Logic Express 8 User Manual
Apple Inc. © 2007 Apple Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries.
1 Contents Preface 15 16 17 17 Logic Express 8: Documentation and Resources Logic Express 8 Documentation Conventions Logic Express Onscreen Help Apple Websites Chapter 1 19 20 23 An Introduction to Logic Express Creating Music in Logic Express The Basics: Projects and Regions Chapter 2 27 28 48 51 55 57 Overview of the Logic Express Interface A Tour of the Logic Express Interface Common Features of Logic Express Windows Interactions Between Arrange Window Areas Using Logic Express Interface Eleme
Chapter 4 83 83 90 98 98 99 Setting Up Your System Designing Your Music Production System Connecting Your Audio and MIDI Devices Using External MIDI Devices Using External Audio Effects Configuring Your Audio Hardware Chapter 5 103 103 106 107 108 114 116 Navigating Your Project Setting the Playhead Position Using the Transport Buttons Using Transport Key Commands Using Cycle Mode Using the Chase Events Function Customizing the Transport Bar Chapter 6 123 124 125 128 128 129 131 132 134 135 Worki
176 177 177 183 184 Working With Help Tags Using the Shortcut Menu Selection Techniques Working With the Clipboard Undoing and Redoing Editing Operations Chapter 9 187 189 190 191 198 198 199 199 201 203 204 205 207 208 208 212 213 214 Working With Tracks Configuring the Track Header Reclaiming Workspace Used by the Track Header Creating Tracks and Channels Deleting Tracks Selecting Tracks Rearranging Tracks Naming Tracks Assigning Tracks to Channels Zooming Individual Tracks Assigning Track Icons Mutin
281 290 Adding and Removing Audio Files Adding MIDI and Project Files Chapter 12 291 291 295 296 Getting to Know Regions What Are Regions? MIDI and Audio Regions Compared Handling Regions in the Audio Bin and Sample Editor Chapter 13 307 309 319 320 322 322 324 328 334 335 339 346 354 358 362 Creating Your Arrangement Making Region Edits Faster and Easier Selecting Regions Selecting Parts of a Region Adding and Recording Regions Removing and Restoring Regions Moving Regions Resizing Regions Cuttin
Chapter 16 415 415 418 432 433 434 435 Editing MIDI Events in the Piano Roll Editor Learning the Piano Roll Editor Interface Creating and Editing Note Events Splitting Chords Using Hyper Draw Customizing the Piano Roll Editor Piano Roll Editor Shortcuts Chapter 17 437 439 448 455 Editing MIDI in the Hyper Editor Creating and Editing Events in the Hyper Editor Working With Event Definitions Working With Hyper Sets Chapter 18 459 460 463 466 468 469 469 475 Editing MIDI Events in the Event List Learni
530 531 533 548 Undoing Editing Steps in the Sample Editor Creating Manual Backups Working With the Digital Factory Using an External Sample Editor Chapter 22 549 549 551 Removing Silent Passages From Audio Regions How You Can Use Strip Silence Using Strip Silence Chapter 23 553 553 554 555 556 Adjusting the Tempo of Audio Regions Automatic Tempo Matching Setting the Project Tempo to Match an Audio Region Time Stretching Regions Using the Follow Tempo Function Chapter 24 559 559 564 565 566 567
598 603 Customizing the Mixer Using the I/O Labels Window Chapter 26 605 606 609 612 613 618 618 620 624 Working With Automation Displaying Track Automation Setting an Automation Mode Writing Track Automation Data Editing Track Automation in the Arrange Area Editing Track Automation Data in an Event List Writing Track Automation With External Controllers Using Hyper Draw Conversion of Automation Data Chapter 27 625 626 626 627 627 636 637 Bouncing Your Project Creating a Bounce Routing Channels to an
Chapter 30 667 667 668 672 673 673 676 679 681 Advanced Tempo Operations Tempo Display Using the Tempo Track Recording Tempo Changes Adjusting the Tempo to Fit Audio Regions Using the Tempo List Using the Tempo Operations Window Using the Tempo Interpreter Using the Tempo Fader Chapter 31 683 684 686 687 688 688 Beat Mapping Regions Beat Mapping With MIDI Regions Beat Mapping With Audio Regions Beats From Region Beat Mapping to Scene Markers Beat Mapping to Markers Chapter 32 689 690 691 693 Tra
738 740 742 742 744 745 745 746 747 749 749 751 755 756 757 757 758 759 759 760 761 762 763 763 769 769 775 796 804 804 808 809 809 809 810 810 810 811 811 811 812 816 820 Editing Slurs and Crescendi Editing Repeat Signs and Bar Lines Working With Text Inserting Text Editing Text Using Musical Symbol Fonts Learning About Text Styles Working With Text Styles Working With Global Text Working With Automatic Text Objects Creating Lyrics Creating Chord Symbols Working With Time and Key Signatures Creating Time
824 826 828 830 832 Clefs & Signatures Layout MIDI Meaning Colors Score Preferences Chapter 34 835 836 837 838 839 840 841 843 Working With Video Using the Movie Window Using the Video Track Working With Scene Markers Creating Scene Markers Handling QuickTime Movie Audio Tracks Video Project Settings Video Preferences Chapter 35 845 846 846 849 859 861 863 Synchronizing Logic Express The Synchronization Master and Slave Relationship Using External Synchronization Synchronization Project Settings
Chapter 39 901 907 911 914 914 915 915 916 918 923 924 925 927 930 932 933 934 935 936 938 957 Multi Instruments Mapped Instruments GM Mixer MMC Record Buttons Keyboard Monitor Object Channel Splitter Object Arpeggiator Transformer Object Delay Line Object Voice Limiter Object Chord Memorizer Object Touch Tracks Object Physical Input and Sequencer Input Objects MIDI Click Object Internal Objects Alias Ornament Macros Faders Channel Strip Objects 961 962 962 962 963 965 967 973 974 975 975 975 976 976 981
994 Sharing Preferences Appendix 995 996 Learning More, Service, and Support AppleCare Service and Support Information Glossary 997 Index 14 1029 Contents
Preface Logic Express 8: Documentation and Resources Logic Express 8 offers an extensive documentation collection that will help you to learn and make full use of all application features. Further information about Logic Express, including data on updated versions and support texts, can be found on the Apple web site.
Logic Express 8 Documentation Conventions The following section introduces you to conventions used throughout the Logic Express 8 documentation. Menu Functions For functions that can be reached via hierarchical menus, the different menu levels are illustrated as follows: Menu > Menu entry > Function. Important Entries Some text will be shown as follows: Important: Information on function or parameter.
Logic Express Onscreen Help The Logic Express Help incorporates the Logic Express 8 user documentation in electronic form. These documents have the advantage of being at your fingertips whenever you need them, and are searchable, making it quick to find the information you need. Â The Logic Express Help menu also provides additional features, including direct access to the Logic Express pages on the Apple website.
Apple Service and Support Website This is the place to go for software updates and answers to the most frequently asked questions for all Apple products, including Logic Express. You’ll also have access to product specifications, reference documentation, plus Apple and third-party product technical articles. To access Apple’s Service and Support web page: m Open your Internet browser, and type in http://www.apple.com/support. Other Websites  http://www.apple.
1 An Introduction to Logic Express 1 Logic Express is a sophisticated, fully-featured audio and MIDI application that provides all the tools you need to create professional-quality music productions. Logic Express allows you to record audio and MIDI, edit audio loops plus MIDI and software instrument parts, add high-quality effects, and mix your music in stereo.
 Work in real time: You can work on Logic Express projects in real time; adding to, and editing audio and MIDI parts while the project is playing, and hearing the results of your changes immediately.  Use existing loop libraries: Logic Express directly supports Apple Loops files, and is compatible with a wide variety of existing audio file types, including those created in ReCycle.
MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are calculated on the Macintosh CPU, and played back through your audio interface or the Macintosh audio outputs. Not only can you record the notes of your performance, but you can also record and play back information such as synthesizer parameter changes—all in real time.
Mixing also entails the use of audio effects, which change, enhance, or suppress particular song components, adding up to a unified and polished final product. Logic Express features numerous effects that can be used to turn your basic song into a professionally finished project. Logic Express enables you to record, or automate, changes you make to track, instrument, and effect parameters, such as volume, pan, filters, and other controls.
The Basics: Projects and Regions This section will provide you with an introduction to the basic elements and terminology of a Logic Express project. Detailed, step-by-step instructions on working with projects, regions, and events are provided in later chapters. If you are an experienced user, you may wish to skip ahead to “A Tour of the Logic Express Interface” on page 28. Projects You start working in Logic Express by creating a project, or opening an existing one.
The sub-folder structure of all projects is identical, making it easy and consistent to navigate both your projects and those of other Logic Express users. Project Folder Project file (“song”) Movie Files folder Audio Files folder Project assets Sampler Instruments folder Ultrabeat Samples folder Regions The main window of Logic Express is known as the Arrange window. This is the window that you first see when you open the application, and a project is loaded.
Any audio file used in Logic Express is automatically linked to at least one audio region that is, by default, the length of the entire audio file. You can freely create as many audio regions as you require. To give you an example of where this may be useful, imagine a live stereo drum track that runs for the duration of your project. During the second chorus, the drummer played perfectly, but was a little sloppy during all other chorus sections.
You can also edit individual events within a MIDI region. This is achieved by opening the region in one of the MIDI editors. These windows allow you to precisely alter the position, length, and pitch of MIDI note events. Other MIDI event types can also be altered in various ways. You may freely enter MIDI data with your MIDI keyboard, the mouse, and/or computer keyboard in these editors. More information on MIDI and MIDI event types can be found in Chapter 15, “Introduction to MIDI Editing,” on page 409.
2 Overview of the Logic Express Interface 2 The Logic Express interface features several areas, each specialized for particular tasks. The main workspace is the Arrange window, which can incorporate all areas and editors. This chapter introduces you to the Arrange window. You’ll learn how it interacts with other Logic Express windows and editors. Detailed information about these editors and their functions can be found in cross referenced chapters.
A Tour of the Logic Express Interface The following section will introduce you the various elements of the Logic Express interface. This is principally a “getting to know you” exercise, where the fundamentals of each area are covered. Full details on all options, functions, and uses are covered in dedicated chapters that appear later in the user manual. The Arrange Window The Arrange window can incorporate all working areas and editors. It features a Toolbar at the top and a Transport bar at the bottom.
 Media or Lists area: Use the various tabs to locate and preview audio files (Browser tab), select effects, instruments, and their settings (Library tab), and more, when the Media button in the Arrange Toolbar is clicked. When the Lists button is clicked, you have the choice of viewing MIDI events (Event List), tempo events (Tempo List), and more. You can also enable the Media or Lists area via the Arrange window View menu (or use the corresponding key commands).
The Transport bar consists of three parts: Transport buttons Display area Mode buttons  Transport buttons: Used to navigate your project.  Display area: Provides information that helps with project navigation.  Mode buttons: Enable advanced recording and playback functions. You can alter the Transport bar by adding or removing buttons and displays, providing faster access to the functions you need most often. You can also open an independent SMPTE or Bar display window.
Media Area The Media area can be opened or closed by clicking on the Media button in the Toolbar. The Media area is where you manage all files associated with your project, including audio, video, and plug-in settings. It has four tabs: Â Audio Bin: Helps you to manage all audio files used in the project. Â Loop Browser: Used to search for loop files (Apple Loops, for example). Â Library This is where you search for (and can directly assign) plug-in, channel strip, and MIDI instrument settings.
 Name column: Displays all audio files in the current project by name. The disclosure triangle to the left of the file name reveals all regions associated with the selected audio file.  Info column: Displays audio file and region information. Horizontal bars indicate the overall audio file length. Colored sections of these bars indicate the location and size of regions within the audio file.
Getting to Know the Loop Browser The Loop Browser is designed to make finding Apple Loops intuitive and fast. You can search for loops by using keywords, perform text searches, preview loops, view information about loops, and limit the display to loops from a specific Jam Pack or loop library. Matching files are displayed in the Search Results list. When you find files you want to use, you can add them to your project by dragging them into the Arrange area.
The Sound Effects view offers effect-related category buttons such as Explosions, Foley, or People. Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genres, By Instruments, By Moods, and Favorites search criteria. Category columns  View buttons: Click to switch between the three views.
Getting to Know the Library The Library is a powerful tool that you can use to access the following file types. Â Channel strip settings (.cst) Â Plug-in settings (.pst) Â EXS instruments (.
Getting to Know the Browser The Browser allows you to navigate to, or search for all file types that can be used in Logic Express, enabling easy access to (and use) of this data during production.
 Computer button: Displays the contents of the local hard disk, optical drive, and other storage media connected to your computer, if applicable.  Home button: Displays the contents of your home directory.  Project Folder button: Displays the contents of the current project folder.  View buttons: Switches the file list between column and list view modes.  Search field: Type text in the field to display files with a name that contains the search text.
Getting to Know the Event List The Event List presents a list of all events in your project, such as MIDI note events or region start events. Use it whenever you need to make precise alterations to recorded data, and where the graphic display of the other editors is not as well-suited to the task. You can restrict the types of events that are shown, making it easier to find specific event types. The Event List can display two types of data: Region related or event related.
 Event type buttons: Click to filter specific event types from the display, or add them (depending on the status of the Create and Filter buttons).  List area: Shows the actual list of events or regions, separated into columns. Details in Chapter 18, “Editing MIDI Events in the Event List.” Getting to Know the Marker List The Marker List displays all markers in the project. You can use it to create new markers, edit existing ones, and to select markers for text editing.
Getting to Know the Tempo List The Tempo List displays all tempo changes in the project. You can also use it to create new tempo events, or to edit existing ones. Create button Tempo list  Create button: Click to create a new tempo event.  Tempo list: Displays all tempo changes, and their positions in the project.
Getting to Know the Signature List The Signature List shows all time and key signature events in the project. Score symbols, if present in the score of the project, are also shown. These include: Repeat signs and double bar lines (including end of score events), half/short bar lines, hidden bar lines and manually inserted bar lines. You can use the Signature List to create, copy, move, and delete time and key signature events.
The Inspector The Inspector can be displayed or hidden by clicking on the Inspector button in the Toolbar. The Inspector content depends on the area in key focus: Either the Arrange or one of the editing areas below it. The following screenshot shows the Inspector when the Arrange area is in key focus. Region Parameter box Track Parameter box Arrange channel strips  Region Parameter box: Used to set playback parameters, such as transposition and quantization, for individual regions on track lanes.
 Arrange channel strips: The left-hand channel strip controls the output of the selected arrange track. The right-hand channel strip can vary, dependent on actions performed in the left channel strip. As examples, the right channel strip can display the first aux or output destination channel strip for the left-hand channel strip. This facility makes it quick and easy to set up flexible effects and audio routing schemes.
The Editing Area You can open the Mixer, Sample Editor, Piano Roll Editor, Score Editor, and Hyper Editor directly in the Arrange window by clicking the corresponding button at the bottom of the Arrange window. Here’s a brief overview of what each window offers. Getting to Know the Mixer The Mixer is where you mix your project. Each track is played back through a channel strip.
Getting to Know the Sample Editor The Sample Editor displays the contents of audio files as waveform graphics. You can use the Sample Editor to precisely edit audio files (and regions). The Sample Editor also features a number of useful destructive processing tools—these allow you to time stretch and pitch shift audio, change sample rates, extract MIDI grooves from the audio, and even quantize audio.
Getting to Know the Piano Roll Editor The Piano Roll Editor displays MIDI notes as beams on a grid. The piano keyboard to the left is aligned with the note pitches represented by each beam. Note length is indicated by the relative length of each beam. Note position is displayed from left to right—a ruler and vertical grid lines make it easy to see where notes begin and end. Note velocity (how hard a note is struck, and usually how loud) is indicated by color.
Details on Score Editor use can be found in Chapter 33, “Working With Notation,” on page 695. Getting to Know the Hyper Editor The Hyper Editor displays MIDI note or controller events as vertical beams, placed along a user-defined time grid. This makes the Hyper Editor the ideal place to: Â Add or edit controller data, such as note velocities. It makes some editing tasks— such as data scaling—much faster. Â Quickly create and edit MIDI drum parts.
Common Features of Logic Express Windows All Logic Express windows, including the Arrange area, feature a number of common elements. This consistent approach between windows makes your life easier, as you will find these elements in the same place throughout the application. Local Menu Bars A window’s local menu bar contains buttons that access functions which are specific to the window.
Catch, Link, and Hierarchy Buttons Most windows contain Catch, Link, and Hierarchy buttons. These are used to tie or associate Logic Express windows, and can aid in navigating through different levels of your song structure. As an example of where this is useful, if you click on a MIDI region in the Arrange area, the contents of a linked window (the Piano Roll editor, for example) will update immediately to show the events within the region.
Global Tracks All linear editing windows also feature global tracks, which are displayed just below the Bar ruler, when opened. Click the disclosure triangle to the left of the Bar ruler (labeled Global Tracks) to view the global tracks. Â Marker track: Contains markers, which are used to identify bar positions and parts of the project. Their length, text, and color can be edited freely (for details, see “Working With Markers” on page 123). Â Tempo track: Contains all tempo changes in the project.
Interactions Between Arrange Window Areas The Arrange window contains various sections that interact with each other. These provide you with access to all files, editing methods, track and channel parameters in one place, making your workflow much faster. Please follow the steps outlined below to learn how these Arrange window elements work in harmony, to accelerate music production. To see how Arrange window areas interact: 1 Open the Media area by clicking the Media Browser button in the Toolbar.
The Sample Editor is shown, displaying the contents of the region you just created in the Arrange area. 5 Click the Audio Bin tab. The Audio Bin contains the audio file you just added to the project. 6 Click the Loops tab, then click a category button to see matching loops in the Loops tab’s Search Results list.
7 Select a loop with a green icon and drag it to a software instrument track in the Arrange area. Release the mouse button when the help tag displays position 1 1 1 1. A MIDI region will be created in the Arrange area. ∏ Tip: If no software instrument track exists, you can also drag the Apple Loop from the Loop Browser directly into the blank Arrange area (or below existing tracks).
11 Select the software instrument track, then click the Inspector button. The left channel strip displays the software instrument and effect(s) of the selected track. 12 Click the Library tab, and browse through the displayed channel strip settings. As this is a software instrument track/channel strip, only software instrument channel strip settings are shown in the Library. 13 Select one of the channel strip settings to load it. 14 Start playback again to audition the new sound.
Using Logic Express Interface Elements You can access all of the buttons, switches, sliders, and menus discussed above with the mouse and computer keyboard. Use of these Logic Express interface elements is outlined below: Checkboxes and Buttons Checkboxes are square boxes that are turned on when you click them, in order to activate an option (or function). Click the checkbox a second time to turn it off, and deactivate the option.
Pull-Down and Pop-Up Menus Pull-down menus open when you click on the desired menu item. Pop-up menus open when you click on certain input fields or buttons. In some menus, an arrow is shown beside one or more items, indicating a sub-menu. To choose an item from a sub-menu, move the mouse in the direction of the arrow, and then move vertically over the desired item. Click to activate the chosen command or setting.
Using the Computer Keyboard You can access most Logic Express functions with key commands. Whenever this manual mentions a key command, this refers to a function or option that can be accessed with a computer keyboard keystroke (or keystroke combination, such as pressing both the Control and W keys on your keyboard). Use of key commands, rather than the mouse, can greatly accelerate your Logic Express workflow.
3 Customizing Your Window Setup 3 Logic Express allows you to customize your window setup to fit both your working style and the task at hand. While you will perform most of your work in the Arrange, you can open different combinations of windows (even several of the same type) and adjust each individually. It is also easy to save different window arrangements (called screensets, discussed in “Using Screensets” on page 79), and recall them by pressing a key.
To assign key focus to a window or area, do one of the following: m Click on the window title bar, or within the working area. Take care with the latter, as you may accidentally insert an event or region, if the Pencil tool is active in the window. m Choose Window > Cycle Through Windows (or use the corresponding key command). This assigns key focus to the next open window, if it is fully obscured by other windows. The Arrange window can obviously incorporate several other windows in different areas.
Floating Windows Floating windows are so named because they always float in the foreground, even above the key focus window (opening numerous float windows inevitably leads to them covering each other—just click on the desired one to move it to the foreground). In general, most of the Logic Express helper windows, such as the Preferences or Project Settings windows, are floating windows.
Double-clicking an Arrange audio region opens the Sample Editor at the bottom of the Arrange window. Double-clicking an Arrange MIDI region opens the default editor at the bottom of the Arrange window. You can determine the default editor with the “Double-clicking a MIDI region opens” menu in the Global preferences window. Option–double-click on a region to open the default editor as a separate window.
Moving and Resizing Windows You can move and resize all open windows individually, even across multiple monitors. You can also alter the size of all window elements that feature the resize bar. The size relationship of the editing and Arrange areas within the Arrange window can also be adjusted, by clicking between them, and dragging vertically. The cursor changes to a Resize pointer. The vertical height of the Mixer area is memorized independently. All other editing areas share the same height.
To adjust the size of a window, do one of the following: m Drag the lower right-hand corner of the window, as with any window in the Finder. m Position the mouse pointer over the window edge. When the mouse pointer turns into the Resize pointer, drag in the desired direction. To adjust the size of window elements: 1 Move the mouse over the resize bar. 2 When the mouse pointer turns into the Resize pointer, drag the window element in the desired direction.
Working at Different Hierarchy Levels Logic Express allows you to view projects at an overview level (Arrange level) and also at the microscopic level (editor level). These different hierarchical levels are designed for different types of tasks, such as arranging project sections or refining instrument parts, as examples. In many cases, you can switch between these different display levels directly, without needing to open or access another window.
Selecting the Working Area The scroll bars at the right and bottom edges of a window enable you to move through the working area in either the vertical or horizontal dimension. Scroll bar Scroll bar You can move the visible section by clicking the arrows, or dragging the scroller. There are two points to note: Â The size relationship of the scroller to the overall scroll bar length corresponds to the size of the visible section of the window, in relation to the overall window size.
Use the Page Up, Page Down, Page Left, and Page Right key commands to scroll one page up, down, left, or right, as if you had clicked in the gray area (in the scroll bar) above or below the vertical scroller, or to the left or right of the horizontal scroller.
Zooming The zoom controls are used to zoom in and out on the working display area. Selection of different zoom values reduces or increases the size of events or regions in the displayed screen section. This allows you to: Â See more events or regions in the same amount of screen space (zoom out). Â See a detailed display of events or regions (zoom in). While zooming, the top-left (selected) event or region is kept in the visible area of the screen.
Zooming With the Scroll Bars The scroll bars not only allow you to move through your arrangement and editing windows. They can also be used for zooming. To zoom with the scroll bars: m Click-hold on the zoom handles at either end of the scroll bar, and drag: Â Up or down on the vertical scroll bar. Â Left or right on the horizontal scroll bar. As you drag, the window contents will be zoomed.
Storing and Recalling Zoom Settings You can store three different zoom settings for each window via use of the Save as Zoom 1–3 key commands. Use the Recall Zoom 1–3 key commands to recall your zoomed settings. These commands only apply to the active window or window area. Zooming in on One Section of the Screen To enlarge a section of the screen to fill the whole window, rubber band select the desired area with the Zoom tool. You can do this repeatedly, if you need to zoom in further.
The navigate key commands allow you to recall the previous or next zoom settings. Â Store Navigation Snapshot: The current zoom and scroll bar (window position) settings are saved as a step in the navigation path. Â Navigation: Back: Recalls the previous step in the navigation path. Â Navigation: Forward: Advances to the next step in the navigation path.
Catch Enable the Catch button to ensure that the visible section of a window follows the playhead during playback or recording. 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. The “Catch when Logic starts” (Logic Express > Preferences > Global > Catch) option enables Catch mode whenever you press Play or Pause. The “Catch when moving playhead” preference enables Catch mode whenever you move the playhead.
The symbol on the Link button reflects the chosen display mode: Same Level Link mode Contents Link mode Content Catch Mode Content Catch mode is commonly used in the Arrange area, with linked MIDI editor windows updating to show the events within the MIDI region that is currently being played (on the selected Arrange track). Initially, this is equivalent to Content Link mode, but when the playhead reaches the next region on the same track, the contents of this region are then displayed.
Customizing the Arrange Window Toolbar You can customize the Toolbar by adding buttons for the commands you use most often. You can also configure the display to show only the button’s icons, or only their labels. To add a button to the Logic Express Toolbar: 1 Control-click (or right-click) the Arrange window Toolbar, and choose Customize Toolbar from the shortcut menu. 2 Drag the buttons you want to add from the Customize Toolbar dialog to any empty area along the top of the window.
When you resize the Arrange window, the Toolbar may not offer enough space to keep all buttons visible. To keep a Toolbar button visible when you resize the Arrange window: m Control-click (or right-click) the desired button, then choose Keep Item Visible from the menu. Hiding or Revealing the Inspector You can hide the entire Inspector area to the left of the Arrange and editor windows, providing more workspace for regions, events, and other data.
 Bar and Time: Displays the Bar ruler above the SMPTE ruler.  Time and Bar: Displays the SMPTE ruler above the Bar ruler. To set the Bar ruler display mode: m Click on the small down arrow icon to the right of the Bar ruler, and choose the desired display mode in the shortcut menu. The Marquee Stripe setting hides or shows the marquee stripe—a tool used for selection tasks. For further information see “Selecting Parts of a Region” on page 320.
Displaying Global Tracks All linear editing windows can display global tracks just below the Bar ruler. You can limit the display to particular global tracks, resize, and move them. To hide or show global tracks, do one of the following ways: m Click the Global Tracks disclosure triangle to the left of the Bar ruler. m Choose View > Global Tracks (or use the Toggle Global Tracks key command).
 Click the Enable All or Disable All buttons to show or hide all global tracks, respectively. The choices made in the Configure Global Tracks dialog only affect the active window. Each window can have an independent global track display configuration. Note: You can also assign, and use, any of the following Toggle key commands for each individual global track: Marker, Transposition, Chord, Signature, Tempo, Beat Mapping, and Video.
Using Screensets You will position windows in a way that suits your working methods. This layout of various windows, including the display size, zoom levels, and position of each window (and other settings) is called a screenset. Once defined, you can save, and freely switch between different screensets, much as you might swap between different computer monitors.
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’d like the screenset to change. 3 Click the Create button in the Event List, then click the Meta Events button. The inserted meta event has a default value of 50 (Project Select). 4 Alter the number in the Num column from 50 to 49. This changes the name to screenset. 5 Input the desired screenset number in the Val column.
To copy screensets: 1 Switch to the screenset you would like to copy, and choose Screensets > Duplicate (or use the corresponding key command). 2 In the Duplicate Screenset window that opens: Type in the target screenset number (the screenset number that you want to copy to), and enter a name. To rename the current screenset: m Choose Screensets > Rename (or use the corresponding key command), and type the desired name in the Rename Screenset window.
Reverting to Saved Screensets The Revert to Saved Screenset (or the corresponding key command) resets your screen to its original state—prior to changing any aspect of the current screenset.
4 Setting Up Your System 4 Logic Express automatically finds and configures supported audio and MIDI hardware when first installed and run. There are many circumstances where you may wish to enhance or extend this basic automatic configuration. This chapter will help you to optimize your hardware for use with Logic Express. It also includes a lot of background information about components your music production system can incorporate.
 Additional software that runs alongside, and integrates with, Logic Express. This includes a range of ReWire applications and audio or MIDI software.  Additional effect and instrument plug-ins, including those that are DSP-accelerated, such as PowerCore. Read this section if considering components that you want to integrate into your Logic Express music production system. If you already have all components, and their integration meets your needs, feel free to skip this section.
Hard Drives and Storage Locations Music production generates a huge number of large files. These include samples for audio instruments, loop libraries, audio recordings, video files, and more. Consider buying a separate, large capacity hard drive (or several) for your audio files and sample libraries. You should also look at a reliable, high-capacity backup system, and should automate your backup routine, preferably as a daily occurrence.
MIDI Interface Your Macintosh computer does not provide MIDI in or outputs. If you want to use MIDI devices equipped with MIDI ports, a MIDI interface is required for communication with your computer. MIDI interfaces are generally connected to your Macintosh USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Macintosh.
Synthesizers and MIDI Controlled Effects Logic Express provides plenty of software instruments and effects, and can also act as a host for Audio Unit plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Chapter 10, “Working With Instruments and Effects,” on page 215. You can also incorporate hardware MIDI instruments and MIDI controlled effects units to your Logic Express music production system.
Ancillary Audio Devices No discussion of a Logic Express audio system would be complete without covering a number of options that you should seriously consider, in order to make the most of the application. Audio Playback System Your audio interface provides inputs and outputs between the real world and your computer. When performing audio playback, the audio interface translates computer data into something you can hear and understand—sound and music.
Audio Mixing Consoles The inclusion of an audio mixer—analog or digital—is heavily based on your typical studio use. It is also dependent on the number of inputs and outputs provided by your audio interface and your working preferences. To explain, if you are most likely to record bands, several MIDI synthesizers, or drum kits in your studio, you will need numerous microphone and line-level inputs to simultaneously record the performances of the musicians and vocalists in the group.
Ultimately, either microphone type can be used for any recording job, but each will offer a distinct advantage—sonically—in different recording situations. To further clarify, both condenser and dynamic microphones come in a variety of forms, with many specifically designed for the recording of certain instruments. As such, there’s no one size fits all microphone for every recording you will make, so purchasing or hiring several microphones for different projects is advisable.
There are two kinds of FireWire connectors: a 4-pin connector (typically found on video equipment, such as camcorders) and a 6-pin connector (used for computer and audio equipment). FireWire 400 (6-pin) (Sometimes labeled iLINK) FireWire 400 (4-pin) USB (Universal Serial Bus) USB is a consumer standard used for computer peripherals and other devices. USB 1.1 offers a much lower data-transfer rate than FireWire (11 Mbits per second). USB 2.0, however, transfers data at 480 MBits per second.
Audio Cabling The following types of audio cables and connectors are usually used on professional and consumer audio equipment:  XLR  1/4-Inch audio and 1/8-Inch miniplug  RCA (Cinch)  Toslink  AES-EBU, S/PDIF, ADAT XLR XLR cables and connectors are used on professional-quality microphones, monitors, and other musical equipment. They provide a high-quality, balanced signal at a +4 dB level.
AES/EBU, S/PDIF, and ADAT The AES/EBU, S/PDIF, and ADAT protocols provide a digital connection between professional and consumer audio equipment, including audio interfaces, DAT (digital audio tape) machines, mixing consoles, hardware samplers, and more. Toslink optical digital connector S/PDIF and AES/EBU provide two channels of audio, and ADAT optical provides eight channels of audio. You can use optical TOSLINK connectors to carry digital audio streams between S/PDIF and ADAT components.
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 Out port In 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: Â Bagpipes on module 1 Â A drumkit on module 2 Â 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 avante-garde. The same applies to the other 15 MIDI channels.
Separating a MIDI Keyboard From Its Sound Generator If your MIDI keyboard has an internal sound source, it is important that you stop the keyboard from generating sounds directly from its own keyboard. To explain: 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.
Using External MIDI Devices Logic Express recognizes all MIDI devices set up in the Audio MIDI Setup (AMS) utility, the integrated audio and MIDI configuration tool of Mac OS X. You can find the AMS utility in the Applications/Utilities folder. For more information on use, see the AMS Help. The Library tab displays all MIDI devices found by the AMS utility (separated into MIDI channels, if multi-channel devices) when an External MIDI track is selected.
Configuring Your Audio Hardware To use particular audio interfaces with Logic Express, the driver for the device needs to be installed, activated, and configured correctly. Drivers are software programs that enable various pieces of hardware and software to be used with Mac OS X. This allows the device to be recognized by applications, such as Logic Express, and enables data routing between software and hardware, in a format understood by both.
Setting Up Core Audio Devices Logic Express automatically recognizes any installed Core Audio hardware, and will use the default settings—as defined in the Audio MIDI Setup utility (Applications/Utilities/ Audio MIDI Setup). It can, however, be advantageous to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device. This is done in the Logic Express > Preferences > Audio > Core Audio tab.
Recording Delay This parameter allows you to delay the recording of audio by a certain fixed value, helping you to compensate for any information delays that are caused by the audio driver. Note: You should not normally need to touch this parameter. Universal Track Mode Universal Track Mode is switched on by default. It allows you to play back stereo and mono regions on a single track. It should be left on. 24 Bit Recording When this setting is turned on, Logic Express can record 24 bit files.
ReWire Behavior Use this menu to configure the ReWire behavior when sending MIDI data to a ReWire compatible software instrument: Â Playback Mode: Use when playing back MIDI tracks via ReWire. This setting requires less CPU power. Â Live Mode: Use when playing a ReWire instrument live. This setting uses more CPU resources, but has lower latency. Maximum Scrub Speed This pop-up menu allows you to set the maximum scrubbing speed.
5 Navigating Your Project 5 In this chapter, you will learn how to play, repeat, and move to different parts of your projects. Logic Express offers a number of methods to control playback and navigate to different sections of your project. You can use the Transport bar, key commands, the Bar ruler, and can also take advantage of markers to tag sections of your project, and quickly move between them. The playhead indicates the current playback position.
To place the playhead in the Bar ruler: m Click the desired position in the lower third of the Bar ruler. Double-clicking on the bottom third of the Bar ruler repositions the playhead, and also toggles between playback (or record) and stop modes. The top of the Bar ruler contains two locators which are shown as a semi-transparent gray stripe when inactive, and a green stripe when Cycle mode is active.
The playhead will move to match the display position. Adjusting the first number in the Bar display will move the playhead by bars, and by hours in the SMPTE display. Adjusting the second number will move by beats in the Bar display, and by minutes in the SMPTE display, and so on at increasingly small divisions with the other values shown in the Position display.
2 Click the General tab, and turn on the Wide Playhead checkbox. Thick playhead Default playhead Using the Transport Buttons You can use the transport buttons in the Transport bar to control playback, or to set the playhead position. You can click the buttons to activate or deactivate functions, or better yet, make use of the corresponding key commands (computer keyboard shortcuts) to speed up your workflow. Note: The screenshot below shows all transport buttons.
 Play from Right Locator: Moves the playhead to the right locator position, and begins playback.  Play from Selection: Moves the playhead to the start point of the selected regions or events, and begins playback. Default key command: Shift-Enter.  Rewind and Fast Forward: A click on either button will move the playhead one bar forward or backward. Command-clicking moves the playhead to the next or previous marker. Click-holding either button will rewind or fast-forward.
 Shuttle Rewind and Shuttle Forward: Repeated key presses will increase the winding speed. Repeated hits of the opposing shuttle key will slow down the shuttle speed, and eventually change the winding direction. Shuttle disables Cycle mode. Shuttling is halted by the Stop command.  Go to Selection End: Moves the playhead to the end of the first selected region or event in the active window. Note: There are also as a large number of Go To key commands for markers available.
To switch Cycle mode on and off, do one of the following: m Click the Cycle button in the Transport bar (or use the Cycle Mode key command). m Click on the top part of the Bar ruler (on the gray locator stripe). How Logic Express behaves in Cycle mode: Â The playhead jumps from the end of the cycle to the beginning. Â The Play command starts playback from the beginning of the cycle. Â To start playback from another position, hit Pause twice, or Pause and then Play.
To resize the cycle: m Grab the handles (triangles) at either end of the cycle to move the start or end points (you can even do this while Logic Express is running.). Note: You can set either the start or end point of a cycle (whichever is closest) by Shiftclicking the desired position in the Bar ruler. This works even when the stripe is outside the visible range, or Cycle mode is switched off.
Using the Transport Bar Mode Buttons to Define Locators You can use the following commands, available as Transport bar buttons, to define the locator positions. You can click on the buttons to activate or deactivate functions, or better yet, make use of the corresponding key commands (computer keyboard shortcuts) to speed up your workflow. Note: The screenshot below shows all relevant buttons. The buttons available in the Transport bar of your project may differ, as you can customize the Transport bar.
Defining a Cycle With Markers Dragging a marker into the top part of the Bar ruler creates a cycle with the marker’s length. Details on creating and using markers is covered in Chapter 6, “Working With Markers,” on page 123. You can also use one of the following key commands: Â Set Locators by Marker and Enable Cycle: Sets the cycle to the currently selected marker and activates Cycle mode. The length of the cycle is determined by the marker length.
Skip Cycle You can skip a passage in play mode, which is useful for trying out the musical effect of various transitions, from one song section to another, without needing to physically move regions. This is a very handy feature when arranging. Skip Cycle is also useful when editing, to leave out parts of the project that you don’t want to be affected by the edit. To set up a skip cycle, do one of the following: m Drag the Skip Cycle area from right to left in the Bar ruler.
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). Using the Chase Events function, you can have Logic Express analyze the project and include some or all of these events when the project plays back.
 System Exclusive: The most recent SysEx message before the playback start point is transmitted.  Text Meta Events: The most recent Text Meta Event message before the playback start point is transmitted.  Chase separate channels in ‘All Channels’ instruments: Multi-instruments (found in the Environment) have a global channel, and can have up to 16 MIDI sub-channels. Turn on this option to scan for events on each MIDI sub-channel, rather than the global multi-instrument channel.
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. You, however, may need to regularly access particular functions that are not part of the default set, due to: Â The type of project you are working on; a film soundtrack, for example.
To customize the Transport bar: 1 Control-click (or right-click) the Transport bar, and choose Customize Transport Bar from the menu. 2 Turn on or turn off the desired functions by clicking on the checkboxes in the Customize dialog. Transport Buttons This area contains checkboxes for buttons that literally transport the playhead through the project. Please see “Using the Transport Buttons” on page 106 (in this chapter) for an explanation of the individual functions and commands.
 Sample Rate or Punch Locators: Shows the current project sample rate, or punch recording in/out locators (when punch recording mode is enabled). As with other Transport bar display fields, you can set the sample rate or punch locators with the mouse or via direct numerical entry.  Tempo/Project End: The Tempo display indicates the current playback or recording speed. The Project End display shows the total number of bars or time. It behaves as stop playback/recording marker for the project.
 Move Locators Forward by Cycle and Move Locators Backwards by Cycle Length: Move the cycled passage by its own length.  Move Locators Left by Cycle: Retains the existing cycle, but moves it to the left by the cycle length. As an example, if the cycle is 4 bars long, and spans bars 12 to 16, using this command will move the cycle four bars to the left, resulting in a cycle from bar 8 to 12.  Move Locators Right by Cycle: As above, but moves the cycle to the right.
Using a Giant SMPTE or Bar Display You can configure the Transport bar to display a giant SMPTE or Bar display in place of the standard Transport bar display area. Alternately, you can spawn a new giant SMPTE or bar display window. To replace the standard Transport bar display area with a SMPTE or bar display: m Control-click the display area of the Transport bar, and choose Big Bar Display or Big SMPTE Display, as required. The Transport display area will be replaced with the chosen big display.
Customizing the Bar, SMPTE, and Tempo Display You can customize the Bar, SMPTE, and Tempo display in the Display preferences. To customize the Bar, SMPTE, or Tempo display: 1 Open the General Display preferences by doing one of the following: Â Choose Logic Express > Preferences > Display (or use the Open Display Preferences key command). Â Click the Preferences Toolbar button, then choose Display from the menu.
4 Turn on the Zeros as spaces checkbox if you want zero values to appear as blank spaces, rather than the number 0 in SMPTE time displays. 5 Choose one of the following settings in the Display Tempo As menu: Â Beats Per Minute (BPM, Maelzel): Beats per minute, to four individually adjustable decimal places. Â BPM without Decimals: Beats per minute, with no decimal places. Â Frames Per Click with Eights: Frames per beat with eighths. After the value, you will see fpc.
6 6 Working With Markers The main purpose of markers is to tag different parts of a project, and to enable the quick selection of these parts for playback, editing, and arranging. Markers serve as a kind of project road map, representing the form of a project graphically.
 Marker track: Displays markers as (optionally) colored sections. If the Marker track is hidden, you can see markers as short text strings in the Bar ruler of all linear editing windows. The main advantage of the Marker track over the marker display in the Bar ruler, is that it allows you to select, copy, move, or resize markers directly with the mouse. Click the disclosure triangle in the upper left corner of the Marker track name column to expand the track height, thereby displaying additional controls.
The Marker Text window is also available at the bottom of the Marker List window. It is known as the Marker Text area in the Marker List window. Using the Marker Shortcut Menus Many marker selection, editing, and other commands can be accessed by Controlclicking (or right-clicking) anywhere in the marker areas. Make use of this to accelerate your workflow.
 Click the Create button in the Marker List. m In any window: Choose Options > Marker > Create from the main menu bar (or use the Create Marker key command). The marker is created at the beginning of the nearest bar. If a marker already exists at a bar position (or up to a quarter note before or after it), no new marker will be created. The length of the marker automatically extends to the start point of the next marker, or to the end of the project or folder, if no ensuing markers exist.
Markers created in these ways are automatically assigned the names, bar position, length and color of the regions they are derived from. To create a marker that corresponds exactly to the length and position of a cycle: m Drag the cycle down into the Marker track or into the lower third of the Bar ruler. Dragging the cycle in the Bar ruler is limited to either horizontal or vertical movements.
Selecting Markers You can use the usual selection techniques to select markers. For more information, see “Selection Techniques” on page 177. Deleting Markers You can delete markers at any time. Once deleted, they no longer appear in the Bar ruler, Marker track, Marker List, or Marker Text window. To delete markers: m Do one of the following in the Marker track and Marker List: Â Click the markers with the Eraser tool.
Naming Markers Newly created markers are automatically named “Marker ##” (unless derived from regions, as described above). The “##” indicates a numerical value which reflects the order of appearance of the markers along the Bar ruler (resulting in “Marker 1”, “Marker 2”, and so on). The allocated number is dependent on the actual order of all markers in the project, including markers that have been renamed.
To edit a marker name in the Marker List: 1 Click the desired marker in the Marker Name column. 2 Click and/or drag anywhere on the “Marker ##” entry in the Marker Text area at the bottom of the window, and type in the desired name. As you type, the text shown in the Marker Name column (and Marker Track) will update. To edit a marker name in the Marker Text window: m Open the marker in the Marker Text window, then type the marker text in.
Changing the Appearance of Marker Text You can change the appearance of marker text in the Marker Text window and area. You can assign a different font, size, and style to any selected portion of the marker text. All fonts installed on your system can be used. Different colors can be assigned to all, or selected parts, of the text, and to the Marker Text window and area background. To change the appearance of marker text: 1 Select the marker text you want to change.
