. The selected tuning scale is saved with the project when saved, and reloaded the next time the project is opened.
• User: Root Key pop-up menu: Allows you to choose a global key (C-B) for the chosen scale. This provides an easy way to reference the chosen scale to any root note. • Hermode Tuning: Type pop-up menu: Allows you to set different Hermode Tuning modes. • Classic (3/5-all): This mode provides a broad and regular tuning of pure 5ths and 3rds. In cases of conflict, the degree of purity is temporarily reduced. This mode can be used for all types of music.
To simplify this example: Imagine that you are tuning an instrument, beginning with a note called C at a frequency of 100 Hz. (A real C would be closer to 130 Hz.) The first fifth would be tuned by adjusting the pitch until a completely clear tone was produced, with no beats. (Beats are cyclic modulations in the tone.) This would result in a G at exactly 150 Hz, and is derived from the following calculation: • The fundamental (100 Hz) x 3 (= 300 Hz for the second harmonic).
Detuned octaves are more noticeable to the ears, so your choice should be obvious. The Comma The difference between a perfectly tuned octave and the octave resulting from a tuned circle of fifths is known as the comma. Over the centuries, numerous approaches have been tried to solve this mystery, resulting in a range of scales (before arriving at equal temperament—the 12 tone scale). Other historical temperaments that have been devised emphasize different aspects of harmonic quality.
Hermode Tuning can help with this problem: it retains the pitch relationship between keys and notes, while correcting the individual notes of electronic instruments, ensuring a high degree of tonal purity. This process makes up to 50 finely graded frequencies available per note, while retaining compatibility with the fixed tuning system of 12 notes per octave. How Hermode Tuning Works Frequency correction takes place on the basis of analyzed chord structures.
Audio Settings The Audio project settings determine audio-specific project parameters. To open the Audio project settings Do one of the following: µ Choose File > Project Settings > Audio (or use the Open Audio Project Settings key command, default assignment: Option-U). µ Click the Settings button in the Arrange toolbar, then choose Audio from the pop-up menu. • Automatic Management of Channel Strip Objects checkbox: Makes setting up and using tracks and channel strips a transparent experience.
• Playback Pre-Roll checkbox: When this option is selected, all start commands force Logic Pro to start playback a little earlier (shifted to the left). The exact pre-roll value depends on the current delay compensation value for plug-ins. This option ensures that transients that fall exactly on the start position are played back correctly. If this option is unselected, transients that fall precisely on the start position can be missed, or seem to fade in.
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 panes. To open the MIDI project settings Do one of the following: 1232 µ Choose File > Project Settings > MIDI (or use the Open MIDI Project Settings key command). µ Click the Settings button in the Arrange toolbar, then choose MIDI from the pop-up menu.
General MIDI Settings The following parameters are available in the General pane. Miscellaneous Settings • Send After Loading Project: “Used instrument MIDI settings” checkbox: Sends the active instrument MIDI settings automatically after loading a project. (See Inserting Program Change, Volume, and Pan as MIDI Events.) • Send After Loading Project: “All fader values” checkbox: Sends all Environment fader values automatically, once a project is loaded.
• Instrument Without MIDI Thru Function pop-up menu: The instrument selected here will not pass events through the computer when the instrument is assigned to the selected arrange track. Normally, you would set the No Output instrument here (chosen by default).
Chase Settings If you start playback in the middle of a project, some events might not be heard (such as notes, sustain pedal events, and pitch bend events that start before the point where playback begins). Using the Chase Events function, you can have Logic Pro analyze the project and include some or all of these events when the project plays back.
• Control Changes, 0-15, 64-71, and All Other checkboxes: Select to search for continuous controllers 0 to 15, continuous switch controllers 64 to 71, or all other controllers. • Aftertouch checkbox: Looks for monophonic (channel) aftertouch messages. • Polyphonic Aftertouch checkbox: Scans for polyphonic aftertouch messages. • System Exclusive checkbox: The most recent SysEx message before the playback start point is transmitted.
Global Score Settings The Global Score project settings define global formatting options such as page margins, spacing between notes, bars per line, and more. Distance values can be displayed in inches or centimeters in the Global Score settings pane. µ To switch the distance value display between inches and centimeters Choose cm or inch from the pop-up menu at the top of the Global Score settings pane.
The following describes the global Score settings in detail. • Top, Bottom, Left, and Right Margin fields: 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.
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. In the opposite situation (high constant value, proportional value set to 0), the distance from one note to the next is always the same, regardless of note duration. A half note takes the same amount of space as an eighth note.
