Logic Pro 9 User Manual - Help Library - Apple

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Editing Transposition with the Chord and Transposition Tracks You can use the Chord and Transposition tracks to edit the playback transposition of MIDI events and <strong>Apple</strong> Loops over time. The Transposition track contains nodes that are connected by vertical and horizontal lines. Each node represents a global transposition event, which determines the global transposition value until the playhead reaches the next transposition event during playback. Transposition events are closely linked to the chord root notes in the Chord track. If you create or alter a transposition event, the amount of pitch shift is immediately reflected by the the chord root notes in the Chord track—and vice versa. The zero position of the Chord and Transposition tracks is determined by the current key signature in the Signature track. If the key signature changes during a project, the zero position of the Chord and Transposition tracks changes accordingly. This chapter covers the following: • Opening the Chord and Transposition Tracks (p. 1050) • Understanding How MIDI Events and <strong>Apple</strong> Loops Are Transposed (p. 1051) 35 1049
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Logic Pro 9 User Manual
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Preface Chapter 1 Chapter 2 Chapter
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Chapter 8 Chapter 9 163 166 166 167
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Chapter 14 387 393 394 398 401 402
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Chapter 18 Chapter 19 Chapter 20 55
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Chapter 38 Chapter 39 Chapter 40 Ch
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Welcome to Logic Pro Logic Pro is a
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• Logic Studio Working with Apoge
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MIDI recordings are used to trigger
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A Logic Pro project file contains a
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MIDI Regions and Events MIDI region
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• External MIDI control surfaces
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MIDI Interface Your Mac computer do
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To facilitate this, an amplifier an
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Note: Condenser microphones require
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Note: USB audio interfaces should a
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AES/EBU The AES/EBU (Audio Engineer
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If the MIDI interface connected to
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For example, if you buy a new keybo
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µ Click the Preferences button in
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Networking Considerations The prima
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The Track Node buttons have four po
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Overview of the Logic Pro Interface
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The following is an overview of the
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• Track list: This is where you s
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The following image shows the Inspe
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You can add, edit, delete, and rena
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Introducing the Loop Browser The Lo
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Introducing the Library The Library
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• Path menu: Displays the levels
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Introducing Project Notes The Proje
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The Event List can display two type
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Introducing the Tempo List The Temp
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Introducing the Mixer The Mixer is
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Introducing the Piano Roll Editor T
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Local Menu Bars A window’s local
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Global Tracks All linear editing wi
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The Sample Editor is shown, display
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11 Select the software instrument t
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If you want to select an item that
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Customizing Your Window Setup 4 Log
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Key focus areas within windows—su
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To open a window Do one of the foll
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µ Click the close button at the to
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To adjust the size of a window Do o
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µ Set the default size for plug-in
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You can move the visible section by
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To zoom in µ Click the widely spac
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To change the zoom level using the
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Note: When a marquee selection is a
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• Content Link: This mode results
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2 Drag the buttons you want to add
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• Time and Bar: Displays the Bar
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µ Control-click (or right-click) a
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Note: Screensets 1 to 9 can be reca
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To delete the current screenset µ
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Setting the Playhead Position The p
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When typing in a full position usin
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• Play from Left Window Edge: Pla
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• Jump Between Cycle- and Project
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The cycle area is defined by the po
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This has no impact on the Bar ruler
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Defining a Cycle with Markers Dragg
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2 Click the Chase tab, then select
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2 Turn on or turn off individual fu
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• Signature/Division: The (Time)
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To open a new SMPTE or Bar Display
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2 Choose one of the following setti
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Opening Marker Areas and Windows Th
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Creating Markers You can create mar
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Markers created in these ways are a
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• Select the markers, then choose
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2 Type the new marker name in the M
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3 Choose settings in the Font windo
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To adjust a marker to fit a cycle
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Switching Between Marker Alternativ
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When you create a new project (or u
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3 Browse to the location where you
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If a project is already loaded, you
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Opening and Creating Projects Autom
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You can also import the following s
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Tip: You can customize the column v
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The Browser tab updates to show a t
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• Click the Settings button in th
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µ Click the Sample Rate display in
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Time signatures do not affect the p
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µ Open the Signature track, and do
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Click the Dim Master Volume button
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The following should be taken into
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Saving Projects When you choose Fil
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Saving a Project as a Template You
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Basic Operations 8 There are a numb
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2 Type in 45, followed by the Retur
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µ Click the Preferences button in
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• Save a new key command set: Ent
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Assigning Key Commands to Computer
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The Assignments field displays the
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Tools are accessed in the Tool menu
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• Opens Tool Menu: Right-clicking
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• Marquee Tool Click Zones: When
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Flex Tool The Flex tool provides yo
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Using Selection Techniques Whenever
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To select all events (of a specifie
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• Edit > Select Equal Colored Reg
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Paste at Original Position This com
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To erase the Undo History µ Choose
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Understanding Tracks and Channel St
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Configuring the Track Header The tr
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• Buttons section: Select the che
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To create one or more new tracks (a
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Software Instrument Tracks You can