Editing Markers Markers can be edited in various ways. Common tasks include changing marker positions, coloring markers, and adjusting marker lengths. To change the position of a marker, do one of the following: m In the Marker track: Drag it to the left or right. m In the Bar ruler: Command-drag the marker to the left or right. m In the Marker List: Use the mouse as a slider on the bar position display, or double-click on a position value and enter the new value with the computer keyboard.
To change the length of a marker: m In the Marker track: Place the Pointer over the desired marker border. When the cursor changes to a Resize pointer, drag the marker border to the desired position. m In the Marker List: Use the mouse as a slider on the bar position display, or double-click on a position value and enter the new value with the computer keyboard. The marker border can also be the beginning of the subsequent marker, especially if the length of the second marker hasn’t been defined.
Navigating With Markers You can navigate through your project with markers. This is useful when you want to quickly jump to—and edit regions or events—at a specific project position, for example. To move the playhead to a marker, do one of the following: m In the Marker track: Press Option and click the marker. m In the Bar ruler: Press Command and click the marker. m In the Marker List: Click on a marker with the Finger tool.
Customizing the Marker Display in the Marker List There are two display options for marker position and length in the Marker List: Â View > Event Position and Length in SMPTE Units: Switches the marker position and length display between bar positions and SMPTE time positions. Â View > Length as Absolute Position: Switches the marker length display between actual (relative) length and (absolute) display of the marker’s end position (shown as a bar position).
7 Working With Projects 7 Logic Express 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 Express projects. Learning About Projects Logic Express requires a project to be opened or created before you can begin working. This is similar to using a word processing application, that requires a document to be opened before you can begin typing.
Logic Express creates a project folder that contains the project file, along with separate folders for files used in the project (audio files and so on). Project Folder Project file (“song”) Movie Files folder Audio Files folder Project assets Sampler Instruments folder Ultrabeat Samples folder The choice of saving projects without assets minimizes the memory requirements for project storage, allowing you to transport them easily to other Logic-based studios— either physically or as email attachments.
Creating Projects You start working in Logic Express by creating a new project. To create a project: 1 Choose File > New (or use the corresponding key command; default assignment: Command-N). 2 Choose the desired template in the Templates dialog. The Templates dialog is broken down into two areas: Collection and Template. Â Click a collection folder to display the associated template in the Templates area. Â Click a template to load it. A Save As dialog will automatically launch.
3 Browse to the location where you want to store the project, then type a name for the project in the name field. 4 Click the Include Assets checkbox if you wish to include the audio and other files in the project folder (see “Handling Project Assets” on page 152). ∏ Tip: It is recommended that you enable the Include Assets checkbox, as this makes the project “safe,” allowing you to move or copy the project folder without losing any file references that point to items within the folder.
 Also by default, the audio recording path is automatically routed to the new Project/ Audio Files sub-folder. If you decide not to create a project folder in the first instance but would like to at a later stage, simply choose the Save As command. ∏ Tip: You can quickly create an empty default project by holding Option while choosing File > New. Opening Projects Logic Express requires a project to be opened before you can commence working.
 OMF Interchange Files: Open Media Framework files used by other DAW applications such as Pro Tools  OpenTL Files: OpenTL (Open Track List) files used in devices such as Tascam hard disk recorders  XML (Final Cut Pro): An open source standard, supported by Final Cut Pro and Soundtrack Pro For more information about the individual file types, see Chapter 29, “Project and File Interchange,” on page 649.
Switching Between Multiple Projects You can open several projects simultaneously, allowing you to copy or move data between them, or perhaps to compare different versions of one project. To switch between projects: m Choose the project name at the bottom of the Window menu—the active project is marked with a tick.
Importing Settings From Other Projects You can import the following settings from other projects:  Screensets  Transform sets  Hyper sets  Score sets  Score staff styles  Score settings (all project settings that pertain to the score, such as Numbers & Names or Clefs & Signatures.)  Score text styles To import settings from another project: 1 Choose File > Project Settings > Import Settings (or use the Import Settings key command).
Checking and Repairing Projects On occasion, you may need to know how many regions are in a project, how much memory is being used, and so on. This data is available in the Project Information window. Very rarely, a project may become corrupted due to driver or memory conflicts, or may feel sluggish. Should any corruptions occur, a warning message will advise you of the existence and nature of the problem. These problems can generally be rectified in the Project Information window.
Setting Project Properties Following the creation of a project, a number of project properties should be checked, and changed if necessary. This is a great working practice as it will limit any morning after corrections that will need to be made later, such as sample rate conversions on a hundred or more audio files! This section outlines the project properties that you should take into consideration before commencing any work.
To match a file’s sample rate with the project sample rate, you can: m Use the Audio Bin’s Copy/Convert File command, then replace the file in the project. Logic Express performs a real time, native sample rate conversion. Any sample rate available in Logic Express (via Audio > Sample Rate) can be used for the conversion— even if your audio hardware does not support the selected sample rate.
m Open the Tempo track, and drag the tempo line up or down with the Pointer tool. For more information about advanced tempo operations, please refer to Chapter 30, “Advanced Tempo Operations,” on page 667. Setting the Project Time Signature The time signature defines how many beats a bar contains in the Bar ruler and what note value constitutes one beat.
You can set the time signature of the project in the Transport, the Signature List, or the Signature track. The Transport 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.
Setting the Start and End Points of a Project A project normally starts at position 1 1 1 1. You can move the project start point to an earlier position, allowing upbeats or program change commands to be played before the first downbeat. To define a project’s start point: m Drag the project start marker in the Bar ruler to the left or right. To define a project’s end point, do one of the following: m Drag the project end marker in the Bar ruler to the left or right.
Setting the Basic Project Playback Level You can set the basic project playback level by dragging the Master Level slider found at the right of the Transport bar (if your display is of a sufficient width). This slider is directly tied to the Master channel in the Mixer, and acts as a master level control for all audio and software instrument tracks. Important: This slider not only sets the playback level of your project, but also affects the overall level of your mix.
Adjusting Project Settings The project settings encompass a number of options that can have a dramatic impact on the behavior of Logic Express. Project settings are saved independently with each project, which means that different projects can have different project settings. You can change project settings at any time, but it is generally best if you start off with the required settings, as this will make your workflow smoother.
Managing Projects This section outlines some housekeeping that may be required to keep your projects in great shape. Copying or Moving a Project Folder A project folder can be freely moved or copied to another location by using any of the standard operating system methods. This is great for archiving and transport of projects to other studios or facilities.
Consolidating Project Settings If your project contains files that are not in the correct sub-folders within the project folder, you can use the Consolidate command to automatically organize them into the standardized project file structure. To consolidate your project: 1 Choose File > Project > Consolidate (or use the Consolidate Project key command). 2 Choose the desired menu option for the different file types in the Consolidate dialog, to either move, leave, or copy the existing files.
Saving Projects When you choose File > Save (or use the corresponding key command, default: Command-S), the current project will be saved—with its current name intact. If you don’t wish 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.
Saving a Project as a Template You can save a project as 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. As examples: Â A template that is software instrument-focussed, for dance music projects. This would feature 32 software instrument tracks, and say eight audio tracks.
Closing and Quitting Following the creation or playback of a project, you’ll want to close it and Logic Express. Here’s how you do it: To close the currently active project: m Choose File > Close Project (or use the corresponding key command, default: OptionCommand-W). If you have made any changes since the last save operation, Logic Express will ask you if the project should be re-saved before closing, to preserve any changes you have made.
8 Basic Operations 8 The following chapter will introduce you to the basic operating, selection, and editing techniques available in Logic Express. You will learn about input techniques, correcting errors, and a number of shortcuts and features that will accelerate your workflow, and assist you while learning about Logic Express. Using the Mouse If you’re unfamiliar with mouse use in Logic Express, which differs from mouse use in other applications, the following section will be of use.
Modifier-Clicking or Dragging Many commands, functions, additional tools, or finer adjustments are accessed by holding a modifier key: Control, Shift, Option, or Command while clicking or dragging. As examples: Option-dragging a region will copy it. Option-clicking on a fader or knob will reset it to its default, or centered, value. Mouse Wheel Events You can use the mouse wheel to scroll vertically in Logic Express.
Here are some of the possible methods. You can type in: Â Decimals: 1, 01, 2, 3, 4, 127, … Â Hexadecimals: $1, $01, $2, $3, $A, $0A, $7F Â Notes: “C3”, “C#3”, “Cb3”, “C##2” (equivalent to D2), “Dbb2” (equivalent to C2). If you double-click on the note “E3”, you can enter a decimal value such as “64” or a hex value of “$40” instead of the note name. Â ASCII Code: You can also input numbers as ASCII code: just place a ` or " in front of the selected key, and the ASCII code will be input as a number.
Working With Key Commands You can execute nearly every Logic Express function with a key command or MIDI message. Whenever this manual mentions a key command, this refers to a function, command, or option that can be accessed by either: a computer keyboard keystroke (or keystroke combination—such as Option-R—which opens the Recording project settings), or a MIDI message. Use of key commands, rather than the mouse, can greatly accelerate your workflow.
Whenever you install Logic Express updates, your personal key commands will remain unaltered. Note: Almost all key commands are user-definable. Some of the default assignments for standard commands such as Undo, Save, Quit, New, Open, Cut, Copy, and Paste follow Mac OS X conventions, and probably shouldn’t be altered. Some keys are “hardwired” to specific functions or commands, and can not be changed. These are dimmed in the key command listing, to indicate this fixed status. See the section below.
∏ Tip: Pressing Control—and choosing a command in a menu—opens the Key Commands window, with the respective command selected. This also works with shortcut menus. Key and Assignment columns Key combination area Find field Learn buttons Key Commands list Learn button Assignments area  Key Commands list: Lists all available key commands. The bullet indicates key commands that are not available as menu items.
Important: There is a hierarchy of key command classes, which are not merely separated into global and local key commands. As an example, there is a key command class that applies to all windows that display regions. This class has higher priority than global key commands, but a lower priority than local (Arrange, Score, Piano Roll, and so on) window key commands. Choosing Key Command Sets The Options menu offers commands that allow you to switch between key command sets, or import and export them.
Finding Key Commands You can use the Key Command window’s Find field to find key commands by name or partial name: Â The search is performed as you enter text. There is no need to press the Return key, unless you wish to retain a history of key command searches. Â The Cancel button to the right (that appears as soon as any text is entered) clears any entered text, and displays all key commands. Â The Find menu to the left (the magnifying glass) retains a history of recently used search terms.
In practice, this means that you can, for example, assign different commands to the number keys on the numeric keypad and the number keys above the keyboard. This also means that the key position remains the same if you switch between different operating system language settings, or different keyboards.
To delete key assignments: 1 Select the function with a key assignment that you’d like to delete. 2 Activate the Learn by Key Label or Learn by Key Position button. 3 Press Backspace. 4 To erase more assignments, repeat the first and third steps. 5 Deactivate the Learn by Key Label or Learn by Key Position button.
Note: The Learn New Assignment button is automatically turned off when the entire message has been received. This avoids reception of further messages (that may be) sent by the device when you release the button. To ensure reliable reception, hold the button for a short period before releasing it. 4 If you want to make another assignment, repeat steps 2 and 3. If you want to assign functions—other than key commands—to a control surface, make use of the Controller Assignments window.
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 out. 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 at the upper-right corner of all windows that allow direct region, event, or file editing and handling operations. You may freely assign at least two tools—one in each Tool menu. In some windows, additional tool menus may appear after two tools have been assigned. To assign the left-click (or default) tool: m Click the left Tool menu to open it, and choose the desired tool.
Assigning the Right Mouse Button If you have a suitable mouse, you can also assign the right mouse button to any of the following:  A third tool  Tool menu  Shortcut menu (default) To set the behavior of the right mouse button: 1 Open the Global preferences by doing one of the following:  Choose Logic Express > Preferences > Global (or use the corresponding key command).  Click the Toolbar Preferences button, then choose Global from the pop-up menu.
 Opens Tool Menu: Right-clicking in the working area of the active window opens the Tool menu at the mouse cursor position. Simply choose the desired tool by clicking on it. When the Tool menu is open, you can also use the key shown next to a tool to select it.  Opens Shortcut Menu: Right-clicking in the working area of the active window will display a menu that offers a number of area-specific selection and editing commands (see “Using the Shortcut Menu” on page 177).
Learning About Common Tools The following section describes the most common tools available in Logic Express. Tools that are specific to particular editing windows are covered in the respective chapters. Pointer Tool The Pointer is the default tool when Logic Express is first opened. The mouse cursor also takes on this shape outside the working area, when making a menu selection or entering a value.
Glue Tool The Glue tool performs the reverse operation of the Scissors tool. All selected regions or events are merged into a single region or event. Solo Tool Click-holding a region with the Solo tool allows you to listen to the selected region or event in isolation. Moving the mouse horizontally also outputs (scrubs) any events the cursor touches. Mute Tool Clicking an event or region with the Mute tool prevents it from playing.
Working With Help Tags A help tag appears just below the mouse cursor 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. Note: You must enable the Logic Express > Preferences > Display > General > Show Help Tags option in order to view help tags during editing operations.
Using the Shortcut Menu Control-clicking anywhere in the Arrange, Piano Roll Editor, and all List Editors, launches a shortcut menu (also known as the context menu) that can be used for a number of selection and editing tasks. The shortcut menus differ between (and within) windows, based on both the selection status of events or regions within the window, and also the type of information that the editor deals with. The items that appear in the menu will update to reflect the current context.
Changing the window with key focus doesn’t affect the selection (as long as you don’t click on the window background, which deselects everything). Be sure to click on window title bars when switching between windows. ∏ Tip: Don’t forget about the Zoom functions when making your selections, as high zoom levels can make precise selections much simpler.
Making Horizontal Selections Horizontal selections can be made in a number of editing windows, allowing you to quickly select all regions, or events that are horizontally aligned on a lane. To select all regions on a track in the Arrange area, do one of the following: m Click on the track name in the track list. m Choose Edit > Select All Following of Same Track (or use the corresponding key command). All regions following (after) the selected region will be selected.
Making Rubber-Band Selections To select consecutive regions or events (or other elements, such as Mixer channel strips), click on the background and drag a rubber-band over them. All regions or events touched, or enclosed, by the rubber-band (shaded area) will be selected. Switching the Selection Status When you make any selection (including by rubber-band or horizontal selection) while holding down Shift, the active selection status of the regions or events will be reversed.
Selecting Specific Regions and Events You can use the following commands to select regions or events that match a specific condition, or have a particular characteristic. Â Edit > Select Empty Regions (default key command: Shift-U): Use to select all empty regions. Â Edit > Select Overlapped Regions/Events: Use to select all overlapping regions or events. Â Edit > Select Muted Regions/Events (default key command: Shift-M): Use to select all muted regions or events.
Selecting Events With the Same MIDI Channel Following selection of an event, you may select all other events that share the same MIDI channel by using the Edit > Select Equal Channels command (default key command: Shift-K). As an example: Imagine you’re editing a MIDI region that contains volume and pan controller information for 16 MIDI channels. To select all events on channels 1 and 3: 1 Shift-select one event on channel 1 and another event on channel 3.
Working With the Clipboard The Clipboard is an invisible area of memory, into which you can cut or copy selected information (such as regions or events), allowing them to be pasted to a different location. The Clipboard is universal, which means that it can be used to exchange information between projects. All of the following options are available in the Edit menu. Cut All selected elements are removed from their current position, and placed in the Clipboard.
Undoing and Redoing Editing Operations A simple change of mind or editing mistake is an inevitable part of music production. Fortunately, you can backtrack your edits easily in Logic Express—by using the Undo command to reverse your previous editing operation. To undo your last step: m Choose Edit > Undo (default key command: Command-Z) immediately after making the error.
To undo or redo multiple steps: m Click on any entry to undo or redo all steps between the clicked and highlighted entries. To undo or redo an isolated step: m Command-click on the desired step. This will undo or redo an isolated step—without influencing all steps between the clicked and highlighted entries. To erase the Undo History: m Choose Edit > Delete Undo History. Warning: Please take care with this command. No undos or redos are possible for the deleted steps, once the Undo History has been erased.
9 Working With Tracks 9 Tracks contain the audio regions and MIDI regions of a project. Tracks are listed from top to bottom in the Arrange track list and extend horizontally across the Arrange area in lanes. Each track is assigned to a particular channel in the Mixer. In other words, the output of a track is sent to a channel strip. If a track is not sent to a channel strip, regions on it will not be heard. Note: The exception to this rule is folder tracks.
Once assigned to a particular type of mixer channel, the functionality of the track is limited as follows: Track type Assigned to Mixer Track used for Audio Audio channels Playback, recording, and automation of audio regions. Instrument Instrument channels Playback, recording, and automation of MIDI data sent to software instruments MIDI MIDI channels Playback, recording, and automation of MIDI data sent to external MIDI devices Folder Not assigned Used as lanes for folder regions.
Configuring the Track Header The track header of each track (shown in the Arrange area’s track list) can display a number of buttons beside the track name and icon. By default, this includes the Record Enable, Mute, and Solo buttons on all tracks, with the Input Monitoring button also shown on audio tracks.
 Track Numbers/Level Meters: Turn on this checkbox to display a track’s number. During playback, a small level meter replaces the track number. For external MIDI or software instrument tracks, this meter indicates the velocity of the recording, and turns red to denote a maximum velocity value. For audio tracks, the level meter denotes the output level.  Track Icons: Click to display or hide the track icons in the track header.
Creating Tracks and Channels If you want to record or play back MIDI, software instrument, or audio data in Logic Express, you must first create a track. Corresponding channel strips are automatically created in the Mixer. If channels of a particular type (audio channels, for example) already exist in the Mixer, newly created tracks will be assigned to these matching channels. Important: Some of the track creation options create new channels, and others do not. Each is used for a different type of task.
Track and Channel Creation Commands The commands and methods discussed in this section will create both tracks and corresponding channel strips. To create one or more new tracks (and channels): 1 Do one of the following: Â Choose Track > New in the Arrange area’s local menu bar (or use the Create New Tracks key command). Â Click the Create Track button (the button with the plus icon above the track list).
External MIDI Track Creation in the New Tracks Dialog External MIDI tracks offer no additional options, but if External MIDI is chosen in the New Tracks dialog, the following applies: Â A new MIDI multi instrument object will be created in the Environment for the first track, and the track will be assigned to sub-channel 1. Â Subsequent tracks will be assigned to sub-channels of the MIDI multi instrument object (up to the maximum of 16).
 Ascending checkbox: Enable to assign these inputs—in order, from lowest to highest—to each track, when multiple tracks are created. This option has no effect when a single track is created. Should you create more tracks than you have inputs— creating 8 tracks, when using a 4 input device, for example—tracks 1 and 5 will be assigned to Input 1, tracks 2 and 6 will be assigned Input 2, tracks 3 and 7 will be assigned Input 3, tracks 4 and 8 will be assigned Input 4.
Transferring a Channel Strip Setting to a New Track You can create a new track that uses the same channel strip assignment and settings as the selected track. This is a quick and easy way to create a duplicate of an existing track and channel strip, without replicating the data on the track. To transfer the channel assignment to a new track: 1 Select the source track (the one with the channel strip and settings that you want to duplicate).
Track Creation Commands The commands and methods discussed in this section only create new tracks. The current (selected track) channel strip is used as the target for the new track. Creating a Track With the Same Channel Assignment There may be situations where you would like to have multiple copies of a track that address the same Mixer channel. As an example: You may want to create multiple tracks that address a software instrument, such as the EXS24 mkII, with a drum kit loaded.
Copying Tracks and Moving Regions Hold down Option when moving a track vertically (click-drag the track number) to create a copy of the track at the destination position. All selected regions on the source track are moved to the new track. Note: If you hold down Option before grabbing the track number, no further regions on the track will be selected. If no regions were selected in the first place, an empty track (assigned to the same channel as the original track) is created at the destination position.
Deleting Tracks If you delete a track, the channel strip assigned to the track is also deleted, and removed from the Mixer (unless assigned to another track that is in use). To delete a track, do one of the following: m Select the track, then choose Track > Delete. ∏ Tip: If no regions are selected in the Arrange area, you can delete the selected track by pressing Backspace. m Grab the track, and remove it from the track list by dragging it to the left.
Rearranging Tracks You may want to shuffle the position of tracks in the track list on occasion, to visually group related tracks (string section or percussion parts, for example). To change the position of a track in the track list: m Move the cursor over the track number. When the mouse pointer changes to a hand graphic, click the track number, and drag it up or down the track list. When you’ve reached the desired position, release the mouse button.
To determine the track names you want to view: 1 Open the Track Configuration dialog by doing one of the following: Â Choose View > Configure Track Header in the Arrange area. Â Control-click on any track header in the track list, then choose Configure Track Header from the pop-up menu. 2 Choose the desired track name option in the first pop-up menu. 3 Enable the checkbox of the second pop-up menu to view two track names, then choose the desired name option.
To delete a track name, do one of the following: m Choose Track > Delete Track Name. m Double-click on the track name to open the track name input box, and press Backspace to delete the name. The track (instrument or audio) channel strip name will then be used as the default name shown in the track list (and for newly recorded regions). Important: AutoName must be selected in the Track Configuration header for this functionality to work.
 If you want to use a track for MIDI region recording or playback (via a MIDI sound generator), choose a MIDI Instr. > Model/Instrument name channel strip as the track destination. Assigning Tracks to Environment Objects Strictly speaking, tracks don’t need to be routed to an instrument or audio channel strip, as you can assign any Environment object as the track destination. The track data could conceivably be sent to a fader object, or directly to a MIDI port, as examples.
Special Destinations In addition to the normal channel strips, there are two other possible track output destinations: Â No Output: Tracks assigned as No Output send no data. This can be useful in situations where you want to store data (such as SysEx) that you don’t wish to send from Logic Express. Â Folder: This setting is used when you want the track to play a folder region (see “Using Folders” on page 354). Normal regions will not play on a track set up for folder playback.
Zooming Tracks With Key Commands You can assign, and use, the following key commands to zoom tracks: Â Individual Track Zoom In and Individual Track Zoom Out: Increases or decreases the “individual track zoom” factor of the selected track by one. Â Toggle Individual Track Zoom: Switches the selected track between its individual zoom level and the window zoom level. This would be useful for zooming in on a track to edit its automation data.
Note: If this number is identical to the number of one of the built-in Logic Express icons, the icon found in the user folder is given priority. You also have the option of directly replacing the built-in Logic Express icons, which are found in the /Contents/Resources/Images folder in the Logic Express package. To open the Logic Express package: m Right-click the Logic Express icon in the Finder, and choose the Show Package Contents item from the pop-up menu.
Muting When the Mute Buttons Are Hidden If the Mute buttons are hidden—to save space—you can still mute a track to the left of the track number. If you move the mouse to the left edge of the track list by the track number, the mouse pointer turns into a hand; a brief mouse click mutes the track (or cancels the mute if the track is already muted). Muted tracks are indicated by a bullet beside the track name. You can also use the Toggle Track Mute key command (default: Control-M) to mute a track.
Soloing Tracks Both MIDI and audio tracks (and folders) offer Track Solo buttons. Soloing a track isolates it while playing—and mutes all other tracks. Use the Track Header Configuration window to show or hide the Track Solo buttons. In a practical, musical situation, it can be useful to hear several tracks in isolation (bass and drum parts, for example) to make it easier to fit other musical parts.
Soloing Multiple Tracks If you hold down Shift while the Transport Solo button is active, and click on the desired track names, you will solo them (when the track Solo buttons are hidden). If you hold any modifier (except Control) while clicking on a Solo button in the track list, all tracks in the currently-selected display level are soloed. If they were already soloed, they will be unsoloed. You can also click-hold the Solo button of one track, and drag the mouse up or down.
When to Freeze a Track In real-world situations, Freeze allows you to: Â Use additional effect plug-ins or software instruments in further audio or instrument tracks, which would normally be impossible as it would exceed the CPU processing limits of your computer. Â Play back projects created on computers with greater CPU power.
How to Freeze a Track It’s extremely easy to freeze a track: simply activate the Freeze button—the button that features a small ice crystal icon (white when active). Use the Track Header configuration window to show or hide the Track Freeze buttons. If you hold Command while clicking on a Freeze button in the track list, all tracks that contain data in the currently-selected display level (or folder) will be frozen. If the Freeze buttons were already enabled, they will be disabled.
Working With Frozen Tracks Once a track is frozen: Â It is not possible to cut and rearrange freeze files in any way, nor is it possible to mix the freeze files with their originals on a single track—you can use one or the other, not both! Â It is also not possible to record audio on frozen tracks. In fact, the Record Enable button is hidden when a track is frozen. Â You can not edit any instrument or plug-in parameters (or related automation data).
Refresh Freeze Files The Options > Audio > Refresh All Freeze Files command refreshes the current freeze files. This may become necessary when global changes are made that also affect the playback of the frozen tracks (tempo changes, for example). Hiding Tracks If there are tracks in the Arrange area that do not need to be visible (useful when working on very large arrangements), you can use the Hide Track function to hide them. Hidden tracks play back as per usual.
Hide Menu and Key Commands There are a a couple of menu functions and key commands that relate to the Hide Tracks feature. Even when the global Hide View button is deactivated, you can still hide an individual track with the View > Hide Current Track and Select Next Track command (default key command: Control-H). View > Unhide all Tracks (default key command: Shift-Control-H) will reset the Hide buttons of each track, making them all visible. Note: Hiding tracks does not affect their playback in any way.
Using Track Button Slide Activation Track buttons on arrange tracks (Solo, Mute, Hide, Track Protect, Freeze) support slide activation, which is similar to running your finger across several channel strip buttons on good hardware mixing consoles. As a usage example of slide activation in Logic Express, click-hold on the Mute button of one track, and drag the mouse up or down. The Mute buttons of all swiped tracks will switch to the same state.
10 Working With Instruments and Effects 10 Logic Express offers an extensive range of software instruments and effect processing plug-ins that are inserted into channel strips. You can also make use of external MIDI instruments and effects units. This chapter covers all important steps required for instrument and effect use in Logic Express.
A Quick Mixer and Channel Strip Primer Before discussing the use of plug-ins, a basic understanding of some key channel strip functions is required. Full details on all channel strip and Mixer functions can be found in Chapter 25, “Mixing,” on page 571. The Mixer and Arrange channel strips deal with audio and instrument (software or MIDI) tracks shown in the Arrange window, plus auxiliary and output channels. Each track in the Arrange is represented and controlled by a channel strip.
The destination will be either: Â An output channel strip, which represents a physical audio output (or output pair) of your audio interface. Â An auxiliary channel strip (this is where you insert send effects). For example, if send 1 of the left-hand channel strip is routed to auxiliary channel 4, the fourth auxiliary channel strip will be shown. Clicking Send slot 2 on the left-hand channel strip (routed to auxiliary 7) will update the right-hand channel to show the seventh aux channel strip.
Before continuing, there are three main things you need to know about audio or instrument channel strips: the channel input format, the Pan control, and the Level fader. Channel Strip Settings menu Insert slot Send slot Instrument slot Output slot Pan/Balance control Level fader Format button Setting the Channel Input Format The channel input format determines the mono or stereo status of the channel. Note: Software instrument and external MIDI channels do not have a format button.
To set the channel strip input format for the selected audio track: m Click-hold the button directly below the level meter on the Arrange channel strip, and choose the desired input format from the menu. ∏ Tip: On a stereo or mono channel, you can simply click the button to switch between mono or stereo. Mono Stereo Left Right  Mono: One circle represents a mono input format. The level meter shows a single column.  Stereo: Two, interlocked circles represents a stereo input format.
Setting the Channel Pan or Balance and Playback Level You use the Pan control and Level fader to set a channel’s pan position and playback level. To set the pan position (for mono input format channels) or balance (for stereo format channels), do one of the following: m Click-hold on the center of the Pan control, and drag vertically. Â Drag upwards to move the pan or balance towards the right channel. Â Drag downwards to move the pan or balance towards the left channel.
Where Different Plug-in Types Can Be Used  Effect plug-ins can be placed in the Insert slots of all audio channel strip types (audio, instrument, auxiliary, output).  Software instruments can only be inserted into instrument channel strips. These channel strips feature an Instrument slot, directly above the Output slot, which is used for software instrument insertion.  Audio Unit Generators can only be inserted into instrument channel strips.
To insert a software instrument, Audio Unit Generator, or MIDI controlled effect: m Click the Instrument slot of an Instrument channel strip, and choose the desired software instrument, Audio Unit Generator, or MIDI controlled effect (name and type) from the Plug-in menu. ∏ Tip: You can simply choose an instrument name to insert the instrument in stereo on a stereo format channel. The plug-in window of the chosen instrument, effect, or generator is opened automatically.
Accessing Multiple Instrument Outputs Logic Express 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. The Plug-in menu offers additional information about an output configuration.
2 Within the instrument interface, you will need to set up the output routing for individual sounds or samples. This is generally done via a menu, that shows entries such as: Main, 3-4, 5-6, and so on. 3 Open the Mixer, and click the + button of the instrument channel that you have inserted the multi output instrument in (Ultrabeat, for example). Note: The + button only appears on multi output instrument channels.
An aux channel strip appears to the right of the instrument channel, already assigned to the inserted multi output instrument. 4 Repeatedly click the + button to create more aux channels, for all stereo or mono outputs available to the instrument plug-in. You should only create as many aux channels as required for the number of outputs used by the multi output instrument. Following the creation of the first aux channel strip for your multi output instrument, a – button appears beside the + button.
Using the Channel EQ The Channel EQ is an insert effect, like any other. In most mixing situations, it is used as the first effect on a channel, allowing you to sculpt the sound of the channel signal before applying other effect types. To insert the Channel EQ, do one of the following: m On channel strips where Insert slot 1 is not used: Double-click the EQ area on the upper portion of the channel strip to place the Channel EQ in the first Insert slot.
Moving Effects and Instruments You can use the Hand tool to move effects and instruments between channel strips. To move a plug-in to another Insert or Instrument slot: 1 Open the Mixer and choose the Hand tool. 2 Select the plug-in name (shown on a blue label) in any used Insert or Instrument slot, and drag it to the desired (unused) target slot.
Note: If all 15 Insert slots are used, you can not insert any further plug-ins into the channel, unless replacing an existing plug-in. Using the Hand Tool With Modifiers The Hand tool is the second default tool in the Mixer. Pressing Command while clicking switches from the Pointer tool to the Hand tool, allowing you to move plug-ins by Command-dragging them. Option-Command-drag plug-ins to copy them.
To load a channel strip setting with the Library tab: 1 First, select the channel strip that you wish to use (in the Mixer, or by selecting an Arrange track). 2 Click the Library tab in the Media area to view the Library. Click the Arrange Toolbar Media button if the area is not visible. The Library displays all channel strip settings available for the selected channel strip, sorted into category menus.
To select the next or previous channel strip setting, do one of the following: m Click the Setting button and choose the Previous or Next Channel Strip Setting command. m Use one of the following key commands:  Next Channel Strip Setting  Previous Channel Strip Setting  Next Channel Strip or Plug-in Setting or EXS Instrument  Previous Channel Strip or Plug-in Setting or EXS Instrument This will load the previous or next channel strip setting shown in the list.
Important: Only program change messages sent on MIDI channel 1 will switch between Channel Strip Performances. All program change messages sent on other MIDI channels are forwarded to Audio Units instruments, if applicable. Channel strip performances can be used for all audio channel strip types. They are saved in the Performances subfolder (in ~/Library/Application Support/Logic/Channel Strip Settings/Channel Strip name).
All saved performance settings appear in the Performances folder of the Channel Strip Settings menu. Using the Plug-in Window Hands-on operation of plug-ins takes place in the plug-in window. This window allows access to all plug-in parameters. Each instance of a plug-in has its own plug-in window, allowing each to have discrete settings. The plug-in window is automatically opened when you insert a plug-in.
To hide or show all open plug-in windows: m Use the Hide/Show All Plug-in Windows key command (default: V). Adjusting Plug-in Parameters This section briefly touches on interaction with common parameter elements you will find in Logic Express plug-in windows. Full details on the parameters of each individual plug-in can be found in the Logic Express 8 Instruments and Effects manual. To switch plug-in window buttons: m Click on the button.
To adjust numerical fields, do one of the following: m Click-hold on the numerical value and drag up or down. m Input numerical values with the keyboard, by clicking (or double-clicking) in the field, and typing. m If there are up and down arrows alongside such panels, click them to increment or decrement the value by one step. m If the numerical panel opens a pop-up menu of values, choose the desired one. To reset any parameter to its default (or centered) value: m Option-click on it.
Common Plug-in Window Functions The header area at the top of the plug-in window is common to all plug-ins. It offers a number of important functions for plug-in use. To hide or show the plug-in window header: m Click the icon at the top right of the plug-in window. Linking the Plug-in Window The button to the extreme left (with a chain on it) is called the Link button. When the Link Button Is Switched On  A single plug-in window will be used to display all opened plug-ins.
Bypassing Plug-ins If you want to deactivate a plug-in, but don’t want to delete it or remove it from a channel, you can bypass it. Bypassed plug-ins do not drain system resources. To bypass a plug-in, do one of the following: m Click on the Bypass button at the left of the plug-in window header. m Option-click the appropriate Insert or Instrument slot on the desired channel strip (in the Mixer or Inspector).
To load a setting: 1 Open the Settings menu (of the plug-in window, not the Channel Strip Settings menu) by clicking the Settings field. 2 Do one of the following: Â Browse to, and choose the setting you want to use from the menu or category submenus. Â Choose the Load Setting command. When used, a file selector box will open. Only settings for compatible plug-in types are shown. Each plug-in has its own set of parameters, and therefore its own file format.
Replacing Setting-Compatible Plug-ins When you replace a plug-in with another plug-in that is setting-compatible, the new plug-in automatically uses the setting of the replaced plug-in. As an example: When you replace an ES2-based GarageBand instrument with the ES2, the inserted ES2 uses the same setting as the replaced ES2-based GarageBand instrument. It also works for most EXS-based GarageBand instruments, with two exceptions: Hybrid Morph and Hybrid Basic.
To save a setting, do one of the following in the Settings menu: m Choose Save Setting: Saves the current plug-in parameter values as the setting. This will overwrite the existing setting. m Choose Save Setting As: Allows you to name and save a setting, inclusive of a folder location. You may also create a new folder in the Save As dialog, if you wish. Note: The folder location (existing or newly-created) must be in the associated plug-in folder.
Switching the Plug-in Window View Mode Plug-in parameters can be viewed in two forms: Controls view and Editor view. The Editor view shows the plug-in’s graphical interface, if it offers one. The Controls view displays all plug-in functions as a set of horizontal sliders, with numerical fields to the left of each parameter. These fields are used for both the display and entry of data values.
The signal peaks of the side chain input (the sent instrument signal), combined with the Threshold parameter of the plug-in, determine when the plug-in is triggered. Some Side Chaining Examples  A sustained pad sound is sent through a noise gate, which is triggered by a drum track being used as the side chain input signal. This results in a rhythmic pad sound which follows the signal peaks of the drum track.
Using the Library to Choose Plug-in Settings An alternative to using the Settings menu found in the plug-in window header is the Library tab of the Media area. To load a plug-in setting from the Library: 1 Click the Media button on the Arrange window Toolbar, if the Media Area is not visible, then click the Library tab. 2 Select the Arrange track that is routed to the channel strip that you want to adjust the settings of.
Learning About Effect Routings There are two ways of sending audio to effects: via an insert, or via an aux send. Insert Effects When a plug-in is inserted directly into a channel, it is termed an insert effect. All of the signal is processed, or put another way, 100% of the signal flows through the effect. This one hundred percent behavior is suitable for equalizers or dynamic effects, such as compressors. If you have enough processing capacity, you can use up to 15 insert effects on each channel strip.
For computationally-intensive effects such as reverb, it’s always advisable to insert them into an aux channel. Chorus, flanger, and delay effects should also be inserted into an aux, if they are going to be used on more than one track. In some cases, however, it may make musical sense to patch an effect such as a delay or chorus, directly into the Insert slot of an individual channel. This allows you to use precise settings, and colors, on individual elements of your mix.
∏ Tip: This is easiest to accomplish with the Arrange channel strips in the Inspector: The left channel strip is the source (the audio channel from the example), and the right channel strip is the destination (the aux channel) for the source. If you work in the Mixer, you can double-click a Send slot to jump to the allocated aux channel. To remove a send: m Click an active Send slot, then choose No Send from the menu. To bypass a send: m Option-click the Send slot. The Send slot background turns gray.
If you choose Post Pan, the signal is not only post fader, but also post pan. This means that the pan position of the send signal on the aux (which needs to be stereo or multichannel) will follow the Pan/Balance position of the channel strip. To select one of these options in Logic Express: m Click on a used Send slot, and choose Post Pan, Post, or Pre at the top of the menu. Parallel and Series Send Routings When multiple effects are inserted into a channel strip, they are said to be routed in series.
Working With Instruments This section deals with the use of software instruments and external MIDI sound generators. Both software and external MIDI instrument tracks are handled in an almost identical fashion. In fact, the MIDI regions on tracks routed to either type of channel (software instrument or External MIDI) can be used interchangeably.
When you create a new External MIDI track in a project, Logic Express will automatically generate a new External MIDI Multi Instrument object. This is placed on the MIDI Instr. layer of the Environment window. Choose Window > Environment to take a look at this object (see Chapter 38, “Working in the Environment,” on page 875 for details). Another thing that happens in the background is the automatic creation of Mixer channel strips for each of the Multi Instrument sub-channels.
3 Click GM Device in the left column of the Library tab, and you’ll see 16 entries in the right column: 1 (Grand Piano), 2 (Polysynth), and so on. 4 Click the disclosure triangle to the left of the GM Device 1 entry in the Inspector (if the Track parameter box is not already open). If the Inspector isn’t visible, click the Inspector button in the Arrange Toolbar. There are two parameters of particular note here: Port and Channel (see “Setting External MIDI Channel Parameters” on page 254).
6 You’ll note that the Channel parameter is set to 1. Create a few new External MIDI tracks by following steps 1 and 2. You’ll note that these new tracks are called GM Device 2, GM Device 3, GM Device 4, and so on. Click on each of these tracks in the track list, and keep an eye on the Channel parameter in the Track Parameter box of the Inspector. Each of these tracks is routed to a sub-channel of the GM Device Multi Instrument object.
4 The newly created multi instrument object is called (Multi Instr.). You can rename it later (usually after your synthesizer name; JV5080, Microwave, and so on). Â You will note that there are diagonal lines running through each of the 16 subchannel boxes. Â Also note that the Port and Channel parameters are shown to the left of the Environment window. 5 Click on the Port menu, and choose a new MIDI Out port for the Multi Instr. object.
Setting Channel Parameters for Instruments When you choose a track that is assigned to either a MIDI or software instrument channel strip, the Inspector’s Track Parameter box displays the parameters outlined in this section. Changes to these parameters affect the entire channel strip, and all tracks routed to the channel strip are affected. This is an important distinction to make, as some parameters, such as transposition are available as both a channel and region parameter.
Velocity The Velocity parameter allows you to increase or decrease the note on velocities of all note events by an amount between –99 and 99. Key Limit The two note values of the Key Limit parameter define a pitch range. All notes outside this range are ignored by the instrument. Vel Limit The two values of the Vel Limit parameter define a velocity range. All notes with a velocity that falls outside this range will not be played by the instrument.
Setting Software Instrument Channel Parameters The following parameters are specific to instrument channel strips. MIDI Channel This parameter sets the MIDI channel used by the software instrument. Value as This switches the channel strip displays (meters and other parameters) between decibel (dB) and numerical (Num) values. The decibel display is the default. Setting External MIDI Channel Parameters The following parameters are specific to External MIDI channel strips.
You can’t actually change the receive channel of a sub-channel in the multitimbral synthesizer. This is only possible in a few models (and is not particularly useful when using Logic Express, at any rate). If the MIDI channel is set to All, you can edit the parameters of the whole multi instrument object. A useful facility for globally changing the MIDI port (Port A, B, and so on), for example.
Adding Program Change, Volume, and Pan Settings to a MIDI Region The MIDI > Insert Instrument MIDI Settings as Events command allows you to insert the program change, volume, and pan settings (from the Track Parameter box in the Inspector) as actual MIDI events into one, or more, selected MIDI regions. The events are placed a quarter note before the beginning of the relevant MIDI regions. Only the activated (checked) settings in the Track Parameter box(es) are added as events.
As the track is routed to an instrument channel (which is being used for an external MIDI sound module), it behaves just like a standard software instrument track, which means that you can record and play back MIDI regions on it—with the following benefits: Â You can take advantage of the sounds and synthesis engine of your MIDI module, with no overhead on your Macintosh CPU (apart from the effects used on the channel).
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, but this takes around 100 milliseconds to engage, which is more than enough to destroy the timing of your first played note.
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 desired value. As you do so, the cent and Hz values will update. Note: Some Audio Unit instruments do not recognize this remote command.
Working With ReWire Applications Logic Express acts as a host for ReWired applications such as Ableton Live and Propellerhead Reason. Important: Start Logic Express first, and then start your ReWire application(s). When these applications are run alongside Logic Express, synchronized audio information is routed out of them in to aux channel strips in the Logic Express Mixer, where it can be combined with other tracks, run through effects and bounced to new audio files.
To manually set up an aux channel for ReWire use: 1 Click the Mixer button at the bottom of the Arrange window. In the Mixer window, choose Options > Create New Auxiliary Channel Strips. 2 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. 3 Choose the desired ReWire channel in the Input menu of the aux channel strip.
3 Click an Insert slot of the channel you want to process with the external effects unit, and 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. 5 Adjust the Input or Output volume as required. When you start playback, the signal of the audio channel will be processed by the external effects unit.
Loading Presets Many plug-ins from other manufacturers use a proprietary storage format for their presets (the equivalent of Logic Express plug-in settings). In most cases, a separate Preset (or similarly named) menu will be available in the plugin interface. Once loaded, you can save any of these presets as a Logic Express setting. In all cases, the global Compare, Copy, and Paste options of the plug-in window header will work as they do with the native plug-ins of Logic Express.
Important: The first thing you should do is check the manufacturer’s website for updated versions of Audio Units plug-ins that fail validation. Manually Enabling Plug-ins Audio Units plug-ins that failed the validation test, can be manually enabled by activating the checkboxes in the Logic column—but be aware that these plug-ins can cause problems. If you encounter problems with manually activated failed plug-ins, click the Disable Failed Audio Units button.