• Hide Muted Regions checkbox: Excludes muted regions from the score display. If the option is not selected, muted regions are displayed in the score, even though they won’t be heard during MIDI playback. • Hide Muted Tracks checkbox: Excludes muted tracks from the score display. If the option is not selected, muted tracks are displayed in the score, even though they won’t be heard during MIDI playback. • Hide Muted Notes checkbox: Excludes muted notes from the score display.
Note: For each of these options, you can set the font, size, and face by clicking the Choose button. Page Numbers Settings • Page Numbers checkbox: Select to turn on the display of page number parameters. • Horizontal Position pop-up menu: Alters the horizontal alignment on the page. Choose from: • Alternating: Alternating, beginning on the right side. • Left, Right, or Centered: These are self-explanatory. • Rev. Alternating: Alternating, beginning on the left side.
• Page Offset field: This value is added to each actual page number, for display purposes. This can be useful when writing a piece consisting of several parts, which are saved as separate project files. To retain continuous page numbers throughout the score, you can set this parameter to the number of pages contained in all preceding parts (project files). • Horizontal Distance field: The horizontal distance from the outermost printing position on the page.
• Hide Bar Numbers in Linear View checkbox: Linear view refers to non-Page view. • Follow Staff Size checkbox: Displays bar numbers according to staff size. • Count Multiple Rests checkbox: Displays the first and last bar number below multiple rests. This makes sense if a negative Vertical Position value is chosen, causing bar numbers to be shown below staffs. • Show at Double Bars checkbox: Displays bar numbers at every double bar line and repeat sign, independent of the chosen Step setting.
Logic Pro automatically converts notes into tablature, if a staff style containing a Clef parameter set to one of these tuning sets, is used. The exact characteristics of these tuning sets are determined in the Guitar Tablature pane. Twelve different tuning sets can be defined. Each of them corresponds to one line in this pane. The regular guitar and bass tunings are already included as defaults (first line and last five lines), as are some of the more common guitar tunings.
Note: Up to eight strings are shown directly within the pane. If more than eight are selected, you can move the visible section by clicking the arrows, or dragging the scroller. • Assign pop-up menu: Select the method for automatically assigning notes to strings (see Determining the Assign Method). • 1 to 16 fields: Double-click to type, or drag vertically to select, the pitch that the open strings are tuned to.
Pitch Logic Pro assigns each note to the string on which it is playable, at the lowest possible position. In order to influence the string assignment, there is a rule (in Pitch mode only) that a note’s fret position cannot be lower than its MIDI channel. This method is generally used when notes are recorded from a MIDI keyboard: • An A3 (on MIDI channel 1) is displayed on the second fret of the G string.
A further point to note is that notes can generally only be assigned to strings on which they are actually playable (F2 can only be played on the lowest string of a guitar, so the channel assignment is completely ignored in this case). You can create a two-staff style that displays the MIDI region twice: once using regular music notation, and once as tablature. The indicated split point can be ignored in this situation. A default style for this (named Guitar Mix) is found in the Logic Pro default project.
Chords & Grids Settings These are general display options for chords and chord grids. Chords Settings • Root Font field: Defines the font for the chord symbol’s root note. • Extension Font field: Defines the font for the chord symbol’s extensions. • Follow Staff Size checkbox: Displays chord symbols according to staff size. • Slash Note Position pop-up menu: Defines the position of the slash note.
• Alignment pop-up menu: Determines the general horizontal alignment of chord symbols—with an Align parameter set to def (default)—in relation to their bar position. Grids Settings • Grids Font field: Sets the general grid font. • Grid Scaling: Reduced field: Sets the size of the first chord grid when added in the Score Editor. • Grid Scaling: Normal field: Sets the size of the second chord grid when added in the Score Editor.
Clefs & Signatures Settings These are general display options for clefs, key signatures, and time signatures. Clefs Settings • Clefs pop-up menu: Allows you to choose between the following clef display parameters: Every Staff, First Staff on Every Page, First Staff on Page 1, and Hide All. • Display Warnings at Line Breaks checkbox: Causes warning clef changes to be displayed at the end of a staff or staff system (if the actual change is at the beginning of the subsequent staff or staff system).
Key and Time Signatures Settings • Key Signatures pop-up menu: Allows you to choose between the following key signature display parameters: Every Staff, First Staff on Every Page, First Staff on Page 1, and Hide All. • Display Warnings at Line Breaks checkbox: Causes warning key signature changes to be displayed at the end of a staff or staff system (if the actual change is at the beginning of the subsequent staff or staff system).
