Logic Pro 9 User Manual - Help Library - Apple

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2 Choose one of the following settings in the Clock Format menu: • Clock Format: 1 1 1 1 • Clock Format: 1. 1. 1. 1 • Clock Format: 1 1 1 0 • Clock Format: 1. 1. 1. 0 • Clock Format: 1 1 _1 • Clock Format: 1. 1. _1 • Clock Format: 1 1 _0 • Clock Format: 1. 1. _0 3 Choose one of the following settings in the Display SMPTE 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. • As Feet Frames, 16 mm film: The display is displayed in feet and frames, for 16mm film. • With Milliseconds: The frame fractions are displayed in milliseconds instead of SMPTE bits (also called subframes). Don’t forget that this value is dependent on the frame rate: at 25 fps, a frame is 40 milliseconds long, at 30 fps, approximately 33 ms. • With Samples: Frame fractions are shown as sample values. • With Frames and Samples: Both fractional frame and sample values are shown. 4 Select the “Zeros as spaces” checkbox if you want zero values to appear as blank spaces, rather than the number 0 in SMPTE time displays. 5 Choose one of the following settings in the Display Tempo As pop-up menu: • Beats Per Minute (BPM, Maelzel): Beats per minute, to four individually adjustable decimal places. • BPM without Decimals: Beats per minute, with no decimal places. • Frames Per Click with Eights: Frames per beat with eighths. After the value, you will see fpc. • Frames Per Click with Decimals: Frames per beat, to four decimal places. Take care, as this display can easily be confused with the bpm display. 142 Chapter 5 Navigating Your <strong>Pro</strong>ject
Working with Markers 6 The main purpose of markers is to tag different parts of a project, and to enable the quick selection of these parts for playback, editing, and arranging. Markers serve as a kind of project road map, representing the form of a project graphically. Apart from the text functions, markers can also be regarded as storage areas for locator positions—each of which can be individually named. This chapter covers the following: • Opening Marker Areas and Windows (p. 144) • Creating Markers (p. 146) • Copying Markers (p. 149) • Selecting Markers (p. 149) • Deleting Markers (p. 149) • Naming Markers (p. 150) • Changing the Appearance of Marker Text (p. 153) • Editing Markers (p. 154) • Navigating with Markers (p. 156) • Switching Between Marker Alternatives (p. 158) • Customizing the Marker Display in the Marker List (p. 158) • Importing, Removing, and Exporting Marker Information (p. 158) 143
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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
Page 85 and 86:
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
Page 91 and 92: To open a window Do one of the foll
Page 93 and 94: µ Click the close button at the to
Page 95 and 96: To adjust the size of a window Do o
Page 97 and 98: µ Set the default size for plug-in
Page 99 and 100: You can move the visible section by
Page 101 and 102: To zoom in µ Click the widely spac
Page 103 and 104: To change the zoom level using the
Page 105 and 106: Note: When a marquee selection is a
Page 107 and 108: • Content Link: This mode results
Page 109 and 110: 2 Drag the buttons you want to add
Page 111 and 112: • Time and Bar: Displays the Bar
Page 113 and 114: µ Control-click (or right-click) a
Page 115 and 116: Note: Screensets 1 to 9 can be reca
Page 117: To delete the current screenset µ
Page 120 and 121: Setting the Playhead Position The p
Page 122 and 123: When typing in a full position usin
Page 124 and 125: • Play from Left Window Edge: Pla
Page 126 and 127: • Jump Between Cycle- and Project
Page 128 and 129: The cycle area is defined by the po
Page 130 and 131: This has no impact on the Bar ruler
Page 132 and 133: Defining a Cycle with Markers Dragg
Page 134 and 135: 2 Click the Chase tab, then select
Page 136 and 137: 2 Turn on or turn off individual fu
