9
Table Of Contents
- Logic Pro 9 User Manual
- Contents
- Welcome to Logic Pro
- Introducing Logic Pro
- Setting Up Your System
- Designing Your Music Production System
- Connecting Your Audio and MIDI Devices
- Using External MIDI Devices
- Using External Audio Effects
- Configuring Your Audio Hardware
- Using Distributed Audio Processing
- Overview of the Logic Pro Interface
- Opening Logic Pro
- Introducing the Arrange Window
- Working in the Arrange Area
- Using the Toolbar
- Using the Transport Bar
- Using the Inspector
- Working in the Media Area
- Working in the Notes Area
- Working in the Lists Area
- Working in the Editing Area
- Understanding Common Elements of Logic Pro Windows
- Understanding How Arrange Window Areas Interact
- Using Logic Pro Interface Elements
- Using the Computer Keyboard
- Customizing Your Window Setup
- Understanding the Window Types
- Opening and Closing Windows
- Moving and Resizing Windows
- Working at Different Hierarchy Levels
- Selecting the Working Area
- Zooming the Working Area
- Understanding Relationships Between Windows
- Hiding or Showing the Transport Bar
- Customizing the Arrange Toolbar
- Hiding or Revealing the Inspector
- Adjusting the Bar Ruler Display
- Displaying Global Tracks
- Using Screensets
- Navigating Your Project
- Working with Markers
- Opening Marker Areas and Windows
- Creating Markers
- Copying Markers
- Selecting Markers
- Deleting Markers
- Naming Markers
- Changing the Appearance of Marker Text
- Editing Markers
- Navigating with Markers
- Switching Between Marker Alternatives
- Customizing the Marker Display in the Marker List
- Importing, Removing, and Exporting Marker Information
- Working with Projects
- Basic Operations
- Using the Mouse
- Entering Numerical Values
- Entering Text
- Working with Key Commands
- Getting to Know the Key Commands Window
- Understanding Key Command Groups and Hierarchies
- Choosing Key Command Sets
- Saving Key Command Sets
- Browsing Key Commands
- Finding Key Commands
- Using Special Keys in Key Commands
- Assigning Key Commands to Computer Keys
- Assigning Key Commands to Control Surfaces
- Initializing Key Command Assignments
- Printing a Key Command List
- Working with Tools
- Working with Help Tags
- Using the Shortcut Menu
- Using Selection Techniques
- Selecting Individual Elements
- Selecting Multiple Elements
- Making Horizontal Selections
- Switching the Selection Status of Elements
- Selecting Following Regions or Events
- Selecting Regions or Events Within the Locators
- Selecting Specific Regions and Events
- Selecting Similar or Identical Objects, Regions, or Events
- Selecting Events with the Same MIDI Channel
- Selecting Regions or Events with an Equal Subposition
- Accelerating Edit Operations with Selection Commands
- Working with the Clipboard
- Undoing and Redoing Edit Operations
- Working with Tracks
- Understanding Tracks and Channel Strips
- Configuring the Track Header
- Reclaiming Workspace Used by the Track Header
- Creating Tracks and Channel Strips
- Creating Tracks Only
- Deleting Tracks in the Arrange Area
- Selecting Tracks in the Arrange Area
- Rearranging Tracks in the Arrange Area
- Naming Tracks in the Arrange Area
- Assigning Tracks in the Arrange Area
- Zooming Tracks in the Arrange Area
- Assigning Track Icons in the Track Parameter Box
- Muting Tracks in the Arrange Area
- Soloing Tracks in the Arrange Area
- Record-Enabling Tracks in the Arrange Area
- Freezing Tracks in the Arrange Area
- Hiding Tracks in the Arrange Area
- Protecting Tracks in the Arrange Area
- Using Track Button Slide Activation
- Drum Replacement or Doubling in the Arrange Area
- Bouncing Regions and Tracks in Place
- Working with Instruments and Effects
- Getting to Know the Arrange Channel Strips
- Working with Plug-ins
- Working with Channel Strip Configurations
- Opening, Closing, and Resizing Plug-in Windows
- Adjusting Plug-in Parameters
- Using Common Plug-in Window Functions
- Using the Library to Choose Plug-in Settings
- Understanding the Library Folder and Menu Structure
- Learning About Effect Routings
- Working with Instruments
- Working with ReWire Applications
- Working with External Audio Effects
- Using Plug-ins from Other Manufacturers
- Adding Prerecorded Media
- Getting to Know Regions
- What Are Regions?