Note: Only automatically displayed bar lines are hidden, so it’s still possible to insert bar lines from the Part box, including the regular bar line, which will be displayed and printed. Octave Symbols Settings • +8, –8, 0, +15, –15 fields: Allow you to edit the text string (and text formatting) of the different octave symbols. Click the appropriate field, and enter the text. • Choose button: Click to select a different font, font face, or size.
Layout Settings The Layout pane 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, 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. The Slur and Tie Thickness parameters are affected by the Scale parameter in score sets, and the Size parameter in staff styles.
MIDI Meaning Settings The settings in the MIDI Meaning pane determine if, and to what extent, the insertion of the listed symbols affect the MIDI playback of notes (that these symbols are attached to). The above symbols change the MIDI output of all notes they are attached to. Two parameters can be determined for each symbol: velocity and length. 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.
This makes playback sound much more realistic and alive. The default settings in the MIDI Meaning pane (in new projects) are 0 for velocity, and 100% (no change) for length. If you don’t change these values, the symbols remain purely graphical, and do not affect MIDI playback. If you record your regions in real time (from a keyboard), it’s better to leave these settings at the defaults, as the notes probably already sound the way you want them to.
Color Settings The Colors pane determines the color palette for the currently active project. The color palettes are used by different color modes. (See Choosing a Color Mode.) Clicking any color opens the standard Colors window, allowing that 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 pane.
• Chromatic: Allows you to use twelve different colors. • Pitch Color buttons: Click any color to open the standard Colors window and change that particular color. Velocity Colors Settings • Velocity Colors buttons: These eight colors are applied in accordance with the MIDI velocity of notes, from left (minimum) to right (maximum). Click any color to open the standard Colors window and change that particular color.
Video Project Settings In the Video project settings, you can define the video output, determine the video sound output, and offset the video from the project. To open the Video project settings Do one of the following: µ Choose File > Project Settings > Video (or use the Open Video Project Settings key command, default assignment: Option-V). µ Click the Settings button in the Arrange toolbar, then choose Video from the pop-up menu.
• FireWire: Choose this mode to output QuickTime movies from your project to a FireWire device. (Your FireWire DV device must be connected at the time.) For technical reasons, only QuickTime movies in DV format are supported. • Video Format pop-up menu: When either the Digital Cinema Desktop or FireWire option is chosen from the Video Output pop-up menu, the Video Format pop-up menu becomes available. • Digital Cinema Desktop offers three choices: Preview, Full Screen, and Raw.
Assets Project Settings The project assets refer to all audio files, EXS instruments, and other data associated with the project. Ideally, you should save all project assets with the project file, but on certain occasions you may prefer not to. To open the Assets project settings Do one of the following: µ Choose File > Project Settings > Assets (or use the Open Assets Project Settings key command). µ Click the Settings button in the Arrange toolbar, then choose Assets from the pop-up menu.
Preferences in Logic Pro 44 Preferences allow you to define many of the basic operating parameters of Logic Pro. This chapter explains each of these preferences. Note: Unless otherwise indicated, the descriptions of the various parameters apply when the selection box beside the option is selected (in other words, when it’s active). This chapter covers the following: • Accessing Preferences (p. 1263) • Saving Preferences (p. 1264) • General Preferences in Logic Pro (p.
These and several other access methods are outlined throughout the chapter. The Preferences window features a number of icons and tabbed panes. These behave much like menus and submenus. To adjust a given preference, select the icon you want, then the appropriate tab. Once the pane or window is shown, activate or deactivate the preference, or make your selection from a pop-up menu. Close the window once you’ve made your selections.
A separate preference file, also stored in the same location, is made for control surfaces. It is named com.apple.logic.pro.cs. Note: You can’t open either preference file directly. Any changes must be made in Logic Pro. If you accidentally or intentionally erase a preference file, Logic Pro creates a new one the next time it is opened. All parameters will be reset to their default values.
To open General preferences Do one of the following: µ Choose Logic Pro > Preferences > General (or use the Open General Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose General from the pop-up menu. General Project Handling Preferences Project Handling preferences determine how Logic Pro handles projects.
• Create New Project using Default Template: Opens the default template and the Save As dialog, allowing you to name and save your project. • Ask: Opens a Startup dialog, offering each of the above options. • Default Template field: You can determine the default template by clicking the Choose button below the Default Template field. The full path and name of the chosen template or project is displayed in the Default Template field. You can assign any template or project as the default template.