11 Adding Pre-Recorded Media 11 Pre-recorded media plays an important role in modern audio production. Combining existing audio loops and other files provides a quick method for laying down song foundations. Logic Express ships with a large collection of audio loops, offering a great starting point for many of your projects. This chapter explains how you can add pre-recorded media in Logic Express, including audio and MIDI files, Apple Loops, and other common loop formats.
Logic Express can also import Standard MIDI files (type 0 and 1), GarageBand, OMF Interchange, AAF, OpenTL, and XML files. These file types are usually used to exchange projects, however, and are therefore outside the scope of this chapter. Full details on importing these file types can be found in Chapter 29, “Project and File Interchange,” on page 649. About Pre-Recorded Media Types Supported by Logic Express The following section describes all media file types supported by Logic Express.
Apple Loops Apple Loops are audio files that contain additional identification information; time and date, category, mood, key and tempo, amongst others. They also contain a number of transient markers, which break them down into small time slices. The standout advantage of Apple Loop audio files is their ability to automatically match the tempo and key of a Logic Express project. A second Apple Loop file type is also supported by Logic Express.
Navigating in the Browser You can switch the Browser between two views: List and Browser view. List view Browser view  List view displays folders and their contents in a list. You enter a folder by doubleclicking it.  Browser view exposes the contents of a folder in new frames to the right of the selected folder. You only need to click once on a folder to enter it. To switch between List and Browser view: m Click on the Browser button to access the Browser view.
 Computer: Shows all volumes (hard disks, CDs, or DVDs) in, or attached to, the computer.  Home: Shows all folders in your home folder.  Project: Shows the contents of your project folder. To navigate in the Browser using the Path menu: 1 Click the Path menu to display the path taken to the current folder or file. 2 Click one of the entries in the Path menu to navigate back to clicked folder. To step backwards or forward through the navigation history: m Click the Back button or the Forward button.
As an example, typing in 80s, with Macintosh HD chosen in the Path menu will result in a number of Apple Loop files being displayed in the view area. To sort the search results: m Click on any of the column titles to sort the file list by name, date, or size. ∏ Tip: You can resize columns by dragging the vertical lines between column titles. To clear a search term: m Click on the small X icon at the right-hand side of the Search field.
By default, the Match menu specifies that all of the advanced search conditions that you specify must be met, in order to display matching files. You can set the Match menu to any if you want to display all files that match one of the specified conditions. 3 Click the File Type menu, and change this to Format. Note that the right-hand menu updates (AIFF is displayed) to reflect the left-hand menu selection. 4 Click the + icon to the right of the AIFF menu.
Further Information on Conditional Searches It goes without saying that searching for a particular file in the Browser can be much faster than navigating to it. You can define up to ten advanced condition rows to refine your searches. The search rows offer the following conditions. 272 First menu Second menu Additional menus/fields Comment contains, does not contain, is, is not, starts with, ends with Input field File Type is, is not Menu, in which you can choose between Audio, Movie, Project.
Finding Apple Loops in the Loop Browser The Loop Browser only displays Apple Loop format files. You can search for Apple Loops, using key words for instrument, genre, mood, and other descriptors. You can also browse for Apple Loops in the Loop Browser. In comparison with standard audio loops, Apple Loops have a significant advantage: they can contain additional information that Logic Express uses for a variety of purposes, including automatic time and pitch shifting, indexing, and searching.
Both contain audio data, and both can contain additional information for time stretching, transposition, indexing, and searching. Green and blue Apple Loops can be added to audio tracks, or directly to an empty Arrange area or track. In the Arrange area, they look like normal audio regions, but can be easily identified by the Apple Loop symbol in the upper right corner. They differ from standard audio regions in that they follow the project key and tempo.
When you place Software Instrument Apple Loops on audio tracks, they are imported as audio regions (and behave like blue Apple Loops). Processing load is reduced when green Apple Loops are added to audio tracks. Note: Blue Apple Loops will not play if placed on instrument tracks. Before Browsing or Searching for Apple Loops When thousands of loops are installed on your hard disks, this can make finding a particular Apple Loop a rather daunting prospect.
To limit the Loop Browser display to a particular scale: m Click the Scale pop-up menu, and choose from: Any, Minor, Major, Neither, and Good for Both. Use of these options limits the search for Apple Loops to the selected scale type, within the chosen category. As an example, if Country, Acoustic, and Relaxed categories were selected, you would be presented with twenty or so files that matched your choices.
The Music view displays a matrix of 54 buttons, each featuring a musically-related category. The Sound Effects view offers effect-related category buttons such as Explosions, Foley, or People. Music view Sound Effects view 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.
To browse for Apple Loops in Column view: 1 Click on any of the category folders shown in the left column of the folder view area. In this example, By Genres is chosen. 2 Click on Electronic in the second column. 3 Click on Beats in the third column. The value in brackets indicates the number of files that fall into this sub-category (Beats). The files are shown in the file list below. To browse for Apple Loops in Music and Sound Effects view: 1 Click on any of the category buttons.
To clear all category selections: m 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) on any category button. To customize the Music or Sound Effects view: m Control-click (or right click) on any category button, then choose from: Â Genre: This sub-menu offers musical categories, such as: Rock/Blues and Electronic.
Sorting Apple Loops in the Loop Browser You can sort the results of your search or browsing in the Loop Browser: Â Click on any of the column titles to sort the list of results by: Name, Match, Tempo, Key, and so on. Â Click on the arrow in any selected column title to sort the list in ascending or descending alphabetical, match percentage, tempo, key, beat, or favorite order. ∏ Tip: You may freely swap column positions by click-dragging on the column name field, and moving it left or right.
Searching for Apple Loops The Search field is used to find Apple Loops by name or partial name. It works in conjunction with the options discussed in “Before Browsing or Searching for Apple Loops” on page 275. Find menu Cancel button To search for an Apple Loop: m Type the desired search term into the Search text field, and press the Return key. The search term can be alphabetical or numerical. Any files that match your search term will be displayed in the file list.
Adding Audio Files to Your Arrangement You can use any of the following methods to add audio files directly to your arrangement: Â You can Shift-click at any position on an Arrange audio track with the Pencil tool. Â You can use the Import Audio File command. Â You can simply locate (browse to or search for) the desired file names in the Browser, Audio Bin, or Loop Browser—or the Mac OS X Finder—and drag them into the Arrange area.
To add multiple audio files to your arrangement by dragging: 1 Shift-click contiguous files, or Command-click non-contiguous audio files in the Audio Bin, Finder, or Browser. 2 Drag them to the desired Arrange area position, and release the mouse button. Note: If adding files from the Audio Bin, you can also use the Audio File > Add File to Arrange menu item. The playhead position determines where the first audio region is created.
Adding and Removing Project Audio Files The Audio Bin acts as a central repository for all audio files added to the project, whether or not they are used in the Arrange area. This is useful for keeping all takes associated with the project in one location, even if not all are actually used in the final production. All audio file addition methods covered above will automatically place the files in the Audio Bin.
4 Browse to, and select, another audio file, and click the Add button. 5 Repeat the process until all desired files are in the file view area. 6 If you accidentally add a file, select it in the file view area, and click the Remove button. Note: You can also add all files in a folder by selecting the folder and clicking the Add All button. If you accidentally add all files from the wrong folder, press the Remove All button to remove them from the list. This does not remove them from the hard disk.
A Note on Importing Compressed Audio Files Logic Express allows you to directly play back the following compressed audio file formats:  AAC  Compression format: MPEG4 AAC  Sample rates: 8 kHz, 11.025 kHz, 12 kHz, 16 kHz, 22.05 kHz, 24 kHz, 32 kHz, 44.1 kHz, 48 kHz, 64 kHz, 88.2 kHz, or 96 kHz  MP3  44.
Overview Calculation When you add an audio file to your project, Logic Express will automatically create an overview of the audio file. This is a graphic file that is used to display the waveform. Waveform overview The calculation of audio file overview data is shown in a window. This calculation occurs in the background, allowing you to continue working with Logic Express.
Adding ReCycle Files to Your Project ReCycle is the name of a software application from manufacturer Propellerhead, which mainly serves as an editing and production tool for loops (repeatedly cycled audio files). ReCycle uses specific file formats that can be imported, and used directly by Logic Express, or ReCycle files can be converted to Apple Loops. Note: You need to install the REX Shared Library (© Propellerhead Software) when using ReCycle files within Logic Express.
If you do not import the ReCycle file as an Apple Loop or audio file, Logic Express will create a ReCycle file folder on an audio track. This folder contains slices (you can view them as miniature regions in the folder) of the ReCycle file at appropriate positions. ReCycle folder Recycle slices Each of these slices references the same audio file, which can be found in the Audio Bin.
Moving Audio Between Logic Express and ReCycle You can transfer data from Logic Express to ReCycle, and back, without using any file selector dialogs. To copy audio regions into the Clipboard for use in ReCycle: 1 Select an audio region in the Arrange area. 2 Choose Audio > Copy as ReCycle Loop in the Arrange menu. The data of the selected audio region is copied into the Clipboard.
12 Getting to Know Regions 12 When audio or MIDI files are added to, or recorded in, the Arrange area, they are displayed as regions. This chapter covers the similarities and differences between audio and MIDI regions, and provides advanced information on region handling. Details on using regions to construct your songs can be found in Chapter 13, “Creating Your Arrangement,” on page 307.
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.
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. The MIDI data events stored within MIDI regions can include; note, controller, system exclusive, and other information. These data events represent MIDI performances that you have recorded or imported into Logic Express.
Folder Regions A folder is a region that can contain other regions, much like a folder in the Finder can contain other folders or files. One way to visualize a folder is as a project within a project. A folder can contain as many tracks, featuring regions, as required. A folder is placed on a track assigned to a folder in the track list, rather than an instrument or audio track. Folder regions look like MIDI regions, but have a folder icon before the folder name.
MIDI and Audio Regions Compared The following overview sums up the main differences between audio and MIDI regions. There are some notes at the bottom of the table to clarify the most important points. Feature MIDI Regions Audio Regions Composed of discrete data Yes No. Audio regions are just references to parts of audio files.
The fundamental functions (such as a freely determinable position and length, the ability to create complex arrangements with the aid of folders, and the ability to name, mute, and solo) are generally available to all types of regions (MIDI regions, audio regions, folder regions, or copies of these, and alias or cloned regions).
Which Audio Bin Should You Use? The Audio Bin tab is ideal for quickly adding files to the Arrange area, as it doesn’t obscure your workspace. A bar is shown for each audio file, which represents the overall length of the file. A colored area within the bar represents the region length. Tasks such as resizing or moving regions within the audio file can not be performed in the Audio Bin tab. If you need to make these types of adjustments, use the Audio Bin window.
To open the Audio Bin: m Choose Window > Audio Bin (or use the corresponding key command, default: Command-9). To view a region associated with an audio file: m Click the disclosure triangle beside the audio file name. All regions are listed below the parent audio file name. Â Regions that are used in the Arrange area are indicated by a colored bar to the right of the region name. The bar color is derived from the Arrange region color.
Creating and Removing Regions When you add an audio file to your project, Logic Express automatically creates a region that encompasses the entire file length. You can create as many regions as desired from the same audio file. There are no length limitations to regions, as long as they don’t exceed the length of the source audio file.
Auditioning Regions in the Audio Bin The playback modes outlined below only apply to regions in the Audio Bin (when the window has key focus), and have no effect on project playback. To play an entire region: 1 Highlight the region name in the list. 2 Click the speaker button at the bottom of the Audio Bin (or press the Space bar) to start playback. Click the button (or press the Space bar) again to stop playback. Note: The Environment’s Prelisten channel is used for monitoring in the Sample Editor.
Resizing a Region You can resize regions in the Audio Bin window, the Sample Editor, and the Arrange. This section concentrates on the Audio Bin and Sample Editor options. Note: Full details on all Arrange window region editing options are found in Chapter 13, “Creating Your Arrangement,” on page 307. To resize a region in the Audio Bin window, do one of the following: m Click-hold the lower third of the left or right region boundary, and drag in the desired direction.
Snapping Edits to Zero Crossings If Edit > Search Zero Crossings is switched on, adjustments to the start or end positions of a region are snapped to the nearest point where the wave form 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.
Editing the Audio Region Anchor The anchor is the temporal reference point of an audio region. When you move an audio region, it’s not the start point that is displayed in the help tag (as with MIDI regions)—it’s the anchor point. 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 would be recordings of brass instruments, which may take some time to build to a peak.
Protecting the Anchor Point When Moving the End Position If you move the start or end points of a region past the anchor point, the anchor point will also move. This is often not what you want to happen! Hold down Option while moving the end marker to prevent the anchor from moving. Note: The anchor can never be to the left of (before) the region start point, so it will move if you drag the region start past the anchor (to the right), even with Option pressed.
Protecting Regions You can protect regions against accidental alterations to start and end points, or the anchor position, by locking them in the Audio Bin window. To protect region start, end, and anchor positions: m In the Audio Bin window, click the padlock icon beside a region to close (lock) it. Click a second time to unlock the region. Unprotected region Protected region If locked, you can play the region, but can’t edit it.
13 Creating Your Arrangement 13 Once you have added your audio and MIDI regions to the Arrange area, you can edit and reorganize them to create an overall arrangement, or song. The Arrange area provides a visual overview of your song structure: it shows when audio and MIDI regions start to play, and their duration. You control when and how regions play by moving, cutting, copying, resizing, and joining them in the Arrange area.
To alter the Arrange area background color: 1 Open the Display preferences by doing one of the following: Â Choose Logic Express > Preferences > Display (or use the Open Display preferences key command). Â Click the Preferences button in the Arrange Toolbar, and choose Display from the menu. 2 Click the Arrange tab in the Preferences window. 3 Choose Bright in the Background Color menu. 4 Alternately, choose Custom from the menu, and click the color field to the right.
Making Region Edits Faster and Easier This section provides information on several options that can accelerate and simplify region editing, helping you to focus on the musical aspects of your arrangement. Snapping Region Edits to Time Positions You move and resize regions in the Arrange area because you want them to start and end at a specific point in time. As an example: In a music-based project, you may want to align the start points of regions with measures and beats.
The Snap functionality is relative, which means that the edit operation will be snapped to the nearest bar, beat, and so on—retaining the region’s distance from its original position. As an example, if a region is placed at position 1.2.1.16, and you move this region forward to around bar 2 (with the Snap menu set to Bar), it will automatically snap to position 2.2.1.16—rather than 2.1.1.1 (the bar 2 start point). You can override relative snaps with the Snap to Absolute Value option.
In cases where the zoom level is extremely low (macroscopic), and a fine Snap value (such as Division or Frames) is chosen, normal mouse movements will result in larger grid units. In these situations, either alter the zoom level, or hold Control to actually use the chosen Snap value. Using Control-Shift breaks the 1:1 relationship between mouse cursor and region (or edit tool) movements.
 No Overlap: Use in situations where you don’t want regions to overlap. In this mode, the first region (the one positioned earlier on the track) will be reduced in length so that no overlap occurs.  X-Fade: In this mode, Logic Express automatically crossfades two audio regions when they are moved to an overlapping position. Note: This option does not work for MIDI regions or Apple Loop regions.
3 Grab the playhead in the Arrange or Bar ruler, and move it back and forth through the parts of the project you want to hear, at the speed you want to scrub the section (or use the Scrub Rewind and Scrub Forward key commands). Audio and MIDI data playback is perfectly synchronized when scrubbing. Note: Scrubbing is automatically activated when you’re dividing regions (with the Scissors tool) in the Arrange, making it easier to identify the cut position.
Muted regions are indicated by a dot that precedes the region name. Clicking muted regions with the Mute tool, or selecting them and using the “Mute/ unmute selected Notes/Regions/Folder” key command reverses this state (unmuting). Soloing Regions Soloing allows you to hear one or more selected regions in isolation, making it easier to identify particular elements that may need to be edited. To solo a region with the Solo tool: 1 Select the Solo tool.
When the Solo function is activated, the Bar ruler is shaded in yellow, making it easy to see that Solo mode is engaged. 2 Rubber-band or Shift-select the regions you want to solo with the Pointer tool. Selected regions have a yellow outline. Click the Transport Solo button again (or use the Solo Mode key command) to turn off Solo mode, and hear all regions again. Using Solo Lock On occasion, you may want to lock the solo status of several regions.
Naming a Region Identifying regions by name can make arranging much easier. This can be done on a per-region basis, or you can name several regions simultaneously. To name a region with the Text tool: 1 Select the Text tool. Text tool 2 Click on a region with the Text tool. A text input box will appear. 3 Type in the desired name and press Return, or click another region or the Arrange area background to exit the text input box.
To assign the same name to multiple regions: 1 Select a group of regions (rubber-band or Shift-click) with the Pointer tool. 2 Do one of the following: Â Select the Text tool, then click any of the selected regions with the Text tool. Â Click the top line of the Region Parameter box (displaying x selected: x indicates the number of selected regions). A text input box will appear. 3 Type in the desired name and press Return, or click another region or the Arrange area background to exit the text input box.
Assigning Colors to Regions Color is useful for identifying sections of your arrangement, or particular track types. Newly recorded or added regions initially adopt the color of the track channel strip. By default: Â Audio track channel strips are blue. Â Software instrument channel strips are green. Â ReWire and external MIDI channel strips are red. Â Auxiliary, Input, and Output channel strips are yellow.
Using the Shortcut Menu Many selection, editing, and other commands can be accessed by Control or rightclicking anywhere in the Arrange area. Make use of this to accelerate your workflow. Note: Right-click functionality is dependent on the Right Mouse Button: Opens Shortcut Menu option being chosen in the Logic Express > Preferences > Global > Editing tab. Selecting Regions You must select a region before you can perform any edits, functions, or operations on it.
Selecting Parts of a Region You can use the Marquee tool or marquee stripe to make selections inside, or across portions of, existing regions. Within the selected area, you can perform almost all Arrange editing options, including deletions, moves, cuts, and copies. The selected area will become a new region once an operation is applied. Using the Marquee Tool The Marquee tool, which looks like a crosshair, allows you to select and edit parts of one or more regions.
Using the Marquee Stripe The marquee stripe is a thin yellow line that can be displayed at the top of the Bar ruler. You can directly drag in this area to create a marquee selection. Marquee stripe To activate the marquee stripe: m Click the note icon at the right-hand end of the Bar ruler, and choose the Marquee Stripe setting from the menu. To make a marquee selection: m Click-drag in the marquee stripe area to create a marquee selection on all Arrange tracks.
To snap to the division value shown in the Transport: m Hold Control while making your marquee selection. As above, the zoom level can impact on this. Adding and Recording Regions It goes without saying that adding and recording regions is essential for song creation. Given the extensive region and file import options available, and the advanced recording techniques possible with Logic Express, please refer to the following chapters: Â “Adding Pre-Recorded Media” on page 265.
2 Do one of the following: Â Click one of the regions with the Eraser tool. Â Choose Edit > Delete (or press Backspace). To delete all selected regions, and automatically select the next one: 1 Select the region (or regions) you want to delete. 2 Use the Delete and Select Next Region/Event key command. All selected regions are deleted, and the next (obviously, not deleted) region is automatically selected.
Moving Regions You can move regions horizontally on tracks, and vertically between tracks. You can also move regions between two Arrange windows, or even between different projects. To move one or more regions: m Select the desired regions and drag them to a new position. Dragged regions automatically snap to increments defined by the Snap menu setting (see “Snapping Region Edits to Time Positions” section on page 309). If dragged over other regions, the Drag menu setting will have an impact on behavior.
Changing the Playback Position of Regions Numerically You can edit the playback position of a region (and its length) numerically. This can be done in the Event List, configured to view regions at the Arrange level (see “Changing the Event List View Level” on page 460). To move regions by adjusting positions in the Event List: 1 Open the Event List by doing one of the following: Â Choose Window > Event List. Â Click the Lists button in the Arrange Toolbar, and click the Event List tab.
Moving Regions to the Current Playhead Position You can use the Pickup Clock (Move Event to Playhead Position) key command to move the selected region (or the first of several selected regions) to the current playhead position. If more than one region is selected, all subsequent regions are moved. Note: If you use this command on audio regions, the anchor of the region is placed at the current playhead position (see “Editing the Audio Region Anchor” on page 303).
       Nudge Region/Event Position Left by Division Nudge Region/Event Position Right by Beat Nudge Region/Event Position Left by Beat Nudge Region/Event Position Right by Bar Nudge Region/Event Position Left by Bar Nudge Region/Event Position Right by Nudge Value Nudge Region/Event Position Left by Nudge Value The selected regions are shifted one step right (+1) or left (–1), by whatever unit is referred to in the particular command name.
Moving Regions to a Track The Region > Move Selected Regions to Current Track command (also available as a key command, default: Shift-Command-T) moves all selected regions (from different tracks) onto the selected track. The time positions of all regions are retained. Resizing Regions You can reduce or extend the length of any region by dragging the start or end point of the region, thus determining what part of the source (audio file or MIDI events) is played back in your project.
Note: You cannot make an audio region longer than the underlying audio file when using either of the resize operations covered above. Adjusting the Start Point of Audio Regions Adjusting the start point of an audio region may also move the region anchor point, thus affecting its temporal reference point, and making it play back out of sync with other tracks. It is better, and simpler, to move the entire region to the right, if you want playback to start later.
Adjusting the Grid to Zero Crossings If Audio > Search Zero Crossings is turned on, any length adjustments to audio region start or end points will snap to the nearest zero crossing point of the waveform. The disadvantage of this option is that altered start or end points never land exactly on the selected musical grid. Should this ever cause a problem, you can simply switch off the Audio > Search Zero Crossings setting.
Setting Region Start and End Points to the Playhead Position You can move the start or end point of a selected region to the current playhead position with the following key commands:  Set Region/Event Start to Playhead Position  Set Region/Event End to Playhead Position Note: The anchor point is also moved when using Set Region/Event Start to Playhead Position on an audio region.
To tie selected regions between locators: 1 Set the left and right locator positions by doing one of the following: Â Drag from left to right across the desired portion of the Bar ruler. Â Set the desired value in the Transport’s Locator fields. 2 Select the desired regions within the locator boundaries. ∏ Tip: You can quickly select all regions inside the locators by choosing Edit > Select Inside Locators (or using the corresponding key command, default: Shift-I).
To time stretch or compress audio regions: m Option-drag the end of an audio region. This stretches or compresses the audio by the amount that the region is altered in length, and replaces the original region with a new PCM audio file (in the original file format, or AIFF, if the original was not PCM). Note: The current Snap menu setting has an impact on length changes.
Cutting, Copying, and Pasting Regions You can select, remove, or replicate one or more regions from one part of an arrangement to another. In fact, you can use the Cut, Copy, and Paste commands between the arrangements of two projects, if you wish. To cut a region: m Select the region, then choose Edit > Cut (or use the Cut key command, default: Command-X). This removes the region from the Arrange and places it in the Clipboard.
When you copy an audio region, a new region is automatically created in the Audio Bin. The new region will retain the name of the original, with a sequential number added. As an example, kickingloop.1 will be the name of a region copy, if the original region is called kickingloop. A second copy will be named kickingloop.2, a third kickingloop.3, and so on.
Using the Arrange Section Editing Buttons The Arrange Toolbar features a number of section editing buttons that can be used to perform some of the operations covered below. Whenever these Toolbar buttons are used, the operation will affect all regions that fall between the locators, regardless of the selection status of regions in this area. If you want to perform these operations on selected regions within the locators, you should not use the Arrange Toolbar buttons.
2 Choose Region > Tie Regions by Position Change (or use the Tie Regions by Position Change key command). The first region remains unchanged, and all subsequent regions are moved to the left. Note: You can use this feature to speed up the playback of spoken word recordings that have been processed with strip silence (by closing the gaps between words). To remove a section of your arrangement, using the locators: 1 Set the locators to span the section you want to remove (bar 5 to 8, for example).
To use the example 16 bar region. It is cut into two regions: Â One spanning bars 1 to 4. Â The other is now an 8 bar long region that is placed from bar 5 to the start of bar 13. ∏ Tip: The Snip command is ideal for situations where you want to remove an entire section of your arrangement, such as a chorus. To insert a cut section into your arrangement: 1 Follow the steps outlined above. 2 Set the playhead to the position that you want to insert the cut section.
3 Choose Region > Cut/Insert Time > Snip: Repeat Section Between Locators (or use the corresponding key command). The portions of all regions that are wholly, or partially, encompassed by the locators will be copied, and pasted to the right locator position. Repeating Regions Logic Express provides a number of ways to repeat a region, through use of loops, aliases, and clones. These options make arranging faster and simpler.
 Aliases can be individually named. Alias region names are shown in italics. If you name an alias region, its parent region name will be shown below the alias name (provided that the zoom level is adequate). Any changes made to the parent region name will be reflected on all alias regions. Note: MIDI region aliases can not be edited. If you double-click on an alias, Logic Express assumes that you either; want to edit the original, or turn the alias into a real region.
Searching for an Original or Alias If you have forgotten where the original is for a certain alias, you can search for it. To find and select the original region of an alias: m Select the alias, and choose MIDI > Alias > Select Original (or use the Find Original of Alias key command). To find any aliases you’ve made from a region: m Choose MIDI > Alias > Select All Aliases of Region (or use the corresponding key command, default: Shift-A). All existing aliases will be found, and selected.
Converting an Alias into a Real Region You can use MIDI > Alias > Convert to a Region Copy (or the Convert Alias to a Region Copy key command) to make a real region from an alias; its contents will be identical to those of the original region referenced by the alias, but its playback parameters will be those of the alias. As a real region, you may freely edit it (or the original parent region, without affecting the new real region).
2 In the dialog: Set the desired sample rate, bit depth, file format, stereo conversion, and dither type for the destination files. The new audio files are created in the same folder as your original audio file. The files are also added to the Audio Bin, and all references to these new arrange regions are changed—to correspond with the newly created files.
Looping Regions The Loop function enables you to repeat a region automatically, without needing to copy it. A looped region will repeat until it encounters another region on the same track, or the project ends. A loop will also terminate at the end marker of a folder, if the looped region is inside a folder (see “Using Folders” on page 354). Loop repeats are displayed as extended segments of the original region.
To loop a region with the mouse: 1 Move the cursor to the end of the region that you want to loop. The cursor will change into a circular arrow (the loop length editing tool) when positioned in the upper area of the region. 2 Click-hold and drag the end of the region to the right, as desired, to set the length of the looped region. The loop repeats are shown as segments (of the same length as the original region) within the overall looped region.
To convert an existing loop into a real copy: 1 Select the original region. 2 Choose Region > Loops > Convert to Real Copies (or use the corresponding key command, default: K). New regions will replace the loop repeat segments. The advantage of real copies is that they can be independently resized. This may be useful in situations where you would like to resize a few loop copies among hundreds that span the song length. To convert a loop into aliases or clones: 1 Select the original region.
4 Release the mouse button. All selected regions are cut at the position shown in the help tag. When selecting a cut point with the Scissors tool, you can move backwards and forwards in steps of one division. The grid is based on the Snap menu setting. To make finer resolution divisions (overriding the current Snap value): m Hold Control after you have selected the region with the Scissors to divide in the division value (1/16th, 1/32nd, and so on, as shown in the Transport).
To divide regions at the locator positions: 1 Set the left and right locator positions as desired. 2 Select the regions you want to divide within the locator boundaries. 3 Choose Region > Split/Demix > Split Regions by Locators (or use the corresponding key command). All selected regions located wholly, or partly, between the locators are cut at the left and right locator positions. All regions created between the locator positions as a result of the split operation, are then automatically selected.
Handling Overlapping Notes in Divided MIDI Regions If any notes in a divided MIDI region overlap other notes by more than a 1/16 note, the following dialog will appear: Â Keep: Click to leave all notes unaltered. The MIDI region is cut as expected, but you can end up with notes in the left-hand half (earlier region) that are much longer than the MIDI region containing them.
Merging Regions 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 wish to merge (if necessary, use Shift during selection). To merge two or more regions with the Merge Regions command: 1 Select the regions you’d like to merge with the Pointer tool.
2 Choose Region > Merge > Regions per Tracks (or use the corresponding key command). The selected regions are combined into one region per track. As an example, tracks 1 to 4 have regions that you’d like to merge. Make your region selections in each track lane, press Shift-J, and four merged regions will be created—one for each track. What Happens When MIDI Regions Are Merged When you merge MIDI regions: Â 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, which have been cut out of one region with the Scissors tool, no mixdown happens. In this situation, a single region is simply created over the entire area. This delivers the desired result, without using any additional disk space. Note: Logic Express can recognize associated regions, even if there are gaps between them.
Audio Crossfades in Digital Mixdown The Digital Mixdown supports crossfades between selected regions. The crossfade parameters are defined in the General Audio preferences tab, which can be opened either by choosing Logic Express > Preferences > Audio > General (or the Audio Crossfade Options for Merge key command). There are two faders: Â Crossfade Time [ms]: This is the length of the entire crossfade. To switch off the crossfade, set this value to zero.
To split MIDI regions by note pitches: 1 Select the desired MIDI regions. 2 Choose Region > Split/Demix > Demix by Note Pitch (or use the corresponding key command). Logic Express searches the selected MIDI regions for notes with different note numbers. Â A different MIDI region of the same length is created for every note number found. Â Tracks are created for these MIDI regions, and all are assigned to the same channel strip as the original MIDI region.
Note: If you drag a folder to a track that is set to an instrument channel strip, its entire contents (all MIDI regions within the folder) are played by this instrument. This usually only makes sense if the folder contains tracks for a given instrument or instrument type, such as a drum kit or generic string sound. This could be a quick way of listening to a string arrangement, if some of the intended sound sources are unavailable, for example.
To unpack a folder: 1 Select the folder. 2 Choose one of the following commands: Â Choose Region > Folder > Unpack Folder command. The Arrange window will update to display the contents (the tracks and regions) of the folder. Â Choose Region > Folder > Unpack Folders (Create New Tracks), or use the corresponding key command. Logic Express will create new tracks on the same level that the folder was located on (below the former folder track). Â Choose Region > Folder > Unpack Folders (Use existing tracks).
Adding and Removing Regions You can easily add regions to, or remove regions from, an existing folder. This is fairly commonplace as you will often experiment with your arrangement, and find that you need to add or remove parts. To move regions into a folder: m At the top level of the Arrange hierarchy (outside the folder): Drag the desired regions onto the folder, at the desired position.
Creating an Alias Folder You can create a copy of a folder that contains aliases and clones of the regions in the original folder. The advantage is that, within this folder, you can (for example) mute regions, and alter program, instrument, or playback parameters, as desired. This provides you with an alternate mix folder—don’t forget that folders can be muted and soloed, like other regions—allowing you to quickly switch between different arrangement versions. To create an alias folder: 1 Select a folder.
Creating Fades With the Fade Tool As you’d perhaps expect, a fade in starts at the beginning, and a fade out occurs at the end of an audio region. Fades are only visible if you are sufficiently zoomed in to see the waveform in the audio region. Important: You can not create fades on Apple Loop files, represented as regions in the Arrange window. In fact, the Fade parameters are not shown in the Inspector when an Apple Loop region is selected. To create a fade in or fade out: 1 Select the Crossfade tool.
To adjust the fade curve shape: m Hold Control and Shift while using the Crossfade tool. In the example below, a positive Curve is shown for both the fade in and fade out. In the example below, a negative Curve is shown for the fade in, and a linear fade (no curve) is shown for the fade out. Creating and Modifying Fades in the Region Parameter Box You can also create and edit fades in the Region Parameter box. To create a fade or crossfade: 1 Select the desired regions.
To adjust the fade curve shape: m Edit the Curve value in the Region Parameter box. The fade curve is instantly reflected in the region. Changing the Fade Type If you click the Fade Type menu (the up/down arrow beside the Fade parameter in the Inspector), you’ll see four options: Â Out (default): Creates a standard fade out whenever the Fade tool or Fade parameter is used. Â X: Crossfades the selected region with the following region when you use the Fade tool or Fade parameter.
Setting Region Parameters The parameters displayed in the Inspector’s Region Parameter box depend on the region type selected in the Arrange area. There are parameters that are: Â Available for audio and MIDI regions. Â Only available for audio regions. Â Only available for MIDI regions. Note: The MIDI region parameters also apply to folders, and globally affect all MIDI regions within them.
Editing Several Regions Simultaneously If several regions are selected, the number of selected regions is displayed, in place of a region name. If you alter any region parameter, all selected regions will be affected. If a given parameter is set differently in the individual regions, a * appears in the Parameter field. You can alter this parameter for all selected regions, and the value differential will be retained (relative alteration).
Transposition All note events contained in the MIDI region are transposed up or down by the selected amount during playback. Even complete folders can be instantly transposed in this way. If several individual MIDI regions within the folder have already been transposed, the relative differences between them are retained. If you want to transpose by octaves, click on the arrows to the right of the Transposition parameter. This opens a pop-up menu that allows direct octave transpositions.
Gate Time The term gate time stems from the technology used in analog synthesizers, and refers to the time between pressing and releasing a key. This parameter affects the absolute note duration or length. This should not be confused with the musical note value, which normally refers to the amount of time until the next note. The practical effect is to make the notes in the region more staccato or legato. The parameter range is related to the original note lengths. Fix produces extreme staccato.
14 Recording in Logic Express 14 This chapter covers all aspects of audio and MIDI recording in Logic Express. You will learn how to set up Logic Express for audio and MIDI recording, and how to make use of several workflow features. These include cycle, multiple take, and punch recording methods. Recording Audio This section covers all information related to audio recording.
Note: The Software Monitoring checkbox must be enabled in the Audio preferences to hear incoming audio through Logic Express (whether you are recording or not). 7 Click the Record button on the Transport, and start playing or singing. 8 Press Stop to end recording. Preparations for Recording You should check the setup of your system prior to recording.
Setting the Sample Rate You should set the sample rate when you start a project, and should avoid making changes to this after-the-fact. Note: Any audio that does not match the project sample rate is automatically converted when it is imported, if the “Convert audio file sample rate” option in the Assets project settings is switched on.
When finished with your project, bounce it at the desired sample rate. As suggestions for different situations: Â If the bounced file is destined for an audio CD (assuming you’re not sending it to an external studio or application for mastering), there’s no need to go any higher than 44.1 kHz, as this is the standard CD sampling rate. Â If you work in the film or television industry, you will probably use the 48 kHz sampling rate for audio.
Setting Up the Metronome If you would like to hear the metronome (click) while recording, you can set this up in the Metronome project settings. To open the Metronome project settings, do one of the following: m Choose File > Project Settings > Metronome (or use the Open Metronome Project Settings key command). m Click the Settings button in the Arrange Toolbar, and choose Metronome from the popup menu.
KlopfGeist is a software instrument found in the Plug-in menu of Instrument slots. KlopfGeist is inserted into instrument channel 128, by default. Logic Express will automatically create instrument channel 128 (with KlopfGeist inserted) when the KlopfGeist checkbox is turned on. Theoretically, any other Logic Express or third-party instrument could be deployed as a metronome sound source—using instrument channel 128.
Using Software Monitoring The Software Monitoring function allows you to monitor incoming audio through any effects plug-ins that are inserted into an armed audio channel. Audio inputs must be assigned on the record-enabled tracks for software monitoring functionality. The effect plug-ins are monitored but not recorded. This can be useful during a recording session.
Using the Input Monitoring Buttons You can use the Input Monitoring buttons to monitor audio tracks that are not armed. Simply enable the Input Monitoring button on an audio track (or channel strip in the Arrange or Mixer windows). This works when Logic Express is stopped or playing. To determine what signal (input) is monitored: m Choose the appropriate input (or input pair) from the Input slot menu of the corresponding audio channel strip.
Setting the Monitoring Level If the Independent Monitoring Level (for Record Enabled Channel Strips) preference in the Logic Express > Preferences > Audio > Devices > Core Audio tab is enabled, an independent monitoring level is available when an audio channel is record enabled. After arming the track, set the fader to the desired level. The original playback level will be restored when the channel’s Record button is disabled.
Maximum Recording Size The AIFF and SDII file formats can not handle audio file recordings larger than 2 GB. For 16 bit, 44.1 kHz stereo files, this equals a recording time of about 3 hours and 15 minutes. The WAV file format can not handle audio file recordings larger than 4 GB. For 16 bit, 44.1 kHz stereo files, this equals a recording time of about 6 hours and 30 minutes. If the size of your recording will exceed these limits, you should choose CAF as the recording file type.
Setting Up Track Channels If you want to make adjustments to audio channel strips, you can do it directly in the Arrange channel strip. You can also use the Mixer window to adjust channel strip settings. Full details in “Setting Channel Strip Levels” on page 576. Making Mono or Stereo Recordings Logic Express allows you to make mono or stereo recordings. To switch the recording format of a channel: m Click-hold the Format button of the channel strip, and choose the desired format from the pop-up menu.
Enabling One or More Tracks for Recording Audio tracks must be manually record-enabled (armed) before recording, just as you would with tracks on a tape recorder. The Record Enable button turns red to indicate this armed state. You can only make audio recordings on armed tracks, irrespective of which track name is selected in the Arrange track list.
Enabling Simultaneous MIDI and Audio Track Recording There may be occasions where you want to simultaneously record audio and MIDI tracks—perhaps to capture a live band recording, with the keyboard player using one or more Logic Express software instruments. You can simultaneously record to multiple MIDI tracks and several audio tracks (see “Recording on Multiple MIDI Tracks” on page 400). Note: You can only activate the Record Enable buttons of audio tracks that have a unique input.
Standard Recording With a Count-in You can start recording at any point in a project by setting the playhead to the desired location. Presuming that the recording tracks are correctly set up (the desired audio hardware inputs are connected, adjusted, and selected as the input source on the channel), and the track is armed: To start recording: m Click the Record button on the Transport or (or use the Record key command, default: *). The count-in x defined in File > Project Settings > Recording is heard.
Advanced Recording Commands Several advanced recording commands can make the recording process much faster. You should take advantage of these, as applicable, during your recording sessions. Â Record: The (default) Record command initiates recording. When used while recording, it does nothing, and recording continues. You will need to press Stop to end the recording (default key command: Asterisk key on numeric key pad).
Recording Takes Logic Express provides advanced take management facilities. A take is a part (a guitar solo, for example) that is performed and recorded multiple times. You can record several consecutive versions of a solo, and pick the best take, for example. Takes are usually created by recording in Cycle mode, but can also be created by simply recording over existing regions.
How Take Folder Recording Works This section outlines how takes are handled in different recording circumstances. Recording Over a Region When you record over an existing region, a take folder is created—the longer of the two regions determines the take folder size.
 If the dragged region is shorter than the take folder, a new comp will be created. The new comp consists of the former take or comp, supplemented by the new region. Important: Take folders are only created when a recording has been made. If you attempt to drag a region onto another region that was originally imported (not recorded), this will not create a take folder. You can, however, “pack” a take folder from any selected regions—recorded or imported (see “Packing a Take Folder” on page 395).
To select different takes when viewing a closed take folder: m Choose the desired take from the Take menu, that opens when you click the arrow at the top right corner of the take folder. The waveform data of the selected take is displayed in the take folder. Creating Comps in Real Time You can mark good take sections while recording, resulting in a perfect comp immediately after recording has finished. To mark a good take during recording: m Use the Select Previous Section for Realtime Comping key command.
Note: If you attempt to edit one of the (pre-group) edited tracks, Logic Express will offer to remove it from the edit group. Coloring Takes While Recording Selected take folders (or take regions in an open take folder) can be independently colored, as you would with standard regions or folders, when Logic Express is not recording.
To punch in to a recorded passage on the fly: 1 Switch on the Punch on the Fly mode by doing one of the following: Â Control-click the Record button in the Transport, and switch on Punch on the Fly in the ensuing pop-up menu. Â Choose Options > Audio > Punch on the Fly in the main menu bar (or use the Toggle Punch on the Fly key command). 2 Start playback and use the Record Toggle key command at the point where you want to start recording. Audio recording will start immediately.
If both Cycle and Autopunch modes are active, you will see a pair of locators in the Autopunch area. Two stripes are shown in the Bar ruler; the top (green) one represents the Cycle area, and the bottom (red) one, the Autopunch area. These can be adjusted independently. 2 Set the Autopunch area by doing one of the following: Â Use the autopunch locator fields in the Transport to set the Autopunch area numerically.
Combining Cycle and Autopunch Recording If you want to improve a difficult part of a certain passage, you can use a combination of the Cycle and Autopunch functions. Cycle mode recording allows you to practice as many times as you like before performing the final take. On each cycle pass, only events or audio that falls within the autopunch stripe is recorded. This allows you to make use of the preceding song section to “get into the groove.
Handling Audio Recordings After creating one or more recordings, you may wish to delete one or more of them, or perhaps merge or create a comp with several takes. These types of tasks are often performed immediately after recording. Region editing and arrangement tasks are discussed in Chapter 13, “Creating Your Arrangement.
Deleting Audio Recordings Deleting an audio region is handled a little differently for files that are recorded in the current session, and those that are imported from an earlier session. To delete an audio region that you have recorded since opening the project: m Select the audio region, and press Backspace. A dialog asks if you also want to erase the corresponding audio file. This saves hard drive space used by bad takes and unwanted recordings.
To compile sections of different takes, do one of the following: m In an opened take folder, select the desired take sections by click-dragging over them with the Pointer tool. As a result of Logic Express’s innovative Quick Swipe Comping feature, selecting a section in one take automatically deselects the same section in all other takes. Only one take track in a take folder can play at any given point in time.
Dragging the edge while holding Shift shortens the section without extending adjacent sections on different takes. The cursor turns into a Resize pointer. This allows you to create breaks (silence between different sections). ∏ Tip: You can listen to your comp edits in real time by creating a cycle that spans the comp folder, and starting playback. To move the selected comp area to the left or right: m Click-drag it (a two headed arrow icon is shown).
To rename a comp or take: m Choose Rename Comp or Rename Take (dependent on whether a comp or take is selected) from the Takes and Comps menu. Type the desired name in the dialog that opens. Managing Take Folders The following section outlines a number of commands that can be performed on take folders. These don’t affect the playback result, but do have an impact on editing options.
Opening Take Folders in the Sample Editor It is possible to open take regions in the Sample Editor, but they are locked, making it impossible to move the anchor or redefine start or end points. Such actions would destroy take timing if made in the Sample Editor, but you can perform fine edits of start and end points in the Arrange, when zoomed in. The timing of individual sections can be adjusted after the take folder has been “flattened.
Recording MIDI MIDI regions are used on (software) instrument and external MIDI tracks. MIDI regions are recorded in real time, or by using a number of “step input” methods. To record MIDI regions in Logic Express, you need to either: Â Connect a MIDI keyboard to your computer. For more information on this, please refer to “Connecting Your MIDI Keyboard and Modules” on page 94. Â Activate the Caps Lock Keyboard by pressing the Caps Lock key.