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Creating Tracks Only The commands a
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Creating Tracks for Selected Region
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Naming Tracks in the Arrange Area Y
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To create a track name Do one of th
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Assigning Tracks to Environment Obj
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Assigning Track Icons in the Track
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A bullet to the left of the track n
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Soloing When the Track Solo Buttons
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To freeze a track 1 Click the Freez
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You can now perform your edits, and
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Clicking a Track Protect button tog
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3 Set the following parameters, as
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To bounce regions in place 1 Select
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The Bounce Track in Place dialog ap
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• Include Volume/Pan Automation c
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The Arrange (and Mixer) channel str
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Setting Channel Strip Input Format
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To set the Pan or Balance position
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A menu appears, showing all availab
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To use the Hand tool in the Arrange
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µ On channel strips where Insert s
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The Library displays all channel st
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You can remotely switch between cha
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The plug-in window opens automatica
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To adjust a parameter slider Do one
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When the Link Button Is Switched Of
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• Choose the Load Setting command
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Replacing Setting-Compatible Plug-i
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Hiding and Showing Extended Paramet
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Learning About Effect Routings Ther
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Similarly, you can completely chang
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A post fader signal level, routed t
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Tip: Many of the setup and routing
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3 Click GM Device in the left colum
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To reassign tracks to channels usin
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• If you use the Track Parameter
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• Program, Volume, and Pan: Trans
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7 Insert the effects in the Insert
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Tuning Software Instruments The Fil
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Important: Start Logic Pro first, t
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2 Connect the output (or output pai
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You can see the results of the vali
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Disabling Plug-ins The Audio Units
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Logic Pro also supports Broadcast W
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Navigating in the Browser You can s
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Restricting the search to a particu
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To remove a single advanced conditi
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To access the Loop Browser in the A
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When you place Software Instrument
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Column view offers a standard Mac O
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As you can see from this example, t
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Creating a Collection of Your Favor
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4 Click the Play button to preview
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The dialog below opens. 2 Browse to
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Audio regions that point to compres
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2 Choose settings in the Import ReC
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Getting to Know Regions 12 When aud
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It is, of course, possible to direc
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Feature Quantize parameter availabl
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The Sample Editor opens, with the e
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To open the Audio Bin window µ Cho
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Warning: If any of the deleted regi
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Snapping Edits to Zero Crossings If
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Updating the Audio Region Arrangeme
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• Creating Multiple Copies of Reg
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4 In the Colors window that opens,
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To snap to an absolute, not relativ
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To change the drag mode µ Choose o
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Using Shortcut Menus Many selection
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2 Drag to select or Shift-select th
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To assign the same name to multiple
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c Click the OK button to replace th
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2 Drag the marquee rectangle to mak
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Using the Marquee Selection to Crea
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To restore a deleted audio region D
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µ Choose the View > Event Position
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• Nudge Region/Event Position Rig
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Note: If Hyper Draw or automation i
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Adjusting the Start or End Point of
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• Set the value in the Transport
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To copy a region (method 1) µ Opti
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To remove gaps between regions 1 Se
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All selected regions are cut at the
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The alias appears on the selected t
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2 In the dialog that appears, set t
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Note: The EXS instrument is saved t
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2 Select (turn on) the Loop option
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2 Choose Region > Loops > Convert t
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All selected regions located wholly
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Merging Regions (General Tools and
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No Mixdown Situation If there are s
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When opened, folders look just like
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You should ensure that the folder i
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Creating Fades A fade in starts at
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µ Select a region, then edit the F
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To change the playback speed Do one
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Editing Several Regions Simultaneou
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• Advanced Quantization: Q-Flam:
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Recording in Logic Pro 14 This chap
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µ Click the Sample Rate display in
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Setting Up the Metronome for Record
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For details about the Metronome pro
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Tip: You can leave the Input Monito
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To choose the recording file type 1
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Record-Enabling Tracks You can make
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• Multitrack recording: You can r
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Imagine a guitar solo being perform
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5 Open the take folder by doing one
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Audio Multitrack Recording You can
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The Autopunch feature can be used f
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5 Stop recording by clicking the St
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The recording appears as a single M
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4 Set a cycle area by doing one of
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Only the actual recording of MIDI e
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To record several MIDI tracks in Cy
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When you stop recording, you can wo
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2 Open the Overlapping Recordings p
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3 Select the checkboxes that corres
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To color a take in an open or close
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MIDI Step Input Recording The Step
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4 Click a key in the Step Input Key
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Triplets, Dotted Note Groups The
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The Space bar provides a Sustain fu
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Getting to Know Take Folders You wi