General Editing Preferences The Editing pane contains the following preferences: • Right Mouse Button pop-up menu: Determines the right mouse button behavior (assuming you have a suitable mouse). • Is Assignable to a Tool: A third Tool menu (Right-click Tool menu) appears to the right of the Left-click and Command-click Tool menus. Choose the appropriate menu item to assign the tool, which is available when the right mouse button is pressed while editing.
• Pointer Tool in Arrange Provides: Marquee Tool Click Zones checkbox: When this checkbox is selected, placing the mouse pointer over the lower half of a region (with the exception of the lower-left and lower-right edges) activates the Marquee cursor and behavior. • Limit Dragging to One Direction In: Piano Roll and Score checkbox: When this checkbox is selected, you can only move notes in one direction (horizontally or vertically), per operation, when editing in the Piano Roll or Score Editor.
• “Select Regions on Track selection” checkbox: When this checkbox is selected, selecting a track automatically selects all regions on the track lane (or regions within the cycle or autopunch area if Cycle or Autopunch is enabled). Turn off the preference if you don’t want regions to be automatically selected when the track header is chosen. When the preference is disabled: • Option-clicking the track header or associated channel strip continues to select the track and all associated regions.
• Smooth Cycle Algorithm checkbox: This option improves the timing of cycle jumps, making it easier to set the length of sample loops while in Cycle mode—although this is somewhat mitigated through the use of Apple Loops. If your computer has a very slow processor, this setting reduces the processing requirements for graphics operations. In general, you want to keep this on whenever possible, especially if you’re working in a style that involves frequent cycling of musical sections.
General Caps Lock Keys Preferences The Caps Lock Keys pane contains the following preferences: • Enable Caps Lock Keys checkbox: Allows you to completely enable or disable the Caps Lock Keyboard functionality. • “Space bar acts as sustain pedal” checkbox: If you want to use the Space bar key command to start, stop, or continue Logic Pro playback, rather than as the Sustain function for the Caps Lock Keyboard (when active), you can deselect the “Space bar acts as sustain pedal” option.
Audio Preferences in Logic Pro Audio preferences consist of the following tabs: Devices, General, I/O Assignments, Sample Editor, MP3, Reset, and Nodes. To open Audio preferences Do one of the following: µ Choose Logic Pro > Preferences > Audio (or use the Open Audio Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose Audio from the pop-up menu.
Core Audio Device Preferences Logic Pro automatically recognizes any installed Core Audio hardware, and uses the default settings as defined in the Audio MIDI Setup utility (Applications/Utilities/Audio MIDI Setup). However, it can be advantageous to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device. • Enabled checkbox: Select this checkbox to enable the Core Audio driver.
Note: When setting an output device which also provides inputs, the Input Device setting changes accordingly. If choosing a different input device, you will be recommended to use a common Word Clock for both audio devices, in order to ensure the best sound quality. • Input Device pop-up menu: Allows you to choose between any installed Core Audio device, including the internal sound hardware. This also includes aggregate audio devices, consisting of several audio interfaces.
20- and 24-bit files use one-and-a-half times the disk space of comparable 16-bit files. Note: Turning on this parameter only makes sense if you are using a 20- or 24-bit interface. • Software Monitoring checkbox: This option allows you to turn Software Monitoring (listening to the actual input signal) on or off. In most situations, you should leave it on.
For full details about activating DAE and setting preferences, see the Logic Pro TDM Guide. Direct TDM Device Preferences TDM Device preferences can only be set after activating TDM (Time Division Multiplexing). For full details about activating TDM and setting preferences, see the Logic Pro TDM Guide.
• CPU-saving (Slow Response): Choose to save processing resources, and to make the Track Mute and Solo buttons independent of the corresponding channel strip buttons. • Sample Accurate Automation pop-up menu: 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 (depending on the nature of your projects, and available computing power).
• Low Latency Mode checkbox and Limit slider: You need to select the Low Latency Mode checkbox in order to activate Low Latency mode and use the Limit slider. The Limit slider lets you determine 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 bar).
Output Pane The Output pane consists of the following preferences: • Stereo Output pop-up menu: Allows you to choose the physical output pair on which the stereo output is played. • Mirroring checkbox: Becomes available for all chosen output pairs, with the exception of Output 1–2. Deselect to have the output signal routed to the chosen output pair (Output 3–4, for example).
Bounce Extensions Pane The Bounce Extensions pane consists of the following preferences: • Stereo Left and Right fields: Allow you to set the bounce extension. • Surround Show As pop-up menu: Allows you to choose the surround format you want to work in. The choice you make automatically sets the channel pop-up menus in the assignment section of the pane. • Surround Initialize button: Allows you to reset the bounce extension to its default value.
