Logic Pro 7 Reference Manual
Apple Computer, Inc. © 2004 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries.
1 Contents Preface 9 9 10 Logic Reference What Is Logic? About this Manual Chapter 1 13 13 14 16 21 34 36 39 44 52 57 59 70 72 77 78 80 Using Logic Using the Mouse Input Options Tools and the Toolbox Window Functions Edit Operations Selection Techniques General Functions of the Editors Key Commands Step Input Caps Lock Keyboard Song Administration Standard MIDI Files Apple Loops GarageBand File Import ReCycle Import Audio Export and Import Chapter 2 85 85 97 100 102 106 Transport The Transport Win
123 128 141 147 151 152 155 157 165 167 170 173 MIDI Instruments MIDI Regions MIDI Region Playback Parameters Quantization Groove Folders Aliases Markers Time and Key Signature Editor Arrange Window Techniques Altering the Display Reset Functions Chapter 4 175 175 184 190 196 Audio in the Arrange Window Regions Audio Recording Functions Freeze Chapter 5 201 201 202 207 211 243 256 260 The Environment Environment—Introduction Basic Operation The MIDI Signal Path Environment Objects Faders SysEx Fad
Chapter 8 329 330 331 332 335 337 341 342 344 346 Global Tracks Display Options for Global Tracks How to Create, Move, Copy, and Delete Global Events Marker Track Tempo Track Beat Mapping Track Signature Track Chord Track Transposition Track Video Track Chapter 9 349 349 351 353 356 362 372 376 Audio Window Audio Window—Introduction Layout Display Operation File Administration Strip Silence Further Options Chapter 10 377 377 381 381 382 Audio Drivers The Audio Hardware and Drivers Dialog Audio Engin
Chapter 13 439 439 441 442 444 447 453 453 Event List Using the Event List Display Operation Event List Structure Event Type Structure Tips for Numerical Input Event Float Window Chapter 14 455 455 456 457 463 Hyper Editor Hyper Editor—Introduction Hyper Sets Event Definitions Operation Chapter 15 467 467 468 469 473 474 Matrix Editor Matrix Editor—Introduction Display Editing Notes Multiple MIDI Region Edit Hyper Draw in the Matrix Window Chapter 16 475 475 477 478 482 485 486 487 488 489 489
575 582 Text: Input and Display Chord Symbols Chapter 17 587 587 589 595 The Transform Window Transform Window—Introduction Transformation Parameter Sets Chapter 18 597 597 598 599 601 603 Tempo Display and Functions Tempo List Editor Tempo Operations Tempo Interpreter Real Time Tempo Fader Chapter 19 605 605 607 614 616 618 Synchronization Functions Synchronization Window Bar Ruler—Time Ruler MIDI Machine Control Sync Problems and Solutions Chapter 20 619 619 621 622 Video Synchronizing QuickT
Preface Logic Reference Recent years have seen a revolution in the use of personal computers for creating music. Music projects that until recently would have required an array of professional studio equipment can now be completed in a home or project studio, using a personal computer and readily available resources.
• Make use of the integrated software instruments, including; Sculpture, Ultrabeat, ES1, ES2, EVP88, EVB3, EVD6, and EXS24 or third-party Audio Unit instruments. • Load songs or channel strips from Apple’s GarageBand application, and edit them, making use of the additional processing and editing possibilities afforded by Logic. • Mix your MIDI and audio tracks, including effects and software-based instrument • • • • • settings, via a sophisticated total recall mix automation system.
The Onscreen Help system—accessible from Logic’s Help menu—is fundamentally the Reference Manuals in electronic form. It has the advantage of being at your fingertips when you need it, and is also searchable. Even if you’re the type who just doesn’t like reading manuals, we ask that you read the next section. It will provide you with essential information on the basic operation of Logic’s interface. Please note that all topics described herein were accurate at the date of printing.
1 Using Logic 1 The following chapter will guide you through Logic’s basic interface elements, file handling options and common input techniques. You will also learn about a number of shortcuts and features that will accelerate your workflow, and assist you while learning about Logic. Using the Mouse The mouse can be used in the following ways in Logic: Clicking Place the mouse pointer on the object (button, input field and so on) and press the mouse button once.
• If you press Option-Control, the mouse wheel can be used to zoom in/out in both directions. Note: Logic also supports mice with two wheels. The second wheel works like the first wheel, but with interchanged axes. Input Options This section discusses the various methods available for interaction with parameters, and data entry tasks. Mouse Input Checkboxes Checkboxes are square boxes that are “checked” when you click them, in order to activate an option (or function).
Using the Mouse for In/Decrementing Nearly all parameter values that can be set using the mouse as a slider (and even some of the pull-down menu parameters) may also be increased or decreased in single units by clicking on the top or bottom half of the value, while holding down Control. Numerical Input Double-clicking on a numerical parameter value opens an input field. The existing value is highlighted, and ready to be overwritten by a new entry.
Text Input You can input text names in the same way as numbers, but you only need to click a name field once to allow input. You can directly click on an object with the Text tool to rename it. Numbered Names Any number of selected Objects or Regions can be assigned same name. If the name ends with a number, this number will automatically be incremented by 1 for each subsequent Object or Region.
You can change the currently active tool by clicking on another tool in the Toolbox. The mouse pointer then adopts the shape of the tool you clicked on, allowing you to instantly identify the active tool by looking at the cursor graphic: the Eraser is used for deleting, the Scissors for cutting and the Glue Tool for merging Regions, as examples. To assign a tool to Command, click on the desired tool in the Toolbox, with Command depressed.
Using Key Commands Each tool can be selected via a specific key command. Key commands that switch to a specific tool toggle between this tool and the previously selected tool.
Pencil The Pencil is used to add new Regions. You can also select, drag, and alter the length of Regions while the Pencil tool is active. Scissors The Scissors tool is used to split Regions, allowing individual sections to be copied, moved or deleted. Text Tool The Text tool is used to name Regions, or add text to a musical score.
Eraser Tool The Eraser deletes selected Regions and Objects. When you click on an Object or Region with the Eraser, all of the currently selected Objects and Regions are deleted (as if you had used Backspace). Glue Tool The Glue tool performs the reverse operation of the Scissors tool. All selected Regions are merged into a single Region, which is assigned the name and track position of the first Region on the time axis.
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 about the type of operation you are performing. Important: You must enable the Preferences > Display > Show Help Tags option in order to view help tags during editing operations.
Working with Windows Opening Windows All Logic windows can be opened from the Windows menu. The corresponding key command (Open Arrange, Command-1, for example) is displayed beside each menu item, allowing you to open the window without using the mouse. You can open as many of the same type of window as you like.
Display Levels in the Editors Normally, the editors are at the lowest display level, which shows individual events. Clicking the UDL button, at the upper left corner of the editor window, allows you to move up one level in the hierarchy. As an example, if you are currently looking at the events in a MIDI Region inside a folder, the display will switch to a view of the MIDI Region in the parent folder.
The X/Y scroll element is situated at the bottom left corner of the window. By grabbing and dragging it, you can move the horizontal and vertical window section, as if you were dragging both scroll bars simultaneously. When the cursor hovers over the X/Y scroll element, a crosshair icon with four arrowheads is displayed. You can also engage the X/Y scroll feature by holding down a third button (the mouse wheel button, for example), and moving the mouse.
The horizontal Zoom slider is located to the bottom-left of the working area of the screen—in the Arrange window, it’s just under the Track List. The vertical Zoom slider is found at the top right of the active window. Clicking on the more closely spaced bars will reduce the zoom level. Clicking on the widely spaced bars will increase the zoom level. You can click-hold and drag the Zoom sliders to step through several zoom levels.
Zoom Navigation Key Commands These commands allow selected Objects, or a Region defined by the locators, to be zoomed to fit the screen. In addition, the last thirty zoom levels and window scroll-bar positions can be freely defined and recalled for each window. There are no default key commands for most of these navigation options, so you will need to assign them in the Key Commands window. Open Preferences > Key Commands and type “nav” in the Find field. This will display the entries described below.
In many windows, you can hide and/or reveal further screen elements, such as the Toolbox. These display options are always available from the View menu. Concealing/Revealing the Local Menu Bar and Scroll Bars Command-Option-click on the window title bar to toggle the display of the local menu bar and scroll bars. This allows you configure small floating windows, which can be stored as part of a Screenset.
Topped, or active, windows can be recognized by a title bar that is not dimmed out, and black name. The illustration above shows the active, non-floating Arrange window The main distinguishing characteristic of this window is that key commands only affect this window, and not any of the others. The Windows > Next Window menu function brings the next open window to the top, if it is fully obscured by other windows.
Float Windows Float windows are so named because they always “float” in the foreground, even above the topped normal window (if there are a lot of open float windows, they will inevitably cover each other up—just click on one to bring it to the foreground). The illustration above shows the Arrange window as float window. Float windows are recognizable by their narrower, gray title bar. Mouse operations can be carried out in the same way as in normal windows.
If the button featuring the walking man is lit, the window’s display follows the song position as the song plays. If the button is not lit, the display does not update, even when the song position line moves past the right edge of the visible portion of the window (Catch Clock Position). Note: If you move the visible section manually, Catch is automatically switched off, ensuring that the newly displayed section doesn’t then disappear.
Contents Link Double-clicking on the Link button activates Contents Link mode. This means that the window always shows the contents of the Region or Object selected in the top window. The display is therefore always one level below that of the top window. Here’s an example: if the top window is an Arrange window, in Contents Link mode the editor windows can show the events of a selected MIDI Region.
Screensets Normally, you lay out your windows on the screen in a way that suits your working methods. This layout of various windows, including the display size, zoom, position of each window and other settings is called a Screenset, and can be stored. Once defined, you can freely switch between different Screensets, much as you might swap between different computer monitors. Storing Screensets Screensets are numbered from 1 to 99 (using only the 1 to 9 computer keys.
Recalling Screensets 1 to 9 Screensets 1 to 9 can be recalled by freely-defined key and MIDI remote commands, not only the number keys. This allows you to define the number keys for other purposes, such as toggling windows on and off, as described above. The 1 to 9 key commands are called Recall Screenset 1 (…9, respectively) in the Key Commands window.
Edit Operations The local edit menus in Logic’s various windows all take the same form. The top two items are Undo and Redo. Below Redo are the typical Clipboard functions (see “The Clipboard” on page 34), and at the bottom of each are the main selection commands. Undo Undo allows you to reverse the previous edit. The default key command for Undo is Command-Z. Multiple Undo and Redo An unlimited number of editing stepscan be undone. This also applies to the Redo function.
Cut All selected objects are removed from their current position, and placed on the Clipboard. The previous contents of the Clipboard are overwritten in the process (key command is Command-X). Copy A copy of all selected objects is placed on the Clipboard. The selected objects are left in place. Here too, the previous contents of the Clipboard are overwritten (key command is Command-C). Paste All objects from the Clipboard are copied into the top window.
Selection Techniques Whenever you want to perform a function on one or more objects, you first need to select the objecs. This applies equally to Regions, individual events or Environment Objects. Selected objects are either displayed in an inverted color scheme, or will flash (in the Score Editor). An object selected in one window will also be selected in all other windows that display that object.
In Cycle mode, the selection techniques covered above only affect events that fall within the Cycle area. “Rubber-Banding” To select consecutive objects, click on the background and drag a “rubber band” over them. All objects touched, or enclosed, by the rubber band will be selected. Toggling 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 objects (events) will be reversed.
Selecting Muted Regions/Events Edit > Select Empty Regions selects all muted Regions/Events. Selecting Equal Colored Regions/Events Edit > Select Empty Regions selects all Regions/Events of the same color. Useful for replacement of song sections and other group editing tasks.
Delete and Select Next Region/Event This key command erases the Regions and events currently selected in the Arrange and editor windows, and selects the next Region/event. General Functions of the Editors Logic’s MIDI editors allow the editing of events (MIDI messages). Logic’s MIDI editors include the Score, Matrix, and Hyper Editor, Event List and Transform windows. Opening Editors Double-clicking on a MIDI Region opens the Score Editor.
If the overlapping notes appear to be part of a chord, you will be presented with the following options: • Keep: simultaneously-sounding notes will be shortened to the same endpoint. • Delete: simultaneously-sounding notes will be removed, leaving a monophonic line behind. • Shorten: simultaneously-sounding notes will be shortened separately so that again, only a monophonic line remains.
Note: The result will only be audible if you play the MIDI Region back through an All Channel instrument. Using different MIDI channels in this way enables you to assign the individual notes in polyphonic score styles, or split each note off into its own MIDI Region, using the Arrange window Region > Split/Demix > Demix by Event Channel option.
• Nudge Event Position by −Nudge Value The selected events (or Regions in the Arrange window) are shifted one step right (+1) or left (−1), by whatever unit is referred to in the particular command name.
Locking Events to SMPTE Times This is described in the section on fixing objects to frames (see “Bar Ruler—Time Ruler” on page 614). Event and Note Quantization The Event List and Matrix Editor have a separate quantization function, which can be applied to all selected events. Unlike quantization for MIDI Regions, event quantization applies to all events, not just notes. It irreversibly alters their positions (only notes can be returned to their original recorded positions).
If you click-hold on the background with the Quantize tool, you can rubber band select, and quantize, several objects at once. Note: When working in the Score window, the Display Quantize setting will have an impact on how this functions. Reversing Note Quantization Note events can be returned to their original record positions, or moved manually, by selecting the off setting in the Quantization menu. Alternately, you can click on the Q button while holding down Option.
Special Keys Some keys have special functions: • The Shift, Control, Option, and Command modifier keys can only be used in conjunction with other keys. • The Backspace key has the fixed “delete selected objects” function. It can only be assigned to another function in conjunction with the modifier keys. • The key combinations assigned to the options in the main menu bar cannot be reassigned. The relevant key commands are displayed after the main menu items.
Key Commands List In the list shown to the left of the Key Commands window, the following applies: • Groups can be extended or collapsed by clicking on the disclosure triangle to the left. • Columns can be changed in width by dragging the separating lines between the headers (Command, Key, MIDI, and so on) • When the list has keyboard focus, physically pressing a key command (or key command combination) selects the appropriate function in the list.
Printing a Key Command List The Options > Copy Key Commands to Clipboard function copies the key commands into the Clipboard as text. From here, it’s a simple matter of pasting the results into any word processor, formatting as desired, and printing them out. The Copy to Clipboard function also takes into account the Show and Find function settings (see below). You could, therefore, export a certain group of key commands (those containing a particular character string, for example).
Find Function The Find field is used to find key commands by name or partial name: • The search is performed as you enter text. There is no need to press the Return key. • The Cancel button to the right (that appears as soon as any text is entered) clears any entered text, and displays all key commands. • The Find menu to the left (the magnifying glass) retains a history of recently used search terms. The Clear menu item erases the Find history.
MIDI • The uppermost box, the Status menu, displays the type of MIDI message that is used • • • • for the key command. Channel: Indicates the MIDI channel number of the incoming message. This parameter is disabled if the Status menu is set to unused. Data 1: This field indicates the first MIDI data byte. As an example: This field will show and allow the entry of a MIDI note value if the Status menu is set to Note. Data 2: This field indicates the second MIDI data byte.
The Learn New Assignment button allows you to “teach” Logic a new assignment for the selected key command. Click on the button, and use the desired control. Note: If you wish to set up assignments for an entire control surface, be it supported or unsupported, make use of the Preferences > Control Surfaces > Learn Assignment for xxx function. This is discussed in detail in the Control Surfaces chapter of this manual (see “Customizing Control Surfaces” on page 668).
To delete key assignments: 1 Activate the Learn by Key Label or Learn by Key Position button. 2 Use the mouse to select the function/key assignment that you want to delete. 3 Press Backspace. 4 To erase more assignments, repeat the second and third steps. 5 Deactivate the Learn by Key Label button. To assign a function to a MIDI message: 1 Activate the Learn MIDI button. 2 Select the desired function with the mouse. 3 Send the desired MIDI message from your controller.
4 If you want to make another assignment, repeat steps 2 and 3. Note: If you wish to set up assignments for an entire Control Surface, be it supported or unsupported, make use of the Control Surfaces > Learn Assignment for xxx option. This is discussed in detail in the Control Surfaces section of the manual (see “Customizing Control Surfaces” on page 668). Step Input The Step Input functions allow you to insert MIDI notes when Logic is not in a realtime Record mode.
Key Commands There is a set of key commands for the insertion of notes via the computer keyboard. To activate Step Input mode, the In button (see picture below) must be switched on in the selected MIDI editor. This mode (and the In button) is available in the Event, Matrix, and Score Editor. You will find the relevant key commands in the Keyboard Input section of the Key Commands window. MIDI Input When the In button is engaged, you can insert notes via an external MIDI keyboard.
Length and velocity are determined by the corresponding buttons in that window. If the buttons look like those shown in the illustrations below, a sixteenth note with a velocity setting of 96 would be inserted—this value (96) corresponds to the forte (f ) indicator. The eight available velocity values are represented by the traditional volume indicators ppp, pp, p, mp, mf, f, ff, and fff, which correspond to velocity values 16, 32, 48, 64, 80, 96, 112, and 127, respectively.
Input via the Computer Keyboard Note input with the computer keyboard follows the same principles as input via the on-screen keyboard (see “Input via Screen Keyboard” on page 53). Where it differs is that key commands are used for all functions, rather than choosing pitch, velocity, note length, and so on with mouse clicks. It is recommended that the Keyboard window should remain open when you first start using these functions, to make the learning process easier.
An example: If a G is inserted immediately after inserting a C, the G will be placed below the C. Inserting the C places the range beam between G (left end) and F# (right end), with the C in the center. Regardless of which note is chosen next, it will always be inserted inside this range. The range beam will, however, move as further notes are inserted, with the (range beam) center always aligned to the most recently inserted note.
Note: As you can use key assignments that are already in use for other functions, you should take care to avoid using keys that are assigned to functions that you might also want to use when working in step input mode. Input via MIDI Note input via MIDI works as per input via the on-screen keyboard (see “Input via Screen Keyboard” on page 53). Obviously, you press keys on your real-world MIDI keyboard, rather than clicking notes on the on-screen keyboard.
The Escape key sends an All Notes Off command, should you encounter hanging notes. The numeric keys (above the QWERTY keyboard) are used to define the octave for the MIDI keyboard. The two rows below the numeric keys function as the actual MIDI keyboard keys, starting with the note C, assigned to the alphabetical A key (or Q, as would be the case if using a French keyboard, for example). See the black and white keys in the picture above for details.
Should you wish to use the Space bar key command (usually Start/Stop), rather than as the Sustain function for the Caps Lock Keyboard (when active), you can disable the Preferences > Global > Caps Lock Keys > Space bar acts as Sustain Pedal option. Additional Caps Lock Keyboard Info Due to technical limitations of computer keyboards, there is a maximum number of six notes that can be played simultaneously.
Creating a Project The File > New entry launches the following dialog: If the Create Project Folder checkbox remains unchecked and no template is selected in the Templates menu, functionality is as follows: • The Autoload Song will be opened. The search for the Autoload Song is conducted in the following order: • Preset Templates folder (/Library/Application Support/Logic/Song Templates/ Autoload or Autoload.
• The audio recording path is automatically routed to the new Project > Audio Files folder. The checkboxes below the Set button represent the Project settings (these can be changed at any time). The project settings determine how files imported from external locations (locations outside the project folder) should be handled. They either: • stay where they are (if the checkbox is unchecked) • or are copied into the project folder (if the checkbox is checked).
Saving as Project You can use the File > Save as Project function to save a song or project. If the open song isn’t already a project, the saved song file is assigned “project” status. This allows you to set the Project settings (File > Project > Settings) which determine how imported files are handled. This also 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.
Copying or Moving the Project Folder If the project folder is moved or copied to another location, the files in the resulting folder will still be found correctly, provided that they are all in (or are in subfolders of ) the appropriate project subfolder—audio files are found in the Audio Files sub-folder, samples in the Samples sub-folder, sampler instruments in Sampler Instruments subfolder and so on.
Consolidate Project Settings The File > Project > Consolidate function launches the following dialog: As you can see, it is basically the same as the Save As Project dialog, but with the Song File pull-down menu missing. How Consolidate Works • If Consolidate is used on a saved song, the song will be moved into a newly created folder (named after the song). Following the consolidation, the usual Save As Project functions (copying or moving files) can be performed.
ReCycle Import Handling in Projects EXS instruments created via a ReCycle import are placed in a Sampler Instruments/ ReCycle sub-folder of the project folder. All audio data generated by a ReCycle import are placed in the ReCycle Audio folder, alongside the song file. About Templates A template is a song file that is stored in either of two specific locations (see below). Any song file may act as a template. You can view templates much like having multiple Autoload Songs.
Loading a Song You use File > Open (Command-O) to launch a typical file selection box. If there is already a song loaded, you will be asked if the currently-loaded song should be closed (select Close) or not (select Don’t Close). You can disable this prompt by selecting Preferences > Global > Song Handling > When Opening a song, ask to ‘Close current song(s)?’.
Opening pre Version 7 Songs When loading a song created in a pre-version 7 Logic, the song format will be converted to the version 7 format. When saving this song for the first time, a file selector dialog will be opened, so that the old song file will not be overwritten automatically. Note: Once saved in version 7 format, a song can no longer be opened with versions prior to version 7 (exception: Logic versions 6.4.3 and higher can open the song, but at the expense of all Logic 7 specific features).
If any unused blocks are found—which normally shouldn’t happen—you will be able to remove these, and repair the song. Song Information Window The Song Information window can be opened via Options > Song Information. It contains information about various aspects of your song. This information might not be directly useful for you, but you may be asked to provide this information (in case there is problem with a specific song) by the Support Team.
Automatic Backup Files When you save a song, Logic will first make a safety copy of the previous file. You can switch off this function in the Global preferences (Preferences > Global), and also set the number of backup files that will be made—up to 100. This function allows you to store up to 100 earlier versions of your song, thereby retaining a complete record of your song’s development.
Quitting the Program Choose File > Quit (Command-Q) to leave the program. If you’ve made changes, but haven’t saved them, you will be asked if you want to do so before quitting (press Enter to save). Closing the Song without Saving The Close Song without Save key command closes the currently active song without saving it—and you will not be asked to do so. This command was included at the request of many experienced Logic users. Please only use it if you know what you’re doing.
Bank Select When you open Standard MIDI files, program change and controller events occurring at the same position are moved by one tick, so that they will remain in their intended order. This prevents Logic from reversing the transmission order of events. The reason for this is that certain MIDI devices will not respond properly to program change and bank select events that do not occur in the correct order.
In File Format 0 Ensure that the Preferences > Global > ‘Export MIDI File…’ saves single MIDI Regions as File Format 0 parameter is checked. If it is, selecting File > Export > Export Selection as MIDI File when only one MIDI Region is selected means that file format 0 will automatically be used. Apple Loops Logic ships with a number of Apple Loops. Apple Loops are musical phrases that can be repeated seamlessly.
The new Apple Loops file format adds tags that allows you to quickly locate files by Instrument, Genre, or Mood. Further search refinements can be made by Scale and Signature. The View buttons at the top left switch between a matrix display and a traditional Mac OS X file menu that is hierarchically separated into All, By Genre, By Instruments, By Moods, and Favorites search criteria. The Scale pull-down menu offers Minor, Major, Neither, and Good For Both options.
• Clicking on the arrow in any selected column title will sort the list in ascending or descending alphabetical, tempo, key, beat, or favorite order. • Columns can be resized by dragging the vertical lines between column titles. • Selection of any entry in the list of files will automatically begin playback. You can stop playback by clicking on the speaker icon in the left-hand column. There are two types of Apple Loops: those featuring a blue sound wave icon and others with a green note icon.
If you select a Region in Logic’s Arrange window and choose Audio > Open in Apple Loops Utility the following window opens: The Apple Loops Utility window consists of the Tags and Transients panes. The bottom of the window includes a set of playback controls and file management buttons. The Apple Loops Utility also includes an Assets drawer, located to the right of the main window, where you manage open files. Tags Pane The Tags pane includes areas for different types of tags.
Transients Pane The Transients pane contains a large waveform display, with a Beat ruler and a horizontal scroll bar. Markers indicate the position of transients in the file. Typically, transients correspond to the widest parts of a sound’s waveform. The Transients pane includes controls for the beat division and transient detection sensitivity. You can also listen to the file (using the playback controls) to determine where transients occur.
Playback and File Management Controls The bottom of the Apple Loops Utility window contains a set of playback controls, allowing you to audition the selected file. These controls do not affect the file’s tags. • Go to Beginning button: Starts playback from the beginning of the selected file. • Play button: Plays back the selected file. • Stop button: Stops playback of the selected file. • Key pop-up menu: Transposes the selected file to a new key for playback.
The Channel Strip settings of GarageBand translate 1:1 into Logic—with the nice exception that you can now access the individual plug-ins that are inserted into a GarageBand channel strip. The GarageBand Channel Strip setting files are visible in Logic’s Channel Strip menu in a subfolder called GarageBand. Logic’s Channel Strip menu is accessible via a long click on the word Inserts on each channel strip. GarageBand’s two bus effects (Reverb and Echo) are also translated when opened in Logic.
As a result, Logic will create a folder containing one audio track (using the same Audio Mixer Object as the track it is created on) which in turn contains the slices of the ReCycle file at the appropriate positions. Each of these slices will reference the same audio file, which can be found in the Audio Window, as usual.
• Add tracks—will distribute the slices across multiple audio tracks, allowing you to adjust the position or delete slices freely. The Number of additional Audio tracks panel in the window determines how many tracks are used for the distribution of the slices. These tracks are in addition to the original audio track, on which the Recycle file was imported. • Crossfade—All slices of the file are imported to the same track and automatically crossfaded. The crossfade is equal powered.
Convert interleaved to split stereo As some applications don’t support interleaved stereo files, Logic can convert interleaved stereo files to split stereo (when exporting an OMF file for a ProTools session, for example). Check this box if this is the desired behavior. Note that this only works if the Include Audio option is checked.
OpenTL Export To export the current song’s audio in the OpenTL format, select File > Export > Song as OpenTL File. This will launch a file selector dialog which asks if you want to create a dedicated folder for the exported OpenTL files. You can specify the destination folder, and file name, of the resulting OpenTL file. After confirming this dialog, Logic will ask you if the song’s SMPTE start time should be added to event start positions.
This solves the problem of the song on the Tascam machine starting at a large time value, but less than 1 hour (such as 59 minutes). In this situation, the user can’t immediately see the imported audio parts because they are usually imported beyond the song’s end point (possibly even beyond the largest possible song end point, depending on the song tempo). AAF Export/Import To export the current song as an AAF file, choose File > Export > Song as AAF File.
• Export > All Tracks as Audio File: This function exports all audio tracks to an audio file. Bouncing and POW-r Dithering Logic provides you with the leading professional POW-r dither algorithm, designed for the conversion of 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.
2 Transport 2 In this section, you will learn how to move to different parts of the song, start and limit passages, and to isolate and audition specific portions and components within the song. In short, you’ll learn all about Logic’s Transport window. This also includes a brief introduction to Logic’s Recording functions. The Transport Window The Transport window is used to control and display Logic’s recording and playback functions.
Position display, Locators (see “Position Display” on page 89) Tempo and Time Signature display (see “Tempo/Free Memory” on page 90) MIDI Input—Output/Song End (see “MIDI Monitor/Song End” on page 93) Note: As a floating window, the Transport window is always in the foreground, and can not be covered by other (non-floating) windows. All display fields in the Transport window (apart from the song name) can be used for data input.
The Transport Bar in Other Windows You can also configure a fixed Transport window in the Arrange and Matrix windows. Select View > Transport and a Transport field appears in the top left corner of the window. The number of visible buttons and displays is dependent on the size of the area available. You can adjust this area by click-holding on the intersection of the Track List, Arrange area and Bar Ruler (the cursor will change to a four-headed arrow), and dragging.
SMPTE View Offset This menu option launches the Song Settings > Synchronization > General tab, allowing you to define the Bar Position and/or SMPTE time for both the actual song position and the SMPTE view offset. Giant SMPTE Display/Giant Bar Display This converts the Transport window into a large display of the current SMPTE time, or current bar position. You can switch back to the normal display, by reusing the same menu functions.
Position Display The current song position is shown in two formats: Above: SMPTE time Hours: Minutes: Seconds: Frames/Subframes. Below: bar position Bar—Beat—Division—Ticks. A beat corresponds to the denominator in the time signature, a division is a freelydefinable part of a beat. A tick is the smallest possible bar sub-division or system quantization—of just 1/3840 note.
Note: Any mention of the “left or right locators” refers to the Cycle locators, rather than the Autodrop locators. The top value denotes the left locator position, and the bottom one, the right locator position. Adjusting Locators to Fit Selected Regions Set Locators by Regionsmatches the locator positions with the start and end points of one (or more) selected Region(s). The Set Rounded Locators by Regions key command rounds the locator positions to whole bars.
Time Signature and Division This is where you can see, and set the time signature of the song. The format is: Bar numerator—Bar denominator—Division The division defines the third format value in all position displays (such as in the Event Edit window), and forms the grid for various length and placement operations. The division is normally set to 1/16 notes, but has a value range of 1/4 to 1/192 note.
Note: You can also erase time signatures in the Score Editor by selecting them, and hitting Backspace. To erase all time signature events, select Edit > Select Similar Objectsbefore doing so. To copy time signatures between songs: 1 Activate the Signature track via the View > Global Tracks menu option. 2 Select the desired time signatures. 3 Choose Edit > Copy (or press Control-C). All time signature changes of the source song are copied to the Clipboard. 4 Switch to the desired target song.
MIDI Monitor/Song End MIDI Monitor and Panic Function MIDI Monitor The top line shows the last MIDI message received, and the bottom line the last MIDI message transmitted. The monitor is mainly used for checking MIDI connections. Automatic Chord Interpretation The MIDI activity panel of the Transport window shows chord symbols when Logic receives more than one MIDI note simultaneously. The respective, held intervals (between notes) are interpreted and displayed as chords.
