Logic Pro X User Guide For OS X
KKApple Inc. Copyright © 2013 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Logic Pro software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
Contents 19 19 Chapter 1: What’s new in Logic Pro X 21 21 22 28 30 32 33 33 35 37 38 40 40 42 46 47 50 52 57 59 Chapter 2: Get started with Logic Pro X 61 61 61 63 67 Chapter 3: If you are upgrading What’s new in Logic Pro X Get started overview Get started with the Logic Pro main window Get started with projects Get started with playback and navigation Get started with the project tempo, key, and time signature Get started with tracks Get started with audio tracks Get started with software instru
68 68 69 70 70 72 73 74 75 76 77 83 84 88 89 93 96 97 97 98 99 100 101 101 102 103 106 106 107 109 111 112 113 Chapter 4: Logic Pro basics What is Logic Pro? Logic Pro workflow overview Logic Pro interface overview Logic Pro main window Tracks area Library Inspector Mixer Smart Controls Editors Note Pads List Editors Loop Browser Browsers Logic Pro project basics Advanced tools and additional options Work with Logic Pro windows Open and close windows Move and resize windows Zoom windows Scale plug-in wind
125 125 126 128 130 132 133 133 133 134 136 137 138 141 144 145 146 146 146 147 148 149 151 151 152 152 153 154 155 156 156 156 157 160 160 161 Chapter 6: Work with projects Projects overview Create projects Open projects Save projects Delete projects Play and navigate projects Play a project Set the playhead position Control playback with the transport buttons Use transport shortcut menus Use transport key commands Customize the control bar Use the cycle area Use the Chase Events function Control Logic P
173 173 174 175 175 176 176 177 177 178 178 179 180 180 181 181 182 183 183 183 184 184 185 185 187 189 189 190 191 191 191 192 193 195 195 197 198 198 199 Use the track header controls Track header overview Mute tracks Solo tracks Set track volume levels Set track pan positions Enable tracks for recording Turn on input monitoring for audio tracks Turning off tracks Protect tracks Freeze tracks Hide tracks Delete tracks Edit multiple tracks using slide activation Work with patches in the Library Patches ov
201 201 201 201 202 203 205 206 208 209 210 210 211 213 214 215 216 217 218 220 220 221 222 222 223 223 224 225 234 238 Chapter 8: Record your voice or a musical instrument 247 247 249 249 251 253 254 254 255 257 258 258 259 260 262 262 263 265 266 Chapter 9: Use prerecorded media Recording overview Record audio Before recording audio Record sound from a microphone or an electric instrument Record multiple audio takes Record to multiple audio tracks Punch in and out of audio recordings Replace audio r
267 Move, copy, and convert audio files 268 Export and import audio region information 269 Import compressed audio files 270 Add ReCycle files to your project 272 Supported media and file formats 272 Media and file formats overview 273 GarageBand projects 274 Final Cut Pro XML files 274 Standard MIDI files 276 AAF files 278 278 279 279 280 280 283 284 285 286 287 288 288 289 290 292 293 295 299 300 301 303 304 306 308 309 312 314 315 316 317 318 318 319 321 321 322 322 324 Chapter 10: Create a song arrang
325 Work with folders 325 Folders overview 326 Pack and unpack folders 327 Open and close folders 328 Add and remove regions from folders 329 Create alias folders 330 Work with groove templates 330 Create groove templates 332 Import groove templates 333 Edit region parameters 333 Region inspector 333 Shared region parameters 335 Quantize parameter values 336 Advanced quantization parameters 337 Audio region parameters 338 MIDI region parameters 340 340 341 341 342 342 343 343 344 Chapter 11: Edit audio re
365 365 367 367 368 370 372 375 376 378 378 379 382 382 383 Chapter 13: Add a drummer to your project 384 384 387 387 389 392 393 394 396 396 396 399 400 401 402 403 Chapter 14: Edit the timing and pitch of audio 405 405 406 406 407 409 412 416 421 422 422 424 433 439 442 442 442 446 Chapter 15: Advanced edit features Drummer overview Work in the Drummer Editor Drummer Editor overview Choose genres and drummers Choose drummer presets Edit the drummer’s performance Follow the rhythm of another track
448 Navigate audio files in the Audio File Editor 449 Make selections in the Audio File Editor 454 Edit and process audio in the Audio File Editor 466 Use an external sample editor 467 MIDI Transform window 467 MIDI Transform window overview 468 Use transform sets 470 MIDI Transform window presets 472 MIDI Transform window parameters 478 MIDI Transform window examples 483 483 485 485 487 489 489 490 492 493 494 495 497 497 497 500 501 503 505 506 507 508 508 509 510 511 514 515 515 516 516 516 518 519 519 5
525 525 526 526 527 527 527 528 529 529 529 530 531 531 Work with MIDI channel strips in the Mixer MIDI channel strips overview Adjust elements of MIDI channel strips Save and restore MIDI channel strip settings Customize the Mixer Change the Mixer view Navigate within the Mixer View channel strips linked to folder tracks Add track notes View control surface bars Link control surfaces to the Mixer Use the I/O Labels window Adjust channel strips when recording or playing Work with ReWire applications 532 5
556 556 557 557 557 559 560 560 562 564 568 571 572 572 573 573 574 574 575 576 576 577 578 578 579 580 581 581 581 586 588 590 592 593 593 594 596 598 599 599 600 601 601 602 603 605 606 Chapter 19: Make global changes to a project Global changes overview Use the global tracks Global tracks overview Show and hide global tracks Resize and reorder global tracks Work with markers Markers overview Create markers Edit markers Rename markers Navigate using markers Use marker sets Customize how markers appear i
607 607 608 608 610 612 613 615 615 615 616 616 617 617 618 619 619 620 622 623 624 626 627 628 628 629 629 630 631 632 633 634 634 634 635 636 637 644 644 645 647 647 648 649 649 649 651 654 655 Chapter 20: View and edit music notation Notation overview Work in the Score Editor Score Editor overview View tracks as music notation in the Score Editor Position items graphically in the Score Editor Move and copy items in the Score Editor Resize notes and symbols in the Score Editor Adjust the vertical headro
657 657 658 659 661 663 666 673 675 677 677 677 678 680 681 682 683 683 683 684 684 684 686 687 688 689 691 692 692 693 693 695 695 695 697 700 701 701 702 702 703 704 705 705 706 706 707 707 708 709 709 Work with chord grids Chord grids overview Instrument Editor Chord Grid Selector Chord Grid Editor Insert and edit chord grids in the Score Editor Create custom chord grids in the Chord Grid Editor Create, rename, and delete chord grid libraries Import and export chord grid libraries Edit score region para
710 Change the margin and header values 710 Use external symbol fonts 711 Share the completed score 712 Customize the Score Editor 712 Choose a color mode 712 Show or hide folder contents 712 Display global tracks 713 Display instrument names 713 Display duration bars 713 Change the length of duration bars 714 Display guide lines 715 715 715 715 718 720 721 725 726 726 727 728 728 728 728 Chapter 21: Share projects 729 729 730 730 733 733 734 736 737 737 742 743 745 746 747 748 748 751 751 752 Chapter 2
755 755 756 757 757 758 759 759 759 759 761 762 763 763 765 766 768 769 770 770 770 771 772 773 775 775 778 781 785 788 804 805 806 809 809 810 811 813 815 819 820 821 821 824 825 826 827 828 Chapter 23: Work in the Environment Environment overview Common object parameters Work with Environment layers Environment layers overview Create, name, delete, and switch layers Work with Environment objects Tools in the Environment Add and delete objects Move and copy objects Adjust the position and size of objects
831 Chapter 24: Video and synchronization 831 Video and synchronization overview 831 Use movies in Logic Pro X 831 Add a movie to your project 833 Use the Movie window 834 About the Movie track 834 Use movie scene markers 836 Use movie audio tracks 837 Create and edit soundtracks 839 Logic Pro X synchronization 839 Synchronization overview 840 External synchronization 841 MTC interpretation 842 MIDI Machine Control 844 Synchronization problems and solutions 845 Chapter 25: Preferences, project settings, a
What’s new in Logic Pro X 1 What’s new in Logic Pro X Logic Pro X includes major new features and enhancements, briefly described below: User interface Modern interface: The Logic Pro X interface is redesigned for increased functionality. The transport controls are now at the top of the window for better visibility and access, the Library is relocated next to the track headers, and multiple tracks can now be selected and moved in one operation.
Patches: Save and recall complex, multiple channel strip configurations along with their Smart Controls. Patches contain the instrument, effects, and routing settings that control the sound of a track. For information about patches, see Patches overview. Arrangement track: Organize a project into sections, then move or copy the sections to build an arrangement. For information about using the arrangement track, see Add arrangement markers.
Get started with Logic Pro X 2 Get started overview Welcome to Logic Pro X. For users new to Logic Pro, this chapter introduces the main working areas of the application, and presents some basic tasks to help you start working in Logic Pro. Logic Pro X is a full-featured music and audio application you can use for every aspect of music creation: recording, arranging, mixing, and more–everything from sketching your initial ideas to producing a polished final mix (or multiple mixes).
Get started with the Logic Pro main window The Logic Pro main window is where you work on your projects. You can access all of the major working areas of Logic Pro in the main window. Tracks area Control bar Smart Controls Inspector The central part of the main window is the Tracks area. You record and arrange the musical material in your project on the tracks in the Tracks area. There are several different track types, including audio, software instrument, and Drummer tracks.
•• Library: You can audition patches and choose a patch for the selected track in the Library. A patch contains the instrument, effects, and routing settings that control the sound of a track. When you choose a patch, those settings are applied to the currently selected track. The Library shows available patches for the selected track. You can choose a category on the left to see available patches or subcategories on the right.
•• Inspector: You can view and edit parameters for the selected region, the selected track, and other items in the inspector. The available inspectors and parameters change, depending on which working area has focus, and what is selected. The channel strips for the selected track and its output appear in the lower part of the inspector, so you can view and quickly edit channel strip parameters and plug-ins.
•• Mixer: The Mixer is where you adjust volume, pan, and other channel strip settings, mute and solo channel strips, add and edit plug-ins assigned to a channel strip, and control the signal flow of your project. The Mixer shows the channel strips for every track in your project, including auxiliary and output channel strips, and the master channel strip. This makes it easy to see and adjust relative levels and other track settings.
To start working in the Audio Track Editor, see Get started with the Audio Track Editor. For more information, see Audio Track Editor overview and Flex Time and Pitch overview. •• The Score Editor displays MIDI regions in a project as music notation, including notes, rests, and other MIDI events such as sustain pedal markings. You can add and edit notes and other musical symbols. For more information about the Score Editor, see Score Editor overview.
•• Media Browser: Browse your computer and connected storage devices for audio files and movies. For more information about working with media files, see Prerecorded media overview. When Show Advanced Tools is selected in the Advanced preferences pane, additional features, browsers, and editors are available.
Get started with projects You create your music in a Logic Pro project. A project is the document that contains all of your recordings, the media files you add, and all the edits you make. You start working in Logic Pro by creating a project or opening an existing one. GarageBand users can open their GarageBand projects in Logic Pro and continue working, with the expanded capabilities of Logic Pro.
Open an existing project 1 Choose File > Open. 2 Browse to the location of the project, select it, then click Open. Save your project mm Choose File > Save (or press Command-S). For more information about working with projects, see Projects overview. For information about creating projects, see Create projects.
Get started with playback and navigation You can play back the project at any time to hear your latest changes. You control playback and navigate the project using the playhead, the ruler, and the transport buttons, located in the control bar. The playhead extends from the top to the bottom of the Tracks area, and moves as the project plays, showing the currently playing point in the project.
Move the playhead Do any of the following: mm Drag the playhead to a new position. mm Click the lower part of the ruler to move the playhead to the clicked position. If the project is playing, playback continues from the clicked position. mm While the project is playing, click the Rewind or Forward button. Each time you click Rewind, the playhead jumps back to the previous bar. Each time you click Forward, the playhead jumps forward to the next bar.
Get started with the project tempo, key, and time signature Each project has a set of properties, including tempo, key signature, and time signature. For new projects, the default project tempo is 120 beats per minute (bpm), the key is C, and the time signature is 4/4. You can change these project properties when you create a project, or later while you’re working. The project tempo, key, and time signature are displayed in the LCD in the center of the control bar, along with the current playhead position.
Get started with tracks Get started with audio tracks You can record sound from a microphone, or from an electric instrument (such as an electric guitar) connected to your computer, on an audio track in the Tracks area. The recording appears as an audio region on the selected audio track, showing an audio waveform. You can arrange and edit audio regions in the Tracks area, and edit them in a close-up view in the Audio Track Editor. When you add a track, you can choose a patch for the track in the Library.
Choose an audio patch 1 In the Library, click a category on the left. 2 Click a patch name on the right. You can audition audio patches by clicking them, then playing your instrument, singing, or making sound, to find the one you want to use. For more information about choosing patches, see Patches overview.
You can record multiple takes simultaneously, and quickly create comps (composite takes) of the best moments from each take. For more information about recording on an audio track, see Recording overview and Record sound from a microphone or an electric instrument. For information about connecting microphones and other audio devices, see Audio devices overview.
Add a software instrument track 1 Click the Add Tracks button in the toolbar. 2 Click the Software Instrument & MIDI icon (the keyboard) at the top of the New Tracks dialog. 3 If necessary, click the Details triangle to open the bottom of the dialog. 4 Make sure that “A Software Instrument” appears on the pop-up menu on the left, and “Output 1-2” appears on the Output pop-up menu on the right. 5 Make sure the Open Library checkbox is selected. 6 Click Create.
Get started with track header controls Each track has a track header that shows the track name and icon, and features a number of track controls including Mute, Solo, and Record Enable buttons. Audio tracks also feature an Input Monitoring button. The track headers are located along the left side of the Tracks area, so you can easily see the mute, solo, and other settings for all tracks while working.
Get started arranging regions in the Tracks area The Tracks area is where you arrange the recordings, Apple Loops, and other musical material in your project, organizing them into sections such as intro, verse, and chorus to build an arrangement. The Tracks area shows a visual representation of time moving from left to right. You build a project by arranging regions in rows called tracks, that run horizontally across the Tracks area.
Loop a region 1 Place the pointer over the upper-right edge of the region. The pointer becomes a Loop pointer. Loop pointer 2 Drag the right edge of the region several bars to the right. When you drag the edge of the region out by its full length, rounded corners indicate the beginning and end of each complete repetition of the region. Split a region using the playhead 1 Select the region you want to split.
Get started editing regions Get started with the Piano Roll Editor The Piano Roll Editor shows the notes in MIDI regions on a software instrument track as colored bars in a time grid. On the grid, a note’s horizontal position indicates where the note starts playing, while its vertical position indicates its pitch. A keyboard graphic along the left edge of the Piano Roll Editor provides an easy guide to the pitches of notes.
Move notes mm Select one or more notes, then drag left or right. Copy notes mm Hold down Option while dragging notes to a new position. Resize notes mm Position the pointer over the left or right edge of a note, then drag when the pointer changes to a length change icon. While you drag, a help tag shows the precise end point and length of the note. Tip: It might sometimes be difficult to grab the corner of very short notes.
Get started with the Audio Track Editor The Audio Track Editor shows a close-up view of part of an audio track in the Tracks area, displaying the audio waveforms of the regions on the track. In the Audio Track Editor, you can move and trim, split, and join audio regions, play a region in isolation, and edit regions in other ways. Edits you make in the Audio Track Editor are nondestructive, so you can always return to your original recordings.
Trim an audio region 1 Place the pointer over the lower-left or lower-right edge of the region. The pointer changes to a trim pointer. 2 Drag the pointer to trim the beginning or end of the region.
Split an audio region Do one of the following: mm Select the Scissors tool, then click the point where you want to split the region. You can scrub regions to find the point where you want to cut by dragging across the regions with the Scissors tool. mm Select the region, move the playhead over the time position where you want to split the region, then choose Edit > Split. Before moving or deleting a segment of a split audio region, click to select it. Join regions 1 Select the split regions.
Turn on flex in the Audio Track Editor 1 Open the Audio Track Editor by doing one of the following: •• Select an audio track in the Tracks area, then choose View > Show Editors. •• Select an audio track in the Tracks area, then click the Editors button •• Double-click an audio region. 2 Click the Flex button in the control bar. in the Audio Track Editor menu bar. Note: Click the Audio Track Editor’s workspace before using the key command, to make sure that the Audio Track Editor has key focus.
Get started with Smart Controls Smart Controls let you quickly adjust the sound of a track, without having to edit channel strip settings or open individual plug-in windows. Each Smart Control includes a set of screen controls that you can adjust to control the sound of the patch. Smart Controls typically include EQ or tone controls, reverb and other effects controls, and controls specific to the type of track or instrument.
Get started with mixing Mixing a project involves balancing the different parts of the project and blending them into a cohesive whole. In the Mixer, each track has a channel strip that corresponds to its track type. You can control the sound of the track using its channel strip controls, which include Mute and Solo buttons, a Volume fader and level meter, a Pan/Balance knob, and others.
Open the Mixer mm Click the Mixer button in the control bar (or press X). The Mixer opens below the Tracks area. Mute and unmute a channel strip mm Click the channel strip’s Mute button (with an “M”). Click the button again to unmute the channel strip. Solo and unsolo a channel strip mm Click the channel strip’s Solo button (with an “S”). When you solo a channel strip, the Mute buttons of all unsoloed channel strips flash. Click the button again to unsolo the channel strip.
Choose a different plug-in Do one of the following: mm Click the rightmost part of the Effect slot (with the Up and Down arrows), then choose a plug-in from the pop-up menu. mm Place the pointer above or below an existing slot, click the blue line that appears, then choose a plug-in from the pop-up menu. Open a plug-in window mm Click the center area of the plug-in slot. For detailed information about mixing a project, see Mixing overview.
Get started with Apple Loops Apple Loops are prerecorded musical patterns that you can use to quickly add drum beats, rhythm parts, and other musical phrases to a project. Apple Loops contain musical patterns that can be repeated over and over, seamlessly. After you add a loop to the Tracks area, you can extend it to fill any amount of time. When you add an Apple Loop to a project, it automatically matches the project tempo and key.
Preview loops mm Click a loop in the results list. You can adjust the preview volume, and choose a different key for the loop. To stop preview playback, click the loop again. Add a loop to the Tracks area Do one of the following: mm Drag the loop to a track of the same type to add it to that track. mm Drag the loop to an empty part of the Tracks area to create a new track with the loop. After you add the loop to the Tracks area, you can drag it left or right to adjust the point where it starts playing.
Get started with Drummer Using Drummer, you can add a virtual drummer to your project. You can choose from different genres, and choose different drummers in each genre. Each drummer has a specific drum kit and playing style. You can choose a drummer preset, edit drum settings to adjust the playing style, exchange drum kits, and choose individual drum sounds. To work with Drummer, you add a Drummer track to the project.
Choose a genre and drummer 1 Click the genre name on the left side of the Drummer Editor to see all genres. 2 Click a genre. The available drummers for the selected genre appear below the genre name. 3 Select a drummer. A drummer card appears, showing the drummer’s name, a description of the drummer’s style, and the drum kit for that drummer. Choose a different drummer preset Each drummer includes a variety of presets, which appear to the right of the drummer card. mm Click a preset.
Play the selected Drummer region using the current preset mm Click the Play button in the ruler at the top of the Drummer Editor. Play button Adjust the complexity and loudness of a preset mm Reposition the puck in the XY pad. The farther right you place the puck, the more complex the sound becomes; the higher you place the puck, the louder the sound plays.
Exchange a drum 1 Click a drum. The Exchange panel opens to the left if exchange pieces are available for that kit piece. 2 Click the Info button of a selected kit piece to view its description. 3 Click the kit piece that you want to exchange in the Exchange panel. You may need to scroll in order to find the one you want to use. The piece is exchanged and the respective drum sound is loaded. Note: The toms and crash cymbals can only be exchanged as a group.
Note: The presence of ghost notes depends on the chosen drummer and the complexity setting. •• Drag the Hi-Hat knob to adjust the degree to which the Hi-Hat is opened and closed during the drum performance. Note: This is only relevant if the hi-hat is selected in the drum kit representation. Any changes or selections you make in the Drummer Editor affect only the selected region, not the entire track. For more information about using Drummer in your projects, see Drummer overview.
Get started with Track Stacks Track Stacks provide a convenient way to organize and control multiple tracks, to manage projects with high track counts, and to create audio subgroups. There are two types of Track Stacks: •• Folder stacks let you combine multiple tracks and control them as a unit, without changing their individual routing. •• Summing stacks let you combine multiple tracks and route their output to an audio subgroup. Both types have a main track and one or more subtracks.
Add a track to a Track Stack mm Drag the header of the track you want to add between two of the subtracks in the Track Stack. Note: When you add a track to a summing stack, its routing changes to the aux assigned to the main track. Reorder subtracks mm Drag a subtrack by its header up or down inside the Track Stack. Remove a subtrack from a Track Stack mm Drag the subtrack outside of the Track Stack (below the last subtrack, or above the main track).
Get started with sharing You can share a project to your iTunes library, or to the Media Browser to use in other Apple applications, such as Final Cut Pro or iMovie. If you have a SoundCloud account, you can share a project to SoundCloud, choose the quality and visibility level, and set permissions for the shared project from within Logic Pro. Share the project to your iTunes library 1 Choose File > Share > To iTunes. 2 To rename the shared file, select the name in the Title field, then enter a new name.
Share a project to SoundCloud 1 Choose File > Share > To SoundCloud. 2 If you aren’t currently logged in to your SoundCloud account, enter your email address and password, then click Connect. Alternatively, you can log in to your Facebook account. 3 In the Share to SoundCloud dialog, do the following: •• To sign in to a different SoundCloud account, click Change, then enter the login information for the account. •• To share the current project, select Bounce as the Source.
If you are upgrading 3 Overview Welcome to Logic Pro X. The latest version of Apple’s award-winning music and audio creation software has a refreshed interface, the power and flexibility of earlier versions, and many new and updated features to help make creating music and audio productions easier and more rewarding than ever.
Editing •• Use MIDI Draw (formerly Hyper Draw) to graphically edit MIDI notes and controller information. •• Use step input recording to manually enter MIDI events rather than recording them in real time. •• Export MIDI regions as standard MIDI files. •• Use additional recording functionality: Punch-on-the-fly, advanced recording commands, automatic coloring of takes when recording). •• Use drum replacement and doubling. Mixing •• Choose between different views in the Mixer.
While you’re working, if you find that any advanced features you need are not available, open the Advanced preferences pane and select the Show Advanced Tools checkbox, then select any additional options to turn them on. In Logic Pro Help, features that require Show Advanced Tools to be selected have this icon . Features that require Additional Options to be selected have this icon information, see Advanced tools and additional options. .
Patches Patches contain the instrument, effects, Smart Controls, and routing settings that control the sound of a track. You can choose a patch for a track in the Library when you create the track, and choose a different patch at any time while you’re working. The patches available in the Library depend on the selected track type. Patches can include one or more channel strip settings, and can also contain routing information (auxes) and metadata (for Smart Controls and controller mapping).
Smart Controls With Smart Controls, you can quickly view and adjust the sound of a track using a set of visual screen controls. Each patch contains a Smart Control. You can customize Smart Controls by mapping their screen controls to channel strip or plug-in parameters, then manipulate them using external MIDI hardware. For more information about using Smart Controls, see Smart Controls overview.
Audio editing You can now edit audio regions nondestructively in a dedicated Audio Track Editor, as well as edit the underlying audio files destructively in the Audio File Editor. The Audio Track Editor lets you move, trim, split, and join audio regions and make other edits, without having to zoom the Tracks area, or change your view of the larger arrangement. In addition to editing the timing of audio material using Flex Time, you can quantize and edit the pitch of audio material using Flex Pitch.
New and changed terms in Logic Pro X Logic Pro X includes some new terms, while others have changed from earlier versions of Logic Pro. Former term Logic Pro X term Details Arrange window Logic Pro main window Encompasses the former Arrange area as well as the inspectors, Library, editors, Lists, Notes, Loop Browser, and other browsers. Arrange area Tracks area -- arrangement track A global track where you can organize a project into sections, then move or copy sections to build an arrangement.
Logic Pro basics 4 What is Logic Pro? Logic Pro is a powerful, full-featured music application with all the tools you need to create professional-quality music productions. You can record, arrange, and edit audio and MIDI regions, add high-quality effects, mix your music in stereo or surround, and export the final mix in a variety of formats for distribution. With Logic Pro you can create many different kinds of projects, from simple songs to complex ensemble arrangements.
•• Automate changes over time for mix, effects, and plug-in settings using total recall mix automation. You can record automation changes in real time and edit them later. •• View MIDI regions in a project as music notation, add and edit notes and other musical symbols, and print the finished score as well as individual parts. Logic Pro workflow overview To give you an idea of the possibilities, some major steps in putting together a Logic Pro project are described below.
Make global changes You can manipulate different aspects of an overall project using global tracks, including the Arrangement track, Marker track, Signature track, Tempo track, Transposition track, and Beat Mapping track. For movie projects, you can also access the Movie track to view video frames and synchronize them with musical events. Share your project When your project is ready to share, you can export a stereo file of your final mix in one of several standard audio file formats.
The main areas of the Logic Pro window include: •• Tracks area: Where you record audio and MIDI regions, add Apple Loops and other media files, and arrange the regions to build your project. •• Control bar: Includes the transport controls you use to control playback of your project, buttons to show and hide the different areas of Logic Pro, and buttons for other frequently used commands. You can customize the control bar to suit your way of working.
Tracks area The Tracks area is the primary workspace of Logic Pro, where you record and arrange audio and MIDI regions to create your project. The main elements of the Tracks area include: Ruler Tracks area menu bar Track headers Playhead Workspace •• Tracks area menu bar: Contains local Tracks area menus as well as tool menus, controls for showing track automation and Flex edits, a Catch Playhead button, Snap and Drag pop-up menus, a Waveform Zoom button, and scroll and zoom sliders.
Library You can view available patches for the currently selected track, and choose a new patch, in the Library. Categories appear on the left, and patches for the selected category are displayed on the right. You can search for patches, create, save, and delete patches, and choose routing options.
Open the Library Do one of the following: mm Click the Library button in the control bar. mm Choose View > Show Library. For information about using the Library, see Patches overview. Inspector You can view and edit parameters for regions, tracks, and other items in the various inspectors. The parameters displayed depend on the type of item selected, and which working area has key focus.
Inspectors for other working areas, such as the Event inspector, Display Parameters inspector, and Score inspector are described in their respective chapters. Open the inspector Do one of the following: mm Click the Inspector button in the control bar. mm Choose View > Show Inspector (or press I). Open an inspector as a separate window mm Drag an individual inspector by its title bar out of the main window. Open the Region inspector as a separate window mm Press Option-R.
Open the Mixer as a separate window mm Choose Window > Open Mixer (or press Command-2). For more information about the Mixer, see Mixing overview on page 483. For information about using channel strip controls, see Channel strip controls. Smart Controls Smart Controls let you quickly view and adjust the most important parameters of the selected track, without opening the Mixer or individual plug-in windows. Each Smart Control features a set of screen controls.
Editors Audio Track Editor The Audio Track Editor displays the audio waveform of the regions on an audio track. In the Audio Track Editor, you can copy, paste, move, trim, split, and join audio regions. Using the Audio Track Editor grid, you can precisely align edits with specific points in time.
Piano Roll Editor The Piano Roll Editor shows notes in MIDI regions as rectangles on a time grid. The position of each note on the grid shows the time position where it starts playing, its duration (length), and pitch. Note velocity is indicated by color. You can edit individual notes by moving them, resizing them, dragging them vertically to change their pitch, and in a variety of other ways.
Drummer Editor If you add a Drummer track to a project, you can view and edit Drummer track and region parameters in the Drummer Editor. The left side of the Drummer Editor shows settings for the Drummer track, including genres and drummers. On the right side are parameters for the selected Drummer region, including presets, an XY pad for adjusting the complexity and loudness of the region performance, and controls for editing performance parameters, including kit piece pattern variations and fill settings.
Score Editor The Score Editor displays MIDI regions as music notation, including notes, rests, and other MIDI events such as sustain pedal markings. You can add and edit notes and other musical symbols. Lyrics, titles, and other text can also be included in the score. You can control the display of individual staffs, extract parts from the score, modify the overall score layout, and print or export complete scores, partial scores, and parts.
Step Editor The Step Editor displays notes or controller events for selected MIDI regions as beams in a userdefined time grid. You can easily add or edit note velocities or other controller data (making some editing tasks, such as data scaling, much faster), or quickly create and edit MIDI drum parts. Lane parameters MIDI events •• Lane parameters: Determine the type of event displayed or modified. When you select a row in the name column, its event definition is shown in the Lane inspector.
Audio File Editor The Audio File Editor is only available when Additional Options for both Audio and Advanced editing are selected in the Advanced preferences pane. It displays the audio waveform of regions on an audio track. In the Audio File Editor, you can destructively edit audio files (and regions), and use audio processing tools to quantize audio, change sample rates, and extract MIDI grooves from audio files.
Note Pads Project notes You can create, view, and edit notes for a project in the Project Notes pane. Each project can contain one set of project notes. Project Text edit button Project Text area •• Project Text area: View and edit project notes in the Project Text area. •• Project Text Edit button: Use to add or edit project-specific text in the Project Text area. You can also double-click the Project Text area. •• Project name: Shows the name of the project.
List Editors Event List The Event List shows all the events in your project, such as MIDI note events or region start events, in a vertical list format. You can use it to make precise edits, and for other tasks better suited to numeric rather than graphic edits. You can display all events or limit them by category. Display Level button Event Type buttons Add Event button and Type pop-up menu List area •• Display Level button: Click to move up one display level in the Event List.
Marker List The Marker List displays all the markers in the project. You can create, select, and edit markers in the Marker List, and click a marker name to move the playhead to that marker position. Create button Marker Text Area button Marker Set pop-up menu Marker List area Marker Text area •• Create button: Creates a marker at the playhead position. •• Marker List area: Lists all the markers in your project, showing the name, bar position, and length of each marker.
Tempo List The Tempo List displays all the tempo events in the project, and lets you create and edit tempo events. Create button Tempo Set pop-up menu Tempo List area •• Create button: Click to create a new tempo event. •• Tempo List area: Displays all tempo changes, and their position in a project. •• Tempo Set pop-up menu: Choose the tempo set to view and edit. Open the Tempo List Do one of the following: mm Click the List Editors button in the control bar, then click Tempo.
Signature List The Signature List shows all the time and key signature changes in your project, as well as any score symbols in the project score. You can create, copy, move, and delete time and key signature events in the Signature List. Create button Signature Set pop-up menu Signature List area •• Create button: Click to create a new signature event. •• Signature List area: Displays all time and key signature changes, and their position in a project.
Loop Browser The Loop Browser makes it easy to find Apple Loops and add them to your project. You can browse for loops or search using various criteria, preview matching loops, and add them to your project by dragging them into the Tracks area. View buttons View pop-up menu Search field Keyword buttons Volume slider Category columns Results list •• View buttons: Switch between column view, button view, and sound effects view. •• View pop-up menu: Choose which loops to display.
Browsers Project Audio Browser The Project Audio Browser shows the audio files used in the project, and displays an overview of the regions derived from each audio file. You can add, edit, delete, and rename audio files and regions in the Project Audio Browser. The Project Audio Browser is available when Show Advanced Tools is selected in the Advanced preferences pane. File path Volume slider Cycle button Play button •• File path: Shows the location of the audio file.
Open the Project Audio Browser as a separate window mm Choose Window > Open Project Audio (or press Command-9). For more information about using the Project Audio Browser, see Project Audio Browser overview. Media Browser Using the Media Browser, you can find and import songs from your iTunes library and movies from your Movies folder into a Logic Pro project. You can also import GarageBand projects into the current project.
All Files Browser The All Files Browser is available when Show Advanced Tools is selected in the Advanced preferences pane. You use the All Files Browser to locate all file types that can be used in a Logic Pro project.
The All Files Browser includes the following features and controls: •• Back and Forward buttons: Move back and forward through previously viewed levels of the folder hierarchy. •• Computer, Home, and Project buttons: Choose the location to browse for files. •• View buttons: Switch the file list between List view and Column view. •• Search field: Search for files by name. Click the plus button to display additional search filters that allow you to narrow your search further.
Logic Pro project basics You start working in Logic Pro by creating a new project, or opening an existing one. A project is the document that contains all your recordings, the location of media files you add, and all the changes you make. You can have multiple projects open at the same time, and transfer media and other data between them.
•• Track Stacks: Track Stacks let you organize and control multiple tracks, and create audio subgroups. •• Folder tracks: Can contain folders, which are containers for other tracks. Folder tracks are not assigned to a channel strip in the Mixer.
For more information about arranging regions in the Tracks area, see Arranging overview. For information about editing audio regions in the Audio Track Editor, see Audio Track Editor overview. For information about editing MIDI regions in the Piano Roll Editor, see Piano Roll Editor overview. For more information about working with regions, see Regions overview Patches You can control the sound of the tracks in your project using patches.
Advanced tools and additional options In Logic Pro, you can turn some advanced features on or off to suit your way of working. Users new to Logic Pro can start working with basic features and a streamlined interface. In particular, users familiar with GarageBand will find a direct match for nearly all GarageBand features. Upgrading Logic Pro users have access to the full power and flexibility of Logic Pro.
Work with Logic Pro windows Open and close windows You can open editors and other working areas as separate windows, open multiple windows simultaneously, customize your window setup, and save different window arrangements as screensets. The contents of each window update to show your latest changes. Only one window can have key focus at a given time, this is called the active window. When several normal windows overlap, the active window is the window in the foreground.
Close all windows (of the active project) mm Option-click the close button to close all windows of the active project. Note: If you close all open windows of a project, Logic Pro asks if you want to save your changes. Move and resize windows You can move and resize open windows individually, even across multiple monitors. You can also change the size of all window elements that feature a resize bar.
Zoom windows You can also zoom in to see regions or events in closer detail, or zoom out to see more of the project. Most Logic Pro windows zoom sliders. When you zoom in or out, the top-left (and selected) event or region remains in the visible area of the screen. If no selected region or event is visible, zooming is centered around the playhead. If the playhead isn’t visible, the current center of the window is retained.
Zoom a section of the Tracks area using the Zoom tool 1 Choose Tools > Zoom (or press and hold Control-Option). When the pointer is over an empty part of the Tracks area, you can access the Zoom function by pressing and holding the Option key. 2 Drag to select the area you want to zoom with the Zoom tool. The selected area fills the window. You can repeat the process to zoom in further. Save and recall zoom settings 1 Adjust the zoom setting you want to store.
Move through display levels The windows in a Logic Pro project have several display levels, with the Tracks area at the highest level, and the editors normally at the lowest level. You work on different types of tasks, such as arranging the overall project or refining individual regions, at different levels. In many cases, you can switch between these different levels directly, without needing to open or access another window.
Control window relationships using Link mode When Additional Advanced Editing Options is selected in the Advanced preferences pane, you can independently link or unlink windows (including the Tracks area, Score Editor, and Event List) to control the relationship between what they display. For example, you could set up two Event Lists, one showing arrange regions, and the other showing their contents, then click a region in the first Event List to update the contents of the second one.
Control windows using screensets Create, recall, and switch screensets You position windows in a layout that suits the way you work. This layout of various windows, including their display size, zoom levels, position, and other settings, is called a screenset. Once defined, you can save, and freely switch between different screensets, much as you might between different computer displays.
Switch a screenset automatically 1 Select the MIDI region into which you want to insert the meta event. 2 Set the playhead to the point where you want the screenset to change. 3 Click the Create button in the Event List, then click the Meta Events button. The inserted meta event has a default value of 50 (Project Select). 4 Alter the number in the Num column from 50 to 49. This changes the name to screenset. 5 Enter the screenset number in the Val column.
Rename the current screenset 1 Choose Screensets > Rename (or use the Rename Screenset key command). 2 In the Rename Screenset dialog, do one of the following: •• Enter a new name. •• Click the Auto Name button to automatically name the screenset. The default is the visible window names. The name is automatically updated whenever a window or view is opened or closed. 3 Click OK. Delete the current screenset mm Choose Screensets > Delete (or use the Delete Screenset key command).
Work with tools in Logic Pro Tools overview Logic Pro includes a set of tools that you can select and use for various tasks. When you select a tool, the pointer changes to show the selected tool. Some tools are common to all working areas, while other tools are specific to one or more particular working areas. A tool (the Scissors, for example) basically affects the regions or events that you click.
Assign tools You can assign tools to the Left-click and Command-click Tool menus. The pointer adopts the shape of the active tool, allowing you to identify it by looking at the pointer graphic. Left-click Tool menu Command-click Tool menu The Command-click Tool menu is located on the right, by default, but is located in the middle when a third (Right-click) tool is assigned. You can assign the Right-click tool in the Logic Pro General > Editing preferences pane. See General preferences on page 846.
•• Is Assignable to a Tool: When this option is chosen, a third Tool menu (Right-click Tool menu) appears to the right of the Left-click and Command-click Tool menus. Choose the appropriate menu item to assign the tool, which is available when the right mouse button is pressed while editing.
Set the behavior of the Pointer tool in the Tracks area 1 Choose Logic Pro > Preferences > General (or use the corresponding key command). 2 Click the Editing tab, then select the behavior you want for the Pointer tool. •• Fade Tool Click Zones: When selected, placing the pointer over the upper-left and upper-right edges of a region activates the Fade pointer and behavior. The Loop pointer and behavior can still be accessed in these click zones by holding down Option.
Glue tool The Glue tool joins selected regions or events into a single region or event. Solo tool Click-holding a region with the Solo tool lets you listen to the selected region or event apart from the rest of the project. Moving the mouse horizontally also scrubs any events the pointer touches. Mute tool Clicking an event or region with the Mute tool prevents it from playing. You can unmute the region or event by clicking it a second time with the Mute tool.
Undo and redo edits in Logic Pro You can undo one or more edit operations if you change your mind, and redo edits you have undone. Logic Pro includes an Undo History window where you can see all edits that can be undone in a time-ordered list. You can also change the number of steps that can be undo in Logic Pro preferences. Undo your last edit operation mm Choose Edit > Undo (or press Command-Z) immediately after making the error.
Change the number of undo steps 1 Choose Logic Pro > Preferences > General > Editing, then click the Edit tab. 2 Change the number in the Number of Undo Steps value slider. Download additional content After you install Logic Pro on your computer, additional content, including software instruments, Drum Kit Designer drum kits, loops, and compatibility content, may be available.