A MIDI region is created on the selected track. The MIDI region begins at the start of the bar in which the first event was recorded, and stops at the end of the bar in which the last event was recorded. You can change the record track, without stopping recording—just select a new track with the mouse, or the Select Previous/Next Track key commands (default key assignments: Up or Down Arrow).
After reaching the right cycle boundary, the playhead will jump back to the left cycle boundary. Logic Express will create a new MIDI take folder. A new take track is automatically created inside the take folder for every cycle repetition. Each previous take track is automatically muted while recording. When you stop recording, you can listen to the individual takes in the take folder by selecting them.
Important: MIDI take folders do not have the comping functionality available to audio take folders. The MIDI Take Folder menu does not provide the New Comp or Flatten and Merge commands. For information on the other commands in the MIDI Take Folder menu, see “Packing a Take Folder” on page 395 and “Flatten and Flatten and Merge” on page 394. Recording into or Replacing a Selected MIDI Region You can incorporate newly recorded data into an existing (and selected) MIDI region.
Recording on Multiple MIDI Tracks You may occasionally want to record multiple MIDI tracks at the same time. Often, this will be data recorded from an external sequencer, or played from a keyboard that is split across multiple MIDI channels. You can also simply play the same MIDI channel information from your keyboard, but record it to multiple tracks. One reason why you would do this is to create layered instrument parts.
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, but this takes around 100 milliseconds to engage, which is more than enough to destroy the timing of your first played note.
Switching MIDI Thru Off When an External MIDI instrument track is selected in the Arrange, its Record Enable button is automatically switched on, and the instrument will pass events through the computer (MIDI Thru function). You can switch off the MIDI Thru function by simply deactivating the Record Enable button. There are, however, situations where you may want to record to a track that is not automatically routed to a MIDI port. As an example, when performing a system exclusive (SyEx) dump from a device.
Activating MIDI Step Input Mode MIDI Step Input mode is available in the Event List, Piano Roll, and Score Editors. To activate Step Input mode: m Click the In button found next to the local menu bar of the Event List, Piano Roll, or Score Editor. Disengage the button to exit Step Input mode. Using the Step Input Keyboard You can open the Step Input Keyboard window by choosing Options > Step Input Keyboard.
 Channel field: Determines the MIDI channel of an inserted note. The channel settings of individual notes usually have no effect on the playback channel, and therefore the sound, of the MIDI region. The channel settings of individual notes are mainly used for polyphonic score display.  Chord button: When active, you can insert notes of different pitches and lengths. These are “stacked” at the same position, resulting in a chord. The playhead does not advance until the Chord button is deactivated.
Rather than assigning key commands to all twelve pitches, you also have the option of defining key commands for the seven pitches of the C major scale. These can be used in conjunction with the Next Note Will be Sharp and Next Note Will be Flat key commands, allowing you to insert the other pitches.
Rests, Correction, Moving Forward and Back The Rest key command moves the playhead forward (in accordance with the currently set note value) without inserting a note, thereby creating a rest. The Step Backwards and Step Forward key commands also move the playhead forward or back by the length of the selected note value. The Delete key command will delete the most recently inserted note, and move the playhead back to the position where the note (previously) began.
It is recommended that you keep the Step Input Keyboard window open when first using these functions, to make the learning process easier. Once familiar, you can leave the Step Input Keyboard window closed as it is an aid, not a requirement, for MIDI step input. It is also recommended that you make use of the Input key commands (see “Step Input With Key Commands” on page 404) to quickly switch values such as the note length, or to determine the insert position.
The lowest row of letter keys sets the velocity for MIDI notes. There are preset values— ranging from pianissimo to forte fortissimo. Each value can be finely adjusted via the two keys to the right of this row (these are assigned to the comma and period keys on an English QWERTY keyboard). This keyboard configuration allows you to send any MIDI velocity value from 1 to 127. The Space bar provides a Sustain function—played with your thumbs rather than your feet.
15 Introduction to MIDI Editing 15 This chapter provides an overview of where you can best edit different types of MIDI events in Logic Express. Logic Express offers several MIDI event editors: the Score, Piano Roll, and Hyper Editors, and the Event List and Transform window. Each editor provides a different view of MIDI events and offers unique editing functions. These differences make particular MIDI editing tasks easier, and you will often switch between multiple editors to get a part just right.
Opening the Editors All editors can be opened from the Window menu. This launches the editor in a separate window. To open an editor from the Window menu: m Choose the editor window name from the Window menu (or use the corresponding key command).
To access the Event List in the Arrange window, do one of the following: m Click the Lists button at the right-hand side of the Arrange window Toolbar, then click the Event List tab. m Use the Toggle Event List key command (default assignment: E). m Double-click on a MIDI region (see below). The contents (the events) of the selected MIDI region are shown in the Event List, to the right of the Arrange window.
Hearing MIDI Events When Editing It goes without saying that MIDI editing is made much easier if you can hear every event and edit you make, whether you are scrolling through the Event List (automatic selection) or transposing a note by dragging it. To hear MIDI event edits in real time: m Click the MIDI Out button at the top left of each editor window. This is an independent setting for each editor, which will transmit MIDI events whenever they are added, selected, or edited.
Copying Events via the Clipboard in the Arrange Area You can use the Clipboard to add MIDI events directly to the selected track in the Arrange area, at the current playhead position. This also works for events from another project. To copy MIDI events in the Arrange area: 1 Select the events you want to copy in one of the event editors. 2 Choose Edit > Copy (or use the Copy key command, default: Command-C). 3 Select the track (and MIDI region, if applicable) you want to copy the events to.
To stop hung notes: m Double-click on the MIDI Activity display in the Transport bar (or use the Send Discrete Note Offs key command). Separate Note Off messages will be sent for every note, on all channels of every MIDI port, which should do the trick! To stop unwanted modulation: m Choose Options > Send to MIDI > Reset Controllers (or use the corresponding key command).
16 Editing MIDI Events in the Piano Roll Editor 16 The Piano Roll Editor shows the note events of a MIDI region as horizontal rectangles. This resembles the holes cut in paper pianola rolls. The Piano Roll Editor can display the MIDI note events of one MIDI region, or all MIDI regions in a folder or project, if desired (see “Displaying and Editing Multiple MIDI Regions” on page 417). You will generally work on one region at a time in the Piano Roll Editor, however.
 The vertical position of note events indicates their pitch, with those nearer the top of the Piano Roll grid being higher in pitch. Chords are displayed as a vertical stack of note rectangles. The alignment of notes in chords is not always identical, as not all notes in a chord may be struck, or end, at the same time.
Note: When View > Region Colors is activated, the notes will be displayed in the color of the MIDI regions that contain them. This makes notes easier to identify when viewing the notes of multiple regions. Displaying and Editing Multiple MIDI Regions The Piano Roll Editor can simultaneously display the contents of all MIDI regions in a folder, all regions in a project, or several selected MIDI regions.
Creating and Editing Note Events Handling note events in the Piano Roll Editor is very similar to region handling in the Arrange area. Many of the same techniques used to lengthen, cut, and move regions apply to note events, so you should find much of this section familiar. Snapping Edits to Time Positions You move and resize events in the Piano Roll Editor because you want them to start and end at a specific point in time.
To snap to an absolute, not relative, position: m Choose the Snap to Absolute Value setting in the Snap menu. A tick will appear to the left when enabled. This feature works in conjunction with the chosen snap grid format. To explain, if Bar is chosen in the Snap menu, when Snap to Absolute Value is active, moving an event (from position 1.2.1.16) to around bar 2 will result in it being snapped to position 2.1.1.1 (the bar 2 start point), rather than its relative position (2.2.1.16).
Using the Shortcut Menu Many selection, editing, and other commands can be accessed by right-clicking anywhere in the Piano Roll Editor. Make use of this to accelerate your workflow. Note: The right-click shortcut menu can only be accessed if the Right Mouse Button: Opens Shortcut Menu pop-up menu option is chosen in the Logic Express > Preferences > Global > Editing tab. Selecting Notes You must select note events before you can edit them.
To create a note event: 1 Select the Pencil tool. 2 Click at the desired position in the Piano Roll Editor. The note that is created will match the length of the most recently inserted note. To create a note event of the desired length: m Click-hold at the desired position in the Piano Roll Editor with the Pencil tool, then drag to the right or left. A help tag will indicate the length change in real time.
To delete similar or equal events: 1 Select one of the notes you want to delete. 2 Choose Edit > Select Similar Events or Edit > Select Equal Events (notes of the same pitch, for example), and then delete the selected events by pressing Backspace. For more information about similar and equal events, see “Selecting Similar or Identical Objects, Regions, or Events” on page 181. You can also delete events by choosing one of the Delete MIDI Events commands from the Piano Roll Editor’s local menu bar.
To delete unselected events within the selection: m Choose Functions > Delete MIDI Events > Unselected Within Selection. All unselected notes between the (start point of the) first, and the (end point of the) last selected note are deleted. To delete all selected events and select the next one: 1 Select the event you want to delete. 2 Use the Delete and Select Next Region/Event key command.
Moving Notes You can move selected notes by grabbing them (near the middle) and dragging them. If you move notes vertically, they will be transposed, and if you move them horizontally, they will be moved in time. The current position and pitch are shown in a help tag while dragging. The deviation from the original pitch is shown as a positive or negative number of semitone steps at the bottom left of the help tag. The original pitch remains in the info display of the Piano Roll Editor.
Moving Events via Key Commands Editing can be greatly accelerated by assigning, and using, the following key commands to move one or more events.
Changing the Length of Notes You can use the Pointer, Finger, or Pencil tool to alter note lengths. ∏ Tip: It’s advisable to use the Pointer or Finger tool, as these avoid the accidental creation of new notes, which is possible with the Pencil tool. To alter the end point (and length) of a note: 1 Position the Pointer, Finger, or Pencil tool over the lower right-hand edge of a note event. The tool icon will change to a length change icon when positioned correctly.
Advanced Note Length Functions The Functions > Note Events sub-menu in the Piano Roll Editor menu bar contains commands that change the length of selected notes. These changes are influenced by the notes surrounding or overlapping them. This is ideal for tidying up the start and end points of notes. To remove note overlaps: 1 Select the notes you wish to affect.
If Logic Express finds a chord, the following dialog is shown: Â Click the Delete button to erase any incorrect notes in a poorly played monophonic line. Â Click the Keep button to even out (shorten) the start points and durations of all (intentionally played/recorded) notes in chords. To convert sustain pedal events to note lengths: m Choose the Functions > Note Events > Sustain Pedal to Note Length command.
3 Choose Functions > Copy MIDI Events. The Copy MIDI events dialog opens. 4 Choose the desired settings in the Copy MIDI Events dialog: Â Mode menu: Determines how MIDI events are copied or moved. You can choose from the following options: Â Copy Merge: The copied data is blended with any data present at the destination position. Â Copy Replace: The data at the destination position is deleted, and replaced with the copied data.
Protecting the Position of Events There are times where you will want to protect certain events from being moved. As an example, several note events may be used to trigger footstep samples that match an actor walking down a corridor, in a video soundtrack. You have already created the music for this scene, but have been asked to increase the tempo to match several cuts of different camera angles in the corridor.
All selected notes can be altered simultaneously; the differences in their respective velocity values will be retained. If the velocity value of any of the selected notes reaches an extreme value (0 or 127), none of the other selected notes can be adjusted further. You can override this behavior by holding Option while dragging. This allows you to continue altering the velocity values until the selected (clicked) note reaches an extreme value.
Splitting Chords These functions divide chords horizontally (by pitch), making the Piano Roll Editor the ideal place to perform chord splitting tasks. To select the top or bottom note of one or more selected chords: m Choose Functions > Note Events > Select Highest Notes to select the highest notes in the chords. m Choose Functions > Note Events > Select Lowest Notes to select the lowest notes in the chord(s).
Using Hyper Draw 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: Â Choose the desired View > Hyper Draw command.
To resize the Hyper Draw area: m Grab, and vertically move the dividing line that separates it from the Piano Roll grid area. For more information see “Using Hyper Draw” on page 620. Customizing the Piano Roll Editor The View menu offers various options that allow you to customize the display of the Piano Roll Editor. Â Bright Background: Switches between a bright and dark background.
Piano Roll Editor Shortcuts The Piano Roll Editor also provides a way to “quick-launch” the Event List and Score Editor. To quickly open the Event List: m Double-click on any event. The Event List will be shown in the Media area to the right of the Arrange window. If already open, the contents of the parent region (of the note selected in the Piano Roll Editor) will be displayed. Note: If using an independent Piano Roll Editor window, double-clicking an event will launch an independent Event List window.
17 Editing MIDI in the Hyper Editor 17 You can use the Hyper Editor to view and edit different MIDI event types, shown as vertical beams along a timeline within a region. Each beam represents an event. The value of the event is denoted by its height, providing an at-a-glance view of one, or dozens, of different events and their values.
You can save groups of event definitions (several lanes that you have defined) as hyper sets (see “Working With Hyper Sets” on page 455). Hyper sets are accessed via an Inspector menu. The Hyper Editor features two default hyper sets: MIDI Controls and the GM Drum Kit. The MIDI Controls hyper set provides hyper definition lanes for Volume, Pan, Modulation, and several other commonly used controller types. The GM Drum Kit hyper set offers lanes that match the note names of the General MIDI (GM) drum map.
Each note event lane in the example is restricted to the display and control of a single note pitch. By default, each beam that represents note events can be adjusted in level, by dragging vertically with the Pointer tool. Within the same hyper set, you could create two event definition lanes that control the filter cutoff and filter resonance parameters of the lead synthesizer, enabling you to create or precisely edit filter tweaks.
∏ Tip: When editing or constructing complex rhythm patterns, it can be useful to create several event definitions (see “Selecting and Creating Event Definitions” on page 448) for one drum note, each with a different quantization grid. As an example, if there are two lanes for a snare drum, one with a 1/16th and the other with a 1/96th grid, you can use the Pencil tool to add individual hits in the coarser grid, and drum rolls in the finer grid.
To change the style of beams displayed: m Choose the desired setting in the Style menu. Â No Frames: Shows the value of the event as a colored beam. Â Framed Values: Shows a hollow frame beam that is the full height of the event definition lane. The value of the event is displayed as a colored beam within the frame beam. Framed Value event No Frame event Creating Events The Hyper Editor provides several unique methods for the creation (and editing) of MIDI events.
To create multiple events in a linear fashion: 1 Select the Line tool. Line tool 2 Click at the desired position, on the appropriate event definition lane. A help tag appears, showing the exact position and event value in the top line. 3 Move the mouse to the desired end point of the line (to the right or left). As you do so, you will see the line trailing behind the Line tool pointer, with the exact position and event value shown in a help tag.
To assign a fixed event value: 1 Enable the Fix Value checkbox in the Inspector. 2 Click any existing event with the Pencil tool to use its value as a preset. In fix value mode, it is impossible to alter an event value by clicking on it. Note: When adding events with the Line tool in fix value mode, the preset value is always used as the starting value of the line.
Deleting Events Events can be deleted individually by clicking on them with the Eraser tool. The following techniques cover deletion of multiple events. To delete several contiguous events in a lane: m Drag across the events with the Eraser tool. To delete several non-contiguous events: m Select the events you want to remove, then press Backspace. To delete similar or equal events: 1 Select one of the notes you want to delete.
To undo or redo an isolated step: 1 Command-click on the desired step. A warning dialog will open. 2 Click Apply to undo or redo the step. Click Cancel to abort the step. This will undo or redo an isolated step without influencing all steps between the clicked and highlighted (most recent) entries. Changing Event Values Events can be altered individually or as a group. When adjusted as a group, the absolute differences between the event values remain constant.
Moving and Copying Events Events can be moved or copied to other positions in the same, or other, lanes. When moved or copied between lanes, the event values are retained, but are converted to the target event definition. As an example, moving several events from the Volume lane into the Pan lane will result in the Volume values being used for Pan position changes. To move selected events: m Hold Shift, and drag to the desired position and lane.
To copy selected events: m Hold Option, and drag to the desired position and lane. As you do so, a help tag will inform you of the position, event definition type and value (if applicable). You can also use the Clipboard to copy and move notes: Â Edit > Copy (or Command-C) copies notes into the Clipboard. Â Edit > Cut (or Command-X) moves the notes into the Clipboard. Â Edit > Paste (or Command-V) pastes them at the current playhead position, at their original pitch.
Working With Event Definitions The event definition determines the event type shown on each Hyper Editor lane. Events are shown as vertical beams on each lane, aligned with a particular time position in the Bar ruler. There are many ways of altering the way the beams are displayed, making it easier to create or adjust particular event types (see “Changing the Grid and Beam Display” on page 439).
To create an event definition for a specific event: 1 Select the desired event type (controller #71 Resonance, for example) in one of the other MIDI editors. ∏ Tip: The Event List is highly recommended for this task as it can display all MIDI event types. 2 Enable the Auto Define checkbox in the Hyper Editor’s Inspector (or use the Toggle Auto Define key command, default: Control-A).
To create event definitions for all event types in a region: 1 Select the region. 2 Choose Hyper > Create Multiple Event Definitions (or use the corresponding key command). 3 Click the All button in the dialog to confirm that you want to create event definitions for all types of events in the region. ∏ 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” on page 455.
Changing Event Definitions You use the Event Definition Parameter box in the Inspector to alter the settings of the selected event definition lane. The most important parameters are Status (and First Data Byte). All display related parameters are covered in “Changing the Grid and Beam Display” on page 439. Information on all other parameters is found later in this section. Altering the Event Status The event status determines the type of event controlled by each event definition lane.
Using the First Data Byte Parameter The First Data Byte checkbox and menu is shown on the bottom row of the Event Definition Parameter box in the Inspector. You use them to determine the value of the first data byte (of the displayed event type). First Data Byte checkbox and menu The First Data Byte checkbox determines whether or not events with the defined first data byte should be displayed (if on), or whether the setting should be ignored (if off ).
To name an event definition: m Click on the name to open a text entry field, type in the desired name, then press Return. Note: If you define a named MIDI controller, or a note from a mapped instrument in the Status and First Data Byte parameter lines, the relevant name will be offered as a preset. Note: Altering a note name in the event definition also alters the corresponding note name in the mapped instrument.
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. 2 Do one of the following: Â Choose Hyper > Convert Event Definition (or use the corresponding key command). Â Double-click on the name column of the event definition that you want to convert.
Working With Hyper Sets You can store a combination of simultaneously displayed event definitions as a hyper set. When a hyper set is saved, the vertical zoom setting of the Hyper Editor is stored (this determines the number of event definitions that can be displayed simultaneously). You can save as many hyper sets as you need in each project. The commands discussed in this section are available directly in the Hyper Set menu, shown in the Inspector.
To create a hyper set for a GM drum kit: m Choose Hyper > Create GM Drum Set (or use the Hyper Set menu, or respective key command). You can change the names, positioning, and hi-hat modes of each event definition (drum or percussion lane) in the hyper set. See “Naming an Event Definition” on page 452, for information on renaming each drum sound in your kit, if it doesn’t match the GM mapping standard. Using Hi Hat Mode In hi hat mode, event definitions can be grouped together.
Naming a Hyper Set By default, a new hyper set is named MIDI Controls or GM Drum Kit. To re-name a hyper set: m Double-click the name shown in the Hyper Set menu of the Inspector, type in the desired name and press Return. Clearing and Deleting a Hyper Set Clearing a hyper set resets a hyper set to its default, containing the preset event definition for the volume controller. To clear the current hyper set: m Choose Hyper > Clear Hyper Set (or use the Hyper Set menu, or corresponding key command).
18 Editing MIDI Events in the Event List 18 The Event List is the most powerful, flexible, and complete MIDI editor in Logic Express. All MIDI event types are displayed as an alphanumerical list in the Event List. All aspects of events—start and end points, length, channel, and values—can be altered in this window. You can view all events in one or more regions, and can filter the list to restrict this view to one or more event types, such as notes, pitch bend events, or both, for example.
Learning and Using the Event List Interface All functions and options are shown at the top of the Event List area. The events themselves are shown in the list area below. To open or close the Event List, either: m Press the E key (the default Toggle Event List key command). m Click the Lists button at the top right of the Arrange Toolbar, and click the Event tab, if it’s not already active. The lists area is displayed (or hidden, if already open) on the right side of the Arrange window.
Filtering Event Types When viewing events in the selected MIDI region or regions, you can make use of the event type buttons to filter the display. These buttons hide specific event types from the list below, thus limiting the view to events that you want to edit. Important: All selection, editing, and processing functions performed in the Event List only affect the displayed events, which protects any non-visible events from changes you may make.
Score layout information is also included in the list when additional info is shown. You can edit this in the Event List if you wish, but it is handled far more efficiently in the Score Editor. Note: The Additional Info button is only visible when the Filter button is on. Once activated, the enhanced event list will be shown (in Filter or Create mode) until the Additional Info button is turned off.
Selecting and Creating Events You can use any of the standard selection techniques in the Event List: individual selection by clicking on events, multiple selection using the rubber band, or both of these (without altering the previous selection), in conjunction with the Shift key. Full details on all selection techniques are discussed in “Selection Techniques” on page 177.
 Select Equal Subpositions (default key command: Shift-P): Selects events that start at the same position. Details on what constitutes equal or similar events can be found in “Selecting Similar or Identical Objects, Regions, or Events” on page 181. Creating Events The Event List accepts real time and step recording of MIDI events, as described in Chapter 14, “Recording in Logic Express,” on page 367. You can also manually add events.
To add one or more events from the Clipboard: 1 Following a copy operation from another editor, choose Edit > Paste (default key command: Command-V). 2 A position input box will appear, allowing you to type in a destination position for the first event. If you press Return, the original position of the first event is retained and used. The relative positions of other copied events are maintained. Important: The position input box is unique to the Event List.
Editing Events The list area features several columns: Position, Status, Ch(annel), Num(ber), Val(ue), and Length/Info: These columns display all details of all event types. In most cases, you can directly edit the data displayed (with the exception of the Status column, which merely indicates the event type). Not all columns are used for every type of event. As examples, system exclusive messages are not MIDI channel specific, so the Ch(annel) column is unused.
To move an event in time, either: m Double-click on the position indicator (in the Position column), and type in a new position. Press Return to exit the position entry field. m Click-hold on the specific position unit, and drag vertically. Release the mouse button when you’re done. If another editor, such as the Piano Roll 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 re-sorted.
Parameter values can only be altered until the (same) parameter value of one of the selected events has reached its maximum or minimum value. To override the maximum or minimum value limitation: m Option-drag on the value, or press Return to confirm a numerical input. This allows you to continue altering a parameter value in a multiple selection, even when one of the selected events has reached its maximum or minimum value.
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 and/or folders (Event List at Arrange-level view). To solo a region, folder (or event): m Choose the Solo tool from the Tool menu, and click-hold on the region or folder name (or event) in the Status column. The playhead will automatically jump to the beginning of the selected region or folder (or event), and soloed playback will start.
 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. The Display Middle C As menu in the Logic Express > Preferences > Display tab allows you to alter the display to match your device.  Val(ue): Velocity of a note from 1 to 127.
Viewing and Changing Note Release Velocity You can edit the release velocity of a note event when the Additional Info button is active. To view release velocity data: m Turn on the Additional Info button (only available in filter mode). Control Change Events These event types are used to transfer MIDI controller information (modulation, sustain, volume, and pan, as examples) to software instruments or external MIDI keyboards and modules. Â Num(ber): The number of the controller.
Program Change Events Program change events transmitted to connected MIDI devices are used for patch (preset or setting) selection. These may be sounds in a synthesizer, programs in an effects unit, or snapshots in an automated mixing desk, as examples. Â Val(ue): A program number between 0 and 127. Â Some manufacturers (such as Yamaha) number the programs in their devices from 1 to 128, not 0 to 127.
Aftertouch Events Aftertouch (or channel pressure) events are generated by a mechanical pressure sensor beneath some MIDI keyboards. These events can be used to modulate the synthesizer sound. All note events on a particular MIDI channel are affected. This means that applying pressure to one note in a held chord will affect all notes in the chord. Â Num(ber): This column is unused, as aftertouch events only have one data byte. Â Val(ue): Displays the amount of pressure on the keyboard (0 to 127).
SysEx Data in Hex Format You can choose whether SysEx data is displayed in hexadecimal or decimal, in the Event List or the SysEx fader editors, with the View > SysEx in Hex Format command. Hexadecimal digits are preceded by a $ symbol in Logic Express. For more information on manually programming a SysEx message, read “SysEx Faders” on page 952. Meta Events Meta events are control messages that are specific to Logic Express.
The Event Float Window The Event Float window provides information on the currently selected event (or region), and can be compared to a single line of the Event List. You can edit all parameters in this window. To open an Event Float window: m Choose Options > Event Float in the main menu bar. You can also use the Toggle Event Float key command.
19 19 Quantizing MIDI Events Quantization is the rhythmic correction of notes to a specific time grid. Any inaccurately played notes are moved to the nearest position on this grid. As an example, if the shortest notes in a passage are 1/16th notes, you would use 1/ 16th quantization to move all notes to their ideal rhythmic position on the grid. This will only work, however, if no note was played more than 1/32nd from an ideal position.
Important: Event-based quantization destructively alters the position of all MIDI event types, except note events. Quantizing Regions You can quantize selected MIDI regions by changing the value of the Quantize parameter in the Region Parameter box of the Inspector. Region-based quantization only works on notes, not on other MIDI data event types, such as MIDI controllers. The Quantize parameter determines the division of the quantization grid.
 Triplet Quantization: The 1/3, 1/6, 1/12, 1/24, 1/48, and 1/96 note settings quantize the MIDI region to triplet note values. A 1/6 note is equivalent to a quarter triplet, 1/ 12 note to an eighth triplet, 1/24 note to a sixteenth triplet and 1/48 note to a thirtysecond triplet.  Mixed Quantization: The 8 & 12 setting corresponds to eighths and eighth triplets, 16 & 12 to sixteenths and eighth triplets and 16 & 24 to sixteenths and sixteenth triplets.
Some Points to Note When Using Region Quantization The quantization grid always begins at the start of a MIDI region. If the MIDI region does not start at the beginning of a bar, neither does the quantization grid. If you alter the start point of a MIDI region, you also alter the quantization grid. Important: Unlike other region playback parameters (Delay, Transposition, and so on), Quantize affects the way notes are displayed in the MIDI editors.
The following quantization options appear below the standard set of region parameters. They can be applied to any quantization value (except Off ). Â Q-Swing: This percentage value alters the position of every second point in the current quantization grid. Values over 50% delay the beats. Values under 50% predelay them. The most practical settings fall between 50% and 75%, imparting a swing feel to strictly quantized (or tightly-played) MIDI regions.
 Q-Velocity: This parameter (expressed as a percentage) determines the amount that the velocity values of quantized notes are affected by the velocity values of a template MIDI region (see “Creating Groove Templates” on page 485). At a value of 0%, the notes retain their original velocity. At 100%, they adopt the velocity values of the template. Negative values alter the velocity, making the deviation from the template even greater.
Event and Note Quantization The menu bar of the Piano Roll Editor and Event List offer a Quantization menu and Quantize button. This is a separate quantization function, which can be applied to selected events, rather than entire regions. Quantization menu Quantize button The Piano Roll Editor also offers a Quantize tool. Further quantize operations are also available in the Transform window. These can be applied to events in one or more selected regions that match very specific criteria.
 Select the events that you want to quantize, then click the Quantize button (Piano Roll and Event List Editors). The most recently selected (or active) quantize value is used on all selected events.  Select the Quantize tool, then click all notes you want to quantize (Score and Piano Roll Editors). The most recently selected (or active) quantize value is used on all selected notes.
Creating Groove Templates You can create quantization grids based on the rhythms of other MIDI regions. These are referred to as groove templates. Groove templates make it possible to capture the small timing deviations which give a MIDI region its feel, and apply them to other MIDI regions.
To remove groove template entries from the Quantization menu: 1 Select the source MIDI region in the Arrange area. 2 Choose Options > Groove Templates > Remove Groove Template from List (or use the corresponding key command). This deletes the selected source MIDI region from the list of possible quantization templates, thus removing it from the Quantization menu. It does not remove the region.
Creating an Audio to MIDI Groove Template You can create MIDI groove templates from digital audio material. This allows you to extract the feel from drum loops or rhythmic samples (Apple Loops are the obvious example), and use the resulting groove template to quantize MIDI regions. Note: You should switch off the Edit > Search Zero Crossings option in the Sample Editor window menu.
 Attack Range (ms): This tells Logic Express how long the attack phases of the sounds in the audio material are. As examples of how you might use this parameter; drum and percussion instruments have short attack times of less than 20 ms, while string instruments have longer attack phases. The best values for the majority of instruments are usually between 5 and 40 ms; with most around 20 ms.
At the bottom of the Sample Editor, you’ll see three fields labeled: Audio, Quantize, and Result. Â Audio: Displays the quantization points identified in the audio file. Â Quantize: Shows the quantization points selected as the Basis Quantize. Â Result: Shows the quantization positions in the new groove template, which are produced by the combination of the two values above. 5 Click on any audio trigger point to prevent it from being transferred to the template.
20 Editing MIDI Events in the Transform Window 20 The Transform window allows you to define a set of conditions and operations that are used to select, and alter, specific MIDI events. The Transform window is so-named because it transforms MIDI events—based on conditions, operations, and values chosen by you—into different types of events, or events with different values.
To open the Transform window, do one of the following: m Choose Window > Transform from the main menu bar (or use the corresponding key command, default: Command-4). m If you want to transform events (that you have selected in one of the MIDI editors) choose a preset from the Functions > Transform menu. You can certainly choose the Window > Transform command while you are in a MIDI editor, but you will need to manually select a preset.
3 In the Mode menu, choose how you want to transform the selected events within the regions. 4 Set the desired selection conditions. 5 Define the operations you want to perform. Note: You can click on the “Hide unused parameters” checkbox (turn it off ) to show all conditions and operations, allowing you to make more advanced choices. 6 Do one of the following: Â Click the Select Only button to select all events that meet the selection conditions. The events will not be transformed.
 Set the desired velocity values in the Operations area, ranging from 1 to 127.  If you want a less dynamic crescendo, set a smaller value range.  To perform a diminuendo, set a higher value in the top Velocity field, and a lower value in the bottom field. Scale 14 Bit PitchBd Scales pitch bend data, keeping the 14 bit information intact. The length of pitch bend events is expressed as a decimal value ranging from –8192 to 8191, and this is the 14 bit information that is retained.
This preset is a great creative option for drum regions. The following example presumes that a “four-on-the-floor” kick, snare, hi-hat, and other percussion sounds region is being viewed in the Hyper Editor. To experiment with the Double Speed preset in the Hyper Editor: 1 Click on the name column of one of the drum sounds. This selects all note events of a particular pitch in the region. 2 Change the Length field to a value that does not match the Position field, or vice versa.
Humanize Adds a random value to the position, velocity, and length of selected note events. This preset is useful on rhythmic parts, such as clavinet or piano accompaniments, and drum and percussion regions (or events). It can add life to strictly quantized material, or notes that were manually entered (see “MIDI Step Input Recording” on page 402). Alter the values for Position, Velocity, or Length to increase or decrease the random factor for each of these event parameters.
Reverse Pitch Inverts the pitch of all note events. Change the Flip operation value to set a pivot point note number, around which note event pitches will be reversed. Transposition Transposes all note events. Â Change the Add operation value to the desired amount (in semitone steps). Â You can achieve downward transpositions by setting a negative value in this field.
Exponential Velocity Alters the scaling of the velocity curve. This preset is of particular use on software or MIDI instrument parts. Velocity is generally used to control the initial volume of instruments, but is often used to trigger filter envelopes, making the sound brighter or darker. Transforming regions is much faster than changing the velocity scaling or filter parameters of your MIDI or software instruments. Change the Velocity value field in the Operations area to change the velocity curve.
Velocity Limiter Limits the velocity to a maximum value. This is perfect for transforming instrument parts that are too strident, by limiting the velocity. Change the Max operation field value to limit the velocity to a maximum value. This is instantly reflected in the map area below. Fixed Note Length Creates constant note lengths. Useful on many instruments, particularly drums and other rhythmic parts, such as pianos, clavinets, and basses.
Maximum Note Length Sets the maximum length of all note events. Change the Length value field in the Operations area to define the maximum note length. Existing note lengths—which are shorter than the length defined here—are retained. Events that are longer than the defined value are shortened. Minimum Note Length Sets the minimum note length. Change the Min value field in the Operations area to define the minimum note length.
Quantize Note Length Quantizes the note length. This preset actually quantizes the note end position. Change the Length value field—in the Operations area—to define the length that note end positions will be quantized to. Using the Transform Window Parameters This section discusses the use of the individual Transform window elements, providing an overview of what each option does.
Global Parameters These parameters globally affect the Transform window appearance and operating mode. Â Mode menu: Choose one of the following settings menu options to determine how events are transformed. Â Apply operations to selected events: Choose this mode to apply the operations to all selected events. The selected events are determined by the selection conditions. Â Apply operations and delete unselected events: Choose this mode to transform the selected events, and delete all non-selected events.
The condition is considered to be fulfilled when an event matches the defined effective range, and values, of all event parameters. These ranges and values are determined in the pop-up menus and fields found under each of the event parameter columns. To choose the event type: m Click on the Status pop-up menu to determine which events will be selected. You have a choice of just two settings here: Â All: All event types fulfil the condition.
Defining Operations The Operations area is used to define the changes you would like to make—to events that meet the selection conditions. As with the selection condition pop-up menus, you choose an operation in the appropriate event parameter columns. One or two value fields may appear, dependent on the chosen operation.
 Max: Parameter values that exceed the set value are replaced by it. Smaller event parameter values remain unaltered. This could be used to restrict filter resonance modulation events above a value of 100, for example, resulting in a softer filter sound.  Flip: All parameter values that match the conditions are reversed around a pivot point (the value defined here). Events above this value are moved by the same distance below it and vice versa.
 Rel.Cres: This only works if the Inside Position selection condition is selected. The effect is similar to that achieved by Crescendo, but the previous values of the parameters being altered are taken into account when the crescendo is created, preserving the relative feel of the original.  Use Map: The set map will be used when this operation is selected (see below). To set the values for an operation: m Use the mouse as a slider, or directly type the desired value into the field.
Some Points to Note About the Map The map is only visible when chosen in one of the Operations pop-up menus. Appropriate selection conditions must also be set, or the map will not be shown. The map is universal, which means that it remaps one MIDI value to another. It does not know what type of MIDI data is sent to it. It is only concerned with the value of the data. This means that one map can be used to simultaneously alter the pitch, velocity, and length values of incoming note events, for example.
Creating Your Own Transform Sets You can store your own transform settings in a user transform set. To create a user transform set: 1 Choose **Create Initialized User Set** from the Presets pop-up menu. 2 Set the desired conditions. 3 Set the desired operations. 4 Switch on the “Hide unused parameters” checkbox. This helps to avoid changes to conditions and operations that aren’t required for (or may mess up) your transform set. 5 Click on New Parameter Set (Number) in the Presets menu.
Usage Examples The following section provides several usage examples for the Transform window. To add a mod wheel controller event (#1), with a value that matches the note’s velocity: This is automatically placed one tick after each note start and end, thus avoiding potential conflicts with the note events themselves. 1 Choose the following settings in the Transform window:  Mode menu: Copy selected events, then apply operations  Selection Conditions area: Set Status to Note.
To create a transform set that fixes all note velocities to a defined amount: 1 Select **Create Initialized User Set** from the Preset pop-up menu. 2 Set the Status menu in the Selection Conditions area to “=”. 3 Choose Note from the pop-up menu below. 4 Choose the Fix setting in the Velocity menu of the Operations area. 5 Change the amount to 127 in the value field below the Velocity menu.
To randomly change the pitch of MIDI note events: 1 Choose the following settings in the Transform window: Â Mode menu: Apply operations to selected events, Â Selection Conditions area: Set Status to Note. Â Operations area: 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.
To delete volume events (MIDI CC#7) from a MIDI region: 1 Choose the following settings in the Transform window: Â Mode menu: Delete Selected Events. Â Selection Conditions area: Â Set Status to Control. Â Set Data Byte 1 to a value of 7. 2 Click Select And Operate. To delete all controller events from a region: 1 Choose the following settings in the Transform window: Â Mode menu: Delete selected events. Â Selection Conditions area: Set Status to Control.
To create an ascending pitch pattern from notes of one pitch: 1 Choose the following settings in the Transform window: Â Mode menu: Apply operations to selected events. Â Selection Conditions area: Â Set Status to Note. Â Set Position to Inside, and define the desired range (Cresc. only works if the Inside Position selection condition is chosen, as crescendos need start and end points). Â Operations area: Set Pitch to Cresc., and enter a value of D0 and G6 in the fields below. 2 Click Select and Operate.
21 21 Editing Audio in the Sample Editor You can precisely select, refine, and process audio recordings in the Sample Editor. The Sample Editor allows you to make incredibly accurate adjustments to audio files, right down to individual samples. This makes it the ideal tool for the removal of pops and clicks in audio material, or setting accurate crossover points for looped playback.
Playing Audio Files There are various ways to play back the audio sections visible in the Sample Editor, allowing you to hear audio during edits. Playback occurs independently of the project playhead position. If you’d like to hear the selected audio passage in the context of the project, just use the Transport playback controls, as usual. The Mixer’s Prelisten channel is used for monitoring in the Sample Editor.
You can change the start and end points of the selected area while looped playback is happening. This makes it easy to edit the start and end points of a drum loop, for example, until it loops perfectly. When you’re satisfied with the loop, you can make the selected area a new region with the Edit > Selection → Region function. To control playback with the overview: m Simply click-hold at the point you want playback to begin. Release the mouse button to stop playback.
Navigating Audio Files The Sample Editor offers a number of navigation facilities that make it easy to move to, and enhance the view of, specific parts of an audio file—making selection and editing far simpler, faster, and more accurate. The scroll bars along the bottom and right edges of the Sample Editor scroll through the detailed waveform display in the usual way. The zoom controls are also used in the same fashion as in other windows.
Changing the X and Y Axis Scales The Sample Editor’s vertical Y axis scale can show the waveform amplitude in percentage units or in sample units. Percentage scale Sample units scale To display the amplitude scale in sample units: m Enable the View > Amplitude Sample Value setting. To display the amplitude scale in percentage units: m Enable the View > Amplitude Percentage setting. You can also access the amplitude view settings by Control-clicking on the amplitude scale itself.
Absolute and Relative Time The different axis scales in the Sample Editor can be displayed in two ways: Â By reference to the time axis of the project (absolute position) Â By reference to the beginning of the audio file (relative position) The units in the ruler (between the overview and the waveform display) are displayed with dotted lines when viewing the relative position. To enter the relative display mode, do one of the following: m Open the Sample Editor from the Audio Bin.
To enter the absolute display mode, do one of the following: m Open the Sample Editor from the Arrange window. m Activate Link mode in the Sample Editor, and select a region in the Arrange area. Time is measured from the start of the project, which is assigned a value of zero (or position: 1 1 1 1 in bar/beat terms). In this viewing mode, the absolute (project) time is shown in the ruler.
Making Selections Sample Editor commands only affect the currently selected area of the audio file. The start point, and length, of the current selection area are shown in the info display above the overview. Info display The format of the information shown in the start point and length display fields matches the chosen View menu display settings. ∏ Tip: Make use of the navigation options discussed in the previous section to accelerate selection.
To change the start or end point of an existing selection area: m Shift-click on a selection area to change its start or end point. The proximity of your click—to the beginning or end of the selection—determines whether you change the start or end point boundary. The closest one wins … ∏ Tip: If you hold down Option-Shift, the more distant selection boundary is changed (rather than the nearer). To move the selection area: m Option-click, and drag to shift the whole selection, without changing its length.
Delete Erases the selection, without placing it in the Clipboard. All data beyond the deleted passage is moved forwards (towards the start point of the audio file) to fill the gap. Destructive Audio Editing and Processing The following section covers the use of several standard audio processing commands and tasks. These include normalizing, reversing, fading, and changing the level of audio files. Advanced audio processing options are discussed in “Working With the Digital Factory” on page 533.
4 Select the Pencil tool, and drag from left to right (including up or down movements) to draw in a new shape to the waveform spike. The edges of drawn sections are automatically smoothed. Press Option to affect both sides of stereo waveforms. As long as the mouse button is held down, the drawn waveform can be replaced by the original waveform—by moving the mouse to the left. Changing the Level of an Audio File You can use the Change Gain command to change the level of an audio file.
Important: You should never make a gain change that results in a value over 100%, as this will result in digital clipping. Fading Audio Files You can destructively fade in or out on entire, or selected areas of, audio files. The fadein or out time is determined by the current selection area within the audio file. To create a fade in or fade out: 1 Use any of the selection techniques outlined earlier in the chapter to determine the length of the fade-in or fade-out area.
∏ Tip: Common fades (such as a fade-out at the end of a track) can also be achieved with Mixer, automation, or Hyper Draw functions. The Arrange window Crossfade tool offers a further, flexible, non-destructive fade option (see “Creating Crossfades and Fades on Audio Regions” on page 358). Silencing an Audio File Section You can use the Silence command to set all amplitude values to zero, rather than removing (with Cut or Delete) all data from the selected area of an audio file.
Normalizing Audio Files Normalization is a process that raises the maximum level of a digital signal to a specified amount—typically to its highest possible level, without introducing distortion. ∏ Tip: The start and end points for the section being normalized should generally not fall within a continuous section of audio, as this will result in abrupt increases in volume after normalization. The start and end points should therefore be located in sections that occur just after, or before, musical gaps.
Reversing the Phase of a Selection Area You will find the Invert command extremely useful for correcting phase cancellation errors, or when several out of tune signals (or several signals processed through chorus effects), are to be mixed down to mono. To completely reverse the phase of all currently-selected audio material: m Choose Functions > Invert. All negative amplitude values become positive, and vice versa. Note: This doesn’t audibly change the file, if heard in isolation.
Sample Loop Functions The Edit > Sample Loop → Selection, Edit > Selection → Sample Loop, and Edit > Write Sample Loop to Audio File functions are ideal for use with the EXS24 mkII sampler. Please see the Logic Express 8 Instruments and Effects manual for details on the EXS24 mkII. They can also be used to generate audio files that contain the loop settings in the file header. This allows you to make full use of these files in any application that can read the loop information in the file header.