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The following key commands enable y
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Creating Comps You can use quick sw
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Extending a take region section (dr
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To alternate selected comp areas be
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Resizing Take Regions You can edit
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To cut a take folder µ Click the t
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The first cut occurs at the clicked
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To create a new take lane for a tak
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To create a new comp from the activ
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3 Type the new name in the dialog t
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To delete a take 1 Click the arrow
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2 Click the arrow in the top right
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To export an active take to a new t
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To export an active comp to a new t
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To move an active take to a new tra
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To flatten a take folder 1 Click th
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This command—Unpack Take Folder,
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This command—“Unpack Take Folde
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Flex Time Editing 16 Flex Time edit
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To assign a flex mode to an audio t
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Getting to Know the Flex Modes Flex
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• Crossfade: Adjusts the crossfad
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• If you click in the area where
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Moving Flex Markers and Time Stretc
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Note: Time compression or expansion
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2 Click in the upper half of the se
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A yellow guideline appears in the o
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µ Using the Flex tool, place the p
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To time stretch using region border
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Editing Audio in the Sample Editor
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µ Drag the Sample Editor button, w
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To control playback using the Preli
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Navigating Audio Files in the Sampl
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To select a particular section of a
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To select a section of an audio fil
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Using Transient Markers to Edit in
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• − button: Decreases the numbe
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This detects transients across the
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2 Choose the desired settings in th
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Tip: If you use the Silence functio
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Tip: You can also use the Invert fu
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2 Choose the desired settings in th
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To enter relative display mode Do o
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Note: You need to zoom the waveform
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The “Time and Pitch Machine” co
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Setting Tempo Parameters in the “
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Using the Sample Editor’s Groove
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Using the Sample Editor’s Audio E
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Setting Audio Energizer Parameters
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Applying Spike Reduction in the Sil
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Opening the Sample Editor’s “Au
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• Velocity Threshold: Sets the th
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• Quantize by: Open this pop-up m
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Using AudioSuite Plug-ins The Sampl
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Note: Bounced files can only follow
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The locator range should closely ma
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4 Choose Audio > Time Stretch Regio
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The selected regions are analyzed;
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To remove tempo information from an
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Getting to Know the Strip Silence W
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Automatic Anchor Creation When you
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Managing Audio Files 20 This chapte
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Grouping Files in the Audio Bin You
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To open or close one or more groups
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This expands or collapses all audio
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Logic Pro updates the path informat
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Note: If a file of the same name ex
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Note: If you want to simultaneously
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• Double-click the exclamation ma
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Understanding Region- and Event-bas
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The Q-Swing field is located just b
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You can also quantize sections of t
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3 In the Group Settings window, sel
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Quantizing MIDI Events Event-based
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2 Do one of the following, dependin
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Important: The source audio or MIDI
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• Granulation (ms): Determines th
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Introduction to MIDI Editing 22 Thi
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• Disabled: Double-clicking a MID
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2 Click the Editing tab, then choos
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• Deleting or moving portions of
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Editing MIDI Events in the Piano Ro
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• The vertical position of note e
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When the Link Button Is Turned Off
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The Snap menu setting applies to th
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• Click the original note with th
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Important: A Redo list is not displ
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• Nudge Region/Event Position Lef
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• Note Overlap Correction for Rep
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Using the Copy MIDI Events Settings
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You can override this behavior by h
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For more information on the Functio
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Customizing the Piano Roll Editor Y
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Editing MIDI in the Hyper Editor 24
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Getting to Know the Hyper Editor Th
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You can also alter the width and st
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To create multiple events in a line
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This is ideal when adding events wi
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To alter individual event values µ
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• Edit > Paste (or Command-V) pas
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2 Select the Auto Define checkbox i
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To rearrange the order of event def
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• C- Press (Channel Pressure): To
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Setting the MIDI Channel Number A c
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Creating a Hyper Set To create a ne
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µ Choose Delete Hyper Set from the
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Getting to Know the Event List All
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The Event List can also display a l
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This is particularly important for
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You can use these filter buttons al
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Protecting the Position of Events T
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µ Click-hold the specific position
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• Unselected Within Selection: Er
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Mapped Instrument Notes If the edit
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• Other manufacturers use various
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Meta Events Meta events are control
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Editing MIDI Events in the Transfor
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Depending on your needs, it may be
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Random Pitch, Velocity, Length Sets
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This preset is a great creative opt
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Reverse Pitch Inverts the pitch of
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Velocity Limiter Limits the velocit
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Quantize Note Length Quantizes the
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• Delete selected events: Choose
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• Fix: The event type is altered.