Input Pane The Input pane consists of the following preferences: • Surround Show As pop-up menu: Allows you to choose the surround format you want to work in. The choice you make automatically sets the input channel pop-up menus in the assignment section of the pane. • Surround Initialize buttons: Allow you to choose between the default setup of Logic Pro, the ITU (International Telecommunications Union) standard, and the WG-4 standard.
Audio Sample Editor Preferences The Sample Editor pane contains the following preferences: • “Warning before processing function by key command” checkbox: Select this option if you want to be warned before carrying out a destructive edit in the Sample Editor using a key command. This gives you the opportunity to cancel the edit operation, before altering the data.
• “Store undo files in project folder” checkbox: Activate this preference if you want the edited audio files to be stored in a sub-folder of the current project. This is selected by default if the project is saved with its assets. • Global Undo File Path field: 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 selected. Click the Set button, and navigate to the appropriate folder.
Audio MP3 Preferences The MP3 pane contains the following preferences: • Bit Rate (Mono/Stereo) pop-up menus: You can choose bit rates between 32 kbps and 320 kbps, but the defaults are 80 kbps mono and 160 kbps stereo. These rates offer acceptable quality and good file compression. If you can afford the increased file size, you should choose 96 kbps for mono and 192 kbps for stereo streams. These settings will deliver better audio quality.
• Quality pop-up menu: Keep this set to Highest whenever possible. Reducing the quality accelerates the conversion process, but at the expense of audio quality. This option is only accessible when the “Use Variable Bit Rate Encoding (VBR)” checkbox is selected. • Use Best Encoding checkbox: Like the Quality parameter, if you deselect this option, you will gain encoding speed at the price of audio quality. This should always be left on, unless conversion time is an issue.
Audio Nodes Preferences The Nodes pane gives you the option of enabling distributed audio processing—allowing you to expand the processing capacity of your Logic Pro system. For details, see Enabling Distributed Audio Processing. • Enable Logic Nodes checkbox: Displays a list of those computers that have the Logic Pro Node application installed, along with an identical plug-in set.
MIDI Preferences in Logic Pro MIDI preferences consist of the following tabs: Reset Messages, General, and Sync. To open MIDI preferences Do one of the following: µ µ Choose Logic Pro > Preferences > MIDI (or use the Open MIDI Preferences key command). Click the Preferences button in the Arrange toolbar, then choose MIDI from the pop-up menu. MIDI Reset Message Preferences The preferences in this pane are only included for compatibility with older MIDI hardware.
All selected checkboxes will send a reset message, for the selected controller type, to all MIDI outputs. This reset message is sent on cycle jumps and when playback begins, but the use of these options shouldn’t be necessary.
MIDI General Preferences The General (MIDI) pane contains the following preferences: • “External stop message ends recording” checkbox: If you are using external synchronization, and the timecode stops while recording, record mode is turned off. If this checkbox is unselected, Logic Pro stops, but remains in record mode (record mode is paused). • “Always stop when opening project” checkbox: With this setting on, a project will always be opened in stop mode, even if it was saved in playback mode.
MIDI Sync Preferences The Sync pane contains the following 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 to send Song Position Pointer while playing” checkbox: Song Position Pointer (SPP) data is not normally sent while the sequencer is in Playback mode. (This is in accordance with the MIDI Standard.
• MTC Pickup Delay field: This parameter should generally be set to zero, to ensure the quickest possible pickup time while Logic Pro is in MTC (MIDI Time Code) Sync mode. There are, however, some devices that seem to transmit imprecise MTC commands when first started. As a result, synchronization may be unreliable, and there could be an offset every time synchronization is established. In such situations, you can set a delay time before incoming MTC is picked up.
Display Preferences in Logic Pro Display preferences consist of the following tabs: General, Arrange, Mixer, and Piano Roll. To open Display preferences Do one of the following: µ Choose Logic Pro > Preferences > Display (or use the Open Display Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose Display from the pop-up menu.
General Display Preferences This pane allows you to alter the appearance of several onscreen components that are used throughout the program. • “Large local window menus” checkbox: The title and items of the local menus are displayed in the normal system font. If unselected, a smaller font is used. • Wide Playhead checkbox: A thicker playhead is used in all windows. • Show Help Tags checkbox: This enables help tags throughout Logic Pro.