 Clear Undo History when quitting: Switch this on to automatically delete the Undo History for all edited audio files, when you quit Logic Express.  Record selection changes in Undo History: Switch on if you wish to undo and redo changes to selected areas in the Sample Editor.  Record Normalize operations in Undo History: Turn off if you don’t want to create any undo files once the Normalize function is invoked.
To save a copy with a different name—to the location of your choice: 1 Choose Audio File > Save A Copy As. 2 Choose the desired settings in the Save A Copy As dialog: You can set the desired sample rate, bit depth, file format, stereo conversion, and dither type for the destination file. The dialog also features an “Add resulting files to Audio Bin” option, allowing you to add the file to the Audio Bin, following the save.
Working With the Digital Factory The Sample Editor features a number of audio processing tools, collectively known as the Digital Factory. These include time stretching and pitch shifting, audio quantization, and extraction of pitch and rhythmic information from audio—which can be applied to other audio or MIDI regions or events. You access the Digital Factory functions via the Sample Editor’s Factory menu.
Using the Time and Pitch Machine You can use the Time and Pitch Machine to radically alter the time structure of audio files, including time compression or expansion, and pitch transposition. When changing the pitch, you can also correct any alteration of the formants. Pitch shifting without formant correction causes a phenomenon commonly known as the Mickey Mouse effect.
To open the Time and Pitch Machine, do one of the following: m Choose Factory > Time and Pitch Machine (or use the corresponding key command, default: Control-P). m Click the Time and Pitch Machine tab if another Digital Factory processor is visible. You don’t need to enter, or adjust, all of the Time and Pitch Machine parameters to get a good result. Most are linked, so an adjustment to the Tempo parameter will result in changes to the Length values, and vice-versa.
Time and Pitch Machine Algorithms The Algorithm menu allows you to choose the algorithm that is best suited to the audio material you want to process. Your choices are: Â Version 5: This algorithm was inherited from Logic 5. It can be used on most types of audio material, and has a particular color, which may be useful as a creative option. Â Any Material: This is the most universal algorithm. It is able to handle most material.
Tempo Parameters The Tempo section is divided into two columns. The left column (Original) displays the current values of the selected area in the audio file. The right column (Destination) is used to set the desired target values. Tempo Change (%) Determines the tempo alteration, displayed as a percentage (no original value is shown). Tempo Displays the tempo in bpm (beats per minute).
This means that the original timbre (or the physical size of the resonance body) is maintained, resulting in a more natural sounding transposition. The only trade-off is that calculation takes more time. Note: The quality of Harmonic Correction is heavily dependent on the source material, because the algorithm has to make intelligent decisions between tonal and atonal components of the recording, and handle them separately.
Using the Groove Machine You can use the Groove Machine to alter the feel, swing, or groove of digital audio material, in percentage steps. Put another way, the Groove Machine can quantize straight audio! You can also strictly quantize audio that “grooves a little too much” with the Quantize Engine (see “Using the Quantize Engine” on page 547).
Corresponds with Tempo If you change this value, you will set the project tempo at the current playhead position. To Bar Length Use this parameter to define the length of the selected audio material in musical values (bars, beats, divisions, and ticks). Using the Audio Energizer The purpose of the Audio Energizer is to increase the perceived volume of audio material, while altering the sound as little as possible, and without causing clipping.
To open the Audio Energizer, do one of the following: m Choose Factory > Audio Energizer in the Sample Editor (or use the corresponding key command). m Click the Audio Energizer tab if another Digital Factory processor is visible. Factor Set 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. Â Begin by trying values in the 40 to 100% range.
Using the Silencer The Silencer consists of two component functions which can be used separately, or in conjunction: Â Noise Reduction lowers the level of any noise in the signal, such as tape noise. Â Spike Reduction tries to identify and reduce signals such as pops or clicks. You will probably use Noise Reduction more often than Spike Reduction. To open the Silencer, do one of the following: m Choose Factory > Silencer from the Sample Edit or menu (or use the corresponding key command).
The “correct” value depends on the quality of the material, and your own personal taste. Good quality material should be edited using Min or values close to it. You will probably only notice minor changes in the sound. Bad (noisy) quality material should be processed at higher values, or even Max. If the setting is too high, the treble component of the signal will be reduced. 3 Click the Process button to execute the function. Note: The Silencer function is optimized for normalized data.
∏ Tip: Don’t forget that pops and clicks can also be manually removed with the Pencil tool, if the Silencer doesn’t produce satisfactory results. Converting Audio to MIDI: Using Audio to Score This function transforms a monophonic audio recording into musical notation, by creating a MIDI region that corresponds to the recorded melody. This allows you to play a MIDI sound module in unison with an audio recording or—transposed—as a second voice.
Setting the Audio to Score Parameters The following section outlines the parameters you can set in the Audio to Score tab. Preset This menu contains various presets for the Audio to Score parameters, which are suited to specific types of audio material. You can use these presets as starting points for your own processing. There are also four User presets. Choose any of the User 1–4 presets, and make the desired parameter changes. They will be memorized.
Minimum Quality You can choose between normal or high quality processing in this pop-up menu. Â The Normal setting is more tolerant of audio trigger points that aren’t perfectly in tune, but it can generate wrong notes. Â When set to High, only audio trigger points of a clearly identifiable pitch will be accepted and used. Indistinct trigger points are replaced by notes with a pitch of C3 and MIDI channel 3. These are labeled as an “undetected mark.
Using the Quantize Engine This Digital Factory function allows you to use a MIDI region template (within reason), to quantize an audio recording. This is done by using a dynamic time compression or expansion algorithm. The function is similar to the Groove Machine, except that the quantize template can reflect values other than just 8th or 16th note swing grooves.
Maximum Range This is where you set the maximum time (in milliseconds) that an audio peak can deviate from a quantization point—in the chosen quantization grid template (Quantize by menu). Â Small values are suitable for quantizing audio material with a similar groove. Â Large values allow you to use a quantization grid that deviates more from the original groove of the audio material. This, however, increases the risk of misinterpretation.
22 Removing Silent Passages From Audio Regions 22 You can use the Strip Silence function to automatically remove silent passages from audio regions. The basic premise of the Strip Silence process is simple: all amplitude values below a threshold value are interpreted as silence, and removed. New regions are created from the remaining passages.
Optimizing Synchronization Over Long Time-Spans Different computers, different synchronization sources (internal or SMPTE code), different tape machines and—in theory—even different samplers or hard disk recording systems, will exhibit slight variations in clock speed. Changing just one component can lead to a loss of synchronization between recorded audio material and MIDI. This is particularly applicable to long audio regions.
Using Strip Silence This section outlines the steps, and parameters, involved in the Strip Silence process. To remove silent passages from a selected region: 1 Do one of the following: Â In the Arrange area, choose Audio > Strip Silence (or use the Strip Silence key command, default: Control-X). Â In the Audio Bin window, choose Options > Strip Silence (or use the Strip Silence key command, default: Control-X).
 Post Release Time: Use this parameter to define an automatic release time for the end points of all regions. You can avoid abrupt cut offs to amplitudes that fade out gradually (particularly if you have set a high Threshold value). As examples: Cymbals, open hi hats, snares with long reverb tails, vocals, and so on. The Post Release Time parameter does not allow overlaps. This means that region end points cannot extend beyond the start point of the following region.
23 Adjusting the Tempo of Audio Regions 23 The length of imported audio regions and the project tempo are directly linked. If you change the tempo at a particular project position, the length of regions at, and after, this position will change. You won’t hear a difference in the playback speed of the imported audio, but all MIDI or software instrument regions will be out-of-sync with all audio regions.
To convert a selected audio region into an Apple Loop, please use either of the following options: m Choose Region > Add to Apple Loops Library in the Arrange area. This method sets transients that are based on the project’s tempo information. For more details, see “Creating Apple Loops in Logic Express” on page 640. m Choose Audio > Open in Apple Loops Utility in the Arrange area. This functionality allows you to set the transients manually—independent of the project tempo.
3 Choose Options > Tempo > Adjust Tempo using Region Length and Locators (or use the corresponding key command, default: Command-T). A dialog will ask if you want to change the tempo of the entire project, or create a tempo change for the section of the project occupied by the selected region. 4 Do one of the following: Â Click Globally to adjust the tempo of the complete project to the audio region. Â Click Create to create a tempo change that spans the length of the audio region.
To adjust the region length to match the locator positions: 1 Set the left and right locator positions. 2 Choose Audio > Adjust Region Length to Locators to stretch 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. To adjust the region length to the nearest bar: m Choose Audio > Adjust Region Length to Nearest Bar.
To make recorded audio files follow the project tempo (and first key signature): m Select the audio region in the Arrange area, and turn on the Follow Tempo option in the Region Parameter box in the Inspector. The Follow Tempo option is synchronized for all regions that make use of the same audio file.
24 Managing Audio Files 24 Most audio file management takes place in the Audio Bin. Several individual file management functions are found in the Sample Editor and Arrange window. This chapter covers all audio file management facilities available in Logic Express. These options help you to keep track of your audio files, and make tasks such as file copying, moving, renaming, and backing up both easy and efficient.
Sorting Audio Files Information on every currently loaded audio file is shown in the Info column of the Audio Bin. You can switch this display on or off by choosing View > Show File Info. To sort audio files: m Choose any of the following View > “Files sorted by” criteria to reorganize the listing of audio files: Â Â Â Â None: The audio files are listed in the order that they were loaded or recorded. Name: The audio files are listed in alphabetical order.
Grouping Files in the Audio Bin You can group audio files together, making handling of large numbers of files easier and faster. In the image, you will see a Guitars and Vocals group, with several files in each. Guitars group Vocals group This separation into categories simplifies handling, particularly if all files are similarly named. As an example, audio imported from another application may be named “audio01”, “audio02”, “audio03”, and so on, regardless of whether a vocal, guitar, or drum part.
To group audio files: 1 Select the files you want to group in the Audio Bin. 2 Choose View > Create Group (or use the Create Group key command). 3 Type the desired group name in the Group Name field (labeled “Enter name for new group”), then press Return. To group audio files by their location, attributes, or selection status: 1 Select the files you want to group in the Audio Bin.
Note: If existing groups have been created, a dialog will ask if you want to add all files to one of these groupings, thereby deleting the existing groups, or if you would like to only add files that are not yet group members. Click the appropriate button. To open or close one or more groups: m Click on the disclosure triangle to the left of a group name to open or close it. m Option-click on the disclosure triangle to the left of any group name to open or close all groups.
Moving Audio Files The Audio Bin’s Audio File > Move File(s) command (default key command assignment: Control-M) enables you to move selected audio files to another location on your system. If the source drive or partition is the same as the target drive or partition, the files are simply moved to the other folder. This is a very quick and convenient way of organizing the drive and the project. This function is useful when you want to move all audio files used in a project to a new folder, for example.
Copying or Converting Audio Files You can create copies of audio files in a different hard disk (or other storage medium) location. The source files remain in their original storage location, unlike the Move File(s) function discussed above. To copy or convert audio files in the Audio Bin: 1 Select the desired file or files. Note: You can not use this command to convert compressed multi-channel files (AAC, ALAC, MP3). 2 Choose Audio File > Copy/Convert File(s) in the Audio Bin.
Note: If a file of the same name exists in the target location, Logic Express asks whether or not you want to replace it. Click Replace to do so, or type in a different name, and click Save. To copy or convert audio files in the Sample Editor: 1 Choose Audio File > Save A Copy As. 2 Choose the desired settings in the Save A Copy As dialog. You can set the desired sample rate, bit depth, file format, stereo conversion, and dither type for the destination file.
Optimizing Audio Files Beyond deleting unused audio files, Logic Express also allows you to delete unused portions of audio files. This usually frees up a lot of wasted space on the hard disk. To delete sections of audio files that are no longer used in the project: 1 Select the audio files that you want to optimize in the Audio Bin. The Edit > Select Used menu should be your first port of call. Optimize Files can be used on any number of audio files.
4 If you’re only saving one region, you can enter a name for the new audio file. The Hide Extension checkbox hides or shows file extensions (wav, aif, and so on) in the Save As field. 5 Click the Save button. Note: If you want to simultaneously save several regions as audio files, you should name the regions before using the Save Region(s) as command, as existing region names are applied to the audio files derived from them.
Dealing With SDII Files Logic Express allows you to access the regions in SoundDesigner II files. (The SDII data format lets you store region definitions). You can import the regions of SDII files into the Audio Bin. This is useful if you want to play regions from a long recording made in Pro Tools. To import SDII regions: 1 Select an audio file in the Audio Bin. 2 Choose Audio File > Import SDII Regions (or use the corresponding key command, default: Control-I).
 Skip: Use this function if you know that this audio file no longer exists, or was renamed. This button changes to Skip All if further audio files aren’t found.  Manually: You can manually define where to search for the file. A file selector, containing the names of the audio files being searched for, appears onscreen. If more than one file with a matching name is found, you can select the correct file in a dialog box.
25 Mixing 25 Once you’re happy with the project arrangement, the Mixer is used to refine the overall sound, levels, and spatial positioning of your tracks. This chapter covers the use of the Mixer, and also touches on automation facilities. The latter forms an integral part of Logic Express’s mixing facilities, with detailed information available in Chapter 26, “Working With Automation,” on page 605.
To open the Mixer as a separate window: m Choose Window > Mixer (or use the matching key command, default: Command-2). The Mixer displays channel strips that correspond with audio and instrument (software or MIDI) tracks shown in the Arrange area, plus the master channel, auxiliary, and output channels. Additional channel strip types, such as busses and inputs, can also be shown, but their inclusion is primarily for compatibility with projects created in earlier Logic Express versions.
 The master channel strip is a global level control for all output channels. You can view it as the main volume control for Logic Express. Important: Mixer channels are generated automatically when you create new audio, instrument, or external MIDI tracks in the Arrange window, provided that File > Project Settings > Audio > Automatic Management of Channel Strip Objects is turned on (it is turned on by default, and should be left on in most cases).
You will regularly find that the settings chosen for instruments and effects can be improved by changing a few parameters, to “tighten up” parts, or provide a looser feel, or perhaps to radically change the tonal color of the chorus, for example. You may often completely swap one instrument sound for another, replace effects configurations for tracks, or use tracks without effects (“dry”).
Channel Strip Elements The controls displayed on a channel strip vary with the channel strip type.
Element Audio Instrument Aux Output Master Channel Strip Settings menu X X X X X Channel EQ X X X X Insert slots X X X X Sends X X X Input slot X X X Output slot X X X Group menu X X X X X Automation Mode menu X X X X X Pan/Balance control X X X X Level meter X X X X Clip detector X X X X Level fader X X X X X Mute button X X X X X Solo button X X X (Input) Format button X Input Monitoring button X Record Enable button X X Bo
Quickly Switching Between Two Levels You can use the following key commands to switch the level of all channel strips of a specific type between two different level values. Each channel may be set to any value for both toggle positions, allowing you to quickly switch between two basic mixes.
The level meters can be switched between a Sectional dB-linear scale, and an Exponential scale. Exponential provides higher display resolution in the upper range. Sectional dB-linear provides the best possible display resolution across the entire level range. Both metering systems display a range from –60 to 0 dBfs.
Clipping occurs when too much (too loud a) signal is fed through a channel strip, thereby exceeding the limit of what can be accurately reproduced, resulting in a distorted sound known as clipping. Up to + 6 dB will be shown. If a track clips now and then, it doesn’t really matter—as long as the master channel (output destination for the channel) doesn’t clip. Clicking on any clip detector will reset all clip detectors. The Clear Overload Flag in Audio Channel Display key command has the same effect.
Soloing and Muting Channels Soloing or muting channels enables you to hear musical parts in isolation, or in conjunction with other selected parts. This simplifies particular tasks, such as setting precise equalization parameters. Soloing Channels All channel strips feature a Solo button (denoted by an S). Click it to mute all other channel strips. The solo button turns yellow, and the M on the Mute buttons of all muted (non-soloed) channels will flash. Note: MIDI channels are not muted.
To make a channel strip solo safe: m Control-click an inactive Solo button. The channel strip is not muted when you solo another channel. Solo safe status is indicated by a red slash on the solo button. A second Control-click defeats the solo safe status. Muting Channels You can mute any channel strip by clicking the Mute button (marked with an M). Pressing the button a second time restores the previous level. You can mute several channels by clicking on their respective Mute buttons.
Adding Effects: Using Inserts Insert slots are shown, and used, in the same way on all channel strip types (except the master channel strip). If you have enough computer processing capacity, you can insert up to 15 effect plug-ins per channel strip. An extra blank Insert is created, as soon as all of the currently displayed Insert slots are used, up to the maximum allowed.
Monitoring With Effect Plug-ins The Software Monitoring function allows you to hear incoming audio through effects plug-ins inserted into an armed audio channel. Audio inputs must be assigned on these record-enabled tracks for software monitoring functionality. You can also use the Input Monitoring buttons to monitor audio tracks that are not armed. Simply enable the Input Monitoring button on a channel strip. This works when Logic Express is stopped or playing.
Handling Mixer Inputs and Outputs The Input slot of audio channel strips allows you to choose the physical inputs of your audio hardware. This input (or input pair) supplies an audio signal to the track when recording. If Input monitoring is switched on, the signal of this audio input will be routed to the output chosen in the Output menu, when the track is record enabled. Note: Do not confuse the Input slot with the input format of channel strips. They are different things entirely.
To deselect multiple channels, do one of the following: m Click on any unselected channel or on the Mixer window background. m Select a previously unselected track in the Arrange window. As with individual controls on a single channel, Option-clicking a fader or knob resets the control to a neutral value. As examples: Option-clicking a Level fader sets it (and all grouped faders) to 0 dB, Option-clicking Send knob 3 sets it (and the third Send knob of all grouped channels) to 0 dB (90).
To adjust the send destination of all selected channels: m Click on any of the selected channel’s unused Send slots, and make your choice from the list of Bus destinations (aux channels). The corresponding Send slots of all selected channels will be routed to the chosen destination. To adjust the inserts of all selected channels: m Click on any of the selected channel’s unused Insert slots, and make your choice from the list.
Working With Groups The Group slot allows you to assign a channel strip to a group. A group combines multiple channel strips, linking some of their properties—their volume faders and Mute buttons, for example. If multiple audio tracks (with individual choir voices) are assigned to one group, changing the volume of one choir track changes the volume of all choir tracks. Individual level relationships—at the time the channels were assigned to the group—are retained.
To remove a channel from a group: 1 Click the Group slot to open the Group menu. 2 Choose No Group. To alter the settings of an active group number: 1 Click the Group slot to open the Group menu. 2 Choose Open Group Settings. To quickly assign the most recent group setting to another channel strip: m Press Option and click the Group display of the desired channel strip.
 Automation Mode checkbox: Changing the automation mode of an individual track in a group will change the automation mode for all group members.  Channel Strip Color: Changing the color of one group member channel will assign this color to all group member channels. Using color makes it easier to identify the string or brass sections, for example.
Channel Strip Types Channel strips are the building blocks of the Mixer. In the following section, you will learn about the differences between channel strip types, and how you can use them. Audio channel strips Instrument channel strips Aux channel strips Output channel strip Master channel strip MIDI channel strips Audio Channel The audio channel strip is used for playback and recording of the audio signals (in regions) on Arrange window audio tracks.
After inserting a software instrument plug-in, the instrument channel can be accessed, or driven, if you prefer, by MIDI regions on one or more Arrange window tracks. These tracks are routed to the instrument channel. Software instruments inserted into an instrument channel can, of course, also be played directly from a MIDI keyboard, provided that a corresponding Arrange track (one that is routed to the instrument channel) is selected.
 The third way to create aux channels is by clicking on the plus button at the lefthand side of the Mixer window, or by choosing Options > Create New Auxiliary Channel Strips. Both methods launch the dialog shown below. This is very similar to the New Tracks dialog shown in the Arrange window. Simply type in the desired number, set the required format, input and output routings, and click the Create button.
Using Aux Channels for External Audio Processing You can route audio signals to external devices via the individual outputs of the audio hardware. This allows you to change their level and pan settings, and apply plug-ins, if you wish. This is achieved through use of the I/O plug-in. The advantage of inserting the I/O plug-in into an aux channel, is that any effects units (or hardware mixing consoles) integrated into the Logic Express Mixer, become available to all track and instrument channels via sends.
Master Channel The master channel strip changes the gain of all output channels. It acts as a separate attenuator stage; the level relationships between output channels are not affected. This is very helpful as a proportional output volume control. In some cases, you might want to prevent individual output channels from being controlled by the master channel—outputs used as effect sends to external hardware devices, for example.
Switch on all settings in the View > MIDI Track Components menu of the Mixer, so you can see all of the parameters described below. The basic channel Level, Pan, and Mute controls are always shown on MIDI channel strips. Instrument Name Program Bank Assign 1 to 5 Â Instrument Name: Displays the name of the instrument object assigned to the MIDI channel strip. Â Program button: Allows you to select a sound by name—click it to open a menu that contains all GM sound names. Each channel has its own menu.
Muting a Channel The Mute button switches the volume of the channel between zero and the current Level fader position. In practice, this means that if the button is “down,” the channel is muted. If you switch the Mute button off, the current Level fader position (and value) is used. To mute or unmute a channel: m Click the Mute button of the desired channel. Controlling the Pan Position The Pan knob allows you to directly control the pan position of the sound. Controller 10 is sent via your MIDI interface.
 Chorus Depth (Controller Number 93): This knob controls the depth of the chorus effect. The further right you turn the knob, the stronger the effect becomes.  LPF Frequency (Controller Number 74): This knob controls the overtone content of the sound. Higher values make the sound brighter. Saving and Restoring MIDI Channel Strip Settings in the Mixer The Mixer MIDI channel settings directly affect the Track Parameter box shown in the Arrange window Inspector.
Moving to Particular Types of Channel Strips You can choose one of the commands in the View > Scroll To menu to scroll the Mixer display to the selected channel type, when multiple channel types are visible. This feature is handy when your Mixer view contains dozens, or hundreds, of channel strips. To move to specific channel strip types: m Choose the desired command in the View > Scroll To menu (Outputs, for example).
Single View In Single view, the Mixer display is limited to the selected arrange track, and its signal flow: Â If applicable: The channel strip which is used as the input source of an audio track. Â The channel strip which is assigned to the selected arrange track. Â If the selected track is a multi output software instrument: The aux channel strips assigned to the individual output signals are displayed beside the software instrument channel strip.
You can use the following two settings in the View menu to further refine the Arrange view: Â Other Tracks: Enable to show (or disable, to filter) track channels that do not offer any mixing parameters, such as volume or pan control. These “other tracks” include the No Output and Metronome tracks.
Customizing the Display of Channel Strips You can individually switch the display of the following audio channel strip components on or off, by enabling or displaying the corresponding setting in the View menu:  EQ Thumbnails  Inserts  Sends  I/O  Track Name  Track Number You can also switch the display of the MIDI channel strip components on or off, by enabling or disabling the respective setting in the View > MIDI Track Components menu:  Instrument name  Program (change numbers)  Bank (select num
Displaying Folder Tracks The Mixer can display the channel strips associated with the contents of folder tracks, or tracks on the highest Arrange window display level. Folder track If a folder track is selected—or the Arrange is showing the contents of a folder when you open the Mixer—it will only show the channel strips associated with the tracks within the folder.
Using the I/O Labels Window You can use the I/O Labels window to define names for all channel strip Input, Output, and Send menu items, which can be used in place of defaults such as; “Input 1” or “Output 8”. To open the I/O Labels window: m Do one of the following: Â Choose Options > Audio > I/O Labels in the main menu bar. Â Choose Options > I/O Labels in the Mixer window. I/O labels are valid for all projects.
To revert to default channel I/O labels, do one of the following: m Click the corresponding button in the Channel column. m Choose the desired Reset menu command to reset the following channel strip types to their “default” names (as shown in the Channel column): Â Â Â Â All Labels Input Labels Output Labels Bus Labels To use the I/O labels provided by the hardware driver: m Click the corresponding button in the Provided by Driver column.
26 Working With Automation 26 Logic Express 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, amongst others. You can automate all mix functions in Logic Express, without restriction.
Displaying Track Automation Track automation data is displayed on a transparent gray shaded area—an automation track—that runs the length of your project. The audio waveforms of audio regions, and notes in MIDI regions, can be seen at a reduced contrast level in the shaded area. The automation data is represented by colored curves, dots (known as nodes) and lines that are shown in the gray area. Numerical values are also automatically displayed at each node on automation tracks.
Automation can only be displayed when a track is of a sufficient height. Turning on track automation will automatically set a suitable vertical zoom level. To resize one or more tracks: m Click-drag the lower-left corner of a track header (the track list) to resize it. Alternately, you can use the vertical zoom bars to resize all tracks, if automation is not visible. This can happen if you have manually resized a track, or changed the zoom level after activating automation.
To hide all automation parameters on all tracks, do one of the following: m Choose View > Track Automation (or use the View Track Automation key command, default: A). m Click the Automation button in the Toolbar (if visible). Viewing the Automation Data of Multiple Parameters The automation track shows all automation data (not only the currently active parameter) at a lower contrast level. Volume is a muted yellow, Pan is a muted shade of green, and so on.
To view all recorded automation data on sub-tracks: m Option-click the (closed) triangle to open up to 30 automation sub-tracks, which will display existing (already recorded) automation data. Only as many automation sub-tracks as required will open, so if you have recorded automation data for ten parameters, nine sub-tracks will be opened. The active automation parameter remains on the top track. Option-click the open triangle to collapse all automation sub-tracks.
To set the same automation mode for selected channel strips: 1 Choose the desired channel strips by Shift-clicking on their names in the Mixer. 2 Choose the desired automation mode in the Automation Mode menu of one of the selected channel strips. Setting the Automation Mode Via Key Commands You can also set the automation mode with the following key commands.
Touch Touch mode plays back automation data in the same fashion as Read mode. Should a channel strip or an external (touch-sensitive) automation controller be touched, the existing track automation data of the active parameter will be replaced by any controller movements—for as long as the fader or knob is touched. When you release the controller, the automation parameter will return to its original (recorded) value.
You’ll rarely need the Write mode when working with the track automation features of Logic Express. It’s mainly there to complete the selection of automation modes. It’s easier to erase automation data by choosing Options > Track Automation > Delete All Automation Data of Current Track (or Delete All Automation Data of All Tracks, respectively). In earlier analog mix automation systems, Write mode was the only way to erase automation data from tape when beginning a new project.
Editing Track Automation in the Arrange Area You can edit track automation data directly in the Arrange area. Selecting Automation Nodes and Lines You can use the Automation Select tool to rubber band any selection (of nodes) in the automation data. Automation Select tool  Click on a region to select all currently visible automation events that fall within the region borders.  Shift-click to select other areas, in addition to an existing selection.
Creating Automation Nodes Click on, or just outside, an automation line (not on a node) with the Pointer or Pencil to create a new node. The very first click in an empty automation track creates a new node at that position, and another node at the beginning of the track. This ensures that you can’t create parameter controls with gaps in the middle of a region, and have full control over the parameter from the beginning of the automation track.
 Delete Orphan Automation Data of Current Track: Removes all orphaned automation data from the selected track. Automation data can be orphaned when copied between tracks.  Delete All Automation Data of All Tracks: Removes all types of automation data from all tracks. You can also delete multiple nodes by doing one of the following:  Shift–Option–double-click anywhere on an automation track to open a dialog that allows all automation data (of the current type) to be deleted.
To copy or convert the automation data of one parameter to another: 1 Select the automation parameter that you want to copy, or convert, in the Automation Parameter menu. 2 Command-click on the Automation Parameter menu and choose a destination parameter. A dialog will ask if you want to convert, or “copy and convert,” the source parameter data into automation data for the destination parameter.
Snapping Automation to Grid Positions You can snap both track-based and HyperDraw (region-based) automation to grid positions. To automatically snap automation nodes to the chosen Snap grid value: m Enable Snap Automation in the Snap menu. Note: Automation edits always snap to an absolute position, regardless of whether or not the Snap to Absolute Value option is enabled.
Editing Track Automation Data in an Event List Logic Express allows track automation data to be altered in a dedicated event editor window, which can only be opened via the Automation Event List key command (default: Control-Command-E). Each automation event is displayed as a MIDI controller event, and can be adjusted in length, value, and so on.
Using Automation Quick Access The Automation Quick Access feature makes track automation extremely fast and simple if you only have one hardware MIDI controller available (one fader on your MIDI keyboard, or maybe just the modulation wheel). You can use this single hardware controller to access (and automate) the currently active automation parameter of the selected track in the Arrange window.
Using Hyper Draw Hyper Draw works much like track automation, with a couple of key differences: Â Hyper Draw data is restricted to MIDI regions. Â Hyper Draw data uses MIDI controller values (rather than the internal meta events used by the track automation system), which are represented as lines between nodes. You can edit nodes and lines in a similar way to track automation data.
If activated in the Piano Roll or Score Editor, a gray Hyper Draw section is displayed below the editing area. Hyper Draw menu Hyper Draw button The Piano Roll and Score Editor feature a Hyper Draw button at the lower left corner. Click this button to open or close the Hyper Draw section. When the gray Hyper Draw area is visible, you can choose the desired controller type from the menu (Down Arrow) shown to the left of the Hyper Draw scale. To switch off Hyper Draw: Choose View > Hyper Draw > Disable.
Using the Autodefine Mode The Autodefine mode sets the Hyper Draw parameters automatically, making the first event in the region visible. Autodefine is not limited to switching the Hyper Draw display to the first incoming controller, but it can also respond to other types of events as well. It responds in this order:  Controller  Aftertouch  Pitch Bend  Program Change  Note Velocity Recording of MIDI Automation Data You can record MIDI automation just like regular MIDI events.
Using the Note Velocity Mode Hyper Draw also offers the Note Velocity mode, which is perfect for creating crescendos or diminuendos across a range of notes. You can use it at any point in a region (on a note in the Piano Roll window, for example). To use the Note Velocity mode: 1 Choose View > Hyper Draw > Note Velocity. Piano Roll Editor in Note Velocity mode 2 Click, and hold until you see the (Start Line) help tag, and release the mouse button.
Using Hyper Draw Key Commands The following Arrange window key commands can speed up use of Hyper Draw:  Hyper Draw: Disable  Hyper Draw: Volume  Hyper Draw: Pan  Hyper Draw: Modulation  Hyper Draw: Pitch Bend  Hyper Draw: Note Velocity  Hyper Draw: Other …  Hyper Draw: Autodefine Conversion of Automation Data You can convert track automation data into MIDI controller events (Hyper Draw data, in other words), and vice-versa.
27 Bouncing Your Project 27 You can render all, or specific, channels to one or more audio files, and even burn directly to CD or DVD with the Bounce function. Output channels feature Bounce buttons. Bounces for output channels 1 and 2 can also be initiated by choosing File > Bounce from any Logic Express window (although the Arrange would be the most appropriate).
Creating a Bounce This section outlines the basic steps required to create a bounced audio file. Detailed descriptions of each step follow. To create a bounce file: 1 Route all channels that you want to bounce to a particular output channel (see the following section). 2 Define the desired bounce range (see “Defining the Bounce Range” on page 627). 3 Do one of the following: Â Click the Bounce button on the desired output channel.
Defining the Bounce Range Before bouncing, it is best to define a range of your project that you would like to bounce. The default values for the Start and End position fields in the Bounce window will encompass the entire Logic Express project if no regions are selected, or the Cycle function is inactive. Â If the Cycle function is engaged, the bounce start and end positions will match the locator positions.
Destination You can choose from several destination file formats for your audio bounce:  PCM file: SDII, AIFF, (Broadcast) Wave, or CAF format  Compressed file: MP3 or M4A: AAC All options are activated by simply clicking in the desired checkboxes. You can select multiple checkboxes, if you wish. If you do so, multiple files will be created, with the appropriate file extension: filename.aif, filename.mp3, filename.m4a.
As you adjust the Start and End position parameters, you are shown the hard disk space requirements for the bounced file above the Cancel and Bounce button. (Bounce) Mode  Realtime: Creates the bounce file in real time. Use it whenever you wish to bounce audio and instrument tracks, plus external MIDI sound sources that are routed into the Logic Express Mixer via aux channels.  Offline: Accelerates the bounce process—depending on the complexity of your arrangement, and available CPU processing power.
PCM Options in the Bounce Window Choose the PCM name (and activate the checkbox) in the Destination pane to access the following options: File Format Choose from the SDII, AIFF, (Broadcast) Wave, or CAF format. PCM files in these formats can be automatically added to the Audio Bin by enabling the Add to Audio Bin checkbox. Resolution This is where you define the resolution of the bounced file. The options are 16 Bit (for CD delivery), 8 Bit (for multimedia productions,) or 24 Bit (for mastering to DVD).
MP3 Options in the Bounce Window Logic Express allows the bouncing of MP3 (MPEG-2, Layer-3) format files. This wellknown data reduction format for digital audio signals was developed by the Fraunhofer Institute, and allows high compression rates while maintaining reasonable audio quality (depending on the compression rate). MP3 is a widely used standard for audio file exchange via the Internet.
Bit Rate (Mono/Stereo) MP3 bit rates are selectable between 32 kbps and 320 kbps, but default to 80 kbps mono, and 160 kbps stereo. These rates offer acceptable quality and good file compression. To enhance audio quality, provided you can afford the extra file size, choose:  96 kbps for mono streams  192 kbps for stereo streams You can, of course, choose even higher rates, but the quality improvement afforded by bit rates above 96/192 kbps is nominal.
Write ID 3 Tags/ID3 Settings When the Write ID3 Tags option is enabled, ID3 tags are written to the file. These tags can be edited/configured in a dialog which you can open by clicking the ID3 Settings button. All entries are made by double-clicking on the desired Content column fields to the right of the corresponding ID 3 Frame column entry, and typing in your text. Enable the Use default values checkbox (on by default) to display default settings for certain Content column entries.
M4A: AAC Format Options Choose the M4A: AAC name (and activate the checkbox) in the Destination field to access the following options: Encoding Choose Advanced Audio Codec (AAC) or Apple Lossless to determine how your .m4a (commonly referred to as MP4) file will be encoded. Both encoding algorithms provide high quality audio, with the AAC format using a higher compression ratio, resulting in smaller file sizes. Bit Rate You can choose a rate between 16 kbps and 320 kbps.
Burn Options Choose the Burn: (CDDA or DVD-A) name (and activate the checkbox) in the Destination pane to access the following options: Logic Express can directly burn Red Book audio to blank CDs or DVD-Audio to blank DVDs. Â When CDDA is chosen: If the selected sample rate (chosen in the PCM panel) is higher than 44.1 kHz, a copy of the bounced PCM file is created—with an automatic sample rate conversion to 44.1 kHz before encoding.
Dithering (Only Available When CDDA is Chosen in the Mode Menu) Use of the Dithering parameter is recommended when bouncing 24 bit recordings into 16 bit files. Note: If you attempt to switch the PCM Resolution to 16 Bit when in DVD-A Burn Mode, DVD burning is automatically disabled (following a warning). Bounce & Burn Clicking the Bounce & Burn button initiates the bounce, and burns the audio to CD or DVD.
Bouncing and POW-r Dithering Logic Express provides you with the professional POW-r dither algorithm, designed to convert 24 bit recordings to 16 bit files—as required for CD burning, for example. POW-r (Psychoacoustically Optimized Wordlength Reduction) is licensed from the development team of the POW-r Consortium LLC. POW-r dithering can be applied when:  Bouncing audio files to disk  Exporting OMF files (see “Exporting OMF Files” on page 660). POW-r offers three distinct dithering modes.
28 Creating Apple Loops 28 You can save both audio and software instrument regions as Apple Loops in Logic Express. For audio regions, a default set of transients—based on the project’s tempo information—is automatically created. For more information on this method, see the following section. You can also use the Apple Loops Utility to create Apple Loops from audio regions.
Read the following section if you want to create Apple Loops in Logic Express. Information on “Creating Apple Loops in the Apple Loops Utility” can be found on page 642. Creating Apple Loops in Logic Express When you save a region as an Apple Loop in Logic Express, the region is added to the loop library and appears in the Loop Browser, allowing its use in other projects. The tempo information of the project is used to tag the transients of user-created Apple Loops.
Note: One-shots do not follow the project tempo and key. This is useful if you want to add discrete, non-musical sounds (such as sound effects) to the loop library. It would generally not be desirable to have such sounds affected by the tempo and key properties of the project. These types of loops still contain metadata tags, allowing easy searching and categorization in the Loop Browser. 4 Click Create. The loop is added to the Loop Browser.
Send Effects in Software Instrument Apple Loops If you create a SIAL from a region on a software instrument track that uses sends to bus effects, and then drag the saved loop to another (empty) instrument track, the new loop will sound different to the original source region. This happens because the effects sends in the original track are not saved with the loop.
 The audio recording was recorded at the project tempo, but not cut correctly. In this situation, you can reduce the length of the recording, via the dialog.  The loop uses a different tempo. In this case, you can set the length of the audio loop in the “Loop length” box and choose “Use set length”. For more information on the Apple Loops Utility, please refer to the Apple Loops Utility User Manual.
To convert multiple ReCycle files into Apple Loops: 1 Select the desired ReCycle files in the Browser. 2 Open the action menu, and choose Convert ReCycle Files/Folder to Apple Loops. 3 In the ensuing file selector box, select a location for the converted files. The ReCycle files are converted to Apple Loops (the slice points are converted to transient positions) and copied to the chosen location.
Global Tracks and Apple Loops You can use the global tracks to change global events such as tempo, time signature, and key during a project. The following section summarizes how these changes in the global tracks affect the playback of Apple Loops. Tempo and Beat Mapping Track Apple Loops adjust automatically to the tempo of these tracks. Signature Track Apple Loops can contain information about their original key, and can be transposed automatically.
There is, however, a solution: 1 Cut the (audio) Apple Loop at the precise positions of any chord changes. 2 Match the chords displayed in the Chord Track with the chord progression in the cut Apple Loop files by manually entering the chords of each section in the Chord track. The individual Apple Loop parts will then be transposed accordingly.
Apple Loops Transpose to the Wrong Octave Transposing an Apple Loop to a higher pitch may result in the loop being played back at a lower pitch, and vice-versa. Example: If an Apple Loop is transposed to sound seven semitones higher, it will actually play back five semitones lower. This is harmonically-correct transposition, but it’s probably not to the intended octave. Transposing audio material is a technically complicated process which always implies a certain loss in quality.
This will export the Apple Loop as a new audio file with all plug-in effect processing of the track/channel on which the Apple Loop is placed. To export the Apple Loop without these effects, bypass them before exporting the region. You should note that although this new file will play at your project’s current tempo and key, it can’t follow subsequent tempo or key changes like other Apple Loops; such files are fixed at the project tempo and key—in use when the file was exported.
29 Project and File Interchange 29 Moving project data between programs and devices in your own, or external, studios is commonplace these days. Unfortunately, not every application or device talks the same language. Logic Express is compatible with a huge number of applications and devices, courtesy of advanced export and import facilities that allow you to use parts of, or entire, projects in other applications, such as Final Cut Pro and Pro Tools.
Sharing Logic Express Data Over a Network Logic Express allows you to share or back up your data over a network, making it easier to collaborate on projects with other Logic Express users. This can be: Â Via a local network—using Bonjour. Â Over the Internet—using .Mac (requires a .Mac account).
To share your data: m Turn on the appropriate checkboxes in the Bonjour or .Mac columns. Â .Mac column: All settings of the enabled type on your personal iDisk in /Public/ MusicAudioData are shared. Â Bonjour column: All settings of the enabled type in the corresponding ~/Library/ Application Support/Logic folders are shared. Note: Your .Mac URL can be accessed through a web browser, if you want to browse outside of Logic Express. Typically, this address will take the following form: http://idisk.mac.
To restore a backup of your personal data: 1 Click the Restore Backup button. A confirmation dialog will launch. 2 Click the Restore button to replace your existing settings and key commands with the .Mac backup. Note: If the Restore process is interrupted for some reason (network problems), the pre-restore data is retained, ensuring that you don’t wipe out all of your settings, or end up with a partially restored collection. The same behavior occurs when one of the folders on the .Mac account is empty.
To disable or enable sharing on a per setting or folder basis: m Control-click on individual settings or folders, and turn on or turn off the Share via Bonjour and Share via .Mac options as applicable. Note: When the sharing status of a folder is turned on or off for either Bonjour or .Mac, all items in the folder are switched to the same state. Settings shared by other users appear as follows in the Library: Â Bonjour folder: Shows all shared settings on the local network. Â .
∏ Tip: You can access your own public .Mac folder by choosing another account, and typing in your own user name. 3 Click OK when you are done. Note: Data accessed through .Mac is downloaded in an on demand fashion, and is only stored (on the local hard disk) if you decide to do so. This is similar to settings which exist in a project, but are not saved as files on the hard disk. To disconnect the active .Mac account: m Choose Disconnect .Mac in the Action menu of the Library.
To restore the backed up file in the Sample Editor: m Choose the Audio File > Revert to Backup command (or use the corresponding key command, default: Shift-Command-B). Click the Paste button in the dialog. Backing Up and Sharing Projects Project folders help you to keep track of your work: they ensure that all files related to a project are neatly saved in one location. This makes it easy to back up your projects and enables easy transfer between computers.
m Turn on the “Copy movie files to project folder” checkbox if you want to copy the QuickTime movie used in the project. Files are only copied into the project folder when the project is saved. Once saved, the project is “safe,” allowing you to move or copy the entire project folder without losing any references that point to files within the folder. To access the project asset checkboxes at any time, do one of the following: m Choose File > Save As.
To import a MIDI file at the playhead position, do one of the following: m Choose File > Import from the main menu bar (or use the Import key command), then select the desired MIDI file in the ensuing file selector box. m Locate and select the MIDI file in the Browser, then click the Import button. The MIDI file is placed at the playhead position, rounded to bars. To import a MIDI file at the mouse position: m Drag the desired MIDI file from the Browser or Finder into the Arrange area.
Saving Standard MIDI Files If you want to play a Logic MIDI project on another sequencer, you can do so by saving it as a Standard MIDI file. Consult the manual of the other sequencer to determine what Standard MIDI file formats it supports.
To save a MIDI region in file format 0: m Enable the “‘Export MIDI File…’ saves single MIDI Regions as Format 0” checkbox in the Project Handling tab of the Global preference pane (Logic Express > Preferences > Global). When this preference is turned on, choosing File > Export > Export Selection as MIDI File when only one MIDI region is selected will automatically export the region as file format 0 MIDI file.
Working With OMF Files The OMF 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. Exporting OMF Files m To export the current project as an OMF file, choose File > Export > Project as OMF File (or use the Export Project as OMF File key command).