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Using the Map 128 vertical bars ref
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This transform set now appears at t
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To convert MIDI note events to MIDI
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2 Click Select And Operate. To dele
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754 Chapter 27 Mixing • Assigning
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756 Chapter 27 Mixing Getting to Kn
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• Master channel strip: A global
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760 Chapter 27 Mixing Understanding
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762 Chapter 27 Mixing The Group Set
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When you choose an inactive group,
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766 Chapter 27 Mixing Soloing Chann
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768 Chapter 27 Mixing When setting
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770 Chapter 27 Mixing To avoid clip
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772 Chapter 27 Mixing To change the
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The following sections explain how
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776 Chapter 27 Mixing You can creat
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778 Chapter 27 Mixing 4 Use the aux
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780 Chapter 27 Mixing 2 Within the
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782 Chapter 27 Mixing When using ou
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784 Chapter 27 Mixing To define a c
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786 Chapter 27 Mixing 2 Double-clic
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788 Chapter 27 Mixing • Doppler b
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790 Chapter 27 Mixing Using the Bin
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792 Chapter 27 Mixing Open the View
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To assign a controller to one of th
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• Output channel strips—used as
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798 Chapter 27 Mixing Note: To view
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800 Chapter 27 Mixing Using Link Mo
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To copy a mixer setup 1 Select the
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804 Chapter 27 Mixing The Record En
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To move to a specific channel strip
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Working with Automation 28 Logic Pr
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The gray automation area appears on
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2 Click the Arrange tab, then adjus
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To set the same automation mode for
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2 Select checkboxes in the “Write
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• Click outside of all track auto
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• Delete All Automation on Select
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A dialog asks if you want to conver
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To offset your automation when Snap
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Using Automation Quick Access The A
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To activate Hyper Draw for the curr
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To use the Note Velocity mode 1 Cho
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Bouncing Your Project 29 You can re
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Defining the Bounce Range Before bo
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Setting Global Parameters in the Bo
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• Normalize pop-up menu: You can
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If the PCM option is unselected in
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Select the “Use default values”
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Simulate Write Only The “Simulate
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You can choose between the followin
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Creating Apple Loops in Logic Pro W
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Because one-shots are handled like
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There are two possible reasons for