Transport Buttons Record Recording normally starts after the count-in, at the start of the current bar. In Cycle mode, it starts at the left locator. You can also choose to have one beat constantly repeated, until a MIDI message is received, at which point recording begins. Pause Pauses recording or playback, until you press pause or play again. During paused recording, you can add individual events which will be recorded.
The Stop Goto Last Play Position key command stops playback, and moves the SPL to the last position reached with a positioning command, or direct positioning of the SPL, using the mouse or Bar Ruler. The default for this command is the space bar. Play or Stop This key command toggles the status of play or stop, depending on the play or stop status when the command is used. Note: This command is particularly helpful if you are using a PowerBook or iBook that doesn’t feature a separate numerical keypad.
Mode Buttons The mode buttons do not immediately trigger an action. Rather, they switch operating states. The relevant button will illuminate to indicate that the mode is activated. Cycle, Autodrop, and Replace Autodrop Cycle Replace More information about the Cycle switch can be found in the Cycle Mode section (see “Cycle Mode” on page 100). For more details about Autodrop (see “Autodrop” on page 104), and the Replace switch (see “Options” on page 103).
Click-holding the Sync button opens a pull-down menu, where you can define the following: • the type of external synchronization. • whether MMC commands (see “MIDI Machine Control” on page 616) should be transmitted by Logic’s Transport buttons, allowing remote control of MIDI capable tape machines. • direct access to the tempo editors (see “Display and Functions” on page 597). • direct access to the Synchronization settings. Metronome This button (default: C) is used to turn the metronome on and off.
In the bottom third, there is a vertical line for each bar. The shorter lines represent one beat, but are not always visible (depending on the zoom setting). Start and End Markers The song start point is normally at position 1 1 1 1. You can move the song start point to an earlier position for playing upbeats or program change commands, by grabbing and dragging it with the mouse. The position display in the top left of the window will indicate where it is.
Numerically Selecting Goto Position opens the dialog box shown above, allowing you to input the song position numerically. The last division used (bar position or SMPTE time) is automatically selected, with the last input value as a default. As the numbers are registered from the left, it is enough just to enter the bar number. In the Score Window, you can set the SPL position directly by clicking into a staff at the desired point while pressing Option.
Cycle Mode In Cycle mode, a selected passage of the current song is constantly repeated. This is useful for: • composing a song section. • practicing a recording. • recording individual tracks consecutively. • editing events. The Cycle area is shown as a green stripe in the top part of the Bar Ruler. There are four ways of switching Cycle mode on and off: • clicking on the Cycle button. • using the Cycle key command. • clicking on the top part of the Bar Ruler.
Note: You can reset the nearest edge of the Cycle beam by clicking on it while holding down Shift, even if the beam is outside the visible range, or Cycle mode is switched off. Note: You can also define the Cycle area by dragging a marker (see “Markers” on page 157) into the top part of the Bar Ruler. When you set the size of a Cycle graphically in the Bar Ruler, its size is quantized to the nearest bar.
Skip Cycle You can skip a passage in play mode, which is useful for trying out the musical effect of various transitions. m To set up Skip Cycle: Drag the Skip Cycle area from right to left in the Bar Ruler. If a (normal) Cycle area already exists, just move the left locator to the right of the right locator. The Skip Cycle area is shown as a very thin strip at the top edge of the Bar Ruler. Note: You can change a Cycle into a Skip Cycle with the Swap Left and Right Locatorkey command.
Count-In The Count-in and Record Pre-roll values can be defined in File > Song Settings > Recording (see “Metronome Settings” on page 626). This is often useful if the section of the song (just before the part you’re recording) lacks the sort of rhythmic information necessary to play new parts in time, but there’s plenty of rhythmic material, once the section you’re recording to gets going. Options Record Toggle—Record Repeat The Record Toggle key command switches between playback and record mode.
Recording in Cycle Mode All settings for recording in Cycle mode can be made in the Song Settings > Recording Options (see “Recording Settings” on page 628). You can either use several cycle passes to record a single Region (Merge only New Regions in Cycle Record (checked), or you can create a new Region for every cycle pass (unchecked). A new track can be automatically created for each of these Regions (Auto Create Tracks in Cycle Record).
Defining the Autodrop Area If both Cycle and Autodrop modes are active, you will see an independent pair of locators available for the Autodrop range. There are two stripes in the Bar Ruler, the top one representing the Cycle area, and the bottom one the Autodrop range. The Autodrop range can be graphically altered in the Bar Ruler, just as you would with a Cycle area. Note: If the Bar Ruler display is narrow, hold down Option to ensure that any alterations made to the Cycle only affect the Autodrop range.
Chase Events Chase Events searches all MIDI Regions playing at a specified “jump-in” point. The function examines what all MIDI Regions are doing before the jump-in point, to determine which events would have affected playback at the jump-in point, if reached by playing through the song, rather than by just jumping there.
• monophonic (channel) aftertouch. • polyphonic aftertouch. • SysEx data (the last SysEx message before the play-start point is transmitted). There is a potential problem when chasing notes that are used to trigger a drum loop in a sampler. Unless you are lucky enough to start the MIDI Region precisely at the beginning of the sample loop, the sample will be triggered at the wrong time and will, therefore, be played out of sync with the rest of the MIDI Region (at least until the next trigger note).
3 Arrange Window 3 The Arrange window is the heart of Logic. It is the view that you will see most often when working with the program. You will learn all about the different interface elements, functions, and features of the Arrange window in this section. You will also discover how to handle both MIDI and audio tracks plus a number of other important techniques. Overview The Arrange area is where all MIDI and audio information is recorded, on horizontal tracks.
To the left of the Arrange area is the Track List (see “Tracks” on page 110). This is where you determine which (Audio) Object should play the MIDI or audio information on each track. You can make various settings for these Objects in the Object Parameter box in the lower left corner. As the Regions are arranged graphically, you can also use specialized mouse tools from the Toolbox to help you perform different operations.
Overview There are basically three types of tracks: • Audio tracks: for playback, recording, and automation of audio signals. • Audio Instrument tracks: for playback, recording, and automation of MIDI data sent to software instruments. • MIDI tracks: for playback, recording, and automation of MIDI data sent to external MIDI devices. In addition to these tracks, there are also tracks with very specific functions, such as the Global tracks (see “Global Tracks” on page 329).
Note: Strictly speaking, tracks don’t need to be routed to an instrument or audio channel, as you can assign any Environment Object to the output of a track. The track data could conceivably be sent to a folder, or directly to a MIDI port (a MIDI Region). Obviously, audio data would not be understood by a MIDI sound module, so there is no point in routing a track that contains audio data (in a Region) to an instrument.
Icon Color The small, monochromatic icons adopt the color of their “parent” Audio Object or MIDI Instrument Object—which is also used for newly recorded Regions in the Arrange window. The high resolution Arrange icons have their own color and, therefore, cannot adopt the color of the “parent” Object. Selecting a Track You can select a track by clicking on its name or icon in the Track List.
Copying a Track If you hold down Option when moving a track, a copy of the track is created at the destination position. All selected Regions on the old track are also moved to the new track. Note: If you hold down Option before grabbing the track number, no extra Regions on the track will be selected. If no Regions were selected in the first place, an empty track with the same track instrument is created at the destination position.
Naming Tracks To name a track independently of its assigned instrument, select Track > Create Track Name. You can also change the name of an existing track by double-clicking on the instrument name in the Track List, while holding down Command, and typing in the text input field that appears. The track name is then displayed in place of the instrument name in the Track List, and will be used as the default name for recorded Regions.
Muting Tracks Both MIDI and audio tracks have Mute buttons to the left side of the Track List, between the track number and the icon. Muting a track stops it from playing. To show or hide the blue Mute buttons, select View > Track Mute Buttons. 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.
Soloing When the Track Solo Buttons are Hidden If the Track Solo buttons are hidden—to save space—you can still solo a track with the Solo button on the Transport bar. Simply press the Transport Solo button, and click on the desired track. Soloed tracks are indicated by a yellow outline. 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).
Note: Hiding tracks does not affect their playback in any way. You can also link the Hide functions of all tracks belonging to a Group by selecting Hide in the Group Property Settings. Another thing to keep in mind is that there is no key command for Unhide Selected Arrange Track because there is no way that you can select a hidden Arrange track—it is hidden, after all … The color codes of the global Hide View button: • Gray—no tracks hidden.
Special Types of Instruments In addition to the normal instruments which are described in the Instruments section (see “MIDI Instruments” on page 123), there are two other possible track settings for which there is no corresponding Environment Object: No Output Tracks assigned as No Output send no data. This can be useful in situations where you wish to store data (such as SysEx) that you don’t wish to send. Folder This setting is used when you want the track to play a folder (see “Overview” on page 152).
Protecting Tracks Tracks can be protected, preventing any alterations: • Existing Regions and their contents cannot be altered. • No recording is possible on protected tracks. • New Regions cannot be created. If the Track Protect button is not visible in the Track List, you can switch it on via the Arrange menu View > Track Protect Buttons. Clicking on the Lock button(s) toggles between locked and unlocked mode.
If there is not enough vertical room, click the upper left triangles in the Region Parameter and/or Object Parameter boxes and/or hide the Toolbox (View > Toolbox). Note: The Channel Strip Only option in the View menu (and key command) allows you to hide all elements of the Parameters area — except the Arrange channel strip. The Arrange channel strip allows you to access all of the mixer channel functions (volume, pan, sends, inserts, and so on) directly from the Arrange window.
Layer and Multiplayer Mode There are two modes of operation for simultaneous recording of multiple MIDI tracks: Layer or Multiplayer recording. To switch from the Layer recording mode (default) to the Multiplayer recording mode, select the File > Song Settings > Recording > Auto Demix by Channel if Multitrack Recording option. Layer Recording Incoming MIDI events are sent to all record enabled MIDI tracks. You can listen to all selected instruments before, and during, recording.
MIDI Instruments In order to know where specific MIDI messages are to be sent, Logic needs to have some idea of how the MIDI devices in your setup are connected. This is portrayed graphically in the Environment, which shows the sequencer’s connection with many other Objects, which we will refer to as “Instruments” in this section. Each instrument is an Environment Object, which represents a physical MIDI device.
Note: The Instrument’s Object Parameter box in the Arrange window is identical to the corresponding Object Parameter box for the same Instrument in the Environment. m To open/close the Instrument’s Parameter box: Click the small triangle at the top left to open or close the Instrument’s Parameter box. Name The top line shows the instrument name, which can be edited by clicking on it. Object Type The Object type is shown in brackets, and cannot be altered.
The purpose of a hidden direct connection is to enable you to address the individual MIDI ports directly from the Arrange window without needing to access the Environment window. For most situations, this is the best way to assign instruments to ports, as it eliminates the need for cabling. Keep in mind that if you directly assign a port, and also connect the instrument to a MIDI Out Object with a cable, all MIDI data sent via that instrument will be doubled.
To the left of the program number, there is an extra parameter which is used for Bank Select. If your sound source can receive Bank Select messages (MIDI controller #0 or #32—check your synth manual for format details), you can switch between different banks, each containing a maximum of 128 sounds. As many devices cannot receive these messages, you can deactivate this parameter by making the setting shown here.
Further Parameters You also find the following parameters in the Instrument’s Parameter Box: Transpose The Transpose parameter allows you to define the number of semitones that all note events will be transposed by on output. Negative values transpose downwards. Velocity The Velocity parameter allows you to increase or decrease the “note on” velocities of all note events by an amount adjustable between −99 and 99. Key Limit The two note values of the Key Limit parameter define a pitch range.
Don’t forget: you can change a MIDI Region’s Score Style at any time in the Display Parameter box in the Score window. You can change the score styles of all MIDI Regions on an Instrument’s tracks by holding down Option when selecting the Instrument’s default score style. Additional Audio Instrument Object Parameters All of the abovementioned parameters are available for Audio Instrument Objects, which also share the following additional checkboxes with Audio tracks/Objects.
Creating a MIDI Region Normally a MIDI Region is created automatically when you record on the selected track. It 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. Note: MIDI Regions can also be created by directly inserting events (see “Special Functions” on page 140) from the Clipboard into the Arrange window. Capture Recording You can also create a MIDI Region using the Capture Last Take as Recording key command.
Snap and Drag Menus Before looking at moving and editing Regions in the following sections, we’d like to cover the Snap and Drag pull-down menus. These allow you to set preferences for edits and moves that you may perform on Regions within the Arrange window. The Snap pull-down menu provides: Smart, Bar, Beat, Format, Ticks, Frames, and QF (Quarter Frames) options. Any edit or movement of a Region will be “snapped” to the nearest bar, beat tick and so on, as determined by the selected Snap format value.
Limiting direction You can limit the movement or copying of Regions in the Arrange window to either the horizontal or vertical axis—just as in the Score and Matrix editors. To do so, activate the Preferences > Global > Editing > Limit dragging to one direction in Arrange option. Note: You can toggle the direction limitation on and off, by pressing Shift while moving Regions.
Copying Regions To copy Regions to another point in the song, or to other tracks, hold down Option while moving the Region. Note: Holding Option-Shift while moving a MIDI Region allows you to create an Alias (see “Aliases” on page 155) of it. If Hyper Draw is enabled for the Region, you’ll need to grab above the blue area in order to copy it. Note: Copy/paste and Option-drag create a independent copy of the Region. This copy will not reflect changes made in the original Region.
Editing Parts of a Region The Marquee Tool, which looks like a crosshair, allows you to edit parts of a Region. It can be selected in the Toolbox or via the Set Marquee Tool key command. You can use the Marquee tool by clicking in the Arrange window (on the background or on Regions) to begin your selection, which is indicated by the shaded selection rectangle. You can drag the selection rectangle freely, allowing you to make selections— independent of existing part/Region boundaries.
If your selected area falls between musically relevant values, the Marquee tool’s selection rectangle will automatically snap to the nearest musically relevant position. The snap resolution is adjusted in accordance with the current Snap menu setting. If you make your selection while holding Control the selection will snap to the finest resolution possible within the chosen Snap factor.
Rounded to Whole Bars The MIDI > Snap Region Start to Bar function rounds the Region startpoint to the nearest whole bar. The position of events within MIDI Regions is not affected by changes to the Region length. m If you wish to alter the position of the events: Hold down Option while altering the length of a MIDI Region to alter the timing of events. The events will be stretched or compressed, proportionately, by the amount that the MIDI Region was altered in length.
Using a Finer Grid All of these operations (moving/copying, lengthening/shortening) snap to the bar or beat grid,depending on the currentSnap menu setting. There are two ways to override the grid, allowing finer adjustments. All you need to do is hold these keys during the particular operation: • Display Format values as grid scale: Press Control during operation. • No grid (ticks as grid scale): Press Control-Shift during operation.
Multiple Divisions with the Scissors If you hold down Option while cutting a Region with the Scissors tool, the selected Region will be cut into multiple pieces of the same length as the first segment. As an example: To divide a 16-bar Region into eight 2-bar Regions, cut the Region at the start of bar 3, while holding down Option.
Demixing Regions The Region > Split/Demix > Demix by Event Channel function searches the selected Region for events with different MIDI channels. A separate Region, containing all matching events, is created for every MIDI channel that is found. Each of these Regions is created on a track with an Instrument that matches the MIDI channel. If no such tracks exist, new tracks are created, using the original Instrument’s track.
Soloing Regions You can solo any selected Regions by using the Solo button in the Transport window, or the key command of the same name. Double-clicking on the Solo button or using the Solo Lock key command “locks” the soloed status, so that changing the selection doesn’t affect what is being soloed. This is especially useful when you want to make changes to the playback parameters of a Region, while listening to a specific solo group. Another click (or reusing the key command) exits solo mode.
Special Functions Inserting Events MIDI events can be added directly to the selected track in the Arrange window, at the current song position, via the Clipboard. Events can be copied from one of the edit windows (even from another song). This function allows you to insert MIDI events—from the Matrix Editor, for example— directly into the Arrange window. Logic checks for a selected MIDI Region (for use as a destination), and adds the data to it.
MIDI Region Playback Parameters The Region Parameter box is located to the left of the track list, above the Toolbox. Displaying Region Parameters When you select a Region, its parameters are automatically displayed in the Region Parameter box. If the Region Parameter box isn’t visible, select View > Parameters. None of these parameters alter the original data of the Region, they only affect playback. Note: The Region parameters also apply to folders, affecting all Regions within them.
Setting up MIDI Thru to match a Region’s parameter The Set Track & MIDI Thru Parameters by Region/Folder key command allows you to set the MIDI Thru parameters to match those of a selected Region. This action also selects the Region’s track. 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.
Transpose Value range: ±96 semitones. Normal value: 0 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 Transpose parameter.
Gate Time Value range: in percent. Normal value: 100% 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.
4 The delay parameter will now show the delay time. The delay parameter is mainly used for musical purposes. It is also a way of fixing timing problems that may occur for a variety of reasons. Some examples of these are: • The attack phase of the sound is too slow. A good musician will automatically compensate for this by playing the notes slightly early. With very slow sounds, you may need a pre-delay of over 100 ms to even them out.
A quick tip: if you’re editing MIDI Regions that appear as notation on a polyphonic score style, we recommend using Normalize without Channel, as the event channel is used to assign notes to individual polyphonic voices in the Score Editor. Extended Region Parameter Box The Extended Region Parameter box contains additional Region parameters. These include more comprehensive quantization (see “Quantization” on page 147) parameters.
Quantization 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 smallest notes in a passage are 1/16th notes, you should use 1/ 16th quantization to move all recorded notes to their ideal rhythmic value. This will only work if no note was played more than 1/32nd from the ideal position, otherwise the note will be moved 1/16th later or earlier than the desired position.
Quantization The quantization grid is accessed from a pull-down menu beside the Quantization parameter in the Region Parameter box. You can also step through the available quantization resolutions in the pull-down menu, one at a time, with the Quantize: next value and Quantize: previous value key commands. This function sets the quantization value for all selected MIDI Regions.
Q-Strength Value range: 0% to 100%. Normal value: 100%. This percentage value determines how far a note is shifted towards the nearest grid position. 100% results in full quantization, 0% leaves the note at its recorded position. Q-Range Value range: 0 to 3840 ticks. Normal value: 0 ticks. All notes further (in ticks) from the nearest grid position than the value specified here are not quantized. A value of 0 means that every note is quantized.
Linear Quantize—“Q-Range” The Linear Quantize algorithm is always used automatically whenever you set a positive value for the Q Range parameter. The Q Range parameter is found in the Extended Region Parameter box, which you can open by selecting Options > Extended Region Parameters. Operation Linear Quantize is well-suited to “soft quantization” of recordings which already have the right groove, but are too hurried or “laid back” in places.
Groove In the early days of sequencers, many people thought that electronic music sounded mechanical or sterile. This impression (which, at the time, might have been a fair observation) was based on the fact that sequencers could only output notes that were quantized. This is no longer the case. Logic’s resolution is so high that at a tempo of 120 it can differentiate between two notes that are just 520 microseconds apart.
Importing Groove Templates You can also import third-party quantization templates, such as those made by the Canadian firm WC Music Research (DNA Groove Templates). First, you must copy the templates into a folder called “Grooves”, which must be on the same level as the Logic program itself. If necessary, manually create a folder of this name. You can then use the Options > Groove Templates > Import DNA Groove Templates function to import the templates.
This is not all that folders can do. You could use folders to represent the parts of a song (choruses and verses). As in the Finder, you can place as many folders as you like within other folders, and within yet more folders (for the instrument groups within the different parts of the song, as an example), with no limit to the number of levels you can create.
Exiting a Folder To change to a higher display level of the Arrange window, double-click on the background. The Go Out of Folder or Region key command does the same. Moving Regions into Folders …is as easy as drag-and-drop. Drag the Region(s) from the original track onto the folder at the desired position and release the mouse. If the folder does not already contain a track with the same instrument as the original track, Logic creates one.
Aliases An alias in Logic is the same as an alias in the Finder. It looks like a Region, but contains no actual data. It is just a reference to the data of the original Region—a virtual “reflection” of the original. You can always recognize an alias, because its name is written in italics. Note: Aliases can be created for MIDI Regions and Folders. Only cloned Audio Regions can be created for Audio Regions (see the “Making Multiple Copies of Regions” section on page 132).
Playback Parameters Although an alias is a “slave” of the original, it has its own playback parameters. The exception is the original’s quantization parameters, which have a special status and always apply to aliases too. Re-assigning an Alias The MIDI > Alias > Re-Assign function assigns a new original Region to an existing alias. Both the alias and the intended new original Region must be selected before using this option.
Turning the Alias into a Real Region You can use MIDI > Alias > Turn to Real Copy to make a real Region from an alias; its contents will be identical to those of the original Region referenced by the alias. Editing the Events in an Alias It is not possible to edit aliases of MIDI Regions. If you double-click on an alias, Logic assumes that you either want to edit the original, or turn the alias into a real Region.
Creating Markers… … using the mouse To create a marker with the mouse, position the mouse cursor in the lower third of the Bar Ruler at the desired bar position, hold down Command-Option and click. A Marker Text window will open. If a marker already exists at that bar position (or up to a quarter note before or after it), no new marker will be created. The same applies for all other methods of creating markers (via menus or key commands, see below).
Marker Names Newly created markers are automatically named “Marker ##” (unless they were derived from Regions as described above). “##” stands for their order of appearance along the time line, which will be displayed in the Bar Ruler in place of the ## (resulting in “Marker 1”, “Marker 2” and so on). The number always depends on the actual order of all markers in the song, including markers that have had their name changed.
Marker Text Input You can enter as much text as desired in this window. The first paragraph (up to 60 characters) will be displayed as the marker name in the Bar Ruler. The remaining text will only be visible in the Marker Text window itself. Marker text can be input and edited as per usual in any text editor. The local Edit menu contains the standard Cut, Copy, Paste, Clear, and Select All commands.
…for marker text You can assign colors to all currently selected characters in the Marker Text window by clicking on the desired color in the palette. …for the Marker Text window and Bar Ruler background A Command-click on one of the colors in the palette will assign the color to the background of the Marker Text window, and also to the marker background in the Bar Ruler. (If dark colors are used, the marker text will automatically be shown in an inverse color).
• The Pencil duplicates a marker if you click on its name. You can then edit the position and length of the duplicated marker. • The Eraser deletes a marker by clicking on it. • The Index Finger sets the song position to the start of the marker, and sets the locator positions to match the marker’s start and endpoints. This tool can also be used for regular editing functions (like the pointer). The index finger is the default tool in the Marker List window.
Marker Position and Length There are two display options for marker position and length in the Marker List window: • Options > Position & Length in SMPTE units toggles the Marker position and length display between bar positions and SMPTE time positions. • Options > Length as Absolute Position toggles the marker length display between actual (relative) length and (absolute) display of the marker’s end position (shown as a bar position).
Using Markers to Set Song Position and Locators …in the Bar Ruler If you click on a marker in the Bar Ruler while holding Command, the current song position will be set to the startpoint of the selected marker. When you drag a marker up into the top third of the Bar Ruler, this will set a cycle of the same position and length as the marker (and thus the locator positions). If the sequencer is stopped when performing this action, the SPL will be set to the marker startpoint.
With Option-Command pressed … creates a new marker and opens the Marker Text window. With Command pressed • A short click on an existing marker sets the SPL to the marker startpoint. • Double-clicking on an existing marker starts Logic at the marker startpoint. • Grabbing, and pulling left/right, moves markers (holding down Control or ShiftControl allows smaller movements). • Grabbing, and pulling upwards/downwards, sets cycle lengths/erases markers.
• Special barlines: double barlines, final double barlines (“end of score”), half/short barlines, hidden barlines (displayed as dotted lines on the screen) and manually inserted regular barlines. Note: None of these symbols affects Logic’s MIDI and audio playback. Time signatures do, however, affect both the score display and the bar position display in all windows.
Arrange Window Techniques If necessary, you should reread the “Using the Mouse” section on page 13, the “Selection Techniques” section on page 36, and the “Edit Operations” section on page 34. These sections, and the techniques covered in the MIDI Regions section (see “MIDI Regions” on page 128), will teach you how to perform most Arrange window operations.
Inserting a Section Region > Cut/Insert Time > Splice: Insert Snipped Part at Song Position—This function combines the Insert Time and Move by Locators and Paste functions: All selected objects are cut at the left locator and a passage of one “cycle” length is inserted. Objects currently in the Clipboard are then pasted to the song position (which remains at the left locator position). Practical Usages “Snip”—removing an entire section of a song—such as a chorus.
Mode The Mode pop-up menu offers three different Copy functions, which copy the selected events to the destination position, leaving the selected data in its original position. • Copy Merge: The copied data is mixed with the data already present at the destination position. • Copy Replace: The data already present at the destination position is deleted, and replaced by the copied data.
Altering the Display For information on basic window functions, please refer to the section on Window Functions (see “Window Functions” on page 21). If you want to maximize the room available for the Arrange area, please refer to the section on Relationships between Windows (see “Relationships between Windows” on page 29).
Track Name Shows/hides the Track Name (see “Instrument Name and Track Name” on page 171). Instrument Name and Track Name Hiding one of the names makes more horizontal space available. To distinguish between them, the instrument name is always shown in bold type. Horizontal Layout If both the instrument and track names are shown, the names are divided by a line. You can move this dividing line by dragging the mark at the top of the track list with the mouse.
Editing Instrument Names You can edit the Instrument/Audio Object name by Option–double-clicking directly in the track list. You can also use the Instrument Parameter box. Editing Track Names You can edit track names by Command–double-clicking directly into the track list— even if it’s only the instrument name that is shown. Region Display Contents Visible in MIDI Regions If you vertically zoom the display, you will be able to see the actual events contained within MIDI Regions.
Show/Hide Channel Strip Only A View menu option (and key command) allows you to hide all elements of the Parameters area — except the Arrange channel strip. This is extremely handy in cases where a high number of active Inserts and Sends are used, and displayed, on small screens (such as that of a 12" PowerBook). The same command can be reused to toggle back to the full view of the Parameters area.
You can set this function to operate automatically after loading any song by activating the After loading Song, send: Used Instrument MIDI Setting option, in the Song Settings > MIDI page.
4 Audio in the Arrange Window 4 This chapter discusses the importing, creation, editing, and handling of Audio Regions in the Arrange window. You will also learn a number of automated recording techniques, discover crossfading, looping, and tempo matching. Further to this, you’ll find out about the Freeze facility, which allows you to create projects that are beyond the real time capabilities of your computer. Regions Creating Regions MIDI Regions are containers for MIDI events in the Arrange window.
Multiple File Dragging You can drag multiple audio files from the Audio window or a Finder window into the Arrange window. To do so, simply rubber band contiguous files, or command-click noncontiguous audio files in the Finder or Audio window, and drag them to the desired Arrange window position. The following dialog will be launched: • Create new tracks—creates new tracks for each dragged file, using the next available • • • • Audio Object.
Editing Regions Dividing Regions When you divide a Region using the Scissors tool, you create two new Regions. The newly created segments of the Region are named after the original, with a sequential number appended to the end of the name. Using the Marquee Tool When applying the Marquee Tool (see “Editing Parts of a Region” on page 133) to a Region, the selected area will become a new Region once an operation is applied.
Scrubbing You can scrub playback of a Region to accurately select a division point, by using the Scissors tool and holding down the mouse button. This is only available on audio systems that support scrubbing. When using this feature, the Scissors tool works like a virtual playback head, which moves over the “virtual tape” (the Region). If you release the mouse button, the region will be divided at the current position of the Scissors tool.
Copying Regions Creating New Regions Copies of Audio Regions are made in exactly the same way as MIDI Regions—by dragging them while holding down Option. This automatically creates a new Region in the Audio window. The new Region will retain the name of the original, with a sequential number added. This allows you to alter the start and endpoints of the copied Region independently of the original. It is comparable to a genuine copy of a MIDI Region, which is created in the same way.
Moving Audio Regions You can grab Audio Regions in the Arrange window with the mouse, and move them around, just like MIDI Regions. Dragging will snap to increments defined by the Snap menu setting (see “Snap and Drag Menus” section on page 130). If you hold down Control while moving Regions, you can move them in steps of one division (in sixteenths, for example). If you hold down Control and Shift while moving Regions, you can move them by single ticks (maximum resolution).
This command is also available as a key command: Set Region(s) to original Recording Position. Inserting at the Record Position You can also copy (default: Command-C) or cut (Command-X) a Region to the Clipboard, and then use Edit > Paste at Original Position to insert it into the selected track, at the original record position.
Adjusting the Grid to Zero Crossings If Edit > Search Zero Crossings is switched on in the Audio window, the adjustment will snap to the nearest zero crossing point of the waveform every time you alter the start or endpoint of a Region in the Arrange window. The Anchor is not affected. The disadvantage of this option is that altered start or endpoints never land exactly on the selected musical grid, and will always be a few ticks out.
The Region Anchor The Anchor is an Audio Region’s temporal reference point. When you move an Audio Region, it’s not the start point that is displayed in the help tag (as with MIDI Regions)— it’s the Anchor point. As an example, to guarantee perfect synchronization between a one-bar drum loop and your MIDI Regions, the Anchor must be assigned to a well-defined musical point.
Feature MIDI Regions Audio Regions Can be freely positioned Yes Yes Left or right corner edit Yes Yes, and this affects the Audio Region, but not the position of the audio waveforms relative to the time axis of the sequencer Can be cut with the Scissors tool Yes Yes, creates a new Audio Region. Can have aliases made of them Yes Yes Left corner may be dragged to conceal data at beginning No Yes Have a variable musical reference point No Yes, a variable Anchor.
Arming Tracks First Method: • Click the button marked with an R, on the desired track in the track list. To show/hide these switches, select View > Track Record Button. If you have checked View > Track Record Button but the switch is still not visible, you should switch on the driver for the relevant audio hardware in the Audio > Audio Hardware & Drivers window. Second Method: • Open the Environment Layer containing your Audio Objects (by selecting Audio > Audio Mixer).