How to get help Logic Pro provides several ways for you to get answers to questions, learn about controls and functions while you're working, and view detailed information about all aspects of the application. You can also view information directly in the application using the Quick Help feature. In addition to being available from the Logic Pro Help menu, the full suite of help documents is available online in both HTML and PDF formats.
Logic Pro Control Surfaces Support Provides comprehensive instructions for configuring and using control surfaces with Logic Pro. •• To view the Logic Pro Control Surfaces Support manual from within Logic Pro, choose Help > Logic Pro Control Surface Support. •• To view the Logic Pro Control Surfaces Support manual online, browse to http://help.apple.com/controlsurfacessupport/mac/10/. •• To view the Logic Pro Control Surfaces Support manual in PDF format, browse to http://www.apple.
Connect external devices 5 Connecting overview You can use Logic Pro with a wide variety of audio and MIDI devices, including microphones, keyboards and other musical instruments, mixers, and other audio equipment. To connect audio devices to your computer, you can use an audio interface. Keyboards and other MIDI devices can be connected directly, or using a MIDI interface.
Connect a microphone You can connect a microphone to your computer to record your voice, an instrument, or any other sound to an audio track. You can connect a microphone to your computer’s audio input port, a USB port, or to an audio interface connected to your computer. You can also use your computer’s built-in microphone to record sound. Connect a microphone to your computer Do one of the following: mm Connect the microphone to an input on the audio interface using a standard XLR cable.
Connect an electric instrument You can connect an electric instrument, such as an electric guitar or bass, to your computer to play and record in an audio track. You can record the sound from your guitar to an audio track, and use the amps and pedalboard effects to shape your guitar sound. There are several ways to connect an electric instrument to your computer.
Connect an audio interface Using an audio interface, you can connect microphones, instruments, and other music equipment to your computer and record the output to an audio track. You can also connect a mixer, speakers or monitors, headphones, and other equipment to hear the audio output from Logic Pro. Logic Pro supports plug-and-play for audio interfaces, making it possible to connect and turn on a new audio interface while Logic Pro is open.
Connect speakers and other audio devices You can connect speakers or monitors to your computer to hear your projects with better audio quality. A variety of speakers is available that you can connect to your computer or audio interface. The way you connect them depends on your system and the type of speakers you use. Surround projects require a surround speaker system. For information about using speakers in a Surround project, see Speaker placement.
Connect MIDI devices MIDI devices overview Logic Pro works with many USB and MIDI keyboard controllers and with other MIDI devices including sound modules, control surfaces, effects processors, mixers, lighting controllers, pedals, and switches. Logic Pro recognizes all MIDI devices set up in the Audio MIDI Setup (AMS) utility, the integrated audio and MIDI configuration tool of Mac OS X. You can find the AMS utility in the Applications/ Utilities folder. For more information on use, see AMS Help.
Connect MIDI keyboards and modules You can connect a MIDI keyboard to your computer to play and record software instruments, or record MIDI regions to use with external MIDI devices such as synthesizers or sound modules. Connect a MIDI keyboard Do one of the following: mm Connect the MIDI Out port to a MIDI In port on a MIDI interface, and connect the MIDI In port on the keyboard to a MIDI Out port on the MIDI interface using MIDI cables. Connect the MIDI interface to your computer.
mm If your MIDI interface has only one MIDI output: You need to connect the MIDI In of the second tone generator to the keyboard MIDI Thru port. A third device can be connected to the MIDI Thru of the second unit, and so on. Keyboard MIDI Thru port Computer Out port In port In port Tone generator In port Out port MIDI Thru port In port MIDI interface Tone generator The MIDI Thru port replicates the signals coming into the MIDI In port of the device.
About multichannel MIDI devices Multi-timbral MIDI tone devices can simultaneously receive MIDI data on multiple MIDI channels. Each MIDI channel can be assigned a tone or sound, such as piano, strings, bass, and so on. To take full advantage of the capabilities of such multi-timbral devices, you should use separate MIDI Out ports (from the computer MIDI interface to the MIDI In ports) for each device. For example: •• There are four MIDI devices that are capable of receiving data on multiple channels.
Separate a MIDI keyboard from its sound generator If your MIDI keyboard has an internal sound source, it’s important that you stop the keyboard from generating sounds directly from its own keyboard. For example, if you buy a new keyboard to be used without a sequencer, and connect it to an amplifier, you would expect the device to make a sound when you press its keys—in other words, the keyboard is directly connected to the sound generator.
Work with projects 6 Projects overview A project is a Logic Pro document that contains all of your recordings, the location of media files you add, and all the changes you make. You start working in Logic Pro by creating a project, or opening an existing project. You can have multiple projects open at the same time, and transfer media and other data between them. Each project has project properties including tempo, key and time signature, and more.
Create projects You start working in Logic Pro by creating a new project. In the Project Chooser, you can choose a template to use as the starting point for a new project. Each project has project properties including the project tempo, time and key signature, and more. You can edit some project properties in the Project Chooser when you create a project, and change them later while you’re working. For full details about project properties, see Project properties overview.
•• To set the project tempo: Drag the Tempo slider, enter a tempo in the Tempo field, or click the Tap Tempo button several times. •• To have regions in the project use the musical grid: Select the “Use musical grid” checkbox. •• To set the key signature: Choose a key from the Key Signature pop-up menu, then click Major or Minor. •• To set the time signature: Click the arrows to change the number of beats, or double-click the time signature and enter a new time signature.
Open projects You can open an existing project to continue working. You can also open several projects simultaneously, allowing you to copy or move data between them, or to compare different versions of a project. Opening projects created in earlier Logic Pro versions You can open projects created in Logic Pro 5 or later. Projects saved in Logic Pro X are not backward-compatible with earlier Logic Pro versions.
2 To limit your view to a specific file type, choose the file type in the File Type pop-up menu: •• All Logic Document Types: View all document types supported by Logic Pro. •• Logic Projects: View projects created with the current version of Logic Pro or earlier versions. •• GarageBand Projects: View projects created in GarageBand. •• MIDI Files: View Standard MIDI files in either format 0 or 1. •• AAF Files: View Advanced Authoring Format files used by other DAW applications such as Pro Tools.
Save projects When you save a project in Logic Pro, your recordings and all the changes you make are saved with the project. Logic Pro auto-saves your work so that you don’t lose important changes if the application quits unexpectedly. Logic Pro shows a dialog when you reopen the project, asking if you want to use the auto-saved version. If you choose not to, Logic Pro opens the last manually saved version of the project.
Save the project with a different name or location 1 Choose File > Save As. 2 In the Save As dialog, enter a new name for the project. 3 Do one of the following: •• To save the project as a file (package) containing project assets: select the Organize my project as: Package button. •• To save the project as a folder containing subfolders for project assets: select the Organize my project as: Folder button. 4 Select the type of assets to copy to the project, the click Save.
Delete projects If you no longer want to keep a project, you can delete it from your computer. Important: If audio files and other assets are stored in a project, they are deleted with the project. Delete a project 1 Locate the project in the Finder. By default, projects are saved in the Logic subfolder in the Music folder on your computer. 2 Drag the project to the Trash. If you later decide you want to keep the project, you can drag it out of the Trash if you haven’t emptied the Trash.
Play and navigate projects Play a project You can play a project any time you’re working on it, in order to hear your latest changes. When you play a project, playback starts from the current position of the playhead. If Cycle mode is turned on, playback starts from the beginning of the cycle area. Start playback mm Click the Play button in the control bar (or press the Space bar). While the project is playing, the Go to Beginning button in the control bar becomes a Stop button.
Control playback with the transport buttons You can use the transport buttons in the control bar to control playback, or to set the playhead position. You can click the buttons to activate or deactivate functions, or use the corresponding key commands to speed up your workflow. The default set of transport buttons includes the Rewind, Forward, Stop, Play, and Record buttons to the left of the LCD, and the Cycle, Replace, Autopunch, Solo, and Click (Metronome) buttons to the right of the LCD.
Use additional transport buttons Click any of the following: mm Go to Beginning button: Moves the playhead to the start of the project.
Use transport shortcut menus Some transport functions are only accessible from shortcut menus. Both the Stop/Go to Beginning button and the Play button in the control bar have shortcut menus with additional transport functions. Use the Stop button transport functions 1 Control-click the Stop/Go to Beginning button in the control bar. 2 Choose any of the following items from the shortcut menu: •• Stop: Stops project playback. •• Stop and Go to Left Locator: Stops playback.
Use transport key commands Some transport functions are available as key commands. Most of these transport key commands have no default assignment, and need to be assigned manually. See Assign key commands. •• Play or Stop: Starts or stops playback. Press the Space bar. Tip: The Space bar can be used to start or stop playback of audio files or regions in the Audio File Editor, Project Audio Browser, or Loop Browser, when these windows have key focus.
Customize the control bar The control bar offers a default set of buttons and other controls, providing commonly used options. If you need to access particular functions that aren’t part of the default set, you can easily customize the control bar in the following ways: •• You can show or hide the entire control bar to maximize the amount of available space in the main window. •• You can show or hide individual buttons and other controls in the control bar.
Set the display mode for the LCD The LCD has five display modes, allowing you to view the time format in either musical units (bars and beats) or absolute time units (minutes and seconds), independent of the time format of the ruler. mm Click the icon on the left side of the LCD, then choose one of the following: •• Beats and Project: Displays the time format in bars and beats, and displays project properties (tempo, key, and time signature).
Change the time, tempo, and clock format 1 Choose Logic Pro > Preferences > Display (or use the Open Display Preferences key command). 2 Choose one of the following settings in the Display Time as pop-up menu: •• With Bits: Subframes (SMPTE bits 0 to 79) are shown. •• Without Bits: Subframes are not shown. •• With Quarter Frames: Quarter frames are shown. •• As Feet Frames, 35 mm film: The display is displayed in feet and frames, for 35mm film.
Use the cycle area You can use the cycle area to repeatedly play a particular part of a project. The cycle area can be used for composing, practicing a part before recording, recording multiple takes, and other purposes. Left locator Right locator Cycle area When Cycle mode is on, the cycle area is displayed as a yellow strip in the upper part of the ruler (or in the center, when the secondary ruler is visible). The left and right locators are the start and end points of the cycle area.
Set the locator positions in the LCD 1 Click the icon on the left side of the LCD, then choose Custom. The left and right locator positions appear in both beats and time formats in the LCD. Left locator Right locator 2 Do one of the following: •• Click-hold individual units of the left or right locator position, then drag vertically. •• Double-click the left or right locator position, then enter a new position.
Move the cycle area mm Grab the yellow cycle strip by the middle (the pointer turns into a hand) and drag it horizontally. Resize the cycle area Do one of the following: mm Grab the left or right edge of the cycle area to move the start or end points. mm Shift-click a position in the ruler. This works even when the stripe is outside the visible range, or Cycle mode is turned off. Create a skip cycle 1 Set the cycle area to the part of the project you want to skip.
Use the Chase Events function If you start playback in the middle of a project, some events might not be heard (such as MIDI notes, sustain pedal events, and pitch bend events that start before the point where playback begins). With the Chase Events function, Logic Pro analyzes the project to include some or all of these events when the project plays back. There is a potential problem when using Chase Events with notes used to trigger a drum loop in a sampler.
Control Logic Pro using Apple Remote You can use your Apple Remote to control Logic Pro from a distance. A short click offers the following functions: Rewind Previous track Forward Next track Play or Stop Record A long click offers the following functions: Fast Rewind Fast Forward Stop Note: Apple Remote is compatible with Apple products that have a built-in Infrared (IR) receiver. Front Row is not available while Logic Pro is open.
Set project properties Project properties overview Each Logic Pro project has properties that include the project tempo, key and time signatures, and more. You can set project properties when you create a project, and change them later while you’re working. Some project properties, such as tempo and sample rate, should be set when you create the project if possible, because they can affect recordings or media files you add to the project, creating extra work.
Set the project key and scale Each project has a key, which defines the central note to which the other notes relate. By default, new projects are in the key of C major. You can choose a new key when you create a project, and change it later while you’re working. When you add Apple Loops to your project, they match the key of the project. When Show Advanced Tools is selected in the Advanced preferences pane, you can also add key signature changes in a project.
Set the project time signature Each project has a time signature, which defines how musical time is divided into measures and beats. The time signature contains two numbers separated by a slash (/), which looks similar to a fraction. The first number controls the number of beats in each measure, and the second number controls the beat value (the length of the note that gets one beat). You can set the time signature of the project in the LCD, the Signature List, or the Signature track.
Set the project sample rate The project’s sample rate determines the number of samples Logic Pro uses for audio playback. When you record or add audio files to your project, their sample rate is matched to the project sample rate if the “Convert audio file sample rate when importing” project setting is active. You can turn on this setting in the File > Projects Settings > Assets pane. Some audio files in your project may not match the newly selected sample rate.
Match a file’s sample rate with the project sample rate mm Use the Project Audio Browser’s Copy/Convert File(s) command (which is also available by Control-clicking the Project Audio Browser or using the corresponding key command), then replace the file in the project. Logic Pro performs a real-time, native sample rate conversion. Any sample rate available in Logic Pro (via Audio > Sample Rate) can be used for the conversion—even if your audio hardware doesn’t support the selected sample rate.
Set the project start and end points A project normally starts at position 1 1 1 1 (as shown in the LCD, in Bars mode or in Bars and Time mode). You can move the project start point to an earlier position, allowing upbeats or program change commands to be played before the first downbeat. You can also move the project end point; for example, to remove unused bars at the end of the project. Set the project start point mm Drag the start-of-project marker in the ruler to the left or right.
Manage projects Project management overview You can manage Logic Pro projects to control where files used in the project are saved, how projects are organized, and perform other management functions. A project can include various assets, which are media files and other files used in the project. By default, project assets are saved in the project. Assets can also be referenced from an external location. When you save a project, you can determine whether assets are saved in the project, or are referenced.
Use project alternatives and backups When Show Advanced Tools is selected in the Advanced preferences pane, you can create alternative versions of a project, each with a unique name and different settings. Alternatives are saved as part of the project, and share the same assets. Alternatives for the current project appear in the File > Alternatives submenu.
Clean up projects When Show Advanced Tools is selected in the Advanced preferences pane, you can clean up a project by deleting unused or unneeded media files using the Clean Up command. Clean up project files 1 Choose File > Project Management > Clean Up. 2 In the dialog that appears, select the checkboxes for the cleanup options you want to apply to the current project.
Manage project assets When you create or save a project, you can choose whether the assets you use in your project are saved in the project, or referenced from their location on your computer or a connected storage device. Assets include audio and video files, sampler instruments and samples for the EXS24 or Ultrabeat, and Space Designer reverb impulse response files.
Consolidate assets in a project Using the Consolidate command, you can create a “consolidated” copy of a project, and select which types of assets are copied into the consolidated project. Consolidate project assets 1 Choose File > Project Management > Consolidate (or use the Consolidate Project key command). 2 Select the checkboxes for the file types you want to copy into the consolidate project, then click OK. Rename projects You can rename the currently open project without leaving Logic Pro.
Import data and settings from other projects You can import data from another project including track content (regions and folders), plug-ins (including settings), sends (including level, routing, and destination channel strips), Input/Output assignments, automation, and track notes. In the All Files Browser, you can choose which data to import in the Track Import view, and whether to add the data to new tracks in your current project, or replace existing data.
The All Files Browser updates to show a Track Import view. 4 Select the data that you want to import by selecting the relevant checkboxes. You can filter which tracks or channel strip types are displayed using the buttons above the Track Import table. •• Num(ber): Shows the track number. No number is displayed for channel strips that do not appear in the Tracks area. Folder tracks are also displayed with an entry such as 3-1, where 3 is the track number and 1 is the folder number.
5 Do one of the following: •• To add the selected data to the current project: Click the Add button (or hold down Command while pressing the Down Arrow key). The tracks are added below the selected track in the Tracks area. •• To replace the data of the currently selected track with the selected data from the other project: Click the Replace button. Note: The Replace function only works when data on a single row is selected—not with multiple row selections.
Preview projects in the Finder Every Logic Pro project includes a preview image, so that you can view the contents of a project in the Finder using Quick Look, without having to open the project. The image is updated each time the project is saved to show the current state of the project. Preview a project with Quick Look Do one of the following: mm Select a project file in the Finder, then press the Space bar.
View project information and reorganize memory You can view the number of regions and other objects in a project, the number of different MIDI events, and the amount of memory they use, in the Project Information window. Very rarely, a project may become corrupted due to driver or memory conflicts, or may feel sluggish. If corruption occurs, Logic Pro displays a warning message letting you know about the problem. These problems can generally be fixed in the Project Information window.
Work with tracks 7 Tracks overview Tracks help you organize and control the sound of the recordings and other material in a project. You record and arrange audio and MIDI regions on tracks in the Tracks area. Each track is assigned to a channel strip in the Mixer. A Logic Pro project can include the following track types: •• Audio tracks: Contain audio regions from audio recordings, audio Apple Loops, and imported audio files.
Additionally, there are two other track types with specific functions: global tracks, and the master track. •• Global tracks: These tracks, which appear below the ruler in the Tracks area and in linear editors, are used to view and edit different aspects of the overall project, such as tempo, which affect all tracks in the project. For information about global tracks, see Global tracks overview. •• Master track: When you show the master track, it appears below all other tracks in the Tracks area.
6 Do any of the following: •• To set the number of multi-timbral parts for software instrument tracks: Select the Multi-timbral checkbox, then enter the number of multi-timbral or layer parts. Multi-timbral refers to the number of different sounds a software instrument can play simultaneously. •• To have the Library open automatically so you can choose a patch for the track: Select the Open Library checkbox.
Create a track below the selected track 1 Control-click the track header. 2 Choose one of the following from the shortcut menu. •• To create an audio track: choose New Audio Track. •• To create a software instrument track: choose New Software Instrument Track. •• To create a Drummer track: choose New Drummer Track. •• To create an external MIDI track: choose New External MIDI Track. A new track of the chosen type, with default settings, is created below the selected track.
Create a new track for selected regions mm Select the regions, then choose Track > Other > New Track For Selected Regions. The selected regions are moved from the source track to the new track, which uses the same channel strip as the source track. In other words, only one channel strip is used for all tracks. If you use this command with regions selected across several tracks, a new track is created for each source track.
In addition to reassigning tracks to channel strips, you can reassign them to either of the following destinations: •• No Output: Tracks assigned as No Output send no data. This can be useful in situations in which you want to store data (such as SysEx) that you don’t want to send from Logic Pro. •• Folder: This setting is used when you want the track to play a folder region. (See Folders overview on page 325.) Normal regions will not play on a track set up for folder playback.
Rename tracks When you choose a patch for a track, the track takes the name of the patch. You can rename a track at any time. Rename a track Do one of the following: mm Double-click the name in the track header, then enter a new name for the track. mm Control-click the track header, choose Rename Track from the shortcut menu, then enter a new name for the track. Change track icons By default, tracks use the same icon as the patch chosen for the track. You can change a track’s icon at any time.
Reorder tracks in the Tracks area You can reorder tracks in the Tracks area. Changing the order of tracks doesn’t affect the sound of a project, but lets you organize tracks visually to keep instruments in a particular order, or keep related tracks together. For example, you can keep all drum tracks together, or keep all tracks that double the same melody together.
Zoom tracks Tracks in the Tracks area can be zoomed in conjunction with, or independent of, the Tracks area zoom controls (and Waveform Zoom slider). There is a default zoom setting for tracks when a window is first opened, which provides a compromise between visibility of text and regions, and working space in the Tracks area. Zoom a track 1 Move the pointer to the bottom-left corner of a track. The pointer changes to a pair of up- and down-pointing arrows. 2 Drag vertically.
Replace or double drum sounds in the Tracks area Using drum replacement, you can replace individual drum sounds on an audio track without re-recording the entire track. To replace or double the drum sounds, you use an audio track that contains a recording of a single drum (or other percussion instrument) to create a software instrument track with matching MIDI trigger notes. The software instrument track plays drum samples using the EXS24 mkII.
3 In the Drum Replacement/Doubling dialog, set the following parameters: •• Instrument pop-up menu: Choose the drum sound you want to replace or double (Kick, Snare, Tom, or other). •• Mode buttons: Choose one of the following modes: •• Replacement: The new sound replaces the original, and all regions on the original track are muted. •• Doubling: The new sound is added to the original (the original sound is not muted).
Use the track header controls Track header overview Each track includes a track header that displays the track name and icon, and features a number of track controls. By default, these include Record Enable, Mute, and Solo buttons on all tracks, and for audio tracks, an Input Monitoring button.
3 Click Done. Horizontally resize all track headers 1 Position the pointer over the line dividing the track headers from the left edge of the tracks. The pointer changes to a Resize pointer. 2 Drag the line left or right to resize the track headers. Mute tracks You can silence, or mute, a track so that you don’t hear it when you play the project.
Solo tracks You can solo a track, silencing all tracks that are not also soloed. Soloing tracks is useful when you want to work on a track individually, or work on a few tracks, without hearing the other tracks in the project. Solo a track mm Click the track’s Solo button in the track header. The Solo button turns yellow, and the Mute buttons of all unsoloed tracks flash blue. Click the button a second time to restore the track to its previous state.
Set track pan positions The Pan/Balance (pan is short for panorama) knob controls whether a track is heard from the left, right, or center of the stereo field. You can set the pan or balance position for each track in a project. Mono channel strips feature a Pan knob, which determines the position of a mono signal in the stereo image. At the center position, the Pan knob sends equal amounts of the signal to both sides of the stereo image.
Turn on input monitoring for audio tracks You can turn on input monitoring to monitor audio tracks that are not enabled for recording. This is useful for setting audio levels or practicing parts before you commit to recording. Tip: You can leave input monitoring turned on before, after, and during recording. When input monitoring is on, the Record Enable button and the Auto Input Monitoring feature do not affect software monitoring—that is, you can always hear incoming audio signals.
Protect tracks You can protect a track to prevent accidental changes. While a track is protected, you can’t record on the track, edit regions on the track, or create new regions on the track. If you want to edit the track, you can unprotect it, make the changes, and then protect the track again. Protect a track 1 Click the Protect button in the track header. If the Protect button isn’t visible in the track header, you can display it using the Track Header Configuration dialog.
Freeze a track 1 Click the Freeze button in the track header. The lock turns blue to indicate that the track is ready to freeze. 2 In the Track inspector, choose a Freeze mode: •• Source Only: Freezes the track signal without any effects plug-ins. When selected, the Freeze button becomes solid. Note: This Freeze mode is useful when using processor-intensive software instruments or flex modes. •• Pre Fader: Freezes the track signal including all effects plug-ins.
Hide or unhide a track using key commands 1 Select the track. 2 Press H. To unhide the hidden track, press H again. The following menu functions and key commands also affect the Hide Tracks feature: •• Even when the toolbar Hide button is deactivated, you can still hide an individual track with the Track > Hide Track and Select Next Track command (or press Control-H).
Work with patches in the Library Patches overview A patch contains the instrument, effects, and routing settings that control the sound of a track. When you choose a patch, those settings are applied to the currently selected track. You can try a different sound for the track by choosing a different patch, as long as the patch is compatible with the track type. You can choose a patch in the Library when you create a track, and choose a different patch at any time while you’re working.
Choose a patch You can view available patches for the selected track in the Library. When you create a new track, you can choose a patch from the Library, and choose a different patch for the selected track at any time. A track can have only one patch for the length of a project, and you can only choose patches that match the track type of the selected track. Choose a patch for the selected track 1 Click the Library button in the control bar (or double-click the track header) to open the Library.
Choose presets and other file types in the Library In addition to patches, you can view and choose the following file types in the Library, when the corresponding item is selected: •• Plug-in presets (.pst) •• Channel strip settings (.cst) •• EXS instruments (.
Close the patch merging area mm Click the close box at the upper-left corner of the patch merging area. When the patch merging area is closed, choosing a patch from the Library replaces the current patch (equivalent to all buttons being selected). When the main track of a summing stack is selected, patch merging is not available. Reset patches to their original settings You can reset a patch to its original settings, discarding any changes you previously made.
Work with Track Stacks Track Stacks overview Track Stacks provide a convenient way to organize and control tracks, to manage projects with high track counts, and to create and manage audio subgroups. There are two types of Track Stacks: folder stacks and summing stacks. Both types have a main track and one or more subtracks. The track header for the main track features a disclosure triangle that lets you show or hide the subtracks. When you close the stack, only the main track appears in the Tracks area.
Summing stacks Summing stacks let you combine multiple tracks and route their output to an audio subgroup. When you create a summing stack, the outputs from the subtracks are routed to a bus, the destination aux of which is assigned to the main track. When the main track is selected, you can mute, solo, and adjust volume and send levels for the summing stack, and add and edit plug-ins, affecting the sound of all the subtracks in the summing stack.
When a Track Stack contains a single software instrument subtrack, that subtrack appears in the left inspector channel strip, and its routing destination (usually the main track aux) appears in the right inspector channel strip when the main track is selected.
Show or hide the subtracks for a Track Stack mm Click the disclosure triangle to the left of the track icon in the main track. To show or hide the subtracks for all track stacks in a project, Option-click the disclosure triangle for any track stack in the project. Add a track to a Track Stack mm Drag the header of the track you want to add between two of the subtracks in the Track Stack. Note: When you add a track to a summing stack, its routing changes to the aux assigned to the main track.
Track Stacks and the Library The patches available in the Library vary depending on the Track Stack type, and which track in the Track Stack is selected: •• When the main track of a folder stack is selected, no patches are available in the Library, and patches can’t be saved. •• When the main track of a summing stack is selected, summing stack patches of a similar type are available in the Library.
Show or hide the subtracks for the master track mm Click the disclosure triangle to the left of the track icon in the main track. After you show the subtracks for the master track, you can choose shared effect parameters to automate, record or add automation control points, and edit the automation to control shared effect parameters. You can set the basic playback volume using the Master Volume slider in the control bar.
Bounce tracks and regions in place Bounce in place overview When you bounce tracks or regions in place, the selected tracks or regions are bounced, and the resulting audio files are placed at the same position as the originals in the Tracks area. Using Bounce in Place, you can process audio, software instrument, or Drummer tracks, or the regions on those tracks. The audio file format of the bounce (sample rate and resolution) is determined by the audio recording project settings.
•• Bypass Effect Plug-ins checkbox: Select to disable all plug-ins on the source track during the bounce process. •• Include Volume/Pan Automation checkbox: Select to have volume and pan automation performed during the bounce process, with their result influencing the bounce file. Otherwise, the volume and pan automation is simply copied, not performed. •• Normalize pop-up menu: Choose between three states of normalization: •• •• Off: Turns off normalization.
Bounce a region in place You can render one or more selected regions on audio or software instrument tracks into a new audio file, including all active plug-ins and automation data. Bounce one or more regions in place 1 Select one or more regions on an audio or software instrument track. 2 Do one of the following: •• Choose File > Bounce > Regions in Place (or use the corresponding key command). •• Control-click the selected regions, then choose Bounce Regions in Place from the shortcut menu.
•• Add Effects Tail to File checkbox: Select to continue the bounce process after the end of the bounce range—either to the end of the cycle or to the end of the last selected region—until there is no longer a signal. Otherwise, only the bounce range is bounced. •• Add Effects Tail to Region checkbox: Select to include the entire bounce file in the bounce region. Otherwise, the bounce region only includes the bounce range.
Export tracks and regions Export tracks as audio files You can export a single track (with all the regions on the track) as as audio file, or export all tracks (all audio, software instrument, and Drummer tracks) in a project as audio files—one per track. Export a track as an audio file 1 Select the track to export, then choose File > Export > Track as Audio File. 2 Enter a name for the exported audio file, and browse to a location to save it.
Export all tracks as audio files 1 Choose File > Export > All Tracks as Audio Files. 2 Enter a name for the exported audio files, and browse to a location to save them. 3 Choose a file format for the exported audio files from the Save Format pop-up menu. 4 Choose the bit depth for the exported audio file from the Bit Depth pop-up menu.
Export regions as audio files You can export an audio or MIDI region as a new audio file, to reuse in Logic Pro or use with another audio application. Export an audio or MIDI region as an audio file 1 Select the region in the Tracks area, then choose File > Export > Region as Audio File. 2 Enter a name for the exported audio file, and browse to a location to save it. 3 Choose a file format for the new audio file from the Save Format pop-up menu.
Move audio files used for audio regions You can move audio files used for audio regions to a new location. This is useful if the audio files are saved in the project, or are referenced outside the project in multiple locations. When you select one or more audio regions and choose Move Files, all audio files used for the selected regions are moved to the location you choose, both audio files stored in the project and audio files referenced from outside the project.
Export a single MIDI region as a Format 0 MIDI file 1 Choose Logic Pro > Preferences > General, click Project Handling, then select the “‘Export MIDI File…’ saves single MIDI Regions as Format 0” checkbox. 2 Select a single MIDI region to export. 3 Choose File > Export > Selection as MIDI File. 4 Choose the destination directory, enter a name, then click Save. The selected MIDI region is saved as a Format 0 MIDI file. Edit track parameters Each track has a set of parameters.
mm No Transpose checkbox (software instrument tracks only): When selected, regions on the track are not transposed. (In other words, the Transpose Region parameter is ignored.) This can be useful for instruments assigned to drum or other samples mapped across the keyboard on a single MIDI channel. mm No Reset checkbox (software instrument tracks only): When selected, no reset messages are sent to the track’s instrument.
Record your voice or a musical instrument 8 Recording overview In Logic Pro, you can make use of several workflow features when recording voices, acoustic instruments, and software instruments—including take recording, multitrack recording, and replace recording. You can also use step input recording techniques, which allow you to insert MIDI notes when not in a real-time recording mode. And there are several advanced recording techniques available that will help speed up your workflow.
•• Check the monitoring level, which controls the playback (or monitoring) level, not the recording level. •• Tune any instruments that are connected to your system, to ensure that your external instrument recordings are in tune with any software instruments, samples, or existing recordings in your project. You can access the Tuner using the Tuner button in the control bar. For details about the Tuner plug-in, see the Logic Pro Effects manual.
Record multiple audio takes When you’re recording, you can record multiple versions, or takes, in quick succession. This can be helpful especially when you’re improvising a lead or solo part and want to capture several versions while you’re feeling inspired. Later, you can preview the take recordings and choose which one you want to use in the project. You can also create and edit comps, by selecting the best parts from several takes and combining these parts into one master comp.
4 Click the Record button in the control bar (or press R) to start recording. Recording starts automatically at the beginning of the defined cycle area. Record as many cycle passes as you wish. After the second cycle pass, a take folder is created on the track. Each subsequent cycle pass is added to the take folder. 5 Click the Stop button cycle passes.
Record to multiple audio tracks You can record to more than one audio track at a time, allowing you to record several instruments at once—placing each instrument on a separate track, for example. Record to multiple audio tracks simultaneously 1 Set the instrument or microphone input source for each track you want to record to. 2 Click the Record Enable button in the track header of each track you want to record to. 3 Move the playhead to the point in the ruler where you want to start recording.
Punch in and out of audio recordings Punch recording is a technique you can use to overwrite a portion of a previously recorded track, during playback, without touching any of the recording before or after that portion. You punch in to interrupt playback and make the recording, then punch out to return to playback mode. You can choose between two punch recording modes: “Punch on the Fly” mode and Autopunch mode.
Record on the fly 1 Turn on Punch on the Fly mode by doing one of the following: •• Choose Record > Allow Quick Punch-In. •• Control-click the Record button the shortcut menu. in the control bar, then choose Allow Quick Punch-In from 2 Click the Play button in the control bar, then use the Record Toggle key command at the point where you want to start recording. Audio recording starts immediately. 3 Click the Stop button to stop recording.
If you want to improve a difficult part of a certain passage, you can use a combination of the Cycle and Autopunch functions. Cycle mode recording allows you to practice as many times as you like before performing the final take. On each cycle pass, only events or audio that falls within the area defined by the autopunch locators is recorded. This lets you make use of the preceding song section to “get into the groove.
Delete audio recordings You can delete an audio region that was recorded before or since the current project session was opened. You can also delete an audio recording, and its related audio file in the Project Audio Browser, when Show Advanced Tools is selected in the Advanced preferences pane. Delete an audio recording from the Tracks area mm Select the audio region in the Tracks area, then press the Delete key. The audio region is removed from the Tracks area but the audio file remains in the project.
Record software instruments Before recording software instruments You can connect a USB or MIDI music keyboard to your computer to play and record the software instruments built in to Logic Pro. You also need to add a software instrument track and choose a sound. Connect a music keyboard to your computer Do one of the following: mm If the keyboard is a USB music keyboard, connect the USB cable from the keyboard to your computer.
Play software instruments You can play your chosen software instrument using musical typing or the onscreen keyboard. Play a software instrument using musical typing 1 Choose Window > Show Musical Typing. The Musical Typing window appears, showing the layout of keys used for playing notes and changing controller information. 2 Select the software instrument track you want to play. 3 Play the software instrument using the keys on your computer keyboard.
2 Click the Keyboard button in the upper-left area of the window. The onscreen keyboard appears. 3 To play the onscreen keyboard, click the notes on the keyboard. You can click when the project is playing or stopped, and record by clicking during recording. Clicking notes lower on the keys plays the notes with higher velocity, and clicking higher plays them with lower velocity. 4 To change the range of the onscreen keyboard, do one of the following: Drag the blue area, or click outside, to edit the range.
Record software instruments Before you start recording, make sure you connect a music keyboard to your computer and create a software instrument track to record to. You should also familiarize yourself with how to use musical typing and the onscreen keyboard. Record a software instrument 1 Select the software instrument track you want to record to. 2 Move the playhead to the point in the ruler where you want to start recording.
Record additional software instrument takes When you’re recording, you can record multiple versions, or takes, in quick succession. Later, you can preview the take recordings and choose which one you want to use in the project. Recording multiple MIDI takes is only possible when Show Advanced Tools is selected in the Advanced preferences pane. Record multiple MIDI takes 1 Do one of the following: •• Choose Record > MIDI Recording Options > Create Take Folders.
4 Click the Record button in the control bar (or press R) to start recording. Recording starts automatically at the beginning of the defined cycle area. 5 Use your MIDI keyboard, Musical Typing window, or onscreen keyboard to play some notes. Record as many cycle passes as you wish. Note: Each previously recorded take is automatically muted during recording 6 Click the Stop button in the control bar (or press the Space bar) to stop recording.
Record to multiple software instrument tracks You can record to multiple software instrument tracks simultaneously. You can also record to multiple software instrument tracks successively (in Cycle mode) when Show Advanced Tools is selected in the Advanced preferences pane. Record to multiple software instrument tracks simultaneously 1 Click the Record Enable button in the track header of each track you want to record to. 2 Move the playhead to the point in the ruler where you want to start recording.
Replace software instrument recordings When you’re recording, you can replace all or part of a previous performance while recording a new one. You do this by recording in Replace mode. Replace recording is only possible when Show Advanced Tools is selected in the Advanced preferences pane. Record over an existing MIDI region 1 Click the Replace button in the control bar. Note: You can add the Replace button by customizing the control bar. For information, see Customize the control bar.
4 Click the Record button in the control bar (or press R) to start recording. Recording starts automatically at the beginning of the defined cycle area. 5 Use your MIDI keyboard, Musical Typing window, or onscreen music keyboard to play some notes. Record as many cycle passes as you wish. 6 Click the Stop button in the control bar (or press the Space bar) to stop recording. A new MIDI region is created on top of the existing one.
Insert notes using the Step Input keyboard 1 Open the MIDI region in the editor you want to work in. 2 Move the playhead to the point where you want to insert notes. 3 Choose Window > Show Step Input Keyboard. 4 Do one or more of the following: •• To insert a note of the key’s pitch: Click a key. •• To set the length of the inserted note: Click the Note Length buttons. •• To set the velocity of the inserted note: Click the Velocity buttons.
Advanced recording techniques Advanced recording commands When Show Advanced Tools is selected in the Advanced preferences pane, you can use several advanced commands to speed up the recording process: •• Record/Record Toggle: Use to stop recording but to continue playback. Use it again to resume recording from the playhead position. •• Record/Record Repeat: Use to delete the recording, move the playhead back to the recording start position, and start recording again.
Color takes while recording You can color take regions in an open or closed take folder, providing you with a visual reference while recording. You can also color audio takes automatically while recording, when Show Advanced Tools is selected in the Advanced preferences pane. Color a take in an open or closed take folder 1 Select a take. 2 Open the Color palette by doing one of the following: •• Choose View > Show Colors (or press Option-C).
Mark takes while recording If you know you’ve recorded a good take and want to mark it so that you can find it again later, you can do so while you’re still recording. Marking a take while recording is only possible when Show Advanced Tools is selected in the Advanced preferences pane. Mark a take while recording mm Use the Select Previous Section for Realtime Comping key command. This command places a tag in the current take, at the position the key command was used.
Comp your audio recordings Comping overview Comping is only possible when Show Advanced Tools is selected in the Advanced preferences pane. Imagine a scenario in which you have recorded multiple performances of a vocal solo over the same section of a project. You can select the best parts from the different performances and piece them together into a single master take. This process is referred to as comping and is achieved by using the Quick Swipe Comping feature.
Preview take recordings In order to create and edit comps, you first need to preview the take recordings in a take folder. The simplest way to preview take recordings is to open the take folder. You can then select the individual takes for playback. You can also select and preview takes in a closed take folder. Open a take folder and preview the takes 1 Open the take folder by doing one of the following: •• Click the disclosure triangle in the upper-left corner of the take folder.
Preview takes in a closed take folder mm During playback, choose a take from the Take Folder pop-up menu. Take Folder pop-up menu You can also use the following key commands to step through take recordings in an open or closed take folder: •• Select Previous Take or Comp: Moves back through the takes or comps as listed in the take folder’s pop-up menu. •• Select Next Take or Comp: Moves forward through the takes or comps as listed in the take folder’s pop-up menu.
•• Click the Take Folder pop-up menu in the upper-left corner of the take folder, and make sure Quick Swipe Comping is chosen. 2 Drag across take sections with the Pointer or Pencil tool. Selecting a section in one take automatically deselects the same section in another take. The comp sections, located in the top lane of the take folder, reflect the combined selections from all takes. The vertical lines in the comp overview indicate the transitions between the different take sections.