• Display SMPTE, Display Tempo As, and Clock Format pop-up menus: You can use these pop-up menus to customize the Bar, SMPTE, and Tempo display in the Transport bar. For further details, see Customizing the Bar, SMPTE, and Tempo Display. Arrange Display Preferences These preferences specifically affect the appearance of the Arrange area. • Background Color pop-up menu: Choose one of three Arrange background color settings: Dark, Bright, and Custom.
Mixer Display Preferences These preferences specifically affect the appearance of the Mixer area. • “Open plug-in window on insertion” checkbox: With this checkbox selected, the window of an effect or software instrument plug-in is automatically opened after inserting it in the appropriate channel strip slot. • Default Size pop-up menu: Determines the default size of effect or software instrument plug-in windows. Can be set between 100% and 200% in increments of 25%.
Piano Roll Display Preferences These preferences specifically affect the appearance of the Piano Roll area. • Background Type buttons: These buttons allow you to choose between a dark or bright color set in order to edit the color setup. • White Keys and Black Keys fields: Double-click the color field to open the Colors window. Select or determine the color for the grid lines, aligned with the white keyboard keys. Do the same for the black keyboard keys.
Score Preferences in Logic Pro Score preferences consist of the following parameters: To open Score preferences Do one of the following: µ µ Choose Logic Pro > Preferences > Score (or use the Open Score Preferences key command). µ Choose Options > Open Score Preferences in the Score Editor. Click the Preferences button in the Arrange toolbar, then choose Score from the pop-up menu.
• Floating Palette View pop-up menu: Defines the default shape of the Part Box Elements display when opened as a floating window (see Selecting Part Box Objects). • “Double-click note to open” pop-up menu: Determines the window that opens when you double-click a note head: Note Attributes, Event List, Hyper Editor, or Piano Roll Editor. • Selection Color field: Allows you to choose the color of selected objects in the Score Editor.
Video Preferences in Logic Pro Video preferences (such as how Logic Pro handles video memory, video hardware settings, and timing adjustments) consist of the following parameters: To open Video preferences Do one of the following: µ Choose Logic Pro > Preferences > Video (or use the Open Video Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose Video from the pop-up menu. • Video to Project slider: A global setting for fine-tuning the start point of a movie.
Automation Preferences in Logic Pro Automation preferences consist of the following parameters: To open Automation preferences Do one of the following: µ Choose Logic Pro > Preferences > Automation (or use the Open Automation Preferences key command, default assignment: Option-A). µ Click the Preferences button in the Arrange toolbar, then choose Automation from the pop-up menu. • Move Automation with Regions pop-up menu: Determines what happens to track automation data when you move regions.
• Ramp Time field: Determines the time required by a parameter to return to its previously recorded setting. • ‘Write’ Mode Changes To pop-up menu: Determines the mode that faders automatically switch to once track automation data recording has been completed. • Write Automation For checkboxes: The checkboxes in this section determine the types of track automation data that can be written in Touch, Latch, and Write modes.
Control Surface Preferences in Logic Pro Control Surfaces preferences consist of the following tabs: General and Help Tags.
To open Control Surfaces preferences Do one of the following: µ Choose Logic Pro > Preferences > Control Surfaces (or use the Open Control Surfaces Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose Control Surfaces from the pop-up menu. These preferences are discussed in detail in the Logic Pro Control Surfaces Support manual.
Sharing Preferences in Logic Pro Sharing preferences consist of the following parameters: To open Sharing preferences Do one of the following: µ Choose Logic Pro > Preferences > Sharing (or use the Open Sharing Preferences key command). µ Click the Preferences button in the Arrange toolbar, then choose Sharing from the pop-up menu. These preferences are discussed in detail in Setting Sharing Preferences.
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 cannot be edited directly. Any change to the original region will be reflected in the alias.
ASCII Acronym for American Standard Code for Information Interchange. Standard computer character set, allowing computers to deal with text characters. When you type ASCII characters from the keyboard, the computer interprets them as binary so they can be read, manipulated, stored, and retrieved. Also see scan code. attack Start phase of a sonic event. Also part of an envelope (see envelope). attenuate The act of lowering the level of an audio signal (see boosting and cutting).
Auto Track Zoom Function in the View menu that automatically enlarges the currently selected track. automation Automation is the ability to record, edit, and play back the movements of all knobs, controls, and buttons, including volume faders, pan, EQ, and aux send controls, plus most effect and instrument plug-in parameters. Autopunch button Button (with the up/down arrows) in the Transport bar, used to activate the Autopunch function.