Importing and Opening OMF Files The following procedure is identical for both importing and opening OMF files. Importing copies the OMF data into the current project, whereas opening an OMF file will create a new project. To import or open an OMF file: 1 Do one of the following: Â Choose File > Import (or use the corresponding key command, default: Command-I). Â Choose File > Open (or use the corresponding key command, default: Command-O).
4 Next, Logic Express will ask if the project’s SMPTE start time should be added to event start positions. In this scenario, audio parts in the resulting OpenTL file will have the same SMPTE start time as in the Logic project. If you click Don’t Add, the part positions are calculated relative to the project start position (an audio part that starts at bar 1 will have a start time of 00:00:00:00.00). 5 At the next step, Logic Express will ask if a copy of all audio files should be made.
This solves the problem of the project on the Tascam machine starting at a large time value, but less than 1 hour (such as 59 minutes). In this situation, you can’t immediately see the imported audio parts because they may be imported beyond the project’s end point, and almost certainly outside the visible window area. Opening, Importing, and Exporting AAF Files AAF (Advanced Authoring Format) is used by other DAW applications such as Pro Tools.
Importing and Exporting Final Cut Pro XML Files The Final Cut Pro XML format is used to import and export audio data between Final Cut Pro and Logic Express. The Final Cut Pro XML format supports automation data. To export the current project as a Final Cut Pro/XML file: m Choose File > Export > Project to Final Cut Pro/XML. This will launch a standard file selector dialog, allowing you to name the export file. Note: Audio Instrument tracks are always bounced to audio files. MIDI tracks are ignored.
Exporting Regions The File > Export menu also features several Export functions for regions and tracks. These allow you to render audio or software instrument tracks with all active effects and automation data (except volume and pan) into a new audio file. Note: Rendering with no volume and pan automation is generally desirable, as the export functions are most commonly used to transfer your tracks or regions to an external application for processing, mixing, or editing.
30 Advanced Tempo Operations 30 Logic Express provides several different tools and methods for the creation and editing of tempo events. This chapter discusses these tools, and covers the relationship between tempo events and MIDI and audio regions. Tempo can be changed or edited in the Transport bar, the global Tempo track, the Tempo List (in the Lists area), with the Tempo fader in the Environment, or with the Tempo Operations window.
Using the Tempo Track Tempo changes are controlled by tempo events, which are stored in a special Tempo track. This track can be displayed in the Arrange, Piano Roll, Hyper, and Score Editor windows. The Tempo track applies to the whole project. The tempo track also determines the relationship between incoming time code and the current playhead position. To view the Tempo track, do one of the following: m Choose View > Global Tracks (or use the corresponding key command, default: G).
Creating and Deleting Tempo Change Events You can create tempo change events by inserting them into the Tempo track at the desired project position. To insert a tempo change event, do one of the following: m Double-click at the desired position with the Pointer tool. m Click at the desired position with the Pencil tool. Keep an eye on the help tag when using the Pencil tool, and don’t release the mouse button until the intended tempo and position are indicated.
Creating Tempo Curves 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 will result (a Move Curve Node help tag is shown), which can be dragged as desired—horizontally and vertically—to alter the curve shape. You’ll find that this is quite similar to drawing track automation curves with the mouse.
To copy a tempo change event, do one of the following: m Hold Option, while dragging a node. m Use the standard Copy and Paste procedure (via the Edit menu or the corresponding key command). The playhead will determine the target position for the first pasted event. To copy or move multiple tempo events: m Shift-click or rubber-band select (while pressing Control), and drag all nodes to the target position. Note: Any tempo events at the target positions will be replaced by the moved or copied events.
Switching Between Tempo Alternatives The Alternative pop-up menu in the Tempo track allows you to switch between different tempo maps. Put another way, you can create up to nine different tempo track versions per project, and switch between them. The original tempo track is automatically assigned to Alternative 1. To create an alternate tempo map: m Choose an unused number (2 through to 9), and create the desired tempo events.
Adjusting the Tempo to Fit Audio Regions The Options > Tempo > Adjust Tempo using Region Length and Locators command adjusts the project tempo, by creating a tempo change event at the start point of the selected audio region. This ensures that the length of the selected audio region exactly matches the distance between the locators. For more information on this function, see “Setting the Project Tempo to Match an Audio Region” on page 554.
Creating and Editing Events in the Tempo List The layout, and way you use the Tempo List, are very similar to the Event List. The following section only outlines the most important Tempo List operations. For more information on general (and identical) Event List operations, see Chapter 18, “Editing MIDI Events in the Event List,” on page 459. To create a tempo event in the Tempo List: 1 Move the playhead to the desired project position.
Using the Shortcut Menu Many selection, editing, and other commands can be accessed by Control-clicking or right-clicking anywhere in the window. Make use of this to accelerate your workflow. Note: Right-click functionality is dependent on the Right Mouse Button: Opens Shortcut Menu option being chosen in the Logic Express > Preferences > Global > Editing tab. Alternative Tempo Lists You can use up to nine different Tempo List variations per project.
Using the Tempo Operations Window The Tempo Operations window is used to edit existing tempo changes, and to create new ones. The window automatically displays the area you’ve selected for editing, and changes are displayed graphically, in real time, as the tempo curve is processed, so you can see what’s happening. To open the Tempo Operations window: m Choose Options > Tempo > Tempo Operations from the main menu bar (or use the Open Tempo Operations key command.
Choosing a Tempo Operation The Operation menu provides several interesting tempo change editing functions, which also alter the sync reference. The lock symbol allows certain parameters to be fixed, preventing them from being changed. Create Tempo Curve The Create Tempo Curve operation lets you create numerous tempo change events with just a few parameters, and provides a smooth overall change in tempo.
Create Constant Tempo The Create Constant Tempo operation creates a constant tempo in any selected area. The default setting assigns an average tempo for the selected project section (based on existing tempo change events). If you want to remove all tempo variations between two points, without changing the SMPTE time for the right-most position, just click the Apply button. Don’t forget the “Continue with new Tempo” checkbox, which retains the new tempo or returns to the initial tempo.
Using the Tempo Interpreter You can use the computer keyboard or incoming MIDI events to set the project tempo. Put another way, Logic Express will chase a manual synchronization signal (also known as human sync). This method of synchronization is fairly loose, in that if the manual sync impulses stop coming in, Logic Express will continue at the last tempo it received. You use the Tap Tempo command to generate tempo timing events, by literally tapping a computer or MIDI keyboard key.
Window This parameter determines the time span (or window) that tap notes can be entered (set in ticks, or 1/3840 note). Only taps made within this time window are used to determine the tempo. Any taps outside it are ignored. Â The narrower the window, the more effectively Logic Express will be able to withstand the influence (on the tempo) of any taps that fall between the note values—set with the Tap Step parameter. Â The larger the window is set, the easier it becomes to create drastic tempo changes.
Using the Tempo Fader You can create a real time tempo fader in the Environment window by choosing New > Fader > Specials > Tempo Control. This fader can control the project tempo (using Meta event #100). There is no need to connect this fader to anything, unless you want to record its output. A tempo fader has a range of possible values from 50 to 177 bpm.
31 Beat Mapping Regions 31 You will generally play to a metronome click when recording in Logic Express. There are, however, instances where you’ll want to record without a click, playing rubato, or at least not at a strict tempo throughout. Another situation may be where you have an existing audio recording—that wasn’t recorded to a metronome click, and therefore contains slight tempo variations—that you want to add additional tracks to.
 MIDI regions recorded without a click will be displayed in a musically meaningful way in the Score Editor.  Additional MIDI regions can also be created via the Step Input function, without sounding too stiff. This looser feel is due to the parts being played back with all of the tempo changes created by the beat mapping process. By default, the global Marker, Signature, and Tempo tracks are visible when you enable the display of global tracks.
3 With the mouse button still held, drag the cursor down towards 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—will appear. This line will follow the movement of the mouse cursor into the lower part of the track, forming an angle. Once this line is connected to the desired note, release the mouse button.
Beat Mapping With Audio Regions This works in a similar fashion to that described above for MIDI regions. The main difference is that Logic Express must first analyze audio regions in order to find rhythmically prominent spots, which can subsequently be linked to a bar position. Logic Express searches for transients when analyzing audio regions. Transients are positions where the audio recording becomes a lot louder—over a very short time span (a signal spike, in other words).
On occasion, your recordings may contain (MIDI note) events that fall onto musically useful positions, and should remain there when beat mapping is used for audio recordings. Such situations are catered for by the inclusion of the Protect MIDI option, found in the track header of the Beat Mapping track. Simply activate this option to keep existing MIDI events at their current positions when beat mapping.
Beat Mapping to Scene Markers If the global Video track is visible, a QuickTime movie is loaded, and the Detect Cuts function (in the Video track) is used, the detected scene markers appear as available mapping positions (vertical lines) at the bottom of the Beat Mapping track. You can easily define a scene cut position as the first downbeat of a bar—by allocating it to the bar position, as described above.
32 Transposition With the Chord and Transposition Tracks 32 You can use the Transposition and Chord tracks to alter the playback transposition of MIDI events and Apple Loops over time. The Transposition track contains nodes that are connected by vertical and horizontal lines. Each node represents a global transposition event, which determines the global transposition value—until the playhead reaches the next transposition event during playback.
How MIDI Events and Apple Loops Are Transposed Transposition events (and their chord counterparts) pitch-shift MIDI events and Apple Loops. MIDI Events Transposition events change the actual MIDI events themselves. As an example: If you create a MIDI region that contains a C3 note event, copy the MIDI region, and then create a transposition event of +2 at the start of the copied MIDI region, the transposition event changes the note event to a D3.
MIDI events will only be transposed if the No Transpose checkbox is turned off in the respective Track Parameter boxes. Apple Loops Apple Loops can contain information about the key they are in, and can be transposed automatically. Regular audio regions (audio regions that are not Apple Loops) are not affected. Nor will Apple Loops that do not have a key definition (drum loops, for example). For full details, see the Chord track description in the Apple Loops chapter, on page 645.
To create a chord event in the Chord track: m Click with the Pencil tool at the desired position in the Chord track, then define in chord symbol in the Define Chord dialog. If you want to edit a chord event, just double-click on it. The Define Chord dialog will open, allowing free changes to the chord symbol properties. To select a chord or transposition event: m Click the chord or transposition event with the Pointer tool. Use Shift-click or the rubberband selection method to select multiple events.
Analyzing MIDI Regions You can use the Analyze button in the Chord track to analyze the chords in a MIDI region. Select the desired MIDI region (preferably one containing complete chords) and click the Analyze button in the Chord track header. The MIDI region will be analyzed, with the resulting chords appearing in the Chord track. This also works for several subsequent regions. Alternatively, you can drag the desired regions onto the Chord track.
Inserting Chord Symbols in the Score The chord symbols displayed in the Chord track can be inserted into the Score Editor (and printed): To insert chords from the Chord track into the Score Editor: m Select the staff that you would like to use for the chord symbols in the Score Editor, then choose Functions > Insert Chords From Global Chord Track. Inserted chord symbols are displayed in blue (printout will be black), and can only be moved within the boundaries of the chord on the Chord track.
33 Working With Notation 33 The Score Editor allows you to view and edit MIDI regions as traditional music notation. This chapter covers the tools and features available for score and lyric entry, editing, layout, and printing. Following a general Score Editor overview, you’ll learn how to: Â Input notes, musical symbols, and text in the score. Â Use the extensive display settings to transcribe MIDI recordings. Â Edit notes and musical symbols in your score. Â Lay out and print your score.
Learning About the Score Editor The Score Editor displays MIDI regions as staffs, played by track instruments. Display Parameter box Event Parameter box Part box Each staff or (Arrange area) track can contain an unlimited number of MIDI regions. If the MIDI regions on one track directly follow one another in the Arrange area (with no gaps between them), they are displayed as one continuous staff in the score—unless you have limited the view to a single MIDI region, by engaging Content Link mode.
A High Level Workflow Example This section is designed to provide an overview of how you would approach the creation of a musical score in Logic Express. Step 1: Getting Notes into the Score There are basically three ways you can do this: Â Real time recording from your MIDI keyboard (see “Recording MIDI” on page 396). Â Step recording, using either your MIDI keyboard or the Caps Lock keyboard (see “MIDI Step Input Recording” on page 402).
 Project settings: You can set general display options that affect the whole project in the Score project settings window (see “Project Settings for Score Display” on page 811). These include spacing between notes, page margins, line thickness, display of instrument names, bar and page numbers, and a lot more. Important: Score display parameters have absolutely no effect on MIDI playback, just on the way MIDI data is shown in the Score Editor.
Step 3: Editing Note Events Even with all of the display options discussed above, you may need to adjust the appearance of some notes. This is done with the functions in the Note Attributes menu. These commands allow you to adjust individual note events, allowing enharmonic shifts, accidentals, ties, beaming, and much more. This facility can also be used on multiple selected notes, which is useful on those rare occasions when the display settings don’t deliver the desired results.
Step 5: Editing the Whole Score Once you’ve recorded or inserted all (or most) of the notes and symbols into your score, and edited individual elements, the next step is to polish the score’s layout. This would typically include use of tools to reposition staffs, and changing the Score project settings—to adjust the number of bars per line, set page margins, and more. All project layout options are discussed in “Project Settings for Score Display” on page 811.
Step 6: Printing a Score The last step is printing your score. The printed result always corresponds to what you see in the Score Editor window (Page view must be activated). To print the score: 1 Choose File > Print (or use the corresponding key command, default: Command-P). This opens the Print dialog. 2 Choose the desired printing options (including printing to PDF), and click the Print button. Before printing, you may want to activate Print view, which shows the page margins onscreen.
Entering Notes and Symbols in the Score Editor You can add notes and symbols in the following ways: Â Real time MIDI recordings (notes and sustain pedal markings only). Â MIDI step input (notes only). This can be done with the computer, or a MIDI keyboard. Â Dragging notes or symbols from the Part box to the staff. Â Fast input of symbols by assignment to selected notes with key commands.
Step Input Step input in the Score Editor works in the same way as other editor windows (see “MIDI Step Input Recording” on page 402). The Score Editor (and Piano Roll Editor), however, allows the content of several regions to be displayed, and edited, at once. This results in some differences regarding step input: Â The MIDI region that you want to insert notes into must be selected (click on the staff ). If no staff is visible, you must first create an empty MIDI region in the Arrange area.
Mouse Input (Using the Part Box) A staff must exist before notes, symbols, and text elements (called objects in the following sections) can be inserted. Each staff (including empty staffs) represents one or more regions. To input notes or symbols with the mouse: 1 Select an object in the Part box (see “Selecting Part Box Objects” on page 709). 2 Do one of the following: Â Drag it to the desired staff position, and release the mouse button.
Although it doesn’t matter which MIDI region (staff ) an object belongs to in full score mode (as they stay where they are placed), such objects can be displayed with the wrong instrument, when single instrument parts are later displayed and printed. To switch to single region display: m Double-click the desired MIDI region (staff ). To switch back to the full score display: m Double-click in the empty space below or above the staff. This displays the full score, including all MIDI regions in the project.
Insert Quantization To make positioning of notes and symbols easier, objects can only be inserted at certain bar positions: Â There is an invisible note positioning grid. Imagine the whole bar—beginning at beat one—is filled with notes of the chosen value. As an example: In an empty 4/4 measure, half notes can only be inserted on beats one and three, eighth note triplets only on the first, second, or third eighth note triplet of every beat.
Using Hyper Draw in the Score Editor You can directly create and edit MIDI controller information in the Score 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 Score Editor by doing one of the following: Â Choose the desired View > Hyper Draw command.
To resize the Hyper Draw area: m Grab, and vertically move the dividing line that separates it from the Score Editor area. For more information see “Using Hyper Draw” on page 620. Note: Hyper Draw can only be activated in linear score view, and when a single MIDI region is displayed. If you switch to another mode (Page view, or full score), the Hyper Draw area disappears.
To lock Part box group positions: m Choose View > Partbox > Lock Group Positions. Choose the command a second time to unlock group positions. To show only the symbols of the currently selected group in the Part box: m Disable the View > Part box > Show All Groups setting. Selecting Part Box Objects You can select any Part box object (a note, slur, clef, or whatever) by simply clicking on it.
The palettes can have different shapes, depending on the modifier pressed while opening a floating palette with a double-click: Â Normal (Control) Â Vertical (Option) Â Horizontal (Command) The default shape of palette windows (opened with a simple double-click) can be predefined in the Logic Express > Preferences > Score > Floating Palette View pop-up menu. Selecting Part Box Objects With Key Commands The following unassigned key commands select the corresponding note values in the Part box.
Further key commands can also change the selection inside the Part box: Â Next Partbox Symbol and Previous Partbox Symbol: The Next Partbox Symbol key command selects the symbol to the right of the selected object. The Previous Partbox Symbol key command selects the object to the left. When the last object in a group is reached, selection cycles back to the first object in the group.
Sustain Pedal Symbols These two symbols are the only score symbols—apart from notes—that directly represent MIDI events (MIDI controller #64, sustain pedal on and off ), and thus affect MIDI playback. Logic Express intelligently inserts the on or off version of the symbol, depending on the status of the type that preceded it (a sustain off always follows a sustain on, and vice versa).
Dynamic Symbols These symbols can be inserted at any position in the score. They are purely graphic symbols, and have no effect on the playback of regions they are placed in. Note Heads If you drag one of these symbols onto a note, the note head changes to that of the selected symbol. If multiple notes are selected, dragging the note head onto any one of the notes will attach it to all notes in the selection. Altered note heads do not affect MIDI playback.
If you combine this feature with Attributes > Stem > Hide, you can completely hide these notes in the printed score. Symbols Attached to Notes This group contains symbols which usually only refer to one note at a time. This includes fermatas, accents, phrasing symbols, and bow markings, for example (trills are in a separate group). To assign any of these symbols to a note: m Drag the desired symbol onto a note head (watch the help tag to ensure accurate placement).
Slurs, Crescendi These symbols are graphic only, and have no impact on MIDI playback. To insert a slur or crescendi object: 1 Drag it to the intended (left) starting point. After insertion, the object remains selected, and small black square handles are visible at its end points (or along its length, in the case of slurs). 2 Grab and drag these handles to change the object’s shape You can also use several key commands to quickly input slurs, crescendo, and decrescendo symbols.
Time Signatures Time signatures inserted in the Score Editor globally affect all MIDI regions, on all display levels. Time signature changes only affect the display, however, not playback. Apart from 2/4, 3/4, 4/4, 6/8, and the alternative display options for 4/4 and 2/2, there are also Part box objects for freely-definable time signatures (A/B), and compound time signatures (A+B/C). When you insert one of these, the Time Signature dialog box opens, allowing you to set the desired time signature.
Trills, Tremolo, and so on The symbols in this group can be positioned anywhere, and are not attached to notes. The trill line and arpeggio lines can be set to any length, by dragging their end points. The trill line can also span line breaks. The accidental symbols in this Part box group are purely graphical, and do not affect the MIDI playback of notes. They are mainly intended as a supplement to trill symbols. Rests, Bar Repeat Signs Rests are displayed automatically in Logic Express.
Text Objects, Chord Symbols You will find descriptions of the extensive range of text objects and chord symbols in “Working With Text” on page 742. D.S., D.C., Segno, Coda Signs These symbols can be inserted at any position in the score. They are graphic symbols, and do not affect MIDI playback. They can be resized with the Resize tool. Tempo and Swing Symbols You can insert these symbols at any position.
Note: The tempo indicators in the Transport bar and the Tempo List always refer to quarter notes, even if a time signature with another denominator is used. As such, the displayed tempo differs, depending on the symbol being used. Jazz Symbols Jazz symbols, as the name suggests, are typically used for Jazz notation. They generally indicate a particular playing technique or style, emphasis, or mode.
Page Break and Line Break Symbols Break symbols (and No Line Break and No Page Break objects) can be inserted as events. Once inserted, they can not be moved automatically (when you alter the Layout project settings, resize the window, and so on). You can overrule the Line Break, Page Break, No Line Break, and No Page Break events with the Layout tool. Line breaks and individual staff margins can be determined for each score set, and also for each of the extracted parts.
Editing Notes and Symbols: Basic Operations This section covers basic editing methods that are used in the Score Editor. For general MIDI editing information, please refer to Chapter 15, “Introduction to MIDI Editing,” on page 409. Using the Shortcut Menu Many selection, editing, and other commands can be accessed by Control-clicking in the Score Editor. Make use of this shortcut menu to accelerate your workflow.
 Absolute Change (all values set to an equal value): Press Option during the procedure described above: as soon as you move the mouse, the parameter is set to the same value for all selected objects. This enables 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), as examples. To set the vertical and horizontal position of all selected objects to the same value: m Use any of the following key commands.
Moving or Copying Objects With the Mouse You can move or copy notes and symbols with the mouse, just as in the Piano Roll Editor. Note: It’s easy to unintentionally change a symbol’s bar position with the Pointer tool. Choose the Layout tool to limit changes to an event’s vertical and horizontal position. See “Changing the Graphical Position of Objects” on page 727. To move a symbol or note with the mouse: m Select one or more notes or symbols, then drag it to the desired position.
Moving Objects With Key Commands A group of key commands are found in the Nudge Region/Event Position section of the Key Commands window. These functions move all selected objects (by various steps) along the time axis. The following Nudge commands are the most useful for score work: Â Nudge Region/Event Position Left by Bar and Nudge Region/Event Position Right by Bar: Moves the selected notes forward or back one bar.
Pasting Passages at the Same Time Position You can use the Paste at Original Position and Paste Multiple at Original Position commands to quickly copy passages from one MIDI region to another—at the same time position. No insert position is required, and no automatic insert quantization takes place. To copy an entire musical passage to the same time position in another region: 1 Select the notes and symbols of the passage. 2 Select the staff you want to paste the passage to.
Working With Aliases in the Score Editor Alias is a term used for dependent MIDI regions and folders in the Arrange area. Alias regions mirror other MIDI regions and folders at different positions. Wherever an alias exists, it acts as a playback marker that points to the parent (original) MIDI region or folder. It is actually the parent region (or folder) that is played back. Aliases are also displayed in the Score Editor, and can be printed.
Changing the Graphical Position of Objects You can change the graphical position of objects to improve the layout of your score (by creating space for a grace note, for example). Using the Layout Tool The Layout tool is used to graphically move events in the Score Editor, in order to optimize the display, without altering the timing of MIDI events. Â Symbols and text: When symbol or text objects are moved with the Layout tool, the bar position is retained.
Changing the Graphical Position of Independent Score Symbols You can use the following key commands to move any score symbol that can be positioned independently of notes or staffs, as well as text events and chord symbols:  Nudge Position Up  Nudge Position Down  Nudge Position Left  Nudge Position Right These functions do not alter the bar position of the affected symbols and text events. They alter the Horizontal Position and Vertical Position parameters by ±1.
Editing Notes and Symbols: Advanced Operations This section covers more advanced usage of notes and other objects in the Part box. Editing Notes Given the different types of notes (tuplets, dotted, grace notes, and so on), this section outlines a number of note-related editing operations that will help you to get your score looking just right. Note: If your editing requirements extend beyond those covered in this section, see “Using Note Attributes to Change Individual Notes” on page 769.
To change the length of a note: m Select the note, then do one of the following: Â Edit the Length parameter in the Event Parameter box (shown as bars, beats, and ticks). Â Use one of the Nudge Region/Event Length key commands. To change the pitch of a note: m Select the note, then do one of the following: Â Drag it to the desired staff line (keep an eye on the help tag). Â Edit the Pitch value in the Event Parameter box. Â Use the Event Transpose +1 or the Event Transpose –1 key command.
To change the tied note display with a user rest: m If you don’t like the way particular tied notes are displayed, you can change the display by inserting a user rest at the position you want to see a graphic note. The rest’s length is not important, but you should use a shorter one (an eighth note rest), if possible. Watch the help tag, for exact positioning. As soon as the rest is inserted, it will no longer be visible in the score display, but the note display will change accordingly.
To change the display of existing notes: 1 Drag the N-tuplet symbol onto the first note. The target note must be indicated in the help tag, before you release the mouse button. The Tuplet window will open, allowing you to define the N-tuplet attributes: Â Â Â Â Â Â Â Â Â ∏ Tuplet note number: The number of tuplet notes is defined in the upper left field. Tuplet denominator: The value shown in the upper right numerical field. Tuplet note values: Choose from 1/8, 1/16, 1/32 (and so on) tuplets.
To insert N-tuplets with the mouse: 1 Insert the first note at the desired position. 2 Drag the N-tuplet symbol onto it. If you hold down Option as you insert the N-tuplet symbol, the most-recently inserted N-tuplet settings will be used, without the dialog. 3 Define the required settings in the N-tuplet window. The display will initially show a series of rests—the number of which corresponds to the N-tuplet value. You can insert other notes at these rest positions.
Creating Grace Notes and Independent Notes Independent notes are notes that aren’t included in the automatic rhythmic (and graphic) display calculation of a measure, but are still played back via MIDI. There are two types: Independent note Independent grace note  Independent: These are displayed at their original length, as long as they are binary or dotted note values that can be displayed as a single (not tied!) note.
Creating and Inserting Rests In certain situations, you may want to insert rests manually. These manually inserted rests (also called user rests) can be used if you don’t like the way a particular automatic rest is displayed. As examples: to avoid dotted rests, or for the syncopated display of rests, even when Syncopation (see “Syncopation” on page 767) is turned off.
To change the rest type or duration: m Double-click on the rest symbol in the score with the Pointer tool. In the dialog that opens, choose the shape (modern or church) and activate or deactivate the automatic length function. You can only determine the length (in the Bars field), if Auto Length is switched off. Note: Church rests can not be longer than nine bars. If this length is exceeded, the modern symbol automatically replaces the church rest. Multi bar rests can not be moved with the mouse.
To change an existing clef: 1 Double-click the clef. 2 Select the desired clef in the selection box shown below. Note: The same applies to the basic clef of a region, but changing this clef affects the staff style itself, as well as all regions that use the same staff style. To change the size of clef changes: 1 Open the Clefs and Signatures project settings by doing one of the following  Choose Layout > Clefs and Signatures (or use the Settings: Clefs and Signatures key command).
Editing Slurs and Crescendi Given their nature, slur and crescendi objects are edited in a very different way to other Part box symbols. Fast Slur and Crescendo Input With Key Commands You can use the following key commands to quickly input slurs, crescendo, and decrescendo symbols:  Insert: Slur Up  Insert: Slur Down  Insert: Crescendo  Insert: Decrescendo These commands place the corresponding object below or above (Slur Up) the currently selected notes.
Particular Attributes of Certain Symbols  Crescendo: The tip determines the general position. At the upper right end, length and opening angle can be adjusted. At the lower right, length and overall angle can be altered.  Decrescendo: At the upper left end you can alter the bar position, and opening angle. At the lower left end, bar position, and overall angle can be set. At the tip (right end), vertical position and length are adjusted.
Editing Repeat Signs and Bar Lines Repeat signs and bar lines cannot be moved with the mouse. You can, however, move these symbols (along with time and key signatures) to a certain extent, in the Arrange window. Once a region is selected in the Arrange window, alterations to its end point (or position) will affect existing repeat signs and bar lines in the score. Inserting, deleting, and moving key and/or time signatures in the Arrange window global tracks also have an impact on these score elements.
The Alternate Repeat Symbols (for the whole project) option in File > Project Settings > Score > Global activates a real book style display of repeat signs. Bar Repeat Signs The one or two bar repeat symbols replace all notes and rests in the corresponding measures. All other symbols remain visible. This does not affect MIDI playback, so hidden notes can still be heard. These signs can only be moved in the Event List or Event Float window.
Working With Text You can use text for a number of purposes in musical notation: to add performance indications or display chord notation, as examples. Each text object in the Part box serves a specific purpose: Â Standard text object: Use to add standard text. The basic functions for moving the cursor, deleting parts of the text, and so on, are as per most word processors. Â Lyrics object: Use to quickly add lyrics to a song. The cursor position is automatically moved from note to note.
3 Enter the desired text with the computer keyboard. As long as you are in text entry mode (indicated by the flashing text cursor), you can click at any position in the text field. You can select parts of the text by dragging the mouse in the text field, and apply the usual Cut, Copy, or Paste commands. Press Return, or click anywhere outside the text field, to exit text entry mode.
Editing Text In general, you can edit text objects in the same way as other objects (see “Editing Notes and Symbols: Basic Operations” on page 721). If a text object is selected, you can set its parameters in the Event Parameter box. If you want to edit the text itself, either click on it with the Text tool, or double-click on it with the Pointer tool. The flashing text cursor will appear.
Using Musical Symbol Fonts Musical symbol fonts do not contain letters. They only contain musical symbols (such as special percussion symbols). You can use text objects (set to a musical symbol font) to freely create, and position, musical symbols anywhere in the score. Learning About Text Styles All text elements refer to user-definable format settings called text styles.
About the Default Text Styles The default text styles have been designed for specific text elements, and are automatically assigned when inserted. Â Plain Text: This is the default setting for regular text. Â Page Numbers, Bar Numbers, Instrument Names: The text styles for automatic page and bar numbering, and display of instrument names. These functions are described in the Numbers & Names section (see “Numbers & Names” on page 816).
Importing Text Styles From Other Projects You can add text styles created in another project to the current project. To import text styles from another project: 1 Choose File > Project Settings > Import Settings. 2 Click the Text Styles checkbox at the bottom of the Import Settings window. Uncheck all other settings types, if you don’t wish to import them. 3 Browse to the project that contains the text styles you want to import.
 Outside, or directly on, any of the page margin lines. Text objects inserted in one of these areas are automatically made global. Positioning of Global Text Following insertion into one of the margin areas, global text can be moved anywhere on the page. The Pointer tool only allows vertical movement of global text objects. Hold down Option to move global text horizontally.
Align Although alignments relating to bar positions are shown in the pop-up menu, they cannot be selected here. Working With Automatic Text Objects The text group in the Part box contains four objects which represent names that are automatically displayed, if inserted: Â REG (Region/Folder): Displays the name of the current display level. This can be a MIDI region, a folder, or even the name of the project file (on the highest level).
Editing lyrics is just like editing regular text. The Event Parameter box displays the same parameters (the Lyric checkbox is activated). Apart from the fact that cursor movement is bound to notes in lyric input mode, the only difference between regular text objects and lyric objects is that the latter affect the distance between the notes they are assigned to. This provides enough space for the text to be displayed properly, without overlapping.
Creating Chord Symbols Chord symbols are text objects designed for fast chord entry. Logic Express uses special text attributes to display chord symbols, and also offers additional editing tools. To create a chord symbol: 1 Do one of the following: Â Drag the chord object from the Part box to the desired position in your score. Â Select the chord object in the Part box, then click at the desired position with the Text tool.
To edit a chord symbol, do one of the following: m Double-click on the root, then edit the chord symbol in the Chord Symbol window. There are four entry fields for the different parts: one for the root, one for an additional bass note, and two for extensions—which are placed above each other. m Double-click directly on one of the extensions. A text cursor will appear in the extension line, allowing you to edit the extension as per regular text.
Inputting Several Chord Symbols If you want to insert several chord symbols into the same staff, there is a shortcut (similar to the lyric input mode) available. Following text entry of the first chord, press Tab, rather than Return. The text cursor automatically moves to the position of the next (displayed) note or rest. Enter the desired chord and repeat the process, or press Tab several times, to move to the target position for the next chord symbol.
Graphical Position of Chord Symbols Each chord symbol is stored at a certain bar position in a MIDI region (there will often also be a note at that same bar position). The Event Parameter box Align option determines which part of the chord symbol is aligned to the bar position: the left edge, center, or right edge of the letter representing the chord root. The setting for newly inserted chord symbols is always “def.
Working With Time and Key Signatures Signatures are global events, which affect all tracks in your project. You can view and edit time and key signatures in the Signature track, in the Signature List, and in the Score Editor. Note: The Signature track must be visible—and must not be protected—in order to select and copy signatures. To view the Signature track: m Choose View > Global Tracks.
Creating Time Signatures You can create as many time signatures as needed in a project. To create a time signature change, do one of the following: m Move the playhead to the target bar, and set the new time signature in the Transport bar. m In the Score Editor, drag the desired time signature from the Part box to the target bar position. m Set the Signature track to a sufficient height, so that it displays both the key and time signature areas.
Creating Key Signatures You can create as many key signatures as needed in your project. To create a key signature, do one of the following: m Click the desired position in the Signature track’s key signature area with the Pencil tool, then choose the desired key in the Key Signature window. Note: You can disable the use of double flats and sharps by activating the “Disable bb, x” checkbox.
Copying Signatures You can copy time signatures and key signatures in the Signature List, or Signature track. It is also possible to copy all time and key signatures from one project to another. Subsequent signatures are inserted at bar positions that correspond to their original distance from the first copied signature. To copy signatures in a project via drag and drop: m Press Option, then drag the signature (in the Signature track) to the target bar position.
Editing Signatures You can edit existing signatures in the Score Editor and Signature track by doubleclicking on them. The Time or Key Signature window appears, allowing you to make the desired changes. Moves are achieved by selecting, and dragging, signatures. Editing Time Signatures by Cutting and Merging Bars You can use the Scissors tool in the Signature track to cut bars. As an example; to divide one 5/4 measure into a 3/4 and a 2/4 measure, cut it at the fourth beat of the 5/4 bar.
Creating and Choosing Signature Alternatives Signature alternatives are just that: alternative versions of all signatures on the signature track. To create an alternative signature track: 1 Choose a number from the Alternative pop-up menu on the Signature track. If the signature track is not tall enough to show the Alternative menu, drag the lower lane line. 2 Insert the desired signatures, using the methods outlined above. No save operation is necessary.
Transcribing MIDI Recordings In this section, you’ll learn how to use the Score Editor’s display parameters to correctly notate your performances. 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.
Default Settings for New MIDI Regions If a new MIDI region is created with the Pencil tool in the Arrange area, or through MIDI recording, Logic Express applies a set of default parameters to it. These defaults can be seen and edited in the Display Parameter box, when no MIDI region (no staff ) is selected. The title line shows Insert Defaults to indicate this status. These settings will remain as set, until you quit Logic Express, but can be changed at any time.
Selecting Multiple Regions in the Score Editor You can use two special functions to select multiple regions in the Score Editor: Â Click on the title line in the Display Parameter box to select all regions that are visible in the current display.
The Quantize value is selected from a pop-up menu, which contains all available display quantization options. Among these are binary quantizations (displayed as one binary value—16 or 128), and hybrid quantizations (two values combined, a binary and a ternary value—16,24 or 32,96 as examples). Binary values always correspond to the note value with the same denominator—as an example: 32 corresponds to thirty-second notes, and so on. Ternary values refer to triplets.
Quantize Default Setting The Quantize parameter’s Default option can only be set with the Insert Defaults (see “Default Settings for New MIDI Regions” on page 762). It cannot be set to its Default value in existing regions. If Default is chosen, the Quantize setting of any new MIDI region will be dependent on the current division value in the Transport.
Interpretation If Interpretation is enabled, notes are generally displayed with longer length values than their actual length, in order to avoid short rests. Short notes on a downbeat in 4/4 time, for example, are displayed as quarter notes. The score becomes less precise as a result, but is easier to read. If Interpretation is disabled, note lengths are displayed as close as possible to their real values, as determined by the Quantize value.
Syncopation If Syncopation is enabled, each (MIDI) note will be 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 below.) If this isn’t possible, the note is graphically divided into the minimum possible number of notes, connected by ties. This facility is usually used for the display of syncopated notes.
No Overlap No Overlap, when turned on, prevents the overlapped display of notes in melodies that are played with an exaggerated legato. The displayed length of notes is truncated (shortened) to the beginning of the next note (unless a polyphonic staff style is used— see “Working With Staff Styles” on page 775 for details). Notes beginning simultaneously (chords, in other words) are displayed with the (note) length of the shortest note in the chord.
Score This parameter is accessed via the Arrange window’s Region Parameter box (only visible if the View > Extended Region Parameters setting is enabled). If Score is set to Off here, the MIDI region will not be 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.
To change note attributes, do one of the following: m Double-click a note head to launch the Note Attributes window. Only one note can be changed at a time in the Note Attributes window. m Select one or more notes, and choose the desired command from the Attributes menu. The Attribute 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 Position of Accidentals This note attribute defines the deviation from the Acc./Note Distance value, chosen in the Layout tab of the Score project settings. To change the accidental distance from the note: m Choose the desired value in the Accidental Position menu of the Note Attributes window. Changing the Display of Accidentals By default, the display of accidentals depends on the chosen key signature.
Changing the Stem Direction and Length By default, a note’s stem direction and length depends on the respective setting in the Staff Style window. To change a note’s stem direction and length: m Choose the desired value in the Stem Direction menu of the Note Attributes window. Note: The stem length can not be changed in the Note Attributes window. m Choose the respective item in the Attributes > Stems menu. Â Â Â Â Â Â Default: The stem direction is set in accordance with the default (staff style) setting.
Changing the Voice or Staff Assignment You can change the voice or staff assignment for cross staff beaming in the Attributes > Ties menu (see “Advanced Staff Style Usage” on page 790). You can choose between the following options (requires a polyphonic multi staff style): Â Default Staff: According to voice assignment. Â Staff Above Voice: Moves the selected notes to the staff above the assigned voice. Â Staff Below Voice: Moves the selected notes to the staff below the assigned voice.
Changing the Interpretation of Notes By default, note interpretation matches the setting chosen in the Display Parameter box. To change a note’s Interpretation setting, do one of the following: m Choose the desired setting in the Attributes > Interpretation menu. m Choose the desired setting in the Interpretation menu of the Note Attributes window.
Note: As note attributes, these settings have priority over the staff style settings, but they only apply if the color mode is set to Normal in the Score Editor’s View > Colors menu. Resetting Note Attributes You can reset all note attributes to their default settings by choosing Attributes > Reset All Attributes (or using the Reset Note Attributes key command).
To assign a staff style (predefined or user-created) to a MIDI region: 1 Select the MIDI region. 2 Choose the desired staff style from the Style parameter pop-up menu in the Display Parameter box. You can also simultaneously assign a staff style to several selected regions.
Predefined Staff Styles Logic Express contains a number pre-defined staff styles.
Creating Your Own Staff Styles You can create new staff styles, and edit, delete, and duplicate existing staff styles in the Staff Style window. A staff style includes the following editable parameters: Â Number of staffs (for the display of one MIDI region). Â For polyphonic, multiple staff styles: configuration of brackets and bar lines that connect the staffs.
 Hierarchy button: Click to switch the Staff Style window between single staff style view and list views (the latter shows a list of all available staff styles).  Tools: Contains the Pointer tool, the Pencil tool (for creating new staffs and voices) and the Eraser tool (for deleting staff styles, staffs, or voices).  Name box: The field shows the name of the selected staff style. Click the arrow button next to it to open a pop-up menu that lists all styles available in the current project.
Creating a New Staff Style In single view, you can create a new staff style by choosing New > Single Staff Style or New > Dual Staff Style. The parameters of styles created this way are very basic, and need to be edited (see below) to meet your requirements, in most cases. The default name of styles created in this fashion is “*New Style”. A double-click on the name box opens a text entry field, where any name can be typed in.
Adding Staffs to a Staff Style You can add a staff to your staff style. This allows you to create a two-staff piano style from a single staff style, for example. Each staff is represented by a number in the first column. These numbers are assigned automatically, and cannot be changed. To add a staff to a staff style: m Determine the staff insert position by clicking in the narrow column to the left of the staff numbers in the Staff Style window, then choose New > Insert Staff.
Copying Voices or Staffs into Other Staff Styles You can copy one (or several) voices and staffs, inclusive of their parameters, into other staff styles. To copy a voice or staff into another staff style: 1 Select the voices or staffs you want to copy, by dragging the mouse vertically in the margin column to the left of the staff numbers. The selection will be indicated by a dark gray vertical beam. 2 Choose Edit > Copy (or use the Copy key command, default: Command-C).
6 Choose Edit > Paste (or use the Paste key command, default assignment: Command-V). Automatic Staff Style Copying If you copy a MIDI region from one project to another, and the staff style used by the original MIDI region doesn’t exist in the target project file, it is automatically copied, along with the MIDI region. Deleting Voices or Staffs From a Staff Style To delete voices or staffs from a staff style, select them and press Backspace, or choose Edit > Delete.
Brackets and Bar Line Connections You can only edit this parameter in styles with multiple staffs: It lets you determine which staffs are bracketed (two bracket types available) or connected by bar lines (only at the beginning of each staff line, or at every bar line). Simply click-drag in the corresponding column until you see the appropriate display, for any of these connections.
 The staff size you should use in full scores depends on the number of staffs in the score, and the size and format of the paper being used. When using A4 or US letter paper: full orchestra: 2, big band: 3, wind quintet: 4. Note: The size of all staffs in a score set can also be affected by the Scale parameter (see “Using Score Sets to Create Scores and Parts” on page 796) in the Score Set window. This makes it possible to use the same sizes for both the whole score, and parts of a piece.
Rest The automatic rest display can be switched off (Hide), or set to display beat slashes (slash) instead of rests. This is useful for rhythm section parts, and improvised solos. In this situation, the number of slashes per bar is determined by the nominator in the time signature (4 slashes in 4/4-time, 6 slashes in 6/8-time, and so on). Inserted notes and symbols are still displayed, but automatic rests are only shown if shorter than one beat.
Assigning Notes to Voices and Staffs You can use two different methods for assigning notes to voices and staffs: by defining a fixed split point, or MIDI channels for each voice of a staff. Using a Split Point You can use a fixed split point to assign notes to voices. This is a defined pitch, which determines the absolute border between two voices. Notes above it, or at the same pitch, are assigned to the upper voice. Notes below it are assigned to the lower cross the border.
Splitting MIDI Channels Automatically If you record polyphonic voices as separate passes in real time, you can set your keyboard or MIDI controller to the appropriate MIDI channel for each voice. This saves you from editing the channels after the fact. The same applies to step input. Alternately, you can automatically split MIDI notes using the “Auto split notes in multi staff chord styles” Score preference.
Notes below the line are moved to the MIDI channel below their current assignment. 3 If you make a mistake, just move the mouse back slightly to the left This erases the separation line to the right of the tool, allowing you to try again. Staff Style Examples The following sections illustrate how you can use the staff style facilities to meet specific notation needs.