Save the current comp mm Choose Duplicate Comp from the Take Folder pop-up menu in the upper-left corner of the take folder. The current comp is saved, and added to the list of comps in the pop-up menu. Create a comp from the current take mm Choose Create New Comp from the Take Folder pop-up menu in the upper-left corner of the take folder. The current take is saved as a new comp named Comp X: Comp X, and is added to the list of comps in the pop-up menu.
Edit comps You can edit comps by changing the start or end point of take sections, by moving a selected comp area to the left or right, or by alternating selected comp areas between takes. You should save a comp before editing it. Any subsequent changes will automatically create a new comp. Edit sections of different take regions Do one of the following: mm To extend a take section: Place the pointer over the start or end point of a take selection, then drag.
Move a selected area to the left or right mm Place the pointer over the center area of a take selection, then drag when the pointer changes to a two-headed arrow. This action moves the selection, while at the same time extending or shortening any adjacent take selections. Alternate selected areas between take lanes mm Click an unselected area of a take to make that particular area active and part of the comp. The same area is automatically deselected in another take.
Remove a take selection from the comp mm Shift-click the take selection. Remove an entire take from the comp mm Shift-click the take’s header area. If the take doesn’t contain any selections, all unselected areas in other takes are selected in the take you click.
Rename takes and comps You can rename both takes and comps. Rename a take 1 Choose the take you want to rename from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose Rename Take from the same pop-up menu. 3 Enter the new name in the dialog that appears, then click OK. You can also click a take with the Text tool, then enter a new name in the text field that appears.
Delete takes and comps You can delete takes and comps from take folders at any time. When deleted, they no longer appear in the take folder’s list of takes and comps. Any comp selections using deleted takes are also removed. Delete a take 1 Choose the take you want to delete from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Delete the take by doing one of the following: •• Choose Delete Take from the Take Folder pop-up menu. •• Click the take with the Eraser tool.
Delete all but the currently active comp 1 Choose the comp you want to keep from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose Delete all other Comps from the Take Folder pop-up menu. All comps, with the exception of the currently active comp, are deleted. (This command is available only when a take folder contains more than one comp and when a comp is active.
Edit take regions Edit the start and end points of take regions You can edit the start and end points of take regions, which allows you to remove the bad part of an otherwise good take. Also, after cutting a take region, you might want to resize one of the two adjacent regions. Resizing one of them might impact the length of the other. Note: To perform the following tasks, you must turn off Quick Swipe Comping mode for the selected take folder.
Cut take folders and take regions You can cut take folders and take regions, creating multiple take folders or multiple take regions on the same take lane. Note: To perform the following tasks, you must turn off Quick Swipe Comping mode for the selected take folder. Cut a take folder mm Click the take folder with the Scissors tool. The take folder is cut at the clicked position and all takes inside the take folder are also cut at the same position.
Cut a take region mm Click the take region using the Scissors tool. Multiple take regions now appear on the same take lane. Make multiple cuts across a take region mm Option-click the take region with the Scissors tool. The first cut occurs at the clicked position, and all additional cuts occur at equal intervals up to the take region end point. Slice a take region at comp section borders mm Control-click the take region, then choose Slice at Comp Section Borders from the shortcut menu.
Trim a take region to active comp sections mm Control-click the take region, then choose Trim to Active Comp Sections from the shortcut menu. Move take folders and take regions You can move take folders and take regions—within the same take lane, between take lanes, and to other tracks. Whether or not you have chosen Overlap or No Overlap in the Drag pop-up menu, take regions inside take folders will always behave as if No Overlap is selected.
Manage take folder contents Export takes and comps You can export an active take or comp from a take folder to a new track, leaving the original take folder content intact. Export an active take to a new track 1 Choose the take you want to export from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose “Export active Take to New Track” from the Take Folder pop-up menu. The active take is copied to a new track, which is created below the take folder track.
Export an active comp to a new track 1 Choose the comp you want to export from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose “Export active Comp to New Track” from the Take Folder pop-up menu. The active comp is copied to a new track, which is created below the take folder track. The content of the original take folder remains intact.
Move takes and comps You can move an active take or comp from a take folder to a new track, which removes the take or comp from the original take folder. Move an active take to a new track 1 Choose the take you want to move from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose “Move active Take to New Track” from the Take Folder pop-up menu. The active take is moved to a new track, which is created below the take folder track.
Move an active comp to a new track 1 Choose the comp you want to move from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose “Move active Comp to New Track” from the Take Folder pop-up menu. The active comp is moved to a new track, which is created below the take folder track. This comp is no longer available in the original take folder.
Flatten and merge take folders You can flatten a take folder, which replaces the take folder with multiple regions that represent the current comp selections. All take region sections not used in the current comp are deleted. You can also flatten a take folder and merge the results. The take folder is replaced with a single region that represents the current comp selections. All take region sections not used in the current comp are deleted.
Flatten a take folder and merge the results 1 Choose the comp you want to keep from the Take Folder pop-up menu in the upper-left corner of the take folder. 2 Choose Flatten and Merge from the Take Folder pop-up menu. The take folder is replaced with multiple regions that represent the current comp selections. The new regions are then merged to create a new audio file in the Tracks area.
Unpack take folders You can unpack take folders using the original channel strip for all new tracks, or you can unpack take folders using different channel strips for each new track. Both methods replace the selected take folder—or take folders—with new audio tracks for each take and each comp. The first audio track reflects the active comp, followed by the takes and remaining comps in the order they appear in the take folder’s pop-up menu.
Unpack a take folder to new tracks Do one of the following: mm Control-click the take folder header area, then choose Folder > Unpack Take Folder to New Tracks from the shortcut menu. mm Choose Unpack to New Tracks from the Take Folder pop-up menu in the upper-left corner of the take folder. The latter option affects only the selected take folder, not all selected take folders.
Pack regions into take folders You can select multiple regions and pack them all into a single take folder. Each region appears as an individual take in the resulting take folder. Note the following when packing regions into a take folder: •• If the selected regions are located on different tracks, the newly created take folder is placed on the topmost track.
Use prerecorded media 9 Prerecorded media overview Logic Pro comes with a large collection of prerecorded loops, offering a great starting point for many of your projects. You can start composing a song by dragging Apple Loops from the Loop Browser to the Tracks area. You can also use the browsers to import songs, movies, and a variety of other prerecorded media into your project. Combining existing loops and other media files provides a quick method for laying down project foundations.
The following browsers are only available when Show Advanced Tools is selected in the Advanced preferences pane: •• Project Audio Browser: Use to add and remove audio files. •• All Files Browser: Use to import files, search for files using advanced search criteria, and import data and settings from other projects.
Import and search for media files Import media files The Media Browser and All Files Browser are your first port of call for browsing and previewing media files. Use the Media Browser to find and import songs from your iTunes library and movies from your Movies folder. You can use the All Files Browser to access all supported media files on the local hard disk, home directory, or current project folder.
•• Column view: Shows folders and contents in columns. Select a folder to show its contents. List View Column View 3 Locate the files you want to import by doing the following: •• To change the visible contents: Click the Computer button button . , Home button , or Project The Computer button shows the contents of the local hard disk, optical drive, or other storage media connected to your computer. The Home button shows the contents of your home directory.
Search for media files You can search for audio and movie files by name in the Media Browser. You can also use the All Files Browser to search for media files by name, as well as view or clear recent search terms, or add search criteria that allows for a more advanced file search. The All Files Browser is only available when Show Advanced Tools is selected in the Advanced preferences pane.
View or clear recent search terms in the All Files Browser Do one of the following: mm To view a recent search term: Click the magnifying glass icon at the left side of the search field, then choose a search term from the pop-up menu to display the results. mm To clear a search term: Click the small “x” at the right side of the search field. mm To clear all search terms: Click the magnifying glass icon at the left side of the search field, then choose Clear Search History from the pop-up menu.
Media file search conditions You can define up to ten advanced search conditions when searching for media files in the All Files Browser. The All Files Browser is only available when Show Advanced Tools is selected in the Advanced preferences pane.
Use Apple Loops in your projects What are Apple Loops? Apple Loops are prerecorded musical phrases or riffs you can use to easily add drum beats, rhythm parts, and other sounds to a project. These loops contain musical patterns that can be repeated over and over, and can be extended to fill any amount of time. When you add an Apple Loop to a project, a region is created for the loop. When the project plays, the region plays at the project’s tempo and key.
Search for Apple Loops The Loop Browser is where you find loops to add to your project. Using keywords, you can find loops by instrument, genre, and mood. You can also search for loops by name and refine your searches. Open the Loop Browser Do one of the following: mm Click the Apple Loops button in the control bar. mm Choose View > Show Apple Loops (or press O).
mm Click the Column View button to see a standard Mac OS X column file directory that is hierarchically separated into All, Favorites, Genres, Instruments, and Moods search criteria. Select a keyword type in the left column, select a category in the middle column, then select a keyword in the right column to see the matching files in the results list below. mm Click Loops at the top of the Loop Browser, then in the pop-up menu that appears, choose the Jam Pack or folder with the loops you want to view.
Search for loops by name mm Enter a search term in the search field, then press Return. Search field Cancel button The search term can be alphabetical or numerical. Any files that match your search term are displayed in the results list. View or clear recent search terms Do one of the following: mm To view a recent search term: Click the magnifying glass icon at the left side of the search field, then choose a search term from the pop-up menu to display the results.
Access your favorite Apple Loops You can specify loops you use frequently as “favorites,” so you can quickly access them in the Loop Browser. This feature is ideal for compiling a collection of Apple Loops that you use regularly. The loops you choose can be replaced or added to easily as your project advances, but the use of favorites may form a great starting point for many of your songs.
Create your own Apple Loops You can create Apple Loops from your own audio and software instrument recordings. When you create an Apple Loop from a region, it’s added to the loop library and appears in the Loop Browser, so that you can use it in other projects. There may be occasions when you need to reindex your Apple Loops user library—after you move loops from the User Loops folder to another hard disk, for example. You can also convert ReCycle files into Apple Loops.
Reindex the Apple Loops user library mm Click Loops at the top of the Loop Browser, then choose Reindex All Loops from the pop-up menu. Customize the Loop Browser When thousands of loops are installed on your hard disks, finding a particular Apple Loop can be a daunting prospect. Fortunately, you can use a number of key criteria—location, scale, time signature—to restrict your search or browsing results. You can also sort the search results.
Sort Loop Browser results mm Click any of the column headers to sort the results by that column type, in ascending or descending order. •• Name column: Sorts Apple Loops by name. •• Beats column: Sorts Apple Loops by beats. •• Fav column: Sorts Apple Loops by Fav checkbox selection. •• Tempo column: Sorts Apple Loops by tempo. •• Key column: Sorts Apple Loops by key.
Use the Project Audio Browser Project Audio Browser overview The Project Audio Browser shows all audio files and regions that have been added to or recorded in your project, whether or not they are used in the Tracks area. Regions shown in the Project Audio Browser that are not used in the Tracks area are indicated in red. You can add, edit, delete, and rename audio files and regions in the Project Audio Browser.
Add and delete audio files When you add an audio file to your project, Logic Pro automatically creates a region that encompasses the entire file length. You can create as many regions as you like from the same audio file. There are no length limitations to regions, as long as they don’t exceed the length of the source audio file. Creating multiple regions from the same audio file is beneficial for many tasks—using different portions of a vocal take that spans the length of the project, for example.
Add an audio file to the Project Audio Browser 1 Choose Audio File > Add Audio File from the Project Audio Browser menu bar. 2 Browse to and select the audio file that you want to add in the Open File dialog. 3 Click the Play button to play the selected audio file. The Play button becomes the Stop button. Click to stop playback. 4 Click the Add button, followed by the Done button. The audio file (and region) is added to the Project Audio Browser.
Delete an audio file from the project or hard disk Do one of the following: mm To delete an audio file from the project: Select the audio file in the Project Audio Browser, then press Delete. The file is deleted from the project, but not from the hard disk. mm To delete an audio file from the hard disk: Select the audio file in the Project Audio Browser, then choose Audio File > Delete File(s). The deleted file is moved to the Trash, where it remains until you empty the Trash.
Sort, group, and rename audio files The Project Audio Browser lists all audio files in your project, along with information about file sampling rate, bit depth, format (mono/stereo), and size. Within the Project Audio Browser, you can sort, group, and rename your audio files. Hide or show file information in the Project Audio Browser mm Choose View > Show File Info from the Project Audio Browser menu bar.
Move, copy, and convert audio files You can move selected audio files to another location on your computer. This is useful when you want to move all audio files used in a project to a new folder, for example. You can also create copies of audio files on a different hard disk, or other storage medium. The source files remain in their original location, unlike the behavior when you move files.
Convert selected regions into independent audio files 1 Do one of the following: •• Choose Audio File > Save Region(s) As from the Project Audio Browser menu bar. •• Choose Edit > Convert > Audio Region to New Audio File from the Tracks area menu bar. •• Choose File > Export > Region as Audio File from the main menu bar. 2 Choose settings in the dialog that appears. 3 Choose the target folder for the new audio files. You can also create a new folder, by clicking the New Folder button.
Import compressed audio files You can use the Finder to import compressed audio files of the following file types into a Logic Pro project: •• AIFF •• WAV •• AAC •• MP3 •• Apple Lossless The compressed audio file is added to the Tracks area, and a region that encompasses the complete audio file is created.
Add ReCycle files to your project ReCycle is the name of a software application from manufacturer Propellerhead, which mainly serves as an editing and production tool for loops—repeatedly cycled audio files, in other words. ReCycle uses specific file formats that can be imported, and used directly by Logic Pro. ReCycle files can also be converted to Apple Loops. Note: You need to install the REX Shared Library © Propellerhead Software when using ReCycle files within Logic Pro.
If you don’t import the ReCycle file as an Apple Loops or audio file, Logic Pro creates a ReCycle file folder on a folder track. This folder contains slices (you can view them as miniature regions in the folder) of the ReCycle file at appropriate positions. ReCycle folder ReCycle slices Each of these slices references the same audio file, which can be found in the Project Audio Browser.
Supported media and file formats Media and file formats overview Logic Pro allows you to access any digitally stored audio recordings (audio files) on your hard disk, in the most common Mac file formats, as well as several other formats. Audio files imported into a Logic Pro project can be at any supported bit depth and sample rate. Logic Pro supports bit depths of 16, 20, and 24 bits, and sample rates of 44.1, 48, 88.2, 96, 176.4, and 192 kHz.
GarageBand projects You can open a GarageBand project in Logic Pro just as you would open a Logic Pro project. The GarageBand project translates 1:1 into Logic Pro: •• Logic Pro automatically creates the required number, and type, of tracks to mirror those used in the GarageBand project. •• The project uses the tempo of the GarageBand project. •• The initial key signature is set in accordance with the project key of the GarageBand project.
Final Cut Pro XML files The Final Cut Pro XML format is used to import and export audio data between Final Cut Pro X and Logic Pro. The Final Cut Pro XML format supports automation data. Export the current project as a Final Cut Pro/XML file mm Choose File > Export > Project to Final Cut Pro/XML. A standard dialog opens, allowing you to name the export file. Note: Software instrument tracks are always bounced to audio files. MIDI tracks are ignored.
Import a MIDI file at the pointer position mm Drag a MIDI file from the All Files Browser or Finder into the Tracks area. The pointer position—when the mouse button is released—determines the position (rounded to the nearest bar) and destination of the first track in the imported file. Open a MIDI file 1 Choose File > Open (or use the corresponding key command, default assignment: Command-O), then select a MIDI file in the dialog that appears.
Save MIDI regions as a Standard MIDI file 1 Select all of the MIDI regions you want to save. 2 Choose File > Export > Selection as MIDI File. 3 Choose the destination directory, enter a name, then click Save. The selected MIDI regions are saved as a Format 1 MIDI file. Note: Remember that most hardware sequencers can only read MS-DOS formatted disks, so limit your filename to an 8.3 character name; for example, “proj0001.MID.
Import an AAF file Do one of the following: mm Choose File > Import > AAF, then select a file in the dialog that appears. mm Locate and select the AAF file in the All Files Browser, then click Open. Open an AAF file 1 Choose File > Open. 2 Choose the AAF file in the Open dialog.
Create a song arrangement 10 Arranging overview After adding audio, MIDI, and Drummer regions to your project (by recording, adding loops, using Drummer or adding media files), you build the project by arranging the regions in the Tracks area. As you work in the Tracks area, you can play the project at any time to hear your latest changes.
Work in the Tracks area Tracks area overview The Tracks area is where you arrange regions to build your project. The Tracks area, located in the center of the Logic Pro main window, shows a visual representation of time moving from left to right. You build your project by arranging regions in rows, called tracks, that run from the beginning to the end of the Tracks area.
Position items using the ruler The ruler runs horizontally across the top of the Tracks area. For projects set to use the musical grid, the ruler shows the time format in bars and beats; for projects that don’t use the musical grid, the ruler shows the standard time format of minutes and seconds. As the project plays, you can see the part currently playing by watching the playhead move across the Tracks area.
Set the Snap value for the Tracks area mm Choose a value from the Snap pop-up menu in the Tracks area menu bar: •• Smart: Edit operations snap to the nearest bar, beat, sub-beat, and so on, depending on the current ruler division value and the zoom level. •• Bar: Edit operations snap to the nearest bar. •• Beat: Edit operations snap to the nearest beat in a bar. •• Division: Edit operations snap to the nearest division value. (This is the time signature shown in the LCD and the ruler.
Override the Tracks area grid Do one of the following: mm Select the region (or other item), then hold down Control while dragging the item in the Tracks area: •• The division value chosen in the control bar (1/16, for example) determines the editing grid scale at lower zoom levels (macroscopic or wide view). •• At higher zoom levels, (microscopic or close-up view), the editing grid scales by a certain factor.
Quantize regions Quantizing involves the rhythmic correction of audio or MIDI regions to a specific time grid. Any notes not played in time are moved to the nearest position on the grid. You can quantize regions in the Tracks area by using the Quantize parameter in the Region inspector. Several advanced quantization parameters are also available in the Region inspector for greater control over quantization.
Important: For MIDI regions, the chosen Quantize value affects the way notes are displayed in the MIDI editors. So, for example, you can see the effect of the chosen Quantize value by looking at the note positions in the Piano Roll Editor. Unquantized MIDI events Quantized MIDI events For detailed information about Quantize values and advanced Quantize parameters, see Quantize parameter values and Advanced quantization parameters.
For both Shuffle R and Shuffle L, when you drag one region over another, the regions switch positions. Only one audio region at a time can be played on each track. When two audio regions on the same track overlap, only the later (right) region is heard. Scrub the project You can scrub a project to locate or listen to a sound at a particular point in time. When you scrub a project, you quickly audition it by moving the playhead across the Tracks area.
Scroll and zoom in the Tracks area Depending on the size of the project and your display, you may not be able to see the entire project at one time. You can scroll both horizontally and vertically in the Tracks area to view other parts of the project. You can zoom in to make precise edits and see more detail in the Tracks area, or zoom out to view more of your project. You can also zoom the amplitude of the waveforms in audio regions in the Tracks area.
Customize the toolbar The toolbar offers a variety of buttons and other controls for working with regions in the Tracks area, as well as other functions. The default set of buttons provides the most commonly used options for most users. If you find that you need to access particular functions that are not part of the default set, you can customize the toolbar by adding additional controls, or removing existing controls.
Arrange regions in the Tracks area Regions overview Regions are the building blocks of a project. Each time you record an instrument, drag an Apple Loop to the Tracks area, or add a media file, a region containing the music from the recording, loop, or media file is created. Regions appear as rounded rectangles in the Tracks area.
Select regions in the Tracks area To perform some edits on regions, you must first select the regions. You can select one or multiple regions, select regions on different tracks, and quickly select muted regions, overlapped regions, or regions meeting other criteria. Selected regions appear brighter in the Tracks area than unselected regions. Select a region mm Click the region in the Tracks area.
Select parts of regions in the Tracks area You can select and edit parts of one or more regions, using the Marquee tool or the marquee stripe: •• Marquee tool: Use to select and edit region parts (parts of audio and MIDI regions) by dragging across them; looks like a crosshair Marquee tool •• Marquee stripe: A thin stripe shown at the top of the ruler Marquee stripe Only the part of the region inside the marquee is selected, letting you select inside, or across portions of, regions.
Change the selection start or end point Do one of the following: mm Using the Marquee tool: Hold down Shift, then click in the Tracks area to change the selection in any direction. mm Using any marquee selection: •• Hold down Shift while using the Left Arrow key or Right Arrow key to move the marquee start point. You can also use the Toggle Previous (or Next) Region/Event, or set Marquee Start to Previous (or Next) Transient key commands.
Cut, copy, and paste regions in the Tracks area You can cut or copy regions in the Tracks area, and paste them at a different position. You can also paste a copied region at the same time position, to quickly double the region for use on another track. Cut a region mm Select the region, then choose Edit > Cut (or press Command-X). Copy a region Do one of the following: mm Select the region in the Tracks area, then choose Edit > Copy (or press Command-C). mm Option-drag the region.
Move regions in the Tracks area You can move regions to a different point in the same track, or move them to another track of the same type. You can move an audio region to another audio track, for example, but not to a software instrument track, or vice versa. You can also move regions between open Tracks area windows, or between different open projects. When you move a region, it snaps to the nearest position on the Tracks area grid, using the current Snap value.
mm Set Nudge Value to Sample mm Set Nudge Value to 1 ms mm Set Nudge Value to 10 ms Nudge regions by the nudge value 1 Select the regions you want to move. 2 Hold down Option and press the Left or Right Arrow key.
Add or remove gaps in an arrangement Sometimes you may want to remove an entire passage from a project—for example, you may want to remove the regions of all tracks between bars 17 and 20, so that all regions (and bar changes, tempo changes, and global score symbols) from bar 21 on are moved four bars to the left, closing the gap left by removing the four bars. Alternatively, you may want to insert some empty bars in the middle of a project, to create space for another chorus, verse, or bridge, for example.
Remove gaps between regions 1 Select the regions. 2 Do one of the following: •• Choose Edit > Move > Shuffle Left within Selection (or use the corresponding key command). The first selected region on each track remains unchanged, and all subsequent regions are moved to the left: •• Choose Edit > Move > Shuffle Right within Selection (or use the corresponding key command). The first selected region on each track is moved to the right, and all subsequent regions remain unchanged.
Remove a section of an arrangement using the locators 1 Set the locators to span the section you want to remove (bars 5 to 8, for example). 2 Do one of the following: •• To cut all regions that fall between the locators: Click the Cut Section button in the toolbar, or choose Edit > Cut/Insert Time > Snip: Cut Section Between Locators. •• To cut selected regions that fall between the locators: use the Snip: Cut Section Between Locators (Selection) key command).
Repeat a section of your arrangement using the locators 1 Set the locators to span the section you want to repeat (bars 5 to 8, for example). 2 Select the regions that you want to repeat. If no selection is made (or if you use the Repeat Section button in the toolbar), all regions that fall between the locators are affected. 3 Choose Edit > Cut/Insert Time > Snip: Repeat Section Between Locators (or use the corresponding key command).
Shift the playback position of regions in the Tracks area You can shift the playback position of regions on a track using the Delay parameter. Positive values shift regions ahead in time (laid-back playing style or dragging), while negative values shift regions back in time for a pre-delay (driving or rushing the music). The Delay value is shown in both ticks and milliseconds. Shift the playback position of selected regions on a track 1 Select the regions.
Loop regions in the Tracks area You can loop regions so that they play repeatedly, and extend them to fill any amount of musical time in the Tracks area. When you play the project, the region repeats the number of times you have extended (looped) it. You can also loop a region that has been resized. When you loop a resized region, only the visible portion of the region repeats when you play the project. If you add silence by lengthening a region, the silence is included in each repetition when you loop it.
Resize regions in the Tracks area You can shorten both audio and MIDI regions so that only part of the region plays. You can lengthen MIDI regions to add silence to the beginning or end of the region. In addition, you can resize the common edge of two adjacent regions to control the transition between them. You can also move and resize regions numerically by opening an Event Float window. For more information, see Event Float window.
Lengthen regions to remove gaps between them 1 Select the regions you want to lengthen. 2 Choose Edit > Trim > Region End to Next Region (or use the corresponding key command). The selected regions are lengthened to end at the start point of the next region on the track. Lengthen selected regions between locators 1 Set the left and right locator positions by doing one of the following: •• Drag from left to right across the upper part of the ruler. •• Set the value in the locator fields in the LCD.
Mute and solo regions in the Tracks area You can mute one or more regions in the Tracks area to exclude them from playback. You can also solo individual regions, to hear them in isolation, and lock the solo status of regions. Mute individual regions Do one of the following: mm Select the Mute tool, then click the regions you want to mute. mm Select the regions, then select the Mute checkbox in the Region inspector. mm Select the regions, then press M.
Lock the solo status of regions 1 Option-click the Solo button in the control bar (or press Option-S). 2 Select the regions you want to solo. Selecting regions while the project plays does not affect their solo status. 3 When you’re finished, click the Solo button (or press S) again. Muted tracks and regions appear slightly differently in the Tracks area, depending on how they are muted: •• When a track is muted using its Mute button, the regions on the track are gray, but the region names are in color.
Choose the audio time stretching algorithm mm Choose Edit > Time Stretch > Time Stretching Algorithm, then choose an algorithm from the submenu. •• Universal (default): This high-quality algorithm is able to handle any kind of audio material and is generally recommended for most time-stretching tasks. The following two algorithms can, however, deliver better results in cases where the audio material exactly matches the outlined specifications.
Split regions in the Tracks area You can split a region in the Tracks area, and use the split segments of the region in different places in the Tracks area. When you split a MIDI region, any notes at the split point are shortened to that point. If notes in a split MIDI region overlap other notes by more than a 1/16 note, a dialog appears, asking if you want to keep, shorten, or split the notes. Split regions at the playhead position 1 In the Tracks area, select the region or regions you want to split.
Split regions at the locator positions 1 Set the left and right locator positions. 2 Select the regions you want to divide within the locator boundaries. 3 Choose Edit > Split > Region(s) by Locators (or use the Split Regions/Events by Locators or Marquee Selection key command). All selected regions located wholly, or partly, between the locators are cut at the left and right locator positions.
Handle overlapping notes in split MIDI regions If any notes in a split MIDI region overlap other notes by more than a 1/16 note, a dialog appears, asking if you want to keep, shorten, or split the notes. mm In the dialog, do one of the following: •• Click Keep to leave all notes unaltered. The MIDI region is cut as intended, but there may be notes in the left half (earlier region) that are much longer than the MIDI region containing them. Such notes play normally, unless Clip Length is activated.
Join regions in the Tracks area You can join untransposed audio regions, and join MIDI regions. Regions from audio Apple Loops, and audio regions that have been transposed, can’t be joined. When joining audio regions, the regions must be adjacent to each other on the same track. If you join segments of compressed audio files, the files are converted to AIFF format. Audio regions are joined nondestructively.
MIDI regions must be on the same track or on adjacent tracks. When you join MIDI regions, the joined region takes the name (and track) of the first original region. If the Transposition, Velocity, and Dynamics region parameters are different for the selected regions, they are normalized before being joined. (This means that all parameter values are written as data changes for each region. The parameters of the joined MIDI region are all set to neutral (default) values.
Audio crossfades in Digital Mixdown Digital Mixdown supports crossfades between selected regions. The Crossfade parameters are defined by choosingLogic Pro > Preferences > Audio > General (or using the Audio Crossfade Options for Merge key command). There are two faders: •• Crossfade Time [ms]: The length of the entire crossfade. To turn off the crossfade, set this value to 0. •• Crossfade Curve: To obtain a linear crossfade, set this value to 0.
Create aliases of MIDI regions in the Tracks area You can create an alias for a MIDI region or a folder. An alias is a reference to a region, and looks similar to a normal region in the Tracks area. If you alter the original region, all aliases of the region are similarly altered. Aliases can be useful when you want to repeat a phrase or riff in different parts of an arrangement.
Convert aliases from deleted source regions If you delete a source region that one or more aliases was derived from, Logic Pro asks if you want to convert the aliases to independent MIDI regions, or keep the aliases. Do one of the following: mm To cancel the procedure: Click Cancel. mm To change all alias MIDI regions into real copies: Click Convert. mm To delete the parent region, and retain all (orphaned) alias regions: Click Keep.
Clone audio regions in the Tracks area You can clone audio regions in the Tracks area. Cloning an audio region is similar to creating an alias of a MIDI region; the clone doesn’t contain any audio data, but is only a reference to the original, and any changes to the original apply to its clones. Clone a region mm Hold Option-Shift while dragging an audio region. When you adjust the start or end point of any of the cloned regions, all other cloned regions are adjusted in the same way.
Change the color of regions in the Tracks area You can change the color of regions to identify sections of your arrangement, distinguish between track types, or for other uses. Newly recorded or added regions use the color of the track channel strip. Change the color of one or more regions 1 Select the region or regions. Note: If you select all regions on a particular track, and no regions on other tracks are selected, coloring them alters the hue of all selected regions.
Convert audio regions to EXS sample zones You can convert one or more regions or tracks into one-note/one-sample zones of a new EXS instrument. This EXS instrument is set up on a new software instrument track, which contains trigger notes to play the zones at their original positions. Convert audio regions to sample zones on a new sampler track 1 Select the audio regions you want to convert in the Tracks area.
Delete regions in the Tracks area You can delete one or more regions if you don’t want to use them in your project. When you delete a region, you can move the regions that follow in the track to fill in the empty space left by the deleted region. When you delete an audio region that you have recorded since opening the project, a dialog appears, asking if you also want to delete the corresponding audio file.
Create fades and crossfades on audio regions Create fades You can fade in the beginning of audio regions, and fade out the end of audio regions (including audio Apple Loops). Fades are only visible if you are zoomed in enough to see the waveform in the audio region. You can create a fade using either the Fade tool or the Fade In and Fade Out parameters in the Region inspector. Create a fade-in or fade-out with the Fade tool 1 Select the Fade tool.
Fades created using the Fade tool and the Region inspector are interactive. After you create a fade using the Fade tool, for example, you can adjust the fade using the Region inspector Fade In or Fade Out parameters. Edit fades You can change the length of a fade, the fade curve shape, the fade type, and the fade playback speed. You can also choose between four different fade types in the Region inspector.
Change the fade type mm In the Region inspector, choose a fade type from the Fade Out pop-up menu. •• Out: Creates a standard fade-out whenever the Fade tool or Fade parameter is used. •• X (Crossfade): Crossfades the selected region with the following region when you use the Fade tool or Fade parameter. •• EqP (Equal Power Crossfade): Results in an Equal Power crossfade.
Create automatic crossfades Logic Pro can automatically create crossfades on overlapping audio regions on a track to smoothly segue between adjacent (or overlapping) audio regions. Turn on automatic crossfades mm Choose the X-Fade setting from the Drag pop-up menu in the Tracks area menu bar. (See Control positioning with drag modes on page 284.
Remove silent passages from audio files Remove silent passages in the Strip Silence Window You can remove silent passages from audio regions in the Strip Silence window. The basic process is simple: all amplitude values below a threshold level are removed, and new regions are created from the remaining passages. The parameters of the Strip Silence window are: •• Threshold: Use to define the amplitude level that a passage must exceed, in order to be defined as a region.
Open the Strip Silence window mm In the Project Audio Browser, Control-click an audio region, then choose Strip Silence from the shortcut menu. Remove silent passages from the selected region 1 Set parameters in the Strip Silence window. Note: Depending on the material in the audio file, all parameters can affect the number and division of regions. Try different values to see what produces the best result. The graphic display of the region updates to show the result of your changes. 2 Click OK.
Uses for Strip Silence You can use Strip Silence for a variety of different situations. Remove background noises The most common use for Strip Silence is simulation of the classic noise gate effect. When used on long recordings with numerous gaps—such as vocals or instrumental solos—you can obtain better results by setting a low threshold value. Background noise is removed, without affecting the main signal.
Work with folders Folders overview A folder is a region that can contain other regions, similar to a folder in the Finder that can contain different files. You can generally edit a folder in the same ways you edit a MIDI region. A folder can be thought of as an arrangement within an arrangement. A folder can contain as many tracks (with their regions) as needed.
Pack and unpack folders You can pack selected regions into a folder, or create an empty folder and add regions to it. Pack regions into a folder mm Select the regions, then choose Functions > Folder > Pack Folder from the Tracks area menu bar. If the selected regions are all on the same track, the folder is created on that track. If the regions are located on different tracks, a new folder track is created.
Open and close folders After you have packed a folder, you can open it to make changes. There are several ways to distinguish whether you are inside a folder, or viewing the entire project in the Tracks area: •• In the Tracks area (outside the folder), the folder itself is visible on a track, the Logic Pro main window title bar shows the project name, and the Display Level button is dimmed.
Add and remove regions from folders You can easily add and remove regions from a folder. This is useful as you experiment with your arrangement, and find that you need to add or remove parts. Add regions to a folder mm At the top level of the Tracks area hierarchy (outside the folder), drag the regions onto the folder, at the desired position. If the folder doesn’t already contain a track that uses the same channel as the source region, Logic Pro creates one.
Create alias folders You can create a copy of a folder that contains aliases (of MIDI regions) and clones (of audio regions) in the original folder. Then you can use the copied folder as an alternative mix folder, by muting regions, and editing instrument or playback parameters, for example. You can quickly switch between different arrangement versions simply by muting and soloing different folders.
Work with groove templates Create groove templates You can create quantization grids, called groove templates, based on the rhythms of audio or MIDI regions. Groove templates make it possible to capture the small timing deviations that give a region its “feel,” and apply that feel to other audio or MIDI regions. You can even take the feel from an audio region and apply it to a MIDI region—helping a MIDI clavinet part to sit well with a funk guitar Apple Loop, for example.
The groove template, with the default name of the selected region, appears near the bottom of the Quantize pop-up menu, and the Quantize parameter of the parent region is set to it. This function transforms the exact timing of transient markers or notes in the selected audio or MIDI region into a groove template that can be accessed, and used, like any value in the Quantize pop-up menu.
Import groove templates You can import third-party groove templates, such as the DNA Groove Templates made by the Canadian firm WC Music Research. Import third-party groove templates 1 Choose File > Import > Other. 2 Choose “DNA Groove Template files” from the Open File pop-up menu, select the file you want to import, then click Import. The groove templates are added as MIDI regions on the selected track.
Edit region parameters Region inspector You can view and edit region parameters in the Region inspector, located in the upper part of the inspector. When a single region is selected, the title bar of the Region inspector shows the region name; when multiple regions are selected, the title bar shows the number of selected regions. The Region inspector shows parameters for the selected region or regions, including Quantize and other parameters.
•• Advanced Quantization: Q-Range: Q-Range is a very musical quantization method that requires a certain amount of technical musical prowess. It’s ideal for recordings that already have the right groove, but are too hurried or laid back in places. It allows you to retain the original feel, but positions the rhythmic center precisely in the groove. A value of 0 means that every note is quantized.
Quantize parameter values You can quantize selected audio or MIDI regions (including a mixed region selection) using the Quantize parameter in the Region inspector. This parameter determines the division of the quantization grid. Important: The Quantize parameter is nondestructive. It adjusts the playback positions of notes in MIDI regions when Logic Pro is in playback or record mode. The original positions are kept in the regions, so you can go back to the original timing.
Advanced quantization parameters When Show Advanced Tools is selected in the Advanced preferences pane, you can quantize regions with greater precision using the advanced quantization parameters in the Region inspector. Using the advanced parameters, you can apply a swing or other quantize feel to MIDI regions. Not all advanced quantization parameters are available for audio regions.
•• Q-Length: Determines how the lengths of quantized notes are affected by the equivalent note lengths (notes at the same position) of a template MIDI region. A value of 0% has no effect, whereas at 100% the notes adopt the exact note lengths of the template region. Negative values alter note lengths further, resulting in a more significant deviation from the template. Audio region parameters The following parameters are only available for audio regions in the Region inspector.
MIDI region parameters The following parameters are available for MIDI regions (and software instrument Apple Loops) in the Region inspector. The MIDI region parameters also apply to folders, and globally affect all MIDI regions within the folder. •• Transposition: All note events contained in the MIDI region are transposed up or down by the selected amount during playback. Even complete folders can be instantly transposed in this way.
•• Advanced Quantization: Q-Velocity: This parameter (expressed as a percentage) determines the amount that the velocity values of quantized notes are affected by the velocity values of a template MIDI region. At a value of 0%, the notes retain their original velocity. At 100%, they adopt the velocity values of the template. Negative values alter the velocity, making the deviation from the template even greater.
11 Edit audio regions in the Audio Track Editor Audio Track Editor overview The Audio Track Editor shows a close-up view of part of an audio track in the Tracks area, displaying the audio waveform of the regions on the track in a time grid. In the Audio Track Editor, you can move and trim audio regions, split and join them, and edit them in other ways. You can scroll and zoom the Audio Track Editor, and zoom the amplitude of the waveforms in audio regions.
Zoom the Audio Track Editor horizontally mm Drag the zoom slider in the Audio Track Editor menu bar left or right. Zoom audio waveforms mm Click-hold the Waveform Zoom button in the Audio Track Editor menu bar, then drag the slider vertically to zoom the amplitude in or out. Close the Audio Track Editor mm Click the Editors button in the control bar. Select audio regions in the Audio Track Editor You can select one or more regions in the Audio Track Editor, and select regions meeting certain criteria.
Move audio regions in the Audio Track Editor You can move an audio region or region segment in the Audio Track Editor so that it plays back in a different time position. Move an audio region mm Drag the region horizontally. When you move an audio region so that it overlaps another region, the overlapped part of the region is cut. Trim audio regions in the Audio Track Editor You can trim an audio region in the Audio Track Editor to remove part of the beginning or end of the region.
Split and join audio regions in the Audio Track Editor You can split an audio region into segments in the Audio Track Editor, and move the segments so that they play back at a different point in time. You can also join regions or region segments from audio recordings into a single region. Regions from audio Apple Loops, and audio regions that have been transposed can’t be joined. To be joined, audio regions must be adjacent to each other on the same track.
Delete audio regions in the Audio Track Editor You can delete audio regions in the Audio Track Editor. When you delete a region, it's also deleted from the Tracks area, and from the project (but not from the Project Audio Browser). Delete an audio region 1 Select the region or regions you want to delete in the Audio Track Editor. 2 Choose Edit > Delete (or press Delete).