- MIDI and Audio Regions Compared
- Handling Regions in the Audio Bin and Sample Editor
- Creating Your Arrangement
- Getting to Know the Arrange Area
- Snapping Region Edits to Time Positions
- Using Drag Modes
- Scrubbing Your Arrangement
- Using Shortcut Menus
- Muting Regions
- Soloing Regions
- Naming Regions
- Assigning Colors to Regions
- Selecting Regions
- Adding, Recording, and Removing Regions
- Restoring Removed Regions
- Moving Regions
- Limiting Region Movements
- Changing the Playback Position of Regions Numerically
- Moving Regions to the Current Playhead Position
- Moving Audio Regions Back to Their Original Record Positions
- Nudging Regions with Key Commands
- Shifting the Playback Position of Regions
- Moving Regions to a Track
- Moving Regions Between Projects
- Resizing Regions
- Adjusting the Start Point of Audio Regions
- Adjusting the Start or End Point of MIDI Regions
- Making Multiple Regions the Same Length
- Setting Region Start and End Points to the Playhead Position
- Adjusting Region Lengths to Fit Other Regions
- Time Stretching the Contents of a Region When Changing Length
- Time Stretching Multiple Regions
- MIDI Region-Specific Length Change Operations
- Cutting, Copying, and Pasting Regions
- Adding or Removing Arrangement Passages
- Creating Region Aliases
- Creating Region Clones
- Converting Regions to a New Sampler Track
- Creating Multiple Copies of Regions
- Creating Region Loops
- Dividing Regions
- Demixing MIDI Regions
- Merging Regions (General Tools and Commands)
- Merging MIDI Regions
- Merging Audio Regions
- Working with Folders
- Creating Crossfades and Fades on Audio Regions
- Setting Region Parameters
- Recording in Logic Pro
- Checking Hardware Connections and Settings for Recording
- Setting the Project Sample Rate
- Setting the Project Bit Depth
- Setting Up the Metronome for Recording
- Enabling Software Monitoring for Recording
- Setting the Monitoring Level for Recording
- Defining the Recording Folder
- Naming Audio Recordings
- Choosing the Recording File Type
- Setting the Recording Format
- Record-Enabling Tracks
- Getting to Know Audio Recording
- Audio Take Recording
- Audio Multitrack Recording
- Audio Punch Recording
- Audio Replace Recording
- Deleting Audio Recordings
- Getting to Know MIDI Recording
- MIDI Take Recording
- MIDI Multitrack Recording
- MIDI Merge Recording
- MIDI Replace Recording
- Retrospective Recording of MIDI Regions
- Switching Instruments to Software Instrument Live Mode
- Filtering MIDI Events When Recording
- Turning MIDI Thru Off When Recording
- Using Advanced Recording Commands
- Coloring Takes While Recording
- Marking a Good Take While Recording
- MIDI Step Input Recording
- Editing Audio Take Recordings
- Getting to Know Take Folders
- Previewing Take Folder Recordings
- Toggling Take Folder Editing Mode
- Creating Comps
- Editing Comps
- Resizing Take Regions
- Cutting Take Folders and Take Regions
- Moving Take Folders and Take Regions
- Duplicating Comps or Creating New Comps
- Renaming Takes or Comps
- Deleting Takes or Comps
- Exporting Takes or Comps to New Tracks
- Moving Takes or Comps to New Tracks
- Flattening and Merging Take Folders
- Unpacking Take Folders
- Packing Regions into a Take Folder
- Opening Take Folders in the Sample Editor
- Flex Time Editing
- Turning on Flex View
- Choosing Flex Modes
- Getting to Know the Flex Modes
- Getting to Know Transient, Flex, and Tempo Markers
- Working with Flex Markers
- Time Stretching Using Marquee Selections
- Time Stretching Using Region Borders
- Snapping Flex Markers to Transient Markers
- Splitting Audio Regions at Transient Marker Positions
- Using the Flex Tool
- Using Varispeed to Alter Playback Speed and Pitch
- Editing Audio in the Sample Editor
- Opening the Sample Editor