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As an alternative, you can use the
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The Change Display Only mode does n
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If you want to turn an Apple Loops
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• Selecting Multiple Regions in t
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Getting to Know the Score Editor Th
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Important: Score display parameters
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To switch between the default score
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• The Display Quantize setting sh
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To display the Insert Defaults sett
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To resize the Hyper Draw area µ Gr
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The palette windows can have differ
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Note Objects in the Part Box The Pa
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Dynamic Symbols in the Part Box Dyn
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Note: The symbols in this Part box
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Apart from 2/4, 3/4, 4/4, 6/8, and
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D.S., D.C., Segno, and Coda Signs i
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Page and Line Break Symbols in the
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• Absolute Change (all values set
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To paste the Clipboard contents int
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An alias can be assigned a staff st
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Resizing Notes and Symbols in the S
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Creating and Editing Tied Notes in
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• Tuplet note values: Choose from
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• Independent Grace: These are al
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Note: Church rests cannot be longer
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These commands place the correspond
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Editing Repeat Signs and Bar Lines
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To insert text in the score 1 Selec
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Setting Special Text Object Paramet
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• Tempo Symbols: Used for the dis
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When a global text object is select
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Setting All Words and Syllables to
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µ Double-click one of the extensio
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The Chord Grid Library window consi
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Getting to Know the Chord Grid Sele
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• Number of Strings field: Displa
Page 928 and 929:
After inserting chord grid symbols
Page 930 and 931:
To modify the chord of an existing
Page 932 and 933:
To move an existing fingering dot D
Page 934 and 935:
µ Option-click an existing dot to
Page 936 and 937:
To create a barre Do one of the fol
Page 938 and 939:
The string is muted. To unmute a st
Page 940 and 941:
• Choose Layout > Chord Grid Libr
Page 942 and 943:
Importing and Exporting Chord Grid
Page 944 and 945:
• Up/Downstroke: Placement is at
Page 946 and 947:
Note: If you perform this procedure
Page 948 and 949:
Copying Signatures You can copy tim
Page 950 and 951:
µ Choose a number from the Alterna
Page 952 and 953:
When simultaneously changing the se
Page 954 and 955:
Quantize setting 192 384 Correspond
Page 956 and 957:
• Defeat Interpretation Syncopati
Page 958 and 959:
Score This parameter is accessed vi
Page 960 and 961:
Changing the Horizontal Position of
Page 962 and 963:
Changing the Beaming of Notes By de
Page 964 and 965:
• Independent Grace Changing the
Page 966 and 967:
Note: Auto Style can only be chosen
Page 968 and 969:
• Voice parameters: The parameter
Page 970 and 971:
To copy a staff style and assign it
Page 972 and 973:
5 Click the Import button. All staf
Page 974 and 975:
Size Use this parameter to determin
Page 976 and 977:
Head Controls the appearance of not
Page 978 and 979:
2 Draw a line (between notes) where
Page 980 and 981:
You can, of course, also insert not
Page 982 and 983:
Note: As always, rests are displaye
Page 984 and 985:
These options allow you to have two