Edit MIDI regions in the Piano Roll Editor 12 Piano Roll Editor overview The Piano Roll Editor shows the notes in a MIDI region as colored bars in a time grid. Horizontal lines show the time position, while vertical lines indicate pitch. A keyboard along the left edge of the Piano Roll Editor provides a reference for the pitches of notes. The info display in the Piano Roll Editor menu bar shows the note name and time position under the pointer.
Open the Piano Roll Editor as a separate window Do one of the following: mm Choose Window > Open Piano Roll, or use the Open Piano Roll key command (Command-6). mm Drag the Piano Roll Editor by its title out of the main window. Vertically resize the Piano Roll Editor mm Place the pointer in the bar at the top of the editor, then drag upward. Drag downward to make the editor smaller again.
Add and edit notes in the Piano Roll Editor Add notes in the Piano Roll Editor You can add notes with the pointer in the Piano Roll Editor, to replace a deleted note or to add a note to a chord or region. You can also add notes with your computer keyboard. For more information, see Use step input recording techniques. Tip: The info display in the Piano Roll Editor menu bar shows the note name and time position under the pointer.
Select notes in the Piano Roll Editor You must select note events before you can edit them. You can select notes by clicking, Shiftclicking, dragging to make a marquee selection, and using the keyboard at the left edge of the Piano Roll Editor. Select a note mm Click the note. Select a range of notes mm Shift-click the notes, or drag to enclose them. The Piano Roll Editor header shows the number of selected notes, along with the region name.
Snap items to the Piano Roll Editor grid The Piano Roll Editor has a grid, similar to the Tracks area grid. When Show Advanced Tools is selected in the Advanced preferences pane, you can set the Snap value for the Piano Roll grid, independent from the Snap value for the Tracks area grid. The Snap pop-up menu setting applies to moving, copying, cutting, and resizing note events; moving, adding, and resizing markers; and setting the cycle area.
Override the snap grid Do one of the following: mm Hold down Control while performing the editing operation. The division value chosen in the LCD (1/16, for example) determines the editing grid scale. mm Hold down Control-Shift while performing the editing operation. The editing grid switches to ticks. For more information about snapping items to the grid, see Snap items to the grid. Move notes in the Piano Roll Editor You can move selected notes in the Piano Roll Editor to change their time position.
This option helps you avoid accidentally transposing notes when moving them horizontally, or changing their time position when moving them vertically. The initial direction—vertical or horizontal—restricts movement to this plane while the mouse button is pressed. Release the mouse button and click the event to move in the other direction.
Copy notes in the Piano Roll Editor There are a number of ways to copy or move notes in the Piano Roll Editor. In addition to Optiondragging or using the Copy and Paste menu commands, there are advanced Copy and Move operations such as directly swapping events, or merging a group of notes from one section of a region to the same region, or another region. Copy notes Do one of the following: mm Option-drag notes to a new position.
•• Rotate: The source events are moved to the destination position. The data that was previously at the destination position, and the data that falls between the source and destination positions, are all moved toward the source position. This rotates the data around a central pivot point (halfway between the source and destination positions). •• Direct Swap: Exchanges the source data with data of the same length, starting at the target position.
Resize notes in the Piano Roll Editor You can resize notes in the Piano Roll Editor to change their length (duration). Notes can be resized from either their start or end point using the Pointer, Finger, or Pencil tool. There are a number of commands in the Edit > Trim submenu in the Piano Roll Editor menu bar to change the length of selected notes, in relation to notes surrounding or overlapping them. They can be very useful for tidying up the start and end points of notes.
Make notes legato 1 Select the notes you want to edit. 2 Choose one of the following commands in the Edit > Trim submenu in the Piano Roll Editor menu bar: •• Note Start to Playhead •• Note End to Playhead •• Note End to Selected Notes •• Note End to Following Notes Convert sustain pedal events to note lengths mm Choose Functions > Convert Sustain Pedal to Note Length in the Piano Roll Editor menu bar.
Edit note velocity in the Piano Roll Editor Each note in the Piano Roll Editor displays a horizontal line. The length of the line relative to the overall length of the note shows the note’s velocity. Velocity indicates how hard the key was struck when the note was played, which usually corresponds to the note’s loudness (the MIDI velocity range is from 0–127, with 127 being the loudest).
Quantize the timing of notes in the Piano Roll Editor You can quantize, or automatically correct, the timing of individual MIDI notes in the Piano Roll Editor. This is useful when regions in the track contain the right notes, but are not perfectly in time with the project. When you quantize the timing, items are adjusted to the selected note value. You can quantize the timing of regions with drums, single-note instruments, and chordal or polyphonic instruments.
Quantize the pitch of notes in the Piano Roll Editor You can quantize the pitch of notes in MIDI regions to a particular scale or key. This is especially useful when you want to reuse a repeating pattern of notes, but transpose them to a different key. Quantize the pitch of notes in a MIDI region 1 Select the notes you want to quantize. 2 Choose the scale and key from the Scale Quantize pop-up menus. For more information about Flex editing, see Flex Time and Pitch overview.
Mute notes in the Piano Roll Editor You can mute individual notes in the Piano Roll Editor, letting you experiment with different note choices in a melody, or different chord voicings, for example. Mute or unmute notes Do one of the following: mm Click one or more notes with the Mute tool. mm Select the notes, then click one of the selected notes with the Mute tool. Muted notes are shown without color. The Select Muted Regions/Events key command is also available in the Piano Roll Editor.
Delete notes in the Piano Roll Editor You can delete notes from MIDI regions, and delete notes meeting certain criteria. Delete one or more notes Do one of the following: mm Select the notes, then press Delete. mm Select the notes, then click one of the selected notes with the Eraser tool. mm Select the Eraser tool, then click the notes you want to delete. Delete similar or equal events 1 Select one of the notes you want to delete.
Delete all selected events and select the next one 1 Select the event you want to delete. 2 Use the Delete and Select Next Region/Event key command. View multiple MIDI regions in the Piano Roll Editor You can view the contents of several selected MIDI regions, all MIDI regions in a folder, or all MIDI regions in a project using Link modes. When multiple MIDI regions are displayed in the Piano Roll Editor, you can freely select note events from different MIDI regions, and edit them.
Split chords in the Piano Roll Editor The following functions let you divide chords by pitch and assign notes to different MIDI channel by pitch. Select the top or bottom note of selected chords Do one of the following: mm Choose Edit > Select > Highest Notes from the Piano Roll Editor menu bar to select the highest notes in the chords. mm Choose Edit > Select > Lowest Notes to select the lowest notes in the chords.
Use MIDI Draw in the Piano Roll Editor You can create and edit MIDI controller information directly in the Piano Roll Editor. Working with controller information can be easier when you can see the notes that will be affected. For information about using MIDI Draw, see Use MIDI Draw. View and create controller events 1 Open a MIDI Draw display in the Piano Roll Editor by doing one of the following: •• Choose a MIDI Draw command from the View menu in the Piano Roll Editor menu bar.
Open the Event List or Score Editor from the Piano Roll Editor The Piano Roll Editor provides quick access to the Event List and Score Editor. Quickly open the Event List mm Double-click a note in the Piano Roll Editor. The Event List appears in the List Editors area to the right of the Tracks area. If it’s already open, the contents of the parent region (of the note selected in the Piano Roll Editor) are displayed.
Add a drummer to your project 13 Drummer overview Drummer allows you to add a virtual drummer to your project, using a Drummer track. You can choose drummers from different genres—Alternative, Rock, Songwriter, and R&B. Each drummer comes with its own drum kit and a distinct playing style. You can change the drummer’s playing style in the Drummer Editor. Note: To edit Drummer regions in the Piano Roll Editor, Event List, or Step Editor, you first need to convert them to MIDI regions.
2 In the New Tracks dialog, select the Drummer track. 3 Click Create. •• If the project does not have arrangement markers: A Drummer track containing two 8-bar regions is created. Two different presets associated with the drummer are loaded to the two regions. •• If the project has arrangement markers: A Drummer track containing as many regions as there are arrangement markers is created. The length and name of the Drummer regions correspond to the existing arrangement markers.
Work in the Drummer Editor Drummer Editor overview The content of Drummer regions can be edited in a dedicated Drummer Editor. The left side of the Drummer Editor offers track-based settings. You can choose drum genres and drummers, whose sound and playing style are applied to all content on the Drummer track. The right side of the editor offers region-based settings, which influence the complexity, loudness, and other aspects of selected Drummer regions.
Choose genres and drummers Each genre comes with a number of drummers who have their own drum kit and distinct playing style. When you add a Drummer track to the project, a default genre and drummer is loaded, along with a default patch associated with the drummer. You can change the genre and the drummer, with these changes influencing all regions on the track. If you change a drummer, a new patch is loaded, which means that the drum kit as well as the kit mix is replaced with that of the new drummer.
A character card appears, showing a description of the drummer’s playing style, and the name of the predefined patch that is loaded. 3 Do either of the following: •• To choose another drummer: Click the drummer to return to the drummer overview page. Click to choose another genre. Click to choose another drummer. •• To choose another genre: Choose a different genre from the Genre pop-up menu. Choose a drummer without changing the current patch mm Hold down Option while choosing a drummer.
Choose drummer presets After choosing a genre and drummer you can choose from a collection of drummer-specific presets in the Drummer Editor. Presets offer a quick way to browse predefined, region-based Drummer Editor settings, including kit piece pattern variations and fill settings. You can use the default settings, or you can edit them and save your own presets. User presets can be deleted, but factory presets cannot.
Choose a different preset mm Click a preset on the left side of the editor. The region settings on the right side of the editor update to reflect the chosen preset and the selected region in the Tracks area is regenerated. Save a modified user preset mm Choose Save preset from the Action pop-up menu in the presets area, then enter a name for the user preset. Delete a user preset mm Choose Delete preset from the Action pop-up menu in the presets area.
Edit the drummer’s performance There are a number of settings in the Drummer Editor that affect the drummer’s playing style. These settings are located to the right of the presets area. You can edit the complexity and loudness of the performance, mute and unmute drum kit pieces, and choose whether a pattern is played on the toms, cymbals, or hi-hat. The percussion icons can be used to turn on different instruments, and you can choose between different variations for the drum and percussion pieces.
mm For Cymbals, Toms, and Hi-Hat: Click a kit piece, then drag the kit piece slider or choose an increment. mm For Kick and Snare: Drag the Kick & Snare slider or choose an increment. Mute or unmute a drum or percussion instrument Do either of the following: mm To include the piece in the performance: Click the piece so that it’s selected, or unmuted. Muted piece Unmuted piece mm To remove a piece from the performance: Click the piece so that it’s dimmed, or muted.
mm Drag the Fills knob downward to reduce, or upward to increase, the number and length of fills. You can click the lock to prevent any changes to the fills setting when switching presets or drummers. mm Drag the Swing knob vertically to adjust the shuffle feel of the currently playing pattern. You can click the lock to prevent any changes to the swing setting when switching presets or drummers.
Follow the rhythm of another track You can have the kick and snare portions of a Drummer region follow another track so that the beat Drummer plays is influenced by the rhythm of the content of another instrument. You may find, for example, that it makes more musical sense to have the chorus beat influenced by a guitar track, while the rest of the song follows a bass track. You can set this option on a region basis, which means that each Drummer region can follow a different track.
Work with Producer Kits When you add a Drummer track to your project, a drummer and a default patch associated with that drummer is loaded. The default patch is based on a stereo mixdown of the full, multimiked drum kit mix. These patches are optimized for performance.The original producer patch (Producer Kit) offers full access to all mix options. Important: When using Producer Kits, make sure that plug-in latency compensation is set to All in General Audio preferences.
Access Producer Kits mm Click the Library button in the control bar, then select the Producer Kits patch category. Producer Kits are identified in the Library by a “+” at the end of the patch name. There is an original producer patch for each stereo mixdown patch. Choosing a Producer Kit gives you full access to all 15 individual drum mic channel strips and any effect plug-ins and routings.
Use Drum Kit Designer Drum Kit Designer overview Drum Kit Designer is a software instrument plug-in that lets you build custom drum kits from a wide selection of drum sounds. It also provides controls that change sound characteristics for each piece in your kit. Further settings allow you to use different microphones and rooms to enhance Producer Kits. Drum Kit Designer’s interface is divided into the following main areas.
Open Drum Kit Designer Do one of the following: mm In the Drummer Editor: Click the plug-in button (shows the default patch associated with the drummer) at the bottom of the drummer’s card. mm In the inspector or Mixer: Click Drum Kit Designer in the Drummer track’s respective channel strip slot. Play drums and adjust kit piece settings Drum Kit Designer shows a 3D representation of the drum kit for the currently loaded patch or plug-in setting.
Adjust kit piece settings (all Kits) 1 Click a drum. The Edit panel opens to the right. •• Toms: Click the tab for the tom you want to edit, or click the All tab to adjust the tone of all toms. •• Cymbals: Click the tab for the crash cymbal you want to edit, or click the All tab to adjust the tone of both crash cymbals. The ride cymbal can be edited directly. •• Kicks and snares: There are no tabs, so make your adjustments with the controls.
Adjust mic settings (Producer Kits only) In the Edit panel, do any of the following: mm To include the sound in the mic of the other kit pieces: Turn the Leak switch on. This turns microphone bleed on or off, where the sound of a kit piece is picked up by the different mics from other kit pieces. mm To include the kit piece’s overhead mic in the sound: Turn the Overheads switch on. This turns the overhead mic for the selected kit piece on or off.
Exchange drums In Drum Kit Designer, you can produce different sounds by exchanging drums. For all kits, you can exchange the kick and snare drums. When working with Producer Kits, you can additionally exchange toms, cymbals, and hi-hat. Note: Producer Kits and some drums are only available after you download additional content. Exchange a drum 1 Click a drum. The Exchange panel opens to the left if exchange pieces are available for that kit piece.
Convert Drummer regions to MIDI regions You edit Drummer regions in a dedicated Drummer Editor. To edit them in the Piano Roll Editor, Event List, or Step Editor, you first need to convert them to MIDI regions. After converting a Drummer region to a MIDI region, you can convert it back to a Drummer region at a later point. However, any MIDI edits you made to the region will be lost.
Edit the timing and pitch of audio 14 Flex Time and Pitch overview Flex Time—similar to what is often referred to as elastic audio in other applications—greatly simplifies the process of editing the timing of audio material. You can compress or expand the time between specified points in an audio region without the need for more traditional processes like cutting, nudging, and crossfading. You edit the timing of audio material by choosing a Flex Time algorithm.
3 Choose Flex Pitch or one of the Flex Time algorithms from the Flex pop-up menu. Turn on flex in the Audio Track Editor 1 Open the Audio Track Editor by doing one of the following: •• Select an audio track in the Tracks area, then choose View > Show Editors. •• Select an audio track in the Tracks area, then click the Editors button •• Double-click an audio region. 2 Click the Flex button in the control bar. in the Audio Track Editor menu bar (or press Command-F).
Isolate individual regions from the flex editing process mm Select an audio region or take region, then deselect the Flex checkbox in the Region inspector. All flex editing properties on the region or take region are disabled, but not deleted, and the region plays at its original speed.
Edit the timing of audio Flex Time algorithms and parameters Flex Time algorithms are track-based settings that determine how the timing or pitch of your audio material will be altered—using time compression or expansion, manipulating invisibly sliced segments, or speeding up or slowing down the material. You can choose an algorithm based on the type of audio material you’re working with. Each algorithm comes with its own individual parameters, located in the Track inspector.
You can also slice an audio region at transient marker positions, splitting it into multiple regions. You do this by Control-clicking the audio region, then choosing Slice at Transient Markers from the shortcut menu. Use the Rhythmic algorithm mm Choose Flex Time - Rhythmic from the Flex pop-up menu. Rhythmic time stretches the material, looping audio between slices in order to fill any gaps. This algorithm is most suitable for material such as rhythmic guitars, keyboard parts, and Apple Loops.
Use the Speed algorithm mm Choose Flex Time - Speed (FX) from the Flex pop-up menu. Speed time stretches material by playing the source material faster or slower, including pitch change. Because of the pitch shifting, this flex algorithm is mainly useful for percussive material, but it can be used on all material for interesting creative effects. Time stretch using flex markers In the Tracks area, you edit the timing of audio material using flex markers.
3 Do one of the following: •• Drag the flex marker to the left. The audio material is time compressed up to the preceding flex marker, the preceding tempo marker, or the region start position. The audio material is time expanded up to the following flex marker or the following tempo marker (which can also be the region end position). If you move the flex marker to the left and it crosses a previous flex marker, the previous flex marker jumps back to the previous transient marker.
Add multiple flex markers to an audio region Do one of the following: mm Place the pointer over or beside a transient marker in the lower half of the waveform body (note how the pointer changes), then click. Three flex markers are added: on the transient marker, on the previous transient marker, and on the following transient marker. mm Place the pointer in the lower half of the waveform body where there is no transient marker (note how the pointer changes), then click.
Time stretch using marquee selections In the Tracks area, you can edit the timing of audio material using the Marquee tool in combination with flex markers. Flex Time is also available in the Audio Track Editor, when Show Advanced Tools is selected in the Advanced preferences pane. Time stretch audio using a marquee selection 1 Using the Marquee tool, drag in the Tracks area to select part of a region. 2 Using the Pointer tool, do one of the following: •• Click in the upper half of the marquee selection.
Time stretch using the Flex tool The Flex tool gives you quick access to basic Flex Time editing functionality, without having to turn on Flex view. When you click a region with the Flex tool for the first time, a transient detection process is performed on the audio material and the most suitable flex algorithm is chosen. You use the Flex tool in the Tracks area to grab points in the region’s waveform and move them.
Delete, reset, and move flex markers When you delete a flex marker, any time changes that occurred in the area around the flex marker are either removed—resetting the audio material to its original position—or reset according to the time-stretching offset of the previous flex marker or region start position and the following flex marker or region end position.
Move a flex marker without time stretching mm Hold down Option while you drag the flex marker.
Edit the pitch of audio Flex Pitch algorithm and parameters Flex Pitch is a track-based setting that determines how the pitch of your audio material will be altered. The algorithm comes with two parameters, located in the Track inspector. Flex options are only available in the Track inspector when Show Advanced Tools is selected in the Advanced preferences pane.
Change the pitch of a note mm Drag a note vertically in the editor. Move a note mm Drag a note horizontally in the editor. Resize a note mm Drag the left or right edge of a note.
Split a note mm Click a note with the Scissors tool. Merge two or more notes mm Select two or more notes, then click with the Glue tool. Edit the parameters of a note using “hotspots” mm Select a note, then do any of the following: •• To edit the pitch drift at the start of the note: Drag the upper-left hotspot vertically. •• To edit the vibrato: Drag the upper-mid hotspot vertically. •• To edit the pitch drift at the end of the note: Drag the upper-right hotspot vertically.
Edit the pitch of audio in the Tracks area When you choose Flex Pitch for a track in the Tracks area, the pitch deviation of individual notes from their perfect semitone is shown as bars overlaying the audio waveform in the background. •• The horizontal zero line represents the perfect pitch. •• Upward bars represent sharp notes. •• Downward bars represent flat notes. •• The horizontal size of bars represents the length of detected notes. •• The vertical display range is ±0.50 cents.
Quantize the timing of audio regions in the Audio Track Editor When Flex Pitch is turned on in the Audio Track Editor, you can quantize, or automatically correct, the timing of regions on an audio track. This is especially useful when regions on the track contain the right notes but are not perfectly in time with the project tempo. When you quantize the timing, selected regions on the selected track are adjusted to the selected note value.
Quantize the pitch of notes in the Audio Track Editor When Flex Pitch is turned on in the Audio Track Editor, you can quantize, or automatically correct, the pitch of notes on an audio track. This is especially useful when you record audio regions that have the right “feel” and timing but are not perfectly in tune. When you quantize the pitch, selected notes on the track are adjusted.
Change the gain of audio regions in the Audio Track Editor When Flex Pitch is turned on in the Audio Track Editor, you can adjust the gain of individual audio regions from –30 to +30 decibels. Adjust the gain of an audio region 1 To turn on Flex Pitch, click the Flex button in the Audio Track Editor menu bar. 2 Choose Flex Pitch from the Flex pop-up menu in the Audio Track Editor menu bar. 3 Select the regions you want to adjust in the Audio Track Editor.
Use Varispeed to alter the speed and pitch of audio Varispeed provides a way to speed up or slow down the entire project, similar to the original varispeed feature of tape machines. The most practical use for this option is checking how a project might sound at a faster or slower tempo, and for practicing or recording a performance at a lower speed. In Logic Pro, you can speed up or slow down a project between −50 percent and +100 percent, which is between 50 percent and 200 percent of the original tempo.
Change the unit of measurement and adjust the value 1 Click the unit of measurement (%, bpm, st, Hz) in the lower part of the Varispeed display in the control bar, then choose one of the following: •• Percentage (%): Displays the unit of measurement according to percentage. •• Resulting Tempo (bpm): Displays the resulting tempo, dependent on the current tempo, which changes along with any tempo changes in the project. Note: The Tempo display in the control bar always shows the original tempo value.
Advanced edit features 15 Advanced Logic Pro editors Logic Pro includes several advanced editing windows that you can use to process and manipulate audio or MIDI information in unique ways. The advanced Logic Pro editors are available when Show Advanced Tools is selected in the Advanced preferences pane. To access the Audio File Editor, you need to select the Show Advanced Tools checkbox and the Audio checkbox in the Advanced preferences pane.
Event List Event List overview The Event List is the most powerful, flexible, and complete MIDI editor in Logic Pro. All MIDI event types are displayed as an alphanumerical list in the Event List. All aspects of events—start and end points, length, channel, and values—can be altered in this area. You can view all events in a region, and can filter the list to restrict this view to one or more event types, such as notes, pitch bend events, or both, for example.
Event List display options View events and regions in the Event List By default, the Event List shows all events in the selected MIDI region. The Event List can also display a list of all regions (and folders) in the Logic Pro main window. View the events within a region in an open Event List window mm Click the name of the region with the Pointer tool. The Event List can’t show the events of a multiple region selection.
Filter event types When viewing events in a selected MIDI region, you can use the event type buttons to filter what is shown. These buttons show or hide specific event types from the list below, thus limiting the view to events that you want to edit. As a practical example of where these event type buttons could be used: Imagine a drum part that you have recorded. You have found that every High Tom note event (D2) shares a frequency with another instrument track, and is lost in the mix.
View events outside the display area You will often find that the number of events shown in the list exceeds the amount of screen space. The list scrolls automatically when you click the Play button in the control bar, and the event at (or nearest to) the playhead position during playback is indicated by a white line. Playhead position View events outside the display area Do one of the following: mm Use the event type buttons to filter the list, thus reducing the number of displayed events.
Select multiple events with the arrow keys mm Hold Shift and press the Left or Right Arrow key. Keep both Shift and the arrow key held down to select multiple events. Refine your event selection Use the event type buttons to filter the list of displayed events and speed up your workflow. mm Click any of the event type buttons alone, or in conjunction with, specific selection commands available in the Edit > Select menu or as key commands.
Create events in the Event List The Event List accepts real-time and step recording of MIDI events, as described in Recording overview on page 201. Similar to the other MIDI editors, you can also create events directly in the Event List. You can also perform advanced Copy and Move operations within the Event List. These commands allow you to directly swap events, or to merge a group of notes from one section of a region to the same, or another, region.
Edit events in the Event List Edit events overview The Event List Position, Status, Ch(annel), Num(ber), Val(ue), and Length/Info columns display all details of all event types. In most cases, you can directly edit the data displayed (with the exception of the Status column, which indicates the event type). Not all columns are used for every type of event. For example, system exclusive messages are not MIDI-channel specific, so the Channel column is unused.
Change the position and length of events The units shown in the Event List Position and Length/Info columns represent bars, beats, divisions, and ticks (or SMPTE time, when View > Show Event Position and Length as Time is active). Counting begins at 1 for each unit (first bar, first beat, first division, first tick: 1 1 1 1), and continues until it is carried over to the next largest unit.
Protect the position of events There are situations when you will want to protect certain events from being moved. For example, several note events may be used to trigger footstep samples that match an actor walking down a corridor, in a movie soundtrack. You have already created the music for this scene, but have been asked to increase the tempo to match several cuts of different camera angles in the corridor. A change in the project tempo will move the events, resulting in out-of-sync footsteps.
Set a parameter to the same value for all selected events mm Hold Shift-Option while dragging the value. Note: It’s possible to select different event types, and simultaneously alter the Number or Value parameter. However, this can lead to unexpected results. It’s recommended that you use the event type buttons to hide non-matching event types. The enhanced selection functions may also be useful when creating or editing groups of events.
Event Types Note events Note events are used to trigger (play) software instruments and external MIDI sound modules or keyboards. •• Ch(annel): MIDI channel of a note from 1 to 16. •• Num(ber): MIDI note number (or pitch). The range is from C −2 (note #0) to G8 (note #127). Middle C is note #60. It’s known as C3 in MIDI terminology. On some keyboards and synthesizer modules (notably those made by Korg and Roland), the note range is from C −1 (note #0) to G9 (#127). Middle C is called C4 on such devices.
View and change note release velocity data You can edit the release velocity of a note event when the Additional Info button is on. mm Click the Additional Info button (only available in Filter mode). Control change events Control change events are used to transfer MIDI controller information (modulation, sustain, volume, and pan, for example) to software instruments or external MIDI keyboards and modules. •• Ch(annel): MIDI channel of an event from 1 to 16. •• Num(ber): The number of the controller.
Program change events Program change events transmitted to connected MIDI devices are used for patch (preset or setting) selection. These may be sounds in a synthesizer, programs in an effects unit, or snapshots in an automated mixing desk, for example. •• Ch(annel): MIDI channel of an event from 1 to 16. •• Num(ber): Bank select. Normally you will see this symbol (-), which indicates no bank select message will be sent.
Poly pressure events Poly(phonic) pressure events are generated by mechanical pressure sensors beneath each individual key on some MIDI keyboards. The resulting sound modulation only affects the particular note that is pressed harder (after the initial keystrike). Only a few keyboards offer this capability. •• Ch(annel): MIDI channel of an event from 1 to 16. •• Num(ber): Displays the MIDI note name (C3, G4, and so on). •• Val(ue): Displays the amount of pressure on the key (0 to 127).
Meta events Meta events are control messages that are specific to Logic Pro. They are used to automate certain functions, and to organize and arrange Score Editor elements (particular notation symbols and formatting) that can’t be represented by MIDI events. The value in the Number column determines the meta event function, and the value in the Value column determines the value that is sent. You should only ever insert and edit the following column values in the Event List.
Event Float window The Event Float window provides information on the currently selected event (or region), and can be compared with a single line of the Event List. You can edit the following parameters in this window.
Step Editor Step Editor overview The Step Editor is a graphical editor that can be used to create or edit MIDI note and controller data. You can use the Step Editor to view and edit different MIDI event types, shown as vertical beams—or steps—along a timeline within a region. Lane Set pop-up menu Lane inspector Step Lane •• Step: Each beam, called a step, represents a MIDI event.
Open the Step Editor as a separate window Do one of the following: mm Choose Window > Open Step Editor (or use the Open Step Editor key command, default assignment: Command-5). mm Drag the Step Editor button, which changes to the Step Editor window as you drag it.
Create and edit steps in the Step Editor Change the grid and step display The Grid parameter in the Lane inspector is important when creating event steps. Newly created events are automatically added at grid positions. This makes it easy to create a drum pattern, with 4 divisions on one lane, 8 divisions on another lane, and 16 divisions on another lane, assigned to kick, snare, and hi-hat sounds, for example.
Set the width of event steps mm Choose a pen width value in the inspector. The exact step position is always aligned with the left edge of the step, regardless of the beam width. When you set the Pen Width parameter to Note Length, note event steps are displayed at their actual length. The Status parameter must be set to Note for this to work. Change the style of step beams mm Choose a setting from the Style pop-up menu. •• No Frames: Shows the value of the event as a colored beam.
Create steps in the Step Editor The Step Editor provides several unique methods for creating and editing MIDI events. In some situations, manual entry of MIDI note and controller events is more efficient than performing and recording them. One example would be the creation of 1/16 note hi-hats in a region when the tempo is 180 bpm, which would be difficult to play. You can also record events with a MIDI keyboard, and then refine your performances in the Step Editor. Add a step 1 Select the Pencil tool.
Edit multiple steps in a linear fashion 1 Select the Line tool. 2 Command-click a position on the lane. A help tag appears, showing the exact position and event (step) value in the top line. 3 Move the mouse to the end point of the line. This can be to the right or left. As you move the mouse, you see a line trailing behind the Line tool, with the exact position and event value shown in a help tag. 4 Click the end point to change the values of several event beams, aligned along the line.
Create new events when other events already exist in a lane 1 Select the Line tool. 2 Click a position on the appropriate lane. A help tag appears, showing the exact position and event value in the top line. 3 Move the mouse to the end point of the line (to the right or left). As you move the mouse, you see a line trailing behind the Line tool, with the exact position and event value shown in a help tag. 4 Option-click the end point.
Select steps in the Step Editor You can use any of the usual selection techniques in the Step Editor, with the following variations. Select individual steps mm Hold Shift, then click the steps in a lane. Select several contiguous steps mm Hold Shift, then drag to select the steps in a lane. Take care to avoid clicking any steps. If you click or drag with the unmodified Pointer tool, the selected event values are changed, so make sure you hold down Shift. Select all steps on a lane mm Click the lane name.
Restore deleted steps in the Step Editor Accidental deletions of one or more events, a change of mind, or an editing mistake are inevitable parts of song creation. Fortunately, you can backtrack your edits easily in Logic Pro. You also have the option of re-creating an event with the Pencil tool. Undo the last edit or deletion mm Choose Edit > Undo (default key command: Command-Z) immediately after making the error. Undo or redo multiple steps 1 Choose Edit > Undo History. The Undo History window appears.
Move and copy steps in the Step Editor Steps can be moved or copied to other positions in the same, or other, lanes. When moved or copied between lanes, the event values are retained, but are converted to the target event type. For example, moving several steps from the volume lane into the pan lane results in the volume lane step values being used for pan position changes. Move selected steps mm Hold down Shift, then drag the selected steps to the new position and lane.
Copy and move steps with the Clipboard mm You can also use the Clipboard to copy and move steps (events): •• To copy events into the Clipboard: Choose Edit > Copy (or press Command-C). •• To move events into the Clipboard: Choose Edit > Cut (or press Command-X). •• To paste the events at the current playhead position, inclusive of their original values: Choose Edit > Paste (or press Command-V). You can also perform advanced Copy and Move operations in the Step Editor.
Lane parameters Lane parameters overview The Lane parameters determine the event type shown on each lane. Events are shown as vertical beams (steps) on each lane, aligned with a particular time position in the ruler. You can use the Lane parameters to change the way beams are displayed (see Change the grid and step display on page 424). You can also alter the grid resolution for each lane in a Lane Set, which is useful when creating drum patterns.
Create lanes for all event types in a region 1 Select the region. 2 Choose Lanes > Create Multiple Lanes (or use the corresponding key command). 3 In the dialog that appears, click the All button to confirm that you want to create lanes for all types of events in the region. Tip: It’s a good idea to create a new Lane Set before creating a group of new lanes. For more information, see Use Lane Sets on page 439.
Convert all events on a lane to another event type You can redefine a lane (along with all event steps on the lane). The values of the events are retained, but the event type is changed. 1 Click the name of the lane you want to convert. All steps on the lane are selected. 2 Do one of the following: •• Choose Lanes > Convert Lane (or use the corresponding key command). •• Double-click the name column of the lane that you want to convert. 3 Choose settings in the Convert dialog.
Use the Lane inspector You use the Lane inspector to change the parameters of the selected lane. The most important parameters are Status and First Data Byte. The Status parameter sets the event type for the selected lane. The First Data Byte parameter (shown as “Number” in the image) sets the value for the chosen event type. The appearance of the First Data Byte parameter changes when different event types are chosen.
Set the MIDI channel number for a lane 1 Select the MIDI channel checkbox. •• If selected, the display is restricted to events on the set channel. •• If unselected, the Channel parameter is ignored, and matching events on all channels are displayed. 2 Choose a MIDI channel number from the pop-up menu to the right of the Channel parameter.
Show the first data byte and set a value The First Data Byte checkbox and pop-up menu are shown at the bottom of the inspector. First Data Byte checkbox and pop-up menu The name of the First Data Byte parameter reflects the chosen Status parameter, as follows: •• Fader, Meta, Control, Program: A number is shown as the first data byte. •• Note, P-Press: Pitch is shown as the first data byte. •• C-Press and PitchBd: The first data byte is dimmed, as it has no function.
Use Lane Sets You can store a combination of lanes as a Lane Set. When a Lane Set is saved, the vertical zoom setting of the Step Editor is stored. You can save as many Lane Sets as required in each project. The Lane Set functions let you limit the Step Editor display to only the required MIDI event types. For example, imagine you have recorded a synthesizer lead MIDI region. You could create a Lane Set that contains individual lanes for each note pitch in the region.
Create a Lane Set for a GM drum kit General MIDI has an established keyboard assignment pattern (a MIDI note map) for drum and percussion sounds. This mapping standard is often followed in non-GM, GS, or XG compliant sound modules, samplers, and synthesizers. In some cases, however, you will need to make a few changes.
Clear the current Lane Set Clearing a Lane Set resets a Lane Set to its default, containing a single lane for the Volume controller. Do one of the following: mm Choose Lanes > Clear Lane Set from the Step Editor menu bar (or use the corresponding key command). mm Choose Clear Lane Set from the Lane Set pop-up menu in the inspector. Delete the current Lane Set Do one of the following: mm Choose Lanes > Delete Lane Set from the Step Editor menu bar (or use the corresponding key command).
Audio File Editor Audio File Editor overview Most day-to-day audio editing tasks are performed in the main window and Audio Track Editor. The Audio File Editor is useful for removing pops and clicks in audio material, setting accurate crossover points for looped playback, correcting phase cancellation errors, and more. You use the Audio File Editor to work with transient markers that indicate significant points—or transients—in an audio file.
•• Tool menus: Choose two tools from the pop-up menus. The second (alternate) tool is chosen with the Option key. •• Play button: Starts and stops playback of the selected file, region, or loop. •• Cycle button: Loops playback of the selected area. •• Zoom sliders: Drag to adjust the vertical and horizontal zoom level. •• Info display: Shows the start point and length of the selected area. •• Ruler: Shows the position of the region in the project.
Change the waveform amplitude scale You can customize the waveform’s amplitude scale (plotted along the vertical axis), so that it’s displayed in percentage units or sample units. Percentage units Sample units Display the amplitude scale in percentage units mm Choose View > Amplitude Percentage from the Audio File Editor menu bar. Display the amplitude scale in sample units mm Choose View > Amplitude Sample Value from the Audio File Editor menu bar.
Use relative display mode Do one of the following: mm Open the Audio File Editor from the Project Audio Browser (double-click the region in the Project Audio Browser). mm Choose Content from the Audio File Editor’s View > Link submenu, then select a region in the Project Audio Browser. The start position of the section is automatically assigned to the 0 value, or a value of 1 1 1 1 if set to Bars/Beats. The scale unit lines are dotted.
Play audio files in the Audio File Editor There are a number of playback options in the Audio File Editor. Playback of audio files in the Audio File Editor occurs independently of the project playhead position. To hear the audio file in the context of your arrangement, you should use the control bar buttons. The Mixer’s Prelisten channel strip is used for monitoring in the Audio File Editor. You can access the Prelisten channel strip by clicking the All button in the Mixer menu bar.
Control playback with the waveform overview Do one of the following: mm Click-hold at the point where you want playback to begin. The pointer turns into a Prelisten icon. Release the mouse button to stop playback. mm Double-click at the point where you want playback to begin. Scrub audio mm Click-hold the ruler and move the pointer. Audio playback follows the speed and direction of your pointer. This technique helps you to quickly locate a particular position within an audio file.
Navigate audio files in the Audio File Editor You can use the Audio File Editor navigation features to move to specific parts of an audio file, making selection and editing simpler, faster, and more accurate. Clicking the waveform overview displays the selected area (surrounding the playhead position) in the waveform display. The scroll bars and zoom controls are used in the same way as in other windows.
Make selections in the Audio File Editor Make basic selections Editing and processing audio in the Audio File Editor are possible only after you select an area within the waveform display. Any editing or processing you perform will only affect the selected area. The start point and length of the currently selected area are shown in the info display—above the waveform overview. The format of the information is based on the setting chosen in the View menu.
Select a section of an audio file mm Click-hold the start or end of the area you want to select in the waveform display, then drag to the right or left. The start point and length are displayed (as sample words) in a help tag while you make your selection. Extend an existing selection area Do one of the following: mm Choose Edit > Select All Previous (or use the corresponding key command). mm Choose Edit > Select All Following (or use the corresponding key command).
Change the start or end point of an existing selection Do one of the following: mm Shift-click in the waveform display to move the start or end point. mm Shift-click-drag the start or end point of the selected area in the waveform display. Using either method, the proximity of your click—to the start or end of the selected area— determines whether you change the start or end point boundary. The closest one wins.
Use transient markers to make selections You can use transient markers to select part of an audio file for editing purposes. Note: To do this, you first need to turn on Transient Editing mode in the Audio File Editor. For more information, see Use transient markers to edit on page 455. Select a section of an audio file between two transient markers mm Double-click the area of the waveform display between the two transient markers.
•• Region Anchor to Previous Transient: The region anchor is moved to the left, up to the preceding transient marker. •• Region Anchor to Next Transient: The region anchor is moved to the right, up to the following transient marker. Use a selection to set the project tempo Just like automatic tempo matching functions in the main window, you can set the project tempo to match the current locator positions and selected area in the Audio File Editor.
Edit and process audio in the Audio File Editor Audio File Editor edit commands The Audio File Editor includes several standard audio editing and processing commands and functions. When you have selected an area of an audio file, you can use the Cut, Copy, Paste, and Delete commands in the Edit menu to cut, copy, paste, or remove the selected area. Edit menu commands •• Cut: Cuts a selected passage out of an audio file, and copies it to the Clipboard.
Use transient markers to edit You can use transient markers to edit selected areas of an audio file, or the entire file, in the Audio File Editor. You can also add or move transient markers within audio files. You do all of these tasks in Transient Editing mode. Note: When you’re working in Transient Editing mode, the Command-click tool changes its default value, from the Hand tool to the Pencil tool.