Beat Mapping track Global track used to analyze audio or MIDI regions, and create tempo events based on note or transient events in these regions. This allows you to more easily synchronize existing free recordings (those made without a metronome click) in other projects. beats per minute See bpm. Bezier curve A curve created from a line that contains two points. These points affect the line, allowing it to be pulled into a curve.
Browser A tab in the Media area of the Arrange window used to browse, select, and manage all media types supported by Logic Pro. Also see Media area. bus Busses are used to send audio to aux channel strips for processing or submixing tasks. bus channel strip The bus channel type is primarily included for backward compatibility with older Logic Pro versions. The bus channel strip functions of earlier versions are performed with aux channel strips in Logic Pro 8. bypass To deactivate a plug-in.
channel strip A channel strip is a virtual representation of a channel strip on a mixing console. Each channel strip contains a number of similar controls, which can include some or all of the following: a Mute button, Level fader, Pan/Balance control, Input slot, Output slot, Send slots, Insert slots, Format button. The channel strips shown to the left of the Arrange window, and in the Mixer window, are used to process audio or MIDI information that is routed from arrange tracks.
comping A process where multiple recording takes are combined into a single perfect take. See takes. compressor An effect that restricts the dynamic range of an audio signal (also see expander). Content Link mode The chain link button found at the top-left corner of most Logic Pro windows features three modes.
cutting The act of reducing a level, or frequency, when using EQ or other filters. Also used to describe physically dividing and removing sections of files, regions, and so on (see boosting and attenuate). Cycle function A function in Logic Pro that constantly repeats the area between the locator positions. To turn on Cycle mode, click the Cycle button in the Transport bar. The Cycle function is useful for composing a part of a project or editing events, as examples.
DFS An abbreviation for Digital Full Scale. Sometimes expressed as 0 dB DFS. This (zero dB—as shown on the Logic Pro channel strip level meters) is the maximum theoretical level that a digital signal can reach before clipping and other types of distortion may be introduced. dialog A window containing a query or message. You must interact with it (by clicking a button) before you can continue. digital A description of data that is stored or transmitted as a sequence of ones and zeros.
dynamics Refers to changes in volume, or other aspects of a piece of music, over time. editor Window for editing MIDI or audio data. Logic Pro offers the Hyper, Piano Roll, Event List, and Score editors for MIDI event data, and the Sample Editor for audio data. The Event List can also be used for region editing and positioning tasks. Editor view Almost all Logic Pro plug-ins (and Audio Units) offer a graphical view of effect and instrument parameters.
Event List A list that shows all events or regions in a project. It allows you to directly manipulate events and regions in a precise, numerical way. It also allows you to add different types of events. expander An effect process that increases the dynamic range of an audio signal. It is the antithesis of the compression effect (see compressor). export To create a version of a file, such as a Logic Pro project, in a different format that can be distributed and used by other applications.
flex time editing A process that allows you to edit the timing of single or multiple audio regions. Flex tool A tool that allows you quick access to the basic flex time editing functionality, without having to turn on Flex view in the Arrange area. See Flex view. Flex view An Arrange area view that allows you to edit the timing of audio material. float window See window type. folder A folder is a container for regions in the Arrange area.
grid The Logic Pro grid is represented by vertical lines that are used to indicate the positions of measures, beats, and sub-beats in various editors. GS Extended GM standard developed by Roland Inc. Hand tool A tool used to move regions in the Arrange area or events in editors, or plug-ins between Insert slots in the Mixer. It automatically appears when the mouse cursor is placed over a region or event while the Pointer tool is selected.
importing The process of bringing files of various types into a Logic Pro project. Imported files can be created in another application, captured from another device, or taken from another Logic Pro project. In button Button used to activate Step Input mode in the editors. Also see Step Input function. input channel strip Channel strip type in the Environment Mixer layer that is included for backward compatibility with projects created in older Logic Pro versions.
key The scale used in a piece of music, centered around a specific pitch. The specified pitch is called the root of the key. Can also refer to a black or white key on a musical (MIDI) keyboard. key command Function that can be executed by pressing a specific key (or key combination) on your computer keyboard or MIDI controller. Key Commands window The Key Commands window is used for the assignment of key commands to computer keys or to MIDI messages.
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. The left and right locators define the cycle time-range, useful for cycle or skip playback operations and cycle recording. The locators are also used to define the editing area for certain functions. loop An audio file that contains recurring rhythmic musical elements, or elements suitable for repetition.