If several Arrange window tracks are assigned to the same Audio Object (“Audio 1”, for example), the new audio file (Region) will be recorded to the selected track. “Disarming” all tracks If several tracks are record-enabled, you can instantly disable them all by Optionclicking on any of the flashing REC buttons. Standard Recording with Count-in You can start recording at any point in a song by setting the Song Position Line to the desired location.
This function is technically difficult to perform on hard disk recorders, due to the unavoidable delay in switching between read and write modes (creating a file and so on). In practice, recording takes place from the moment you start. Logic then adds this automatic background recording to the exact position that you wanted it to occur. A free track is required for this purpose.
Audio Cycle Recording You can make audio recordings even when “Cycle” is switched on. A new track is created for every cycle repeat. All newly-created tracks are played by the same Audio Object. This prevents the different “takes” from being played simultaneously. If you stop recording just after a full cycle has ended, no new Region is created for the cycle that has just begun. The audio material is not lost, but is recorded after the last Region in the audio file.
No monitoring of any kind will occur if the Audio > Audio Hardware & Drivers > Software Monitoring (see “Logic automatically recognizes any installed Core Audio hardware, and will use the default settings—defined in Mac OS X’s 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 sound cards or a multi I/O card.
Split Stereo Regions are indicated by a stereo symbol consisting of two adjoining circles (see right image above). You can freely mix both formats, even on the same track. We recommend that you use the Interleaved Stereo format if your audio hardware supports it. Split Stereo files require around twice the hard disk I/O performance of Mono files. Interleaved Stereo files, by comparison, only require about one and a half times the throughput of Mono files.
The tempo is recalculated, making the Region exactly one bar long, and fitting the length of the Cycle perfectly. This does not change the playback tempo of the audio, but rather, makes the song tempo conform to the audio. Time Stretching Regions Logic allows you to change the length of audio Regions (without changing their pitch) directly in the Arrange window—using menu or key commands. Classic Transposition refers to the way the audio data is processed.
This is how scrubbing works: 1 Hit the Pause button on the Transport bar (see “Transport Buttons” on page 94). 2 Grab the Song Position Line with the mouse, and move it back and forth through the parts of the song you want to hear. Note how audio and MIDI data are played back in perfect synchronicity, when scrubbing. 3 You can scrub at any zoom resolution—so set up a magnification level that you’re comfortable with, for the section of the song you’re scrubbing through.
Genuine Mixdown with Clipscan If you combine audio data from two or more tracks, the current pan and volume values for the individual tracks will define the pan and volume settings in the new audio file. If you want to combine both sides of a stereo audio file (a mono channel on each of two tracks), first set the pan controls of the component mono sides to hard left and hard right, respectively. You can perform a mixdown while the sequencer is playing.
Non-destructive Fades Fade In, Fade Out and Crossfades can be performed with the Fade tool, or with the related parameters. The Fade In, Fade Out/X times and their curves can be found in the Region Parameter box. You can simultaneously adjust these parameters in all selected Regions. These fade parameters are non-destructive (will not change the original audio file), as opposed to the fade functions in the Sample Editor, or with the Glue tool.
Enter Fades using Mouse and Fade Tool As you’d perhaps expect, a fade in starts at the beginning, and a fade out occurs at the end of a Region. The length of fades can be adjusted in the Region Parameter box, but it’s simpler to use the Fade tool inside the Region where the fade is to take place. Fades are only visible if you are sufficiently zoomed in to see the waveform in the Region. • You can edit existing fade times by using the Fade tool in conjunction with Shift.
Crossfading with the Fade tool Use the Fade tool to mark the crossfade area of two adjacent Regions. This works, even if the two sections are not adjoining. Freeze The Freeze function saves almost 100% of the CPU power used for software instruments and effect plug-ins. You can apply it, individually, to audio or Audio Instrument tracks. Concept Internally, Freeze performs individual offline bounce processes for each “frozen” track.
As long as your computer is able to calculate all active processes in real time, it’s unnecessary to freeze tracks. Freeze is recommended whenever your system’s power runs short and one, or multiple, existing tracks with CPU-intensive instrument and/or effect plug-ins are in a finalized state, or at least seem to require no further changes for the meantime—in other words, a “close to final” mix.
The freeze process uses 100% of available CPU power. If, for example, a track uses 40% of the CPU for real time plug-in calculations, its freeze file will be created in two and a half times (faster than) the realtime speed. If the original track uses 100% of the CPU power, the freeze process will happen in (approximately) realtime—even if offline bouncing is used. Working with Frozen Tracks Once a track is frozen, you cannot edit any instrument or plug-in parameters (or related automation data).
Freeze Files The temporary freeze files are saved in a folder named “Freeze Files” which is created in the root directory of your project folder. Usually, you won’t need to access these freeze files directly. Logic manages these freeze files automatically in the background: They are created during the Freeze process, will play back in place of the original tracks (as long as these tracks are frozen), and will be deleted as soon as the Freeze button of the corresponding track is deactivated.
5 The Environment 5 The Environment is Logic’s “brain”. It allows you to control all MIDI input and output. Beyond basic input and output handling, the Environment can be used to process MIDI data in real time, and can even be used to create processing “machines”, such as virtual rhythm generators and step sequencers, or complex synthesizer editors. Environment—Introduction The Environment refers to Logic’s “virtual” environment inside your computer.
Opening the Environment Window To open an Environment window, select Windows > Environment (default key command: Command-8). Double-clicking on an instrument in the track list of the Arrange window also opens an Environment window, to the layer containing the corresponding Instrument Object. When the Environment window opens, the Object that represents the track Instrument you double-clicked will be highlighted. Basic Operation Layers Layers are “display levels” of the Environment window.
Creating Layers Selecting **Create!** from the layer pull-down menu creates a new, empty layer called “(unnamed) ”, at the end of the list. You can add a new layer above the current position in the list by selecting Options > Layer > Insert. Naming Layers Double-clicking on the layer box opens a text field, allowing you to enter a name for the current layer. Deleting Layers You can remove the current layer from the list by selecting Options > Layer > Delete.
Protecting Cabling and Object Positions You can prevent the accidental alteration of the position, size, and cable connections of all Objects by selecting View > Protect Cabling/Positions. Background If the cabling and Object positions are protected, and the cables are hidden, the background color changes. This usually looks better for virtual mixing desks and fader setups. List Display Selecting View > by Text switches the graphic display of the layers to a list display.
If you hold down Shift, you can also grab Keyboard or Fader Objects by their surface. Remember to first deselect any other selected Objects by clicking on the layer background, to avoid moving them as well. Snapping Objects to a Grid Select View > Snap Positions to align the Objects to an invisible grid. It’s a good idea to leave snap positions switched on. You only need to switch it off if you want to manually move an Object by a few pixels.
Replacing Objects If any Objects are selected when attempting to add Objects to the current layer via Edit > Paste, a dialog box 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. Assigning an Object to the Selected Track You can assign any Environment Object to the selected Arrange window track by clicking on the Object with the MIDI Thru tool.
The MIDI Signal Path Before any MIDI events received at your computer’s MIDI inputs can be recorded by Logic, there must be a connection between two Environment Objects, namely: the physical input and the sequencer input. In the sequencer, the events are always directed to the selected track, where they can be recorded. The events played by the track are mixed with any incoming events and sent to the Environment Object assigned to the track in the Arrange window’s track list.
Breaking the Direct Output Assignment To break the direct output assignment, set the Port parameter to off, the top entry in the pull-down menu. Cabling The cabling between Environment Objects provides control over the entire MIDI signal path. A cable is normally shown as a gray line between a source and destination Object. Objects always have an input on the left, and an output on the right-hand side. The output of an Object is shown as a small triangle, pointing to the right.
A cable connection to another layer looks like this: Deleting Cables To remove a cable connection, click the cable with the eraser, or select the cable and press Backspace. You can also remove a cable by grabbing it and plugging it back into the input of its source Object. You can use Edit > Clear Cables only to remove all selected cables, without also clearing any Objects that happen to be selected.
Special Outputs Some Objects, such as the Channel Splitter (see “Channel Splitter Object” on page 224), feature several—functionally different—outputs. In these Objects, each output is only available once. Other special Objects include the cable switcher (see “Cable Switchers” on page 254) and physical input (see “Physical Input/Sequencer Input Objects” on page 236).
Environment Objects Object Parameters Each Environment Object has several parameters that control its operation. These parameters can be viewed and changed in the Object Parameter box. The Parameter box also appears in the Arrange window when you select a track assigned to the Object. It also appears in the Environment window when you select the Object. These are the same parameters—changes in one location will be reflected in the other.
Standard Instrument This is the simplest track playback Object. It provides a direct connection to a single MIDI port and channel, which can be set in its Parameter box. You can also set a number of other playback parameters, including program bank and number, initial volume and pan, transpose, velocity scaling, and MIDI delay. To create a new standard instrument, select New > Instrument, or click on the layer background with the pencil tool.
To the left of the program number, directly to the right of the checkbox, you’ll see the bank select parameter. If your MIDI sound sources recognize Bank Select messages (check their manuals), you will be able to switch between sound banks. If your sound sources respond to the standard Bank Select message (Controller #32), you will be able to use this parameter directly. If not, you may define your own Bank Select commands (see “Defining Custom Bank Selects” on page 218).
Style The Style parameter is located at the bottom of the Parameter Box. It displays Auto by default, but can be changed to any of the available score styles. Whenever a Region is created on one of the instrument’s tracks, it will be assigned the score style displayed here. In the Auto style’s case, Logic will pick an appropriate style based on the pitch range of the notes in the Region. Don’t forget: you can change a MIDI Region’s Score Style at any time in the Display Parameter box of the Score window.
A multi-instrument consists of 16 sub-channels, each of which has a complete set of instrument parameters. The name, MIDI channel and output of each sub-channel is determined by the multi-instrument. All sub-channels share the 15 banks of program names, and use the same format for their bank select message. Multi-Instrument Parameter Box Once you have created a multi-instrument, you will see the multi-instrument Parameter box.
The Sub-channel Parameter Box The sub-channel parameters are the same as those of standard instrument Objects (see “Standard Instrument” on page 212). The only parameter you can not change is the MIDI channel. (If you change the output port, this will affect the entire multi-instrument and all other sub-channels.
Program Names There are 128 program names in the multi-instrument window. A total of 15 banks of 128 program names are available. There are several ways of entering the program names: • by double-clicking on the name (via the text input field), • by copying (via the Clipboard) from a different multi-instrument, or from a word processing program. The Clipboard functions for a whole sound bank are available in the text import pull-down menu (downwards arrow at the top right).
In the pull-down menu to the right, labeled Bank Message, you can define the MIDI events that are sent when you switch between the banks of the multi-instrument. Different bank select formats are used by different MIDI instrument manufacturers— please consult your instrument’s manual to see whether it supports bank select messages and if so, what format it uses. With modern synths, there’s a good chance the format will be one of the top items in the pull-down menu: either controller# 32 or controller# 0.
Here, the Bank Select command “Bank 1” was set up to send three events: first, (a) a controller #32 message with a value of 1, then (b) a controller #0 message with a value of 0 and finally, (c) a SysEx message. If there are no events defined for a particular bank, a standard Bank Select message will be sent for that bank. The custom bank select information becomes part of the instrument, and will be automatically copied with it, should you replicate the instrument Object.
Object Parameter Box The mapped instrument’s parameters are a subset of the standard instrument (see “Standard Instrument” on page 212) parameters. The missing settings are available on a note-by-note basis in the mapped instrument window. Mapped Instrument Window To open the mapped instrument window, double-click on the mapped instrument icon in the Environment window. The rows correspond to input notes, and the columns contain the various parameters available for each note.
Velocity Used to set a velocity offset, which is added to or subtracted from the velocity of the incoming note. You can either; grab the number and use the mouse as a slider, or click the desired point on the beam. Initialize > Output Velocities resets all velocity offsets to 0 (no offset). Cha Sets the MIDI channel of individual notes. This allows you to play individual sounds from different drum sets in the same sound generator. You will normally use the Base setting here.
To create a new GM Mixer, select 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. This includes the GM set of 128 program names (with variation banks for XG or GS), MSB/LSB bank select messages, and standard controller names (#1 for mod wheel, #2 for breath, #7 for volume, #10 for pan, #11 for expression, and so on).
Extras If enabled, the “V TC A1 A2” extra tracks are displayed: • V for Video • TC for Timecode • A1 for Aux Track 1 (or A) • A2 for Aux Track 2 (or B) Keyboard Object The keyboard Object is used for creating notes with the mouse. It will also display all notes passing through it. In this sense, you can think of it as a realtime, note-on monitor. You can create a virtual keyboard by selecting New > Keyboard. The keyboard Object generates MIDI note events when clicked with the mouse.
Channel Splitter Object The channel splitter routes MIDI events by channel. It offers an output for each of the 16 MIDI channels, and an additional “SUM” output. If a particular channel output is not connected to anything, events for that channel will appear at the SUM output. To create a new channel splitter Object, select New > Channel Splitter. You can use the channel splitter to reroute MIDI events to different cables, in accordance with their MIDI channels.
Working Principle The transformer first checks whether or not an event corresponds to certain conditions. If it does, then certain operations are carried out. Events which do not meet the conditions may pass unchanged to the output, or may be thrown away. The transformer can also make copies of matching events before altering them, and can split the selected events from the unselected ones, via its two top cables.
• Copy matching Events Apply Operation (rev. order) This is the same as above, except the original is parsed after the processed copy. You might want to use this when converting note events to pan controllers, for example. This causes the pan message to be sent before the note. (Many synths don’t alter the pan position of notes that are currently playing). • Condition Splitter (true → top cable) Events that match the conditions are altered by the operations, and sent to the transformer’s top output.
Conditions and Operations The conditions and operations are the same as those found in the Transform window (see “Transform Window—Introduction” on page 587). The only differences arise from the fact that transformer Objects work in real time and therefore, position and note length have no useful meaning. Pitch Bend editing The transformer can process 14-bit pitch bend events: if byte 1 is changed (by addition or scaling), the change will also affect the second byte.
You can remote-control any fader by using its In definition, allowing you to use faders (as well as other transformers) to convert MIDI events to meta events—for remotecontrol of transformers. Condition: Map Most transformer conditions are numerical relationships (=, unequal, inside, and so on), and the condition is met if the incoming MIDI event value satisfies the condition. The last condition, Map, works a little differently.
Once set up, you can use the arpeggiator with live MIDI input, or for MIDI Region playback. You can also record the output of the arpeggiator by cabling it into the sequencer input Object. If you do this, be sure you either record to a no output track, or break the arpeggiator’s connection to the MIDI output.
Repeat (+7) On continues the arpeggio for as long as the chord is held down. Off finishes the arpeggio after one run. Octaves (+8) The arpeggio can be repeated over 1 to 10 octaves. Crescendo (+9) The velocity value set here (−99 to +99) is added every time the arpeggio is repeated (provided Repeat is set to On, of course). Control Base All 10 parameters of the arpeggiator can be remote-controlled by controller events.
Delay Line Parameters The Delay Object has the following parameters: Thru Original If this box is checked, the original signal is passed thru. If unchecked, the original signal is suppressed. Repeats Number of event repeats (1 to 99). Setting 0 = delay switched off. Del The delay time between the individual repeats. The left value is in divisions, and the right value in ticks. Trp The transposition of note events per repeat (±99 semitones).
Top = lowest (pitched) notes are turned off first. Bot = the highest (pitched) notes are turned off first. Last = the earliest notes (those played first) are turned off first. Chord Memorizer Object The 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 12 notes in it.
Key The entire chord map is transposed by the amount set here (±99 semitones). Example: if you map C to CEG, and set key to 1, then C# will be mapped to C#FG#. Example: if you want to map single notes to triads within a given key, first set the key, then define each of the triad chords (see below). When you want notes mapped to the triads in a different key, just change the key parameter.
Touch Tracks Object Touch Tracks turns Logic into an interactive live sequencer. A touch tracks Object allows you to trigger MIDI Regions or folders with single notes. You can not use touch tracks to trigger audio. In the following section, any references to Regions mean folders and MIDI Regions, not Audio Regions. m To create a Touch Tracks Object: Drag a MIDI Region or Folder from the Arrange window into the Environment window or select New > Touch Tracks.
A vertical gray line means that the setting is the same as the line above. If you change a vertical gray line that is above another vertical gray line, the lower one will change to display its previous value (it will no longer be the same as the line above.) Group To the left of the Region/Folder name is the group column. Groups behave as they do in the Hyper Editor—when you trigger a Region, any other (currently playing) Region in the same group will stop.
Toggle Playing the trigger note starts the Region. Playing it again stops playback. Toggle Loop Playing the trigger note starts Region looping. Playing it again stops playback. Start This column allows you to quantize Region start and stop. Free means no quantization. The next 1/16, 1/4 or 1/1 settings start or stop the Region at the next 1/16 or 1/4 note or at the beginning of the next bar, when a trigger note is played. Delay This column allows you to assign a delay to the Region startpoint.
The top output (SUM) carries the MIDI events for all individual outputs that are not cabled separately. MIDI Remote Control Remote control events are intercepted at the physical input Object, and are not passed through to its outputs. As such, remote control events will not reach the Environment, or be recorded on Arrange window tracks. If you want to trigger a MIDI remote control action from a fader or transformer, cable the Object’s output back into the physical input Object.
Each song can have only one MIDI metronome click Object. You only need to create a MIDI Metronome Click Object if the one that existed when the song was created has been deleted. If you do need to create one, select New > MIDI Metronome Click. Internal Objects “Internal” Objects include instruments located inside your Macintosh (such as a PCI card and/or software synthesizers).
Settings Apart from common parameters, the Rewire Object offers three settings: Device: This setting refers to the ReWire application(s) that Logic can connect to. If one or more ReWire applications are running, it will display the names of these applications. Bus: Lets you choose the ReWire Bus from all available ReWire busses. If a ReWire application provides bus names, they will be shown.
Alias You can create an alias of any Environment Object, and it will behave exactly like the original. In the case of faders, the alias has its own value—which can be different than the value of the original Object. This is particularly useful if using text faders, as they consume a lot of memory—if you need several text faders of the same name, make several aliases of one original Object. To create an alias of any Object, select the Object, then choose New > Alias.
Share Name/Share Size These two parameters do just what they say—when checked, the alias shares the size and/or name of the original. If unchecked, it can be resized and given its own name. Copying Aliases If you copy an alias, you will create a new alias of the same original. If you select and copy both an alias and its original, you will create a copy of the original with its own, separate alias. Ornament You can create an ornament by selecting New > Ornament.
Macro parameters Macros have four parameters: Icon & Instrument List Checkbox As usual, the checkbox next to the word Icon determines whether the macro appears on the Arrange window’s Instrument List. If you use a macro as a (selected) track instrument, events played on the track, or incoming MIDI events will be sent to the macro’s input Object (see above). If you place a macro on the Instrument List, you can choose any of the available icons for it, via the usual pop-up menu.
Audio Objects The Environment’s audio Object (see “Audio Objects in the Audio and Track Mixer” on page 269) is the “building block” of the Environment Audio Mixer. They are also used to create audio tracks in the Arrange window—audio tracks are simply tracks with Audio Objects assigned to them. Although audio Objects are not part of the MIDI signal flow, they still allow MIDI controller messages to control aspects of Logic’s audio playback.
In general, a fader’s style is completely independent of its type. A cable switcher can look like a button, a knob can send out MIDI or meta or SysEx events, and so on. The one exception is the Vector style fader—these behave in a special way, by sending out two (or in special cases, four) messages at a time, depending on the mouse location within their 2-dimensional, vector window.
Fader Operation Normally, you’ll grab the surface of a fader, and drag it vertically or horizontally, depending on it’s style. Knobs can be dragged either vertically or horizontally. When the fader features a numerical display, you can grab this number and use the mouse as a slider. The advantage is that if you drag slowly, the fader output will move in increments of 1 value unit, regardless of the size of the Object.
… > Definition, number increment increases the first data byte of the definition (controller number, for example). Cabling serially The Options > Cable serially function connects all selected Objects in series, beginning with the Object at the top left. Names with Numbers If you name one Object in a selected group of Objects with a name that ends in a numeral, the remaining Objects will be renamed with this name, but with sequentially increasing numerals.
Recording and Playback of Fader Movements 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 is in record or record/ pause mode. The recorded events correspond to the out definitions of the faders. Playing Back Fader Movements Any fader will react to incoming events that match its In definition. The fader must, of course, be in the MIDI signal path.
Numerical You can double-click the numerical field of a numerical fader, and type in a new value. If you click and drag slowly on the numerical field, fader values will change in single step increments. Buttons Button style faders send only two possible values, corresponding to the minimum and maximum values of their range. When on (hollow or Xed in the illustration), the maximum value is sent. When off (filled or not Xed in the illustration) the minimum value is sent.
Text Fader Range A text fader only allows the entry of as many names defined by its range. To clarify, if you set a text style fader’s range to 0, 1 you can only enter two values. You should always set the minimum necessary range for a text fader, as this saves memory. In any case, remember that the first name corresponds to the lowest value in the range (not necessarily 0) and the last name corresponds to the highest value (not necessarily 127).
-1- (0 to 127): defines the first data byte of the event. In some cases, such as pitch bend, this is an actual data value. In other cases (MIDI controllers), this indicates the controller type (volume, pan, and so on, as examples). In other cases, such as aftertouch, this byte is unused. Here is the meaning of the -1- parameter and fader position for each of the In and Out definition choices: Note On The -1- parameter sets the pitch, and the fader position sets the velocity.
Fader Functions: Range, Val as 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. For text style faders, the first name always corresponds to the low end of the range, and subsequent names correspond to incremental range values, up to the top range.
All All incoming MIDI events are filtered. Thru All MIDI events coming from the physical input Object are filtered. This is the same as turning off all events coming from Logic (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.
Vector Fader Vector faders function like joysticks—they can be moved in two dimensions: up/down and right/left. 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 In and Out definitions (see “Fader Functions: Range, Val as” on page 251) which determine the MIDI events sent by the fader (Out), and those it reacts to (In).
Special Faders Overview Switchers, Alias Assigners and Meta Faders These are two types of faders that do not generate MIDI events. They share the same Out definition type—namely, the one at the top of the definition menu.
Data values of 126 and 127 have a special effect: • An event with a value of 127 increases the output number. If you’re on the switcher’s last output when this event is received, you’ll jump back to the first output. This is just like clicking on the fader. • An event with a value of 126 decreases the output number. If you’re on the switcher’s first output when this event is received, you’ll jump forward to the last output.
Meta Event Controlled Logic function 126 Set transformer operation maximum (bottom) parameter, if any. (This applies to all operations not set to Thru). 127 Set transformer operation minimum (top) parameter, if any. (This applies to all operations not set to Thru). For more on Meta events 124 to 127, read the section on Remote Controlling the Condition and Operation Values (see “Transformer Object” on page 224).
You can also specify SysEx as an In definition, but this has limited usefulness because the incoming message (presumably SysEx) must be very short, in order to be recognized. This is a side-effect of the fact that SysEx messages can be of any length, and Logic must break them into small packets to avoid interrupting other MIDI activities. Opening the Fader Event Editor window When you set a fader’s Out or In definition to SysEx, its event list window opens up.
• 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). • The manufacturer’s ID is usually followed by a device type ID, an individual device ID, a data type ID (which could be several bytes) and, if necessary, the number of the multi-timbral sub channel, the identification number(s) of the sound parameters plus the value of the sound parameter.
• 2’s complement • 1’s complement If you don’t know which one works with your MIDI device, try “off” (= no checksum) first or “2’s complement”. Value byte position Position allows you to determine the position of the value byte. This position is specified in bytes, counted from the end of the message: “last” refers to the position directly before the EOX byte, “Last-1” indicates the byte before that, and so on.
Environment Exchange Overview One of the main reasons for the Environment is to customize Logic to your MIDI studio. This can present a problem when sharing songs with other musicians, or using different studio setups. It also presents a problem when you return to older songs after you’ve changed your studio. Logic offers several functions to make these transitions as easy as possible.
If the Environment patch you wish to import is complex and spread across several Environment layers, you should use the merge feature (Options > Import Environment > Merge). In this scenario, all Environment Objects from the source song will be added to the Environment of the destination song. One thing to watch out for here is that merged Objects will be placed on the same layer as their source, which can create a mess if Objects already occupy that layer in the destination song.
Replacement by Assignment The most flexible (and most time consuming) method of exchanging Environments is to indicate whether each Environment Object is kept, deleted, or replaced. If you choose to replace an Object, you must also define the replacement Object. This method is accessed via Options > Import Environment > Custom.
Logic maintains an internal list of all Environment Objects. When Objects are deleted, their position in this list becomes available for a new Object. Whenever an Object is added to the Environment, it is placed in the first available position on the list. (If there are no empty positions, it is added to the end of the list). An Object’s position in the list is its Unique ID—as long as the Object is not deleted, its Unique ID never changes.
6 Logic’s Mixing Facilities 6 Logic provides you with different Mixer windows, designed to make mixing a painless and intuitive process. Logic’s two major Mixer windows—the Audio Mixer and the Track Mixer—are the topic of this chapter. We will first have a close look at the specific characteristics of the Audio Mixer. Before we move on to the Track Mixer, we will provide you with detailed information on Audio Objects, which are the building blocks of the Audio and Track Mixers.
The specification and size of the Audio Mixer depends on the hardware used; it configures itself when you start Logic, or create a new song. The Environment’s Audio Object is the “building block” of the Audio Mixer. All Audio Objects used in your current song are shown in the Audio Mixer. If plug-ins and auxiliary sends are included, the size of the Mixer increases automatically.
Connections The signal within the various Audio Objects requires no cabling, or any kind of manual connection. The signal is routed via the corresponding slots in the Audio Object. As an example: the Send slots connect a Track or Instrument Object to the Bus Object; the Output slot connects the various Objects to an Output Object. Logic’s virtual audio mixer resembles the routing and connection options of traditional mixing consoles.
Note: Stereo Inputs and Outputs are available as separate menu items. When you select Audio Object types, you’ll notice the following text styles are used: • Outline: This indicates that the Object is not available. This happens when a song was produced on a system with more tracks than yours (track 9 on an 8-track system, for example). • Normal: This is used for Objects that haven’t been defined in the Environment, and are therefore not in use.
Note: You can construct your own audio mixing desks, on different layers, each with different display options. Thus, you can adapt the mixing desks to fit within your Screensets. You might create a layer where all Objects only show the level and pan controls as part of a Screenset that also displays an Arrange window, used for basic tracking. On another layer, you might create a mixer that shows all controls, for use during mixdown.
• Input: Click-hold on any selected channel’s Input slot, and make your selection from the list. All selected channels will receive their signal from the chosen input(s). • Output: Click-hold on any selected channel’s Output slot, and make your selection from the list. All selected channels will be routed to the chosen output (pair). • Automation Mode: Click-hold any selected channel’s Automation mode pop-up menu, and make your selection from the list.
Element Audio Object Channel EQ Track, Instrument, Input, Bus, Aux, Output Inserts Track, Input, Instrument, Output, Bus, Aux Sends Track, Input, Instrument,Aux Input Track, Instrument, Aux Output Track, Input, Instrument, Bus, Aux Group Track, Input, Instrument, Bus, Aux, Output, Master Automation Track, Input, Instrument, Output, Bus, Aux, Master Pan/Balance Control Track, Input, Instrument, Output, Bus, Aux Levelmeter Track, Input, Instrument, Output, Bus, Aux Headroom/Clip Indicator
Inserts If you have enough processing capacity, you can use up to 15 Inserts per Audio Object. An extra blank Insert is created, as soon as all of the currently displayed insert slots are used, up to the maximum allowed. The Insert pull-down menu displays all available Logic plug-ins, as well as all correctly installed Audio Units plug-ins. Note: Shift–double-clicking on a used (active) Insert slot will open the Plug-in window as a non-float window.
As there are obviously different classes of Audio Objects, a number of sub-folders (Audio, Instrument, Aux, and so on) are automatically created in the /Applications/ Logic/Channel Strip Settings folder when you first save a Channel Strip Setting. Channel Strip Settings are identified by the “cst” file extension. Important: Please do not attempt to change the Channel Strip Settings folder structure.
Post and Pre Fader Aux Sends Sends in analog mixers are positioned either before (“pre”) or after (“post”) the fader. To select one of these options in Logic, click-hold the Send slot. The Bus menu opens, and you may select either Post or Pre at the top of the list. A post fader signal level, routed to the Send, changes along with volume fader movements.
In/Output Input Selection The Input field allows you to select the desired audio input of your audio hardware. This input (or input pair) supplies an audio signal to the track when recording. If Monitoring is switched on, the signal of this audio input will be routed to the output (or bus) selected in the Output field, when the track is record enabled. The number of available inputs is determined by the audio hardware in use.
Pan/Balance Mono Objects feature a Pan control, which determines the position of a signal in the stereo image. Stereo Objects, on the other hand, possess Balance controls. The Balance control differs from the Pan control in that the former controls the relative levels of two signals (L/R) at their outputs. The latter merely apportions one signal between two outputs. Note: You can reset the Pan control to it’s centered (0) position with an Option-click.
Fast Assignment Groups can be quickly set and cleared by holding Option-Control when clicking on the Group display. The last Group setting—including overlapping groups—will be applied to the current channel, without opening the pull-down menu. Group Settings The Group pull-down menu (of the Group display) also allows you to open the “Group Settings”. The following options can be set for each individual group, in the Group Setting dialog: Enable A group can be completely en/disabled with this option.
Pan The panorama setting of all member channels is linked. As per volume, their initial relationships are maintained. Send 1—8 You can link the Send levels individually for Sends 1—8. Different initial levels will be maintained. Group Automation Any Group member can act as a “master” for mix automation of an automated parameter such as volume.
Surround Logic allows for mixdowns in surround format, with up to eight output channels. Surround formats supported include all common formats, including the most demanding, like the 7.1 format. To use surround, the audio hardware and driver must have and support more than two outputs. Encoding or decoding does not take place. The use of surround does not imply any manipulation of frequency response characteristics or delay treatment.