•• Plus button (+): Increases the number of transients in the selected area of the audio file, or across the entire audio file. You can also use the Increase Number of Transients key command, default assignment: Command-Plus (+). •• Minus button (−): Decreases the number of transients in the selected area of the audio file, or across the entire audio file. You can also use the Decrease Number of Transients key command, default assignment: Command-Minus (−).
Delete transient markers from an audio file Do one of the following: mm Double-click individual markers with the Pointer or Pencil tool. mm Click individual markers with the Eraser tool. mm Drag over multiple markers with the Eraser tool. mm Select an area of the audio file and press the Delete key. All transient markers in the selected area are deleted. Note: Transient markers are not actually deleted. Instead, their display threshold is set to maximum, making them invalid.
Use the Audio File Editor Pencil tool You can use the Pencil tool to correct clicks and pops in your audio, by drawing in the waveform display. You may find it useful to change the view of the waveform so that it shows the data structure. For more information, see Change the waveform display on page 443. Correct pops and clicks with the Pencil tool 1 Navigate to the section of the waveform you want to correct.
Trim or silence audio files You use the Trim function to edit areas of the audio file that are not selected. It’s useful for removing unimportant passages—generally silence—from the start and end of your audio files. Trim can also be used to remove portions of audio files that are not used by regions. You can use the Silence command to set all amplitude values to 0, rather than removing (with Cut, Delete, or Trim) all data from the selected area of an audio file.
Normalize audio files Normalization is a process that raises the maximum level of a digital signal to a specified amount—typically to its highest possible level without introducing distortion. In the Audio File Editor, you can set the maximum level (as a percentage or in decibels) in one of the “Peak at” fields in the Function Settings window (choose Functions > Settings or click the Settings button in the Normalize dialog).
Fade audio files You can destructively fade in or out on an entire audio file, or a selected area in the Audio File Editor. Your changes are written to the file. •• Fade In: Volume is set to 0 at the start point of the selected area, and the fade in occurs over the length of the selection. •• Fade Out: Volume is set to 0 at the end point of the selected area, and the fade out occurs over the length of the selection. The fade in or fade out time is determined by the selected area within the audio file.
Adjust the fade curves 1 Choose Functions > Settings from the Audio File Editor menu bar to open the Function Settings window. 2 Edit the Curve value to change the shape of the fade in or fade out curve. 3 Select the S Curve checkboxes if you want to create S-shaped curves. These settings are automatically stored in Logic Pro X preferences when the application is closed, and they apply to all projects. Tip: The Fade tool in the main window offers a flexible, nondestructive fade option.
Audio File Editor Reverse commands The Reverse command is most commonly used on an entire audio file—to reverse a cymbal sound, for example. It can also be used as a creative option on selected portions of audio files. For example, the reverb tail at the end of a file can be reversed, copied, and pasted to the beginning of the file.
Undo edit steps Most Audio File Editor functions are destructive, changing the files stored on your hard disk. However, you can use the Undo feature if things do not go your way. Compare (or undo) your edits with the original audio file mm Choose Edit > Undo (default key command: Command-Z). Cancel a destructive edit that is in progress mm Press Command-Period (.). The audio file will be retained in its original state, even if it appears that a portion of the editing function has occurred.
Save a copy with a different name to a specific location 1 Choose Audio File > Save A Copy As from the Audio File Editor menu bar. 2 Choose your settings in the Save A Copy As dialog: You can set the sample rate, bit depth, file format, stereo conversion, and dither type for the destination file. The dialog also features an “Add resulting files to Project Audio” option, allowing you to add the file to the Project Audio Browser, following the save.
Use an external sample editor You can configure Logic Pro to open an audio region or file in an external sample editing application. Use an external sample editing application 1 Open Audio preferences by doing one of the following: •• Choose Preferences > Audio (or use the Open Audio Preferences key command). •• Click the Preferences button in the control bar, then choose Audio from the pop-up menu. 2 Click the Sample Editor tab, then click the Macintosh HD field beside External Sample Editor.
MIDI Transform window MIDI Transform window overview The MIDI Transform window is so-named because it transforms MIDI events—based on conditions, operations, and values you choose—into different types of events, or events with different values. The MIDI Transform window is a powerful tool for edits that would otherwise be impossible (or tedious). For example, imagine an orchestral project that has been sent to you for editing.
Use transform sets The Presets pop-up menu is shown at the top-left corner of the MIDI Transform window. The first 17 items in the menu are write-protected preset templates for common editing tasks, such as creating crescendos or fixing note lengths. For more information, see MIDI Transform window presets. You can temporarily change the used parameters of a preset, but all changes are discarded when you exit the preset. Depending on your needs, it may be worthwhile to create your own transform sets.
Create a user transform set 1 Choose Create Initialized User Set from the Presets pop-up menu. 2 Set conditions and operations. 3 Select the “Hide unused parameters” checkbox. This helps to avoid changes to conditions and operations that aren’t required for (or may disturb) your transform set. 4 Click New Parameter Set (Number) in the Presets pop-up menu. Enter a new name for your transform set. This transform set now appears at the bottom of the Presets list in all MIDI Transform windows for this project.
MIDI Transform window presets The table below describes the operations performed by the MIDI Transform window presets. Preset Operation Random Pitch Sets a random pitch for note events. Change the Pitch condition values to alter your selection range. Random Velocity Sets a random velocity for note events. Change the Velocity condition values to alter your selection range. Random Pitch, Velocity, Length Sets a random pitch, velocity, and length for note events.
Preset Operation Exponential Velocity Alters the scaling of the velocity curve. This preset is useful for software or MIDI instrument parts. Velocity is often used to control both the initial volume of instruments and to trigger filter envelopes, making the sound brighter or darker. Transforming regions can be faster than changing velocity scaling or filter parameters of your MIDI or software instruments. Change the Velocity value field in the Operations area to change the velocity curve.
MIDI Transform window parameters MIDI Transform window parameters overview The MIDI Transform window includes the following parameters and elements that can be used to process your MIDI data. For more information, see MIDI Transform window examples on page 478. Preset pop-up menu Mode pop-up menu Map Selection Conditions area Operations area These parameters globally affect the MIDI Transform window appearance and operating mode.
Set selection conditions You can define conditions that determine which events are selected for transform operations. This is done in the Selection Conditions area of the MIDI Transform window. Each column represents a different MIDI event parameter. The condition is considered to be fulfilled when an event matches the defined effective range, and values, of all event parameters. These ranges and values are determined in the pop-up menus and fields found under each of the event parameter columns.
•• Map: Most conditions are numerical relationships, and the condition is met if the incoming MIDI event value satisfies the condition. The last condition, Map, works a little differently. Two numerical parameters are specified, and the incoming value is first converted by the map, to create a mapped value. The mapped value is then compared with the two parameters to see if it falls inside them.
Define the operation for all other event parameter columns mm Choose one of the following operations for the Channel, First or Second Data Byte, and Length columns (as required). One or more value fields will appear below the respective operations pop-up menus. •• Thru: The event passes through unaltered. •• Fix: Fixes the event parameter to the set value.
•• Crescendo: This only works if the Inside Position selection condition is selected (crescendos need start and end points). Crescendo creates a smooth alteration of the current parameters, between the set value boundaries. •• Rel.Cres: This only works if the Inside Position selection condition is selected.
Exchange parameter values You can reroute the value of each of the three event parameters—Channel, Data Byte 1, and Data Byte 2—to the value of a different parameter from this group. Replace the source (Condition value) with the target parameter value mm Click the dots on the lines between the Selection Conditions and Operations areas. Repeated clicks cycle between different targets. Note: The value is exchanged before the operation is performed.
MIDI Transform window examples This section provides several usage examples for the MIDI Transform window. Add a mod wheel controller event (#1) with a value that matches the note’s velocity 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Copy selected events, then apply operations. •• Selection Conditions area: Set Status to Note. •• Operations area: •• Set Position to Add, then enter a value of 1 in the field below it.
Convert MIDI note events to MIDI controller 1 events 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Apply operations to selected events. •• Selection Conditions area: Set Status to Note. •• Operations area: •• Set Status to Fix, then choose Control in the pop-up menu below it. •• Set Pitch to Fix, then enter a value of 1 in the field below it.
Randomly change the pitch of MIDI note events 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Apply operations to selected events. •• Selection Conditions area: Set Status to Note. •• Operations area: Set Pitch to +-Random, and set the max deviation from the root note in the field below. If you set a value of 12, you’ll achieve a deviation of one octave up and one down (two octaves, around the root note, in other words). 2 Click Select and Operate.
Delete volume events (MIDI CC#7) from a MIDI region 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Delete Selected Events. •• Selection Conditions area: •• Set Status to Control. •• Set Data Byte 1 to a value of 7. 2 Click Select and Operate. Delete all controller events from a region 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Delete selected events. •• Selection Conditions area: Set Status to Control.
Create an ascending pitch pattern from notes of one pitch 1 Choose the following settings in the MIDI Transform window: •• Mode pop-up menu: Apply operations to selected events. •• Selection Conditions area: •• •• Set Status to Note. •• Set Position to Inside, then define the range. (Cresc. only works if the Inside Position selection condition is chosen, as crescendos need start and end points.) Operations area: Set Pitch to Cresc., then enter a value of D0 and G6 in the fields below.
Mix a project 16 Mixing overview When you mix a project, you balance the different parts and blend them into a cohesive whole. You can also add effects to alter the sound, use routing and grouping to control the signal flow, and use automation to create dynamic changes in your project over time. You do this in the Mixer, which opens below the Tracks area or as a separate window.
Choose a different Mixer view Do any of the following: mm Click the Single button to show the signal flow of the channel strip that corresponds to the selected track in the Tracks area. mm Click the Tracks button to show the signal flow of all channel strips that correspond to tracks used in the Tracks area. mm Click the All button to show the signal flow of all channel strips available in the project.
Mixer channel strips Channel strip types You use channel strips to process audio or MIDI information that is routed from tracks. The Mixer shows all channel strips in your project, including track channel strips, auxiliary and output channel strips, and the master channel strip. You can filter channel strips by type when Show Advanced Tools is selected in the Advanced preferences pane, displaying only those channel strips that you need for the task at hand.
•• MIDI channel strips: Used to control external MIDI tracks. MIDI data on these tracks is routed to a MIDI output port and channel, for control of MIDI sound modules and keyboards. Note: Bus and input channel strips are included for compatibility with earlier versions of Logic Pro. Signal routing and other bus channel strip functions are now handled by aux channel strips. Audio hardware inputs are now handled by audio channel strips.
Channel strip controls Each channel strip has a set of controls, which varies according to channel strip type. You can adjust the channel strip volume and pan position, mute and solo channel strips, add and adjust effects, and send the output to auxiliary or output channel strips.
•• Volume display: Shows the playback volume. •• Volume fader: Adjusts the playback volume of the channel strip signal. •• Level meter: Shows the level of the input signal—when playing an instrument or singing, for example. Amber and yellow signals are safe. Red indicates signal clipping. •• Mute button: Removes the signal from the overall composition so that it can’t be heard. •• Solo button: Isolates the signal from the overall composition so that it can be heard alone.
Set channel strip volume and check levels Peak level display and signal clipping The peak level display is a numerical display located above the level meter. It updates during playback to show the peak level reached, after the entire signal has been played through to the end, and provides a guide that should be used to set the Volume fader.
Reset all clipping indicators mm Click any clipping indicator (or use the Clear Overload Flag in Audio Channel Display key command). Set channel strip volume levels You can set the volume level of each channel strip independently, balancing the relative volume of the tracks in your project. You can also quickly switch between two different volume levels on a channel strip. Set a channel strip’s volume level Do one of the following: mm Drag the Volume fader up or down.
Set, and switch between, two different volume levels 1 Select an audio channel strip. 2 Drag the Volume fader to the level you want. 3 Use the Toggle Level of Audio Channel Strips key command. Note that the channel strip’s Volume fader is all the way down. 4 Drag the Volume fader to a different level. The Toggle Level of Audio Channel Strips key command now toggles between the two volume levels.
Check channel strip levels All channel strips feature a segmented level meter that shows the playback or input monitoring level. The input monitoring level is shown when you arm an audio track in preparation for recording. Peak level display showing signal clipping Volume fader Level meter The colors of the level meter segments provide an at-a-glance overview of individual channel strip monitoring levels: •• Amber and yellow: These signals are safe, and will not clip the channel strip output.
Set channel strip input formats The channel input format determines the mono, stereo, or surround state of the channel strip. The symbol on the button indicates the current state as follows: Mono Stereo Left Right Surround •• Mono: One circle represents a mono input format. The level meter shows a single column. •• Stereo: Two interlocked circles represent a stereo input format. The level meter divides into two independent columns when a stereo input format is chosen.
Set channel strip pan or balance positions Instead of having instruments compete with one another in a mix, you can separate elements by positioning audio and instruments in the stereo mix from left to right. Typically, you want to have the most important tracks (lead vocals, solo instruments, drums, bass) positioned in the center of the mix, and have other tracks (rhythm instruments, instruments doubling the melody) to the sides.
Mute and solo channel strips You can silence (mute) a channel strip so that you don’t hear it when you play the project. Muting channel strips is useful when you want to compare how the project sounds with and without the target track, compare alternative versions of a track, or try different loops in a project. You can also listen to a channel strip signal alone (solo), silencing all other channel strips.
Make a channel strip solo-safe mm Control-click an inactive Solo button. A red slash across the Solo button indicates that the channel strip is solo-safe. The channel strip will not mute when you solo another channel strip. Control-click again to deactivate the channel strip’s solo-safe state.
Work with plug-ins Plug-ins overview Plug-ins can be broken down into the following categories: •• Audio effects: Can be inserted in audio, instrument, aux, and output channel strips. Logic Pro offers a range of digital signal processing (DSP) effects and processors that are used to color or tonally shape existing audio recordings, software instruments, and external audio sources—in real time. •• MIDI effects: Can only be inserted in instrument channel strips.
Add an audio effect plug-in Do one of the following: mm Click an Audio Effect slot, then choose a plug-in from the pop-up menu. The last visible empty Audio Effect slot in a channel strip is shown at half its height; use it in the same way. mm Option-click an Audio Effect slot. You can now choose legacy plug-ins from the pop-up menu. Add an instrument plug-in Do one of the following: mm Click the Instrument slot, then choose a plug-in from the pop-up menu.
mm Option-click an Instrument slot. You can now choose legacy plug-ins from the pop-up menu. Replace a plug-in mm Place the pointer over the plug-in slot, click the pull-down arrows that appear to the right, then choose a plug-in to replace the existing one. Remove a plug-in mm Place the pointer over the plug-in slot, click the pull-down arrows that appear to the right, then choose No Plug-in from the pop-up menu.
Bypass a plug-in If you want to deactivate a plug-in, but don’t want to remove it from the channel strip, you can bypass it. Bypassed plug-ins don’t drain system resources. Do one of the following: mm Place the pointer over the plug-in slot, then click the Bypass button that appears to the left. mm Click the center area of the plug-in slot to open the plug-in window, then click the Bypass button at the left side of the plug-in window header.
Work in the plug-in window You edit plug-in parameters in the plug-in window, which opens automatically when you insert a plug-in. Note: You can turn off this behavior by deselecting the “Open plug-in window on insertion” checkbox in the Logic Pro > Preferences > Display > Mixer pane. The header area at the top of a plug-in window is common to all plug-ins.
Switch the plug-in parameter view mm Choose Editor or Controls from the plug-in window’s View pop-up menu. Editor view shows the plug-in’s graphical interface, if it offers one. Controls view displays all plug-in functions as a set of horizontal sliders, with numerical fields to the left of each parameter. These fields are used for both the display and entry of data. Link or unlink plug-in windows mm Click the Link button to the right of the plug-in window header.
Hide or show additional parameters (if available for the plug-in) mm Click the disclosure triangle at the bottom-left corner of the plug-in window. Work with plug-in settings Plug-in settings are stored with the project file and are automatically recalled the next time the project is opened. In the plug-in window, you can load, copy and paste, compare, save, create default, and delete plug-in settings. You can also load, save, and delete plug-in settings in the Library.
Compare edited plug-in parameters with the original setting You can audition your audio or instrument track through two variations of a plug-in. 1 Adjust any of the plug-in parameters. The Compare button turns blue, indicating that you have made changes, but have not saved the edited settings in the project. 2 Click the Compare button to listen to the setting that was originally saved with the project. The Compare button turns black.
Work with plug-in latencies Audio processed through plug-ins is subject to small timing delays, known as latency. For example, a software instrument running inside Logic Pro will only have an output latency, because it’s generated inside the application. An audio recording that is being monitored in real time will have both an input and an output latency. These two values are summed, resulting in an overall monitoring latency figure.
Use the Audio Units Manager Logic Pro uses the Apple Audio Units Validation Tool to ensure that only plug-ins that fully comply with the Audio Units specification are used in Logic Pro. This minimizes problems that may be caused by third-party Audio Units plug-ins. The Audio Units validation process takes place automatically when Logic Pro is first opened, when an updated version of Logic Pro is installed, and when you install new Audio Units plug-ins, or update existing ones.
Work with channel strip settings Channel strip settings (CST files) are specific to each channel strip type. Instrument channel strips feature a number of instrument settings, separated into instrument, GarageBand, and Jam Pack categories. Audio channel strips offer effect routings optimized for particular instrument, vocal, and other processing tasks. Similarly, output and auxiliary channel strips provide channel strip settings for particular mastering or sweetening processes.
Control channel strip signal flow in the Mixer Route audio via insert effects When a plug-in is inserted directly into a channel strip, it is termed an insert effect. The channel strip’s entire signal is processed by the effect plug-in. This behavior is suitable for equalizers or dynamic effects, such as compressors. If you have enough processing capacity, you can use up to 15 insert effects on each channel strip.
Route audio via send effects You use send effects when you want to isolate effect plug-ins from a channel strip’s signal flow, or when you want to use the same effect on more than one channel strip. By creating a send, you split the channel strip’s signal. The channel strip’s main signal continues its route to the chosen output. The other part of the signal is routed down a parallel path, via a bus to an aux channel strip. You use the Send Level knob to control the amount of signal that is sent via the bus.
Use aux channel strips Aux channel strips overview Aux channel strips can be used to create subgroups, to submix, to route a signal to multiple destinations, and as additional destination channels for multi-output instruments. Typically, you create aux channel strips as you need them. There are three ways to do this: •• An aux channel strip is created automatically when a send assignment is made from a channel strip, except when the chosen bus is already in use as an input source on another channel strip.
Send signals to multiple destinations You can route a signal to several output destinations, using aux channel strips. For example, you might have a main signal with the output destination set to external speakers. At the same time, you want to hear the signal as a separate headphone mix, including some additional effects. To do this, you would set up two separate output destinations for your signal, with the aux channel strips controlling the headphone mix, including the additional effects.
Insert and set up a multi-output instrument 1 Click-hold the respective Instrument slot, then choose the multi-output instance from the pop-up menu. The first two outputs of a multi-output instrument are always played back as a stereo pair by the instrument channel strip that the plug-in is inserted into. Additional outputs (3 and 4, 5 and 6, and so on) are accessed via aux channel strips. 2 In the plug-in window, set up the output routing for individual sounds or samples.
An aux channel strip is created to the right of the multi-output instrument channel strip. Use this new channel strip to isolate and route a sound for independent mixing and processing. 4 Repeatedly click the Add button (+) to create more aux channel strips, for all stereo or mono outputs available to the instrument plug-in. You should create only as many aux channel strips as are required for the number of outputs used by the multi-output instrument.
Use output channel strips By default, a project contains one output channel strip that takes the signal from all the individual tracks in the project. You add additional output channel strips to assign submixes, or to prevent them from being controlled by the master channel strip. When using output channel strips in this way, you can’t apply any further send effects to the signal flow, as you would using aux channel strips.
Define a channel strip’s stereo output In Logic Pro, you can choose the physical output pair on which the stereo output is played. By default, it’s played on Stereo Output (Output 1-2). However, you can easily change the stereo output preference—if you’re exchanging projects with another studio that uses a different output pair, for example. You can also define the output pair for individual channel strips in the Mixer. Define the stereo output for a channel strip 1 Choose Logic Pro > Preferences > Audio.
Work with channel strip groups in the Mixer Grouping overview The channel strip grouping feature is only available when Show Advanced Tools is selected in the Advanced preferences pane. Prior to mixing, you may find it useful to define some logical channel strip groups. You could, for example, group all drum channel strips under one drum group.
•• Volume checkbox: When selected, changing the Volume fader of one track changes the volume level of all tracks in the group. The channel strips continue to maintain their relative volume levels. •• Mute checkbox: When selected, changing the mute state of one track changes the mute state of all tracks in the group. •• Input checkbox: When selected, changing the input state of one track changes the input state of all tracks in the group.
Edit channel strip group membership You can add a channel strip to, or remove a channel strip from, single or multiple groups. You can also temporarily disable all group parameter links—applying a Group Clutch—to change the volume of an individual channel strip, for example. Add a channel strip to a group mm Click the channel strip’s Group slot, then choose a group from the pop-up menu.
Automate groups When you automate your mix functions (volume, pan, mute, and so on), any channel strip group member can act as the mix automation master for that group. When you use that group member to write an automation parameter value, it’s also written for the other group members, depending on their automation mode. The data is written individually for each channel strip.
Binaural panning in the Mixer Binaural panning overview An important part of mixing audio signals is the placement of individual sound sources at different spatial positions. Most common recording and mixing techniques simply send a given signal at different levels to the available loudspeakers—two for stereo, or more for quadraphonic or surround setups—to create a virtual sound stage.
Use the Binaural Panner The Binaural Panner is available when Surround is selected in the Advanced preferences pane. By setting the channel strip’s output to Binaural, you can use the Binaural Panner to position the signals on the panning plane. The signal that results from using the Binaural Panner is best suited for headphone playback.
Open the Binaural Panner 1 Click-hold the channel strip’s Output slot (on mono or stereo channels), then choose Binaural from the pop-up menu. The Binaural Pan control replaces the Pan knob. 2 Double-click the Binaural Pan control to open the Binaural Panner. Control the binaural pan position 1 Drag the left or right puck (panning pucks) to make the stereo image wider or narrower. The pucks also work on a second axis—up and down—relative to the third puck.
•• If set to Spherical, the results are placed on a virtual sphere. If it helps, imagine the sphere as a virtual head. When the direction puck is placed in the top half of the circular plane, the sound is in front of the listener. As the direction puck is moved toward the lower half of the plane, the sound passes up, and over your head, and ends up behind you. 4 Set the size of the plane or sphere by doing one of the following: •• Drag the Size field value up or down.
Use the Binaural Post-Processing plug-in The Binaural Post-Processing plug-in is available in aux and output channel strips. This plug-in allows you to apply various compensation modes on a stereo bus or output, through which several, or all, binaural signals are routed. This saves CPU power and makes it easy to switch between compensation modes. For full details about this plug-in, see the Logic Pro Effects manual.
Work with MIDI channel strips in the Mixer MIDI channel strips overview MIDI channel strips in the Mixer work as remote controls for the mixing parameters of your MIDIcontrolled sound modules and synthesizers, such as volume and pan. Program Bank Assign 1 to 5 •• Program buttons: Use to select a sound by name. Click one to open a pop-up menu that contains either GM sound names (the default setting) or sound names created or imported by the user.
Adjust elements of MIDI channel strips On MIDI channel strips, you can adjust the volume level and pan position, control MIDI data transmission, and assign controller data. Adjust the volume of a MIDI channel strip mm Drag the Volume fader up or down. Controller #7 is sent via your MIDI interface. Set the pan position of a sound mm Drag the Pan knob vertically. Controller #10 is sent via your MIDI interface. Stop or start the sending of MIDI data from the MIDI channel strip mm Click the Mute button.
Customize the Mixer Change the Mixer view When the number of channel strips in the Mixer exceeds the amount of available space, you can change the Mixer view. You can use the Single, Tracks, or All button to display only those channel strips that you need for the task at hand, or filter channel strips by type, using the channel strip filter buttons. You also have the option of working with narrow channel strips or hiding the legend that appears on the left side of the Mixer.
View channel strips linked to folder tracks A folder track in the Tracks area is represented by a channel strip in the Mixer. Note: Make sure that View > Folder Tracks is chosen from the Mixer menu bar. Folder track Enter a folder Do one of the following: mm Double-click the folder track in the Mixer. mm Double-click the folder region in the Tracks area. mm Select the folder, then use the Go Into Folder or Region key command. The Mixer now displays only those channel strips that are in the folder track.
Add track notes You can view, add, edit, and delete track notes in the Mixer. You can also access track notes in the Note Pad. In the Mixer, you can’t change the text format and you can’t view or edit any text after the first line break. Access notes in the Mixer Do one of the following: mm Choose View > Channel Strip Components > Notes from the Mixer menu bar. mm Control-click the Mixer, then choose Track Notes from the shortcut menu.
Use the I/O Labels window You can use the I/O Labels window to define names for all channel strip Input, Output, and Send menu items, which can be used in place of defaults such as “Input 1” or “Output 8.” Open the I/O Labels window Do one of the following: mm Choose Mix > I/O Labels. mm Choose Options > I/O Labels from the Mixer menu bar. Choose a device from the Device pop-up menu, if you have multiple audio interfaces.
Adjust channel strips when recording or playing You can adjust channel strip controls when recording or playing your project, but you first need to prevent the track selection from changing. Prevent the track selection from changing when recording mm Make sure Options > Change Track in Record Mode is not chosen in the Mixer menu bar. Prevent the track selection from changing when playing your project mm Make sure Options > Change Track in Play Mode is not chosen in the Mixer menu bar.
Automate mix and effects settings 17 Automation overview Automation refers to recording, editing, and playing back the movements of faders, knobs, and switches. Using automation, you can create changes over time to volume, pan, and other settings. You can add automation to all track types. Each track in your project has automation curves for volume and pan, and you can add curves to automate plug-in settings.
Show track automation curves Before you can add control points to a track’s automation curves, you need to show the track’s curves. Automation curves are displayed on top of audio and MIDI regions across the track, running the length of the project. Automation is represented by colored curves and points. After you show the track’s curves, you can choose which parameter you want to work with— Volume fader, Pan knob, or any other track parameter.
Choose the parameter you want to automate Do one of the following: mm Choose a parameter from the Automation Parameter pop-up menu in the track header. Automation Parameter pop-up menu mm Control-click the track lane, then choose an automation parameter from the shortcut menu that appears. Volume, pan, solo, and mute are shown in the pop-up menu. A submenu is also shown for each plug-in on the track. These are numbered and named after the slot position and plug-in: 1 EXS24, for example.
Add, remove, and reorder automation subtracks Do any of the following: mm To add a subtrack: Place the pointer over the subtrack header, then click the “+” that appears. mm To remove a subtrack: Place the pointer over the subtrack header, then click the “x” that appears. The selected subtrack is removed without deleting its automation. mm To reorder subtracks: Drag the subtrack up or down. Tip: You may find it easier to work with automation curves at a higher zoom level.
Choose automation modes Automation modes determine how automation tracks are treated. Automation is either off, being read, or being written. You can independently set the automation mode for each track. •• •• •• •• •• Off: Hides any automation that exists on the track, without deleting it. Read: Plays back all automation that exists on the track. If volume data exists, for example, the Volume fader will move during playback, following the prerecorded automation on the track.
Add automation to tracks Add and adjust control points To create changes over time to volume, pan, and effects settings, you add control points to a track’s automation curve at different places, and then adjust the control points so the value of the setting changes. You can adjust control points by moving them up or down to a new value, or by moving them left or right to a new point in the timeline. Numerical values are displayed alongside each control point.
Adjust a range of control points You can adjust the automation data for an entire track in one go. If the track is part of a group, and if the relevant settings are selected in the group inspector, the track automation data across all tracks in the group will adjust accordingly. However, the relative parameter values of each track are maintained.
Select, copy, move, and delete automation Select, copy, and move automation After you create control points and curves, you can easily change things to meet your needs. You can copy automation within a track or between tracks and can move automation within a track. When moving regions, you can choose whether or not to move any existing automation with it. You can only use the Automation Curve tool to bend automation curves when Show Advanced Tools is selected in the Advanced preferences pane.
Move a region selection with its automation 1 Drag across the region with the Marquee tool. 2 Choose Edit > Copy from the Tracks area menu bar. 3 Select the track you want to copy the automation data to, then move the playhead to the insertion point. 4 Choose Edit > Paste from the Tracks area menu bar. The region selection, along with its automation, is copied to the target track at the playhead position.
Snap automation to grid positions You can snap track automation to grid positions. When snapping is available, and Show Advanced Tools is selected in the Advanced preferences pane, you can also offset automation, by moving it slightly forward or backward in time. Offsetting automation compensates for any audio hardware latencies, excessive processor loads, or plug-in delays. Snap control points to the chosen Snap grid value mm Choose Snap Automation to Absolute Values from the Snap pop-up menu.
Edit automation in the Automation Event List When Show Advanced Tools is selected in the Advanced preferences pane, you can edit automation in a dedicated Automation Event List window. Open the Automation Event List window mm Use the Automation Event List key command. Edit track automation mm Edit individual events in position, length, value, and so on.
The Done button changes into a Learn Message button. Clicking the Learn Message button allows you to assign a new controller for Automation Quick Access. Clicking the Edit button opens the Controller Assignments window, where you can assign the controller manually. See the Logic Pro Control Surfaces Support manual for more information. Once set up, you will have hardware control over the active automation parameter on the current track.
A MIDI Draw area is displayed below the editing area. You can choose event types from the MIDI Draw pop-up menu to the left of the MIDI Draw area. Turn MIDI Draw off mm Choose View > MIDI Draw > Off from the Tracks area menu bar. Set the MIDI channel mm Choose View > MIDI Draw > Channel from the Tracks area menu bar, then select a channel number. Define other MIDI controllers 1 Choose View > MIDI Draw > Other from the Tracks area menu bar.
18 Use Smart Controls Smart Controls overview Smart Controls let you control the sound of the selected track using a set of onscreen controls. Smart Controls can control both channel strip and plug-in parameters, including software instruments (on software instrument tracks) and effects (on audio, software instrument, and Drummer tracks). Smart Controls provide a quicker alternative to opening plug-in windows and adjusting individual parameters. Each Smart Control has a set of screen controls.
Choose a Smart Control layout Each Smart Control features a layout, with a background graphic and a set of screen controls in a defined order. Each layout is designed for a particular type of instrument or track. If the selected track doesn’t contain plug-ins, an empty layout is displayed. When Show Advanced Tools is selected in the Advanced preferences pane, you can choose a different layout for the current Smart Control to change the number or arrangement of screen controls.
Map screen controls automatically When you choose Automatic Smart Controls as the layout, all screen controls are mapped automatically. You can also automatically map screen controls for a Smart Control for which you have chosen a layout, in which case Logic Pro determines an appropriate mapping for the screen controls. Automatic mapping is useful when you have added plug-ins to an empty channel strip, for tracks with Apple Loops, and with projects created in previous versions of Logic Pro.
Map screen controls to channel strip and plug-in parameters When Show Advanced Tools is selected in the Advanced preferences pane, you can map screen controls to channel strip and plug-in parameters for the selected track. Each screen control can be mapped to one or more channel strip or plug-in parameters for the selected track. Parameter mappings are saved with the patch. You can map screen controls using either the Learn process, or the Parameter pop-up menu in the Smart Control inspector.
Map a screen control using the Parameter Mapping pop-up menu 1 In the Smart Controls pane, click the the Inspector button in the Smart Controls menu bar. 2 Select a screen control. 3 In the Smart Control inspector, click the Parameter Mapping disclosure triangle. 4 In the Parameter Mapping area, click the parameter name (if the screen control is already mapped) or the word Unmapped, then choose a channel strip or plug-in parameter from the Parameter Mapping pop-up menu.
Copy all mappings for a screen control 1 In the Smart Controls pane, click the Inspector button in the Smart Controls menu bar. 2 Select the screen control. 3 In the Smart Control inspector, click a mapping, then choose Copy All Mappings from the Parameter Mapping pop-up menu. 4 Click any parameter name, then choose Paste Mappings. The copied parameters replace the existing ones.
Edit mapping parameters When Show Advanced Tools is selected in the Advanced preferences pane, you can set the maximum and minimum range values and invert the range for the selected parameter mapping in the Parameter Mapping area of the Smart Control inspector. Each mapping can have its own values, including multiple mappings for the same screen control. You can also scale input values using the parameter mapping graphs.
Edit the graph 1 Do any of the following: •• Click a curve button (in the upper-left part of the window) to use one of the preset curves. •• Click the curve at the location where you want to add a control point, then drag the control point to the desired value. Drag horizontally to change the input value, or vertically to change the output value. As you drag, the current values of the control point appear next to the pointer.
Rename a screen control When you map a screen control, it takes the name of the parameter to which it is mapped (in the case of multiple mappings, the first mapped parameter). The screen control name appears in the Smart Control inspector above the Parameter Mapping area. When Show Advanced Tools is selected in the Advanced preferences pane, you can change the name in the Smart Control inspector.
Compare an edited Smart Control with its saved settings While you’re working with a Smart Control, you may want to compare your edits to the saved settings to hear how your changes affect the sound. The Compare function only compares changes to parameters to which screen controls are mapped; other parameter changes are not included in the comparison. Compare your edits to the saved Smart Control settings mm Click the Compare button in the Smart Controls menu bar.
Automate screen control movements You can automate the movements of screen controls, just as you can automate plug-in parameters. When you automate a screen control, the actual screen control movements, rather than underlying parameter values, are written. Automation for multi-mapped screen controls is retained even when the underlying plug-in is changed or removed. However, if all of the plug-ins to which the screen control is mapped are removed, the automation is deleted.
Make global changes to a project 19 Global changes overview In addition to working with individual tracks, regions, and channel strips, you can manipulate different aspects of an overall project. •• You can control the overall project volume using the Master Volume slider, the master track, or the master channel strip. •• You can tag different parts of a project, then select and edit those parts, using markers.
Use the global tracks Global tracks overview Logic Pro includes a set of global tracks that you can use to control different aspects of the overall project. You can show global tracks in the Tracks area and in the time-based editors (including the Audio Track Editor, Piano Roll Editor, and Step Editor). When you show the global tracks, they appear below the ruler for that particular area.
Show or hide individual global tracks Do one of the following: mm Choose Track > Global Tracks, then choose specific tracks from the submenu. mm Control-click anywhere in the global tracks header area, then choose specific tracks from the shortcut menu. Tip: You can show or hide the Marker track by clicking the Marker track button track headers.
Resize and reorder global tracks You can resize the entire global tracks area, and resize global tracks individually. You can also change the order of global tracks. Resize the overall global tracks area mm Position the pointer over the line separating the global tracks from the Tracks area (or editor) workspace, then drag up or down. Resize individual global tracks mm Position the pointer over the lower dividing line for the global track, then drag up or down.
Work with markers Markers overview You can use markers to tag different parts of a project, and quickly select the parts for playback, arranging, and editing. Markers can help you organize your project, and also act as storage areas for locator positions. There are several ways to create and edit markers in Logic Pro. You can view and edit markers in the following work areas: •• Marker track: Displays markers as rectangular sections. You can select, copy, move, or resize markers in the Marker track.
Show the Marker track Do one of the following: mm Choose Track > Global Tracks > Show Global Tracks, or use the Show/Hide Global Tracks key command (G). mm Click the Global Tracks button mm Click the Marker Track button . . If the Marker track is not visible, Control-click anywhere in the global tracks header area, then choose Marker in the dialog that appears. For more information, see Show and hide global tracks on page 557.
Create markers You can create a marker at any position in your project. When you create a marker, it can be rounded to the nearest quarter note, to the nearest bar, or not rounded. You can use the Create Marker key commands to add markers during playback. Create a marker rounded to the nearest quarter note In the Marker track, do one of the following: mm Place the playhead at the position where you want to create a marker, then click the Create Marker button .
Create markers at the positions of all selected regions Do one of the following: mm In the Marker track: Click-hold the word Marker, then choose Create Markers From Regions from the shortcut menu. mm In any working area: Use the Create Marker by Regions key command. Markers created in these ways are automatically assigned the names, bar position, length, and color of the regions they are derived from. Create a marker corresponding to the cycle area mm Drag the cycle area to the Marker track.
Edit markers You can copy and move markers, adjust their lengths, and color them. You can also change the appearance of marker text in the Marker Text window (or area). Copy a marker Do one of the following: mm In the Marker track: Option-drag the marker. You can also copy a marker, move the playhead to the position where you want to paste the copy, and then paste it. mm In the Marker List: Use the Copy (Command-C) and Paste (Command-V) commands.
Protect the position of selected markers There are times when you may want to protect markers from being moved. Logic Pro has a feature that preserves the absolute time position of events. mm Choose Options > Lock SMPTE Position in the Marker List (or use the corresponding key command). This command locks (fixes) the time position of markers, and a lock symbol is displayed at the beginning of the marker name.
Change the length of a marker Do one of the following: mm In the Marker track: Place the pointer over the left or right edge of the marker. When the pointer changes to a Resize pointer, drag the marker edge to the new position. mm In the Marker List: Use the pointer as a slider in the Position field, or double-click a position value and enter a new value. Markers cannot overlap. The edge of one marker cannot be dragged over another marker.
Change the appearance of marker text 1 Double-click the marker text you want to change. 2 Click the Font button in either the Marker Text window or the Marker Text area. 3 Choose settings in the Font window. The text in the Marker Text window changes to match the settings. The text in the Marker track is not affected.
Rename markers Newly created markers (except markers derived from regions) are named “Marker ,” where “” reflects the order in which the marker appears along the ruler (resulting in “Marker 1,” “Marker 2,” and so on). This numbering depends on the order of all markers in the project, including markers that have been renamed. Markers can be renamed in the Marker track, in the Marker Text area of the Marker List, or in the Marker Text window.
Edit a marker name in the Marker List 1 Do one of the following: •• Select the marker name and click the Marker Text Edit button. •• Select the marker name and double-click in the Marker Text area. •• Double-click the marker in the Marker Name column. 2 Enter the new marker name in the Marker Text area. Edit a marker name in the Marker Text window 1 Select the marker in the Marker List. 2 Do one of the following: •• Click the Marker Text Edit button. •• Double-click in the Marker Text area.
The first portion of text in the window is used as the marker name. All text below the first paragraph is also displayed in the Marker track, if space allows. (You can resize the Marker track to view all text.) This space can be used for musical or technical notes, for example. In this scenario, the marker color appears only in the title line, with the remaining text displayed white on gray.