- Getting to Know the Sample Editor
- Playing Audio Files in the Sample Editor
- Navigating Audio Files in the Sample Editor
- Making Selections in the Sample Editor
- Audio Editing and Processing in the Sample Editor
- Using Edit Key Commands in the Sample Editor
- Using Edit Commands in the Sample Editor
- Using Transient Markers to Edit in the Sample Editor
- Using the Pencil Tool to Edit in the Sample Editor
- Trimming Audio Files in the Sample Editor
- Silencing an Audio File Selection in the Sample Editor
- Changing the Level of Audio Files in the Sample Editor
- Normalizing Audio Files in the Sample Editor
- Fading Audio Files in the Sample Editor
- Reversing an Audio File Selection in the Sample Editor
- Reversing the Phase of an Audio File in the Sample Editor
- Removing DC Offsets in the Sample Editor
- Adjusting the Project Tempo in the Sample Editor
- Using Sample Editor Loop Functions
- Undoing Edit Steps in the Sample Editor
- Creating Manual Backups in the Sample Editor
- Customizing Waveform Amplitude Scale in the Sample Editor
- Customizing the Ruler in the Sample Editor
- Customizing Waveform Display in the Sample Editor
- Getting to Know the Sample Editor’s Digital Factory
- Using the Sample Editor’s “Time and Pitch Machine”
- Using the Sample Editor’s Groove Machine
- Using the Sample Editor’s Audio Energizer
- Using the Sample Editor’s Silencer
- Using the Sample Editor’s “Audio to Score”
- Using the Sample Editor’s Quantize Engine
- “Audio to MIDI Groove Template”
- Using an External Sample Editor
- Using AudioSuite Plug-ins
- Working with Tempo and Audio Regions
- Removing Silent Passages from Audio Regions
- Opening the Strip Silence Window
- Getting to Know the Strip Silence Window
- Removing Silent Passages from a Selected Region
- Automatic Anchor Creation
- Understanding How You Can Use Strip Silence
- Using Strip Silence to Remove Background Noises
- Using Strip Silence to Create Segments of Spoken Recordings
- Using Strip Silence to Create Segments for Drum Loops
- Using Strip Silence to Optimize Synchronization
- Using Strip Silence to Optimize Files and Regions
- Using Strip Silence to Extract Audio Files from a Disc
- Managing Audio Files
- Sorting, Grouping, and Renaming Files in the Audio Bin
- Moving Audio Files
- Copying or Converting Audio Files
- Deleting Audio Files
- Optimizing Audio Files
- Converting Regions into Independent Audio Files
- Exporting Tracks as Audio Files
- Exporting or Importing Region Information
- Finding and Replacing Orphaned Audio Files
- Quantizing Audio and MIDI
- Introduction to MIDI Editing
- Editing MIDI Events in the Piano Roll Editor
- Opening the Piano Roll Editor
- Getting to Know the Piano Roll Editor
- Creating and Editing Note Events in the Piano Roll Editor
- Snapping Edits to Time Positions in the Piano Roll Editor
- Selecting Notes in the Piano Roll Editor
- Creating Notes in the Piano Roll Editor
- Deleting Notes in the Piano Roll Editor
- Restoring Deleted Notes in the Piano Roll Editor
- Moving Notes in the Piano Roll Editor
- Changing Note Length in the Piano Roll Editor
- Copying or Moving Notes in the Piano Roll Editor
- Protecting the Position of Events in the Piano Roll Editor
- Changing Note Velocity in the Piano Roll Editor
- Muting Notes in the Piano Roll Editor
- Changing Note Color in the Piano Roll Editor
- Splitting Chords in the Piano Roll Editor
- Using Hyper Draw in the Piano Roll Editor
- Customizing the Piano Roll Editor
- Using Piano Roll Editor Shortcuts
- Editing MIDI in the Hyper Editor
- Editing MIDI Events in the Event List
- Editing MIDI Events in the Transform Window
- Mixing
- Opening the Mixer
- Getting to Know the Mixer
- Understanding Channel Strip Types in the Mixer
- Understanding Channel Strip Controls in the Mixer
- Understanding the Basic Mixing Stages