Page 138 and 139: • Signature/Division: The (Time)
Page 140 and 141: To open a new SMPTE or Bar Display
Page 144 and 145: Opening Marker Areas and Windows Th
Page 146 and 147: Creating Markers You can create mar
Page 148 and 149: Markers created in these ways are a
Page 150 and 151: • Select the markers, then choose
Page 152 and 153: 2 Type the new marker name in the M
Page 154 and 155: 3 Choose settings in the Font windo
Page 156 and 157: To adjust a marker to fit a cycle
Page 158 and 159: Switching Between Marker Alternativ
Page 160 and 161: When you create a new project (or u
Page 162 and 163: 3 Browse to the location where you
Page 164 and 165: If a project is already loaded, you
Page 166 and 167: Opening and Creating Projects Autom
Page 168 and 169: You can also import the following s
Page 170 and 171: Tip: You can customize the column v
Page 172 and 173: The Browser tab updates to show a t
Page 174 and 175: • Click the Settings button in th
Page 176 and 177: µ Click the Sample Rate display in
Page 178 and 179: Time signatures do not affect the p
Page 180 and 181: µ Open the Signature track, and do
Page 182 and 183: Click the Dim Master Volume button
Page 184 and 185: The following should be taken into
Page 186 and 187: Saving Projects When you choose Fil
Page 188 and 189: Saving a Project as a Template You
Page 191 and 192: Basic Operations 8 There are a numb
Page 193 and 194:
2 Type in 45, followed by the Retur
Page 195 and 196:
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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
Page 203 and 204:
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
Page 222 and 223:
Understanding Tracks and Channel St
Page 224 and 225:
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
Page 238 and 239:
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
Page 316 and 317:
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
Page 322 and 323:
Restricting the search to a particu
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To remove a single advanced conditi
Page 326 and 327:
To access the Loop Browser in the A
Page 328 and 329:
When you place Software Instrument
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Column view offers a standard Mac O
Page 332 and 333:
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
Page 374 and 375:
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
Page 384 and 385:
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
Page 394 and 395:
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
Page 416 and 417:
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
Page 422 and 423:
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
Page 441 and 442:
To choose the recording file type 1
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Record-Enabling Tracks You can make
Page 445 and 446:
• Multitrack recording: You can r
Page 447 and 448:
Imagine a guitar solo being perform
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5 Open the take folder by doing one
Page 451 and 452:
Audio Multitrack Recording You can
Page 453 and 454:
The Autopunch feature can be used f
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5 Stop recording by clicking the St
Page 457 and 458:
The recording appears as a single M
Page 459 and 460:
4 Set a cycle area by doing one of
Page 461 and 462:
Only the actual recording of MIDI e
Page 463 and 464:
To record several MIDI tracks in Cy
Page 465 and 466:
When you stop recording, you can wo
Page 467 and 468:
2 Open the Overlapping Recordings p
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3 Select the checkboxes that corres
Page 471 and 472:
To color a take in an open or close
Page 473 and 474:
MIDI Step Input Recording The Step
Page 475 and 476:
4 Click a key in the Step Input Key
Page 477 and 478:
Triplets, Dotted Note Groups The
Page 479:
The Space bar provides a Sustain fu
Page 482 and 483:
Getting to Know Take Folders You wi