Navigate using markers You can navigate through your project using markers. This is useful when you want to quickly jump to, and edit, regions or events at a specific position in your project, for example. Move the playhead to a marker Do one of the following: mm Hold down Option and click the marker in the Marker track. mm Use the Go to Marker Number 1 to 20 key commands (20 different commands). The marker numbers in these commands refer to the (serial) order of all markers in the project.
Use marker sets When Show Advanced Tools is selected in the Advanced preferences pane, you can create marker sets, and choose between different marker sets in a project. Only markers that are part of the current set appear in the Marker track and Marker List. When you create new markers, they become part of the current marker set.
Use marker information from imported audio files When you record or bounce an audio file, the current Marker List is added to the file. In some situations, you may want to import marker information from an audio file that was recorded in a different project. Import marker information from an audio file mm Choose Navigate > Other > Import Marker from Audio File. You can also export the current Marker List within the borders of any selected audio region to an audio file.
Build a project with arrangement markers Add arrangement markers You can add arrangement markers to a project to create different sections, such as an intro, verse, and chorus, and then move the sections in the Tracks area to quickly rearrange the project. Arrangement markers can be particularly useful when you have added some material (recordings, loops, or media files) to the project and want to try out different arrangements. By default, arrangement markers are eight bars long.
Edit arrangement markers After you add arrangement markers to the arrangement track, you can use them to rearrange your project. You can select arrangement markers, move and copy them, replace them, and delete them from the arrangement track. When you move or copy an arrangement marker, all of the regions in that section of the project are moved or copied, including the markers on every track in the section, and the control points on every automation curve in the section.
Work with time and key signatures Time and key signatures overview Time and key signatures are global events that affect all tracks in a project. When you create a new project, you can set the time and key signature in the Project Chooser. You can view time and key signatures in the Signature track, the Signature List, and the Score Editor, and add and edit signature changes in a variety of ways. The initial time signature and key signature are project properties.
Open the Signature List Do one of the following: mm Click the List Editors button , then click Signature. mm Shift-double-click in the Signature track. The Signature List displays time and key signatures in a numerical list, and also displays global score symbols such as repeat signs, double bar lines, and so on. Create time signature changes When you create a new project, by default it has one time signature that lasts for the entire project.
Create key signature changes When you create a new project, by default it has one key signature that lasts for the entire project. When Show Advanced Tools is selected in the Advanced preferences pane, you can add key signature changes to a project in the Signature List, Signature track, or Score Editor. Create a key signature change Do one of the following: mm Click the word Time in the Signature List and choose Key from the pop-up menu, then click the Add Signature button .
Split a signature mm In the Signature track, use the Scissors tool to cut bars. For example, to divide one 5/4 measure into a 3/4 and a 2/4 measure, cut the measure at the fourth beat. If you make a cut in the middle of a bar—in a section where the time signature doesn’t change—two corresponding shorter measures are inserted, with the original time signature resuming after the cut. Merge signatures mm In the Signature track, Shift-click the signatures with the Glue tool.
Use signature sets When Show Advanced Tools is selected in the Advanced preferences pane, you can create signature sets, and choose between different marker sets in a project. Only signatures that are part of the current set appear in the Signature track and Signature List. When you create new signatures, they become part of the current signature set. Create a signature set mm In the Signature List, choose New Set from the Signature Set pop-up menu.
Work with tempo Tempo overview Every project has a tempo, which is expressed in beats per minute (bpm). You can set the tempo in the Project Chooser when you create a project, and change it later while you are working. You can set the project tempo in the LCD in the control bar. By default, the tempo for new projects is 120 bpm.
Show the Tempo track Do one of the following: mm Choose Track > Global Tracks > Show Global Tracks, or use the Show/Hide Global Tracks key command (G). mm Click the Global Tracks button . If the Tempo track is not visible, Control-click anywhere in the global tracks header area, then select Tempo in the dialog than appears. For more information, see Show and hide global tracks on page 557.
Add and edit tempo control points In the Tempo track, tempo changes appear as tempo control points. You create tempo changes by adding control points, then editing their values. You can move and copy control points, create tempo curves, and edit control points in other ways. Add a tempo control point Do one of the following: mm Double-click the target time position with the Pointer tool. mm Click the target time position with the Pencil tool.
Move and copy tempo control points You can move and copy tempo control points in a number of ways: Move a tempo control point in time mm Drag the control point left or right. Move the selected tempo control point to the current playhead position mm Use the Move Region/Event to Playhead Position (Pickup Clock) key command. Move the selected tempo control point, replacing the previous one mm Control-click a control point, then choose Extend Left from the shortcut menu.
Create tempo curves in the Tempo track You can create a continuous transition, or tempo curve, between two tempi using a tempo curve. Create a tempo curve between two tempi 1 Select the two tempo control points. 2 Click-hold and drag the tip of the right angle line (the corner) above or below the second control point. A curve or diagonal line results (a Move Curve Node help tag is shown), which can be dragged— horizontally or vertically—to alter the curve shape.
Use the Tempo List Tempo List overview When Show Advanced Tools is selected in the Advanced preferences pane, you can view and edit tempo changes in the Tempo List. You can open the Tempo List in the main window, or as a separate window. Open the Tempo List in the main window mm Click the List Editors button in the control bar, then click Tempo. Open the Tempo List as a separate window mm Drag the Tempo List out from the main window.
Move the selected tempo change event to the current playhead position mm Use the Move Region/Event to Playhead Position (Pickup Clock) key command. Display additional events in the Tempo List mm Click the Additional Info button. All tempo change events, including those located on the tempo curve, are displayed in the Tempo List. Delete a tempo change event in the Tempo List Do one of the following: mm Click the tempo change event with the Eraser tool.
Create tempo changes using Beat Detection When Advanced Editing options is selected in the Advanced preferences pane, you can use Beat Detection to find the average tempo of one or more selected audio or MIDI regions. The Beat Detection process detects up to five tempi across the selected regions, and displays the reliability of each estimate, from highest (most reliable) to lowest (least reliable). The highest value is selected by default.
3 Set the following parameters, as required. •• •• Create Tempo Change: Select one of the following options: •• Globally: Uses the resulting tempo across the project. •• At Selection Start and End: Uses the resulting tempo from the region selection start point up to the selection end point, then changes back to the previously valid tempo.
Match audio recordings to the project tempo The length of imported audio regions is linked to the project tempo. If you add a tempo change at a particular ruler position, the length of regions changes, starting from that position. The playback speed of the imported regions doesn’t change, but all MIDI regions will be out of sync with all audio regions.
Make audio recordings follow the project tempo mm Select the audio region in the Tracks area, then select the Follow Tempo and Pitch checkbox in the Region inspector. The Follow Tempo and Pitch checkbox is synchronized for all regions that make use of the same audio file. Convert a selected audio region to an Apple Loop mm Choose Functions > Open in Apple Loops Utility from the Tracks area menu bar.
Match the tempo to an audio region You can adjust the project’s tempo to match the tempo of an audio region. The length of the region remains constant, and the tempo changes to match the region. For example, imagine you have imported a one-bar drum loop that doesn’t match your project tempo. The drum loop adapts to your project tempo, becoming shorter or longer than one bar.
Use tempo information from audio files When you record or bounce an audio file, the current Tempo List is added to the file. You can then use the saved tempo information for importing or exporting purposes. In some situations, you may want to import tempo information from an audio file that was recorded in a different project. The tempo of the selected audio file is used in place of the project tempo, but only within the borders (start and end points) of that file in the Tracks area.
Use Tempo Operations Tempo Operations overview When Advanced Editing options is selected in the Advanced preferences pane, you can use the Tempo Operations window for greater control of the project tempo. You use Tempo Operations to create tempo changes, and edit existing tempo changes. The window automatically displays the area you’ve selected for editing. Changes are displayed graphically in real time, as the tempo curve is processed, so you can see the results of your edits.
Create a tempo change in the Tempo Operations window 1 In the Tempo Operations window, choose Operation > Create Tempo Curve. 2 Use the Position or Time field to define the area that the tempo change should take place across: the left field sets the curve start point and the right field, the curve end point. 3 Enter start and end tempos in the Tempo line. 4 Select a curve type. Three kinds of tempo curves are available from the Curve Type pop-up menu.
Thin out (reduce) tempo changes mm In the Tempo Operations window, choose Operation > Thin Out Existing Tempo Changes. The Position or Time field defines the start and end points of the area to be processed. Density determines the number of tempo change events that remain per bar after processing. You can select values between one tempo change event per bar (1/1) and 32 per bar (1/32). Randomize tempo changes 1 In the Tempo Operations window, choose Operation > Randomize Tempo.
•• Tempo Response: Sets the sensitivity to tempo changes: the larger the value, the greater the sensitivity. You should set this value to 4, for most situations. If you find that your tap timing is imprecise, but want Logic Pro to play at a relatively constant tempo, reduce this value to 2 or so. •• Max. Tempo Change: Use this parameter to set the maximum tempo change possible per tap (in bpm).
Control tempo changes with the tempo fader When Advanced MIDI Options is selected in the Advanced preferences pane, you can create a real-time tempo fader in the Environment window by choosing New > Fader > Specials > Tempo Control. This fader can control the project tempo (using Meta event #100). There is no need to connect this fader to anything, unless you want to record its output. A tempo fader has a range of possible values from 50 to 177 bpm.
Work with transposition Transposition overview When Show Advanced Tools is selected in the Advanced preferences pane, you can you can transpose (change the playback pitch of ) MIDI regions and Apple Loops in a project over time using the Transposition track. The Transposition track contains control points for pitch changes (transposition events). The project transposes at the position of the control point, and remains at the new transposition value until the next control point.
Show the Transposition track 1 Do one of the following: •• Choose Track > Global Tracks > Show Global Tracks, or use the Show/Hide Global Tracks key command (G). •• Click the Global Tracks button . In the Tracks area, the Global Tracks button appears above the track headers; in the editors, it appears on the left side of the editor. 2 Control-click anywhere in the global tracks header area, then select Show Transposition in the dialog that appears.
Work with beat mapping Beat mapping overview When Show Advanced Tools is selected in the Advanced preferences pane, you can access the Beat Mapping track. Beat mapping lets you map notes that don’t follow a strict tempo with beats in the ruler. When you play the project, the project tempo adjusts so that the beat-mapped notes are aligned with beats in the ruler. Beat mapping has the following uses: •• The metronome click reflects the beat-mapped tempo when you make subsequent recordings.
Use beat mapping on MIDI regions You can beat map MIDI regions to adjust the project tempo so that freely recorded notes in the regions align with beats in the ruler. Apply beat mapping to MIDI regions 1 Select the regions that you want to use for beat mapping. A representation of the selected regions appears in the Beat Mapping track. Tip: You may want to zoom in to work more precisely. 2 In the Beat Mapping track, click the first (leftmost) ruler position that you want to associate with a MIDI note.
Use beat mapping on audio regions Beat mapping audio regions works similarly to beat mapping MIDI regions. If the audio regions don’t contain tempo information, they must be analyzed to find transients (short amplitude peaks, usually at rhythmically prominent positions), which can be mapped to a ruler position, before you can use them for beat mapping. Transients appear as blue vertical lines in the lower part of the Beat Mapping track, aligned to peaks in the audio waveform.
There are a number of ways to improve the beat mapping accuracy of audio regions. When you choose Analyze Transients, those transients above a certain threshold are displayed. You can adjust the threshold using the Minus and Plus (–/+) buttons in the Beat Mapping track. Increasing the number of transients can be useful when beat mapping regions with less distinct accents—such as soft drums in a loud mix.
Automatically beat map regions Logic Pro can automatically beat map audio or MIDI regions using the Beats from Region command. You can select the note value to use for automatic mapping, and select the beat-mapping algorithm. Apply automatic beat mapping 1 Select the region you want to beat map. 2 Click the title “Beat Mapping” in the Beat Mapping track, and choose Beats from Region from the shortcut menu.
Control the overall project volume You can control the overall playback volume of a project using the Master Volume slider in the control bar, the master track in the Tracks area, and the master channel strip in the Mixer. Each acts as a master volume control for the overall project, and also affects the overall volume of the project mix. These controls don’t affect the playback volume of external MIDI channel strips.
View and edit music notation 20 Notation overview You can view MIDI regions in software instrument (and external MIDI instrument) tracks as music notation in the Score Editor. Notes and other musical events are displayed as standard notation, along with common symbols such as time and key signature, bar lines, and clef signs. You can add and edit notes, add sustain pedal markings and other symbols, and print the score.
When Additional Score Options is selected in the Advanced preferences pane, you can access the following options for more specialized notation projects.
The Score inspector, located to the left of the score display, includes the following areas that you use to control various aspects of the score: •• Region inspector: Control visual quantization and other display settings for regions in the score. •• Event inspector: Control appearance and position settings for individual notes and other items in the score. •• Part box: Select notes and other symbols to add to the score.
View tracks as music notation in the Score Editor The Score Editor displays MIDI regions on software instrument (and external MIDI instrument) tracks as music notation, including notes, rests, key and time signature, and clef signs. Bar lines show the division between measures. Gaps between regions are filled in to display a continuous staff. If the track contains software instrument Apple Loops, notation is displayed for each loop iteration, but only the original region of the loop can be edited.
Set the Link mode for the Score Editor mm To set the Link mode to :click the link button to Same Level: click the Link button in the Score Editor menu bar. mm To set the Link mode to :click the link button to Content: double-click the Link button in the Score Editor menu bar. For more information about using Link modes, see Control window relationships using Link mode. Move through score display levels mm To show a single track: Double-click the staff of that track (or select the track in the Tracks area).
Position items graphically in the Score Editor You can position items graphically to improve the readability of your score (creating space for a grace note, for example). There are three ways to position items: •• Using the Layout tool: The Layout tool is used to graphically move events in the Score Editor, in order to optimize the display without altering the timing of MIDI events.
Tip: To adjust a number of selected symbols to the same height above (or below) the staff, use the Align Object Positions Vertically key command. Move and copy items in the Score Editor In addition to moving and copying items using the pointer, you can also use the Layout tool, key commands, and Copy and Paste commands. Move and copy items using the Layout tool Remember that you can unintentionally change a symbol’s bar position with the Pointer tool.
Move items using key commands mm Use any of the following: •• To move the selected notes forward or backward one bar: Use Nudge Region/Event Position Left by Bar and Nudge Region/Event Position Right by Bar. •• To move the selected notes forward or backward one beat.Use Nudge Region/Event Position Left by Beat and Nudge Region/Event Position Right by Beat.
Resize notes and symbols in the Score Editor You can change the size of notes, as well as most score symbols, using the Resize tool (located in the Score Editor Tool menu). Resize tool Resize a note or score symbol mm Grab the item with the Resize tool, and move the pointer up or down. Reset a note or symbol to its original size mm Double-click the item with the Resize tool, then click OK in the dialog. Note: Resizing notes does not affect MIDI playback, only the notes’ visual appearance.
Insert items in multiple regions You can add notes and symbols from the Part box into all currently selected regions, at the same position. This technique allows you to insert notes, symbols, and even text elements into several regions at once. When multiple regions are selected, the top line of the Event inspector shows the number of selected staffs (regions). Note: Key changes, signature changes, and global signs can’t be inserted into individual staffs.
Change multiple items to the same absolute value mm Hold down Option while grabbing the “*” with the pointer, then use the pointer as a slider. As soon as you move the pointer, the parameter is set to the same value for all selected objects. This allows you to set all notes of a chord to the same length or velocity, or set all selected objects to the same height (Vertical Pos), for example.
Add notes to the score In general, you add notes to a score by recording on software instrument tracks, as described in Record software instruments. You can record directly in the Score Editor following the same procedure as in the Tracks area, with one exception: rather than clicking a track header, you click the staff for the track. There are two alternative ways to add notes to a score: using the pointer, and using step input.
Add notes and symbols from the Part box Part box overview When Show Advanced Tools is selected in the Advanced preferences pane, you can add notes and other symbols from the Part box in the inspector. The Part box contains a complete collection of score symbols, arranged in groups. You can control which symbols are displayed in the Part box, reorder symbol groups, and open the Part box as a separate, floating window.
View score symbols in the Part box The Part box displays score symbols arranged in groups. You can show and hide symbol groups by selecting or deselecting the group buttons at the top of the Part box, and reorder the groups in the Part box. When Additional Score Options is selected in the Advanced preferences pane, you can create score symbol sets to display different symbol groups in a particular order.
Select score symbols using key commands Use any of the following key commands to select score symbols or groups in a floating Part box window: mm Next Part Box Symbol mm Previous Part Box Symbol mm Next Part Box Group mm Previous Part Box Group Choose a score symbol set mm Click-hold the name of the current score symbol set in the Part box title, then choose a set from the Part Box Sets pop-up menu.
Select score symbols in the Part box There are several ways to select score symbols in the Part box. You can select symbols directly by clicking, or select them using the button for the Part box group. Some symbols can be selected using key commands. Select a score symbol 1 If the symbol isn’t visible, click the button for the corresponding Part box group at the top of the Part box. 2 Click the symbol.
Add notes and rests from the Part box In addition to using real-time recording and step input, you can add notes to a score directly from the Part box. When you add notes to the score, they are added to the region as MIDI events, and sound when you play the project. Logic Pro automatically displays rests in regions in the Score Editor, based on the current Quantize display setting. You can also add rests manually, and change the appearance of rests in a score.
Add key and time signature changes The Score Editor displays the key signature and time signature for the project, as well as any key or time signature changes you make using the Signature track or Signature List. You can change the key and time signature, and add key and time signature changes in the Score Editor. Key and time signatures are global events that affect all tracks in your project. In order to select and copy signatures, the Signature track must be visible, and must not be protected.
Add a time signature change in the Score Editor 1 If the Time Signatures section of the Part box isn’t visible, click the Time Signature button in the Part box. 2 Do one of the following: •• Drag one of the defined time signatures from the Part box to the place in the score where you want to add it.
Change the clef sign Each staff style has a default clef sign. In general, you should choose a staff style with the clef you want the part or staff to use for most of the score. For information about choosing staff styles, see Work with staff styles. You can add clef changes to the score to improve readibility; for example, when the notes of an instrument normally written in one clef move into a different range that would require many ledger lines in the original clef.
Add dynamic marks, slurs, and crescendi Dynamic marks indicate the dynamic level at which a performer should play a musical phrase or section. You can add dynamic marks such as p (piano), ff (fortissimo), and sfz (sforzando). Dynamic marks are visual symbols only, and don’t affect the volume of notes during playback. You can add slurs to indicate notes that should be played legato, and add dynamic crescendo and descrendo symbols (sometimes called hairpins).
Change the appearance of note heads Logic Pro offers a wide variety of note heads for percussion notation, harmonics, and other uses. You can change note heads by dragging a note head from the Part box into the score. Note heads are visual symbols only and have no effect on project playback. The Part box is available when Show Advanced Tools is selected in Logic Pro Advanced preferences.
Add trills, ornaments, and tremolo symbols The Part box includes symbols for trills and other ornaments, arpeggios, and tremolo playing. These symbols can be placed anywhere in a score and are not attached to specific notes. This Part box group also contains accidental symbols that are mainly intended to be used with the trill symbols. These accidentals are purely visual, and do not affect the MIDI playback of notes.
Add chord symbols You can quickly add chord symbols to a score. Chord symbols include the root note and chord quality, and can also include extensions (added notes) and a non-root bass note (sometimes called a slash chord, because the bass note is indicated by a diagonal slash). The Part box is available when Show Advanced Tools is selected in Logic Pro Advanced preferences. Add a chord symbol 1 If the Chord section of the Part box isn’t visible, click the Chord button in the Part box.
Add chord grids and tablature symbols When Additional Score Options is selected in the Advanced preferences pane, you can create and edit chord grids. For information about creating and editing chord grids, see Chord grids overview. Logic Pro includes a large library of chord grids, using both standard tuning and a variety of alternative tunings.
Add bar lines, repeat signs, and coda signs You can add bar lines, repeat signs, coda signs, and other symbols at the beginning or end of a bar, or at any visible bar position (where a note or rest is displayed). These symbols are only visual, and have no effect on MIDI playback. These are global symbols that are displayed in all staffs, at all display levels. When added to a score, bar lines and repeat signs (except for first and second ending signs) replace the regular bar line.
Add page and line break symbols You can add page and line break symbols (and No Page Break and No Line Break events) from the Part box. Once added to the score, they cannot be moved automatically (when you alter the Layout project settings, resize the window, and so on). You can overrule the Page Break, Line Break, No Page Break, and No Line Break events with the Layout tool. Line breaks and individual staff margins can be determined for each score set, and also for each of the extracted parts.
Edit notes in the Score Editor Select notes in the Score Editor Before you can perform some edits to notes in the Score Editor, you need to select them. Select a note Do one of the following: mm Click the note head. mm Select multiple notes by Shift-clicking or by dragging around the notes to enclose them. Select all notes mm Choose Edit > Select All (or press Command-A). All visible notes are selected. Select all notes following the currently selected note mm Choose Edit > Select All Following.
Change a note’s pitch, duration, and velocity You can change the pitch and duration (length) of selected notes in the Score Editor, as well as their MIDI velocity. The Velocity value signifies how hard the key was struck when the note was recorded. It often corresponds to the volume of the note when played back, but can control other parameters as well. Change a note’s pitch mm Select one or more notes, then do one of the following: •• Drag the notes up or down.
Quantize the timing of notes in the Score Editor You can quantize, or automatically correct, the timing of individual MIDI notes in the Score Editor. This is useful when regions in the track contain the right notes, but are not perfectly in time with the project. When you quantize the timing, items are adjusted to the selected note value. You can quantize the timing of regions with drums, single-note instruments, and chordal or polyphonic instruments.
Edit attributes of individual notes Note attributes overview You can control the appearance of individual notes in the Score Editor using note attributes. Note attributes include note size and position, accidentals, stems, beaming, and interpretation. Using note attributes, you can enhance the readability of the score and add performance information. There are three ways to change note attributes: in the Note Attributes window, using the Functions > Attributes submenu, or using key commands.
Change note heads When Additional Score Options is selected in the Advanced preferences pane, you can choose note heads to use for a variety of specific situations, such as percussion parts, harmonics, tremolo, and for other special conditions. Change note head attributes Do one of the following: mm Drag a note head from the Part box to the note you want to change. mm Double-click a note, then choose a note head from the Note Head pop-up menu in the Note Attributes window.
Change the display and position of accidentals By default, the display of accidentals depends on the chosen key signature. Using note attributes, you can change flats to sharps, and vice versa. For information about setting the key signature, see Add key and time signature changes. When Additional Score Options is selected in the Advanced preferences pane, additional options for changing note accidentals become available. The Accidental Position attribute defines the deviation from the Acc.
Change stem direction, length, and beaming By default, a note’s stem direction and length depend on the setting in the Staff Style window. You can change these attributes to improve readibility; for example, to group notes meant to be played as a voice in a polyphonic passage. The beaming of notes depends on the chosen time signature, the Beat Grouping setting in the Time Signature dialog, and the staff style’s Beam parameter.
Change the beaming of selected notes Do one of the following: mm Choose Functions > Note Attributes > Beaming from the Score Editor menu bar, then choose one of the following: •• Beam Selected Notes: Forces a beam to the following note. •• Unbeam Selected Notes: Interrupts the beam to the following note. •• Default Beams: Uses the default setting. mm Control-click a note head, choose Attributes > Beaming from the shortcut menu, then choose an option from the submenu.
Change the syncopation or interpretation of notes By default, note syncopation and interpretation match the settings chosen in the Region inspector. You can change interpretation settings for individual notes to improve readability. When Additional Score Options is selected in the Advanced preferences pane, you can change syncopation settings for individual notes.
Change the independent status of notes When Additional Score Options is selected in the Advanced preferences pane, you can display notes in the score as independent notes and edit their independent status. Independent notes are not tied to a rhythmic position in the staff, and can be moved freely. This can be used to add grace notes, for example, and for other purposes.
Restrict note input to a diatonic key If you’re working in a diatonic key (major, minor, or modal), using the Diatonic Input feature can help you quickly add notes. This feature restricts note input to the notes of the current key.) Turn on Diatonic Input mm Choose Edit > Diatonic Insert from the Score Editor menu bar. Notes can be altered chromatically, after they have been inserted. Note: If you protect (lock) your screensets, this function’s setting is also locked.
Create and edit tuplets You can add and edit tuplets—groups of notes evenly divided over a specific rhythmic value—in the Score Editor. The most common tuplet is the triplet (a group of three notes that typically occupies the space of two or four notes). The symbol for tuplets is grouped together with the symbols for triplets in the Notes group in the Part box. N-tuplet symbol In some cases, you need to choose an appropriate display Quantize value in the Region inspector. See Quantize on page 678.
•• Direction: Choose the direction of the bracket and number, or choose Auto to have the tuplet use the staff style for the track or region. •• Allow double values: When selected, N-tuplets can contain note values that are twice as long as the regular tuplet value. •• Allow half values: When selected, N-tuplets can contain note values that are half the length of the regular tuplet value. Tip: Most parameter changes in the Tuplet dialog are reflected in the graphic at the top of the dialog.
Use tuplets to override display quantization You can override the display quantization value by using hidden tuplets. For example, if you want to display a single 32nd–note run in a MIDI region that otherwise contains eighth notes or longer values, you can set the Quantize value in the Region inspector to 1/8, and then drag the N-tuplet symbol onto the first note of the 32nd figure. In the Tuplet dialog, use the 8:8/32 setting, with “Hide brackets” and “Hide numbers” selected.
Insert an independent note directly mm Hold down Option while selecting a note in the Part box, then drag it to the desired position. Grace notes cannot be inserted directly. They need to be created by converting regular or independent notes. Important: In most situations, you will need to create additional space between the grace note and the note it’s associated with. The best way to do this is with the Layout tool, which can be used to move the main note away from the grace note.
Add lyrics and text Lyrics and text overview When you’re scoring a song for solo voice or for a vocal ensemble, you can add lyrics, which are automatically aligned to notes in the score. Other types of text, such as dynamics and other performance indications, can also be added to the score. You can add and edit text in the Score Editor, and precisely control the position of text in the score.
Add lyrics for multiple verses 1 Add lyrics for the first verse (as described in the previous task). 2 Drag a second lyric object to the same note position below the lyric object for the first verse, and enter the second verse. 3 Repeat the process for any additional verses. As long as you enter lyrics continuously and do not leave this mode, all lyric objects for the second verse stay at the same height as the initial object—in this case, the first word of the second verse.
Add and edit text Add text You can use text objects in the Part box to add standard text (text other than lyrics, automatic text, or global text). The basic functions for moving the pointer, deleting parts of the text, and so on, are the same as they are for most text-editing applications. You can also use text objects (with a music symbol font) to add and position music symbols anywhere in the score, free of the rhythmic constraints of MIDI notes.
Each text object (except text in the header, or at or outside the page margins) is saved as a meta event in a particular MIDI region, at a specific bar position. This position is displayed in the help tag as you insert the text object. Text events are also displayed in the Event List, allowing you to change their position, but not the text itself. Score text event Tip: You can simultaneously add text to several staffs.
Edit event parameters for text objects You can edit event parameters for a text object in the Event inspector, including the staff number, text style, text alignment, vertical and horizontal position, and whether or not the text is lyric text. Edit text event parameters 1 Select the text you want to change. 2 In the Event inspector, do any of the following: •• To change the staff for the text object: Drag the Staff number up or down. (This is only relevant for multiple staff styles.
•• Guitar Markings: Used for the display of guitar markings. •• Fingerings: Used for the display of fingering markings. Open the Text Styles window mm Choose Layout > Text Styles from the Score Editor menu bar. Apply a text style to a text object mm Select the text object, then choose a text style from the Style pop-up menu in the Event inspector. Create a new text style mm Choose New > New Text Style in the Text Styles window.
Add global text Score sets determine which software instrument tracks are included in the score display. Each project can contain as many score sets as required. For more information on score sets, see Score sets overview on page 701. Global text objects appear in all score sets of a project (score, parts, and so on), although they’re inserted just once. Unlike regular text objects, the position of global text does not relate to bar positions, but is defined as a graphic position on the page.
Position global text Do one of the following: mm To move global text objects vertically only: Use the Pointer tool. mm To move global text objects both vertically and horizontally: Hold down Shift, then use the Pointer tool; or use the Layout tool. When a global text object is selected, the Event inspector contains the following additional parameters: •• Align pop-up menu: Although alignments relating to bar positions are shown in the pop-up menu, you can’t choose them here.
Work with chord grids Chord grids overview When Show Advanced Tools is selected in the Advanced preferences pane, you can add chord grid symbols from the Part box. Logic Pro includes a large library of chord grids, in standard tuning and in a variety of alternative tunings. You can review and edit existing chord grid libraries and chord grids, as well as create your own, in the Chord Grid Library.
Instrument Editor You use the Instrument Editor pane to view, create, and edit instrument tunings and chord grid libraries. You can also import and export chord grid libraries. The Instrument Editor pane includes the following parameters: •• Name column: Displays the instrument tuning name. Double-click to edit. •• Library column: Displays the chord grid library name. Double-click to edit. •• Tuning column: Displays the instrument tuning. •• Strings column: Displays the number of strings.
Chord Grid Selector You can select and filter individual chord grids from your instrument tunings and chord grid libraries in the Chord Grid Selector. The Chord Grid Selector includes the following parameters: Instrument parameters •• Name pop-up menu: Choose the name of the instrument tuning you want to use. •• Tuning field: Displays the default tuning for the chosen instrument. •• Number of Strings field: Displays the default number of strings for the chosen instrument.
Other parameters •• Playback button: Click to listen to a selected chord grid. •• Action pop-up menu: Choose how the chord grid strings are played back and at what tempo. •• Chord: All strings are played back simultaneously. •• Arpeggio Up, Arpeggio Down: Each string is played back one after the other. •• Slow, Medium, Fast: Choose the playback tempo. •• Delete button: Click to delete a non-factory chord grid. •• New button: Click to create a new chord grid.
Chord Grid Editor When Additional Score Options is selected in the Advanced preferences pane, you can create and edit chord grids in the Chord Grid Editor. The Chord Grid Editor includes the following parameters: Instrument parameters •• Name pop-up menu: Choose the instrument tuning in which to add or replace the chord grid. •• Tuning field: Displays the default tuning for the chosen instrument. •• Number of Strings field: Displays the default number of strings for the chosen instrument.
Other parameters •• Playback button: Click to hear a preview of the chord grid. •• Action pop-up menu: Choose how the chord grid preview is played and at what tempo. •• Chord: All strings are played simultaneously. •• Arpeggio Up, Arpeggio Down: The chord is played as an arpeggio, one string at a time. Arpeggio Up plays the strings from lowest to highest, while Arpeggio Down plays the strings from highest to lowest. •• Slow, Medium, Fast: Choose the playback tempo.
Insert and edit chord grids in the Score Editor There are several ways to insert chord grids into your score. Insert a chord grid symbol 1 Do one of the following: •• Drag a chord grid symbol from the Part box into the score. •• Choose a chord grid symbol in the Part box, then click in the Score Editor with the Pencil tool. Either technique opens the Chord Grid Selector pane in the Chord Grid Library. 2 Select a chord grid, then click OK.
The scaling values are based on the Grid scaling and Chord scaling settings in the File > Project Settings > Score > Chords & Grids pane. Align selected chord grids vertically mm Select multiple chord grids, Control-click any one of them, then choose Align Object Positions Vertically. The selected chord grid symbols are aligned vertically. Align all chord grids vertically 1 Control-click a chord grid, then choose Align Object Positions Vertically.
Hide the chord name You have the option to hide or show the chord name on a chord grid. mm Control-click a chord grid, then choose Hide Chord Name from the shortcut menu. Modify the chord of an existing chord grid mm Double-click the chord grid, choose another in the Chord Grid Selector, then click OK.
Create custom chord grids in the Chord Grid Editor Create and edit chord grids When Additional Score Options is selected in the Advanced preferences pane, you can create and edit chord grids in the Chord Grid Editor. You have many options when creating new chord grids from scratch, or when modifying existing chord grids. Create a new chord grid in the Chord Grid Editor 1 Click the Clear button in the Chord Grid Editor pane. The chord grid display is cleared, allowing you to create a new one from scratch.
Add and edit fingering dots You can add, edit, and delete fingering dots on a chord grid. Add a fingering dot mm Click the string and fret. A black dot is created. Move an existing fingering dot Do one of the following: mm Click another fret on the same string. mm Drag the dot to a new fret position.
Set the finger number for a fingering dot mm Control-click a dot, then choose a number between 0 and 5. Add an optional fingering dot Do one of the following: mm Option-click a string to create an optional dot. If another real dot exists on the same string, the real dot remains. mm Option-click an existing dot to change it to an optional dot. An empty string is shown as a result.
Delete a fingering dot Do one of the following: mm Select a dot so that it turns green, then press the Delete key. mm Click the area at the top of the string. The result is the same using either approach: the string is open.
Add and edit barres A barre shows where the performer places his or her finger over several strings at the same fret. You can add, edit, and delete barres on a chord grid. Add a barre Do one of the following: mm Drag the left or right edge of an existing dot to the right or left. mm Place the pointer over a string, then drag to the left or right. Move a barre mm Drag the barre to a new fret position.
Delete a barre mm Select a barre so that it turns green, then press the Delete key. Mute strings in a chord grid You can show muted and unmuted open strings on a chord grid. Mute a string mm Click the area at the top of the string. The string is muted.
Unmute a string mm Click the area at the top of the string. The string is open.
Create, rename, and delete chord grid libraries You can create a new chord grid library for an existing instrument tuning, or for a new instrument tuning. You do this from the Instrument Editor pane in the Chord Grid Library. Create a new chord grid library for an existing instrument tuning 1 Open the Instrument Editor pane by doing one of the following: •• Choose Logic Pro > Preferences > Chord Grid Library, then click the Instrument Editor tab.
4 Click Create to add the new chord grid library to the chosen instrument tuning. Create a new chord grid library for a new instrument tuning 1 Open the Instrument Editor pane by doing one of the following: •• Choose Logic Pro > Preferences > Chord Grid Library, then click the Instrument Editor tab. •• Choose Layout > Chord Grid Library from the Score Editor, then click the Instrument Editor tab. 2 Click the Create button.
Import and export chord grid libraries You can import and export chord grid libraries from the Instrument Editor pane. Import a chord grid library 1 Open the Instrument Editor pane by doing one of the following: •• Choose Logic Pro > Preferences > Chord Grid Library, then click the Instrument Editor tab. •• Choose Layout > Chord Grid Library from the Score Editor menu bar, then click the Instrument Editor tab. 2 Click the Import button. 3 Browse to the location of the library you want to import.
Export a chord grid library 1 Open the Instrument Editor pane by doing one of the following: •• Choose Logic Pro > Preferences > Chord Grid Library, then click the Instrument Editor tab. •• Choose Layout > Chord Grid Library from the Score Editor menu bar, then click the Instrument Editor tab. 2 Select the library you want to export. 3 Click the Export button. 4 Enter a name for the library, and browse to the location in which to save it. 5 Click Save.
Edit score region parameters Score region parameters overview Score region parameters let you control different aspects of how regions appear in the score. They affect the display of notes and other events, but have no effect on the sound or playback of the project. When Additional Score Options is selected in the Advanced preferences pane, you can edit score region parameters for the selected region or regions in the Region inspector, when the Score Editor has key focus.
Quantize The Quantize parameter applies visual quantization to notes, setting the shortest note value that can be displayed. Note: When Show Advanced Tools is not selected in the Advanced preferences pane, the Grid pop-up menu appears in the Score Editor menu bar. You can set the visual quantization for the Score Editor using the Grid pop-up menu. For example, a note with a short note value, such as a 32nd note, can only be displayed at its original length if Quantize is set to 32 or shorter.
The Quantize pop-up menu also includes a Default setting for new MIDI regions, which can only be set with the Insert Defaults setting; not for existing regions. If Default is chosen, the Quantize setting of new MIDI regions is dependent on the current division value in the LCD. If the division value in the LCD is a duple value (such as 4, 8, or 16), the Quantize value is set to that note value plus the next highest triple value (such as 6, 12, or 24).
Interpretation Music notation is meant as a guide to performance, and rhythmic values are often not notated with metronomic precision. The Interpretation setting helps you produce a more readable score from real-time recordings. You should usually turn it off when adding notes via step input or with the pointer. If Interpretation is turned on, notes are generally displayed with longer length values than their actual length, to avoid having many short rests.
Syncopation Syncopation involves rhythmic patterns that go “against” the normal rhythm as defined by the time signature. The Syncopation setting helps you produce a cleaner-looking score by displaying syncopated notes with fewer ties or subdivisions. If Syncopation is turned on, each note is displayed graphically as a single note when possible (rather than as several tied notes), regardless of its rhythmic position.
No Overlap The No Overlap setting simplifies the display of overlapping notes. No Overlap prevents the display of overlapping notes in melodies played with an exaggerated legato by shortening the displayed note length to the beginning of the next note. Notes beginning simultaneously (intervals or chords) are displayed with the length of the shortest note in the chord. When No Overlap is turned off, the score display shows the lengths of overlapping notes precisely (at the current Quantize value).
Max Dots The Max Dots parameter affects the rhythmic display of dotted notes (notes that are one-andone-half times as long as the equivalent undotted note value) by controlling the maximum number of dots that can be displayed. This makes the display of such notes less metronomically precise, but makes the score more readable. By default, the number of Max Dots is 1. Unwanted dotted notes or rests can be changed by inserting user rests (which remain invisible, if notes).
Work with staff styles Staff styles overview Using staff styles, you can control the display of clefs, rests, stems, ties, and beams, change the displayed transposition, and adjust the staff size and space between staffs. You can choose from a variety of predefined staff styles or customize and create your own staff styles to use in your scores. Staff styles affect the visual display of the score, but have no effect on MIDI playback.
Assign a staff style to a track Do one of the following: mm Click the staff in the Score Editor, then choose a staff style from the Staff Style pop-up menu in the Region inspector. You can select multiple tracks, and assign the same staff style to all selected tracks. mm In Linear view, click the clef on the staff, then choose a staff style from the shortcut menu. Set the track to determine the staff style automatically 1 In the Tracks area, select one or more tracks.
Staff Style window You view and edit staff style parameters in the Staff Style window. The upper part of the window shows a list of available staff styles, with a visual representation of the selected staff style. The lower part shows the staffs that are used for the selected staff style, with parameters for each staff. The voices used for each staff are listed to the right.