An advantage of this approach is that you don’t need to worry about MIDI channels during recording or input, and notes won’t disappear unintentionally. There is, however, the disadvantage that the Voice Separation tool cannot be used to assign notes to voices. Other applications for this method would include the display of beamed grace notes, occasional polyphony in a guitar part, or the indication of rhythmic accents above or below beat slashes in rhythm section parts.
Cross Staff Beaming Music for keyboard instruments or harp (which is notated in two staffs) sometimes contains passages where notes in the upper and lower staff (played by the left and right hand) are connected with a beam, to emphasize the continuing musical phrase. Cross staff beamed notes In the Score Editor, notes can only be connected with beams if they belong to the same voice. Notes that belong to the same voice, however, will be displayed in the same staff.
 Select all notes, and change their MIDI channel to match that of the upper voice (in the Event Parameter box). All notes are displayed in the upper staff, probably accompanied by a lot of ledger lines. 2 Select the notes that you want to define a beaming connection for, then choose Attributes > Beaming > Beam Selected (or use the corresponding key command).
Mapped staff styles allow you to assign individual voices to drum groups. Drum groups use specific drum notation head shapes to display note events. You can define the respective drum note head shapes in a Mapped Instrument window. The best way to create drum notation for an existing MIDI region, is to open the Score Editor (to display the MIDI region), the Mapped Instrument window, and the Staff Style window. This way, you can directly see how parameter changes affect the score display.
2 In the Head menu, choose the shape of the note head for notes triggered by this particular pitch. A note must be assigned to a drum group to be displayed in a mapped staff style. If it’s not, it won’t be visible. 3 Choose a drum group in the Group menu. A number of groups are pre-defined for the most commonly used drum sounds (Kick, Snare, Hi-Hat, Toms, Cymbals, and so on).
5 Create a new mapped staff style by choosing New > Mapped Style in the Staff Style window, and inserting all desired staffs, voices, and drum groups—as described above, and in “Working With Staff Styles” on page 775. Â Staff section: Everything is identical to non-mapped staff styles (with the exception of the missing Transpose and Key parameters, which wouldn’t make sense here).
Using Score Sets to Create Scores and Parts You can use score sets to determine which instrument tracks should be included in the score display. Each project can contain as many score sets as required. Score sets allow you to: Â Produce both the full score and individual parts (such as particular groups of instruments). Â Arrange the (vertical) order of instrument tracks in the score, independent of the order of tracks in the Arrange area.
The Score Set Window You can create and edit score sets in the Score Set window. To open the Score Set window, do one of the following: m Choose the Open Score Set window command in the Score Set menu (or use the Open Score Set window key command, default: Control-Command-I). m Choose Layout > Score Sets in the Score Editor. If you open the Score Set window when the default All Instruments score set is selected, a warning indicates that the All Instruments score set cannot be edited.
Full Name A click on any line in this column opens an entry field that contains the default “@(reference)”. If you don’t change this, the name of the track’s instrument will be used as the name for the instrument in the score. As the track’s instrument name is often identical to the corresponding synthesizer patch (Solo Strings High, for example), you’ll probably want to assign another name here. This name is automatically displayed in the score as the full name: “Violin 1”, for example.
Bar line connections can also be edited directly in the score. Just click on the upper end of a bar line to connect it to the next (higher) staff. Repeating the procedure disconnects the bar lines. Creating and Deleting Score Sets When you open a Score Editor window, while several regions are selected in the Arrange area, Logic Express automatically creates and displays a score set that only contains the instruments of the selected regions.
Editing Score Sets Once you have created a score set, you can change the assignment of instrument entries, add instruments, or change their order. To assign another instrument to an existing score set entry: m Click-hold the name of the instrument you want to replace in the Instrument column, then choose the desired instrument from the pop-up menu. To add an instrument to the middle of the list: m Set the insert mark to the desired position, then choose New > Add Instrument Entry.
Scaling Score Sets You can scale any score set to a desired size between 50 and 200 percent of the original size. To scale a score set: m Select the score set in the Score Set window, then set the Scale parameter to the desired value.
Creating Separate Layouts for Parts and Score You can use separate layout parameters for the full score, and parts, in the Global tab of the Score project settings. The Format parameter in the Score Set window determines which layout parameters a score set uses. To create separate layout parameters for the full score, and parts: 1 Open the Global Score project settings by choosing File > Project Settings > Score (or using the Open Score Project Settings key command), then click the Global tab.
Importing Score Sets From Other Projects You can import score sets from other projects. To import score sets from other projects: 1 Choose File > Project > Import Settings (or use the Import Settings key command, default: Option-Command-I). 2 In the Import Settings window: a Select the project you want to import the score sets from. b Select the Score Sets option. c Click Open. Logic Express imports all score sets from the selected project into the current project.
Printing the Score This section covers the display options available when readying a score for printing, and also concentrates on a number of global layout facilities that will help you to get the score (and your sheet music) looking just right. Preparing the Score Layout for Printing This (and the following) section outlines a number of changes you can make to the overall score layout. These primarily involve display customizations, and use of the Score project settings or preferences.
Setting Breaks You can set line, link, and page breaks individually for each score set, and also for each of the extracted parts. Logic Express saves breaks with the project file. Line Breaks The automatic line break calculations are based on the Spacing and Max.Bars/Line settings in the Global Score project settings. The Maximum Bars/Line project setting determines the maximum number of bars Logic Express will allow in one staff or staff system.
Page Breaks You can use the Page Break symbols to insert a page break. This moves all bars that follow the page break insertion point to the following page. All preceding, and following, bars are automatically adjusted in accordance with the Score project settings (discussed in the Line Breaks section above). All staffs in the score are affected.
Changing the Margin and Header Values in Page Print View You can change the Margin and Header Space project settings directly with the mouse in Page Print view. To change the margin and header space values with the mouse: 1 Turn on the following settings in the Score Editor’s View menu:  Page View  Page Display Options > Print View  Page Display Options > Show Margins 2 Set the margin values by dragging the orange lines. 3 Set the header space value by dragging the purple line.
Printing the Score The printout of scores created in Logic Express is identical to the Score Editor’s Page view display. The following items are not printed, but are visible on the screen: Â The dashed lines that represent page and header margins, and borders between staff systems.
Exporting the Score as a Graphic File You can save a part of a Logic Express score page (or a whole page) as an image (PDF format), or copy it into the Clipboard. This allows you to paste it into graphic editing programs, or documents created in word processing or desktop publishing applications. Preparing the Export Before you export the score as an image, you should choose the appropriate Camera Tool settings in the Logic Express > Preferences > Score pane.
Customizing the Score Editor’s Appearance The following section outlines the various options for changing the general appearance of the Score Editor. The different view modes can accelerate editing, or are required for particular operations. Choosing a Color Mode The settings in the Score Editor’s View > Colors menu set the color mode for the active Score Editor window. These settings have priority over all other color settings.
Displaying Global Tracks Enable the View > Global tracks setting to view the global tracks in the Score Editor. You can only enable this setting in linear view mode. The Configure Global Tracks command allows you to choose which global track types are shown. Displaying Instrument Names Enable the View > Instrument Names setting to show the names of (used) track instruments, to the left of the score display. Project Settings for Score Display There are seven pages of score-related project settings.
Global Score Settings The Global Score project settings define global formatting options such as page margins, spacing between notes, bars per line, and more. To open the Global Score project settings, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the Global tab (if not already displayed). m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Global tab.
The following sections describe the settings in detail. Top, Bottom, Left, and Right Margin These values show the margin distances to the outer border of the printable area on the page. A “Top Margin 0.0 inches” value means that printing will start as close to the top of the paper as the selected printer driver will allow. This also means that the size of the printable area can vary between printers, although the difference should be minimal.
Maximum Bars/Line This parameter can be useful when using small spacing values (see below), to prevent too many bars from being displayed on one line. The number set here limits the number of bars that can be displayed per line. Note: This setting can be overridden when using the Layout tool to change line breaks (see “Setting Breaks” on page 805). Constant Spacing and Proportional Spacing These parameters determine the amount of horizontal distance between notes.
These parameters work relatively to a particular scoring situation, which is why no explicit settings can be given. Again, it is essential to try different combinations when working on the final layout of a piece. Default Pedal Position This determines the vertical position of automatic pedal symbols (those created when you use the MIDI sustain pedal during a real time recording). If this parameter is set to zero, recorded MIDI sustain pedal events are hidden in the score.
The #, b, x, and bb characters are also active in the German (H, B, Fis, …) mode, allowing for quick entry. In the Roman format, the second root string character can be omitted (typing D7 or Do7 in Roman mode will both result in Do 7). Changing the Chord Language automatically affects all chord symbols in the project. It is not possible to mix chord languages. Numbers & Names These settings affect the automatic display of page numbers, bar numbers, and instrument names in the score.
Automatic page and bar number display, and automatic display of instrument names can be switched on and off for the whole project—by activating or deactivating the corresponding checkboxes in this tab. For each of these options, you can set the font, size, and face by clicking the Choose button. The corresponding text styles in the Text Styles window (see “Working With Text Styles” on page 746) are automatically updated if you edit these settings.
Example: If you use the prefix Page—the word Page, followed by a space and the actual page number—will be displayed on each page. This means that page three will display Page 3. If you want the page number in the middle of the prefix, you need to use the # symbol as a variable for the page number. An example: “- pg.# -” on the second page prints as “- pg.2 -”. You can also use the following text symbols to include automatically generated text in the prefix: Â “\ i” for the score set name. Â “\ n” for the pr
Count Multiple Rests 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 Displays bar numbers at every double bar line and repeat sign, independent of the chosen Step setting. As an example, if Step is set to 0 (and Double Bars is activated) bar numbers will be displayed at the beginning of each staff line, and above or below all double bar lines and repeat signs.
Guitar Tab Guitar tablature is an alternative method of notating music for fretted string instruments—especially for guitar and electric bass—but also for other fretted instruments, with four to six strings (or courses of strings). In this system, the horizontal lines represent the strings of the instrument. Notes are always written on the line/string at which they are played. The fret numbers are shown instead of regular note heads.
Twelve different tuning sets can be defined. Each of them corresponds to one line in this tab. 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. Parameters Available for Every Tuning Set  Name: Can be changed in the text entry field that opens when you double-click on the Name field.
Pitch Logic Express 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: Â An A3 (on MIDI channel 1) is displayed on the second fret of the G string.
Further Information on Tablature Notation In all of these assign modes, notes below the lowest string are not displayed at all. 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.
Clefs & Signatures These are general display options for clefs, key signatures, and time signatures. To open the Clefs and Signatures project settings, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the Clefs & Signatures tab (if is not already displayed). m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Clefs & Signatures tab.
Smaller Clef Changes Clef changes (whether caused by a change of staff style, or by a new clef inserted from the Part box) can be displayed at a smaller size than the clefs at the beginning of staffs, depending on this setting. Automatic Key Transposition This setting enables the automatic transposition of key signatures in transposing staff styles. It will usually be activated. An exception would be for the notation of atonal music.
Octave Symbol Parameters These settings enable you to edit the text string (and text formatting) of the different octave symbols. Simply click on the appropriate field, and type in the desired text. Click the Choose button to select a different font, font face, or size. Layout The Layout tab is where you can define a number of display settings for the whole project, such as staff line thickness, stem length, distance between notes and ties, or notes and dots, and so on.
Note: If you have a high resolution printer, you should try to use smaller line thickness settings (2, or maybe even 1). Smaller staff lines, in particular, look much better. The other parameter settings are more a matter of personal preference. These changes are only visible at high zoom levels on the screen. To really judge the results, try some printouts with different settings.
MIDI Meaning The settings in the MIDI Meaning tab determine if, and to what extent, the insertion of the listed symbols affect the MIDI playback of notes (that these symbols are attached to). To open the MIDI Meaning tab, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the MIDI Meaning tab (if is not already displayed).
How the MIDI Meaning Functions Works The MIDI Meaning functions are most useful when you’re inserting notes with the mouse. This makes it possible to work as if writing music on paper. Â First, you write/insert the notes. They will all have the same velocity, and identical rhythmic note values will have exactly the same length. Â Accents and phrasing marks are then attached to some of the notes, which changes the velocity and (playback) length of these notes.
Colors The Colors tab determines the color palette for the currently active project. To open the Colors tab, do one of the following: m Choose File > Project Settings > Score in the main menu bar (or use the Open Score Project Settings key command), then click the Colors tab (if is not already displayed). m Click the Settings button in the Arrange Toolbar, choose Score from the menu, then click the Colors tab. m Choose Layout > Colors. m Use the Settings: Score Colors key command.
There are three palettes, and some additional options in this window: Â Pitch Colors: Each note of the octave is assigned a color. They are arranged like piano keys. The Diatonic and Chromatic radio buttons determine whether there are twelve or seven different colors. Â Velocity Colors: These eight colors are applied in accordance with the MIDI velocity of notes, from left (minimum) to right (maximum). Â User Palette: These colors can be freely edited and named, using the text entry boxes beside them.
Score Preferences The Score preference settings are global, and affect all project files. They can, however, be changed at any time, with an immediate effect on all open projects. All preferences are automatically saved when you exit Logic Express. To open the Score preferences, do one of the following: m Choose Logic Express > Preferences > Score from the main menu bar (or use the Open Score Preferences key command). m Click the Preferences button in the Arrange Toolbar, and choose Score.
 Choose Font: This pop-up menu allows you to choose from any installed scoring (symbol) fonts, such as the Sonata font.  Camera Tool: Write to: Choose either the Clipboard or a PDF File as the destination for image exports with the Camera tool (see “Exporting the Score as a Graphic File” on page 809).
34 Working With Video 34 Logic Express allows QuickTime movie files to be synchronously viewed, making film and TV scoring quick and easy. You can open a QuickTime movie in a separate Movie window, or can display the single frames of a QuickTime movie in the global Video track. When a movie is opened in a project, the upper part of the Inspector shows a closed Movie area—which can be opened by clicking the disclosure triangle.
To open a QuickTime movie, do one of the following: m Choose Options > Movie > Open Movie command (or use the corresponding key command, default: Option-Command-O). m Click the Open Movie button in the global Video Track. m Click at any position on the Video track with the Pencil tool. m Locate and select the movie file in the Browser, then click the Open button. The video is opened in the floating Movie window, in its correct aspect ratio.
Resizing the Movie Window You can resize the Movie window by dragging its lower right corner. Control-clicking the movie itself (the actual image) opens a shortcut menu, where you can set various image formats. You can also select one of the following: Â Original Size: Displays the movie in its original size. Â Fullscreen: Expands the Movie window to fill the full screen. Â Keep Aspect Ratio: If enabled, the proportions of the image are retained when resizing the Movie window.
Changing Video Track Settings The settings of the Video track can be adjusted in Logic Express > Preferences > Video. Â Cache Resolution pop-up menu: Choose the resolution of the thumbnails held in the temporary internal memory (cache). Higher resolutions display more detail, but take up more space in the cache. Â Maximum Cache Size slider: Sets the amount of memory reserved for the thumbnail cache. 40 MB is recommended for medium resolution. Use a higher value for higher resolutions.
Creating Scene Markers You can use the Create Scene Markers function to search the movie for significant content changes (scene cuts), and automatically generate scene markers for each of them. The Create Scene Markers function uses a fixed threshold value, which works quite well for most types of movies (cartoons, real life, CGI, and so on). To search a movie for scene cuts, do one of the following: m Choose the desired movie range in the Options > Movie > Create Scene Markers menu.
Handling QuickTime Movie Audio Tracks Once a movie has been opened in a project, you can make use of the Import Audio from Movie, or Export Audio to Movie commands—found in the Options > Movie menu. You can adjust the audio level and output device in the Video project settings (see “Changing the Sound Output Device and Level” on page 842).
2 Choose the desired format options for the bounced audio file, and click OK. 3 In the ensuing file selector box, enter a name and target folder for the movie, and click Save. A dialog appears, allowing you to choose which of the original movie’s audio tracks should be used in the new movie. 4 Select the audio track that you want to retain in the new movie, then click OK.
Choosing the Video Output The Video Output pop-up menu (in the Video settings tab) allows you to choose from the following output modes: Â Window: Outputs the QuickTime video file to a Movie window. Â DVCPRO HD: Choose this option to output the QuickTime video file to a DVCPRO HD device, which is connected to your system. Â Digital Cinema Desktop: Choose this option to preview your video on any available display unit that is connected to an AGP graphics card.
Offsetting Video From a Project You can directly enter the SMPTE offset value in the Movie Start field. This is independent of the SMPTE offset for the project. This enables you to work from bar one (1 1 1 1 in the Transport), even if the video time code—at a particular point in the video—is several minutes into the movie file. Put simply, this makes your life easier when creating a soundtrack for all, or part of, a movie file.
 Video Track: Cache Resolution: Resolution of the thumbnails kept in the temporary internal memory (cache). Higher resolutions display more detail, but take up more space in the cache.  Video Track: Maximum Cache Size: Amount of memory reserved for the thumbnail cache. 40 MB is recommended for medium resolution. For higher resolutions use a higher value. This section of reserved memory will only be occupied when actual movie data is displayed.
35 Synchronizing Logic Express 35 Logic Express can be synchronized with external hardware and software via a number of different synchronization protocols. This chapter discusses the use of Logic Express—as both synchronization master and slave—in a number of different situations. Logic Express supports the following synchronization protocols: Â MIDI Time Code (MTC): Translation of a SMPTE time code signal into a MIDI standard time code signal. Â MIDI Clock: Short MIDI message for clock signals.
The Synchronization Master and Slave Relationship In all synchronization situations, regardless of the simplicity or complexity of your studio configuration, the following rules apply: Â There can only be one synchronization master. Â The synchronization master sends time code information (synchronization signals) to one or more synchronization slaves. Logic Express is capable of acting as master or slave, as are many devices.
Using the Sync Button You can use the Sync button to turn external synchronization on or off at any time, without changing the selected synchronization source. This allows you to temporarily disengage Logic Express (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.
MTC Interpretation As the MIDI standard only supports four of the six commonly used time code formats (the 30 fps and 29.97 fps formats are not differentiated in the MIDI specification), Logic Express needs to decide which format is intended, when it encounters incoming time code. Incoming MTC (MIDI Time Code) is interpreted as follows: Â 24 fps is interpreted as 24 fps. Â 25 fps is interpreted as 25 fps. Â 30 fps drop frame is interpreted as 29.97 drop fps. Â 30 fps is interpreted as 29.97 fps.
Synchronization Project Settings The Synchronization project settings allow you to specify all parameters relevant for synchronization. To open the Synchronization project settings, do one of the following: m Choose File > Project Settings > Synchronization from the main menu bar (or use the Open Synchronization Settings key command, default: Option-Y). m Click the Settings button in the Arrange Toolbar, then choose Synchronization from the pop-up menu.
General The General tab of the Synchronization project settings offers the following synchronization parameters (used when running Logic Express as a slave). Sync Mode This parameter defines the master (time code type) that Logic Express is synchronized to: Â Internal: The internal timer of Logic Express. Logic Express is the master. External devices can be synchronized via MIDI Clock or MTC (the relevant settings are made in the MIDI tab). Â MTC: MIDI Time Code mode. Logic Express runs as a slave.
Frame Rate This is where you set the frame rate (in fps, frames per second). This frame rate applies to both transmitted and received time code. Frame rate Typically used for 24 fps Film, high definition video. 25 fps PAL video/television broadcasts. 30 fps (drop frame) NTSC video/television broadcast; rarely used. 30 fps High definition video; early black-and white NTSC video; older rate that is rarely used today. 29.97 fps (drop frame) NTSC video/television broadcasts. 29.
Validate MTC The Validate MTC menu allows you to specify how often Logic Express checks for incoming time code, in order to ensure synchronization integrity. In general, you should leave this menu option on the “always” setting. There are some devices, however, that generate time code pulses that may require a specific number of frames to be set, in order to maintain synchronization. The “never, Jam Sync” setting basically sets Logic Express to free-wheel if the synchronization signal is lost.
Audio Use the Audio tab of the Synchronization project settings to keep your audio and MIDI tracks synchronized. Current Sync Status  MTC (fps): This real time display shows the deviation between the incoming MTC, and its nominal frame rate. If the deviation is significant, make sure that the right frame rate is set in the General tab of the Synchronization project settings. If in doubt, set the frame rate to 24 fps and switch on “Auto detect format of MTC”.
Audio Sync Mode This is where you define how your audio hardware should be synchronized to an external time code master. Not all audio hardware can work in every sync mode described below. This is particularly dependent on whether or not the hardware’s sample rate can be controlled. You can choose the following options in the Core Audio menu: Â MTC Continuous (default): Audio regions are started in sync, and the sample rate is continuously regulated to match variations in the time code master signal.
MIDI The MIDI tab of the Synchronization project settings configures Logic Express to send time code via MIDI, when running (record or play mode). This enables you to synchronize external devices as slaves to Logic Express, which acts as the master. Transmit MIDI Clock The checkboxes activate transmission of MIDI Clock. The two Destination menus allow you to determine two discrete MIDI output ports for the MIDI Clock signal. Every time you start, a Song Position Pointer (SPP) message is also sent.
Transmit MTC (MIDI Time Code) The checkbox activates transmission of MIDI time code. The menu determines the MIDI output port for the MTC signal. If you can avoid it, you shouldn’t send MTC to all ports, as it is very data-intensive. If possible, use a MIDI port that isn’t being used for anything else. Transmit MMC (MIDI Machine Control) Turn on this checkbox to enable transmission of MIDI Machine Control (see “MIDI Machine Control” on page 861).
Some synchronizers send Full Frame Messages (instead of MTC) to locate the slave device (Logic Express in this case) to a new position, without implicitly starting playback. This is useful when in slow shuttle or single frame advance modes with video machines, because the slave device is perfectly located, without being in playback mode. MIDI Sync Preferences Button The MIDI Sync Preferences button opens the Sync tab of the MIDI preferences (see “MIDI Preferences” on page 987).
SMPTE Type This is where you define the SMPTE format that you want to use: Â LTC: Longitudinal (also called Linear) Time Code is written to a tape track. Â VITC: Vertical Interval (or Vertically Integrated) Time Code is written invisibly to a video tape. Freewheel You can set the freewheel time (in frames) for LTC and VITC. The freewheel parameter affects the SMPTE reader, and specifies how long the synchronizer continues transferring MTC to the sequencer, after time code ceases to be read.
Displaying and Using SMPTE Positions The Bar ruler of each linear editing window can independently display a SMPTE time ruler or bar/beat ruler. For further information, see “Adjusting the Bar Ruler Display” on page 75. Choosing View > Event Position and Length in SMPTE Units in the Event List switches the display of all positions and lengths to SMPTE times, rather than bar/beat values.
To lock an object to its current SMPTE position: 1 Select the desired object. 2 Do one of the following: Â In the Event List, Hyper and Piano Roll Editor: Choose Functions > Lock SMPTE Position. Â In the Arrange window: Choose Region > Lock SMPTE Position. Â Use the Lock SMPTE Position key command. Note: Copies of locked objects do not preserve their locked status, whether copied or pasted via the Clipboard, or by Option-dragging. To unlock the SMPTE position of a locked object: 1 Select the desired object.
MIDI Machine Control MMC is a set of MIDI commands that Logic Express uses to control the transport functions of any MMC-capable tape machine. The recording process can also be controlled and automated from Logic Express via MMC. This tape machine then provides the SMPTE signal that Logic Express uses as a synchronization source (with Logic Express as the slave). You can control connected devices from Logic Express by using the normal transport functions (including direct positioning and cycle jumps).
If the tape track is the current record track, the following functions apply: Â Selecting the tape track switches the corresponding track on the tape machine to record ready, and deactivates the record ready status of any other tracks. To select several tracks for recording, use Shift when clicking. Â The Record button in the Transport bar sends the record strobe command to the tape machine. This also puts Logic Express into MIDI record mode, and sends an MMC Play command to the tape machine.
Synchronization Problems and Solutions Given the number of different synchronization types that are available, and different implementations by various manufacturers, you may occasionally encounter timing issues when running Logic Express synchronously with other devices or applications. This section will help you to overcome some common synchronization problems.
36 Working With Plug-in Latencies 36 Audio processed through plug-ins is subject to small timing delays, known as latency. Fortunately, Logic Express provides a number of advanced features that can compensate for these timing differences, ensuring that all track and channel output is perfectly synchronized. This chapter discusses the technical aspects of plug-in latency, and how to circumvent these timing anomalies in Logic Express.
Working With the Low Latency Mode The Low Latency mode allows you to limit the maximum delay time caused by plugins. Plug-ins will be bypassed to ensure that the maximum delay that can occur across the entire signal flow (of the current track) remains under the chosen value.
Working With Plug-in Delay Compensation The Compensation menu in the Logic Express > Preferences > Audio > General tab allows you to either disable plug-in delay compensation (Off ), or activate it for: Â Audio and software instrument tracks. Â All channels (audio, instrument, aux, output, bus, and ReWire).
With plug-in delay compensation set to All, Logic Express shifts the bass track forward by 10 ms, thus synchronizing the bass and drum tracks. Logic Express will then delay both streams routed to the output channel by 30 ms, aligning them with the guitar tracks. The aux channel that the vocals are streamed to is also delayed by 15 ms, aligning it with the drum and guitar streams (in other words, the 15 ms delay is increased to 30 ms).
For these same reasons, you may encounter increased latency if playing software instrument tracks live, when plug-in delay compensation is set to All. This issue can be mitigated to some extent by using the Low Latency mode (see “Working With the Low Latency Mode” on page 866). Dealing With Latency Issues To avoid these potential pitfalls, you should try to complete any audio and software instrument recording before inserting latency-inducing plug-ins.
If you are recording audio, another strategy would be to disable the Software Monitoring checkbox in the Logic Express > Preferences > Audio > Drivers tab. This would necessitate monitoring your recording via an external mixer. When Logic Express is not providing software monitoring of incoming audio, it can correctly position audio recordings—even when full delay compensation is active. Obviously, you can’t use external monitoring when recording software instruments.
37 Working With Split Channel Audio File Formats 37 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. Split channel audio files couple separate audio files, allowing you to deal with each channel (file) independently.
Working With Split Stereo Files Logic Express treats split stereo audio files with a name that ends in .L or .R as stereo files. This applies to all file management functions, such as Rename, Create, or Revert to Backup. The following list outlines how split stereo files are handled in Logic Express: Â When you select an independent mono file (one side of a split stereo file “pair”) in the file selector box, both channels are imported.
Exporting Split Channel Files You can bounce stereo files from Logic Express—in interleaved or split stereo formats. Essentially, there is only one parameter of importance for creating split format files in the Bounce window: Choose Split in the File Type pop-up menu. Full details on all Bounce window options are found in Chapter 27, “Bouncing Your Project,” on page 625.
38 Working in the Environment 38 The Environment controls all MIDI input and output, and also allows you to integrate and process the data of MIDI and software instruments. This chapter will help you to understand how the Environment window works, and how to use objects to alter MIDI data in real time. It is not essential to know about—or even open—the Environment window in order to make music with the instruments of Logic Express or your external MIDI sound generators and keyboards.
Using the Environment This section outlines all general concepts and techniques needed to use the Environment. If you require detailed descriptions of the Environment objects, please see “The Environment Objects” on page 899. An Introduction to the Environment The Environment refers to the virtual environment of Logic Express inside your computer. It was developed to allow complete control over your MIDI setup. The Environment window provides a virtual view of your MIDI studio.
Most objects can be remotely controlled by other MIDI events (using the sliders or modulation wheel of your keyboard, for example). You can even record these movements, if you wish. In addition, there are specialized objects which can split a MIDI signal into different channels, make pre-programmed alterations, or even re-route the signal path.
To switch between layers: m Click the arrow button next to the Layer menu, and choose the desired layer from the menu. To switch back to the most recently opened layer: m Choose Options > Go to Previous Layer (or use the Go to Previous Layer key command) in the Environment. To create a new layer, do one of the following: m Choose Create Layer from the Layer menu (or use the corresponding key command). m Choose Options > Layer > Create.
The position (and existence) of the first two layers—All Objects and Global Objects—is protected, and they can not be deleted: Â All Objects: This layer displays all objects in the Environment. The objects in this layer are normally shown as a list. Â If you turn off the Logic Express > Preferences > Display > Other > “Allow ‘All Objects’ layer” option, the All Objects layer will disappear from the Layer menu. Enable this preference if you need access to the All Objects layer.
Customizing the Environment Display You can customize the display of the Environment, using the options in the View menu. To hide the Inspector, which contains the Layer menu and Object Parameter box: m Choose View > Inspector (or use the corresponding key command, default: I). This will create more room onscreen for the Environment workspace display. To view objects graphically or as a list: m Choose View > By Text to switch between the graphical display of objects to a listing.
Viewing a Frameless Environment Window There may be occasions where you would like to have access to particular Environment objects while working in the Arrange window. As an example, a few buttons that are used to control a tape machine. Rather than needing to open (or indeed viewing) a full Environment window every time you need to control the tape machine, you can create a mini window that floats on top of other windows. Typically, this would be the approach: 1 Create a new layer.
Working With Objects As with all windows, you interact with onscreen elements and data by using different tools. The Environment window Tool menus 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: Â Text tool: Clicking an object with the Text tool allows you to rename it.
Moving Objects Between Layers The Layer menu and the Clipboard allow you to move objects between layers. You can also open a second Environment window, and drag the objects to the desired layer. To use the Layer menu to move objects to a different layer: 1 Select the desired objects. 2 Hold down Option, and select the desired layer in the Layer menu. This moves the selected objects to the chosen layer.
Note: If any objects are selected when attempting to paste objects to the current layer, a dialog asks if you want to “Replace current selection? No/Replace”. If you press Enter or click Replace, the selected objects will be replaced by the objects in the Clipboard. The existing cabling remains intact. To use drag and drop to copy objects to a different layer: 1 Open a second Environment window that displays the target layer.
Adjusting the Size of Objects You can adjust the size of fader, keyboard, and monitor objects by grabbing and dragging the bottom right corner (just as with windows). Changing sizes when multiple objects are selected (by rubber-banding or Shiftclicking) will alter each object’s size, while preserving their sizes, relative to each other. To set the size of the selected object to its default value: m Choose Options > Clean up > Size by Default.
This function allows you to follow the cabling from one (serially-cabled) object to the next. If several objects are connected in parallel, or several cable connections are selected, the path of the top cable is followed. The Edit > Select Cable Origin command essentially performs the reverse task, where the MIDI signal flow is back-tracked to the source (or origin) object.
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. From here (the multi instrument object), the events are directed to a MIDI output (see “Creating Direct Output Assignments” on page 888). You can insert objects into the signal path between the Physical Input and the Sequencer Input object if you wish (a MIDI monitor object, for example, which allows you to see incoming MIDI events).
Creating Direct Output Assignments You can create a direct output connection to a physical MIDI output from any of the following object types:  Instrument  Multi Instrument  Mapped Instrument  Touch Tracks  GM Mixer  MIDI Metronome Click To make a direct output connection: m Click the Port menu in the object’s Parameter box, and choose the desired MIDI output. The Port menu lists all MIDI Outputs, plus the following options.
Cabling The cabling between Environment objects provides control over the entire MIDI signal path. A cable is normally shown as a gray or colored line between a source and destination object. Cables are assigned the same color as the source object, which makes following the signal path much easier. You can, however, switch off cable coloring, and render them in gray with the View > Colored Cables function. Objects always have an (invisible) input on the left, and an output on the right-hand side.
To make a connection between two objects—method 2: 1 Option-click the triangle, which will open a hierarchical menu. 2 Browse to the layer that the destination object is on, and choose the object name. A cable connection will be created between the two objects. This method is ideal for creating connections between layers, but can also be useful when a large number of closely-spaced objects exist on a single layer.
Making Multiple Cable Connections There is no limit to the number of cables that you can plug in to a destination object. All MIDI signals are mixed at the object’s input. To make multiple output connections from an object: 1 Connect the object to the desired destination object, following one of the two methods outlined above. Once an output from an object is used (cabled to another object), another output triangle automatically appears.
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. ∏ Tip: If the cables are already connected to a common destination, the simplest way of doing this is to select the destination object. 2 Next, grab one of the cables and plug it into the new destination object. The following dialog is shown: 3 Click Connect, or press Enter.
To cable a group of the same type of object (transformers, faders, and so on) to a common destination: 1 Cable one of the source objects to the destination. 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.
 Show Sends: Removed (always displayed in Arrange channel strips).  Show I/O: Removed (always displayed in Arrange channel strips). There are two main reasons why the Arrange and Environment representations of audio channel strips differ: to save onscreen space, and to provide the tools you need for music creation, rather than setup tasks.
Objects not in the Track Assignment menu can still be assigned to tracks by dragging them from the Environment onto the track list, or by using the Environment’s MIDI Thru tool. If you move a multi instrument object into the track list, the selected sub-channel is set as the track instrument. If no sub-channel is selected, all initialized (sub-channels that are not crossed out) sub-channels are set for the destination track, and the tracks below that.
Importing, Replacing, and Swapping Environments This section covers the different types of Environment import procedures that can be performed in Logic Express. Importing Single Purpose Environments A single purpose Environment patch might be an editor for a specific piece of MIDI equipment, an Environment for a single MIDI processing task (such as a MIDI LFO), or a complex arpeggiator/delay line configuration.
Replacing an Older Environment With a Current One If you have only added things to the Environment, but not deleted anything, you can update older projects by choosing Options > Import Environment > Update. Only the new objects will be imported—the older objects (along with their cabling and track assignments) will remain in place.
Import Options The last two items on the Import menu provide additional options for the import process: Â Import > Copy Layer Names: The layer names of the source (second) Environment are transferred to the current one. Â Import > Copy selected Objects from 2nd Environment: All objects selected in the source Environment are copied into the destination Environment, even if they don’t appear on the assignment list.
The Environment Objects This section covers each type of Environment object in detail, outlining what each is designed to do, and how to use the parameters of the object. Standard Instruments Logic Express provides standard instrument objects to handle MIDI devices that only use one MIDI channel (typically, older synthesizers, MIDI controlled effect units or drum machines). Standard instruments transmit MIDI data on a single MIDI channel.
Program, Volume, and Pan The Program, Volume, and Pan parameters transmit program changes, volume controller (#7), and pan controller (#10) data. No data will be sent until you activate the corresponding checkbox. If the box is already activated, any value alterations will be sent immediately, and the values will also be sent whenever the track is selected. To the left of the program number, directly to the right of the checkbox, you’ll see the Bank Select parameter.
No Transpose If the No Transpose parameter is active, all regions on any tracks played by this instrument object are protected from transposition. In other words, the transpose region parameter is ignored. This is very useful for instruments assigned to drum or other samples—mapped across the keyboard on a single MIDI channel—as transposition will trigger different sounds (rather than pitches) in these instruments.
Each sub-instrument has a complete set of instrument parameters (identical to those outlined in the Standard Instrument section). Multi instruments have 15 name banks—each of which can hold 128 preset names. All sub-instruments share the 15 banks of program names, and use the same format for their bank select message. All sub-instruments of a multi instrument use the same output port. You will generally use multi instrument objects to address multi-timbral hardware synthesizers or samplers.
Activating and Selecting Sub-Instruments To select a sub-instrument (to address a specific MIDI channel number within the multi instrument), click the appropriately numbered square (button) on the multi instrument object. The first time you click it, the sub-instrument is activated, making it available in the Track Assignment menu of the Arrange track list (accessed by Control-clicking a track).
The Sub-Instrument’s Parameter Box The sub-instrument parameters are the same as those of standard instrument objects (see “Standard Instruments” on page 899). The only parameter you can not change is the MIDI channel. If you try to change the channel, you’ll see the following warning: You can, however, change the channel in the Arrange window’s Track Parameter box to any sub-instrument of the multi instrument, and the track will be assigned to the selected sub-instrument.
Depending on whether or not you have activated the sub-instrument’s Program parameter, the following information will appear in the Arrange area’s track list: Â The name of the multi instrument and channel number (if the parameter is not activated). Â The short name, channel number, and program name (if the parameter is activated). Program Names There are 128 program names in the Multi Instrument window. A total of 15 banks of 128 program names are available.
Different bank select formats are used by different MIDI instrument manufacturers— please consult your MIDI instrument’s manual to see whether or not it supports bank select messages, and if so, what format it uses. With modern synths, there’s a good chance the format will match one of the top items in the menu: either controller# 32 or controller# 0. There are also presets to accommodate several of the more common types of synth.
You can create MIDI events here as you would in the Event List, by cutting, copying, inserting, and editing (see Chapter 18, “Editing MIDI Events in the Event List,” on page 459). The only difference is that you enter the desired bank number, rather than a time position. The letter in parentheses next to the bank number allows you to control the order of transmission, when a bank select requires more than one message.
 Assigned its own MIDI channel  Sent to one of up to 16 output cables (this allows you to create a single instrument that addresses multiple sound sources).  Given its own notation parameters: note head shape, relative vertical position in the staff, and drum group assignment (see “Drum Notation With Mapped Staff Styles” on page 792. The Mapped Instrument Parameter Box The mapped instrument’s parameters are a subset of the standard instrument (see “Standard Instruments” on page 899) parameters.
If a MIDI region (on a track routed to a mapped instrument object) is displayed in the Piano Roll Editor, the names of the notes being played will appear on the vertical keyboard. Output Note This column is used to set the output note. This is done by either:  Double-clicking on the note description and editing the text  Dragging the beam to the right of the output note name. MIDI notes are sent while changing the value, allowing you to hear what you’re doing.
Cabling Mapped Instruments You can send individual notes from a mapped instrument object to (up to) 16 different output cables, enabling you to play sounds from different sound sources. If you select a cable that doesn’t exist, the note will not be sent out. Initialize > Output Cables resets all cables to #1 (the top outlet of the Mapped Instrument). Notation Parameters The last three columns define the notation parameters of individual notes. Â Head: This pop-up menu allows you to change the note head.
GM Mixer The GM mixer is a collection of 16 fader modules, configured to emulate a virtual mixing desk for 16 MIDI channels. Each module has controls for volume, mute, preset, bank, and four assignable knobs (one of which is typically used for pan). There are optional controls for standard XG and GS effects. To create a new GM mixer: m Choose New > GM Mixer. The GM mixer is intended for controlling the 16 channels of a MIDI device which conforms to the GM, XG, or GS standard.
Legend The Legend parameter switches the display of the legend along the left edge of the GM Mixer on and off. The Legend not only indicates what the rows of controls do, it is used to set the function of the top four rows of knobs. After the GM mixer is set up, you can hide the legend to save space. Bank The Bank parameter hides or shows the bank MSB/LSB display at the bottom of the GM mixer. You can save space by hiding the bank display, unless you need to select program banks numerically.
Adjusting the Level of a Channel The Level fader controls the output level of a MIDI channel. Adjusting it sends controller 7 via your MIDI interface. To adjust the output level of a channel: m Drag the Level fader up or down. Muting a Channel The Mute button switches the volume of the channel between zero and the current Level fader position. In practice, this means that if the button is down, the channel is muted. If you switch the Mute button off, the current Level fader position (and value) is used.
MMC Record Buttons The MMC record buttons object allows you to control the record enable status of external MMC-compatible recording devices (see “MIDI Machine Control” on page 861). To create an MMC record buttons object: m Choose New > MMC Record buttons. Resizing the object allows you to determine the layout and number of track record buttons.
Monitor Object A monitor objects displays all events (MIDI and meta) passing through it. It remembers the last 32 events, with the newest events shown at the bottom of the list. You can resize it to show from 1 to 32 events. Clicking anywhere in the body of the monitor clears all events. To create a monitor object: m Choose New > Monitor (or use the New Monitor key command). Monitors are very handy as both testing and branching devices.
Arpeggiator An arpeggiator object turns chords into arpeggios. It plays the currently held notes— individually—in a selectable pattern (up, down, random, and so on), and at a selectable speed that ranges between whole-notes and 768th-notes. To create a new arpeggiator: m Choose New > Arpeggiator (or use the New Arpeggiator key command. An arpeggiator features parameters for direction, velocity, speed (Resolution), note length, start quantize (Snap), repeats, octaves, and velocity offset (Crescendo).
 Up/Down: Up and down—highest and lowest notes repeat.  Auto: Up or down, depending on whether the second chord note arrived before, or after, the first chord note.  Up/Down2: Up and down—highest and lowest notes don’t repeat.  Random: Notes play in random order.  All: All notes play at once (useful when Repeat is on). Velocity Determines the velocity values of the arpeggiated notes.
Controller Base All ten parameters of the arpeggiator object can be remote-controlled with MIDI continuous controller events. The Controller Base parameter determines the controller number for the first parameter (Direction). The other parameters will be controlled by subsequent controller numbers. When Controller Base is set to Off, MIDI control of the arpeggiator is disabled. Transformer Object You can use a transformer object to select, filter, and alter MIDI events in real time.
3 Cable the output of the transformer object into this newly created instrument (which, in essence, is simply acting as a MIDI output port. Configuring a Transformer Object Double-clicking a transformer icon opens the Transformer window, where you can set the conditions and operations. Setting the Operation Mode Use the pop-up menu at the top of the Transformer window, to define how a transformer handles MIDI events. You can choose between the operation modes outlined below.
Copy matching events and apply operation All MIDI events which conform to the condition are copied, and the copy is processed. The original and transformed copy (plus any MIDI events that don’t conform to the condition) are passed through. The unchanged original is parsed (processed) before the transformed copy. Copy matching events and apply operation (reverse order) This is the same as above, except the original is parsed after the processed copy.
In the Conditions area, you select the type of MIDI event that will affect the data bytes in the SysEx message. (Typically, you’ll use MIDI controller events.) Incoming MIDI events will then change the SysEx message data bytes, according to the following rules: Â The data byte 1 value sets the position of the data byte. Â The data byte 2 value sets the value of the data byte. Â The channel controls the action to be taken: Â Channel 1: The changed SysEx message is sent.
Controlling the Condition and Operation Values via Meta Events You can control the values of any transformer conditions or operations by using meta events. Meta events are internal Logic Express messages—their form is similar to MIDI controller events, but they have no MIDI meaning, they never leave Logic Express, and control internal Logic Express parameters.
Delay Line Object A delay line object repeats (echoes) MIDI events passing through it—at intervals ranging from one tick to 256 whole notes. To create a new delay line object: m Choose New > Delay Line. As with the arpeggiator, you will need to place a delay line object in the MIDI signal path, and Logic Express must be in play mode. The echoes of each incoming event are sent—sequentially—to each cabled output of the delay line object; event 1 to cable 1, event 2 to cable 2, and so on.