Page 484 and 485:
The following key commands enable y
Page 486 and 487:
Creating Comps You can use quick sw
Page 488 and 489:
Extending a take region section (dr
Page 490 and 491:
To alternate selected comp areas be
Page 492 and 493:
Resizing Take Regions You can edit
Page 494 and 495:
To cut a take folder µ Click the t
Page 496 and 497:
The first cut occurs at the clicked
Page 498 and 499:
To create a new take lane for a tak
Page 500 and 501:
To create a new comp from the activ
Page 502 and 503:
3 Type the new name in the dialog t
Page 504 and 505:
To delete a take 1 Click the arrow
Page 506 and 507:
2 Click the arrow in the top right
Page 508 and 509:
To export an active take to a new t
Page 510 and 511:
To export an active comp to a new t
Page 512 and 513:
To move an active take to a new tra
Page 514 and 515:
Page 516 and 517:
To flatten a take folder 1 Click th
Page 518 and 519:
Page 520 and 521:
This command—Unpack Take Folder,
Page 522 and 523:
This command—“Unpack Take Folde
Page 525 and 526:
Flex Time Editing 16 Flex Time edit
Page 527 and 528:
To assign a flex mode to an audio t
Page 529 and 530:
Getting to Know the Flex Modes Flex
Page 531 and 532:
• Crossfade: Adjusts the crossfad
Page 533 and 534:
• If you click in the area where
Page 535 and 536:
Moving Flex Markers and Time Stretc
Page 537 and 538:
Note: Time compression or expansion
Page 539 and 540:
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
Page 545 and 546:
To time stretch using region border
Page 547 and 548:
Editing Audio in the Sample Editor
Page 549 and 550:
µ Drag the Sample Editor button, w
Page 551 and 552:
To control playback using the Preli
Page 553 and 554:
Navigating Audio Files in the Sampl
Page 555 and 556:
To select a particular section of a
Page 557 and 558:
To select a section of an audio fil
Page 559 and 560:
Using Transient Markers to Edit in
Page 561 and 562:
• − button: Decreases the numbe
Page 563 and 564:
This detects transients across the
Page 565 and 566:
2 Choose the desired settings in th
Page 567 and 568:
Tip: If you use the Silence functio
Page 569 and 570:
Tip: You can also use the Invert fu
Page 571 and 572:
2 Choose the desired settings in th
Page 573 and 574:
To enter relative display mode Do o
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Note: You need to zoom the waveform
Page 577 and 578:
The “Time and Pitch Machine” co
Page 579 and 580:
Setting Tempo Parameters in the “
Page 581 and 582:
Using the Sample Editor’s Groove
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Using the Sample Editor’s Audio E
Page 585 and 586:
Setting Audio Energizer Parameters
Page 587 and 588:
Applying Spike Reduction in the Sil
Page 589 and 590:
Opening the Sample Editor’s “Au
Page 591 and 592:
• Velocity Threshold: Sets the th
Page 593 and 594:
• Quantize by: Open this pop-up m
Page 595:
Using AudioSuite Plug-ins The Sampl
Page 598 and 599:
Note: Bounced files can only follow
Page 600 and 601:
The locator range should closely ma
Page 602 and 603:
4 Choose Audio > Time Stretch Regio
Page 604 and 605:
The selected regions are analyzed;
Page 606 and 607:
To remove tempo information from an
Page 608 and 609:
Getting to Know the Strip Silence W
Page 610 and 611:
Automatic Anchor Creation When you
Page 613 and 614:
Managing Audio Files 20 This chapte
Page 615 and 616:
Grouping Files in the Audio Bin You
Page 617 and 618:
To open or close one or more groups
Page 619 and 620:
This expands or collapses all audio
Page 621 and 622:
Logic Pro updates the path informat
Page 623 and 624:
Note: If a file of the same name ex
Page 625 and 626:
Note: If you want to simultaneously
Page 627:
• Double-click the exclamation ma
Page 630 and 631:
Understanding Region- and Event-bas
Page 632 and 633:
The Q-Swing field is located just b
Page 634 and 635:
You can also quantize sections of t
Page 636 and 637:
3 In the Group Settings window, sel
Page 638 and 639:
Quantizing MIDI Events Event-based
Page 640 and 641:
2 Do one of the following, dependin
Page 642 and 643:
Important: The source audio or MIDI
Page 644 and 645:
• Granulation (ms): Determines th
Page 647 and 648:
Introduction to MIDI Editing 22 Thi
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• Disabled: Double-clicking a MID
Page 651 and 652:
2 Click the Editing tab, then choos
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• Deleting or moving portions of
Page 655 and 656:
Editing MIDI Events in the Piano Ro
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• The vertical position of note e
Page 659 and 660:
When the Link Button Is Turned Off
Page 661 and 662:
The Snap menu setting applies to th
Page 663 and 664:
• Click the original note with th
Page 665 and 666:
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
Page 671 and 672:
Using the Copy MIDI Events Settings
Page 673 and 674:
You can override this behavior by h
Page 675 and 676:
For more information on the Functio
Page 677 and 678:
Customizing the Piano Roll Editor Y
Page 679 and 680:
Editing MIDI in the Hyper Editor 24
Page 681 and 682:
Getting to Know the Hyper Editor Th
Page 683 and 684:
You can also alter the width and st
Page 685 and 686:
To create multiple events in a line
Page 687 and 688:
This is ideal when adding events wi
Page 689 and 690:
To alter individual event values µ
Page 691 and 692:
• Edit > Paste (or Command-V) pas
Page 693 and 694:
2 Select the Auto Define checkbox i
Page 695 and 696:
To rearrange the order of event def
Page 697 and 698:
• C- Press (Channel Pressure): To
Page 699 and 700:
Setting the MIDI Channel Number A c
Page 701 and 702:
Creating a Hyper Set To create a ne
Page 703:
µ Choose Delete Hyper Set from the
Page 706 and 707:
Getting to Know the Event List All
Page 708 and 709:
The Event List can also display a l
Page 710 and 711:
This is particularly important for
Page 712 and 713:
You can use these filter buttons al
Page 714 and 715:
Protecting the Position of Events T
Page 716 and 717:
µ Click-hold the specific position
Page 718 and 719:
• Unselected Within Selection: Er
Page 720 and 721:
Mapped Instrument Notes If the edit
Page 722 and 723:
• Other manufacturers use various
Page 724 and 725:
Meta Events Meta events are control
Page 727 and 728:
Editing MIDI Events in the Transfor
Page 729 and 730:
Depending on your needs, it may be
Page 731 and 732:
Random Pitch, Velocity, Length Sets
Page 733 and 734:
This preset is a great creative opt
Page 735 and 736:
Reverse Pitch Inverts the pitch of
Page 737 and 738:
Velocity Limiter Limits the velocit
Page 739 and 740:
Quantize Note Length Quantizes the
Page 741 and 742:
• Delete selected events: Choose
Page 743 and 744:
• Fix: The event type is altered.
Page 745 and 746:
Using the Map 128 vertical bars ref
Page 747 and 748:
This transform set now appears at t
Page 749 and 750:
To convert MIDI note events to MIDI
Page 751:
2 Click Select And Operate. To dele
Page 754 and 755:
754 Chapter 27 Mixing • Assigning
Page 756 and 757:
756 Chapter 27 Mixing Getting to Kn
Page 758 and 759:
• Master channel strip: A global
Page 760 and 761:
760 Chapter 27 Mixing Understanding
Page 762 and 763:
762 Chapter 27 Mixing The Group Set
Page 764 and 765:
When you choose an inactive group,
Page 766 and 767:
766 Chapter 27 Mixing Soloing Chann
Page 768 and 769:
768 Chapter 27 Mixing When setting
Page 770 and 771:
770 Chapter 27 Mixing To avoid clip
Page 772 and 773:
772 Chapter 27 Mixing To change the
Page 774 and 775:
The following sections explain how
Page 776 and 777:
776 Chapter 27 Mixing You can creat
Page 778 and 779:
778 Chapter 27 Mixing 4 Use the aux
Page 780 and 781:
780 Chapter 27 Mixing 2 Within the
Page 782 and 783:
782 Chapter 27 Mixing When using ou
Page 784 and 785:
784 Chapter 27 Mixing To define a c
Page 786 and 787:
786 Chapter 27 Mixing 2 Double-clic
Page 788 and 789:
788 Chapter 27 Mixing • Doppler b