Change the view for the Staff Style window Do one of the following: mm To show only the style overview (upper part of the window): Click the left View button. mm To show the complete contents (both parts) of the window: Click the center View button. mm To show only the staff and voice parameters (lower part of the window): Click the right View button.
Edit staff styles In the Staff Style window, you can edit various staff style parameters. In the style overview, you can edit the style type, size, transpose, and range parameters. Edit staff style parameters In the style overview, do any of the following: mm To rename a staff style: Double-click the name and enter a new name. mm To choose a different staff style type: Click-hold the type, then choose a different type from the pop-up menu. mm To change the size: Drag the size value up or down.
If a staff style consists of more than two staffs, the brackets and bar lines can be set to connect only certain parts of the overall staff style—they can be interrupted in between staffs. If you want to delete any connections, grab the symbol at its end (bottom), and drag it up, until it disappears. The voices value in the style overview is determined by the number of voices in the staff style. This can be changed in the Voice parameters section, but not in the style overview.
Tip: You can also change the vertical distance above the staff directly in the score, by dragging the staff up or down (at the clef ). The distance below the staff can also be edited in the score, but only for the bottom staff in the score display (or for a single staff). You drag the bottom line of the score display with the pointer. mm Change the staff size: Drag the size value up or down.
mm Set the appearance of beams: Choose a value from the Beam pop-up menu. The default Slant setting allows slanted beams. Horiz. only allows horizontal beams. Vocal prevents the display of beams, as is typical in classical vocal parts, where notes are only displayed with flags. mm Set the color for notes: Choose a value from the Color pop-up palette. The color options are Black (“---”), Pitch, Velocity, and the 16 colors of the Color palette. (See Colors settings on page 910.
Copy and paste staffs or voices In the Staff Style window, you can copy and paste staffs in a staff style, and also copy and paste voices in a staff. Copy and paste staffs in a staff style 1 In the Staff section of the Staff Style window, select the staff. 2 Choose Edit > Copy from the Staff Style window menu bar (or press Command-C). 3 Choose Edit > Paste from the Staff Style window menu bar (or press Command-V). The copied staff is pasted above the selected staff.
Delete staff styles You can delete staff styles in the Staff Style window in both Single view and List view. In LIst view you can select and delete several staff styles simultaneously. Delete the current staff style in Single view mm Choose New > Delete Style. Delete multiple staff styles in List view mm Shift-click the staff styles you want to remove, then choose Edit > Delete (or press the Delete key).
Separate voices by MIDI channel mm Assign a MIDI channel to each voice in the Staff Style window’s Chan column. When you use MIDI channels to assign notes to staffs or voices: •• You can edit the MIDI channel in the same way you do all other events, by selecting the events and changing the MIDI channel in the Event inspector or the Event List. •• You can quickly change the MIDI channel of selected note events with the Event Channel +1 and Event Channel −1 key commands.
Add notes to a polyphonic staff style You can “explode” polyphonic parts, displaying all voices on separate staffs, regardless of staff style settings. (Other voice parameters remain valid.) This makes it easier to add notes using the pointer. If you add a note to a staff style that uses MIDI channels for voice separation, it’s automatically assigned the corresponding MIDI channel (of the staff that you add the note to).
Before using the Voice/Staff Assignment commands, make sure that all the notes you want to connect with beams use the same MIDI channel (and all notes you want to appear in the other staff, not connected by beams, use another MIDI channel). Select notes one by one and view their MIDI channel assignment in the Event inspector.
Use drum notation with mapped staff styles In MIDI regions assigned to drum instruments, each MIDI note usually triggers a different sound. When viewed using a regular staff style, the notes have no apparent relationship to the sounds you hear. You can display these regions as a readable drum part with special drum note heads, using mapped instruments and mapped staff styles. When Additional Score Options is selected in the Advanced preferences pane, you can create and edit mapped staff styles.
Create a mapped staff style for drum notation 1 Create a mapped instrument in the Environment, then double-click its icon. For details about creating mapped instruments, see Mapped instrument objects overview on page 781. The Mapped Instrument window opens. Its default settings correspond to the General MIDI drum note assignments, but they can be edited. In the columns to the far right are three parameters relevant to notation.
5 Create a new mapped staff style by choosing New > Mapped Style in the Staff Style window, and inserting all staffs, voices, and drum groups as described above, and in Staff styles overview on page 684. •• Staff section: Everything is identical to unmapped staff styles (with the exception of the missing Transpose and Key parameters, which wouldn’t make sense here). •• Voice section: Below Voice (in the top header line), is a separate Voice column, where the different voices are numbered automatically.
Predefined staff styles A variety of predefined staff styles is available in the Score Editor. The following table lists each staff style with its Clef and Transposition parameters.
Create scores and parts using score sets Score sets overview You can use score sets to control which software instrument tracks appear in the score. Each project can contain as many score sets as needed.
Choose score sets You can view available score sets and instruments in the Filter pop-up menu in the inspector. For new projects, the only available score set is All Instruments, which displays all instruments (depending on the display level). Choose a score set mm Choose a score set from the Filter pop-up menu at the top of the inspector. The display of a score set depends on the display mode.
Create a score set containing all software instrument tracks in the Tracks area mm Choose New > New Complete Set in the Score Sets window. If several instruments or staffs use the same MIDI sound for playback (with the same MIDI channel on the same MIDI instrument), and you want to display these staffs with different instrument names in the score, you need to create a separate track instrument for each staff, in the Tracks area.
mm To set the short name: Click the Short Name column to open a field where you can enter the short name. The short name for each instrument is used if Short Names is chosen in the Project Settings > Score, Numbers & Names > 1st Staff and Other Staves pop-up menus. mm To set which staffs are connected by brackets and bar lines: Drag vertically in the appropriate column, until you see the appropriate display.
Resize score sets You can resize a score set to between 50 and 200 percent of its original size. Scaling affects the staffs in the score, the distance between staffs, all symbols associated with staffs (notes, rests, and other symbols), text (including lyrics), and the thickness of slurs and ties. Scaling doesn’t affect global text objects (header text, or text inserted outside the margins) and text such as page numbers.
Extract parts from the score You can quickly extract a single instrument from the score, instead of creating a score set for every instrument in order to produce parts. Using this method, only the track instrument names are used as instrument names in the score. So, if you use this method to print your parts, you see the real instrument names of the instruments as displayed in the Tracks area.
Edit the score layout Score layout overview Once you’ve added notes and symbols to your score, and edited individual staffs, the next step is to refine the overall score layout. This process typically involves repositioning staffs, as well as adjusting the number of bars per line, setting page margins, and changing other Score project settings.
Edit line breaks You can set line breaks individually for each score set, and also for each extracted part. Line breaks are saved with the project. By default, Logic Pro creates automatic line breaks based on the Spacing and Maximum Bars/Line settings in the Global Score project settings. You can override automatic line breaks using the Layout tool in Page view, and can also create line breaks by adding a Line Break symbol from the Part box in any view.
Edit line breaks using the shortcut menu 1 Control-click a bar line. 2 Choose a setting from the shortcut menu to add or delete a line break, or return to the default line break. When you move a bar with the Layout tool, all manually edited line breaks in subsequent lines are deleted, and automatic line breaks are recalculated from that line downward. If you want to avoid having later lines recalculated, hold down Option while moving the bars with the Layout tool.
Change the margin and header values You can change the Margin and Header Space project settings directly in Page Print view. Change the margin and header space values 1 In Page view, choose the following settings from the Score Editor’s View > Page Display Options submenu: •• Print View •• Show Margins 2 Change the margin values by dragging the orange lines. 3 Change the header space value by dragging the purple line. Only the currently displayed setting (full score or part) is affected.
Share the completed score When you’re ready, you can print the score, save it as a PDF file, or export as an image using the Camera tool. The last method is most helpful if you want to export only a section of the score.
Customize the Score Editor Choose a color mode The settings in the Score Editor’s View > Colors menu determine the color mode for the active Score Editor window. These settings have priority over all other color settings. Choose the color mode for the Score Editor mm Choose one of the following from the View > Colors submenu in the Score Editor menu bar: •• Normal: Colors are assigned in accordance with the color settings in staff styles and note attributes.
Display instrument names Use the Show Instrument Names setting to show the names of (used) track instruments, to the left of the score display. Display instrument names in the Score Editor mm Choose View > Show Instrument Names from the Score Editor menu bar. Display duration bars You can show a graphical representation of a note’s duration by displaying duration bars in the Score Editor.
Display guide lines You can show an object’s exact time position by displaying guide lines in the Score Editor. Guide lines show exactly the relation of symbols, staves, and time positions). Display guide lines in the Score Editor mm Choose View > Guides in the Score Editor menu bar, then choose one of the following display modes: •• Off: No guides are displayed. •• Dragged Objects: Guides are displayed while objects are dragged. •• Selected Objects: Guides are displayed for selected objects only.
Share projects 21 Sharing overview Logic Pro provides a variety of options you can use to distribute your projects. You can: •• Bounce a project to an audio file in a variety of file formats.
Bounce the current project to an audio file 1 In the Tracks area or the Mixer, make sure that the tracks you want to include in the bounce are routed to the main output (Output 1-2) and are not muted. If your project has multiple output channel strips, you can bounce only the tracks routed to a specific output channel strip using the Bnce button on that channel strip. For information about configuring output channel strips, see Use output channel strips. 2 Choose File > Bounce > Project.
10 Click Bounce. Depending on the length and complexity of the project, the bounce process may take a few moments to complete. Set the bounce filename and location By default, the name of the bounce file matches the selected output channel strip (Output 1-2, if the project was bounced using the File > Bounce command.) Bounce files are saved by default to the ~/Music/Logic/Bounces folder, but you can specify a new location. The new location is used for subsequent bounces.
Burn a project to a CD or DVD In addition to bouncing a project to an audio file, you can burn the project to a CD or DVD (in DVD-Audio format). Logic Pro can directly burn Red Book audio to blank CDs or burn DVD-Audio to blank DVDs. You can bounce to one or more audio formats and burn the project to disc at the same time. Burn the current project to a CD or DVD 1 In the Tracks area or the Mixer, make sure that the tracks you want to include are routed to the main output (Output 1-2) and are not muted.
5 Set burn options by selecting either of the following Mode checkboxes: •• Simulate write only: This option simulates a CD/DVD burn, but doesn’t write data to the blank media. This option can be used either alone or in conjunction with the “Write as multi-session” option (if burning a CD). •• Write as multi-session: This option is only available when CDDA is chosen in the Mode pop-up menu. This option lets you add a data session to the same CD at a later date—to add the project folder, for example.
Set the disk filename By default, the name of the burned disk matches the selected output channel strip (Output 1-2, if the project was bounced using the File > Bounce > Project command.) When you burn a project, you can change the filename for the disk. mm To change the filename, enter a new name in the Save As field, then click Save. When you bounce to multiple destination files, all the resulting files are saved in the chosen folder.
Set bounce options PCM bounce options When you select PCM in the Destination area of the Bounce dialog, the following options are available: •• •• •• •• •• •• File format pop-up menu: Choose the PCM file format (AIFF, Broadcast Wave, or CAF). PCM files can be automatically added to the Project Audio Browser by selecting the Add to Project checkbox. Resolution pop-up menu: Define the resolution of the bounce file.
MP3 bounce options You can bounce projects to MP3 (MPEG-2, Audio Layer 3) format files. The MP3 format was developed by the Fraunhofer Institute, and allows high compression rates while maintaining reasonable audio quality. MP3 is a widely used standard for audio file exchange over the Internet. Because the MP3 file format involves a loss of audio quality, you shouldn’t use MP3 files during production if you have access to the same audio data in non-lossy formats such as AIFF or WAV.
Because not all media players can accurately decode VBR-encoded files, this option is off by default. If you know that your target listeners can decode VBR-encoded files, you can turn this option on. •• Quality pop-up menu: Keep this set to Highest (the default) whenever possible. Reducing the quality shortens the conversion process, but at the expense of audio quality.
M4A: AAC bounce options When you click M4A: AAC in the Destination area of the Bounce dialog, the following options are available: •• Encoding pop-up menu: Choose Advanced Audio Codec (AAC) or Apple Lossless to set the encoding for your .m4a (commonly referred to as MP4) file. While both encoding algorithms provide high-quality audio, the AAC format uses a higher compression ratio, resulting in smaller file sizes. Choosing the M4A: AAC option in the Destination area disables PCM > Surround.
About dithering algorithms Logic Pro includes the professional POWr (Psychoacoustically Optimized Wordlength Reduction) and UV22HR dither algorithms, designed to convert 24-bit recordings to 16-bit files (as required for CD burning, for example). Dithering can be used when: •• Burning audio files to a CD •• Bouncing audio files to disk •• Exporting AAF files (See Export a project as an AAF file on page 728.
Share projects to iTunes You can share a project to your iTunes library to play in iTunes, add to a playlist, or sync to a mobile device such as an iPhone or iPad. Projects can be shared to iTunes as uncompressed AIFF audio files or as compressed audio files with various quality levels. Share a project to your iTunes library: 1 Choose File > Share > To iTunes. 2 To rename the shared file, select the name in the Title field, then enter a new name.
Share projects to SoundCloud If you have a SoundCloud account, you can share a project to SoundCloud directly from Logic Pro. You can choose the quality and visibility level for the shared project, set permissions, and also send an email to notify others that the project is available. Share a project to your SoundCloud account 1 Choose File > Share > To SoundCloud. 2 If you aren’t currently logged in to your SoundCloud account, enter your email address and password, then click Connect.
Export projects Export a project as an AAF file AAF (Advanced Authoring Format) is used by other music production applications such as Pro Tools. You can use it to import multiple audio tracks, inclusive of references to tracks, time positions, and volume automation. Export the current project as an AAF file 1 Choose File > Export > Project as AAF file (or use the Export Project as AAF File key command). 2 In the Save AAF File As dialog, choose the following pop-up menu options: •• Sample Rate: Choose 44.
Surround in Logic Pro X 22 Logic Pro X surround overview Logic Pro X offers extensive surround processing and mixing functions for all major surround formats. Logic Pro X surround features are available when Show Advanced Tools is selected in the Advanced preferences pane. All audio signals can be positionally mixed, allowing you to place them anywhere in the surround field. See Surround Panner overview and Surround master channel strip.
Set up Logic Pro X for surround Set surround preferences Before you can create a project in surround, you need to specify which outputs of your interface are connected to which speaker. If you’re recording in surround, you also need to specify the inputs of your audio interface. These configurations are made in the Output and Input panes of the Audio > I/O Assignment preferences. The I/O Assignments tab features three subtabs: Output, Bounce Extensions, and Input.
Note: The surround format chosen here only alters the layout/routing of channels to speakers in the I/O Assignments tab. The actual project surround format is determined in the Project settings. See Set the project surround format. Choose which speakers the Logic Pro outputs are sent to Do one of the following: mm In the Output tab, choose the output of your audio interface from each of the active pop-up menus: Left, Center, Right, and so on.
mm Click one of the three Initialize buttons below the “Show as” pop-up menu. •• Default: Activates the default setup of Logic Pro. For example, for the 5.1 format, input 1 is routed to the left speaker, input 2 to the right one, input 3 is assigned to left surround, input 4 to right surround, input 5 to the center speaker, and input 6 to the LFE channel. •• ITU: Assigns the International Telecommunications Union standard, used by many professionals.
Set the project surround format You choose the surround format you want to use for a project in the Audio project settings. By default, a new project is set to 5.1. Choose the project surround format 1 Choose File > Project Settings > Audio (or use the Open Audio Project Settings key command, default assignment: Option-U). 2 Choose a format from the Surround Format pop-up menu. Tip: Save a project that has been set up for surround format work as a template.
Choose the channel strip input format mm Click-hold the button directly below the EQ graphic on the channel strip, then choose an input format from the pop-up menu. Set the channel strip output format Logic Pro X can automatically determine the output format of specific channel strip types.
Set a channel strip output format to surround mm Click-hold the Output slot of the channel strip, then choose Output > Surround from the pop-up menu. The Pan control of the channel strip is replaced by a two-dimensional Surround control. The loudspeakers are represented by colored dots and the pan position is indicated by a white dot that can be moved. For more information, see Surround Panner overview.
Change the order of surround level meters You can determine the order of channels in surround (multichannel) level meters. You can choose the following options.
Logic Pro X surround features Surround Panner Surround Panner overview You use the Surround Panner to place track output signals at specific speaker positions. You can use the Surround Panner directly in a channel strip, but it is better to open it in a separate window. It is possible to open multiple Surround Panner windows simultaneously, and to save them in screensets. The Surround Panner window also provides a Link button.
Use the Surround Panner on mono input channel strips If the source input is set to mono, the Mono-to-Surround Panner appears. For more information, see Set the channel strip input format. The graphical surround field at the top of the Mono-to-Surround Panner window controls the surround routing of the input signal to speaker outputs. The level sliders and fields below the surround field provide independent control of the Center and LFE channel levels.
Do any of the following: mm Move the L or R puck in the surround field to move the second puck in a symmetrical fashion. mm Drag the third puck to move both the L and R pucks, while maintaining a given spread. •• Left/right movement changes the angle of both. •• Up/down movement changes the diversity.
Surround Panner parameters The Surround Panner features a set of common parameters, regardless of the channel strip input format. Click the disclosure triangle at the lower-left corner of the Surround Panner window to display the extended parameters. Note: The extended parameters are not available in the Surround Balancer.
•• LFE Level slider: Drag the LFE Level slider or field to control the volume of the LFE output. The abbreviation stands for Low Frequency Enhancement or Low Frequency Effects, as the LFE output is most commonly sent to a subwoofer channel. The use of a subwoofer speaker is not mandatory. Tip: If you want only low frequency signals to reach the output, insert a multi-mono surround EQ into the surround master channel strip. Use this to set the LFE (or subwoofer) output.
Surround effects Logic Pro X offers a number of surround effect plug-ins, and also includes surround versions of the Sculpture and ES2 synthesizers. Your Audio Units instruments and effects may also work in surround. Important: The project surround format determines the surround format of plug-ins. For more information, see Set the project surround format. Insert a surround effect plug-in 1 Set the channel strip’s output to Surround. For more information, see Set the channel strip output format.
Multichannel effects Multichannel effects overview Effects that are not available as true surround effects can be inserted as multichannel effects in surround channels. Logic Pro X matches the surround format of a channel by automatically providing the required number of stereo and mono instances of the plug-in. Multichannel effect plug-ins have an advanced plug-in header. The plug-in header can include a tab for each effect instance, an LFE tab, and a Configuration tab.
Multichannel effects Configuration tab The Configuration tab determines how parameter changes affect the plug-in instances. When a multichannel plug-in is first inserted into a surround channel, it is automatically preconfigured to match the channel surround format, and to make the best use of the plug-in’s capabilities. For example, a plug-in with mono and stereo capabilities is inserted into a 5.1 bus. It is preconfigured as two stereo pairs, with the addition of a mono center and mono LFE channel.
Surround master channel strip When you set the output of a channel strip to surround, a surround master channel strip is automatically created in the Mixer. The surround master channel strip processes signals routed to the outputs configured in the Surround preferences. For more information, see Set surround preferences. You can insert surround effect plug-ins into the master channel strip. You can also use the Down Mixer plug-in to quickly switch between input formats.
Down Mixer plug-in You can use the Down Mixer plug-in to adjust the input format of the surround master channel strip. You can do this to quickly check the surround mix in stereo, for example. Channel mapping, panning, and mixing are handled behind-the-scenes. You do, however, have some control over the mix: Down Mixer parameters •• Dest Format pop-up menu: Choose the surround destination format: To Quad, To LCRS, To Stereo. •• Level sliders: Control the respective channel levels.
Bounce surround audio files Bouncing a surround mix can create a single interleaved file, or it can create multiple audio files—one per channel—when Split is chosen as the file type. When multiple files are created, each file is identified by a unique extension. Note: Use the Bounce Extensions preference tab to define filename extensions that will be added to the files resulting from a surround bounce. For more information, see Set surround preferences on page 730.
Additional surround information Surround formats overview Logic Pro X supports the following surround formats: Quadraphonic surround format The quadraphonic surround format consists of four full-bandwidth channels, arranged as front left and right and rear left and right (left surround and right surround). It is an old format used for music delivery. Mike Oldfield’s “Tubular Bells” is probably the most popular release in this format.
5.1 (ITU 775) surround format 5.1 (ITU 775) is used for a few surround standards. This is the most common of the surround formats, and is the one you are most likely to use. The 5.1 channels are left, center, right, left surround (left rear), right surround (right rear), and LFE. 0° C L R –30° +30° –110° +110° Mixing position Rs Ls 6.1 (ES/EX) surround format The 6.1 (ES/EX) format is used for Dolby Digital EX or DTS ES. The 6.
7.1 (3/4.1) surround format 7.1 (3/4.1) uses the same speaker configuration as 5.1, but adds two additional side channels (left mid and right mid), placed directly to the left and right of the listening position. It is designed for a big cinema, in other words. 0° C L –30° Lm R –110° +110° Mixing position –70° LFE +30° Rm +70° Ls Rs 7.1 (SDDS—Sony Dynamic Digital Sound) surround format 7.1 (SDDS—Sony Dynamic Digital Sound) adds two additional speakers to 5.1 (left center and right center).
Surround format channel distribution The following table provides details on the channels used by each of the supported surround formats. Surround format Channels used Quadraphonic L - R - Ls - Rs LCRS (Pro Logic) L-C-R-S 5.1 (ITU 775) L - C - R - Ls - Rs - LFE 6.1 (ES/EX) L - C - R - Ls - S - Rs - LFE 7.1 (3/4.1) L - C - R - Lm - Rm - Ls - Rs - LFE 7.
•• DTS HD Master Audio: An uncompressed (or minimally compressed) high bit-rate format, commonly used for Blu-ray discs and high definition digital terrestrial or satellite TV broadcasts. Speaker placement, timing, and levels Speaker placement The physical positioning of speakers is key to creating mixes that translate well to other surround playback systems. Because the 5.1 format is the most widely used, this section covers 5.1 speaker placement.
Surround speakers The rear speakers (surround channels) should ideally be placed at the same distance from your listening position as the front speakers, at an angle of 110 degrees from the front center speaker. This angle is a compromise between producing an all-encompassing sound stage (at 90 degrees) and the best rear-quadrant imaging (at 135 degrees).
Speaker timing and levels Most people with undamaged hearing can identify where a sound is coming from: to the left, right, in front, or behind them. Certain sounds, however, are very difficult to “position” in relation to the listening position. For example: •• A gunshot or car backfiring is hard to place because the sound is both loud and quick. You may initially be able to tell that it came from your left or right but not where, specifically, to the left or right it came from.
Work in the Environment 23 Environment overview The Environment refers to the virtual environment of Logic Pro inside your computer. It provides a virtual view of your MIDI studio, giving you complete control over your MIDI setup, and includes the following objects. •• Physical Input and Sequencer Input objects: Represent the physical MIDI inputs of your MIDI interface and the Logic Pro input.
Open the Environment window Do one of the following: mm Choose Window > Open MIDI Environment (or press Command-8). mm Use the Toggle Environment key command to do one of the following: •• Open an Environment window. •• Bring an open Environment window to the front. •• Close an Environment window, if it’s the active window. Common object parameters Each Environment object has several parameters that control its behavior.
Work with Environment layers Environment layers overview The Environment can quickly fill up with a large number of objects. To keep things organized, you can assign objects to different display levels, referred to as layers. Think of layers as being different, partial views of the overall Environment. You can easily connect objects between different layers. The distribution of objects across different layers has no effect on their functionality—it’s simply a better way to organize objects.
Create, name, delete, and switch layers You can create, name, delete, and switch layers in the Environment. Create a layer Do one of the following: mm Choose Options > Layer > Create Layer. mm Choose Create Layer from the Layer pop-up menu. A new, empty layer called (unnamed) is inserted above the currently selected layer. Name a layer 1 Choose Rename Layer from the Layer pop-up menu. 2 Enter a new name, then click OK. Delete a layer 1 Do one of the following: •• Choose Options > Layer > Delete Layer.
Work with Environment objects Tools in the Environment You can use the Pointer, Pencil, and Eraser tools to select, create, and delete objects in the Environment. The following tools are also available: •• Text tool: Click an object with the Text tool to rename it. •• MIDI Thru tool: Click an object with the MIDI Thru tool to assign the object to the selected track in the main window. Add and delete objects You can add and delete objects in the Environment using menu commands or tools.
Move objects between layers by dragging 1 Open a second Environment window (Window > Open MIDI Environment) that displays the target layer. 2 Select the objects you want to move in the first Environment window, then drag them into the second window. Move objects between layers using the Layer pop-up menu 1 Select the objects you want to move. 2 Hold down Option, then choose a layer from the Layer pop-up menu. The selected objects are moved to the chosen layer.
Adjust the position and size of objects Objects can be freely placed, which allows for flexibility, but can lead to overlaps or misalignments—particularly when pasting between layers. Fortunately, you can quickly clean up object positions. Snap objects to a grid mm Choose View > Snap Positions from the Environment menu bar. The objects are aligned to an invisible grid. It’s useful to leave this setting turned on, but you should turn it off if you want to manually move an object by a few pixels.
Use advanced selection commands You can move and copy objects faster and more easily using the following commands from the Environment’s Edit menu: •• Select Used Instruments: Selects all objects that are assigned to the selected track in the main window, or are connected to such objects via cables. •• Select Unused Instruments: Selects all objects that are neither used in the main window, nor connected to any such objects via cables.
Create your MIDI signal path MIDI signal path overview Before any MIDI events received at your computer’s MIDI inputs can be recorded by Logic Pro, there must be a connection between two Environment objects: •• Physical Input object: Represents the MIDI In port or ports of your MIDI interface. •• Sequencer Input object: Represents the door into Logic Pro for incoming MIDI events.
Insert an object between the track and its destination object 1 In the Environment, choose New > Mapped Instrument. 2 In the Tracks area, Control-click the track header to open the Reassign Track shortcut menu, then browse to the mapped instrument. 3 In the Environment, cable the mapped instrument to software instrument channel strip 1.
Assign direct output connections You can assign a direct output connection to a physical MIDI output from any of the following object types: •• Instrument •• Multi-instrument •• Mapped instrument •• Touch tracks •• GM mixer •• MIDI metronome click Any object with a direct output assignment is indicated by a white triangle to its right. The triangle is hollow when there is no direct assignment.
Cable Environment objects The cabling between Environment objects provides control over the entire MIDI signal path. A cable is normally shown as a gray or colored line between a source and destination object. Cables are assigned the same color as the source object, which makes following the signal path much easier. You can, however, turn off cable coloring, and render them in gray with the View > Colored Cables option. Objects always have an (invisible) input on the left, and an output on the right.
Connect two objects using menu commands 1 Option-click the triangle of the source object. 2 In the Reassign Track shortcut menu, browse to the layer that the destination object is in, then choose the object name. A cable connection is created between the two objects. This method is ideal for creating connections between layers, but can also be useful when a large number of closely spaced objects exists in a single layer.
Make multiple cable connections There is no limit to the number of cables that you can plug in to a destination object. All MIDI signals are mixed at the object’s input. Make multiple output connections from an object 1 Connect the object to a destination object. Once an output from an object is used (cabled to another object), another output triangle automatically appears. 2 Use the second output triangle to create a second cable connection to another destination object.
Cable objects in series and in parallel You can cable objects in series and in parallel. Cabling objects in series is useful for quickly connecting groups of faders that are used to control a MIDI mixing console, for example. Cable a group of objects in series mm Select the objects you want to cable, then choose Options > Cable serially. The objects are cabled in series, starting with the upper-left object.
Exchange Environments Exchanging Environments overview One of the main advantages of the Environment is that it lets you customize Logic Pro to fully control your MIDI studio. This can, however, present a problem when you share projects with other musicians, or use different studio setups. It also presents a problem when you return to older projects after you’ve changed your studio. Logic Pro offers several functions to make these transitions as easy as possible.
Update and swap Environments You can update an Environment if you have only added objects to it, but not deleted anything. Only the new objects will be imported; the older objects (along with their cabling and track assignments) will remain in place. Logic Pro offers several options for swapping the Environment of one MIDI setup with the Environment of another. Update an Environment mm Choose Options > Import Environment > Update.
Replace Environments The most flexible (but also most time-consuming) method of exchanging Environments is to manually choose whether each Environment object is kept, deleted, or replaced. If you choose to replace an object, you must also define the replacement object. Replace an Environment using custom choices 1 Choose Options > Import Environment > Custom from the Environment menu bar. 2 Choose the destination project.
Customize the Environment You can customize the appearance of the Environment by creating more onscreen space, displaying objects graphically or as a list, hiding or coloring cables, or using a mini Environment window that floats on top of other windows. Hide or show the inspector mm Choose View > Hide/Show Inspector (or press I). This command hides the inspector—the Layer pop-up menu and Object inspector—making more room for the Environment’s workspace.
View a frameless Environment window There may be times when you want to have access to particular Environment objects while working in the main window—buttons that are used to control a tape machine, for example. Instead of opening an Environment window each time, you can create a mini window that floats on top of other windows. 1 Do one of the following: •• Choose Options > Layer > Create Layer. •• Choose Create Layer from the Layer pop-up menu.
Environment objects reference Standard instrument objects Standard instrument objects overview Logic Pro provides standard instrument objects to handle MIDI devices that only use one MIDI channel—typically, older synthesizers, MIDI-controlled effect units, or drum machines. Standard instruments transmit MIDI data on a single MIDI channel. Create a standard instrument Do one of the following: mm Choose New > Instrument. mm Click the Environment background with the Pencil tool.
Standard instrument parameters Standard instruments have the following parameters: •• Port pop-up menu: Use to set a direct connection to one of your MIDI output ports. Remember that you can also cable an instrument object directly to (or from) other Environment objects, allowing MIDI processing. •• Channel pop-up menu: Sets the MIDI channel for the instrument’s output. If you set this parameter to All, all events are sent with their original channel settings.
•• Delay pop-up menu: Causes all MIDI events to be sent early or late, allowing you to compensate for any differences in reaction time between your various MIDI devices. Use the Delay parameter (in the Track inspector) to create rhythmic delay effects, as this allows longer delay times. •• No Transpose checkbox: If selected, all regions on any tracks played by this instrument object are protected from transposition. In other words, the Transpose Region parameter is ignored.
Multi-instrument objects Multi-instrument objects overview A multi-instrument is like a collection of 16 standard instruments in one package. You will generally use multi-instrument objects to address multi-timbral hardware synthesizers or samplers. A multi-timbral sound module is one that can receive on several MIDI channels at once, playing back a different sound on each channel simultaneously.
Multi-Instrument window Double-clicking a multi-instrument opens the Multi-Instrument window. It contains the following areas: •• Device Name and Short Device Name fields: At the top-left corner of the window, you can enter the full name of the multi-instrument in the Device Name field. You can also enter a short name for the multi-instrument in the Short Device Name field. This short name is used in the main window track list, when the program name is displayed.
•• Bank pop-up menu: The Bank pop-up menu allows you to choose one of 15 available sound banks (0 to 14). The top item—“No Bank specified. Names of Bank 0 used”—can be used if your sound generator does not understand bank select messages, or only has 128 sound programs. •• Bank 0 is always initialized. •• The first time you choose one of the banks numbered 1 to 14, you are asked whether or not you want to initialize this bank.
In the above image, subchannel 1 is selected, subchannels 1 to 8 are activated, and subchannels 9 to 16 have been removed from the Reassign Track shortcut menu. Connect the output of an object directly to the input of a subchannel mm Option-click the source object’s output triangle, then choose the subchannel in the Reassign Track shortcut menu. (See Cable Environment objects on page 766.) You can’t drag a cable to a subchannel.
Mapped Instrument window The Mapped Instrument window opens when you double-click a mapped instrument icon or create a new mapped instrument. The rows correspond to input notes, and the columns contain the various parameters available for each note. •• Keyboard (Selecting Notes): The keyboard on the left represents the input notes, which can be played by clicking them. You can also select individual notes or note ranges by dragging the mouse over the notes you want to use.
•• Velocity: Use to set a velocity offset that is added to, or subtracted from, the velocity of the incoming note. Drag the number vertically to create a velocity offset. You can also click the specific point on the beam. To reset all velocity offsets to 0 (no offset), choose Initialize > Output Velocities. •• Channel: Use to set the MIDI channel of individual notes. This lets you play individual sounds from different drum sets in the same sound generator.
Custom bank selects Logic Pro provides 16 bank numbers (0 to 15) for each standard instrument, multi-instrument (including subchannels), or mapped instrument object. You can create custom lists, consisting of as many events (of any kind, even SysEx) as you like, for each of these banks. Whenever you change the bank manually, or send a standard bank change message from Logic Pro, the entire list for that bank is transmitted to your sound module.
Touch track objects Touch track objects overview You use a touch tracks object to trigger MIDI regions or folders with single notes. This function can be used to create a new arrangement in real time, ideal for live performances. You can’t use touch tracks to trigger audio. Any references to regions mean folders and MIDI regions, not audio regions. Despite this limitation, you could conceivably load your audio regions (as files) into the EXS24 mkII, and trigger it with a touch tracks object.
Touch Tracks window Double-clicking a touch tracks object opens the Touch Tracks window. This window is similar to the Mapped Instrument window. The input note is selected via the keyboard on the left, and the output region assignment and parameters are set in the columns of the corresponding row. For details about mapped instruments, see Mapped instrument objects overview on page 781. A vertical gray line means that the setting is the same as the line above.
•• Trigger Modes: The Trigger column determines how region playback is handled: •• Multi: Playing the trigger note starts the region. Playing it again restarts the region, without stopping playback of the originally triggered version. •• Single: Playing the trigger note once starts the region. Playing it again stops playback, and restarts the region. •• Gate: The region plays until the trigger note is released (or until the region ends).
Fader objects Fader objects overview Faders come in different forms (knobs, sliders, numerical, and buttons). You use faders to send MIDI events by clicking or dragging them. Fader objects respond to incoming MIDI events. Create a new fader mm Choose New > Fader. A submenu appears, in which you select a style of fader. There’s also a submenu at the bottom named Special, which you use to select various special fader types (cable switcher, meta-fader, and so on).
Use faders Normally, you grab the surface of a fader and drag it vertically or horizontally, depending on its style. When using the fader itself as a slider, you may notice that values jump in larger increments, depending on the size of the fader and dragging speed. You can also change values in single steps by dragging the slider or knob while holding down the Control key. Some of the fader styles have numerical displays. In these cases, double-click in the numerical field and enter a value.
Work with object groups When building a virtual mixing desk or synthesizer layout in the Environment, you often need to work with large groups of fader objects that have the same size, regular spacing, or a similar definition. To save time on the definition and alignment of these groups, you can choose (one or more) objects as prototypes (templates) by copying them into the Clipboard. (Choose Edit > Copy.) You can then apply certain characteristics of these template objects to selected objects.
Fader styles A fader’s style is shown in the line under the icon. It can be changed by selecting the current style name and choosing a new style from the pop-up menu. Remember that a fader’s style does not usually affect its function—you can select the most convenient style for the intended use of the object. Some of the fader styles are described below. •• Vertical/Mute: This is exactly like the Vertical 4 fader style, with an added Mute button.
•• Double-click a position in the window to enter new text. By default, when you create a text style fader, the text positions contain numerical values. You can use this feature to create numerical style faders with colored backgrounds. You can modify the following parameters in the Text Fader window: •• Options pop-up menu: Provides Cut, Copy, and Paste functions. You can use these operations to transfer the entire list of names to a text editor, for more convenient editing.
Fader functions: MIDI events Each fader has an Input definition and an Output definition. •• Input definition: Determines the types of MIDI events that can remotely control the fader. •• Output definition: Determines the types of MIDI events the fader sends out. A fader can, therefore, convert one type of MIDI event to another. Most MIDI events consist of three bytes: •• The first byte indicates the type and channel of the MIDI event (a note on channel 3, for example).
Fader functions: range, value as The following parameters determine the minimum and maximum values of a fader, and how the fader displays these values: •• Range: 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.
When this filter setting is chosen, the fader’s Range can be set to a maximum value of 16,383. A fader value of 8192 represents no pitch bend. •• Feedback: When the Feedback parameter is turned off (unselected), the fader automatically prevents feedback loops resulting from circular cabling. (The fader remembers when a specific MIDI event has passed through it and will not allow it to pass through again.
The values of these MIDI events correspond to the proximity of the crosshair to the vector fader’s four corners: •• In the center, all channels receive a value of 32. •• At the corners, the corresponding channel receives a value of 127 and all remaining channels receive a value of 0 (if using the default range of 0 to 127). If you alter the range, the center and corners behave differently, with the four values always totaling 125.
Cable switchers Cable switcher objects route events, rather than generate them. Any kind of MIDI or meta event can be routed by a cable switcher. The only exception is events that match the cable switcher’s Input definition. These events will change the switch position (the routing), rather than pass through the cable switcher. A cable switcher can be assigned to any fader style. It’s practical to use the text fader style, as it allows you to label the switcher’s various routes.
Meta event faders Meta faders generate special meta events, which are used to control certain Logic Pro functions, but have no MIDI meaning, and are never sent to the MIDI output. In some cases—Go to Screenset, Go to Project, and so on—you don’t need to cable meta faders into another object for them to work. You can use cabling to process meta events in the Environment, and alter their effect.
Work with SysEx faders The SysEx fader type is slightly different from other fader types. It is primarily designed to send MIDI System Exclusive (SysEx) messages—messages that are exclusive to individual manufacturers’ MIDI devices—whenever a specified fader is moved or controlled remotely. You enter the messages that you want to send in a window that resembles the Event List.
Work with SysEx messages There are several ways to enter SysEx messages in the SysEx Fader Editor window. Teach the fader to learn a SysEx string 1 Click the MIDI In button at the top-right corner of the window. 2 Alter the parameter on your device. The corresponding SysEx message is displayed. You can also enter SysEx messages in the SysEx fader window by typing the SysEx string into the Event List. (Check your MIDI device manual for SysEx documentation.) Manually enter SysEx strings mm Choose Syst.
Although you can have any number of messages (of any kind) in the SysEx fader’s Event List, there is only one fader value, and all selected messages adopt this value. You can use a similar method to create any kind of MIDI or meta event in the SysEx fader window. Command-clicking any of the eight event type buttons (Note, Program Number, Pitch Bend, Controller, Channel Pressure, Poly Pressure, SysEx, and Meta Event) creates a new event of that type.