Page 986 and 987:
Getting to Know the Score Set Windo
Page 988 and 989:
Brackets and bar lines can also be
Page 990 and 991:
Scaling doesn’t take place on ins
Page 992 and 993:
To switch to Page Score view Do one
Page 994 and 995:
Editing Local Margins You can move
Page 996 and 997:
3 Start printing by choosing File >
Page 998 and 999: Displaying Folders If the current d
Page 1001 and 1002: Project and File Interchange 32 Mov
Page 1003 and 1004: Sharing is essentially broken down
Page 1005 and 1006: By default, all items of the matchi
Page 1007 and 1008: 2 Click the Create button in the di
Page 1009 and 1010: • Format 1 can contain multiple t
Page 1011 and 1012: 3 Choose the destination directory,
Page 1013 and 1014: Importing and Opening OMF Files The
Page 1015 and 1016: Set the start time of first importe
Page 1017 and 1018: Working with Soundtrack Pro STAP Fi
Page 1019 and 1020: 3 Define the following parameters,
Page 1025 and 1026: Advanced Tempo Operations 33 Logic
Page 1027 and 1028: The Tempo track displays tempo chan
Page 1029 and 1030: The display range (the scale shown
Page 1031 and 1032: Given this behavior, you should avo
Page 1033 and 1034: µ Drag the Tempo tab, which change
Page 1035 and 1036: • Try out different tempo variati
Page 1037 and 1038: Scaling Tempo Changes in the Tempo
Page 1039 and 1040: • Tempo Response: This parameter
Page 1041 and 1042: Beat Mapping Regions 34 You will ge
Page 1043 and 1044: Once selected, short horizontal lin
Page 1045 and 1046: There are a number of ways to impro
Page 1047: Tip: If using the “Tolerate missi
Page 1051 and 1052: Understanding How MIDI Events and A
Page 1053 and 1054: To create a chord event in the Chor
Page 1055: To insert chords from the Chord tra
Page 1058 and 1059: To open the Environment window µ C
Page 1060 and 1061: Understanding Protected Layers The
Page 1062 and 1063: Working with Objects As with all wi
Page 1064 and 1065: 2 Select the objects you want to mo
Page 1066 and 1067: Using Advanced Selection Commands Y
Page 1068 and 1069: For example, the output of an arran
Page 1070 and 1071: Cabling Environment Objects The cab
Page 1072 and 1073: A cable connection to another layer
Page 1074 and 1075: 2 Select the destination object and
Page 1076 and 1077: Note: This complex task involves a
Page 1078 and 1079: Tip: You can prevent the accidental
Page 1081 and 1082: Environment Objects Reference 37 Th
Page 1083 and 1084: An Object Parameter box containing
Page 1085 and 1086: • Channel: Sets the MIDI channel
Page 1087 and 1088: You will generally use multi-instru
Page 1089 and 1090: With modern synths, there’s a goo
Page 1091 and 1092: • Sent to one of up to 16 output
Page 1093 and 1094: Velocity Use to set a velocity offs
Page 1095 and 1096: The letter in parentheses next to t
Page 1097 and 1098: The Touch Tracks Window Double-clic
Page 1099 and 1100:
Fader Objects Faders are used to se
Page 1101 and 1102:
Recording Fader Movements You don
Page 1103 and 1104:
Buttons Button style faders can onl
Page 1105 and 1106:
• -1- (0 to 127): Defines the fir
Page 1107 and 1108:
For controllers, the MSB uses the I
Page 1109 and 1110:
µ Change an existing fader’s Out
Page 1111 and 1112:
Meta event 125 126 127 Controlled L
Page 1113 and 1114:
The corresponding SysEx message is
Page 1115 and 1116:
Value option One Byte MSB/LSB LSB/M
Page 1117 and 1118:
This creates a meta fader, with a -
Page 1119 and 1120:
The GM mixer is intended for contro
Page 1121 and 1122:
2 Choose the controller you want fr
Page 1123 and 1124:
To create a monitor object µ Choos
Page 1125 and 1126:
Macro Parameters Macros have the fo
Page 1127 and 1128:
• Snap To: Unless this value is s
Page 1129 and 1130:
Configuring a Transformer Object Do
Page 1131 and 1132:
• The data byte 2 value sets the
Page 1133 and 1134:
Delay Line Objects A delay line obj
Page 1135 and 1136:
Channel Splitter Objects A channel
Page 1137 and 1138:
Working in the Chord Memorizer Wind
Page 1139 and 1140:
To create a Physical Input object
Page 1141 and 1142:
To create a MIDI Click object µ Ch
Page 1143 and 1144:
To manually create a ReWire object
Page 1145 and 1146:
The Arrange channel strips contain
Page 1147:
Input channel strips can be used as
Page 1150 and 1151:
Note: You will need a fast hard pro
Page 1152 and 1153:
• Fullscreen: Expands the Movie w
Page 1154 and 1155:
To search a movie for scene cuts µ
Page 1156 and 1157:
• Control-click (or right-click)
Page 1158 and 1159:
• Using the Down Mixer Plug-in (p
Page 1160 and 1161:
6.1 (ES/EX) Surround Format The 6.1
Page 1162 and 1163:
µ Ls = Left Surround (Rear Left)
Page 1164 and 1165:
Setting the Surround Preferences Th
Page 1166 and 1167:
µ Click one of the three Initializ
Page 1168 and 1169:
To change the bounce extensions 1 C
