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212 Chapter 6 Logic’s Mixing Facilities
It is possible to combine pre-processing and monitoring with effects. You can, for
example, destructively record a signal with compression by inserting a compressor into
the respective input channel, while simultaneously monitoring the compressed input
signal with a reverb (inserted on the track channel) that is not recorded.
The Audio > Audio Hardware & Drivers > Software Monitoring preference must be
enabled if you wish to monitor/record with effects.
Input Object
The Input Object allows you to directly route and control signals from your audio
hardware’s input. Once an Audio Input Object is assigned to an audio channel, it can be
monitored and recorded directly into Logic, along with its effect plug-ins.
The signal is processed—inclusive of plug-inseven while Logic is stopped. In other
words: Input Objects behave just like external hardware processors. Bus sends can be
used pre or post-fader.
The Audio Input Objects can effectively replace your old mixing desk, or at least save
time while bouncing:
Audio Input Objects make the bouncing procedure much easier, as there’s no longer
any need to record the audio signal of your MIDI devices before bouncing (mixing
down) their output with the audio recordings. The live Audio Input Objects allow you
to mix down the audio signal from your external hardware MIDI synthesizers and
sound modules into a stereo mix (by bouncing an Output Object).
The Input Object features the following elements: Inserts, Bus Sends, Output,
Grouping, Automation, Pan, Level, and Level meter, Mute/Solo, Mono/Stereo.
Pre-Processing of Input Signals
Audio Input channels now process an incoming audio signal destructively: The input
signal is processed by plug-ins inserted into the input channel. This means that once an
Audio Input Object is assigned to an audio track, it can be recorded, and monitored,
with its effect plug-ins.
Example: To avoid large jumps in level, it is often useful to record a vocal track with
light compression. To do so; insert a compressor plug-in into the input channel and
assign the Input Object as the input source of an audio track. During recording, the
effect of the compressor is recorded with the track.
Note: To use the Audio Input Object as a “live input”, ensure that the Input Object has
an assigned Output. This allows monitoring of the Input Object (with all effects)
directly, without the need to assign it to a record-enabled audio channel.