The Surround Pan Window Double-click the Surround control that replaced the Pan control. The Surround window launches, giving you a closer look at the Surround control. Grab the parameter field in the top of the window, and select the desired surround format (7.1, for example), which was designed for big cinema theaters. The seven loudspeaker symbols appear around the surround control.
Bouncing Surround Audio Files The surround settings display the file name extensions that will be appended to the file names resulting from a surround bounce. Bouncing a surround mix will create more audio channels than your usual stereophonic bounce/mixdown, and these extensions are used to identify the files. Click on the various fields to edit the extensions. Select Surround Bounce in the normal bounce dialog (after clicking the bounce button at the bottom right of an Output Object or via File > Bounce).
Clip Detector The clip detector above the level meter shows you the headroom of a track in dB. When a signal clips, the clip detector will turn red; the value indicates the amount that the signal needs to be reduced, in order to prevent 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 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.
You can switch other Object types in the same way, using the global Toggle (Mute) Audio Inputs, Toggle (Mute) Audio Aux, Toggle (Mute) Audio Bus and Toggle (Mute) Audio Outputs key commands. Solo/Mute Solo All Audio Objects have a Solo button. This mutes all other Audio Objects of the same hardware type. Muted Objects are indicated by a flashing M in the Mute button. Please note that this does not mute MIDI tracks. You can also solo several Objects at once.
Stereo Objects All Audio Object types (Track, Input, and Output) may be configured as stereo. Logic uses true stereo tracks, provided that Preferences > Audio > Drivers > Universal Track Mode (UTM) is activated. This means that Track 2 is unaffected when you configure Track 1 as stereo. DAE Hardware Users: Please note that setting a track to stereo will “grab” the adjacent track. Audio Regions on the tracks of stereo Objects are always dealt with together, no matter what type of operation being performed.
Track Arming The Record Enable button (see below) “arms” a track, making it ready for recording. Once armed, the Record Enable button flashes red. It remains constantly lit during the actual recording. If the control flashes between gray-red, this indicates that no audio track is selected in the Arrange window, and no recording can take place. Please select the corresponding Audio track in the Arrange. Rec controls only exist for Track Objects.
4 The ensuing file selector allows you to enter a destination folder and name for the bounced file. Note: Mono bouncing is possible when the Output Object is set to mono. In this situation, a mono audio file is generated. Global Options in the Bounce Dialog Window Several global options are available in the Bounce Dialog window, regardless of the file type(s) being bounced.
It’s often a good idea to set the End position of the bounce a little bit past the end of the last Region, ensuring that reverb tails and echoes from delay plug-ins are not chopped off. The amount of extra time needed will, of course, depend on the effect settings used. As you adjust the Start and End position parameters, you are shown the hard disk space requirements for the bounced file above the Cancel and Bounce (Bounce & Burn) buttons. Bounce Mode • Realtime: Creates the bounce file in real time.
PCM Options in the Bounce Dialog Window File Format You can select between a PCM file (in SDII, AIFF, or Broadcast Wave format) or MP3, AAC, and burn to an Audio CD in one go. PCM, MP3, and AAC files can be individually bounced and added to the iTunes library. PCM files in SDII, AIFF, or Wave format can be added to the Audio window. Resolution This is where you define the resolution of the bounced file. The options are 16 Bit, 8 Bit (for multimedia productions) or 24 Bit (for mastering to DVD).
Dithering Dithering (see “Bouncing and POW-r Dithering” on page 84) is recommended when bouncing 24 bit recordings into 16 bit files. “Add to” Options The Add to Audio window option adds the bounced PCM file(s) to the Audio window The Add to iTunes library option adds the bounced PCM file to the iTunes library. Note that iTunes does not support SDII. Should the file be in SDII format, this switch will be disabled.
Note: Should the selected sample rate be higher than 48 kHz, a temporary copy of the bounced PCM file is created—with an automatic sample rate conversion to 48 kHz before encoding. This conversion takes place because the MP3 format does not support sampling rates higher than 48 kHz. If the PCM option is disabled in the Destination menu, a temporary PCM file is bounced as a source for encoding to MP3/AAC and/or burning to a CD—in accordance with the options selected in the PCM page.
Stereo Mode You can select joint stereo or normal stereo mode. Depending on the original file, these settings may (or may not) offer any audible difference. Experiment with both settings to determine your preference. 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 the dialog launched via a click on the ID3 Settings switch.
AAC Format Options The AAC options are not directly available in the Bounce Dialog window (due to a limitation in QuickTime), with the exception of the Add to iTunes library option which adds the encoded AAC file to the iTunes library. You first need to type in a file name, and press the Bounce button before you can access the AAC (Sound Settings and Options > MPEG-4 Audio Compressor) options. When enabled, AAC disables PCM > Surround (following a warning message). Split Stereo is, however, possible.
Use These radio buttons allow you to select either a mono or stereo output file. Options The Options switch launches the MPEG-4 Audio Compressor window, discussed below. MPEG-4 Audio Compressor Window Compressor Selects the compression encoder. By default, this is AAC (Low Complexity). Bit Rate A number of predefined bit rates are available in this pop-up menu, ranging from 16 kbits/second to 320 kbits/second.
Burn Options Logic can directly burn Red Book audio to blank CDs. Note: Enabling the Burn option automatically disables the PCM > Surround and Split Stereo options (following a warning message). This is because CD Audio only makes use of interleaved stereo files. Should the selected sample rate be higher than 44.1 kHz, a copy of the bounced PCM file is created—with an automatic sample rate conversion to 44.1 kHz before encoding.
Speed The first time you use the Speed pull-down menu, a request is made to the CD burning mechanism, which may take a while. Once the scan is complete, you may freely select from the available speeds. Dithering Use of the Dithering parameter is recommended when bouncing 24 bit recordings into 16 bit files. Bounce & Burn Clicking the Bounce & Burn switch initiates the Bounce and burns the audio to CD.
If you are using the native engine, you can limit the number of tracks via the Audio > Audio Driver > Max. Number of Audio tracks setting for the individual driver/hardware, thereby limiting the amount of memory and processing power required. The Track Object features the following elements (see “Elements of the Audio Object” on page 270): EQs, Inserts, Bus Sends, Input/Output, Grouping, Automation, Pan, Level, and Level meter, Mute/Solo, Mono/Stereo, Track Arming.
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-ins—even while Logic is stopped. In other words: Input Objects behave just like external hardware processors. Bus sends can be used pre or post-fader.
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.
When an Audio Instrument track is selected, it is ready to be played in real-time and consequently produces some system load. Normally, Logic releases system resources used by the Audio Engine when the sequencer is stopped. This is not true, however, if an Audio Instrument track is selected in the Arrange and is therefore available for realtime playing. Selecting a MIDI track or a normal audio track exits this “stand by” mode and releases reserved system resources the next time the sequencer is stopped.
ReWire Logic supports the ReWire software interface from Propellerheads, a software manufacturer. ReWire is an interface between sequencer and audio applications. ReWire works with hardware supported by Logic’s native audio engine (see “The Audio Hardware and Drivers Dialog” on page 377). Please start Logic first, and then start your ReWire application(s). ReWire scans for ReWire-compatible applications or system extensions; Propellerheads’ Reason, for example.
Output Objects Output Objects represent Logic’s audio outputs. This is where level and stereo balance are adjusted; mastering plug-ins can also be inserted here, such as multi-band compressors or the Linear Phase EQ. The number of available Outputs is determined by the audio hardware in use.
Bus Objects The Bus Objects can be used in several ways: They can be used to route audio signals to external devices via the individual outputs of the audio hardware, allowing you to change their level and pan settings, and apply plug-ins, if you wish. They can be used as subgroup channels, which control the level of several audio channels at once.
The Bus Object features the following elements (see “Elements of the Audio Object” on page 270): Inserts, Grouping, Automation, Pan, Level, and Level meter, Mute, Stereo/ Mono. Auxiliary Object The native Aux Object can be either mono or stereo. Aux input sources will appear as either stereo pairs, or single mono channels, dependent on the mono/stereo status of the Aux channel. It is possible to use the same input source for several Aux channels.
The Aux Object features the following elements (see “Bus Objects” on page 302): Inserts, Sends, Input, Output, Grouping, Automation, Pan, Level, and Level meter, Mute, Stereo/Mono. Aux Objects as Bus returns By definition, Sends (which are, in effect, the busses) are not available directly on Bus channels. Busses can, however, be set as the Input source for Aux channels. In doing so, the Aux channels act as bus returns, allowing the use of Sends.
Moving the master fader does not affect the position of the Output Object sliders, but rather, the signal levels directly. These level changes are reflected in the level meters of each Output channel. The Output Object features the following elements: grouping, automation, Level, and Mute. Audio Configuration Audio Configuration Window The Audio Configuration window can be accessed via Audio > Audio Configuration, and Options > Audio Configuration in the Audio window.
Resetting the Audio Recording Path Select Edit > Remove Record Path in order to reset the audio recording path. I/O Labels You can define names for each Audio Object’s I/O options, which can be used instead of defaults like “Input 1” or “Output 8”. Select View > I/O Labels to do so. Be sure to select the right hardware in the Device menu. You can individually name any audio input, output, or bus for each audio hardware type. To the far left, you’ll see the default names.
Between Different Devices Select the source device (Device menu). Select Edit > Copy, and change to the target device (Device menu, again). Select Edit > Paste. The standard Copy/Paste key commands can be used, as well. Track Mixer To open, select Windows > Track Mixer. Note: If you press Option while opening a Mixer window, it will appear as a float window. Unlike the Audio Mixer, the Track Mixer deals with both audio and MIDI tracks.
Track Filter The Track menu is used to define the types of tracks displayed in the Track Mixer. Track Filter Switching Techniques You can set Global and Track views separately with the Filter Buttons. • Command-click doesn’t change the Track Filter setting when switching Global view • • • • • • on and off. Clicking without a modifier on a disabled track type will enable the view of this type, and disable all other types. Clicking without a modifier on a currently enabled track type will enable all types.
If you enable the Same Instrument Tracks option, identical Arrange window tracks are also displayed in the Track Mixer. These tracks have redundant settings for volume, pan, and so on, so it’s usually unnecessary to display more than one. The mute settings, however, may be different for each track. Like the other editors, the Track Mixer can be stored as part of any Screenset (see “Screensets” on page 32).
Track Selection when Playing or Recording You can prevent the track selection from changing when making an adjustment to a channel, while Logic is in recording or playback mode. There’s an independent parameter for each situation; Options > Change Track in Record Mode and Options > Change Track in Play Mode. MIDI Channel Strips Operation This section deals with the MIDI channel strips of the Track Mixer, as well as those of the GM Mixer (see “GM Mixer Object” on page 221).
Controls The Track Mixer > View > MIDI Track Components menu allows you to switch the display of the different MIDI Channel Strip controls on or off. Bank If your sound source “understands” bank select events, you can choose the bank number for each of the 16 MIDI channels. Please remember that not all synthesizers support bank select events. You can use several different bank select formats (see “Defining Custom Bank Selects” on page 218).
Other Controllers You can send any controller data—to control different parameters of your sound source—with each of the upper rows of knobs. Selecting Other Controllers In the Track Mixer, you can simply click on the label above the knob to choose a different controller. In the View > MIDI Track components menu you can determine the number of controller knobs by choosing Assign 1–5. The default is set to two knobs. In the Environment GM Mixer, use the text boxes on the left to choose different controllers.
7 Automation 7 Logic features a very sophisticated, yet simple to use, track-based automation system that allows you to create and play back fully automated mixes. In addition, Logic offers a range of automation features that complement the trackbased automation system. These can be used in isolation, or in conjunction. Automation—Introduction “Automation” is the ability of a mixing desk to record, edit, and play back the movements of its volume faders.
There are three ways of writing and editing automation data in a track: • Moving the on-screen faders and controls using different automation modes. • Drawing automation data with HyperDraw (see “HyperDraw Functions” on page 323). • Using Logic Control or another control surface. Track Based Automation is the recommended method for all automation tasks. It is sample accurate, and therefore, very precise.
Track Based Automation Display Select View > Track Automation to display Track Based Automation data in the Arrange window. This is also available as a key command. As long as this function is unchecked, Regions appear as per usual. The gray shaded Track Automation area is only displayed when the vertical zoom is set to a sufficient height, as is the case with Region Based Automation (HyperDraw).
Viewing Multiple Parameters Background display of other parameters The background of the automation track shows all other automation data (not the currently selected parameter) at a lower contrast level—when the track is at a sufficient zoom level. Volume is beige (dark yellow), Pan is dark green, everything else is dark blue. The transparency of background objects and the other track automation data can be adjusted to your needs in Preferences > Display > Arrange.
Read Read will automate the current track, using the existing automation data. The data cannot be changed in realtime by touching/moving the fader. Touch Touch will automate the current track in the same fashion as Read. Should the fader be touched, the existing Track Automation data of the current fader type will be replaced by any new fader movements—while the fader is pressed/ touched. Touch is the most appropriate, “standard” mode, used for creating the mix.
The Write mode of traditional mix automation systems will rarely be needed when working with Logic’s advanced Track Automation features. It’s mainly there to complete the selection of automation modes. It’s easier to erase automation data by selecting Options > Track Automation > Delete All Automation Data of Current Track (or All Tracks, respectively). In earlier analog mix automation systems, the Write mode was the only way to erase automation data from tape when beginning a new project.
Behavior in Stop Mode In Stop mode, the Automation write modes are ignored, and no data is written if the fader is moved. There is, however, one exception: if there are no dynamic changes (no automation data), the current fader setting becomes valid for the whole song. This is the default behavior for all mix parameters, when you start a fresh song. Deleting Track Automation Data The following, self-explanatory, automation data erasure options are available.
The display of the contents of the automation folder makes it easier to edit the automation data independently from Regions. In normal circumstances, however, it’s usually quite useful to see the Regions while designing the mix. As such, you’ll probably find that you rarely open this folder view. Automation Quick Access This feature makes Track Automation extremely fast and simple if you only have one hardware MIDI controller available (one fader on your MIDI keyboard, or maybe just the Modulation wheel).
Transform Track Automation Splitter It is possible to integrate an external MIDI controller (Modulation Wheel and so on) into Logic’s automation system, and record external MIDI information as Track Automation data. This is best achieved with the Automation Quick Access (see “Automation Quick Access” on page 320) feature, but it can also be done by using the Transformer Environment Object (see “Transformer Object” on page 224).
Region Based Automation Region Based Automation writes automation data directly into Regions as MIDI controller (or other) data. Recording of MIDI automation data Region Automation data is recorded just like regular MIDI events. Logic must be in Record Mode to capture this type of automation. You have the following options for MIDI automation data recording: • Set the automation mode of a Track Mixer channel strip to “MIDI”.
HyperDraw HyperDraw is the easiest way to create and edit Automation data in the Arrange window. Changes to automation data are made by graphically inserting points, which represent fixed controller values. The points are then interpolated automatically by Logic, which creates a series of events that smoothly connect the first event with the last. These automatically generated events are recalculated every time you edit the curve points.
Select You can rubber band any selection (of nodes) in the automation data. A click on a Region selects all currently visible automation events within the Region borders. Once an area of (or the entire) Region is selected, you can freely move the selection to the left or right. With Option-Control pressed, you can copy the selection to a different location. Please note that both operations will delete all nodes in the destination area.
Multiple Selection of Nodes • A short Shift-click on a node will toggle the selection of the node. • A short Shift-click on a line will toggle the selection of the line. • A short click on the background will deselect all. • A click outside of the Track Automation data in the Arrange will deselect all. • A long click in a selected area allows all selected nodes to be moved. • A long Shift-click allows a rubber-band selection. The selected area will toggle.
Activating Region HyperDraw To activate HyperDraw for the currently-selected Region(s), select View > Hyper Draw… You can select different HyperDraw modes for different Regions.
Both Relative and Just Selected modes can be combined. Deactivating Hyper Draw To switch off Hyper Draw for selected Region(s), select View > Hyper Draw > Disable. Other Data Types for Region HyperDraw Autodefine This option sets the Hyper Draw parameters automatically, making the first event in the Region visible. Autodefine is not limited to switching the HyperDraw display to the first incoming controller, but it can also respond to other types of events as well.
Conversion of Automation Data Track Automation data can be converted into MIDI data for Region Based automation, and vice versa. These commands are found in the Options > Track Automation menu. These functions allow you to move data (Volume, Pan, plug-in parameters, and so on) from Regions in the Arrange window to the Track Based Automation system, and vice versa—moving data from the Track Based Automation to Region Based (last two functions).
8 Global Tracks 8 Global Tracks provide a perfect way to view and edit global events, such as Tempo, which affect all tracks in the arrangement. Global tracks can be displayed in the following windows, just below the Bar Ruler: • Arrange window • Matrix Editor • Score Editor (in linear view) • Hyper Editor There are several types of Global tracks: • Marker track: contains markers, which are used to label bar positions and parts of the song.
• Beat Mapping track: Allows you to assign the desired bar position to any musical • • • • event (both MIDI notes and distinct accents in Audio Regions). This makes it possible to adjust the musical timeline to the original timing of a MIDI or Audio Region that has been recorded rubato (free time, including speeding up and slowing down), or just without a metronome click. The audible outcome remains unchanged, but the resulting display will fit the musical timeline.
In the upper left corner of each Global Track name column, there is a small disclosure triangle pointing to the right. If clicked, the track height is expanded and additional controls become visible. A further click on the triangle reduces the track height. You can freely adjust the horizontal borders between tracks by dragging them up or down with the mouse.
Note: Events on protected tracks will not be selected and—if currently selected—will be deselected by these commands.
Working With Markers m To create a marker: Select the Pencil tool, and click at the desired position in the Marker track. Alternatively, you can make use of several menu and key commands: Options > Marker > Create, Create Without Rounding and Create by Regions. The latter command creates one marker for any selected Region, with the same position, length, and name as the Region itself.
m To copy a marker: Drag the marker while holding Option, or use the standard Copy and Paste commands. Marker Color To assign a background color to a marker, open the color palette (View > Colors), select one or several markers, and click the desired color in the palette. Marker Text If you double-click an existing marker in the Marker track, the Marker Text window will open, containing the default Marker ## name.
Tempo Track The Tempo track displays tempo changes as nodes: dots connected by lines. By default, these dots are followed by horizontal lines that (at the bar position of the next tempo change) form right angles with vertical lines, connected to the node of the ensuing tempo change. Note: If there is enough space in the Tempo track, the tempo will be indicated numerically (in bpm) alongside each node.
m To delete a tempo curve: Click the handling node (at the tip of the right angle) with the Eraser tool, or doubleclick on it. Moving and Copying Tempo Changes To move a tempo change, grab its node (or the line leading away from it) and drag it left or right. To copy it, do the same while holding Option. To prevent unintentional changes, moving a node is restricted to either vertical or horizontal movement. Put another way, you can either change the tempo value or its position, but not both at once.
Beat Mapping Track A note for experienced Logic users: This function replaces the Reclock function of previous Logic versions. The Beats from Region function corresponds to the previous Guide Sequence option for mapping bar positions to notes, but it’s easier to handle. Basic Concept You will generally play to a metronome click when recording in Logic. There are, however, instances where you’ll want to record without a click, playing rubato, or at least not at a strict same tempo throughout.
Beat Mapping with MIDI Regions Let’s take a look at the Beat Mapping procedure in the Arrange window. To test it, you’ll need at least one MIDI Region that doesn’t fit the current tempo. Create one by recording without a metronome click, if none are available. In the upper part of the Beat Mapping track, you can see a ruler which contains a graphical representation of musical bars, beats, and sub-divisions.
Note: If you want to draw a connecting line from a bar position to a particular position of the original recording where no note exists, hold Control while drawing the connecting line with the mouse. This will allow the line to snap to any format subdivision. Important: Beat Mapping is also possible in the Matrix, Score, and Hyper Edit windows, where you have the additional advantage of directly seeing the corresponding notes.
Beats from Region The Beats from Region button (labeled Beats from Rgn) in the Beat Mapping track column is used for an automatic Beat Mapping method that works with a self-recorded “Metronome Region”: Use a MIDI track and an appropriate sound (such as a closed hihat or cross-stick) to record a one note per beat metronome click that fits the music in the existing Region/s.
Signature Track The Signature track shows all time and key signatures of a song. These can be created in either the Score Editor or directly in the Signature track: Click at the desired position using the Pencil tool. A dialog window will open, allowing you to set the time or key signature. Insertion of the event occurs after closing the dialog with the OK button. If you perform this procedure when the track height is reduced, a time signature change will be created.
Handling Signature Changes Events on the Signature track can be selected, moved, deleted, and copied (drag them while pressing Option or use the standard Copy and Paste commands). Multiple selections are possible, even in conjunction with Regions, which is very useful when complete parts of a song, containing signature changes, are to be copied. In this situation, the Edit > Select Inside Locators option can be helpful.
• The third way to generate a chord symbol is when a transposition event is created or altered in the Transposition track. In this scenario, the root note will be shifted accordingly. This behavior is due to the close links between the Chord and Transposition tracks. Global Transposition Generated by the Chord Track Any chord in the Chord track can affect global transposition, thus altering the playback key of Apple Loops and MIDI Regions.
3 Enter the inverted Transposition values of the chord root note changes in the Region Parameter box of each section, so that playback of the Apple Loop parts will match the original Apple Loop file. As an Example: • The Apple Audio Loop contains a chord progression with root notes of: C, F, G, and C. Cut it at the position of these chord changes. • Enter C, F, G, and C at the corresponding positions in the Chord track.
Transposition events are closely linked to the progression of the chord root notes in the Chord track: Changing a chord root will be reflected in the Transposition track, and vice versa. Any alteration or creation of a transposition event will generate or alter the corresponding chord in the Chord track. All Apple Loops and MIDI Regions will be pitch-shifted accordingly. MIDI Regions will only be transposed if the No Transpose checkbox is deactivated in their respective Object Parameter boxes.
It is also possible to copy or move multiple transposition events simultaneously, which can be useful for repeated song sections: Use Shift-click or the rubberband selection method (while pressing Control) to make the multiple selection, then drag the first selected event to the desired position (while holding Option for copying), or perform the Copy and Paste commands. Again, watch the help tag while dragging the events.
There are no editing options in the Video track. It does, however, offer the Detect Cuts (button in the track column) function, which searches for all scene cuts in the movie. The Video track also offers the option to create Movie markers, which are displayed in the Marker track or the Bar Ruler.
9 Audio Window 9 The Audio window provides an overview of all audio files used in the current song. It also offers a number of simple editing and conversion facilities that simplify audio file handling. While many of the Audio window’s tasks can be performed elsewhere in Logic, it offers a number of unique features that are discussed in this chapter.
By default, recordings made in Logic are stored in the Sound Designer II format. You can change the recording format to AIFF or WAV via Audio > Audio Preferences… > Recording File Type. Sound Designer I files can also be imported, played back and edited destructively in the Sample Editor, but Logic will neither record nor bounce this file type. Audio files imported into a Logic song can be at any supported bit depth and sample rate. Logic supports bit depths of 16, 20, and 24 bits, and sample rates of 44.
Regions can be moved with the mouse into the Arrange window. The portion of the audio file represented by the Region is then played at the desired song position. Audio File Management Across Songs Please use the Project Manager for audio file management across songs. Layout Overview On the left side of the Audio window, you’ll see a thin column. At the top, you’ll see the mode buttons (see “The Mode Buttons” on page 351), and at the bottom, the tools.
Monitoring You can play Regions directly in the Audio window. This monitoring is not related to the time axis of the sequencer. There are several ways to play a Region: Playing from a specific position Click-hold the desired Region in the waveform display with the mouse. Playback starts at the click point. This allows you to play specific sections. Playback stops as soon as you release the button. Playing the whole Region If you want to play an entire Region, highlight its name in the list.
Selecting the Audio Output for Monitoring The actual routing of audio signals to different outputs is done in the Arrange window (using the Audio Object in the track list). You can, however, choose a specific audio hardware channel—for monitoring duties— in the Audio window. Set the desired output by click-dragging on the Channel button, just below the speaker icon. The Device button below allows you to choose between different audio hardware systems, if you have more than one installed.
Show Length as… > None No length display. Show Length as… > Min:Sec:Ms Absolute time length of the Region in hours, minutes, seconds, and milliseconds. Show Length as… > Samples Number of sample words in the Region. Show Length as… > SMPTE Time SMPTE length, which unlike absolute time, uses frames and bits in place of milliseconds. Show Length as… > Bars/Beats… The Region is displayed in musical units: bars:beats:divisions:ticks.
Files sorted by… > Drive The audio files are sorted according to the drive on which they are stored (hard disk, removable drive, partition). Sorting Regions The display of Regions can be sorted (within an audio file) according to various criteria by choosing View > Sort Regions by… Sort Regions by… > Start The Regions are sorted according to their time position in the audio file. This is the default setting. Sort Regions by… > Length The Regions are sorted according to their lengths.
Starting Overview Calculation manually Occasionally, when loading/importing audio files, you may need to perform a manual overview calculation (if the audio files don’t contain overview data). You can start the overview calculation of selected files with Audio File > Refresh Overviews. Controlling the Overview Calculation The calculation of audio file overview data is shown in a float window. This calculation occurs in the background, allowing you to continue working with Logic.
Audio Files Selecting the next Audio File The Select Next Audio File key command selects the next audio file in the list. Selecting the Previous Audio File The Select Previous Audio File key command selects the previous audio file in the list. Audio Files and Regions Selecting used Regions Choosing Edit > Select used will select all audio files and Regions used in the song arrangement.
Creating groups There are two ways to do this: • Select any number of files, then View > Create Group. Enter the desired group name, and you’re done. • The View > Group Files by Location/File Attributes/Selection In Arrange options create groups using the selected file’s parent folder, the file’s attributes (type, stereo/mono, bit rate), or the file selection in the Arrange window. If existing groups have been created, you’ll be prompted to delete or keep them.
Copy The selected audio files (and their associated Regions) are copied to the Clipboard. They remain in the Audio window. (key command: Command-C). Paste The contents of the Clipboard are added (provided it contains audio files and associated Regions from another song). (key command: Command-V). Clear Any selected audio files or Regions are deleted. You can achieve the same effect by pressing Backspace.
Moving the Start Point To adjust the start point of a Region, grab the left border. The tool turns into a small hand pointing to the right. You can now adjust the start point. Moving the End point of a Region To adjust the end point of a Region, grab the right border. The tool turns into a small hand pointing to the left. You can now adjust the end point. Moving the whole Region You can also move an entire Region within an audio file, by grabbing it in the middle.
Protecting the Region Parameters Regions can be “locked”, to protect against accidental alterations to the start and end points, or the Anchor position. The small lock symbol beside every Region can be opened and closed with a click. If locked, you can play the Region, but can’t edit it. This function should not be confused with delete protection: A protected Region can still be deleted.
File Administration Record File Defining the Record Path Every recording in the Arrange window creates a new audio file. To keep track of your recordings, you should tell Logic where the data is to be written before you start recording. You can also define a file name for the audio files that are recorded—a kind of working title—which Logic will automatically keep using, by appending a series of numbers to the file name for each subsequent recording.
Maximum Recording Time (Recommended): xxx Minutes This parameter defines the maximum recording time for new audio files, in minutes; this determines the size of the temporary recording file. Before any recording can take place, a file large enough to hold it must be created on the hard disk. You can switch this option off, which will create a record file with the size of all available free space on the currently selected hard disk.
When You Choose the Path Remember … • If the hard disk used by the path leads is not connected or is switched off, the path will be deleted. • If you rename the volume, Logic will not be able to find it. When You Enter the Recording Time Remember … The display of the remaining memory and the maximum recording time depends on the following factors: • the number of tracks that you want to record simultaneously. • the sample rate.
Drag & Drop using Audio Files The Drag and Drop functionality of Mac OS X is supported: you can drag any selection of audio files directly from the Finder into an open Audio window. The end result is exactly the same as using the Add Audio File function. It can save you time, especially with large multiple selections. You can also drag and drop audio files from the Finder directly into the Arrange. A corresponding entry will automatically appear in the Audio window.
Click Cancel to abandon the deletion process, or click Delete to permanently delete the files. You should make sure that the files selected for deletion are not used in other songs. Optimizing Audio Files The Audio File > Optimize Files function allows you to delete sections of audio files that are no longer used in the song. This can usually free up a lot of wasted space on the hard disk. Optimize Files can be used on any number of audio files.
Copying Audio Files The Audio File > Copy/Convert File(s) function copies files to a different location on your hard disk (or other storage medium). When you copy a file, you can enter a new name in the file selector box (similar to the Save A Copy As command). Logic checks if there’s enough space to copy the selected file(s) to the target location. If a file of the same name exists at the target, Logic asks whether or not you want to replace it.
Convert to AAC or MP3: There are also the two separate Audio File > Convert to MP3 and Audio File > Convert to AAC functions, which allow you to convert audio files to the AAC (MPEG Layer 4) or MP3 format. A dialog will launch when either option is selected, allowing you to set the desired preferences. These conversions can be performed on one, or multiple, files. When activated, a dialog will allow you to save a single file with any name.
Split and Interleaved Stereo Formats The internal structure of multi-track hard disk recording systems is such that each individual audio track can be dealt with independently. Accordingly, a separate audio file is created for each track. Logic can record stereo files in two different ways, one of which is by coupling two mono tracks, and therefore two audio files. This is known as the “split stereo” format.
• If either of these Regions is moved into the Arrange window, the other Region is also moved. Converting Different Split Stereo Formats Logic treats audio files with a name that ends in “.L” or “.R” as stereo files. These “name extensions” are used by ProTools, Session, or SoundDesigner II to identify “split stereo” files. Logic’s file management functions, such as Rename, Create, or Revert to Backup can also identify these name extensions.
Reconvert from SDII Stereo This command converts SDII stereo files back into two mono files, allowing them to be used in Logic, after edits in an external program (only necessary with DAE hardware). Precondition: the mono files must be already registered in the Audio window. (If not, just add the stereo file, which will be automatically converted). Select the audio files (or one of them) and choose File > Reconvert from SDII Stereo. The two audio files will be replaced by the externally edited stereo file.