Page 1170 and 1171:
• Stereo: Two interlocked circles
Page 1172 and 1173:
If you add an audio file to a track
Page 1174 and 1175:
Using the Mono-to-Surround Panner I
Page 1176 and 1177:
The separation square is visible if
Page 1178 and 1179:
Tip: It is possible to release the
Page 1180 and 1181:
• LR, C, and Ls-Rs shown on three
Page 1182 and 1183:
Working with the Surround Master Wh
Page 1184 and 1185:
Positioning Your Speakers The physi
Page 1186 and 1187:
The reason, put simply, is due to t
Page 1188 and 1189:
SACD: Super Audio Compact Disc Basi
Page 1190 and 1191:
Tip: Logic Pro also supports manual
Page 1192 and 1193:
You can, however, manually set the
Page 1194 and 1195:
To avoid having to do this by trial
Page 1196 and 1197:
• Following an MMC-controlled rec
Page 1199 and 1200:
Working with Plug-in Latencies 41 A
Page 1201 and 1202:
2 Set the Limit slider to the desir
Page 1203 and 1204:
There are, however, some limitation
Page 1205 and 1206:
Working with Split Channel Audio Fi
Page 1207 and 1208:
You can now edit both sides of the
Page 1209 and 1210:
Project Settings in Logic Pro 43 Th
Page 1211 and 1212:
Saving Project Settings Project set
Page 1213 and 1214:
• MTC: MIDI Time Code mode. Logic
Page 1215 and 1216:
Audio Synchronization Settings Use
Page 1217 and 1218:
• MTC Trigger + Auto Speed Detect
Page 1219 and 1220:
• Transmit MIDI Clock: Destinatio
Page 1221 and 1222:
• SMPTE Mode Refresh checkbox: Ac
Page 1223 and 1224:
MIDI Click Settings • Bar checkbo
Page 1225 and 1226:
• x Bar: The recording begins wit
Page 1227 and 1228:
Software Instrument Pitch Settings
Page 1229 and 1230:
To simplify this example: Imagine t
Page 1231 and 1232:
Hermode Tuning can help with this p
Page 1233 and 1234:
• Playback Pre-Roll checkbox: Whe
Page 1235 and 1236:
General MIDI Settings The following
Page 1237 and 1238:
Chase Settings If you start playbac
Page 1239 and 1240:
Global Score Settings The Global Sc
Page 1241 and 1242:
If you only use Proportional Spacin
Page 1243 and 1244:
Note: For each of these options, yo
Page 1245 and 1246:
• Hide Bar Numbers in Linear View
Page 1247 and 1248:
Note: Up to eight strings are shown
Page 1249 and 1250:
A further point to note is that not
Page 1251 and 1252:
• Alignment pop-up menu: Determin
Page 1253 and 1254:
Key and Time Signatures Settings
Page 1255 and 1256:
Layout Settings The Layout pane is
Page 1257 and 1258:
MIDI Meaning Settings The settings
Page 1259 and 1260:
Color Settings The Colors pane dete
Page 1261 and 1262:
Video Project Settings In the Video
Page 1263:
Assets Project Settings The project
Page 1266 and 1267:
These and several other access meth
Page 1268 and 1269:
To open General preferences Do one
Page 1270 and 1271:
General Editing Preferences The Edi
Page 1272 and 1273:
• “Select Regions on Track sele
Page 1274 and 1275:
General Caps Lock Keys Preferences
Page 1276 and 1277:
Core Audio Device Preferences Logic
Page 1278 and 1279:
20- and 24-bit files use one-and-a-
Page 1280 and 1281:
• CPU-saving (Slow Response): Cho
Page 1282 and 1283:
Output Pane The Output pane consist
Page 1284 and 1285:
Input Pane The Input pane consists
Page 1286 and 1287:
• “Store undo files in project
Page 1288 and 1289:
• Quality pop-up menu: Keep this
Page 1290 and 1291:
MIDI Preferences in Logic Pro MIDI
Page 1292 and 1293:
MIDI General Preferences The Genera
Page 1294 and 1295:
• MTC Pickup Delay field: This pa
Page 1296 and 1297:
General Display Preferences This pa
Page 1298 and 1299:
Mixer Display Preferences These pre
Page 1300 and 1301:
Score Preferences in Logic Pro Scor
Page 1302 and 1303:
Video Preferences in Logic Pro Vide
Page 1304 and 1305:
• Ramp Time field: Determines the
Page 1306 and 1307:
To open Control Surfaces preference
Page 1309 and 1310:
Glossary AAC Abbreviation for Advan
Page 1311 and 1312:
ASCII Acronym for American Standard
Page 1313 and 1314:
Beat Mapping track Global track use
Page 1315 and 1316:
channel strip A channel strip is a
Page 1317 and 1318:
cutting The act of reducing a level
Page 1319 and 1320:
dynamics Refers to changes in volum
Page 1321 and 1322:
flex time editing A process that al
Page 1323 and 1324:
importing The process of bringing f
Page 1325 and 1326:
locators Lower two sets of numbers,
Page 1327 and 1328:
MIDI region Data container for MIDI
Page 1329 and 1330:
notch filter This filter type cuts
Page 1331 and 1332:
plug-in window A window that opens
Page 1333 and 1334:
egion Regions can be found on arran
Page 1335 and 1336:
SDII Sound Designer II audio file f
Page 1337 and 1338:
SPP Abbreviation for Song Position
Page 1339 and 1340:
tempo The playback speed of a piece
Page 1341 and 1342:
Voice Separation tool You can separ
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