•• Value Byte Format: The following table outlines the resulting data format of the value option you send: (The unused bits of the transfer in nibbles (X in 0XXXNNNN) are sent with the information at the relevant positions of the SysEx strings. If you want to transfer these deleted bits, you need to enter zeros in the SysEx string.) Value option Result Auto The value is sent as one byte if the value range maximum is 127 or less.
Special functions There are several behaviors and commands that enhance the use of fader objects. •• Temporarily grouping faders: If you drag to select or Shift-click to select several faders and move one of them, all selected faders move proportionately. As long as all faders remain selected, their relative positions are retained (even after one or more of the faders has reached its minimum or maximum position). •• •• Option-dragging any fader in the group changes all values in a linear fashion.
Alias objects Alias objects overview 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 from the value of the original object. This is particularly useful when 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. Aliases can be reassigned with meta events.
Alias parameters Aliases share the parameters of their parent (original) objects, but they also have their own, special parameters: •• Reference pop-up menu: Use to select the original on which the alias is based. •• Channel field: Rechannelizes all events (except fader events), leaving the alias to the selected channel. If the Channel setting is All, existing channelized events are not changed.
GM mixer objects GM mixer objects overview The GM mixer is a collection of 16 fader modules, configured to emulate a virtual mixing desk for 16 MIDI channels. Each module includes controls for volume, mute, preset, and bank, and four assignable knobs (one of which is typically used for pan). There are optional controls for standard XG and GS effects. Create a new GM mixer mm Choose New > GM Mixer.
GM mixer parameters Most of the GM mixer’s setup is done in the Logic Pro Mixer, but there are also a few parameters in the GM Mixer’s inspector: •• Port pop-up menu: Sets the GM mixer’s direct MIDI output connection. •• Channel pop-up menu: Determines the channel number of the lowest GM mixer module. You can use this (coupled with resizing the GM mixer) to create sub-mixers for any continuous string of MIDI channels (1 to 4, for example).
Work with the GM mixer channel strips The MIDI channel strips work as a remote control for the mixing parameters of the controlled sound modules and synthesizers (volume and pan, for example). •• If your sound source understands bank select events, you can choose the bank number with the Bank parameter field at the bottom of each channel strip (only visible if the Bank parameter in the Object inspector is selected). Remember that not all synthesizers support bank select events.
MMC record buttons objects The MMC record buttons object allows you to control the record-enable state of external MMCcompatible recording devices. (See MIDI Machine Control on page 842.) Create an MMC record buttons object mm Choose New > MMC Record buttons. You can resize the object to determine the layout and number of track record buttons.
Monitor objects A monitor object displays all events (MIDI and meta) passing through it. It remembers the last 32 events, with the newest events shown at the bottom of the list. You can resize it to show from 1 to 32 events. Clicking anywhere in the body of the monitor clears all events. Monitors are useful as both testing and branching devices.
Macro objects Macro objects overview Macros are not actually Environment objects. Rather, they are collections of other Environment objects and their cabling. Macros have a lot in common with standard Environment objects; you can connect cables to and from them, they can be resized, they have their own parameters and icons, they can be chosen as destinations in the track list, and they can be copied or dragged between Environment layers and between projects. Macros are limited in size.
Define a macro’s input and output Because a macro is a collection of objects, individual objects need to be specified as the macro’s input and output. This can be done in two ways: by name or by default. •• If you name one object Macro-In and another Macro-Out, these will automatically become the macro’s input and output. •• If there is no object named Macro-In, the upper-leftmost object becomes the macro’s input.
Arpeggiator objects Arpeggiator objects overview An arpeggiator object turns chords into arpeggios. It plays the currently held notes— individually—in a selectable pattern (up, down, random, and so on), and at a selectable speed that ranges between whole notes and 768th notes. An arpeggiator features parameters for direction, velocity, speed (Resolution), note length, start quantize (Snap), repeats, octaves, and velocity offset (Crescendo).
Arpeggiator parameters Arpeggiators have the following parameters: •• •• Direction pop-up menu: Determines the direction of the arpeggiated chord. You can choose between the following settings: •• Up: Lowest note to highest note •• Down: Highest note to lowest note •• Up/Down: Up and down; highest and lowest notes repeat. •• Auto: Up or down, depending on whether the second chord note arrived before, or after, the first chord note. •• Up/Down2: Up and down; highest and lowest notes don’t repeat.
•• Controller Base field: All ten parameters of the arpeggiator object can be controlled with MIDI continuous controller events. The Controller Base parameter determines the controller number for the first parameter (Direction). The other parameters are controlled by subsequent controller numbers. When Controller Base is set to Off, MIDI control of the arpeggiator is disabled.
Configure a transformer object Double-clicking a transformer icon opens the Transformer window, where you can set the conditions and operations. •• Mode pop-up menu: Defines how a transformer handles MIDI events. You can choose between the following operation modes: •• Apply operation and let non-matching events pass thru: MIDI events that match the condition are processed. MIDI events that don’t conform to the condition are passed through.
•• SysEx mapper (data byte 1 → position, data byte 2 → value): This transformer mode is used to create and edit SysEx messages. The Transformer window operations are replaced by value fields that allow you to enter the structure of the SysEX message including its length, whether or not a checksum is required, and the values of bytes you don’t want to change in real time. In the Conditions area, you select the type of MIDI event that will affect the data bytes in the SysEx message.
Use meta events to control condition and operation values You can control the values of any transformer conditions or operations by using meta events. Meta events are internal Logic Pro messages—their form is similar to MIDI controller events, but they have no MIDI meaning, they never leave Logic Pro, and they control internal Logic Pro parameters.
Delay line objects Delay line objects overview A delay line object repeats (echoes) MIDI events passing through it, at intervals ranging from one tick to 256 whole notes. Create a new delay line object mm Choose New > Delay Line. As with the arpeggiator, you need to place a delay line object in the MIDI signal path, and Logic Pro must be in playback mode.
Voice limiter objects Voice limiter objects overview A voice limiter object restricts the number of MIDI notes (1 to 32) that can be held simultaneously. It does this by note stealing—newly arriving notes cause (some of the) currently held notes to be turned off, once the voice limit is reached. Create a new voice limiter mm Choose New > Voice Limiter. Normally, you assign a voice limiter to a track, and cable its output to the instrument object that you want to voice limit.
Channel splitter objects A channel splitter routes MIDI events by channel. Every MIDI event received at the channel splitter input is automatically routed to the output that corresponds to its MIDI channel. If no cable is connected to the corresponding output channel strip, the event is rerouted to the SUM output (at the top). Create a new channel splitter object mm Choose New > Channel Splitter. Chord memorizer objects Chord memorizer objects overview A chord memorizer maps individual notes to chords.
Chord memorizer parameters Chord memorizer objects have the following parameters: •• Channel field: All chord notes are sent to the defined channel. •• Key Limit field: Notes within this range are mapped to chords. Notes outside the range are passed through unaltered. •• Transposition pop-up menu: The output chords are transposed by the amount set here. For example, if you map C to a chord consisting of CEG, and set Transposition to 1, then C is mapped to C#FG#.
Enter chords using the mouse 1 Click the input note on the top keyboard. All notes in the associated chord are inverted on the bottom keyboard. 2 Click notes on the bottom keyboard until the inverted notes of the desired chord are shown. You don’t need to stay within the same octave as the input note. When you’ve entered the notes for your chord, select another input note (on the top keyboard), or close the Chord Memorizer window. Enter chords using your MIDI keyboard 1 Play the input note.
Physical input objects The physical input object represents the physical inputs of your MIDI interface. You can only have one of these objects in the Environment. The physical input object receives MIDI signals from the inputs of the MIDI interface or interfaces connected to your computer. This object has a total of 65 outputs. The outputs follow the input assignment of all connected MIDI interfaces. The top output (SUM) carries the MIDI events for all individual outputs that are not cabled separately.
Sequencer input objects The sequencer input object represents the MIDI input of Logic Pro. You can only have one of these objects in the Environment. MIDI events arrive at main window tracks through the sequencer input object. If nothing is cabled into the sequencer input object, nothing can be recorded in Logic Pro. Typically, the physical input object is cabled directly to the sequencer input object but other objects can be inserted between them.
MIDI click objects The MIDI click object is used to create note events at bar, beat, and division intervals. These can be sent to either a MIDI port or the internal speaker. Each project can have only one MIDI click object. You only need to create a MIDI click object if the one that existed when the project was created has been deleted. Create a MIDI click object mm Choose New > MIDI Metronome Click. Turn the MIDI click on or off mm Click the Metronome button in the Logic Pro control bar.
ReWire objects You can use ReWire objects to send MIDI data to ReWire-compatible applications and their software instruments. To connect to a ReWire-compatible software instrument, first open Logic Pro and then the ReWire application. When shutting down, first quit the ReWire application, then Logic Pro. You can use the Library to create ReWire objects automatically.
Channel strip objects Channel strip objects overview The Environment’s channel strip object is the building block of the Environment’s Mixer layer, the Logic Pro Mixer, and the inspector’s channel strips. For details about channel strip types, see Channel strip types on page 485.
Channel strip parameters When you click a channel strip of any type (audio, software instrument, aux, output, master, input, or bus), the following common parameters are accessible: •• Assignable checkbox: Makes the channel strip assignable from the Reassign Track shortcut menu in the Tracks area; Control-click the track header. •• Device pop-up menu: Click the visible device name (Core Audio, for example) to reassign the selected channel strips to a different hardware device.
Input channel strip You can only create input channel strip objects in the Environment. In general, you will not need to do so, as all audio hardware inputs are automatically seen by audio channel strips, and can be monitored and recorded. Input channel strips are primarily included for compatibility with earlier versions of Logic Pro, and for use with certain audio hardware devices. The input channel strip allows you to directly route and control signals from your audio hardware’s inputs.
Video and synchronization 24 Video and synchronization overview Logic Pro X provides features that let you create or edit the soundtrack of any video or film project. See Add a movie to your project and Work with absolute time code. Logic Pro X supports most synchronization protocols, allowing you to work with synchronized external video or film editing and playback hardware, or with video files stored on a locally attached or networked hard drive.
Note: You will need a fast processor to ensure smooth movie playback. If you want to record and edit your own QuickTime movie from a video recorder or digital camera, you may need specialized hardware. Open a Movie window in Logic Pro X Do one of the following: mm Choose File > Open Movie (or use the corresponding key command, default assignment: Option-Command-O). mm Open the Movie pop-up menu in the global Movie track header, then choose Open Movie.
Use the Movie window You can drag the slider at the bottom of the Movie window or use the QuickTime transport buttons to navigate to any position in a video file. The Logic Pro X playhead will then “chase” to the corresponding project position. All QuickTime transport functions interact with those of Logic Pro X. Resize the Movie window Do one of the following: mm Drag its lower-right corner. mm Control-click the movie, then choose one of the following image formats from the shortcut menu. •• 0.
About the Movie track The global Movie track displays the opened QuickTime movie as thumbnails. If the Movie track is not visible, see Show and hide global tracks. The number of frames displayed on the Movie track depends on both the track height and the zoom level of the window. All frames are aligned left, with only the very last frame aligned to the right. This guarantees that you can always see at least the first and last frames of video, independent of the current zoom level.
Search a movie for scene cuts mm Choose a movie range from the Navigate > Other > Create Movie Scene Markers submenu.
Use movie audio tracks Once a movie has been opened in a project, you can use the Import Audio from Movie or Export Audio to Movie command, found in the File menu. After the audio has been imported, you can change the video dialogue, Foley, and music with Logic Pro X audio processing and editing features. You can export audio from the part of your project that is encompassed by the movie to the movie file itself, effectively overwriting the original movie soundtrack.
4 Enter a name and target folder for the movie, then click Save. A bounce or write dialog appears. The movie is exported to the selected folder, and contains all selected audio tracks, as well as the part of your project that is encompassed by the start and end points of the movie. Create and edit soundtracks Soundtracks overview Creating a new video soundtrack is similar to working with any Logic Pro X project.
The Lock (and Unlock) SMPTE Position function is available only when Advanced tools and additional options is selected in the Advanced preferences pane. You can use the Pickup Clock (Move Event to Playhead Position) key command to move a selected event, such as a note, a tempo event, or a region, to the current playhead position. If you want a particular bar in the project to coincide with a specific time position, you can change the tempo of the preceding passage.
Position a bar to a specific time 1 Open the Tempo List. See Tempo List overview on page 586. 2 Create a tempo event at the target bar position. 3 Set a time position for this tempo event in the (SMPTE) Position column. The preceding tempo event is automatically adjusted, to generate the correct bar and time position for the inserted tempo event. 4 If you want to keep the same tempo for the following passage, delete the tempo event you inserted.
External synchronization When you first open Logic Pro X, it is in Internal Sync (master) mode. The control bar Sync button, if visible, is not activated. When Logic Pro X is running as a synchronized slave, the control bar Sync button is activated. You can use the Sync button to turn external synchronization on or off at any time, without changing the selected synchronization source.
MTC interpretation The MIDI standard supports four of the seven commonly used timecode formats: the 30 fps and 29.97 fps (frames per second) formats are not differentiated in the MIDI specification. Logic Pro X needs to determine the intended format of incoming MTC (MIDI Time Code) and interprets it as follows: •• 23.976 fps is interpreted as 24 fps. •• 24 fps is interpreted as 24 fps. •• 25 fps is interpreted as 25 fps. •• 29.97 fps is interpreted as 29.97 fps. •• 29.
MIDI Machine Control MMC (MIDI Machine Control) is a set of MIDI commands that Logic Pro X uses to control the transport functions of any MMC-capable tape machine. The recording process can also be controlled and automated from Logic Pro X via MMC. The tape machine provides a SMPTE signal that Logic Pro X uses as a synchronization source— with Logic Pro X as the slave.
Switch the record-enabled state of one or more MMC tape tracks When a tape track is selected, the corresponding track on the tape machine switches to a recordenabled state, and deactivates the record-enabled state of all other tracks. You can also do any of the following: mm Shift-click multiple tracks to select and record-enable several tracks on the tape machine.
Synchronization problems and solutions Due to the number of synchronization types available, and different implementations by various manufacturers, you may experience timing issues when using Logic Pro X synchronously with other devices or applications. This table describes common synchronization problems and solutions.
Preferences, project settings, and key commands 25 Logic Pro preferences Logic Pro preferences overview In Logic Pro, you can define and modify preferences that apply to all projects. You do this in the Preferences window. These preferences are automatically saved whenever you quit the application. A general preference file, named com.apple.logic10.plist, is found in the ~/Library/ Preferences folder. A separate preference file for control surfaces, named com.apple.logic.pro.
General preferences Project Handling preferences The Project Handling pane contains the following project startup and template preferences: •• •• Startup Action pop-up menu: Defines what happens when Logic Pro is opened. •• Do Nothing: Nothing happens when Logic Pro is opened; you need to create a new project, or open an existing project or template. •• Open Most Recent Project: Opens the project you were working on when you last closed Logic Pro.
Editing preferences The Editing pane contains the following preferences: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Number of Undo Steps slider: Determines the number of undo steps. •• Add ‘Last Edit Function’ to region name checkbox: When selected, adds a description of the edit operation (cutting, for example) to the name of the region, or resulting regions.
•• Double-clicking a MIDI Region Opens pop-up menu: Determines which editor opens when you double-click a MIDI region in the Tracks area. •• Score: Opens the Score Editor. •• Event List: Opens the Event List. •• Piano Roll: Opens the Piano Roll Editor. •• Step Editor: Opens the Step Editor.
Cycle preferences Cycle preferences are only available when Advanced Editing is selected in Advanced preferences. •• Cycle Pre-Processing pop-up menu: Processes a cycle jump slightly before its actual position, in order to ensure a smooth cycle jump (from the end point to the start point of the cycle). You can change the pre-processing time. A value of 1/96 (chosen by default) should be suitable for most uses.
Catch preferences Catch preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “Catch when Logic starts” checkbox: Turns on the Catch function automatically, in all windows, whenever you start playback (including paused playback). •• “Catch when moving playhead” checkbox: Turns on the Catch function automatically whenever you move the playhead.
Audio preferences Devices preferences Logic Pro automatically recognizes any installed Core Audio hardware, and uses the default settings as defined in the Audio MIDI Setup utility (Applications/Utilities/Audio MIDI Setup). However, you may want to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device. The Devices pane contains the following preferences: •• Core Audio Enabled checkbox: Enables the Core Audio driver.
Tip: If you find that a higher I/O buffer size setting provides suitably low latency during record monitoring and software instrument playback, you should use it. This will minimize the impact on your computer’s processor or processors. •• Resulting (Roundtrip/Output) Latency display: Displays the resulting roundtrip and output latency for the I/O buffer size. •• 24-Bit Recording checkbox: When selected, Logic Pro can record 24-bit files.
•• •• Maximum Scrub Speed pop-up menu: Sets the maximum scrubbing speed. •• Normal: The normal playback speed is used for scrubbing. •• Double: The scrubbing playback speed is twice as fast. Scrub Response pop-up menu: Sets the reaction time for audio scrubbing. You can choose between Slow, Normal, Fast, and Faster.
•• Low Latency Mode checkbox and Limit slider: You need to select the Low Latency Mode checkbox in order to turn on Low Latency mode and use the Limit slider. The Limit slider lets you determine a maximum amount of allowable delay that can be caused by plug-ins when Low Latency mode is turned on (by clicking the Low Latency Mode button in the control bar).
Output preferences The Output pane consists of the following preferences: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Stereo Output pop-up menu: Sets the physical output pair on which the stereo output is played. •• Mirroring checkbox: Becomes available for all chosen output pairs, with the exception of Output 1–2. Deselect to have the output signal routed to the chosen output pair (Output 3–4, for example).
Bounce Extensions preferences The Bounce Extensions pane consists of the following preferences: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Stereo Left and Right fields: Sets the bounce extension. When Additional Surround Options is selected in Advanced preferences, the following are available: •• Surround Show As pop-up menu: Sets the surround format. The choice you make automatically updates the remaining pop-up menus in the Bounce Extensions pane.
Input preferences Input preferences are only available when Additional Surround Options is selected in Advanced preferences. •• Surround Show As pop-up menu: Sets the surround format. The choice you make automatically updates the remaining pop-up menus in the Input pane. •• Surround Initialize buttons: Choose between the default setup of Logic Pro, the ITU (International Telecommunications Union) standard, and the WG-4 standard.
Audio File Editor preferences Audio File Editor preferences are only available when Additional Audio Options is selected in Advanced preferences. •• “Warning before processing function by key command” checkbox: When selected, provides a warning before carrying out a destructive edit in the Sample Editor when you use a key command. This gives you the opportunity to cancel the edit before altering the data.
MP3 preferences MP3 preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• Bit Rate (Mono/Stereo) pop-up menus: You can choose bit rates between 32 kbps and 320 kbps, but the defaults are 80 kbps mono and 160 kbps stereo. These rates offer acceptable quality and good file compression. If you can afford the increased file size, you should choose 96 kbps for mono and 192 kbps for stereo streams. These settings will deliver better audio quality.
Reset preferences Reset preferences are only available when Show Advanced Tools is selected in Advanced preferences. You can use Reset preferences to send reset messages of a specified type to all active instrument channels. This can be useful if you’re encountering hung notes, or are finding that controller settings are incorrect when in Cycle mode (or when returning to the beginning of a section or the project start point).
MIDI preferences General MIDI preferences General MIDI preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “External stop message ends recording” checkbox: If you’re using external synchronization and the timecode stops while recording, record mode is turned off. If this checkbox is unselected, Logic Pro stops, but remains in record mode (record mode is paused). •• Reset All MIDI Drivers button: Resets all MIDI drivers.
Reset Messages preferences MIDI Reset Messages are only available when Additional MIDI Options is selected in Advanced preferences. MIDI Reset Messages preferences are included for compatibility with older MIDI hardware. All selected checkboxes will send a reset message, for the selected controller type, to all MIDI outputs. This reset message is sent on cycle jumps and when playback begins.
Sync preferences The Sync pane contains the following preferences: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• All MIDI Output: Delay field: Delays or advances the MIDI output for all ports, so you can compensate for any timing differences between MIDI tracks and audio or software instrument tracks.
When Additional MIDI Options is selected in Advanced preferences, the following are available: •• MMC Uses pop-up menu: Choose between the following settings: •• MMC standard messages: The MIDI MMC specification is strictly followed. •• Old Fostex format: The old Fostex format is used for MIDI Machine Control. •• Output ID (Transport) checkbox: The All checkbox sends MMC to all ports. The field to the right allows you to specify an output port ID.
Display preferences General Display preferences General Display preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “Large local window menus” checkbox: When selected, local menu items are displayed in a larger font. •• “Large inspectors” checkbox: When selected, inspector settings are displayed in a larger font. •• “Wide playhead” checkbox: When selected, a thicker playhead is used in all windows.
Mixer Display preferences Mixer Display preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “Open plug-in window on insertion” checkbox: When selected, the window of a plug-in opens automatically after it’s inserted in the appropriate channel strip slot. •• Level Meters Scale pop-up menu: Switches level meters between an Exponential scale and a Sectional dB-linear scale.
Score preferences The Score pane contains the following preferences: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• “Double-click to open” pop-up menu: Determines the window that opens when you double-click a note head: Note Attributes, Event List, Piano Roll Editor, or Step Editor. •• “Use external symbol font (if available)” checkbox: Allows the use of external fonts in the score.
Movie preferences Movie preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “Movie to project” slider: Fine-tunes the start point of a movie. •• Cache Resolution pop-up menu: Defines the resolution of the thumbnails kept in the temporary internal memory (cache). Higher resolutions display more detail, but take up more space in the cache. •• Maximum Cache Size slider: Defines the amount of memory reserved for the thumbnail cache.
Automation preferences Automation preferences are only available when Show Advanced Tools is selected in Advanced preferences. •• “Move automation with regions” pop-up menu: Determines what happens to track automation data when you move regions. •• Never: Does not move automation when you move regions. •• Always: Always moves automation when you move regions. The automation data area encompassed by the region boundaries is moved.
Control Surfaces preferences General Control Surfaces and Help Tags preferences are only available when Additional Control Surfaces Options is selected in Advanced preferences. These preferences are discussed in detail in the Logic Pro Control Surfaces Support manual.
Advanced preferences When Show Advanced Tools is selected in Advanced preferences, you have access to a number of advanced features and additional options. For details, see Work with advanced tools and additional options.
Project settings Project settings overview In Logic Pro, you can define and modify settings that apply to individual projects. You do this in the Project Settings window. These settings are automatically saved with each project, which means that different projects can have different settings. You can save your preferred settings in a default template, which can be used to automatically create a new project when you open Logic Pro. You can also import project settings from other projects.
Synchronization settings General Synchronization settings General Synchronization settings are only available when Show Advanced Tools is selected in Advanced preferences. General Synchronization settings are used when running Logic Pro as a slave—when Logic Pro is being controlled by another device. •• •• Sync Mode pop-up menu: Defines the master (timecode type) that Logic Pro is synchronized to. •• Internal: Selects the internal timer of Logic Pro, with Logic Pro running as the master.
•• Frame Rate pop-up menu: Defines the frame rate (in fps, frames per second), which applies to both transmitted and received timecode. Note: In drop frame formats, certain frames are left out. (This follows a regular pattern.) To distinguish between formats, those without dropped frames are sometimes referred to as NDF or non–drop frame.
•• Bar Position displayed as SMPTE value fields: These fields become available if you select the Enable Separate SMPTE View Offset checkbox. Choose Bar Position 1 1 1 1 displayed as SMPTE 00:00:00:00 (preset). If necessary, you can set other view offset values here. The Tempo List always shows the real SMPTE time, never the SMPTE View Offset. The SMPTE View Offset is used in all other windows (including the control bar).
Audio Synchronization settings You can use Audio Synchronization settings to keep your audio and MIDI tracks synchronized. When Show Advanced Tools is selected in Advanced preferences, the following are available: •• MTC slider: Shows the deviation between the incoming MTC and its nominal frame rate. If the deviation is significant, make sure that the correct frame rate is set in the General Synchronization pane.
When Additional Audio Options is selected in Advanced preferences, the following is available: •• Core Audio pop-up menu: Defines how your Core Audio hardware is synchronized to an external timecode master. •• MTC Continuous: Audio regions are started in sync, and the sample rate is continuously regulated to match variations in the timecode master signal. Even very long audio regions stay in sync in this mode.
MIDI Synchronization settings MIDI Synchronization settings are only available when Show Advanced Tools is selected in Advanced preferences. You can use these settings to synchronize external slave devices to Logic Pro, which acts as the master. •• Transmit MIDI Clock: Destination 1 checkbox: Activates MIDI Clock transmission. Every time you start playback, a Song Position Pointer (SPP) message is also sent. Because not all devices can process SPP, the MIDI system real-time Continue message is also sent.
•• Transmit MMC checkbox: Select this checkbox to allow transmission of MIDI Machine Control. These commands are then sent whenever you operate the transport functions (Start, Stop, Rewind, and so on) of Logic Pro. MMC is normally used when Logic Pro is running as a slave to an external master (such as an ADAT), and you want to control the external master’s transport functions from Logic Pro. Logic Pro therefore acts as MMC master and MTC slave simultaneously.
Unitor Synchronization settings Unitor Synchronization settings are only available when Advanced Editing is selected in Advanced preferences. You can use these settings to edit the major synchronization parameters for the Unitor8 MIDI interface. •• •• SMPTE Mode buttons: You can instruct the Unitor8 to read or write SMPTE data. •• Read: Select to read SMPTE data. •• Generate: Select to write SMPTE data.
•• •• TV Format pop-up menu: Defines the television format for timecode burn-in. •• PAL: The video format used in Europe, South America, most Asian and African countries, and Oceania. If you’re working with video in SECAM format (used in France and French-speaking nations in Africa), choose PAL. •• NTSC: The video format used in the U.S., Central America, Japan, and Canada. VITC Line 1 and VITC Line 2 pop-up menus: VITC is written into two lines of the video picture, which are normally invisible.
Metronome settings The Metronome project settings combine all parameters for speaker click, MIDI click, and Klopfgeist—a virtual metronome sound source. Klopfgeist can be used in addition to, or in place of, the speaker and MIDI click sources. Note: Klopfgeist is a software instrument found in the Plug-in pop-up menu of instrument channel strips. Klopfgeist is inserted into instrument channel 256 by default.
When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Bar checkbox: Generates separate note events for bars. •• Beat checkbox: Generates separate note events for beats. •• Division checkbox: Generates separate note events for divisions. •• Channel fields: Defines the MIDI channel of generated notes. •• Note fields: Defines the note number of generated notes. •• Velocity fields: Defines the velocity of generated notes.
Recording settings You can use Recording settings to determine how Logic Pro responds while in record mode. When Show Advanced Tools is selected in Advanced preferences, the following are available: •• •• When Beginning buttons: Use to choose between a count-in or pre-roll period when starting to record. •• Count-in: When selected, you can use the “Count-in” pop-up menu to set the count-in period that precedes a recording.
•• •• Create Tracks when Cycling: When recording in Cycle mode, this function automatically creates a new take track for each cycle repetition. Each previous track plays while you’re recording. •• Create Tracks and Mute when Cycling: When recording in Cycle mode, this function automatically creates a new take track for each cycle repetition. Each previous track is muted while recording.
Tuning settings Tuning overview The 12-tone scale used in Western music is a development that took centuries. Hidden in between those 12 notes are a number of other microtones—different frequency intervals between tones. To explain, look at the harmonic series: Imagine that you have a starting (or fundamental) frequency of 100 Hz (100 vibrations per second). The first harmonic is double that, or 200 Hz. The second harmonic is found at 300 Hz, the third at 400 Hz, and so on.
The comma and equal temperament The difference between a perfectly tuned octave and the octave resulting from a tuned circle of fifths is known as the comma. Over the centuries, numerous approaches have been tried to solve this mystery, resulting in a range of scales (before arriving at equal temperament—the 12-tone scale). Other historical temperaments that have been devised emphasize different aspects of harmonic quality. Each compromises in some way or another.
Settings Logic Pro includes a real-time tuning system, for use with the included software instruments. You can configure the tuning system in the Tuning settings. When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Software Instrument Pitch: Tune slider: Determines the global tuning of all software instruments. The default is concert pitch A (440 Hz). Detuning is in cent (1/100th of a semitone) steps.
•• User: Stretch Upper slider: Determines the deviation (from the equal tempered scale) in the treble end of the sound. The higher the value, the farther down the low notes are tuned. A setting of 0 results in an equal tempered scale tuning. •• User: Stretch Lower slider: Determines the deviation (from the equal tempered scale) in the bass end of the sound. The higher the value, the farther down the low notes are tuned. A setting of 0 results in an equal tempered scale tuning.
Audio settings Audio settings are used to determine the audio behavior in Logic Pro. •• Sample Rate pop-up menu: Use to choose the sample rate for the project. When Show Advanced Tools is selected in Advanced preferences, the following are available: •• “Playback pre-roll” checkbox: When selected, all start commands force Logic Pro to start playback a little earlier (shifted to the left). The exact pre-roll value depends on the current delay compensation value for plug-ins.
MIDI settings General MIDI settings The General pane of the MIDI project settings contains the following settings: When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Send After Loading Project: “Scrubbing with audio in Tracks area” checkbox: Select if you want to simultaneously scrub MIDI and audio regions in the Main window.
Input Filter settings Input Filter settings are only available when Show Advanced Tools is selected in Advanced preferences. For information on the individual checkboxes, see Edit events overview. Chase settings MIDI Chase settings are only available when Show Advanced Tools is selected in Advanced preferences. If you start playback in the middle of a project, some events might not be heard (such as notes, sustain pedal events, and pitch bend events that start before the point where playback begins).
•• Pitch Bend checkbox: Pitch bend events that immediately precede the playback start point will be sent. •• Control Changes, 0-15, 64-71, and All Other checkboxes: Select to search for continuous controllers 0 to 15, continuous switch controllers 64 to 71, or all other controllers. •• Aftertouch checkbox: Looks for monophonic (channel) aftertouch messages. •• Polyphonic Aftertouch checkbox: Scans for polyphonic aftertouch messages.
Score settings Global Score settings Global Score settings define global formatting options such as page margins, note spacing, bars per line, and more. When Show Advanced Tools is selected in Advanced preferences, the following are available: •• Top, Bottom, Left, and Right Margin fields: These values show the margin distances (in cm or inch) to the outer border of the printable area on the page. A “Top Margin 0.
•• Line Distance field: Defines additional vertical distance between staff systems (single, multiple, or bracketed staffs can constitute a system) on the same page. It applies to full scores, as well as single staff parts. •• Maximum Bars/Line field: This parameter can be useful when using small spacing values (see below), to prevent too many bars from being displayed on one line. The number set here limits the number of bars that can be displayed per line.
•• “Hide muted regions” checkbox: Excludes muted regions from the score display. If unselected, muted regions are displayed in the score, even though they won’t be heard during MIDI playback. •• “Hide muted tracks” checkbox: Excludes muted tracks from the score display. If unselected, muted tracks are displayed in the score, even though they won’t be heard during MIDI playback.
Numbers & Names settings Score Numbers and Names settings are only available when Show Advanced Tools is selected in Advanced preferences. These settings affect the automatic display of page numbers, bar numbers, and instrument names in the score. Page Numbers settings •• Page Numbers checkbox: Select to turn on the display of page number parameters. •• Horizontal Position pop-up menu: Alters the horizontal alignment on the page.
For example, if you use the prefix Page, the word Page, followed by a space and the actual page number, is displayed on each page. This means that page three will display Page 3. If you want the page number in the middle of the prefix, you need to use the # symbol as a variable for the page number. For example, “- pg.# -” on the second page prints as “- pg.2 -.” You can also use the following text symbols to include automatically generated text in the prefix: •• “\ i” for the score set name •• “\ n” for
Tablature settings Score Tablature settings are only available when Additional Score Options is selected in Advanced preferences. Guitar tablature is an alternative method of notating music for fretted string instruments— especially for guitar and electric bass—but also for other fretted instruments, with four to six strings (or courses of strings). In this system, the horizontal lines represent the strings of the instrument. Notes are always written on the line/string at which they are played.
Common parameters •• Head Style button group: Choose one of the four head styles: •• Numbers only •• Numbers in circle •• Circle 1/1, 1/2 notes only •• Black and white (1/1, 1/2 notes) circles •• Bass String buttons: Click to determine the display of the lowest string. It may be the same as other strings, or slightly thicker. •• Up- and Down Strum buttons: Click to change the style of the Up- and Down Strum objects displayed in the Chord Grid and Tablature Markings Part box.
•• Inv. Channel Like Channel, but counted from the highest string (1) to the lowest (6 and above). This way of numbering the strings is generally used in traditional guitar tablature. Note: As most Guitar-to-MIDI Converters send notes (played on different strings) on different MIDI channels, the Channel and Inv. Channel modes are suitable if you’re using a MIDI guitar to record MIDI regions. The tablature notation is displayed exactly as the music was played during recording. •• Inv. Ch–1 and Inv.
Chords & Grids settings Chords and Grids settings are only available when Additional Score Options is selected in Advanced preferences. Chord settings •• Root Font field: Defines the font for the chord symbol’s root note. •• Extension Font field: Defines the font for the chord symbol’s extensions. •• “Follow staff size” checkbox: Displays chord symbols according to staff size. •• Slash Note Position pop-up menu: Defines the position of the slash note.
•• Show Fingering checkboxes: Select to show the fingering numbers on the chord grid symbols in the Score Editor. •• Minimum Number of Frets field: Defines the number of frets (four, five, or six) on chord grids. •• Barre buttons: Define the Barre style on chord grids, whether Tie or Block. •• Thumb buttons: Define the representation of the Thumb fingering marking on chord grids. It can be represented by a 5 or a T. •• Left-Handed checkbox: Changes the chord grid orientation for a left-handed user.
Clefs & Signatures settings Clefs & Signatures settings are only available when Additional Score Options is selected in Advanced preferences. Clefs settings •• Clefs pop-up menu: Choose between the following clef display parameters: Every Staff, First Staff on Every Page, First Staff on Page 1, and Hide All.
•• “Minimize transposed accidentals” checkbox: Allows the use of enharmonically changed key signatures, if this results in a signature with fewer accidentals. For example, if a piece is written in B major (5 sharps), the Bb instruments are notated in Db major (5 flats) instead of C# major (7 sharps). Note: Logic Pro does not display key signatures with more than seven flats or sharps, whether or not this option is selected.
Layout settings Score Layout settings are only available when Additional Score Options is selected in Advanced preferences. You can use these settings to define a number of display settings for the whole project, such as staff line thickness, stem length, and distance between notes and ties, or notes and dots.
Spacing settings •• Bar Start Spacing and Bar End Spacing fields: Change the relative distance between the first and last note of a bar, and the preceding or subsequent bar line. Keep in mind that changing the default settings of these parameters only makes sense if rather extreme values have been chosen for the general Spacing parameters in the Global Score pane. •• Dot to Note Distance and Dot to Dot Distance fields: Determine the distance between the note heads and dots, for dotted notes.
MIDI Meaning settings Score MIDI Meaning settings are only available when Additional Score Options is selected in Advanced preferences. These settings determine if, and to what extent, the insertion of the listed symbols affects the MIDI playback of notes (that these symbols are attached to). The above symbols change the MIDI output of all notes they are attached to.
Important: If you do use MIDI Meaning, you need to adjust the settings before you begin to insert accents and so on. This is because the settings have no influence on accents and phrasing marks that have already been inserted. Once set, the velocity and length of notes will be changed as soon as you attach one of these symbols to a note. When you delete the symbol, note velocity and length are reset to their initial values.
Colors settings Score Colors settings are only available when Additional Score Options is selected in Advanced preferences. Pitch Colors settings •• Pitch Colors Type buttons: Each note of the octave is assigned a color. They are arranged like piano keys. You have the following two choices when it comes to pitch color: •• •• Diatonic: Allows you to use 7 different colors. •• Chromatic: Allows you to use 12 different colors.
User Palette settings •• User Palette Color buttons: These colors can be freely edited and named. Click any color to open the standard Colors window and change that particular color. Double-click the text boxes to edit the names. These names are displayed as color options in different color selection menus (staff styles, note attributes). Other settings •• Factory Defaults button: Click to reset any changes you made in the Colors pane.
Assets settings Assets settings are only available when Show Advanced Tools is selected in Advanced preferences. The project assets refer to all audio files, EXS instruments, and other data associated with the project. Ideally, you should save all project assets with the project file, but on certain occasions you may prefer not to.
Key commands Key commands overview You can perform nearly every Logic Pro function with a key command, greatly accelerating your workflow. You can use the Key Commands window to browse, import, and save key command sets, as well as to assign Logic Pro functions that you use most often to computer keyboard keys. There are also a number of functions that are only available as key commands. Some of these may not have a default key command assignment.
Browse, import, and save key commands You can browse or search for key commands in the Key Commands window. You can also switch between key command sets, or import and export them. This is particularly useful if you need to work temporarily on another user’s Logic Pro system, because you can use your personal key assignments without altering the settings of the other system. Browse key commands Do one of the following: mm Click the disclosure triangle beside a key command group to show its contents.
Save a key command set mm Choose Options > Export Key Commands. You can save the current key command assignments to any location using the dialog that appears. You should do this whenever you make changes to your personal key command set. The default location is ~/Library/Application Support/Logic/Key Commands.
Assign key commands You can assign particular computer keyboard keys to Logic Pro functions and control surface messages to particular commands—effectively teaching Logic Pro to understand these messages. Assign a function to a key 1 Select a command in the Command column. 2 Click the Learn by Key Label button. 3 Press the relevant keyboard key, along with the modifier key or keys—Shift, Control, Option, Command. 4 If the key command assignment is already used, an alert appears.
Learn a controller assignment 1 Click the Learn New Assignment button. 2 Select the command in the Command column. 3 Send a MIDI message from your controller.
Delete a key command or controller assignment Do one of the following: mm To delete a key command assignment: Select the relevant command in the Command column, then click the Delete button. mm To delete a controller assignment: Select the relevant command in the Command column, then click the Delete Assignment button.
Print key commands You can print a list of the currently visible key command assignments by copying and pasting them using the Clipboard. Print a key command list 1 Choose Options > Copy Key Commands to Clipboard in the Key Commands window. The currently visible key command assignments are copied to the Clipboard as text. 2 Paste the results into any word processor, format the results, then print the list.