Search The current volume is searched for filenames. If the search is unsuccessful, Logic asks you if you want to search other volumes for these files. This enables you to assemble songs, even if you have copied or moved the relevant files onto other media. Skip (Don’t search for this file). Use this function if you know that this audio file no longer exists, or was renamed. This button changes to “Skip All” if further audio files aren’t found. Skip All (for Several Files) (Don’t search for any more files).
Using the Strip Silence Function First, select the Region in the Audio window. If you are using split stereo audio files, the corresponding Region of the other channel is automatically selected. Then select Options > Strip Silence. The Strip Silence window will open. There is also an Arrange window key command that allows you to open the Strip Silence window for a selected Region.
Pre Attack Time The Pre Attack Time parameter allows you to add a defined amount of “pre-roll” to the beginning of all Regions created by the Strip Silence process. High threshold values prevent any amplitudes with slower attack times from being “chopped”. This function is useful for non-percussive material such as; vocals, wind instruments, strings, and so on. The units are shown in seconds. The smallest division is one tenth of a millisecond.
Multiple Editing Using Strip Silence Strip Silence always affects the selected Region in the Audio window. It doesn’t matter if a Region was defined manually, or whether it is a product of a previously executed Strip Silence function. As an example, you can use this method to roughly split up a whole audio file, and then divide the new Regions, using different parameters. The new Regions can then be processed again with the Strip Silence function—and so on.
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.
10 Audio Drivers 10 To use particular audio hardware with Logic, the hardware’s driver needs to be activated and configured correctly. This chapter explains how this is done. Drivers are software programs used to enable various pieces of hardware and software. This allows them to be recognized by other computer programs, and to have the appropriate data routed to and from them, in a format they can understand.
Core Audio Logic automatically recognizes any installed Core Audio hardware, and will use the default settings—defined in Mac OS X’s 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 sound cards or a multi I/O card. This can be done in Logic’s Core Audio pane, which offers the following options: Enable Click this box to enable the Core Audio driver.
Recording Delay This parameter is measured in samples. It allows the recording of Audio Regions to be delayed by a certain fixed value. It helps advanced users to compensate for any incorrect delay information that might be caused by the audio driver. You should not normally need to touch this parameter. Max. Number of Audiotracks The Audio Engine requires free system memory, which is not assigned to Logic or any other application.
Larger Disc Buffer This option influences the amount of audio data that is read from the disk in advance. This option is switched off by default, matching the demands of fast hard drives and powerful computers. If you encounter frequent error messages while running Logic in this mode, you should switch this setting on. This will allow you to play back more tracks, achieving higher reliability. Please note that RAM requirements are increased if this option is active.
DAE and TDM All information about using the DAE (Digidesign Audio Engine) and TDM with Logic can be found in the ProTools manual. Audio Engine The Audio Engine is the part of Logic that processes and controls all audio data for playback, recording, mixing, and effects. Logic supports the following Audio Engine models: Native Audio Engine All descriptions of the audio functionality in this manual are based on the Native Audio Engine. Settings for different Audio Driver Models are nearly identical.
Note: The set sample rate also applies for recording. As an example, if your audio hardware supports sample rates up to 48 kHz, but the song is set to 96 kHz, Logic will generate audio files at 96 kHz. You should be aware that the audio quality is not improved in the process. The quality of audio is still at 48 kHz, as determined by the recording hardware, despite the fact that the information is stored in a large 96 kHz file.
Note: It is recommended that the network only be used for distributed audio processing—other activities may (and will) affect performance! Enabling Distributed Audio Processing The following presumes that the Logic Node application was properly installed on the Node Macintosh, and that it is running. To set up, and activate Nodes: 1 Open the Preferences > Audio > Nodes pane.
Other Things You Should Know Logic will automatically determine if enabled tracks are actually calculated on a Node (and “which” Node, in the case of multiple Nodes), or on the host computer. This is dependent on system resources and network traffic. The buttons are available for all Audio and Audio Instrument tracks. There are, however, two exceptions: EXS24 Instruments are always calculated on the host.
11 Sample Editor 11 The Sample Editor is used to perform extremely precise destructive edits on audio files. The Sample Editor features a number of useful processing tools—collectively known as the Digital Factory. These allow you to time stretch and pitch shift audio, change sample rates, extract MIDI “grooves” from the audio and even the quantization of audio.
Opening the Sample Edit Window There are various ways of opening a Sample Edit window: • Select Audio > Sample Editor. • Press Command-0. • Double-click on any audio Region in the Arrange window; this opens the selected Region in the Sample Editor. • Double-click on any Region in the Audio window. If no Region is selected, Logic will ask if you’d like to load a new file into the Sample Edit window.
Display Waveform Overview Between the Sample Edit window’s title strip and Bar Ruler, you’ll see the overview. This display always shows the full length of the currently selected audio file, regardless of the zoom resolution. Please note that the overview is not scaled; a kick drum sample lasting 0.3 seconds could take up the same space as a choral passage lasting 15 minutes. During playback, the current position is indicated by a vertical line that moves in real time.
Link Mode Link mode ensures that any Audio Regions selected in the Arrange window are displayed in the Sample Edit window. Link mode is turned off and on by clicking the “linked chain” switch, or the corresponding key command. If you often work in Link mode, give this a try: open a Sample Edit window and switch on Link mode. Now close the window, and Logic will retain this status. Double-click on the Region you wish to view, and you’ll see that the display in both windows is linked.
View > SMPTE Time Shows the scale in SMPTE time (in Hours:Minutes:Seconds: Frames). The time scale begins at the song start point (with the SMPTE offset, if applicable). When you use this scale, the absolute SMPTE value of the source clock is shown on the X axis. View > Bars/Beats… Shows the scale in Bars, Beats, Divisions, and Ticks, just like the Bar Ruler in the other time-related windows. The “zero point” is represented by “1 1 1 1”, but lengths are measured from “0 0 0 0”.
Display Waveform as Sample Bits You can switch from the usual representation of the waveform, to one that shows the structure of the recorded digital data, at high magnification levels on the detailed waveform display. You do this by selecting View > Show as Sample & Hold. This can be useful when eliminating clicks and pops from your recordings, for example.
Playing the Current Selection To play back the current selection, click on the loudspeaker switch. You can also perform this function with the Play/Stop Selection key command. Playback from a Certain Position If you double-click at any position on the time axis, the audio file will play back from this point, to the end of the current selection. If you double-click on a point beyond the selected area, the audio file will play until its endpoint is reached.
GoTo Commands The scroll bars along the bottom and right edges of the Sample Edit window scroll through the detailed waveform display in the usual way. If you’re trying to reach a specific point in the audio file, some of the keyboard shortcuts listed below may be of use to you. You can define your own keystrokes for these commands in the Key Commands window (see “Key Commands” on page 44). These commands move the corresponding point to the center of the waveform display.
The start point and length are displayed in a separate help tag while making a selection. The format is sample words. The Relationship between Selections and Regions When you open the Sample Edit window by double-clicking on a Region, the Sample Edit waveform display will open with the entire Region selected. Changing the selection has no direct effect on the borders of the actual audio Region. The playback monitor only plays back the current selection.
Editing Regions in the Sample Editor If accuracy is what you need, you should edit the start and end points of Regions in the Sample Edit window, not the Audio window. The same goes for any adjustments you make to the Anchor, which in many cases should really be placed on the amplitude peaks, rather than at the start of the attack phase of the sound. A good example would be recordings of brass instruments, which may take some time to build to a peak.
Drawing Waveforms with the Pencil The pencil tool allows you to correct clicks and pops or clipping, by manually drawing in the waveform. The edges of drawn-in waveform sections will be automatically smoothed. As long as the mouse button is held down, the drawn waveform can be replaced by the original—by moving the mouse back. When Option is pressed, drawn-in changes will affect both stereo channels.
Space is reserved on the hard disk for armed tracks, which is not available for undo files. Logic therefore automatically switches off record-ready status for audio tracks if the disk is nearly full, thereby making edits possible in the Sample Editor. Sample Editor Undo Preferences Several options that accompany the Sample Editor’s multiple undo functionality can be found in the Audio preferences.
Backup Copies Automatic Backups Logic will ask you if you wish to make a backup copy of the file you’re working on (unless one already exists), before you perform a destructive edit in the Sample Editor. Activate the No Dialog button to avoid this question being asked again, while editing in the current window. You can even turn off the dialog altogether in the Audio > Audio Preferences. In this situation, you’ll only be asked when the program is first loaded, and when you make your first edit.
Update Arrange Position Edit > Update Arrange Position, when engaged, means that altering the Region start point (or, more specifically, the Anchor position) in the Sample Editor also affects the position of the Region in the Arrange window. This ensures that the position of a given audio Region stays at the same place in the arrangement. When moving the Region start point back, the remaining portion of the Region will start playback at a later position.
You are asked to confirm these functions as a safety measure. This confirmation dialog box can be turned off by selecting Audio > Audio Preferences > Warning before process Function in Sample Edit (Menu). Data altering processes can be cancelled while underway by pressing Commandperiod. The audio file will be retained in its original state, even if it appears that a portion of the editing function has occurred.
Click Change (or press Return) to perform the gain change. Fade In/Out Fade In Functions > Fade In creates a fade in. You can set up the fade-in time period directly in the currently selected audio. Volume is set to zero at the left start point of the selection, and the fade-in occurs over the length of the selection. Fade Out Functions > Fade Out works in the same way as fade in, except that the fade works in the opposite direction. This lets you fade passages out automatically.
Silence You can use Functions > Silence to remove all data from a selected area. The waveform material contained in the selected audio passage and the corresponding amplitude values are all set to zero. You can use this function to silence unwanted background noise in quiet passages. Invert/Reverse Invert Functions > Invert completely reverses the phase of all currently-selected audio material. All negative amplitude values become positive, and vice versa.
Search Peak/Silence Search Peak Functions > Search Peak scans the currently selected Region for the sample bit with the greatest amplitude value. The cursor in the waveform display is then placed on this bit. Search Silence Functions > Search Silence scans the selected audio for sections containing silence (“digital zero”). The cursor is then placed at the start of the first section found, that fits this description.
The top line of the Sample Edit window keeps you informed about the function’s progress. The selected area of the audio file is replaced by the edited audio material. Options • Selecting Edit > Undo (or Command-Z) allows you to compare the edit with the original, at any time. You can continue to work in the Arrange window, as the Undo function of the Sample Edit window operates independently of the rest of the program.
• any combination of these functions. • Consider the Time Machine to be a universal tool for control of the pitch, tempo, and sonic character of digital recordings. Each of these parameters can be addressed independently. The current settings are visually represented by the position of a ball in a 3-dimensional graphic display, where the axes are time, pitch, and timbre (sonic character). Opening the Time & Pitch Machine To open the Time Machine, select Factory > Time & Pitch Machine.
Classic (Correlated) Transposition Switch the pull-down menu from Free to Classic. The Classic mode is for situations where you want to transpose a selected Region, and also affect its tempo. This produces an effect that you’re probably familiar with, as it simulates the sound of changing tape speed. In this scenario, the pitch, sonic character, and playback speed all change. Audio Algorithms Version 5 algorithm This is the well-known algorithm of Logic 5 and earlier versions.
You can move the ball in the 3-dimensional display with the mouse. Naturally, only two dimensions can be accessed at once; use Shift to switch between two different 2dimensional planes (enabling you to reach every point of the 3D graph). Holding Control, Option, or Command limits ball movement to one axis, allowing independent timbre, transposition, or length changes. You can also grab and move the shadows of the ball.
Time Machine—Technical Background The Technology of the Time Machine The Time Machine analyzes the spectral components and dynamics of the digital audio material, and processes the result. The high-grade algorithm endeavors to retain as much spectral and dynamic information as possible, and minimizes phase variations. In stereo files, the phase relationship between the left and right channels is fixed, and not altered. Doubled sound events are kept to a minimum.
The quality of Harmonic Correction depends strongly on the source material, because the algorithm has to make “intelligent” decisions between tonal and atonal components of the recording, and handle them separately. This decision is not always definite, and is handled subjectively by the algorithm. These decisions are more simple when dealing with monophonic material than with complex stereo material, but the algorithm is able to handle a complete mix.
Parameters Alongside Swing, you can set the percentage for the swing factor. At 50% there is no change—you normally get the best results around 55% to 65%. The Based On Period parameter determines whether the audio material should be edited on the basis of eighth note, or sixteenth note swing, in the Groove Machine. The Down Beat Level and Off Beat Level parameters determine whether the down beats (or off beats) in the audio material should be raised or lowered.
Opening the Audio Energizer Select Factory > Audio Energizer in the Sample Editor. The function is executed by clicking the Energize button. Parameters The main parameter is Factor. This is where you select the amount of average level boost. 0% means no alteration, while higher values produce an increase in energy. The setting you make here will depend on the audio material, situation, and personal taste. Begin by trying values in the 40 to 100% range.
Operation Set the Spike Reduction function to off, so that only the Noise Reduction function is used. Click the Process button to execute the function. There is only one parameter for controlling the intensity of the process. Off means no edit, Min is the smallest possible edit, small numbers have a small effect and Max produces the maximum possible reduction of the noise component. The “correct” value depends on the quality of the material, and your own personal taste.
If the automatic identification does not produce satisfactory results, pops, and clicks can also be removed manually. Select the relevant area in the Sample Editor, and carry out a spike reduction using the High Sensitivity and. Filter 5 settings. This method is easier than manually drawing waveforms with the Pencil tool. Sample Rate Converter The Sample Rate Converter is used for sample frequency conversions.
Parameters The first four parameters control the analysis algorithm. They are listed in order of importance: Granulation (ms) This determines the time span of louder components in the audio material, which Logic uses to derive information for velocity points in the groove template. The most useful values are usually between 50 and 200 milliseconds, depending on the tempo of the audio material. Attack Range (ms) This tells the program how long the attack phases of the sounds in the audio material are.
Time Correction This parameter allows you to compensate for any time delays that may occur when external samplers or synthesizers are triggered by MIDI notes. These time delays are sometimes very noticeable, particularly if the connected device is playing a MIDI Region (that was quantized with an Audio-to-MIDI groove template) at the same time as the original audio material. You should be able to compensate for this effect by using settings between −20 ms and 0 ms.
Audio to Score Streamer 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. This function is best-suited to producing melody notes from a clearly sung vocal line. It also works best with non-legato performances.
A Score window, containing the transcription of the audio file generated by the function, opens automatically. The Score Editor uses a score style called Audio To Score with three staves. This style can be edited just like a normal score style. The three staves contain the following information: Stave 1 contains the pitches that were most clearly recognizable. All of these notes are assigned to MIDI channel 1.
Opening the Quantize Engine … First, select the Audio Region that you want to apply the groove template to in the Arrange window. Select Factory > Quantize Engine. Parameters The analysis parameters are identical those used for the Audio to MIDI Groove Template (see “Audio to MIDI Groove Template” on page 412). Quantize by This pull-down menu sets the required quantization. The same templates available for MIDI data are found here. Max.
Third Party Plug-ins The Sample Editor allows the use of third party plug-ins. These plug-ins work destructively—the result of the editing process is written into the audio file. Digidesign Audiosuite plug-ins Audiosuite plug-ins can only be used with hardware addressed by the DAE (Digidesign Audio Engine). Any properly installed Audiosuite plug-in will be displayed in this menu. Preferences Audiosuite > Preferences allow you to set the buffer size of the Preview mode.
12 Project Manager 12 A Logic song can use many different files which are not part of the song itself, but can be found as a variety of file types stored on the computer’s disk drives. These are the audio files, the settings of the plug-ins and software instruments, the samples and instruments of the EXS24 sampler—and maybe even Quicktime movies. Any of these files can be requested by different songs. As an example, the settings for your reverberation plug-ins will often be requested by different songs.
In order to collect all necessary information, the Project Manager must first scan all drives, or at least all folders, used for the abovementioned files. Dependent on disks sizes and the number of files, this may take quite a while, but the process runs in the background, allowing you to continue working. The resulting database is global (not song dependent), and is stored separately from Logic’s preferences, in a special Logic PMData folder, found in the Preferences folder.
Scanning Before you can make use of the Project Manager, you must first scan your disks. This process will retrieve all relevant information from all relevant files: all audio files, all songs, all EXS instruments, all Settings (plug-in/software instruments) and all Quicktime movies. Scan Paths It is recommended that you define Scan Paths prior to the initial Scan. Select Scan Paths (not Find Mode or Browse) in the pull-down menu to the top left of the Project Manager window.
Scan Select Browse mode via the selector to the top-left of the Project Manager (not Find Mode or Scan Paths). If you don’t select a specific folder in the left half of the Project Manager window, the scan process will scan all disks—according to the defined exclude and include paths, if any. If you can’t recall the locations that you may have previously saved any of these file types to, you should perform a global scan. You can start the scan process with Functions > Scan.
Scan Folder… Functions > Scan folder is identical to Scan, but with the standard Scan command, you can only scan folders that appear in the Project Manager Browser. What about new folders that the Project Manager hasn’t yet noticed? If you select Functions > Scan folder, a folder selection dialog box appears onscreen. Stop Scanning Process Functions > Stop Scan Process is self-explanatory. This function is especially useful if you accidentally start an expanded scan of your entire disk/system.
Drag and Drop of Audio Files You can drag all regular audio files directly from the Project Manager into the Arrange and Audio windows. If the Audio window is closed, you may also use Functions > Add Selected File to Audio Window to add audio files to a song, without placing them in the Arrange window. Browser Display Left and Right Parts of the Project Manager Window Every item in the gray Browse section is a folder. This also includes the display of subfolders (the right-most) in the hierarchy.
• Red is the color of unresolved References. This means that there’s no file of the respective name in the folder path that was saved with the song or EXS instrument. This is quite common with samples that you have copied from CD to hard disk via the operating system’s drag and drop functions. From now on, you should use Functions > Install from… and you will never again encounter a red, unresolved reference.
Select Unused/Unreferenced Audio Files Edit > Select Unused Audio Files and Select Unreferenced Audio Files are functions that can be used to select particular audio files that are not currently in use. Most commonly, this function will be used when you wish to delete them, or place them in a folder where they can be stored for possible future use. This function looks for all song and EXS instrument files, and then checks if these songs or EXS instruments can/cannot find their related audio files.
Functions Menu Check for Modified Or Deleted Files This function is used to ensure that all scanned data is still present, and has not been changed. This process also runs automatically from time to time. This function is useful for updating the selected data in the Project Manager’s database, should you have deleted, moved, or copied files using the operating system. Normally, this isn’t recommended, but in real life, these situations sometimes occur.
Install Files From… This is the function to use when importing sampling CDs which contain both audio files and EXS instruments. It’s also appropriate for the importation of songs (with all related audio) from a CD-ROM which was burnt on another computer running Logic. The import function is not restricted to CD. It can be used for any media type, including external hard drives, network folders or any folder that’s accessible from your system.
Pressing Enter (“OK”) will execute the installation. The current status of the data evaluation and copying process is displayed as a small progress bar window. Consolidate Selected Songs In these days of big, fast hard disk drives, it’s recommended that all files used by a song be stored in a single folder. Within that folder, a standardized structure for every song is desirable.
• If just keeping order on your hard disk, select Leave for any EXS samples and sampler • • • • • instruments that are not specific to the song (drums, strings, bass, and so on …). When song-specific samples are being utilized, all of the EXS24 data (Sampler instruments and samples) should be copied into the dedicated folder. Whether to copy or move the Quicktime movie depends on your video data structure, and whether or not the CD-ROM has the capacity for all audio and video data.
Add Selected Files to Audio Window Most Project Manager functions don’t relate to the song that’s currently opened. This option is an exception: As the name implies, Functions > Add selected Files To Audio Window adds the audio files selected in the right half of the Project Manager to the Audio window of the currently opened song. You can also drag and drop audio files from the Project Manager window directly into any open Arrange or Audio windows.
Move/Copy… Move Used for Selected EXS-Instruments • This function is used for EXS instruments only. It allows you to move all audio files (samples) that an EXS instrument utilizes into another folder—and change the respective references in one pass. • Create Subfolders creates a dedicated subfolder. • Delete empty subfolders removes empty folders, which may be left after a move. Normally, it’s recommended that you leave this parameter checked.
In order to speed up the “Creating Waveform Display” progress bars that might show up, double-click on one and choose Finish. The green reference information is also available for EXS instrument files. In this case, it lists all songs which make use of the selected EXS instrument. You can also apply Show Details for Selected to folders (selected on the left side of the Project Manager window) if they contain only audio files or EXS instrument files.
Show Comment Shows or Hides the comments (see “Comments” on page 436) associated with a file. Log File If you choose this option, a simple log of all actions previously performed in the Project Manager is displayed, allowing you to reconstruct what you did. The Project Manager manages a multitude of files in parallel. Therefore, there’s no undo function. But if you, say, moved a file to the wrong location and didn’t quite remember where that was, here’s a way to retrace your steps.
Project Manager Preferences In the Preferences > Global Preferences, there are three preferences for the Project Manager. Load Project Manager database on program launch Load Project Manager database on program launch simply defines when the database is loaded. As this takes a few seconds, you can launch Logic without reading the database immediately, thus starting Logic a little faster. The database is loaded as soon as you open the Project Manager window for the first time.
Search files using: Search engine Only tells Logic to search for every file on all disks, when a song or EXS instrument is opened, and its respective audio files cannot be found. Thus, every possible matching file with the right name will be found, but the search process takes a relatively long time depending on the number of files and number and size of disks to be searched. This search method was used by Logic 5 and earlier versions.
Set Comment for Selected You can simultaneously enter a text Comment for all selected files. A “comment text” window appears, where you can type in the information. There are separate functions for the first and second comment. Write Comments to Files if Possible The Project Manager allows two explanatory comments of your choice for all files. Select View > Show Comment 1 and Show Comment 2 respectively, in order to display these comments.
13 Event List 13 The Event List displays MIDI data in the form of an alphanumerical “list”, combining all of the data editing functions of the other editors. The Event List, while not as “pretty” as other Logic editing windows, is extremely powerful. This chapter discusses the many specific uses where the Event List is your best choice for data handling and editing.
You can also open it by double-clicking on a Region if you have selected Doubleclicking a MIDI Region opens Event List in Preferences > Global > Editing. Structure The standard buttons are supplemented by two scroll arrows, that help you move through the list. The event type buttons allow you to filter specific event types from the display, and access or add them (by Command-clicking on them). Beneath the Toolbox is the quantization grid selection field for the event quantize function.
Display The event type buttons allow you to “filter” the display, removing individual event types from the Event List, limiting the view to the specific types of events you’re interested in. Click the desired button with any tool (except the pencil). If a button is grayed out, that event type will not be displayed. All functions only affect the displayed events, thus protecting any non-displayed events from any alterations you may make. Here is a short overview of the filter buttons.
Operation Scrolling Clicking either of the scroll arrows moves the display up or down by one event. The event at the position marker is always selected (the existing selection changes as you scroll). The scrolling speed can be varied by vertically moving the mouse. The Scroll to Next/Previous Event key command is also available from the Event window, and has the same end result. If the MIDI Out button is switched on, every newly selected event will be played.
Event Editing Adding Events To add an event, click on the desired event type button with the pencil (or any other tool, while holding down Command). The event is then added at the current song position, and is automatically selected. Duplicating Events To duplicate an existing event (to alter the parameter value of the copy, for example) click on the original event with the pencil. An input box appears—use it to enter the position for the newly-duplicated event.
Flexible Relative Value Alteration If you want to continue altering a parameter value in a multiple selection (even if one of the values in the selection has reached its maximum or minimum value), hold down Option while moving the mouse, or press Return to confirm a numerical input. Absolute Value Alteration If you want to set a parameter to the same value for all selected events, hold down Shift-Option, while using the mouse as a slider, or press Return to confirm a numerical input.
Numerical input starts from the left (which means you can simply enter the bar number if you want). The units can be separated by either spaces, dots, or commas. Position within the MIDI Region If you select View > Local Position, the event positions don’t refer to their absolute location within the song, but to their relative positions within the MIDI Region. Position and Length in SMPTE Units If you select View > Position & Length in SMPTE units, the position and length columns switch to SMPTE units.
Here too, the units are bars, beats, divisions, and ticks. For the sake of clarity, when the length begins with one or more zeros, the “_” symbol is used. The minimum length is 1 tick (_ _ _ 1) not 0 ticks, as simultaneously switching a note on and off wouldn’t make sense! Numerical input starts on the right, working to the left—you can enter ticks if desired. The units can be separated by either spaces, dots, or commas.
Event Type Structure Note Events Num MIDI note number (note #). The range is from C-2 (note #: 0) to G8 (note #: 127). Middle C is note # 60. It’s known as C3 in MIDI terminology. On some keyboards/synth modules (notably those made by Korg and Roland), the note range is C-1 (#0) to G9 (#127). In these cases middle C is called C4. In the Preferences > Display Preferences page, you can reference the display to the description that is most frequently used by your devices (Display middle C as…).
Program Change Events Program change events can be transmitted to connected MIDI devices for patch selection. These may be sounds in a synthesizer, programs in an effects unit, or snapshots in an automated mixing desk. Val A program number between 0 and 127. Some manufacturers (such as Yamaha) number the programs in their devices from 1 to 128, not 0 to 127. In this situation, you need to subtract 1 from the program number shown on the device itself.
Pitchbend Events Pitch bend events are used to continuously vary the pitch. They are usually generated by a centered pitchbend wheel or joystick on your keyboard. Num Fine pitch bend division (LSB). Many keyboards transmit a value of 0. If the pitch bend wheel has an 8-bit resolution, you will see values of 0 or 64 here. Val The effective pitch value (MSB) of 0 to 127. A value of 64 corresponds to the mid-way setting of the wheel.
Val Value of the controller. Continuous controllers have a range of 0 to 127. Switch controllers (#64—#90), transfer only two states; off (val=0) and on (val anything between 1 and 127). Aftertouch Events Aftertouch (or channel pressure) events are generated by a mechanical pressure sensor beneath the keyboard. The resulting sound modulation affects all notes on that particular MIDI channel. Num This column is empty for aftertouch events, as they only have one data byte.
SysEx Events System Exclusive Data (SysEx) is exclusive to individual MIDI devices. You can record these events using the dump utilities of your synthesizers, allowing you to save patch information outside the MIDI device. The arrows in front and behind the word EOX are used to add or remove bytes. Editing SysEx Events requires a thorough understanding of the data format used by the MIDI device in question. Incorrect edits can lead to the corruption or loss of sound data.
Release Velocity Logic is able to edit the release velocity of a note Event in the Event editor. To view release velocity data, enable the 001011 view filter button to the left of the event list. Num and Val Num determines the function of the Meta Events you create, and Val determines the value that is sent. You should only ever insert and edit the following Num values in the Event List window: Num = 47 Send Byte to MIDI. This sends the track instrument any byte value (Val) between 0 and 255 ($00-$FF).
Tips for Numerical Input Numerical input (by double-clicking) is always independent of the current display mode or event type, and can be used in many other areas of the program. Here are some of the possible methods.
14 Hyper Editor 14 The Hyper Editor is a graphical editor that can be used to create or edit MIDI note and controller data. This editor is unique in that it makes some editing tasks—such as data scaling—much faster. The Hyper Editor is also ideal for “drawing” in drum and other parts. Hyper Editor—Introduction Usage The Hyper Editor has many uses. The main ones are creating and editing drum MIDI Regions, and graphically editing controller data.
Structure The structure of the Hyper Editor window resembles that of the Arrange window: there is the horizontal Bar Ruler at the top, and the optional transport panel in the top left corner. On the left is the optional parameter area and the event name column, and to the right of that, the editing area, which can be likened to the arrangement area of the Arrange window.
Hyper > Create Hyper Set For Current Events creates a new hyper set, consisting of the the currently selected event types. This is especially nice if you want to create a hyper set for all event types that you have created in a conventional Region HyperDraw. You can open the Event Editor, select everything, deselect the note events, open the Hyper Editor and use Hyper > Create Hyper Set For Current Events. All used event types can then be edited in the Hyper Editor.
Creating Event Definitions Creating an Event Definition When you select Hyper > Create Event Definition, a new event definition is added, at the position of the currently selected event definition. Initially, it has the same parameters as the original. The event definitions beneath it are moved downwards. Automatically Creating Event Definitions If you select an event in another opened editor window, you can automatically create an equivalent event definition by checking the Auto Define checkbox.
Copy/Convert Event Definitions Hyper Sets: Copying Event Definitions Select the event definition that you want to copy, and select Hyper > Copy Event Definition. Switch to the destination hyper set, and select Hyper > Paste Event Definition. Converting Event Definitions You can redefine an event definition (along with all events). The values of the events are retained, but the event type is changed to the new event definition.
Name of the Event Definition Clicking the name next to the triangle determines what appears in the name column. If you define a named MIDI controller, or a note from a mapped instrument in the Status and -1- parameters, the relevant name will be offered as a preset. Altering a note name in the event definition also alters the corresponding note name in the mapped instrument. You can also display, add, and edit Meta Events in the Hyper Editor’s event definition.
Unlike the Region playback parameters’ Delay option, this only affects individual event types or note numbers, which is very useful for drum programming (flams, for example). In general, it is useful to transmit controller data slightly before or after the exact grid positions, to improve the timing of the notes lying on the grid positions.
With channel aftertouch (status C-Press), or program change events (status Program) the setting of the -1- parameter is always ignored, and the first data byte is displayed as a beam height. With pitch bend data (status PitchBd), the setting is also ignored, because both data bytes are used to display the beam height. Making Different Definitions Simultaneously Just as you can adjust the parameters for several MIDI Regions at once, you can set the parameters of several event definitions simultaneously.
Operation Grid The grid defined by the Grid parameter in the Event Definition Parameter box is very important: • During selection, all events within a grid section are selected • When you change the values of existing events, all events within a grid section are altered, and • New events are added at the grid positions, in accordance with the value set as the Delay parameter.