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 region Data container for MIDI events, shown in the Arrange area as a named horizontal beam. MIDI Time Code (MTC) Translation of a SMPTE time code signal into a MIDI standard time code signal. MTC is used to synchronize Logic Pro with MIDI devices, other sequencers, video and audio tape or hard disk machines that support MIDI Time Code. MTC determines absolute time positions and supports start, stop, and continue messages.
mono Short for monophonic sound reproduction. The process of mixing audio channels into a single track, using equal amounts of the left and right audio channel signals. Compare with stereo. movie See video. 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.
notch filter This filter type cuts the frequency band directly surrounding the cutoff frequency, allowing all other frequencies to pass. note attributes Describes functions found in the Attributes menu of the Score Editor. These determine aspects such as the stem direction, color, enharmonic position, and further options for the display (and printing) of note events. note number Pitch of a MIDI note, controlled by the first data byte of a MIDI note event.
pan, pan position The placement of mono audio signals in the stereo field, by setting different levels on both sides (see Balance). Pan control Rotary knob (directly above the Level fader) on mono channel strips, that determines the position of the signal in the stereo image. Parameter box Field on the left side of Logic Pro windows (or in the Inspector). It is used to adjust the parameters of the selected track, regions, events, or objects. Also see Inspector. peak 1) The highest level in an audio signal.
plug-in window A window that opens when a plug-in is inserted, or the Insert/Instrument slot is double-clicked. Allows you to interact with the plug-in parameters. Pointer tool Tool used to select or edit regions, events, menu or interface items, and more in Logic Pro. post fader Sends in analog mixers are positioned either before (pre) or after (post) the fader.
Q factor A term generally associated with equalizers. The Q factor is the quality factor of the equalization, and is used to select a narrower or broader frequency range within the overall sonic spectrum of the incoming signal. quantization Time-correction of note positions by moving them to the nearest point on a selectable grid (this is chosen in the Quantization menu).
region Regions can be found on arrange tracks: They are rectangular beams that act as containers for audio or MIDI data. There are three different types of regions: audio regions, MIDI regions, and folder regions (usually referred to as folders). Also see audio region, MIDI region, and folder.
sample rate When an analog audio signal is converted to a digital signal, this term refers to the number of times per second the audio file is sampled. Logic Pro can record and edit audio at sample rates ranging from 44.1 kHz (44,100 times per second) up to 192 kHz (192,000 times per second). sample rate converter Device or algorithm that translates one sample rate to another. sampler Device used for sampling. In Logic Pro, this generally refers to the EXS24 mkII software-based sampler.
SDII Sound Designer II audio file format. Very similar in structure to the AIFF file format. search 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 search fields in the Key Commands window or Loop Browser. self-oscillation Self-oscillation is a typical characteristic of analog filter circuits.
Signature track Global track that shows all time and key signatures of a project. Single Trigger mode This term is associated with synthesizers such as the ES1. In this mode, envelopes are not retriggered when tied (legato) notes are played. SMF See Standard MIDI File. SMPTE Abbreviation for Society of Motion Picture and Television Engineers. The organization responsible for establishing a synchronization system that divides time into hours, minutes, seconds, frames, and subframes (SMPTE time code).
SPP Abbreviation for Song Position Pointer, a MIDI clock timing pulse sub-message that indicates the current “song” (project) position. It is accurate to bars (and beats for some devices), but is not as accurate as MIDI Time Code (MTC). If you have a choice of these two when synchronizing Logic Pro, choose MTC (see both the MIDI Clock and MTC entries). staff style A staff style determines the appearance of notation on a musical staff.
Surround Panner Replaces the standard Pan/Balance control of channel strips, set to Surround in the Output slot. Allows you to control the relative positioning of the channel signal between the speakers available (in the chosen project surround format). sustain pedal A momentary footswitch that is connected to MIDI keyboards. It transmits MIDI controller number 64, which is recorded and played back by Logic Pro.
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. Logic Pro can go down to single sample accuracy (at sufficient zoom levels) for edits and positioning, but the MIDI protocol is not fast enough to support this.
transient Position in an audio recording where the signal becomes a lot louder—over a short time span (a signal spike, in other words). As this is typical for drum recordings, transients can be used to indicate where beats occur in an audio signal. transient detection A process where audio files are analyzed for transients the first time you enable a track for flex time editing. See flex time editing. transient marker A marker that denotes a significant point or peak in an audio file.
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 control The control that appears at the bottom-right corner of some windows, such as the Arrange area. The zoom control slider allows you to navigate through the entire length of the currently displayed project. The lines on the left and right of the slider can be clicked to zoom in and out by a fixed percentage. zoom level The amount that window contents (tracks and regions, for example) are magnified. Zooming in to a high level allows you to make more precise edits.