Voice Limiter Object A voice limiter object restricts the number of MIDI notes (1 to 32) that can be held simultaneously. It does this by note stealing—newly arriving notes will cause (some of the) currently held notes to be turned off, once the voice limit is reached. To create a new voice limiter: m Choose New > Voice Limiter (or use the New Voice Limiter key command).
Chord Memorizer Object A chord memorizer maps individual notes to chords. You can assign one chord to each pitch class (to C, C#, D, and so on). The octave of the incoming note determines the octave of the resulting chord. A chord can have zero to twelve notes in it. (Zero and one note chords can be useful for creating scale-filters and scale-correctors).
Working in the Chord Memorizer Window Double-clicking on a chord memorizer opens the Chord Memorizer window, where you can set up chord definitions. The top keyboard is used to input and display the incoming note, and the lower keyboard is used to input and display the assigned chords. Notes can be entered with the mouse, or a MIDI keyboard. Remember to only use notes that fall within the Key Limit range on the top keyboard.
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, deactivate the Listen checkbox, then activate it again to start over. When you’ve entered the desired notes for your chord, deactivate the Listen checkbox and play a new input note, or close the Chord Memorizer window. Touch Tracks Object A touch tracks object allows you to trigger MIDI regions or folders with single notes.
Using the Touch Tracks Window You open the Touch Tracks window by double-clicking on a touch tracks object. This window is similar to the Mapped Instrument window (see “Mapped Instruments” on page 907)—the input note is selected via the keyboard on the left, and the output region assignment and parameters are set in the columns of the corresponding row. A vertical gray line means that the setting is the same as the line above.
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 will automatically be set for adjacent keys (within the key range).
Physical Input and Sequencer Input Objects The Physical Input object represents the physical inputs of your MIDI interface; the Sequencer Input object represents the MIDI input of Logic Express. You can only have one of each of these objects in the Environment. To create a Physical Input object: m Choose New > Physical Input. To create a Sequencer Input object: m Choose New > Sequencer Input. To make use of an existing object, drag it onto the relevant layer. This will not affect its cabling.
Physical Input Object The Physical Input object receives MIDI signals from the inputs of the MIDI interface(s) connected to your computer. This object has a total of 65 outputs. The outputs follow the input assignment of all connected MIDI interfaces. The top output (SUM) carries the MIDI events for all individual outputs that are not cabled separately. Remote control events are intercepted at the Physical Input object, and are not passed through to its outputs.
MIDI Click Object The MIDI Click object is used to create note events at bar, beat, and division intervals. These can be sent to either a MIDI port or the internal speaker. To create a MIDI Click object: m Choose New > MIDI Metronome Click in the local Environment menu. Each project can have only one MIDI Click object. You only need to create a MIDI Click object if the one that existed when the project was created has been deleted.
Internal Objects Internal objects include instruments located inside your Macintosh (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).
Apart from common parameters, the ReWire object offers three settings: Â Device: This setting refers to the ReWire application(s) that Logic Express can connect to. If one or more ReWire applications are running, it will display the names of these applications. Â Bus: Lets you choose the ReWire Bus from all available ReWire busses. If a ReWire application provides bus names, they will be shown.
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.
Macros Macros are not actually Environment objects. Rather, they are collections of other Environment objects and their cabling. To create a new macro: m Select all Environment objects that you wish to include, then choose New > Macro. Logic Express will enclose all selected objects in a frame with a gray background. If some of the objects selected when creating a macro have cables leading to unselected objects, these cables will be deleted when the macro is created. A warning will notify you of this.
Defining a Macro’s Input and Output As a macro is a collection of objects, individual objects need to be specified as the macro’s input and output. This can be done in two ways: by name or by default. Â If you name one object “Macro-In”, and another “Macro-Out”, these will automatically become the macro’s input and output. Â If there is no object named “Macro-In”, the upper-leftmost object will become the macro’s input.
Faders Faders are used to send MIDI events by clicking or click-dragging on them. Faders come in different forms (knobs, sliders, numerical, and buttons). Fader objects respond to incoming MIDI events. To create a new fader: m Choose New > Fader. A sub-menu appears, where you may select the style of fader you want. There’s also a sub-menu at the bottom named Special, used to select various special fader types (cable switcher, meta-fader, and so on).
Fader Operation Normally, you’ll grab the surface of a fader, and drag it vertically or horizontally, depending on its style. When using the fader itself as a slider, values may jump in larger increments, depending on the size of the fader and dragging speed. You can also change values in single steps by dragging on the slider or knob while holding down Control. Some of the fader styles have numerical displays. When there is a numerical display, you can double-click it, and type in the desired values.
Working With Object Groups When building a virtual mixing desk or synthesizer control panel in the Environment, you often need to deal with large groups of fader objects which have the same size, regular spacing, or a similar definition. To save time on the definition and alignment of these groups, you can choose (one or more) objects as prototypes (templates) by copying them into the Clipboard (Edit > Copy). You may then apply certain characteristics of these template objects to selected objects.
Special Functions This section outlines several behaviors and commands that enhance the use of fader objects. Temporarily Grouping Faders If you (rubber-band, or Shift-click) select several faders, and move one of them, all selected faders will move proportionately. As long as all faders remain selected, their relative positions will be retained (even after one or more of the faders has reached its minimum or maximum position).
Recording and Playback of Fader Movements As with the channel strips in the Mixer, you can record fader object movements to tracks, and play them back. Recording Fader Movements You don’t need any special cabling to record the data generated by a fader. All data generated by faders is recorded on the selected track when Logic Express is in record or record/pause mode. Playing Back Fader Movements Any fader will react to incoming events that match its Input definition.
Buttons Button style faders can only send two possible values: the minimum and maximum values of their range. Â When on, the maximum value is sent. Â When off, the minimum value is sent. If the minimum and maximum range parameters are set to the same value, the button sends this value each time it is clicked. Text Text faders function like numerical faders, but can display text for each of the 128 possible MIDI values (0 to 127). Double-clicking on the surface of a text fader opens the Text Fader window.
Text Fader Range The Range parameter determines the number of names that can be entered into a text style fader object. If you set a text style fader’s range to 0, 1 you can only enter two values. You should always set the minimum necessary range for a text fader, as this saves memory. In any case, remember that the first name corresponds to the lowest value in the range (not necessarily 0), and the last name corresponds to the highest value (not necessarily 127).
The Input and Output Definition Parameters These are used to define the Input and Output parameters: Â Output (or Input): Defines the event type. Â Channel (1 to 16): Defines the MIDI channel of the event. Â -1- (0 to 127): Defines the first data byte of the event. In some cases, such as pitch bend, this is an actual data value. In other cases (MIDI controllers), this indicates the controller type (volume, pan, and so on, as examples). In other cases, such as aftertouch, this byte is unused.
Fader Functions: Range, Val As These parameters determine the minimum and maximum values of a fader, and how the fader displays these values. Range The range parameter contains two numbers—the left one sets the lowest possible fader value, and the right one sets the highest. Note that these limits can be exceeded by MIDI remote control. When the fader style is a button, the range determines the in and out position values of the button.
Thru All MIDI events coming from the Physical Input object are filtered. This is the same as turning off all events coming from Logic Express (from regions or the Environment). Use this filter mode to prevent MIDI feedback, by blocking incoming MIDI events from being sent back out. Shot When the fader is moved with the mouse, only the final value (the value when the mouse button is released) is sent. 14 Bit  Used in conjunction with pitch bend, this allows 2-byte (fine tuning) pitch bend events.
Vector Fader Vector faders function like joysticks—they can be moved in two dimensions: up/down and left/right. Each dimension generates its own MIDI events, so each time you change the position of the crosshair with the mouse, two MIDI events are sent. Most faders have Input and Output definitions (see “Fader Functions: Range, Val As” on page 946) which determine the MIDI events sent by the fader (Output), and those it reacts to (Input).
If you alter the range, the center and corners will behave differently, with the four values always totalling 125. Special Faders Overview The Environment provides a number of special fader objects that are purpose-built to perform certain functions. Switchers, Alias Assigners, and Meta Faders These are two types of faders that do not generate MIDI events.
Cable Switchers Cable Switcher objects route events, rather than generating them. Any kind of MIDI or meta event can be routed by a cable switcher. The only exception is events that match the cable switcher’s Input definition. These events will change the switch position (the routing), rather than passing through the cable switcher. A cable switcher can be assigned to any fader style. It is practical to use the text fader style, as it allows you to label the switcher’s various routes.
Meta Event Faders Meta faders generate special meta events, which are used to control certain Logic Express functions, but have no MIDI meaning, and are never sent to the MIDI output. In some cases (such as Go to Screenset, Go to Project, and so on), you do not need to cable meta faders into another object for them to work. Even in these cases, you can use cabling to process meta events in the Environment, and alter their effect.
Go to Marker, Screenset, or Project Choosing New > Fader > Special > Go to Marker creates a fader which allows you to enter a marker number (Meta event 51). The playhead moves instantly to the chosen marker number. Markers are numbered sequentially, throughout the project, even if you have renamed them (from the default numbers assigned when each marker was created).
Opening the SysEx Fader Window When you set a fader’s Output or Input definition to SysEx, the SysEx fader window automatically opens. You can also open this window at any time by double-clicking on the word SysEx in the fader’s Parameter box. An important thing to remember about the SysEx fader is that only selected events will have their value altered by the fader value, when the SysEx fader window is closed. Events that are not selected will be sent exactly as they appear in the window.
To manually enter SysEx strings: m Enable the Create button, then click the SysEx button. A generic SysEx message appears. Â The first data byte in the top line (directly after the word SysEx in the Num column) is the manufacturer’s ID. This may be several data bytes long (as there are more than 128 manufacturers of MIDI devices).
Setting the SysEx Data Format The terms SUM for the checksum and VAL for the fader value being sent are displayed within the SysEx string. To set the checksum and value of a SysEx event: 1 Select the events you want to alter. 2 Choose the desired options in the Checksum and Value menus (found in the lower right corner of the window) to set the format of these bytes.
Value Byte Format Value option Result Auto The value is sent as one byte if the value range maximum is 127 or less. If the maximum is higher than 127, the value is sent as two bytes, the MSB (most significant byte) first. 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.
Channel Strip Objects The Environment’s channel strip object (see “Channel Strip Types” on page 590) is the building block of the Environment’s Mixer layer, the Mixer window, and the Arrange channel strips. 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 Mixer channel strips and Arrange channel strips are simply remote controls for the underlying channel strip objects in the Environment Mixer layer.
Important: If File > Project Settings > Audio > Automatic Management of Channel Strip objects is active (it is on, by default), you can not create channel strips in the Environment. This setting, when active, means that use of the track and channel creation options in the Arrange window will automatically create a corresponding channel strip object in the Environment (and therefore, remote control channel strips in the Mixer and Arrange).
 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.  Bus: Primarily retained for compatibility with projects created in earlier Logic Express versions. The functions of bus objects are performed with (the more flexible) aux channel strips in Logic Express 8.  Master: Only one master channel can exist in a project.
Bus Channel You can only create bus channel strip objects in the Environment. In general, you will not need to do so, as all audio bussing (send/return routing via the Send slots of channel strips) is handled by aux channel strips. It is primarily included for compatibility with older Logic Express versions, and for use with certain audio hardware devices.
39 Project Settings and Preferences 39 The project settings and preferences allow you to define many basic operating parameters for Logic Express. This section explains each of these options. Unless otherwise indicated, the descriptions of the various parameters apply when the selection box beside the option is checked (in other words, when it’s active).
Saving Project Settings and Preferences The project settings are stored with the project file. If you want to start Logic Express with certain settings, simply adjust the desired settings in your default template, and save it. Project settings can be transferred between projects, through the use of several import functions. You can use these to accelerate template creation, or when you would like to integrate aspects (such as score text styles) from another project into the one you’re currently working on.
Metronome Settings The Metronome project settings combine all speaker click, MIDI click, and KlopfGeist— a virtual metronome sound source—parameters. (See the KlopfGeist chapter in the Logic Express 8 Instruments and Effects manual for details). KlopfGeist can be used in addition to, or in place of, the speaker and MIDI click sources. To open the Metronome project settings, do one of the following: m Choose File > Project Settings > Metronome (or use the corresponding key command).
Software Click Instrument (KlopfGeist) Settings  Software Click Instrument (KlopfGeist) checkbox: Click to activate or deactivate the KlopfGeist metronome. It is active by default.  Bar, Beat, and Division checkboxes: Switch on to generate separate note events for bars, beats, and divisions.  Note and Velocity parameters: Define the note number, and velocity, of generated notes.
Recording Settings The Recording project settings determine how Logic Express responds while in record mode. To open the Recording project settings, do one of the following: m Choose File > Project Settings > Recording (or use the corresponding key command, default: Option-*). m Click the Toolbar Settings button, then choose Recording from the menu. m Control-click the Record button in the Transport bar, then choose Recording Settings from the menu.
Overlapping Recordings This pop-up menu provides the following settings: Â Create take folders: As the name suggests, a new take folder is created when recording over an existing MIDI region. Details on take recording and handling are covered in “Recording MIDI Regions in Real Time” on page 396. Â Merge with selected regions: Newly-recorded data is merged with all selected regions, to form a single region. This takes place after each recording is completed.
Tuning Settings Logic Express includes a real time tuning system, for use with the included software instruments. You can configure the tuning system in the Tuning project settings. To open the Tuning project settings, do one of the following: m Choose File > Project Settings > Tuning (or use the corresponding key command). m Click the Toolbar Settings button, then choose Tuning from the menu. About Tuning Before looking at the Tuning settings, some basics and background information.
For the rest of the scale: Tune the next fifth up: 150 x 3 = 450. Divide this by 2 to get 225 (which is more than an octave above the starting pitch, so you need to drop it another octave to 112.5). Note Frequency (Hz) Notes C 100 x 1.5 divided by 2. C# 106.7871 Divide by 2 to stay in octave. D 112.5 Divide by 2 to stay in octave. D# 120.1355 Divide by 2 to stay in octave. E 126.5625 Divide by 2 to stay in octave. F (E#) 135.1524 F# 142.3828 Divide by 2 to stay in octave.
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. Each compromises in some way or another.
What Is Hermode Tuning? Hermode Tuning automatically controls the tuning of electronic keyboard instruments (or the Logic Express software instruments) during a musical performance. In order to create clear frequencies for every fifth and third interval, in all possible chord and interval progressions, a keyboard instrument would require far more than 12 keys per octave.
Tuning Project Settings The Tuning project setting parameters are listed below. Tune This parameter determines the global tuning of all software instruments. The default is concert pitch A (440 Hz). Detuning is in cent (1/100th of a semitone) steps. Alternate Tuning Scales Activation of alternate tuning scales is achieved by clicking the appropriate radio button in the Software Instrument Scale section.
The Fixed Tuning scales are ideal for a number of Baroque and Medieval instruments, and styles of music. User Each semitone can be detuned (moved away) from equal temperament in semitone steps. To do so, just click-drag—vertically—on each semitone box until the desired value is reached. Alternately, you can double-click in each semitone box, and type in a value. Press Enter or click on another box to exit the text entry mode. The Reset button resets all of your tuning adjustments to their default values.
Audio Settings The Audio project settings determine audio-specific project parameters. Automatic Management of Channel Strip Objects This option (active by default) makes setting up, and using, tracks and channel strips a transparent experience. It automatically creates and manages channel strips when new tracks are created. You should only deactivate this setting when you need to make manual changes to channel strips in the Environment window.
MIDI Settings The MIDI project settings determine the behavior of the MIDI inputs and outputs. The MIDI project settings comprise the General, Input Filter, and Chase tabs. General Tab Send After Loading Project  Used instrument MIDI settings checkbox: Sends the active instrument MIDI settings automatically after loading a project (see “Adding Program Change, Volume, and Pan Settings to a MIDI Region” on page 256).
Instrument Without MIDI Thru Function 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 (it is chosen by default).
Preferences The settings made in the Preferences window are saved in a general preference file, stored in the ~/Library/Preferences/Logic folder. Preference settings apply to all projects. A separate preference file, also stored in the same location, is made for control surfaces. Note: You can’t open either preference file directly. Any changes must be made in Logic Express.
Project Handling Preferences The Project Handling preferences determine how Logic Express handles projects. Startup Action The Startup Action menu allows you to choose from a number of project options—that happen automatically when Logic Express is opened. You can choose from: Â Do Nothing: As the name suggests, this does nothing. Logic Express is opened and requires you to create a new project, or open an existing project or template.
Editing Preferences  Right Mouse Button: This pop-up menu determines the right mouse button behavior, assuming you have a suitable mouse. By default, this is assigned to Opens Shortcut Menu (which can also be accessed by Control-clicking with the left mouse button). The Is Assignable to a Tool setting allows any tool to be assigned to the right mouse button. The Opens Tool menu setting does just that, when the right mouse button is clicked.
 If you activate the option, you can cut the looped area of regions (using the Scissors or Marquee tool, or Split by Playhead commands). Logic Express automatically creates regions after—and, if necessary—before the cut, ensuring that these areas remain identical. This allows you to split looped regions without altering playback in the looped area.  If the “SmartLoop handling of Scissor and Split by playhead option is switched off, you can not cut looped areas.
Catch Preferences  Catch when Logic starts: Every time you start playback (including paused playback), the Catch function is automatically switched on, in all windows.  Catch when moving playhead: Activation of this option ensures that whenever you move the playhead, the Catch function is automatically switched on. This makes it easier to perform edits—as moving the playhead in the Arrange will be reflected in the open editor window, and vice-versa.
Audio Preferences The Audio preferences contain the following tabs:  Devices  General  Sample Editor  MP3  Reset To open the Audio preferences, do one of the following: m Choose Logic Express > Preferences > Audio (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose Audio from the pop-up menu. Device Preferences The Device preferences determine how your audio interface hardware is addressed by Logic Express.
Track Mute/Solo This menu determines the linking relationship of the Track Mute and Solo buttons with the corresponding channel strip buttons. Â Fast (Remote Channel Strips): Clicking a channel strip’s Mute or Solo button switches the state of the associated track button, and vice-versa. Â 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.
Plug-in Delay Compensation Plug-in delay compensation is useful for software effect plug-ins, and is particularly important for DSP accelerator hardware (TC PowerCore, Universal Audio UAD-1, as examples). It compensates for audio delays that can be introduced when using plugins. A pop-up menu allows you to activate plug-in delay compensation for either: Â Audio and software instrument tracks. Â All (Audio, instrument, auxiliary, and output channels). You can also turn off compensation entirely.
Sample Editor Preferences  Warning before processing function by key command: Switch this on 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.  Clear Undo History when quitting: Switch this on to automatically delete the Undo History for all edited audio files, when you close Logic Express.
MP3 Preferences  Bit Rate (Mono/Stereo): The bit rates are selectable between 32 kbps and 320 kbps, but default to 80 kbps mono, and 160 kbps stereo. These rates offer acceptable quality and good file compression. If you can afford the extra file size, you should select 96 kbps for mono, and 192 kbps for stereo streams. These will deliver better audio quality. You can, of course, choose even higher rates, but the quality improvement in bit rates above 96/192 kbps is minimal.
 Stereo Mode: You can choose between Joint Stereo or Normal Stereo in this pop-up menu. Depending on the original file, these settings may (or may not) offer any audible difference. Experiment with both settings to determine your preference. Reset Preferences Activate the appropriate checkboxes for “Control 64 off (Sustain)”, “Control 1 (Modulation) to zero”, and “Pitch Bend to center position” to send reset messages of the specified type to all active instrument channels.
MIDI Preferences These tabs determine how Logic Express communicates with your MIDI interface and other applications or devices. All active Core MIDI drivers are automatically made available to Logic Express. There is no need for further settings. To open the MIDI preferences, do one of the following: m Choose Logic Express > Preferences > MIDI (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose MIDI from the pop-up menu.
Sync Preferences  All MIDI Output Delay field: Delays or advances the MIDI output for all ports, allowing you to compensate for any timing differences between MIDI tracks and audio or (software) instrument tracks.  MIDI Clock: Allow Song Position Pointer while playing: Song Position Pointer data is not normally sent while the sequencer is in play mode (this is in accordance with the MIDI Standard). This option allows Logic Express to send SPP while the sequencer is running.
     MMC standard messages: The MIDI MMC specification is strictly followed.  Old Fostex Format: The old Fostex format is used for MIDI Machine Control. Output ID (Transport): The All checkbox sends MMC to all ports. The field to the right allows you to specify an output port ID. Input ID (Transport): The All checkbox sends MMC to all ports. The field to the right allows you to specify an input port ID.
Display Preferences These preferences alter the general appearance of Logic Express. To open the Display preferences, do one of the following: m Choose Logic Express > Preferences > Display (or use the corresponding key command). m Click the Preferences button in the Arrange Toolbar, and choose Display from the popup menu. General Preferences This tab allows you to alter the appearance of several on screen components that are used throughout the program.
Level Meters Section  Scale menu: Switches level meters between a Sectional dB-linear scale, and an Exponential scale. Exponential provides higher display resolution in the upper range of the meter. Sectional dB-linear provides the best possible display resolution across the entire level range. Displays Section  Display Middle C As Menu: This menu affects the description of notes in the editors. The bottom C on a five-octave keyboard (note # 36) is labeled C1, and middle C (note # 60) is labeled C3.
Other Preferences These preferences affect the appearance of specific windows. Environment: Allow ‘All Objects’ Layer A layer, showing every object in your Environment, is accessible from the Layer menu in the Environment. If this checkbox is not active, the All Objects layer will not be available. Piano Roll Background Colors: Background Type These radio buttons allow you to select a dark or bright Piano Roll Editor background color.
Score Preferences The Score Preferences are described in detail in the Score chapter (see “Score Preferences” on page 832). Video Preferences All Video preferences are covered in the Video chapter (see Chapter , “Video Preferences,” on page 843). Automation Preferences The Automation preferences globally affect all automation tracks. To open the Automation preferences, do one of the following: m Choose Logic Express > Preferences > Automation (or use the corresponding key command).
Control Surfaces Preferences The Control Surface preferences are discussed in the Control Surfaces Support document. Sharing Preferences The Sharing preferences are covered in “Setting Sharing Preferences” on page 650.
Appendix Learning More, Service, and Support If your Apple Computer needs service, take it to an Apple Authorized Service Provider or contact Apple for service. You can find more information about your computer through online resources, onscreen help, or the System Profiler. Online Resources For online service and support information, go to http://www.apple.com/support. Choose your country from the pop-up menu.
AppleCare Service and Support Information Your Apple software comes with 90 days of telephone support. If you need assistance, AppleCare telephone support representatives can help you with installing and opening applications, and with basic troubleshooting. Call the support center number nearest you. Have the date of purchase and your Apple software registration number ready when you call.
Glossary Glossary AAC Abbreviation for Advanced Audio Codec. A compression and decompression algorithm and file format for audio data. AAF Abbreviation for Advanced Authoring Format. A cross-platform project exchange file format that you can use to import multiple audio tracks, inclusive of references to tracks, time positions, and volume automation. accelerando A gradual increase in tempo (see tempo).
ALAC Abbreviation for Apple Lossless Audio Codec, an encoding/decoding algorithm that delivers lossless audio compression. alias A pointer to a MIDI region in the Arrange area. An alias does not contain any data. It simply points to the data of the original MIDI region. You can create an alias by Shift-Option-dragging the original MIDI region to a new location. An alias can not be edited directly. Any change to the original region will be reflected in the alias.
attenuate The act of lowering the level of an audio signal (see boosting and cutting). Audio Bin Window (or tab in the Media area of the Arrange window) used for project audio file and region management, and conversion, tasks. See Media area. audio file Any digital recording of sound, stored on your hard drive. You can store audio files in the AIFF, WAV, Sound Designer II (SDII), and CAF formats in Logic Express. All recorded and bounced WAV files are in Broadcast Wave format.
Autopunch function Autopunch refers to an automatic entry and exit of record mode at predefined positions. Autopunch mode is most commonly used to re-record a badly played section of an otherwise flawless recording. The advantage is that you can concentrate on playing, not the mechanics of driving Logic Express. Autopunch is activated by clicking the Autopunch button in the Transport bar.
bit depth The number of bits used by a digital recording or digital device. The number of bits in each sample determines the (theoretical) maximum dynamic range of the audio data, regardless of sample rate. bit rate Bit rate, when talking about MP3 files, refers to the transfer bit rate at which the files are encoded. Conversationally, the term is more often used to describe the relative quality of the file, with lower bit rates resulting in less defined audio. bit resolution Alternative term for bit depth.
Camera tool The Camera tool is used to select, and export, sections of the Score Editor display as PDF files. Caps Lock Keyboard Logic Express function that allows the use of the computer keyboard as a real time MIDI keyboard. It is primarily intended for use while travelling with a portable Macintosh. Catch button The button at the top left of most windows featuring the running man icon. Activate this button to enable horizontal scrolling during playback.
Clipboard The Clipboard is an invisible area of memory, into which you cut or copy selected data, using the Edit menu. Data stored in the Clipboard can be pasted to different positions. In Logic Express, the Clipboard can be used to exchange data within a single project or between projects. clipping (in digital recording) Feeding too much signal through a channel strip, thereby exceeding the limit of what can be accurately reproduced, results in a distorted sound known as clipping.
Controls view All Logic Express plug-ins (and Audio Units) offer a non-graphical alternative to the Editor views of effect and instrument parameters. The Controls view is accessed via the Controls item in the plug-in header’s View menu at the top of each plug-in window. This view is provided to allow access to additional parameters and to use less onscreen space. Core Audio Standardized audio driver system for all Macintosh computers running Mac OS X version 10.2 or higher.
decay An envelope parameter that determines the time it takes for a signal to fall from the maximum attack level to the sustain level. See envelope. deesser A signal processor that removes hissing or sibilance in audio signals. default The preset parameter value. delay In the Environment, an object that can create a series of repeats. In the Arrange, a region parameter which can delay or advance a selected region by a given number of milliseconds.
drag & drop Grabbing objects with the mouse, moving them, and releasing the mouse button. driver Drivers are software programs that enable various pieces of hardware and software to be recognized by computer applications. If the proper driver is not correctly installed for your audio hardware, your computer may not recognize or work properly with it. See Devices tab. DSP (digital signal processing) In Logic Express, the mathematical processing of digital information to modify a signal.
Environment layer A page in the Environment, used to organize objects. Objects of the same type (MIDI objects, for example) are generally placed on the same layer, making usage easier. Environment Mixer See Mixer layer. EQ Shortened form of equalizer. Equalizers are used to boost or cut frequencies in an audio signal. There are several types of EQ available in Logic Express. equalization See EQ. Eraser A tool used for deleting items. Click a selected item to delete it.
Finger tool Tool (as used in the Piano Roll Editor, for example) that looks like a hand with an extended index finger. This tool allows you to manipulate the length of events or perform other operations in other areas of the program. FireWire Apple trademarked name for the IEEE 1394 standard. A fast and versatile serial interface, often used to connect audio interfaces, and audio processing units to computers.
GM Abbreviation for General MIDI. A standard for MIDI sound modules that specifies a uniform set of instrument sounds on the 128 program numbers, a standardized key assignment for drum and percussion sounds on MIDI channel 10, 16-part multi-timbral performance and at least 24 voice polyphony. The GM specification is designed to ensure compatibility between MIDI devices. A musical sequence generated by a GM instrument should play correctly on any other GM synthesizer or sound module.
icon Small graphic symbol. In Logic Express, an icon may be assigned to each track. importing The process of bringing files of various types into a Logic Express project. Imported files can be created in another application, captured from another device, or taken from another Logic Express project. In button Button used to activate Step Input mode in the editors. Also see Step Input function.
interleaved audio file Logic Express handles multi-channel (stereo) audio files as interleaved. Edits to interleaved files affect both channels equally. Also see split channel audio files. 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.
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.
merge Mix, or combine, two or more MIDI events or regions into a single event or region. metadata Metadata is additional descriptive information that is stored in the file header of a number of file types (AAF, for example). It is used to reference external media, to simplify searches, and more. metronome A device that produces a sound that taps out the beat. In Logic Express, it can configured in the Metronome project settings. MIDI Abbreviation for Musical Instrument Digital Interface.
MIDI Time Code (MTC) Translation of a SMPTE time code signal into a MIDI standard time code signal. MTC is used to synchronize Logic Express 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. mixdown A term commonly used to describe either bouncing (see bounce) or merging of tracks (see merge).
multi instrument object An object in the Logic Express Environment that represents a multi timbral hardware or software device that reacts to MIDI. The multi instrument object is essentially 16 instrument objects rolled into a single package. Each of these, called sub-instrument, has a fixed MIDI channel. All sub-channels share the same MIDI port. All other parameters can be set individually.
offset The playback point in a source audio file can differ from the start point (anchor) of the file. This is known as an offset or start point offset. Offset is also used in conjunction with video time code, where the start time of the Logic Express project and QuickTime movie file can be offset (different) from each other. A further use of the term is when the amplitude of a waveform is off-axis from the center line (due to a recording error caused by hardware).
Piano Roll Editor A MIDI event editor that displays note events as horizontal beams. Events can be cut, copied, moved, and resized in a similar fashion to regions in the Arrange. pitch The perceived highness (treble) or lowness (bass) of a musical sound. Corresponds to the frequency of the sound wave. pitch bend message MIDI message transmitted by the pitch bend wheel of a MIDI keyboard. playback Playing an audio or MIDI region, an audio file, or an entire arrangement, allowing you to hear it.
project folder In Logic Express, the top-level folder that can contain all media associated with a project, including audio files, sampler instruments and samples, video, and other data. project settings The project settings are a collection of program settings that are specific to the current project. These are different to the global preferences that affect all Logic Express projects (see Preferences Window). protected track A protected track cannot have its contents moved or changed.
record-enable Audio tracks musty be manually armed (record-enabled) before you can record on them. MIDI and software instrument tracks are automatically record-enabled when selected. ReCycle ReCycle is the name of an application from software manufacturer Propellerhead, which mainly serves as an editing and production tool for loops (repeated audio samples). ReCycle uses specific file formats (.rex) which can be imported by Logic Express.
sample A digital recording of a sound at a particular instant in time. Sample Editor The Logic Express Sample Editor allows audio files to be destructively cut, reversed, shortened, changed in gain, and processed in a number of other ways. It allows editing of individual samples within an audio file consisting of thousands, or millions, of samples. The Sample Editor also provides access to a number of special sample processing tools, collectively known as the Digital Factory.
score set A collection of various staff styles, staffs, and other elements shown in the Score Editor can be saved as a score set. This facility allows you to quickly switch between (and edit and print) different portions of the score, such as a brass section, in isolation to the entire score. It also simplifies experimentation with different layouts. screenset A layout of various windows, inclusive of all display parameters (zoom, position, size of each window, and so on) is called a screenset.
Signature track Global track that shows all time and key signatures of a project. Signature List A Logic Express window that lists 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.
split channel audio files Both sides of stereo audio files are usually dealt with together. These files are said to be interleaved. Edits to one channel will affect the other equally. Logic Express allows you to separate these files, making them split channel audio files, enabling independent edits to each. Also see interleaved audio file. staff style A staff style determines the appearance of notation on a musical staff.
Sync button This button, found on the Transport bar, activates/deactivates external synchronization mode. synchronization Method of keeping several recording or playback devices time locked with one another. In virtually all synchronized setups, there will be one master device and one or more slave devices that derive their synchronization clock from the master. synchronizer Central unit used to control the synchronization of several devices.
time code A format (and signal) for assigning a unique, sequential time unit to each frame of video or project position. The SMPTE time code format, for example, is measured in hours : minutes : seconds : frames and subframes. timing Measure of the ability to play notes at the right time. Timing can also refer to synchronization between events, regions, and devices. toggle To switch between two states such as on or off (applies to windows, parameter values, and so on).
transposition Transposition is the act of changing the pitch of an audio or MIDI region (or event) by a number of semitones. Transposition track Global track component that shows transposition events. treble Refers to high frequency sounds or components within a sound. See frequency. Undo function Function which reverses the previous editing operation. The Undo History allows multiple undo steps to be made. unicode Fundamentally, computers just deal with numbers.
window type Status of the window as a float window or a normal window. Float windows always float in the foreground and can not be hidden by normal windows. Also see float window. Word Clock Clock signal required by digital audio interfaces to ensure the sampling rates of connected devices run synchronously. When two devices are connected via a standard digital audio interface (such as S/P-DIF or ADAT optical), Word Clock is transmitted via the audio circuit.
A AAC. See Advanced Audio Codec (AAC) AAF file described 997 exporting 663 opening/importing 663 accelerando 997 accents (notation) 714 Acid Loops in Loop Browser 644 ADAT 93, 997 AD converter 997 Advanced Audio Codec (AAC) applying to audio file 565, 634 described 997 direct playback in Logic 286 file 266 AES/EBU 93, 997 aftertouch event 473, 997 AIFF file 266, 997 See also audio file bouncing 630 AKAI 997 ALAC.
editing automation data 613 editing MIDI events 412 editing regions 309–365 overview 30 shortcut menu 319 Snap menu 309 overriding snap grid 310 time stretching regions 332, 555 Arrange channel strips 43, 216 Hand tool 228 arrangement inserting cut section 338 inserting gap 336 removing gap 336 removing section 337 repeating section 338 Arrange view (Mixer) 599 Arrange window Audio Bin. See Audio Bin Browser. See Browser channel strips 43, 216 editing area 44 Event List. See Event List Inspector.
removing DC offset 529 removing from project 285, 299 removing silent passages 549 renaming 563 reversing 527 reversing phase 529 saving copy 532 sample loop settings in file header 530 selection as audio file 532 searching 269 file previously used in project 569 peak 518 silence 518 silencing selection 527 smoothing 524 sorting 560 supported formats 265 time stamp 326 time stretching 534, 555 transforming into MIDI region 544 viewing associated regions 298 viewing information 560 audio interface 85 configu
bar, described 1000 bar line (notation).
Clip Detector 578 creating 191–195 customizing display 601 Group slot. See group (Mixer) in Mixer 572 input format 218 effect on Plug-in menu 220 Input slot 584 instrument. See instrument channel strip Instrument slot 590 level setting 576 switching between two values 577 Level fader 220 level meter 577 switching display scale 578 list of elements 575 loading configuration. See channel strip setting master. See master channel strip MIDI.
audio file 565 automation 624 event definition 454 marker into scene marker 839 ReCycle files to Apple Loops 644 region loop into alias/clone 346 region loop into copy 346 split stereo file to interleaved stereo 872 sustain pedal event to note length 428 Core Audio 85, 99, 1004 preferences 100 Core MIDI 85, 1004 count-in. See recording Create take folders setting 397 Create Track button 192 crescendo applying to MIDI events 493 notation.
drum-mode device 907 DSP.
in Arrange window 411, 460 overview 459 pasting event 465 pitch bend event 471 poly pressure event 473 program change event 472 protecting event position 465 region moving 325 naming 469 Rel Vel event 461, 471 selecting event 463 via key command 463 shortcut menu 462 soloing event 469 switching to SMPTE value display 325, 467 SysEx event 473 in hexadecimal format 474 viewing events/regions 460 viewing all information stored with events 461 viewing events outside the display area 462 viewing relative event p
Freeze function 208, 1008 freeze files 211 refreshing freeze files 212 From Regions button (Marker track) 126 G GarageBand project, opening 659 Gate Time parameter (Region Parameter box) 365 General MIDI. See GM Generator plug-in adding 222 described 220 Giant Bar/SMPTE Display command 120 Global Objects layer (Environment) 879 global tracks Apple Loops 645 Beat Mapping. See Beat Mapping track Chord. See Chord track hiding/showing 77 in Score Editor 811 Marker track.
default 438 deleting 457 naming 457 I I/O Buffer Size setting 100 I/O plug-in 262 icon assigning to template file 156 track/instrument 204, 252 ID3 tags 633 importing AAF file 663 audio file. See audio file (adding) audio track from movie 840 Environment 896 Final Cut Pro/XML file 664 GarageBand project 659 groove template 486 key commands 165 movie file.
Individual Track Zoom Reset for All Tracks 204 Lock/Unlock Current Screenset 80 Make Groove Template 485 Move Selected Regions to Current Track 328 Mute/unmute selected Notes/Regions/ Folders 313 Next Note Will be Flat 405 Next Note Will be Sharp 405 Next Screenset 79 Next Three Notes are Triplets 406 Next Two Notes are a Dotted Group 406 Nudge Region/Event Position by … 326, 425, 446 Open File Browser 267 Page Top/Bottom/Left-Most/Right-Most 67 Page Up/Down/Left/Right 67 Play or Stop 107 Previous Screenset
forcing for notes 427 forcing in region 365 level setting for channel strip 576 switching between two values 577 Level fader 220 level meter (channel strip) 577 display scale 578 Library assigning MIDI channel 250 loading channel strip setting 229 loading plug-in setting 242 overview 35 refreshing 654 Revert button 229 linear view (Score Editor) 700, 804 line break symbol (notation) 720 Lines to Channels function 432 Line tool 442 Link button 49, 72 described 1011 plug-in window 235 Staff Style window 778 L
meta event 474 controlling transformer object 922 list of 951 meta event fader 949, 951 metronome See also MIDI Click object KlopfGeist 371 setting up 371 microphone 89 MIDI Activity display 413 MIDI automation.
MIDI Machine Control 861 activating transmission 856, 861 controlling Logic 856 MIDI Out button 412 MIDI recording. See recording MIDI region. See region MIDI signal path (Environment) 886 MIDI Thru function 362 disabling for instrument 402 MIDI Thru port 95 MIDI Thru tool 882 MIDI Time Code activating transmission 856 described 1014 detecting automatically 851 interpretation 848 validating 852 MIDI track 188 creating 193 mini-plug connectors 92 Mixer All view 600 Arrange view 599 channel strip.
notation See also Score Editor accents 714 accidental 717 changing display 771 distance from note 771 bar line deleting 740 in Part box 716 invisible 740 beat slashes 736 bow markings 714 breaks 805 changing graphical position of objects 727 chord symbol changing enharmonically 753 editing 752 inserting 751 inserting from Chord track 694 clef choosing 785 editing 736 in Part box 712 coda sign 718 color 830 copying object 723, 724 copying section 725 D.C/D.
resizing objects 728 rests changing type/duration 736 in Part box 717 inserting manually 735 Score parameter 769 score set. See score set slur/crescendi changing length 738 changing position 738 in Part box 715 inserting with key commands 738 particular attributes 739 staff style.
Pan/Balance control. See Balance/Pan control parallel effect routing 246 Part box (Score Editor).
resetting 238 saving 239 switching to next/previous 237 plug-in window 232–241, 1017 Bypass button 236 closing 232 Compare button 236 Controls view 240 disclosure triangle 241 Editor view 240 extended parameters 241 hiding/showing all open plug-in windows 233 linking 235 opening 232 on insertion 222, 232 Settings area 236 Show Channel Strip menu 239 Show Insert menu 239 Side Chain menu 240 switching contents 239 view mode 240 Pointer tool 174, 1017 poly pressure event 473 pops, removing 524, 543 pop-up menu
Recording 965 saving 962 Score 811 Clefs & Signatures 824 Colors 830 Global 812 Guitar Tab 820 Layout 826 MIDI Meaning 828 Numbers & Names 816 Synchronization 849 Audio 853 General 850 MIDI 855 opening 849 Unitor 857 Tuning 967 Video 841 Protect MIDI checkbox (Beat Mapping track) 687 pull-down menu 56 punch in/out 1018 punch recording Autopunch 387 in Cycle mode 389 Punch on the Fly setting 386 Q quantization 477, 1018 applying MIDI region template to audio file 547 event-based in Score Editor 483 Quantize
region 291 adjusting to fit other regions 331 audio adjusting start point 329 anchor. See anchor auditioning 300 beat mapping 686 clone 294 creating in Audio Bin 299 creating in Sample Editor 299 deleting 299 exporting as audio file 568 fading.
rewinding 107 ReWire 260 accessing audio streams 261 accessing instruments 260 choosing ReWire mode 261 settings Live mode 261 Playback mode 261 ReWire object 933 right-click (mouse use) 159 assigning to tool 172 right locator 104, 110 See also locators Right Mouse Button preference 172 routing 1019 rubber band selection 180, 1019 S S/PDIF 93 Same Level Link mode 72 sample.
customizing 810 Diatonic Insert setting 730 displaying folders 810 displaying one/all MIDI regions 705 full score display 705 global tracks 811 hiding region 769 Hyper Draw function 707 limiting drag direction 723 linear view 700, 804 notation. See notation opening as window 410 from Piano Roll Editor 435 in Arrange window 410 overview 46, 696 Page view button 700, 804 Part box.
audio cables and connectors 92 audio interface 85 configuring 99 components 83 computer 84 CPU 84 hard drive 85 connecting devices 90 audio interface 93 expansions 90 MIDI devices 94 control surface 86 external MIDI instrument 247 headphones 88 microphone 89 MIDI cabling 93 MIDI interface 86 MIDI keyboard 86 USB 96 MIDI Thru port 95 mixing console 89 speakers 88 sharing 650 accessing shared data 651 connecting to .
staccato, forcing in region 365 staff style 791 adding staffs 781 adding voices 781 assigning to MIDI region 775 automatic assignment 253, 776 bracketing staffs 784 connecting staffs by bar lines 784 creating 780 deleting 783 deleting staffs/voices 783 examples 789 importing from another project 782 mapped 793 parameters 783 presets 777 resizing staffs 784 splitting staffs/voices 787 Staff Style window 778 views 779 standard instrument object 899 Standard MIDI file 267, 656 exporting 658 format 0 656 format
tapping in 679 tempo curve 670 scaling 678 stretching 678 thinning out 678 Tempo Alternative menu 672 tempo change.
hiding 212 icon assigning 204 creating 204 displaying 204 muting 205 multiple 206 Track Mute/Solo setting 205 naming 199 in Mixer 601 No Output destination 203 preventing selection change 586 protecting 213 selecting 198 soloing 207 multiple 208 Track Mute/Solo setting 207 sorting 199 transferring channel strip setting to new track 195 unfreezing 211 unhiding 213 zooming 203 automatically 203 with key commands 204 track button 190 Freeze 210 Hide 212 Mute 205 Protect 213 Slide Activation function 214 Solo 2
tuning alternate 967 Hermode 970 tuplet (notation) 731 U Undo function 184 number of undo steps 184 undoing multiple steps 185 Undo History 184 erasing 185 un/redoing isolated step 423 Unitor synchronization 857 Universal Track Mode 101 Unpack Take Folder commands 395 USB (Universal Serial Bus) 91 USB keyboard 96 V Variable Bit Rate encoding 632, 634 velocity, described 1026 Velocity tool 430, 1026 video.