Setting Up a Linear Series • Select the crosshair tool. • Click anywhere in the beam display area, and hold down the mouse button. • Keep an eye on the help tag (showing the exact position and event value in the top line). Move the mouse to the start point of the line you want. • Release the mouse button. • Move the mouse to the desired end point of the line (to the right or left). You can also keep an eye on the position and event value in the help tag.
When adding events with the crosshair tool, the preset value is always used as the start point of the line.
15 Matrix Editor 15 The Matrix Editor allows MIDI note events to be handled in much the same fashion as Regions in the Arrange window. This editor is often called the “piano roll” editor as it represents note events as beams that resemble the holes cut in the paper of pianola piano rolls. It is an exceptionally easy to use tool for the creation and editing of MIDI note data.
The Matrix Editor is used to graphically edit note events. Its advantage over the other editors is its ability to provide a more precise display of the length, position, and velocity of the notes. The Matrix Editor is designed for fine-tuning the positions and lengths of notes. Opening the Matrix Editor To open a Matrix Editor window that shows the contents of the selected MIDI Region, select Windows > Open Matrix Edit (Command-6) or a user-defined key command (Open Matrix Editor).
Velocity The velocity of a note is portrayed by a horizontal line in the note. The length of the line in relation to the total length of the note corresponds to the velocity value of the note (in relation to the maximum value of 127). If View > Region Colors is disabled, the Matrix Editor shows the velocity of notes by using different colors. This makes it very easy to see at a glance what range of velocities are contained in a MIDI Region.
Quick Opening of Event or Score Editor A double-click on any event (without any modifier) opens the Event editor. An Option– double-click opens the Score editor. Creating Notes To create a note, click at the desired point on the background with the pencil tool. Duplicating Notes To copy an existing note to another position or pitch, first click the original note with the pencil (near the middle).
Copying Notes Hold down Option as you move the notes. This allows you to copy or move notes between two Matrix Editor windows, even if the windows belong to different songs. You can, of course, also copy (Edit > Copy or Command-C) or move (Edit > Cut or Command-X) the notes onto the Clipboard, and then paste them at the current song position, at their original pitch (choose Edit > Paste or Command-V).
Altering velocity To alter the velocity value, click-hold, and vertically drag on the note with the V tool. The help tag will indicate the velocity value of the note you have clicked on. If the MIDI Out function is switched on, the note will be output when you alter the velocity. Altering the Velocity of Several Notes All selected notes can be altered simultaneously; the differences in their respective velocity values will be retained.
Multiple MIDI Region Edit The Matrix Editor can display all MIDI Regions from a folder, or those for an entire song, simultaneously. Display of all MIDI Regions Double-clicking on the background of the Matrix Editor shows all MIDI Regions. The beginning of each MIDI Region is indicated by a vertical line of the same color as the MIDI Region itself.
3/Piano 3 notes are selected from a MIDI Region called “Piano”. When no notes are selected, the Info-Bar shows the name of the most recently selected MIDI Region. Using the Pencil will insert Notes into this MIDI Region. Piano No notes have been selected. Use of the pencil will insert notes into this MIDI Region. Hyper Draw in the Matrix Window In both the Matrix and Score Editors you can use the View > HyperDraw command to open a Hyper Draw (see “HyperDraw” on page 323) display.
16 Score Editor 16 The Score Editor offers extensive score layout and printing facilities, allowing everything from simple melody lines to full symphonic scores to be transcribed. This chapter outlines all of the tools and features available for Score and Lyric entry, editing, layout, and printing.
Logic’s Score Edit window basically serves two purposes: • As a MIDI editor for users who prefer to use traditional music notation as an interface for MIDI sequencing. Input, editing, copying, or deleting of MIDI events and changing their musical position can be done directly in the Score window. One can also change between different display levels (that is, view single or multiple parts at once). • To prepare and produce printed music. The number of staves in a score is only limited by the paper size.
Elements of the Score Edit Window Here’s an overview of the Score Edit window’s elements and their names, as used in this help book.
Positioning the SPL Directly in the Score The Song Position Line can be set directly in the Score window by clicking into a staff at the desired position, while pressing Option. This function is only available when the sequencer is stopped. It is especially helpful in Page view, where no Bar Ruler is displayed. The selected position is displayed in the help tag as long as the mouse button is pressed. Notation Concept MIDI sequencing and score display are closely related within Logic.
The Part box contains many symbols which can be inserted into the score, in the same way as notes, by dragging them into position with the mouse. The printed result always corresponds to what you see in the selected Score window (Page Edit view must be activated). Layout work should be done in page and print view, after all of the notes, and most of the symbols, have been recorded or inserted.
An Alias can be assigned a different Score Style than its original Region. As an example, a melody played in unison by several instruments can be handled as a regular MIDI Region and several Aliases of that MIDI Region. Different Score Styles can be used for the different instruments, also transposing Score Styles. If you decide to change something in the melody, you don’t need to edit all copies of it.
Any single instrument can quickly be extracted from the score, by selecting it from the pull-down menu which appears when you click on the Instrument Set Box, while holding down Option. This way, you don’t need to create an Instrument Set for every single instrument in order to produce parts. The automatic line breaks and the individual stave margins can be changed for each Instrument Set individually. For details please see the section Instrument Sets.
Note Attributes The Note Attributes (see “Note Attributes” on page 548) affect single notes or—when assigning them to a group of notes—all selected notes at once. For each note, the following parameters can be defined individually: • Enharmonic changes. • Settings for Interpretation and Syncopation, independent from the settings in the Display Parameter box. • Stem direction, tie direction, and beaming, independent from the settings in the used Score Style.
Page Edit Note: A quicker way of changing between Linear and Page Edit view is to click on the button in the upper left corner, or use the corresponding key command. For editing, you should use linear view, as screen redraws are much faster, especially on slower computers. Page view should only be used for layout work in preparation for the actual printout. When you work in Page view mode, you can jump directly to any page, using the Go to Page key command.
• Lock Group Positions: This allows you to lock the order of the Part box Groups. Otherwise, the group of the most recently selected object is always moved up to the top of the lower section of the Part box. Toolbox Hides/Shows the Toolbox on the left side of the Score window. As in all Logic windows, the Toolbox also pops up at the current cursor position any time you use the corresponding key command (default: Esc). After selecting a tool, or pressing Esc once more, it will disappear again.
• In the upper left corner of the main working area, you can change the width of the parameter column, and the height of the bar or page ruler. If View > Instrument Names is activated, the width of the instrument name column can also be changed. Parameter Boxes Both the Display Parameter box and the Event Parameter box can be reduced to display just their title lines, by clicking on the triangle in the upper left corner of each Parameter box.
Score Display Options—a Survey With a few exceptions a printed score (see “Printout” on page 487) is always identical to the Page Edit view display in the currently active Score window. The display, again, depends not only on what was recorded or inserted, but to a great extent on the chosen display settings. Since there are a quite a few, each affecting only certain aspects of a song’s display, here is an overview of the various settings.
Special case: • Score Off in the Extended Region Parameters Settings which can be changed for each note individually, regardless of the default settings: • Accidentals: Enharmonic Shift • Accidental Position (distance to note) • Beaming of notes • Stem Direction • Interpretation • Syncopation • Tie Direction • Note head appearance (Head) • Treating a note as Independent Note or Independent Grace Note • Note size (Size) • Horizontal Position: Graphic positioning • N-Tuplet settings (Tuplets) Printout For pr
It is very easy to change back and forth between a normal and extremely enlarged view of the display, by using the Magnifying Glass tool (shortcut: rubber band selection while holding down Control, to enlarge the selected area). Using external Symbol Fonts for Display and Printout of Notes and Symbols You can use the Sonata font by Adobe, the Jazzfont (http://www.jazzfont.com) and the Swingfont (not included with Logic), instead of Logic’s internal score font, for display and printout of notes and symbols.
Realtime MIDI Recording Although real time MIDI recording is usually done in the Arrange window, you can also start recording directly while working in the Score window. You must first select the destination track in the Arrange window’s track column. In the Score window, this can be done by clicking on a staff which belongs to that track.
• Simultaneous step input into several Regions is not possible. If more that one MIDI Region is selected, the notes will be inserted into only one MIDI Region. • If several Regions on the same track in the Arrange window follow one another, even with gaps in-between, you can insert notes using step input from one MIDI Region to the next. As soon as the Song Position Line reaches the beginning of the next MIDI Region, Logic will insert the notes into that MIDI Region automatically.
In the Event List, notes and sustain pedal markings are listed as MIDI events, most other symbols and text objects as Meta events. Global symbols, global text elements, time, and key signature changes are not listed in the Event List. Symbols which are attached to notes (accents, note heads and so on), are not listed as events in the Event List, but are saved with the notes they belong to.
• Symbols (except those directly attached to notes) can be inserted at any position which corresponds to the grid defined by the Qua parameter. For hybrid quantizations (i.e. 8,12), the insert quantization is determined by the binary value (in this example 1/8). However, you can move any note, and most symbols, to any desired position, by editing its numeric bar position in the Event List, or the Event Float Window (see “Event Float Window” on page 453).
All symbols are inserted at the bar position which is indicated in the help tag, when you release the mouse button at the end of the input process. This will also be the position indicated in the corresponding Event List line. Apart from the bar position, there are also parameters that affect the graphic offset from the inserted bar position. These are shown in the Event Parameter box, where they also can be edited (vert. pos, hor. pos).
Hyper Draw in the Score Edit Window If you activate View > HyperDraw, you can insert and edit MIDI events which otherwise are not displayed in the Score window at all, like continuous controller data (i.e. volume, pitchbend, and so on). The type and channel of the MIDI data which are displayed in the HyperDraw area can be selected and changed from the View menu. HyperDraw (see “HyperDraw” on page 323) in the Score window operates in the same way as in the Arrange window.
The Part Box The objects available in the Part box (notes, symbols, text objects) are organized in groups. Its top section contains small squares, each one a representation of a group. Below that, there are all of the groups with all available symbols. The arrangement of groups can change. If you click on one of the squares in the top section, the corresponding group is brought up right below it, for easy access to its symbols. However, every displayed symbol can be selected and inserted anytime.
Using Floating Palettes A double-click on one of the squares in the Part box’ top section opens a small floating window, containing all objects of the corresponding group. This palette can be moved to any place on the screen. Objects can be taken directly from these palettes, and dragged into position in the Score. Note: Unlike in the regular Part box, the object selection is not visible in the palettes.
There are also other key commands which change the selection inside the Part box: • Next Part box Symbol • Previous Part box Symbol Next moves the selection (similar to a text cursor) to the right, Previous to the left. After reaching a group’s last object, the selection cycles back to the beginning of the group. • Next Part box Group • Previous Part box Group Here Next moves the selection down to the object group below the current one, Previous up, as determined by the current order of the groups.
Inserting any of those symbols creates a MIDI note event, with exactly the length of that value. For display purposes, however, all of these MIDI notes are interpreted by Logic as if they had been recorded in real time. Therefore, the Display Parameter box settings need to be set in a way that allows the inserted notes to be displayed correctly.
N-Tuplets Inside the triplet group there is the symbol for N-tuplets. Depending on the display quantization selected, and the particular situation, Logic usually recognizes and notates regular triplets correctly. This requires a corresponding Qua (see “Qua (Display Quantization)” on page 524) value in the Display Parameter box). For the display of other N-tuplets, it is necessary to use the N-tuplet object.
Direction: the direction of bracket and number. Auto refers to the setting in the used Score Style. Allow Double Values: if this option is activated (which is the default setting), N-tuplets can contain note values which are twice as long as the “regular” tuplet value. N-Tuplet Input with the Mouse If you want to insert a tuplet, including all of its notes using only the mouse, insert the first note at the desired position, then drag the N-tuplet symbol on top of it.
“Artificial” N-Tuplets to Bypass Display Quantization You can bypass the display quantization value (Qua) by using hidden, “artificial” Ntuplets. As an example, if there is a single 32nd note run in a MIDI Region that otherwise only contains eighth note or longer values, you can set Qua to 1/8, and drag the N-tuplet symbol onto the first note of that 32nd figure. In the resulting dialog box, use the setting: 8:8/32 with Hide Brackets and Hide Numbers checked.
In most situations, you will need to create additional graphic distance between the Grace Note and the note it is associated with. The best way to do this is to use the Layout tool (see “Editing Using Tools” on page 519) to move the main note away from the grace note. Hint: if you want to create beamed grace notes, try using a polyphonic Score Style (see “Editing Single-Staff Polyphonic Styles” on page 541) (no rests displayed for second voice).
If you want to change an already inserted clef, double-click on it. This opens the following selection box. (The same applies to the “basic” clef of a MIDI Region, however, changing this clef affects the Score Style itself, as well as all Regions that use the same Score Style.) The option Smaller Clef Changes in Layout > Clefs & Signatures also affects clef changes. All clefs, except the first one in every staff, will be reduced in size, depending on the value set here.
Note Heads If you drag one of these symbols onto a note (watch the help tag: the destination note must be indicated there), the form of its note head changes to that of the selected symbol. If multiple notes are selected first, dragging the notehead onto any one of the notes will cause it to be attached to all notes in the selection. These note heads do not affect MIDI playback. If you want an altered note to have a standard note head again, use the same method, this time using the black round note head.
MIDI Meaning The symbols of this Part box group can affect the MIDI playback of the notes to which they are assigned. The effect can be on their velocity and playback length. If you want these symbols to affect the playback, you need to define the effect for each symbol separately in the MIDI Meaning dialog box. This can be opened from the menu Layout > MIDI Meaning (see “MIDI Meaning” on page 572).
Slurs, Crescendi Input Insert these objects at the intended left starting point. They can then be edited to their desired shape. After insertion, the object remains selected and small black square “handles” are visible at its end points, or, in the case of slurs, along its length as well. You can drag these “handles” with the mouse, to change the object’s shape.
Change of Length All these symbols can be as long as you like, and can therefore be displayed across line and page breaks in several parts. • If, for example, you want to extend a slur to a position which is not visible in the Score window any more (in Linear view), you can grab it by its right end, and pull the cursor to the right border of the Score window: the score will scroll automatically.
Precise Positioning It is very helpful to work in high zoom levels when positioning slurs. You can quickly switch to an extremely zoomed display by holding down Control while rubber band selecting a certain area of the score. In this case, the mouse becomes the magnifying tool, and the selected area is displayed as large as possible. Do all your positioning and layout work at this zoom level. Return to regular view by clicking on any free spot while holding Control again.
This method applies not only to the first staff, but for all staves. However, if the piece already contains other key signature changes, any newly inserted key signature only changes the key from the insertion point up until the next key signature change. As with the starting key signature, inserted key signatures affect all Regions, on all levels.
Compound Time Signatures Apart from 2/4, 3/4, 4/4, 6/8 and the alternative display options for 4/4 and 2/2, there are also Part box objects for freely definable time signatures (A/B), and compound time signatures (A+B/C). When you insert one of these, a dialog box opens: • The Nominator can be anything between 1 and 32, the Denominator can be 1, 2, 4, 8, 16, or 32. • The Beat Grouping entry field will open when you select A+B/C: here the grouping of the beats in compound time signatures can be determined.
The display of time signatures and time signature changes also depends on the settings in Layout > Clefs & Signatures (see “Clefs & Signatures” on page 567). All time and key signatures from one song can be copied into another song (see “Time Signature and Division” on page 91). Repeat Signs and Bar Lines These objects can be inserted at any “visible” bar position ( at the position of any graphically displayed note or rest). Usually, however, these objects are used at the beginning or end of bars.
1st and 2nd Endings After inserting one of the repeat endings, text entry mode is automatically activated. The default text is “1.” and “2.”. If you don’t need anything else, confirm with Enter. However, it is possible to enter any text into these brackets. The bracket which defaults to “2.” is open—without a vertical end line, like the “1.” ending. Since the text can be changed, you also can create a 2nd ending with a vertical line, for example.
Rests, Bar Repeat Signs Automatic Rest Display Rests are displayed automatically in Logic, in such a way that existing notes and automatic rests together always add up to complete bars, according to the given time signature. The only exception to this is, when a Score Style with deactivated rest display (hide Rest) or with Beat Slashes instead of rests is used. Manually Inserted Rests In certain situations, you might want to insert rests manually.
“Church rests” (the older form of display) default to a length value of 2 bars. The default length of “normal” multi bar rests is Auto (which in the Event List corresponds to value 0). This means that the rest’s duration is calculated automatically according to the position of the next note, user rest or global symbol (i.e. repeat signs, double bar lines and so on).
D.S., D.C., Segno, Coda Signs These symbols can be inserted at any position in the score. They are graphic symbols, and do not affect MIDI playback. Their size can be changed with the Sizing tool. Tempo and Swing Symbols These symbols can be inserted at any position. The font, size, and style of the tempo indication itself is determined in the Text Style (see “Text Styles” on page 575) window (Text Style Tempo Symbols).
Move, Copy, and Paste Moving or copying of complete Regions, or major parts of a MIDI Region should generally be done in the Arrange window. Still, most of the following described functions in the Score window work similarly to Logic’s other editor windows.
It is also possible to simultaneously move or copy objects which are in different Regions/staves. Each event will be moved/copied to its new position, within its original MIDI Region. Via the Clipboard These functions work the same way as in many other software programs, and in the other Logic windows. Paste inserts the Clipboard’s contents (i.e. a note) into the selected MIDI Region at the current song position (as indicated in the Transport Window (see “The Transport Window” on page 85)).
Paste at Original Position/Paste Multiple at Original Position These two commands (Edit menu, or key commands (see “Key Commands” on page 44) allow you to quickly copy passages from one MIDI Region to another, at exactly the same time position. Here, you do not need to think about the insert position at all, and the automatic insert quantization will not be applied. This is the ideal method for copying a whole musical phrase, including all symbols, to the staves of other instruments.
These functions do not alter the bar position of the affected symbols and text events, but their hor.pos. and vert.pos. parameters by ±1. Editing or Deleting Notes and Symbols Editing Using Tools Velocity Tool If you grab one or several notes with the Velocity tool, and move the mouse up or down, you change the notes’ velocity values. The value change can be seen in the help tag, and can also be heard if the MIDI Out button is activated.
Sizing Tool With the Sizing tool, you can change the size of any note, and of most symbols. If you want to reset the object to its original size, double-click on it with the Sizing tool. A dialog will appear asking if you want to reset the size of the object. Changes in the Event Parameter Box In the Event Parameter box, you can edit the following parameters: Notes MIDI channel, pitch, velocity, and note length.
Additional Parameters for Text Objects • Text Style (see “Text Styles” on page 575) • Size of the used font • Align: horizontal alignment Most parameters in the Event Parameter box can be edited using the mouse as a fader (hold down the mouse button while moving it up or down). Or, you can double-click on a parameter (except Text Styles and alignment), which opens an entry field. Here, you insert the desired value as a number, or in case of notes, also as a pitch, like “D#4”.
Hint: This is very useful for aligning lyrics and chord symbols. Deleting Objects in the Score Editor Here is a short survey of the methods for deleting objects in the Score Editor: • With the Eraser tool (works for all objects) • With Backspace or Edit > Clear, while the corresponding objects are selected (flashing). Exception: repeat signs and special barlines cannot be selected, so they can only be deleted with the Eraser tool. You can only delete events in the Score Editor which are displayed there.
Settings Different Settings within the Same Staff If you cannot seem to find the appropriate display parameters for a particular MIDI Region, keep in mind that you can divide a MIDI Region, using the Scissors tool (directly in the Score window). This will leave the MIDI playback unaltered, but provides the option to assign different display parameters (e.g. display quantization) for the resulting shorter Regions.
Rhythmic Interpretation of Sequences Traditional music notation is only an approximate description of the musical content in a piece. The actual performance depends heavily on the interpretation of the notes by the performing musicians. Quarter notes for example, hardly ever are held exactly for the duration of one beat.
“Qua” Setting and corresponding Note Length: 3 1/2-note triplets 6 1/4-note triplets 12 1/8-note triplets 24 1/16-note triplets 48 1/32-note triplets 96 1/64-note triplets 192 1/128-note triplets 384 1/256-note triplets Automatic Display of Triplets When binary display quantizations are used, automatic triplets will not be displayed at all. (except for triplets which are inserted with the mouse, using an N-tuplet object).
Swing Notation For regular swing notation, 8,12 should be used as the display quantize parameter. This enables the display of eighth-note triplets, and also displays two uneven notes on one beat (dotted eighth and sixteenth), as regular eighth notes.
Syncopation If Syncopation is switched ON, each (MIDI) note will be notated as one graphic note (i.e., not displayed as several tied notes), regardless of its position—if this is possible. (This also depends on the Max. Dots setting, see below) If this is not possible, the note is (only graphically) divided into the minimum possible number of notes, connected by ties. The usual application for this is the display of syncopated notes.
No Overlap No Overlap ON prevents the overlapped display of notes in melodies that are played with an exaggerated legato. The effect can be seen in the following example, which shows the same MIDI Region, first without, then with Overlap correction: No Overlap should only be deactivated in rare cases.
Score Styles Basics The Concept of Score Styles Score Styles could be compared to text formats in word processing and desktop publishing software. In this case however, it is score attributes that are stored, not font settings. This makes it very easy to assign multiple attributes; such as clef, staff size, vertical distance between staves, instrument transposition, and so on, to any existing or newly created MIDI Region.
Score Styles are saved together with the corresponding song file, so there can be different Score Styles in different songs. Hint: create some empty template songs with (among other things) the Score Styles and other score settings that you normally use as a basis for your work with Logic. Assigning Score Styles Each individual MIDI Region can be assigned a different Score Style in the Display Parameter box. This enables you (among other things) to quickly • create parts for transposing instruments.
Score Style Clef Type Transposition Trumpet in Bb 1 Stave(s) Treble Clef Bb (+2) Viola 1 Stave(s) Alto Clef — Violoncello 1 Stave(s) Bass Clef — # Drums 1 Stave(s) Percussion Clef “mapped” Working with Score Styles Assigning Score Styles to Sequences When you start Logic, the default song that appears already contains many Score Styles (see “Predefined Styles” on page 530) that you can use.
The Score Style Window There are several ways to open the Score Style window: • double-click on the Style parameter in the Display Parameter box • Layout > Score Styles… • Key command Open Score Style Window • Occasionally in the Arrange or Environment window: Double-click in the bottom line (Default Style) of the Instrument Parameter box.
Assign: The parameters for the assignment of notes to the different Voices. For details, see below. Every Staff can contain several independent Voices (up to 16), however, one Voice can not be displayed across different staves. Therefore, a Score Style has to contain at least as many Voices as Staves. List View Besides the single Score Style view shown above, there is also a list view option in the Score Style window.
Deleting Score Styles Score Styles can be deleted in both the single view (New > Delete Style), and in list view (with Backspace or Edit > Clear). In list view, you can also select several Score Styles at once for this purpose. As an example, select Edit > Select Unused in list view, and press Backspace to delete all Score Styles that are currently not assigned to any Regions or Track Instruments in the song.
Editing One-Staff Score Styles These are the parameters that are relevant for One-Staff Score Styles. The other parameters are only relevant if the Score Style consists of more than one Voice, which does not refer to the display of chords and so on, but to rhythmically independent, polyphonic voices. Name The Name of a Score Style can be edited by double-clicking on the name box, which opens an entry field.
Clef Here you select the clef which is used in the Score Style from a pull-down menu. Besides the usual clefs, this menu also offers some special options: • Drum.0 to Drum.8: staves with 0 to 8 lines and a “neutral” percussion clef. The relationship of MIDI note pitches to the top line of all staves corresponds to the top line in regular bass clef (A2). However, no accidentals will be displayed in these drum staffs. Drum.0 also omits any ledger lines.
Stem This controls the direction of stems. The default setting is Auto. Up or Down forces all stems, regardless of pitch, into the corresponding direction. Hide makes all stems (and with them beams and flags) invisible. Tie The vertical direction of automatically displayed ties. The default setting is Auto. Up or Down forces all ties into the corresponding direction. Tupl Controls the direction of N-tuplet brackets and numbers. The default setting is Auto.
Editing Two-Stave Score Styles (2 staves with one Voice each) The most obvious example for a multi-staff Score Style is a two-staff piano system. When working with multiple staves and/or Voices in a Score Style, the following parameters also become relevant: Number of Staves In the first column each staff is represented by a number. These numbers are assigned automatically and cannot be changed. An additional staff can be created in two ways: • New > Insert Staff.
• A fixed split point (between two lines in the Split column). This is a defined pitch, which determines the absolute border between two Voices. Notes above it or exactly at that pitch are assigned to the upper Voice, notes below it are assigned to the lower Voice. This method is very simple, but there is the disadvantage that none of the Voices, even briefly, can ever cross that border. Quite often in “real life”, the border between voices needs to be flexible.
• Hint: these can be especially useful when used in combination with the Select Next/ Previous Event key commands, which allow you to move the selection from note to note. • Using the Voice Separation tool: this tool allows you to draw a separation line between the notes, thereby assigning them to the different MIDI channels of the Voices. Place the tool between the staves, and draw a line where you want to separate the Voices, while holding down the mouse button.
Editing Single-Staff Polyphonic Styles (With Several Independent Voices) Polyphonic Score Styles are needed when rhythmically different melodic lines should be displayed in the same staff. Theoretically, up to 16 independent Voices are possible. There are two possible ways to add another Voice to a staff in the Score Style window: • Menu New > Insert Voice.
Input and Recording of Polyphonic Voices Via MIDI If you record polyphonic voices as separate passes in real time, you should set your keyboard or MIDI controller to the appropriate MIDI channel for each Voice. This way, you don’t need to edit the channels afterwards. The same applies to step input.
• For the second Voice, the stem, tie, and tuplet direction parameters are set to down, and the automatic rest display is deactivated (Hide). Only notes with channel 16 will be assigned to this Voice. To achieve such a score display, the following additional steps are necessary: • Rests in the second Voice need to be inserted manually where needed. In the example, this was done on the fourth beat of the second measure.
Cross Staff Beaming Music for keyboard instruments or harp, which is notated in two staves, sometimes contains passages where notes in the upper and lower staff (played by left and right hand) are connected with a beam to emphasize the continuing musical phrase. Required Settings Cross-staff beaming is only possible between staves which belong to the same Score Style and therefore to the same MIDI MIDI Region.
Stem Direction The default stem direction for notes that beamed across staves is towards the center. I.e. the beam is displayed between the two staves, stems in the lower staff point up, stems in the upper staff point down.
Drum Notation with Mapped Score Styles Nowadays, most MIDI instruments contain a variety of drum and percussion sounds. Each MIDI note usually triggers a different sound. If a MIDI Region containing a drum part is displayed with a regular Score Style, you see notes with no apparent relation (except that these MIDI notes trigger the corresponding sounds) to the sounds represented by them.
Rel. Pos. This parameter assigns the note to a line in the staff. It defines the note’s position in relation to the top line of the staff. Integer values will make the note fall onto a line, fractional values result in a note position between two lines. (The measurement unit of this parameter is the distance of one staff line to the next) This position parameter can be set individually for each MIDI note.
Creating and Editing Your Own Mapped Score Styles This is very similar to creating non-mapped polyphonic Score Styles. Select New > Mapped Score Style in the Score Style window, and insert all desired staves, Voices, and Drum Groups using the menu functions (New) or the Pencil tool. The copy, insert, and paste functions for single staves, Voices, and Drum Groups also work as described in the section Copying Voices or Staves into other Score Styles (see “Copying Voices or Staves” on page 545).
List of all Note Attributes The following list shows all Note Attributes. Here you can see how to access a certain attribute and what the options are.
Stems: down Stems: hide: hides a note’s stem, and the corresponding beam or flag Stem End: Default Length: default setting Stem End: Move Up: moves the stem end upwards; depending on the direction shortens or lengthens the stem • Stem End: Move Down: moves the stem end downwards • • • • Beaming of Notes (Default depends on the chosen time signature, the “Beat Grouping” setting in the time signature dialog box, and on the Score Style Parameter “Beam”) • Menu Attributes > Beaming • With key commands Options:
Interpretation (Default setting in the Display Parameter Box) • In the Note Attributes window (Interpretation) • Menu Attributes > Interpretation • With key commands Options: • Default Interpretation: according to the default setting • Force Interpretation: forces Interpretation mode • Defeat Interpretation: defeats Interpretation mode Independent: Display as Independent Note or Single Grace Note (Default setting “Not Independent”) • Menu Attributes > Independent • With key commands Options: • Not Independ
Instrument Sets and Score Display Levels In Logic’s Score Edit window, there are basically two parallel systems determining which Regions are displayed, and which aren’t (linear view versus page edit view does not play a role here). The hierarchical system which controls the Display Levels is basically the same in all Logic windows, but has a few special aspects in the Score Edit window.
Explode Folders If the current display level allows the display of more than one MIDI Region at a time (Linked or Not Linked), the option Explode Folders in the View menu will affect how things are displayed: unlike the other editor windows, the Score window can display (or even print) the contents of different display (folder) levels at once. If the current Display Level contains folders, their contents will also be displayed in the score.
• Reduce or enlarge all staves which are part of that Instrument Set at once, using the Scale parameter. (This allows you to use the same Score Styles for printout of full scores and parts). • Select from two different parameter sets (Score or Part) for page margins, header space height, vertical distance between stave systems, and the maximum number of bars per line. An Instrument Set is selected in the Instrument Set Box, below the Catch and Link buttons.
Instrument In this column, you determine which (track) instruments are included in the Instrument Set, and in which vertical order they will appear in the score. As in the Score Style window, there is a narrow column at the left margin, where you can set an insert mark (>) with a mouse click, or selection marks by dragging the mouse vertically. With these selection marks, instrument entries are selected.
Brackets and Bar Lines You can define which staves in the Instrument Set will be connected by brackets (two bracket types available), and/or connected by bar lines (either at the beginning of each staff, or throughout) using the last four columns. For any of these connections, just drag the mouse vertically in the column until you see the appropriate display. These brackets and bar lines can also be interrupted between staves, which allows you to form groups of connected instruments in a score.