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790 Chapter 27 Mixing Using the Bin
Page 792 and 793:
792 Chapter 27 Mixing Open the View
Page 794 and 795:
To assign a controller to one of th
Page 796 and 797:
• Output channel strips—used as
Page 798 and 799:
798 Chapter 27 Mixing Note: To view
Page 800 and 801:
800 Chapter 27 Mixing Using Link Mo
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To copy a mixer setup 1 Select the
Page 804 and 805:
804 Chapter 27 Mixing The Record En
Page 806 and 807:
To move to a specific channel strip
Page 809 and 810:
Working with Automation 28 Logic Pr
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The gray automation area appears on
Page 813 and 814:
2 Click the Arrange tab, then adjus
Page 815 and 816:
To set the same automation mode for
Page 817 and 818:
2 Select checkboxes in the “Write
Page 819 and 820:
• Click outside of all track auto
Page 821 and 822:
• Delete All Automation on Select
Page 823 and 824:
A dialog asks if you want to conver
Page 825 and 826:
To offset your automation when Snap
Page 827 and 828:
Using Automation Quick Access The A
Page 829 and 830:
To activate Hyper Draw for the curr
Page 831 and 832:
To use the Note Velocity mode 1 Cho
Page 833 and 834:
Bouncing Your Project 29 You can re
Page 835 and 836:
Defining the Bounce Range Before bo
Page 837 and 838:
Setting Global Parameters in the Bo
Page 839 and 840:
• Normalize pop-up menu: You can
Page 841 and 842:
If the PCM option is unselected in
Page 843 and 844:
Select the “Use default values”
Page 845 and 846:
Simulate Write Only The “Simulate
Page 847:
You can choose between the followin
Page 850 and 851:
Creating Apple Loops in Logic Pro W
Page 852 and 853:
Because one-shots are handled like
Page 854 and 855:
There are two possible reasons for
Page 856 and 857:
As an alternative, you can use the
Page 858 and 859:
The Change Display Only mode does n
Page 860 and 861:
If you want to turn an Apple Loops
Page 862 and 863:
• Selecting Multiple Regions in t
Page 864 and 865:
Getting to Know the Score Editor Th
Page 866 and 867:
Important: Score display parameters
Page 868 and 869:
To switch between the default score
Page 870 and 871:
• The Display Quantize setting sh
Page 872 and 873:
To display the Insert Defaults sett
Page 874 and 875:
To resize the Hyper Draw area µ Gr
Page 876 and 877:
The palette windows can have differ
Page 878 and 879:
Note Objects in the Part Box The Pa
Page 880 and 881:
Dynamic Symbols in the Part Box Dyn
Page 882 and 883:
Note: The symbols in this Part box
Page 884 and 885:
Apart from 2/4, 3/4, 4/4, 6/8, and
Page 886 and 887:
D.S., D.C., Segno, and Coda Signs i
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Page and Line Break Symbols in the
Page 890 and 891:
• Absolute Change (all values set
Page 892 and 893:
To paste the Clipboard contents int
Page 894 and 895:
An alias can be assigned a staff st
Page 896 and 897:
Resizing Notes and Symbols in the S
Page 898 and 899:
Creating and Editing Tied Notes in
Page 900 and 901:
• Tuplet note values: Choose from
Page 902 and 903:
• Independent Grace: These are al
Page 904 and 905:
Note: Church rests cannot be longer
Page 906 and 907:
These commands place the correspond
Page 908 and 909:
Editing Repeat Signs and Bar Lines
Page 910 and 911:
To insert text in the score 1 Selec
Page 912 and 913:
Setting Special Text Object Paramet
Page 914 and 915:
• Tempo Symbols: Used for the dis
Page 916 and 917:
When a global text object is select
Page 918 and 919:
Setting All Words and Syllables to
Page 920 and 921:
µ Double-click one of the extensio
Page 922 and 923:
The Chord Grid Library window consi
Page 924 and 925:
Getting to Know the Chord Grid Sele
Page 926 and 927:
• 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 1021 and 1022:
Page 1023 and 1024:
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 1050 and 1051:
• Creating and Editing Transposit
Page 1052 and 1053:
Transposition events only affect MI
Page 1054 and 1055:
µ Click the event with the Eraser
Page 1057 and 1058:
Working in the Environment 36 It is
Page 1059 and 1060:
You determine the MIDI signal flow
Page 1061 and 1062:
2 Press Return to confirm the new n
Page 1063 and 1064:
Moving Objects You can move objects
Page 1065 and 1066:
• Object move up • Object move
Page 1067 and 1068:
• Sequencer Input object: This re
Page 1069 and 1070:
To make a direct output connection
Page 1071 and 1072:
• No: Your cabling takes place, b
Page 1073 and 1074:
To route the signal of special outp
Page 1075 and 1076:
You can also move selections of Env
Page 1077 and 1078:
Logic Pro maintains an internal lis
Page 1079:
This creates the mini Environment w
Page 1082 and 1083:
• Chord Memorizer Objects (p. 113
Page 1084 and 1085:
If the checkbox is not selected, th
Page 1086 and 1087:
• No Reset: If the No Reset param
Page 1088 and 1089:
Program Names There are 128 program
Page 1090 and 1091:
Cabling Directly to a Sub-Channel T
Page 1092 and 1093:
• The names of GM Standard drum s
Page 1094 and 1095:
Custom Bank Selects Logic Pro provi
Page 1096 and 1097:
µ Choose New > Touch Tracks from t
Page 1098 and 1099:
Transpos (Transposition) When you d
Page 1100 and 1101:
Don’t worry about choosing the wr
Page 1102 and 1103:
• The Options > Apply Buffer Temp
Page 1104 and 1105:
• Behave as Menu: Select the Beha
Page 1106 and 1107:
Value As This parameter determines
Page 1108 and 1109:
4-Channel Vector Mode If you set a
Page 1110 and 1111:
Data values of 126 and 127 have a s
Page 1112 and 1113:
The positions of events in the list
Page 1114 and 1115:
Although you can have any number of
Page 1116 and 1117:
• Shift-Option-dragging any fader
Page 1118 and 1119:
For faders, the Channel parameter c
Page 1120 and 1121:
Bank The Bank parameter hides or sh
Page 1122 and 1123:
Keyboard Objects You can use a keyb
Page 1124 and 1125:
Logic Pro encloses all selected obj
Page 1126 and 1127:
An arpeggiator features parameters
Page 1128 and 1129:
Events that do not meet the conditi
Page 1130 and 1131:
Copy Matching Events and Apply Oper
Page 1132 and 1133:
Meta events 122 to 127 affect trans
Page 1134 and 1135:
• Transposition pop-up menu: Defi
Page 1136 and 1137:
To create a new chord memorizer µ
Page 1138 and 1139:
2 Select the Listen checkbox in the
Page 1140 and 1141:
By default, the Sequencer Input obj
Page 1142 and 1143:
Internal Objects Internal objects i
Page 1144 and 1145:
Channel Strip Objects The Environme
Page 1146 and 1147:
• Aux: Auxilliary channel strip,
Page 1149 and 1150:
Working with Video 38 Logic Pro all
Page 1151 and 1152:
Using the Movie Window You can drag
Page 1153 and 1154:
Video track settings can be adjuste
Page 1155 and 1156:
Handling QuickTime Movie Audio Trac
Page 1157 and 1158:
Working with Surround 39 Logic Pro
Page 1159 and 1160:
LCRS Surround Format LCRS stands fo
Page 1161 and 1162:
7.1 (SDDS-Sony Dynamic Digital Soun
Page 1163 and 1164:
Page 1165 and 1166:
2 Choose the surround format you wa
Page 1167 and 1168:
µ Click one of the three Initializ
Page 1169 and 1170:
To determine the project surround f
Page 1171 and 1172:
To set a channel strip’s output f
Page 1173 and 1174:
2 Click the Mixer tab, and choose a
Page 1175 and 1176:
• A number of speaker icons surro
Page 1177 and 1178:
Using the Surround Balancer If the
Page 1179 and 1180:
Channel mapping, panning, and mixin
Page 1181 and 1182:
When a multi-channel plug-in is fir
Page 1183 and 1184:
Note: Use the Bounce Extensions pre
Page 1185 and 1186:
Positioning the Surround Speakers T
Page 1187 and 1188:
The center speaker is usually used
Page 1189 and 1190:
Synchronizing Logic Pro 40 Logic Pr
Page 1191 and 1192:
Using the Sync Button You can use t
Page 1193 and 1194:
Note: When using Pickup Clock with
Page 1195 and 1196:
Each arrange track can act as a tap
Page 1197:
If MIDI and Audio Are Not Synchroni
Page 1200 and 1201:
The audio interface input and outpu