- Working with Mixer Groups
- Muting Channel Strips
- Soloing Channel Strips
- Setting Channel Strip Levels
- Setting Pan, Balance, or Surround Position in the Mixer
- Adding and Routing Effects in the Mixer
- Controlling Signal Flow in the Mixer
- Using Surround Panning in the Mixer
- Using Binaural Panning in the Mixer
- Working with MIDI Channel Strips in the Mixer
- Customizing the Mixer
- Using the I/O Labels Window
- Adjusting Mixer Channel Strips in Record or Playback Mode
- Copying Entire Mixer Setups
- Adjusting Elements of Multiple Mixer Channel Strips
- Navigating Within the Mixer
- Assigning Colors to Channel Strips in the Mixer
- Renaming Tracks in the Mixer
- Linking Control Surfaces to the Mixer
- Working with Automation
- Displaying Track Automation
- Setting an Automation Mode
- Writing Track Automation Data
- Selecting Automation Nodes and Lines
- Creating Automation Nodes
- Deleting Track Automation Data
- Copying and Moving Automation Data
- Editing Track Automation Data in the Track Header
- Snapping Automation to Grid Positions
- Offsetting Automation
- Editing Track Automation Data in the Event List
- Writing Track Automation with External Controllers
- Using Hyper Draw in the Arrange Area
- Conversion of Automation Data
- Bouncing Your Project
- Creating Apple Loops
- Creating Apple Loops in Logic Pro
- Creating Apple Loops in the Apple Loops Utility
- Converting ReCycle Files into Apple Loops
- Adding Apple Loops to the Loop Browser
- Adding Acid Loops to the Loop Browser
- Using Global Tracks with Apple Loops
- Converting Apple Loops to Audio Files
- Converting the Sample Rate of Apple Loops
- Working with Notation
- Opening the Score Editor
- Getting to Know the Score Editor
- Understanding the Basic Scoring Stages
- Entering Notes and Symbols in the Score Editor
- Working with the Part Box
- Learning About Part Box Groups
- Note Objects in the Part Box
- Sustain Pedal Symbols in the Part Box
- Clef Objects in the Part Box
- Dynamic Symbols in the Part Box
- Note Head Symbols in the Part Box
- Symbols Attached to Notes in the Part Box
- Slurs and Crescendi Objects in the Part Box
- Key Signature Symbols in the Part Box
- Time Signature Symbols in the Part Box
- Repeat Signs and Bar Lines in the Part Box
- Trills and Tremolo Symbols in the Part Box
- Rests and Bar Repeat Signs in the Part Box
- Text Objects and Chord Symbols in the Part Box
- D.S., D.C., Segno, and Coda Signs in the Part Box
- Tempo and Swing Symbols in the Part Box
- Jazz Symbols in the Part Box
- Page and Line Break Symbols in the Part Box
- Chord Grid and Tablature Symbols in the Part Box
- General Editing in the Score Editor
- Using Shortcut Menus in the Score Editor
- Changing Multiple Objects in the Score Editor
- Moving or Copying Objects in the Score Editor with the Mouse
- Moving Objects in the Score Editor with Key Commands
- Copying Objects in the Score Editor via the Clipboard
- Deleting Objects in the Score Editor
- Repeating Events in the Score Editor
- Working with Aliases in the Score Editor
- Changing the Graphical Position of Objects in the Score Editor
- Resizing Notes and Symbols in the Score Editor
- Editing Notes in the Score Editor
- Editing Note Velocity, Length, or Pitch in the Score Editor
- Allowing Diatonic Input in the Score Editor
- Creating and Editing Tied Notes in the Score Editor
- Creating and Editing N-Tuplets in the Score Editor
- Using Artificial N-Tuplets to Bypass Display Quantization
- Creating Grace and Independent Notes in the Score Editor
- Creating and Inserting Rests in the Score Editor
- Editing Clefs in the Score Editor
- Editing Slurs and Crescendi in the Score Editor
- Editing Repeat Signs and Bar Lines in the Score Editor
- Working with Standard Text
- Working with Automatic Text