New Instrument Sets for Selected Instruments In the Score window, Layout > Create Instrument Set from Selection (also key command) will immediately create and display a new Instrument Set, which consists of all instruments which are used by the currently selected MIDI Regions. For this function, it does not matter if the MIDI Regions are selected in the Score or in the Arrange window. As screen redraws are much faster if fewer instruments are displayed, this is a good way to speed up editing.
Scaling Parameter for Instrument Sets In the Instrument Set window, below the name of the Instrument Set, there is a Scaling Parameter, which can be set to any desired size between 50 and 200 percent of the original size. This scaling will affect all staves, the distance between staves, all symbols which are part of the staves (i.e. all notes, rests, and other symbols), and all local text including lyrics.
To move the last bar of a stave system down into the next staff, grab that bar with the Layout tool, drag it down until the resulting hand symbol points down with the thumb, then release the mouse button. The bar is moved to the next stave system, and the remaining bars in the line are distributed evenly over the entire width of the page. The same method works for several bars at once. If you grab the third to last bar of a staff, and drag it down, three bars will be moved to the next staff.
In this case Logic also adapts the number of bars per line automatically (unless the line breaks have been adjusted manually beforehand): if the line is shortened, bars might be moved down to the next line, depending on the Spacing parameters in the Global Format window (see “Global Format” on page 561). To reset such a changed staff margin to line up with the other staves again, doubleclick at its end (or beginning).
Global Format Here you can find the settings for page margins, spacing between notes, slanting of beams and format settings. This window can be opened by: • Layout > Global Format… • Key command Settings: Global Format • Double-click on the page margins in Page Edit view Note: Distance values can be displayed in inches or centimeters. To change between these, just click on one of the depictions of the units being used. Those settings, that affect the general page layout, e.g.
Header Space Defines the height reserved for headers, between the first page’s top margin, and the first staff’s top margin (as defined in its assigned Score Style). Note: Text elements inserted directly into this area automatically become Global Text (see “Global Text” on page 579), and will be displayed as headers in all Instrument Sets (scores and parts). This value can also be changed directly in the score, by dragging the dotted line above the first staff with the mouse.
Default Pedal Position This determines the vertical position of pedal symbols which are created and displayed automatically when you use the MIDI sustain pedal during a real time recording. If this parameter is set to zero, the recorded MIDI sustain pedal controller events will be hidden in the score. Pedal marks inserted from the Part box are not affected by this parameter. Beaming Slant Factor/Min. Slant/Max. Slant These three parameters affect the slant angle of beams.
Chord Symbol Language In the pull-down menu choose between • International: default • German1: B → “H”, Bb → “B” • German2: B → “H”, Bb → “Bb” • German3: C# → “Cis”, Eb → “Es” etc… • Roman: CDEFGAB → Do Re Mi Fa So La Ti In all Chord Symbol Language formats, the current format is also accepted for the input of new chords. The “#”, “b”, “x” and “bb” characters are also active in the German3 mode, allowing for quick entry. In the Roman format, the second root string character can be omitted, e.g.
Vert.Position The vertical alignment on the page top/bottom Page Offset This value is added to each actual page number for display purposes. This can be useful when you write a piece consisting of several parts, which you save as separate song files. To still have continuous page numbers throughout the score, you can set this parameter to the number of pages contained in all preceding parts. Hor.Distance The horizontal distance from the outmost possible printing position on the page.
Bar Numbers Bar numbers are placed above or below the barlines, and at the beginning of the line, above or below the clef (they are automatically moved to a position where they won’t overlap the clef ). Vert. Position The height above the staff. If a negative value is set here, the bar numbers are placed below the staff. Step This value controls the interval at which bar numbers are repeated.
Position above/beside staves Align left: at the left margin right at the right margin (refers to the space in front of the staves) 1st Staff no names/short names/full names Other Staves no names/short names/full names Clefs & Signatures These are the options for the general display of clefs, key signatures and time signatures.
For Key Signatures: Automatic Key Transposition This enables the automatic transposition of key signatures in transposing Score Styles. Usually, this will be activated. An exception would be for the notation of atonal music. If it is deactivated, all sharps and flats are displayed directly with the notes.
Extended Layout Parameters This is where you define certain display settings for the whole song, like staff line thickness, stem length, distance between notes and ties, or notes and dots, and so on To open this window, select Layout > Extended Layout Parameters.
Clicking on Factory Defaults resets all parameters to their default settings. However, if you have a printer with high resolution, you should try to use smaller line thickness settings (2, or maybe even 1). Smaller staves, in particular, look much better and more professional that way. The other parameters’ settings are more a matter of personal preference. On the screen these changes are only visible at the highest zoom levels.
Alignment of the numbers to the stem: to the side, or centered (can be switched by clicking on this box). Bass String: the display of the lowest string: may be the same as the other strings, or a bit thicker. (can be switched by clicking on this box) 1/1, 1/2 Notes: if this option is activated, half and whole notes will be displayed with a circle around the fret number. Since the note head is always a number, there would be no displayed difference between a half note and a quarter note otherwise.
Inv.Ch-1, Inv.Ch-2 These modes have been created for the purpose of recording and notating electric bass parts with Guitar-To-MIDI-Converters. “−2” is designed for four-string bass, “−1” for five-string bass (with an additional high B string). The principle is the same as Inv.Chan, but the number of the MIDI channel is reduced by 1 or 2, in order to convert the channels properly for bass string assignment.
Length The original note length is shortened according to the percentage chosen here. This only affects the playback of the note, not the score display. The note length change can for example be seen in the Event Parameter box or in the Event Editor window. How it Works The MIDI Meaning functions basically make most sense for users who insert notes using the mouse. This makes it possible to work as if writing music on paper. First you write/insert the notes.
• User Palette: These colors not only can be edited freely, but also named, using the text entry boxes next to them. These names are displayed as color options in different color selection menus (Score Styles (see “Basics” on page 529), Note Attributes (see “Note Attributes” on page 548)). • Note Color Options: These options determine whether accidentals, dots, stems, and beams are displayed colored (according to the notes they belong to) or black.
Open Floating Palettes Default Setting for the shape of Part box Floating Palettes (see “Selecting and Inserting Part Box Objects” on page 495). Double Click Note to Open… This setting determines, which window will open when you double-click on a note head: Note Attributes, Event List, Hyper Editor, or Matrix Editor. Graphic Export Resolution, Graphic Export to…, PICT File Creator ID Parameters concerning the PICT-Export function with the Camera tool (see “Graphic Export” on page 488).
You can edit these settings for both the System Text Styles and the User Text Styles. Any text fonts which are installed on your system can be used. The System Text Styles Plain Text The default setting for “regular” text 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 detail in the section Numbers & Names (see “Numbers & Names” on page 564).
Changing the Same Font in Several Text Styles Simultaneously If you change a Text Style’s font (pull-down menu) in the Text Style window while you hold Option, this change affects all Text Styles which use the same font. This is a quick method, for example, to change the Logic default Text Styles to the fonts you prefer.
After you have inserted the text object at the desired position and released the mouse button, a flashing text cursor appears at that position. Now you can enter text with the computer keyboard. The basic functions for moving the cursor, deleting parts of the text and so on are the same as in most word processors. As long as you are in text entry mode (indicated by the flashing text cursor), you can click on any position in the text to place the cursor there.
Size, Font Here you can change the size and font for each individual Text object, independent of the initially chosen Text Style, which serves as the default setting. You can also change the settings for font, size, style, and alignment of Text objects with the sub-menus in the Text menu, while the desired Text objects are selected. Generally, you should not make those changes here, but rather create new Text Styles in the Text Style window, which then are also available for other Text objects.
Pages The pages on which the text will be displayed: 1 = first page, 2… = all pages except the first one, Odd = all pages with odd numbers, Even = all pages with even numbers, All =all pages. Zone The margin area which the text belongs to: Top, Header, Side, Footer. Align You’ll find two additional alignment options in this pull-down menu: for right and left alignment, you may select between alignment at the set page margin, or at the outermost possible position.
Example of Automatic Text Insert the INSTR object above the top margin (centered, Pages set to 2…). It will automatically be treated as a Global Text object. Now, create an Instrument Set (see “Instrument Sets and Score Display Levels” on page 552) named “Score” in the Instrument Set window. If you use this Instrument Set, there will be a line saying Score on the top of every page, except the first one.
Several Verses Written below each other There can be several LYRIC objects assigned to the same note, so you can insert several verses for a song, one below the other. Start with the first verse and make sure the vertical distance to the notes is correct. Then start with the input of the second verse. As long as you stay in fast lyric input mode, all Lyric objects for the second verse will stay at the same height as the object you started with, in this case the first word of the second verse.
As you enter the text for the chord in the Score window, you can influence the way the inserted text is distributed to the different fields of the Chord Symbol Edit Box: • First, enter the root, then the extensions, then—after typing a slash—the (optional) additional bass note. • As soon as you enter a number, everything following that number will be placed in the upper extension line. If you write “G7(b9/b13)”, the whole “7(b9/b13)” will be placed in the upper line, the lower line remains blank.
Transposition of Chord Symbols Chord symbols in transposing Score Styles are transposed automatically, just like notes. Also, if the Transpose parameter (for playback transposition) in the Region Parameter box (Arrange window) is changed, all chord symbols in that MIDI Region will be affected accordingly. German Chord Symbols: “H” instead of “B” If the German Chord Symbols option is activated in the Global Format dialog window, the note B in chord symbols is globally displayed with its German name H.
Vertical Position: Vert.Pos, Stave The vert.pos parameter determines the vertical position or height of the chord symbol above or below the staff. In Score Styles with more than one staff, the Stave parameter determines the staff which the vert.pos parameter refers to. A hint: to adjust a number of chord symbols to the same height above (or below) the staff, select them and use the Align Object Positions Vertically key command.
17 The Transform Window 17 The Transform window is a very powerful non-real time processing tool. It enables very specific data event changes to one or multiple MIDI Regions, through the use of user-defined conditions. This window allows you to select, say, all note events with a velocity that falls between 80 and 86 to be adjusted to a fixed volume of 93. This can be done on one or a thousand MIDI Regions.
Usage The Transform window can be used to alter existing events that match user-definable parameters. These parameter settings can be saved as “transform sets”, and used later. The Environment contains a similar Transformer Object that is used for real time editing of MIDI data. The Transform window provides an extremely high degree of flexibility and power for complex edits and transformations of MIDI data.
Select only All events (in the effective range) that fulfil the Conditions will be selected, but not transformed. You can use this option to refine your selection, and ensure that your Conditions are set to only affect the events that you truly want to “transform”. Operate only All selected events are transformed, in accordance with the Operations settings (Conditions has no effect). This is useful if you want to edit events that you’ve already selected, manually.
Delete selected Events The selected events are deleted. In this mode, you can use the Transform window as a programmable erase function. All events that match the Condition are deleted, and all other events remain unchanged. The Operations setting is irrelevant in this mode. Copy selected Events & Apply Operations The selected events are retained in their original form, as well as being copied and edited.
Subposition Time position of the event, within a bar. Conditions The middle section of the window (Conditions) defines the conditions that determine which events are selected for edit operations. Each column represents a different MIDI event parameter. The condition is considered to be fulfilled when an event matches the defined effective range of all event parameters. These ranges are determined in the pull-down menus found under each of the event parameter columns (except the Status column).
Outside The value in the event must be outside the value range of both boxes below it, for the condition to be fulfilled. Map This condition compares incoming event components to the “map” before they are evaluated. The two Range parameters work in the same fashion as Inside. Incoming events with a mapped value that falls within the Range fulfil the condition—all others do not.
Operations on the values of Position, Cha, -1-/Pitch, -2-/Vel, Length, Subposition For all parameters (except status), the top box determines the type of operation that is performed, using the values defined in the boxes below (referred to as the “set value” below). The following operations are identical for the channel and the first or second data byte, with the value ranges being automatically adjusted in the boxes below. Fix The parameter is fixed to the set value. Add The set value is added.
+—Rand. A random value between zero and the set value (positive or negative) is added. Reverse The parameter value is reversed within its value range (no value can be set here). Quantize The parameter value is quantized to a multiple of the set value. Qua & Min Like Quantize, but the quantization does not fall below the set value (a combination of the Quantize & Min functions, with the same set value). Exponent. The parameter value is scaled exponentially. The extreme values (0 and 127) remain unaltered.
Parameter Sets Presets The first twelve items in the pull-down menu are write-protected presets. If you try to alter any of their parameters, Logic reminds you that the changes can’t be saved. You can alter the presets temporarily, but any changes you make will be discarded when you leave the preset. Creating your own transform sets, which can be configured and saved as part of the song, is worthwhile.
18 Tempo 18 Logic provides several different tools and methods to create and edit tempo events. This chapter discusses these tools, and covers the possible interactions between tempo events and MIDI and Audio Regions. Display and Functions Tempo Display If your song has a tempo that stays the same throughout, you can set this constant tempo in the Transport window. The current tempo is always displayed here, even if you’re using programmed tempo changes or external synchronization.
Adjusting the Tempo to Fit Regions The Options > Tempo Adjust Tempo using Region Length and Locators command adjusts the MIDI tempo, making the length of the selected Audio Region exactly match the distance between the locators (Cycle area).
5 Paste the tempo events from the Clipboard (Command-V). 6 A position input box appears at the first tempo event, allowing you to alter the bar position. If the first tempo change is not at the start of the bar in the passage, be sure to alter the bar number, and leave the beat, sub beat and frame or tick values unaltered. 7 Press Enter. The copied tempo changes will be selected, and you can undo the operation if necessary. Alternative Tempo Lists You can use up to nine different tempo lists.
Create Tempo Curve This function lets you create numerous tempo change events with just a few parameters, and provides a smooth overall change in tempo. Three kinds of tempo curves are available from the Curve Type pull-down menu. Each of these offers a Curvature parameter, which determines if the tempo should speed up or slow down, dependent on whether positive or negative curvature values are entered. To create a tempo change in the Tempo Operations window: 1 Select the desired Curve Type.
Stretch Existing Tempo Curve This function stretches or compresses an existing tempo curve. The Position or Time values are used to define the start point of the Region that you want to change. You can then enter either the new end point of the tempo curve as a bar position or SMPTE value, or set a Stretch value for the curve (as a percentage). Thin Out Existing Tempo Changes Position or Time defines the start and end points of the area to be processed.
The Tempo Interpreter window The Tempo Interpreter can be opened; from the Sync button’s pull-down menu on the Transport, by using the Open Tempo Interpreter key command, or by selecting Options > Tempo > Tempo Interpreter in the Arrange window. You will find the following parameters in the Tempo Interpreter window: Tap Step This parameter sets the note value that Logic will assign to manual taps. The best results are obtained when using larger values, rather than smaller ones.
Max. Tempo Change This sets the maximum tempo change possible per tap (in bpm). To obtain as regular a tempo curve as possible, follow this rule: set the smallest possible value (and only as large as necessary). Tap Count-In This sets the number of taps used as a count-in. Logic starts on the tap after this number of taps is entered. Smoothing Switching on this function smooths out jumps in tempo, resulting from incoming taps (which could prove useful when using Logic live).
The Tempo Fader Parameter box displays Pitch Bend events as the In-definition (by default). This allows control of Logic’s tempo with your keyboard’s Pitch Bend wheel. The Effect on Recording This way, new tempo track data can be recorded “intelligently”. The original tempo data will only be erased in areas that actually contain tempo changes. The Effect on Playback If the tempo fader is moved during playback or recording, all data defined in the tempo list is switched off, until the sequencer is stopped.
19 Synchronization 19 Logic can be synchronized with external hardware and software via a number of different synchronization protocols. This chapter discusses the synchronization of Logic—as both synchronization master and slave—in a number of different situations. Functions Switching on External Sync Activation of the Transport Sync button synchronizes Logic to the chosen sync source. You can use the Sync button to turn off external sync at any time, without changing your selected sync source.
MTC Interpretation As the MIDI standard only supports four of the possible six time code formats (the 30 fps and 29.97 fps formats cannot be differentiated), Logic needs to decide which format is “intended”, when it encounters incoming time code: Incoming MTC format is interpreted as: • 24 fps—24 fps • 25 fps—25 fps • 30 drop fps—29.97 drop fps • 30 fps—30 fps In other words, the much more commonly used 29.
Synchronization Window Overview You can open this window from the Arrange window using File > Song Settings > Synchronization, or by click-holding the Sync button in the Transport window. At the top, there are tabs for selecting the various pages: General, Audio, MIDI, Unitor. General This page of the synchronization window contains the major synchronization parameters for running Logic as a slave.
Manual Tempo interpreter mode. Manual synchronization or “human sync” mode. Logic runs as a slave to impulses that are recognized as valid beats by the tempo interpreter. The tempo interpreter can be controlled by MIDI events, or a key on the computer keyboard. Auto Enable external Sync When this option is activated, Logic runs as the master (Internal sync mode), until it receives a synchronization signal—either in the form of MTC, Clock/SPP, or from the tempo interpreter.
“Auto Detect” only switches to 29.97 df or 30 nd if one of the other conventional formats was previously set. If you want to synchronize Logic to one of these unconventional frame rates, you need to define the format manually. This setting will not be altered by “Auto Detect”. Validate MTC This pull-down menu option allows you to specify how often Logic checks for incoming time code, in order to ensure synchronization. In general, you should leave this option set to always.
If the frame rate is correct, you can use this display to adjust the tape speed of the master machine to the nominal value (the same speed used when the time code was recorded). Adjust the varipitch control on the master machine, until the vertical yellow line is centered. Sample Rate (Hz) This display shows the deviation of the sample rate from its nominal value. Bear in mind that some audio hardware will not allow any variation in the sample rate.
MTC Trigger Audio regions are started in sync, but are then played at a constant sample rate, regardless of any variations in the time code master signal. Logic always uses the set nominal sample rate (44.1, 48, 88.2, 96, 192 kHz). This mode is suitable when it is vital to retain the absolute pitch of a recording. If the speed of the time code master deviates from the nominal value, you may need to split long Regions into shorter sections. External or Free Logic has no influence on the sample rate.
Transmit MIDI Clock Delay This parameter allows you to delay the transmitted time code. Negative values mean that the MIDI Clock signal is transmitted earlier. This enables you to compensate for any reaction delays in external MIDI Clock slaves. Transmit MTC (MIDI Time Code) The checkboxactivates transmission of MIDI Time Code. The pull-down menu determines the MIDI output port for the MTC signal. It is not advisable to send MTC to all ports.
Logic also obeys so-called “full frame messages”, and sets Logic’s song position line to a new location, without starting playback. Once again, incoming MTC data has higher priority, if conflicting information is received. Some synchronizers send “Full Frame Messages” (instead of MTC) to locate the slave device (Logic in this case) to a new position, without implicitly starting playback.
TV Format Allows you to define the television format for time code burn-in: PAL: The video format used in Europe. If you are working with video in SECAM Norm, select PAL. NTSC: The video format used in the USA and Canada. You don’t just need this setting when writing and reading VITC. If you’re working with LTC, and you want to generate a video picture a with burned-in SMPTE time, you also need to set the correct format here.
Positioning Objects to Frames (Pickup Clock) Set the song position to the required SMPTE time, by going to a specific frame of the film in the Video track, for example. Select the object that you want to place at this time position. It doesn’t matter whether this is an individual event, tempo event or a Region. Pickup Clock Position then sets the start time of the object as required, Pickup Clock and select next event selects the next object after moving your current selection.
Positioning Bars to Frames If you want a particular bar in the song to coincide with a specific SMPTE time, you need to alter the tempo of the preceding passage. The following procedure will save you from having to do this by trial and error: 1 Open the Tempo List (see “Tempo List Editor” on page 598). 2 Create a tempo event at the desired bar position. 3 Set the desired time position for this tempo event in the SMPTE-Position column.
You only need to create one instrument with the “tape deck” icon, and you may then assign that same instrument to as many tracks as needed, to control your external recorder. It’s a good idea to group these tracks together in their own folder. These tracks must be placed at the top of the Arrange window track list. If you pack them into a folder, this must be the first track in the list. The “tape deck” (#305) icon is the only icon that actually affects the way an object behaves.
Sync Problems and Solutions Faulty Digital synchronization If Logic is synchronized to external wordclock (Audio Sync Mode: External /free), you must ensure that a valid digital signal is always available. If you encounter error messages such as “Sample Rate xxx kHz recognized” it may be that the DAT recorder (or whatever clock source you have connected to your audio hardware’s digital input) does not transmit wordclock in stop or pause mode (or has switched itself off ).
20 Video 20 Logic supports the viewing of QuickTime video files in the Arrange Video track, making film and TV scoring quick and easy. You can also view QuickTime video files in a separate window. This chapter covers the use of video files in Logic. Synchronizing QuickTime Movies QuickTime is a Macintosh standard for digitized, data-compressed films which can run in individual windows. If you want to play these films, Quicktime must be installed on your system.
Working with Movies In the QuickTime window, you can enter the SMPTE offset of the film in the Movie Start row. This is independent of the SMPTE offset for the song. Grabbing and dragging the position slider at the bottom of the video, or using the forward/rewind buttons to the right, moves the film to any position, and Logic will “chase” to the corresponding song position. All QuickTime transport functions interact with those of Logic.
Synchronization Methods The Contiguous Sync option allows you to switch between the following sync methods: When Contiguous Sync is turned on, Logic controls the playback speed of the movie, keeping music and pictures in sync at all times. If the film has a soundtrack, the audio signal will be transposed slightly, if necessary, by means of sample rate conversion. This sync method is possibly more precise, but requires greater processing power.
Maximum Cache Size (in MB) Amount of memory reserved for the Thumbnail cache. 40 MB is recommend for medium resolution. Use a higher value for higher resolutions. The memory will only be occupied when actual movie data is displayed. Automatic Scene Cut Detection/Scene Markers The Find Scene Cuts function is available in the context menu of the movie window or via the Options > Movies submenu. The movie will be analyzed for significant content changes, and (SMPTE locked) markers will be generated.
Import/Export Audio Tracks from/to QuickTime Movies Once a movie has been opened in a Song, you can make use of the Movie sub menu to perform the following functions: Extract Audio from Movie or Export Audio to Movie. Both functions open dialogs that allow you to choose the audio tracks of the movie that you’d like to replace or import, as shown below. Export Audio to Movie Should you choose to Export the audio, the following dialog allows you to select the desired format.
21 Song Settings and Preferences 21 The Song Settings and Preferences allow you to define many of Logic’s basic operating parameters. This section explains each of these menu items individually. Unless otherwise indicated, the descriptions of the various options apply when the selection box next to the option is checked (in other words, when it’s active). Song Settings and Preferences are accessible via the File > Song Settings and Logic > Preferences menu items.
Saving of Song Settings and Preferences The Song Settings are stored with the song file. If you want to start Logic with certain settings, simply make the desired settings in your Autoload song or a Template. The Preferences are saved whenever you quit Logic. There are several Preference files, which are stored separately in the $/User/Library/Preferences folder. Logic preference files all begin with “com.apple.Logic”. Note: All choices made in the Song Settings window are specific to the saved song.
Output (assignment): Provided the audio hardware used by Logic offers more than two outputs, this field allows the routing of the Klopfgeist metronome sound to a different set of hardware outputs. Note: Klopfgeist is a software instrument found in the Mono plug-in menu of Audio Instrument channels. Klopfgeist is inserted on Audio Instrument channel #64, by default. Logic will automatically create Audio Instrument channel #64 (with Klopfgeist inserted) when the Klopfgeist checkbox is activated.
Recording Settings This page can be reached in various ways: by key command (default: Option-R), the File > Song Settings > Recording menu option, or from the Recording menu item, accessible by click-holding on the Metronome or Record buttons of the Transport. The Recording Song Settings determine how Logic responds while in record mode. You can enable/disable some checkboxes via the computer keyboard, by using the keys indicated in brackets after the function name.
When Beginning: Record Pre-roll If enabled, this parameter allows you to set a pre-roll time in seconds and milliseconds. When recording, this value will be deducted from the current song position. MIDI Merge new recording with selected Region After each recording, all newly-recorded data is merged with all selected Regions on the recorded track, to form one Region. When Merge new recording… is activated, Merge only new Regions in cycle record is automatically activated as well.
Tuning Settings A real-time tuning system is available for use with Logic’s software instruments. There are a number of parameter settings that are accessible via the File > Song Settings > Tuning panel. We’ll discuss these options shortly, but before beginning, we’d like to cover some basics and background information. About Alternate Tunings The twelve tone scale that is currently used in Western music is a development that took centuries.
To simplify this example, we’ll start tuning at a frequency of 100 Hz and we’ll call it ‘C’ (a real ‘C’ would be closer to 130 Hz). The first fifth would be tuned by adjusting the pitch until a completely clear tone is produced, with no beats (beats are cyclic modulations in the tone). This will result in a ‘G’ at exactly 150 Hz.
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 taken to solve this mystery, resulting in a range of scales, and finally arriving at the concept of “equal temperament”. Other temperaments that have been devised throughout history maximize or emphasize different aspects of harmonic quality. Each compromises in some way or another.
Hermode Tuning can help with this problem: it retains the pitch relationship between keys and notes, while using a controlled program to correct the individual notes of electronic instruments—ensuring a high degree of purity. This process makes up to 50 finely graded frequencies available per note, while retaining compatibility with the fixed tuning system of 12 notes per octave. How Hermode Tuning Works Frequency correction takes place on the basis of analyzed chord structures.
The Root Key pull-down menu allows you to select a global key (C–B) for the chosen scale as an easy way to reference the chosen historic scale to any root note. This mode tunes keys to different degrees of scaled tuning, and delivers a “key signature character”. When playing mostly white keys (in the Pure setting, and with C as the Root Key), C major will be the main focus, and tuning will be scaled to that chord.
3/5/7-all 5ths, 3rds, and also 7ths are changed in this mode. It is great for Pop and Jazz styles, especially when using held chords. It is less suitable for polyphonic music, as the detuning of the natural 7th is quite high. This mode should always be used with a Hermode Tuning Depth of 90% or 100%, as other values will render the natural 7th acoustically ineffective. 3/5-adaptive This mode tunes pure 5ths and 3rds—with changing characteristics.
MIDI Remote Global Switch for controlling Logic via MIDI Commands. Clicking on the Configure button will launch the Key Commands window (see “To assign a function to a MIDI message:” on page 51). Scrubbing with Audio in Arrange This setting is required for simultaneous scrubbing of MIDI and Audio. General: MIDI Thru SysEx with MIDI Thru function Incoming SysEx messages are passed through the computer to the MIDI output(s), along with other MIDI data.
Input Filter The input filter switches are used to filter out certain event types at the sequencer input. When a switch is enabled (checked), it will filter the corresponding incoming events. You can filter the following event types: • Note events. • Program Change events. • Pitch Bend events. • Control Changes (such as the modulation wheel of a MIDI keyboard). • Aftertouch events (channel pressure). • Polyphonic Aftertouch (polyphonic key pressure).
Control Changes If this switch is active, you can switch three groups of MIDI controllers (control change messages, such as modulation, volume, pan, and sustain) on and off individually: 0—15 Controller numbers 0 to 15 are chased. These include the following controllers: modulation wheel, breath, foot, volume, pan, portamento time, balance, and expression, plus the MSB (most significant byte) for data entry and bank selection. 64—71 “Switch” controllers 64 to 71 are chased.
Chase separate channels in ‘All Channels’ instruments This option affects multi instruments with the Channel parameter set to All. All defined event types in Regions that are started part-way through are chased separately for each MIDI sub-channel of the multi instrument. Chase on Cycle Jump Switches on the chase events function for cycle jumps (when a Cycle reaches its end point, and returns to the Cycle start point).
Global Preferences Global Preferences: Song Handling Hide Windows of inactive Songs Only the windows of active songs are displayed. All other windows belonging to songs currently in memory are hidden. In this mode, you must use the main Windows menu to switch between songs. When opening a song, ask to close current song(s)? Whenever you load a new song before closing the old one, a dialog box will appear, and ask whether or not the current song should be closed.
Double-clicking a MIDI Region opens: This pull-down menu allows you to select which Editor opens when you double-click on a MIDI Region in the Arrange window. Options are the Score, Event, Matrix, and Hyper Editors. Limit Multiple Undo Steps Limits the number of Undo Steps (see “Undo” on page 34). Click on the arrows to increase or decrease the number of Undo steps.
Allow content Catch by position if Catch and Link are enabled If the catch and content catch functions are active, the contents of the Region at the current song position are shown. If this option is inactive, the window view still follows the song position within the displayed Region, but does not update to show the contents of subsequent Regions as the SPL passes them in play or record mode.
• Search files using: Search engine Only instructs Logic to search for every file on all disks, when a song or EXS instrument is opened, and its respective audio files cannot be found. Thus, every possible matching file with the right name will be found, but the search process takes a relatively long time—depending on the number of files and number, and size, of disks to be searched. This search method was used by Logic 5 and earlier versions.
Audio Preferences Audio Preferences: General Create Overview after recording To allow you to view new recordings of audio files in the Arrange window, Logic has to create an overview. Before it can do this, the whole audio file has to be read, which can be time-consuming, depending on the amount of data involved. If you want to continue working in the Arrange window without the waveform display, you can switch off the creation of the overview after the recording.
Pass Keyboard Events to Plug-ins Any key commands that are not used by a plug-in, will be passed on to Logic. Under normal conditions, this ensures that functions like Start and Stop will continue to work. If this is not the case, you may use this pull-down menu’s options to define that only certain key combinations will be passed to the plug-in, while all other key presses on the computer keyboard will be received by Logic.
Record selection changes in Undo History Switch this on if you wish to undo and redo changes to selected area(s) in the Sample Editor. Record “Normalize” in Undo History Disable this parameter if you do not wish to create any undo files once the Normalize function is invoked. Note: As normalization is generally the last step in sample editing, this parameter (if active) can destroy the undo history.
Audio Preferences: MP3 Bit Rate (Mono/Stereo) The bit rates are selectable between 8 kbps and 320 kbps, but default to 80 kbps mono, and 160 kbps stereo. These rates offer acceptable quality and good file compression. If you can afford the extra file size, we recommend selecting 96 kbps for mono and 192 kbps for stereo streams for better audio quality. You can, of course, choose even higher rates, but the quality improvement in bit rates above 96/192 kbps is minimal.