Page 1202 and 1203:
As an example: Imagine a simple son
Page 1204 and 1205:
The last thing to do is to get arou
Page 1206 and 1207:
Importing Split Channel Files Nothi
Page 1208 and 1209:
Interleaved or Split Bounce File? I
Page 1210 and 1211:
The Project Settings window feature
Page 1212 and 1213:
To open the Synchronization project
Page 1214 and 1215:
Logic Pro automatically interprets
Page 1216 and 1217:
• Deviation slider: This display
Page 1218 and 1219:
MIDI Synchronization Settings The M
Page 1220 and 1221:
Logic Pro also obeys Full Frame Mes
Page 1222 and 1223:
Metronome Settings The Metronome pr
Page 1224 and 1225:
Recording Settings The Recording pr
Page 1226 and 1227:
Core Audio Recording Settings • R
Page 1228 and 1229:
• User: Root Key pop-up menu: All
Page 1230 and 1231:
Detuned octaves are more noticeable
Page 1232 and 1233:
Audio Settings The Audio project se
Page 1234 and 1235:
MIDI Settings The MIDI project sett
Page 1236 and 1237:
• Instrument Without MIDI Thru Fu
Page 1238 and 1239:
• Control Changes, 0-15, 64-71, a
Page 1240 and 1241:
The following describes the global
Page 1242 and 1243:
• Hide Muted Regions checkbox: Ex
Page 1244 and 1245:
• Page Offset field: This value i
Page 1246 and 1247:
Logic Pro automatically converts no
Page 1248 and 1249:
Pitch Logic Pro assigns each note t
Page 1250 and 1251:
Chords & Grids Settings These are g
Page 1252 and 1253:
Clefs & Signatures Settings These a
Page 1254 and 1255:
Note: Only automatically displayed
Page 1256 and 1257:
Note: If you have a high-resolution
Page 1258 and 1259:
This makes playback sound much more
Page 1260 and 1261:
• Chromatic: Allows you to use tw
Page 1262 and 1263:
• FireWire: Choose this mode to o
Page 1265 and 1266:
Preferences in Logic Pro 44 Prefere
Page 1267 and 1268:
A separate preference file, also st
Page 1269 and 1270:
• Create New Project using Defaul
Page 1271 and 1272:
• Pointer Tool in Arrange Provide
Page 1273 and 1274:
• Smooth Cycle Algorithm checkbox
Page 1275 and 1276:
Audio Preferences in Logic Pro Audi
Page 1277 and 1278:
Note: When setting an output device
Page 1279 and 1280:
For full details about activating D
Page 1281 and 1282:
• Low Latency Mode checkbox and L
Page 1283 and 1284:
Bounce Extensions Pane The Bounce E
Page 1285 and 1286:
Audio Sample Editor Preferences The
Page 1287 and 1288:
Audio MP3 Preferences The MP3 pane
Page 1289 and 1290:
Audio Nodes Preferences The Nodes p
Page 1291 and 1292:
All selected checkboxes will send a
Page 1293 and 1294:
MIDI Sync Preferences The Sync pane
Page 1295 and 1296:
Display Preferences in Logic Pro Di
Page 1297 and 1298:
• Display SMPTE, Display Tempo As
Page 1299 and 1300:
Piano Roll Display Preferences Thes
Page 1301 and 1302:
• Floating Palette View pop-up me
Page 1303 and 1304:
Automation Preferences in Logic Pro
Page 1305 and 1306:
Control Surface Preferences in Logi
Page 1307:
Sharing Preferences in Logic Pro Sh
Page 1310 and 1311:
1310 Glossary ALAC Abbreviation for
Page 1312 and 1313:
1312 Glossary Auto Track Zoom Funct
Page 1314 and 1315:
1314 Glossary Browser A tab in the
Page 1316 and 1317:
1316 Glossary comping A process whe
Page 1318 and 1319:
1318 Glossary DFS An abbreviation f
Page 1320 and 1321:
1320 Glossary Event List A list tha
Page 1322 and 1323:
1322 Glossary grid The Logic Pro gr
Page 1324 and 1325:
1324 Glossary key The scale used in
Page 1326 and 1327:
1326 Glossary master channel strip
Page 1328 and 1329:
1328 Glossary mono Short for monoph
Page 1330 and 1331:
1330 Glossary pan, pan position The
Page 1332 and 1333:
1332 Glossary Q factor A term gener
Page 1334 and 1335:
1334 Glossary sample rate When an a
Page 1336 and 1337:
1336 Glossary Signature track Globa
Page 1338 and 1339:
1338 Glossary Surround Panner Repla
Page 1340 and 1341:
1340 Glossary Transform window Logi
Page 1342:
1342 Glossary zoom An action that e
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