- Working with Lyrics
- Working with Chords
- Working with Chord Grids
- Getting to Know the Instrument Editor
- Getting to Know the Chord Grid Selector
- Getting to Know the Chord Grid Editor
- Inserting and Editing Chord Grid Symbols in the Score Editor
- Creating and Editing Chord Grids in the Chord Grid Editor
- Creating, Renaming, and Deleting Chord Grid Libraries
- Importing and Exporting Chord Grid Libraries
- Working with Tablature Markings
- Working with Time and Key Signatures
- Transcribing MIDI Recordings
- Default Settings for New MIDI Regions
- Selecting Multiple Regions in the Score Editor
- Display Parameters
- Hidden MIDI Regions
- Using Note Attributes to Change Individual Notes
- Changing Note Heads
- Changing Note Sizes
- Changing the Horizontal Position of Notes
- Changing the Position of Accidentals
- Changing the Display of Accidentals
- Changing the Stem Direction and Length
- Changing the Beaming of Notes
- Changing the Voice or Staff Assignment
- Changing the Tie Direction
- Changing the Syncopation of Notes
- Changing the Interpretation of Notes
- Changing the Independent Status of a Note
- Changing the Color of a Note
- Resetting Note Attributes
- Working with Staff Styles
- Assigning Staff Styles to MIDI Regions
- Assigning Staff Styles Automatically
- Knowing the Predefined Staff Styles
- Getting to Know the Staff Style Window
- Creating Staff Styles
- Creating Staff Styles Based on Existing Ones
- Adding Staffs to a Staff Style
- Adding Voices to a Staff Style
- Copying Voices or Staffs into Other Staff Styles
- Copying Staff Styles Between Projects
- Deleting Voices or Staffs from a Staff Style
- Deleting Staff Styles
- Changing Staff Style Parameters
- Assigning Notes to Voices and Staffs
- Staff Style Examples
- Using Mouse Input in Polyphonic Staff Styles
- Changing the Staff Assignment of Symbols
- Cross Staff Beaming
- Using Drum Notation with Mapped Staff Styles
- Using Score Sets to Create Scores and Parts
- The Relationship Between Score Sets and Display Modes
- Choosing a Score Set
- Getting to Know the Score Set Window
- Creating and Deleting Score Sets
- Editing Score Sets
- Scaling Score Sets
- Creating Separate Layouts for Full Score and Parts
- Filtering Single Instruments from the Score
- Importing Score Sets from Other Projects
- Preparing the Score Layout for Printing
- Exporting the Score as a Graphic File
- Customizing the Score Editor’s Appearance
- Project and File Interchange
- Sharing Logic Pro Data over a Network
- Backing Up Audio Files
- Backing Up and Sharing Projects
- Working with Standard MIDI Files
- Working with GarageBand Projects
- Working with OMF Files
- Working with OpenTL Files
- Working with AAF Files
- Working with Final Cut Pro XML Files
- Working with Soundtrack Pro STAP Files
- Exporting Individual Regions as Audio Files
- Exporting Individual or Multiple Tracks as Audio Files
- Advanced Tempo Operations
- Using the Tempo Display in the Transport Bar
- Using the Tempo Track
- Recording Tempo Changes in Logic Pro
- Adjusting the Tempo to Fit Audio Regions
- Using the Tempo List
- Using the Tempo Operations Window
- Creating Tempo Curves in the Tempo Operations Window
- Creating Constant Tempo in the Tempo Operations Window
- Scaling Tempo Changes in the Tempo Operations Window
- Stretching Tempo Curves in the Tempo Operations Window
- Reducing Tempo Changes in the Tempo Operations Window
- Randomizing Tempo in the Tempo Operations Window
- Using the Tempo Interpreter Window
- Using the Tempo Fader
- Beat Mapping Regions
- Editing Transposition with the Chord and Transposition Tracks
- Working in the Environment
- Environment Objects Reference
- Opening the Object Parameter Box
- Getting to Know Common Object Parameters
- Standard Instrument Objects
- Multi-Instrument Objects