MIDI Preferences This page handles Logic’s communication with your MIDI interface and other programs. All active CoreMIDI Drivers are automatically available in Logic. There is no need for further settings. MIDI Preferences: General Use UME (Unified Virtual and Classic MIDI Engine) The Unified Virtual and Classic MIDI Engine unifies the Classic MIDI Engine (used for hardware MIDI devices) with the use of Virtual MIDI Instruments (software instruments).
Note: If your devices can follow MTC (MIDI Time Code), you should leave this option unchecked, and make use of Logic’s MTC functions. MIDI Time Code (MTC): Pickup Delay This parameter should generally be set to zero to ensure the quickest possible pickup time while Logic is in MTC sync mode. There are, however, some devices which seem to transmit imprecise MTC commands when first started.
MIDI Sync Song Settings Pressing this button will launch the MIDI Sync Song Settings window. MIDI Preferences: Reset Messages This page is only left for compatibility reasons with older MIDI hardware. Logic handles MIDI Reset Messages automatically and intelligently, so you should generally make sure that all options are switched off (this the default). All selected checkboxes will send a reset message for the selected controller type to all MIDI outputs.
Menus: Sort Instrument menu by layers The instruments in the pull-down instrument selection menu are sorted by (Environment) layers. Displays: Display Middle C as: This pull-down menu option affects the description of notes in the editors. The bottom C on a five-octave keyboard (note # 36) is labeled C1, and middle C (#60 or c’) is labeled C3. According to this standard, the lowest MIDI note (# 0) is called C-2. This is the official standard, and is used by most manufacturers.
Displays: Clock Format This pull-down menu offers various format options for the song position display: • 1 1 1 1 • 1. 1. 1. 1 • 1 1 1 0 • 1. 1. 1. 0 • 1 1. _ 1 • 1. 1. _ 1 • 1 1_ 0 • 1. 1. _ 0 Display Preferences: Arrange Background: Muted regions are textured Determines the look of muted Regions or MIDI Regions. If this setting is switched off, muted Regions are displayed without color. If it is switched on, muted Regions retain the same color, but are textured, making them easier to identify.
Matrix Background Colors: Matrix Color Setup Panel The Matrix Editor (see “Display” on page 468) features a grid that follows the pattern of the keyboard keys shown on the left hand side. The colors of the Matrix window grid, background, lines, and so on can be adjusted for both the “Light” and “Dark” Background views with the parameters in this recessed panel. • White Keys: Double-click on the color swatch to launch the Mac OS X Colors applet.
Automation Preferences The Automation preferences globally affect all Automation tracks. Move Automation with Regions: This pull-down menu allows you to select what happens to Track Automation data when you move Regions. You can choose between Never, Always, and Ask, which should be self-explanatory. Ask is the default setting. Ramp Time: The time required by a parameter to return to its previously recorded setting, is selected via this panel.
22 Control Surface Support 22 Logic offers dedicated support for several surfaces plus the option to program unsupported devices. Control surfaces are hardware units that enable the operation of Logic using faders, rotary knobs, switches, and displays. There are a number of simple control surfaces that feature conventional faders and no displays. More progressive units are equipped with motor faders, rotary encoders, LED rings, and programmable displays.
Installation Control Surface Plug-ins Dedicated control surface support is achieved through the use of special plug-in files. These files are automatically added when Logic is installed. They are located in the Contents > MIDI Device Plug-Ins sub-folder of the Logic application bundle (to view the bundle contents, Control or right-click on the Logic application icon, and choose Show Package Contents from the menu).
The Install Window The Install window is used to automatically scan for devices, or to install them manually. Selecting the Models First, select the desired devices in the Install window before you scan or manually add them. You may select one or more models. If you select more than one model, Logic performs the desired operation for each model in turn. Logic displays the icon of the selected device beneath the buttons. • To select just one model, select it by clicking on the name.
Setup Window Parameters Control Surface Groups If you have multiple control surface units, you define how they relate to each other, and can build Control Surface Groups. A Control Surface Group consists of a number of control surface units of the same kind which are combined to create a single, unified (and larger) control surface. You can build up to 20 Control Surface Groups. Each “group” can consist of any number of physical units. The only limiting factor is the number of available MIDI In/Out ports.
Note: The placement of your control surface units in relation to each other should be the same onscreen as in the real-world. Simply drag ’n drop the desired icon horizontally in your Control Surface Group to do so. Device parameters Each control surface unit must be connected to an independent MIDI In and Out port. The automatic setup or Scan procedure should have automatically found, and set, the correct MIDI In/Out port settings for each unit.
Display Parameters Flip Mode Many control surfaces offer both a fader and a rotary encoder for each channel strip. Flip Mode allows you to swap the encoder assignment with that of the fader for each channel. Alternately, you can assign both controls to the same parameter. There are four “flip” or “swap” modes. • Off—disables Flip Mode, making the fader act as a volume control. • Duplicate—makes both the fader and encoder active for the currently selected encoder parameter.
Mixer View Fader Bank This parameter affects the Mixer and Arrange View mode by shifting channels by the defined amount. Imagine that your control surface has eight channel strips, and you were looking at audio tracks 1—8 in the Arrange window. These would appear as channels 1—8 on the control surface. Using the Mixer View Fader Bank parameter, you could offset this view by a defined number of channels, looking at audio tracks 3—11, for example.
EQ Parameter Related to the selected band, defined by the EQ Band parameter. This determines the current EQ Assignment behavior for the encoders in EQ Multi Channel View: • Frequency—Determines the frequency of the selected band. • Gain—Changes the gain of the selected EQ band. For the Low Cut and High Cut bands of the Channel EQ, this parameter controls the slope. • Q—Changes the Q factor of the selected band. • On/Off—Bypasses the selected EQ band.
Instrument Parameter Page Determines the parameter index (counted from 1) which is assigned to the left-most encoder when editing a software instrument. The next Instrument parameter is assigned to encoder #2, and so on. With Split Mode enabled, this applies to Split Upper. Inst Parameter Page (Split Lower) As with Instrument Parameter Page, but for Split Lower. Insert Slot Determines the current insert slot number for both selecting a plug-in (in plug-in Channel Strip View) and editing its parameters.
Other Parameters Track Name Format Changes the track name display to show the track name alone, or the track name, and it’s track number. As an example, a track named “Audio1” may actually be placed on track 12 in the Arrange window. When a value of #:Name is toggled, “Audio1” would be displayed as “12:Au1”. Parameter Page Shift Mode Defines whether the parameter is shifted by an entire “page” or by one parameter.
Maximum MIDI Band Width This slider determines the maximum amount of MIDI bandwidth that can be used by your control surface. By default, this is set to 50%, which should be suitable for most situations. You can adjust the value if you find that your MIDI or Automation playback is being affected. Touching fader selects track Activation of this parameter will automatically select the track that corresponds to the selected fader.
The Multiple controls per parameter pull-down menu defines the maximum number of encoders which will be used for a single parameter. • 1: parameters are always displayed using one encoder per parameter, with the least space available for parameter name and value in the LCD. • 2: on each unit, encoders 1 and 2 are used for the first parameter, encoders 3 and 4 for the second, and so on.
Help Tags Control Surfaces that have freely programmable displays which cover multiple controls in one row, can use Control Surfaces help tags. These help tags are similar to Logic’s help tags, showing additional information during operation. You can define the information that is displayed in the help tags pane of the Control Surfaces preferences.
Customizing Control Surfaces Logic allows you to reprogram existing assignments for supported control surfaces and to program new assignments for unsupported control surfaces. This facility allows you to extend the use of faders, knobs, and switches, either directly or through the use of modifier commands. As an example, the F1–F8 buttons of the Logic Control are assigned to recall Screensets 1–8 by default.
It is also possible to assign a key command to a button/key release message: 1 Press and hold the desired button/key before you enable the Learn New Assignment button. 2 When you release the button/key, the selected key command is assigned to the button release message. To delete a key command assignment: 1 Select the desired key command in the Key Commands window. 2 Press the Backspace key.
Zones, Modes, and Assignments You can define “groups” of controls on a control surface that can be switched between different operating modes. As an example, the Logic Control rotary encoders can be used to control Pan, Send Level or plug-in parameters. Such “groups” are called Zones. The different operations that can be performed within a Zone are called Modes. A Zone contains one or more Modes, one of which is the active Mode.
Zone 2 • Mode 4 (active) • Modal Assignment • Mode 5 • Modal Assignment • Modal Assignment Reassigning a Control If you want to reassign a control, the procedure depends on the current state of the control. Case 1: Control is currently active (an assignment for this control is part of an active Mode). If you attempt to learn an assignment for an “active” controller, the following message is displayed: “This control is currently assigned to xxx.
Easy mode is designed to make learning Track parameter assignments as fast and efficient as possible. Therefore this window only shows Track parameters—at least when you first open it. After switching to Expert view and manually choosing another parameter class, the according parameters are also shown in Easy view. However, we strongly recommend to use Easy view only for Track parameter assignments.
Assignment Parameters The following section explains all parameters that can be edited in the Controller Assignments window. Control Name Name of the control (Fader 1, for example). This is Learned by default for assignments created with the Learn function (see above) from supported control surfaces. This name is for informational purposes only and has no influence on functionality. Label Text displayed on control surfaces that feature a display and are supported by a plugin.
Flip Group When set (to any value other than “none”), this number defines a counterpart for Flip Mode. By setting a fader and an encoder to the same Flip Group, for example, they are coupled. To set “none”, enter 0. Exclusive Only for supported control surfaces: when the Exclusive checkbox is enabled, the assignment deactivates all other assignments that have Exclusive disabled (for the same control). This lets you limit the overwriting of a mode-less assignment to particular modes.
Global The Global option allows you to use an assignment to control global parameters. An additional Global pop-up menu appears below the Class menu, offering the parameters listed in the following table.
Global Options Explanation Group Clutch Sets the Automation Group Clutch; Automation Groups are disabled when the Clutch is enabled. For buttons, set the Group Clutch to 1 when the button is pressed, and set it to 0 when the button is released Active Sense Used by the HUI to process incoming “Active Sense” messages.
If you choose the Fader Bank, Index, Bus, Output, or Master option in the Track pop-up menu, the following two parameters are also available: • No.—A 0-based offset which is added to the track number. Typical usage: Fader 1 uses offset 0, Fader 2 uses offset 1 and so on. • Parameter—Clear text of the addressed parameter. Can only be set by the Learn Assignment for xxx menu item.
Note: Assignments for unsupported control surfaces always belong to the first Control Surface Group. Parameter Option Additional Info Current Mode Fader Bank Maps to the Fader Bank for the currently used View mode (Mixer, Global, Arrange). This way, you need only one assignment per left/right button for all View Modes. Global View Filter When this parameter is selected, eight additional switches for the eight object classes are displayed when the View mode is Global.
MIDI Input Incoming MIDI messages are only processed on MIDI Input. When this parameter is changed, all other assignments using the same input will also have their input changed accordingly. If the assignment belongs to a supported control surface, the device’s MIDI Input will also change in the Setup window. This feature allows you to create default assignments for a new control surface, which other users can use immediately. To do so, they simply need to place your com.apple.Logic.
Min/Max Defines the minimum and maximum range for incoming values represented by Lo7 and Hi7. Typically the full range of 0—127 is used, but some control surfaces may use the same message with different value ranges for different controls (CM Labs Motor Mix, for example). Format Defines the way negative values are encoded in the 7-bit portions sent over MIDI. You can choose between the following options: • Unsigned—No negative values are possible. The full 7 or 14 bit range is treated as a positive number.
• Rotate—The incoming value is added to the parameter’s current value, cycling between maximum and minimum values. This is useful for button presses that cycle between modes: automation mode, for example. • X-OR—The value defines a bit mask which is applied to the parameter’s current value with the “exclusive or” Boolean operation. Useful for enabling/disabling single Object types in Global View. Feedback Defines the way the parameter’s current value is displayed on the control surface.
Glossary AAF Abbreviation for Advanced Authoring Format. This file format, typically used for data exchange with Digidesign ProTools software, can be imported and exported by Logic. It allows multiple audio tracks to be imported, with reference to tracks and Region position, volume automation included. accelerando A gradual increase in tempo (see tempo). AD converter or ADC Short for analog/digital converter; a device that converts an analog signal to a digital signal.
alias A pointer to a MIDI Region in the Arrange window. 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. aliasing A digital artefact that occurs when the sample material contains frequencies higher than one-half of the sample rate.
Audio Configuration window Logic window that provides an overview of all audio routing. Allows the copying of the entire audio configuration between Logic songs, and assists in renaming tasks. You can open the Audio Configuration window by choosing Audio > Audio Configuration. audio file Any digital recording of sound, stored on your hard drive. You can store audio files in the AIFF, WAV, and Sound Designer II formats. All recorded and bounced WAV files are in Broadcast Wave format.
Audio Track Object Audio Object in the Environment’s Audio layer. Used to playback audio tracks in Logic’s Arrange window. All data on the audio track is routed to the Audio Object, that was assigned in the Arrange window’s Track List menu. Audio Units (AU) Audio Units is the standard format for real-time plug-ins running on Mac OS X. It can be used for audio effects and software instruments. The Audio Unit format is part of the Mac OS X operating system.
Bar Ruler Ruler found at the top of the Arrange, Matrix, Hyper, and Score windows. It displays musical time units including bars, measures, beats, and beat divisions. It is used to set and display the song position, the cycle and autodrop locators, as well as markers. beat A musical time interval: “the beat is the regular rhythmic pulse in a composition that people tap their feet to”. Usually a quarter note.
bypass To deactivate a plug-in. Bypassed plug-ins do not drain system resources. In Logic you can bypass a plug-in by either clicking its Bypass button in the plug-In window or by Option-clicking on the appropriate plug-in slot. cable In Logic the term cable is used to describe the virtual cables that represents the MIDI connection between two Environment Objects. Catch button The button in the Transport bar featuring the running man icon.
clock Electrical synchronization impulse, transmitted every 1/96 note. Was used in older drum machines before the advent of MIDI (MIDI clock is an example). comb filter effect A short delay of feedback that emphasizes specific harmonics in a signal is generally termed a comb filter. The name is derived from the appearance of a frequency spectrum graphic, which resembles the teeth of a comb. compressor An effect that restricts the dynamic range of an audio signal. controller MIDI data type.
DAW Acronym for Digital Audio Workstation. A computer used for recording, mixing, and producing audio files. dB Abbreviation for decibels, a unit of measurement that describes the relationships of voltage levels, intensity, or power, particularly in audio systems. 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.
driver Drivers are software programs that enable various pieces of hardware and software to be recognized by other programs in a computer, and also to have the appropriate data routed to them in a format they can understand. In Logic, you can use the Preferences > Audio > Drivers panel to select and configure your audio hardware drivers. If you do not have the proper driver installed, your computer may not recognize or work properly with a given piece of hardware.
Environment The Environment is Logic’s brain: it graphically reflects the relationships between hardware devices outside your computer and virtual devices within your computer. Beyond basic input and output handling, the Environment can be used to process MIDI data in real-time, and can even be used to create processing “machines”, such as virtual rhythm generators and step sequencers or complex synthesizer editors.
Filter button Buttons in the Event List/Track Mixer, that allow you to hide/show specific event types/channel strip types. filter slope The filter slope is the steepness, or severity, of filter attenuation. As examples, a filter slope of 6 dB per octave would sound much softer than a filter slope of 12 dB per octave. Find field In many Logic windows you find a field with rounded corners and a magnifying glass in the left corner. This field allows you to perform text searches.
frequency The number of times a sound signal vibrates each second, measured in cycles per second, or Hertz (Hz). Glue tool This tool can be used to merge Regions or events by simply clicking on two (or more) of them. GM Abbreviation for General MIDI.
Hide View button The button with the big H to the right of the Link button in the upper left corner of the Arrange window. Activating this button will display the Hide buttons on each individual track. See also Hide buttons. hierarchical menu Structured menus where choosing an individual entry opens a submenu. high cut filter A high cut filter is essentially a lowpass filter that offers no slope or resonance controls. highpass filter A highpass filter allows frequencies above the cutoff frequency to pass.
Insertion mode Also known as Step Input mode. A mode where Logic is “listening” to incoming MIDI input while not in record mode. Instrument Object An Object in Logic’s Environment designed to communicate with a single-channel MIDI device. An Instrument Object represents a physical or virtual device which handles MIDI information. Also see Multi Instrument Object. interface 1) A hardware component such as a MIDI or audio device that allows Logic to “interface” (connect) with the outside world.
Locators Lower two sets of numbers, displayed to the right of the Transport buttons in the Transport window. The number on top is the left Locator; the number on bottom the right Locator. The Left and Right Locators control the time-range which Logic’s playback will cycle or skip during playback. The Locators also can be used to define the editing area for certain functions.
Marker Text window Each marker can have a note attached to it, which may be useful for recording session details, film cues and more. the Marker Text window allows you to enter and edit marker notes. Marker track Part of the Global tracks. Displays all markers in a song. Marquee tool This crosshair-shaped tool in the Arrange toolbox can be used to select and edit parts of Audio and MIDI Regions. Matrix Editor A MIDI event editor that displays note events as horizontal beams.
MIDI Multi mode Multi-timbral operating mode on a MIDI sound module where different sounds can be controlled polyphonically on different MIDI channels. A Multi mode sound module behaves like several polyphonic sound modules. General MIDI describes a 16-part multi mode (the ability to control 16 different parts individually). Most modern sound generators support multi mode. In Logic, multi mode sound modules are addressed via Multi Instrument Objects.
Multi Instrument Object An Object in Logic’s 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 subchannels (or part-instrument), has a fixed MIDI channel and shares the same port. All other parameters can be set individually.
Object If capitalized, the term Object is used to refer to the graphical representation of all elements in Logic’s Environment. These elements can be used to create and process MIDI data in real-time, and can even be used to create processing “machines“, such as virtual rhythm generators or step sequencers. Examples for Objects are Instruments, Multi Instruments, Faders, Arpeggiators, and others. In the Environment’s Audio layer you also find Objects used to process audio data.
Parameters area Area at the left edge of the Arrange window and editors, containing the Parameter boxes, Toolbox, and channel strip (Arrange window) of the selected track. peak 1) The highest level in an audio signal 2) portions of a digital audio signal that exceed 0 dB, resulting in clipping. You can use Logic’s level meter facilities to locate peaks and remove or avoid clipping.
preset Set of plug-in parameter values that can be loaded, saved, copied, or pasted via the Settings menu in the Plug-In window header. See setting and Settings menu. pressure See aftertouch project In Logic, the top-level folder that holds all media associated with a song, including audio files, Sampler Instruments and samples, Video and Settings of various kinds. Project Manager A window that allows you to manage all media and file types that Logic can read/use.
real-time effects Effects that can be applied to Regions in real time, without requiring rendering before playback. Real-time effects can be played back with any Macintosh computer qualified to run Logic. ReCycle ReCycle is the name of an application from software manufacturer Propellerheads, which mainly serves as an editing and production tool for loops (repeatedly looped audio samples). ReCycle uses specific file formats (.REX) which can be imported by Logic.
routing Generally refers to the way audio is sent through processing units. Also often used to describe specific input and output assignments. rubber band selection technique for selecting consecutive Regions, objects, or events by click-holding and dragging the mouse cursor around the desired items. A rubber band selection envelope (an outline) will span from the start position of the mouse cursor. All objects touched or enclosed by the rubber band selection envelope will be highlighted.
Score Editor Logic editor that deals with standard musical notation. MIDI note events are represented as quavers, crostchets, minims, and so on. The Score Editor allows you to adjust and edit the layout of the score, and print it. Screenset A layout of various windows, inclusive of all display parameters (zoom, position, and size of each window and so on) is called a screenset. Each Logic song may store up to 90 Screensets.
side chain A side chain is effectively an alternate input signal—usually routed into an effect—that is used to control an effect parameter. As an example, you could use a side chained track containing a drum loop to act as the control signal for a Gate inserted on a sustained pad track, creating a rhythmic gating effect of the pad sound. Signature track Global track showing all time and key signatures of a song. Signature/Key Change List A Logic window listing all time and key signatures of a song.
Song Settings The Song Settings, accessible from the File menu, are a collection of program settings that are specific to the current song. These are different to the global preferences that affect all Logic songs (see preference). S/P-DIF Short for Sony/Philips Digital InterFace; standard format for transporting digital audio data. Either an optical or a coaxial interface, depending on the type of device. The format is similar to AES/EBU, although it features unbalanced circuits and lower voltages.
synthesizer A device (hardware or software) that is used to generate sounds. The word is derived from early attempts with mechanical and electronic machines to emulate (or synthesize) the sounds of musical instruments, voices, birdsong, and so on. Logic features several software synthesizers, including; the ES1, ES2, EFM 1, ES E, ES P and ES M. SysEx Abbreviation for System Exclusive data. SysEx data forms the top tier in the hierarchy of MIDI commands.
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). Toolbox A section in Logic’s Parameters area that contains tools for editing, zooming, cropping, and otherwise manipulating items in the window. Toolbox tools can also be opened at the cursor position.
Transposition track Global track component that shows the transposition of the root note of chords in the chord track. UDL button Short for Up One Display Level button. In many Logic windows you find a button featuring a square graphic in the top left corner. Clicking this button takes you to the next highest display level. As an example, if you are looking at the events in a MIDI Regions inside a folder, clicking the UDL button will switch the display to a view of the MIDI Region in the parent folder.
window class 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. wordclock 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 audio interface, wordclock is transmitted via the audio circuit.
A AAC 292 AAF 683 accelerando 683 Active MIDI Transmission 145 ADAT 683 optical 683 ADC 683 AD converter 683 AES/EBU 683 aftertouch 683 channel 683 polyphonic 683 AIFF 683 AKAI 683 alias 155, 684 aliasing 684 allpass filter 684 All Regions Except Recording Track function 37 amplifier 684 amplitude 684 AMS analog 684 Analyze button 339 Anchor point 385, 684 Append Track to Track List key command 113 Append Track with next Instrument to Track List key command 113 Apple Loops 72, 684 adding to song 74 Apple Lo
Auxiliary Object 303 Aux Object 686 Balance control 276 Bus Object 302, 687 Channel Strip Settings menu 272 configuring as stereo 284 creating 266 deleting 266 hiding individual components 268 Input 275 Input Object 297, 695 Insert 272 level meter 281 list of elements 270 Master Object 304 Mute button 283 Output 275 Output Object 301 Pan control 276 Record Enable button 285 selecting multiple 269 Send 273 signal routing 267 Solo button 283 soloing several Objects at once 283 Surround function 279 Track Obje
cent 688 Channel EQ 271 thumbnail 271 channel strip 688 assigning to Group 276 Channel Strip Only function 121 Channel Strip setting 688 copying 272 loading 272 menu 272 saving 272 Chase Events function 106 checkbox 14, 688 Chord 582 chord automatic interpretation 93 recognizing 469 Chord Mode key command 54 Chord track 342 creating chord 342 global transposition 343 handling chord symbol 344 chorus 688 Clear function 35 Clear Overload Flag in Audio Channel Display key command 282 click 688 Clipboard 34, 68
drum machine sync 605 drum-mode device 219 DSP dynamic range 691 E editing cutting with Scissors tool 136 event 439 aftertouch 450 controller 439, 449 meta 451 note 439 pitch bend 449 pressure 450 program change 448 release velocity 452 SysEx 439, 451 notation 475 note 468, 469 length 471 pitch 468 position 468 velocity 469, 472 piano roll 467 sample-accurat 390 sample destructively 398 score 475 Edit menu Clear function 35 Copy function 35 Cut function 35 Paste at original Position function 35 Paste funct
file adding 431 adding comment 432 checking for changes 427 consolidating 429 copying 432 database 427 finding 420, 431 general handling 425 management 419 moving 432 renaming 424 scanning 421 structure 429 viewing 423, 432 files identification 424 importing from CD 428 filter 692 allpass 684 bandpass 686 band rejection 686 highpass 695 Filter button 693 filter slope 693 Final Cut Pro/XML exporting 83 importing 83 Find field 693 Finger 19 Finger tool 693 FireWire 693 video playback 621 float window 693 Fold
REX 78 importiong ReCylce 78 Import Settings key command/function 67 In button 53 Individual Track Zoom In key command 119 Individual Track Zoom Out key command 119 Individual Track Zoom Reset for all Tracks key command 119 Individual Track Zoom Reset key command 119 Input selecting 275 input monitoring 695 Input Object 297, 695 input option 14 mouse 14 as slider 14 checkbox 14 in/decrementing 15 pull-down menu 14 numerical 15 arithmetical operation 15 ASCII symbol 15 text 16 numbered names 16 Insert 272 ad
Select Previous Track 113 Set Locators by Marker and Enable Cycle 90 Set Locators by next/previous Marker and Enable Cycle 90 Set rounded Locators by Objects key command 90 special keys 45 Store Navigation Snapshot 26 Toggle Loop 142 Turn Loops to Aliases 142 Undo 34 Unhide all Tracks 117 Zoom to fit Locators, store Navigation Snapshot 26 Zoom to fit Selection horizontally, store Navigation Snapshot 26 Zoom to fit Selection vertically and horizontally, store Navigation Snapshot 26 key signature 165 L laten
Metronome Metronome button 97 MIDI delay 611 interface 640 monitoring 93 options 635 MIDI channel strip 310 GM/GS/XG functions 310 MIDI Clock 605, 611 MIDI data changing 587 converting 587 double speed 595 half speed 595 note length 595 reverse 595 transpose 595 velocity 595 MIDI Machine Control 612, 616 switching on 616 MIDI monitor 93 automatic chord interpretation 93 Panic function 93 MIDI Out button 39 MIDI Region 109 altering length rounded to whole bars 135 demixing by note pitch 138 dividing 136 over
editing 475, 519 fonts 488 grace note 501 groups 553 image file 488 input 485 insert symbol 495 jazz 505 key signature 508 layout full/part 557 legato off 528 lyric 581 mouse 490 name 514 note attributes 548 note head 504 notes 497 polyphonic voices 542 preferences 560, 574 print 487 recording 489 repeat/bar line 511 rest/bar repeat 512 slur/crescendi 506 split stave 538 stave setup 529 step input 489 sustain 502 symbols 495, 504, 515 tablature 570 tempo 515 text 575 text/chord symbols 514 ties 498 time sig
Piano roll volume 474 piano roll editor 467 pink noise 702 pitch 702 playback 702 Play from beginning key command 94 Play from Left/Right Locator key command 94 Play from left window corner key command 94 Play from previous bar key command 94 Play from Selection key command 94 Play or Stop (key command) 95 Stop Goto Last Play Position (key command) 95 Stop Goto Left Locator (key command) 94 Play button 94 Plug-in window 702 opening as non-float window 272 placing on the Dock 272 PMW 703 Pointer 18 Pointer t
ReCycle Copy ReCycle Loop function 79 importing 78 Paste ReCycle Loop function 79 Redo History window 34 multiple Redo 34 Region altering length 134 when Hyper Draw is enabled 134 copying 132 with enabled Hyper Draw 132 demixing by event channel 138 exporting as audio file 83 moving 41 with enabled Hyper Draw 130 moving into Folder 154 muting 138 naming 139 multiple 139 normalizing parameter 145 without channel 145 without channel and delay 145 repeating 182 soloing 139 Region Parameter box 704 extended 146
display correction 524, 526 Display Parameter box 522 display syncopation 527 dots 528 drum 546 dynamic 503 editing 475, 519 fonts 488 grace note 501 groups 553 image file 488 input 485 insert symbol 495 jazz 505 key signature 508 layout full/part 557 legato off 528 lyric 581 mouse 490 name 514 note 497 attributes 548 note head 504 polyphonic voices 542 preference 574 print 487 recording 489 repeat/bar line 511 rest/bar repeat 512 slur/crescendi 506 split stave 538 stave setup 529 step input 489 sustain 502
Set Locators by Marker and Enable Cycle key command 90 Set Locators by next/previous Marker & enable Cycle key command 101 Set Locators by next/previous Marker and Enable Cycle key command 90 Set Locators by Objects key command 90, 101 Set rounded Locators by Objects & Cycle Play key command 101 Set rounded Locators by Objects & Cycle Record key command 101 Set rounded Locators by Objects & Play key command 101 Set rounded Locators by Objects & Record key command 101 Set rounded Locators by Objects key comm
General 607 MIDI 611 Unitor 613 Tuning 630 Software Instrument Pitch parameter 299 Song speed 597 change 598 manual 601 realtime adjust 603 Speed 597 change 598 manual 601 realtime adjust 603 SPL.
Timing fixing problems 145 timing 710 toggle 710 Toggle Loop key command 142 tool 17 Camera 20 Crosshair 20 effective range 17 Eraser 20 Finger 19 Glue tool 20 hide/show toolbox 17 Layout tool 19 Magnifying Glass 19 MIDI Thru Tool 20 Mute tool 19 opening Tool Box at mouse position 17 Pencil 19 Pointer 18 Quantize Tool 20 Scissors 19 selecting 17 selecting by Key Command 18 Sizer Tool 19 Solo Tool 19 Text Tool 19 two tools available at mouse pointer 16 Velocity tool 20 Voice Splitter 20 Toolbox 710 Touch Tra
song end 93 song title 93 Stop button 94 Tempo/Signature Display option 88 transposing by octaves 143 preventing 143 transposition 710 Transposition track 344 adjusting scale range 346 handling transposition event 345 trash emptying after saving song 640 tuning alternate 630 Hermode 632 setting 630 U UDL button Undo 34, 129 History window 34 key command 34 multiple Undo 34 Unhide all Tracks key command 117 Unitor 613 Univeral Track Mode option 284 Up One Display Level button.
Store Navigation Snapshot key command 26 Zoom slider 24 Zoom to fit Locators, store Navigation Snapshot key command 26 Index Zoom to fit Selection horizontally, store Navigation Snapshot key command 26 Zoom to fit Selection vertically and horizontally, store Navigation Snapshot key command 26 729