- Mapped Instrument Objects
- Touch Track Objects
- Fader Objects
- Using Faders
- Recording and Playback of Fader Movements
- Working with Object Groups
- Fader Styles
- Fader Functions: MIDI Events
- Fader Functions: Range, Value As
- Fader Functions: Filter
- Vector Fader
- Special Faders Overview
- Cable Switchers
- Meta Event Faders
- Working with SysEx Faders
- Working with SysEx Messages
- Special Functions
- Alias Objects
- Ornament Objects
- GM Mixer Objects
- MMC Record Buttons Objects
- Keyboard Objects
- Monitor Objects
- Macro Objects
- Arpeggiator Objects
- Transformer Objects
- Delay Line Objects
- Voice Limiter Objects
- Channel Splitter Objects
- Chord Memorizer Objects
- Physical Input Objects
- Sequencer Input Objects
- MIDI Click Objects
- Internal Objects
- Channel Strip Objects
- Working with Video
- Working with Surround
- Knowing the Surround Formats Supported by Logic Pro
- Understanding the Channels Used by Surround Formats
- Configuring Logic Pro for Surround
- Setting the Project Surround Format
- Setting the Input Format of Channel Strips
- Setting the Output Format of Channel Strips
- Changing the Appearance of Surround Level Meters
- Working with the Surround Panner
- Inserting Surround Effect Plug-ins
- Using the Down Mixer Plug-in
- Working with Multi-Channel Effects
- Working with the Surround Master
- Bouncing Surround Audio Files
- Positioning Your Speakers
- Encoding Surround Bounce Files
- Synchronizing Logic Pro
- Working with Plug-in Latencies
- Working with Split Channel Audio File Formats
- Project Settings in Logic Pro
- Preferences in Logic Pro
- Accessing Preferences
- Saving Preferences
- General Preferences in Logic Pro
- Audio Preferences in Logic Pro
- MIDI Preferences in Logic Pro
- Display Preferences in Logic Pro
- Score Preferences in Logic Pro
- Video Preferences in Logic Pro
- Automation Preferences in Logic Pro
- Control Surface Preferences in Logic Pro
- Sharing Preferences in Logic Pro
- Glossary
To simplify this example: Imagine that you are tuning an instrument, beginning with a
note called C at a frequency of 100 Hz. (A real C would be closer to 130 Hz.) The first fifth
would be tuned by adjusting the pitch until a completely clear tone was produced, with
no beats. (Beats are cyclic modulations in the tone.) This would result in a G at exactly
150 Hz, and is derived from the following calculation:
• The fundamental (100 Hz) x 3 (= 300 Hz for the second harmonic).
• Divided by 2 (to drop it back into the same octave as your starting pitch).
This frequency relationship is often expressed as a ratio of 3:2.
For the rest of the scale: Tune the next fifth up: 150 x 3 = 450. Divide this by 2 to get 225
(which is more than an octave above the starting pitch, so you need to drop it another
octave to 112.5).
The following table provides a summary of the various calculations.
NotesFrequency (Hz)Note
x 1.5 divided by 2.100C
Divide by 2 to stay in octave.106.7871C#
Divide by 2 to stay in octave.112.5D
Divide by 2 to stay in octave.120.1355D#
Divide by 2 to stay in octave.126.5625E
135.1524F (E#)
Divide by 2 to stay in octave.142.3828F#
(x 1.5) divided by 2.150G
160.1807G#
168.75A
180.2032A#
189.8438B
202.7287C
As you can see from the table above, there’s a problem.
Although the laws of physics dictate that the octave above C (100 Hz) is C (at 200 Hz),
the practical exercise of a (C to C) circle of perfectly tuned fifths results in a C at
202.7287 Hz. This is not a mathematical error. If this were a real instrument, the results
would be clear.
To work around the problem, you need to choose between the following options:
• Each fifth is perfectly tuned, with octaves out of tune.
• Each octave is perfectly tuned, with the final fifth (F to C) out of tune.
1227Chapter 43 Project Settings in Logic Pro